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DTSTART;TZID=America/New_York:20231002T190000
DTEND;TZID=America/New_York:20231002T230000
DTSTAMP:20260618T202951
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SUMMARY:Broken Social Scene
DESCRIPTION:In celebration of the 20th anniversary of their album\, You Forgot It In People\, Broken Social Scene are playing songs from their seminal sophomore album\, among many more hits. \nAt the dawn of the 21st-century\, just as the internet began infecting every aspect of our daily lives\, Toronto musicians Kevin Drew and Brendan Canning began building a social network of their own. Like other such networks you’re familiar with\, it quickly expanded to include friends\, and friends of friends. It became a place where they could live out their best lives or fret about the fragile state of the world. And yes\, occasionally\, it became a forum for arguments and oversharing. But this social network didn’t require you to stay glued to your smartphone to take part in it. Quite the opposite: Since debuting in 2001\, Broken Social Scene have personified the unyielding\, incomparable power of IRL human connection. \nIt’s hard to know what to make of an ongoing experiment like Broken Social Scene. Is it a band? Not quite. Bands tend to have defined memberships and aesthetics and goals; Broken Social Scene have never been bothered with such limitations. Is it a cult? Nah— some of them have the beards\, but they could never agree on the right robes. Is it a collective? Certainly\, it can seem that way when you see some 15 people crowding the stage\, but BSS aren’t so much a united front as a perpetually mutating aggregate of competing creative energies. \nOnce a two-person basement recording project\, Broken Social Scene came to life onstage as a shadowy improvisational entity with a revolving-door roster\, each concert a wholly unique experience dependent on the room\, the weather\, what they ate for dinner that night\, and who was dropping in to play. Where the band’s 2001 debut album\, Feel Good Lost\, presented BSS as an anonymous ambient project that reflected its humble\, homespun origins\, their electrifying live performances from that era rallied an extended family of performers with roots in post-rock (Justin Peroff\, Do Make Say Think’s Charles Spearin)\, Latin jazz (Andrew Whiteman)\, art-folk (Feist)\, synth-pop (Amy Millan and Evan Cranley\, also of Stars)\, dance-punk (Metric’s Emily Haines and Jimmy Shaw)\, and country rock (Jason Collett). \nBut by pursuing improvisational freedom over commercial considerations\, Broken Social Scene set a new gold standard for indie rock in the 21st century with 2002’s You Forgot It In People\, an album that pushed the genre far beyond its noisy ’90s slacker roots toward a more sonically expansive\, emotionally expressive vision. And with follow-up releases like the blissfully chaotic Broken Social Scene (2005)\, the rapturous Forgiveness Rock Record (2010)\, and the intricate\, insidiously melodic Hug of Thunder (2017)\, Broken Social Scene have amassed a thrillingly amorphous\, unpredictable body of work. \nThroughout their two-decade run\, Broken Social Scene have achieved all the markers of modern indie success—rave reviews from Pitchfork\, invites to play Coachella and Lollapalooza\, multiple Juno Awards and Letterman appearances\, and name-drops in Lorde songs. And their victories have ultimately been Toronto’s\, through the establishment of a record label (Arts & Crafts) and music festival (Field Trip) that became rallying points for the local scene and nurtured the next generation of indie upstarts. But arguably Broken Social Scene’s greatest accomplishment is their mere existence\, as a conglomerate that continues to defy all logistical convention and musical expectations. They’re living proof that underdogs are most effective when travelling in a pack\, that mass audiences can be led into uncharted waters through collective enthusiasm\, and that the better world we all dream of begins with community. \nIn both sound and personnel\, Broken Social Scene has changed a lot since their 2001 inception. But one thing has remained constant—at the end of every show\, Kevin Drew bids the crowd adieu by telling everyone to “enjoy your lives.” More than just a simple farewell\, those words are a call to action—to put down your goddamn phone\, get outside\, and be part of a social scene of your own.
