Variety Playhouse, Atlanta 30307Report Issue

Variety Playhouse, Atlanta 30307


1099 Euclid Avenue Little Five Points
Atlanta, Georgia 30307
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Next Show

Fri, April 26, 2019 (8:00 PM EDT)
Boombox


BoomBox

A little house, a little blues, a little funk, a little rock, and a whole lot of soul blast through BoomBox. Since first emerging in 2004, founder, songwriter, producer, and multi-instrumentalist Zion Rock Godchaux has been quietly seasoning this simmering recipe to perfection. However, it reaches a boiling point on his forthcoming 2018 fifth album, Western Voodoo [Heart of Gold Records]. At the same time, the Muscle Shoals, AL native stays true to what attracted countless fans in the first place. “I remain open to anything you would hear coming out of a boombox,” he explains. “There are a lot of different vibes and angles, but it still adheres to a universal rhythm. This new record is the most musical and varied, yet it’s tightly wound in respect to that syncopation. There are only a few rules. It should be heavy groove. It should make you want to move. Overall, I’ve further developed the sound people are used to.” Following up 2016’s fan favorite Bits & Pieces, the artist found himself at something of a crossroads. Longtime collaborator Russ Randolph amicably parted ways with the band at the end of the year. For the first time, Godchaux would solely produce the bulk of a BoomBox record by himself inside of his new studio, while DJ Harry joined on tour in January 2017. Another first, he even performed live bass on the album, opening up the creative palette dramatically. “I’ve learned more about engineering and the technical aspects of recording. It’s been a time of soul searching. I can follow any Ideas that I want to. So there’s a lot more organic instrumentation. I’m just trying to develop more sonic real.” Appropriately, he dubs the sound of Western Voodoo, “Dirty Disco Blues.” Within that realm, Godchaux fuses a funky strut with electronic energy and danceable swagger powerful enough to cast a spell of its own. “You hear about different forms of magic around the world,” he goes on. “The West, in general, has its own voodoo influenced by the blues. That’s what shaped me as a musician growing up in this country. It’s hard to put in the words, but you know it when you hear it.” You hear it in everything that BoomBox has done thus far. Over the course of four albums, the group has become a streaming favorite with numerous tracks cracking a million plays on Spotify. Moreover, they’ve made audiences groove everywhere from Electric Forest and Hangout Music Festival to High Sierra Music Festival. To welcome DJ Harry into the fold, they performed 75 shows in 2017, with that number expected to grow in 2018. “Harry picked up everything in a really short amount of time,” he explains. “The parties are just as hot, if not hotter. The music is getting tighter. He stepped in and kept the plane in the air.” In the end, the new music kicks off the brightest and boldest chapter yet for Godchaux. “Our best side is somewhat medicinal,” he leaves off. “All of the rhythms, melodies, and frequencies add up to these healing properties. I hope people feel rejuvenated and re-focused on some level when they hear us. That’s Western Voodoo.”

