whatzup2nite • Wednesday, March 4

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Things To Do

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National Shows

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Music & Comedy

Chagrin Comedy Showcase — Comedy at Latch String, Fort Wayne, 8 p.m., no cover, 483-5526

Janis Sue — Piano at Green Frog, Fort Wayne, 8 p.m., no cover, 426-1088

Who Dat? (Paul New Stewart & Kimmy Dean) — at 4D's, Fort Wayne, 7-10:30 p.m., no cover, 490-6488

Karaoke & DJs

American Idol Karaoke w/Josh — Karaoke at Columbia Street West, Fort Wayne, 9:30 p.m., no cover, 422-5055

Shut Up & Sing w/Michael Campbell — Karaoke at Dupont Bar & Grill, Fort Wayne, 8 p.m., no cover, 483-1311

Stage & Dance

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Art & Artifacts

Dance Theatre of Harlem: 40 Years of Firsts — Costumes, accessories, set pieces, documentary excerpts, historical photos and tour posters from the Dance Theatre of Harlem’s first 40 years, Tuesday-Sunday thru March 15, Fort Wayne Museum of Art, $5-$7 (members, free), 422-6467

Hunt Slonem: Magnificent Menagerie — Nature inspired paintings, Tuesday-Sunday thru March 8, Fort Wayne Museum of Art, $5-$7 (members, free), 422-6467

Rock Paper Scissors — Mixed media pieces focused on games and annual postcard sale and fundraiser, Tuesday-Sunday thru March 4, Artlink Contemporary Art Gallery, Fort Wayne, 424-7195

Scholastic Art and Writing Awards — Student artwork and writing from the region, Tuesday-Sunday thru April 12, Fort Wayne Museum of Art, $5-$7 (members, free), 422-6467

Featured Events

Fort Wayne Dance Collective — Workshops and classes for movement, dance, yoga and more offered by Fort Wayne Dance Collective, Fort Wayne, fees vary, 424-6574

IPFW Community Arts AcademyArt, dance, music and theatre classes for grades pre-K through 12 offered by IPFW College of Visual and Performing Arts, fees vary, 481-6977,

Sweetwater Academy of Music — Private lessons for a variety of instruments available from professional instructors, ongoing weekly lessons, Sweetwater Sound, Fort Wayne, $100 per month, 432-8176 ext. 1961,


The Wailers

Say you missed your chance to hear the Wailers back in the late 60s when Bob Marley, Bunny Wailer and Peter Tosh grabbed the Barrett brothers from another band and became a reggae sensation. Suppose you’ve always wanted to hear selections from the Wailers’ seminal album Legend performed live. You thought your wish would never come true, right? Wrong. The Wailers, now fronted by original bassist Aston “Family Man” Barrett, will be in Fort Wayne at Piere’s Entertainment Center on Saturday, March 7 when they’ll be celebrating the 30th anniversary of Legend’s release by treating fans to an evening of some of the band’s most beloved hits. In addition to songs from Legend, the Wailers – Barrett on bass, Aston Barrett Jr. on organ, Anthony “Benbow” Creary on drums, Audley “Chizzy” Chisholm on lead guitar, Cegeee Victory on vocals, Dwayne “Danglin” Anglin on vocals, Joshua David on vocals and rhythm guitar, Keith Sterling on keyboards and Melvin“Ras Mel” Glover on rhythm guitar – will also perform pieces from 1977’s Exodus, named by Time magazine as the album of the 20th Century. It’s safe to say that the Wailers were instrumental (pun intended) in introducing the U.S. and Western Europe to reggae, as well as the Rastafarian religion. When the original group split up in 1974, Marley went on to a very successful solo career. He died in 1981 of cancer, but not before his friend and bandmate, “Family Man” Barrett, swore a vow to keep his legacy alive. “My life with The Wailers has been an odyssey ... We’ve come so far,” Barrett said. “Sharing this music with so many people around the world was my last promise to Bob, and here we are.” Rusted Root and Adam Ezra will open the show.

