On October 11, kaDON presents an online listening session of Kaoru Watanabe’s The Arch. Registration includes a download code for the digital album and vinyl can be purchased at a discounted rate for attendees.
On October 14, join Charlotte Greve and Kaoru Watanabe to celebrate the release of their new albums, WATERBODIES (Greve) and The Arch (Watanabe), at Public Records. Released by New Amsterdam Records as part of their 2026 selections, these works will be performed live on October 14, 2026. WATERBODIES spans styles from jazz and ambient to classical, power ballads and ‘80s-inspired dance pop. Unbridled and unapologetic, the album is a deliberate rejection of stylistic cohesion, a defiant journey through Greve’s most cherished musical worlds, and her most personal work to date. On The Arch, Watanabe places the vibrant timbres of traditional Japanese instruments (shinobue and ryuteki flutes, taiko drums, narimono percussion instruments, and koto, a 13-string zither) in compositions and jazz improvisations.
On October 14, vocalist and producer Claire Dickson celebrates the release of Balance (out March 2026 via New Amsterdam Records) with a listening party at After in Berlin.
On October 16, vocalist and producer Claire Dickson returns to Close Up in NYC for a set alongside Grey McMurray and Henry Mermer. Dickson’s Balance was released via New Amsterdam Records in March 2026. Ticketing information coming soon!
On October 23, join Cheryl Durongpisitkul and New Amsterdam Records for a free virtual listening party on Bandcamp to celebrate the release of I Still Miss You. RSVP now to listen to the album in its entirety and chat with the artist and label about its creation and release.
On November 1, Charlotte Greve performs a solo set at KANU Film in Berlin to celebrate the release of WATERBODIES. The event will also feature a film screening. RSVP information coming soon!
On November 4, Charlotte Greve performs at Donau 115 in Berlin to celebrate the release of WATERBODIES. Ticketing information coming soon!
On November 5, Charlotte Greve performs at VaKuuM in Bad Bevensen, Germany to celebrate the release of WATERBODIES. Greve is joined by Charlotte Jacobs, Simon Jermyn, and Mark Schilders.
On November 6, Charlotte Greve performs at Kulturbanhof in Kalchreuth, Germany to celebrate the release of WATERBODIES.
On November 8, Charlotte Greve performs at Jaki Club to celebrate the release of WATERBODIES. Greve is joined by Charlotte Jacobs, Simon Jermyn, and Mark Schilders.
Doors 7:30pm / Show 8pm
$29 / free or discounted for members
Member tickets are not yet available for Fall 2026 Programs
Weaving together chamber classical, folk, torch song, and experimental music, Dorian Wood’s Canto de Todes is a 70-minute distillation born from Wood’s acclaimed 12-hour composition and installation. The title—Spanish for “Song of Everyone”—is inspired by a lyric of the late Chilean singer and songwriter Violeta Parra. Canto de Todes emphasizes the urgency of music as a vessel for social change, and honors the ancestral trajectory of Wood’s Costa Rican-Nicaraguan family and their experience in the U.S.
On November 14, Dorian Wood performs Canto de Todes (released May 2026 via New Amsterdam Records) at The Getty Center in Los Angeles, California. After the performance, Wood engages in conversation with enowned scholar of Latinx performance practices Dr. Laura Gutiérrez. This event is free but RSVPs are encouraged.
On November 17, Dorian Wood performs Canto de Todes (released March 2026 via New Amsterdam Records) at UC Davis as part of their Department of Art and Art History’s public programming.
On December 2, Rothko String Quartet and Andrew Yee will perform inti figgis-vizueta’s Music for Transitions at The David Rockefeller Creative Arts Center at Pocantico in Tarrytown, NY. Yee’s Trans Requiem was released via New Amsterdam Records in July 2026, and figgis-vizueta’s Music for Transitions will be released in November 2026.
On December 4, Rothko String Quartet and Andrew Yee perform inti figgis-vizueta’s Music for Transitions at The Nimoy Center for Performance Arts at UCLA. Yee’s Trans Requiem was released via New Amsterdam Records in July 2026, and figgis-vizueta’s Music for Transitions will be released in November 2026.
