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Lalah Hathaway
Saturday 09/26
Lalah Hathaway @ The Howard Theatre
$52.50 / $60
An instrument embodied, timbre unmatched with words that call our most internal emotion… Lalah Hathaway’s presence is never mistaken nor forgotten. Skilled to the highest order, Hathaway’s voice possesses both power and vulnerability with a quiet resonance that fills spaces of grandeur and the hearts of many. “Lalah Hathaway is, quite simply put, the truth.” (Diriye Osman, Huffington Post) Born into musical legacy, the offspring of musicians Donny Hathaway and Eulaulah Hathaway, Lalah Hathaway’s career was never a choice: “I was always a musician” Hathaway clarifies, “there was never a moment of maybe I’ll be…” Preparations for the release of Hathaway’s debut self-titled album were firmly in motion during her final semester at Berklee College of Music, where the Chicago-native nurtured her multi-instrumental and songwriting talents. Since inception, Hathaway’s musical journey has remained devoted to education and musicianship. “I never wanted to be known as just a singer. I always wanted to be a well-rounded musician, with my voice as my primary instrument.” Proof of Hathaway’s musical prowess is evident in her work, operating as performer, musician, writer and producer. Revered by some of the greatest musicians of the last century, a myriad of collaborations and international performances signpost Hathaway’s 25-year success. A true bridge between masters of the Jazz and Soul traditions and new generations of Popular Music innovators, Lalah Hathaway has performed with greats such as Stevie Wonder, Anita Baker, Prince, Mary J. Blige, Metropole Orkest, Esperanza Spalding, David Foster, Snoop Dogg, Natalie Cole, Robert Glasper Experiment, Terri Lyne Carrington, Marcus Miller, Dianne Reeves, Dizzy Gillespie, David Sanborn, Rachelle Ferrell, Take 6, The Winans, Me'Shell NdegeOcello, Kirk Whalum, Donald Lawrence, Snarky Puppy, Christian McBride and many more. Enamoured with colour, space and the evolution of music, Hathaway’s six studio albums chronicle an emotive journey through R&B, Jazz, and Soul. The inflections of Blues, Funk, Gospel, Classical, Country, Rock and Folk cited in her work, are a reflection of this virtuoso’s versatility. With the 2014 Grammy win for Best R&B Performance fresh in mind, Hathaway describes how her career continues to rejuvenate with new beginnings and possibilities. “Throughout my career there have been points where new recognition or opportunity has emerged that inspires me in new ways.” Underscored by singing three notes at one time (a chord), the Grammy-winning performance of Hathaway’s 1991 single “Something,” recreated with Jazz collective Snarky Puppy, affirms Hathaway’s timeless relevance and documents the vast breadth of her vocal capabilities. Lalah Hathaway is, in every sense, a live performer. 2015 will bring the release of Lalah Hathaway LIVE, Hathaway’s first ever live album. Supported by her international fans and peers, Lalah Hathaway LIVE is a result of a successful internet-based crowd-funding campaign. “I wanted to make an album for the fans and with the fans. My fans constantly relay to me how the music they love on my records is taken to a whole new level when they experience it live.” Evident in her online presence and strong interaction with social media, Hathaway’s engaging, comedic personality is embraced by her fans, both new and longstanding. “The listeners are a huge part of my live performance and I want their presence to be captured and acknowledged on this album.” Whether live, recorded, televised or online, Lalah Hathaway’s incomparable skill, talent, musicianship and presence are recognised by artists and fans the world over. Like her father before her, Lalah Hathaway stands as music quality personified, optimum in every way.
Reverend Horton Heat & The Adicts Plus Special Guests The Creepshow
Monday 09/14
Reverend Horton Heat & The Adicts Plus Special Guests The Creepshow @ The Howard Theatre
$25 / $30
Reverend Horton Heat Loaded guns, space heaters, and big skies. Welcome to the lethal littered landscape of Jim Heath’s imagination. True to his high evangelical calling, Jim is a Revelator, both revealing & reinterpreting the country-blues-rock roots of American music. He’s a time-travelling space-cowboy on a endless interstellar musical tour, and we are all the richer & “psychobillier” for getting to tag along. Seeing REVEREND HORTON HEAT live is a transformative experience. Flames come off the guitars. Heat singes your skin. There’s nothing like the primal tribal rock & roll transfiguration of a Reverend Horton Heat show. Jim becomes a slicked-back 1950′s rock & roll shaman channeling Screamin’ Jay Hawkins through Buddy Holly, while Jimbo incinerates the StandUp Bass. And then there are the “Heatettes”. Those foxy rockabilly chicks dressed in poodle-skirts and cowboy boots slamming the night away. It’s like being magically transported into a Teen Exploitation picture from the 1950′s that’s currently taking place in the future. Listening to the REVEREND HORTON HEAT is tantamount to injecting pure musical nitrous into the hot-rod engine of your heart. The Reverend’s commandants are simple. And no band on this, or any other, planet rocks harder, drives faster, or lives truer than the Reverend Horton Heat. These “itinerant preachers” actually practice what they preach. They live their lives by the Gospel of Rock & Roll. From the High-Octane Spaghetti-Western Wall of Sound in “Big Sky” — to the dark driving frenetic paranoia of “400 Bucks” – to the brain-melting Western Psychedelic Garage purity of “Psychobilly Freakout” — The Rev’s music is the perfect soundtrack to the Drive-In Movie of your life. Jim Heath & Jimbo Wallace have chewed up more road than the Google Maps drivers. For twentyfive Psychobilly years, they have blazed an indelible, unforgettable, and meteoric trail across the globe with their unique blend of musical virtuosity, legendary showmanship, and mythic imagery. “Okay it’s time for me to put this loaded gun down, jump in my FiveOh Ford, and nurture my pig on the