Tag: 260813

Band on the rise

Mountain Grass Unit brings acoustic brilliance to The Range

On Aug. 26, Mountain Grass Unit will make its Grand Ole Opry debut. The next night, they’ll do a release show at Brooklyn Bowl Nashville for Appalachian Smoke, their first for Dualtone Records. At midnight it arrives everywhere else. Three enormous nights, back to back, in the city that the Alabama-born bluegrass band now calls home.

It’s crazy, considering that not long ago Mountain Grass Unit had to work around its members’ college schedules.

They were spread across the country and played together sporadically. Guitarist Luke Black headed to Boston to study at Berklee, while mandolinist Drury Anderson, who’d eventually join him there, was still finishing high school. Bassist Sam Wilson was at the University of Alabama studying accounting. Fiddler Josiah Nelson wasn’t even in the band yet.

What held it together, Black said in a recent group Zoom chat, wasn’t scheduling — it was history.

“We’ve known each other forever, and we’ve been playing together forever, so we’d get a couple of rehearsals in and just feel out the groove,” he said. Though challenging, “It always ended up working out, but it was a lot of pressure, especially keeping up with emails and stuff.”

Anderson said the uncertainty was real, even if it seems easy to gloss over now.

“We got management and representation around halfway through school,” he said. “It was so relieving to have things set up once we got out. It could not have been timed more perfectly.”

Becoming full-time coincided with relocating to Nashville from Alabama, and the move has been fruitful.

“It’s kind of a second hometown,” Anderson said. Having Music City as home base makes the Opry show truly special. The only thing topping it is the way they learned the show was happening.

Del McCoury, a hero of the band, announced it from the stage at DelFest. The moment came after the bluegrass legend and his son Ronnie sat in with them. Before they began, he’d told them, “When y’all end, don’t go anywhere.” Anderson called it “every bit of an electric moment as you could think.”

Another big fan is Billy Strings, who’s praised Black’s flat-picking talents on social media after they won an IBMA award for early-career excellence. “Kinda rude of him to be this good honestly; luckily for me, we’re on the same team,” Strings wrote on Saving Country Music’s Instagram account.

Strings and MGU have jammed together, and he and Black are texting buddies.

“I chat with him every once in a while,” he said. “Mostly it’s just jokes and stuff, and then I’ll get a random text from him that’s like, ‘Hey, man, you wanna come jam?’ I’m like, ‘Shoot, I’m in freaking Idaho, and Billy Strings is asking me to jam in Nashville. I gotta get home.’”

The new album is the band’s most ambitious, using a range of instruments for the first time. For the release show, they’ll reproduce everything done in the studio.

“We’ve reached out to a bunch of our buddies to come help us really play it live,” Wilson said. That includes an electric sitar and bongos on “Eagle’s Nest,” perhaps the most rocked up song they’ve done.

That track started as a stray riff Black had been sitting on for years.

“We’ve been trying to find what to do with it forever,” he said. “When we got to the studio, we just kept adding more and more cool elements to it. It’s an art project.” Elsewhere, the songwriting turns more inward.

“Wait for Me” was born during Wilson’s days shuttling between accounting exams and gigs.

“I’d play shows and festivals all weekend, then fly back and go to the library to study for my test the next morning,” he recalled. The song, he said, was a culmination of a lot of things, including the strain of keeping relationships intact while constantly leaving town.

The album itself was tracked almost entirely live, no metronome. They did full takes, three or four per song, then vocals, with no clicking and dragging parts around afterward.

“It was way more organic,” Black said. “I loved it.” That looseness extended to working with producer Vance Powell and having a real label budget for the first time.

This was in sharp contrast to their 2022 debut, which was made entirely on their own dime. Back then, Wilson said, they didn’t even have a bank account. Gratefully, Dualtone mostly stayed out of the way while they worked.

“We just got in there, played our bluegrass licks, and called it a day,” Black remembered.

Through all of it, the band keeps coming back to the same idea: none of this is supposed to feel heavy.

“Our goal at most of our shows is to create an atmosphere of a good time where you don’t have to worry about everything going on in the world,” Wilson said. “Have a beer, party, and play some train songs. We’re goofy, you can be goofy. Come and hang.”

Mountain Grass Unit
When: Friday, Aug. 15, 7 p.m.
Where: The Range, 96 Old Turnpike Road, Mason
Tickets: $42, etix.com

Featured photo: Courtesy photo.

