Space Ballroom weekly round up: 4 shows announced, Aurelio Voltaire returns
Space Ballroom announced Aurelio Voltaire, Frank Turner w/ Dave Hause, Katacombs and Young Widows w/ Rid of Me and Kal Marks and Colleen Green with Rozwell Kid this week. Tickets are on sale now via spaceballroom.com
Aurelio Voltaire
Space Ballroom • 295 Treadwell Street, Hamden, CT 06514
May 3, 2025
Click here to purchase tickets
Aurelio Voltaire
“What if Johnny Cash made folks songs for vampires?” The answer might very well describe the music of Aurelio Voltaire.
Often described as a modern day renaissance man, Voltaire is an accomplished singer/ performer, author, creator of films, animation, toys and home decor.
As an internationally touring musician for nearly 30 years, he is at the forefront of the Gothic and Dark Cabaret genres and has consistantly headlined some of the biggest horror, sci-fi and comic book conventions. Known for mixing mirth with the macabre, his music is a vast collection of fun songs about frightful topics. Perhaps that is why he has become such a fan favorite around Halloween, a time of year where his sizable audience doubles its listeners and his dark ditties appear on everyone’s Halloween playlists. Walk through a Spirit Halloween and you’re bound to hear a few of his songs, like Brains!Or Land of the Dead from the Cartoon Network show The Grim Adventures of Billy And Mandy.
Many know him for his songs from the viral animated videos of Daria Cohen’s Vampair series (The Night, Land of the Dead, Zombie Prostitute, Stuck with You, Raised by Bats and Chupando) that have a combined 80 million views on Youtube.
Over his thirty year career, Aurelio Voltaire has released 13th full-length studio albums. His most recent release, an EP called, The Last Halloween Party features It’s Always Wednesday (about that spooky Addams girl) as well as The Skeleton Dance which has an Oogie Boogie-like big band sound that recalls Voltaire’s earlier work for The Cartoon Network.
In 2025, Aurelio Voltaire is working on a Summerween album of spooky surf, ska, swing, reggae and rockabilly songs and is planning a release of his greatest Halloween Hits for the fall.
When not touring or recording, Aurelio Voltaire can be seen in his informative and hilarious Youtube series, Gothic Homemaking. Like a young Vincent Price taking over for Martha Stewart, he demonstrates how to turn a boring home into a Gothic lair with the help of his desiccated co-host, Orville Deadenbacher and a bunch of other recurring monster characters.
The New York Times did a feature on Aurelio Voltaire and the Gothic Homemaking show calling him, “The Martha Stewart of Macabre Homemakers” and “a lifestyle guru to people who embrace spookiness in all seasons.” The popularity of the show also lead to a book deal with Quarto Books/Epic Ink. Aurelio Voltaire’s book, Gothic Life- The Essential Guide to Macabre Style will hit bookstores everywhere on August 13th, 2024.
Aurelio Voltaire has also just completed his first horror feature film, The Demonatrix. In his directorial debut in which Voltaire also stars, a priest comes to the aid of a dominatrix when she accidentally summons an incubus demon. The film stars Hannah Fireman (V/H/S), Doug Bradley (Hellraiser), Larry Fessenden (Killers of the Flower Moon) and has effects by the same team that worked on DelToro’s Hellboy, Ghostbusters Afterlife, Star Trek Beyond and Cabinet of Curiosities. The film is expected to hit film festivals in the fall of 2025.
