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I went to the Rhiannon Giddens & Francesco Turrisi concert in Turin - Italy yesterday. The concert was simply awesome! The two played almost 2 hours of outstanding music, folk, usa, italian , irish arab with a pletora of instrument perfectly aligned !

Giddens was superb, delicate and strong with her political meaning.

The musical mutual alignement of the two artists was a triumph of melody, sentiments and strenght.

Great night ! Thank to the people of Folkclub in Turin who brought back for the second time the two in Italy.

Long life to Giddens - Turrisi.

See you in the States, whenever possible!

Giuseppe Asselle

Verona - Italy

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This show was great. I felt like we saw a show at a cool, hip museum. Her accompanist did a fantastic job explaining the history of not only some of the songs but their instruments as well. We left entertained, "full up" on great music and educated a bit.

Last time I saw Rhiannon she was coming off of The Carolina Chocolate Drops& I honestly don't think I understood the amazing vocal range she has.

Unbelievable and fantastic performance. All 3 performers were incredible. Francesco Turrisi was unbelievable on the many variants of tambourines: breaking into Smoke in the Water at one point.

Rhiannon was such an eclectic mix of styles and communication with serious messages mixed in with explanations of history.

A night to remember. Very special.

This concert was up and beyond all expectations! The band is fabulous, and I was thrilled to see Rhiannon's sister, as well as Greensboro native, Laurelyn Dossett, join her onstage. Rhiannon has so much energy, so much diversity, and her commentary on historical aspects of music was especially enlightening and educational.

We all witnessed something very special. what an amazing voice and a very talented group of musicians. it was lovely to see how much they enjoyed playing their music together. this was one of if not the best concert I have ever been to.i really hope they all come back-regularly!!!! many thanks Rhiannon & co

It was a sellout fabulous show that ended with 2 standing ovations. Could listen to her all night. The instrumentals were electrifying! She shared some of her music's historical inspirations. 3 extemely talented people. She can sing amy genre. She teased us with a little od Ethel Waters and Nina Simone.

What a great voice! Good selection of songs, cover of Odetta was outstanding. Good rapport with the audience, coukd have done with fewer seats so we could have had a bit of a dance, some of the sings were begging for a boogie. Band was excellent and a great show. Good support act as well.

It was a great show to see. She has a great voice and some good songs. I liked seeing her sister singing with her, but I still miss the Carolina Chocolate Drops. She played a lot of banjo and a little fiddle very well. I would definitely recommend seeing her if she played near.

Awesome performance at Chautauqua’s newly redone Amphitheater. Especially with this year’s theme of African-American history, which she showed with her rendition of the folk ballad For the same price. Federico Tossini was a great percussionist and pianist also.

Second time seeing her in Nashville. Amazing performances yet different,you won’t be bored by any means. When she plays the violin or banjo for fast tempo numbers she really rocks the house. Can’t wait to see her again, perhaps in her resident country of Ireland.

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Rhiannon Giddens tour dates and tickets 2024-2025 near you

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Rhiannon Giddens is not due to play near your location currently - but they are scheduled to play 4 concerts across 2 countries in 2024-2025. View all concerts.

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Rhiannon Giddens & Silkroad Debut Tour Of AMERICAN RAILROAD

The next phase in its multi-year landmark initiative, spearheaded by Artistic Director Rhiannon Giddens, begins November 2023.

Today, Silkroad announced details for the next phase of its multi-year American Railroad initiative—the organization's most ambitious project to date, conceived by Artistic Director Rhiannon Giddens . Beginning on November 5, 2023, Grammy Award- and Pulitzer Prize-winning Giddens and the Grammy Award-winning Silkroad Ensemble will embark on a multi-city U.S. tour, with performances and corresponding educational activities focused in areas with notable railroad-related cultural history.

The tour program includes three new commissions by Cécile McLorin Salvant, Suzanne Kite, and Silkroad artist Wu Man, as well as re-envisioned arrangements by Giddens and fellow Silkroad artists Haruka Fujii and Maeve Gilchrist. Tickets to all concert dates are on sale now .

