Katy Kirby with Lutalo
This is a 21 and over event.Standing Room Only Katy Kirby is a songwriter and indie rock practitioner with an affinity for unspoken rules, misunderstanding, and boredom. She was born, raised, and homeschooled by two ex-cheerleaders in small-town Texas and started singing in church, amidst the pasteurized-pop choruses of evangelical worship, about which she shares acute perceptions. Like many bible belt late-millennials, Katy grew up on a strict diet of this dependably uncool genre. She recalls, “In the mid-90s, the American evangelical church was making music of an extraordinarily digestible, almost unprecedentedly easy-listening kind, stylistically void and vaguely dubbed Christian Contemporary Music, or CCM. It was pop that wasn’t quite pop, determinedly hanging on to the openhearted melodies of a decade prior, straightforward so as to be easily memorable, and in a key that an average churchgoer could sing along to.” Accordingly, Cool Dry Place finds her dismantling it. “I can hear myself negotiating with that worship-ish music, fighting that deeply internalized impulse to make things that are super pleasant or approachable.” She hasn’t fully overcome the itch to please, but to a listener’s benefit. Instead of eradicating the pop sensibilities of her past, she warps them, lacing sugary hooks with sneaky, virulent rage, twisting affectionate tones into matter-of-fact reproach, and planting seemingly serene melodies with sonic jabs. The fun is in the clash. — Introduced to music via the African drumming classes their parents took them to as a child, Lutalo didn’t have the desire to fully participate but the complex rhythms, like musical puzzle pieces, fascinated them, teaching lessons about the importance of practice and dedication, the morning classes continuing at home, reverberating long into the night. Home is also where Lutalo’s Dad educated them on the Black experience in America through music, via a love of hip-hop, jazz, and Bossanova; from MF Doom to A Tribe Called Quest. However, it was during a high school summer music program at McNally Smith School of Music that Lutalo’s own work began to blossom. Here, they met fellow musicians Patrick Hintz and Mike Kota and quickly started a band together, with Patrick quickly teaching them how to make connections, book shows, and produce their own merch, breaking down walls Lutalo assumed would prevent them from ever progressing out of the basement. Lutalo soon started other projects as a way of working on and highlighting their ideas and the production skills they were learning. Though they’d initially planned to produce work for other people, it quickly turned into the eponymous project we hear today. A fascinating mixture of folk, rock, and soul, the EP is deliberately fluid, Lutalo allowing the framework to be as loose and wide-ranging as the work led. “The vision I have for this project is not so much genre-based as it is sound-based,” Lutalo expands, “and that sound is just a reflection of me. I didn’t want any boundaries because I’m not trying to replicate anything that’s come before. I only want to be adding to music in some way, I don’t feel like being an emulator.”
Quasi w/ Ava Mendoza
This is a 21 and over event.Standing Room Only Breaking the Balls of History is Quasi’s tenth record, landing ten years after their last record, on February tenth. Three tens, which aligns with the thirty years they’ve played together. Sam Coomes and Janet Weiss have become Pacific Northwest icons, and Quasi has always felt so steadfast— their enduring friendship so generative, their energy infinite, each album more raucous and catchy and ferocious and funny than the last. But we were wrong to ever take Quasi for granted. For a while, they thought 2013’s intricate Mole City might be their last record. They’d go out on a great one and move on. Then in August 2019 a car smashed into Janet’s and broke both legs and her collarbone. Then a deadly virus collided with all of us, and no one knew when or if live music as we knew it—the touring, the communal crowds, the sonic church of the dark club—would ever happen again. “There’s no investing in the future anymore,” Janet realized. “The future is now. Do it now if you want to do it. Don’t put it off. All those things you only realize when it’s almost too late. It could be gone in a second.” Under lockdown, Portland’s streets fell still, airplanes vanished, wildlife emerged. And with the obliterated normal came an unexpected gift: uninterrupted time, hours every day, to make art. Quasi couldn’t go on the road, so they got an idea: they would act as if they were on tour and play together every single day. Each afternoon, Sam and Janet bunkered down in their tiny practice space and channeled the bewilderment and absurdity of this alien new world into songs. Janet’s strength returned and rose to athlete-level stamina. “When you’re younger and in a band, you make records because that’s what you do,” Sam said. “But this time, the whole thing felt purposeful in a way that was unique to the circumstances.” They knew they would keep it to just the two of them playing together in a room. They knew they’d record the songs live and together, to capture a moment. The incredible result of those sessions is Breaking the Balls of History, recorded in five days and produced by John Goodmanson at the legendary Robert Lang Studios in Shoreline, WA. Here are two artists at their prime, each a human library of musical knowledge and experience, entirely distinctive in their songcraft and sound. In Quasi-form, the band becomes alchemically even greater than the sum of its parts: Janet’s galloping drums and Sam’s punk-symphonic Rocksichord and their intertwining vocals make something gigantic, anthemic. In the thick of a cataclysmic social and political moment, they’ve crafted exquisitely melodic songs that glitter with rage and wild humor and intelligence, driven by a big bruised pounding heart.
