Indie 102.3 Presents Speedy Ortiz w/ Spacemoth + Mr. Atomic
Indie 102.3 Presents Speedy Ortiz with Spacemoth and Mr. Atomic on Thursday, Nov. 16th. “Rabbit rabbit” is a superstitious incantation repeated on the first of each month to bring good fortune—a belief practiced by Sadie Dupuis, the guitarist, singer and songwriter of the Philadelphia rock quartet Speedy Ortiz. As a child with OCD, she followed arbitrary rituals, a coping mechanism commonly triggered by early trauma, and “rabbit rabbit” was one that stuck. When Dupuis began to parse difficult memories for the first time in her songwriting, it felt like kismet to name her band’s resultant fourth record after an expression of luck and repetition: Rabbit Rabbit. Instead of re-treading old routines, the record finds Speedy Ortiz interrogating conventions, grappling with cycles of violence and destructive power dynamics with singular wit and riffs. Rabbit Rabbit finds Speedy Ortiz at its most potent: melodically fierce, sonically mountainous, scorching the earth and beginning anew. Speedy Ortiz debuted as Dupuis’ home-recording outlet in 2011, but the solo project quickly blew up into a full-fledged band beloved around the world for its pointed lyrics, disarmingly hooky choruses, and musical ingenuity—as well as its activism. The group graced festival stages from Bonnaroo to Primavera, supported heroic artists from Foo Fighters to Liz Phair, and brought acts including Mitski and Soccer Mommy on some of their earliest tours. In 2016, the band relocated from Massachusetts to Philadelphia, with the lineup changing shortly thereafter to include sonically inventive guitarist Andy Molholt (Laser Background, Eric Slick), drivingly melodic bassist Audrey Zee Whitesides (Mal Blum, Little Waist), and heavy-hitting drummer Joey Doubek (Pinkwash, Downtown Boys). Rabbit Rabbit is the first Speedy album to feature the longtime touring members as full contributors, and Dupuis and her bandmates blaze with unpredictability, their intrepid playing thrusting songs in exhilarating new directions. The gnarled guitars and imagistic lyrics that defined 2013’s Major Arcana, 2015’s Foil Deer and 2018’s Twerp Verse are still present, but Rabbit Rabbit’s recordings feel as vast as a desert landscape. “As I was channeling scenes and sentiments from decades past, I wanted to honor the bands I loved when I first learned guitar, ones that taught me to get lost in the possibilities of this instrument,” Dupuis recalls. Speedy Ortiz delved into its members’ most formative musical favorites—post-hardcore, the Palm Desert scene, alternative metal—pushing the agile complexity of the guitars and forceful rhythmic interplay between the drums and bass to unprecedentedly tricky extremes. “Every voice has a narrative,” offers Doubek of the arrangement process. “There is so much feeling and melody to interpret, and so much room to express it.” The desert’s guidance extended to their choice of recording locales: Rancho de la Luna in Joshua Tree (Mark Lanegan, PJ Harvey) and Sonic Ranch in Tornillo, Texas (Sparta, Fiona Apple). They worked with engineer and co-producer Sarah Tudzin (Illuminati Hotties, Pom Pom Squad), who imbued the riff-heavy record with righteous heat. She also helped carve space for the electronic tones of Dupuis’ ornate pre-production, completed using a synesthetic constraint in which she immersed herself in a different color to arrange each song. Former bandmates Darl Ferm and Devin McKnight added overdubs to fill out the record’s already-teeming sound—an homage to Rancho’s sprawling, collaborative Desert Sessions project. David Catching (earthlings?, Eagles of Death Metal), Rancho’s owner, also added mesmerizing lap steel, a favorite moment for the whole band. – 16+, under 16 admitted with a ticketed parent or guardian
105.5 The Colorado Sound Presents Cut Worms w/ Ryder The Eagle + Honey Blazer
105.5 The Colorado Sound Presents Cut Worms with Ryder The Eagle and Honey Blazer on Friday, September 30 — The car windows are down, the air is warm, and the possibilities are boundless. On Cut Worms, the new self-titled album from Brooklyn-based Max Clarke, the singer-songwriter and musician continues his exploration of what he calls “pop essentialism”. Mining the golden hits of yesteryear for a timeless double A-side sound, he contemplates age-old questions through a modern lens. Here, he leaves behind the legendary studio and sought-after producers for a more homegrown approach, working with a cast of gifted friends and collaborators. The result is a compact collection of daydream anthems that live between the summer’s hopeful beginnings and the season’s fleeting end. As opposed to recording the entire album in one chunk at one studio, Clarke varied his methods. Three of the songs were cut from start to finish in his shared rehearsal space. “Don’t Fade Out” and Living Inside” were recorded in Brooklyn by Brian and Michael D’Addario of the Lemon Twigs, who also played piano and bass, respectively, on these two songs. Further basic tracking was done by