Featured Events in Norwalk in June, 2025 (June Updated)

Celebrate Long Island Sound's Bounty @ Docktails and Oysters June 7, 2025 Docktails and Oysters, a signature special fundraising event hosted by Norm Bloom and Sons, a fourth-generation oyster farm in Norwalk, on behalf of the Norwalk Seaport Association are back again this year, by popular demand on Saturday, June 7, 2025, from 5 p.m. to 7 p.m. This event sells out every year, so it is important to get your tickets early as they are limited. This island-inspired party will get you in an “aloha state of mind” as you see folks in brightly colored Hawaiian shirts , listening to live music, sipping drinks, and slurping the freshest oysters you will ever taste! “It’s a chance for people to celebrate the Seaport Association’s mission of preserving the Sheffield Island Lighthouse for future generations and have a little fun at an authentic oyster farm,” said Rick McQuaid, President of the Seaport Association. Oysters have a long history in Norwalk that started with the Native Americans. Today, the techniques and processes used to farm Copps Island Oysters by Norm Bloom and Sons have been used for centuries, making them an extra special treat. If you have never had oysters, literally fresh off the boat this is your chance to eat your fill of them - so make sure you come hungry! It's fun to watch the pros shuck the oysters right before your eyes (they make it look so easy) and set them on trays with lemons and an assortment of delicious sauces. Food to include gourmet and delicacies from land and sea! Catered by Norm Bloom and Sons & Seaside Sliders / Mr. Frosty Information Source: Norwalk Seaport Association | eventbrite

This event is General Admission Standing Room Only on the Floor, and Reserved Seated in the Balcony. HOUNDMOUTH Houndmouth is an American alternative blues band from New Albany, Indiana led by Matt Myers (guitar, vocals). Houndmouth formed in the summer of 2011. After playing locally in Louisville and Indiana, they performed at the SXSW music festival in March 2012 to promote their homemade self-titled EP. Geoff Travis, the head of Rough Trade was in the audience and offered a contract shortly after. In 2012, the band was named “Band Of The Week” by The Guardian. In 2013 Houndmouth’s debut album, From the Hills Below the City, was released by Rough Trade. This led to performances on Letterman, Conan, World Cafe, and several major festivals (ACL, Bonnaroo, Lollapalooza, and Newport Folk Festival). SPIN and Esquire.com named Houndmouth a “must-see” band at Lollapalooza, and Garden & Gun said, “You’d be hard pressed to find a more effortless, well-crafted mix of roots and rock this year than the debut album from this Louisville quartet.” On their latest album Good For You, Houndmouth share a collection of songs set in places as far-flung as the Alamo and the Hudson River, each populated by a motley cast of characters: fairy-tale princesses and vampires, parking-lot lovers and wanna-be beauty queens. The result is a lovingly gathered catalogue of those wild and fleeting moments that stay lodged in our hearts forever, taking on a dreamlike resonance as years go by. Produced by Brad Cook (Waxahatchee, Hiss Golden Messenger) and mixed by Jon Ashley (The War on Drugs, B.J. Barham), Good For You came to life at Houndmouth’s longtime headquarters, a 19th-century shotgun-style house decked out in gold wallpaper and crystal chandeliers. Over the course of a year spent holed up at the so-called Green House, Houndmouth slowly shaped the warm and unhurried sound of Good For You. “Except for the first EP we’d never recorded in our own space before,” says Myers. “It was perfect because we all felt so comfortable, and there were no time constraints on anything.” In a departure from the shambolic spirit of past work like Little Neon Limelight (Houndmouth’s 2015 breakout, featuring the platinum-selling “Sedona”), Good For You bears a hi-fi minimalism that beautifully illuminates its finespun storytelling. “From working with Brad and Jon we learned to go for the simplest parts that best support the melody, and to let the frequencies take up more space in the songs,” says Myers. On the album-opening title track, Houndmouth bring that approach to a sweetly languid breakup song set against the surreal backdrop of the Kentucky Derby (“I wrote that before Covid, but at the time I was sort of emotionally going through a pandemic,” Myers points out). On “Miracle Mile,” Houndmouth pay homage to the many misfits they’ve met on the road, including a woman they’ve nicknamed after the Greek god of wine and ritual madness (“Sweet Dionysus/She never really liked us/Hangs on and stays too long/And then supplies us all with vices”). And on “Cool Jam,” Houndmouth eulogize a doomed romance, embedding their lyrics with so much broken wisdom (e.g., “Ain’t no heaven when you’re having a good time”). On its closing track “Las Vegas,” Good For You shifts into a far rowdier mood, offering up a freewheeling anthem that once again reveals Houndmouth’s ability to build a novel’s worth of tension in just a few lines (“You wore makeup for three days straight/Half a Xanax for the holidays/By the look on your face/You’re rolling eights the hard way”). Working from a demo they’d laid down years before, the band produced “Las Vegas” on their own in the frenetic final session for the album. “We had a mic at one end of the hallway, and we were all just screaming the harmonies together from the other end,” Myers notes. In assembling the tracklist for Good For You, Houndmouth nearly withheld the song due to its outlier status, but ultimately found its joyfully unhinged energy well-suited to a world waking up from a year of grief and isolation. For Houndmouth, the making of Good For You allowed for a major leap forward in their songwriting and sound while recalling the pure abandon of the band’s early days. “I remember the first time I ever came to the Green House and saw what was happening here and I thought, ‘I’m never leaving this place,’” says Myers. “This album felt like being back in that time again, only now everything’s a little more dialed-back and cared-for. It was like a return to the way we fell in love with playing music.” Links: Official Website | Facebook | Instagram | Twitter | Spotify Information Source: District Music Hall | eventbrite

