Audience Magazine | Louisville Arts & Entertainment | February 2022

A behind-the-scenes look into Louisville’s performing arts and entertainment during this unprecedented time of reflection and artistic creation.

magazine

FEBRUARY 2022

Special thanks to our premium sponsors whose support lets us provide this publication at no charge to you.

KENTUCKY PERFORMING ARTS Don't Miss This Classical-Meets-Hip-Hop Duo. Page 6 LOUISVILLE ORCHESTRA A Consortium of Women Composers Brings Poetry to Life. Page 12 STAGEONE FAMILY THEATRE Summer Dramaworks Offering Students a Variety of In Person Themes. Page 14

TABLE of CONTENTS FEBRUARY 2022

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TAKING THE STAIRS

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PUNK ROCK PARTY

FROM A TO Z

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SUMMER CAMP RETURNS

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A E M O C E B R E B M ME Speed Members enjoy free admission, Members-only programming, discounts in the Museum store, and much more!

Join today! Visit speedmuseum.org/belong for details.

Photography: Josh Svoboda

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LOUISVILLE ORCHESTRA PRESENTS

THE COLOR, PASSION, AND RHYTHMIC ENERGY OF LATIN MUSIC EXPLODES WITH BRILLIANT WORKS. New works and a First Edition commission celebrate the trailblazing spirit of the Louisville Orchestra, featuring the exciting young timba band, PEOPLE OF EARTH. Prepare for dazzling concerts showcasing the variety and sophistication of music of Latin American composers and those inspired by these vibrant cultures.

WORLD PREMIERE PERFORMANCES FESTIVAL OF LATIN AMERICAN MUSIC 2

FESTIVAL OF LATIN AMERICAN MUSIC 1

Teddy Abrams, conductor 11 MAR 11AM 12 MAR 8PM Kentucky Center

Teddy Abrams, conductor 4 MAR 11AM 5 MAR 8PM Kentucky Center Heitor VILLA-LOBOS: Alvarada na floresta tropical (“Dawn in a Tropical Forest”) Dafnis PRIETO: Tentación (“Temptation”) WORLD PREMIERES Angélica NEGRÓN: Fractal Isles Leonard BERNSTEIN: Symphonic Dances from West Side Story

CONCIERTO DE ARANJUEZ Kalena Bovell, conductor Stephen Mattingly, guitar 24, 25, 26 MAR Check website for locations and times

Georges BIZET: Suite No. 1 from Carmen Joaquin RODRIGO: Concierto de Aranjuez Alberto GINASTERA: Variaciones concertantes

Aaron COPLAND: El Salón México Gabriela Lena FRANK: Concertiňo Cusqueňo Jose Pablo MONCAYO: Cumbres (”Summits”) Clarice ASSAD: Nhanderu Arturo MARQUEZ: Danzón No. 2 George GERSHWIN: Cuban Overture

502-587-8681

LouisvilleOrchestra.org/concerts.

Covid protocols apply

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TICKET

GIVEAWAYS

SPECIAL INVITES

SHOW PREVIEWS

A behind-the-scenes look into Louisville’s performing arts and entertainment during this unprecedented time of reflection and artistic creation.

PUBLISHER

The Audience Group, Inc. G. Douglas Dreisbach MANAGING EDITOR

Amy Higgs CREATIVE DIRECTOR

Rhonda Mefford SALES & MARKETING

G. Douglas Dreisbach CONTRIBUTORS

Kentucky Performing Arts Louisville Orchestra StageOne Family Theatre

To read current and previous Audience playbills and performance guides, go to issuu.com/audience502.

On the Cover: Black Violin members Wil and Kev discuss their new, Grammynominated album, Take The Stairs.

Photo by Albert Manduca. Read more on page 6.

Stay Connected with Sign up for our e-news and be the first to hear about ticket giveaways, special invites, email news alerts, show previews, reviews and the latest happenings in the performing arts scene in Louisville.

