Cat's Cradle

Haw River Ballroom


Sep
8 Wed
Image for Julien Baker, with Thao, Katie Malco

Julien Baker, with Thao, Katie Malco

Saxapahaw, NC
United States
Doors at 6:00 PM, Show at 7:00 PM
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PERFORMANCE DESCRIPTION
'Little Oblivions' is Julien Baker’s third album and follow-up to 2017’s 'Turn Out The Lights’, both on Matador Records. The New York Times said the ‘Turn Out The Lights’ is “the work of a songwriter who has resonated with an international audience (…), the rare second album that, despite new self-consciousness, stretches beyond an unspoiled debut to reach for even bigger things, with all its passion intact”. The Sunday Times said “the mix of detached vocals, lush arrangements and laid-bare post-mortems on love, loss, dysfunction and acceptance is devastating."
 
In 2018, Baker formed boygenius with Phoebe Bridgers and Lucy Dacus. The resulting eponymous EP and joint North American tour made for one of the most celebrated and talked about musical communions of that year, highlighting Baker at the forefront of a burgeoning generation of era-defining artists.
 
Baker shot to worldwide attention in 2015 with show-stopping debut, Sprained Ankle. Recorded in only a few days, it was a bleak yet hopeful meditation on identity, addiction, faith, resilience and redemption. An intense and immersive performer, her live shows were described by The New Yorker as “…. hushed, reverential. The only sounds you hear between songs are her fingers as she tweaks the tuning on her electric guitar, scattered whispers between friends, and the rustling as the crowd waits patiently for Baker to start strumming again”.
 
Baker has collaborated on studio recordings with Frightened Rabbit, Matt Berninger, Hayley Williams, Becca Mancari, Mary Lambert, and on stage with Justin Vernon, The National, Sharon Van Etten, Ben Gibbard, and others.
 
"With [‘Little Oblivions’] she scales her music up to larger spaces, backed by a full rock band with ringing guitars and forceful drums. But she doesn’t hide behind them; she’s still ruthless and unsparing, particularly about herself." NEW YORK TIMES
 
"Julien Baker is back with a stunning new solo album. Little Oblivions chronicles the missteps in life that can fill you with regret but also (hopefully) help you grow and be better." NPR MUSIC
 
"Unruly, complex, and gorgeous." THE NEW YORKER
 
"She’s rendering the details of her life with new clarity, crafting songs that anyone who struggles will recognize. And with “Little Oblivions,” she’s found a newly vivid musical setting that should help these stories reach more people who need them." WALL STREET JOURNAL
 
"Julien Baker's songwriting -- her showcasing of the minuscule details comprising her life and informing her sense of introspection -- will make any project she works on a must-listen; simply put, there are few artists working today with her stinging force. " BILLBOARD
 
"On her third album, Julien Baker’s self-lacerating storytelling gets a more expansive canvas to work with. The big, full-band sound makes all the small moments of pain surreptitiously devastating. “ PITCHFORK

Links: Website | Facebook | Twitter | Instagram | Apple Music | Spotify
 Public Onsale:
12:00 AM
Sep 8, 2021
Sep
13 Mon
Image for Lucy Dacus

Lucy Dacus

Saxapahaw, NC
United States
Doors at 7:00 PM, Show at 8:00 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
ADVANCED: $20.00
DAY OF: $23.00

TICKET SALE DATES
DAY OF Public Onsale: September 13, 2021 12:00 AM to September 13, 2021 6:00 PM
ADVANCED Public Onsale: April 16, 2021 10:00 AM to September 13, 2021 12:00 AM

PERFORMANCE DESCRIPTION

Home Video: a Foreword


There are a thousand truisms about home and childhood, none of them true but all of them honest. It’s natural to want to tidy those earliest memories into a story so palatable and simple that you never have to read again. A home video promises to give your memories back with a certificate of fact— but the footage isn’t the feeling. Who is just out of frame? What does the soft focus obscure? How did the recording itself change the scene?


Some scrutinize the past and some never look back and Lucy Dacus, a lifelong writer and close reader, has long been the former sort. “The past doesn’t change,” Dacus said on a video call during that interminable winter of video calls. “Even if a memory is of a time I didn’t feel safe, there’s safety in looking at it, in its stability.”