This event is Reserved Seated on the Floor, and Reserved Seated in the Balcony. STEVE EARLE Steve Earle is one of the most acclaimed singer-songwriters of his generation. A protege of legendary songwriters Townes Van Zandt and Guy Clark, he quickly became a master storyteller in his own right, with his songs being recorded by Johnny Cash, Waylon Jennings, Joan Baez, Emmylou Harris, The Pretenders, and countless others. 1986 saw the release of his record, Guitar Town, which shot to number one on the country charts and is now regarded as a classic of the Americana genre. Most recently, Earle’s 1988 hit Copperhead Road was made an official state song of Tennessee in 2023. Subsequent releases like The Revolution Starts...Now (2004), Washington Square Serenade (2007), and TOWNES (2009) received consecutive GRAMMY® Awards. Jerry Jeff, released in 2022, consisted of Earle’s versions of songs written by Jerry Jeff Walker, one of his mentors. Earle has published both a novel I’ll Never Get Out of This World Alive (Houghton Mifflin Harcourt 2011) and Dog House Roses, a collection of short stories (Houghton Mifflin 2003). Earle produced albums for other artists such as Joan Baez (Day After Tomorrow) and Lucinda Williams (Car Wheels on A Gravel Road) As an actor, Earle has appeared in several films and had recurring roles in the HBO series The Wire and Tremé. In 2009, Earle appeared in the off-Broadway play Samara, for which he also wrote a score that The New York Times described as “exquisitely subliminal.” Earle wrote music for and appeared in Coal Country, for which he was nominated for a Drama Desk Award. Earle is the host of the weekly show Hard Core Troubadour on Sirius Radio’s Outlaw Country channel. In 2020, Earle was inducted into the Nashville Songwriters Hall of Fame. And in 2023, Steve was honored by the Bruce Springsteen Archives & Center for American Music. Steve’s latest album, “Alone Again (Live)”, released on July 12th, 2024. Links: Official Website | Facebook | Instagram | Twitter | Spotify Information Source: District Music Hall | eventbrite

This event is General Admission Table Seating on the Floor (up to 6 per table), and Reserved Seating in the Balcony. BINGO LOCO Bingo Loco has flipped the traditional game of bingo on its head and turned it into a 3-hour long interactive stage show complete with dance-offs, rave rounds, lip sync battles, throwback anthems, confetti showers, and prizes ranging from international holidays to cars, air fryers, lawnmowers, and so much more. Bingo Loco is not an event; it is a show with the mentality of a theatre performance & the energy of a festival, completely suited for somebody who’s looking for a unique night out in their city or even the best work party on the planet. Links: Official Website | Facebook | Instagram Information Source: District Music Hall | eventbrite

