Ivan & Alyosha first sparked attention with their 2013 debut album All The Times We Had, followed by 2015âs Itâs All Just Pretend. Paste called their music âluscious, enjoyable folk-popâ and NPR Music praised their âBeatles-esque pop harmonies and sweet melodies,â while Rolling Stone raved about their âsmooth, soaring guitar popâ and American Songwriter said the band âachieve a polished west coast soul-folk sound that draws on the poppier sensibilities of McCartney songwriting.â The band toured extensively around those releases, supporting such acts as Brandi Carlile, The Head & The Heart, Delta Spirit, and more.
As their schedules maxed out, they found less time for creativity and realized a change was needed. So, the fivesome -- brothers Tim and Pete Wilson, Ryan Carbary, Tim Kim, and Cole Mauro â decided to take a slight break from the day-to-day demands of Ivan & Alyosha to regroup creatively and also spend time with their young families. With that time and freedom came perspective and inspiration, and during a gathering at Mauroâs house last year, drinking beer around a fire pit and swapping these new song ideas, they came to realize two things: one, they felt a new urge to create together; and two, that they didnât have to go about it all in the same old ways.
CANCELED - Vampire Weekend with Special Guest Dijon - Presented by Opus One & PromoWest North Shore
The Avett Brothers made mainstream waves with their 2009 major label debut, I and Love and You, landing at No. 16 on the Billboard Top 200 and garnering critical acclaim. 2012 saw The Carpenter hit No. 4 on the Billboard Top 200 and was followed by Magpie and the Dandelion (2013) which debuted at No. 5 on Billboardâs Top 200 and saw the band appear twice on Jimmy Kimmel Live! True Sadness (2016) achieved The Avett Brothersâ highest career debut to date hitting No. 1 on Billboardâs Top Albums Chart, No. 1 Top Rock Albums Chart, No. 1 Digital Albums Chart, No. 3 on Billboard Top 200, and scoring two GRAMMYÂ® nominations. In the same year, the band was inducted into the North Carolina Music Hall of Fame. In 2017, the band released their critically acclaimed documentary May It Last: A Portrait of The Avett Brothers, which was co-directed by Judd Apatow and Michael Bonfiglio. The film followed the band as they wrote their GRAMMYÂ® nominated album True Sadness. The film was released theatrically and on HBO to rave reviews and critical acclaim and is now available on DVD/Blu-Ray/VOD. In November 2018, the band headlined the concert for Hurricane Florence Relief in Greenville, North Carolina, raising $325,000 to help those affected by Hurricane Florence. This year, the band released their tenth studio album Closer Than Together featuring new single âHigh Steppinââ which reached #1 on the Americana Radio Chart. Coming soon: Swept Away - a new musical inspired by and featuring the music of The Avett Brothers - will have its world premiere at Berkeley Repertory Theatre in June 2020.
Pinegroveâs new album begins with a breath and ends with a shimmering exhalation. In between is Marigold, an urgent, multivalent meditationâand an expanded take on the blend of alt-country, indie rock and cerebral humanism thatâs inspired the bandâs ardent fan community. Marigold marks their Rough Trade Records debut, offering what songwriter Evan Stephens Hall calls a âheart-firstâ perspective.
Those familiar with Pinegrove will recognize signature elements of the bandâs sound: literary yet conversational lyrics, geometrically interlocking guitars, the dynamic shifting shadows of rhythm and structure. But this effort marks the most spacious, bold, and well-defined iteration of the project yet
Formed in 2010 by childhood friends Evan and drummer Zack Levine, Pinegrove have released three previous albums â Everything So Far (2015), Cardinal (2016), and Skylight (2018) â to massive critical acclaim, garnering them a widespread and devoted listenership. Theyâve described their sound as variously as introspective party music, or energetic music in the folk tradition; in any case they have combined catharsis and inventive structures with irrepressible melodies, resonant lyrics and emotive twang. Marigold finds the band expanding into the latter, spreading out over varying tempos and swelling pedal steel. But in surprising moments, the album can suddenly unfold into the bandâs heaviest, most unbound offerings yetâa cavalier disregard of genre in favor of something honest and unique.
