• All Ages Welcome
• Vinyl is a general admission, standing room venue
• Tickets available online via Ticketalternative.com or without ticket fees in person at the Center Stage Box Office, M-F, 11-6. Online sales end at 4pm on day of show.
Pioneers in the use of cello as the sole instrument within a rock band, Rasputina has been inspiring young string players to commit a number of musical sins since 1896. The group's concept was written as a manifesto, and manifested accordingly by directress Melora Creager as a wily subterfuge for a plot to open audiences to adventure. The funny, the sad, the heavy, the tender-- it can all exist together.
Employing elaborate costuming spanning a number of historical periods, Rasputina brings marginalized historical female figures and stories to light in the pop form, using archetypal characters such as Indian princesses, Hawaiian handmaidens and Medieval queens.
Over the years, Rasputina has performed/recorded with Marilyn Manson, Porno For Pyros, Cheap Trick, Goo Goo Dolls and many others. Hardened road-dogs, and with more than 7 albums under their belt, Rasputina continues to amaze and amuse.
MELORA CREAGER- voice, cello, banjo
She founded the alternative/ historical cello ensemble Rasputina in 1891 as a way to meet like-minded girls-girls that wanted to rock out on the cello and wear fine costumery. She played in Nirvana on their final tour, Europe 1894.
LUIS MOJICA- piano, beat-boxing
Luis casts wild narrative spells with his piano and Baroque Beatboxing™. His eyes are that of an androgynous monk gently shooting rainbow tentacles. Of Woodstock, NY, he is a father and herbalist and all-around magical man. https://luismojica.bandcamp.com/releases
POLLY PANIC- cello, voice
A rock cellist/vocalist/songwriter who has been at it almost as long as Melora! Polly resides in Asheville, North Carolina, and brings blood and guts to the group. For more on her, visit: www.pollypanicmusic.com orwww.goldshiprecords.com
There is always a hint of menace and reservoirs of force haunting the corners of Eliza Rickman’s voice, whatever register it occupies. Her presence on stage- whether she wears flowers in her hair, or stuffed birds; whether she plays a toy piano or a grand piano- is an enveloping, soft darkness, impossible to ignore. It has been three years between Rickman's first album, O, You Sinners, and her newest effort, Footnotes for the Spring. In those intervening three years, Rickman added the autoharp to her repertoire, fought illness and heartbreak (and won), and turned 30. But mostly, she toured. She is a frequent featured musical act for the live rendition of the popular podcast Welcome to Night Vale, she joined the band Rasputina for a handful of dates, and she organized her own successful solo European tour.
During those three years, Rickman’s vocal delivery has also developed a new breathlessness. She wrote all the string arrangements on her debut. But friend Jason Webley produced and orchestrated Footnotes. Here, Rickman’s voice casts its shadow against Webley’s shimmering strings and a Phil Spector style wall of sound, flecked with melancholy and nostalgia. This clutch of songs comprises, among others, “Lark of my Heart”, written to commemorate the wedding day of Margaret Rucker, an unknown poet whose scrapbook was found in a dumpster many years after her death; “Now and Then”, whose opening lines encapsulate the juxtaposition at the heart of the album- Oh, to be young again/blood is on my hands- and “Wax Nostalgic”, whose title speaks for itself. But this is nostalgia without sentimentality. Rickman’s voice has the power to hold the smallest grain of sadness, an intimation that the longed-for innocence depicted in her lyrics has slipped just below the glow of the orchestra and out of sight.