URL:https://theark.qltddev.com/event/broken-social-scene-231002/
LOCATION:The Majestic Theatre\, 4140 Woodward Ave.\, Detroit\, Michigan\, 48201\, United States
CATEGORIES:Special Event
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DTSTART;TZID=America/New_York:20231013T183000
DTEND;TZID=America/New_York:20231013T230000
DTSTAMP:20260618T202951
CREATED:20230620T184251Z
LAST-MODIFIED:20231014T212623Z
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SUMMARY:An Evening with Allison Russell
DESCRIPTION:Allison Russell – poet\, singer\, songwriter\, multi-instrumentalist\, activist\, and co-founder of Our Native Daughters and Birds of Chicago – embarks upon her next chapter in The Returner\, a body-shaking\, mind-expanding\, soulful expression of Black liberation\, Black love\, of Black self-respect. Written and co-produced by Allison along with dim star (her partner JT Nero and Drew Lindsay)\, The Returner was recorded over Solstice week in December 2022 at Henson Recording Studios in Los Angeles\, CA. It features Russell’s “Rainbow Coalition” band of all female musicians along with special guest appearances from the legendary Wendy & Lisa\, Brandi Carlile\, Brandy Clark\, and Hozier.
URL:https://theark.qltddev.com/event/an-evening-with-allison-russell/
LOCATION:The Ark\, 316 S. Main\, Ann Arbor\, MI\, 48104\, United States
CATEGORIES:Special Event
ATTACH;FMTTYPE=image/jpeg:https://theark.qltddev.com/wp-content/uploads/2023/06/AllisonRussell_ReturnerTour_image-edit.jpg
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DTSTART;TZID=America/New_York:20231013T190000
DTEND;TZID=America/New_York:20231013T230000
DTSTAMP:20260618T202951
CREATED:20230228T195918Z
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SUMMARY:Tommy Emmanuel
DESCRIPTION:“If you like guitar playing\, it simply doesn’t get any better than Tommy.” – Jason Isbell \nTommy Emmanuel has achieved enough musical milestones to satisfy several lifetimes. Or at least they would if he was the kind of artist who was ever satisfied. At the age of six\, he was touring regional Australia with his family band. By 30\, he was a rock n’ roll lead guitarist burning up stadiums in Europe. At 44\, he became one of five people ever named a Certified Guitar Player by his idol\, music icon Chet Atkins. Today\, he plays hundreds of sold-out shows every year from Nashville to Sydney to London. All the while\, Tommy has hungered for what’s next. When you’re widely acknowledged as the international master of the solo acoustic guitar\, what’s next is an album of collaborations with some of the finest singers\, songwriters and\, yes\, guitarists alive today. \n“For me\, music has always been about collaboration–the push and pull you get from another human being’s energy\,” explains Tommy. “Even when I play solo\, it feels like I’m playing to the emotions I’m getting from the crowd. To feel the love or the joy or the hope coming through these other pickers and singers was electric–I played in ways I never would on my own.” \nAccomplice One is a testament to Tommy’s musical diversity\, the range of expression that stretches from authentic country-blues to face-melting rock shredding\, by way of tender and devastating pure song playing. The songs are a mix of new takes on indelible classics and brand new originals from Tommy and his collaborators. \nThe artists who stepped forward to join Tommy in the studio are an impressive list of some of today’s most respected performers\, from across the musical spectrum–a lineup including Jason Isbell\, Mark Knopfler\, Rodney Crowell\, Jerry Douglas\, Amanda Shires\, Ricky Skaggs\, J.D. Simo\, David Grisman\, Bryan Sutton\, Suzy Bogguss and many more. \nThis is an album for all types of Tommy Emmanuel fan–from longtime guitar aficionados who’ve followed his career for decades\, to lovers of great songs and melodies who flock to Tommy’s shows for the emotional authenticity driving every performance. \nGrammy-winning singer-songwriter Jason Isbell conjures up the sweaty atmosphere of his Muscle Shoals roots on opener “Deep River Blues\,” a classic fingerpicked blues which has been a longtime staple of Tommy’s live shows. Country and bluegrass legend Ricky Skaggs lends his mandolin and unmistakable voice to “Song and Dance Man\,” a chronicle of a life lived for the next show. Tommy’s subtlety and tastefulness blends with Amanda Shires’ gorgeous vocal and fiddle playing to transform Madonna’s “Borderline” and Rodney Crowell’s “Looking Forward to the Past” could’ve topped the country charts in another era\, with Tommy’s propulsive rhythm supporting Crowell’s sly lyrics while his tasty lead playing weave in and out. \nFor those hankering for virtuosic hot picking\, the rave-up “Wheelin’ and Dealin’” sees him trading licks with J.D. Simo and Charlie Cushman\, while a jaw-dropping