The Tidewater African Cultural Alliance and the Tema Committee of the Norfolk Sister City Association present Afro MANIA Ghana: A Cultural Experience, a FREE celebration of Ghanaian culture for the whole community!
Join interactive workshops on dancing, drumming, storytelling and crafts. Taste authentic Ghanaian cuisine from Yendidi restaurant. Enjoy a cultural presentation of dance and drum performances from each of Ghana’s four regions, along with a Ghanaian fashion show.
Stay for the whole event for a chance to win some cool prizes!This performance is FREE and open to the public! No tickets or RSVPs needed!
Arts at the Attucks is made possible by Norfolk Arts, Virginia Commission for the Arts and the National Endowment for the Arts.
Children must be accompanied by adults.
Shamrockin’ In Ghent takes places on Friday, March 7th, 6pm-10pm on Colley Avenue between Gates and Shirley Avenues. There is live music from the Fighting Jamesons. The Tidewater Pipes and Drums kick the event off! There are beer trucks. Irish whiskey, and local food vendors. The event is free and open to the public and benefits Hope House Foundation. Drink tickets can be purchased at the “Ticket Tent” at the event- cash and credit cards are accepted.
More info can be found here: https://hope-house.org/events/shamrockin-in-ghent-information/ or https://www.facebook.com/share/14yh9zrqQn/
Every once in a while, a group emerges with the flavor, focus, and fire to light up the entire game. That group is FLO. Formed in 2019, the BRIT Award-winning UK trio—Jorja Douglas, Stella Quaresma, and Renée Downer—flipped 21st century R&B on its head with a hip-hop attitude and global pop ambition. During 2022, the three-piece exploded on the world’s stage with their debut EP The Lead powered by the single “Cardboard Box.” Nearing half-a-billion streams, they’ve notably delivered showstopping performances on ABC’s Jimmy Kimmel LIVE!, Later…with Jools Holland, The Glamour Women Of The Year Awards, Soul Train Awards and the MOBOS. All of this momentum culminated with the group taking home the coveted “Rising Star” honor at the 2023 BRIT Awards in addition to earning BBC Sound Of 2023, while also receiving nominations at various 2023 awards shows including the BET Awards, MTV VMAs, MTV EMAs, Soul Train Awards, and the NAACP Image Awards. Meanwhile, they attracted the adoration of high-profile supporters, including Brandy, JoJo, SZA, Victoria Monét, Missy Elliott, Destiny’s Child’s Kelly Rowland, and Sugababes, to name a few. They’re the rare force who can comfortably shine on a collaboration with UK rap insurgent Stormzy or during a wide-ranging interview with Sir Elton John. With their first full-length on the way, they’re the R&B group for the future, starting labor.
Across his career, Shakey Graves — a.k.a. the performance moniker of Austin, Texas-born Alejandro Rose-Garcia — has intentionally created thrilling musical adventures tailored to each fan: burning CDs and putting them in personalized decorated bags; building intricate scavenger hunts that send fans in search of unique tapes; and Bandcamp-exclusive releases.
“The fans and musicians that really resonate with me — and the inexplicable ways that I find things that I like — are usually entirely through randomness and chaos and accident,” Rose-Garcia says. “I’ve always been on this quest to make people feel like my own music is a choose your own adventure.”
As Rose-Garcia releases his new Shakey Graves album Movie of the Week — a collection of songs whittled down from epic-length recording sessions — he has devised one of his most innovative musical adventures yet. “For the album release, I’m setting up a website,” he says. “On this website, there will be a way to shuffle a collection of alternate tracks and unique songs from the sessions in seemingly infinite combinations to create new albums.” Thanks to this cutting-edge technology, fans will be able to own this alternate version and do whatever they want with it — giving them control over the destiny of the music.
“Imagination really is the tool,” Rose-Garcia says. “The point is to make and create something yourself. Any way that I can allow people to apply their imagination over my music — and allow them to sculpt it using their own prompts — will let them create something new.”
