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DTSTART;TZID=America/Denver:20260506T190000
DTEND;TZID=America/Denver:20260506T190000
DTSTAMP:20260502T232730
CREATED:20250622T024601Z
LAST-MODIFIED:20260424T222836Z
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SUMMARY:Meshell Ndegeocello
DESCRIPTION:Opener: Deejay Dandelion\nPraised by the New Yorker as “the most significant bassist this country has produced since the advent of Charles Mingus and Flea\,” Meshell Ndegeocello makes her ArtPower debut with her GRAMMY-winning album No More Water: The Gospel of James Baldwin. \nThe prescience of James Baldwin is alive nearly forty years after his passing\, a testament to his enduring impact. A prolific writer\, his essays\, novels\, plays\, and poetry have assessed and often reproached the human condition. As an activist\, his oratory prowess in the 1960s was bar none\, lending his outspoken views on Black oppression with profundity and eloquence. Born in New York City on August 2\, 1924\, this year marks the centennial of the eminent writer\, a momentous occasion that is celebrated by the release of one of Meshell Ndegeocello’s most intrepid efforts to date: No More Water: The Gospel Of James Baldwin. \nWith No More Water\, Ndegeocello embarks on a prophetic musical odyssey that transcends boundaries and genres\, delving headfirst into race\, sexuality\, religion\, and other recurring themes explored in the celebrated writer’s canon. Following 2023’s The Omnichord Real Book\, her acclaimed debut for Blue Note Records which won the inaugural GRAMMY Award for Best Alternative Jazz Album\, the multi-instrumentalist\, singer\, songwriter\, and producer renders an immersive and palpable document that is as sagacious\, unabashed\, and introspective as Baldwin was in life.
URL:https://amphitheater.ucsd.edu/event/meshell-ndegeocello/
CATEGORIES:MUSIC
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BEGIN:VEVENT
DTSTART;TZID=UTC:20260517T163000
DTEND;TZID=UTC:20260517T163000
DTSTAMP:20260502T232730
CREATED:20260317T234919Z
LAST-MODIFIED:20260424T222814Z
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SUMMARY:San Diego Academy of Ballet's Spring Gala 2026
DESCRIPTION:San Diego Academy of Ballet’s Spring Gala harnesses the full spectrum of the best of ballet in a single show—young dancers training at SDAB alongside seasoned professionals performing at the highest level. The program blends beloved excerpts from the classical ballet repertoire with original works created specifically for SDAB\, offering audiences a dynamic mix of tradition and new choreography. \n\nThe Spring Gala celebrates the training\, creativity\, and dedication that define San Diego Academy of Ballet’s ethos\, while giving the community an opportunity to experience ballet performed with both youthful enthusiasm and professional excellence. 🩰
URL:https://amphitheater.ucsd.edu/event/sdab_gala2026/
CATEGORIES:DANCE,RENTAL
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BEGIN:VEVENT
DTSTART;TZID=America/Denver:20260530T200000
DTEND;TZID=America/Denver:20260530T200000
DTSTAMP:20260502T232730
CREATED:20250622T024534Z
LAST-MODIFIED:20260424T222755Z
UID:10000787-1780171200-1780171200@amphitheater.ucsd.edu
SUMMARY:An Evening with Kishi Bashi
DESCRIPTION:Join us for an evening with Kishi Bashi\, the genre-defying violinist\, composer\, and indie pop visionary whose dazzling live performances and heartfelt songs have earned him international acclaim and a devoted following.
URL:https://amphitheater.ucsd.edu/event/kishi-bashi/
CATEGORIES:MUSIC
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BEGIN:VEVENT
DTSTART;TZID=UTC:20260710T190000
DTEND;TZID=UTC:20260710T190000
DTSTAMP:20260502T232730
CREATED:20260427T183457Z
LAST-MODIFIED:20260501T161108Z
UID:10000842-1783710000-1783710000@amphitheater.ucsd.edu
SUMMARY:Maruja Límon
DESCRIPTION:“Maruja Limón dominated the stage\, breathing new life into flamenco with a captivating fusion.”—Billboard Latin \nMaruja Limón is a Barcelona-based female sextet who have spent a decade blending flamenco with Latin rhythms\, pop\, and experimental electronic textures. Performing from their EP Te como la cara\, they explore Catalan music\, flamenco\, and Latin rumba fused with electronic sounds\, dembow\, salsa\, and pop — delivering explosive music with lyrics that balance sensitivity and irony. Formed in 2014\, they gained recognition in Billboard’s On the Radar Latin section following their debut at the Latin Alternative Music Conference (LAMC) in New York. In January 2025\, Maruja Limón embarked on their first U.S. tour\, captivating audiences at iconic venues including Lincoln Center in New York\, the Kennedy Center in Washington\, and Philadelphia.
