Revolution Hall, Portland 97214Report Issue

Revolution Hall, Portland 97214


1300 SE Stark St
Portland, Oregon 97214
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Next Show

Tue, July 23, 2019 (7:00 PM PDT)
Country Music: A Conversation with Ken Burns and Julie Dunfey


SOLD OUT: Country Music: A Conversation with Ken Burns and Julie Dunfey

OPB invites you to join us for an evening with documentary filmmakers Ken Burns and Julie Dunfey for a preview and live conversation about their new eight-part, 16-hour documentary film series “Country Music.” The series chronicles the history of country music, from its deep and tangled roots in ballads, blues and hymns performed in small settings, to its worldwide popularity. It explores how country music evolved over the course of the 20th century, featuring never-before-seen footage and photographs, plus interviews with more than 80 country music artists. It’s a story that no one has told in this way before. This special event will feature highlights from the film, followed by a discussion with Burns and Dunfey, moderated by OPB’s April Baer. “Country Music” will premiere on OPB TV on September 15, 2019. Funding for COUNTRY MUSIC was provided by Bank of America, the Annenberg Foundation, the Arthur Vining Davis Foundations, Belmont University, Tennessee Department of Tourist Development, the Metropolitan Government of Nashville and Davidson County, Rosalind P. Walter and by members of ‘The Better Angels Society,’ including: The Blavatnik Family Foundation, the Schwartz/Reisman Foundation, the Pfeil Foundation, Diane and Hal Brierley, John and Catherine Debs, the Fullerton Family Charitable Fund, the Perry and Donna Golkin Family Foundation, Jay Alix and Una Jackman, Mercedes T. Bass, Fred and Donna Seigel, Gilchrist and Amy Berg, James R. Berdell Foundation, David Bonderman, Deborah P. and Jonathan T. Dawson, Senator Bill and Tracy Frist, Susan and David Kreisman, Rocco and Debby Landesman, Lillian Lovelace, John and Leslie McQuown, the Segal Family Foundation, Michelle Smith. Major funding was provided by the Corporation for Public Broadcasting and PBS. COUNTRY MUSIC is a production of Florentine Films and WETA, Washington, DC. Directed by Ken Burns, written by Dayton Duncan, and produced by Duncan, Julie Dunfey and Burns.

1300 SE Stark St, Portland, OR 97214 
$22.00 Tier 1, $5 Obstructed View

Upcoming Shows

Tue, July 23, 2019 (7:00pm - 9:00pm PDT )
Country Music: A Conversation with Ken Burns and Julie Dunfey
SOLD OUT: Country Music: A Conversation with Ken Burns and Julie Dunfey

OPB invites you to join us for an evening with documentary filmmakers Ken Burns and Julie Dunfey for a preview and live conversation about their new eight-part, 16-hour documentary film series “Country Music.” The series chronicles the history of country music, from its deep and tangled roots in ballads, blues and hymns performed in small settings, to its worldwide popularity. It explores how country music evolved over the course of the 20th century, featuring never-before-seen footage and photographs, plus interviews with more than 80 country music artists. It’s a story that no one has told in this way before. This special event will feature highlights from the film, followed by a discussion with Burns and Dunfey, moderated by OPB’s April Baer. “Country Music” will premiere on OPB TV on September 15, 2019. Funding for COUNTRY MUSIC was provided by Bank of America, the Annenberg Foundation, the Arthur Vining Davis Foundations, Belmont University, Tennessee Department of Tourist Development, the Metropolitan Government of Nashville and Davidson County, Rosalind P. Walter and by members of ‘The Better Angels Society,’ including: The Blavatnik Family Foundation, the Schwartz/Reisman Foundation, the Pfeil Foundation, Diane and Hal Brierley, John and Catherine Debs, the Fullerton Family Charitable Fund, the Perry and Donna Golkin Family Foundation, Jay Alix and Una Jackman, Mercedes T. Bass, Fred and Donna Seigel, Gilchrist and Amy Berg, James R. Berdell Foundation, David Bonderman, Deborah P. and Jonathan T. Dawson, Senator Bill and Tracy Frist, Susan and David Kreisman, Rocco and Debby Landesman, Lillian Lovelace, John and Leslie McQuown, the Segal Family Foundation, Michelle Smith. Major funding was provided by the Corporation for Public Broadcasting and PBS. COUNTRY MUSIC is a production of Florentine Films and WETA, Washington, DC. Directed by Ken Burns, written by Dayton Duncan, and produced by Duncan, Julie Dunfey and Burns.