1099 Euclid Avenue Little Five Points, Atlanta, GA 30307 
$20.00 - $25.00

Upcoming Shows

Fri, April 26, 2019 (8:00pm - 10:00pm EDT )
Boombox
BoomBox

A little house, a little blues, a little funk, a little rock, and a whole lot of soul blast through BoomBox. Since first emerging in 2004, founder, songwriter, producer, and multi-instrumentalist Zion Rock Godchaux has been quietly seasoning this simmering recipe to perfection. However, it reaches a boiling point on his forthcoming 2018 fifth album, Western Voodoo [Heart of Gold Records]. At the same time, the Muscle Shoals, AL native stays true to what attracted countless fans in the first place. “I remain open to anything you would hear coming out of a boombox,” he explains. “There are a lot of different vibes and angles, but it still adheres to a universal rhythm. This new record is the most musical and varied, yet it’s tightly wound in respect to that syncopation. There are only a few rules. It should be heavy groove. It should make you want to move. Overall, I’ve further developed the sound people are used to.” Following up 2016’s fan favorite Bits & Pieces, the artist found himself at something of a crossroads. Longtime collaborator Russ Randolph amicably parted ways with the band at the end of the year. For the first time, Godchaux would solely produce the bulk of a BoomBox record by himself inside of his new studio, while DJ Harry joined on tour in January 2017. Another first, he even performed live bass on the album, opening up the creative palette dramatically. “I’ve learned more about engineering and the technical aspects of recording. It’s been a time of soul searching. I can follow any Ideas that I want to. So there’s a lot more organic instrumentation. I’m just trying to develop more sonic real.” Appropriately, he dubs the sound of Western Voodoo, “Dirty Disco Blues.” Within that realm, Godchaux fuses a funky strut with electronic energy and danceable swagger powerful enough to cast a spell of its own. “You hear about different forms of magic around the world,” he goes on. “The West, in general, has its own voodoo influenced by the blues. That’s what shaped me as a musician growing up in this country. It’s hard to put in the words, but you know it when you hear it.” You hear it in everything that BoomBox has done thus far. Over the course of four albums, the group has become a streaming favorite with numerous tracks cracking a million plays on Spotify. Moreover, they’ve made audiences groove everywhere from Electric Forest and Hangout Music Festival to High Sierra Music Festival. To welcome DJ Harry into the fold, they performed 75 shows in 2017, with that number expected to grow in 2018. “Harry picked up everything in a really short amount of time,” he explains. “The parties are just as hot, if not hotter. The music is getting tighter. He stepped in and kept the plane in the air.” In the end, the new music kicks off the brightest and boldest chapter yet for Godchaux. “Our best side is somewhat medicinal,” he leaves off. “All of the rhythms, melodies, and frequencies add up to these healing properties. I hope people feel rejuvenated and re-focused on some level when they hear us. That’s Western Voodoo.”

$20.00 - $25.00
Sat, April 27, 2019 (8:00pm - 10:00pm EDT )
Johnny Marr
An Evening With Johnny Marr

English musician, singer and songwriter born October 31, 1963 in Ardwick, Manchester. Married to Angie Marr since 1985. Sonny Marr and Nile Marr are their children.

$29.00 - $60.00
Tue, April 30, 2019 (8:00pm - 10:00pm EDT )
Indigo Girls, Matt Nathanson
Benefit for El Refugio featuring Indigo Girls, Special Guest Matt Nathanson and Chastity Brown

Twenty years after they began releasing records as the Indigo Girls, Amy Ray and Emily Saliers have politely declined the opportunity to slow down with age. With a legacy of releases and countless U.S. and international tours behind them, the Indigo Girls have forged their own way in the music business. Selling over 14 million records, they are still going strong. Amy & Emily are the only duo with top 40 titles on the Billboard 200 in the '80s, '90s, '00s and '10s. The power of unity, both in music and in life, has been an Indigo Girls calling card ever since they burst into the spotlight with their 1989 self-titled breakout album. Since then, the band has racked up a slew of Gold and Platinum records, taken home a coveted GRAMMY Award, and earned the respect of high profile peers and collaborated from Michael Stipe to Joan Baez. NPR’s Mountain Stage called the group “one of the finest folk duos of all time” while Rolling Stone said “they personify what happens when two distinct sensibilities, voices, and worldviews come together to create something transcendentally its own.”

$40.00 - $100.00
Wed, May 1, 2019 (8:30pm - 10:30pm EDT )
FKJ with Lou Phelps
FKJ

French DJ/producer FKJ, also known as French Kiwi Juice, is known for creating refreshing electro-soul mixes of soul classics as well as original music. If you are looking for a mellow tune to chill to during these warm summer nights, then FKJ released a smooth track that is full of good vibes. Futuristically Classy, French Kiwi Juice. Better known by the abbreviation FKJ, has mastered the sound of sophisticatedly, smooth electronic music. With serene sounds perfect for posh settings, FKJ with his strong catalogue of tracks has found himself on repeat in the dwellings of all Roche Musique alumni. Lying together his first track to hit the charts is built off of a mellow, heartfelt sample, and leyered with classic electronic keyboards, and a beautiful guitar bass. This is music that you can groove to, youth tested and elder approved. Be on the lookout for more music from FKJ at Roche Musique. He is definitely an artist that deserves a spotlight.