rendition of “Purple Haze” with Dobro master Jerry Douglas captures all the fire and energy of the Hendrix original as the two modern masters push each other to new heights with each raunchy slide and bend. \nOn “You Don’t Want to Get You One of Those\,” a sly vocal and acoustic duet with Dire Straits’ legend Mark Knopfler\, there was a third\, invisible presence in the studio– the late Chet Atkins. \n“Mark and I both learned so much from Chet–he was a hero and a mentor to each of us\, and we’ve tried to bring his spirit forward into the future in our own playing\,” says Tommy. “This song that Mark wrote captured Chet’s sense of humor so well and I had the time of my life in the studio with him conjuring the master as we laid it down.” \nWhile this was the first time he and Knopfler had collaborated\, the album also featured some of Tommy’s longtime fellow road warriors\, who have covered the miles in buses and planes around the world on tour over many years. “Djangology” is a gypsy jazz treat cut live in Havana\, Cuba with Frank Vignola and Vinny Raniolo and “Rachel’s Lullaby” reunites Tommy with Hawaiian ukulele master Jake Shimabukuro. \nThe song\, written for Tommy’s youngest daughter\, shows him continuing to find inspiration from an evergreen source–his love of his family. Since he and his brother Phil taught themselves to play as toddlers\, the guitar has been Tommy’s real first language–and he’s more articulate on his signature Melbourne-made Maton acoustics than most people are with words. \nHis unerring sense of groove marked him as Australia’s youngest rhythm guitarist as The Emmanuel Quartet crisscrossed the country. By the time he made it to the big city in his late teens\, Tommy was a rock star\, slinging a Fender Telecaster alongside the biggest stars of the day. It was a good life\, but deep down Tommy knew there was more to his musical destiny. A shy country kid with little confidence\, it took an encouraging meeting turned jam session with his guitar hero Chet Atkins to build his self-belief. \nBy the late 80s he was ready to go it alone\, to make instrumental guitar records made for an audience broader than just guitar fans–a move with zero precedence in Australian music. Despite the odds\, Tommy released a string of hit albums\, racking up awards wins and nominations\, and becoming a huge celebrity in his home country\, culminating in an incendiary performance with his brother Phil at the Sydney Olympics in 2000. \nInfluenced by the Merle Travis/Chet Atkins fingerstyle of guitar picking\, Tommy developed a style of solo guitar playing that encompasses the range of a whole band– covering drums\, bass\, rhythm and lead guitar and a vocal melody simultaneously. No loop pedals\, no overdubs\, just one man and ten fingers. While some artists take ten-piece bands on the road and still fill out the sound with backing tracks\, Tommy builds a complete sonic world entirely on his own. For many players\, the technical mastery of the technique would overwhelm the emotion of the music\, but not for Tommy. His idols are not just the great players\, but also the great pop songwriters and singers–Stevie Wonder\, Billy Joel\, Paul Simon\, The Beatles and their ilk. \nWhile thousands of fans have spent years trying to unpack and imitate Tommy’s technique\, for him it’s just the delivery system. His approach is always song and emotion first\, his music the embodiment of his soulful spirit\, sense of hope and his love for entertaining. Which is not to say he dismisses the CGP\, the Guitar Player awards\, the Grammy nominations\, the numerous magazine polls naming him the greatest acoustic guitarist alive. He’s grateful for it all\, and the incredible journey that’s led him to the most invigorating period of his career–six decades into it. For Tommy though\, the greatest reward is always the same–to make the next great record\, and to see the beaming audience at the next great show. “When I was a kid\, I wanted to be in show business. Now I just want to be in the happiness business–I make music\, you get happy. That’s a good job.” \nTommy isn’t the kind of man who looks to nostalgia–it’s more that he treats his history in the same way he treats the history of music overall: There’s magic threaded in through all the eras that’s worth celebrating and revisiting. Now in his sixties –although on stage he can seem 25–life and music are about improvisation\, variety and happiness. \n“Making Accomplice One has been this great journey through so many of the worlds I’ve inhabited through the years\,” concludes Tommy. “Playing with old friends\, new friends\, heroes\, people I’ve been like an older brother to… and musically to jump around from bluegrass to jazz to blues to just pure songs\, it’s like going to the world’s greatest buffet and picking out all my favorite meals. People try to categorize what I do\, to put me in a genre or put a label on me. I always go back to that old Duke Ellington line\, about there being two types of music\, good and bad.” Well I try and play the good kind\, and on this record I got to play it with the best people.” \n\nOnSale: Fri\, 3 Mar 2023 at 12:00PM EST