“The American Railroad project has been years in the making, and the program we've created for our first tour is only the beginning. In it, we shed light on those who have been erased or overlooked throughout American history and merge with it Silkroad's unique ability to amplify voices from a multitude of backgrounds and cultures. The result is a tapestry of stories, traditions, and musics that have shaped our multifaceted cultural identity, and that must be heard and recognized. I hope audiences in the D.C. area and across California will leave these performances with a clearer sense of where we come from, how we got here, what it cost us—and that we collectively reflect on where we're headed,” said Giddens.

After the completion of the Transcontinental Railroad, a trip from coast to coast that used to take months was shortened to just under a week, allowing for the transport of goods and ideas across the continent in ways previously inconceivable. Profit-seeking corporations and the American government financed it, but the people who actually built it and who were most affected by it are the focus of this program—Indigenous and African Americans as well Irish, Chinese, Japanese, and other immigrant laborers whose contributions have been largely erased from history. Silkroad's American Railroad seeks to right these past wrongs by highlighting untold stories and amplifying unheard voices from these communities, painting a more accurate picture of the global diasporic origin of the American Empire.

The project—three years in the making—represents Giddens's vision for Silkroad, having first raised the idea early in her tenure as Artistic Director. In addition to the upcoming tour, American Railroad will include multidisciplinary components ranging from site-specific visual installations to an album, a documentary series, and curricular materials for use by educators and the public.

Though the first tour officially launches this fall, preparation began much earlier through artist retreats and site visits across the nation—to Standing Rock (ND), New York City, and San Francisco (CA)—where artists engaged in historical and cultural research, which informs the overall storytelling and the commissions specifically. The process also included a series of retreats and open workshops, titled Train Station Trios, held in Sacramento (CA), New York City, and Springdale (AR). These culminated in informal, hourlong performances comprising trios of Silkroad musicians and local scholars and featuring new music inspired by the railroad's impact on that particular area. The Train Station Trios series will continue in 2024 and beyond.

Arising from these workshops, as well as additional research, the commissions on the American Railroad tour all come from female-identifying or non-binary artists. Giddens's new arrangement, broken into vignettes interspersed throughout the program, is inspired by “Swannanoa Tunnel,” a work song from the African Americans forced to labor on the railroad in Giddens's home state of North Carolina—a tune which has long been associated with bluegrass and folk artists, its origins forgotten.

Two of the American Railroad tour commissions come from artists new to Silkroad. Grammy Award-winning vocalist and composer Cécile McLorin Salvant's work is inspired by stories shared with and collected by Silkroad artists. Oglala Lakota artist, composer, and academic Suzanne Kite will create a graphic score using the Lakota written language based on dreams from members of the Silkroad Ensemble. Silkroad artist and pipa virtuoso Wu Man will also create a new work for the initiative, arranged by Chinese composer Haihui Zhang.

Silkroad artists Haruka Fujii and Maeve Gilchrist provide their own recontextualizations of railroad songs from immigrant communities. Fujii's “Tamping Song” celebrates the Japanese immigrant contribution to the railroad, particularly after the Chinese Exclusion Act of 1882, while Gilchrist's “Far Down Far” shines light on the tensions between Catholic and Protestant communities within Irish railroad workers. Both pieces were originally created for Silkroad's recent Uplifted Voices—another program intended to germinate ideas for American Railroad—but are being re-orchestrated for the larger November tour.

Select stops along the American Railroad tour are complemented by education and community engagement activities, including residencies at local universities comprising guest lectures, panel discussions, master classes, and open rehearsals; and public programs that allow audiences of all ages to engage more deeply with local railroad history. In the Los Angeles area, Silkroad artist Mazz Swift will lead a workshop through Project MUSIC (Music Uniting Strangers Into Community). Silkroad's Project MUSIC leverages partnerships within the justice system to bring shared musical experiences to carceral communities across the country, where walls are a literal and figurative divider. Additionally, Silkroad will partner with For Freedoms, an artist-led organization that centers art as a catalyst for creative civic engagement, discourse and direct action. Together, they will display four compelling billboards in Los Angeles that tell the story—from a visual perspective—of the fraught legacy of American Imperialism and the quiet histories of those who toiled to build this country.

The first tour of Silkroad's American Railroad takes place November 5-18, 2023, with most concert dates in California. A second tour is slated for fall 2024, with dates up and down the East Coast and in the Midwest of the United States.  

