Jeffrey Martin w/ Bart Budwig
Globe Hall Presents Jeffrey Martin with Bart Budwig on Monday, October 10th.Portland, Oregon’s Jeffrey Martin is a minister’s son who can build a house with his bare hands and holds a master’s degree in English. He worked his way through school as a carpenter, then, following graduation, spent four years teaching high school.It was during that time that his career as a songwriter came into bloom. Struggling to strike a balance between his increasingly rigorous Northwest/West Coast touring and his efforts to get teenagers to love words as much as he did, Martin found himself in the tricky position of having to choose between his two passions.Much to the delight of his fans, music won the day. Now, with three intensely lyric-driven albums under his belt, two of which were released on the Portland indie-label, Fluff & Gravy Records, Martin has developed a loyal and growing audience, both domestically and abroad. Prior to the halting effects that a global pandemic placed on his ability to do so, Martin kept a restless touring schedule. It’s taken him on several laps around the U.S. and Europe and landed him on stages with luminaries from the genre including Courtney Marie Andrews, Joe Pug, Gregory Alan Isakov, Jeffrey Foucault, Sean Hayes, Peter Mulvey, Amanda Shires, Colter Wall, Ruth Moody, Caitlin Canty, and others.Jeffrey Martin writes music that probes the depths of the human experience and doesn’t shy away from its darkest corners. His songs can feel like short stories from literary giants like Steinbeck, Burroughs, or Cormac McCarthy and possess a raw intensity that comes from seeing his subjects up close. All the struggle, hurt, strife, and heartbreak that comes from living in this world are laid bare and unvarnished, yet somehow, Martin manages to mine and make space for what beauty remains.Presently, Jeffrey Martin is writing for his fourth full-length album at a deliberative pace and making plans to enter the studio to record this winter. He’s recently signed with Tommy Alexander of the Wassermann Agency and has returned to the road for an extended 52-date tour of the US and Canada. An extensive summer tour originally planned for 2020 is now scheduled for 2022 and will include stops in the U.K., Netherlands, Sweden, Denmark, Belgium, and Ireland.- 16+, under 16 admitted with a ticketed parent or guardian
Nick Shoulders w/ K.C. Jones
Globe Hall Presents Nick Shoulders with K.C. Jones on Friday, September 30 — Wielding an ethereal croon and masterful whistle crafted from a lifetime chasing lizards through the Ozark hills, Nick Shoulders is a living link to roots of country music with a penchant for the absurd. Combining his family’s deep ties to regional traditional singing with his years of playing to crowded street corners, Nick has sought to forge a hybridized form of raucously clever country music; born of forgotten rocky hollers and bred to confront the tensions of the 21stcentury South. As evidenced by his surreal album art and anachronistic songwriting, Nick’s creative output is steeped in the complicated history of his beloved home of rural Arkansas, but crafted as a conscious rebuke of country music’s blind allegiance to historical seats of power and repression. With a kind word and a mean yodel, Nick hopes to put the ‘Try’ in country.- 16+, under 16 admitted with a ticketed parent or guardian
Beach Goons w/ Moon Tide Gallery + Bed
Globe Hall Presents Beach Goons with Moon Tide Gallery and Bed on Tuesday, November 8 — 16+, under 16 admitted with a ticketed parent or guardian
Pearl Charles & Michael Rault w/ J.Carmone
Globe Hall Presents Pearl Charles and Michael Rault with J.Carmone on Monday, September 5 –Pearl Charles has been playing music since she was 5 years old. At 18, she formed country duo The Driftwood Singers with Christian Lee Hutson, singing and playing guitar and autoharp. At 22, she joined garage rock band The Blank Tapes as drummer. After two fun-filled years immersed in the rock and roll lifestyle, she decided it was time to pursue her own songwriting, and began developing the songs that formed 2015′s eponymous debut EP. Drawn to poppy hooks and catchy choruses, Charles draws on what she loves about the 60s, 70s and 80s while developing her unique style as a solo artist. In 2018, Pearl released debut album, Sleepless Dreamer, which Rough Trade described as “The best country pop we’ve heard in years” and Buzzfeed called her “A modern June Carter meets Lana Del Rey.” With the upcoming release of the follow up, Magic Mirror, out January 15, 2021, Pearl leans into furthering her own brand of country-disco. Michael Rault’s second full-length, It’s A New Day Tonight, has its home in the darkness, like much rock and roll—many of its songs look at nocturnal activities, particularly sleep. “Sleeping and dreaming