URL:https://amphitheater.ucsd.edu/event/maruja-limon/
CATEGORIES:MUSIC
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BEGIN:VEVENT
DTSTART;TZID=UTC:20260721T193000
DTEND;TZID=UTC:20260721T193000
DTSTAMP:20260502T232730
CREATED:20260501T154750Z
LAST-MODIFIED:20260501T155832Z
UID:10000843-1784662200-1784662200@amphitheater.ucsd.edu
SUMMARY:Shredding the Multiverse
DESCRIPTION:Music from Cobra Kai\, The Penguin\, Your Friendly Neighborhood Spider-Man\, Star Wars: Skeleton Crew\, and more\nA collision of cinematic rock as the iconic scores of Mick Giacchino (The Penguin\, Muppet Mayhem & beyond) collide with the electrifying guitar-driven anthems of Zach Robinson & Leo Birenberg (Cobra Kai).
URL:https://amphitheater.ucsd.edu/event/shredding-the-multiverse/
CATEGORIES:MUSIC
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BEGIN:VEVENT
DTSTART;TZID=UTC:20260722T193000
DTEND;TZID=UTC:20260722T193000
DTSTAMP:20260502T232730
CREATED:20260501T154955Z
LAST-MODIFIED:20260501T161730Z
UID:10000844-1784748600-1784748600@amphitheater.ucsd.edu
SUMMARY:Up Close: A Conversation with Brad Bird and Michael Giacchino
DESCRIPTION:For the third year running\, Oscar\, Grammy\, and Golden Globe-winning composer Michael Giacchino returns to host an intimate conversation with one of Hollywood’s most beloved filmmakers. \nBrad Bird is a two-time Academy Award winner whose films—The Iron Giant\, The Incredibles\, Ratatouille\, Mission: Impossible–Ghost Protocol\, Incredibles 2—have a way of sneaking up on you emotionally no matter how many times you’ve seen them. \nGiacchino’s scores are inseparable from the worlds Bird creates; if you’ve felt your heart lift during the opening of The Incredibles or found yourself unexpectedly moved by a rat making soup in Paris\, that’s Michael’s music doing its quiet\, powerful work. \nTogether\, they trace the arc of a filmmaking life that began with a handmade short sent to Disney at age fourteen and has never stopped reaching for something extraordinary—and along the way\, share stories from over two decades of creative partnership that you won’t have heard anywhere else. Funny\, candid\, and deeply felt\, this is an evening for anyone who has ever loved a movie.