Gary Lanier

Community Theater's Triple Threat

Over the past 30-odd years, Gary Lanier has proven himself to be a triple-threat powerhouse and has become a pillar of the Fort Wayne theater community. Lanier grew up in Seymour, hometown of John Mellencamp and former Miss America Katie Stamm. Although he says he was a shy child, he was an active one. “I loved climbing things,” he says. “That’s probably why I was in the ER so often.” He lived in a neighborhood with plenty of other kids, so there were lots of group activities to keep him busy. When he entered high school, he connected with the “theatercrowd” and found himself cast as one of the king’s children in The King and I. “I was a freshman,” he says, “but I looked like I was around 12 years old.” After roles in The Sound of Music and Fiddler on the Roof in high school, he earned his “first actual role with a character name” when he was cast as Stuart Dalrymple in Brigadoon. While earning his bachelor’s degree in business administration at Indiana University, he auditioned for the prestigious vocal group Singing Hoosiers and was accepted as a tenor. “I was thrilled,” he says, “because I wasn’t a music major and I was part of a performing choral group in one of the nation’s renowned schools of music.” Although he didn’t major in music, Lanier did take ballet classes and voice lessons through the School of Music. “My voice teacher was a graduate student of [Metropolitan Opera star] Margaret Harshaw’s,” he says. “That’s what I love about that school.  You are working with the best.” He also studied jazz, modern dance and tap through the IU African American Arts Institute, and he danced with the Windfall Dancers, IU Dance Theatre, and IU African American Dance Company. Lanier moved to Fort Wayne in 1984 and soon began doing community theater. His first production was a Fort Wayne Civic Theatre Guild Show called Woman and directed by the late Larry L. Life. “I was in the chorus,” he says. “Nobody really knew me at the time.” He was later hired as the box office manager at the Embassy Theatre. It was then he decided the arts should be a part of his career. His current full-time job is administrative assistant in the dean’s office of the College of Visual and Performing Arts at IPFW. On the side, he choreographs musicals at the Civic Theatre and other local venues. He estimates he has performed in around 80 shows over the years and is proud of the influence he has had, not only on community theatre performers, but on members of his own family. “I have a niece who was into musical theater in high school, and now her older daughter is,” he says. “I think I’ve influenced family members to appreciate theater.” Lanier not only has the singing and the dance chops, but he takes acting seriously as well. He spends time doing his homework on every characters he plays. “I try to come up with some sort of biography on the character before I delve into anything else,” he says. “If the character is in the midst of something in an historical context or of social significance, I do some research. Then I think of that person’s relationship with other characters in the piece. The rest just seems to fall into place during the rehearsal process, sometimes sooner than others.” He has created a back story for his current character, Herr Schultz in the Civic Theatre’s current production, Cabaret. “He grew up as an only child in a close Jewish family in Berlin,” Lanier says. “I believe his wife died at a fairly early age. They had no children. He has been running his fruit shop since he took it over from his family’s business. As a single elderly gentleman, he found it easier to live in the boarding house that he currently resides in.”   Several of the characters he has played have an accent or particular way of speaking. Herr Schultz speaks with “a sort of a combination of German and Yiddish,” he says. “The rest seems to come with experimentation through rehearsal and leadership from the artistic team.”   