Frank Turner w/ Dave Hause, Katacombs
Space Ballroom • 295 Treadwell Street, Hamden, CT 06514
May 19, 2025
Click here to purchase tickets
Frank Turner
Dave Hause
Since releasing his debut album, Resolutions, in 2011, the Philadelphia-born songwriter has poured his whole heart, soul and life into his music. That’s no different on Drive It Like It’s Stolen, his sixth full-length. Its 10 songs overflow with Hause’s trademark urgency and passion, shimmering with a truth that reflects the harsh realities of life in this day and age, as well the intermittent jolts of joy that punctuate it. After all, his songs have always detailed his own personal traumas and triumphs within the setting of an unforgiving capitalist backdrop, tethering those personal experiences to ineluctable external forces. 2013’s second album, Devour, for example, was a response to his divorce from his first wife, while 2019’s Kick saw him tackle hope, depression, global warming and a crumbling American democracy with the news that he was to become a father. Most recently, on 2021’s Blood Harmony, Hause wrote and sang about the positive impact of having twins, and of the joy and excitement of being able to be at home with them for the first couple of years of the pandemic.
Drive It Like It’s Stolen is just as earnest and heartfelt, raw and real as anything he’s ever written before. Yet there’s also a subtle yet significant difference—here he’s delving into a more fictional type of storytelling to create what he terms “post-apocalyptic Americana.” That’s clear from the title of this album’s haunting and ominous opening song, “Cheap Seats (New Year’s Day, NYC, 2042)”. Set two decades in the future, it’s obviously not about anything that’s actually happened, but is still very much inspired by life. At the start of 2022, Hause was in a good place. He’d changed his diet and had maintained a strenuous workout regimen resulting in improved physical and mental health. Feeling great, he’d decided to go off Lexapro and left to go out on the Blood Harmony band touring.
“I was feeling great,” he recalls. “I came back to work, didn’t have my meds. But then I’m on tour, I’m not working out, I’m not eating that way anymore. And I’m really faced with the American city, the American experiment post-pandemic. We’re going places and being like, ‘Oh, my God, this is what Portland and San Francisco and Los Angeles look like.’ And it looked terrifying. Whenever I went anywhere, I felt like I was watching the prequel to 12 Monkeys, except I was also living it and just wondering what the fuck was going on. The tour was doing well, but it just felt like my mental health was falling down stairs. A few months later, when we were finishing the tour, we heard stories that people were siphoning gas out of tour buses. So, a lot of the record was kind of born of and trying to wrestle with that.”
To that extent, the future dystopia of “Cheap Seats” is very real—a vivid depiction of a society on the verge of collapse based on Hause’s experience as a touring musician and then filtered through his imagination. If “Cheap Seats” sets the tone with its dream of escape from a ravaged New York City, then song “Pedal Down” starts that road trip. It’s a gloomy, glowering, dark early morning ride through desolate, post-apocalyptic streets, whose atmosphere really places you inside that car. A moody and monochrome song full of portent and hope in equal measure, it’s both a literal journey—captured by the album’s striking cover, which replicates the view of one of his twins in the back seat as the family drives away—and a metaphorical exploration of Hause’s fears and anxiety of being a parent in modern day America. ‘But we lead our lambs to slaughter,” he sings. ‘It’s profit, boot straps, and guns/Every god needs a sacrifice/Honey, what have we done?’ On one level it’s a simple question directed at his wife about having kids. On another, it’s tackling the whole American system.
“Having children sounds like a great idea,” he explains, “and then you realize that they’re grist for the mill. They’re grist to be sold to, they’re to be exploited, and they’re potentially fodder for our passion for guns. If your god in America is the gun, the idea that we must have these guns, then gods need sacrifices and our children are those sacrifices. And you wonder, ‘Did we bring children in this world to sacrifice them to the various American gods?’ That’s another thing we’re kind of grieving. We’re all complicit in this, and we’re all potentially going to have to pay.”
The disturbing, apocalyptic quasi-reality of the album’s lyrics is matched and amplified by the music. Written by Hause with his younger brother Tim, Drive It Like It’s Stolen—just like the three that preceded it, as well as Tim’s 2022 debut full-length—is the distinct next phase of their creative partnership. The third release on the brothers’ own Blood Harmony record label, it shakes up expectations while at the same time building off the sound and reputation Hause has established for himself over the past decade or so. “Damn Personal”, for example, is a boisterous blue collar anthem about lost friends that’s charged with electric emotion, while the uplifting, Petty-esque “Hazard Lights” ruminates on Hause’s sobriety and the temptation that exists when he’s around friends who still imbibe. Yet though there’s a specificity to those lyrics, they’re easily applicable to other situations, too.
