District Music Benefit

The District Music Benefit is the largest fundraiser for the Windward Foundation. The mission of the Windward Foundation is to ease the burden of caregiving for individuals and families touched by Alzheimer’s disease, and is registered in the state of Virginia as a 501(c)3 (EIN 81-2872369). All of the proceeds from the District Music Benefit, along with generous donations made to the Windward Foundation help fund innovative programs that support family caregivers to those with Alzheimer’s disease like music and arts for caregivers and their loved ones, and Care Consultations orchestrated by the Alzheimer’s Association National Capital Area Chapter. A portion of every ticket told is tax-deductible.

Donna The Buffalo

ASHEVILLE, NC -- Donna the Buffalo is heading into the studio in February 2018 to record their next album! They are joining forces with legendary Producer/ Engineer Rob Fraboni at Sonic Ranch in El Paso, TX, one of the world's largest residential recording studios, built around an 80-year-old hacienda and pecan orchard. The band recently visited Jam in the Van while in Los Angeles and recorded a video session of one of their new songs, “Look Both Ways.” Check it out at https://youtu.be/RYDw8A2lSwI.

Fraboni is well known for his work with Bob Dylan, The Band, Eric Clapton, The Rolling Stones, Tim Hardin, The Beach Boys, Joe Cocker, and Bonnie Raitt, and as Vice President at Island Records where he oversaw the remastering of the entire Bob Marley catalog. He produced the soundtrack on Martin Scorsese's groundbreaking concert movie, The Last Waltz, which included an all-star cast of famous rock and roll performers. He built and designed the legendary Shangri-La studios in Malibu to the specification of Bob Dylan and the Band. Referred to as a "genius" by Keith Richards in his bestselling autobiography Life.

Donna the Buffalo’s fanbase, The Herd, will be excited to hear this news since their most recent album, Tonight, Tomorrow and Yesterday, came out nearly five years ago in the spring of 2013. All Music Guide says of it, “This is what 21st century Americana sounds like, a little bit of this and that from anywhere wrapped up into a poignant, jamming dance reel, a place where the past and history meet easily in the immediate now and everybody feels like dancing.”

Known as one of the most dynamic and determined bands continuously touring America since 1989, The Erie Times says, "They craft spirit-soaring songs with distinct sensibilities: Nevins' songs are unfailingly melodic, brisk and buoyant, powered by her reassuring, wisdom-soaked vocals and ever-present fiddle and accordion. Puryear's songs accentuate the groove, his exceptional guitar work and sly, Dylan-like way with lyrics."

New Haven Register expands upon this to say, “Donna the Buffalo knows a thing or two about rhythm. Cajun, zydeco and old-time rhythms. A bit of reggae rhythm. Various guitar and fiddle rhythms. The rhythm of traveling by bus year after year for more than a quarter-century now, criss-crossing America… over and over again.”

Donna the Buffalo is Jeb Puryear (vocals, electric guitar) and Tara Nevins (vocals, fiddle, guitar, accordion, scrubboard) joined by David McCracken (B3 Hammond organ, Hohner Clavinet & piano), Kyle Spark (bass) and Mark Raudabaugh (drums). “It's been really fun with this lineup,” Puryear says. “You get to the point where you're playing on a really high level, things are clicking and it's like turning on the key to a really good car. It just goes.”

Donna the Buffalo drew its original inspiration from a cherished part of the American heritage: the old-time music festivals of the south that drew entire towns and counties together. Not only was it playing music at these events, it was the vibe and the togetherness that bonded the people that attended.

“Those festivals were so explosive, and the community and the feeling of people being with each other, that's the feeling we were shooting for in our music.” Puryear says, “Donna the Buffalo is an extension of the joy we've found.”

"It’s a great feeling to promote such a feeling of community, like you’re really part of something that’s happening, like a movement or a positive force…” Nevins says. “All those people that come and follow you and you recognize them and you become friends with them — you’re all moving along for the same purpose. It is powerful. It’s very powerful, actually.”

Donna the Buffalo has released ten albums and are affiliated with several others, including Puryear’s 2007 solo album Hopes and Dreams and a 2003 release, Wait Til Spring, with Jim Lauderdale. The band's 2008 release Silverlined, as well as the 2013 release, Tonight, Tomorrow and Yesterday, (both on Sugar Hill Records) did well on the Americana Music Chart, each placing well into the top ten. In 2011 Nevins released Wood and Stone, produced by Larry Campbell in Levon Helm Studios, and Mule to Ride in 1999 on Sugar Hill Records.

