Cat's Cradle

Haw River Ballroom


Nov
3 Sat
Image for The Lemon Twigs, with Jungle Green

The Lemon Twigs, with Jungle Green

Saxapahaw, NC
United States
Doors at 7:00 PM, Show at 8:00 PM
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TICKET PRICES CURRENTLY AVAILABLE
ADVANCED: $15.00
DAY OF: $17.00

TICKET SALE DATES
ADVANCED Public Onsale: August 17, 2018 10:00 AM to November 3, 2018 12:00 AM
DAY OF Public Onsale: November 3, 2018 12:00 AM to November 3, 2018 8:00 PM

PERFORMANCE DESCRIPTION
Do Hollywood, The Lemon Twigs’ 2016 debut LP, was an invigorating, much-needed blast of fresh air that whipped across the arid landscape of contemporary rock. If that stunningly accomplished recording, which flew in the face of current musical trends, wasn’t surprising enough on the face of it, the fact that Do Hollywood was the handiwork of two teenagers—brothers Brian and Michael D’Addario—rendered the achievement utterly mind-boggling. Now, with the follow-up full-length, Go to School (4AD, Aug. 24), the siblings, now 21 and 19, respectively, have set the bar dizzyingly high even by their own lofty standards, and proceed to soar over it into the stratosphere. Listening to this wildly ambitious album is like entering and inhabiting a parallel universe.

Go to School’s subtitle is A Musical, and that turns out to be an accurate description of the 15-song extravaganza, which tells the tale of the pure-of-heart chimpanzee Shane, who’s adopted by a childless couple—played by the brothers’ musical hero Todd Rundgren and their mom, Susan Hall—and raised as a human boy. Michael describes Go to School as “a fairy tale with a dark edge,” as Shane is ostracized, bullied and rejected by the girl he falls for, erupts in an extreme act of retribution for being robbed of his innocence. The libretto is played out in a series of intricate, wildly eclectic musical settings ranging from spot-on throwback rockers to traditional Broadway-style production numbers.

“We had enough songs to work on a straight-pop, more obviously autobiographical album—which didn’t feel like much of a risk—or this one,” Brian says of the decision-making that set them off in this envelope-ripping direction. “These [Go to School] songs come from the same place our autobiographical songs come from, so we decided to trust our instincts and to really commit to making it a musical.”

Michael continues the thought. “We weren’t gonna do it half-assed—we were gonna do it full-on and not shy away from the concept,” he says. “For me, it felt completely like the obvious thing to do, which sounds ridiculous, but everything about it is more advanced to me, and further along. What I think would be really disappointing for our most dedicated fans is if we just did a straight-pop album next.”

For Brian and Michael, working in the musical-theater mode wasn’t that big a stretch, because both had been child actors. Along with the brothers’ roles in TV series, Brian had appeared in a Broadway production of The Little Mermaid, while Michael performed in Coast of Utopia and All My Sons. “We were literally raised on Broadway,” is how Michael puts it.  

When the brothers are working on a project, they typically immerse themselves in a handful of albums as a trigger for inspiration. In this instance, they were listening to Rodgers & Hammerstein’s Oklahoma and The King and I, as well as Stephen Sondheim’s A Little Night Music and Assassins.

“Our mom introduced us to Assassins when we were kids,” Brian recalls, “and me and Michael would do all the different parts with the different characters in the car. We didn’t understand certain parts of the plot, but we knew all the words. I hadn’t heard it for years, but when we were doing this project, I rediscovered it. At that point I’d gotten kind of numb to a lot of rock music, and I was ripe for emotionally connecting to musicals. So I felt like that was where I was meant to be.”

Links: Website | Twitter | Facebook | Instagram
Nov
5 Mon
Image for Guster, with Zac Clark

Guster, with Zac Clark

Saxapahaw, NC
United States
Doors at 7:00 PM, Show at 8:00 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
ADVANCED: $26.00
DAY OF: $29.00

TICKET SALE DATES
ADVANCED Public Onsale: August 10, 2018 10:00 AM to November 5, 2018 12:00 AM
DAY OF Public Onsale: November 5, 2018 12:00 AM to November 5, 2018 8:00 PM

PERFORMANCE DESCRIPTION
Presale 8/8/18 10:00 AM, Public Onsale 8/10/18 10:00 AM
"I told Swift that our last two records took a year each to make," laughs Guster's Ryan Miller. "He told me he'd never spent more than nine days on an album." The band and producer got together anyway and the result is 'Evermotion,' an album of raw acid-soaked chamber pop, and a stylistic departure that no one saw coming.

Guster sought out Shins keyboardist/Black Keys bassist Richard Swift based on his work with Damien Jurado and Foxygen, giving themselves over to the full experience of recording at Swift's Cottage Grove, Oregon studio for three weeks in January 2014.

