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The Felice Brothers  

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Upcoming concerts (18) See all

Bowery Ballroom

The Sinclair

Space Gallery

Longboat Hall

Beat Kitchen

Brudenell Social Club

Band On The Wall

The Button Factory

St Luke's

Hare & Hounds, Kings Heath

View all upcoming concerts 18

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The Felice Brothers are an American folk rock/ country rock band from Brooklyn, New York founded by brothers Ian, James and Simone.

The band got its start in 2006 by brothers Ian, James and Simone Felice, who were joined by their friend Josh "Christmas Clapton" Rawson, previously a traveling dice player, fiddle player Greg Farley and drummer David Estabrook. They originally started playing in the New York City subway stations, and in 2006 they self-released their debut album, “Through These Reins and Gone.” They followed up with their second album in 2007 entitled “Tonight At The Arizona” and toured the United States.

On 7 January 2008 the group signed a deal with Team Love Records and extensively toured the United States to promote their newest album. They also played a number of music festivals including Bonnaroo, All Points West Music and Arts Festival and the Philadelphia Folk Festival. Continuing their stride of touring, the band went on tour in 2009 with Old Crow Medicine Show, Justin Townes Earle and the Dave Rawlings Machine for a nine-city package tour called The Big Surprise Tour. Additionally in 2009, the group released “Yonder Is The Clock” which also peaked at Number 20 on the US Billboard Top 200. Then, in 2011 they released “Celebration, Florida” which peaked at Number 5 On the US Billboard Top 200.

Live reviews

Midway through this exuberant, at times rambunctious and ultimately rather excellent show at Academy Three in Manchester, James Felice announced his affinity with the UK, regarding it as the band's second home. It's wise to take these proclamations of adoration from a band with a pinch of salt, but in this case, it would not be difficult to argue with the statement from the youngest of the two remaining Felice brothers in the band. After all, this was the New York outfits second visit to Manchester in less than three months, previously playing at Gorilla in June and the band seemed totally at ease in their surroundings, performing to an audience only too glad to experience their raucous show once again.

Preceding this triumphant return tonight was Oklahoma four piece Horse Thief. The band subtly complimented the style and sound to come from The Felice Brothers, turning in a characterful set of atmospheric and psychedelic Americana, but the band also managed to prove themselves no one trick pony, as themes and emotions explored within the tracks performed tonight, along with the charismatic delivery of frontman Cameron Neal also provided nostalgic reminders of bands forever ingrained within Manchester's psyche such as The Smiths no less. It will be interesting to see if Horse Thief can develop this sound into something uniquely theirs but they could be one to watch. Bands often despise being categorized and compartmentalized, and the beauty of The Felice Brothers is that it's becoming increasingly difficult to do this, even if one was so inclined. Early releases such as 'Tonight at the Arizona' and the eponymous album 'The Felice Brothers' generated comparisons to Dylan along with the more familiar 'americana' tag. The 2009 release 'Yonder is the Clock' prompted some to include Tom Waits on the venerable list of comparable artists. However, tonights show confirmed that the band are more interested in being themselves and appear to love spending time in the company of fans who appreciate how their sound has evolved over the last eight years in particular.

This results in a ninety minute set structured around several tracks from latest release 'Favourite Waitress', but no Felice Brothers gig is the same and the boys swap vocal responsibilities regularly as various songs from the previously mentioned albums as well as 'God Bless You Amigo' and the more experimental 'Celebration, Florida' are dipped into. As the band head towards their ten year anniversary and five years on from my last encounter with the boys from the Catskill mountains, it was a particular joy to experience their unorthodox rhythms and playful approach to their melodies, which has developed as a result of their somewhat ramshackle origins on the subways of New York.