This show has been rescheduled from March 21 - All tickets honored
"This has been a hell of a year," Rhett Miller says. "I turned 48 in September and I'm still surprising myself."
After more than two decades as founding member of the venerable Old 97's and acclaimed singer-songwriter in his own right, Rhett Miller has crafted a trio of new projects that see him pushing his creative energies in hitherto untraveled directions. Among them are two utterly unique new albums - one solo, the other as part of Old 97's - as well as his first ever book, a collection of subversive kids' poems.
THE MESSENGER, Miller's eighth solo album, is perhaps his most unflinchingly personal collection of songs to date. Recorded over five spring days at The Isokon in Woodstock, NY with producer/musician Sam Cohen (Kevin Morby, Benjamin Booker),Â THE MESSENGERÂ sees Miller playing it faster and looser than perhaps any other time in his quarter century career, instilling songs like the first single, "Total Disaster," with a groovy limberness that belies the reflective darkness within. Backed by a white hot backing combo comprised of Cohen (Electric & Acoustic Guitars, Pedal Steel Guitar, Keys), Brian Betancourt (Bass), and Ray Rizzo (Drums), Miller worked quickly and with purpose, fast-tracking four or five "keepers" each day.
"I wanted this record to be less safe," he says. "I wanted to put myself in the hands of a producer who was going to do things that I didn't expect; I wanted to perform with people I didn't know and be surprised by what they came up with. And all of that really came to pass.Â
"That's what you're getting with this record. You're getting a locked-in rhythm section with a crazy, psychedelic guitar maestro playing along with me as I dig deep into these songs about depression and insecurity and modern life and somehow wanting to live despite all of it," Miller chuckles.Â
While that might sound somewhat flip, Miller is in some ways more serious than ever before.Â THE MESSENGERÂ sees the veteran songsmith diving deep into his own youthful encounters with suicide and depression, placing "a long distance phone call to myself as a 14-year-old" on surprisingly buoyant new songs like "Permanent Damage" and "I Used To Write In Notebooks."
"For a lot of years I tried to keep self-reference out of my work," he says, "and I believe there's a lot to be said for that. There's enough about what I do that's masturbatory without me reading from my diary. But at a certain point, when you want to dig into personal issues and maybe explore things from your own past, you have to let yourself go there."
Miller hadn't publicly addressed his adolescent suicide attempt until a 2008 interview with Terry Gross on Fresh Air. "She asked me about my suicide attempt and I found myself telling her the story. I was surprised at how people responded. I ended up doing a little work on behalf of the National Suicide Prevention Network and that kind of blossomed to where I've made a point of recognizing my own history and doing whatever I can to try and bring it out of the shadows and make it something people are okay talking about. But even then, I'd never really recognized it in my own work."
And whileÂ THE MESSENGERÂ addresses this darkness head-on many times, the album also visits the brighter corners. Songs like "You Were A Stranger" and "Wheels" speak to the joy that comes with having survived. Towards the end of "Wheels," when Miller sings "I'm broken, we're all broken, we just keep on trying," it's clearly a rallying cry rather than a lament.
After delving inward to createÂ THE MESSENGER, Miller rejoined his mates in the Old 97's - Murry Hammond (Bass, Vocals), Ken Bethea (Electric Guitar), and Philip Peeples (Drums & Percussion) - to make a red-and-green gift for the world. Produced, mixed & engineered by John Pedigo in the band's home state of Texas,Â LOVE THE HOLIDAYSÂ presents a stocking stuffed with rockin' new Yuletide favorites, capped off inevitably by the Old 97's take on the New Year's Eve staple, "Auld Lang Syne." Among the album's many highlights are the title track, co-written with Kevin Russell (The Gourds, Shinyribs), "Gotta Love Being A Kid (Merry Christmas)" and "Snow Angels," both co-written with acclaimed prose writer Ben Greenman, and the continuing saga of everyone's favorite reindeer, "Rudolph Is Blue," co-written by Miller and Dan Bern.