Blue-collar, Tennessee native Larry Fleet grew up with a love of music sparked by an eclectic mix of influences spanning from Merle Haggard to Marvin Gaye. To make ends meet, Fleet spent tireless hours working construction jobs – never losing his dream of making music. A chance encounter with Jake Owen in 2017 led to a collaborative friendship and an opening slot on the road with Owen. Not long after, Fleet was sharing the stage with a living legend and one of his heroes – Willie Nelson – and etching his mark in the Nashville songwriting community co-writing with esteemed tunesmiths including Rhett Akins, Brett James and Kendell Marvel. The hard-working family man is now turning heads with his “Where I Find God” – a powerful ode to finding peace in the higher power’s presence. Garnering Fleet praise for his “emotive vocals” (Billboard), the song’s official music video continues to resonate with fans, amassing 19 MILLION+ YouTube views. “Where I Find God” follows the release of Fleet’s aptly-titled debut on Big Loud Records, WORKIN’ HARD. On September 24, Fleet will release his brand-new, full-length album, STACK OF RECORDS, produced by studio ace Joey Moi.
Romance amid approaching armageddon. Life in a snowglobe, a pastoral scene made ever precarious, teetering on chaos created by the flick of the wrist. Love as an antique, that generations after us will only understand from history books. Fontaines D.C.’s fourth album ROMANCE interrogates amorphous concepts of love and relationships, alienation and identity, fantasy and reality – all building to a central statement that Chatten sings of hauntingly, invitingly, on the opening track: “Maybe romance is a place”.
11 tracks constellate ideas that have been percolating among Grian Chatten (vocals), Carlos O’Connell (guitar), Conor Curley (guitar), Conor Deegan (bass), and Tom Coll (drums) since 2021’s No.1 record Skinty Fia and tour with Arctic Monkeys. The record builds upon sonic sensibilities the band started to experiment with on Skinty Fia, now reaching into grungier textures, hip-hop breaks and beats, shoegazey tones and contemporary electronic sounds. It is as indebted to their times listening to Shygirl and Sega Bodega as it is to old Hollywood soundtracks, Korn, Outkast, and A$AP Ferg. The band introduces more assured production skills. ROMANCE’s bones were set in time spent apart, experimenting as individuals across Mexico, the Spanish countryside, and LA, and an intense production period together with Simian Mobile Disco’s James Ford (Arctic Monkeys, Blur) in a French chateau.
The album represents a provocative sonic and aesthetic era for the Dublin-made, now London-based band. Released via XL Recordings on 23 August, the James Ford-produced record has been met with an incredible response from fans and critics alike. Selling more than twice as much as their acclaimed 2022 release Skinty Fia in the first week, ROMANCE received a host of five-star plaudits from the likes of NME, The Guardian, and Rolling Stone UK meanwhile songwriting legend Elton John recently declared that they’re “the best band out there at the moment”. With its innovative sound and captivating artistry, ROMANCE cements Fontaines D.C.’s status as “the defining band of their generation” (NME).
A summer of international live shows and festivals has drawn fans deeper into their rapidly expanding universe. After landmark performances on Glastonbury’s Park Stage and at the Reading & Leeds Festival, the band announced their biggest show yet: a now sold-out, 45,000-capacity headline concert at London’s Finsbury Park in August 2025. That same month, they will deliver an equally impressive 26,000-capacity outdoor show at Wythenshawe Park in Manchester. In the meantime, Fontaines D.C. continues their extensive world tour, which will take them across North America, Canada, Europe, the UK, and Ireland throughout 2024, playing multiple sold-out shows.
Multi-platinum recording artist and producer G-Eazy has long established himself as a staple in the music and touring world. Known for his smooth raps, pristine production and dexterous range, the Bay-area rapper has performed on Saturday Night Live, MTV Video Music Awards, The Tonight Show Starring Jimmy Fallon, Jimmy Kimmel Live! and many more. He has won a People’s Choice Award for “Favorite Hip-Hop Artist”, named one of Forbes “30 Under 30” and covered publications such as GQ Italia, Rollacoaster, Numero NL, XXL and Flaunt.
In 2021, the rapper delighted fans with the long-awaited release of his fourth studio album, These Things Happen Too. These Things Happen Too is the sequel to his debut LP, These Things Happen, and highlights G’s growth since the 2014 breakout album. The 19-track album showcases G’s multi-faceted artistry with a diverse, yet eclectic body of work, and marks his first full-length record since 2017’s critically-acclaimed The Beautiful & Damned. The genre-spanning tracklist includes hard-hitting hip-hop anthems such as “Instructions” ft. YG, while also leaning into the pop sphere on tracks like “Breakdown” ft. Demi Lovato and “Faithful” ft. Marc E. Bassy. The album received critical acclaim, with the body of work becoming a career standout for the superstar.