Rick Spataro (of indie folk band Florist) at his Hudson Valley studio, Onlyness Analog, with contributions from the long standing Cut Worms live band–keyboardist John Andrews, bassist Keven Louis Lareau, and drummer Noah Bond (who played on all three sessions). A youthful spirit breathes throughout these nine songs. The carnation-adorned school dance serenade of “I’ll Never Make It”; the starry eyed infatuation of “Is it Magic?”; the first fall leaves on the bus ride to school on “Living Inside”–all evoke a place of warmth and safety. Declarations like “Don’t Fade Out”, “Let’s Go Out On The Town”, and “Use Your Love” make high demands for life to change, but beg for us, as people, to keep hold of what makes us human. Clarke wrestles with a paradox–the joys of experience cannot be won without the loss of innocence. On “Ballad of a Texas King” Clarke sings, ““Hey kid come along… something is wrong… I believe you know… All this to say, only one way that this can go…” It’s as if he’s reaching out to his younger self, letting him know the changes are inevitable. How do we hang on to a dream? How do we not lose ourselves in a world that is lost? The only way out of a nightmare is to keep going. Clarke’s answer lies in his art, where the search for love and the perfect pop song coalesce and transcend him to that other plane. –Kyle Avallone – 16+, under 16 admitted with a ticketed parent or guardian
Palehound ‘Eye On The Bat Tour’ w/ alexalone + Autumnal
Globe Hall Presents Palehound ‘Eye On The Bat Tour’ w/ alexalone and Autumnal on Friday, November 10th.Palehound’s new album Eye On The Bat charts something that divides you into “before” and “after” – the danger of fantasy, of heartbreak, and the pain of growth. How we can surprise ourselves. It’s a documentation of illusions shattering, both of yourself and of others. A tangle of raw nerves coming undone amongst swelling, propulsive instrumentation, it’s the biggest – and best – Palehound has sounded on record.From Palehound’s critically-acclaimed debut album Dry Food (2015) to A Place I’ll Always Go (2017), and Black Friday (2019) and then, Doomin’ Sun (2021) by Bachelor (a collaborative project with Jay Som’s Melina Duterte), El Kempner’s songwriting has always been generous and personal, dispatches from a deep inner world. On Eye On The Bat, though, we meet Kempner anew: a guttural howl; white-hot and blistering catharsis; a feverish and visceral and painful present.As Palehound, Kempner’s guitar playing – their sinewy and off-kilter riffs – has always been front and center across the project’s discography, like smoke unfurling around anxiety-laden lyrics. It’s cerebral, trying to make sense of grief in a grocery store or an argument in a parking lot, plumbing the anxious depths of the interiors. Introspection, retrospection, whatever you’d like to call it, has threaded together Kempner’s songwriting, the bruising aftermath of trying times, since the very beginning. Here, though, we’re trapped in the immediate: witnessing the tiny details that build or break a relationship, and the flood that comes after.Recorded in brief stints across 2022 at Flying Cloud Recordings in the Catskills, the space between each session gave Kempner more time to breathe, to revisit the songs after time away. Kempner co-produced Eye On The Bat alongside Sam Owens (Big Thief, Cass McCombs), who was also crucial to the process — lending assistance yet allowing Kempner to take the reins on producing, to call the shots on the session and step into their own as a producer. Kempner also credits multi-instrumentalist Larz Brogan, who they refers to as “their platonic life partner” and longtime member of Palehound since the Boston DIY days, as a vital part of making the album come together the way it did. They make Kempner feel seen – allow them to be vulnerable, to experiment, to push themself in the studio. After playing together for so many years, Brogan and Kempner both wanted to push themselves to make a record that sounded less produced, one that simply captured the raw energy of Palehound live. Stand-out track “U Want It U Got It” was almost entirely self-produced by Kempner at home, save for Brogan’s drumming, the first time anything of the sort has made it onto a Palehound record.Eye On The Bat is not a hopeful record in content, but it’s immediately recognizable as the sort of totem you come out clutching on the other side of profound change. It feels like a promise to yourself – if you made it through that, you’ll handle whatever comes next.- 16+, under 16 admitted with a ticketed parent or guardian
Timlightyear (of Shane Smith & the Saints) w/ Jesh Yancey