2023 AMERICAN RAILROAD TOUR – ROSTER & SCHEDULE:

Rhiannon Giddens , banjo/vocals

Mazz Swift , violin/vocals

Wu Man, pipa

Sandeep Das, tabla

Haruka Fujii, percussion

Shawn Conley, bass

Karen Ouzounian, cello/vocals

Kaoru Watanabe, Japanese flutes/percussion

Michi Wiancko, violin

Francesco Turrisi*, frame drums/accordion

Niwel Tsumbu*, guitar

Pura Fé Crescioni*, lap-steel guitar/voice

Guo Yazhi*, suona

*Guest artist

Projections by Camilla Tassi

November 5, 2023

Center for the Arts at George Mason University

Fairfax, VA

Educational Activities:

Residency with Rhiannon Giddens and Silkroad artists as part of Mason's Artist-in-Residence program for the 2023-2024 season (November 6).

November 9, 2023

The Granada Theatre

Presented by UC Santa Barbara Arts & Lectures

Santa Barbara, CA

Residency at UC Santa Barbara with three Silkroad artists guest lecturing on world music and ethnomusicology (November 8).

November 10, 2023

Balboa Theatre

Presented by La Jolla Music Society

San Diego, CA

November 11, 2023

Soka Performing Arts Center

Presented by the Philharmonic Society of Orange County and Soka Performing Arts Center

Aliso Viejo, CA

November 12, 2023

The Soraya's Great Hall

Presented by the Younes and Soraya Nazarian Center for the Performing Arts at CSUN

Northridge, CA

November 15, 2023

Bing Concert Hall

Presented by Stanford Live

Stanford, CA

Residency at Stanford University with Silkroad artists (November 14).

November 16, 2023

Mondavi Center, UC Davis

Engagement with students from Fremont School as part of Silkroad Connect (November 16).

November 17, 2023

Zellerbach Hall

Presented by Cal Performances

Berkeley, CA

November 18, 2023

Presented by Green Music Center

Rohnert Park, CA

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Music / Concert Review: AMERICAN RAILROAD (Silkroad Ensemble with Rhiannon Giddens; U.S. Tour)

by William C. on November 14, 2023

in Concerts / Events , Music , Theater-Los Angeles , Theater-Regional , Tours

TUNNEL VISION

In this first program post-Yo-Yo Ma artistic directorship, the American Railroad national tour by Silkroad Ensemble presents an evening of newly composed and arranged music with a slew of fresh faces joining the illustrious ensemble. Under the direction of banjoist, fiddle player, vocalist and multi-Grammy winner Rhiannon Giddens , the ensemble features a cast of multiethnic instrumentalists bringing with them unique sounds and performativity.

The context for American Railroad is recognition of the minorities who built the U.S.’s Transcontinental Railroad. The ensemble’s artistic statement states: “ American Railroad seeks to right past wrongs by highlighting untold stories and amplifying unheard voices from these communities, painting a more accurate picture of the global diasporic origin of the American Empire.” This new vision recognizing the contribution of immigrants, African Americans and indigenous people is at first glance a rather innovative way of approaching the ethos of the ensemble. Founded by Yo-Yo Ma to push the boundaries of music-making with a globalist vision, Giddens’ vision promised to be fresh and timely. In the time of racial justice and Black Lives Matter, critical issues explored through pluralistic music creation makes perfect sense.

I wish I can report that the ensemble has continued the tradition of exciting programming with thrilling performances in addition to honoring their new vision — but this is not that. Overall the programing was bland at best and the ensemble felt very disjointed. The expression range is limited and actually tied down under the established thesis. I question if the new direction may be more nativist and cloistered then fresh or “forward facing.” My overall knee-jerk response last Sunday November 12 at The Soraya was one of claustrophobia from a general stiffness in both presentation and performance. The entire concert misses the same kinetic connection, playfulness and joy that was the iconic trademark of the Silkroad Ensemble .

The opening number “Swannanoa Tunnel / Canoe Song” featured Pura Fé on conch, sharing vocals with Giddens. The duo didn’t have a comfortable groove together. In fact, the contrasting sense of rhythm left me rather uneasy. Fè went on improvising atop of a bed of pre-recorded voices that felt out of place. Partially due to bad mixing, the long and uninspiring opening did little to set the program’s beautiful intention, as the execution was clunky and felt amateurish.