Cabaret is a show Lanier has revisited several times in his performing career. He was in the chorus of the IPFW production in 1985. He played the Emcee at Arena Dinner Theatre in the 1990s. He cites the Emcee as being his all-time favorite role. “There were times when I actually lost myself in the character,” he says. “It was wonderful and scary at the same time. I had never experienced that before. My character in that production rarely left the stage. He was always this ominous observer.” He doesn’t compare the two productions of Cabaret, but he does acknowledge that the Civic’s cast is “about as solid as they come. You will be very impressed by the quality performance of some amazing young talent in this production.” The production is a newer version of the 1966 musical by Kander and Ebb. It was revised in 1998 and starred Alan Cumming who is currently reviving the role in the Broadway production, which also stars Emma Stone. “This version is a lot more ‘in your face,’” says Lanier. “The sexual overtones are a lot more blatant, and the social stigmas involved with what was going on politically in Germany at the time are more pronounced. This version also has included some of the movie version’s music and removed a couple of the original songs.” Lanier compliments the Civic Theatre for their choice of theatrical offerings, which appeal to a wide variety of audiences. “They do a nice job of adapting to society and how it evolves,” he says. “Their season choices are a little more diverse. There is the lighter fare and the more risky, such as Rent, which mainly pulled in the younger crowd.” Lanier has also worked at Arena Dinner Theatre, First Presbyterian Theater and the IPFW Department of Theatre, but he doesn’t play favorites. He does admit, however, to a favorite performance space: Studio Theatre in Kettler Hall at IPFW. Under the direction of Larry Life and originally known as PIT (Purdue-Indiana Theatre), the space was home to some of the most cutting-edge and important theatrical pieces this city has seen. Lanier is proud to have been part of several of them, including The Normal Heart and Corpus Christi. “Larry Life was a big influence on me as he was with a few generations of actors,” Lanier says. He takes every role seriously, but he also appreciates the importance of keeping a sense of humor. “Once when we were in dress rehearsal for one of Larry Life’s guild shows,” he says, “there was a moment during a Disney segment that one of the actors dressed as a forest creature [and] who had no peripheral vision in the costume tripped over the young lady dressed as Snow White and literally fell on top of her and flattened her. It happened to be a moment when Larry was having one of his infamous tirades, but in spite of that the whole cast broke into instantaneous laughter.” As experienced and accomplished as he is, Lanier acknowledges that he shares something with a majority of performers: a fear of auditions. “I think that most actors feel like the audition is like being led to guillotine,” he says. “It never gets easier.” Lanier’s next project will be less nerve-wracking – at least for him. He will choreograph The 25th Annual Putnam County Spelling Bee at the Fort Wayne Civic Theatre. He approaches choreography similarly to his acting roles: through repetition and visualization. “The first thing I do is read the script several times,” he says. “I listen to the cast recording over and over. Then I start visualizing, [taking] notes and putting the movement to the score in my own little language.” He also considers the abilities of the performers, which he discovers during the audition process, and tailors his choreography to what they can – and cannot – do. “I think that I can choreograph to a median level to different levels of dance ability in the actors, and still manage to make it interesting,” he says. “I love the challenge. It keeps me on my toes. Pardon the pun.”

