Sunday November 7 * 2pm * outside at Rhizome

POA w/ Jerry Busher, Dug Birdzell & Shawn Brown
Jeff Barsky (solo)
Joy on Fire w/ John Paul Carillo, Anna Meadors, Mark Eichenberger, and Dan Gutstein

Featured on NPR’s All Songs Considered last year, and scheduled for a Tiny Desk Concert in 2021, JOY ON FIRE is a sax/bass/drum/vocal rock-jazz quartet that formed in Baltimore and is now based in New Jersey. Their video for “Uh Huh”—a song featured on their 2020 EP vinyl release, Thunderdome, as well as being the opening track on their forthcoming LP, States of America—is an official selection at the Prisma Film Festival in Italy, the LA Rocks Film Festival, and the London Rocks Film Festival. Videos have also been produced for the tracks “Selfies,” “Thunderdome,” and “Hymn part 1”—the song featured on NPR’s All Songs Considered.

Previous album releases include: The Complete Book of Bonsai; Fire with Fire; Hymn; and the aforementioned Thunderdome—with States of America due for completion in early 2021. The band has toured the eastern seaboard in support of these releases, from Vermont to New Orleans, and played repeat engagements at venues and festivals such as The Burlington Jazz Fest, The Middle East Café in Boston, Baltimore’s Metro Gallery, and The Asheville Music Hall. Additional releases, Red Wave and Another Adventure in Red, are in the works, and production on two additional videos from the States LP—“Happy Holidays” and “Anger and Decency”—is set to begin in 2021.

“Joy on Fire draws from the eye-popping thrills of punk and the work ethic of prog to bolster their jazz aura … a thrill of high voltage jazz ‘n’ roll.” —Gareth Thompson, All About Jazz

POA - features Shawn Brown (Dag Nasty, Red Hare, Swiz) Dug Birdzell (Beefeater, allscars, Fidelity Jones)
Jerry Busher (allscars, Fugazi, French Toast)

INSECT FACTORY is the solo project of Jeff Barsky. "Barsky's work as Insect Factory is remarkable because he manages to avoid that pitfall of over-effecting his guitar work into an indistinct mass of noise, yet enough so that the album often bears little resemblance to the instrument. This ends up being abundantly clear from the opening moments of "We’re All Just Here for the Money." The shimmering melodies that appear early on sound more traditional, but the synth-like pulses are distinctly alien in comparison. By the end, the piece is a complex structure of interlocking layers of playing and treated loops, but one that retains a sense of form and order." (Brainwashed)