What enhances the experience further during these personnel changes in front of the mic, are the different personalities Ian, James, Josh and Greg bring to their contributions. Ian Felice certainly brings a laid back cool to proceedings in songs such as 'Meadow of a Dream' and 'The Big Surprise' but his approach does not entirely disguise the joy he appears to experience when he performs, particularly with his brother James. This was noticeably evident during the track 'Love Me Tenderly'. Throughout the show, James regularly engages in amusing banter with the audience, ensuring that the crowd are involved in proceedings throughout, having a say in the ebb and flow of the show and on the track 'Whiskey in My Whiskey' the crowd contribution raises the decibel level significantly making the track almost unrecognisable from the almost solemn incarnation that exists on the album 'The Felice Brothers'.

The band certainly have a wealth of quality songs that can be called upon on any given night and this can often result in personal favourites unfortunately failing to make the setlist. The more contemplative gems from 'Yonder is the Clock' such as 'The Boy from Lawrence County', seeming plucked straight from the soundtrack of a Sam Peckinpah film or the marvelously evocative baseball epic 'Cooperstown' sadly did not make it tonight. Maybe next time when they visit these shores that they hold in such high regard I'll get lucky. It probably won't be that long a wait!

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The Felice Brothers are absolutely amazing. Its hard to compartmentalize their sound into one genre, so I won't. If you're a fan of the American sound- you have to see them. The first time we went to see them was in 2009 or so and the performance just blew our minds. I had never seen such an energy and captivating stage presence (as a group as well as each band member individually) and they really reminded us of THE BAND, which, as you should know, is saying a lot.

Their music takes on American imagery. They sing of American landscapes, American people, American ideologies and have been known to play American traditionals. Their musical style evokes a sense of "folk" however their stage presence is something much more energetic. A favorite to watch on whichever instrument is James Felice. The soul he pours into that accordion is an intimacy I've rarely witnessed from any other live musician. Even sitting behind the keyboards you can tell that the instruments are a part of him.

They all play that way, as if they were born to write these songs and perform them for the world. They are natural performers, gifted musicians with an incredible ability to write such perfect songs and perform them playfully. You really get a sense that their relationship with their audience and their music is inclusive, as if these were your older brothers.

Hands down, favorite band - do not miss them, they never disappoint.

The Felice Brothers have been my favourite band since I first saw them at the 100 Club in 2008. The music is great - but try categorising them! With fiddle and accordian you'll get some country and cajun but then the driving rock bass and drum at times makes them seem a world away from that description, plus some call aspects of their work 'techno' but an old hippy doesn't understand that, though I like those songs! The gig at the forum on 3/9/14 was brilliant. The setlist was clearly flexible but I heard most of what I'd hope to hear apart from the brlliant 'Glory Glory' and 'Lincoln Continental'. Top memories were Ian Felice soloing on 'Lou the Welterwieght' (the memory of which has sent a shiver up my spine) and the brilliant rendition of 'Lion' from the new album. Not that any were duds, and three new songs were well received. I hope this night and the reception the band received are a sign that the days of slogging round playing to small but appreicative audiences are gone. This is a band which deserves success and a larger fanbase. Catch them next year, you won't be sorry!

At the end of a long tour, they showed no signs of fatigue or weariness. The pace was dynamic and the crowd loved it. The set was long with virtually no breaks between numbers, and despite almost no dialogue with the crowd, they maintained a warm, friendly and convivial atmosphere. It was like visiting some good old friends. The Felice Brothers seem to go from strength to strength, and the show at The Rainbow demonstrated this. An excellent evening of powerful music that was well played.

First time seeing the Felice Brothers, and they were incredible. They seemed to all be enjoying themselves and having fun. They played a few brand new songs, and now I can't wait for the album. Don't miss the chance to see them live!

It was cancelled weeks ago! It was cancelled weeks ago! It was cancelled weeks ago! It was cancelled weeks ago! It was cancelled weeks ago! Ago ago ago ago ago.

Photos (18)

Posters (50)

Past concerts

Colony- Woodstock

Brooklyn Bowl - Philadelphia

View all past concerts

The Felice Brothers tour dates and tickets 2024-2025 near you

Want to see The Felice Brothers in concert? Find information on all of The Felice Brothers’s upcoming concerts, tour dates and ticket information for 2024-2025.

