AS220

### Context Profile for AS220

1. **Organization Mission & Cause:**
   AS220 is a nonprofit organization dedicated to fostering a creative community in Providence, Rhode Island. Their mission is to provide a platform for artists and the community to express themselves freely and to support the development of new art forms. They aim to create an inclusive environment where creativity thrives, and they emphasize the importance of art as a tool for social change and community engagement.

2. **Type of Activities:**
   - **Events:** AS220 hosts a variety of events including live performances, art exhibitions, and workshops. They often feature local artists and provide a space for creative expression.
   - **Fundraising Campaigns:** Regular fundraising initiatives are conducted to support their programming and facilities.
   - **Community Programs:** They offer programs that engage the community in the arts, including educational workshops and collaborative projects that aim to empower participants through creativity.

3. **Tone of Voice:**
   The tone of AS220's communications is friendly, informal, and inviting. They use inclusive language that encourages participation and fosters a sense of community. The content often conveys enthusiasm and passion for the arts, making it accessible and relatable to a broad audience.

4. **Emoji Usage:**
   AS220 does not prominently use emojis in their communications. Their content tends to maintain a professional yet approachable tone without relying on emojis to convey emotion or engagement.

5. **Key Facts:**
   - **Founding Info:** AS220 was founded in 1985 and has since become a cornerstone of the Providence arts community.
   - **Scale:** They have a significant presence with 353 total forms and 557 total email campaigns, indicating active engagement with their audience.
   - **Impact Metrics:** While specific metrics were not detailed on the website, AS220 emphasizes their role in supporting local artists and fostering community engagement through the arts.
   - **Volunteer Info:** The organization likely has volunteer opportunities, although specific details were not extracted from the website.

6. **Writing Guidelines:**
   - Use a friendly and conversational tone that reflects the community-oriented mission of AS220.
   - Focus on inclusivity and encouragement, inviting readers to participate in events and programs.
   - Keep language simple and accessible, avoiding jargon to ensure clarity for all audiences.
   - Highlight the impact of participation and the importance of community in all communications.
   - Use engaging subject lines and content that reflect the excitement and vibrancy of the events and programs offered.

This context profile provides a comprehensive overview of AS220, enabling AI assistants to generate tailored content that resonates with the organization's mission and audience.

