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Cat’s Cradle

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300 E Main St.
Carrboro, NC 27510 United States
919.967.9053 https://catscradle.com/venue/cats-cradle/

Located less than a mile from the University of North Carolina Chapel Hill campus in downtown Carrboro, the Cat’s Cradle has been the Triangle’s premier live music venue for over 40 years.

Having hosted bands as diverse as Nirvana, Public Enemy, John Mayer, Joan Baez, and Iggy Pop, the Cat’s Cradle has become a must-stop venue for premier music acts over the past several decades. With a capacity of 750 people, the Cat’s Cradle allows concert-goers a chance to see established and up-and-coming bands alike in an intimate setting.

April 2020

Aterciopelados & Los Amigos Invisibles

April 7 @ 8:00 pm - April 8 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

The band´s name comes from the television show “Human Values” by Venezuelan historian Arturo Uslar Pietri, which remained in the air for two decades, where he always dedicated the show to his “Invisible Friends” refering to the audience. His record debut came in 1995 with the release of “A Typical and Autoctonal Venezuelan Dance Band”. Little by little, the band consolidated its local fame by staying on tour until 1996. It is in this year that David Byrne, while shopping at a record store in New York, accidentally finds one of the copies left by Los Amigos on consignment and immediately begins the process of conversations that led to signing them for his record label “Luaka Bop”. After months of conversations, pre-production and production, in 1998 they released their first album for the label of the former Talking Heads, “The New Sound of the Venezuelan Gozadera”, produced by Andrés Levín, which had hits like “Ponerte en Cuatro”, “Sexy” and “Disco Anal”. Two years later the band moves to the city of San Francisco for 2 months to record their next album and it is at this time that the band is considering the possibility of moving permanently to the United States to continue their career. At the end of 2000 they put on sale their third album “Arepa 3000: A Venezuelan Journey Into Space” produced by Phillip Steir which is nominated for a Grammy Award and a Latin Grammy. Of this disc they leave subjects like “Cuchi Cuchi” and “The Neighbor”. After almost a year of planning, the band decided to move to New York City on January 23, 2001. During their first year in the city, Los Amigos began a friendly and working relationship with the legends of the dance world “Masters At Work” which leads them to enter the studio in early 2002 to record what would be their fourth album. Links: Website | Facebook | Twitter | Instagram | YouTube Aterciopelados, the pioneer Latin-American folk-rock group, returns after 8 years with their first long and live project entitled “Reluciente, Rechinante y Aterciopelado.” This CD+DVD is a compilation of the most representative songs of their repertoire that celebrates over two decades of their existence as a band. It features the participation of big names, such as Macaco, León Larregui (vocals for the Mexican group Zoé), Goyo (Chocquibtown) and Catalina García (Monsieur Periné). The group’s members, Andrea Echeverri and Héctor Buitrago, founded Aterciopelados in 1992 and achieved great success, both locally and internationally, thanks to a sound that was absolutely unique and innovative, free of prejudices, mixing rock with the roots of Colombian folklore and even with salsa and bossa nova. Aterciopelados have grown and evolved with each production, making history in Latin America and the rest of the world. They have released seven studio and one compilation album, selling over ten million copies of their records. Their album Río has been mentioned by Rolling Stone magazine as one of the 10 best Latin rock albums of all times. Links: Website | Facebook | Twitter | Instagram | YouTube

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Stephen Malkmus

April 8 @ 8:00 pm - April 9 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

