5 p.m. doors, 6 p.m. show
All ages welcome
$25 advance, $30 day of show, $40 two day passes
Some quick true/false facts about the band Horse Feathers and their new album, So It Is With Us:
1. The record was partially recorded in a barn in a beautiful pastoral setting in rural Oregon
(true, but hasn't everybody done this now?)
2. The band lives in Portland, OR
(also true, and they are consciously and unconsciously living breathing stereotypes just like the
ones portrayed in Portlandia)
3. Horse Feathers last album charted on Billboard by selling fewer records than they had in the past
(true, but maybe more a comment on the music industry as a whole?)
4. For this album, the band was influenced by the following: Pentangle, Talk Talk, Paul Simon, The Band, Van Morrison, John Wesley Harding era Bob Dylan, Desire era Bob Dylan, and Abner Jay (not what you would have guessed, right?)
Justin Ringle, the man behind all ten years of Horse Feathers, has the following to say about the making of this album, and the current state of his band:
"I wanted to stop. I did all the touring for my fourth record - "Cynic's New Year" - and ended the year 2012 disillusioned and defeated. I didn't touch my guitar for months, which was the longest I had gone in about 15 years. I thought that my career in music was over and wondered if I even wanted to do it anymore. After an arduous period of self-doubt and discovery, I finally arrived at the enlightened idea that maybe it should just be a little more fun. I had grown weary of talking to people after shows who said that my last record "helped them through their divorce". I have always been flattered by that sort of thing, but I realized what I wanted to hear was how my last record helped them "have a great weekend". If you have heard any of my previous records you will realize that this transformation from "divorce" band to "weekend" band would be a tall order. And it was! I wouldn't say we've become a "party band" overnight, but I certainly tried to change things a bit.
I enlisted friends to play with me that I trusted and had known for years. Along with longtime bandmates Nathan Crockett (strings/mandolin) and Dustin Dybvig (percusion/drums/keys), I threw Justin Power (bass/vocals) into the mix to have an honest to god rhythm section for the first time. With Lauren Vidal on cello and Brad Parsons singing harmonies, we played an impromptu show at Sasquatch and people liked it. We liked it, and the unusual feeling that I had after that show - which I think is referred to as "joy" - became something I wanted to experience again. I shared more. I stopped editing myself as much. The joy of playing live became its own reward, and I dared myself to allow that joy to shape the songwriting. In the end, I was able to let it go, and I don't own it anymore. Which also feels like joy. That's the way it was, and so it is with us."
So It Is With Us will be released on Kill Rock Stars on October 21, 2014.
From the downbeat of the title track on WORTH's Pardon Me, the listener is in for a magical ride. This 3rd album fuses the depth and dynamic impact of modern sound with the soulful rawness of the old school. The music is both haunting and familiar, and touches the addictive vitality of that new thing you can't stop playing in your stereo. Pardon Me is WORTH in full stride.
The first thing you notice when listening to Christopher Worth is the undeniable quality of his voice: it is thick, sensual, raw, and honest. At times he expresses with the buttery richness of John Legend ("I Need You," "Tides"); at others with the feral range and force of Paul McCartney ("Care", "Bayou"). There are delicate moments, too, in which his singing is reminiscent of Amos Lee ("Glory") and even D'Angelo ("Lo and Behold"). At it's core, however, his voice is steeped in the spirit of the blues.
Christopher Worth grew up in the hip hop and r&b of the 90's and you can feel these always in the backbeat of Pardon Me. The performances are also laced with the freedom and expressiveness of rock and roll: drums hit aggressively and are consistently placed hot in the mix. Rhythmic pockets stay deep, vital, and at times delve into a more roots or folk vibe. The instrumental tones themselves are luscious and expansive. Through the course of the record the band explores mellow acoustic valleys, groovy backroads, and electrifying peaks culminating in the anthemic "Fallen Leaves." It is the sweet spot between these genres and dynamics that defines Worth's sound.
The quality of the performances is second only to the seasoned songwriting. "This record is the culmination of almost 10 years of work," says Worth, and this is readily apparent even on a first listen. The songs are tight and timeless while provocative and philosophical. From the lilting rise of "Stay Here With Me," to the smooth invitation of "Tides," to the jazzy hook of "I Need You," Worth's melodic construction entices and never feels imposed. The voices find their wings in soaring melodies and lyrics that resonate as organic and real. These compositions have come from a vast well of emotion and experience.
Led by an accomplished musician and songwriter, Pardon Me exemplifies the living journey. It is a fresh, undeniable work from a consummate artist.
The Get Ahead is a new band with an old soul. Drawing from the roots of rhythm and blues, soul, and rock n' roll, The Get Ahead can send you to the dance floor before your feet even tell you where you are headed, transporting you to a whole new kind of juke joint where you can jump, moan, laugh, and grab hold of some sweet company. You are bound to get moving with The Get Ahead, so bring your dancing shoes, unbutton that top few, and come get loose!
