Meet JOHN LENNON’S SISTER and The Mersey Beatles – not your ordinary Beatles tribute band!

This ALL LIVERPOOL BORN Beatles tribute band was the resident band for over a decade at the world famous CAVERN CLUB, where the Beatles got their start. These childhood friends have played in 20 countries, selling out shows worldwide…but never on U.S. soil!

It has been 50 years since the last Beatles U.S. Invasion – and now 4 new lads from Liverpool are making their U.S. Debut!

Julia Baird, author, Director of the Cavern Club, philanthropist, teacher and John Lennon’s sister, will be in attendance and signing copies of her book “Imagine This: Growing Up with My Brother John Lennon” at the general merchandise table before, during and after the show. This is Julia’s 3^rd tour with the band.

themerseybeatles.com

and special guest ……… The Tearaways

These Santa Barbarians have been around for 30+ years or since the 101 had stop lights – and they still create mesmerizing power pop with soaring harmonies and hooks enough for a fishing trip with the Beatles–no wonder they’re Tom Hanks’ favorite band. Their music has been featured on NBC, ABC, ESPN, CBS, Tribune and Fox stations and several independent films.

tearaways.com

Though she’s established a rabid international fanbase by playing rebellious Maya Hart on the popular Girl Meets World, music remains Sabrina Carpenter’s first love.  The Los Angeles-based multitalented singer/songwriter, who has played for audiences as far away as China and Australia, released her debut album, “Eyes Wide Open” in April 2015.  The album, which has amassed over 33M streams combined on Spotify since its April 14, 2015 is a collection of uplifting, infectious pop songs, many of them co-written by Carpenter.  The accompanying music videos for songs including “Can’t Blame a Girl for Trying,” “Middle of Starting Over,” “Eyes Wide Open” and “We’ll Be The Stars” have amassed over 85M combined views and counting.

With support from Citizen Four

• https://www.facebook.com/CitizenFourOfficial
• http://www.Twitter.com/citizen4music
• http://www.Instagram.com/citizenfourofficial 

Be transported to a posh evening reminiscent of Downton Abbey, where white-gloved footmen attended the creme de la creme of English society as they dined and danced.  (Period dress encouraged-choose your epoch from Edwardian grandeur to the flappers of the 20s!)

Enjoy cocktails and appetizers on the terrace and browse the SILENT auction items, then move inside to be entertained by the full Santa Barbara Choral Society chorus in our spring gala concert, followed by elegant dinner and LIVE auction of exciting vacation stays and more.  Plan now to join us for this festive and fun annual event to support the choral arts! Seating is limited, so don’t delay!

Conductor JoAnne Wasserman will lead the singers of the Choral Society, two fine soloists, and the Santa Barbara Choral Society Orchestra in performance of this much-loved choral masterwork. Brahms’ magnum opus, not heard in Santa Barbara for 10 years, is a must see performance! You won’t want to miss this special event! 

Sacred, but not liturgical, Brahms composed this, his largest composition, between 1865 and 1868. Though the creative spark for it is uncertain, Brahms’s mother had died in February 1865, a loss that caused him much grief and may well have inspired Ein Deutsches Requiem. Brahms’s lingering feelings over Robert Schumann’s death in July 1856 may also have been a motivation. Brahms assembled the libretto himself. In contrast to the traditional Roman Catholic Requiem Mass, which employs a standardized text in Latin, the text is derived from the German Luther Bible. Although the Requiem Mass in the Roman Catholic liturgy begins with prayers for the dead (“Grant them eternal rest, O Lord”), A German Requiem focuses on the living, beginning with the text “Blessed are they that mourn, for they shall be comforted.” from the Beatitudes. This theme—transition from anxiety to comfort—recurs in all the following movements except movements 4 and 7, the central one and the final one. Although the idea of the Lord is the source of the comfort, the sympathetic humanism persists through the work. 

When the Chris Robinson Brotherhood headed into the studio to begin recording their new album, Anyway You Love, We Know How You Feel, no one knew just what to expect. These would be the band’s first recordings with new drummer Tony Leone (Ollabelle, Levon Helm), their first since the departure of founding bassist Mark “Muddy” Dutton, and their first time producing themselves. But as anybody who’s been following the CRB can attest, this is a band that thrives on the unexpected.

If you need proof, just go back to 2012, when they first emerged on the national stage by releasing not one, but two acclaimed full-length albums within a few months of each other. Critics hailed their sprawling debut, Big Moon Ritual, as a revelation, with Uncut calling it a “tenderly-executed piece of work…[that’s] both earthy and transcendent,” while The Independent raved that Robinson had “finally found the ideal vehicle to indulge his taste for ‘Cosmic California Music.'” The reviews were similarly ecstatic for its immediate follow-up, The Magic Door, which was praised by Relix as “classic rock in the finest sense.” The band’s relentless tour schedule brought their shimmering acid-Americana around the world for a staggering 118-date tour, firmly establishing the CRB as the new standard-bearers of the psychedelic roots torch.  In 2014, they returned to the studio for Phosphorescent Harvest, a masterful collection that showcased the blossoming songwriting partnership between Robinson and CRB lead guitarist Neal Casal. Rolling Stone raved that the album was “electrifying…boast[ing] a vintage rock vibe that’s at once quirky, trippy, soulful and downright magnetic,” and Guitar World called it “a treasure trove of soul that advances the band’s bluesy, kaleidoscopic sound.”

On each of those albums, the songs and arrangements had been locked in prior to the sessions, but heading back into the studio for Anyway You Love…, Robinson purposely left as much open-ended as possible, embracing the lineup changes and leaning into the virtuosic improvisational chemistry that’s always made their live shows such enthralling spectacles.