Tag: 251023

Rebirth

Six years later, Bungalow returns with live music

By Michael Witthaus
mwitthaus@hippopress.com

Manchester’s independent music scene lost an important resource when Bungalow Bar & Grill closed in 2019. The Valley Street venue was an anchor for the heavier end of the spectrum, welcoming a lot of bands with the word “core” in their genre description. On the final weekend there, metal stalwarts Regime and Kaonashi co-headlined.

Many of the shows at Bungalow were booked by NH Booking, a company begun in 2004 by Richie Downs. He continued doing shows at Jewel Music Venue following the closing, but felt the loss, nonetheless. Six years later, he’s bringing back Bungalow, beginning with a six-band show on Oct. 25.

“It’s really, really important that the Bungalow exists,” he said recently, citing a primary reason. “Right now, pretty much nobody is putting on all-ages shows … and I think you’re missing out on one of the most important parts of the local music community by not having that.”

Downs found refuge in attending shows while he was a teenager and trying to cope with a family tragedy.

“Music in a live environment honestly saved my life,” he said. “Being up front, screaming every word of all these lyrics that mean so much to me and being a part of that energy, it was the closest thing you can get to being a spiritual experience.”

A show in Worcester that included future national stars Coheed & Cambria and Taking Back Sunday was a turning point for the young fan.

“It was just the best feeling in the world coming away from that show,” he said. “I was like, ‘I need to make this happen as much as I possibly can for the rest of my life.’”

It was around this time that Downs began doing shows in a Sandown church basement that informally became known as The Crossing, inspired by that night.

“I got into booking,” he explained, “trying to create opportunities for other bands to create those moments and those experiences with fans themselves.”

The bill at the “grand re-opening” Bungalow show is topped by a pair of bands celebrating new releases.

“Whenever a band has a special show like an album release, we typically collaborate with that band to choose the rest of the lineup,” Downs said.

Iron Gate is a Manchester death metal group that formed in 2022 when singer Jeff Higgins placed an online ad: “Who plays an instrument and wants to play heavy, ignorant music?” he asked, according to a 2023 story by Ryan O’Connor at NoEcho.net. The quartet cites bands like Traitors, Bodysnatcher and The Acacia Strain as influences, the story said. Their new EP is called Crushing Weight of Existence.

Hailing from Bristol, Connecticut, Burying Point is a deathcore band that boasts on its Facebook page to exist “with one purpose … violence.” Released last month, their latest EP is called In the Absence of…. The six-track effort leads off with “Deicide,” a three-minute assault of staccato machine gun drums and bullhorn vocals, and gets more intense from there.

The undercard for this decidedly un-subtle evening begins with Rose Lane, followed by Pure Bliss, Edict and Frog Mallet. The next show at Bungalow will offer a change of musical mood with Millington, a six-piece Albany, N.Y., band that calls its ska/punk sound brass emo. That show happens Nov. 9 and is a co-production with Rhode Island-based Rambudikon.

Downs hopes there will be more collaborations at the venue.

“I’m going to put out a blanket statement right now,” he said. “If you are a promoter that is putting on shows and you’re respected by the community, you’re not taking advantage of bands [or] fans, doing it just to make a buck, you’re respected by the community that you are putting shows on in, I want you to be a part of what’s happening at Bungalow.”

Iron Gate, Burying Point, Frog Mallet, Edict, Pure Bliss & Rose Lane

When: Saturday, Oct. 25, 5 p.m.
Where: Bungalow, 333 Valley St., Manchester
Tickets: $15 in advance at dice.fm, $20 at the door

Featured photo: Courtesy photo.

The Music Roundup 25/10/23

By Michael Witthaus
mwitthaus@hippopress.com

• Folk room: A female-forward evening has sets from Maia Sharp and Catie Curtis in a venerable Sunapee region venue. Sharp is a singer-songwriter whose tunes have been recorded by everyone from Bonnie Raitt to Trisha Yearwood and The Chicks. Curtis is a veteran artist and songwriter who was at the forefront of the mid-’90s new folk movement. Thursday, Oct. 23, 7:30 p.m., Flying Goose Brew Pub & Grille, 40 Andover Road, New London, $30 at flyinggoose.com.