"I've thought about making a Christmas record for years and years," Miller says. "My goal was to make a record that could stand up alongside the classics, a record that would offer some new songs to this frustratingly finite list of holiday tunes that we all have to listen to on a loop between Halloween and New Year's Day. Â We all get sick of the old ones, so why not try and come up with some new options for people to listen to when they're wrapping their gifts and snuggling in front of the fire?"
Speaking of gifts, Miller has teamed with Caldecott Medalist and bestselling artist Dan Santat forÂ NO MORE POEMS!, a hilarious collection of irreverent poems for modern families, to be published March 5th, 2019 by Little/Brown Books For Young Readers. Written in the tradition of Shel Silverstein and Edward Gorey, Miller's poems bring a fresh new twist to the classic dilemmas of childhood as well as a perceptive eye to the foibles of modern family life. Full of clever wordplay and bright visual gags - with toilet humor to spare - these clever verses will have the whole family cackling.
"I was missing my kids so bad while out on tour," Miller says. "So I had to come up with a trick to get them to spend time on the phone with me. The trick was, âHey, I wrote a poem, and I need you kids to critique it for me.' I gave them carte blanche to criticize me, to tell me that what I did was stupid. They let me have it, which was so great. It kept them on the phone way longer than if it was just me moping about how lonely I was in Peoria, Illinois or whatever."
Miller - who left Sarah Lawrence with a full scholarship for creative writing to pursue a career in music - has long worked a side game as a writer, publishing a number of essays, short stories, and criticism over the past 20 years. ThoughÂ NO MORE POEMS! is his first proper book to be published, he firmly avows it will not be his last.
"When I dropped out I thought, I'll do rock ân' roll when I'm young and then when I'm middle aged, I can segue into writing with decades of experience under my belt," he says. "So now, that plan is coming to fruition. If I have my druthers, I'm going to keep writing books of different stripes for years and years to come. "
FromÂ THE MESSENGERÂ toÂ LOVE THE HOLIDAYSÂ toÂ NO MORE POEMS!, Miller's current crop of original output is testament to those aforementioned decades of experience, each distinct project marked by his ever-increasing skill set and multi-faceted approach to art and artistry. Having long ago committed himself to the artist's life, he has kept his nose to the grindstone, determined each and every day to create something of quality, meaning, and purpose.
"I've always believed that making art gives meaning to life," says Rhett Miller. "So far it's worked out pretty well."
CANCELED - An Evening With THE GROWLERS - Presented by Opus One & 91.3 WYEP
Led by singer Brooks Nielsen and music director/guitarist Matt Taylor, The Growlers have forged their own twisted path on the global music scene since their founding in 2006 in Dana Point, California. Theyâre the party band that grew into a traveling circus, spawning their own annual event (Beach Goth) and growing an international fanbase, while releasing six studio records that trace a line from garage psych ballads to edgy radio pop.
On their first three records â Are You In Or Out? (2009), Hot Tropics (2010), and Hung at Heart (2013) â The Growlers combined reverb-rich waves of vintage surf rock with the dark, slow-burn melancholy of outlaw country. Chinese Fountain (2014) introduced a new, disco-infused direction that saw them move away from their swampy roots and relocate to Los Angeles. The band teamed up with producer Julian Casablancas (and frontman of The Strokes) to make City Club (2016), infusing their sound with Casablancasâ angular melodies and speakerpopping mixes. 2018 brought Casual Acquaintances, a raw collection of City Club-era demos and outtakes that â even as b-sides â ranks with the bandâs finest material.
