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DTSTART;TZID=America/Halifax:20191025T200000
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SUMMARY:Jonathan Wilson with The Dead Tongues
DESCRIPTION:Presented by Cat’s Cradle \nFanfare\, the second full-length from acclaimed artist and producer Jonathan Wilson\, was released in October 2013 via Downtown Records. \nWith 2011’s critically-lauded debut\, Gentle Spirit\, audiences worldwide were introduced to the prodigious talents of singer\, songwriter\, record producer and unrivaled guitar hero Jonathan Wilson. Gentle Spirit was celebrated for its authentic exploration and modern updating of the “Laurel Canyon sound”. \nWilson’s follow-up\, Fanfare\, was recorded over a 9-month period at his Fivestar Studios in Los Angeles and features contributions from Graham Nash\, David Crosby\, Jackson Browne\, Josh Tillman (aka Father John Misty)\, Wilco’s Patrick Sansone\, Dawes’ Taylor Goldsmith and Mike Campbell and Benmont Tench from Tom Petty and The Heartbreakers. The album is an ambitious\, epically grandiose rock production that has conjured notions of Dennis Wilson’s Pacific Ocean Blue amongst more than one music journalist. \n“I was going for this sort of ‘widescreen’ sound\, a blown out vista. I wanted strings\, horns\, bells\, vibes\, voices\, solos\, improvisation and a full orchestra on some of the tunes\,” says Wilson. “There were a few weeks of sessions with the band tracking live\, as well as many weeks with just myself and engineer Bryce Gonzales. There were also many weeks at a time of just me working alone\, as I did with Gentle Spirit. I’ve always worked alone in some capacity since I first started recording\, it’s a very important part of the process for me.” \nPrior to beginning work on Fanfare\, Wilson spent the prior 18 months touring the world with his band to support his debut album\, which included invitations to tour with legendary superstars such as Neil Young and Crazy Horse and Tom Petty and The Heartbreakers\, and notable contemporaries including Wilco and Tame Impala. \nBorn and raised in North Carolina and now based in the Echo Park neighborhood of Los Angeles\, Jonathan Wilson moved to Los Angeles in 2005 and is credited with reviving the neighborhood’s once-legendary music scene. As a sought-after producer\, Wilson’s recent work includes albums by Father John Misty and Dawes. \nLinks: Website | Facebook | Twitter | YouTube \n  \nRyan Gustafson remembers very little about the origins of the ten songs on Unsung Passage\, his profound new reflection on the emotional architecture of love\, loneliness\, and life at large. \nHe mostly knows that the songs were written during quick spans scattered between various tours of the last two years—as a supporting guitarist for his kindred North Carolina spirits Hiss Golden Messenger and Phil Cook’s Guitarheels and as the leader of his own long-evolving vehicle for a beautifully fractured vision of folk\, country\, blues\, and cosmic American rock\, The Dead Tongues. Gustafson’s third and best album under that name\, Unsung Passage depends more on the songs themselves than the sounds around them. It is a first-person reckoning with the things Gustafson\, a chronically peripatetic adventurer\, has seen enough to sing about. “Every turn\, every changing that occurs\,” Gustafson offers during “The Broken Side of People Everywhere\,” his voice sweetly yearning for whatever it is that might come next. “There’s a string attached\, with a promise at the end.” \nIndeed\, funneling the lessons of the road into songs isn’t new for Gustafson; during the last two decades\, it has become his standard practice. When he was twenty\, he left North Carolina for the first of many backpacking trips across Europe\, little but a sense of adventure and wonder to his name. He has hitchhiked from Oregon to New Orleans with a banjo and a bag and lived in and rebuilt an aging school bus\, meant for an extended trek across the continent (that is\, until the cost of gas proved prohibitive). After several years in a commune in the western woods of Asheville\, North Carolina\, he now lives in a nearby camper\, at least when he’s off the road long enough to call anything home. “When I’m traveling\, it’s like walking into these different windows. I’m a witness\, with my mouth shut\,” Gustafson says. “The people you meet\, the way the landscape speaks to you\, how a desert is different than a mountain: It has the potential to bring out something you didn’t know was there.” \nThe ten remarkable songs of Unsung Passage are long-distance distillations of such experiences\, of events lived and places seen and pondered and ultimately poured into reflective anthems for our harried times. During “Like a Dream\,” a gentle gallop of grinning harmonica and trickling guitar\, Gustafson