Jen Poiry Prough

Robert Nance

Growing the Heartland

Although not a native of this area, Robert Nance has set deep roots in Fort Wayne for the last 25 years. His passion for music – and his desire to share it while elevating its value – is at the heart of everything he has done not only since his arrival in northeast Indiana in 1990 but from his early education in the arts. Born in South Carolina, Nance grew up and began his musical education in Williamsburg, Virginia. His interest was first piqued when his sister began taking piano lessons. “I was a curious child, and when my sister began taking piano lessons, I don’t know if it was jealousy or if I just wanted to do what she was doing. There wasn’t enough money for both of us to take lessons, so my parents let her take them because she was the one they perceived to have a talent for it. But my mother tells a story of one time when she heard her playing and wanted to tell her what a good job she was doing, and she discovered it was me that was playing.” Although Nance says there’s no long line of musicians in his family, his mother was part of the church choir which gave him his first real opportunity to fan the flames of his passion for music. “I was raised in the Baptist church, but I was also participating in the Anglican tradition of choirs and would sing at another church early on Sunday. Then I would head to my parents’ church afterward, and I did that for nine years. Since my mother was in the choir, I would sit with the organist, which she liked because she could keep an eye on me. I would watch the workings of the organ, and I was always a toy freak, so I loved seeing what all of the parts of the organ were doing, the pedals and the keys. That’s when my love of keyboarding and musicianship really began.” Nance pursued an education in keyboards, but he was encouraged – even required – by all of his teachers to also continue in choirs to further his musicianship and understanding of music. “Most of my teachers were also choir conductors, and they would tell me that the choirs would further my ability on an instrument. Singing does grow the inner musician, and you have to have something to help you develop that inner musician. Instruments are an extension of the body, so once you develop internally, the rest of your body can catch up and you can begin merging those two.” His talents were great enough to allow him to assume the job of choir master and organist at his church while still a senior in high school. The job had become available a year earlier, and he asked to be considered but admits now that “they were rightly cautious about a high schooler being able to handle that level of responsibility.” When the post hadn’t been filled the following year, they gave Nance the opportunity to assume the role for his last year before graduating. He also received a recommendation from a friend to attend the revered Interlochen program, and it was there that he began the journey to music as a profession. “I knew when I went to Interlochen that this was what I really wanted to do. It was a wonderful experience, but I knew I had my work cut out for me. I had been one of the best where I came from, but I was the lowest of low there, it seemed. But it made me want to work harder, get better. That was my challenge.” He used that hard work to earn a full scholarship to Depauw University, his first time calling Indiana home. Although he began as a liberal arts major, intending to pursue a career in education, he ultimately felt that his time would be better spent as a performance major where he could more fully devote himself to music. However, he says the classes taken in liberal arts – particularly courses in psychology and education – have greatly benefitted his work since. After completing a graduate program in conducting at the Peabody Conservatory, Nance began a career that, in 1990, brought him to Fort Wayne where he began a decade with First Presbyterian Church. There he found a vibrant arts program and discovered many new ways to explore his love of music and understanding of how it works in the community. He is fervent in his belief that music education is a vital way of connecting people. “There are studies that have found that people who are involved in choir from fourth grade through high school are above the national average in terms of involvement – in politics, in PTA, in donating to charities. They are engaged in community activity because there is no way you can be in a choir and not be taught how to exist in a community.” Nance has also become a champion for vocal performers, although he himself is not a professional vocalist. When he began organizing musical events in the area, he discovered that while Fort Wayne has many trained instrumentalists available through the Philharmonic, there was a dearth of professional vocalists, leaving him to look outside the area for talent. He also noted the poor pay scale available for vocalists versus instrumentalists and determined to change that. It was then he began what is now Heartland. “My goal with Heartland was to have a paid, professional vocal ensemble. Everybody laughed when I’d say that, even the musicians who would benefit because they’d say, ‘Oh, we do it because we love it.’ I had to change the energy and the focus. But once it started, the seed grew very fast. I quit my job at First Presbyterian, and when I did that and told people I had made that commitment, others began jumping on board.” Heartland’s humble beginning in 1997 may have been suspect to some, but Nance was determined to make it work. It has now grown to include eight full-time professional vocalists (called The Eight), 24 part-time vocalists (The Chorale), and 80-plus volunteer vocalists (The Festival Chorus). With almost 20 years of history, Nance is now excited to move the organization forward with a risky but bold move toward the future in entertainment. “Non-profits are donor-dependent, and I want to take a more marketplace approach to the future. We have a seven-year plan, and we’re going to use the money we’ve raised for the first two years, then earn the money in the last five years to pay ourselves back. We have to start marketing ourselves as entertainment and not limiting ourselves. I look at Heartland’s Celtic program, and I would put it up against Celtic Women any day. But people will pay $10 for our program and then pay $85 for a similar program that comes to town.” Nance acknowledges that it’s a risky plan, but he feels it’s one that other non-profits will soon be following. He understands the continued need for donors, particularly when it comes to providing educational programs for kids, but he feels the operational component “should jolly well earn for itself.” “It’s been shown that income in this area allows for about five to six percent philanthropic dollars. And there are more and more people and organizations competing for those dollars. But if audiences will pay $100 for a ticket to a concert, that’s not part of that income. I want to tap into that other part of the income and not be limited to that five or six percent.” As he continues to bring the organization he began into a new and exciting time, his heart and talents are also deeply attached to Plymouth Congregational Church where he moved after he left First Presbyterian. Agreeing to be its interim musical director at the turn of the century, Nance was happy to assume the job permanently and now says he can’t imagine a better home. Although he did additional freelance work over the years – with the Fort Wayne Philharmonic, Fort Wayne Children’s Choir and Saint Francis among others – he is now happily focused on his work at Plymouth, which he calls “the best playground on earth,” and Heartland, where he eagerly anticipates exciting years ahead. “I think with our new plan, we’re going to redefine how it’s done so it’s worth the risk. It’s worth the risk. And I think it’s going to be long-lasting and life changing.”