“Far Down Far” is a two-part jig arranged by Silkroad member, Maeve Gilchrist , which had Giddens offering improvisational singing with her incredibly beautiful voice. Beginning with a drone on her fiddle, she was accompanied by Sandeep Das on the tabla. There was nothing technically wrong with the performances, but it was nothing worth talking about. Giddens is an amazing fiddler, yet not exciting to watch. And because she chose to remain seated, it felt like a wasted opportunity to get the audience really pumped by her showmanship.

Das launched into a tabla solo, “Rela,” that started with a rather steady pulse. Having seen his legendary performances multiple times, it was odd that something was held back. It could have been an off-night, but his polyrhythms were not as sharp or crisp as normal. There seemed to be a reliance on his well-established playing of the past; here, the solo felt safe.

Continuing the shapeless first half, we had “Wíhaŋblapi Mázačhaŋku” (“Railroad Dreams”), a new visual score by Oglala Lakota composer Kite (instead of lines and dots on a musical stave, visual scores use all sorts of different images and symbols to tell the performer what to play). It mystified me as to its inclusion, at least in before intermission when we are still getting on board with the program. What could have been an auditory feast sounded clunky and Dadaesque, meaning there seemed to be no logic, reason, and aestheticism to the work.

For her melancholic “Rainy Day,” Wu Man — always steadily musical and versatile — is game for anything being thrown at her. She was not only dependable but entertaining to watch as she thrashed on her pipa, a plucked Chinese instrument. Finishing the first act, guest artist Niwel Tsumbu , also helped to shape the ensemble in a joyful way with his “Milimo” (a Lingala word for “spirits”). The guitarist’s dexterity and tone were both superb and fun to hear. Mr. Tsumbu deserved a bigger role in the program.

In the second half, percussionist Haruka Fujii ’s arrangement of ‘Temping Song” was the only standout piece of the night. The arrangement, the melody of which is based on railroad worker’s song released on Columbia Records Japan in 1963, was filled with gripping string sounds and exciting grooves that helped to elevate the evening but for a moment. Kaoru Watanabe ’s powerful taiko solo, “ Fugaku Sanju Rokkei,” was incredible to watch. His years of deep connection to the wadaiko (Japanese drum) practice and tradition was deeply felt. His incredible dexterity and versatility continues to push this traditional performance art forward.

The concert could have done with some verbal communication from the musicians, adding a little context to the stories behind the pieces to aid in locating the work’s journey. Instead, the evening generally felt more like an aimless trek that was, frankly, a little cold and distant. The kind of personal approach that has always been a hallmark of Silkroad went missing.

The “Globalization” vision that came out of the early 2000s has become tiresome (and here, uninspiring). In this post-Trump era, this nativist vision feels a little too stiff and unthoughtful, like a Pavlovian response. Is it time to take a break and let a new identity emerge? That’s unlikely to happen soon, given that American Railroad is a multiyear initiative. I can’t wait for Silkroad to relaunch with more clarity of vision, intention and presentation. Because, ultimately, plurality of voices and expressions should not feel like throwing spaghetti at the wall and seeing what sticks.

photos of Silkroad Ensemble November 12, 2023 at The Soraya by Luis Luque, Luque Photography

American Railroad Silkroad Ensemble with Rhiannon Giddens reviewed on Sunday November 12, 2023 at The Soraya tour continues through November 18, 2023; for dates and cities, visit Silkroad a second tour is slated for fall 2024, with dates up and down the East Coast and in the Midwest

American Railroad artists:

Rhiannon Giddens, banjo/vocals Mazz Swift, violin/vocals Wu Man, pipa Sandeep Das, tabla Haruka Fujii, percussion Shawn Conley, bass Karen Ouzounian, cello/vocals Kaoru Watanabe, Japanese flutes/percussion Michi Wiancko, violin Francesco Turrisi*, frame drums/accordion Niwel Tsumbu*, guitar Pura Fé Crescioni*, lap-steel guitar/vocals Yazhi Guo*, suona *Guest artist Projections by Camilla Tassi

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Excellent review! We saw the show in San Diego and were very disappointed. No context for all the work and thought that went into this show (you had to read the program to understand and appreciate the history and meaning!).