This new gift from Dacus, Home Video, her third album, was built on an interrogation of her coming-of-age years in Richmond, Virginia. Many songs start the way a memoir might—“In the summer of ’07 I was sure I’d go to heaven, but I was hedging my bets at VBS”—and all of them have the compassion, humor, and honesty of the best autobiographical writing. Most importantly and mysteriously, this album displays Dacus’s ability to use the personal as portal into the universal. I cant hide behind generalizations or fiction anymore,” Dacus says, though talking about these songs, she admits, makes her ache.


While there’s a nostalgic tint to much of Dacus’s work, the obliquely told stories in past songs are depicted here with greater specificity. Triple Dog Dare recounts young, queer love complicated and forbidden by religion. The toxic relationship depicted in Partner in Crime is filled with pining, deceit, and meeting curfew. (“My heart’s on my sleeve/ it’s embarrassing/ the pulpy thing, beating.”) Christine is an elegiac ballad about a close friend vanishing into an inhibiting relationship.


—Catherine Lacey, February 2021, Chicago, IL

Links: Website | Facebook | Twitter | Instagram | YouTube | Spotify | Apple Music


Sep
24 Fri
Image for Son Volt

Son Volt

Saxapahaw, NC
United States
Doors at 7:00 PM, Show at 8:00 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
ADVANCED: $25.00
DAY OF: $28.00

TICKET SALE DATES
ADVANCED Public Onsale: May 14, 2021 10:00 AM to September 24, 2021 12:00 AM
DAY OF Public Onsale: September 24, 2021 12:00 AM to September 24, 2021 6:00 PM

PERFORMANCE DESCRIPTION
2020 was not quite what Jay Farrar was expecting for the 25th anniversary of Son Volt, the band he started in 1995 after leaving the seminal group Uncle Tupelo, whose No Depressionalbum helped define the alt-country and Americana genre. The group had just finished an Outlaw Country Cruise when the pandemic hit and sent them into their homes on lockdown.

Instead of a triumphant tour marking the illustrious landmark, Farrar was forced indoors by the pandemic, and his “Reverie” during that time helped define Electro Melodier, Son Volt’s 10th studio album – and third for influential Nashville indie Thirty Tigers. The title, taken from the names of two vintage amplifiers from the late ‘40s and early ‘50s, also describes the disc’s unique blend of folk, country, blues, soul and rock – an electric troubadour with melodies that hit and stick. Social protest songs like “Living in the U.S.A.” and “The Globe,” the former about the promises of this nation gone wrong, the latter referencing the street protests accompanying the Black Lives Matter movement, exist side by side with odes to long-term relationships (specifically his 25-year marriage) in “Diamonds and Cigarettes” and “Lucky Ones.”

Once again accompanied by the current Son Volt line up – keyboardist/steel guitarist Mark Spencer, bassist Andrew Duplantis, guitarist Chris Frame and drummer Mark Patterson – Farrar takes a slight turn from 2019’s politically pointed Union to a series of songs that asks questions rather than demanding answers – think of “Living in the U.S.A.” as Farrar’s version of Bruce Springsteen’s “Born in the U.S.A.,” Neil Young’s “Rockin’ in the Free World” or Patti Smith’s “People Have the Power,” an anthem to unite the populace.

“I had more time to devote to and concentrate on the writing,” says Farrar about his enforced quarantine. “We were fortunate in that we had just released Union and toured the country, so we were off cycle. It was still a rough year, but as a songwriter, I was able to make the most of it.”

One listen to Electro Melodier, which opens with “Reverie,” describing Farrar’s contemplative state gazing out his window, enlivened with Mark Spencer’s “Wichita Lineman” guitar riffs and the lush Big Star melodies, and you wonder why no other rock ‘n’ roll bands or singer/songwriters are making albums like this about what we’re all going through.

“I wanted to concentrate on the melodies which got me into music in the first place,” says Farrar. “I wanted politics to take a back seat this time, but it always seems to find a way back in there.”

Listen to the Moog line from The Who’s “Won’t Get Fooled Again” channeled in “The Globe,” or the Led Zeppelin homage in “Someday Is Now,” the nod to gut-bucket Mississippi delta blues in the Lightnin’ Hopkins low-tuned guitar stylings of “War on Misery” or Spencer’s haunting slide on the funereal dirge of “The Levee On Down,” which takes Andrew Jackson to task for everything from the “Trail of Tears” massacre of the Cherokees to his face on the $20 bill instead of Harriet Tubman. The environmentally conscious “Arkey Blue” nods to a honky-tonk in Bandera, TX, Arkey Blue’s Silver Dollar, where Hank Williams, Sr. allegedly carved his name into one of the wood tables, and even quotes Pope Francis on “turbulent rains never before seen.”