His third full-length studio album The Beautiful & Damned (2017) debuted at No. 3 on the Billboard 200, garnered two No. 1 radio hits – “No Limit” ft. A$AP Rocky & Cardi B and “Him & I” ft. Halsey – and has since been certified platinum by the RIAA. The 7x platinum single “No Limit” has been streamed over 1 billion times worldwide to date. The Beautiful & Damned followed his platinum-certified sophomore album When It’s Dark Out (2015), which featured the 5x platinum single “Me, Myself & I” with Bebe Rexha. His influence also spans the fashion world where he has partnered frequently with some of the biggest design houses and regularly appears on best-dressed and grooming lists.
The star has used his far-reaching platform to launch The Endless Summer Fund – a non-profit dedicated to helping Bay Area under-served youth reach their full potential and strengthening the community. The fund remains one of the most important projects of G-Eazy’s multi-faceted career.
What if dreams could be broadcast for the purpose of entertainment? Could you consume the innermost thoughts of another person on screen? If you could, what does that say about an attention-starved audience? More importantly, what would become of the dreamer?
Between The Buried and Me pose those questions and more on their two-part eighth full-length and introductory offering for Sumerian Records, Automata. The North Carolina quintet—Tommy Giles Rogers, Jr. [lead vocals, keyboards], Paul Waggoner [lead and rhythm guitar, backing and lead vocals], Dustie Waring [rhythm and lead guitar], Blake Richardson [drums], and Dan Briggs [bass, keyboards]—explore these themes by personally smashing boundaries once again. Automata marks the band’s first proper double LP-spanning concept. Moreover, they continue to expand their ever-evolving style, upholding a tradition of progression in the process.
“We never want to repeat ourselves,” affirms Paul. “We’re always trying to do something different, and this album fell right into that sort of pattern. We push ourselves into new places, while retaining our basic sound. Musically, we go somewhere that’s fun and challenging. We never know how it’s going to turn out. These are uncharted waters for us. We’ve never written an entire piece and presented it in separate parts like this.”
Tommy agrees, “This many years into our career, we want to continue doing things differently.”
This approach cemented the group as progressive music’s most unpredictable outlier since its formation in 2000. Among many milestones, they released 2007’s watershed Colors followed by The Parallax: Hypersleep Dialogues EP in 2011 and The Parallax II: Future Sequence a year later. 2015 saw Coma Ecliptic elevate them to new heights yet again. Not only did it bow at #12 on the Billboard Top 200 (a career high for the band), but it also garnered widespread acclaim from Noisey, Revolver, Alternative Press, and The Guardian who welcomed the album with a rare perfect score. In between, they launched countless sold out headline tours and support runs with the likes of Mastodon.
Now, they break more ground with Automata.
“Lyrically, I wanted to write something that I treated as a puzzle until it comes together at the end,” continues Tommy. “For as deep and dark as it is, there’s a positive outcome, which we’ve never had. The story follow a protagonist whose dreams are used as entertainment broadcasted by a company called Voice of Trespass. Most of the record takes place within that dream. The character thinks it’s all real.”
“Even though it takes place in the future, there are a lot of parallels to modern society,” adds Paul. “Oftentimes, we turn athletes, movie stars, and musicians into commodities. We forget that they’re real people with problems and issues. They’re society’s escape from reality as we use them for entertainment. Hence, society plays a role in their downfall, be it drug dependence, isolation, or even suicide. Society perpetuates mental illness with those expectations.”
Automata – Part I unveils the first six songs comprising the entire body of work. Stretching near seven minutes, “Condemned to the Gallows” kicks off this journey. Acoustic guitar builds in epic fashion before sweeping distortion takes hold followed by unpredictable rhythms and a seismic vocal performance which, as Tommy puts it, “sets up the whole story.”
Elsewhere, the trudging eight-minute guitar symphony of “Yellow Eyes” spirals into the melodic bliss of “Millions.”
“There are a lot of moments where we totally venture away from the traditional formula of what a progressive metal band can do,” states Dan. “There are all these little moments where we’ve done something we never did before. ‘Millions’ is the perfect example. It’s four-minutes of straight melody—another first.”
With Automata Part I, Part II, and the myriad of visuals on the horizon, Between The Buried And Me realize their potential to its fullest—and go one step further.
“All of our music should build up to the newest record,” Tommy leaves off. “That’s what happens with Automata. You can take little snippets from our past throughout this album. It sounds like Between The Buried And Me, but it’s still new. We hope to keep the music industry on its toes. This is part of doing that.”