On December 8, Liquid Music and Northrop present inti figgis-vizueta’s Music for Transitions, performed by Rothko String Quartet and Andrew Yee, at University of Minnesota. Yee’s Trans Requiem was released via New Amsterdam Records in July 2026, and figgis-vizueta’s Music for Transitions will be released in November 2026.
On December 9, vocalist and producer Claire Dickson performs a solo set at Sowieso in Berlin. Dickson’s Balance was released via New Amsterdam Records in March 2026. Ticketing information coming soon!
On December 10, Rothko String Quartet and Andrew Yee perform inti figgis-vizueta’s Music for Transitions at The Mansion at Strathmore in Bethesda, MD. Yee’s Trans Requiem was released via New Amsterdam Records in July 2026, and figgis-vizueta’s Music for Transitions will be released in November 2026.
On December 11, Rothko String Quartet and Andrew Yee perform inti figgis-vizueta’s Music for Transitions at National Sawdust in Brooklyn, NY. Yee’s Trans Requiem was released via New Amsterdam Records in July 2026, and figgis-vizueta’s Music for Transitions will be released in November 2026.
On September 27, join Charlotte Greve and New Amsterdam Records for a free virtual listening party to celebrate the release of WATERBODIES. Get a preview of the record and chat with the artist about its creation.
On September 19, vocalist and producer Claire Dickson will perform alongside Elias Peter Brown at MENGI in Reykjavik, Iceland. Dickson’s Balance was released via New Amsterdam Records in March 2026.
On September 9, vocalist and producer Claire Dickson will perform a solo set at YSY Bar in Berlin, supported by Keisuke Matsuno. Dickson’s Balance was released via New Amsterdam Records in March 2026.
On August 28, new music supergroup The Hands Free, comprised of James Moore [guitar + banjo], Caroline Shaw [violin], Nathan Koci [accordion], and Eleonore Oppenheim [bass] performs at Public Records alongside Becca Stevens to celebrate the release of Upturned Cup, out now via New Amsterdam Records.
Join Francesca Gaza for a free listening party to celebrate the upcoming release of Crown Shyness. Come along to listen to the full album and get a chance to chat with Francesca and the ensemble.
On August 8, pianist and composer Gideon Broshy performs at Cassette as part of Tristan Allen’s Music, Puppets, & Fantasy. Broshy’s Nest was released via New Amsterdam Records in 2025.
Wild Up celebrates the release of Julius Eastman, Vol. 5: Gay Guerrilla, out June 19th on New Amsterdam Records with a party and conversation with special guest artists to be announced. Ticketing info coming soon!
On June 6, Wild Up presents The Interior Castle, an evening of ecstatic and contemplative music inspired by visionary women, most of them cloistered, who span centuries of artistic and spiritual inquiry. Wild Up’s Julius Eastman series has been released on New Amsterdam Records since 2021, with its fifth installment, Gay Guerrilla, out on June 19, 2026.
On June 5th and 6th, acclaimed anti-disciplinary artist Dorian Wood returns to Los Angeles to present a reimagined version of Canto de Todes, released by New Amsterdam Records in May 2026.
Says Wood: “Growing up in South L.A. in the 80’s, Juanga’s music was the air we breathed, always on the radio, on TV, drifting in the air at picnics in MacArthur Park, backyard birthday parties, bake sales at Plaza de la Raza, and soothing us to sleep from the living room while our parents stayed up. No other artist has achieved this kind of omnipresence. I want my brief return to L.A. this year to convey these memories, and this honoring of Juanga, de toda corazón.”
On May 22nd, composer and vocalist Nathalie Joachim will present SOUND ON, a “highly anticipated world premiere” with the New York Philharmonic. Joachim’s Ki moun ou ye was released by New Amsterdam Records and Nonesuch in 2024.
On May 1, HUB New Music performs Daniel Wohl's UFO-inspired piece, Mirage, at Tanglewood. Wohl will also join Hub New Music on piano and electronics for the premiere performance of specially made arrangements from his 2019 New Amsterdam & Nonesuch Records album, État.
HUB New Music’s Soul House was released by New Amsterdam Records in 2020. Daniel Wohl’s Artificial was released by New Amsterdam Records in 2025.