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GOT AN ARTICLE IDEA? Audience Magazine is a platform for the arts in Louisville. If you have an article idea or something you think we should cover, email ahiggs@theaudiencegroup.com © Copyright 2022. The Audience Group, Inc. Reproduction in whole or part without written permission is prohibited.

Audience® Magazine is published by The Audience Group, Inc. 136 St. Matthews Avenue #300 Louisville, KY 40207 502.212.5177 | Audience502.com J A N U A R Y

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PERFORMANCE PREVIEW

TAKING THE STAIRS Don't miss Black Violin at the Brown Theatre on February 16.

Photo by Albert Manduca.

BLACK VIOLIN BRINGS ITS MESSAGE OF UNITY AND INCLUSIVENESS TO LOUISVILLE

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February 16, 2022

e had a wall that we wrote stuff on,” says Wil Baptiste, describing the process that led to Black Violin’s Grammynominated album, Take the Stairs. “We had all the ideas about what story we were going to convey. And it kept coming back to the idea of hope — songs that spoke about going against the grain, carrying through struggle, being optimistic. We wanted to say, ‘it’s tough out there, but don’t give up.’ ” Much like the ways their instruments interact on stage, Wil’s creative collaborator Kev Marcus echoes this theme, and then expands it. “Hope is the thread that keeps this thing together, it’s the heartbeat of this album,” he says. “But then a lot of tentacles went different ways — the song ‘Impossible is Possible’ is about challenging people. So, it went different directions from just being hopeful. We took it a little further.”

For more than a dozen years, Black Violin has been all about taking things further, exceeding expectations, challenging conventions. The classical-meets-hip-hop duo has steadily built a devoted following and a diverse touring base — culminating in such triumphs as two sold-out shows at the Kennedy Center with the National Symphony Orchestra commemorating the 50th anniversary of Dr. Martin Luther King Jr.’s death — while occupying a musical lane that’s entirely its own.

“When you do something you love, it’s not difficult,” says Wil. “I’m just going on stage and being who I am. When people want to listen, when you touch them and make them want to keep fighting — to see that spreading out to more people, it’s about way more than just the music.”

The classical-meets-hip-hop duo has steadily built a devoted following and a diverse touring base.

Indeed, Black Violin’s work extends far beyond the stage, reaching deep into urban communities with numerous free performances for students and hands-on engagement with youth symphonies and community centers. Through collaborations with local and national education programs such as TurnAround Arts, Wil and Kev connect with more than 100,000 students throughout the year, mostly at lowincome and Title 1 schools, and adopted Bethune Elementary, in Florida’s Broward County (near where they grew up) to initiate an ongoing mentorship program.

Wil expresses the idea that, no matter how unique Black Violin’s music may be, it is ultimately more than just a creative enterprise. “It’s really a movement,” he says, “an organism that’s its own thing and really feels necessary.”

STARTING A MOVEMENT That movement began when the members of Black Violin met on the first day of orchestra class in 1996 at Dillard High School of the Performing Arts. (Baptiste originally wanted to

Brown-Forman Midnite Ramble

BLACK VIOLIN: IMPOSSIBLE TOUR Wednesday, February 16 | 7:30PM | Brown Theatre Tickets: kentuckyperformingarts.org

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You’ve got to work hard to get what you want. But you shouldn’t be looking for the easy way, anyway, because the hard way is where the real lessons are. play saxophone in the band, but the orchestra teacher got him assigned to his class by winning a golf bet with the band instructor.) Classically trained by day, they faithfully put on their headphones and listened to the hottest rap records each night.

They went to different colleges — Marcus attended Florida International University and Wil B went to Florida State — but then reconvened, moved into an apartment together, and started trying to produce other musicians.

They developed an act covering hip-hop songs on their violins, which became popular in local clubs. Two years after sending in a tape to Showtime at the Apollo, they were invited to appear on the show — which they won, and kept winning.