$22.00 Tier 1, $5 Obstructed View
Thu, August 1, 2019 (7:30pm - 9:30pm PDT )
Tiffany Jenkins
Tiffany Jenkins: This Show is Awkward AF

Be among the first to receive the newest edition of Tiffany’s book with exclusive signed book packages available!    Tiffany Jenkins is a wife, mother, author, content creator and recovering addict. Although best known for her funny viral Facebook videos, Tiffany speaks shamelessly, openly and honestly about her past and addiction, as well as her struggles with depression and anxiety. Tiffany’s story of hope has had such an overwhelming response from her supporters that she is ready to tackle her next life goal - travel the globe, meet her fans and make as many people laugh and feel inspired as possible.     Tiffany Jenkins: This Show Is Awkward AF is the opportunity to spend quality time with Tiffany as she shares stories not-previously covered in her book and blog, as well as answer audience questions in a candid evening full of humor, compassion, and friends.   VIP Tickets: A limited number of VIP meet and greet packages are available.  The package includes a signed copy of the latest edition of High Achiever: The Incredible True Story of One Addict’s Double Life, a premium seat and pre-show photo opportunity. The photo opportunity happens 2.5 hours before the show start time.  Please select the VIP ticket option at your point of purchase for this package.    Exclusive Package: A limited number of exclusive book packages paired with a premium seat are also available.  The package includes premium seating and a signed copy of the latest edition of High Achiever: The Incredible True Story of One Addict’s Double Life (this does not included a meet and greet). Please select the $55.00 at your point of purchase for this package.

$89 - $55 VIP, $45 Tier 2, $35 Tier 3, $30 Tier 4
Fri, August 2, 2019 (8:00pm - 10:00pm PDT )
TOOTS AND THE MAYTALS with The Gladiators feat. Droop Lion
TOOTS AND THE MAYTALS - LIVE IN CONCERT

Toots is one of the true architects of reggae – so much so that “Do the Reggay,” a 1968 single by Toots and his group, the Maytals, is credited with giving the genre its name. Classic songs written and recorded by Toots and the Maytals have been covered by the likes of the Clash and the Specials, and the group was featured in reggae’s greatest breakthrough event – “The Harder They Come,” the 1972 film that became an international sensation. The all-star guests on TRUE LOVE range from legends like Keith Richards, Eric Clapton, and Bonnie Raitt to younger stars including No Doubt, the Roots, and Phish’s Trey Anastasio. The caliber of these collaborators reveals the impact that Toots has had on several generations of rockers and rappers, while appearances from reggae icons Bunny Wailer and Marcia Griffiths show the respect granted to the man who might be the music’s greatest living vocalist. At the heart of it all is that voice – drenched in soul, rooted in gospel, and still breathtakingly powerful after almost four decades in the spotlight.

$31 advance, $36 DOS, $79 - $129 VIP
Sat, August 3, 2019 (8:00pm - 10:00pm PDT )
Yacht Rock Revue
Yacht Rock Revue

