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Adam Baldwin

August 21 Ballroom 

This is our first show back since Covid and we couldn't be happier to have a venue favorite like Adam Baldwin,  

We will be contacting you all to find out if your in groups and will try our best to accommodate, so you can sit together, but prefered seating is first come first served.

This is a seated show.

Doors at 7pm, show starts at 8pm, 19+ only

Support local venues!!! Support our Local Maritime Musicians!!!  



There is a darkness in all of us, a force that tears us away from love and toward self-destruction, hell-bent on devouring the light we each hold precariously onto. And there are moments in our lives when we embrace that shadow self deeply enough that it threatens to consume us completely. A couple years ago, at his home beneath the MacDonald Bridge in Dartmouth, Nova Scotia, Adam Baldwin exiled himself from his friends and family to try to understand the substance abuse that had spun his life out of control. Writing until he couldn’t write anymore, he eventually distilled the 20+ songs that poured out of him into No Rest for the Wicked, a haunted reckoning of his relationship with his own wicked self. The result is no triumph, though it often sounds like one - opener “Half a Mind” explodes from the firepower of it’s snare shots into the kind of ‘80s-tinged, synth-heavy arena rock that begs for fist-pumping. Baldwin doesn’t bend reality to create a happy ending. Instead, he tells his story so far honestly, hunting down the beast in himself in order to hopefully figure out how to live with it. While he turns his song-writing lens further inward on No Rest for the Wicked, he shoots for the rafters with bold, brash guitars, earth-shaking drums, and synths that by turns build doomy atmospheres or provide the rocket-fuel that propels a chorus to its interstellar heights. Recorded in Halifax and New York City by Gus Van Go and Werner F., the album builds on the promise of Baldwin’s award-winning No Telling When (Precisely Nineteen Eight-Five) and reveals a new sharpness to the skills he’s honed over the better part of 15 years, toughing it out on the road and in the studio, both solo and as part of Matt Mays’ band. During the writing process, he worked out song ideas over long drives through the streets of Dartmouth – “the gritty, sad, burnt out parts of the city,” he says - and Lawrencetown Beach, surrounded by the serenity of emptiness and the hum of the Atlantic Ocean. It was between these two places that the perspective of each song would manifest, presenting itself as either ghastly and anxiety-riddled or a vessel bound unsteadily toward calmer seas.

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OCtober 28, Ballroom

2018 marked the 20 year anniversary of Navy Blues, the fourth studio album by Canadian rock band Sloan. Released on Murderecords in 1998, the album is slightly heavier than their two previous albums, showing an influence from 1970s rock mixed with their usual catchy, melodic sound. The album contains arguably their most popular song, "Money City Maniacs" which became a top 10 hit in Canada and received heavy radio airplay. Navy Blues was certified Gold in Canada on June 12, 1998. The album was nominated for Best Rock Album at the 1999 Juno Awards.

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November 18 Ballroom 

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