The coming together of Rebecca Marie Miller and Joy Pearson as Portland, Oregon’s Lenore., was serendipitous, to say the least. After individually hitting rock bottom — Pearson following a divorce and Miller after a period of destitution in LA — the pair separately turned to songwriting in their search for still points in a turning world.
After many miles and moons spent lending their abilities to other projects, they finally found themselves spinning on the same axis when a chance meeting sparked an immediate connection. A drunken night ensued and before they’d even scoped each other’s material, they'd committed.
Just three years after that fateful evening and Lenore. can boast having performed at legendary PNW venues including Portland’s Mississippi Studios, Aladdin Theater, and Revolution Hall; as well as Sunset Tavern, Fremont Abbey, and Tractor Tavern in Seattle. They've toured nationwide and have opened for critically acclaimed artists Eric Bachmann, Laura Gibson, Josiah Johnson, and The Mynabirds. They’ve also performed on stage with musical heroes like Chris Funk and Jenny Conlee of The Decemberists and Peter Buck of R.E.M. In August 2018, Lenore. was invited to play Traveler's Rest, a festival curated and headlined by The Decemberists, alongside acts that included Mavis Staples, Death Cab For Cutie, Jeff Tweedy and Tune-Yards. Most notably, in July 2019 Lenore. will make their debut appearance at the iconic Newport Folk Festival, performing on the For Pete’s Sake stage, named in honor of folk hero Pete Seeger.
Miller and Pearson initially formed Lenore. as a duo, but have long since gained full-time collaborators in seasoned Portland musicians Edward Cameron (classical guitar), Jessie Dettwiler (cello) and Austin Christ (bass and electric guitar). While Miller and Pearson share the songwriting duties, each member of Lenore. contributes significantly to the band’s sound – A dreamy and ever-evolving, melancholic yet hopeful, blend of harmony-driven folk.
Lenore. released their self-titled debut album produced by John Askew on 9/15/2017. It’s available everywhere you find your music. The band recorded two singles in early 2019 and released the anthemic Thick Skin, Tender Heart in March of the same year. Sirens, a haunting and sweeping follow-up single is expected to release in July 2019.
Fox and Bones is a conceptual folk collaboration between American songwriters Sarah Vitort and Scott Gilmore based in Portland, Oregon. The internationally touring folk duo combines lush harmonies and a complex, heartwarming lyrical landscape with soft-spoken yet rich musical accompaniment. They've been called "addictive like peanut butter" by European music blog Rockette and were voted runner up for Portland's Best Folk band by Willamette Week in 2017.
Vienna Wurstelstand gushes: "These two will lull you with their sweet and delicate melodies and woo you with their complex lyrics. Recommended if you like: making out slowly, folk and singer/songwriter tunes, music you can hum to."
Perhaps Luke Neill of Portland Radio Project sums it up best: "Their two voices meld so perfectly together that you never want to stop listening."
Pretty Gritty might be another duo emerging from a sea of female/male acts as of late, but there is nothing typical about these two. Sarah and Blaine have cultivated a sound that is both timeless and classic, yet they still succeed in bringing something fresh to the table, pushing rootsy-Americana sounds into an edgy, alternative space. These two have carved out a reputation as a must-see live act, allowing them to open for such acts as The Wood Brothers (SalmonFest 2016), Tim O'Brian, Tony Trischka, Chris Eldridge, Rod Picott, Lake Street Dive, Ben Sollee & the Kentucky Native and Joe Newberry.
Both members utilize their multi-instrumental skills to sing, play stringed instruments and hold down back-beats, all simultaneously for a truly engaging experience. But they are not simply just entertainers. It is their mesmerizing vocal harmonies and beautifully crafted songwriting that really tug at the heartstrings and earn them life-long fans.
"There's an elusive chemistry between some singers. George and Tammy had it, and so did Olivia and John. Those kids from Nickel Creek had it, and the hottest example of it (recording) in Nashville at the moment are a duo known as Pretty Gritty."
-C. Brett Campbell
Middle Tennessee Music
The duo originally formed in Maryland in 2010, but after completing 2 (completely DIY) National tours and 3 recording projects, Sarah and Blaine decided to relocate to Portland, OR. At first they hit the streets, busking downtown, but it didn't take long for folks to take notice. Pretty Gritty are now playing at venues all over the Pacific Northwest. They have successfully completed several tours, covering ground all over OR, WA, MT, CO, UT and AK.
Pretty Gritty's self-titled debut album (2012) features the well known jam/festival scene artist, Keller Williams, as the voice of the devil on the track titled "Hellhound Blues." This freshman attempt won them 2 Indie Music Channel awards, Best Country Song and Best Folk Song.
In 2015, Pretty Gritty began their relationship with producers Fred Cannon & Paul Buono at Creative & Dreams Music Network (Nashville, TN) where they recorded their Lonely Road EP (released Feb 2016). Pleased with the experience, everyone decided to continue the relationship and return to the studio to record a full album, Seven Year Itch, due to release March 30th, 2018.