Strength often comes from starting over. In the aftermath of a disruption, calamity, or tragedy, there’s a process of restoration. Southern California quintet Of Mice & Men refer to it as Restoring Force. Not only does that serve as the title for the group’s third full-length album for Rise Records and follow-up to 2011 breakout The Flood, but it also sums up their unbreakable spirit. Enduring lineup shifts and a constant uphill battle to be heard, the band—Austin Carlile [lead vocals], Alan Ashby [rhythm guitars], Phil Manansala [lead guitar], Aaron Pauley [bass, vocals], and Valentino “Tino” Arteaga [drums]—emerges stronger than ever.
“What happens after a disaster? What happens after The Flood?” asks Carlile. “You return to normal. You find balance again. That’s what we felt like we were doing with this album. We officially added Aaron, and this is exactly where we needed to be with our sound. We wanted this record to bring equilibrium back to our band and music. We’re letting everyone know that we’re here to stay. We’re Restoring Force.”
Embracing that mindset, they headed to House of Loud Studios in New Jersey to record with producer David Bendeth [Paramore, Breaking Benjamin] at the start of June 2013. Through intense recording sessions, they challenged themselves and expanded their signature style. As a result, they penned pummeling, passionate, and powerful anthems that teeter between searing screams and magnetic melodies.
“David is a character,” smiles Carlile. “He brought out the best in us by pushing us to the absolute limit. That’s why we wanted to work with him from the beginning. He worked us, shaped us, and molded us. We loved him sometimes, and we hated him others. He helped us reach a new level though.”
Part of the group’s ascent involved the incorporation of Pauley into every aspect of the creative process. His soaring hooks proved the perfect counterpoint to Carlile’s crushing screams.
“It was the first time we had every actually recorded together,” Carlile goes on. “He’s our brother, and he’s an incredible vocalist. I remember one night we were doing pre-production early on, and Aaron had some reservations. He was down on himself, and he didn’t know if he was cut out for it. I told him, ‘You’re the person who delivers that final punch and emotion. You’re the one who sends it home for us. Trust yourself’. The next day, he showed me ‘Feels Like Forever’.”
The track builds from a polyrhythmic riff into an utterly unforgettable refrain. It’s artfully heavy and chaotically catchy.
“I saw Aaron’s struggle in the studio, and I had the same struggle two weeks later,” admits Carlile. “I broke down. I was mentally, physically, and spiritually exhausted. That song takes me back to making this record. When we finished it, I was so reassured. You can always come out of any low point.”
Elsewhere on the record, “Bones Exposed” snaps from staggering guitars into a percussive onslaught led by the frontman’s inimitable growl and cinematic lyrics.
“This one’s heavier,” he affirms. “I was bitter, angry, hurt, and wounded. It’s about somebody you really don’t like at the moment. At the same time, we’re all broken. We’re all messed up. We’re all liars. We’re all sinners. We’re all flawed. None of us are perfect so you have to let it go at some point. It’s like a cut. If you leave it alone, it heals. Otherwise, you scratch it until the bones are exposed.”
Meanwhile, “Would You Still Be There?” merges the melodic and metallic seamlessly, and “You’re Not Alone” seesaws between an uplifting refrain and guttural verse. The latter touches on a larger theme for Carlile.
“The theme of the record is togetherness, working together, and being a family,” he reveals. “I want our listeners to know they’re not alone. We’re all going through it with them.”
The fans won’t take his words lightly. The group has become a veritable phenomenon worldwide, selling out shows across North America all the way to Australia, Europe, and beyond. The Flood reached #28 on the Billboard Top 200 and garnered praise from the New York Times, Rock Sound, Alternative Press, and more. With sales surpassing 125,000 and YouTube streams over 16,000,000, The Flood remains one of the most successful releases in 22 years of Rise Records.
In the end though, Restoring Force is a pivotal moment for Of Mice & Men that sees them gain power like never before.
“Of Mice & Men has outgrown all of us,” concludes Carlile. “It’s bigger than the individuals comprising it. It’s bigger than the album. It has become its own thing. It’s more than just a rock group. I want this album to get people thinking and talking. It’s different. There are no cryptic messages. This is purely meant to move you.”
Force has effectively been restored for Of Mice & Men, and they’re ready to conquer. — Rick Florino, November 2013