"It wasn't hard to figure out where we overlapped with Swift," adds percussionist/drummer Brian Rosenworcel. "It was just a matter of trusting ourselves to go big and commit. Richard is the type of artist that's always standing back and taking in the whole canvas."

With a new looseness and swagger, Guster pushes the acoustic guitars into the background, instead exploring deeper drum grooves, keyboard textures and atmospheric noise -- a language they shared easily with Swift. The band that emerged from this session sounds like one that is no longer evolving, but has evolved into something else entirely.

"Richard helped us figure out what was important about recording," says guitarist Adam Gardner. "We had just one microphone over the drum kit, used whole takes, didn't obsess over vocals or really edit things at all -- it's a raw version of our band, mistakes and all, that feels more relevant. He helped us tremendously with the big picture."

The first single from 'Evermotion,' the infectious "Simple Machine," has been hailed by TIME magazine for its "frantic beats and crawling synthesizers." The chiming lullaby of "Long Night" with its aching Ryan Miller falsetto, the shimmering "Endlessly," the distorted steel drums and Bacharach melody of "Doin' It by Myself," the a cappella Beach Boys harmonies in the gently breezy "Lazy Love," the dream-pop of "Expectation," the British Invasion beat of "Gangway," the woozy trombones and whistling of "Never Coming Down" and the Beatle-esque psychedelia of "It Is Just What It Is" shows Guster is still learning new tricks.

Since forming at Tufts University in 1992, Guster has become one of the leading indie/alternative bands, releasing seven critically acclaimed albums in 20 years, starting with 'Parachute' in 1995. 'Evermotion' (to be released on their own Ocho Mule label through Nettwerk Records) is the follow-up to 2010's 'Easy Wonderful,' which earned the band its highest-ever chart debut on the Billboard 200 at #22, while reaching #2 on both the SoundScan Alternative and iTunes charts.

On 'Evermotion,' Guster's acoustic roots are buried deep beneath the surface, almost impossible to detect, even though every song has, at its heart, an indelible melody and more than its share of tight, lethal hooks that catch and hold.

The 2010 addition of multi-instrumentalist Luke Reynolds to the core group of founding members Miller, Gardner and Rosenworcel, added immeasurably to Guster's expanding musical palette. 'Evermotion' marks the first time that Reynolds joined for the preproduction and writing process, which took place in Rosenworcel's Brooklyn basement over 2012 and 2013. Reynolds' stamp is clear and his passion is all over the record, from his guitar melodies on "Lazy Love" to his fuzz bass on "Doin' It By Myself."

Guster's songs remain packed with hummable choruses and dense lyrical detail amid the muscular guitar riffs, clanging percussion and deceptively dark lyrics. The new album features adventurous turns on slide guitars, brassy trumpets and even a glockenspiel, with sax and trombone accompaniment by Jon Natchez, whose stints with the War on Drugs, Beirut, Passion Pit and others have led NPR to call him "indie rock's most valuable sideman."
Nov
8 Thu
Image for Langhorne Slim and The Lost At Last Band

Langhorne Slim and The Lost At Last Band

Saxapahaw, NC
United States
Doors at 7:00 PM, Show at 8:00 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
INDIVIDUAL: $18.00
DAY OF: $20.00

TICKET SALE DATES
INDIVIDUAL Public Onsale: August 22, 2018 10:00 AM to November 8, 2018 12:00 AM
DAY OF Public Onsale: November 8, 2018 12:00 AM to November 8, 2018 8:00 PM

PERFORMANCE DESCRIPTION
As the phenomena of instant connection and the need for constant self-improvement further implant their tendrils into our culture, the ability to truly connect with each other and ourselves has begun to fade. As we all reach for our smartphones to gaze upon the manufactured perfection of the lives of those we admire, we lose sight of what makes our own lives important.

Nashville's Langhorne Slim interlaces this theme throughout his new album. "Everyone's searchin' for something better around every corner, but it's already right here," Langhorne says. "We're all born whole -- through livin' we fall apart..."

The songs on Langhorne Slim's newest album, Lost At Last Vol. 1, out November 10, 2017, challenge the idea of social rigidity: the attitude that there's a "correct" way for us to live and a side we should be on. He urges the world to see through the idea that by following that path and focusing only on fitting the mold, one will have lived a good life. He re-interprets the sound of the free-spirited yet vulnerable everyman heard on 2015's The Spirit Moves and brings forth anew the call for us to abandon "the fold" and re-connect with ourselves and each other.

