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Coty Hogue‘s got something different in her. Maybe it’s from growing up in a Montana town several orders of magnitude below “small;” maybe it comes from immersing herself in a folk music tradition that extends back for centuries. Whatever it is, you’d be hard-pressed to put your finger on it.

But when Coty picks up her banjo and lets her voice out, there it is. You’d think she’s a pretty young gal, but her voice gives her away when she sings those fine old Appalachian songs. That voice, pitched low and steady, keeps raising chills. Then she’ll apologize for playing too many sad songs in a row and launch into a fast-picking barnburner. Accompanied by Aaron Guest (12-string guitar) and Kat Bula (fiddle), Coty’s song selection runs the gamut of American roots music- a little blues, a pinch of swing, a spoonful of classic Opry, all with an emphasis on tight vocal harmony.

Coty grew up with horses and big sky in Philipsburg, Montana- population just over 900. She left in the early half of the decade for an education in Bellingham, Washington. That sweet, subdued little city- long known for its thriving roots music community- became home. Over the next few years, Coty played all over town, traded songs with anyone she could find, and learned how to play any stringed instrument she could get her hands on.

In 2009, Coty packed up her bags and headed east to Boone, North Carolina, where she received Masters in Appalachian Studies. Along the way, she recorded an album, Going to the West, with frequent collaborator Aaron Guest; toured the West Coast; performed at the 2010 International Folk Alliance Conference, the Subdued Stringband Jamboree, and Seattle’s historic Folklife Festival; and her music will be featured in the independent film, Neon Sky.

If you get the chance to see Coty Hogue, don’t miss it. It’s a rare sort of performer who will keep you transfixed through several full sets of music. She’ll burnish out-of-the-way gems and set them on fire again with her skilled interpretation. She’ll sneak in tunes of her own composing that you’ll swear you’ve heard before.

She’s got the simple elegance and understated mastery of her craft that distinguishes much more established players, and it is this- a young voice flavored with the tannins of an old soul- that quietly sets her apart.

However, we are webcasting this show in HD through Empty Sea Television.  Click here to watch!

Session Americana sit tightly around a small round cafe table, ambient mics tuned to catch the complete sound of the voices and instruments. Players swap songs and instruments; a suitcase drum kit, an old electric bass, a field organ and a collection of acoustic instruments. The unique format feels fantastically theatrical and although the musicians face each other, the audience feels drawn into the circle by the warmth, joy and camaraderie that emanate outwards by the all-star cast of characters seated around the table. What keeps fans coming back show after show is the same thing that any audience member longs for; great songs performed by a great band.

Session Americana is a Boston-based band consistently referred to in articles by variants of “a folk-rock supergroup,” a “who’s who” or “all-star” band featuring members Sean Staples (mandolin, guitar, vocals, mandocello, fiddle), Billy Beard (drums/vocals), Jon Bistline (bass/vocals), Ry Cavanaugh (guitar, mandocello, vocals), Jim Fitting (harmonica/vocals) and Dinty Child (mandocello, fiddle, banjo, guitar, accordion, keyboards, vocals). After nearly ten years, Session Americana still feels stumbled-upon: every show seems a welcome surprise, not least to them. Find them and you happen upon a long-running song swap among old friends, veteran musicians facing each other over a round bar table, exchanging instruments as quickly as quips.

The core members of the band have brought enviable careers worth of experience to the “table”, featuring (current and former) members of Treat Her Right, Patty Griffin, Lori McKenna, The The, Dennis Brennan, Kris Delmhorst to name just a few. The group has grown from a rag tag jam at a local pub to a regional institution, playing gigs from coffee houses to urban nightclubs, regional, national, and international festival tents and theaters.

Click here to purchase advance tickets.

Roy Douglas – from a large musical family, growing up in Illinois – left the endless horizons of the Midwest to explore what lie beyond. Carried by curiosity, so began a life of poetry and music, of perpetual discovery and learning.

Roy learned that music is a universal language, and like the endless horizon from whence he came, his appreciation and love for it is unbounded. His compositions are drawn from a diverse spectrum of music, which includes traditional folk, avant-garde, the mainstream radio of his youth, bluegrass, Celtic, classical, hints of jazz and more. He finds inspiration in the ever-changing ever-constant melody rhythm timbre and lyric poetry of life and living. Most of his songs he receives as gifts from the stories’ demeanor circumstance and day-to-day experiences of people he meets, observes, hears, or reads about. Other songs are simple commentaries about the unfairness society inflicts on folks that might be better served with compassion and a helping hand. His compositions are accessible and tuneful, shaped by tempo and tonality, balanced with dynamics and inflection, creating a body of work that reflects the unity, continuity and diversity of human experience.