The Spits w/ Timmy’s Organism and Silicon Heartbeat
This is a 21 and over event.Standing Room Only In an era that relies so heavily on quick-hit bands, there are very few things that are truly part of the subculture and not just the passing zeitgeist du jour. Closing in on three decades, The Spits have signified the crossroads between punk mayhem and well-honed songwriting, creating some of the most unhinged and anthemic tracks in underground music while standing tall enough to be uttered in the same breath as names like Jay Reatard, Dead Moon, Ty Segall and more. The Spits are readying their highly anticipated VI, due May 1 via their own Thriftstore Records imprint. Recorded by Erik Nervous on cassette four track, the band’s new LP VI is ten hummable tracks, shrouded in chainsaw punk that mesh the wild showmanship of party-rock legends Van Halen and the leather-clad toughness and songwriting chops of the Misfits. Marking a “return to roots’’ approach for the LP, the band decided to record and write VI in the basements of Kalamazoo and Grand Rapids, Michigan over the course of several spurts of activity, each yielding a few new songs from a terrible drum kit with a literal thrift store guitar. “We’ve only been into an actual studio like three times,” admits Sean Wood. “I don’t think we’ve had one record that was recorded all in one place, this may be the closest thing. And for these songs we’d record a couple tracks, step away and go back at it later– sometimes weeks later. You know, take our time.” Originally from Kalamazoo, Michigan, brothers Sean and Erin Wood formed The Spits with Lance Phelps in 1993 after realizing rock had gone limp, hated partying and just plain wasn’t fun anymore. And even though they didn’t even know how to play, the self-professed delinquents who grew up with New Orleans–style jazz and bluegrass “got cultured” and formed a band dead set on reminding the world how to have a good time. The Spits didn’t fit in with the punks or the garageheads when they landed in Seattle two years later, but carved out their own path with a series of empty open mic nights and parties under a bridge in the University District. Things started snowballing a year or two later with a good word from Mudhoney’s Steve Turner and a reputation for livewire gigs. By the late 90s/early 00s, The Spits were almost as famous for rowdy shows and outrageous costumes as they were for their acid-fried melodic rippers. Releasing five LPs over the next decade-plus, in addition to EPs and 7-inches, the gospel of The Spits spread far and wide, expanding the band’s live legend further and further while giving more fans the chance to hear their uniquely catchy songwriting and punk mayhem. And while several band members have come and gone since their formation, including Wayne Draves and Josh Kramer, The Spits have never lost their edge, never lost their live chops and most importantly, never lost that sense of beer-soaked chaos. The Spits have taken their time on this record and that’s meant a long, cold nine years with no new material. Legions of fans are frothing at the mouth for VI, and clocking in at 17+ minutes, The Spits are back and things are the same as it ever was. Yet this time, the brothers Wood and Co. are adamant about letting the fans know that VI is a return to their roots– more deceptively simple punk from these instigators and legends in their own time. For fans of the band, to-the-point melodicism and good old-fashioned rock ‘n roll, VI isn’t just the name of the Spits’ LP, it’s also the number of instant-classic records in a row. .