Globe Hall Presents Timlightyear (of Shane Smith & the Saints) with Jesh Yancey on Thursday, August 10 –Timlightyear has been hiding in plain sight—a formidable, multi-hyphenate touring musician, best-known locally as a stellar, songs first producer. That was our first sign the planets are aligning. Being the supporting act and production savvy, Dallas was hiding a brooding balladeer, finally stepping into the spotlight, emerging from the Texas nebula as a fully formed artist.With his eyes closed and his teeth clenched, bathed in neon, one hand holding a well-worn guitar neck, Tim can be found on stage, in rapture, across the Southwest, Midwest, Pacific Northwest and Rocky Mountain regions. With The Southeast being broken later in 2023. Playing the touring circuit with old friends Nathan Galvin and Ryan Stogner in new roles as his backup band, he’s performing songs from his debut album aptly titled Old Friends.Oscillating between a clear, ringing tone and a soulful growl, his timeless brand of rusted, chainlink vignettes paints a picture of bone-tired existence, and raises questions about self-sabotage and the merits of persistence in unrewarding systems. For our sake, we’re just fortunate he’sshouldering the load and finally stepping out of the shadows. Suffice to say, Texas has another shining star.- 16+, under 16 admitted with a ticketed parent or guardian
Sam Barber w/ Kade Hoffman
Globe Hall Presents Sam Barber with Kade Hoffman on Saturday, July 21st.Sam Barber was raised on a farm in a small town in Southeast Missouri surrounded by a supportive family and an abundance of friends. Most of his childhood was devoted to athletics where he learned many lessons such as the importance of a team, practice, discipline, respect and hard work. Music has not always been his passion and as a child, he never participated in music class or music performances. Sam’s music journey has been completely unplanned and his success continues to astound him. When he was 16, Sam picked up his great grandfather’s Gibson, out of tune with 5 strings and fell in love with the art of playing. He soon learned that he also had the God-given talent to sing along. Sam’s vision is to continue to grow and become stronger as a vocalist and songwriter. He wants to deliver songs that people feel in their soul. Above all, he wants to stay true to his faith, the man he truly is, and the type of music he wants to make without boundaries or conforming.Since releasing Drowning in March Sam’s social reach has soared past half a million followers and garnered over 1.5 million monthly listeners on Spotify. Sam has hit the Global viral charts and reached #1 in UK, Aus, Ire and more.- 16+, under 16 admitted with a ticketed parent or guardian
Average w/ Satellite Friend, Spongebong Hemppants + Stephen Lear Band
Globe Hall Presents Average with Satellite Friend, Spongebong Hemppants and Stephen Lear Band on Sunday, July 23rd.- 16+, under 16 admitted with a ticketed parent or guardian
The Good Life w/ The New Trust + The Sickly Hecks
Globe Hall Presents The Good Life with The New Trust and The Sickly Hecks on Wednesday, August 9th.The Good Life is a rock and roll band from Omaha, NE. Initially started as an outlet for Tim Kasher to explore musical ideas differing from his band, Cursive, The Good Life became fully formed with members Stefanie Drootin-Senseney, Ryan Fox, and Roger Lewis. They’ve released 5 full length albums and toured around the world since first beginning in 2000.- 16+, under 16 admitted with a ticketed parent or guardian
Suzanne Santo w/ Heated Bones
Globe Hall Presents Suzanne Santo with Heated Bones on Thursday, August 31 — Suzanne Santo has never been afraid to blur the lines. A tireless creator, she’s built her sound in the grey area between Americana, Southern-gothic soul, and forward-thinking rock & roll. It’s a sound that nods to her past — a childhood spent in the Rust Belt; a decade logged as a member of the L.A.-based duo HoneyHoney; the acclaimed solo album, Ruby Red, that launched a new phase of her career in 2017; and the world tour that took her from Greece to Glastonbury as a member of Hozier’s band — while still exploring new territory. With Yard Sale, Santo boldly moves forward, staking her claim once again as an Americana innovator. It’s an album inspired by the past, written by an artist who’s only interested in the here-and-now. And for Suzanne Santo, the here-and-now sounds pretty good. Yard Sale, her second release as a solo artist, finds Santo in transition. She began writing the album while touring the globe with Hozier — a gig that utilized her strengths not only as a vocalist and multi-instrumentalist, but as a road warrior, too. “We never stopped,” she says of the year-long trek, which often found her pulling double-duty as Hozier’s opening act and bandmate. “Looking back, I can recognize how much of a game-changer it was. It raised my musicianship to a new level. It truly reshaped my career.” Songs like “Fall For That” were written between band rehearsals, with Santo holing herself up in a farmhouse on the rural Irish coast. Others were finished during bus rides, backstage writing sessions, and hotel stays. Grateful for the experience but eager to return to her solo career, she finished her run with Hozier, joining the band for one final gig — a milestone performance at Glastonbury, with 60,000 fans watching — before flying home to Los Angeles. Within three days, she was back