In a city filled with country cowboys and sit-on-a-stool songwriters, Adrian + Meredith make a different sort of roots racket. More Than A Little, the pair's debut, finds the East Nashville-based duo putting its own spin on Americana music, roughing up the genre's edges with the rule-breaking spirit of punk, the vintage twang of old-timey folk, the sneer of rock & roll, and even the frenetic bounce of early Swing and jazz manouche.
More Than A Little brings together two performers who grew up on opposite ends of the musical spectrum. Before meeting his future wife at a show in Washington, DC, Detroit-born Adrian was raised on rock and punk, with a carnival barker's croon and an off-the-wall "clawhammer banjo" approach to playing the acoustic guitar. Meanwhile, Meredith was an Ann Arbor native who cut her teeth in the old-time music scene, where she played traditional fiddle and clogged. Those two approaches come together with Adrian + Meredith, a project that honors the traditions of Folk and Americana music while pushing beyond those genres' boundaries. Produced in East Nashville by Mark Robertson, More Than A Little is being released in part via an innovative partnership with Daniel Lanois' streaming company, UpRise.FM.
Adrian was already 10 years into an acclaimed solo career when Meredith made a guest appearance on his 2014 release, Roam. Since then, the pair's partnership has grown into a full-time collaboration, with the two swapping harmonies, trading solos, and acting as co-pilots throughout their debut album. Returning from Adrian's previous record is five-year bandmate Paul Niehaus on pedal steel, while JD Wilkes of the Legendary Shack Shakers and Fats Kaplin of Jack White‘s touring band make guest appearances.
The result is a record influenced by the group's time on tour, with songs that celebrate the joy of hitting the highway with your romantic partner ("Birthday Cakes," "Old Midwestern Home"), and examine the darker corners of an entertainment industry that's rarely, if ever, fair ("Bank," "Fixer"). Equal parts defiant and driving, More Than A Little is a rallying cry from two road warriors who, after more than a dozen combined years in the music business, are too smart to play by the industry's rules and too enthralled to turn their backs. It's a love letter to a New Nashville and a call to arms for independent artists with true vision.
Based in Hawaii, with roots by way of the swamps of New Orleans, Texas, Colorado & MN, Trill LeBeau of Cosmic Serenity is a conjurer of Musical Alchemy. His sound is where the rhythm and cadence of the Old, triangulate with that of a Star Skipper floating around the cosmos beaming up Fellow Luminous Beings. For your next dosage of Musical Medicine, prepare for Lift off in t-minus Now! Trill is currently on a world tour, also known as.. *The Flowgram* in your area!
When Someone asks Trill, "What kind of music is Cosmic Serenity?"
His reply is, "Something Else."
That is because psychedelic rock, punk ska reggae, gypsy folk & Arabic grunge - Fusion; is a bit much. In order to truly grasp the essence of it all, it should be experienced, witnessed, deciphered, and determined for oneself.
Trill taught himself to sing and play guitar at 19 in college. He would sit in the racquetball court, turn the lights out, and as he likes to say, Experiment with the Experience. Diving Further In to his roots, and listening through his ancestors, he has found a voice and essence that is as captivating as it is charismatic. With a side note of comedy, and an eccentric yet eclectic fashion style, Trill LeBeau (singer/songwriter) and younger brother Collin "Jaledub" (percussionist) make up Cosmic Serenity. They are also often joined sporadically and nomadically with other beautiful Creatures of Creation, while exploring the features of a full band, or with Trill as a solo artist.
At Arise Festival 2013 in Colorado, after a Star Water open mic performance, Trill was approached by Uncle JoJo of Wookiefoot. Since then Cosmic Serenity has been Well Activated at Harmony Park in Minnesota, and Blessed to spend the summers bringing Musical Medicine to the patrons of Shangri-La, Project Earth, Revival, Oaktoberfest, Mystic Rising, Flow Fest, Kohala Aina Fest, and Wookie-Ween, while capturing fans with every interaction.
Cosmic Serenity toured in Hawaii, California, Oregon, Washington, Texas, Colorado, and the Midwest in 2017 in support of their debut EP NEW LEAF. Cosmic Serenity has performed live cameos with Wookiefoot, members of Nahko and Medicine for the People, Jon Wayne and the Pain, Chris Berry, Tubby Love and Amber Lily, and New Reb. They have shared bills with Eoto, Mike Love, Trevor Hall,Yaima, The Polish Ambassador, Satsang, Dustin Thomas and more.
Stephanie Scelza was born to a pack of wolves and left howling on the doorstep of a human family in 1983. Her family realized she was different when she started singing before she could speak, and whisked her off to vocal lessons at the age of ten. She narrowly escaped a life of professional opera-singing when she found a guitar, quit her studies, and eloped with a band.
Never able to take herself seriously as a human being, Stephanie found solace in the blues, when she discovered she was able to howl away with impunity.
Suspicious of human classifications, Stephanie is hard-pressed to describe her music as a blend of funk, blues, and folk. She has tricked a wide array of respectable human musicians into playing music with her, none of whom she can remember by name, because that kind of thing isn't important to wolves.
You can find her padding around the Portland music scene with no particular directive beyond survival, and the desire to find a quiet place for a good, long howl.