Roy enjoys being immersed in throngs of people, uninhibited conversation, the embrace of the open outdoors, the quiet absorption of empty cathedrals, and spinning around in circles (arms flailing). Besides performing, rehearsing, and composing, Roy likes to read, write, walk, think, listen – and smile.

For the majority of the evening, Roy will be playing his own material. However, showcasing one of his rarely glimpsed musical facets and accompanied by the talented Chris deLeon on piano, the performance will begin with a short recital featuring favorite Italian arias, folk songs arranged by Aaron Copland, works by Stephen Foster, and more. The evening’s presentation promises to be especially unique, entertaining, and a delightful treat.

Don’t miss this animated, energetic, and engaging performer for his last appearance in the United States. Roy will soon be traveling to Europe, continuing his work as mentioned above, and then some. And then some more.

Click here to purchase advance tickets.

Blvd Park is a visionary group of musicians, bonded together out of chance, challenges and changes.  Each member contributes his or her unique blend of musicianship & stylistic behavior forming a sound the group collectively calls,  “Americarnie Browngrass”.   Based in Seattle as of fall 2010, Blvd Park is quickly earning its way into the heart of the Seattle music scene, busking regularly at the Pike Place and Ballard Farmer’s Markets, making appearances on the Marty Riemer podcast, on Seattle Channel’s “ArtZone with Nancy Guppy”, “Blues To Do TV”, performing live on 91.3 KBCS, and playing shows at historic Seattle venues such as the Tractor Tavern, Chop Suey, Columbia City Theater and the Triple Door.

Blvd Park’s namesake comes from time spent living in the infamous midtown Sacramento 18th century Victorian home, The Bell Tower Mansion, in the neighborhood of Boulevard Park spring of 2009.  Boasting an all singer, all songwriter lineup including the instrumentation of upright bass, mandolin, guitar, trumpet, accordion, banjo, tambourine and tight 3 to 5 part harmonies, with both male and female contribution, Blvd Park’s high energy live experience takes the audience on a vaudevillian gypsy caravan ride.

Brian Ballentine – vocals, acoustic guitar
Timothy Conroy – vocals, trumpet, accordion
Tekla Waterfield – vocals, tambourine, guitar
Jarrett Mason – vocals, upright bass
Banton Foster – vocals, banjo, tuba
Dune Butler – vocals, mandolin, upright bass

Americarnie:  A natural blend of Americana music mixed with vaudeville circus western movies.

Browngrass music: Originated in Northern California; a style of music rooted in but not bounded to traditional bluegrass, folk and country.

Imported from the Mid-Atlantic by way of the rocky mountain state, Julia Massey brings to the city of Seattle an outer-space sized sound that she and her band have branded COSMIC-FOLK-ROCK.  The music they’re producing is fun, full of energy, and heart-opening; and that’s just scratching the surface.

Writing, recording, and performing alongside Massey for the last three years are bassist Geoff B. Gibbs and drummer Dominic Cortese.  That’s been enough time to hone in on a particular feel, but their critically acclaimed release of 2011, Is There Room For Me? is not what you would expect.

This album is, by far, Massey’s heaviest and most experimental to date, almost completely transcending her self-proclaimed genre.  Characteristic of Massey’s previous recordings, Is There Room For Me? gives the first impression that it is one lollipop short of children’s music, but the listener quickly realizes this music is not for children, but rather brings out the child in you, which is the essence of Massey’s genius. Is There Room For Me? is innocent, playful, and sometimes sensual; yet, its most redeeming quality is its subtlety.  Whether it is Massey’s unique vocals, timeless poetry, or the edgy accompaniment from Gibbs and Cortese to Massey’s progressions and melodies, this record unveils a new season at every listen.

As the record unfolds, Massey cheerily explores subjects such as the similarities between the top of a mountain and the bottom of an ocean, alien visits, and a skate park she used to observe outside of her living room window.  She also touches on more introspective themes such as the last wishes of a dying parent in “Aghadoe” and our place in the universe on the title track.  Massey also pays homage to one of her heroes, Emily Dickinson, on a track titled “#712,” after a poem of the same name. Dickinson’s influence can be seen all over Massey’s lyrics throughout the album.

In short, Massey and her band turn what is seemingly a collection of pop songs into a collage of compositions that display a thick stack of thin layers to be effortlessly peeled back by listeners.  Unlike Radiohead or other Prog bands whose music takes years to uncover fully, all of Massey’s layers float into your psyche like a feather taking your heart and mind on a journey that ends in sunshine.  Then, like all great bands, you want more.

Noted alt-folk indie-pop singer songwriter, Seattle-based Jean Mann has a lot to write and sing about. Having toured extensively since releasing her first album, blossom (2000), this innovative, self-taught performer shares her soulful, lovely and gritty-honest tales woven through the voice of an angel. Her vocal prowess, combined with eclectic instrument playing (de-tuned acoustic 6-string and tenor guitars, harmonica and ukulele), results in the homey, intimate feeling of sitting around a kitchen table with close friends.