The visuals on the large screen were perfunctory at best, and lazy and repetitive at worst. And with no interaction with the audience at all, this truly felt like the musicians on stage were rehearsing for themselves.

The ensemble needs to take a hard look at how the AUDIENCE is experiencing what is being presented (or not presented) on stage, and do some serious work to achieve what they want this piece to express.

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Watch Rhiannon Giddens Give Electrifying Performance of “You Louisiana Man” on ‘Kimmel’

R hiannon Giddens released her most recent album You’re The One last August, and she’s been on tour this year in support of the project. Most recently, she stopped in to Jimmy Kimmel Live to perform the rollicking song “You Louisiana Man” from the album.

Joined by her live band, Giddens took the stage with a banjo in hand, picking away at the instrumental opening of the song. “You Louisiana Man” opens with rousing fiddle and banjo before Giddens launched into the first verse.

You’re The One was Giddens’ first solo album in six years, and her first all-original offering. When the album was announced, Giddens made a statement that urged listeners to pay attention to the rich, blended, and fun genres featured on the project. “I hope that people just hear  American  music,” she said. “Blues, jazz, Cajun, country, gospel, and rock — it’s all there. I like to be where it meets organically. They’re fun songs, and I wanted them to have as much of a chance as they could to reach people who might dig them but don’t know anything about what I do.”

[RELATED: 6 Must-Hear Songs from Black Women of Country]

Rhiannon Giddens on Tour—Headlining, Festivals, and Silkroad Ensemble

Currently, Giddens is on tour in support of the album, playing numerous festivals and headlining shows. On May 2 she’ll be in Austin, Texas, then she’ll be in New Orleans on May 4 for the Jazz & Heritage Festival. She’ll then head to Europe and the U.K., playing the Worm Up Festival in Milan, Roskilde Festival in Denmark, and Gate to Southwell in the U.K. Giddens will come back to the U.S. for another round of festivals, like the Newport Folk Festival in Rhode Island and Skaneatles Festival in New York.

Further down the road, starting in November, Giddens will join the Silkroad Ensemble—of which she is the artistic director—for a run of shows and conversations called American Railroad. The shows will feature site-specific visual installments, as well as a documentary series about the guest performers in the Silkroad Ensemble.

My Music with Rhiannon Giddens is a PBS series of half-hour performances and conversations with the musicians performing with Silkroad Ensemble, hosted by Giddens. The series will launch its second season this Summer, where Giddens will perform with and interview guest musicians who have been on the American Railroad tour.

Featured Image by Rob Kim/Getty Images for The Recording Academy

The post Watch Rhiannon Giddens Give Electrifying Performance of “You Louisiana Man” on ‘Kimmel’ appeared first on American Songwriter .

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Rhiannon Giddens and her band were on Jimmy Kimmel Live! last night to perform "You Louisiana Man," from her new album, You're the One . You can watch it here. The second season of her PBS show My Music with Rhiannon Giddens premieres today with pipa virtuoso Wu Man as her guest. You can watch that here as well.

Rhiannon Giddens and her band were on Jimmy Kimmel Live! last night to perform "You Louisiana Man," the GRAMMY-nominated song from her GRAMMY-nominated album You're the One . You can watch it here:

The second season of the weekly PBS show My Music with Rhiannon Giddens premieres today. This six-episode season features the Silkroad Ensemble, of which Giddens is Artistic Director, and its American Railroad program. The season's first guest is pipa virtuoso Wu Man. You can watch that episode here:

You’re the One is Giddens' third solo studio album and her first of all original songs. This collection of twelve tunes written over the course of her career bursts with life-affirming energy, drawing from the folk music she knows so deeply and its pop descendants. The album was produced by Jack Splash (Kendrick Lamar, Solange, Alicia Keys, Valerie June) and recorded with an ensemble including Giddens' closest musical collaborators from the past decade, a string section, and Miami Horns. The lone featured guest on the album is Jason Isbell on “Yet to Be.” You can get it and hear it here .

Giddens' You're the One tour takes her to Texas for shows in Dallas and Austin this week, before heading to Louisiana for the New Orleans Jazz Festival this weekend. She performs at a number of festivals in the US and Europe this summer. For details, visit nonesuch.com/on-tour .