An Evening With The Righteous Babes w/Kate Peterson (of Nervous but Excited)
This is a 21 and over event.Standing Room Only The Righteous Babes are a supergroup of powerhouse female artists, banded together under Ani DiFranco’s legacy label, Righteous Babe Records. Think boygenius meets Bonny Light Horseman with an air of Lilith Fair – currently the band is comprised of three independent groups; Gracie and Rachel, chamber-pop piano-violin duo who have appeared on NPR’s Tiny Desk, Holly Miranda, sultry folk rock guitarist who has toured with Karen O, and Jocelyn Mackenzie, percussionist, electric ukulele player, and former member of Pearl and the Beard. The artists perform one another’s original songs in fresh, unique arrangements that highlight technical prowess and deliver a stage show that is acrobatic and heart-pounding. Their distinctive vocal blend and powerful musicianship shine as they support one another as fellow artists who delight in sharing the stage, righteously.
CANCELLED – Andy Shauf w/ Skullcrusher
CANCELLEDThis is a 21 and over event. Today, Andy Shauf announces his new album, Norm, out February 10th on ANTI-, and presents its lead single/video, “Wasted On You.” In conjunction, Shauf announces a 2023 Norm Tour including some of his biggest shows to-date (tickets are on sale this Friday). Hailed as “a gifted storyteller” (NPR Music) for 2016’s The Party and 2020’s The Neon Skyline, Shauf writes albums that unfold like short fiction, full of colorful characters, fine details and a rich emotional depth. With Norm, however, Shauf has slyly deconstructed and reshaped the style for which he’s been celebrated, elevating his songwriting with intricate layers and perspectives, challenging himself to find a new direction. Under the guise of an intoxicating collection of jazz-inflected romantic ballads, his storytelling has become decidedly more oblique, hinting at ominous situations and dark motivations. “Wasted On You” doubles as Norm’s lead single and opening track, a lilting pop introduction with r&b cadences and dreamy textures. While at first listen, a love song, Shauf grapples with death and the legacies left behind in its wake. “What happens when they die?” Shauf begins the record by asking. The questions continue, and his final query — “Was all my love wasted on you?” — hangs in the air, with subtle percussion, tender guitar, and synths escorting the song out. The accompanying video, directed by V Haddad and written by Shauf, is a playful depiction of God (played by Lauren Servideo) and Jesus, once again presenting the duality in Shauf’s music. Watch Andy Shauf’s “Wasted On You” Video After gaining indie notoriety with The Party and a Polaris Music Prize nomination, performances on Jimmy Kimmel Live! and CBS This Morning: Saturday, and praise from the likes of Pitchfork, ESQUIRE, NPR Music, Stereogum, The Atlantic and beyond for The Neon Skyline, Shauf has left the realm of things he’s known on his third album, pivoting away from the semi-autobiographical, and pushing himself to grow as a songwriter in an entirely different way.