Michele DeVinney


An Old Club Gets a Makeover

Anyone who has lived in the Fort for a decent stretch knows the Main Street bridge and that ever so slight lift you get when you crest its tiny hill just over the river – a feeling in the stomach and in the head, a sense that you’re passing over and into a unique portal as it were. Trust that odd feeling and embrace the wave because you are. What other one-mile span of asphalt offers the kind of variety that you find here? From outlaw biker watering holes to the finest seafood in town; from arguably the grittiest “Irish” bar in town guised as an “Italian Pub” to everything the adventurer in you needs to tackle the wilderness of Indiana, be it in a lightweight kayak or in a pair of rugged hiking boots. While all of the aforementioned can be found on your right (if you’re driving west, the only direction where you experience the particulars I described in my opening lines) there is something on your left just past the bridge that is not to be missed: a stretched out, squatty, off-yellow building that suggests a bunker – a bar called Skeletunes. Yes, that bar. Formerly the River, then the Berlin, the building is a legendary watering hole that has been around for decades. While I had been to the Berlin on many occasions over the past few years, I had not been to the newly overhauled Skeletunes until mid-November, just shortly after it had its grand opening. Owner Lee Shockley and freshly appointed manager Jeremy Wysong got together sometime in late summer and talked shop – specifically the kind of shop related to all things makeover. And while they didn’t hire some acerbic jerk with a camera crew to come in and yell at them until they got it right, they did spend considerable time together tossing ideas back and forth on what, exactly, they wanted to see. Wysong, fresh from years at the Brass Rail, had some concrete ideas and pulled no punches in asking Shockley for the keys to all the doors. Shockley agreed and the work began. While the Berlin had been known for years as primarily, though not exclusively, a “metal” bar Skeletunes is “down for whatever,” and I witnessed this in grand fashion on my first visit in October. A bluegrass band from Pennsylvania stopping through town is not unusual. But a bluegrass band that actually sounds like a bluegrass band is. The Jakobs Ferry Stragglers took the stage and dropped more jaws than the Pope at an atheist convention. Trust me. I’ve seen my share of “string bands” on local stages over the past six or so years. None of them brought the musicianship, harmonies and all-around performance that this outfit did. The 20 or so people there can attest. When the band comes through again to Skeletunes in April, I will be doing my best to get more people out. There were other jaw-dropping or at least heard-turning things to see on this night – the fruits of labor as it were. Gone were the old cramped booths that once lined the wall across from the bar. In their place were simple, classic, white-topped diner-style tables with no-frills chairs, the kind that let you sit comfortably and talk for hours over a pitcher, but not so cushy that you will miss an entire show at the back of the bar so you can stay in them. Freshly painted walls, newly hung, large, spotless mirrors behind the bar, a border of vinyl records above the bar, lights – lots and lots of small Christmasy lights, red mostly – and show posters, not just flyers. Actual posters. Everywhere. Many of them dedicated to metal bands and most done in a similar metal style a la Derek Riggs (think Iron Maiden). Metal still lives here at Skeletunes that is for sure. Just a few short weeks later I was back. Back to take more notes, and on this particular night to catch Nashville’s hottest rockabilly band, Hillbilly Casino. The boys tore up a newly expanded stage while breaking in a set of new Mackie speakers as a delighted and packed crowd took it all in. Speaking of, I took in a couple of pints from the modest 6-handle tap row that consistently features a 50/50 offering of IPAs (Two-Hearted seems to be a regular) to standard lagers like PBR, any of which can be enjoyed from a frosty mug on request. Oh, and there is 1919 root beer on tap as well if you’re in the non-alcohol mood. My most recent visit was in January for Gypsy’s “Vagabond Ball,” an annual event hosted by one of the bar’s regular tenders, Gypsy Lujin. This fun-loving, bear of a man is a local music fan and supporter who throws this party as an excuse to get all of his favorite bands in one room with all of his favorite people. This year’s lineup featured Fort Wayne legends The Bel Airs, a band that has been playing off and on since Reagan first took office. Still sporting the requisite rockabilly haircuts, cuffed jeans and leather jackets, these seasoned vets sounded as good to my ears as they did in the late 90s when I first saw them. They tore through an impressive 90-minute set of standards with nary a missed beat or bad note. Drifting back to the bar after their set and talking “state of public education” with guitarist David Todoran, I decided to try a new Skeletunes feature: pork tacos. The seasoned meat is kept in the same upright cooler as the beer and is served warmed in a small toaster oven and garnished with cilantro and onion only. It took me about four of these at only a $1.50 to decide that I was in heaven. So with a hum and ring in my ears, a cold beer in hand, and the exquisite after taste of raw onion and cilantro on my tongue, I took it all in. I gave a high-five to Mr. Wysong and congratulated him on some very fine work. I also noticed one other thing. The famous “banned” list, written in permanent marker on a torn-off piece of cardboard was no longer above the bar. A fresh start indeed.