** The Godspeed You! Black Emperor show originally scheduled for November 22, 2024 at District Music Hall has now officially been postponed to June 27, 2025. All existing tickets will be valid for the new date, and no further action is required on your part. If you cannot attend the new date and would like to request a refund, please email us at customersupport@manicpresents.com with your full name and order number by January 29 and a refund will be issued at point of purchase. No refunds will be issued for requests received after January 29. Thank you! ** This event is General Admission Standing Room Only on the Floor, and Reserved Seated in the Balcony. GODSPEED YOU! BLACK EMPEROR Godspeed You! Black Emperor released a string of albums from 1997-2002 widely recognized as redefining what protest music can be, where longform instrumental chamber rock compositions of immense feeling and power serve as soundtracks to late capitalist alienation and resistance. The band’s first four releases—especially F#A#∞ (1997) and Lift Your Skinny Fists Like Antennas To Heaven (2000)—are variously regarded as classics of the era and genre. Godspeed's legendary live performances, featuring multiple 16mm projectors beaming a collage of overlapping analog film loops and reels—along with the distinctive iconography, imagery and tactility of the band's album artwork and physical LP packages— further defines the sui generis aesthetic substance, ethos and mythos of this group. GY!BE has issued two official band photos in its 25-year existence (the second, below, a 2010 recreation of the first from 1997) and has done a half-dozen collectively-answered written interviews over that same span. The band has never had a website or social media accounts. It has never made a video. Few rock bands in our 21st century have been as steadfast in trying to let the work speak for itself and maintaining simple rules about minimising participation in cultures of personality, exposure, access, commodification or co-optation. Following a seven-year hiatus that began in 2003, Godspeed returned to the stage in December 2010 (curating the UK festival All Tomorrow’s Parties) and the band’s post-reunion period has now lasted over a decade, marked by hundreds of sold-out live shows and three additional albums, all of which have been met with high acclaim. Links: Official Website | Spotify Information Source: District Music Hall | eventbrite