explores the balance of existence from a hillside vantage. He sees the curve of the earth while pondering his need for a paycheck\, a moment that eternally pits the banal against the beautiful. “The Broken Side of People Everywhere” is a gorgeous love song written with the wisdom of someone who knows that nothing is forever or perfect\, that there’s no real risk in a life where everything ends\, anyway. There are meditations on mortality and devotion (the flute-laced dream “My Other”)\, on money and temporality (the banjo trot “The Giver”)\, and on impermanence and acceptance (the achingly gorgeous “Pale November Dew.”) This isn’t Gustafson’s idle speculation about life and the world; these are the realizations of a restless mind\, of a songwriter who sings “this old town ain’t gonna watch me die” and means it. \nGustafson recorded these songs much as they were written—during short summer sojourns away from the road\, when he and a quartet of friends could gather in the Chapel Hill studio The Rubber Room for two-day sessions. Longtime North Carolina confidants and collaborators James Wallace\, Jeff Crawford\, and Casey Toll form the rhythm section\, while Mountain Man’s Molly Sarlé harmonizes softly and adds a filigree of unexpected flute. Other friends offer fiddle and percussion\, cello and extra guitar\, softly padding songs that stand as statements unto themselves. “Sitting down with an acoustic instrument and making a song\, singing\, and playing it was the idea\,” says Gustafson. “I’ll follow a song to wherever it goes\, but I tried to keep this one in the room. This sounds like what we played\, what you’re hearing.” These ten songs are snapshots in time\, then\, glimpses at the sorts of emotional upheavals and adjustments we’re all forced to face as we move from day to day and\, as in Gustafson’s way\, place to place. The familiar sounds of Unsung Passage\, a reflection of Americana bedrock\, present a comforting score for some of life’s most uncomfortable situations. But they will pass. “Ain’t it all right?” Gustafson demands at one point. “Ain’t it all like a dream?” After all that living\, it surely is. \nLinks: Website | Facebook | Twitter | Instagram \n\n\n	Related
URL:https://artsorange.org/event/jonathan-wilson-with-the-dead-tongues/
LOCATION:Earl & Rhoda Wynn Theater\, NC
CATEGORIES:Partner Events,Performance
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DTSTART;TZID=America/Halifax:20190925T200000
DTEND;TZID=America/Halifax:20190925T213000
DTSTAMP:20190914T172907Z
CREATED:20190914T172907Z
LAST-MODIFIED:20190914T172907Z
UID:11559-1569441600-1569447000@artsorange.org
SUMMARY:An Evening with Holly Bowling
DESCRIPTION:Presented by Cat’s Cradle \nTexture\, nuance\, and a gift for dexterous high-wire improvisation are the hallmarks of San Francisco-based classically trained pianist Holly Bowling\, who infuses jam band music with a technically advanced\, emotionally rich style. After studying piano performance at SF State University\, Bowling has turned her agile mind and interpretive prowess to the works of Phish on 2013’s Distillation Of A Dream album and the Grateful Dead focused Better Left Unsung (released December 9\, 2016 through The Royal Potato Family). Her instantly compelling playing and unerring ability to successfully collaborate with other musicians in an impressive array of styles has brought her to the attention of Bob Weir\, Phil Lesh\, Gov’t Mule’s Warren Haynes\, and other luminaries who’ve asked Bowling to perform with them. Already a rising star on the festival circuit\, Bowling plans to continue to expand her solo touring\, and recently formed a new band Ghost Light with Tom Hamilton\, Steve Lyons\, Raina Mullen and Scotty Zwang. \nLinks: Website | Facebook | Instagram | Twitter | YouTube \n\n\n	Related
URL:https://artsorange.org/event/an-evening-with-holly-bowling/
LOCATION:Earl & Rhoda Wynn Theater\, NC
CATEGORIES:Partner Events,Performance
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DTSTART;TZID=America/Halifax:20190924T200000
DTEND;TZID=America/Halifax:20190924T213000
DTSTAMP:20190914T172905Z
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SUMMARY:Bob Mould (solo) with Will Johnson