Darren Hunt

The Mighty McGuiggans

A Turney Toward Green

Mark Turney is an intense guy with shocking blue eyes, a sometimes wry smile and a boyish exuberance, especially when it comes to talking music. In his later 40s, Turney lights up when the discussion turns to the one subject that has kept his attention for nearly four decades. “My father would have been a music teacher had he not become a doctor. I, on the other hand, would have tried my hand at fiction or perhaps designing board games.” While playing music has not made him rich, one thing is for sure: Turney has done music and done it in the kind of variety and style that most would not dream of doing. In the two-plus decades he has lived in Fort Wayne, Turney has fronted numerous outfits ranging from world-music-infused rock, to Prohibition-era jazz, to his most recent musical project, The Mighty McGuiggans, which explores traditional Irish music in all its variations. Turney’s previous band, Rhapsody in Wax, had been playing JK O’Donnell’s almost since the pub opened in 2007. At some point along the way, the bar began asking the band to do an Irish set around 7 p.m. (midnight in Ireland), and they happily obliged. As an Irish Pub, JK O’Donnell’s had no shortage of clientele already partial to all things Irish, and soon the band was getting more and more requests for Irish songs. In time, nearly the entire night was being dedicated to Irish music. In January 2014 the band converged for a meeting, and everyone agreed the signs were pointing clearly to a change. Turney had come across the name “McGuiggans” when he first moved to Indiana from the Sacramento area as a teenager. He had never forgotten the McGuiggans, a pair of brothers who preached a fiery brand of evangelical sermons, and he decided to name the band The Mighty McGuiggans as an homage. “It has a nice lilt,” he told me with a grin as we sat talking over – what else? – a pint. There was a tinge of sadness as Turney and the band bid farewell to Rhapsody in Wax. The band had been going strong for over five years and had played memorable shows both in Fort Wayne and out of town to great reception. But there was no time to wallow. As the Irish do, the band saw it as an opportunity to stretch in new ways; they even brought original songs they had done in Rhapsody and reworked them to fit The Mighty McGuiggans. A prolific songwriter with nearly 100 original songs in his portfolio, Turney set to penning new material for The Mighty McGuiggans as well as perusing the canon for covers. One of the first original songs he came up with is a haunting, instantly memorable sea shanty titled “The Lord of the Long Arms.” Scored in D minor, it is a first-person survivor narrative that recounts the horrible fate of a ship and its crew decimated by a giant octopus, or “kraken” as it is sometimes referred to in lore. It begins with a gang vocal “Timme, Hey – up! A – way and hey – o!” that all five members enthusiastically shout and a haunting, repeated refrain, “the Lord of the long arms is watching below,” that continues throughout to the point that by the dramatic conclusion you’re checking the barroom floor for tentacles. Trust me. I saw it live and it grabbed my imagination as no live song has in quite some time. In the company of Tommy Meyers, the band’s designated multi-instrumentalist, Turney admits that in the beginning of his musical journey he tended toward the morose, writing intense, introspective songs that he hoped would get his audience to “look deep within and contemplate the state of their lives and even the world.” “He was listening to a lot of Depeche Mode,” opines Meyers rather dryly. About halfway into their nearly 20-year collaboration, Meyers finally looked at Turney one day and said, “You know, Mark, these are great songs, they really are, but you do realize that it’s okay to write something that makes people smile, that’s just fun.” Turney had – and continues to have – a deep respect for Meyers, one of the few local and still active players who has off-Broadway orchestral experience deeply rooted in jazz. So Mark listened. And what he soon discovered is that he had a funny bone. Songs like “Alopecia” “Caffeine” and “Tell Me It’s Raining (Don’t Piss Down My Back)” began to show up at rehearsals, much to the delight of Turney’s wife Gwendra who has been the band’s lead soloist on violin from day one. A Mighty McGuiggan’s show is a fine escape indeed. With 75 songs polished and at the ready, the band offers audiences a wide array of material ranging from Flogging Molly, to Dropkick Murphys, to the Dubliners. And expect to get involved. One of the band’s core goals is to have people participate. “In pubs across Ireland and England as well as parts of Europe, attending a show is an active commitment; it is not about passively taking it all in, but actively participating in the performance,” says Turney, his eyes sparking and his tone becoming fervent. As someone who has caught their show recently, I liken it to boarding a ship. There is a sense of passing over from dry land to water. The intense drumming of Danny Boy Hogan, who moves effortlessly from full kit to hand-held boudran, and the driving bass lines of Dave Nelson call up the steady, waltzing, heave-ho of a vessel riding turbulent water and deckhands tending rope and sail. And with a plethora of sea shanties and pirate ballads in their repertoire, it is a near-constant ride for both band and audience. Just like the band’s namesake, the McGuiggans are on a mission, and if you’re ready to climb aboard, you can catch them at the Brass Rail on February 28. Ship sets sail at 10 p.m. You can also catch The Mighty McGuiggans on WBNI’s Meet the Music on March 15. Check the WBNI website for times.