$29.00 - $34.00
Fri, May 3, 2019 (11:45pm - 1:45am EDT Saturday)
FIDLAR with Liily
FIDLAR

FIDLAR's third album, Almost Free, which will be released on January 25, 2019, bears a raw vitality that FIDLAR partly attributes to a certain lightning-in-a-bottle element in its construction. While the album was recorded in several different locations—including the iconic Sunset Sound and Sonic Ranch, a studio in the Texas border town of Tornillo—much of the material came straight from homemade demos. “On the last record we took the demos and re-recorded everything in the studio, but this process wasmore like how we worked in the beginning,” says Elvis. “I feel like it got us back to that original feeling we had when we first started making music together, instead of just pushing everything out on a deadline.” FIDLAR’s origins trace back to 2009, when Elvis (whose dad played in the legendary punk band T.S.O.L., and who joined his own first punk band at age 13) landed an internship at a recording studio where Zac worked as an engineer, and the two started jamming in the off-hours. “I remember one day we went out to get a Little Caesar’s pizza and Elvis put on Songs for the Deaf by Queens of the Stone Age and I was like, ‘I love this record,’” Zac recalls. “That was the moment when it just connected for me: ‘We’re gonna be in a band together.’” With Brandon (formerly of Rooney) and Elvis’s kid brother and lifelong bandmate Max brought into the fold, the four musicians felt an immediate chemistry but had no real direction. “There wasn’t any kind of plan to become a working band,” says Elvis. “We just all really wanted to make loud rock & roll music.” Throughout Almost Free, FIDLAR match their stronger sense of purpose with the ineffable magic that’s always driven them—most notably, that pure and palpable love of playing together. “We were so young when this started, we were just partying and being kids, and FIDLAR took on a life of its own,” says Zac. “I really thought I was going to be working on other people’s music for the rest of my life, and that would be it. In my wildest imagination I never would’ve thought that this all would’ve worked out the way it did—but that’s how life happens in general. That’s the classic story.”

$24.00 - $26.00
Sat, May 4, 2019 (11:45pm - 1:45am EDT Sunday)
Grouplove with Natalie Prass
Grouplove