The Felice Brothers is not due to play near your location currently - but they are scheduled to play 18 concerts across 6 countries in 2024-2025. View all concerts.

Next 3 concerts:

• New York (NYC), NY, US
• Cambridge, MA, US
• Portland, ME, US

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Most played:

• New York (NYC) (45)
• Philadelphia (23)
• SF Bay Area (23)
• Bridgeport (22)
• Boston / Cambridge (20)

Appears most with:

• Conor Oberst (50)
• Johnathan Rice (27)
• Justin Townes Earle (24)
• Spirit Family Reunion (22)
• Adam Haworth Stephens (21)

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The Felice Brothers

September 23, 2022 // brooklyn made.

Ruminating on the risks of taking things for granted in our daily lives, Ian Felice, the lead singer/songwriter of The Felice Brothers, expresses how meaningful the experience of playing music with his band has been after long months of social distancing. In From Dreams to Dust, their eighth and most recent studio album, out September 17th on Yep Roc Records, the band’s exuberance to be together doing what they do so well is palpable. Characteristic of The Felice Brothers, the new tracks are a mixture of somber tunes with ones that are musically upbeat, all the while carrying messages that beg listeners to think deeply about the environment, humanity, legacy, and death. Many of the songs depict the passage of time, nostalgia, transience and getting older. For songwriter Ian Felice, there must also always be a current of hope in the music.

“I want for my music to do what the best music in my life has done for me,” explains Ian. “I want to do that for other people—to help them think through hard times or think through how to communicate something they didn’t know how to; to just make them happy. This may sound ironic, because my music is kind of dark sometimes, but the music I love best is just the most hopeful music like Pete Seeger singing about humanity getting along or Michael Hurley music that connects to some childlike simplicity that makes you feel light and happy. Music is a medicine. It can make our time on the planet a little more enjoyable.”

The Felice Brothers, Ian (guitar and lead vocals) and James (multi-instrumentalist and vocals), hail from the Catskills, NY, where their early songs echoed off subway walls and kept company with travelers and vagrants. Their current lineup, with the addition of bassist and inaugural female Felice member Jesske Hume (Conor Oberst, Jade Bird) and drummer Will Lawrence (also a singer/songwriter) as their rhythm section, promises to be the best yet.

Nathaniel Walcott (trumpet) and Mike Mogis (pedal steel player) act as an accompaniment throughout the tracks, the latter of whom mixed From Dreams to Dust, which was produced by The Felice Brothers.

A folk-Americana-rock-country band with deep roots in varied genres, The Felice Brothers are what Rolling Stone lauds as “musician’s musicians” and poets. Indeed, Ian has proven his pedigree as a poet with the publication of his limited-edition collection of poetry Hotel Swampland (2017).

They are known by fans for their catchy tunes like “Frankie’s Gun,” “Love Me Tenderly,” “Cherry Licorice,” and “Lion” and, more recently, 2019’s “Undress” and “Special Announcement,” but they offer much more than a great sound. Seamlessly interweaving bizarre catalogues of literary and pop-culture references with vivid portrayals of life and its kaleidoscope of tragedies and hopes, their lyrics and dazzling musical accompaniment not only sound good but demand introspection. Some of the themes that run through their music, as Ian states, “are perennial” and are centered around “searching for something or transformation.” Others explore “characters trying to achieve some ideal they’re striving for” or who are “being weighed down by reality.”

Their latest in this tradition is their opening song, “Jazz on the Autobahn,” a piece marked by its explosive sounds that invite us to join in the merriment of the maypole in the midst of uncertain futures. The song displays Ian’s talent for switching from his smooth narrative voice to singing in his vintage, rich tone. Jesske’s adept bass strumming, accompanied by Will’s rhythmic drumming, act as a pulse, pleasantly complemented by James’s melody on the piano. Together, along with the wailing trumpet, The Felice Brothers are mesmerizing. The band’s cohesiveness in this opener and the brilliant synthesis and harmonizing of voices and instruments reflects the members’ varied talents as well as their unified vision.