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Courtesy of David Bazemore

Rhiannon Giddens , a powerful, Grammy-winning folk artist from North Carolina, performed at Santa Barbara’s Arlington Theatre on April 23 for her 2023 album, “ You’re the One .” This was hosted by the UC Santa Barbara Arts & Lectures concert series, where students are encouraged to learn from artists and educators with provided discounts.

The opening performance featured Charly Lowry , an Indigenous artist who brought forth her experiences belonging to the Lumbee/Tuscarora people of North Carolina, as well as showcasing a classic country/folk sound similar to that of Linda Ronstadt’s groundbreaking candor and stage presence. 

On stage, she described that she enjoys performing a variety of genres, including ancestral songs played with a traditional hand drum, as well as singing songs a capella, including “ Crazy ” by Patsy Cline. 

The Daily Nexus had the opportunity to meet Lowry before Giddens’ performance, and asked her how it feels to be performing on stage, telling important stories. 

“It feels like it’s been a long time coming. I wrote ‘ Brown Skin ’ 20 years ago — I wrote that song in college! It feels important to share my stories and have the opportunity to do so,” Lowry said. 

Lowry’s songs are a proud and liberating showcase of individuality and Indigenous culture. The song is an ode to Indigenous experiences not being erased — being present and a powerful force.

Giddens’ performance was equally as culturally rich and beautiful. When the band started to play, a Southern bluegrass and Creole sound filled the room, with instruments such as the accordion, keys and banjo used in harmony with each other. Giddens’ voice was soulful, smooth and she could belt to the very edges of the venue, singing of love with songs like “ Who Are You Dreaming Of .”

The most notable aspect of the performance was the historical storytelling and significance that Giddens shared with the audience. As an African American woman, she has learned about the historical stories of slavery and struggle in the Southern United States. She brought these stories to the forefront, as she “ spotlights people whose contributions to American musical history have been overlooked or erased, and advocates for a more accurate understanding of the country’s musical origins through art,” according to UCSB Arts & Lectures.

Giddens structured the performance through spoken storytelling as an introduction to the narratives presented through music. For example, Giddens clarified that the banjo was not always used for joyful swing music, but rather had origins as an African diasporic instrument of resistance.The slave trade in Africa stretched over centuries, and this historical pain and displacement has been captured by Giddens through song. 

Giddens made a joke about disturbing typical wine-and-relaxation-filled evenings by speaking about slavery. She added how it is important to bring more context around slavery in the United States, especially since education systems have failed to give proper acknowledgment to the subject.

Near the end of the performance, Giddens briefly brought Lowry back onstage to perform a duet that sang of freedom fighters and people who paved the way for a brighter future. 

One song that stood out was “ We Could Fly ,” which speaks about a tale Giddens’ loved ones told her about Black folk on plantations in the South. In this children’s story, some of these people were able to fly away with wings to a better place. She sang, “Mama, dear mama, look in yonder tree / See that pretty little sparrow, a-lookin’ back at me / She can soar above the clouds, way up in the sky / She can fly away from here, why, o why, can’t I?” This heartful imagery speaks on generational trauma and healing from wounds that can’t be erased. The song acknowledges history that has affected and will continue to affect Black Americans for generations, but hope and love will always be treasured.

Giddens admitted that she doesn’t usually write about current events, but she felt called to speak on the incarceration of Kalief Browder in her song, “ Another Wasted Life .” Kalief Browder was a young Black man who was wrongly accused of stealing a backpack, leading to his unfair imprisonment (without trial) on Rikers Island for three years — two of which he spent in solitary confinement. When he was released, he couldn’t cope with the world he returned to and committed suicide. 

“ The whole for-profit prison industrial complex — an outgrowth of slavery — is a stain on the American story; the people and families caught up in it, and in the numerous gaping holes in the social safety net, need incredible amounts of support,” Giddens said.

Giddens works in collaboration with Innocence Project, a nonprofit that works to help wrongfully convicted individuals get out of prison and provide resources for them once they do. She is selling merchandise while on tour that supports these projects . 

In the performance of “Another Wasted Life,” Giddens’ nephew joined her on stage, inspiring and encapsulating what the entire show stood for. He sang, “Their lives won’t be wasted as long as you say their name.” The strength of Giddens’ community is honored by her historical and musical storytelling. 

This appeared in the May 2 printed version of the Daily Nexus. Print

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