“That feeling of having the hazard lights on,” says Hause, “it’s just uncertainty. I’m kind of just pulled over here—I don’t know where I’m going, I know where I’ve been, the hazard lights are blinking, so please don’t hit me because I’ve got to figure out what to do next.”
Elsewhere, there’s “chainsaweyes” and “lashingout”, two very halves of the same whole that once again merge personal anxieties with universal horrors. Both ask important questions about identity and parenthood and responsibility and the difficulties of raising children in America. The former is backed by dramatic strings that emphasize the importance of the subject matter, while the latter begins as a beautifully poignant acoustic tune before descending into a marvelously unexpected piano breakdown that wouldn’t be out of place in a saloon sometime in the 1800s. Don’t be deceived by what Hause calls the “sugar” of that part, though—there’s still an important message underpinning it.
“Both those songs are trying to assess that angry, always devouring, youthful, testosterone-fueled American boy thing,” explains Hause. “Raising boys in America, you don’t want to fall on the wrong side of history with that. In “lashingout”, that person who sings ‘I want to be God for a day’ at the end could be a school shooter. That wish could be something that would prompt someone to do something terrible. Why would you want that power? You could really hurt people. But here’s the thing—we all feel like lashing out like that at points. But what is it that’s prompting this feeling that you want to change everything, and do you have it right? Are you righteous in that anger of wanting to lash out?”
Drive It Like It’s Stolen was engineered and mixed by David Axelrod, and—like Blood Harmony—produced by Will Hoge and recorded at Santi Sound in Nashville, though with a different set of musicians than that album’s all-star cast. Yet that’s not to the record’s detriment at all. On penultimate song “Tarnish”, a song about both a life lived and one still being lived—past and present coalescing in a beautiful mesh of wistful self-reflection, Hause sings ‘I never got a golden record/I guess the melodies were wrong.’ The performance and production of not just that song, but this whole record, proves that sentiment entirely wrong. It’s followed by “The Vulture”, a song that harks back to the defiance that dominated Kick but which is recast with his children in mind. It feels, too, like the cementing of the thematic shift he’s making on this record. These songs may still be for Hause, but they’re increasingly less about him.
“My life is getting increasingly less interesting,” he smiles. “And that’s by design. You want to be steady, you want to be at a baseball practice or taking your kids to gymnastics or whatever it is. You don’t want to necessarily be staring into the abyss all the time and trying to determine your existential weight. I don’t want my life to become fodder for songs—I want my creativity to be the fodder for songs.”
With this particular car ride, then, Hause is en route to a whole new world. Whether real or imagined or a combination of both, it’s time to buckle up for the ride.
Katacombs
Katacombs is the name Katerina Kiranos landed on after years of building sculptural furniture of bone and wood. Born in Miami to a Spanish mother and Greek father, she spent the majority of her early life bouncing between multiple cultures and wanting to adapt. The common thread anywhere she landed was her love for music. Piano lessons as a child led to days on end of writing and recording from her makeshift bedroom-studio as a teen, which turned into years of collecting songs- all just to store them away. Though she took a detour career-wise, she continued to play where she could and could never escape the urge to spend every day honing her first true passion. She played keys in a few bands and dabbled in open mics but always ended up feeling best in a dark room, single-handedly curating dramatic and ethereal melodies. Set on finally sharing that part of her world, the one most sacred, she started with a small body of work that embodies a wide range of some of her deeply rooted experiences and influences.
“You Will Not”, her debut EP, is a collection of songs that individually represent a place and time of her life, amounting to a rather emotional rollercoaster that traverses geographical borders and genres, hitting the highs and the lows of self-discovery.