Turns out that a big mess can actually be a good thing. In the case of Grouplove's third studio album, Big Mess refers not only to a lyric in the buoyant lead single "Welcome To Your Life," but also to the situation in which they found themselves when they got off the road following 2013's Spreading Rumours. For the first time since releasing their breakthrough 2011 debut, Never Trust A Happy Song, Grouplove were back in Los Angeles indefinitely, with a lot of catching up to do. "We got off tour and realized we had been completely neglecting normal life," says singer and keyboard player Hannah Hooper. "We were out of touch with friends and family, our house looked like we were hoarders -- it was like an explosion of so much at once." In the midst of it all, Hooper and Grouplove singer/guitarist Christian Zucconi, who have been a couple since the band's inception, found out they were going to have a baby. Like the true pair of artists they are, Zucconi and Hooper viewed the chaos as an opportunity to be creative. "We felt so out of control. Instead of trying to deal with the mess, we just started writing," Hooper explains. "We had so many songs come out of that, and Big Mess is a collection of our favorites." The album's opening track, "Welcome To Your Life," was one of close to forty songs that began in that messy moment. Hooper recorded the hook -- "we're back in business, you're such a big mess, and I love you" -- on her laptop, but the rest of the tune took awhile to come into focus. Months later, on the same day that Hooper went into labor, the joyfully defiant chorus came to Rabin in the shower, like a bolt from the blue. Says Rabin: "I showed them the idea and when we put those two parts together, they fit perfectly, both lyrically and melodically. It almost felt a bit fated." There has been the tinge of fate to Grouplove since the beginning, when its five original members met at an arts colony on the island of Crete and formed such an immediately comfortable bond -- both personally and musically -- that they started the band upon their return to LA in 2010. Though Sean Gadd left Grouplove amicably in 2014, new bassist Daniel Gleason says he connected to the familial spirit of the band right away. Describing the vibe in the studio during sessions for Big Mess, Gleason says: "It was really open and honest. I've never been a part of an environment where everyone was willing to be so selfless if it made the song better. The lack of pride or ego allows the best ideas to drift to the top, and that's rare, but I think that's what makes the band what it is." While those core qualities remain, Grouplove continues to mature on Big Mess, which demonstrates their ever sharper instincts as songwriters and their growing ability to make a bright, bold, genre-defying sound that is entirely their own. The band members say they feel most inspired when they're collaborating on new ideas with a completely open mind. "What influences us the most is each other," says Zucconi. "Even a song you that think might come out a certain way will be completely reimagined by someone like Andrew or Ryan or Dan, because their tastes and inclinations are so different." "It's always been sort of a rule for us is that we want the writing process and studio process to be spontaneous," says drummer Ryan Rabin, who has been Grouplove's in-house producer since their earliest recordings -- tracks including their platinum-certified 2011 single "Tongue- Tied," as well as alternative radio mainstays "Colours" and "Ways To Go." (As part of production team Captain Cuts, Rabin has also produced and/or written tracks for Tove Lo and Jennifer Lopez, among others.) "Most of our best stuff has come from letting the song dictate the moment rather than forcing it into some preconceived sonic space," says Rabin. "We've stuck to that process because we're in love with that spontaneity." Rabin's recording technique -- "using the studio as a writing instrument, to elevate the song to where it couldn't have gone otherwise" -- serves Grouplove perfectly on Big Mess tracks including "Welcome To Your Life" and the anthemic "Do You Love Someone?," among others. But the band also wanted to challenge themselves on this album by working with someone new, and they found the ideal partner in Phil Ek, who produced five Big Mess tracks and whose approach in the studio is the polar opposite of Rabin's. Among indie rock's most beloved producers, Ek has worked on albums by Band of Horses, The Shins, Built To Spill and Father John Misty. "Built To Spill's Keep It Like A Secret -- when that record came out, it hit me so hard," says Zucconi. "And since then I've been a fan of his work. I love the sounds he gets." The band previously teamed with Ek to record a song for the soundtrack to Paper Towns, and embraced the opportunity to return to his Seattle studio. "Few producers care so intimately about every minute sonic element of their production like Phil does," says guitarist Andrew Wessen, "and it shows in the warmth of his tones and the organic clarity of the soundscapes." "It was fun to explore stuff with Phil that we hadn't done with Ryan," says Zucconi. "Phil is really known for his guitar tones, and he'd spend hours getting the right tone. We started calling it 'Tone Questing.' It became a running joke in the studio. We even bought tunics and swords and made Phil wear a cape, and got a chainmail shirt for his assistant Cameron to wear. We found this really funny, medieval song we'd play while we were killing time to make everyone laugh." Of the songs recorded in Seattle with Ek, Hooper points to "Traumatized" as her favorite. "It has kind of a raw, Nirvana feel to it which I really like," says Hooper, who wrote the song with Zucconi in their LA home. "The lyrics discuss realizing what our parents gave up so we could become what we've become, and how much they've sacrificed," she says. "When you're an artist, you're stuck in this interesting, child-like state, but I wrote that song in a moment of understanding that we were gonna have to pull it together to raise a family." Grouplove unanimously cite the haunting, cathartic "Enlighten Me" as a linchpin moment on the album. Lyrics such as "I don't feel my life is real / I'm on the fence with common sense," capture a sentiment all five members of the band felt a personal connection to, even though the words and song were written by Zucconi. Says Wessen: "This album embodies the headspace that we all collectively share as band mates, as new parents and as human beings. I think these songs have a shared consciousness that we've never been able to capture as a band." "It's a real rare thing, how we came together," says Zucconi, reflecting on what keeps Grouplove's outlook so positive, even after all they've experienced and accomplished. "There was this energy we had all been looking for, for years before we met. And it came together so effortlessly with this group of people. It's still totally there and happens whenever we play shows. The energy is even stronger now. We all bring out the best in each other musically, and it helps me to grow and become a better person, being around the vibe of this band." Big Mess is out September 9 on Canvasback Music/Atlantic.

$25.00 - $29.00
Thu, May 9, 2019 (8:00pm - 10:00pm EDT )
Railroad Earth
Railroad Earth