URL:https://amphitheater.ucsd.edu/event/up-close-brad-bird-michael-giacchino/
CATEGORIES:OTHER
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BEGIN:VEVENT
DTSTART;TZID=America/Denver:20260730T190000
DTEND;TZID=America/Denver:20260730T190000
DTSTAMP:20260502T232730
CREATED:20260416T161936Z
LAST-MODIFIED:20260424T222739Z
UID:10000841-1785438000-1785438000@amphitheater.ucsd.edu
SUMMARY:aja monet | the color of rain
DESCRIPTION:The writer and community organizer offers up a fluid mix of jazz and poetry that evokes the spirit of 1990s spoken-word scenes.”—New York Times \nSurrealist blues poet aja monet returns to ArtPower with the color of rain — a waking-dream intervention for a world on the edge of fascism. \nCo-produced with Justin Brown and Meshell Ndegeocello\, the album moves fluidly across jazz\, soul\, hip-hop\, and R&B\, refusing category or definition. Rather than laying poetry over fixed arrangements\, monet works in close conversation with the music—shaping phrasing\, cadence\, and tone as each composition breathes and shifts. \nAn evolution from her GRAMMY-nominated debut when the poems do what they do\, this sophomore album reaches deeper—conjuring experiment\, interiority\, and the Black Arts Movement’s living legacy. If the first album was a gentle altar call\, the color of rain is an impassioned call to arms. Choose your weapon wisely. The pen is the sword—and music sharpens the blade. \n  \nCommunity Partner: Future Is Color
URL:https://amphitheater.ucsd.edu/event/aja-monet-the-color-of-rain/
CATEGORIES:MUSIC
ATTACH;FMTTYPE=image/jpeg:https://amphitheater.ucsd.edu/wp-content/uploads/2026/04/aja-web-hero.jpg
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BEGIN:VEVENT
DTSTART;TZID=UTC:20260801T193000
DTEND;TZID=UTC:20260801T193000
DTSTAMP:20260502T232730
CREATED:20260501T155316Z
LAST-MODIFIED:20260501T155807Z
UID:10000846-1785612600-1785612600@amphitheater.ucsd.edu
SUMMARY:The Cream of Clapton Band
DESCRIPTION:Endorsed by Eric Clapton himself\, this concert celebrates his record-breaking 24 Nights at the Royal Albert Hall and best-selling live album MTV Unplugged\, featuring very special guests—Clapton’s bassist Nathan East and legendary drummer Steve Ferrone (Eric Clapton/Tom Petty)—joining founding members Will Johns (Eric’s nephew) and Noah East (Nathan’s son) on stage.
URL:https://amphitheater.ucsd.edu/event/the-cream-of-clapton-band-2026/
CATEGORIES:MUSIC
ATTACH;FMTTYPE=image/jpeg:https://amphitheater.ucsd.edu/wp-content/uploads/2026/05/creamofclapton-hero-2.jpg
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BEGIN:VEVENT
DTSTART;TZID=UTC:20260809T190000
DTEND;TZID=UTC:20260809T190000
DTSTAMP:20260502T232730
CREATED:20260501T155516Z
LAST-MODIFIED:20260501T161817Z
UID:10000847-1786302000-1786302000@amphitheater.ucsd.edu
SUMMARY:Siudy Garrido Flamenco Company
DESCRIPTION:“A powerful new take on a traditional art form.”—Santa Barbara Independent\nFlamenco Íntimo (Intimate Flamenco) is a mesmerizing flamenco suite crafted by Latin GRAMMY–nominated choreographer Siudy Garrido and award-winning composer and guitarist José Luis de la Paz. It is a true masterpiece of emotion and rhythm that invites audiences on a captivating journey through the heart of traditional flamenco. \nFlamenco Íntimo delves into the deep\, passionate roots of the art form\, exploring traditional styles such as Guajiras\, Seguirillas\, Alegrías\, and Soleá. Siudy Garrido’s unique and contemporary vision brings these styles to life in a way that is both authentic and innovative. \nThis enchanting performance features a remarkable ensemble. Siudy Garrido\, renowned for her collaborations with Gustavo Dudamel and the Los Angeles Philharmonic\, leads the company. The virtuoso flute melodies of Eric Chacón and the soulful guitar of Víctor Franco creates an unforgettable soundscape. Adolfo Herrera’s percussion\, accompanied by the powerful voices of José Jesús Díaz “Cachito” and Ismael Fernández\, will send shivers down your spine. \nThe company’s senior corps de ballet dancers—including Orianna Torres\, Isabella Calicchio\, María Larrea\, Sara Mayorca\, and Federica Freites—grace the stage with exquisite choreography. \nAs the final curtain falls\, audiences are swept away by the passion\, artistry\, and raw emotion of Flamenco Íntimo. This remarkable performance transcends cultural boundaries\, leaving a profound connection to the heart and soul of flamenco. \nIn collaboration with Flamenco Arts Festival Santa Barbara
