About This Event
Doors Open:6:30 PM
Show Time:7:30 PM
TABLE SEATING POLICY
Table seating for all seated shows is reserved exclusively for ticket holders who purchase “Table Seating” tickets. By purchasing a “Table Seating” ticket you agree to also purchase a minimum of two food and/or beverage items per person. Table seating is first come, first seated. Please arrive early for the best choice of available seats. Seating begins when doors open. Tables are communal so you may be seated with other patrons. We do not take table reservations.
A standing room area is available by the bar for all guests who purchase “Standing Room” tickets. Food and beverage can be purchased at the bar but there is no minimum purchase required in this area.
All tickets sales are final. No refund or credits.
Nick Zammuto has been making music since 1999. Since 2001 he has been composing music with the band “the Books”. This year, he has started working on a new project called “Zammuto”… and he will be releasing a self titled album on April 3rd 2012 on Temporary Residence Limited. He lives in a little mountain town called Readsboro, VT with his wife and his three sons, which is where he creates all of his music in his home studio… and with the help of Sean Dixon on drums, Nick Oddy (multi-intrumentalist), and Mikey Zammuto on bass… he has created a rockin’ new band!
Zammuto official site
Zammuto on Facebook
Zammuto on Twitter
Miracles of Modern Science are an unlikely rock band. Using just mandolin, violin, cello, standup bass, and drums, they create explosive pop that upends notions of what these instruments can do.
The band began life at Princeton University. Vocalist/bassist Evan Younger and mandolinist Josh Hirshfeld shared a hall their freshman year and soon began hijacking open mics with their off-kilter acoustic collaborations. They found kindred spirits in other restless musicians from the school’s orchestras and jazz bands: conductor-by-day cellist Geoff McDonald, Aussie violinist Kieran Ledwidge, and finally powerhouse drummer Tyler Pines, who spurred them to plug their miniature orchestra into amps. The band built a cult following on campus and graduated to New York City, where their ecstatic live shows and dorm-grown EP earned them nods from NPR, SPIN, Wired, and Brooklyn Vegan.
MOMS’ debut album Dog Year finds the band pushing the limits of their antique instruments and throwing aside conventions as readily as their genre-bending idols, Bowie and Bartok. You’ll hear unhinged baritone vocals anchored by a looming upright bass, mandolin riffs that share more DNA with post-rock than bluegrass, and a two-man “string section” shredding as ferociously as the rock drummer behind them. The result is as daring as it is infectious.