DESCRIPTION:Presented by Cat’s Cradle \nThe cliché that circulated after the 2016 election foretold a new artistic golden age: Artists would transform their anger and anxiety into era-defining works of dissent in the face of authoritarianism. \nYet Bob Mould calls his new album Sunshine Rock. \nIt’s not because Mould-whose face belongs on the Mount Rushmore of alternative music-likes the current administration. His decision to “write to the sunshine\,” as he describes it\, comes from a more personal place – a place found in Berlin\, Germany\, where he’s spent the majority of the last three years. Here Mould would draw inspiration from the new environments. \n“Almost four years ago\, I made plans for an extended break\,” Mould explains. “I started spending time in Berlin in 2015\, found an apartment in 2016\, and became a resident in 2017. My time in Berlin has been a life changing experience. The winter days are long and dark\, but when the sun comes back\, all spirits lift.” \nThese three years in Berlin would quite literally shed new light on Mould’s everyday mindset. \n“To go from [2011 autobiography] See a Little Light to the last three albums\, two of which were informed by loss of each parent\, respectively\, at some point I had to put a Post-It note on my work station and say\, ‘Try to think about good things.’ Otherwise I could really go down a long\, dark hole\,” he says. “I’m trying to keep things brighter these days as a way to stay alive.” \nThat makes Sunshine Rock as logical a product of the current climate as any rage-fueled agit-rock. Variations on the word “sun” appear 27 times in five different songs over the course of the album’s 37 minutes. To hear Mould tell it\, the theme developed early. \n“‘Sunshine Rock’ was such a bright\, optimistic song\, and once that came together\, I knew that would be the title track\, and that really set the tone for the direction of the al-bum\,” Mould says. “It was funny\, because writing with that as the opener in mind\, it was like\, ‘This is not Black Sheets of Rain.’” \nMould’s famously dour 1990 solo album still serves as a point of reference: a title track that sets the tone for the album\, though on Sunshine Rock\, it’s the opposite of Rain. \nThis being Bob Mould\, Sunshine Rock still has darker moments. “Lost Faith\,” for ex-ample\, has him quietly lamenting\, “I’ve lost faith in everything / Everything\, everything.” The Mould of 1990 may have wallowed in the feeling\, but the Mould of 2018 jumps in-to a hooky\, bombastic chorus where he sings\, “Really gotta stop this now\, this is your / Last chance to turn around\, I know we / All lose faith from time to time\, you / Better find your way back home.” \nThose cathartic moments in “Lost Faith” foreground a surprising element of Sunshine Rock: Mould’s rawest vocals since his throat-shredding days in Hüsker Dü. It started when Mould and the band-drummer Jon Wurster and bassist Jason Narducy-had extra time in the studio with Mould’s longtime engineer\, Beau Sorenson. They settled on a cover of Shocking Blue’s “Send Me a Postcard\,” and Mould decided to lay down vocals right there. \n“This was the first real vocal take during the session. I walked to the mic\, not knowing how I would sing these words. Three minutes later\, I went back into the control room and everyone was like\, ‘What the fuck\, that was wild!’ I was like\, ‘Yeah\, it’s pretty good!’ That was the only take\, and that’s what you hear on the album.” \nLinks: Website | Facebook | Instagram | Twitter \n\n\n	Related
URL:https://artsorange.org/event/bob-mould-solo-with-will-johnson/
LOCATION:Earl & Rhoda Wynn Theater\, NC
CATEGORIES:Partner Events,Performance
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DTSTART;TZID=America/Halifax:20190823T200000
DTEND;TZID=America/Halifax:20190823T213000
DTSTAMP:20190904T151815Z
CREATED:20190815T173036Z
LAST-MODIFIED:20190904T151815Z
UID:10402-1566590400-1566595800@artsorange.org
SUMMARY:Steve Forbert
DESCRIPTION:Presented by Cat’s Cradle \nBig City Cat: My Life in Folk Rock\, singer/songwriter Steve Forbert’s exceptional new memoir co-written with Therese Boyd\, allows him ample opportunity to candidly reflect on those specific circumstances that first brought him to the public eye. \nOriginally conceived as a stage play and screen treatment\, it finds him documenting his early adventures in the big city while pursuing his quest to make music. Sharing reflections and journals he kept at the time\, he weaves an absorbing narrative that fully documents the trials\, travails and triumphs that would eventually play out over the course of his prolific 40 year career. \nThe book is accompanied by its own soundtrack as well\, an A+ new album entitled The Magic Tree that offers a series of songs gleaned from previously recorded acoustic demos\, overdubbed with new backing tracks and fleshed out as a series of songs that ring with the verve and vitality that Forbert’s fans have always come to expect. Consistently upbeat and optimistic\, they convey a firm sense that age ought not diminish a lust for living. Then again\, that’s been Forbert’s mantra for quite some time\, honoring his past while plowing his way towards the future. \n\n\n	Related
URL:https://artsorange.org/event/steve-forbert/
LOCATION:The ArtsCenter\, 300-G E Main St\, Carrboro\, NC\, 27510\, United States
CATEGORIES:Partner Events,Performance
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