They were approached by the manager of Alicia Keys, who asked them to perform with the singer on the Billboard Awards. Other offers followed — they toured with Mike Shinoda of Linkin Park, opened for the Wu-Tang Clan, composed the music for the groundbreaking Fox series Pitch. Individually and together, Wil and Kev have worked with the likes of Alessia Cara, 2 Chainz, and Lil' Wayne. All the while, Black Violin continued touring non-stop (playing as many as 200 shows a year) and released two independent, self-financed albums before putting out the acclaimed Stereotypes in 2016.

With Take the Stairs, Black Violin are striving to take their message of unity and inclusiveness even further, moving Wil’s vocals further forward while continuing to explore the possibilities of merging classical virtuosity and structure with modern beats and tones. “We wanted something different, beautiful songs that could go to radio,” says Wil. “I sing every night, so that’s nothing new, but we felt like we’ve never had that one song that can help elevate us to the next level.

This album has records like ‘One Step’ that can appeal to everybody, so we lean a bit more on that, but we still had to keep that quintessential Black Violin sound.”

“When you’re a creative musician,” adds Kev, “when you press record, you let the music lead you. The vocals have definitely stepped up each time — Wil becomes more of a vocalist on each album and finds his voice a little more. It solidifies us as artists, too, trying to make a bigger stamp.”

A DIVERSITY OF INFLUENCES The 13 tracks on Take the Stairs reveal the range and diversity of their influences and vocabulary, from “Showoff” (which Wil calls a “classic instrumental”) to the Curtis Mayfield-inspired “Lost in the Garden.” One favorite is “A Way Home” — “That record should be the Olympics theme song!” says Wil. “I can see us going from country to country, engaging with different cultures. I played it for my wife and she started crying — that’s a special song right there.”

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The first single released ahead of Take the Stairs was the timely and inspiring “Dreamer,” with a message that was immediately embraced by several commercial campaigns. “This is the day when I go all the way/I make it my own/Here’s to the dreamers,” sings Wil. “That just really hit home,” says Kev. “It got to the heart of what we’re about.”

Kev notes that “inspiration can come from anywhere — the cable guy played me an Ethiopian tune when he was fixing my modem.” That conversation ultimately led to the new song “A Way Home.” Kev points to the track “Al Green” as an example of the journey that Black Violin songs can take.

“I had a Dvorak piece called ‘Slavonic Dances’ and I was into that vibe,” he says. “I played it for Salaam Remi [who has worked with the likes of Nas, Amy Winehouse, and the Fugees, and co-produced and is featured on several Take the Stairs tracks] and he said ‘That has a cool bounce to it — let’s funk out that groove and put an Al Greenstyle bass line on it.

We both played violas over that, which I’d never heard. So that one is funk mixed with a Czech Slavonic dance, with an Al Green sample and viola solos.”

The members of Black Violin both note their own personal evolution and maturity, and to the ways this growth came out on Take the Stairs. “This time, every I is dotted and T is crossed,” says Kev. “There was a rush to the last album, a deadline we had to hit after we signed our record deal. This one we funded and produced ourselves. So, it was a really well-thought out and more deliberate process; we had more time to live with everything and feel comfortable with it.”

Wil says that Black Violin isn’t always explicit with its message, but that they don’t have to be — that the creation of an audience that is multi-generational, ethnically and economically diverse, is a powerful statement of its own. “The stereotypes are always there, embedded so deep in our culture,” he says. “Just by nature of our existence — the Idea that these black guys who could be football or basketball players are playing the violin — we challenge those ideas. It’s a unique thing that brings people together who aren’t usually in the same room, and in the current climate, it’s good to bring people together.”

It’s all wrapped up in the name of the album. “For 16 years, we’ve slowly been taking the stairs,” says Kev. “It’s a gradual kind of snowball where now we have control, we can tour in Alaska — we took the hard way for so many years, now we can look back and see what we’ve learned.