were attractive concepts,” says Rault. “I was looking for an escape from a lot of frustrating and dissatisfying conditions in my day-to-day life.” The Edmonton-born, Montreal-based singer-songwriter-producer began working on its songs in earnest after winding down the tour supporting his 2015 full-length Living Daylight, but getting to the point of having an album was a process. “It’s crazy to think it was that long ago that I started fully applying myself to the album—there were a lot of holdups along the way,” recalls Rault. “Musically it came out of a period of dissatisfaction, creatively and personally, as I found myself pushing against the limitations of my abilities and approaches to making music.” But those delays eventually paid off. As he was working on It’s A New Day Tonight‘s songwriting, Rault kept entering the orbit of Wayne Gordon, producer and head engineer at Brooklyn’s legendary Daptone studio—first through opening stints for the late firebrand Charles Bradley, then while on tour with Aussie shredders King Gizzard and the Lizard Wizard. “I thought I would record at home, or at my cousin’s studio in Montreal,” says Rault. “But I wasn’t fully satisfied.” Sending Gordon early sketches of some songs led to Rault heading to Daptone for what was initially going to be a two-week recording stint. Midway through that Gordon approached him about signing to the Daptone Records label’s rock spinoff, Wick—and becoming the first Canadian member of the Daptone family. “It was really flattering, because I had no idea if they liked it or not,” says Rault. Signing with Wick also led to Rault finishing the record at Daptone and bringing Gordon on as co-producer. “Michael is one of those once in a lifetime artists.” says Gordon. “Working with him on this record was a reassurance that pursuing music in my life was the right choice.” It’s A New Day Tonight has the loose-limbed feel of a lost album by ’70s bands that bridged the gap between folk-rock’s open-hearted strumming and power pop’s crisp, melody-forward confections—Wings, Badfinger, Big Star, 10cc—yet possesses an energy shot through with 21st-century optimism.
Night Moves w/ Free Music
Globe Hall Presents Night Moves with Free Music on Thursday, October 6 — Minneapolis-based quartet Night Moves return with the psychedelic new song “Fallacy Actually.” The first track in a series of new singles to be released incrementally over the next year, “Fallacy Actually” is a head-spinning swirl of layered synths, harmonica, and guitar and a fitting introduction to the band’s next chapter. Singer John Pelant describes the track as, “A dense cosmic romp that deals with personal fears and letting go. The inevitable end of things, hatred versus acceptance, flawed thoughts, and what could have been. I wanted it to have a NOVA, UFO abduction, backroom Estonian roller rink discotheque kind of vibe. The song went through a lot of changes, styles, and moods. I think we ended up in a nice place. I love the soft flute – makes me think of Canned Heat meets Motown meets The Spinners on acid.”“Fallacy Actually” and the batch of new songs that will follow were recorded at Pachyderm Studios outside of the band’s hometown with producer John Agnello (Kurt Vile, Alvvays, Dinosaur Jr.). “Fallacy Actually” showcases Night Moves further evolution as a band and as songwriters, still trading in massive pop hooks that somehow manage to convey a sense of yearning melancholy but with a sense of maturity and perspective in the arrangements that comes with time. Synthesizers sweep, the pedal steel swoons, the high lonesome harmonica calls across a distance. These aren’t pandemic songs… more a bit of unfinished business that the pandemic allowed to be fulfilled. The band and Agnello had worked together previously on the band’s second album, 2016’s Pennied Days. That album was set to be made at Pachyderm Studios but had to be relocated when studio owner John Kuker sadly passed away on the eve of the recording dates. With the band restless after the campaign for their third album, Can You Really Find Me (2019), which was prematurely cut short by COVID, they did their best to keep busy: writing songs, building greenhouses in South Dakota for a friend, rehearsing the aforementioned songs. Out of that came a brace of new tunes that simply called out to be documented. The funny thing is that, for anyone that’s ever spent an inordinate amount of time in a recording studio, the process of making an album is its own social distancing of sorts. So the notion of getting a cohort together in the moment actually made strangely perfect sense under the circumstances. New songs honed and selected, the band re-approached Agnello to get feedback on the material and working together again. The idea was met with enthusiasm, and everyone converged on the idyllic, secluded Pachyderm Studios for a hectic, bustling week of creation and homage. – 16+, under 16 admitted with a ticketed parent or guardian