Detailing the story of Helen and The Sheriff who are driving together in a “doomed Corvette,” “Jazz on the Autobahn,” Ian explains, is about a couple of people who have “left behind their entire lives in search of something but are haunted by a feeling of looming catastrophe, and the two souls are adrift in uncertain times, trying to understand their own feelings, hopes, and desires.” As he has throughout his career with The Felice Brothers, Ian harnesses the dissonance of life to produce music that is at once musically inspiring and conceptually sophisticated. He works through the difficult realities of life as a way to, at least temporarily, end at a more life-affirming state.

“I just have strange emotions and things I don’t understand. Sometimes when I write, it helps me work through the ways I feel,” Ian explains. “I want it to be about art.” These two mutually informing needs, that of wrestling with the emotional and psychiatric impacts of living in a world saturated with tornadoes, mushroom clouds, chemical rain, poisoned bird baths, worsening markets, greed, earthquakes, and war, and creating artistic productions that offer us what Ian calls “digestive realities,” define two notable aesthetic principles that characterize Ian’s songs and all of the tracks on From Dreams to Dust.

Ian wants his songs to do for others what his favorite songs do for him, which is to help listeners get through hard times. “The greatest thing,” he states, “would be for people to be inspired by our music in a positive way.” But for Ian, doing so involves not turning away from adversities but rather requires facing harsh truths for the purpose of nourishing us with these digestive realities that might help us work productively through otherwise demoralizing and debilitating prospects. Thus, as the speaker of “To-Do List” writes a plan, or perhaps a bucket list, as “the plague goes by,” the speaker resolves to “Befriend an Unfortunate lunatic” and “Bring Flowers to the Sick” as well as absorb the light from the “amorous rays” of the sun.

The songs in From Dreams to Dust ask us to pay close attention to Ian’s narrative techniques and literary devices, transforming his songs into poetry and short stories. “Ian is so good about taking poetry, novels, folk art, and a huge wealth of artistic knowledge and metabolizing those things into music that is never academic or stilted but feels so alive,” explains James on his brother’s literary prowess.

Indeed, in “Valium,” Ian transforms the mundane life of the speaker, whose “touch and go” happiness is as fleeting and insubstantial as the channel surfing he does in a “motel on the border of Utah and Colorado,” into a commentary on “the national consciousness.” Ian conveys what he refers to as “the tragic idealization of the American west” that the US public uncritically consumes through John Wayne and Annie Oakley clips, and which elide the violence of colonial legacies. With a little help from the rest of the band’s incantations and the mournful sound of the pedal steel guitar, a feature that permeates the album and gives it a beautifully haunting quality that leaves one wanting to join in with howls, the song ultimately revives the souls of those former inhabitants of Colorado and Utah in the midst of the speaker’s preoccupation with his own “warmly beating heart.”

James too shines on From Dreams to Dust with “All the Way Down,” a song that focuses on artificial intelligence and, as he puts it, the transformation “from dust (or starlight) into something that can dream” and “Silverfish,” a piece that lists the external forces encroaching upon the speaker’s physical and social space, displacing him and unraveling his life as he helplessly repeats “I gotta to do something.”

While the band has recorded previous albums in studios, they also have a tradition of leaving the comforts (and restrictions) of the studio to record their music in unconventional spaces. Their first album was recorded in a leaking old theater in New York. This was the place where James learned to record. “It was awesome,” says James, adding that the band recorded the self-titled album The Felice Brothers in an old chicken coop. If we take James’ words from “Blow Him Apart,” James also “learned to sing / In a chicken coop,” a fact that speaks to The Felice Brothers’ embrace of their working-class roots and their commitment to remain raw, to merge the sacred simplicity of their recording process with the sophistication of their lyrics and musical sound. As Rolling Stone notes, “the band has, from its inception, prioritized self-definition” and, I would add, creative freedom.

