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Buffalo Sabres vs. Montreal Canadians
Friday March 23
Key Bank Center
7:00pm

http://purchase.tickets.com/buy/TicketPurchase?orgid=1585&agency=SABRES&pid=8475874

 

John Caparulo
Friday March 23 – Sunday March 25
Helium Comedy Club
7:30pm,  10:00PM

Perhaps best known for his frequent appearances as a round table guest on “Chelsea Lately,” John Caparulo is without a doubt a fine comic in his own right. Caparulo has hour-long specials on both Comedy Central and Netflix, and regularly sells out comedy clubs around the country thanks to his relatable everyman style of comedy.

Dinner before the show? Make a reservation at Elements by calling 716.853.1211!

This show is 18+. Please note, there is a 2 item minimum in the showroom. Tickets will be available for pick up at the box office prior to the show (they are generally available 1.5-2 hrs prior to showtime.)

 

Johnny Hart and the Mess w/ Kids In The Basement and The Rifts
Friday March 23
Buffalo Iron Works
9:00pm

Johnny grew up playing in bands for half of his life. He started playing in a band when he was 15 years old. In his first band, Johnny shared the stage with the likes of Grace Potter and the Nocturnals, Fitz and the Tantrums, Black 47, and countless others. He has performed across the country from NYC to Cleveland, to all over Western New York and even as far as Galway, Ireland. After ten years with that band and dozens of shows under his belt both locally and nationally, Johnny wanted to explore some new ideas and sounds. In 2013 he released an album called “Makes No Sense” under the band name Johnny Hart and the Mess. For the first time, he did everything on the album by himself. He wanted to branch out and explore different styles of music to see what he really fell in love with. It turns out, rock n roll was his love. His concept of the Mess was his experience of making an entire album by himself. He didn’t play drums, really didn’t do much bass either, so after mixing a song he leaned back and said to himself, “this thing is a mess”. Then the name was born. Soon Johnny would realize the Mess would be a living, breathing thing. Enter Tyler.​

After exploring a variety of sounds and styles Johnny deeply missed the authenticity of humans in the music creation process. While drum tracks and synthesized instruments have their advantages at times, he missed the connection of having band mates and performing live with a group. The natural phenomenon of humans assembling and performing together was something Johnny needed back in his life. After searching for some time, Johnny took to Craigslist and put up an ad mentioning some musical interests and bands he admired. Tyler wrote back to Johnny. After some back and forth, they met up and began writing together. Over the course of 6-8 months, Johnny and Tyler had an immediate musical connection, became very close and had some original material they really wanted to run with. They began their quest of finding additional band mates. After a handful of auditions, they just couldn’t seem to find a drummer who fit the mix or a bass player. Until one day, Tyler ran into an old friend. Enter Kooks.

Tyler talked about what he had been working on with Johnny to James Kooken after bumping into him. Kooks liked what he heard and agreed to come over to meet Johnny and hear what they had been doing. Kooks’ thunderous drumming style brought everything to a new level and was the drummer the guys had been dreaming of. Fast forward and the band seemed to be on their way. Johnny on vocals and rhythm guitar, Tyler on lead guitar and Kooks on the drums. All they needed now was bass. With a show quickly approaching that the band agreed to, they needed someone who could play bass for them, at least for this first show. Tyler managed to talk Mike Tomasulo into rehearsing with the group on bass and playing the show with them, even though Mike is a drummer. It worked out great. But with Mike playing drums in his own band, he just didn’t have the time to stay on permanently. So over the next 8 months, the band would rotate and work with a variety of bassists. Joey Lewis began filling in for shows when his schedule permitted. The band soon fell in love with this. The idea of not having a permanent bass player would normally be very concerning for a variety of reasons. But the band soon learned that each time they did a show, it would be different because of how that particular bass player interpreted and performed the songs. It made the shows constantly evolving and always fresh.

​When it came to the studio, the band had been working pretty closely with Joey Lewis and asked him if he would record the album with them. Over the course of four days and 10+ hours each day, the album “Something Like This” was made. 11 tracks in total spanning across many styles of music. It was a dream come true for the guys. They brought in a variety of friends to add their incredible talents to really make this album full. On June 10th, 2017 the band released their baby to the world.

After having Courtney Wofford on supporting vocals for the song “Waking Up Next to You”, the band knew they couldn’t go back. With her addition to performances, the live show has been taken to a new level.

After years of playing with various bass players, Nick Myers has officially joined the band permanently. Now tighter than ever, the band is rapidly expanding their live shows and bulking up their catalogue of original material. There is no slowing down in sight. Sky is the limit.

 

DJ Milk
Friday March 23
716 Food and Sport
10:00pm

 

Music Is Art & ASI Battle of the Corporate Bands
Saturday March 24
Buffalo Iron Works
12:00pm

Employees from Western New York businesses take the stage to compete in the 2018 Battle of the Corporate Bands!