“You’ve got to work hard to get what you want. But you shouldn’t be looking for the easy way, anyway, because the hard way is where the real lessons are.”

Article courtesy of Black Violin.

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THE KENTUCKY CRAFTED

MARKET MARCH 12-13 2022 LEXINGTON KENTUCKY KENTUCKY HORSE PARK ALLTECH ARENA

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February 19, 2022

PUNK ROCK PARTY Bob Mould brings a celebration of live music to the Bomhard Theater

BOB MOULD On July 16, 2021, Demon Music Group concluded their year-long Bob Mould retrospective campaign with their fourth vinyl box, Distortion: Live. The 8 LP set includes live recordings from Mould’s solo career and his band Sugar.

This box follows October 2020’s 8 LP Distortion: 1989-1995 vinyl set, which took in Mould’s early solo outings as well as his records with the much-beloved Sugar, January 2021’s 9 LP Distortion: 1996-2007 box set continuing through the next steps in Mould’s solo career and his outings as LoudBomb and Blowoff, April 2021’s 7 LP Distortion 2008-2019

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covering District Line to Sunshine Rock, and the 24 CD Distortion: 1989-2019 box, which covers the entirety of his post-Hüsker Dü output.

Mould’s live shows will span his entire 40-plus-year career, including songs from the Distortion collection and from his landmark band Hüsker Dü, as well as songs from last year’s explosive and critically acclaimed album Blue Hearts — about which Rolling Stone’s 4 out of 5 star review raved, “feels like a lost Hüsker Dü album with Mould howling invective over his buzzsawing guitar.”

“It’s been a year and a half away from the stage. I’ve missed the noise, the

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sweat, and seeing your smiling faces.

I’m fully vaccinated, and I hope you are, too, because this fall will be a punk rock party with the band — and the solo shows will be loud and proud as well. It’s time to make up lost time, reconnect, and celebrate together with live music!”

As with the previously released box sets in the Distortion collection, each album has been mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston and is presented with brand new artwork designed by illustrator Simon Marchner and pressed on 140g clear vinyl with unique splatter effects.

This box set includes 4 live albums:

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“It’s been a year and a half away from the stage.

I’ve missed the noise, the sweat, and seeing your smiling faces. I’m fully vaccinated, and I hope you are, too, because this fall will be a punk rock party with the band..."

Live At The Cabaret Metro, 1989; the Sugar album The Joke Is Always On Us, Sometimes; LiveDog98 (first time on vinyl), and Live at ATP 2008 (first time on vinyl).

In addition, the set includes a 28-page companion booklet featuring liner notes by journalist Keith Cameron; contributions from Bully’s Alicia Bognanno; rare photographs and memorabilia, and a bonus LP Distortion Plus: Live, which features live rarities including B-Sides and stand-out tracks from the Circle of Friends concert film.

Discover more about the box sets including full track listings and FAQs here.

Article courtesy of Bob Mould.

SPECIAL GUEST H.C. MCENTIRE “Early rise, start the fire, till the rows, pass the tithes.” So starts H.C. McEntire’s sophomore release, Eno Axis. It’s a set of directions delivered with assurance and authority, reaching the listener without pretension almost as a sermon or spell. McEntire has always had one foot planted in the traditional country gospel roots of her upbringing while boldly wrestling with its complications, creating an Americana sound of her own. But that has never rung as true as it does now on the transcendent psalms of Eno Axis.

Unlike McEntire’s solo debut, LIONHEART, which was recorded in sporadic bouts and fits while she was touring, Eno Axis is firmly rooted in place. After two years working all over the world as a backup singer in Angel Olsen’s band, McEntire came home to a hundred-year-old farmhouse tucked away in the woods of Durham, North Carolina, right on the Eno River.