The Yacht Rock Revue is everything the late ‘70s and early ‘80s should’ve been: massive sing-along soft rock hits, tight bell-bottom jeans, impeccable musicianship, polyester shirts, glorious vocal harmonies, sunglasses at night, breezy dancing and sax ... lots of sax. “They’re a trip down memory lane that skips all the bad neighborhoods,” according to Robbie Dupree. It’s pure Escape (The Piña Colada Song.) From Hall & Oates, Kenny Loggins and Michael Jackson to one-hit wonders like “Brandy’” and “Baby Come Back,” YRR brings stadium rock energy to the music you love from your dentist’s office. Hundreds of songs - many of which would be the original artist’s encore - keep audiences guessing what’s next. But they know every word, and Toto’s “Africa” has never sounded so good. The Yacht Rock Revue has defined and popularized a genre that was a fringe guilty pleasure when the group played its first show as a basement bar band in 2007. Fast forward to 2018 and it’s just like quinoa - a few years ago nobody knew about it but now all the girls love it. Yacht Rock has a dedicated SiriusXM channel and YRR sold out Atlanta’s 6,500-seat Chastain Park Amphitheatre. A national tour partnership with Live Nation and the SiriusXM Yacht Rock Channel has the Yacht Rock Revue primed to reach a record number of soccer moms in 2019. YRR has gone far beyond the “tribute” category by regularly joining their heroes on stage: John Oates, Eddie Money, Little River Band, Pablo Cruise, Gary Wright, Robbie Dupree, Matthew Wilder, Elliot Lurie of Looking Glass, Juice Newton, Ambrosia, Starship, Bobby Kimball of Toto, Player, Jeff Carlisi of .38 Special, Steve Augeri of Journey, Al Stewart, Albert Bouchard of Blue Oyster Cult, Rick Derringer, Walter Egan, Bill Champlin of Chicago and Denny Laine of Wings have all played their hits with YRR. Yacht Rock Revue has set sail on music cruises (of course) with Train, Weezer, Kid Rock, Kiss, Heart and the Zac Brown Band. From the Playboy Mansion to the NCAA Final Four, Santorini to Costa Rica, Cabo San Lucas to London - these guys are the captains of smooth, internationally. YRR has won accolades ranging from “Best Place to Get Drunk With Your Dad” to “Best Overall Music Act in Atlanta” to “Best Place to Start an Extramarital Affair,” and has been name-dropped by the New York Times, Wall Street Journal, Pitchfork, the Guardian UK, Spin, TimeOut New York, Billboard, MTV.com, and (probably) your mom at her last cocktail party. Yacht Rock Revue Feature in Atlanta Magazine “Yacht Rock Revue has created a musical movement that has spread across America. They’re exemplary musicians who really know their stuff... I mean, they really know our stuff.” - Robbie Dupree “I thought they were kind of goofing on that music and that era. But as it turns out, they’re actually really passionate about it and they do it very seriously. And they turned out to be great guys.” - John Oates “I’ve had more bras thrown at me at Yacht Rock Revue shows than usual. And that’s a lot.” - Peter Beckett of Player

$22.00 - $25.00
Wed, August 7, 2019 (8:00pm - 10:00pm PDT )
Asleep At The Wheel
Asleep At The Wheel

“New Routes” the brand-new album by Asleep At the Wheel, marks both a new path forward and a nod to the freewheeling roots (get it?) of one of Texas’ most beloved bands. After a decade of collaborating on record with friends, including Willie Nelson on 2009’s Grammy Nominated “Willie and the Wheel” and in 2015 their critically acclaimed and Grammy winning tribute to the groundbreaking music of Western Swing pioneer Bob Wills, titled “Still the King”. With “New Routes” the Wheel has released their first album of new material in over a decade! With a fresh new lineup, a bracing blend of original songs and vibrant cover material and some unanticipated new musical tangents, Asleep At the Wheel demonstrates convincingly it’s more relevant, enjoyable and musically nimble than any time in its 49 year history! The 6’7” Benson has been the one constant in Asleep At the Wheel since the band’s founding in 1970 in Paw Paw, West Virginia. Since that time, more than 100 musicians have passed through the Wheel, but Benson remains the front man and the keeper of the vision, in the process racking up more than 25 albums, ten Grammy awards and literally millions of miles on the road. “It took me 60 years, but I’m doing what I’m meant to do—singing and playing and writing better than I ever have. A bandleader is just someone who gathers people around them to play the best music they can play. I just try and make the best decisions possible and kick some ass every night onstage.” Katie Shore follows in the long tradition of strong and talented female performers who have been an integral part of the band’s identity for decades. Shore says. “I always wanted to be in Asleep At the Wheel,” she said. “If you grew up in Fort Worth and played the fiddle, it was impossible not to know who the Wheel was. I feel part of a legacy, for sure.” “This was a chance to re-invent the Wheel,” said Benson. “These are creative folks who can add stuff. I’m just the bandleader, so if I don’t have contributions from everybody, then the Wheel doesn’t roll.” New Routes, he said, “is a pure distillation of where the band is right now,” Benson declared. “It gives me the palette that I’ve always wanted,” he added. “To be in Asleep at the Wheel you gotta be able to play Bob Wills, Country music, Louis Jordan, Count Basie etc... Every night I’m excited to play music with this lineup”

