BEGIN:VCALENDAR METHOD:PUBLISH VERSION:2.0 CALSCALE:GREGORIAN PRODID:-//NONSGML Sandhills Development\, LLC//NONSGML Sugar Calendar Fe eds v3.4.0//EN X-WR-CALNAME:Honeysuckle w/ Ben Cosgrove X-WR-CALDESC:Portland Downtown X-WR-TIMEZONE:America/New_York BEGIN:VTIMEZONE TZID:America/New_York BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 DTSTART:20211107T060000 TZNAME:EST END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 DTSTART:20220313T070000 TZNAME:EDT END:DAYLIGHT END:VTIMEZONE BEGIN:VTIMEZONE TZID:America/New_York BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 DTSTART:20211107T060000 TZNAME:EST END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 DTSTART:20220313T070000 TZNAME:EDT END:DAYLIGHT END:VTIMEZONE BEGIN:VEVENT SUMMARY:Honeysuckle w/ Ben Cosgrove DESCRIPTION:7pm doors - 8pm show\n$12 adv. - $15 at the door\n\nHoneysuc kle is a progressive folk act that blends older influences and tradition al instrumentation with modern effects and inspiration.\n\nComprised of Holly McGarry and Chris Bloniarz\, this Boston based band can frequently be found performing across the country. Honeysuckle has performed at Ne wport Folk Festival\, Lollapalooza\, Mountain Jam\, Americanafest\, Otis Mountain Get Down\, and Audiotree. Awards include Americana Artist of t he Year (2019) and Folk Artist of the Year (2018) at the Boston Music Aw ards\, in addition to having been nominated every year since 2016. NPR n amed Honeysuckle one of the “Top 10 bands of 2016 So Far.”\n\nHoneys uckle just released their fourth full-length album "Great Divide." They also have four previous titles: “Fire Starter” (full length 2019)\, "Catacombs" (full length 2017)\, "Honeysuckle" (full length 2016) and "A rrows" (EP 2015).\n\nBen Cosgrove is a traveling composer\, pianist\, an d multi-instrumentalist from New England. He travels constantly all over the country\, performing a unique variety of original instrumental musi c that explores themes of landscape\, geography\, and environment while straddling a line between folk and classical music.\n\nHis “electric a nd exhilarating” live performances are at once dazzling and intimate: music that has been described as “stunning” and “compelling and po werful\,” — Red Line Roots has called him “stupidly talented” all presented with “warmth\, humor\, honesty\, and the easy familiar ity of a troubadour.”\n\nThroughout his career\, the strongest forces guiding Ben’s composition and performances have been his deep and abid ing interests in landscape\, geography\, place\, and environment. For ye ars\, he has been fascinated and inspired by the different ways people u nderstand and interact with the landscapes around them\, and through son gs with names like “Prairie Fire\,” “Champlain\,” “Little Rain \,” “Nashua\,” “Sigurd F. Olson\,” “Kennebec\,” and others \, he seeks to explore those relationships and reflect them in sound. I don’t think of my pieces as rendering places in music\,” he once remarked in an interview in Harvard Magazine\, “but more just as a way of responding to places musically. Writing music just turns out to be a great way for me to process the world.”\n\nHe has returned in 2021 wi th The Trouble with Wilderness\, a lush\, textured\, and expansive set o f twelve new songs that consider the role of nature and wildness in the built environment. “I found I was spending a lot of time onstage talki ng about national parks and oceans and wilderness areas\, and not enough about the places that people are more likely to encounter in their ever yday lives\,” explains Cosgrove\, whose career has included artist res idencies and collaborations with Acadia and Isle Royale National Parks\, White Mountain National Forest\, the Schmidt Ocean Institute\, the Sitk a Center for Art and Ecology\, Chulengo Expeditions\, and the New Englan d National Scenic Trail\, as well as solo performances in 48 states.\n\n He assigned himself the challenge of writing a set of songs that would a llow him to correct this oversight\, and quickly found the decision to b e eerily well-timed: almost immediately after he began writing and recor ding demos\, the onset of the Covid-19 pandemic would force virtually ev eryone on the planet both to find a new appreciation for the world just outside their front door and to reconsider the impermeability of whateve r boundary they might have imagined to exist between the natural world a nd the human one. It also put Cosgrove\, a musician who has traveled con stantly for over a decade\, in the unusual and terrifying position of ha ving to sit still. “It really made me kind of have to walk the walk\, in terms of the ideas I was trying to illustrate with this new music. In stead of driving eight hours to someplace new each morning\, I was going on these daylong rambles