“I’d rather be in a space where there is no time limit and if you break anything, it’s no big deal,” says James, whose tenure with The Felice Brothers has included many raucous performances. In the earlier years, until such an approach led to much broken equipment, The Felice Brothers invited audiences to join them onstage, and they have been known to have fans break out into impromptu performances in their live shows. These different manifestations of The Felice Brothers say as much about their humility as artists as it does their artistic principles.

“I want to continue recording in strange places that feel like home, that feel like ourselves,” continues James. The Felice Brothers have found their new recording home in an 1873 church that Ian renovated. Though the church had fallen into disrepair, Ian admits it was always his dream to use it. Feeling lucky to have acquired the property, Ian spent a few months renovating the approximately 30×40, one-room church. He put in new flooring, and The Felice Brothers would go on to record From Dreams to Dust in this new, old, and now hallowed, place. Considering the band’s history in unconventional spaces and the pandemic they have weathered apart, the renovated church represents Ian’s, and The Felice Brothers’, enduring commitment to friendship and music and to finding beauty, and hope, in unexpected places.

The restored church, like From Dreams to Dust, also reflects the Felice Brother’s unrelenting efforts to continue rebuilding in the wake of life’s decomposing cycles. Though perennially conscious of life’s treachery and our troubling ecologies, which we seem, as James remarks, “so ill-fitted to interact with,” The Felice Brothers constantly remind us that life’s mysteries are still worth pondering and, in so doing, offer us the blueprint for helping rebuild our lives after they collapse. As James sings in “All the Way Down,” whether we are “the union / Of an ape in an Apron/And a break in the clouds” or “nothing but starlight / All the way down,” we are alive and inhabiting this strange space together. Ian’s poetic final song, “We Shall Live Again,” assures us that even “in this life where any joyful thing / is paid two fold in suffering / we shall live again.” The phrase Dreams to Dust, then, may represent the deterioration of some hopes such as in the case of the two characters in “Inferno” who are consumed by the fires in a “fevered dream” and decaying lives as “some die on the steppes of frozen wasteland” while yet others “OD on the roads to Graceland” in “We Shall Live Again,” but, Dreams to Dust also offers us the sacred ashes with which we might enrich the earth by scattering. That is, the Felice Brothers bequeath us the matter with which we might cultivate life and teach us the words, like chants, that offer the power to heal.

Will Lawrence

Will Lawrence is a songwriter and multi-instrumentalist from New York. He has been the drummer of The Felice Brothers since 2016, and has toured and recorded with a number of other artists, including Mail the Horse, Gun Outfit, and Conor Oberst.

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The Felice Brothers

April 21, 2022 @ 8:00 pm - 11:45 pm.