Darren Hunt


Best of 2014

all for One

Arena Dinner Theatre

Fort Wayne Dance Collective

IPFW Monster Piano Concert


IPFW Guitar Festival

League for the Blind and Disabled




Castle Gallery Fine Art
Fort Wayne Museum of Art
Northside Galleries


Fort Wayne Ballet
Fort Wayne Dance Collective


4D's Bar & Grill
After Dark
The Alley Sports Bar
Beamer's Sports Grill
Berlin Music Pub
Calhoun Street Soups, Salads & Spirits
Champions Sports Bar
Checkerz Bar & Grill
Columbia Street West
Deer Park Irish Pub
Dicky's 21 Taps
Dupont Bar and Grill
Firefly Coffee House
Green Frog Inn
Latch String Bar & Grill
Mad Anthony Brewing Co.
O'Reilly's Irish Bar & Restaurant
Shady Nook Bar & Grill
Snickerz Comedy Bar
State Grill


IPFW Community Arts Academy


WXKE Rock 104



Fort Wayne Musicians Association
Sweetwater Sound
Wooden Nickel Music


Adam Strack
Biff & The Cruisers
Big Caddy Daddy
Big Daddy Dupree and the Broke & Hungry Blues Band
Big Dick & The Penetrators
Big Money and the Spare Change
Dan Dickerson's Harp Condition
The DeeBees
Dirty Comp'ny
Dueling Keyboard Boys, The
Elephants in Mud
For Play
The Jaenicke Consort Inc.
James and the Drifters
Joel Young Band, The
Jon Durnell
Juke Joint Jive
Kill The Rabbit
Little Orphan Andy
Mr. Grumpy's Revenge
Marshall Law
Mike Conley
Night to Remember
Party Boat Band
Rescue Plan, The
Richard Caudle
Tim Harrington Band
Triple Play Band
Walkin' Papers
What About Joe


3 Rivers Co-op Natural Grocery & Deli


all for One productions
Arena Dinner Theatre
Different Stages Theater
Fort Wayne Civic Theater
Fort Wayne Youtheatre
IPFW Dept. of Theatre


Allen Co. Public Library
C2G Music Hall
Embassy Theatre
Fort Wayne Parks & Recreation Dept.
Fort Wayne Philharmonic
Honeywell Center
Niswonger Performing Arts Center


Music & Comedy
On the Road Concert Calendar
Art & Artifacts
Stage & Dance
Events (Things to Do)
Movie Times


CD Reviews
Musician Feature Stories
Visual Artist Feature Stories


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