The Music Roundup 26/08/13

• Free green: Enjoy traditional Celtic music in a bucolic setting as On The Lash performs a show courtesy of the Capitol Center for the Arts. The Michigan-based band has been praised by critics for blending “classical dexterity with the nuance and excitement of traditional music” while staying rooted in the Irish heritage sound. The quartet released Fireside, a debut EP, in April 2025. Thursday, Aug. 13, 6:30 p.m., Riverfront Park, 11 Canal St., Penacook, ontheleashband.com.

• Phattened up: Expanding his hip-hop catalog into full band, Cody Pope & The Keyholders perform a downtown show. The recently formed group includes DJ Myth on turntables, Axile Beighley and Ian Smith on bass and drums, along with Fredo Benevides playing guitar and keys, interpolating Pope’s songs. The night opens and closes with ceremonial “drum machine vibes.” Friday, Aug. 14, 8 p.m., Shaskeen Pub, 909 Elm St., Manchester, $5 at the door, 21+, keyholdersband.com.

• Sister act: After playing music together in their childhood home, Natalie & Brittany Haas made names for themselves in the trad music world — Natalie as a go-to cellist and collaborator with Alasdair Fraser, and Brittany an acclaimed fiddle player working with Darol Anger, Steve Martin and with breakout bluegrass stalwarts Crooked Still. The two join forces as HAAS. Saturday, Aug. 15, 7 p.m., Word Barn Meadow, 66 Newfields Road, Exeter, $63 and up, thewordbarnnh.com.

• Parrot power: Carrying on Jimmy Buffett’s brand of trop rock, Changes In Latitudes is a tribute act led by Steve Kareta, who found the role accidentally in 2000 at a wedding afterparty in Hawaii. Friends urged him to do it full-time, and 25 years later Kareta still bops on stage barefoot and smiling to sing “Margaritaville,” “Fins” and “Cheeseburger in Paradise” for Buffett fans. Saturday, Aug. 15, 8 p.m., Palace Theatre, 80 Hanover St., Manchester, $30, palacetheatre.org.

• Join together: Named after the host band, the Folksoul Music Festival is an all-day event with a New Orleans flavor, hosted by musicians Fred Simmons and Leslie Vogel on their own grounds. This year’s lineup includes gospel flavored Long Journey, Back O’ Town, a Cajun trio led by Pete and Linda Simoneaux, Low Lily, and Ivychum Trio — Pati and Ken Cloutier and Richard Doherty. Sunday, Aug. 16, 10:30 a.m., Mountain and Driscoll roads, Greenfield, $20, folksoul.com.

Horror or something!

The Last House joins a vaguely defined but fun genre

I think I like this genre that seems to be “horror or sci-fi or something?” — Backrooms, Disclosure Day and last Friday’s Netflix release The Last House seem to fit in that nicely fluid category. I think the mishmash helps to make the movie interesting and watchable in a way that a more straightforward jump-scares-and-slasher affair wouldn’t be, at least for me, even when it’s imperfect.

The Last House begins with a regular family in a suburb in coastal Washington state doing regular life stuff: Parents Jason (Wagner Moura) and Anne (Greta Lee) talk about the problems a repair guy found with their home’s chimney cracks and foundation and worry about money, kids Ruth (Riley Chung) and Graham (Noah Alexander Sosnowski) call each other stupid. The family heads out to get a Christmas tree, even though it has started raining, but when they try to open the door, it won’t open. Nor will the back door. Nor will the windows, even when Jason tries to smash them open. After some frantic “what is happening” — but no calling the police because phones and internet are down — the family notices that their neighbors are also looking out their front windows, unable to get outside. With some signs-in-windows communication, the neighbors learn that this spreads streets away and Jason and Anne decide to put on a good face for the kids, sit tight and stay safe.

What happens next is — well, if you’re old enough to read this, you know what happens next because we all lived it six years ago as this movie gives strong Covid lockdown vibes. The family takes stock of the supplies they have. They dig out things to amuse themselves with (with no internet they end up relying on the two DVDs the family still has, 1982’s Annie and 1997’s Air Force One). They give up on the idea of “sticking to a school routine” pretty quickly (extremely relatable!). Anne starts a countertop garden.