This event is General Admission Standing Room Only on the Floor, and Reserved Seated in the Balcony. MATT BERNINGER In 2023, after ten years of living in Los Angeles, Berninger (along with his wife and teenage daughter) moved to Connecticut. This change of scene suited him; he began to spend his days outside, painting, reading, smoking weed and listening to music, much of it his own. He wrote lyrics all over old baseballs, and arranged dust-covered items in his barn into strange and surreal works of art. It felt good to be creating and to understand why he loves what he does. Throughout his work with The National, Berninger is known for his contemplative narratives in which characters peer over the cliff’s edge. He has always been forthcoming about his own mental and emotional pitfalls. “Our heart’s are like old wells filled with pennies and worms,” he explains. “I can’t resist going down to the bottom of mine to see what else is there. But sometimes you can get yourself stuck.” In 2020 he went through “a long period of writer’s block and self-disgust. I just got sick of of asking myself ‘Why am I like this?’” For him, identity is amorphous and ever-evolving, and stretches beyond individuality. This is the driving force of his second solo album Get Sunk . Under water, everything moves in slow motion and Berninger saw his creative voice slipping away. But sometimes we have to drown to remember how to breathe. Get Sunk is the inhale, bringing blurry realizations to the surface. Berninger worked with Grammy Award-winning producer and engineer Sean O’Brien. The pair would get together once a week to “fuck around for five or six hours.” The sonic world blossomed with the help of of friends and musicians, including Booker T Jones, Meg Duffy (Hand Habits), Julia Laws (Ronboy), Kyle Resnick (The National), Garret Lang, Sterling Laws, Mike Brewer (Nancy), Walter Martin (Walkmen), Paul Maroon (Walkmen) and Harrison Whitford to name a few. Some recorded individual parts, most recorded together in a basement with Berninger. The collection of songs spans the last few years, but Berninger re-recorded vocals and rewrote lyrics for many of the older compositions. “I got my voice back, so I needed to say something new,” he explains. Inspired by the flora and fauna of his new home, he recalled his childhood on the edge of Ohio, and spending summers on his aunt and uncle’s farm in Indiana with his five cousins. They would hike in creeks, cracking open “crystal apples” (a Berninger term for geodes) surrounded by Osage orange trees and dirt, dust and bugs. They harvested Christmas trees and tobacco––Berninger admits he’s loved nicotine since first chewing on a tobacco plant when he was 12––and camped out. On one particular freezing night, Berninger kept close to the fire and woke to find the soles of his shoes sizzling blue-violet. Get Sunk is not necessarily an autobiographical album, but the narrator is processing how he became himself. Who is he compared to the kid on that sepia-toned farm? What is his idea of happiness? What the hell are we all searching for? Berninger is an expert in what it feels like to lose all bravery, and Get Sunk points to an undulating reflection in the water. It’s about realizing that you are not yourself without a thousand others; parents, friends, siblings, spouses and exes, college roommates, childhood best friends, cousins and kids, strangers even. Get Sunk ’s opener “Inland Ocean” matches propulsive, marching keys with a choral chant: “God loves the inland ocean / Lost cause, I have no emotion .” Berninger often drifts to water in his lyrics––ocean sounds and kids' voices are heard on the Ronboy-featuring “Silver Jeep” and album closer “Times of Difficulty” speaks of “ how long we’ve been staring out to sea .” He says this is not an intentional motif, but rather a more expansive metaphor. “It’s a sea of wildflowers, or crickets. It’s that drowning feeling of life. It’s a sea of stars,” he says, adding, “dead stars still delight us.” It was important to Berninger that these songs be delightful and romantic. He wanted the sun to come out, to find the colors and bright spots, but also encourage the shadows to coexist. “Times of Difficulty” points to this reach as he sings “ I’ll think of you if you think of me / The way the sky thinks of the sea .” Get Sunk ’s “Bonnet of Pins” highlights his knack for world-building, pointing to the tiny details that make this stuff palpable. There are cigarettes and styrofoam cups filled with Nabokov cocktails, miscommunication and sorrow. It’s a reminder that grief can also be a little funny. “Breaking Into Acting,” which features Meg Duffy (Hand Habits) on vocals, laments on the plasticity of performance. “ Your mouth is always full of blood packets / You’re breaking into acting / I completely understand ,” the pair sing over a slow acoustic sway. “Sometimes you have to fake forgiveness before you can actually forgive,” he explains. Get Sunk is an ode to the infinite. The others that make us who we are; the possibilities our paths can take and the abyss of both misery and bliss. Never static, Berninger dissolves the border between process and product, and surrenders to the many shapes both he and these songs will take. These shapes oscillate throughout Get Sunk but coalesce just enough to offer catharsis, and something that feels tangible and real. “I was able to get the blurry picture as close to just right for me,” he says. That the picture ever comes into full focus isn’t the point; it’s by being happy that we can make out anything at all. Links: Official Website | Facebook | Instagram | Twitter | Spotify RONBOY Julia Laws, who performs as Ronboy , spent her formative years on Fidalgo Island off the coast of Washington State. Emerging from the DIY music scene, she steadily built her distinctive sonic identity and began to produce and record her own music, releasing Ronboy’s first EP in 2020. She later collaborated with Matt Berninger (The National) and Resynator on a synth-driven cover of Tom Petty ’s "Only a Broken Heart." Ronboy’s debut album Pity To Love s oon followed, a melancholy-rock journey of cathartic anthems and soaring melodies. In addition to her own works, Laws has performed and recorded with artists including Berninger, Jade Bird, and IDLES. Now, Ronboy is gearing up for another release, filled with raw intensity while preserving her signature emotional vulnerability. Links: Official Website | Facebook | Instagram | Twitter | Spotify Information Source: District Music Hall | eventbrite

Celebrate our singers and five years of Greenwich A Cappella! 5:00 PM Performance singers: Thursday Pre-A Cappella Group, Greenwich (grades K-2) Thursday Pre-A Cappella Group, Fairfield (grades K-2) Thursday Junior Group , Greenwich (grades 3-5) Thursday Junior Group , Fairfield (grades 3-5) Advanced Junior Group (grades 4-5) Elite Group (grades 6-8) Soundwaves (grades 9-12) Surprise guest emcee and finale director Tickets Get VIP Reserved Seating for the best seats in the house without having to wait in line. Get Reserved Seating for great seats without having to wait in line. General Admission seats can be chosen when you arrive, based on whichever remaining seats are available. Doors open 30 minutes before the show begins. To purchase accessible seating options, email us at info@greenwichacappella.com. Information Source: Greenwich A Cappella | eventbrite