Langhorne Slim is no stranger to the world of popular culture and commercial success. Lost At Last Vol. 1 is his sixth full-length album; throughout his career he has been defined by reflective songwriting and passionate delivery. Slim's last album cycle alone garnered him his third appearance on Conan O'Brien's late-night show, as well as a feature on CBS Saturday Morning, and the highest charting debut of his career. O'Brien, a personal fan of Slim stated, "After one listen, I became an instant, almost obsessive fan." Slim has consistently toured on his own, and has appeared on extensive worldwide runs throughout his career with artists such as The Lumineers, The Avett Brothers, Grace Potter & The Nocturnals, Gregory Alan Isakov, Josh Ritter, The Devil Makes Three, Sara Watkins, and more. He's also appeared on many festival stages, such as Bonnaroo, Newport Folk Festival, Outside Lands, Lollapalooza, and the Philadelphia Folk Festival.

Lost At Last Vol. 1 is a record that Langhorne wanted to do differently from the start. "Almost immediately after recording our last record, The Spirit Moves," Slim says, "I felt a deep desire to make another album. One that would take a step sideways in order to take a step forward; one that would be very personal and raw...in the making of this record, I made a deal with myself to trust my own voice and vision more than I ever have before, and to go willingly wherever it led."

The title alone reflects his need to pen a great wealth of songs, as if the thoughts and inspiration took on a life of their own and just needed to come out. Recorded over the span of around six months in New Orleans, Los Angeles, and Catskill, NY, and clocking in at about 34 minutes, it's a short but intense listening experience. Several songs are under two or three minutes long, but they pack vivid imagery into concise packages in a way that shows a significant diversion from the songwriting on his previous records. Slim keeps his record-making in the family with this release; longtime band member Malachi DeLorenzo co-produced the record along with Kenny Siegal, and DeLorenzo also mixed several tracks in addition to playing drums on the record.

Links: Website | Twitter | Facebook
Nov
10 Sat
Image for Mipso & Friends, with Dark Holler Pop Revisited, Chandler Holt (Chatham County Line), Lula Wiles, Kate Rhudy

Mipso & Friends, with Dark Holler Pop Revisited, Chandler Holt (Chatham County Line), Lula Wiles, Kate Rhudy

Saxapahaw, NC
United States
Doors at 7:00 PM, Show at 8:00 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
ADVANCED: $30.00
DAY OF: $34.00

TICKET SALE DATES
ADVANCED Public Onsale: September 12, 2018 12:00 PM to November 10, 2018 12:00 AM
DAY OF Public Onsale: November 10, 2018 12:00 AM to November 10, 2018 8:00 PM

PERFORMANCE DESCRIPTION
Chapel Hill’s indie Americana quartet Mipso – Jacob Sharp (mandolin, vocals), Wood Robinson (bass, vocals), Joseph Terrell (guitar, vocals), and Libby Rodenbough (fiddle, vocals) – release their fifth album, Edges Run, on April 6th, 2018 via a newly inked record deal with AntiFragile Music. Influenced by the contradiction of its progressive home and the surrounding rural southern landscapes, Mipso has been hailed as “hewing surprisingly close to gospel and folk while still sounding modern and secular” (Acoustic Guitar) and was recently recognized by Rolling Stone as an “ Artist You Need to Know.” The band brings a distinctly unique sound – full of wistful beauty, hopeful undercurrents, and panoramic soundscapes. Venturing ever-further from its string-band pedigree to discover a broader Americana where classic folk-rock and modern alt-country sounds mingle easily with Appalachian tradition, Mipso’s music is lush and forward moving, with lyrics that sear and salve in turn. Look for Mipso on tour this spring in support of their new release, Edges Run.
Nov
29 Thu
Image for Richard Thompson Electric Trio

Richard Thompson Electric Trio

Saxapahaw, NC
United States
Doors at 7:00 PM, Show at 8:00 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
VIP: $99.00
ADVANCED: $33.00
DAY OF: $36.00

TICKET SALE DATES
DAY OF Public Onsale: November 29, 2018 12:00 AM to November 29, 2018 8:00 PM
VIP Public Onsale: October 5, 2018 10:00 AM to November 22, 2018 8:00 PM
ADVANCED Public Onsale: October 5, 2018 10:00 AM to November 29, 2018 12:00 AM

PERFORMANCE DESCRIPTION
13 Rivers Tour Package Presale begins 10/3. General admission tickets on sale 10/5.