URL:https://amphitheater.ucsd.edu/event/siudy-garrido-flamenco-company/
CATEGORIES:DANCE
ATTACH;FMTTYPE=image/jpeg:https://amphitheater.ucsd.edu/wp-content/uploads/2026/05/siudy-hero.jpg
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BEGIN:VEVENT
DTSTART;TZID=UTC:20260812T190000
DTEND;TZID=UTC:20260812T190000
DTSTAMP:20260502T232730
CREATED:20260501T155656Z
LAST-MODIFIED:20260501T155737Z
UID:10000848-1786561200-1786561200@amphitheater.ucsd.edu
SUMMARY:Helado Negro & Reyna Tropical
DESCRIPTION:Helado Negro is stage name for Roberto Carlos Lange\, a South Florida-born musician and multidisciplinary artist known for crafting emotionally rich\, bilingual avant-pop. The son of Ecuadorian immigrants\, Lange stitches together memory\, identity\, and atmosphere to create detailed dreamscapes\, producing\, engineering\, and mixing his own music to build a sonic world that is entirely his own.  Through his ever-expanding multidisciplinary vision\, Helado Negro continues to push the boundaries of experimental pop. \nReyna Tropical is the project of trailblazing Mexican-born\, Texas-raised guitarist and singer Fabi Reyna. Her music is a contemporary celebration of rhythmic traditions of the tropical diaspora that create a sonic homeland where Black\, indigenous and queer joy can thrive.
URL:https://amphitheater.ucsd.edu/event/helado-negro-reyna-tropical/
CATEGORIES:MUSIC
ATTACH;FMTTYPE=image/jpeg:https://amphitheater.ucsd.edu/wp-content/uploads/2026/05/helado-reyna-webhero.jpg
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DTSTART;TZID=America/Denver:20260925T193000
DTEND;TZID=America/Denver:20260925T193000
DTSTAMP:20260502T232730
CREATED:20260331T162509Z
LAST-MODIFIED:20260424T222721Z
UID:10000840-1790364600-1790364600@amphitheater.ucsd.edu
SUMMARY:Ghostbusters in Concert
DESCRIPTION:Experience the beloved 1984 classic film like never before\, with the music performed on stage by an orchestra. Audience members will enjoy the ultimate movie concert experience as Ghostbusters is presented on a large HD cinema screen\, fully synced to a live performance of Academy Award®-winning composer Elmer Berstein’s spine-tingling score.
URL:https://amphitheater.ucsd.edu/event/ghostbusters-in-concert/
CATEGORIES:FILM,MUSIC
ATTACH;FMTTYPE=image/jpeg:https://amphitheater.ucsd.edu/wp-content/uploads/2026/03/ghostbusters-webhero.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Denver:20261024T190000
DTEND;TZID=America/Denver:20261024T190000
DTSTAMP:20260502T232730
CREATED:20260120T171725Z
LAST-MODIFIED:20260424T222702Z
UID:10000834-1792868400-1792868400@amphitheater.ucsd.edu
SUMMARY:Julian Lage Quartet feat. John Medeski\, Jorge Roeder\, Kenny Wollesen
DESCRIPTION:In the waning days of 2024\, Julian Lage began what he calls a writing sprint. Lage has long been prolific: In the three decades since the documentary Jules at Eight identified him as a prodigy\, Lage has made a dozen records with his own bands and duos\, and three times that many with leading lights of his artistic orbit\, like John Zorn\, Gary Burton\, and Charles Lloyd. But Lage was preparing for a four-day residency at SFJAZZ\, plus the premiere of a new quartet of old collaborators and friends who had strangely never recorded together: Lage with steadfast bassist Jorge Roeder\, dynamic drummer Kenny Wollesen\, and vaunted keyboardist John Medeski. As he thought about their qualities as players and hypothesized about how they might interact\, he set a timer for 20 minutes\, wrote a tune\, recorded it once\, and then began again. \nLage called one particular tune he loved during that sprint\, “Storyville.” It’s quick\, flickering riff felt like an invitation for conversation\, exactly the kind of thing he hopes to find in such a sprint. “My dream with composing\, really\, is to have something to talk about once we’re together\,” he says. “It’s not the end-all\, be-all.” Hearing what the quartet created with the piece in the studio is like watching a pot of water boil and observing not the chaos but the order\, the way every molecule is pushing against the other with purpose. \nThat is the spirit of Scenes from Above\, Lage’s second full-length album with the producer Joe Henry and his first with this striking quartet. Where 2024’s Speak to Me was Lage’s grand statement as an improvising bandleader capable of helming a relatively large ensemble through a diverse set of tunes\, Scenes from Above is about being a band member himself\, about Lage exploring the tunes