• Real deal: With a catalog of active rock hits stretching back to their 2008 eponymous debut, Saving Abel hits town for a downtown show. The group’s best songs up the ante, looking for a formula lead singer Jared Weeks calls “a little deeper, a little tougher and a little more rock.” Their new single “Stars” reflects that, a metal-edged rocker with bone-crushing riffs and a memorable chorus. Friday, Oct. 24, 9 p.m., Rock n Roll Meatballs/ Angel City Music Hall, 179 Elm St., Manchester, $38 at ticketweb.com.

• Laugh lines: A twin bill of comedy has Tim McKeever and Pat Napoli adding hilarity to a Nashua craft brewer’s menu. McKeever’s set includes bits like one about a cocktail called an Irish Car Bomb, which is “a shot of Jameson and some Bailey’s; you drink it and then drive into someone’s living room.” Napoli’s “sharp observational humor” has made him a New England favorite. Friday, Oct. 24, 8:30 p.m., Liquid Therapy, 14 Court St., Nashua, $23 at headlinersnh.com, 21+.

• Roller ghouls: Costumes, party music and roller skating blend as Pop Punk-O-Ween offers a head start to Halloween fun. DJ Shamblez spins classics like Talking Heads’ “Psycho Killer” and the Ramones’ “Pet Sematary,” with perhaps an appearance of Simple Plan’s version of the Scooby Doo theme, a costume contest, giveaways and lots of four-wheeled fun. Saturday, Oct. 25, 9 p.m., Remix Skate and Event Center, 725 Huse Road, Manchester, $20 at skateremix.com. 18+.

• Dead twist: The Bus Came By And I Got On by Kristina Marinova is one the year’s more interesting albums, a solo piano collection of songs from the Grateful Dead’s mid-’60s, early ’70s repertoire. She offers mesmerizing transformations of songs like “Uncle John’s Band” and “China Cat Sunflower/I Know You Rider,” played with delicate dexterity. Sunday, Oct. 26, 7:30 p.m., Jimmy’s Jazz & Blues Club, 135 Congress St., Portsmouth, $20 and up at ticketmaster.com.

Future Boy, by Michael J. Fox

(Flatiron, 159 pages)

It’s impossible to imagine the Back to the Future franchise without Michael J. Fox, whose portrayal of Marty McFly seems effortless, even preordained. Surely Robert Zemeckis and Bob Gale wrote the script with Fox in mind.

But the blockbuster film, released in 1985, started production with another actor in that role — Eric Stoltz. In fact, filming had gone on for more than a month before the team came to a conclusion that seems obvious now — Michael J. Fox is Marty McFly. But for that to happen, not only would Stolz have to be let go, but Fox would have to work two full-time jobs, as he was under contract to play Alex P. Keaton in the popular sitcom Family Ties. In fact, there had been conversations early on about Fox taking the role, but his handlers wouldn’t even approach him about it, because they knew he couldn’t get out of Family Ties and thought it would be too much.

Once offered the part, though, Fox gladly took on the role, thrilled to be working for a team of luminaries capped by Steven Spielberg. He showed up for work two days later, wearing outfits that had been quickly assembled and his own Nike sneakers, which would turn out to be an iconic part of the film. That story, and how the film came to be, is told in Future Boy, Fox’s latest memoir, written with Nelle Fortenberry and released 40 years after the film.

Even if you haven’t seen the film in decades, it’s an engrossing story that reveals the ins and outs of Hollywood and shows how cinematic sausage gets made. (If you’re one of the 11 or 12 people who haven’t seen the film, here’s the short version: a California teen gets accidentally sent back in time in a modified DeLorean and winds up interacting with young versions of his parents, threatening his own future existence.)

What it also reveals is how jaw-droppingly talented Fox was, even at age 23. When he first filmed a scene with Lea Thompson, who played Marty’s teenage mother, he had met her only 10 minutes earlier, and he had to negotiate a working relationship with an actress who was unhappy about Stoltz being let go. Even so, within a few takes, Fox was already comfortable enough to make suggestions, even adding a joke for Thompson and a pratfall for himself in the scene where they meet in a bedroom. (A pratfall is a fall on your bottom, if you haven’t heard the term.) He writes, “I was used to these comedic rhythms, my body was not my temple — it was a resource to be ransacked and pillaged.” She warmed up to him in short order.