Leigh Nash(Of Sixpence None the Richer)

Singer/songwriter born June 27, 1976 in New Braunfels, Texas, USA.
Lead vocalist of Sixpence None The Richer.

In a short period of time, Lucy Scholl has emerged as one of country music’s most distinctive and promising young artists. With a personalized approach that combines vividly emotional country storytelling with state-of-the-art pop craftsmanship, the charismatic Texas-bred, Nashville-based artist possesses all of the qualities needed for both stardom and a long-term musical career.

Although she’s still in the early stages of her musical life, Scholl has already achieved a series of creative milestones, and has already earned an impressive grass-roots fan base while maintaining a substantial social-media presence. Her infectiously catchy self-penned songs abound with sonic freshness and lyrical insight, marking the enterprising singer-songwriter as an artist to watch.

“It makes sense to me to make music that can be played on country radio,” Lucy states. “But I also want to be original and create something that people haven’t heard before.”

Growing up in Texas, Lucy Scholl sang virtually from birth, regaling houseguests with her rendition of “Don’t Cry for Me, Argentina” at the age of two, playing kid parts in high-school musicals alongside her older siblings, and eventually training in musical theatre as a teenager. When she was 16, a friend challenged her to write a song, and before long, she had embraced songwriting as a vehicle for self-expression. Some friends suggested that she try recording her compositions, and before long Lucy was making frequent visits to Nashville to pursue her musical dreams.

“After my first trip to Nashville,” Lucy recalls, “my dad said something really cool that changed the game for me. He said, ‘If you want to do this, you have to take it seriously, as a business.’ That helped me decide that this was going to be my job, and that I was going to keep working at it, to become a really good writer. That’s when the career aspect of songwriting became a big thing for me.”

Through her contacts, Lucy met Nashville producer Brandon Metcalf (Jewel, Blues Traveler), who was impressed enough with her songs to produce her first self-titled EP. That low-key release, combined with a series of well-received live performances, helped to win Lucy an enthusiastic fan following, which continues to support her new musical endeavors.

“Most of the songs on the EP I wrote by myself, and I’m really proud of them,” Lucy notes. “That’s where my writing started, so those songs have a special place in my heart because of that. The whole experience of recording the EP and releasing it and playing shows with it was huge for me. It taught me a lot about the process of releasing music and building a fan base, and it really helped me to focus on what I want to say and where I want to go.”

As she became more established in the Nashville music community, Lucy began co-writing with various prestigious songwriters. “Co-writing has been a real education for me,” she says, “because writing with someone else who has a different perspective can give a song so much more meaning and clarity, and allows you to do things that you wouldn’t have been able to do on your own. Someone once told me to always write with someone better than myself, because that challenges you and forces you to be better, so I try to live by that.”

As she plans her next career moves, Lucy continues to write and record new material prolifically, maintaining communication with her fans by posting new songs on social media.

“I love posting stuff on social media, because there are so many people following along, and they let me know what they like most,” she observes. “I love what I’m creating right now, and I’m so excited about it, because it’s different from what I’ve done before and it’s different from what other people are doing. I love to experiment and try new songs and try new sounds and melodies and different ways of singing. So it’s exciting for me to see people’s reactions when I post new songs.”

Indeed, a quick listen to her newest material demonstrates how far Lucy Scholl has progressed in a relatively short time, staking out a style and attitude that are all her own.

“What is country music now?,” she asks. “Nobody really knows, because it’s so all over the place. But that gives you the freedom to experiment with different sounds and different instruments that wouldn’t have been used in country ten years ago. I mess a lot with pop melodies and pop instruments, just to make it different. It’s fun to be making music at a time when everything’s up in the air.

“It’s a really fun time for me now,” Lucy states, “and I’m really proud of what I’m putting out there. I’m just so excited about everything that’s happening for me now, and I’m really excited to show people what’s next.”

-Written by Scott Schinder

$35.00 - $100.00


Please note that some tables will be reserved for Windward Foundation Donors.

For any wheelchair or ADA needs, please contact the Box Office in advance of the performance at (202)-769-0122.

Please note that the front row of tables and chairs will be cleared for this show to create a general admission Pit. Be advised that there may be some seated areas where vision of the stage is obstructed.



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