URL:https://theark.qltddev.com/event/tommy-emmanuel-231013/
LOCATION:Royal Oak Music Theatre\, 318 W 4th St\, Royal Oak\, MI\, 48067\, United States
CATEGORIES:Special Event
ATTACH;FMTTYPE=image/jpeg:https://theark.qltddev.com/wp-content/uploads/2023/02/Tommy-Emmanuel-2023-web-1.jpg
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DTSTART;TZID=America/New_York:20231017T193000
DTEND;TZID=America/New_York:20231017T230000
DTSTAMP:20260618T202951
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SUMMARY:Lucinda Williams: Don’t Tell Anybody The Secrets Tour
DESCRIPTION:Lucinda Williams’ music has gotten her through her darkest days. It’s been that way since growing up amid family chaos in the Deep South\, as she recounts in her candid new memoir\, Don’t Tell Anybody the Secrets I told You. Over the past two years\, it’s been the force driving her recovery from a debilitating stroke she suffered on November 17\, 2020\, at age 67. Her masterful\, multi-Grammy-winning songwriting has never deserted her. To wit\, her stunning\, sixteenth studio album\, Stories from a Rock n Roll Heart\, brims over with some of the best work of her career. And though Williams can no longer play her beloved guitar – a constant companion since age 12 – her distinctive vocals sound better than ever. \n“I’m singing my ass off\,” she told Vanity Fair in February\, following her first European tour since 2019. The love emanating from audiences and her musical family onstage and in the studio exemplify the healing power of music\, says Williams. In 2020\, she spent a week in intensive care\, followed by a month in rehab before returning home. The blood clot on the right side of her brain impaired the left side of her body’s motor skills\, forcing her to relearn some of the most basic of activities\, like walking. In July 2021\, she played her first gig\, opening for Jason Isbell at Red Rocks. She began seated in a wheelchair\, but soon she was upright. “Just the energy of the audiences being so welcoming and warm and the band playing so great and being so supportive gave me so much strength\,” Williams relates. “I figured\, ‘Hell\, all I have to do is stand up there and sing. How hard can that be?” \nSoon after touring with Isbell\, she returned to the studio. “Writing had been part of my rehabilitation\,” says Williams. “It didn’t occur to me to stop and not do anything.” During those long months working with physical therapists and regaining mobility and strength\, Williams turned to notebooks of partial lyrics and jotted down some new ideas. She also began collaborating on songs with her husband\, manager\, and co-producer Tom Overby. The pair’s successful collaborations on several tracks from Williams’ critically acclaimed previous effort\, Good Souls Better Angels (released in 2020 and nominated for two Grammy Awards) opened her up to cowriting – “it just expands things\,” Williams says. But post-stroke\, she had to revise her own songwriting process\, since she could no longer\nplay guitar. “My process has always been to come up with some lyrics\, then get the guitar and come up with a melody and some kind of structure\,” Williams relates. “Once I get that\, then I’d go back and edit the lyrics and add more. Pretty much like when you write and revise a story\, except the guitar is added to it. It was very rare that I’d ever write all the lyrics completely without the guitar.” \nAs they worked on new songs\, Williams and Overby enlisted New York singer-songwriter Jesse Malin\, whose 2019 album\, Sunset Kids\, they co-produced. Williams’ longtime road manager\, Travis Stephens\, a veteran guitarist in several Nashville bands\, also jumped in to help. “Like Jesse\, Travis is a singer and a songwriter\, so he threw his bit in and that led to the co-writing of some songs\,” says Williams. “I was comfortable writing with them. Jesse knows me pretty well now\, so he was able to anticipate certain things when we worked together – the same with Tom and Travis. I could contribute the melody and all.” \nRecording sessions began in November 2021 and – as Williams’ strength increased\, continued into 2022. She and Overby rejoined Ray Kennedy\, coproducer and engineer of her landmark Car Wheels on a Gravel Road (1998)\, with whom she reunited to cut Good Souls Better Angels. In addition to Williams’ longtime touring guitarist Stuart Mathis\, joining the mix were drummer Steve Ferrone (Tom Petty & the Heartbreakers)\, keyboardist Reese Wynans (the Stevie Ray