$25 advance, $30 day of show
Fri, August 9, 2019 (7:30pm - 9:30pm PDT )
Marc Maron
SOLD OUT: Marc Maron - Hey, There’s More Tour

For over thirty years, Marc Maron has been writing and performing comedy for print, stage, radio, online and television. Best known for his hit landmark podcast, WTF with Marc Maron, he has interviewed iconic personalities such as Conan O’Brien, Robin Williams, Keith Richards, Ben Stiller, Julia Louis-Dreyfus, Lorne Michaels and former US President Barack Obama. It has become a worldwide phenomenon: averaging six million downloads each month, with over 450 million lifetime downloads.  Maron currently stars in the hit Netflix original series GLOW, alongside Alison Brie and Betty Gilpin, and his critically acclaimed half-hour scripted television series Maron aired on IFC and can be found on Netflix. He also stars in upcoming movie The Joker alongside Robert De Niro and Joaquin Phoenix, and in upcoming crime drama Wonderland, alongside Mark Wahlberg.  Maron has also appeared in guest roles in the series Girls, Louie and Joe Swanberg’s Easy, and can be seen in the feature films Get a Job and Mike and Dave Need Wedding Dates. He released his stand-up special Thinky Pain on Netflix in 2013 and as an album in 2014. His next special, More Later, premiered on Epix in December 2015. Maron’s most recent stand-up special, Marc Maron: Too Real, was released in 2017 on Netflix.

$45 Tier 1, $35 Tier 2
Sat, August 10, 2019 (7:30pm - 9:30pm PDT )
Marc Maron
Marc Maron - Hey, There’s More Tour

For over thirty years, Marc Maron has been writing and performing comedy for print, stage, radio, online and television. Best known for his hit landmark podcast, WTF with Marc Maron, he has interviewed iconic personalities such as Conan O’Brien, Robin Williams, Keith Richards, Ben Stiller, Julia Louis-Dreyfus, Lorne Michaels and former US President Barack Obama. It has become a worldwide phenomenon: averaging six million downloads each month, with over 450 million lifetime downloads.  Maron currently stars in the hit Netflix original series GLOW, alongside Alison Brie and Betty Gilpin, and his critically acclaimed half-hour scripted television series Maron aired on IFC and can be found on Netflix. He also stars in upcoming movie The Joker alongside Robert De Niro and Joaquin Phoenix, and in upcoming crime drama Wonderland, alongside Mark Wahlberg.  Maron has also appeared in guest roles in the series Girls, Louie and Joe Swanberg’s Easy, and can be seen in the feature films Get a Job and Mike and Dave Need Wedding Dates. He released his stand-up special Thinky Pain on Netflix in 2013 and as an album in 2014. His next special, More Later, premiered on Epix in December 2015. Maron’s most recent stand-up special, Marc Maron: Too Real, was released in 2017 on Netflix.

$45 Tier 1, $35 Tier 2
Mon, August 12, 2019 (8:00pm - 10:00pm PDT )
Everything Is Terrible
Everything Is Terrible

Everything is Terrible! is the video and performance collective that is responsible for some of the internet’s most hilarious and bizarre videos. EIT! has posted daily re-edits for 11 years that have been culled from the mountains of dead media on the verge of abandonment by humanity. Some of their most widely shared videos include the creepy yoga farmer Yogi Ogi Dogi, the pedophile-hunting Yellow Dino, Cat Massage, Pubic Hair Dying, and of course, the demi-child-god Duane. Beyond creating what the CBC called ‘The best site ever’, Everything Is Terrible! has also collected over 24,000 Jerry Maguire VHS tapes that will one day live in a permanent pyramid in the desert. Their Jerry Maguire Video Store immersive art installation in Los Angeles was praised by The New York Times, Vice, ABC News, The Paris Review, and more. EIT!’s legion of cult-like followers drive for hours with offerings of hundreds of Jerrys to their one-of-a-kind live experiences which showcase their videos, costumes, puppets, performances, and insane worldview. They have made 7 feature length movies and their most recent, The Great Satan (2018) was called “a masterpiece’’ by both Film Threat and The Chicago Reader.