he has written with a crew he has built with that entirely in mind. Its nine tracks frame a brilliantly open experience\, with four astounding players giving and taking space in equal measure as they explore these songs in one space\, in real time. \n“Neither of us were interested in making Speak to Me II. That record has its own character\, and there’s a great liberation in that\,” says Henry. “That was an idea that exists\, and we don’t have to babysit it any longer.” \nAfter his assorted writing sprints\, Lage had already whittled down the possibilities to maybe 50 pieces from perhaps twice that many. He began sending selections to Henry\, and they talked about four or five that felt like essential pieces of this frame. Then they wondered about how they might add color and motion to that picture\, less about what was missing and more about what felt important for this band to emphasize. \nAlso\, Lage was in a deep period of thinking about what he calls folkloric music\, from the songs of Susana Baca and early calypso numbers to the American blues and Béla Bartók’s integration of Romanian and Hungarian tunes into his own work. His writing reflected those touchstones. And as the two-day session at New York’s Sear Sound began to near\, he also thought about texture and timbre\, about how he could use his instrument to avoid the familiar terrain and potential pitfalls of the guitar trio-plus-organ configuration. By choosing an acoustic guitar rather than an electric on a particular tune\, for instance\, could he lure Medeski into unexpected spaces? \n“Keyboards are often a drag — we play too many notes. I can play a lot of notes\, too\,” Medeski says\, laughing. “Julian really thinks about things\, has a lot of intention. But it’s a beautiful combination of caring about the concept and direction and of being free and in the moment.” \nScenes from Above radiates both qualities in tandem. Opener “Opal” is a gorgeous invocation\, Lage’s thoughtful and patient lead unfurling beneath a rhythmic bed so rich and supportive it feels like cultivated terra firma. Wollesen and Roeder gallop slowly and steadily as Medeski and Lage exchange thoughts\, subtle shifts in the organ’s hum and glow prompting the guitarist to move in unexpected directions. The quartet sizzles during “Talking Drum\,” Medeski stabs his organ between the beat until he lifts up to ride alongside Lage and\, as it were\, discuss the melody. There is\, as Lage had hoped\, plenty to talk about. It is as close as Scenes from Above gets to groove and jam\, but there is a gleeful resistance to it\, too\, of never sitting still with a solo or rhythm. They get into the idea and get out\, too excited by what may still happen to belabor anything they’ve already found. \nBy the time they reach the end of “Something More\,” this quartet is a band that has instantly found its rapport. Sad and sweet\, this feels like a four-part prayer\, a shared wish for better days ahead. That they handle a song like this with such finesse and warmth on a first or second take\, as with every track on Scenes from Above\, remains a testament to the concept\, to freedom\, and\, between them both\, to trust. \n“I came in with a desire to present this as an egalitarian thing\, rather than ‘I’m the leader — let’s build something around me\,’” Lage confirms. “This is music that’s connected to our own growth and development individually and within our relationships with one another\, with no sense that anybody’s expecting anything.” \nIn spite of the caliber of players on Scenes from Above\, the tracks hover around the four-minute mark\, the result of the restraint they felt in a studio where they could play quietly and still be heard. The exception\, though\, is “Night Shade\,” the album’s exquisite seven-minute centerpiece\, suffused with a Medeski organ run that feels like gospel gold and a series of Lage solos that suggest brilliantly gestural blues. But is it really an exception? Listen again and notice the many instances in which the music crests like a wave\, about to crack open into something that resembles chaos. But they hold steady there both times\, both to be heard and to hear others. That is what makes Scenes from Above so poignant and timely — four dazzling instrumentalists in a room\, talking to one another but never actually over one another.
URL:https://amphitheater.ucsd.edu/event/julian-lage-quartet/
CATEGORIES:MUSIC
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