Links: Website | Facebook | Twitter
Oct
7 Thu
Image for Waxahatchee, with Katy Kirby

Waxahatchee, with Katy Kirby

Saxapahaw, NC
United States
Doors at 7:00 PM, Show at 8:00 PM
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PERFORMANCE DESCRIPTION
What do we hold on to from our past? What must we let go of to truly move forward?

Waxahatchee’s Katie Crutchfield, a lyricist who has always let her listeners know exactly where she is at a given moment, spent much of 2018 reckoning with these questions and revisiting her roots to look for answers. The result is Saint Cloud, an intimate journey through the places she’s been, filled with the people she’s loved.

Written immediately in the period following her decision to get sober, the album is an unflinching self-examination. From a moment of reckoning in Barcelona to a tourist trap in Tennessee to a painful confrontation on Arkadelphia Road, from a nostalgic jaunt down 7th Street in New York City to the Mississippi Gulf, Crutchfield creates a sense of place for her soul-baring tales, a longtime staple of her storytelling.

This raw, exposed narrative terrain is aided by a shift in sonic arrangements as well. While her last two records featured the kind of big guitars, well-honed noise, and battering sounds that characterized her Philadelphia scene and strongly influenced a burgeoning new class of singer-songwriters, Saint Cloud strips back those layers to create space for Crutchfield’s voice and lyrics. The result is a classic Americana sound with modern touches befitting an artist who has emerged as one of the signature storytellers of her time.

From the origins of her band name—the beloved creek behind her childhood home—to scene-setting classics like “Noccalula” and “Sparks Fly,” listening to Waxahatchee has always felt like being invited along on a journey with a steely-eyed navigator. On Saint Cloud, Crutchfield adds a new sense of perspective to her travels. Reflecting on this, she says, “I think all of my records are turbulent and emotional, but this one feels like it has a little dose of enlightenment. It feels a little more calm and less reckless.”

Many of the narratives on Saint Cloud concern addiction and the havoc it wreaks on ourselves and our loved ones, as Crutchfield comes to a deeper understanding of love not only for those around her but for herself. This coalesces most clearly on “Fire,” which she says was literally written in transit, during a drive over the Mississippi River into West Memphis, and serves as a love song to herself, a paean to moving past shame into a place of unconditional self-acceptance. Coming from a songwriter long accustomed to looking in other directions for love, it’s a stirring moment when Crutchfield sings, “I take it for granted/If I could love you unconditionally/I could iron out the edges of the darkest sky.”

Which is not to say that Saint Cloud lacks Crutchfield’s signature poetry on matters of romantic love. Still, her personal evolution in this area is evident too, as this time around, Crutchfield examines what it really means to be with someone and how it feels to see our own patterns more clearly. On “Hell,” she sings: “I hover above like a deity/But you don’t worship me, you don’t worship me/You strip the illusion, you did it well/I’ll put you through hell.”

Crutchfield also looks at what it’s like to be romantically involved with another artist, someone in search of their own truth, on “The Eye”: “Our feet don’t ever touch the ground/Run ourselves ragged town to town/Chasing uncertainty around, a siren sound” and “We leave love behind without a tear or a long goodbye/as we wait for lightning to strike/We are enthralled by the calling of the eye.”

Links: Website | Facebook | Twitter | Instagram
 Public Onsale:
12:00 AM
Oct 7, 2021
Oct
8 Fri
Image for Flock of Dimes

Flock of Dimes

Saxapahaw, NC
United States
Doors at 7:00 PM, Show at 8:00 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
ADVANCED: $15.00
DAY OF: $18.00

TICKET SALE DATES
ADVANCED Public Onsale: June 18, 2021 10:00 AM to October 8, 2021 12:00 AM
DAY OF Public Onsale: October 8, 2021 12:00 AM to October 8, 2021 6:00 PM

PERFORMANCE DESCRIPTION
On her second full-length record, Head of Roses, Jenn Wasner follows a winding thread of intuition into the unknown and into healing, led by gut feelings and the near-spiritual experience of visceral songwriting.