Joe Hertler & The Rainbow Seekers w/Hala
2023 Bell’s Beer Garden Summer Concert SeriesThis is a 21 and over event.Standing Room Only Joe Hertler & The Rainbow Seekers will make a sprightly young groove doctor out of anyone. With spectacular energy pulsating from every member of the band, the Rainbow Seekers could illuminate the very chambers of Heaven. Lead singer Joe Hertler splashes through lyrical puddles of golden rain, leaving his audience wearing flowery crowns and bubbling smiles. A ride on the Rainbow will take you across the mountains of Motown, through the fjords of folk, over the archipelagos of Americana, and-at last-into a funky firth, where only the fiercest of friendships can be found. The Rainbow Seekers began their historic quest 8 years ago, revolving around the pure, unadulterated songwriting of their fearless leader, Joe Hertler. Ryan Hoger was the first among the Seekers to find this lonely songsmith and recognize the twinkling magic in his beard. The young boy gave up all his earthly possessions (besides his guitar, of course) and became the first disciple of the Rainbow. With this, the core of the Rainbow was thereby established, and it didn’t take long for the Rainbow Seekers to continue their expansion. Multi-instrumentalist and notable auxiliary percussion maestro Micah Bracken journeyed from the bowels of Atlantis when he heard tell of the Rainbow, and the earth trembled as saxophonist and all-around badass Aaron Stinson descended from Olympus on a golden rainbow of his own. Then came thunder from the depths of space and as it picked up the bass, a soft exhale escaped the lips of every princess within a hundred moons, “Bambis,” they cooed. All the while, on the other ends of the earth, a young boy was hard at work, honing and sharpening his sticks for the day that the Rainbow would come his way, and when it landed at his door, Ryan McMahon climbed aboard. Since the early days, their quest has brought them across the nation and upon such noble gatherings as Bonnaroo, Electric Forest, and Summer Camp. As you’ll know if you’ve seen the band, seeking the proverbial Rainbow is all about the live performance. “The live show is the purpose of the band. This is why we make music. Playing music is a symbiotic process, the crowd is as much a part of it as the musicians. We give as much energy and love as we can and we can feel that coming from the crowd as well” says Hertler. “We believe that performance is not a High Art operation, and that you should do anything you can to ensure that the crowd is having a good time. From piñatas to confetti, to fog, to flowers, to drum solos, to strobe lights, to Thor, to sword battles-literally anything goes.” If you’re still reading this, at least one thing is true: The Rainbow Seekers have been waiting for you. If you’ll only let them, they will shake the dust from your wildest expectations. They will roar into your life with rapturous frequencies, exuberant tone, and a joyfulness of purpose that has truly become a rare sight on stage. Join them in their celebration, and they will take you on a never-ending journey to a place you’ll never be able to describe in words.
Shakey Graves and Lucius – SOLD OUT!!!
2023 Bell’s Beer Garden Series21+ Event The prehistory of Shakey Graves exists in two overstuffed folders. Inside them, artifacts document an immense era of anonymous DIY creativity, from 2007 through 2010 – the three years before Roll The Bones came out and changed his life. Thus Roll the Bones was by no means a Big Bang creation story, rather a years long process of metamorphosis where literally hundreds of tracks were winnowed down into ten. As the album took shape, he began manufacturing one-off editions of the CD, stapled to self-destruct in brown paper, with black and white photographs glued upon them, and an ink pen marking of the artist’s enduring logo: a skull struck by an arrow. Prepping Roll the Bones thoughtful 2021 edition gave Rose-Garcia an opportunity to take a new look at the person. Claiming he’s “further confused” listeners with each release, Rose-Garcia believes this purge of early output will provide some needed framing for his discography. It’s his genesis story, before he had the studio time to make the shiny And the War Came or the full-band cohesion to make the painstakingly dense Can’t Wake Up . To him, it’s a scrappy effort, but the most intentional work he’s ever produced – and, a decade later, he wouldn’t change a thing. Every Lucius song begins with what Holly Laessig calls “coffee talks,” in which she and Jess Wolfe share what’s on their minds—and in the spring of 2020, they had a lot to discuss. Since 2007, Laessig and Wolfe have written this way, learning each other’s stories by heart before weaving them into the lyrics and chord progressions of their inventive indie-pop anthems. Onstage, they’re two identically- dressed and coiffed halves of the same whole, the mirror image of each other at the microphone; off-stage, they step into their respective lives—separate, but close—as chosen family. They’ve shared countless joys as they’ve seen the world while touring behind their 2013 debut album, Wildewoman, and its follow-up, 2016’s Good Grief, but they’ve weathered profound losses and lows together, too. And when one of them experiences a seismic shift that shakes their world, the other is there to listen, and reflect, in order to help write through it. Second Nature, Lucius’ third album, is the closest thing yet to the musical versions of these intimate conversations. “We’ve gotten so used to helping each other write about very personal things,” says Laessig. “It’s funny, because Second Nature makes perfect sense as a title: it’s become second nature to write for each other. A lot of what we wrote about on the record were things we hadn’t talked about before: there wasn’t a readiness to face some of those things.” Many of the truths of Second Nature are hard to confront, but Lucius learned that there’s so much more to gain from facing the impossible than shying away from it—especially when you’ve got someone standing by your side through it all. “It is a record that begs you not to sit in the difficult moments, but to dance through them,” says Wolfe. “It touches upon all these stages of grief, and some of that is breakthrough. Being able to have the full spectrum of the experience that we have had, or that I’ve had in my divorce, or that we had in lockdown, having our careers come to a halt, so to speak—I think you can really hear and feel the spectrum of emotion, and hopefully find the joy in the darkness. It does exist. That’s why we made Second Nature and why we wanted it to sound the way it did: our focus was on dancing our way through the darkness.”