From their windows, the family, especially Ruth, observes some strangeness out in the world. It suddenly rains a lot more, and the rain “looks different,” Ruth says. She also starts to draw pictures of the odd creature-like shapes she sees in the rain. Her parents, who are trying to keep their freakout under wraps from the kids, just sort of shush these observations while dealing with things like the knowledge that an older neighbor couple has run out of food and their own family dog has run out of medicine.

This built in shorthand that the movie gets to use for its vibe-building — putting you back in the emotions of the pandemic — could be considered either a cheat or an economical way to put you in the characters’ mindset, and I think both of those opinions are fair. It worked for me largely because of the Lee and Moura performances and the sometimes prickly way they related to each other. The way the movie balances existential panic and the unexpected joy of family time is nicely played.

The “horror or sci-fi or something” of it all feels less solid, and the deeper the movie goes into that, the less it holds together, both as a compelling thing to watch and as a story with sense-making internal logic. There is both that Netflix-y “remember this thing that happened 10 minutes ago” tendency of over-explaining and some handwaving about the mechanics of everything that is happening, especially as we get into the final act, which still has a bit of an “action goes here, details TK” feel.

Speaking of the “horror…?” genre, Obsession, another one of this year’s “tiny budget, big box office” success stories, is now streaming on Peacock (it is also available for rent or purchase). Obsession’s big scary thing is the deep emotional immaturity of lead male character Bear (Michael Johnston). He is so incapable of expressing his thoughts, feelings and desires that when his crush/co-worker Nikki (Inde Navarrette) comes out and asks him if he likes her, he just sputters something about them being good friends. Cursing himself, he makes a wish: that Nikki would love him more than anyone else in the world. Specifically, he makes a wish using a One Wish Willow, a crystal-store novelty purchase that is supposed to grant the one wish he makes before breaking the little willow branch. Bear seems aware of the monkey paw possibilities of this item, making his wish particularly poorly verbalized. But, moments later, Nikki appears, asking to go home with him to his house and flirting with him, but doing it erratically enough that even the desperate Bear wonders what is wrong. And even though part of him believes “dude, Nikki is crazy,” Bear mostly doesn’t care and is just happy to have her suddenly latch herself to him.

Despite some jump scares and odd Nikki smiles and skittery walking, the movie doesn’t feel Horror horror to me, more sort of meanly funny with a side of “you get what you deserve, dummy.” (There is grossness and gore, which picks up as the movie goes along.) Bear is both a lump of bozo and a guy that has stolen the agency of the girl he claims to love. Nikki is broken? Or being psychically held hostage and tortured? You kind of wish the movie would let us see more of her righteous rage.

I didn’t exactly enjoy the movie but there are elements that make me relatively satisfied with having watched it. I’ve seen other critics call out the sound design, and the way the movie uses sound is maybe its biggest special effect, the thing that truly sells some of its weirdest moments. And I am rather impressed with how unlikeable Obsession lets Bear be — I am not exactly rooting for the thing that is tormenting him but I am never rooting for Bear.

Whilst on Peacock, I checked out another spring theatrical release, You, Me & Tuscany(also available for rent or purchase). I think seeing it on a streaming service I’m already paying for is possibly the correct way to see this middling romance confection that feels like less a thing you watch and more a thing you have on. Everybody is very pretty or charming or both in this movie about Anna (Halle Bailey, still reading a little bit like a Disney princess), a culinary school dropout who spends her time drifting between housesitting assignments in New York City, pretending to live the life of her rich clients. After getting fired from a job for wearing the client’s couture, she meets Italian charmer Matteo (Lorenzo de Moor), who tells her all about his Tuscan villa. Coincidentally, she has a plane ticket to Tuscany, for a trip she planned to make with her mother before her mother passed away. Anna decides to take that trip and, when she learns that she’s showed up with no hotel reservations during the middle of a popular festival week, she decides Matteo “practically invited” her to stay at his villa and breaks in. Through a series of misunderstandings, Matteo’s mother (Isabella Ferrari) and grandmother (Stefania Casini) believe Anna is Matteo’s new fiancee and Anna, eager not to get arrested, goes along with it. She winds up meeting the whole family, including Matteo’s cousin/adopted brother Michael (Regé-Jean Page), a tall handsome winemaker, as she describes him, who she is even more attracted to than almost-one-night-stand Matteo.

