Low Cut Connie with Lizzie and the Makers

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Get It Right the First Time and Murmrr Presents in association with Hometown Bar-B-Que are thrilled to present Low Cut Connie with special guest opening act Lizzie and the Makers!

Philadelphia – based Low Cut Connie is in the midst of a nationwide tour that will be delivering their special brand of primordial rock n roll sweat featuring dynamic frontman Adam Weiner pounding the ivories for a lengthy set of cathartic rock n roll boogie and soul. Expect to hear cuts from throughout the band’s history as as from their brand new album, Art Dealers, which Adam describes as a “record that is all kink and no shame. With Low Cut Connie, we try to create a safe space for you to just absolutely get your freak on.”

Brooklyn’s own Lizzie and the Makers will have the honor of opening the festivities. Touring in support of their new album, Dear Onda Wahl, the southern-tinged rock with roots, soul, dream-pop, and ethereal elements spawns something all it’s own. Lizzie’s voice transcends and summons a heartfelt, nuanced mezzo-soprano shaped by Memphis soul legend Ann Peebles, Heart’s Wilson sisters, and jazz icon Billie Holiday. She’s assertive, yet vulnerable; defiant, yet proudly flawed.

Event Info

Date: September 4, 2025

Doors: 7pm

Showtime:7:15pm

Curfew: 11:00pm

Address: Industry City Bandshell Stage, Coutyard 1/2 at Industry City in Brooklyn New York between 36th and 37th street and 2nd and 3rd Avenues.

ENTER 238 36th Street, Brooklyn, NY on your GPS device

The venue is located in an open-air courtyard featuring a full concert sound stage. Fans can order Hometown BBQ. Additional food and drinks made at Industry City will be available for purchase. Concert is rain or shine.

How to get here:

Take the D, N, R lines to 36th street station in Brooklyn and walk west one block to Industry City. 3 stops from Manhattan. 30 minutes from Herald Square.

From Long Island, take the LIRR to Atlantic Terminal then take the D, N, or R train from Atlantic Terminal to 36th Street! It’s 8 minutes on the subway.

More on Low Cut Connie:

For years now, Low Cut Connie has built its grassroots coalition of oddballs, underdogs, and fun-loving weirdos with songs that celebrate life on the fringes of polite society. The band’s infamously wild, passionate live shows provide a total release – of stress, of inhibition, of shame – working up a primordial rock n roll sweat for fans to get blissfully soaked in. The new album, and its full-length companion film, sizzle with that same cathartic sweat, reminding us that it’s time to get dirty again, and to feel alive. ART DEALERS sits at the intersection of sleazy and soulful – a collection of risky, romantic, life-affirming anthems, all dedicated to you.

“I think rock n roll exists to be a red-blooded, countercultural medium,” says Weiner, who has performed under the Low Cut Connie moniker for over a decade, “You’re supposed to get your hair messed-up.” That imperative comes through in the adults-only tone of songs like the opening “Tell Me Something I Don’t Know,” a sinuous, lurid rocker that sounds like walking through depraved Times Square in 1978 – neon-lit and nasty with a snapping beat. The speedy, fuzzed-up garage-rocker “Whips and Chains” calls out Trump and the current wave of neo-fascism, without ever losing its boogie rhythm section.

But there’s also tenderness behind the curtain here, as on the yearning first single “Are You Gonna Run?” and “Call Out My Name”, which evoke the sweet sad love that punky boys like the New York Dolls and the Ramones used to have for tough girls like the Ronettes and the Shangri-La’s.

The sounds throughout the record comprise a grimy modern urban landscape, a soulful but broken place that Weiner and his band (including rock n roll guitar hero, Will Donnelly, in his 9th year in Low Cut Connie) have been gravitating towards throughout the band’s history. Weiner grew up amid the lawns and strip malls of suburban New Jersey, and his own teen dreams were lit up by the beacon of the big city, where he could shed his skin like so many artists before. “If you think about it, so many great artists who we associate with the city were actually bridge and tunnel people,” Adam said. “Patti Smith, Lou Reed, Springsteen. Debbie Harry, Robert Mapplethorpe. People who came from the burbs had this vision of what they could achieve in the city, what attracted them to this art life, who they could turn into and what impressions they could make – if they could just get there.” ART DEALERS is in many ways a tribute to that feeling at the pumping heart of the city – that enlightened buzz that can come in a packed hothouse of creativity and free expression. Songs like the Grace Jones styled “Take Me to the Place” and the penetrating title song point to all the people who cross those bridges, who choose the art life, who find their liberation on the edges of propriety.

ART DEALERS isn’t constrained by a gender binary, either. “When I’m onstage, I am the freest, most uninhibited version of myself,” Weiner explains. “It’s total freedom of spirit and body. Over the years, that freedom has given me more confidence to write songs from a perspective that isn’t necessarily male. I’ve slowly been walking toward a more gender-fluid voice with Low Cut Connie.” Weiner’s first steady gig at age 21 was as a piano-player in a drag karaoke bar in Manhattan called Pegasus, a seedy place where trans people, gay, straight and otherwise would gather around Weiner’s piano in a benevolent yet fully debauched array. “There are so many songs that came out of that bar for me. Things like ‘Shake It Little Tina [the single off of Low Cut Connie’s Hi Honey album]” But it wasn’t until ART DEALERS that he fully allowed himself to let the gender binary go so completely on songs like the upcoming single “Don’t Get Fresh With Me,” “Wonderful Boy,” and “Sleaze Me On” (with its sweet refrain “Treat me like a modern girl!”). Says Weiner, “I have no idea the gender identity of those songs. And that feels real comfy for me, the ‘not knowing’.”

ART DEALERS goes out to all the outsiders. On the no-fucks-to-give anthem “King of the Jews,” Weiner gets deep in the weeds of his personal and ethnic outsider identity. “There are just so many entry points these days to antisemitism, so my absolute unapologetic full-frontal Jewiness feels more needed now, I guess,” he says. “My Jewiness gives me an outsider perspective and humor that I wouldn’t trade for any goddamn thing, and the minute I start hiding that, I’m dishonoring myself. Shedding shame is a key element of Low Cut Connie.”

Weiner feels like a certain dark prince of rock n roll was a companion to him on this whole album and film project. “I felt like Lou Reed was riding with me the whole time I was making Art Dealers,” he said. “Lou was the toughest motherfucker out there, a subversive Jew like me – but he had a real rock n’roll heart underneath it all.”

More on Lizzie and the Makers:

Lizzie & The Makers’ sophomore studio album, Dear Onda Wahl, embroiders their potent Southern-tinged rock with roots, soul, dream-pop, and ethereal elements to spawn something all their own. It’s one of those rare records that combines single-minded artistry with broad commercial appeal.
Created around the dusky yet soaring timbre of force-of-nature frontwoman Lizzie Edwards, Dear Onda Wahl was produced by Grammy winner Mario McNulty (David Bowie, Prince) and Cure guitarist Reeves Gabrels (Tin Machine, Bowie). Their influence ensures an intriguingly adventurous, hugely dynamic – and occasionally otherworldly – take on the traditional.

Defying her constant comparisons to Janis Joplin, the classically-trained Edwards, 5-time official showcasing artist at SXSW, former Pleasantville Music Festival MainStage performer, summons a heartfelt, nuanced mezzo-soprano shaped by Memphis soul legend Ann Peebles, Heart’s Wilson sisters, and jazz icon Billie Holiday. She’s assertive, yet vulnerable; defiant, yet proudly flawed.