Winners of the competition will be determined by a panel of judges and audience response.

Proceeds for this event support Music is Art and Arts Services Initiative of WNY.

 

SABAH 2018
Saturday March 24
Key Bank Center
2:00pm

On March 24, 2018, SABAH will celebrate the achievements of more than 670 individuals challenged by disability at the annual Celebration on Ice show at the KeyBank Center in Buffalo, New York. The celebrity co-hosts for the 2018 show will be Pete Gallivan, WGRZ Daybreak Anchor, Pegula Sports and Entertainment journalist, Lauren Hall, and former Buffalo Sabre and hockey analyst, Andrew Peters.

Tickets are on sale now.  Tickets are $12 and can be purchased at the KeyBank Center Box Office, online at www.tickets.com, or by calling 888-223-6000.  All tickets subject to applicable service charges and fees.  No service charge applies at the KeyBank Center Box Office.  Dates and times subject to change without notice.

 

Functional Flow
Saturday March 24
Buffalo Iron Works
9:00pm

Hailing from Buffalo, NY, Funktional Flow is a multi-genre quintet heavily rooted in rock and reggae, with a funk foundation. Over the past six years, the band has released three albums and played hundreds of shows throughout the Northeast and beyond. With the release of the newest album “Time Will Tell” on March 5th 2016, Flow is poised to take it to the next level and branch out nationally. Flow is heavily influenced by Sublime, Umphreys McGee, Moe, and Blind Melon but maintains a fresh, high energy sound that results in a diverse catalog of music.

Since the bands establishment in 2010, Funktional Flow has played notable music festivals such as Catskill Chill, The Great Blue Heron, A Bears Picnic, Buffalove Music Festival and Night Lights Music Festival. They also host their own festival, “Flow Fest”, at Woodlawn Beach located on the shores of Lake Erie, just outside of Buffalo, NY. Funktional Flow has shared the stage with many notable acts including; Warren Haynes, Railroad Earth, Rusted Root, New Riders of the Purple Sage and members of Little Feat. The Flow has succeeded in making a name for themselves throughout the North East and beyond; continuously earning recognition from musical publications. Recently the band was voted “Best Original Alternative Band” in Western New York. Also featured in Relix magazine’s “On the Rise” section and was a previous winner of the coveted Artvoice “Best of Buffalo” award. Dubbed a multi-genre monster, Funktional Flow is best experienced in its natural state, a live performance.

 

DJ All Star
Saturday March 24
Seneca Buffalo Creek Casino
9:30pm

 

WWE Live Road to Wrestlemania
Sunday March 25
Key Bank Center
5:00pm

 Buy Tickets

WWE Live Road to Wrestlemania returns to KeyBank Center on Sunday, March 25th, 2018 at 5:00pm.

Tickets are on sale now.  Tickets are $118.50, $88.50, $68.50, $43.50, $28.50 and $18.50 (includes $3.50 facility fee) and can be purchased at the KeyBank Center Box Office, online at www.tickets.com, or by calling 888-223-6000.  All tickets subject to applicable service charges and fees.  No service charge applies at the KeyBank Center Box Office.  Dates, times and card is subject to change without notice.

Roman Reigns vs. Free Agent John Cena

2 on 3 Handicap Match

Seth Rollins & Finn Balor vs. The Miz and The Miztourage

RAW Tag Team Championship Match

Titus Worldwide vs. The Bar

RAW Women’s Championship Fatal Four Way Match

Mickie James vs. Bayley vs. Alexa Bliss vs. Nia Jax

Plus: Braun Strowman, Elias, Asuka, Bray Wyatt, Kalisto and many more!

Card subject to change

Wild Child “Expectations Tour” with Wild Reeds
Sunday March 25
Buffalo Iron Works
7:00pm

Wild Child

Wild Child won’t settle. For seven years now the Austin-based ensemble has carried its infectious blend of indie-pop and infectious melodies across the international music scene, charting viral hits and wrapping their arms around a diverse and dedicated fan base. But earlier this year when the band set out to make their fourth studio album, they found they had their hands full: After half a decade of maturation, the group had grown beyond its traditional writing and recording process.

“We had too many ideas for how we wanted to make this record” says Kelsey Wilson, the group’s lead vocalist and violinist. She shrugs. “So we said, ‘Why not just do all of them?’”

The group realized this offered an exciting opportunity to make a kind of record bands rarely get right: To take a new, multispectral approach to writing and recording that went beyond simply trying to engineer success. The band made a list of their favorite musicians who were also great producers in their own right — choosing ones they thought would shine a new and unique light on specific compositions — and then Wild Child set about chasing their album from studio to studio all over the world, never saying no to an idea.

The result — the band’s fourth album, Expectations — is Wild Child’s most creative, colorful and intellectually engaging album to date.

