32 Masonic Street
Northampton, MA, 01060
Doors 7:30 PM / Show 8:00 PM
This event is all ages
Americana powerhouse trio Red Molly is known for their gorgeous harmonies, infectious songwriting, and captivating stage presence. Laurie MacAllister (bass), Abbie Gardner (Dobro), and Molly Venter (guitar) weave together the threads of American music—from folk roots to bluegrass, from heartbreaking ballads to barn-burning honky tonk—as effortlessly as they blend their caramel voices into their signature crystalline, three-part harmonies.
Gracing stages from Denver to Denmark, from Australia to Austin, Red Molly is renowned for their live shows. Four-time featured artist at MerleFest, breakout stars at RockyGrass, and the darlings of the Bristol Rhythm and Roots Reunion, the “Mollies” bring audiences to their feet, whether it’s on a grand festival stage or in an intimate concert hall.
If one word describes Red Molly’s music, that word is joyous. Their brilliantly wrought a capella tunes are love letters to the art of the vocal blend, and their innovative instrumentation is perfectly suited for foot stomping bluegrass-tinged barnburners and heart-full ballads alike. Red Molly is simply a joy to listen to. One of the most moving things about Red Molly’s music is the honest sense that you’re watching three dear friends sharing songs in their living room, and this feeling goes all the way back to their origins. Red Molly got its start with the simple joy of singing at a campsite, when they first felt the electricity that comes when voices blend together like honey and whiskey. That synergy and harmony carries through to today, on their newest studio effort, aptly titled The Red Album.
Released on May 27, 2014, The Red Album was featured in USA Today, noting their “spooky, supple harmonies” and CMT Edge. It debuted at #1 on the Folk DJ radio chart, and climbed to #10 on the Americana Top 40 Radio chart, spending 25 weeks in the Top 40.
The Red Album is surely their freshest and edgiest release to date. After immersing themselves in songwriting, the Mollies made a conscious decision to record more original songs than on any previous album, making their choice of specific covers all the more significant. With their arsenal of new songs and select favorites at hand (including a very long-awaited cover of the song that is their namesake, Richard Thompson’s “1952 Vincent Black Lightning”), the band traveled to Nashville to work with producer Ken Coomer (drummer for Uncle Tupelo and Wilco). The result marks a distinctive shift towards a darker, less traditional vibe, though its reverb-heavy noir-storytelling is still underpinned by the exquisite vocal clarity for which Red Molly is loved. With delicious torch songs streaming effortlessly into gorgeous, impeccably harmonized ballads, The Red Album is like an Opry love note by way of East Nashville.
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