all over the outskirts of town pretty much eve ry day for months. I was amazed by what strange\, beautiful\, and intere sting things I noticed as I found myself looking more and more closely a t all the same ordinary-seeming places that I passed again and again.” \n\nThe new songs illuminate Cosgrove’s unique position as a musician suspended somewhere between genres: “I’m either a singer-songwriter who doesn’t sing\, or I’m a composer who behaves like a singer-songw riter\,” he has said in more than one interview\, and his chatty\, dis arming stage presence would certainly make him seem more like a folk mus ician than a classical pianist. In addition to his solo instrumental wor k\, Cosgrove regularly tours\, records\, and collaborates with artists f rom across the worlds of folk\, rock\, and Americana music\, and while s ome parts of the album recall the work of George Winston\, Keith Jarrett \, Nils Frahm\, or Ludovico Einaudi\, his extensive experiences working with folk\, pop\, and Americana/roots bands are reflected in some of The Trouble with Wilderness’s more impassioned and percussive moments.\n\ n“…I think the practice of formally or informally dividing the world up into a bunch of conventionally beautiful ‘natural’ parts and ano ther bunch of utilitarian\, unpretty\, ‘unnatural’ ones is one of ou r society’s more misguided and lastingly harmful tendencies\,” Cosgr ove notes in the album’s liner notes. The songs on The Trouble with Wi lderness\, faithful to this concept\, are characterized by their textura l contrasts and striking juxtapositions: ethereal and asymmetrical cloud s blooming above a churning and insistent piano pattern in lead single The Machine in the Garden”\; tapped and plucked noises from all over the inside of a piano snapping wildly over a graceful bassline in “Ca irn”\; or in the final track\, the delirious\, ecstatic arpeggios that slowly burst free of their constraints over the course of its ten minut es. The production by indie-folk maestro Dan Cardinal (Josh Ritter\, Dar lingside\, Lula Wiles\, Session Americana\, The Ballroom Thieves) both e mphasizes the physicality of the instruments involved and elevates the s ounds to places that are uncannily gorgeous and sometimes almost surreal : on songs like “Oklahoma Wind Speed Measurement Club” and “Wilder \,” the heavy woodenness and intricate mechanics of the piano provide a raw and visceral anchor to the disorienting layers of ambience that un fold above it. “It's meant to sound mechanical\, organic and ethereal all at once\,” Cosgrove recently told WBUR\, “and I think a piano is just the perfect instrument for getting at those three moods.” The re sult is an uncommonly beautiful set of songs and a massive step forward in Cosgrove’s idiosyncratic and increasingly mature body of work. Like the vernacular landscapes he looked to in composing it\, the music on T he Trouble with Wilderness sits on the narrow balancing point between or der and wildness and manages to lean simultaneously into both.\n\nCovid- 19 Protocols:\n\nWe are very excited to begin hosting live music shows a gain in our listening room. OLS is committed to providing a safe environ ment for all who work\, listen\, or perform live music in our venue. Bec ause our venue is so small\, we will require all staff\, volunteers\, pe rformers\, and patrons to show proof of full vaccination against COVID-1 9 when they attend OLS events AND to wear masks indoors unless they are actively drinking\, eating\, or performing.\n\nProof of vaccine must com e directly from the health care provider that performed the vaccination and can be a photo or physical copy of the vaccination card or record wi th an accompanying photo ID. Full vaccination means that the date of the performance you are attending is:\n\n* at least 14 days after your seco nd dose of an FDA or WHO authorized two dose COVID-19 vaccine\, or\n\n* at least 14 days after your single dose of an FDA or WHO authorized sing le dose COVID vaccine.\n\nWe hope we can ease these restrictions once fu rther progress has been made reducing transmission of the virus. Until t hen we greatly appreciate your patience and cooperation.\n\nOne Longfell ow Square does not assume liability\; the ticket holder will assume all risks involved. By purchasing a ticket to this event you agree to assume full liability for any risks incurred before\, during and after the eve nt and agree to the current Terms of Use. URL;VALUE=URI:https://portlandmaine.com/events/honeysuckle-w-ben-cosgrov e/ UID:urn:uuid:7a161aed-403f-4a16-8c40-4d48d714a04e STATUS:CONFIRMED ORGANIZER: DTSTAMP:20260613T171333Z DTSTART;TZID=America/New_York:20220323T200000 DTEND;TZID=America/New_York:20220323T220000 LOCATION:181 State St.\, Peaks Island\, Maine 04108\, US END:VEVENT END:VCALENDAR