$20 Advance, $25 Day of Show
Tue, August 13, 2019 (8:00pm - 10:00pm PDT )
Boz Scaggs
Boz Scaggs: Out of The Blues Tour 2019

It's appropriate that Boz Scaggs' new album is Out of the Blues, since the blues is what first sparked his five-decade musical career.   Born William Royce Scaggs in Canton, Ohio on June 8, 1944, he grew up in Oklahoma and Texas, where he spent his teenage years immersed in the blues, R&B and early rock 'n' roll. While attending school in Dallas, he played in local combos. After several years as a journeyman musician around Madison, WI and Austin, TX, Scaggs spent time traveling in Europe, the Middle East and Asia, eventually settling in Stockholm where he recorded the album Boz. Returning to the U.S. in 1967, Scaggs joined the Steve Miller Band in San Francisco, performing on that group's albums Children of the Future and Sailor, before launching his solo career with 1968's seminal Boz Scaggs LP, recorded in Muscle Shoals, AL for Atlantic Records. Scaggs continued to mine a personalized mix of rock, blues and R&B influences, along with a signature style of ballads on such influential '70s albums as Moments, Boz Scaggs & Band, My Time, Slow Dancer and 1976’s Silk Degrees. The latter release became a massive commercial breakthrough, reaching Number Two and remaining on the album charts for 115 weeks. It spawned three Top 40 hit singles: "It's Over," "Lido Shuffle" and the Grammy-winning "Lowdown." Subsequently, "We're All Alone” from that same album, would become a #1 single for Rita Coolidge. Silk Degrees was followed by the albums Down Two Then Left and Middle Man, and such hit singles as "Breakdown Dead Ahead," "Jo Jo" and "Look What You've Done to Me."  Despite his '70s successes, Scaggs spent much of the 1980s out of the music-biz spotlight, traveling, opening a family business, fathering young children and founding the San Francisco nightclub, Slim's, He returned to the studio after an 8-year hiatus and released, Other Roads, Some Change, Dig, the Grammy-nominated Come on Home, the unplugged Fade Into Light, the in-concert retrospective Greatest Hits Live as well as a stint touring with Donald Fagen’s New York Rock & Soul Review; all while continuing to maintain a loyal audience in the U.S. and overseas, particularly in Japan. A pair of albums of jazz standards, But Beautiful and Speak Low, the latter topping the Billboard Jazz chart, demonstrated Scaggs' stylistic mastery, as did the Southern-flavored Memphis and the rhythm & bluesy A Fool to Care.   "Music has been a constant companion and I'm feeling more free with it than ever," Scaggs comments. "I feel like I've found my voice through all these years, and I've gotten closer to where I want to be with my approach."

$110 Tier 1, $85 Tier 2, $75 Tier 3, $69.50 Tier 4
Wed, August 14, 2019 (8:30pm - 10:30pm PDT )
Bad Books with Brother Bird
Bad Books