Vaughan & Double Trouble vet who\nappeared on Essence)\, bassist Steve Mackey (Dolly Parton)\, and pedal steel/guitarist Doug Pettibone\, who played with Williams earlier in her career. “Since I couldn’t teach the band the songs on guitar\, I would sing it to give an idea of the feel and the vibe\,” says Williams. “We’d do it a few times until we got the right groove. It was really challenging because I wasn’t playing guitar. But sometimes when things are challenging like that\, good stuff can come out of it.” \nAnd it certainly did! The band rocks out on the album’s jubilant opening track “Let’s Get the Band Back Together\,” which features a gang of background singers\, including Margo Price and Buddy Miller. Inspired by “that need for community after all the isolation of the pandemic\,” Williams offers\, the song is “about getting old friends together again who’d drifted apart.” Price also joins her on the bluesy protest “This Is Not My Town.” The evocative “New York Comeback” also includes guest vocalists – Bruce Springsteen and Patti Scialfa. A Lucinda Williams fan\, Springsteen joined her onstage in London a few years back\, and he and Scialfa had wanted to contribute to a Williams album for some time. With Wynans on B3 and the Pettibone-Mathis guitar attack\, the musical setting perfectly matches the theme of “Comeback\,” as well as on the catchy story-song “Rock N’ Roll Heart\,” to which Springsteen and Scialfa also contributed vocals. Says Williams\, “Having Bruce and Patti on these songs feels really great. It’s just so cool!” \nAnother musical hero of Williams\, the late Tom Petty is the subject of the elegiac “Stolen Moments.” Williams\, who’d toured with Petty in 1999\, played his last Hollywood Bowl shows before his sudden death in October 2017. “Tom was a down to earth\, sweet\, loving person\, and I miss his music but I miss him more\,” she relates. “I wrote this song after he passed away. I was just heartbroken\, and I’m still reeling.” \nAnother fallen musician\, Bob Stinson\, founding lead guitarist of the Replacements\, inspired “Hum’s Liquor.” “Tom came up with that\,” says Williams\, of her husband\, a Minneapolis native who lived near the liquor store. Overby witnessed from his window Stinson’s daily morning visits\, which eventually cut the former Replacement’s life short. “It haunted me\,” Overby relates\, “and when I read Bob Mehr’s biography of the band and learned about his childhood abuse\, it explained a lot.” Tommy Stinson added vocals to the track\, which “was really emotional\,” says Williams. “We told him it’s a tribute to his brother\,” Overby adds\, and “Tommy loved the song.” (The album is dedicated to Bob Stinson\, “a true rock n roll heart.”) \nWilliams’ own rock n roll life is reflected in several of the album’s most moving ballads. The bittersweet “Last Call for the Truth” finds her asking for “one more taste of my lost youth\,” while on “Jukebox\,” her corner-bar Wurlitzer with “Patsy Cline and Muddy Waters” offers solace when she’s “going crazy with the sound of my own voice.” Angel Olsen contributes backing vocals on the latter\, and vocalist Siobhan Maher Kennedy appears on the former. The haunting “Where the Song Will Find Me” is beautifully orchestrated with layers of violin and cello\, played and arranged by Lawrence Rothman. And the ode\nto perseverance\, “Never Gonna Fade Away\,” is – like Williams’ live performances – further testimony to the redemptive power of music. \nThrough all the hardships Williams faced in 2020 – a destructive tornado damaging her new home in Nashville\, being sidelined by the pandemic\, and then the catastrophic stroke – her music kept her going and continues to bring her more laurels. The past year has seen Williams honored by BMI for her songwriting\, her induction into the Austin City Limits Hall of Fame\, and a Grammy Week tribute at the Troubadour\, with her songs performed by a diversity of Americana artists. She duetted with Willie Nelson on Billy Joe Shaver’s “Live Forever\,” which won a Grammy in February for Best Country Performance. On her birthday in January she performed at a sold-out show in Belfast\, Ireland. “I was so glad I was there when I turned 70\,” she relates. “The audience sang ‘Happy Birthday\,’ Travis brought a birthday cake out onstage\, and we took it on the bus and all had a piece of cake. Afterwards\, I was so inspired I started writing a song about Northern Ireland.” \nAs she promises on the powerful last track of Stories from a Rock n Roll Heart–one of the best albums of her career–Lucinda Williams is “never gonna fade away.”
URL:https://theark.qltddev.com/event/lucinda-williams-231017/
LOCATION:Michigan Theater\, 603 East Liberty\, Ann Arbor\, MI\, 48104\, United States
CATEGORIES:Special Event
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