Ruminating on the risks of taking things for granted in our daily lives, Ian Felice, the lead singer/songwriter of The Felice Brothers, expresses how meaningful the experience of playing music with his band has been after long months of social distancing. In From Dreams to Dust, their eighth and most recent studio album, out September 17th on Yep Roc Records, the band’s exuberance to be together doing what they do so well is palpable. Characteristic of The Felice Brothers, the new tracks are a mixture of somber tunes with ones that are musically upbeat, all the while carrying messages that beg listeners to think deeply about the environment, humanity, legacy, and death. Many of the songs depict the passage of time, nostalgia, transience and getting older. For songwriter Ian Felice, there must also always be a current of hope in the music. “I want for my music to do what the best music in my life has done for me,” explains Ian. “I want to do that for other people—to help them think through hard times or think through how to communicate something they didn’t know how to; to just make them happy. This may sound ironic, because my music is kind of dark sometimes, but the music I love best is just the most hopeful music like Pete Seeger singing about humanity getting along or Michael Hurley music that connects to some childlike simplicity that makes you feel light and happy. Music is a medicine. It can make our time on the planet a little more enjoyable.” The Felice Brothers, Ian (guitar and lead vocals) and James (multi-instrumentalist and vocals), hail from the Catskills, NY, where their early songs echoed off subway walls and kept company with travelers and vagrants. Their current lineup, with the addition of bassist and inaugural female Felice member Jesske Hume (Conor Oberst, Jade Bird) and drummer Will Lawrence (also a singer/songwriter) as their rhythm section, promises to be the best yet. Nathaniel Walcott (trumpet) and Mike Mogis (pedal steel player) act as an accompaniment throughout the tracks, the latter of whom mixed From Dreams to Dust, which was produced by The Felice Brothers. A folk-Americana-rock-country band with deep roots in varied genres, The Felice Brothers are what Rolling Stone lauds as “musician’s musicians” and poets. Indeed, Ian has proven his pedigree as a poet with the publication of his limited-edition collection of poetry Hotel Swampland (2017). They are known by fans for their catchy tunes like “Frankie’s Gun,” “Love Me Tenderly,” “Cherry Licorice,” and “Lion” and, more recently, 2019’s “Undress” and “Special Announcement,” but they offer much more than a great sound. Seamlessly interweaving bizarre catalogues of literary and pop-culture references with vivid portrayals of life and its kaleidoscope of tragedies and hopes, their lyrics and dazzling musical accompaniment not only sound good but demand introspection. Some of the themes that run through their music, as Ian states, “are perennial” and are centered around “searching for something or transformation.” Others explore “characters trying to achieve some ideal they’re striving for” or who are “being weighed down by reality.” Their latest in this tradition is their opening song, “Jazz on the Autobahn,” a piece marked by its explosive sounds that invite us to join in the merriment of the maypole in the midst of uncertain futures. The song displays Ian’s talent for switching from his smooth narrative voice to singing in his vintage, rich tone. Jesske’s adept bass strumming, accompanied by Will’s rhythmic drumming, act as a pulse, pleasantly complemented by James’s melody on the piano. Together, along with the wailing trumpet, The Felice Brothers are mesmerizing. The band’s cohesiveness in this opener and the brilliant synthesis and harmonizing of voices and instruments reflects the members’ varied talents as well as their unified vision. Detailing the story of Helen and The Sheriff who are driving together in a “doomed Corvette,” “Jazz on the Autobahn,” Ian explains, is about a couple of people who have “left behind their entire lives in search of something but are haunted by a feeling of looming catastrophe, and the two souls are adrift in uncertain times, trying to understand their own feelings, hopes, and desires.” As he has throughout his career with The Felice Brothers, Ian harnesses the dissonance of life to produce music that is at once musically inspiring and conceptually sophisticated. He works through the difficult realities of life as a way to, at least temporarily, end at a more life-affirming state. “I just have strange emotions and things I don’t understand. Sometimes when I write, it helps me work through the ways I feel,” Ian explains. “I want it to be about art.” These two mutually informing needs, that of wrestling with the emotional and psychiatric impacts of living in a world saturated with tornadoes, mushroom clouds, chemical rain, poisoned bird baths, worsening markets, greed, earthquakes, and war, and creating artistic productions that offer us what Ian calls “digestive realities,” define two notable aesthetic principles that characterize Ian’s songs and all of the tracks on From Dreams to Dust. Ian wants his songs to do for others what his favorite songs do for him, which is to help listeners get through hard times. “The greatest thing,” he states, “would be for people to be inspired by our music in a positive way.” But for Ian, doing so involves not turning away from adversities but rather requires facing harsh truths for the purpose of nourishing us with these digestive realities that might help us work productively through otherwise demoralizing and debilitating prospects. Thus, as