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Weekly Newsletter

Feb 6 – 12

Feb 6 – 12

Honeysuckle’s lyrics are haunting, mesmerizing, and their stage banter is deliciously witty. It’s a winning combination that has won them major festival slots and top awards in their hometown of Boston. Their show on Friday is one of a rich array of events that range from a pre-Valentine’s performance of Shakespeare scenes, to a children’s show, to open mics and superb headline concerts . . .

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Jan 30 – Feb 5

Jan 30 – Feb 5

Singer-songwriter, troubadour and musical alchemist Kris Delmhorst likes to write songs from the inside out. Songs that she doesn’t know the answer to, and sometimes doesn’t even know what the question is yet. Her soulful, thoughtful and richly entertaining music is called “bold and brilliant” by the Boston Globe and “transcendent” by the LA Times. She’s been compared to Anaïs Mitchell, Lucinda Williams, and Juana Molina – though she cites Rickie Lee Jones, in all her fearless joy and complexity, as an artistic north star.

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January 23 – 29

January 23 – 29

Think about this: we start this week’s schedule with a master of Llanero–the music of herders and plains people in Venezuela. We close our weekend on Sunday with the music of herders and plains people in Tuva, a rural corner of the Russian Federation near Mongolia. These deeply rooted traditions grew from the same hard, exciting work. You can hear . . .

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Caffè Lena In the News

LIVE: RICHARD THOMPSON @ CAFFE LENA, 08/31/2022

By Michael Hochanadel for Nippertown — Even after seeing Richard Thompson charm more than 10,000 people on the outdoor Gentilly stage at Jazz Fest in New Orleans and hypnotize smaller crowds in much cozier spaces, the focused force of his music felt astounding at Caffe Lena Wednesday.

In the second of three sold-out solo shows, the singer-songwriter/guitarist played two of my big-three favorites: “1952 Vincent Black Lightning” and “Beeswing,” but not “Ghosts in the Wind.” That’s not a complaint; these two towering tunes did what they always do. “1952” wove a tender noir motorcycle murder-romance and “Beeswing” rued the love-versus-freedom paradox for peak pathos. Trusting the crowd, Thompson introduced several new songs; those worked well, too.

In fact, the show’s only rough spots were old songs whose lyrics he temporarily forgot. But he shrugged this off as confidently as he dismissed the awed applause for his “oh-my-GOD!” solo in the overdrive rocker “Valerie.”

Thompson took the measure of the capacity crowd right out of the box with “Walking on Stony Ground” – he said it was a tale of senior lust, correcting himself to “mature lust.”

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