Join ~Nois Quartet as they celebrate the release of What is ~Nois alongside the folks that helped bring this music to life.
From March 26-29, Big Ears Festival will take place in Knoxville, TN, featuring:
Mary Halvorson (Seed Triangular, 2018)
Caroline Shaw (The Blue Hour, 2022) & Sō Percussion (Five and-a-half Gardens, 2008)
Lisel (Big Majestic, 2024)
Meara O’Reilly (Composer’s Lab)
Saul Williams (Place, 2020)
Wild Up (Julius Eastman, Vol. 4: The Holy Presence, 2024)
Laurie Anderson (Inheritances, 2024)
Join ~Nois for a free album listening party that celebrates their upcoming record What is ~Nois. Be among the first people to listen the music and chat live with the artists about the making of the album.
One year ago, New Amsterdam Records released Inheritances, by Adam Tendler. After his father’s unexpected death, Tendler used his complete inheritance, an envelope full of cash received in a parking lot, to commission a broad spectrum of today’s most sought after composers—also his friends—to compose piano works exploring the theme of ‘inheritance’ itself. Woven into a single intimate program of “little masterpieces” (New York Times), each reflecting a “melancholy beauty beyond conventions” (Pioneer Press), this “wildly unexpected” (Star Tribune) program tells a universal story of lineage, loss, and place, and has moved audiences internationally. Garnering national media attention since its premiere, Inheritances has become a powerful meditation on confronting our past, and a catalyst for countless listeners to move forward. It is nominated for Best Classical Solo Performance at the 2026 GRAMMY Awards.
Produced by Grammy-winning engineer Judith Sherman, this much-anticipated album features new works by an all-star lineup including Laurie Anderson, Devonté Hynes, Nico Muhly, inti figgis-vizueta, Pamela Z, Ted Hearne, Angélica Negrón, Christopher Cerrone, Marcos Balter, Missy Mazzoli, Darian Donovan Thomas, Sarah Kirkland Snider, Scott Wollschleger, Mary Prescott, Timo Andres, and John Glover.
Five years ago, New Amsterdam Records released The Grey Land by Numinous and Joseph C. Phillips. Featuring soloists soprano Rebecca L Hargrove and narrator Kenneth Browning, the undefinable work, written in Phillips signature "mixed music" style, chronicles a single Black mother and her son for a dynamic exploration of race, class and power in 21st century America.
As Phillips explains, The Grey Land is "a story of a Black mother trying to survive the reality in this land that doesn’t fully see her continued hope: that the great American experiment will one day become a belonging place where anyone can dream of 'stillness and stars' free from fear and want; a place where the beautiful promise of happiness, liberty, and life may yet manifest true to finally include her family too."
On November 16th, pianist Adam Tendler will perform his GRAMMY-nominated album Inheritances at Barre Opera House in Vermont. Inheritances was released via New Amsterdam Records in 2024.
Fifteen years ago, New Amsterdam Records released sweet light crude, by Newspeak. Newspeak is a “potent” (Alex Ross), “fierce” (Time Out NY) and “innovative” (New York Magazine) politically-charged octet, working under the direction of composer David T. Little and clarinetist Eileen Mack. Named after the thought-limiting language in George Orwell’s 1984, Newspeak explores the grey area where art and politics mix, seeking to reconsider, redefine, and ultimately reclaim the notion of socially engaged music. David T. Little describes the ensemble as “forged in the fires of Black Sabbath and Louis Andriessen, Dead Kennedys and Frederic Rzewski.” On sweet light crude, Newspeak brings stories of hope, loss, inaction and rage. Throughout, the group shows its unique ability to reach the transcendental highs of a great rock band while maintaining the lyricism, dexterity, and nuanced intricacy of classical chamber music.