the speaker of “To-Do List” writes a plan, or perhaps a bucket list, as “the plague goes by,” the speaker resolves to “Befriend an Unfortunate lunatic” and “Bring Flowers to the Sick” as well as absorb the light from the “amorous rays” of the sun. The songs in From Dreams to Dust ask us to pay close attention to Ian’s narrative techniques and literary devices, transforming his songs into poetry and short stories. “Ian is so good about taking poetry, novels, folk art, and a huge wealth of artistic knowledge and metabolizing those things into music that is never academic or stilted but feels so alive,” explains James on his brother’s literary prowess. Indeed, in “Valium,” Ian transforms the mundane life of the speaker, whose “touch and go” happiness is as fleeting and insubstantial as the channel surfing he does in a “motel on the border of Utah and Colorado,” into a commentary on “the national consciousness.” Ian conveys what he refers to as “the tragic idealization of the American west” that the US public uncritically consumes through John Wayne and Annie Oakley clips, and which elide the violence of colonial legacies. With a little help from the rest of the band’s incantations and the mournful sound of the pedal steel guitar, a feature that permeates the album and gives it a beautifully haunting quality that leaves one wanting to join in with howls, the song ultimately revives the souls of those former inhabitants of Colorado and Utah in the midst of the speaker’s preoccupation with his own “warmly beating heart.” James too shines on From Dreams to Dust with “All the Way Down,” a song that focuses on artificial intelligence and, as he puts it, the transformation “from dust (or starlight) into something that can dream” and “Silverfish,” a piece that lists the external forces encroaching upon the speaker’s physical and social space, displacing him and unraveling his life as he helplessly repeats “I gotta to do something.” While the band has recorded previous albums in studios, they also have a tradition of leaving the comforts (and restrictions) of the studio to record their music in unconventional spaces. Their first album was recorded in a leaking old theater in New York. This was the place where James learned to record. “It was awesome,” says James, adding that the band recorded the self-titled album The Felice Brothers in an old chicken coop. If we take James’ words from “Blow Him Apart,” James also “learned to sing / In a chicken coop,” a fact that speaks to The Felice Brothers’ embrace of their working-class roots and their commitment to remain raw, to merge the sacred simplicity of their recording process with the sophistication of their lyrics and musical sound. As Rolling Stone notes, “the band has, from its inception, prioritized self-definition” and, I would add, creative freedom. “I’d rather be in a space where there is no time limit and if you break anything, it’s no big deal,” says James, whose tenure with The Felice Brothers has included many raucous performances. In the earlier years, until such an approach led to much broken equipment, The Felice Brothers invited audiences to join them onstage, and they have been known to have fans break out into impromptu performances in their live shows. These different manifestations of The Felice Brothers say as much about their humility as artists as it does their artistic principles. “I want to continue recording in strange places that feel like home, that feel like ourselves,” continues James. The Felice Brothers have found their new recording home in an 1873 church that Ian renovated. Though the church had fallen into disrepair, Ian admits it was always his dream to use it. Feeling lucky to have acquired the property, Ian spent a few months renovating the approximately 30×40, one-room church. He put in new flooring, and The Felice Brothers would go on to record From Dreams to Dust in this new, old, and now hallowed, place. Considering the band’s history in unconventional spaces and the pandemic they have weathered apart, the renovated church represents Ian’s, and The Felice Brothers’, enduring commitment to friendship and music and to finding beauty, and hope, in unexpected places. The restored church, like From Dreams to Dust, also reflects the Felice Brother’s unrelenting efforts to continue rebuilding in the wake of life’s decomposing cycles. Though perennially conscious of life’s treachery and our troubling ecologies, which we seem, as James remarks, “so ill-fitted to interact with,” The Felice Brothers constantly remind us that life’s mysteries are still worth pondering and, in so doing, offer us the blueprint for helping rebuild our lives after they collapse. As James sings in “All the Way Down,” whether we are “the union / Of an ape in an Apron/And a break in the clouds” or “nothing but starlight / All the way down,” we are alive and inhabiting this strange space together. Ian’s poetic final song, “We Shall Live Again,” assures us that even “in this life where any joyful thing / is paid two fold in suffering / we shall live again.” The phrase Dreams to Dust, then, may represent the deterioration of some hopes such as in the case of the two characters in “Inferno” who are consumed by the fires in a “fevered dream” and decaying lives as “some die on the steppes of frozen wasteland” while yet others “OD on the roads to Graceland” in “We Shall Live Again,” but, Dreams to Dust also offers us the sacred ashes with which we might enrich the earth by scattering. That is, the Felice Brothers bequeath us the matter with which we might cultivate life and teach us the words, like chants, that offer the power to heal.