There’s a great scene in The Last Waltz – the documentary about The Band’s final concert – where director Martin Scorsese is discussing music with drummer/singer/mandolin player Levon Helm. Helm says, “If it mixes with rhythm, and if it dances, then you’ve got a great combination of all those different kinds of music: country, bluegrass, blues music, show music…” To which Scorsese, the inquisitive interviewer, asks, “What’s it called, then?” “Rock & roll!” Clearly looking for a more specific answer, but realizing that he isn’t going to get one, Marty laughs. “Rock & roll…” Well, that’s the way it is sometimes: musicians play music, and don’t necessarily worry about where it gets filed. It’s the writers, record labels, managers, etc., who tend to fret about what “kind” of music it is. And like The Band, the members of Railroad Earth aren’t losing sleep about what “kind” of music they play – they just play it. When they started out in 2001, they were a bunch of guys interested in playing acoustic instruments together. As Railroad Earth violin/vocalist Tim Carbone recalls, “All of us had been playing in various projects for years, and many of us had played together in different projects. But this time, we found ourselves all available at the same time.” Songwriter/lead vocalist Todd Sheaffer continues, “When we started, we only loosely had the idea of getting together and playing some music. It started that informally; just getting together and doing some picking and playing. Over a couple of month period, we started working on some original songs, as well as playing some covers that we thought would be fun to play.” Shortly thereafter, they took five songs from their budding repertoire into a studio and knocked out a demo in just two days. Their soon-to-be manager sent that demo to a few festivals, and – to the band’s surprise – they were booked at the prestigious Telluride Bluegrass Festival before they’d even played their first gig. This prompted them to quickly go in and record five more songs; the ten combined tracks of which made up their debut album, “The Black Bear Sessions.” That was the beginning of Railroad Earth’s journey: since those early days, they’ve gone on to release five more critically acclaimed studio albums and one hugely popular live one called, “Elko.” They’ve also amassed a huge and loyal fanbase who turn up to support them in every corner of the country, and often take advantage of the band’s liberal taping and photo policy. But Railroad Earth bristle at the notion of being lumped into any one “scene.” Not out of animosity for any other artists: it’s just that they don’t find the labels very useful. As Carbone points out, “We use unique acoustic instrumentation, but we’re definitely not a bluegrass or country band, which sometimes leaves music writers confused as to how to categorize us. We’re essentially playing rock on acoustic instruments.” Ultimately, Railroad Earth’s music is driven by the remarkable songs of front-man, Todd Sheaffer, and is delivered with seamless arrangements and superb musicianship courtesy of all six band members. As mandolin/bouzouki player John Skehan points out, “Our M.O. has always been that we can improvise all day long, but we only do it in service to the song. There are a lot of songs that, when we play them live, we adhere to the arrangement from the record. And other songs, in the nature and the spirit of the song, everyone knows we can kind of take flight on them.” Sheaffer continues: “The songs are our focus, our focal point; it all starts right there. Anything else just comments on the songs and gives them color. Some songs are more open than others. They ‘want’ to be approached that way – where we can explore and trade musical ideas and open them up to different territories. But sometimes it is what the song is about.” So: they can jam with the best of them and they have some bluegrass influences, but they use drums and amplifiers (somewhat taboo in the bluegrass world). What kind of music is it then? Mandolin/vocalist John Skehan offers this semi-descriptive term: “I always describe it as a string band, but an amplified string band with drums.” Tim Carbone takes a swing: “We’re a Country & Eastern band! ” Todd Sheaffer offers “A souped-up string band? I don’t know. I’m not good at this.” Or, as a great drummer/singer/mandolin player with an appreciation for Americana once said: “Rock & roll!”

$27.50 - $32.00
Fri, May 10, 2019 (8:00pm - 10:00pm EDT )
Bears Den
Bear’s Den

Taking a cue from earnest, pastoral folk-rockers like Mumford & Sons, the Avett Brothers, and Stornoway, London alt-country/indie folk trio Bear's Den formed around the talents of Joey Haynes and ex-Cherbourg members Andrew Davie and Kev Jones. Bear's Den honed their chops on tours with contemporaries like Of Monsters and Men, the Smoke Fairies, and Matt Corby before securing the opening slot for the Mumford's 2012 performance at London's massive O2 Arena. The group issued a pair of debut EPs, Without/Within and Agape, through the Communion label the following year. In 2014, the trio entered the studio with Ian Grimble to record their debut album, Islands. Released toward the end of the year, the album hit the U.K. albums chart in the Top 50 and album track "Above the Clouds of Pompeii" was nominated for an Ivor Novello award in early 2015. That year also saw the band head out in support of the release with tours across the U.S., Europe, and the U.K. At the beginning of 2016, Haynes announced he was leaving the band to spend more time with family; Jones and Davie continued on. In April, the band released a teaser trailer for their sophomore album, Red Earth & Pouring Rain. The album, produced once again by Grimble, was released in July.