The result is a combination of Wasner's ability to embrace new levels of vulnerability, honesty and openness, with the self-assuredness that comes with a decade-plus career as a songwriter, producer, multi-instrumentalist and prolific collaborator.

Simply put, Head of Roses is a record about heartbreak, but from a dualistic perspective. It's about the experience of having one's heart broken and breaking someone else's heart at the same time. But beyond that, it's about having to reconcile the experience of one's own pain with the understanding that it's impossible to go through life without being the source of great pain for someone else.

"Part of the journey for me has been learning to take responsibility for the parts of things that are mine, even when I'm in a lot of pain through some behavior or action of someone else. If I'm expecting to be forgiven for the things I've done and the choices I've made and the mistakes that I've made, it would be incredibly cowardly and hypocritical to not also do the work that's required to forgive others the pain they caused me."

Showcasing the depth of Wasner's songwriting capabilities and the complexity of her vision, Head of Roses calls upon her singular ability to create a fully-formed sonic universe via genre-bending amalgamation of songs and her poetic and gut punch lyrics. It's the soundtrack of Wasner letting go -- of control, of heartbreak, and of hiding who she is: "I think I've finally reached a point in my career where I feel comfortable enough with myself and what I do, that I'm able to relax into a certain simplicity or straight forwardness that I wasn't comfortable with before." Head of Roses puts Wasner's seismically powerful voice front and center. Those vocals help thread it all together -- it's a textured musicality, quilted together by intentionality and intuition.

Wasner's sophomore LP as Flock of Dimes was mostly written during the isolation of early Covid-19 quarantine and fresh heartbreak. Some songs, like the title track, came to Wasner wholly-formed, like fever dreams. Aside from album opener "2 Heads," which Wasner had been saving for this purpose since she wrote it in 2015, Head of Roses was born from just a few months at her North Carolina home, during a feverish period of productivity spanning from last March through June.

On her 2016 debut album If You See Me, Say Yes, Wasner controlled every element of the production, meticulously crafting her solo debut to be a definitive statement of ability and artistry. Despite having succeeded in assuring herself of her own capabilities as a musician and producer, she felt drained by the demands of working in creative isolation. Instead, for Head of Roses, she felt drawn to a looser, more collaborative process -- and reached out to friend and co-producer Nick Sanborn (Sylvan Esso) to help her understand what this new process could look like. Recorded with a small group of collaborators in quarantine at Betty's in North Carolina, Head of Roses captures Wasner's vision and expands upon it, with input from Meg Duffy (Hand Habits), Matt McCaughan (Bon Iver/Lambchop), and Adam Schatz (Landlady).

Links: Website | Facebook | Twitter | Instagram | YouTube | Spotify | Soundcloud
Oct
9 Sat
Image for Patty Griffin & Gregory Alan Isakov

Patty Griffin & Gregory Alan Isakov

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

PERFORMANCE DESCRIPTION
After a year of canceled shows, uncertainty and solitude, Patty Griffin and Gregory Alan Isakov are joining together for a 14-date co-headlining tour.
 
These two profound American voices are celebrating their first live, in-person performances since early 2020 with an evening of story and song.
 
Gregory and Patty will each be performing their own set.
 
Patty Griffin Links: Website | Facebook | Instagram | Twitter

Gregory Alan Isakov Links: Website | Facebook | Instagram | Twitter | YouTube
 Public Onsale:
12:00 AM
Oct 9, 2021
Oct
15 Fri
Image for Hamilton Leithauser and Kevin Morby

Hamilton Leithauser and Kevin Morby

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: $35.00

TICKET SALE DATES
ADVANCED Public Onsale: May 21, 2021 10:00 AM to October 15, 2021 12:00 AM
DAY OF Public Onsale: October 15, 2021 12:00 AM to October 15, 2021 6:00 PM

