The Wellesley Choral Society (WCS), under the direction of Edward Whalen, will present its last concert of its 2025-2026 season on Sunday, May 10 at 2pm at St. Andrew’s Episcopal Church, 79 Denton St., Wellesley.

The theme of the concert is Songs of a Century, British and American Twentieth Century Choral Music Works for chorus and piano.  The Choral Society will be performing selections from Barber, Bernstein, Britten, Copland, Ireland, Thompson, and more, and will be accompanied by Hisako Hiratsuka on piano.

St. Andrew’s Church is accessible and there is free parking.  Tickets may be purchased online or at the door: general admission $20, seniors and students $15, ages 12 and under are free.  The Choral Society has donated a limited number of free tickets to the Wellesley Council on Aging at the Tolles-Parson Center, 500 Washington St.  Please call 781-235-3961 to see if tickets are still available.  Visit www.wellesleychoralsociety.org for further information.

This concert is supported, in part, by a grant from the Massachusetts Cultural Council, a state agency.

The Wellesley Choral Society will be featured in the Wellesley Wonderful Weekend “Voices and Songs of Liberty” concert on May 14 in celebration of the country’s 250th anniversary.  Come see this collaboration with the Wellesley Celebrations Committee, the Wellesley Symphony Orchestra, and the Wellesley Town Band.  More information and tickets.

Support local news with a tax-deductible donation to Swellesley

The Wellesley Town Band and Wellesley Choral Society for the first time will be performing together at a concert on Sunday, April 12 at 3pm at Wellesley High School (50 Rice St.)

The Town Band will be joined by the Choral Society in performing pieces such as “Shenandoah, Gloria Tibi” from Leonard Bernstein’s Mass, and “America the Beautiful,” with lyrics by Wellesley’s own Katharine Lee Bates.

In addition, the Town Band will play three rousing marches (by John Philip Sousa, Sergei Prokofiev, and Kenneth J. Alford), plus Percy Grangier’s “Country Gardens,” and the theme from “The Incredibles.”

The Band will also perform “Rhapsody for Flute” (Stephen Bulla), with their own Marie Nagode as the flute soloist. The piece’s blend of classical and jazz styles showcases the flute’s lyrical and virtuosic capabilities.

Mark Maiden, chair of the Wellesley Town Band Executive Committee said collaborations like that between the Band and Choral Society can help “promote greater awareness of local live performances.”

The Wellesley Town Band is a non-audition group open to new members at all levels (Grade 8 and up). They rehearse on Monday evenings at Wellesley High School (learn more: info@wellesleytownband.org.  For more on the Wellesley Choral Society, please visit www.wellesleychoralsociety.org.

Admission to the concert is free and Wellesley High School is an accessible venue. Free refreshments will be served after the performance.
This event is supported, in part, by a grant from the Wellesley Cultural Council – a local agency, which is supported by the Massachusetts Cultural Council, a state agency.

Expand your reach (and support local news) by advertising on Swellesley

For one reason, Berninger and his mighty baritone will join opener Ronboy for a killer version of her song “Disaster” during the first set (Julia Laws, aka Ronboy, teases “It’s the first song…,” but she’s only playing). For another reason, Ronboy puts on a great show of her own before she and the band—Sterling Laws, Garrett Lang, Sean O’Brien—become Berninger’s ensemble for the rest of the night.

This is a case where the support act truly supports.

I chatted with Laws via Zoom as she and Berninger readied for a show in Edmonton as part of this tour that will take them across Canada and parts of the United States, before jetting to New Zealand and Europe. I’d first “met” Laws by seeing Ronboy and Berninger perform last May at Washington, D.C.’s Lincoln Theatre on the first leg of their tour promoting Berninger’s solo “Get Sunk” album, on which Ronboy guests… she recalls the D.C. show well in part because her fuzz pedal broke during sound check and she had to run out and get a new one before the concert (“the fuzz is like everything about my tone…”).

LA-based Ronboy made a name for herself with Berninger after he heard an EP she’d put out and one thing led to another, including the current tour. Laws says she was something of a closeted artist at the start, working on stuff alone, until she started playing shows and releasing music not long before the pandemic. “I’d been holding things way too precious,” she says, though also was honing what she wanted Ronboy to be.

“It’s been kind of really cool interweaving my own career into working with other people,” says Laws, who has also toured with Jade Bird (including in Boston) and gotten to pinch hit on bass with Idles. “I wouldn’t have it another way.”

Touring with Berninger has introduced Laws to unforgettable opportunities, from appearing on late night TV shows like “The Tonight Show with Jimmy Kimmel” to getting Bob’s Burger-ized.

Asked why she thinks Ronboy’s musical talents sync well with those of Berninger, Laws says “we’re both willing to explore and push and make things seem not what they are. We also have this appreciation for a good song.”

She adds that Berninger’s fans are the best—fun to chat with live and engaged online, not to mention generous merch buyers. “We’re besties now,” Laws says.

Looking up to Berninger as a songwriter and lyricist, Laws finds it hard to compare herself with him. Laws acknowledges that she and Berninger are very different in some ways, with Berninger and The National loading their songs with lyrics, whereas Ronboy’s songs are sparer and more repetitive. Like Berninger, Laws likes to be aloof enough in her material that people can fill in the blanks to make sense of the lyrics and music.

Performing live, Ronboy exudes energy, whether on keys and synth, bass guitar, or letting loose with just the mic. Her sound has become deeper and grittier as the tour has gone on.

Laws’ first instruments were keys and synth, but as a front person in a band, she felt her movement on stage severely limited, so has really embraced her “dream bass”—a black-on-black custom Fender model with a Precision body, J neck and chrome pickups that she says “just shatters everything.”

Playing multiple instruments has also made Laws a more versatile option for other bands.

“I like the movement. I like not knowing what’s coming next,” she says. “You get to interact with the crowd differently.”

Laws has been rolling out songs that she has been playing on tour, and plans to release a five-song EP this summer dubbed “Get Rich.” Next month she’ll be doing a video that she promises will be “a little spooky, a little unhinged.”

Among the new songs is “I Am Only Playing,” a mix of her perspective and someone else’s, with a sarcastic twist. “It’s like ‘I’m only playing with you,’ though that’s not how I feel at all,” Laws says. When she started writing it, the song had a chugging, swirling baseline, then was redone as a piano ballad, and then reworked again for the full band. The end result is a stripped down beginning, with a banger of a payoff.

“It’s a swirling vortex, you can feel something coming the whole song,” she says. “All hell breaks loose and it feels so good.”

And concertgoers, you don’t want to miss that.

@ronboymusic I’m putting out a new song on called “Disaster.” One of my favorite artists is featured and we played it on tour through the states a couple months ago. Disaster (feat. Matt Berninger) Aug 15 #newmusic #indieartist #altmusic #altrock ♬ original sound – Ronboy

More “beyond Swellesley” music coverage:

• Irish band Amble finds home away from home in Boston
• TCAN preview: Alison Brown wants you to experience the ‘unique beauty of the banjo’
• ‘Guitar fanatic’ James Mastro to make Natick debut opening for Marshall Crenshaw
• Levitate Music Festival spotlight: Ripe rebounds to bring the funk