There is nothing surprising about the events here, beautiful people in beautiful clothes in beautiful Italian settings in a story with dialogue that all feels maybe one step up from Netflix rom-com. But it’s pretty to look at and basically inoffensive — though for a movie that talks a lot about food and Anna’s onetime love of cooking, it’s pretty below average on showing us glamour shots of Italian cuisine. I don’t know that Bailey and Page have chemistry, per se, but he is very handsome and, at least twice, he is wet and shirtless and maybe that is close enough to chemistry.

Also on Peacock, among the tonnage of Saturday Night Live content, is Lorne (also a spring release, also now available for rent or purchase), a documentary nominally about Lorne Michaels, creator of Saturday Night Live, a 50-year-old TV show helmed by a man creeping up on 82 years. Lorne the man seems like he is A Lot, both as a person to have to wrangle for interviews and a person to have as your boss, but Lorne is a fun hang, with SNL luminaries past and present talking about knowing and working for him. As much as we get biographical details about Michaels — born in Canada, left SNL after five years only to come back five seasons later, owns dogs? — the doc gives us the rhythm of the show, both throughout a week of putting it together and throughout the seasons and the flow of cast members. SNL is a bit of a factory that has to put out its product, ready or not, through strong cast and writer years and weaker ones, with great material and with sketches that make Michaels forlornly sigh. It has its winners and its losers and its rebuilding periods. I found the legacy aspect of the story this documentary tells — what the show has been and the uncertainty of what it will be once Michaels is gone — as thoughtful as the stories from John Mulaney and Maya Rudolph and the like are funny.

Featured photo: The Last House.

Album Reviews 26/08/13

Litvar, Being Here (self-released)

As anyone who’s ever tried to achieve it knows, going internet-viral in a positive way through a song or a TikTok isn’t nearly as easy as becoming infamous for doing or saying something so stupid that it goes viral simply for setting all humankind acringe simultaneously. Luck is a major factor in that nonsense; years ago I lost track of all the doomed-to-obscure songs I’d encountered that were so good they actually rewired my head, so nowadays I’ve just accepted the fact that some artists couldn’t buy a break for all the wintergreen Skoal in Alabama. Add this Connecticut-based Americana-meets-emo band to that tragic list: Four years ago these guys released a single, “No One Tastes Like You,” that combined the jangle of Tom Petty’s “American Girl” with Hoobastank’s face-punchiness, and amazingly no one’s heard about it. In this one, instead of throwing up their hands and going in a straightforward emo direction like most bands would have, they want to be Goo Goo Dolls-ish, which works half the time and not the rest. The songs are fine, but more layering and another couple of months futzing in the studio would have added more to the songs; this feels like a demo for label interest, which it may well be, and if that’s the case, then bravo. B–

Stare Away, In Absence (á La Carte Records)

Oh, how this New York City dude (Ben Nelson) wants it to be the ’80s again, not that anyone could blame him when there’s so much corporate-designed, 3D-printed suckage in the pop sphere. Problem for Nelson is that the goth-rock world has, for better or worse, a massive array of sounds to choose from nowadays and therefore doesn’t need a teardown-rebuild; it’s not enough to try sounding exactly like The Cure, which this record accomplishes during its first four songs, with quite a bit of verisimilitude over the first two, droning churners that are fast and kind of neat but start wearing out their welcome when it becomes obvious not a lot is going to happen. Then along comes the fifth entry, “Midnight Martyr” (oh come on already, goths, for once, try not to sound like you get all your ideas from early Aughts manga comics), in which Nelson remembers that he loves Depeche Mode too, oh, and Dead Or Alive’s “You Spin Me Round,” let’s go disco! At least his heart is in the right place, OK? B-