The disc begins with Oscar Bettison’s furious “B&E (with aggravated assault)” – a mixed-meter revolution – followed by Stefan Weisman’s understated, enigmatic and passive “I Would Prefer Not To.” Passivity turns to obsession in David T. Little’s dark and crooked love song to oil, “sweet light crude,” which gives way to a glimmer of hope in Missy Mazzoli’s “In Spite of All This,” the quiet before the storm. That storm comes in PatMuchmore’s apocalyptic, Nine Inch Nails-infused “Brennschuss”, which roars upon the listener with Pynchon-esque imagery, with guest vocals from Morean of the German black metal band Dark Fortress. When the storm clears, we’re left with a dust bowl, and the sounds of the howling wind, setting the scene for Caleb Burhans’s “Requiem for a General Motors in Janesville, WI,” which brings the album to its cathartic conclusion.
Fifteen years ago, New Amsterdam Records released Janus’s i am not. i am not is the debut record of janus, the acclaimed flute, viola, and harp trio, featuring all-new works by Cameron Britt, Ryan Brown, Caleb Burhans, Anna Clyne, Angélica Negrón, and Jason Treuting. The “beguiling new CD” (Steve Smith, Time Out New York) was met with critical success, named a NJ Star Ledger Notable 2010 Classical CD, featured on NPR’s Deceptive Cadence blog where it was called “intricate and fantastical,” and hailed as a “focused, accomplished release with a subtle affect; the intimate sound of the instruments, the close miking and the lean profile of the group give it a light, almost casual immediacy, but the playing and the fine choice of material develops a quiet and full power over the course of the disc” (The Big City).
janus is the Brooklyn-based trio of flutist Amanda Baker, violist Beth Meyers, and harpist Nuiko Wadden. Their debut album, i am not, brings together six pieces, all by New York City composers, that defy common expectations for this familiar grouping. It opens with the voices of Amanda, Beth, and Nuiko, set against a gently pulsing background in Jason Treuting’s title composition, and proceeds through kaleidosopic scores by Caleb Burhans, Angélica Negrón, Anna Clyne, Cameron Britt and Ryan Brown, all tailored to the virtuosity and interpretive élan of these three gifted players. The electrifying and revelatory results challenge the listener at every turn: as the group flits effortlessly between genres, it conjures a soundworld that is untethered yet consistent, classic yet definitively 21st-century. Electronic samples, banjo, and found instruments make their way into the musical fabric. Recorded and produced by Lawson White, i am not envelops the listener with warm, yet precise and highly present sounds.
Five years ago, New Amsterdam and Nonesuch Records released Tristan Perich’s Drift Multiply. Drift Multiply, Perich’s largest work to date, is performed by fifty violins and fifty loudspeakers and is conducted by Douglas Perkins. Scored as one hundred individual lines of music, the piece blends violins and speakers into a cascading tapestry of tone, harmony, and noise. The violins perform from sheet music, while the speakers are each connected to custom-built circuit boards programmed to output 1-bit audio, the most basic digital waveforms made of just ones and zeroes. “I am interested in the threshold between the abstract world of computation and the physical world around us,” Perich explains.
Fifteen years ago, New Amsterdam Records released Penelope, by Co-Artistic Director Sarah Kirkland Snider. Inspired by Homer’s epic poem, the Odyssey, Penelope is a meditation on memory, identity, and what it means to come home. Suspended somewhere between art song, indie rock, and chamber folk, the music of Penelope moves organically from moments of elegiac strings-and-harp reflection to dusky post-rock textures with drums, guitars and electronics, all directed by a strong sense of melody and a craftsman’s approach to songwriting.
Penelope originated as a music-theater monodrama, co-written by McLaughlin and Snider in 2007-2008 and commissioned by the J. Paul Getty Center. In the work, originally scored for alto/actor and string quartet, a woman’s husband appears at her door after an absence of twenty years, suffering from brain damage. A veteran of an unnamed war, he doesn’t know who he is and she doesn’t know who he’s become. While they wait together for his return to himself, she reads him the Odyssey, and in the journey of that book, she finds a way into her former husband’s memory and the terror and trauma of war. In 2009 Snider re-conceived Penelope as a song cycle, expanding and tailoring it to the unique talents of vocalist Shara Worden and the chamber orchestra Signal, and collaborating with programmer Michael Hammond on sound design.