Between records they toured constantly, raising their status as icons of the Los Angeles music underground, capable of drawing arena-sized crowds for their hometown shows. On their latest, self-produced record Natural Affair (2019), The Growlers move their DIY aesthetic into an even sturdier, synthier, dancier sound, bolstered by Nielsenâs finest lyrics to date: social commentary, rhymes, and ruminations on the pleasures (and perils) of modern love.
CANCELED - Brittany Howard of Alabama Shakes with Special Guest Vagabon - Presented by Opus One & PromoWest North Shore
âI turned thirty and I was like, âWhat do I want the rest of my life to look like?,â â says Brittany Howard. âDo I want to play the same songs until Iâm fifty and then retire, or do I do something thatâs scarier for me? Do I want people to understand me and know me, do I want to tell them my story? Iâm very private, but my favorite work is when people are being honest and really doing themselves.â
As the frontwoman and guitarist for Alabama Shakes, Howard has become one of musicâs most celebrated figuresâthe band has won four Grammys (out of its nine nominations), and she has performed everywhere from the Obama White House to the main stage at Lollapalooza, where she sang with Paul McCartney at his invitation. But for her solo debut, Jaime, Howard boldly decided to explore new directions, with diverse instrumentation and arrangements and intimate, revelatory lyrics.
âItâs scary to mess with success, because the Shakes are doing so good,â she says. âBut I needed to shake it upâand if youâre going to do that, you better go all out and make it worth it.â
Howard had amassed a bunch of ideas and song scraps, things that felt like they were outside the realm of the band. Her plans werenât clear for these incomplete tracks, which were mostly recorded alone on her laptop and given temporary, random titlesâmaking it challenging to even locate them later.
âI wanted to do something on my own, just my music, that didnât have to have a genre or stick to fansâ expectations,â she says. âI knew I wanted to do a record, but I didnât know where to begin. I was freaking out, I didnât know what to sing or what it would sound like. I was writing every day, putting all this stress on myself, hoping something would happen.â
In search of inspiration, Howard left her home in Nashville and went to Topanga Canyon for a change of scenery. âI was staying in this beautiful place and I was miserable because the songs just werenât coming,â she says.
When she eventually went into engineer Shawn Everettâs studio in Los Angeles to record, she only had a handful of finished songs. But once she started working with the band she had assembledâa core group of Alabama Shakes bassist Zac Cockrell (âWeâve known each other since we were kids,â she says, âso working with another bass player seemed ludicrousâ), innovative jazz-based keyboard player Robert Glasper, and drummer Nate SmithâHoward started to feel the music taking shape, sometimes out of their playing and sometimes simply out of conversations.
âI had forgotten some of these songs even existed,â Howard says with a laugh. ââHistory Repeatsâ took forever to mix because itâs the original from my Logic recording, which I had recorded vocals on just to show my friend how the program worked and then forgot about it. The vocal on âRun to Meâ was recorded on a cell phone!â
The work Howard has done with her side bands, Thunderbitch and Bermuda Triangle, also impacted her ambitions for the songs on Jaime. âThe Shakes do a cycle of recording and touring, and then I get restless in the time off,â she says. âActually, to me, there is no time offâIâm a creative person and I need to create or I just feel weird, not fully human.
âWith Bermuda Triangle,â she continues, âI learned about raising my own voice. The other girls had their own songs, they could just play them on an acoustic guitar and they didnât need a band. My music is really composed, with lots of moving pieces, so that inspired me to really pay more attention to what I write and try to be a better songwriter.â
Different sounds and approaches started to emerge. Howard plays all the parts on âShort and Sweet,â while âPresenceâ sees her accompanied only by a harp. â13th Century Metalâ grew out of Glasper and Smith jamming in the studioââI heard that and knew I had to do something with it,â she says.