As naturally as the acting came to him, the schedule was grueling: He’d work eight or nine hours during the day being Alex Keaton at Paramount Studios and then be driven 45 minutes to his next job, being Marty McFly at Universal, where he would sometimes film until 1 or 2 in the morning. Food would be set out around midnight. He was living in his own time portal.

Perhaps not surprisingly, Future Boy also goes back and forth in time. Fox takes us back to 1972, when his family traveled from their home in Vancouver to Los Angeles and took a tour at Universal Studios. Seven years later, after some promising work in the theater and on TV in Canada, he returned there again, this time with his father, to sign with an agent at age 18. He had a few “starving artist” years before he landed the role on Family Ties and recalled collecting day-old cookies that had been thrown out in dumpsters behind bakeries while going on auditions that resulted in no work. “I got the s … kicked out of me as a fledgling Los Angeleno and nearly threw in the towel,” he writes. But once those days were gone, they were gone for good. Family Ties was a hit.

Despite Fox’s natural ability and his belief in the self-help mantra “Act as if,” he knew the stakes were high and he could fail at Back to the Future. He also knew how the rest of the cast and crew were being inconvenienced to accommodate his schedule. “I was either going to be the best thing or the worst thing that had happened to these people. There could be no middle road,” he writes. And a lot was being spent on this film. “A single night [filming] in the mall parking lot probably cost as much as a full episode of Family Ties.”

Talking to the team about their remembrances, he learns that they don’t believe anyone would do something like that today. One says, “It was a ballsy thing we did, and I was afraid there was going to be a mutiny because we had to reshoot five weeks, but they all stayed. I think it’s because they loved the project; they were fans of the material.”

Fox, who is now 64 and has been living with Parkinson’s disease since age 29, dishes respectfully on some of his co-stars throughout the year and shares anecdotes from the Family Ties days, like how he randomly added the initial “P.” to his character’s name. He also reveals that some people had not wanted him for that show; the network president said he was too short for the role and also said, “You’ll never see that kid’s face on a lunchbox.” Fox later gifted him one.

There would be much more to his career that is not detailed here, but Fox was smart to make this book a moment in time. It also has a perfect coda: what happens when Fox, after 40 years, reaches out to Eric Stoltz, the actor whose place he took in the movie. Incredibly, they’d never talked about it. Read this, then watch the movie again. Or vice versa. Either way, you’ll enjoy the experience. B+ —Jennifer Graham

Featured Photo: Future Boy, by Michael J. Fox (Flatiron, 159 pages)

Album Reviews 25/10/23

Tortoise, “Layered Presence” (Nonesuch Records)

This is the lead single from this all-instrumental Chicago band’s new album, Touch; there was more of it available for me to review, but it’d be dishonest of me to pretend I wanted to hear it, given that these guys have never made me feel anything other than slightly intimidated that I’ve never gotten the point of their trip, which is invariably described by (strictly hipster) tastemakers as “post-rock with jazz influences.” This meandering but oft-dissonant tune rates the same as anything else I’ve ever heard from them: It got on my nerves, not because the musicians aren’t any good; they are, but not to the point that I think of Tortoise as anything more relevant than a fashion statement that’s way past its expiration date. They pay a lot of lip service to free jazz, so much so that some of their fans literally name-check Ornette Coleman when describing them, but — and this may owe more to production limitations than their creativity — there are always annoying sounds in their tunes, to put it simply. I mean, experimentation and improvisation are fine, but — and this is just my impression, of course — this is more like a Flaming Lips-flavored Pelican: every move was planned, and they should just grow up and hire a singer. But you do you, as always. C —Eric W. Saeger

Kashena Sampson, Ghost of Me (self released)

It was refreshing to see this Nashville folk-rocker opening the one-sheet press announcement for this, her third album, by admitting that the record is about her frustration at not being where she wants to be in her music career, to wit: “Besides being a musician, I have also been a bartender at a music venue for the past 10 years to pay my bills. It’s a great job, but there are some nights that feel like my heart is breaking, watching others live out the exact dream I’m still chasing, night after night.” That’s some rare honesty there, a sentiment many can relate to in our golden age of show biz nepotism, when impossibly high paywalls prevent worthy artists from achieving mainstream success. Now, she did recruit Jon Estes to produce the record (he’s worked with Bela Fleck, Abigail Washburn and many other well-knowns), and he dragged some pretty dramatic performances out of her, so much so that she probably needs her resumé overhauled: In the past, wags (including a Rolling Stone writer) described her as a ’70s radio-folkie, but her vocal sound here evokes Grace Slick, Florence Welch — dare I say an older version of Chappell Roan — mostly in from-the-mountaintop mode. She’s shooting for something of a goth image, but I’d advise her to think about some image redefinition; she’s pretty close to the right formula, I’d say. A+ —Eric W. Saeger