Margo Cilker w/ Patrick Dethlefs
Globe Hall Presents Margo Cilker with Patrick Dethlefs on Wednesday, October 26 — MARGO CILKER is a woman who drinks deeply of life, and her debut record Pohorylle, released in November 2021 on Portland label Fluff and Gravy, is brimming with it. For the last seven years, the Eastern Oregon songwriter, who NPR calls one of “11 Oregon Artists to Watch in 2021,” has split her time between the road and various outposts across the world, from Enterprise, OR to the Basque Country of Spain, forging a path that is at once deeply rooted and ever-changing. As Pohorylle traverses through the geography of Cilker’s memories—a touring musician’s tapestry of dive bars and breathtaking natural beauty—love is apparent, as is its inevitable partner: loss. For what bigger heartbreak is there than to be a fervent lover who must always keep moving? Cilker seems keenly aware of the precarious footing upon which love stands, and at many turns, the record circles something that is staggeringly beautiful and slipping away.“I am a woman split between places,” Cilker sings on the album’s wistful closer, touching for a brief moment upon the vast dichotomies of her selfhood and her profession, and the negotiation that she conducts between them. “I’m just very inquisitive. I’m a very curious person. Why are things this way? Do they have to stay this way? You know, how can things change?” Cilker asks. It is this part of her nature that expands Pohorylle into the complex journey that it is: her ability to crack open a moment of desperation and lay it out on a table to catch a careful light. Pohorylle, which carries gentle nods to Lucinda Williams, Townes Van Zandt, and Gillian Welch, shines under the instincts of producer Sera Cahoone, whom Cilker first came across in 2019 while planning her first full-length. “I was trying to pin down what kind of sound I wanted and stumbled across a video of Sera and just loved how she performed. I then listened to her last studio record and thought, that’s the sound.” Cilker says. “I found out Sera had produced that record herself with John Askew. My friend put me in touch with her and she liked my demos enough to produce the album. It felt very auspicious—It was truly just a gut feeling.” Cahoone quickly got to work assembling a first-rate band: Jenny Conlee (The Decemberists) on keys, Jason Kardong (Sera Cahoone, Son Volt) on pedal steel, Rebecca Young (Lindsey Fuller, Jesse Sykes) on bass, Mirabai Peart (Joanna Newsom) on strings, Kelly Pratt (Beirut) on horns, and the album’s engineer John Morgan Askew (Neko Case, Laura Gibson) on an array of other instruments. The record also prominently features effortless harmonies from Sarah Cilker, Margo Cilker’s sister and frequent touring partner. Over the last six years, Margo Cilker has toured extensively across the US and internationally, and is a staple in the independent festival circuit. – 16+, under 16 admitted with a ticketed parent or guardian
L’Éclair w/ Kolumbo
Globe Hall Presents L’Éclair with Kolumbo on Tuesday, September 20th. L’Eclair is a cosmic instrumental six piece from Geneva, Switzerland. Their origins can be traced back to 2015 when, while studying in London, keyboardist Sebastien Bui and guitarist Stefan Lilov recorded several demos together in their hotel room. Hearing something special in this batch of songs, they returned to Geneva and enlisted Yavor Lilov (drums), Alain Sandri (percussion, keyboard), Quentin Pilet (percussion) and Elie Ghersinu (bass) to flesh out these ideas into a full fledged band. The relentless grooves, classic tones and silky smooth melodies were instantly present, and L’Eclair was born. Their debut record Cruise Control was released in 2017, to positive reviews. Touring extensively in Switzerland and abroad, they further honed their trademark sound while steadily growing their audience. They soon convened in Haarlem, Netherlands to record with famed studio wizard Jasper Geluk (Altin Gun, Jacco Gardner, Allah Las). These sessions became their second studio album entitled Polymood, which was released in 2018 on US label Beyond Beyond is Beyond, opening up even more opportunities for L’Eclair. On the heels of Polymood, L’Eclair continued to tour across Europe, playing in the Netherlands, UK, Germany, Denmark, Italy, Spain, and France, and quickly becoming a live staple on the festival circuit. Appearances at Montreux Jazz Festival, Paléo, Kilbi, Les Transmusicales de Rennes, Eurosonic, and the Copenhagen Jazz Festival gained them critical acclaim and a cult following. Expanding their sound, their third album Sauropoda came in 2019, as well as a collaborative EP with friends Mauskovic Dance Band, both released by Bongo Joe. These projects displayed the band’s increasing propensity toward more electronic sounds, while still firmly rooted in their trademark organic grooves and rhythms. Another fruitful collaboration, this time with LA musician and producer Frank Maston, resulted in the album Souvenir (2021) and several tours in the US and Europe in late 2019. L’Eclair continued their growth as a live band supporting the Cinematic Orchestra at O2 arena, playing to their biggest audience yet. Their fourth LP Noshtta was released in 2020, showing flirtations with house and prog, and blending seamlessly with the organic sound they had become known for. – 16+, under 16 admitted with a ticketed parent or guardian