Here, McEntire was able to refocus.

songs on Eno Axis feature scratch first takes of McEntire’s lead vocals, initially meant to be thrown out and redone.

Like the blue-collar Appalachian kin she descended from, her days were scheduled by the clockwork of the Earth’s rotation: splitting wood, stacking it, weeding and watering the garden, walking the dog past the bridge and back — and every evening on the front porch, watching dusk fall. Eno Axis emerges from this time as the strongest work McEntire has shared yet.

“To all the winds — hold high the hymnal, gather blessings by the fistful,” McEntire sings in her celebration of the Eno on “River’s Jaw.” McEntire doesn’t write lyrics; she writes poetry. Growing up in the tiny rural community of Green Creek, outside Tryon, North Carolina, she knows how to tell a story. And just as Loretta Lynn sang about watching her mama’s fingers bleed on the washboard in “Coal Miner’s Daughter,” McEntire, too, takes the listener by the hand and pulls them into her own experience.

On “One Eye Open” McEntire revisits her childhood Sunday school room and reckons with Christian fundamentalism.

On “Footman’s Coat,” she ruminates on time, biological clocks, and the path of possibilities left in her past.

Tracked and mixed at the Fidelitorium with a full backing band, many of the

This rawness creates an immediacy, her self-assured, instinct-driven, and mesmerizing delivery complementing Eno Axis’ lush acoustics and warm tones. After a dreamy atmospheric interlude, “Time, On Fire” builds and retracts with a driving pop drum beat, exploring movement like the ebb and flow of a river, culminating in a soaring guitar solo. And just as a river’s current sometimes takes us somewhere unexpected, into new territory where we never knew we could go, Eno Axis closes with one of the album’s most revelatory experiences — a new, glossier cover of “Houses of the Holy” by Led Zeppelin.

Under McEntire’s empowering reconstruction of this rock ’n’ roll classic, the masculine, driving signature guitar vanishes, and instead we’re left with one of the inimitable queer voices of our time bashfully asking, “Can I take you to the movies?”

With Eno Axis, H.C. McEntire establishes herself as a force to be reckoned with in the greater American musical landscape.

These songs transcend country and gospel, folk and rock — they’re poems directed straight to the listener, simple psalms on how the sun falls, how the train passes, how love grows and bends.

McEntire inspires us to find the stillness within our own lives — a remarkable clear-ringing declaration for our uncertain times.

Article courtesy of H.C. McEntire.

91.9 WFPK presents

BOB MOULD SOLO ELECTRIC: DISTORTION & BLUE HEARTS! WITH SPECIAL GUEST H.C. MCENTIRE, SOLO

K E N T U C K Y

Saturday, February 19 | 8PM | The Kentucky Center-Bomhard Theater Tickets: kentuckyperformingarts.org

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Teddy Arams

FROM A to Z:

The Blue Hour is the Story of a Woman’s Life

February 19, 2022

Rachel GRIMES, Angélica NEGRON, Shara NOVA, Caroline SHAW, and Sarah Kirkland SNIDER:

THE BLUE HOUR TEDDY ABRAMS, conductor SHARA NOVA, vocalist Saturday, February 19, 8PM Old Forester’s Paristown Hall

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The Louisville Orchestra presents a very special evening on Saturday, February 19, 2022 at 8 p.m. at Old Forester’s Paristown Hall with The Blue Hour.

Teddy Abrams conducts the LO and welcomes guest vocalist Shara Nova to perform a powerful work that was created by a consortium of women composers — Rachel Grimes, Sarah Kirkland Snider, Angelica Negron, Shara Nova, and Caroline Shaw.

A 75-minute work, The Blue Hour is based on the poetry of the awardwinning journalist, poet, and writer Carolyn Forché using text from her poem “On Earth.” The poem catalogs scattered thoughts, visions, and imagery collected throughout Forché’s life and attempts to “control uncontrollable realities, such as death, by imposing arbitrary rules and structures on the chaotic and inevitable.”

