Melissa Etheridge at Count Basie Theatre on July 15 at 8 p.m. (Up to Half Off)

Count Basie Theatre

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In a Nutshell

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Queen of bluesy folk-pop behind the hits “I’m the Only One” and “Come to My Window” takes her newest album on the road

The Fine Print

Expires Jul 15th, 2013. Limit 8 per person. Redeem starting 7/15 for a ticket at venue box office. Must show valid ID matching name on Groupon at Count Basie Theatre. Refundable only on day of purchase. Must redeem together to sit together. Discount reflects Count Basie Theatre's current ticket prices-price may differ on day of the event. Doors open 1 hour before showtime. For ADA seating, call box office promptly upon receipt of voucher - availability is limited. Merchant is solely responsible to purchasers for the care and quality of the advertised goods and services.

Getting front-row seats to a concert often requires fans to overpay scalpers or name their firstborn child 93.1 FM. See a show on your terms with this GrouponLive deal.

The Deal

  • $48 for one ticket to see Melissa Etheridge (up to a $96.50 value)
  • When: Monday, July 15, at 8 p.m.
  • Where: Count Basie Theatre
  • Seating: balcony section
  • Door time: 7 p.m.
  • Ticket values include all fees.
  • Click here to view the seating chart.

Melissa Etheridge

Melissa Etheridge performing "Bring Me Some Water" live

As a dauntless songbird, gay and lesbian activist, and breast-cancer survivor, Melissa Etheridge rarely shies away from expressing herself using her famously raspy voice and bare-all approach to songwriting. Etheridge cemented herself in the hearts of FM radios with 1993’s Grammy-winning plea “Come to My Window,” which introduced ears across the country to her poignantly understated lyrics and impassioned heartland rock. Building on a more than two-decade career that has earned her two Grammy wins and a total of 15 nominations, she now hits the road to promote her recently released 12th studio album, 4th Street Feeling. The new collection of songs sees Etheridge returning to her autobiographical storytelling as she broadens her musical range by performing all the guitar, harmonica, and keyboard parts herself, and making liberal use of the oft-forgotten H, I, and J guitar strings. The album’s overall effect is both intimate and subdued, and as Rolling Stone’s Anthony DeCurtis opined, “She’s realized that sometimes holding a little back can make what’s there hit with all the more force.”

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