When Bad Books -- Andy Hull and Robert McDowell of Manchester Orchestra, and indie rock spark plug Kevin Devine -- made a surprise appearance at this year’s SXSW armed with an entire album’s worth of new songs called III, the music world took notice. Those who were there bore witness to what Hull calls their new “Simon & Garfunkel in space” style—sparse structures, simple harmonies, and gorgeous sonic embellishments. But considering both their inter-personal dynamics and joyful congregation, perhaps it would be more accurate to refer to the 2019 version of Bad Books as “Simon & Garfunkel as true friends.” Led by Devine’s song “I Love You, I’m Sorry, Please Help Me, Thank You”—a profound meditation on maintaining a sense of self in the heady context of societal challenges like being a parent, implementing thoughtfulness, and navigating through excessive cerebral processing—III doesn’t exactly pick up where their previous work left off, but rather takes a new approach to redefine Bad Books and to re-tally the sum of their parts. 
 “Bad Books was always peripheral in our minds because we really like doing it,” Devine says. “We were waiting for the right time to circle back. It was never completely out of our sight lines, but more often than not schedules and life would intervene.” When Bad Books originally formed in 2010, little did anyone figure that in just a couple years any noise from the band would become as special as an eclipse. After releasing two proper Bad Books albums by 2012 and embarking on multiple tours, following the band’s 2013 performance at Riot Fest in Chicago the signal turned to static, leaving fans wondering if the band would ever return. Since then, the three members have stayed incredibly busy focusing on their families and bands: Manchester Orchestra has released two studio albums -- most recently 2017’s acclaimed A Black Mile To The Surface -- and Hull and McDowell have scored several visual projects including the 2016 feature film Swiss Army Man; Devine has released four solo albums, a live record, and a dozen of his “Devinyl” split series releases with songwriters like Craig Finn and David Bazan. 
 In April of 2017, the stars finally aligned in their schedules and Devine found himself in Atlanta to write with Hull and McDowell for four days. Having made two catchy, upbeat Bad Books records, the trio felt the urge to try a new approach. The original plan for the trip was for each singer to write one song, but once they were both in the same room Hull raised the stakes, challenging Devine to trade songs one-for-one with him to create a 10-song, Basement Tapes style record. Over the course of the long weekend they had fleshed out the bones of an album, with just guitars, vocals, and sparse harmonizing. Embracing the freedom of the process in every capacity—from lyrics to attitude and scope—the band felt inspired and recognized that the only way to maintain that sensibility all the way through would be to simply take their time. And so, they agreed to step away from the songs until they could reconvene in person again somewhere down the line. 
 “A cool thing about Bad Books is not overthinking it and doing what instinctually makes sense,” Hull says. “Manchester is the opposite, it’s all overthinking all the time. Songwriting is always about evolution and how you can do things differently, and it was exciting to try to push ourselves and to embrace this space.” “It gave us a chance to stretch out and breathe, and not fixate or obsess on them,” Devine says. “No one was working in isolation; no one’s hand got too heavy. It felt like 10 individual sticks we tried to wrap up into a bundle and make them feel like they talk to each other.” 
 Having kept their planned distance from the sketches, they gathered again in February of 2018 to open the sonic time capsule and reexamine their work. At that point the singers began harmonizing on the tracks, a moment they recognize as important. “When the harmonies start to happen on a Bad Books record, that’s what locks it in,” Hull says. “You start to feel the magic and see what else you need to complete the songs’ identities.” Having put on a second layer of paint in the winter, they got together again in the fall, pushing the material even further. 
 McDowell, who was present at each session, led the charge of injecting the songs with texture and atmosphere. The decision to throw out a traditional rhythm section in favor of an organ and foot pedals as the low-end presented a new set of challenges, but McDowell saw it as opportunity rather than restriction. “Robert’s a genius and I don’t say that lightly,” Hull says. “Sonically, he just has an ability to get the thing that is in your head to come out of the speakers. He’s the glue and always has been.” The stripped-back nature of the work also provided an opportunity to build subtle production onto the songs’ foundations; adding piano, string arrangements, and even fuzzed-out electric guitar, the trio filled the spaces without overpowering any of the songwriting. After a fourth session where McDowell, Devine, and Hull maneuvered the tracking into near-completion, they handed the reins to producer Ethan Gruska (Phoebe Bridgers, The Belle Brigade) and mixer Catherine Marks for final “magic sprinkling.” The result is a complete cinematic landscape on par with the peaks of Manchester Orchestra’s past work, but with the sly subtlety of Devine’s output—This is ground control to Majors Paul and Art. 

 Devine’s bundle is as inward-looking, literate, and acerbic as ever, with his forthright honesty rubbing up against disbelief, while Hull’s songs are filled with his trademark, tragi-comic character-study examinations of the human condition. While Devine tends to be intricate with his song’s structures, Hull admits his own can be more economical; the opposite can be true for their lyrical delivery. And while Devine’s Northern, agnostic background lends to secular explorations, Hull’s Southern, Christian upbringing tends to create more spiritual material. The intrigue for the writers comes from the collision of the disparate threads, and the opportunity to employ a trusted ear as a mirror. And while each half of these ten songs was written on a separate island by a separate brain, it’s clear that Hull and Devine are songwriters who think in the same key, and draw shared, big-picture lessons from their distinctive lives to mine a fertile, universal territory. 
 “If someone demanded to know what I write about, I’d say, ‘Not understanding myself and so by extension what it means to be a person but trying every day,’” Devine says. “There’s a lot of that on this record—negotiations with the self, the interconnectedness of everybody, and trying to figure out your place and how that shifts.” 
 “My songs tend to always reflect on the same things—life, love, losing love, god, death,” Hull says. “The last line of ‘Army,’ ‘There’s nothing wrong with being alive,’ is for me the overarching theme of this album. It’s all about trying to be better. Hopefully this can be therapeutic for people because ultimately that’s the point in it all, to help people and bring joy.” 
 If the lesson of III is in that optimistic approach, the way it came to be clearly echoes such sentiments. Devine, Hull, and McDowell have succeeded by implementing a unique set of circumstances, all with a sense of hope and a trust in the process. And by inserting so much space, they have grown even closer—as artists, as bandmates, and as friends. 
 “Kevin and I come from such different places and approaches but we’re so similar in other ways, and when I hear our records it sounds like us talking,” Hull says. “Our conversations have always gone to that cosmic level—theology and theory—and it’s cool to hear it come out lyrically, almost unintentionally. It’s what happens when our brains are on, together.” 
 “The coolest thing about the Bad Books records is that they don’t feel like solo albums and there are discernible personalities,” Devine says. “The band really is a triangle and every part of the base is strong. It’s better than the sum of its parts.” 
 The stars have finally aligned and the triple-tailed comet has reappeared. Keep your ears to the skies for another momentous encounter with Bad Books III.