Murder By Death w/ Laura Jane Grace
2023 Bell’s Beer Garden Summer Concert SeriesThis is a 21 and over event.Standing Room Only As trailblazers of the early 2000s indie-Americana style, the Louisville, KY-based quintet finds a way of taking tried & true rock-and-roll and knocking it slightly off axis, into tottering revolutions of something eerie, emotional, immediate, lush, and uniquely theirs. On the surface, Murder By Death is a Louisville, KY sextet with a wry, ominous name. But behind the geography and moniker is a band of meticulous and literary songwriters matched by a specific brand of brooding, anthem-riding balladry and orchestral indie rock. Murder By Death’s path began in the early 2000s as most Midwestern college-town groups do, by playing to small crowds at ratty venues and frenzied house parties. While many of their formative-year scene-mates failed to make it much further than campustown’s borders, Murder By Death translated their anonymous beginnings into a 20+ year career founded on a bedrock of eight full-length albums, tireless D.I.Y. touring and performing ethics, and, most importantly, a dedicated, cult-like fanbase
The Beths w/ Disq
2023 Beer Garden Summer Concert SeriesThis is a 21 and over event.Standing Room Only On The Beths’ new album Expert In A Dying Field, Elizabeth Stokes’ songwriting positions her somewhere between being a novelist and a documentarian. The songs collected here are autobiographical, but they’re also character sketches of relationships and more importantly, their aftermaths. The question that hangs in the air: what do you do with how intimately versed you’ve become in a person, once they’re gone from your life? The third LP from the New Zealand quartet houses 12 jewels of tight, guitar-heavy songs that worm their way into your head, an incandescent collision of power-pop and skuzz. The album’s title track “Expert In A Dying Field” introduces the thesis for the record: “How does it feel to be an expert in a dying field? How do you know it’s over when you can’t let go?” Stokes asks. “Love is learned over time ‘til you’re an expert in a dying field.” ‘Expert In A Dying Field’ is out now via Carpark Records and Ivy League Records.
CANCELED – Sierra Ferrell – Long Time Going Tour
Hey all, the Sierra Ferrell show in the Beer Garden next week has been cancelled. Please see below for a message from the artist: “Sadly, I will miss the next six dates on my touring schedule: 7/8- Winnipeg Folk Festival – Winnipeg, MB 7/9- Bayfield, WI 7/10- Fish Creek, WI 7/12- Kalamazoo, MI 7/13- Detroit, MI 7/14- 4848 Festival – Snowshoe, WV We’ve been working really hard for you all, and have loved every minute of it, but I need to slow down for a bit. I know you’re disappointed, and so am I, but I also know that some rest will do me good. I’ll be back on stage soon and can’t wait to see you then.” Refunds will be processed, any further questions on your refund please reach out to https://fal.cn/3zIFK.