Jean has released four albums since she began pouring out her world in song, beginning September 1999, the very day her mother passed away. Along the road of that life-changing event, came more life, love, a stolen vintage Gibson guitar and enough broken hearts to fill a country western album. A cache of beautifully arranged songs and an empowered voice emerged through it all. Jean Mann is a truly soul-quenching force in today’s independent music scene.

Click here to purchase advance tickets.

Jam Session: An bluegrass jam exclusively for concertgoers will immediately follow this concert.  Bring your bluegrass instruments and prepare to play with this amazing duo!

Nell Robinson has a brand-new harmony-driven duo with award winning guitarist Jim Nunally, reminiscent of classic country duets like George Jones and Tammy Wynette as well as singing siblings like the Louvin and Stanley Brothers. Think Del McCoury meets Iris Dement. Alongside their own original material, Nell Robinson and Jim Nunally cover music ranging from Bill Monroe to Nine Inch Nails. Nell’s debut CD, Nell Robinson in Loango, made national bluegrass and Americana charts throughout the country and she was quickly snapped up by Garrison Keillor’s A Prairie Home Companion and Strawberry Music Festival.

Jim Nunally is a world-class guitarist, vocalist and songwriter, and has toured extensively with the David Grisman Bluegrass Experience and John Reischman. He is the recipient of two Grammy Award certificates and two IBMA awards. He is also a two time Western Open Masterpicking Champion and Guitar Champion. His most recent CD, Gloria’s Waltz, showcases his distinctive pickin’ and singing. A San Francisco Bay Area-native, Jim is a musician, composer, record producer, and teacher. His third-generation traditional music roots began in Arkansas with his guitar-playing grandfather who taught Jim’s father, who in turn taught Jim. This pedigree contributes to his unmistakably traditional sound.

“Robinson’s heartfelt vocals and soaring harmonies are perfect for the traditional bluegrass standards and old country tracks…”
- Michelle Broder Van Dyke, San Francisco Chronicle

“Nell Robinson never lets up on her twangy, clear-eyed tales, and neither do the various pickers, pluckers, and strokers of strings who join this heartfelt journey through Robinson’s Alabama roots.”
- Nate Seltenrich, East Bay Express

Jonathan Byrd is “one of the top 50 songwriters of the last 50 years,” says Rich Warren of WFMT in the Chicago Tribune. Scott Alarik of the Boston Globe says, “This rootsy North Carolinian may be the most buzzed-about new songwriter in folkdom. He displays John Prine’s gift for stark little songs that tell big, complex stories, Guy Clark’s lean melodicism, Lyle Lovett’s wry mischief, and Bill Morrissey’s knack for the revealing image.” Byrd grew up singing in the Southern Baptist church, where his father preached and his mother played piano. After four years in the Navy, he returned to home to play in rock bands. It was at an old-time fiddle festival in the mountains of southwest Virginia where his writing began to change. Assimilating the sounds of southern traditional music, Byrd wrote new songs in an ancient style. After 10 years as a full-time touring songwriter and 7 acclaimed albums, it seems this native of Cackalacky is getting the attention he deserves.

Chris Kokesh is no newcomer to the folk music scene.  In her 14 years with the all-woman quartet Misty River, she became a veteran of stages including the Strawberry Music Festival (CA), the Walnut Valley Festival (KS), Sisters Folk Festival (OR), and Wintergrass (WA) and helped create the signature vocal blend of this Northwest favorite.  In July 2010, October Valentine debuted on the Folk DJ charts at #20, and Chris’s stunning songwriting, crystalline vocals, tasty fiddle and solid guitar distinguish her as a stand-alone talent.  Onstage Kokesh brings songs to life with a transparency that draws audiences in.  She reveals the inner workings of her heart with grace and an unexpectedly wry sense of humor.  Jeff Douglas or Oregon Public Broadcasting says, “Chris Kokesh is writing songs that stand up with the best.  Keep an ear out for this emerging talent.”

Jonathan Byrd and Chris Kokesh met in 2007 at the Americana Song Academy, a week-long songwriting school in Sisters, Oregon.  After teaching at the Academy, Jonathan went on to play the Sisters Folk Festival where he invited Chris to play with him.  They played to two encores, and Jonathan was invited back to play again the next year, a rare honor bestowed by popular vote among the festival attendees. The duo, dubbed the Barn Birds, has since toured the Pacific Northwest and Midwest and recorded an as-yet unreleased album.

Click here to purchase advance tickets.

The practitioners of the ancient art of alchemy often sought to transform or combine a variety of elements. In a similar manner, the members of the ensemble Alchymeia gather folk song ingredients from various cultures and arrange them in new and fascinating ways. The repertoire reflects the varying backgrounds of the ensemble’s founding musicians.

