The Blue Moon
Coffeehouse enjoys a reputation among artists and audiences
as a great listening room. National touring artists
typically headline the shows that occur on an elliptical
basis in a room that looks more suited to shooting hoops by
day. The love of music, respect for artists and the quiet
ambiance of oil lamps and cabaret seating combine to create
an atmosphere where the music is the focus at the Blue Moon
Coffeehouse.
As a listening room, quiet is requested at all times during
a performance. Guests are reminded to turn off cell phones
and pagers. All Blue Moon performances are taped for later
broadcast on public radio, WGLT~89 FM. Over the years, the
listening palette of Blue Moon audiences has richly
developed, and the performers who play the venue appreciate
the warm welcome and enthusiastic response of Blue Moon
patrons. If you are looking for music as a backdrop for
conversation, there are probably better spots around town
for that kind of evening. Between sets and after the show,
the artists of the Blue Moon will give you plenty to talk
about.
The Blue Moon Coffeehouse is proud to have been named the
best place for live music in The Pantagraph's Spring 2003
and 2004 Reader's Choice survey of "The Best of The Best in
Central Illinois." Long regarded as a community treasure by
the many artists who have played throughout the 16-year run
of the series, locals continue to "find" our little gem. We
appreciate the kindness of Dan Craft who keeps the community
informed of the many entertainment opportunities---including
the Blue Moon! It's an honor to be selected by hometown
friends of the Blue Moon. We hope to shine brightly for many
years to come!
The Sons of the Never Wrong's Blue Moon show on August 29
begins the eighteenth year of bringing the finest in
acoustic music to the campus of Illinois Wesleyan University
and to the Bloomington/Normal community. Artists new to the
series, along with favorites from seasons past, add to an
already rich pastiche of music and memorable evenings. The
Blue Moon proudly calls Carrie Newcomer, the first performer
to walk on its stage, a warm friend whose gift of music and
spirit helped to form the vision that a coffeehouse here
could prosper.
Ani DiFranco played the Blue Moon three times before
requiring ever-larger venues to meet the demands of her
audience. It was up in the Blue Moon's gracious green room
(a room larger than some of the venues these artists have
played) that Ani wrote Buildings and Bridges during a set
break, and she played it here for the first time (reading
lyrics from the hastily scrawled notes on a brown grocery
bag) when she returned to the stage.
No one attending Vance Gilbert's debut Blue Moon show will
forget the sound of silence after he delivered a five minute
song while standing atop a chair---without instrumentation
or microphone---to an audience who wouldn't let him leave
even after a three hour show. It was a blessing as well as a
benediction---and after a quiet moment or two, the hushed
crowd reverently exited the room.
Greg Brown, Patty Larkin, Susan Werner, The Uppity Blues
Women and many of the "best of the best" in contemporary
acoustic music have performed and continue to play this
improbable series. In addition to bringing recognized
talents to the venue, the Blue Moon is always listening for
the emerging artists...the ones who years later we can say
that we heard and saw "back in the day." Dar Williams was
such a find when she was a girl, a car and a guitar. Ani was
a scant 19 years of age when she first burst onto our
stage...and she still comes back to dance, in the words of
Utah Phillips, "with the ones that brung 'ya." The Voices on
the Verge show gave Blue Moon devotees an opportunity to
hear the new voice of acoustic music as expressed by Jess
Klein, Erin McKeown, Beth Amsel and Rose Polenzani (who had
previously played Blue Moon several years earlier when she
opened for Susan Werner). Garnering a lot of interest in the
music community is Ember Swift who appeared as a special
guest in a November show with Blue Moon mainstay, Sonia.
Antje Duvekot and Natialia Zukerman wowed audiences in
Spring, 2009--showcasing some of the best in new artists
hitting the national scene. Truly, the Blue Moon Coffeehouse
continues to play host to artists of renown as well as
cutting edge talent.
As always, Blue Moon performances are open to the public.
Doors open at 7:30 PM and the shows, usually consisting of
two sets, begin at 8:00 PM. Tickets ($10 each) for the
public are available at:
- The Garlic
Press in uptown Normal, IL
- At the venue,
beginning at 6:00 PM on the night of the performance
- The Blue Moon
Hotline (309/556-3815) is staffed M-F; 8:00 AM - Noon;
1:00 PM - 4:00 PM;call to reserve tickets or to purchase
tickets with a credit card
- Email your
ticket requests: bluemoon@iwu.edu
Tickets for the
special after season show with the Willy Porter Band are $15
each and available through our regular ticket options
detailed above.
Encores and Kudos
Without the involvement of many at Illinois Wesleyan
University coupled with the help of good friends through the
years, the Blue Moon Coffeehouse would never have held its
first concert, let alone prospered over thirteen seasons. It
is appropriate in our second decade of music, to recognize
and appreciate:
Bob Dillon, the best sound man and friend a harried producer
could ever hope to have working on her behalf. Bob has
worked, fretted, cared and labored to help make the Blue
Moon a success season after season. Starting that first year
when none of us knew what we were creating, Bob helped us
transition from our first Mackie mixing board, a cute little
8 channel number that we thought could handle all that we
could ever want to do...and then we met Ani DiFranco! Who
knew that a girl and her guitar could require so much
amplification? Too bad we hadn't begun to learn about
EQs...perhaps the JBLs might have been able to give the
volume she wanted without that distracting hum. But it was
"killer in the headphones"...and out in the house. No one
quite knew what sprite had blown through town that night,
but everyone in the audience knew that music would never be
the same. None of it would have happened, or continue to
happen, without the skilled hand and caring heart of Bob
Dillon.
Bruce Bergethon flies right seat at all Blue Moon
performances both quieting the nerves and enduring the
creative mood swings of the impressaria...in fact, it was
Bruce who dubbed the disembodied voice of the Blue Moon
"Impressaria!" Bruce is the general manager for WGLT, the
local public radio station. He is also one of the smartest
(he could have gone to Princeton) friends I have, and
certainly the most knowledgeable when it comes to music.
Almost from the start of the series, Bruce has recorded the
shows for later broadcast on WGLT. The library of these
recordings is an amazing archive of wondrous nights of
music, many capturing performances thick with talent and
moments of sheer magic. He is my good friend, and perhaps
the most generous of spirit of anyone I know. He also writes
one heck of an intro!
Jim Diehl first came into the Blue Moon family as a
consultant when additional equipment was needed to meet
rider requirements. He also provided necessary assistance
helping a neophyte sound engineer understand the physics as
well as the application for mixing a good show. As the
complexity of mixes has grown through the years, Jim has
become the primary sound engineer for the series. As much as
I enjoy mixing a show, having Jim Diehl at the Blue Moon has
given artists and audiences the benefit of a seasoned
professional at the board. It's a pleasure for me to see him
work the board, and in the middle of a performance to have
him lean over to me to whisper his approval for the
night---"We're having some fun now!"
George Wainwright held together many of the first seasons of
the Blue Moon with electrical tape, a smile and a shrug. He
is one of the original can do guys...and if we don't really
know what we're doing, then we'll figure out how to make it
work in the moment, and how to make it work better next
time. Almost every show we did in those early seasons reset
the learning curve from the previous night. And while
sometimes we would agree that "good is done and done is
good" with George on the job, it was always done right. Well
almost---there was that time when disappear fear blew the
limiters on the speakers even though we'd both been assured
that the amplifier could give us all and more than we could
ever want in a folk show. Three mixing boards, four monitors
and two sets of speakers later, we just might be onto
something! Thanks for your all of your effort and support,
George!
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