The album has met tremendous critical success. Pitchfork rated it at a 8.3, calling it a“gorgeous piece of music, but it is more– it is also a hauntingly vivid psychological portrait, one that explores a dark scenario with a light, almost quizzical touch, finding poetic resonances everywhere.” NPR remarked that Penelope “deftly weaves pop and classical” with a score that is “inventive and subtle, with a mix of watery, undulating strings, guitars, percussion and electronics that submerges you completely within the story.” The album has also been called “achingly stark…easily the most beautiful album of the year” (The Indie Handbook) and “accomplished and remarkable… gorgeous and soul-stirring” (Textura). It was also hailed as one of the 5 Best Genre-Defying Albums of the Year (2010) by NPR, and named #3 favorite album of 2010 by Textura.
One year ago, New Amsterdam Records released a t l a s, by Charlotte Jacobs. Jacobs’ music has been called “fresh and different… a sonic adventure” (Bob Boilen, All Songs Considered) and her voice has been praised as “a singer-songwriter’s dream” (Atwood Magazine). The 9 songs on a t l a s play out like a half-remembered Greek epic of avant-pop proportions, piecing together earthy woodwinds, old-school synths, and shifting rhythmic patterns that enhance her myth-inspired spoken word and bilingual vocals, delivered in Dutch and English.
Throughout a t l a s Jacobs explores themes of mythology, religion, and cultural structures while empowering listeners to “become their own saviors in order to navigate the challenges in life.” Lead singles ‘mala’ and ‘CYTMH’ veer from glossy hi-fi to scuzzy lo-fi at any moment as earthy woodwinds, old-school synths, and shifting rhythmic patterns enhance Jacobs’ myth-inspired spoken word and bilingual vocals, delivered in Dutch and English.
On October 19th, London Symphony Orchestra will premiere “World Builder, Creature,” a new orchestral work from composer and performer Alex Paxton. Paxton’s Delicious will be released by New Amsterdam Records in 2025.
On October 17th, vocalist Shara Nova will perform selections from The Blue Hour at Philharmonie de Paris. The Blue Hour, also featuring A Far Cry, Caroline Shaw, Angélica Negrón, Rachel Grimes, and Sarah Kirkland Snider was released by New Amsterdam Records and Nonesuch in 2022.
On October 17, composer and pianist Gideon Broshy will celebrate the release of his debut album Nest (released September 26 via New Amsterdam Records) at Stone Circle Theatre in Ridgewood, alongside country girl and Richard Orofino.
On October 10th, Gideon Broshy and Dan Langa will perform at Sō Laboratories. Broshy’s Nest is out via New Amsterdam Records on September 26, and Langa took part in New Amsterdam’s Composer’s Lab. This event is open to the public and first-come first-served.
Five years ago, New Amsterdam Records released Travis Laplante’s Inner Garden, with Yarn/Wire. This nirvana-inducing three-movement work, which showcases Laplante’s passion for seamlessly merging improvisation and composition, was inspired by a dreamlike state he experienced shortly after receiving the commission from Yarn/Wire, a beloved ensemble he’d shared many stages with in Williamsburg and Lower Manhattan.
One year ago, New Amsterdam Records released Wani, by Javanese vocalist Peni Candra Rini. In contrast to the deep introspection and ambient calm of Wulansih, Wani is full of playful noise, rambunctious energy, and a deep sense of the unexpected. The album was created by giving the recorded musicians “very basic outlines” of the songs, improvising around those frameworks in the studio, and giving producers John Dieterich (Deerhoof, Mary Halvorson, Sufjan Stevens, Booker Stardrum) and Chris Botta (Yaeji, Emily Wells, the JACK Quartet, Valee, Shahzad Ismaily) “free reign to produce the tracks as they liked.” The result is a loud, fun, chaotic, energizing, and mesmerizing collection of songs that explore themes from traditional Javanese art, scripture, culture, politics, and shadow play. Wani features performances by Satomi Matzusaki, Curt Sydnor, Andy McGraw, John Priestley, I Gusti Putu Sudarta, Justin Alexander, Putu Hiranmayena, and many more.
On September 28th, Claire Dickson will perform at Stone Circle Theatre in Ridgewood, NY alongside Henry Fraser, Ka Baird, and Cassandra Croft. Dickson’s The Beholder was released via New Amsterdam Records in 2024.