$20.00
Sat, May 11, 2019 (8:00pm - 10:00pm EDT )
Tim Heidecker & Gregg Turkington
Tim Heidecker & Gregg Turkington- On Cinema Live

For the first time ever--the hit AdultSwim.com series "On Cinema At The Cinema" takes to the road. This multi-media stage show provides a mega-dose of the movie expertise and colorful disagreements that you've come to expect from hosts Tim Heidecker and Gregg Turkington--plus guest appearances from beloved cast members of the On Cinema/Decker Universe.

$34.00
Tue, May 14, 2019 (8:00pm - 10:00pm EDT )
Lukas Nelson & Promise of the Real
Lukas Nelson & Promise of the Real

Since forming 10 years ago, the buzz surrounding Lukas Nelson & Promise of the Real has been quietly intensifying. During that time, the 28-year old singer/songwriter/guitarist and his bandmates have played hundreds of shows and major festivals all over the world and built a devoted underground following. Lukas’ profile continued to rise when he contributed three songs and heavenly vocals to his dad Willie Nelson’s 2012 album, Heroes, their voices blending with potent DNA. Then two years later, life took another turn skyward when Neil Young decided to make Promise of the Real his touring and studio band. Young has guided the grateful young musicians ever since as they’ve backed the legend on tour around the world and on his two most recent albums. These experiences were undoubtedly invaluable, but none of what has come before will prepare you for the cosmic country soul of Lukas Nelson & Promise of the Real, the band’s new, self-titled album, a mesmerizing, emotionally genuine, endlessly rewarding work set for release on Fantasy Records. From the epic “Set Me Down on a Cloud” to the climactic “If I Started Over,” the album delivers one sublime song and inspired performance after another. “I knew I had a lot of good songs that transcended the cultural boundaries between rock & roll and country,” Lukas says of his vision for the album. “I wanted to get the songs as pure as they could be. We owe a lot to Neil; we made this record after coming off the road with him for two years. Neil’s been mentoring us, and we’ve been absorbing that energy, and I think it shows. We got acclimated to a different level of artistic expression. We’ve grown.” Lukas Nelson & Promise of the Real, produced by song-shaping specialist John Alagia (numerous Dave Matthews Band LPs, John Mayer’s Room for Squares) was recorded at The Village Studios in West Los Angeles. Promise of the Real’s six-piece line-up now includes longtime bandmates Tato Melgar (percussion), Anthony LoGerfo (drums) and Corey McCormick (bass, vocals) along with new members Jesse Siebenberg (steel guitars, Farfisa organ, vocals) and Alberto Bof (piano, Wurlitzer, Hammond B3). Stefani “Lady Gaga” Germanotta (who convincingly plays the role of Bonnie to Lukas’ Delaney) added her signature vocals to the rousing “Carolina” and “Find Yourself,” while Jess Wolfe and Holly Lessig of the Brooklyn-based indie-pop duo Lucius provide backing vocals on five of the 12 tracks, evoking Exile on Main St.’s ecstatic, gospel-rooted harmonies. The band’s many influences can be discerned in the opening track, “Set Me Down on a Cloud,” a soulful country rocker that features Lucius’ spiritual vocals and an extended solo underscores Lukas’ tasteful guitar virtuosity. The lilting, pastoral “Just Outside of Austin” features a guitar solo from Willie, while Lukas’ 86-year-old Aunt Bobbi plays piano. “It’s a love letter to Austin, something like Roger Miller or Glen Campbell would write,” he said. “Runnin’ Shine,” one of the album’s first-person character studies, is written from the perspective of a young moonshiner trying to outsmart the law while hurtling along Appalachian back roads in a souped-up car loaded with homemade booze. “Perspective is huge,” says Lukas. “If you’re able to put yourself in someone else’s shoes and you can relate to them, it’s really hard to hate them, even if you don’t agree with how they live their life.” Two of the album’s most breathtaking songs, “Find Yourself” and “Forget About Georgia,” vividly retrace the turbulent final stages and bittersweet aftermath of the same doomed love affair. “After the relationship ended, I had to play Ray Charles’ “Georgia on My Mind” every night when I was on the road with my dad, which made it literally impossible to forget about her.” Introduced by a wistful four-note guitar lick that reoccurs throughout the arrangement, “Forget About Georgia” unfolds to a “Layla”-like outpouring of romantic yearning, as the band stretches out behind Lukas’ emotional guitar soloing. Not surprisingly, it’s Young’s favorite song on the album. Inspired