Advanced Tickets: $30 (+tax/fees) - Select your table and seats during ticket purchase
Day of Show: $35 (cash only)
Bar Doors: 6pm | Venue Doors: 7pm | Show Time: 8pm
Event notes:
Tables with 4 or more seats are not private. If you do not purchase all seats at a table, you may be sharing the table with other guests.
All center floor tables are ADA accessible. Our mezzanine tables are NOT ADA accessible. If you require additional ADA seating help, please contact us at info@englewoodhershey.com
Full bar services will be available.
Food WILL NOT be served during this show. We encourage anyone interested in having dinner downstairs in the Englewood Brewing taproom prior to showtime to call 717-256-9480 to make a reservation.
Please review our venue policy page concerning age restrictions, seating, and more.
Livingston Taylor’s career as a professional musician has spanned over 50 years, encompassing performance, songwriting, and teaching. Described as "equal parts Mark Twain, college professor, and musical icon, Livingston maintains a performance schedule of more than a hundred shows a year, delighting audiences with his charm and vast repertoire of his 22 albums and popular classics. Livingston has written top-40 hits recorded by his brother James Taylor and has appeared with Joni Mitchell, Linda Ronstadt, Fleetwood Mac, and Jimmy Buffet. He is equally at home with a range of musical genres - folk, pop, gospel, jazz - and from upbeat storytelling and touching ballads to full orchestra performances. In addition to his performance schedule, Livingston has taught stage performance for over 30 years, beginning at Berklee College of Music in Boston in 1989, passing on the extensive knowledge gained from his long career on the road to the next generation of musicians. Liv is an airplane-flying, motorcycle-riding, singing storyteller, delighting audiences with his charm for over 50 years.
“Credit Yanek with being so willing to express his inner feelings and making himself so vulnerable, all at the same time. Suffice it to say Long Overdue was well worth the wait.” – Lee Zimmerman (American Songwriter)
“Yanek is simply adept at what he does. Whether a fully arranged assault on the senses or a simple almost lullaby-like “Goodbye,” he effectively provides the listener with exciting, satisfying melodies that are showcased superbly. Not a bad song in the bunch!” - John Apice (Americana Highways)
“The production is strong, his vocals shine and from the opening track – the title track – he has a brand of country-rock that sees your foot tapping along from the off.” -Zoe Hodges (Maverick Magazine – UK)
Sometimes even the most promising prospects can take time to reach fruition. For whatever the reason, the timing may be off, the opportunities limited, or all the elements simply aren’t in place to sustain a clear connection between past and present.
Steve Yanek knows that scenario all too well. With several stops and starts along the way, his latest attempt to forge a music career into his life may finally be working. With the release of his album, “Long Overdue,” in 2022, and it’s chart topping success on two national RMR (Roots Music Charts), and his follow up album, “September,” slated for a late May release, Steve is poised to see things through this time.
His musical journey started out playing clubs and colleges in northeastern Ohio, then expanded to the west coast with his move to Los Angeles in the early 80s.
“Musically, everything that inspired me to learn guitar and write songs in my post-British Invasion teenage years can easily be traced back to Laurel Canyon of Los Angeles. I came of age at the same time FM radio was exploding on the scene. And growing up where I did, we had access to both WMMS and WDVE and both stations would play entire albums late at night. It was incredible, and I was inspired by so much great music that I would play guitar eight hours a day, practically slept with it!”
Once in Los Angeles, Steve and soon became a familiar face around the LA folk scene of the early 80s performing at places like The Banjo Café, McCabe’s Guitar Shop, The Palomino Club, and coffeehouses around Venice Beach. It was while playing at a club near the UCLA campus, he caught the attention of manager, Derek Bowman, who handled the career of British star, David Essex. Shortly after signing with Bowman, he had publishing and recording deals in place and was off to Nashville to record an album. Unfortunately, the deal fell apart, and it was back to Los Angeles only to find that the musical landscape was rapidly changing as MTV gained popularity. After the loss of another record deal and frustration with the "style over substance" trend dominating popular music, Steve decided to leave both California and the music business behind.
“I looked at it as survival for both me and my music, as well as my mental and physical health. My tendency was to live life in the excess lane back then, and I needed a break. I needed to get healthy, and I knew that I could do other things to support my music. The art of making music, for me, was in direct conflict with the business of music at that time in my life.”
Ironically, making the decision to leave his music career behind enabled Steve’s music to flourish. While continuing to write songs, he also concentrated on upgrading his recording studio. Inspired by Neil Young’s ongoing archival project, coupled with the advances made in technology and digital streaming, he found the right time to do an archival project of his own.
“All through the years I have somehow maintained a constant flow of songs, and every two or three years, I’ll have an album written and demos recorded, some more extensive than others, from rough draft acoustic takes to elaborate studio recordings. I have upwards of twenty, or so, albums in my vault that I intend to polish up and release between new albums in the coming years. Music streaming has really opened up the opportunities for an artist like me.”
On his upcoming album, “September,” Steve, an experienced multi-instrumentalist, plays and sings everything himself. The songs were written over the eighteenth-month span during the pandemic and its subsequent lockdowns, and the resulting lyrics are personal and reflective. He voices his feelings in the final lines of the title track, "We've gotta stop this roundabout, life is short, and time is running out.” And one gets the sense that he is well on his way to reviving his music career. And for fans of introspective singer songwriters and 70s California country rock music, this could be a very good thing.
Steve's 2023 plans include small solo-acoustic concerts from the east coast to Nashville, and revamping his longtime band, The Woodies, and booking shows in the Harrisburg area.