PLAYLIST

A seriously abridged compendium of recent and future CD releases

• Oct. 24 is the first new-album Friday after my birthday, so if you forgot to do something special for my birthday on the 21st, like leave a microwaved joke on my Facebook about my being older than your grandmother or whatever (do people even bother sending birthday cards anymore, when they can just post something completely vacuous on social media, we really need to change that), you could order one of my books from any bookstore or just send me money, either thing is fine, I thank you in advance for your kind indulgence. Now, as important as it is, we aren’t here to talk about my birthday, we are gathered here today to talk about albums, and I’ll tell you folks, this week’s slate’s getting filled up with new ones, all competing for your holiday dollars, if you have any! Why, just look at this, we were just making fun of talking about this fellow last week, in the context of Chrissie Hynde saying she hates his music, one Mr. Bon Jovi, who of course rose to fame in the 1980s for looking like Farrah Fawcett or whatever his appeal was (mostly the press just talked about his hair), since his music was pretty awful, but then legendary hair-metal songwriter Desmond Child entered the picture and wrote songs for him, like “Livin’ On A Prayer” and such, and then he left the picture, and the Jovis tried to re-capture the magic, but instead went back to their tradition of writing bad music, starting with the awful ballad “Bed Of Roses” and the hilariously contrived single “It’s My Life,” which all of us music critics secretly refer to as “Just Pretend Desmond Child Wrote This Song And Give Us your Money, That’d Be Great” when we’re holding our secret meetings about controlling what music all you people have to listen to on the radio and Spotify. Whatever, who cares, the new album is titled Forever, same as their last album, but this is the “Legendary Edition,” spotlighting the push single “Legendary,” which stole the hook from Whitney Houston’s “Greatest Love of All” and had a mediocre run on Billboard’s Adult Contemporary chart, mostly by accident, given that people who are old enough to be able to name one Bon Jovi song assumed it would be awesome, but it wasn’t, because Desmond Child had nothing to do with the album, and now you’re armed with all the information you need to make a buying decision about this completely unnecessary record (there’ll be a lot of such albums coming out as holiday gift-buying season draws closer), you’re welcome.

• As you all surely know, alt-country folkie Brandi Carlile bestowed upon humanity the ballad-ish single “The Story,” a romantic dirge that was about as fun as getting your four-wheeler stuck in a swamp, and that’s actually what the song sounds like as far as I’m concerned, but many people like it because they think it’s as epic as “What’s Up” by Four Non Blondes for some reason. Returning To Myself is her new album; the title track is a yodely unplugged strum-a-thon that’s pretty unremarkable until the 12-string guitar kicks in, after which it’s pretty decent-ish.

• Demi Lovato rose to stardom after appearing on Barney & Friends and then some Disney Channel things and now she’s just massively famous for totally sounding like Kesha. The title track from her newest LP, It’s Not That Deep, is fine by me, an Aughts-era house track that Tiesto wouldn’t hate at all.

• Finally it’s Boston alt-rock legends The Lemonheads, led by Evan Dando, who has been name-checked in a whole bunch of popular songs, including “Jane” by Barenaked Ladies. “In The Margin,” the lead single from the band’s new album, Love Chart, is a return to their nerdy, low-key, mumbley Ramones-twee roots, it’s pretty cool. —Eric W. Saeger

Featured Photo: Tortoise, “Layered Presence” (Nonesuch Records) & Kashena Sampson, Ghost of Me (self released)

Prohibition sneakiness

The Home Bartender’s Guide and Song Book was published at the height of Prohibition. I dream of owning an actual hard-copy edition someday, but I’ve been reading a digital version from The Internet Archive with great interest.