Even more striking, though, are the stories Howard is telling on Jaime, the deeply personal and emotional territory she covers directly and nakedly, stripped of overtly poetic distance. She confronts harsh truths about relationships in songs like âBabyâ and âTomorrowâ and examines spiritual ritual in âHe Loves Me.â
Howard points to âGeorgiaâ as a breakthrough song on the project, and for herself. âThatâs a straightforward love song to another woman, which is something I never confronted until I was older,â she says. âIn a small town like where I come from, different is badâI never wanted to be different. My greatest wish was to be like everybody else. I didnât want to be almost six feet tall, didnât want this big, bushy hair. Thatâs the truth of what it feels like to hold everything in and just want to be accepted for being yourself.â
âGoat Headâ is a painfully candid account of Howardâs family experience when she was growing up as a mixed-race child in a small Southern town. âItâs a story my mom told me when I was 13 or 14,â she says, âabout how it was really hard to have little brown babies, how hard it was raising us. I never saw our town that way, never experienced it because I was too young, but it explained so much about my momâwhy she was always so stressed, had so much trouble getting a job.
âWhen I sang it, I instantly felt afraid, embarrassed, vulnerable. I was definitely scared for the sake of my folks, bringing up bad memories, But it is my story to tellâthat song was the experience of growing up in the South.â
Howard titled the album after her sister, who taught her to play the piano and write poetry, and who died of cancer when they were still teenagers. âThe title is in memoriam, and she definitely did shape me as a human being,â says Howard. âBut itâs also about meâthe people who know me well know how important she is to me.â
As the first project to come out under Brittany Howardâs own name, Jaime represents an enormous step both musically and personally. âItâs my first time making decisions on my own, being the captain of the ship,â she says. âIt brings up existential questionsâwhy am I here, why do I do this? People think that touring in a band is super-fun, and it can be, but nothing about it is normal. You miss out on a lot of stuff, so I need to make sure Iâm doing it for the right reasons.â
Howard looks forward to playing these songs live, but is tempering her expectations. âI have no idea whatâs going to happen,â she says. âI have to measure my success by the fact that I did something I didnât think I could doâI knew I could, but I didnât know if I would. So just the fact that I made it, and gave myself permission to just fuck it up and do some stuff thatâs maybe stupid and not cool, is pretty successful. Being a creative person, thatâs the most successful thing.â
Sometimes, a mystical, life-changing connection can be closer than you think.
In 2017, Grammy Award-winning guitarist/producer Adrian Quesada had recorded some instrumentals in his Austin studio, and he started looking around for a vocalist -- he knew a lot of singers, but he wanted something different. He reached out to friends in Los Angeles, in London, but nothing seemed right.
Meantime, Eric Burton had recently made his way to Texas. Born in the San Fernando Valley, he grew up in church and then got heavily involved in musical theater. He started busking at the Santa Monica pier, where he brought in a few hundred dollars a day and developed his performance skills. Burton traveled through the Western states before deciding to settle down in Austin -- setting up his busking spot on a downtown street corner, at 6th Street and Congress, for maximum exposure.
A mutual friend mentioned Burton to Quesada, saying that he was the best singer he had ever heard. The two musicians connected, but Burton took a while to respond (âMy friends were like âDude, youâre a mad man, you need to hit that guy back!ââ) Finally, he called Quesada, and started singing to one of the tracks over the phone. âI loved his energy, his vibe, and I knew it would be incredible on record,â he says. âFrom the moment I heard him on the phone, I was all about it.â
The results of that inauspicious beginning can now be heard on the self-titled debut album from Black Pumas, the group that Quesada and Burton assembled, which has become one of the yearâs most anticipated projects. Described as âWu-Tang Clan meets James Brownâ by KCRW, Black Pumas were the winner of Best New Band at the 2019 Austin Music Awards.