Young Widows w/ Rid of Me, Kal Marks
Space Ballroom • 295 Treadwell Street, Hamden, CT 06514
June 5, 2025
Click here to purchase tickets
Young Widows
Colleen Green with
Space Ballroom • 295 Treadwell Street, Hamden, CT 06514
June 25, 2025
Click here to purchase tickets
Colleen Green
Colleen Green is a DIY singer-songwriter and visual artist from Lowell, MA.
Following the release of her classic debut album “Milo Goes to Compton” in 2010, Green started to make a name for herself in the lo-fi bedroom pop scene of Los Angeles. She soon became known in punk circles across the country for performing alone on stage with nothing more than a drum machine, a pair of sunglasses, and her iconic electric guitar.
In September of that same year, Green signed with Seattle-based Hardly Art Records, a subsidiary of the legendary Sub Pop label, and went on to release 2015’s “I Want to Grow Up” which brought her international renown and critical acclaim from the likes of Rolling Stone, Pitchfork, and the New York Times. Following the success of this album, the readers of LA Weekly voted her Best Solo Act of 2015.
Green’s pride and joy is the full-album cover of Blink 182’s Dude Ranch that she released in 2019. The recording has since become beloved by fans of both acts and even led to a guest appearance on Mark Hoppus’s Apple Music radio show.
She has performed in 20 countries including Brazil, Chile, Japan, Italy, Spain, Poland, Czechia, and Norway.
The past 10+ years have seen Green continue to grow, learn, and improve, and she hopes to keep following that trajectory indefinitely by staying cool, being nice, and believing in love.
Rozwell Kid
Fronted by the affable, spectacled Jordan Hudkins, Rozwell Kid write massive, gritty, excitable power-punk songs; they channel Blue Album guitar grandiosity and eternally-hummable melodies conveyed in ‘ooo”s, the likes of which would make Rivers Cuomo weak in his problematic knees. But when it came to writing Rozwell Kid’s new album, Precious Art, Jordan Hudkins found himself in the strange place of wondering who and what Rozwell Kid actually was. After more than two years on the road, the band – completed by guitarist Adam Meisterhans, bassist/vocalist Devin Donnelly and drummer Sean Hallock – hadn’t quite hit a dead end, but they needed to regroup, rethink and refind their identity.
All of those questions are thankfully answered by the twelve songs that make up Precious Art. It is a quintessential Rozwell Kid album and something entirely new at the same time. It’s teeming with understated nostalgia, but doesn’t get too lost in the past. Rather, it recalibrates the past, revisiting it with the added wisdom that comes with age. It’s quirky in the way that Rozwell Kid songs have always been quirky, but more than any other record the band has made, it sees Hudkins diving deep into the heart of human existence, telling universal truths based on his own personal memories and unexamined experiences.
“Nostalgia has always been part of my inspiration for songwriting,” admits Hudkins. “I’ve always seemed to pull from childhood memories and recontextualized them, where I kind of imagine it as a big 30 year-old kid wearing OshKosh B’Gosh overalls singing about these things they experienced or thought about as a kid.”
The result is an album that expands the strain of weird whimsy that’s always run through the band’s songs, but on which it’s increasingly difficult to ignore the more serious side of things. Nothing illustrates that more than the song “Booger.” Yes, it’s an amusing tale that revolves around the green stuff that comes out of your nose being smeared across the screen of your smartphone, but it’s also so much more than that – it’s a tender, touching and even tragic ode to lost love, that is filled with an audibly sad beauty.
This album also marks a new frontier in how the four members were able to write songs; having ample time in the studio allowed the band to be more experimental, and to collaborate in an entirely new way. But it’s remarkability is as much because of Hudkins’ insane ability to balance pathos and humor to turn the slightest, most oddball detail – whether that’s picking his nose, making Batman costumes or liking hummus – into works of, well, precious art.
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