Alexander

Someone concocted this camouflaged dynamite years ago. Here’s to him. Smooth as silk, its rich, creamy sweetness made it seem as though you were drinking nothing more than a simple chocolate ice cream soda. —The Home Bartender’s Guide and Song Book (1930)

2 ounces gin – When this recipe was written, the quality of any gin available was extremely variable. The Song Book makes references in places along the lines of, “If you can get your hands on some of the good stuff, do such and such,” implying that many readers would be using some pretty rough stuff. If you want to feel super-authentic, go ahead and buy the absolute cheapest bottom-shelf gin you can find. The rest of us will go ahead with something that won’t make us want to claw our eyes out. I’ve been drinking Hendrick’s Oasium lately and have been very pleased with it in this application.

2 ounces crème de cacao – This is about four times the amount of crème de cacao you’re likely to find in any contemporary cocktail, but go ahead and use the full 2 ounces. That isn’t a typo.

2 ounces half & half – The original recipe calls for heavy cream, but going with something slightly lighter leaves the door open for drinking more than one.

Ask your digital assistant to play “East St. Louis Toodle-Oo” by Duke Ellington. This was a standard of the time, and it stands up extremely well, with a rhythm that lends itself to shaking a cocktail.

Combine all three ingredients over ice in a cocktail shaker and shake vigorously for 30 to 45 seconds. You should hear the sound of the ice breaking into shards.

Strain over fresh ice in a rocks glass, and drink, thinking of youthful indiscretions.

The authors of the Song Book nailed this one. There is definitely a ginny backbone to this drink, but mostly it tastes of slightly sweetened dairy and empty promises.

Baby Fingers

We really don’t know who named this one, or why. But we have a good idea that the name is appropriate enough. And if you think Sloe gin means SLOW, you’re mistaken, lady. Many a stubborn genius, whose forehead caressed a curbstone, changed his mind after several ‘Baby Fingers.’ —The Home Bartender’s Guide and Song Book (1930)

1 ounce gin

2 ounces sloe gin

3 dashes bitters – At times I’ve used cardamom bitters and homemade black pepper bitters, and I’ve been pleased with either.

Ask you-know-who to play you Cab Calloway singing “Minnie the Moocher” from the The Blues Brothers soundtrack. You won’t be sorry.

Combine the gin, sloe gin and bitters over ice in a cocktail shaker and shake thoroughly. Strain into a stemmed glass. This cocktail is at its best when it’s skull-shrinkingly cold, and holding it by the stem of a glass helps keep it colder longer.

If you are the type of purist who keeps their gin in the freezer or uses steel or granite cocktail stones to prevent watering your cocktail down, actually use ice this time. This super-boozy cocktail benefits from the slight dilution that comes with shaking it over ice.

Which is not to say it isn’t good. As the authors of the Song Book indicated, it goes down smoothly and deceptively, and the next thing you know you’ve had three of them and you’ve texted your friend with the Very Bad Ideas. It would be too sweet if not for the bitters. It would be too harsh if not for the ice dilution thing.

Featured photo: Baby Fingers and Alexander. Photo by John Fladd.

Spirited celebration

New Hampshire celebrates Distiller’s Week

By John Fladd
jfladd@hippopress.com

The week of Oct. 30 through Nov. 6 is New HamDipshire Distiller’s Week, an annual set of events presented by the New Hampshire Liquor and Wine Outlets. There will be tastings and bottle-signings at individual stores during the week, as well as a Worldwide Spirit Sabbatical on Wednesday, Nov. 5, and the 12th Annual Distiller’s Showcase on Thursday, Nov. 6.

According to Mark Roy from the New Hampshire Liquor Commission, Distiller’s Week allows consumers to discover products that they would be unlikely to encounter on their own, and producers to discover new customers and new markets. He used an event called the Worldwide Spirit Sabbatical as an example.

“We have spirits represented [at this event] from all over the globe, including some smaller niche brands that you may not have heard of,” he said. “So it’s a good opportunity to come in and sample some spirits not only from right here in the U.S. but from places around the world like Japan, Scotland, Ireland, India, South America and the Dominican Republic. This event is at a smaller, more intimate venue so you can get to spend a little bit more one-on-one time with some of the brand ambassadors and people who’ll be there.”

Featured guests at the Spirits Sabbatical will include Taylor Grieger from Cape Horn Tequila, and adventurer-turned-distiller and the subject of the documentary Hell or High Seas; Ashok Chokalingam from Amrut Distilleries, a pioneer in India’s single-malt whiskey movement; and Grace Gonzalez from El Mayor Tequila, an expert in tequila production.