General Admission

Doors at 7, Show at 8$15 - Main Stage show! <img src="https://res.cloudinary.com/hxn9dbuhd/image/upload/v1755808106/wysiwyg/pxfb7lulrxxlja8scfvl.jpg" style="width: 600px; display: block; vertical-align: top; margin: 5px auto; text-align: center; position: relative; max-width: 100%; cursor: pointer; padding: 0px 1px; user-select: none; box-sizing: inherit;" fr-original-style="width: 600px; display: block; vertical-align: top; margin: 5px auto; text-align: center;" fr-original-class="fr-draggable"> featuring: //<a fr-original-style="" href="https://www.adaleamusic.com/2025" rel="noopener noreferrer" style="text-decoration-color: initial; user-select: auto; box-sizing: inherit;" target="_blank">Ada Lea</a><img src="https://res.cloudinary.com/hxn9dbuhd/image/upload/v1755807971/wysiwyg/ahbnnb8vj5isi58baroz.jpg" style="width: 600px; display: block; vertical-align: top; margin: 5px auto; text-align: center; position: relative; max-width: 100%; cursor: pointer; padding: 0px 1px; user-select: none; box-sizing: inherit;" fr-original-style="width: 600px; display: block; vertical-align: top; margin: 5px auto; text-align: center;" fr-original-class="fr-draggable">&ldquo;The hand knows best,&rdquo; the painter Margaux Williamson says. &ldquo;A shape produces itself, where I go toward what is intuitive, rather than logical.&rdquo; The shapely, intuitive songs that comprise Ada Lea&#39;s third album, when i paint my masterpiece, are surprising, imagistic, tactile. They stand before us and we feel their brushstrokes. Alexandra Levy holds her guitar against the backdrop of a sea of her paintings on the album cover and it&rsquo;s tempting to ask: is painting a metaphor here, for music or life? No! As ever, she resists tidy metaphors. She&rsquo;s a master of this kind of thorny lowercase title that germinates and grows with time. In a real, profound way, music and painting go hand-in-hand as she unveils a new style of subversion and surrealism inspired by her transdisciplinarity.&nbsp; Levy is a Renaissance woman, and Ada Lea&rsquo;s albums have been swelling in scope alongside the evolution of her artistic life. Her recent turn toward pedagogy&mdash;teaching a songwriting course at Concordia University and co-facilitating a community-based group called The Songwriting Method&mdash;weaves another vivid thread into her multifaceted practice. Her debut LP, what we say in private, blurred the lines between interior and performative worlds. &nbsp;Her sophomore record, one hand on the steering wheel the other sewing a garden,&nbsp;featured vignettes centered on Montreal. On this sprawling and ambitious album, written over three years and whittled down from over 200 songs, she asks: what happens when you&hellip; pause? How can a life be held suspended in song? The album is a kaleidoscopic exploration of the transformations art can bring: the vision of an uncompromising artist dancing bravely and freely between registers and across mediums.&nbsp; The album marks a reset&mdash;a quiet revolution. After years of relentless international touring, Levy felt an urgent need for community and renewal. Gruelling road schedules with very little support left her wondering: who am I really doing all this for?&nbsp;The system was uncaring and broken, and so it was that she came to envision a new healthy and healing mode of musical genesis. &ldquo;For me, that looked like resting, extending my creative reach, going back to school, studying painting and poetry,&rdquo; she explains. &ldquo;Taking a step away from music as guided by industry expectations. Simplifying things. Getting a job, starting to teach. Engaging with the process rather than the product.&rdquo; This need for a more deliberate creative renewal was rejected by her existing systems of support, so she began the search for an alternative. when i paint my masterpiece&nbsp;was largely recorded in rural Ontario in the waning weeks of 2023, and its warm harmonies and lush arrangements link back to a golden era of Canadian folk music. The core Ada Lea band&mdash;Tasy Hudson on drums, Chris Hauer on lead guitar, Summer Kodama on bass&mdash;recorded the album largely live-off-the-floor and acoustic in one room, off the grid in both senses, in the pocket, loose but in control and without a click in sight. Relinquishing the process to the whims of chance allowed for the sanctity of human error to rear its head. The album lives and breathes, produced with Here We Go Magic&rsquo;s Luke Temple, who has lent his gently psychedelic sensibility to albums by artists like Adrianne Lenker and Hand Habits. The album&nbsp;views the world through an unstable prism of imagination. &ldquo;midnight magic&rdquo; is set firmly in a shimmering dreamworld that could have been summoned by Judee Sill. &ldquo;snowglobe&rdquo; refracts a dinner scene later glimpsed through glass by a child. In &ldquo;there is only one thing on my mind,&rdquo; a series of magical transformations send the speaker soaring like a Chagall figure. These transformations also draw inspiration from mythical novelist Olga Tokarczuk&rsquo;s honoring of otherness and inexplicability, and the surrealist painter-novelist Leonora Carrington&rsquo;s engagement with mysterious forces of nature, and the self as an observed observer. &ldquo;Just like in the museum/ We keep a little distance&rdquo; Levy sings.&nbsp; And by the end of these sixteen songs, it&rsquo;s clear: when i paint my masterpiece isn&rsquo;t chasing perfection, it&rsquo;s comfortable in the magic of being. These songs are alive with poetic specificity and a wide-open heart&mdash;deeply felt, often strange, and always reaching. There&rsquo;s an optimistic and plainspoken wisdom in the lyrics&mdash;which builds on Ada Lea&rsquo;s singular songwriting style of surprising harmonic and melodic turns&mdash;now with a newly rich, organic sound that rewards slow listening. &nbsp;Let&rsquo;s look more closely at the title. At first, the most charged words seemed to be &ldquo;paint&rdquo; and &ldquo;masterpiece.&rdquo; But look again at &ldquo;when.&rdquo; It&rsquo;s becoming more and more unstable. And we now know it&rsquo;s predicting something that&rsquo;s already here. The masterpiece, not a product, is the process.&nbsp; //<a fr-original-style="" href="https://bittergrasses.bandcamp.com/album/rows" rel="noopener noreferrer" style="text-decoration-color: initial; user-select: auto; box-sizing: inherit;" target="_blank">Bitter Grasses</a>bitter grasses is the guitar songs of lu merrick.<img src="https://res.cloudinary.com/hxn9dbuhd/image/upload/v1757518134/wysiwyg/qpn3ohtz6z4nn5dhe3gh.jpg" style="width: 600px; display: block; vertical-align: top; margin: 5px auto; text-align: center; position: relative; max-width: 100%; cursor: pointer; padding: 0px 1px; user-select: none; box-sizing: inherit;" fr-original-style="width: 600px; display: block; vertical-align: top; margin: 5px auto; text-align: center;" fr-original-class="fr-draggable">

Hi <span contenteditable="false" data-custom-variable="{{firstname}}" fr-original-class="fr-deletable styled-tag-chip " fr-original-style="" style="background-color: rgb(248, 248, 255); border: 1px solid rgb(191, 191, 255); border-radius: 4px; color: rgb(42, 42, 196); padding: 1px 8px; font-size: 11px; display: inline-block; margin: 0px; overflow-wrap: anywhere; user-select: none; box-sizing: inherit;">First name , Thanks so much for your purchase - here are your tickets!&nbsp; See you at the gig! - Emma RomeBooking Associate<a fr-original-style="color:inherit;text-decoration:inherit;user-select:auto;box-sizing:inherit;" href="mailto:emma.rome@as220.org" style="color: inherit; text-decoration: inherit; user-select: auto; box-sizing: inherit;">emma.rome@as220.org</a> // booking@as220.org