The poetic structure is known as “abecedarian,” which is an alphabetical arrangement of short phrases from A to Z. The music reflects the fragmentary nature of the poem with a kaleidoscope S U B S C R I B E

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of sound painting featuring a string orchestra and vocalist.

The notable composers are women with rising careers in creating music for orchestras and other mixed ensembles.

While success in the field of orchestra composition is rare, it is even more rare for women to achieve. The collaboration of these five composers represents an extraordinary achievement that is both artistic and historic.

TICKETS & DONATIONS Advance tickets are $20. VIP tickets are $50 and include private, upper-level seating. Donations of any amount will be accepted at the door in lieu of the $30 day-of-show ticket price. Proceeds will benefit the Center for Women and Families.

Tickets are available by calling the Louisville Orchestra at 502.587.8681 or the Kentucky Performing Arts at 502.584.7777. Online orders are available at LouisvilleOrchestra.org and at the Kentucky Performing Arts website.

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Eats The restaurants below are certified and recommended by Audience as premium places for pre-show dinner, drinks or mingling. Let them know we sent you!

Area of Town

Restaurant Name

Reservations

Phone

Address

Notes

Downtown

Repeal Oak-Fired Steakhouse

Yes

(502) 716-7372

101 West Main St.

Upscale steakhouse on historic Whiskey Row

Downtown

Jeff Ruby’s Steakhouse

Yes

(502) 584-0102

325 West Main St. (Galt House Hotel)

Premium steaks & seafood

Downtown

Mayan Cafe

Yes

(502) 566-0651

813 E. Market St.

Farm-to-table Mexican & Pan-Latin cuisine

Downtown

Walker’s Exchange

Yes

(502) 272-1834

140 N. 4th St. (Galt House Hotel)

Casual Southern Contemporary

Crescent Hill

Pat’s Steakhouse

Yes

(502) 893-2062

2437 Brownsboro Rd.

Premium steaks since 1958

Crescent Hill

Porcini Restaurant

Yes

(502) 894-8686

2730 Frankfort Ave.

Fine Northern Italian cuisine

Highlands

Jack Fry’s

Yes

(502) 452-9244

1007 Bardstown Rd.

High-end Southern fare & cocktails

Downtown

Proof on Main

Yes

(502) 217-6360

702 W. Main St.

Modern fare with local flavor

Highlands

Seviche

Yes

(502) 473-8560

1538 Bardstown Rd.

Upscale Latin American cuisine

Crescent Hill

Volare Italian Ristorante

Yes

(502) 894-4446

2300 Frankfort Ave.

Upscale Italian

Check out our full list of preferred restaurants at Audience502.com!

Want your restaurant featured in an upcoming issue of Audience Magazine?

Email info@theaudiencegroup.com or call 502.212.5177.

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SUMMER

CAMP RETURNS

JOIN US IN-PERSON THIS SUMMER

by StageOne Family Theatre

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tageOne Family Theatre Summer DramaWorks Camps are back for another eight weeks of in-person creativity, collaboration, and performance for kids ages 4 to 18.

The Summer DramaWorks program for 2022 fully complies with all CDC guidelines for summer camps. In addition, this year’s camps integrate hands-on experience and knowledge regarding social distancing and other safety measures acquired throughout 2021.

DramaWorks camps feature age-specific classes with themes that engage every age group. Younger campers between the ages of 4 and 11 will enjoy our theme week classes including: Outer Space Adventure Camp, Pirates & Mermaids, and Super Kids. Students between the ages of 12 and 18 can hone their skills through our Special Topic Series classes, including Improvisation, Digital Storytelling, Comedy Scene Work, Tragedy Scene Work, and even Stage Combat. No matter your student’s age, StageOne summer camps draw on children’s curiosity, creativity, and collaborative play to ignite and foster personal growth and arts-based learning.