PLAYLIST

A seriously abridged compendium of recent and future CD releases

• And on we trudge to the new CD releases of Friday, Aug. 14, what am I even doing, I’ve only been to the beach once this summer, what about you? I’m kind of surprised I haven’t been alerted to any upcoming new holiday albums yet, but there’s still time, 134 days to be specific, until Christmas, will there even be one this year, or will we be randomly bombing the Zagros mountains totally winning the war in wherever-it-is again that week? It’s too early to tell, but what I do know is that we have albums to discuss, starting with Comes In Waves, the 24th album from one of America’s most well-known nepo babies, Carly Simon, daughter of Richard, co-founder of publishing giant Simon & Schuster, don’t you love how giant piles of money can make someone into a famous singer even though their voice sounds like an ostrich yelling for saltines? No, I do have to hand it to her, though; even though Carly is at the stage of her career when most of her formaldehyde-pickled A-list peers are doing all-duet albums with people like Engelbert Humperdinck and Ed Sheeran and Pope Leo XIV and actual Santa Claus, this album is just another one in which she palms off a bunch of songs she actually wrote or bought or whatever she usually does, like the only guest feat is from Andreas Vollenweider, a Swiss guy who won a Grammy for playing the harp at yoga conferences or whatever his deal is. But all snark aside, I always liked some of her songs, “Haven’t Got Time for the Pain” in particular, and she’s still a very good songwriter, evidenced by the new single “Howl,” sounding as 1970s-radio as ever aside from Carly’s voice, which is about 80 percent gone, like she sounds like a female Willie Nelson, not that she doesn’t have every excuse for that.
• Cool, let’s keep it going with something else that doesn’t actually suck for once, the new one from Pasadena, California, folktronica lady Phoebe Bridgers! The record is called Lost Weekend, and it showcases the multiple Grammy winner at the top of her game; she started out with Brooklyn-based avant-rock band Sloppy Jane before hatting out on her own, which led to feats on tracks from Taylor Swift, The Killers, Kid Cudi and others. So yeah, folktronica, indietronica and guitar-tronica tuneage usually rubs me the right way, and that goes for the sample track from this one, “Lost Boys,” a joint that combines Fleetwood Mac and acoustic-mode Taylor Swift, powered by a chorus that’s so lush and wide it almost makes me want to say nice normal things. She’ll be at TD Garden in Boston on Oct. 6.

• Aaand so much for this week’s streak of decent songs, but your mileage may vary with regard to You Say I Romanticize, the new LP from Sweeping Promises, a female post-punk duo originally from Boston and now based in Kansas. This new album features a song called “Cocoon,” which will make you think of early Cars, Lydia Lunch, New Order and Gang Of Four all at the same time, or at least it did to me. It’s grungy and slovenly and angular enough, which is nice, but there’s a Pavement element that turned me off. They’ll be at Deep Cuts (formerly Carroll’s) in Medford, Mass., on Nov. 6.

• We’ll put a bow on this week’s mixed bag with Australian chanteuse Grace Cummings, whose influences include Irish folk music, Townes Van Zandt, Bob Dylan and Lucinda Williams in case you’re curious (I’m sure none of this stuff sounds like any of those people, that’s what always happens). Bloodhorse is the album, the push single is “I’m Not Crazy,” just imagine Lana Del Rey trying krautrock on for size and you’ll know whether you can stand it or not, I certainly can’t.

Featured Photo: Litvar, Being Here and Stare Away, In Absence

The Salamander

  • 2 frozen strawberries
  • 2 ounces jalapeño-infused tequila
  • 1 1/2 ounces pineapple juice
  • 3/4 ounce fresh squeezed lime juice
  • dash cardamom bitters
  • 1.5 ounces spicy ginger beer — not ginger ALE, which is a perfectly fine beverage, but we’re looking for something a little more authoritative than that for this particular drink.

Muddle the frozen strawberries in the bottom of a cocktail shaker. One of the interesting aspects of using frozen fruit in cocktails is how the strawberries just break apart and grind down to Strawberry Goop. Fresh berries would be a little more stubborn and insist on maintaining their integrity. The frozen ones understand what’s going on and just get with the program.

Add two ounces of spicy tequila, and dry-shake the mixture. This means to shake it without ice. Many ingredients, including most fruit, have flavor compounds that are not water-soluble. In this case, what that means is that some of the most strawberry-y flavors will stay chemically bonded to the strawberry solids and won’t infuse into a water-based solution. Most of those same esters are alcohol-soluble, however, so by dry-shaking our Goop with tequila, and no melting ice, we can do the cocktail version of talking them out of their dorm room and joining the party.

Once you’ve dry-shaken the strawberry-tequila-jalapeño slurry, you can go ahead and add five or six ice cubes, the two types of juice and the bitters. Reshake the mixture for 10 to 20 seconds, or until you hear the ice start to break up. Ask your device to play the theme from Hawaii 5-0; this will give you the right rhythm.