Waylon Payne w/ The ThreadBarons + Aaron Perlut
Globe Hall Presents Waylon Payne with The ThreadBarons and Aaron Perlut on Wednesday, September 28th. Magic happens when everything comes together like it’s supposed to — when the joys and the pain, the triumphs and the missteps all click into place to be seen for what they truly are. Waylon Payne’s Blue Eyes, The Harlot, The Queer, The Pusher & Me (releasing 9/11/20 via Carnival Recording Company / Empire) is such a moment, the culmination of an extraordinary journey set to music.A son of country music royalty, a teenaged Baptist preacher turned addict and actor, Payne sings about fathers and sons, faith and addiction, recovery and renewal with devastating clarity. His character-rich collection harks back to a way of telling stories in song that revealed kept secrets and promised mystery. Over his years, Payne has felt the terrible power secrets can hold and learned the transformative value of releasing them. Finally, he’s in a place where he can harness that power to create transcendent work.Payne recorded Blue Eyes, The Harlot, The Queer, The Pusher & Me primarily at Southern Ground Nashville, a converted century-old church building just off Music Row that once housed Monument Studios. Payne’s mother, country singer Sammi Smith, cut her iconic version of Kris Kristofferson’s “Help Me Make It Through the Night” at Monument. When Payne recorded his vocals, he says, “I stood in the same spot she stood and sang while she was pregnant with me.”There’s tenderness to these songs, an empathy for lost souls who may or may not find their way home. Payne wrestles with the legacy of family dysfunctions in songs like “Sins of the Father” and “What A High Horse.” A pair of poignant vignettes, “Shiver” and “Old Blue Eyes,” team with tragedy and chilling beauty. “There are jewels buried deep in the record, and if you’re a junkie, you’ll catch them,” Payne says.He views “Dangerous Criminal” as his point of reckoning. “It’s basically me admitting I have a problem,” he says. “I am a person who will get himself into trouble and in danger unless I keep myself in check.””After the Storm” and “Precious Thing” play like prayers, while “Santa Anna Winds” was written as a lullaby for the young boy whose voice is the first thing heard on the album, a child Payne views as almost a son and by whose first birthday he marks his sobriety. Payne also recorded his own version of “All the Trouble,” the GRAMMY- nominated song he wrote with Lee Ann Womack and Adam Wright and which Womack recorded for her 2017 album The Lonely, The Lonesome & The Gone. Payne’s talent as a songwriter has also been recognized by artists Ashely Monroe, Miranda Lambert and Wade Bowen, who have chosen to record his songs.Payne may have recorded Blue Eyes, The Harlot, The Queer, The Pusher & Me in Nashville, but it started a decade ago in Texas, as he came through the worst of his addiction and got clean with the help of family and friends there. “For a while, I couldn’t even write,” he says. “I couldn’t put thoughts together, because I had really fried my brain. Once I got sober, everything came.”For Payne, each song reflects a different situation in his life. Together, though, they tell of a prodigal son returning home — not to the family of his birth, but home to the true self he’d once nearly abandoned.”The essential DNA elements of this record are my self-written confessions and pleas for forgiveness,” he says. “It all revolves around me getting right with myself and the universe. Maybe I still am a preacher in a way — I just channel into what’s supposed to be.”- 16+, under 16 admitted with a ticketed parent or guardian
Zeos / Fortek / Zenith b2b Drebin / Chief Ojih / Mau Diaz
Denver United EDM presents Zeos, Fortek, Zenith b2b Drebin, Chief Ojih and Mau Diaz on Friday, August 12 — – 16+, under 16 admitted with a ticketed parent or guardian
A Place For Owls w/ A Mouthful of Thunder + Father, Help Me
Globe Hall Presents A Place For Owls with A Mouthful of Thunder and Father, Help Me on Friday, September 2nd. – 16+, under 16 admitted with a ticketed parent or guardian
