Highline Ballroom Announces Their Upcoming Shows
Highline Ballroom is located at 431 West 16th Street between 9th Avenue and 10th Avenue.
Tickets may be purchased through Ticketweb, online at ticketweb.com or at the Highline Box Office from noon until doors close at 866-468-7619.
We are a full-scale restaurant. We also have a full bar with all premier liquors and domestic and international cold beer, and we serve a full menu at all of our concerts. A $10 food and/or beverage minimum is standard for table seating during shows.
Unless otherwise noted, all shows are suitable for all ages and offer general admission seating. Seating for all shows is first come, first seated; we do not take advance table reservations, except where noted as a condition of a VIP ticket. We cannot seat incomplete parties. Standing room for all shows is available at our bar.
For further show information, directions to the venue and for the latest updates visit us on the web at www.highlineballroom.com or call 212-414-4314.
All events are subject to change.
· FRANCIS DUNNERY BAND - Tuesday, March 1 - SHOW @ 7:45PM
UPCOMING SHOWS - February 21 - February 27
EVERY SATURDAY LATE NIGHT at The Highline Ballroom:
The Rewind Show
with live performances and celebrity DJs
21 or over to enter
Doors at 10:30pm, Show at 11:00pm
$20 at door
RSVP to email@example.com
The Rewind Show is a vision we have had for as long as we have been in the business of night clubs and event planning. We are tired of the same concept that every night-club in NYC has been stuck with over the years and think that it's time to change the way to party! As we all know nothing can compare to a live performance and therefore we have created the Rewind Show! We want to bring an experience like no other by combining the live music of the 80's Rock & Roll era along with the best DJ's spinning the present hits. Every Saturday night, the Highline Ballroom will operate as a high-end night club to let people experience the Rewind Show. (http://therewindshow.com/)
Monday, February 21
BRENDAN JAMES & MATT WHITE
Doors at 6:00pm, Show at 8:00pm
$14 adv, $16 at doors
Some artists name an album after themselves because they're stumped for another title. Brendan James grins at this suggestion. "As a fellow musician, I definitely get that," he says, "but I actually had a good reason to do it. The album is self-titled because I feel like it's my first recording that really showcases the different sides of me as a musician. It's got everything from the mellow to the upbeat, to the somber to the unashamedly positive. My friends know me as the guy who loves to jump in the middle of a pick-up basketball game, but they also know me as the guy who needs to be reminded to stop spiraling when I start thinking about something too deeply. I have a lot of different sides and I wanted to make sure my music reflected that." A singer-songwriter who accompanies himself on piano, James began writing the songs on his second album after winding up a year and a half on the road in support of his debut album The Day is Brave, which was released by Decca Records in June 2008 and debuted in the Top 10 on Billboard's Heatseekers chart. Several of its songs were featured on various television shows including Private Practice, Bones, So You Think You Can Dance, and Army Wives. After releasing the album, James hit the ground running to support it from coast to coast. "I went to 40 states, ate at 330 restaurants, stayed in 210 hotels, and slept on one boat - John Mayer's Mayercraft Cruise; I know because I wrote it all down," James says with a laugh. The 18-month tour enabled James (whom Entertainment Weekly has called "a songwriter on the rise") to build his fanbase the way many successful musicians have done before him: one room at a time, and he shares the fruits of that journey - renewed vigor, musical maturity, and even a new sound - on his second album.
Tuesday, February 22
PLAIN WHITE T's
with Parachute, Miggs
Doors at 6:00pm, Show at 7:30pm
In some of the most quantifiable ways, the Plain White T's count as a veteran outfit. After all, the band formed in the late '90s, when cofounder Tom Higgenson was still in high school, and the T's had several independent releases already to their credit even before "Hey There Delilah" became an international sensation and cultural touchstone in 2007. But as far as the Plain White T's are concerned, they're just entering their sense-of-wonder years. The need to hold onto or reclaim the marvels of youth is a determined thread running through the band's third Hollywood Records release, Wonders of the Younger. Even the love songs that don't directly deal with the ostensible theme of mentally dialing back the aging process have references to nostalgia, childhood lost, or innocence regained. That sense of adventure translated to the stylistic side, too. Any fans who go looking for the hard-rocking pop-punk the group originally became known for as a Warped Tour favorite, or the acoustically based love songs that newcomers came to expect after "Delilah" and "1,2,3,4," will find something to their liking here. But Wonders... represents a drastically richer sonic experience than anything the T's went for on any of their five prior releases. Trying to coast by on the sound that had gotten them tagged as emo way back in the day-correctly or otherwise-could only have culminated, on a project this thematically ambitious, in a sense of blunder. The leap forward they've made in writing, arrangements, and production on the new album might be compared with the kind of step up that fellow Warped alumnus My Chemical Romance made with The Black Parade. Ironically, on an album that in some ways is deeply concerned with resisting the wiles of "maturation," the band's sound has grown exponentially more sophisticated.
Thursday, February 24
The Jolly Boys
At Hiro Ballroom
***THIS SHOW HAS BEEN RESCHEDULED FROM JANUARY 13TH. ALL TICKETS HONORED***
Doors at 9:00pm, Show at 10:00pm
For nearly sixty years, the Jolly Boys have been integral to the fabric of Port Antonio's musical landscape and cultural heritage. Masters of mento, one of Jamaica's original musics, this band has rocked innumerable private soirées, charmed the traveling elite and toured the world, leaving an indelible mark on everyone who has heard them. Their new album, Great Expectation, introduces a new sound and direction, making them more unforgettable than they have ever been.
The Jolly Boys quickly rose to local prominence in the 1950s as the house band for the Rat Pack's Jamaica chapter, chaired by the swashbuckling enfant terrible, Errol Flynn. Singing songs of double entendre and ribaldry to those in search of escape and excess, the group served as Port Antonio's go-to band for thirty years. Being "discovered" by a new generation of world music aficionados in the late 1980s meant that the Jolly Boys could take their musical party on the road. Several album, dozens of countries and thirty years since, the Jolly Boys have become the most recognizable mento band in the world.
Now, the Jolly Boys are back, reinvigorated with a revolutionary new sound. In early 2009, Jon Baker, founder of Gee Street Records and one-time leader of the A&R team at Island Records in NYC, held a recording session at Geejam studios to capture some of the Jolly Boys vintage material. He was looking for the rebel mento-the punk rock of its day-where singers sang frankly about sex and wrote biting commentary about relevant social issues. The Jolly Boys delivered, but it led to a fresh creative idea: why not dip into the rock repertory, take the songs that resonate with mento's raucous history and give them a different vibe? Baker, together with his long term friend and creative partner Mark Jones from Wall of Sound, worked together and chose tracks from artists like the Clash, the Stooges, the Stranglers and Amy Winehouse. They fit the mento vibe so naturally that work on the new project began immediately.
Over the next several months, the group worked tirelessly with Dale Virgo, Baker's co-producer, on a set of innovative arrangements and modern beats to complement and contemporize an older sound defined by banjos, maracas and rumba boxes. To bridge the narrows between the two styles, Baker brought in mento scholar and banjo driver Daniel Neely as the project's music director. In addition, Jamaican saxophone legend Cedric Brooks added both his unique musical insight and his horn to the project. The entire endeavor was documented by filmmaker and director Rick Elgood (One Love, Dancehall Queen, Westway to the World), whose docudrama about the Jolly Boys past, present and future is currently in production. The result of these efforts is the Jolly Boys' new album, Great Expectation, the birth of modern mento.