Camps are led by local professional artists and educators and assisted by student interns. Camp interns are teens of at least 14 years of age who are either current or former campers. Participating in StageOne camps as interns gives these young performers the opportunity to give back to younger students while simultaneously learning valuable leadership skills alongside professional teaching artists.

StageOne Producing Artistic Director Andrew D. Harris and Education Director Lina Chambers Lipkin share that what

sets apart StageOne performance camps from other summer programs is their mission to meet students exactly where they are, whether they’re seasoned stage veterans or brand new to performance opportunities. For example, two- and three-week performance camps like Dinosaurs Before Dark (Kids) and Willie Wonka Jr. will introduce students to the acting, music, and dance skills needed in a production, capped off by an opportunity to practice those skills in a performance.

The 2022 Summer DramaWorks Camp will be hosted this year at JCPS school Shelby Traditional Academy, located in Louisville’s Germantown neighborhood. Dr. Jimica Howard, Principal of Shelby Traditional Academy, has worked with StageOne on many programs in previous years and says that the StageOne camps are “just an awesome experience for our students at Shelby. The arts give voice to the voiceless. We are so excited to host StageOne and for our students to have the opportunity to expand their ‘vocabulary’ in such an amazing way!” StageOne will provide between $14,000 and $17,000 worth of camp admission to Shelby students in scholarship funds.

Camps begin on June 6 and run through July 29, 2022. Students meet Monday through Friday from 9 a.m. to 4 p.m., and an extended day option until 5 p.m. is also available. Families can choose from camps that run between one and three weeks.

Students enrolled in two- or three-week performance camps must be available for a final Saturday performance immediately following the last day of camp.

Interested parents, students, and teachers can find out more about StageOne Summer DramaWorks camps and register for sessions at stageone.org/kids-academy-dramaworks.

StageOne Family Theatre has served the Louisville community since 1946, when it was first known as the Louisville Children’s Theatre. StageOne’s commitment to Louisville youth and their future is the foundation for its continuing mission to foster empathy and spark the imagination of young people and their families through the transformative power of live theatre. Celebrating 75 years of impact and inspiration to the Louisville Metro Region in 2021-22, StageOne is committed to sharing the stories of our diverse community.

 StageOne Family Theatre’s Summer DramaWorks camps build skills in collaboration and performance while students play and create.

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www.stageone.org 502.498.2436

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EVENTS CALENDAR Audience is your connection to the performing arts and entertainment in Louisville.

Below are some of the events we are looking forward to in the coming months and we hope you enjoy them all!

For more of our preferred arts and entertainment recommendations, visit Audience502.com/audience-events

FEBRUARY Feb. 1 – Apr. 3

Kinky Boots Derby Dinner Playhouse derbydinner.com

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Citizen Cope 8PM, Old Forester's Paristown Hall kentuckyperformingarts.org

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Orfeo Kentucky Opera Brown Theatre kyopera.org

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Gospel at the Symphony featuring Harry Pickens Louisville Orchestra 8PM, Whitney Hall louisvilleorchestra.org

15-20

Come from Away PNC Broadway in Louisville Whitney Hall louisville.broadway.com

19 Bob Mould Solo Electric 8PM, Bomhard Theatre kentuckyperformingarts.org

23 Greensky Bluegrass 7PM, Paristown Hall kentuckyperformingarts.org

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Disney in Concert Black Violin: Impossible Tour Louisville Orchestra 8PM, Whitney Hall Brown-Forman Midnite Ramble 7:30PM, Brown Theatre kentuckyperformingarts.org kentuckyperformingarts.org

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MARCH 5 Festival of Latin American Music - Part 1 Louisville Orchestra 8PM, Whitney Hall louisvilleorchestra.org

12 Festival of Latin American Music - Part 2 Louisville Orchestra 8PM, Whitney Hall louisvilleorchestra.org

Don't miss Kentucky Opera's Orfeo, February 11 & 13.

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