Nadia Tarnawsky has been studying Eastern European singing techniques for nearly two decades with Ukrainian singers Mariana Sadowska, Lilia Pavlovska, Albanian singer Merita Halili, and Bulgarian singers Maria Bebelekova and Donka Koleva. She has taught workshops in Ukrainian village-style singing for the Center of Traditional Music and Dance (NYC).

Brandon Vance is a two-time Open U.S. National Scottish Fiddle Champion and the youngest player ever to attain the national title at age 14. Brandon has performed with numerous Celtic artists including Alasdair Fraser, Natalie Haas, Carl Peterson, Maggie’s Fury, and Clumsy Lovers.

Nadia and Brandon began performing together in 2008 and in 2010 they enlisted some of Seattle’s finest musicians to create Alchymeia. Recent performance venues include the La MaMa Experimental Theatre Company (NYC), the Center for Traditional Music and Dance (NYC), the Ukrainian Museum (NYC), the Northwest Folklife Festival (Seattle), the Pink Door (Seattle), Columbia City Theatre (Seattle), Cafe Paloma(Seattle), and the Mandolin Cafe(Tacoma).

Alchymeia: Nadia Tarnawsky (vocals), Brandon Vance (violin), Yusuf Kilgore (guitar), Steve Rice (accordion/piano) and Brad Hawkins (cello). Not pictured: Ahmad Yusefbeigi (percussion).

This show is completely sold out.  No tickets will be released at the door.

However, you can still watch the show live or on-demand via our HD webcast series.  Click here to purchase access.

On April 14th at 8pm, Empty Sea Studios presents Eli Rosenblatt Trio and Correo Aereo, two groups who continue to find ways to innovate while remaining solidly and soulfully rooted in the rich musical heritage of the Americas and Eastern Europe.

Eli Rosenblatt is a multi-instrumentalist, vocalist and composer whose passion for music and language have led him to travel the world and write music in a plethora of different styles and languages.  On any given night you might see him playing salsa with an eight-piece band, classical guitar in a duo, klezmer or swing in a quartet or

some mixture of all three.  Spanish, English, Hebrew and French all make appearances in his repertoire, which ranges from quirky love songs to infectious dance grooves to haunting instrumentals.  This trio, a collaboration with Trumpeter Michael Van Bebber and Drummer Dave Abramson, represents the most playful and experimental aspect of Rosenblatt’s repertoire and performance style. The three musicians play off each other with a free, curious sense of humor as they move seamlessly through Klezmer, Swing and Afro-Cuban inspired Polyrhythms.

Correo Aereo (Air Mail) is an award winning acoustic multi-instrumental and vocal Latin/World Music Duo. They perform traditional music of Latin America: especially of Venezuela, Argentina & Mexico, as well as their own original music deeply inspired by swimming and playing in these ancient rivers of traditions while being alive to organic innovation. Dr. Juan Tony Guzman, Head of the Jazz Dept. at Luther College writes: “Listening to their performance one can unite space and time across cultures.”  Together, Abel Rocha and Madeleine Sosin combine an array of string and percussive instruments with silken vocal harmonies described as “locked in carnal embrace” by the Austin Chronicle. Their music is richly poly-rhythmic and soulfully melodic. Fiery, haunting, joyful! Abel Rocha sings & plays harp, guitar and cuatro. Madeleine Sosin sings & plays violins, maracas, bombo and jarana.

For more information or to arrange interviews, please contact Eli Rosenblatt: 206.522.1609 – elisamuelrosenblatt@gmail

MaMuse (“Ma” as in Mamma; “Muse” as in the one who inspires) is sweet soul, folk revival served with a playful splash of uplifting lyrics in haunting harmony.

This merry duo (Sarah Nutting and Karisha Longaker), weave voices like a Celtic knot upon a sparse instrumental pallet of upright bass, guitar, mandolins and flutes.

Original songs infused with improvisation and storytelling transmitted through the heart, leave audiences softened and singing along. Creating beauty and magic wherever they go, MaMuse is what a meadow would sound like if it could sing.

As described by MaMuse themselves, “The Muse fell from the sky one night and landed in the spaces between our heart beats. She instantly took a liking to the rhythm in our chests, and her sweet melody joined the pulse. One of us picked up father bass, and thumped it’s belly in response. The other picked up father mandolin, and plucked its ribs. Mother guitar and sister flute could not resist being a part of such sweet merriment and soon joined in. The Earth, hearing the whole incident, called out words of inspiration and encouragement. “Yes!… keep going!”

When the Earth calls, one must listen…
So we opened our hearts and let sweet harmony roll off of our tongues. In unison our voices shot out into the deep of night and a star fell from the heavens; the magic spark!

MaMuse is born.”