outskirts of Houston. I’ll be bringing my love whip. See y’all later.” - Carty Talkington, Writer/Director Rev your engines and catch the sermon on the road as it’s preached by everybody’s favorite Reverend. Don’t forget to keep an eye out for the 11th studio album from REVEREND HORTON HEAT, boldly titled Rev, due out January 21st. The Adicts The Adicts began life as the Afterbirth & The Pinz, in their hometown of Ipswich back in late 1975. They scored many Indie Chart hits in the Eighties, and are unbelievably still together, and still making great music, with the same line-up - Keith 'Monkey' Warren, vocals; Mel Ellis, bass; Pete Dee Davison, guitar; and Michael 'Kid Dee' Davison, drums - to this day. Newer members are John Scruff Ellis (Mel's brother) guitar & Dan Gratziani on violin. "I think we all started for different reasons," recalls Monkey, of their distant origins. "Pete and Kid moved to Ipswich from Sunderland were already playing on their own, using pillows for drums in the front room. Mel had just failed the audition for Nick Kershaw's band (too tall apparently) and I was a punk without a cause. Exactly what year that was may vary depending on who you talk to. Some say '75, some say '76. I think I have a flyer from March '76, but before that we had played our first show in a scout hut in Aldburgh, Suffolk - not exactly top of the list for all time top punk venues! We strung a rope across the room to keep the 'crowd' back and had a motor bike for a lighting rig. As far as our musical education goes, I think Pete took music at school, and Kid just liked to hit things. I don't know where Mel got his 'talent' from but it seems to run in the family. I still can't play anything." They soon changed their name to The Adicts and became known for their distinctive Clockwork Orange 'Droog' image, which, along with their urgent, uptempo music and light-hearted lyrics, helped set them very much apart from the rest of the genre. "We became The Adicts because The Pinz was such a shit name," deadpans Kid. "At the early gigs we just used to wear punk clothes, but never anything bought, like those posers who went down to Kings Road. After a while though, black came in and it all became boring, so we started to dress in white to be different, and 'Clockwork Orange' had been a major influence on us, though not for the violence, more the teenage angst..."
Mac DeMarco
Wednesday 10/14
Mac DeMarco @ The Howard Theatre
$25 / $30
In 2015, the talent for creating a prolific output of exceptional music is almost a curse. Press people will tell you that there’s a bottleneck of too many artists covered by too few media outlets who always want to talk about something new. Managers will tell you that there’s too much money to be made on the road, so the album cycle goes on and on to support that. Artists may even feel pressured by reviewers and themselves to go into a deep stasis, only to emerge again when they’ve reinvented themselves into a newly revamped and retooled model, as opposed to just capturing time in a bottle and offering more to their catalog. At times, even fans have adopted this rule as well and are almost shocked when their favorite artist is able to release an LP already after two and a half or three years of waiting (let’s call this the MBV-effect). Lucky for us, Mac DeMarco is old school in his approach: when Mac wants to make a record and he has the songs ready, he makes it. Like the days of Steely Dan, Harry Nilsson or Prince releasing a classic every year (or less) comes Mac DeMarco’s Another One, a Mini-LP announced almost one year to the date of the meteorically successful Salad Days. The album was conceived and recorded entirely by Mac in a short period of time between a relentless tour schedule. At his new place in Far Rockaway, Queens — a neighborhood as east as you can possibly be before hitting Long Island — you can live in relative isolation despite technically still being in New York City. This left Mac with nothing more to do with his down time than to make music. Another One is an eight track release of brand new songs, freshly written for this release and each of which expand the arsenal of Mac’s already impressive catalog. Centered around a pump-organ riff and lilting vocal melody that is somehow both haunting and warm, “A Heart Like Hers” is a track that shows the maturity of Mac’s progression as songwriter. It’s a little bit more refined, a little bit more sophisticated, but nonetheless still retains the guts and soul of any classic Mac track. Opener “The Way You’d Love Her” has a playful swing to the chords and a guitar solo that wouldn’t be out of place on a mid-period ‘Dead’ LP, Mac’s new favored listening past time. The overall feeling of the LP is lost love, or perhaps love never found, a topic that the world never tires of and one Mac can move through without it being a dour and somber experience. Title track “Another One” and stand out “Without Me” exhibit this bittersweet sensibility in lyrical and musical context, both melancholic and romantic, blurring the line between happy or sad nostalgia. The record leaves you with the same satisfaction as an old Bogart movie: he’s still the hero, but he doesn’t quite get the girl. It’s odd that despite working at the same pace as artists like Creedence, The Byrds and The Rolling Stones, coupled with an equally unending schedule of touring, press and recording, Mac is still labeled as a slacker. With two full-lengths and two EPs released and hundreds of sold out shows performed in the last several years, a recent late night television debut on Conan following a special guest performance on The Eric Andre Show, it seems, as Mac DeMarco nears his 25th birthday, there’s not a slack bone in the man’s body, besides maybe his a penchant for wearing comfortable clothes. You need comfortable clothes to work this hard anyway. Great singer/songwriters (Elton, Joni, Neil) don’t need to reinvent themselves; they just need to keep going and let the songs out in the world. If you’re like me and don’t think it’s been too soon since Salad Days – and you’re actually about to freak if you don’t hear more — here’s Another One.