Strain the strawberry-tequila-pineapple-and-friends mixture over fresh ice in a rocks glass, and top with ginger beer. Stir gently to combine.

I don’t know if anyone has told you recently, but you are super cool. The general public really has no idea the extent of your sense of style and general vibe. You know who does appreciate it though? This drink. The spicy tequila and lime juice are mellowed out by the pineapple juice, which, in turn, is made even zingier by the cardamom and ginger. Little red pieces of strawberry will float around in the glass, looking like a complimentary lava lamp.

“You’re so coooooool,” each will say, as it swirls by.

They aren’t wrong. This is an excellent drink for making new friends.

Featured photo. Photo by John Fladd.

Making a beer run

First a race, then concerts and brewfest

Londonderry’s Old Home Days will be capped off by a 5K road race for beer enthusiasts, called the Rockland Trust Bank Boot Scootin’ Boogie 5K and Brewfest. The event is organized by Millennium Running. Barry Lewandowski is Millennium’s director of marketing.

“It starts with a 5K race,” he said, “that runs through one of Londonderry’s local neighborhoods, then comes back to the sports complex, where we have a bonfire, a concert and a brew fest.”

The event has been designed around relaxing, he said. Because of the length of the race, or rather its shortness, it is not a qualifier for other, more competitive races later in the season.

“This is just for fun. It’s a 5K. Some people are competitive and want to run really fast, but some just want to get out there with their families and stay active. You can run or walk,” Lewandowski said.

And unlike other, more serious races, which usually take place early in the day, Lewandowski said, this will be an evening event.

“It kicks off at 6:30 p.m. with the actual 5K,” he said. “The brewfest starts at 6:45, the bonfire we have at about 8, and the whole thing finishes off around 9:30 p.m.”

And again, unlike morning races, Lewandowski said, there will be beer.

“The brewfest is continuing to grow,” he said, “but right now we have more than 20 breweries and spirit brands that will be there. Some will actually have representatives from the brewery or from the brand and then others will just send products that the Londonderry Lions Club will be will be pouring, There will be opportunities for people to take a taste test, if you are part of the 5K or the brewfest, you’ll receive a little tasting glass that allows you to go around and and sample some of the different brands that are there.”

One of the breweries on hand will be the Rockingham Brewing Co. Ali Leleszi is its owner.

“For us,” she said, “because [this event is] right in our backyard, we get a lot of exposure. They have a ton of people who run that race, and maybe not all of them have heard of our brewery. So for us, just getting our beer out there to potential new customers is great for us, especially since we’re right next door in Derry.”

Leleszi said Rockingham Brewing will bring mostly summer beers to the brewfest.

“We’re sending County IPA, which is a New England-style IPA [India pale ale]; it’s a super-fresh batch. We’re sending Zeppelin, which is a raspberry lemonade sour ale. It’s super refreshing, with 4% [alcohol by volume], so it’s like perfect after a race. And then we’re sending two German lagers — Pig Knuckle Kölsch, which is like a light, easy-drinking, crisp kölsch, [and] Cool Hand Lager. That’s a Vienna lager, which is a bit more malty and toasty, but still light in body. We’re getting into that style for the fall.”

The event will also feature food trucks and food vendors, according to Millennium’s website, which recommends bringing cash. Vendors and food trucks include Hollis-based T-Roy’s BBQ, the Stark Brewing Company from Manchester, specialty coffee-vender Just The Sip, and a mobile ramen truck called GoGo 88.

Samantha Rae, who describes her music as “Roots driven, groove forward, emotionally honest, pop aware Americana music with classic country, rock with early R&B & soul influences,” will perform, according to her website, samantharae.com.

According to Millennium Running’s Lewandowski, this is the 15th year for the race.

“Probably about 1,500 people are going to be there,” he said. “Some people will be running, some just come for the concert and the brewfest, and others are there to cheer on the runners and want to be part of that. It’s a great community event.”

The Rockland Trust Bank Boot Scootin’ Boogie 5K and Brewfest
When: Saturday, Aug. 15, at 6:30 p.m. (Londonderry’s Old Home Days run from Tuesday, Aug. 11, through Saturday, Aug. 15).
Where: Londonderry
More: Register online at millenniumrunning.com, where you can also find tickets for just the concert and brewfest, without the 5K.

Featured photo: Courtesy photo.

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