$21 Advance, $25 Day of Show
Sat, August 17, 2019 (9:00pm - 11:00pm PDT )
Homeshake with KeithCharles
Homeshake

When you walk alone, you’re never lost. At least, that’s the operating principle behind Homeshake, the recording project of Peter Sagar. Over his first three albums, Sagar followed his own idiosyncratic vision, a journey that’s taken him from sturdy guitar-based indie-pop to, on 2017’s Fresh Air, a bleary-eyed take on lo-fi R&B. Now, with Helium, Sagar is putting down roots in aesthetic territory all his own. Landscape that he once viewed from a distance now forms the bedrock of his sound, and from here, he looks back out at the world as if through a light fog, composing songs that feel grounded and intimate, even as they explore a dispersed feeling of isolation. It’s a feeling that comes through not only in the gauziness of the production, but also in the vulnerability of the songs themselves. Sagar began writing Helium shortly after completing Fresh Air, and in the middle of what he calls a “binge” reading of Haruki Murakami. It’s not hard to picture the narrator of these songs as a distinctly Murakamian character: He moves through time by himself, bemused by and insulated from a world he doesn’t quite seem to have been made for. Everyone Sagar encounters here — including himself — seems to be a step removed from present reality, whether by technology (“Anything At All”), solitude (“Just Like My”), or sweet fantasy (“Like Mariah”). The record is stitched together by a series of instrumental interludes, synthesizer explorations whose haziness adds to the suspicion that this is all an uncanny dream. Which isn’t to say that Sagar is unmoored in his own world. In fact, much of Helium is the result of what he calls “a much clearer mental state” than the one he’d experienced shortly following Fresh Air’s completion. “I had a better idea of the sound that was working for this record and what it was turning into as I was writing the songs,” he says. That’s owing in part to the album’s genesis. Where his previous three records were recorded directly to one-inch tape in a local studio, Helium was recorded and mixed by Sagar alone in his apartment in Montreal’s Little Italy neighborhood between April and June of this year. Freed of the rigid editing process he’d endured before, he was able to lose himself in pursuit of tone and texture. “I didn’t have to book time, compete for good hours, wait on availability. I did a lot of it at home in the middle of the night,” he says. “It made me get more obsessive about details.” A budding interest in ambient and experimental music — particularly Visible Cloaks, DJ Rashad, and Jlin — pushed him to tinker with the micro-sounds that surround the songs here. It’s a process he found creatively invigorating; even the tinkling boom-bap of Young Thug informs “All Night Long.” It’s a far cry from the chorus-laden guitars of his earlier work. “Ever since I started introducing synthesizers into my music, I’ve gotten more interested in texture,” he says. “I’d hit a creative dead end [with guitars], so synths took over.” The warm chords of a Roland Juno 60 form the album’s base, and gave him a clean palette with which to work. “No tape hiss, no humming power outlets and shitty mixing boards,” as he puts it. “Everything just came out nice and pure.” Still, for all the growth it demonstrates and the ways it luxuriates in its discoveries, Helium is at its core a record that isn’t beholden to any particular set of sounds, textures, or instruments to get its point across. In that sense, it feels closer to the bone, at once assured of its vision and remarkably vulnerable. It’s perhaps our purest view yet of Homeshake’s home country.

$22 Advance, $25 Day of Show