Quesada has a storied reputation from playing in bands like Grupo Fantasma and Brownout, accompanying artists from Prince to Daniel Johnston, and producing such acclaimed projects as 2018âs Look at My Soul: The Latin Shade Of Texas Soul. For the tracks that kicked off this project, though, he had a different direction in mind. âI was looking for somebody with their own identity,â says Quesada, âwho liked Neil Young as much as Sam Cooke.â
Burtonâs taste, range, and experience proved to be exactly what Quesada was seeking. âWe just take to the same kind of music,â he says. âI listen to East Coast hip-hop, old soul music, folk music. When Adrian sent me the songs, it was like I had already heard them before. We were on the same wavelength from the get-go.â
The first day they got together in the studio, they recorded the dusty funk that would become the Black Pumasâ first two singles, âBlack Moon Risingâ and âFire.â Quesada had written the music for âBlack Moon Risingâ on the day of the 2017 solar eclipse, and Burton took that concept and ran with it. âRight away, the hair stood up on the back of my neck,â says Quesada. âI knew, âThis is it -- this is the guy.ââ
Burton sensed the potential, as well. âWhen I saw that Adrian played with Prince and had a Grammy,â he says, âthat he was a serious, respected artist, I knew that I would do my best not to squander that. If you can do it on the street, for a long time, without making yourself crazy, you can do it with a guy whoâs won a Grammy.â
The duo also knew that they didnât want their sound to be too retro or imitative. âWe didnât want to just do throwback soul and pretend that hip-hop never happened,â says Quesada, noting that it was listening to Ghostface Killah that initially triggered him to start writing this material. âIt had to feel sincere coming from us. I have a certain aesthetic in the studio, Eric has a voice that evokes a certain era, but I donât think we reference that too directly.â
âAdrian has had the time and the interest to really dive into a specific sound, to recreate something he heard on a Motown record,â adds Burton. âAnd because of that specific knowledge, he provides an interesting sandbox for me, whose background is in theater, to do something super-unorthodox -- to be an art student and play with all the colors I have, but to put it on something thatâs more familiar to listenersâ ears.â
With Black Pumas having evolved from an idea to a session to an album, they decided to put a band together and see how this music sounded live. They booked a residency at C Boys (a sister venue to Austinâs famed Continental Club), initially playing every Thursday for a month. âWe only rehearsed twice, we had no idea what we were getting ourselves into,â says Quesada. âBut with the first show, we knew it was unique, special -- the chemistry and fire were there immediately. And what Eric could do as a frontman was like nothing Iâd ever seen.â
As word got out, the C Boys shows turned into a local phenomenon (âthe hottest party in town,â according to the Austin American-Statesman), with lines around the block despite the fact that the band had only released one song. The reaction to the groupâs recent South by Southwest appearance helps explain the mania -- the Chicago Tribune called Burtonâs performance âa whirlwind of movement and gesture,â while Rolling Stone, in naming Black Pumas âOne Of The 30 Best Bands We Saw In Austin,â wrote that âthe hometown six-pieceâs grooves were funky in a thick, viscous way, oozing out in ambitious jams that wandered into heady territory without meanderingâ and praising Burtonâs âtireless, charismatic energy.â
The other, unexpected result of the C Boys residency was that Burton presented more of his own songs to help fill out the set, which led Black Pumas into new territory. âEric had all these other songs based on other styles, going back into what he was doing when he was busking,â says Quesada. âIt was a real spark that we could huddle around him and his songs, too, and get a real sense of what our sound was.â
In fact, the final song recorded for Black Pumas was âOctober 33,â a tense, pleading ballad by Burton. âI didnât feel like we had the right last song,â says Quesada, âwe needed something with more of Eric on guitar. I said âI want to put down one more, do you have anything?â and he texted me back exactly what I was imagining -- it was almost unspoken.â
Quesada and Burton both return, over and over, to this almost mystical connection they felt from the beginning. Itâs this sense of common purpose, of shared vision, that gives Black Pumas its focus and power -- and that points to great things ahead.