“We have other brand owners coming in,” Roy added. “Jeremy Roenick, an NHL Hall-of-Famer and former Chicago Blackhawk, is with us. And somebody new coming in this year is former America’s Next Top Model judge and photographer Nigel Barker, who is now the co-owner of the Barker Company.”

The culminating event of Distiller’s Week is a much bigger proceeding: the Distiller’s Showcase, which will take place Thursday, Nov. 6, at the DoubleTree by Hilton Manchester Downtown and will feature more than 600 spirits for sampling. Roy said the Showcase is expected to have between 1,300 and 1,500 attendees, most of whom are not part of the liquor industry.

“The majority are just individual consumers,” Roy said. “The first year we started we had 200 [people] in attendance, and last year we sold out at 1,300, so there’s a lot of word of mouth. People come to the event and see what a great value it is. We do get great support from my local restaurants. We’ll have upwards of 30 restaurants at the event, offering samples of their food, so we get support from our restaurant partners, but the main attendees of the event are our actual consumers, and they can purchase [liquors] that evening through our website and get a discount that evening and then pick up bottles throughout the week at select locations throughout the state.”

Roy said an unusually large number of distillers and distillery owners will be on hand to discuss their spirits.

“A lot of them are the smaller craft distilleries from New Hampshire,” he said. “Distilleries will be represented by their owners and distillers coming from Vermont and surrounding states, and even more of them are from the New England area, but I’d probably say 20 percent or so of the representatives are brand owners or distillers from their actual company.”

“I talk to [spirit] representatives from all over the country,” he said, ”and they think this is one of the best events not only on the Eastern seaboard but throughout the country, so they love to come back and get in front of that many consumers in one evening and have the opportunity to talk one-on-one about their brands. So we have a lot of people that look forward to this event and come back every year.”

Proceeds from the Distiller’s Showcase will support the New Hampshire Food Bank. The event is for adults 21 years of age or older, and once again, free rides home will be provided to showcase ticket-holders within a 20-mile radius of the event.

David Wadsworth owns and operates a small distillery, Mount Washington Distillers (270 Hounsell Ave, Gilford, mtwdistillers.com), that he’s extremely passionate about.

“We make five different spirits,” Wadsworth said. “One of them is Huntington’s Distilled Gin. It’s named after the Huntington Ravine Trail on Mount Washington, which is the most difficult trail. It has 29 botanical [ingredients]. Most gin would have five to seven botanicals. We wanted to make a gin that nobody else could make and that was not like anything else. It’s not a British gin. It’s a botanical gin.”

With an unusual product in an already crowded spirit market, it can be challenging, Wadsworth said, to find a way to connect with new customers. He said Distiller’s Week provides a unique opportunity to give consumers an opportunity to taste his gin, whiskey and vodka, and learn from him why they are different from other liquors.

“We’re a very small distiller,” Wadsworth said. “Distiller’s Week has all the major suppliers to the New Hampshire Liquor Commission stores statewide, very big and very small ones like me. So our participation is actually quite important because nobody knows about us. We might get a few hundred to 1,000 people coming through a Distiller’s Week event; we get excellent coverage and publicity and people can try our product. They can learn about why we’re different from everybody else. For us, it’s a natural.”

2025 Distiller’s Week

2025 Distiller’s Week events sponsored by New Hampshire Liquor Stores and Outlets will include tastings and bottle-signings at individual outlet locations throughout the state. Visit liquorandwineoutlets.com/events.

Worldwide Spirits Sabbatical

When: Wednesday, Nov. 5, from 6 to 8:30 p.m.
Where: Pembroke Pines Country Club, 45 Whittemore Road, Pembroke, 210-1365, pembrokepinescc.com
Tickets: $65 through eventbrite.com.
More: distillersshowcase.com/event/worldwide-spirits-sabbatical-2025

Twelfth Annual Distiller’s Showcase of Premium Spirits
This event provides the opportunity for guests to meet distillers from around the world while sampling food from New Hampshire’s top restaurants.
When: Thursday, Nov. 6, from 6 to 8:30 p.m.
Where: Doubletree Expo Center, 700 Elm St., Manchester, 625-1000
Tickets: $81.88 through eventbrite.com. Proceeds from the event will support the New Hampshire Food Bank (New Hampshire Food Bank (nhfoodbank.org).
More: distillersshowcase.com

Featured photo: Distiller’s Week. Courtesy photo.

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