Stephen Malkmus, Traditional Techniques Is that a goddamn bouzouki? you may ask. A pedal steel guitar? What kind of Stephen Malkmus album is this, anyway? It’s called folk music, and it’s taking the country by storm. Stephen Malkmus is only the latest popular artist to apply this old new approach to their rock and roll sounds. Take the name Traditional Techniques with as much salt as you’d like or dig the Adorno reference, Malkmus’s third solo LP without the Jicks (or Pavement) is as organic as they come. It’s packed with handmade arrangements, modern folklore, and 10 songs written and performed in Malkmus’s singular voice. An adventurous new album in an instantly familiar mode, Traditional Techniques creates a serendipitous trilogy with the loose fuzz of the Jicks’ Sparkle Hard (Matador, 2018) and the solo bedroom experiments of Groove Denied (Matador, 2019). Taken together, these three very different full-lengths in three years highlight an ever-curious songwriter committed to finding untouched territory. Perhaps some of these “folk” musicians could take a lesson or two. Created in the spontaneous west coast style adopted so infectiously by young American musicians in this time of global turmoil, Malkmus took on Traditional Techniques as a kind of self-dare. Conceived while recording Sparkle Hard with the Jicks at Portland’s Halfling Studio, Malkmus had observed the variety of acoustic instruments available for use. The idea escalated within a matter of weeks into a full set of songs and shortly thereafter into a realized and fully committed album. When he returned to Halfling, Malkmus drew from a whole new musical palette–including a variety of Afghani instruments–to support an ache both quizzical and contemporary. Stephen Malkmus isn’t one of those “hung up” musicians one reads about so frequently these days, sequestered in a jungle room of the heart. The jukebox in Malkmus’s private grotto remains fully updated. Not only is the artist present, but he’s on Twitter. Traditional Techniques is new phase folk music for new phase folks, with Malkmus as attuned as ever to the rhythms of the ever-evolving lingual slipstream. Instead of roses, briars, and long black veils, prepare for owns, cracked emojis, and shadowbans. Centered around the songwriter’s 12-string acoustic guitar, and informed by a half-century of folk-rock reference points, Traditional Techniques is the product of Malkmus and Halfling engineer/arranger-in-residence Chris Funk (The Decemberists). Playing guitar is friend-to-all-heads Matt Sweeney (Bonnie “Prince” Billy, Chavez, and too many other to count), who’d previously crossed paths with Malkmus on the opposite end of the longhairs’ map of the world, most lately gnarling out together back east in the jam conglomerate Endless Boogie. But, buyer beware, no matter how these recordings might be tagged by your nearest algorithm, the expansive and thrilling folk-rock sounds of Traditional Techniques aren’t SM Unplugged. One might even question his commitment to acoustic instruments, but we’ll leave that for somebody else’s hot take. All we’re saying is watch your head. Because alongside all that gorgeous folk music (“The Greatest Own in Legal History,” “Cash Up”), there are also occasional bursts of flute-laced swagger (“Shadowbanned”), straight-up commune rock (“Xian Man”), and mind-bending fuzz in places you least expect it (“Brainwashed”). Links: Website | Facebook | Twitter

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Brother Ali

April 10 @ 9:00 pm - April 11 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

Over the past 17 years, Brother Ali has earned wide critical acclaim for his deeply personal, socially conscious, and inspiring brand of hip-hop. Under Rhymesayers Entertainment, he’s unleashed a series of lauded projects, establishing himself as one of the most respected independent voices in music. The latest chapter in that celebrated journey is All the Beauty in This Whole Life, a 15-track collection produced entirely by Atmosphere’s Anthony “Ant” Davis. “This entire album is based on the reality that beauty is the splendor of truth” says the Minneapolis MC. “Beauty in all of its forms is the outward manifestation of love and virtue. It soothes the soul and pulls it gently toward the truth it communicates. Every word and note of this album is intended to either reflect beauty, or expose the ugliness that blocks us from living lives of meaning.” All the Beauty in This Whole Life is Ali’s first official release in five years and represents the newest and most refined chapter of his life’s journey. “Each of my albums are the result of the pain, growth and eventual healing that I experience. Articulating the pain and navigating the healing allows the people who really feel my music to travel with me. It’s not only that we hurt together, we heal together as well.” Contrasting intensely heavy moments with joyous and grateful ones, All the Beauty in This Whole Life arrives right on time, to help heal a divided nation through the power of music. Ali wouldn’t have it any other way. “In times of great suffering in the outside world, the most important battles start from within.” Links: Website | Facebook | Twitter | Instagram | SoundCloud | YouTube Open Mike Eagle Links: Website | Facebook | Twitter | Instagram | SoundCloud | YouTube

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