by the big ballads of Roy Orbison and Elvis Presley, Lukas delivers a full-throttle vocal on the closing track, “If I Started Over,” at once a cosmic rumination and a rapturous expression of romantic devotion. “The song is asking, what if, after we die, we just come back? What if we have to do the same dream again until we learn the right lessons? A seasoned veteran at 28, Austin-born Lukas grew up in Maui, while spending much of his time during school breaks in his hometown and on the road with his dad. “I had a lot of passions growing up,” he says. “I played soccer, I was on the swim team, living a Maui lifestyle, surfing and skateboarding. I also loved singing and wrote my first song when I was 11. I became obsessed with guitar, playing eight to 10 hours a day. I knew what I wanted to do from a super-young age, and I made my life about it.” He and his brother Micah played in bands together in high school, and they struck up a friendship with Uruguay-born Tato Melgar, a skilled musician then making his living as a landscaper, who taught the brothers the basics of drumming. In 2007, Lukas headed to the mainland to attend L.A.’s Loyola Marymount University. A year later, after meeting LoGerfo at a Neil Young concert, he dropped out of school and started a band with LoGerfo, Melgar and original bassist Merlyn Kelly; he named it Promise of the Real, referencing a line in Young’s 1973 song “Walk On”: “Sooner or later it all gets real.” When McCormick joined two years later on bass, the POTR lineup was set. The band woodshedded; averaging more than 200 shows a year. Drawing on Lukas’ lineage as well surrogate uncles like Kris Kristofferson, Waylon Jennings, and the classic rock and roll of J.J. Cale, The Band, Clapton era Delaney and Bonnie and of course mentor Neil Young, they began to develop their own distinctive style of American music. Young befriended the band after checking them out at Farm Aid several years back. “Neil got in touch after that, and we started talking by email,” Lukas recounts. “Eventually, he asked us to record with him. So we recorded The Monsanto Years and played some shows together, and we fell in love with each other musically, one thing led to another and we became Neil’s band. “What’s happened with us feels similar to the career trajectory of The Band,” he continues. “They were already a great band when they started working with Dylan, who lifted them up, which is similar to what Neil’s done for us. He’s also given people a chance to hear what we’re doing and what our own songs have to offer. Then we played the Desert Trip with Neil, along with Paul McCartney, the Stones, the Who and Dylan. That was incredible.” Those two weekends in Indio last October turned out to be extremely fortuitous. “We met Lucius at Desert Trip,” says Lukas. “They were playing with Roger Waters—and still are. Then they came to the Bridge School Benefit, where we really got to know them. I love Jess and Holly—they really enhance the record.” Bradley Cooper also saw Lukas play at Desert Trip, and right afterward contacted a mutual friend about helping him on the new film he’s directing and starring in, a remake of A Star is Born. “At first I was just helping him out, and then I started writing with Stefani (Lady Gaga), who’s in the movie. We connected and she and I became really close. I got very involved in this film and ended up bringing the band into it as well.” Coming of age in a celebrated musical family, Lukas Nelson learned early on that true originality is hard won, never given. Doubtlessly blessed with a measure of musical ability, it’s clear that his natural gifts have been honed by a singular devotion to craft and a deep appreciation for the sacrifice a creative life requires. Elated by the way things have come together so beautifully, Lukas is gratified that POTR have earned this moment and seized the opportunities that have led to this album—all perfectly capturing what he’d heard in his head 18 months earlier. “It’s just amazing how things have flowed,” Lukas marvels. “It feels divine in a way.”

$30.00 - $45.00
Wed, May 15, 2019 (8:00pm - 10:00pm EDT )
Chromatics with Desire, In Mirrors
Chromatics: Double Exposure Tour

Chromatics is an electronic band from Portland, Oregon that formed in 2001. The band consists of Ruth Radelet, Adam Miller, Nat Walker, and Johnny Jewel. Chromatics' early recordings were considered lo-fi, but their 2006 "In The City" EP introduced a more electronic sound, and 2007's Night Drive and 2012's Kill For Love were both critically-acclaimed albums. Chromatics release their music on Italians Do It Better, a label owned and operated by Johnny Jewel

$29.00 - $49.00