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The Felice Brothers

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The Felice Brothers Concert Setlists & Tour Dates

The felice brothers at bowery ballroom, new york, ny, usa.

• Wonderful Life
• Teeth In The Tabloids
• Jazz on the Autobahn
• Cherry Licorice
• Days of the Years
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The Felice Brothers at Colony, Woodstock, NY, USA

• Jack at the Asylum
• Let Me Come Home
• Penn Station
• Murder by Mistletoe
• Take This Bread
• Whiskey in My Whiskey
• Birds of the Wild West
• Lincoln Continental

The Felice Brothers at Brooklyn Bowl Philadelphia, Philadelphia, PA, USA

• Strawberry Blonde
• Blow Him Apart
• Green Automobile

The Felice Brothers at The Sinclair, Cambridge, MA, USA

The felice brothers at brooklyn bowl, brooklyn, ny, usa.

• Suzy Was a Skeleton

The Felice Brothers at Green River Festival 2023

• Silver in the Shadow
• When Susie Was A Skeleton

The Felice Brothers at The Monkey House, Winooski, VT, USA

• Love Me Tenderly

The Felice Brothers at SPACE, Portland, ME, USA

• Ballad of Lou the Welterweight
• Nail It on the First Try

The Felice Brothers at The Press Room, Portsmouth, NH, USA

• Butch Cassidy
• Aerosol Ball

The Felice Brothers

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Most played songs

• Whiskey in My Whiskey ( 127 )
• Frankie's Gun! ( 111 )
• Cherry Licorice ( 100 )
• Love Me Tenderly ( 100 )
• White Limo ( 95 )

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The Avett Brothers The Buffalo Skinners The Catalano Lean Dawes Deer Tick Egan Caufield James Felice Keller Williams with The Travelin' McCourys Conor Oberst Old Crow Medicine Show Caitlin Rose Sohara St. Beaufort Turnpike Troubadours Victorian Trout Conspiracy Ward Hayden & The Outliers Emily Wells

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Artists covered

[traditional] Louis Armstrong Beastie Boys The Beatles Felice & Boudleaux Bryant Jimmy Cliff Leonard Cohen Crosby, Stills, Nash & Young Bob Dylan Simon Joyner Ben E. King John Lennon & Yoko Ono The Lumineers Wee Willie Mason Bill Monroe Willie Nelson Randy Newman Nirvana Conor Oberst Roy Orbison Tom Petty and the Heartbreakers Elvis Presley Bruce Springsteen Bobby Vinton Neil Young Neil Young & Crazy Horse Townes van Zandt

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Gigs seen live by

406 people have seen The Felice Brothers live.

Jcollius Griffin94 pronollo stupesies Spiderblanket pwm112 Gothcontrol Soxfan0020 mrchevyceleb DaleEMartin richk Ebouvier ejoyce hardrain61 tjordan29 Hart479 dustArm421 andrewwinn JarodO fuchs913 VicVenomBites DannyBrown kallensb extranoisy65 kmark1 ptitterington yossarian14 niccoa Kenconcerts tenglish shiftynj qazlestat getoutofmybutt ericknauff jrkrauss TheeRockshow KevinMHarkins Derekjoliver scarver85 mlast11 sloughins SpaghettiWeevil Allwant2bhappy Bientot68 NicD mathesar rpn10 SebHoch HowdyBowdy RichieAult

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