Now a seven-piece pop mini-orchestra (Wilson on violin and vocals; Alexander Beggins on ukulele and vocals; Sadie Wolfe on cello; Matt Bradshaw on keyboards, trumpet, and harmonica; Tom Myers on drums; Cody Ackors on guitar and trombone; and Tyler Osmond on bass), Wild Child formed in 2010 when the group’s core duo of Wilson and Beggins wrote and released their first album, Pillow Talk.

Wild Child shaped their last record, Fools, in the shadows of more than one failed love, and Expectations, as the title suggests, is a continuation of that personal experience into an awakening. Wilson and Beggins, whose voices fit each other as naturally as any family act, pushed their boundaries as writers, drawing freely from the stories they’ve lived as well as the artists around the world that have inspired their growth. Their rate of output over that last year got them thinking differently about producing, focusing on one track at a time. “We’ve always focused on the record as a whole.  We wanted to think about each track as it’s own piece- but somehow it all fits together” Wilson says of the approach.

That route took them around the world — from Chris Walla’s (Death Cab For Cutie) studio in Tromsø, Norway, where the Northern Lights are the brightest in the world, to a home-built warehouse studio on the outskirts of Philadelphia, where Dr. Dog’s Scott McMicken picked up the bass and “joined the band for a week,” arranging harmonies and sharing living and recording space. Back in Wimberley, Texas, Matthew Logan Vasquez (Delta Spirit) set up a makeshift studio in Kelsey Wilson’s beloved childhood home — abandoned since the floods of 2015 — where they found the muses were eager to resurface. The group also tapped the talents of frequent tour mate Chris Boosahda (Shakey Graves), Atlantic Records recording artist Max Frost, and Grammy-winning producer Adrian Quesada (Groupo Fantasma, Brown Sabbath, Spanish Gold).

The result is a theater of possibilities, with arrangements that reflect the range of tastes of the producers, from scruffy lo-fi tape hiss, to smoothed out precision-cut electronic pop sounds.  Smartly, the album avoids defining itself and kicks off with a child’s voice telling Alexander Beggins, “Don’t think that way.” The track that follows (called “Alex”) is a hook-spangled opener which in its three breezy minutes builds from a single ukulele to a lush and playful arrangement reminiscent of Beirut.

The record almost immediately settles in to find the band at its most expansive. Songs like “My Town” and the deep-breathing “Eggshells” stretch the spaces between beats like a Chinese finger/time trap. They stop for more than one layover in Detroit, with “Back and Forth” evoking the horn charts of Arthur Conley and Jackie Wilson (or even Jens Lekman), and “Think It Over” throws an unexpected nod to Sly and the Family Stone.

The closing track, “Goodbye, Goodnight,” is also the first the group recorded, and the one they believe best epitomizes the journey of making this album. At first, Scott McMicken’s production caught the band off-guard: He slowed the waltz down to the tempo of a dirge — or a dirge with the levity of a waltz — and built the track up at an almost excruciatingly slow pace that in the end gives you what you want from it, but only gives it to you once. “At first we were all just trying to understand where he was coming from,” Wilson says with a laugh. “And it took us a while to get there, but the arrangement works out so well — with what the song is about and how we felt when we wrote it — that it ended up being one of my favorite songs on the record.”

And the more you listen to Expectations, the more the many worlds of this project begin to cohere around you. After all, one of the great joys of traveling the world is discovering surprising connections: A skyscraper in Barcelona reminds you of a spire in the Utah desert; the Northern Lights in the Norwegian sky look like an oil slick on the Philadelphia pavement. Expectations, an album which can by turns be bitter, wistful, angry, and flirtatious, is rich with these surprising rhymes across the record.

“We’re all growing and changing and learning new tricks,” Beggins says. Wilson responds, “Yeah, there’s no right or wrong way to do anything.” Her own record, though, is proof she’s wrong.

The Wild Reeds
The Wild Reeds have transformed from a three part harmony driven band to a full indie folk rock force that has been sweeping the West Coast. In the past year The Wild Reeds have toured along side artist such as Noah Gundersen and Israel Nash while also making an appearance at festivals such as Newport Folk Festival’s sister of the West, Way Over Yonder, Make Music Pasadena, Echo Park Rising, Claremont Folk Festival, Lightning in a Bottle, and successfully captured large audiences every Monday night in December with their Holiday Residency at The Satellite.
In August 2014 the band released their formal debut album, Blind and Brave, which was produced by Raymond Richards at Red Rockets Glare (Parson Redheads, Honey Honey, Local Natives, Dustbowl Revival). Blind and Brave illustrates the story of the working class, and encourages listeners to genuinely care about the place they inhabit, keep it beautiful, connect with people, and be brave. In everything you do, do it out of love. The album was released with a very special show at the historic Troubadour.
Currently the members of The Wild Reeds hold up the fort all over California, from Koreatown to Highland Park to Hollywood – coming together to rehearse right in the heart of Hollywood. Together they are strong advocates for California, specifically Los Angeles.