in the studio, working with producer John Spiker on the most compelling album of her career. Santo didn’t remain in Los Angeles for very long. Things had changed since she released 2017’s Ruby Red, an album produced by Butch Walker and hailed by Rolling Stone for its “expansion of her Americana roots.” She’d split up with her longtime partner. Her old band, HoneyHoney, was on hiatus. Feeling lonely in her own home, Santo infused songs like “Common Sense” and “Idiot” with achingly gorgeous melodies and woozy melancholia. She then got the hell out, moving to Austin — a city whose fingerprints are all over Yard Sale, thanks to appearances by hometown heroes like Shakey Graves and Gary Clark Jr. — and falling in love all over again. Throughout it all, Santo continued writing songs, filling Yard Sale with the ups and downs of a life largely spent on the run. “I moved so much, both emotionally and physically, while making this record,” she says. “I dropped my band, joined a world tour, came back home, went through a heartbreak, moved across the country, and fell in love with someone else. I just kept marching forward. Throughout that experience, there was this emotional unpacking of sorts. A shedding of baggage. I’ve gotten good at knowing what I need to keep holding onto and what I don’t.” – 16+, under 16 admitted with a ticketed parent or guardian
Waiting Room w/ Babybaby + Standing Start
Globe Hall Presents Waiting Room with Babybaby and Standing Start on Saturday, July 1st. – 16+, under 16 admitted with a ticketed parent or guardian
Arkansauce w/ Meadows & Fields + Dakota Gray Band
Globe Hall Presents Arkansauce with Meadows & Fields and Dakota Gray on Friday, August 4th. Arkansauce calls forth melodies of the Ozark Mountains’ rolling hills and raging rivers with their distinct blend of newgrass. This progressive string quartet features Tom Andersen on bass, guitarist Zac Archuleta, Ethan Bush on mandolin, and Adams Collins on banjo. Their music features improvisational string leads matched with complex melodies, intriguing rhythms, and deep thumping bass grooves. Each member sings lead and harmony parts as well as contributes to the lyrics, which offer authentic, intelligent songwriting with hard-hitting hooks. They are a band inspired not only from their home state of Arkansas, but also throughout their travels. “We are a band that spends most of our time in the back of a van hurtling toward long nights, good times, and a destiny unknown,” says Ethan. “Our inspiration is gathered by events unfolding in our own adventures in real time. These days, the desire to create, inspire, and redefine within our scene seems to be the main driving force behind our music. From a young age we were huge fans of live music and were introduced to a lot of great music by our families.” Arkansauce independently released their 5th album, OK to Wonder, on April 21, 2023. With 11 original tracks—ranging from upbeat and stimulating to contemplative and encouraging—the collection is filled with songs of revelry, wonder, insight, and whimsy. The album was met to critical acclaim with reviews in Bluegrass Today (“a truly inspired effort”), Ameriana Highways (“this is high-octane stuff, meticulously rendered & with lots of spirit”), Americana UK (“that’s a bluegrass line-up right there – but this isn’t your grandpappy’s bluegrass”), and Blog Critics; premieres by The Bluegrass SItuation and Glide Magazine. Songs from the album are in two official Spotify Playlists: “Indie Bluegrass” and “Fast Grass” and have received airplay on SiriusXM Bluegrass Junction. They’ve also interviewed and performed a few of the new tunes in studio in their homestate with Northwest Arkansas Democrat-Gazette and Little Rock’s THV11. The band was founded in 2011 after Zac and Ethan, who had grown up across the street from one another in Johnson County, Arkansas, moved to Fayetteville. Tom and Adams were slowly introduced to them through the tight-knit Fayetteville music community. During a fateful gig at a Riverstomp Music Festival in 2014, the band was down a couple of members, and Adams and Tom filled in on the fly—magic was made on the stage that night, and the lineup was forever changed. Having played shows from California to Connecticut over the last several years in addition to two tours in Europe, the band is no stranger to the road. They supported Yonder Mountain String Band for a leg of their summer tour in 2019, played mainstage spots on festivals with bands (including but not limited to) Greensky Bluegrass, Railroad Earth, The Del McCoury Band, Billy Strings, Leftover Salmon, Tauk, The Wood Brothers, and shared the stage with the legendary Sam Bush as a guest. Arkansauce has a hearty tour schedule lined up for this year including hometime release shows in Oklahoma and Arkansas for (including the Backwoods at Mulberry Mountain Festival). They have Spring shows in Kentucky, Pennsylvania, West Virginia, Missouri, Louisiana, and around the Front Range of Colorado. – 16+, under 16 admitted with a ticketed parent or guardian