âItâs so seamless, itâs like weâre musical brothers to some degree,â says Burton. âIt feels so easy to meld together that whatâs most important for us now is to continue to look for new sounds -- to make sure weâre feeding ourselves the knowledge to continue to evolve. Every time we get together, itâs better than the last time.â
POSTPONED TO NOVEMBER 14 - A Night of Fine Acoustic Country Music with Brent Cobb
In each song she creates, Nicole Atkins reveals her incredible power to transport listeners to a much more charmed time and space. On Italian Ice, the New Jersey-bred singer/songwriter conjures the romance and danger and wild magic of a place especially close to her heart: the Jersey Shore in all its scrappy beauty. Inspired by the boardwalkâs many curiositiesâthe crumbling Victorian mansions, the legendary funhouse, the Asbury Park rock-and-roll scene she played a key part in revivingâAtkins transforms her neverending fascination into a wonderland of her own making.
For help in capturing the shoreâs kinetic spirit, Atkins assembled a studio band whose lineup feels almost mythical. Recorded at the iconic Muscle Shoals Sound Studio in Alabama, Italian Ice finds the Nashville-based artist joined by Spooner Oldham and David Hood (both members of The Muscle Shoals Rhythm Section, who played on classic records from the likes of Aretha Franklin and Etta James), Binky Griptite of The Dap Kings, Jim Sclavunos and Dave Sherman of The Bad Seeds, and drummer McKenzie Smith (St. Vincent, Midlake). With special guests including Spoon frontman Britt Daniel, Seth Avett of The Avett Brothers, Erin Rae, and John Paul White, the album is a testament to Atkinsâs uncommon talent for uniting musicians of radically different sensibilities. As Atkins explains, the abundance of collaborations on Italian Ice partly stems from a freak accident in which she stumbled into a sinkhole in a Knoxville parking lotâan incident that left her with a profound longing to fill her life with the people and experiences that bring her the most joy.
Co-produced by Atkins and Ben Tanner of Alabama Shakes, Italian Ice makes brilliant use of its A-list personnel, unfolding in a kaleidoscopic sound that Atkins likens to âan acid trip through my record collection.â At turns as opulent as symphonic pop and gritty as garage punk, the album wanders into shades of psych-rock and honky-tonk and girl-group melodrama, endlessly spotlighting the tightly honed musicianship and unbridled originality at heart of Atkinsâs artistry.
Los Straitjackets are the leading practitioners of the lost art of the guitar instrumental. Using the music of the Ventures, The Shadows, and with Link Wray and Dick Dale as a jumping off point, the band has taken their unique, high energy brand of original rock & roll around the world.
Clad in their trademark Lucha Libre Mexican wrestling masks, the 'Jackets' have delivered their trademark guitar licks to 16 albums, thousands of concerts and dozens of films and TV shows. Viva Los Straitjackets!
POSTPONED - Eilen Jewell - Presented by Opus One & 91.3 WYEP
This show is being postponed - a new date will be announced shortly.
American Songwriter describes Eilen Jewell as one of America's most intriguing, creative and idiosyncratic voices. The Boise, Idaho songwriter is one of a kind.
That singular voice springs forth from a woman of more than one mind, and she taps into many of them on Gypsy (August, 2019 Signature Sounds Recordings). By turns personal and political, pissed off and blissed out, Jewell's first album of original material since 2015 expands brief moments of joy into lifetimes, and distills epic sentiments and persistent doubts into succinct songs.
Jewell seamlessly blends heavy electric guitars and dirty fiddles on the rollicking country rocker Crawl with the sweet and understated horn section of the tender Witness. 79 Cents (The Meow Song) skewers sexism and discrimination with pointed humor over a circus bed of musical saw and horns.
Longtime fans who love Eilen Jewell in classic country mode will delight in the pedal steel driven These Blues and the sole cover on Gypsy, You Cared Enough To Lie, written by fellow Idahoan and country legend Pinto Bennett.
Rather than pulling artist and listener this way and that, the tensions within and between these twelve tracks propel Eilen Jewell's eighth studio album forward as a remarkably cohesive full length.