Doors at 7, Show at 8$15 - Main Stage show! <img src="https://res.cloudinary.com/hxn9dbuhd/image/upload/v1755808106/wysiwyg/pxfb7lulrxxlja8scfvl.jpg" style="width:600px;display:block;vertical-align:top;margin:5px auto;text-align:center;position:relative;cursor:pointer;padding:0px 1px;user-select:none;box-sizing:inherit;max-width:100%" /> featuring: //<a href="https://www.adaleamusic.com/2025" target="_blank">Ada Lea</a><img src="https://res.cloudinary.com/hxn9dbuhd/image/upload/v1755807971/wysiwyg/ahbnnb8vj5isi58baroz.jpg" style="width:600px;display:block;vertical-align:top;margin:5px auto;text-align:center;position:relative;cursor:pointer;padding:0px 1px;user-select:none;box-sizing:inherit;max-width:100%" />“The hand knows best,” the painter Margaux Williamson says. “A shape produces itself, where I go toward what is intuitive, rather than logical.” The shapely, intuitive songs that comprise Ada Lea's third album, when i paint my masterpiece, are surprising, imagistic, tactile. They stand before us and we feel their brushstrokes. Alexandra Levy holds her guitar against the backdrop of a sea of her paintings on the album cover and it’s tempting to ask: is painting a metaphor here, for music or life? No! As ever, she resists tidy metaphors. She’s a master of this kind of thorny lowercase title that germinates and grows with time. In a real, profound way, music and painting go hand-in-hand as she unveils a new style of subversion and surrealism inspired by her transdisciplinarity.  Levy is a Renaissance woman, and Ada Lea’s albums have been swelling in scope alongside the evolution of her artistic life. Her recent turn toward pedagogy—teaching a songwriting course at Concordia University and co-facilitating a community-based group called The Songwriting Method—weaves another vivid thread into her multifaceted practice. Her debut LP, what we say in private, blurred the lines between interior and performative worlds.  Her sophomore record, one hand on the steering wheel the other sewing a garden, featured vignettes centered on Montreal. On this sprawling and ambitious album, written over three years and whittled down from over 200 songs, she asks: what happens when you… pause? How can a life be held suspended in song? The album is a kaleidoscopic exploration of the transformations art can bring: the vision of an uncompromising artist dancing bravely and freely between registers and across mediums.  The album marks a reset—a quiet revolution. After years of relentless international touring, Levy felt an urgent need for community and renewal. Gruelling road schedules with very little support left her wondering: who am I really doing all this for? The system was uncaring and broken, and so it was that she came to envision a new healthy and healing mode of musical genesis. “For me, that looked like resting, extending my creative reach, going back to school, studying painting and poetry,” she explains. “Taking a step away from music as guided by industry expectations. Simplifying things. Getting a job, starting to teach. Engaging with the process rather than the product.” This need for a more deliberate creative renewal was rejected by her existing systems of support, so she began the search for an alternative. when i paint my masterpiece was largely recorded in rural Ontario in the waning weeks of 2023, and its warm harmonies and lush arrangements link back to a golden era of Canadian folk music. The core Ada Lea band—Tasy Hudson on drums, Chris Hauer on lead guitar, Summer Kodama on bass—recorded the album largely live-off-the-floor and acoustic in one room, off the grid in both senses, in the pocket, loose but in control and without a click in sight. Relinquishing the process to the whims of chance allowed for the sanctity of human error to rear its head. The album lives and breathes, produced with Here We Go Magic’s Luke Temple, who has lent his gently psychedelic sensibility to albums by artists like Adrianne Lenker and Hand Habits. The album views the world through an unstable prism of imagination. “midnight magic” is set firmly in a shimmering dreamworld that could have been summoned by Judee Sill. “snowglobe” refracts a dinner scene later glimpsed through glass by a child. In “there is only one thing on my mind,” a series of magical transformations send the speaker soaring like a Chagall figure. These transformations also draw inspiration from mythical novelist Olga Tokarczuk’s honoring of otherness and inexplicability, and the surrealist painter-novelist Leonora Carrington’s engagement with mysterious forces of nature, and the self as an observed observer. “Just like in the museum/ We keep a little distance” Levy sings.  And by the end of these sixteen songs, it’s clear: when i paint my masterpiece isn’t chasing perfection, it’s comfortable in the magic of being. These songs are alive with poetic specificity and a wide-open heart—deeply felt, often strange, and always reaching. There’s an optimistic and plainspoken wisdom in the lyrics—which builds on Ada Lea’s singular songwriting style of surprising harmonic and melodic turns—now with a newly rich, organic sound that rewards slow listening.  Let’s look more closely at the title. At first, the most charged words seemed to be “paint” and “masterpiece.” But look again at “when.” It’s becoming more and more unstable. And we now know it’s predicting something that’s already here. The masterpiece, not a product, is the process.  //<a href="https://bittergrasses.bandcamp.com/album/rows" target="_blank">Bitter Grasses</a>bitter grasses is the guitar songs of lu merrick.<img src="https://res.cloudinary.com/hxn9dbuhd/image/upload/v1757518134/wysiwyg/qpn3ohtz6z4nn5dhe3gh.jpg" style="width:600px;display:block;vertical-align:top;margin:5px auto;text-align:center;position:relative;cursor:pointer;padding:0px 1px;user-select:none;box-sizing:inherit;max-width:100%" />

AS220

Ada Lea + Bitter Grasses

115 Empire St

General Admission

$15

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