Richard Thompson - 13 Rivers Tour Package includes:

  • One premium reserved ticket or GA where applicable

  • Collectible 13 Rivers tour poster autographed by Richard Thompson (limited print)

  • Specially designed Richard Thompson embroidered hat

  • Richard Thompson tote bag

  • Commemorative tour laminate

  • Commemorative ticket

  • Limited availability


$33.00 - $99.00
Nov
30 Fri
Image for The Mountain Goats, with Dead Rider

The Mountain Goats, with Dead Rider

Saxapahaw, NC
United States
Doors at 7:00 PM, Show at 8:00 PM
 More Information

PERFORMANCE DESCRIPTION
$1 from every ticket goes to support P:EAR Mentor and their work building positive relationships with homeless and transitional youth through art, education, and recreation. www.pearmentor.org
Links: Website | Twitter | Facebook
Off Sale Online
Dec
1 Sat
Image for The Mountain Goats, with Dead Rider

The Mountain Goats, with Dead Rider

Saxapahaw, NC
United States
Doors at 7:00 PM, Show at 8:00 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
INDIVIDUAL: $31.00

TICKET SALE DATES
INDIVIDUAL Public Onsale: August 22, 2018 10:00 AM to December 1, 2018 8:00 PM

PERFORMANCE DESCRIPTION
$1 from every ticket goes to support P:EAR Mentor and their work building positive relationships with homeless and transitional youth through art, education, and recreation. www.pearmentor.org
Links: Website | Twitter | Facebook
Mar
18 Mon
Image for Teenage Fanclub

Teenage Fanclub

Saxapahaw, NC
United States
Doors at 7:00 PM, Show at 7:30 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
ADVANCED: $25.00
DAY OF: $30.00

TICKET SALE DATES
ADVANCED Public Onsale: September 21, 2018 10:00 AM to March 18, 2019 12:00 AM
DAY OF Public Onsale: March 18, 2019 12:00 AM to March 18, 2019 7:30 PM

PERFORMANCE DESCRIPTION
The first Teenage Fanclub single, 1990’s “Everything Flows,” was all about getting older and finding your way: Right from the beginning, the Scottish band somehow inherently understood the joy and confusion of forging a creative path. Even with that knowledge, the band’s three equally proficient and prodigious songwriters—Norman Blake, Raymond McGinley, and Gerard Love—probably wouldn’t have predicted that this path would still be unfolding nearly 30 years later.

Steadily—and, if we’re being honest, sort of slowly—Teenage Fanclub have built an incredible catalog of gleaming pop songs. It’s been a relatively straight line in pursuit of pop perfection, from the snarlier early days to the highly vaunted Bandwagonesque to the grand Songs from Northern Britain to their more measured, contemplative latest, 2016’s Here. Consistency has been a virtue, never a handicap.

They spent a decent chunk of 2018 looking back, something they’re not inclined to do, but duty called: Five classic albums originally released between 1991 through 2000 were remastered at Abbey Road and lovingly reissued, and Teenage Fanclub took that as a challenge to relearn nearly every song from that era and plan a special series of three-night stands in the UK during which to play them.

“We don’t spend a lot of time listening to the things we’ve done. Actually, we don’t spend any time,” says McGinley. “Sometimes you live with your own imagined version of a song in your head, and what you play is different than the records. Memories can be unreliable. It’s an interesting process to be forced to listen to the reality.”

“As a musician you never listen to your own music—it’s masochistic!” laughs Blake. “Back at the start I wasn’t too clever on the guitar. And you can hear the change in the tone of your voice through aging. We sound like young men on the early records, full of optimism! Lots of these songs we have never, ever played live before. It’s exciting.”

A big plus to relearning the oldies: They’d have a bigger pool of songs to choose from live, something they still cherish. A trip around the world was planned, starting with Japan, Australia, and New Zealand. It turned out, though, that Love’s enthusiasm for touring far-off places had waned, while the rest of the band consider touring to be crucial fuel for creativity. That impasse led to Love’s amicable departure from the band: He’ll play the back-catalog shows in the UK in October and November, and then turn in his Fanclub membership.

McGinley and Blake have nothing but praise for their bandmate; they’ll miss his contributions, but they’re more excited than ever to make songs together—including, sooner than later, brand-new ones. “The good part of any change is that it forces you to not be complacent about things,” says McGinley. “There’s always something exciting about any kind of change.”

“The three of us have spread the burden of songwriting over the years, so there will be a bit more work involved creatively,” says Blake. “We don’t feel pressure to get somebody in as a songwriter to replace Gerry. We could collaborate with other people, we could write together… I’m not worrying about it too much. Whatever happens, I know that we’ll create something that we’ll be happy to put our name behind.”

One of the most recent Teenage Fanclub songs, “Live in the Moment,” goes like this: “Feel good not knowing / What tomorrow and what’s following may bring / Need only think about today.” It applies to the band circa 2018—the past is an unshakeable foundation to be acknowledged and honored, but their minds are still on what happens right now. There are a lot more songs to be written and played, starting today. Everything flows.

Haw River Ballroom

1711 Saxapahaw-bethlehem Church Rd
Saxapahaw, NC
United States