(Rescheduled from April 26) ...And You Will Know Us By the Trail of Dead with Special Guest Greenbeard
...an American alternative rock band from Austin, Texas led by chief members, Jason Reece and Conrad Keely. As childhood friends originating in Hawaii, the two began their music careers after moving to Olympia, Washington--forming their own various bands and ultimately relocating to Austin, Texas to create what would become ...And You Will Know Us By the Trail of Dead. In twenty five years, the band has experienced major success in the indie music world with groundbreaking albums such as âSource Tags & Codesâ, âMadonnaâ and âWorlds Apartâ. The pairing of this music with an energetic and destructive live performance has eternally etched the band a place in rock and roll history.
2020 marks the release of the band's tenth studio album, âX: The Godless Void and Other Storiesâ which is released to the world on January 17. This also cues a US west coast tour that kicks off in Los Angeles before heading to Europe and the UK in February.
In twenty five years, AYWKUBTTOD boasts a healthy track record featuring 10 studio albums, countless festival appearances, world tours, rumors and stories that continue to charm the world. While some say their days of thrashing guitars and drums are behind them, the chaos continues with a live show that is fueled by endless rage and energy.
By most fifth LPs, the bandâs sound is pretty set. Parameters established. Refinement dissipated. You get a to-formula execution of whatâs worked in the past. Fair enough. All Them Witches go a harder route.
In 2017, the Nashville four-piece offered what mightâve otherwise become their own template in their fourth album (second for New West), Sleeping Through the War. It brought a larger production value thanks to oversight from producer Dave Cobb (Jason Isbell, Shooter Jennings, etc.), found them using choral vocals, expanded arrangements, bigger sounds than anything theyâd done before.
They couldâve easily fallen into a pattern of watered-down clones of that record. Easily.
So naturally in a year theyâve thrown it all to the Appalachian wind, turned the process completely on its head and gone the other way: recording in a cabin in Kingston Springs, about 20 miles outside of Nashville on I-40, with guitarist Ben McLeod at the helm. Self-produced. Take that, expectation.
The result, mixed by Rob Schnapf (Beck, Elliott Smith, Kurt Vile), is the most intimate, human-sounding album All Them Witches have recorded and another redefinition of who they are as a band. Introducing keyboardist/percussionist Jonathan Draper to the fold with McLeod, bassist/vocalist Charles Michael Parks, Jr., and drummer/graphic artist Robby Staebler, All Them Witchesâ ATW isnât self-titled by mistake.
Itâs the band confirming and continuing to develop their approach, in the devilâs boogie of âFishbelly 86 Onions,â the organ-laced groove and masterful flow of âHalf-Tongue,â the build of âHJTCâ and the fluid jam in closer âRobâs Dream.â You can hear it in the mellow patience of that last track, never lost but always wandering, and in â1st vs. 2nd,â where they turn from a frenetic shake to some purposefully metal-ish riffing while still holding onto gut-tightening tension.
And what do they do with that? Some overblown payoff? Hell no. They cut it short, drift into noise and then dig into âHalf-Tongueâ ahead of the moodier âDiamond,â which, true to its name, seems to turn any light that touches it into a prism. This is a band who delight in the exploration, in finding new rules to break, and in continually learning new ways to do so.
ATW is a reaction to being a âbiggerâ act. To playing bigger shows, bigger tours, etc. From the sustained consonants in Parksâ vocals, to the sleek basslines that play off the canât-sit-still-wonât-sit-still swing in Staeblerâs drums, to McLeodâs commanding slide in âWorkhorseâ and drifting melancholy at the outset of âHarvest Feast,â ATW is their laying claim to the essential facets of their identity.
And most crucial to that identity is its shifting nature. All Them Witches didnât get to this point by resting on laurels, and if anything, the urgency of these tracks â fast pushers and sleepy jams alike â is among their greatest strengths.
Itâs a rawer delivery, as stage-ready as the band itself, and it captures All Them Witches in this moment. Is ATW who theyâll be tomorrow? Who the hell knows? Check back in and weâll find out together. Thatâs the whole idea.