PERFORMANCE DESCRIPTION
Hamilton Leithauser

Hamilton Leithauser records and produces his own music in New York City.  He’s lived there for 23 years.  After a couple of decades in professional recording studios, Hamilton decided to put together his own studio because he found that all of his most creative and productive moments happened when he wasn’t “on the clock”.  Something about the organization and cost put too much pressure on what he thought really needs to be a free and spontaneous moment.  Hamilton realized that he actually preferred the sound of his own home 8-track demos to many of the more polished tracks he’d made (not always, but often enough to wonder).   So he began collecting equipment in his travels around the United States, and spent several million isolated hours learning how to use some of it.  Now he thinks he’s got the hang of it.  His most recent full-length record “The Loves of Your Life” was released on April 10, 2020 through Glassnote Records.  It features songs about individual people he met through chance encounters (mostly in the tri-state area).    Previous to that he has released “I Had a Dream that You Were Mine” with friend Rostam Batmanglij, “Dear God”, a vinyl-only record with friend Paul Maroon, “I Could Have Sworn EP”, and “Black Hours”.  Before his solo career, Hamilton was the lead singer and co-songwriter for NYC band The Walkmen for 14 years.   His next full-length release is expected in the 2nd half of 2021.

Kevin Morby

In the winter of 2017 I moved back to my hometown of Kansas City from Los Angeles. The move was sudden and unforeseen, just as I was tying a bow on the writing process for what would become my 2019 album, Oh My God. I bought a Four Track Tascam model 424 of an old friend to help me get to the finish line, but much to my surprise and excitement, this new piece of equipment in my all-but-bare home didn't help complete one album but rather inspire another: Sundowner. The new collection of songs came quickly and effortlessly as I did my best not to resist or refine the songs, but instead let them take shape all on their own.
 
As the songs kept coming I cleared out the crowded shed that was sitting dormant in my backyard and built a makeshift studio before adding drums, lead guitar and piano to complete the demos. The shed had no cooling or heating unit at the time, so perhaps it is important to note that during the writing of this album I was either wearing multiple layers of clothing, or hardly any at all, season depending. Which is to say, it is an album written during extremes and subjected to the elements. In the summer, brown recluse spiders would scatter from beneath the Tascam when I entered the studio and in the winter, long glassy icicles hung from the storm drain as if the shed was wearing jewelry. Each day I would teach myself basic recording techniques, watching the channels illuminate and pulse as if the machine were breathing, and then emerge in the evenings as the sun was getting low: - around 5:30 in the winter, when the Kansan sunsets look icy and distant, like a pink ember inside of a display case, and 9 o'clock in the summer, when the sunsets are warm and abstract.
 
I wrote the entire album wearing headphones, hunched over the 424, letting my voice and guitar pass through the machine, getting lost in the warmth of the tape as if another version of myself was living on the inside, singing back at me. I was mesmerized by the magic of the four track not only as a recording device, but also an instrument, and considered it my songwriting partner throughout the whole process.
Oct
29 Fri
Image for Tennis, with Molly Burch

Tennis, with Molly Burch

Saxapahaw, NC
United States
Doors at 8:00 PM, Show at 9:00 PM
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PERFORMANCE DESCRIPTION
I never learned how to swim.

​In years of sailing, I never let the water touch me. The ocean was an abstract dread, an obliterating void as untenable as outer space.

​In January 2018 we went on tour. After years of scraping by, we found our footing with our fourth record Yours Conditionally. It was a commercial success that set us up to to play the biggest rooms of our career. But three shows in, I developed a raging case of influenza. Each night I dragged myself onstage and croaked out the set in a delirium. After a particularly bad soundcheck, Patrick asked me if we should cancel the show. I couldn't imagine giving up the thing we'd work so hard to achieve. "I'll be on stage even if you have to mic my coffin," I joked.

​​The next morning I fainted and had a seizure while grocery shopping for breakfast. Patrick carried me through the check-out lanes screaming for a doctor. I woke later in a hospital bed. Patrick leaned over me, crying. "That's it," he said. "I'm canceling the tour. I thought you were dead. We're quitting the band. I'm going to be an accountant." But I was on the mend. We missed two shows and pressed on.

​​During sound check at the 930 club, Patrick stepped out to take a phone call. His father had been in the hospital all week, but he had cancer and brief hospitalizations were routine. Back at the hotel that night, Patrick poured two shots of whiskey and handed me one. "I'd like to toast my dad." He said. "The doctors offered to put him on life-support to give me a chance to fly out there, but I didn't want him to suffer. Instead I said goodbye."

​​Patrick went home to grieve with his family and rejoined us on the road two days later. I couldn't believe how quickly our lives had unraveled in the midst of what was supposed to be a milestone in our career. As the tour continued, we found refuge in playing music together. Songwriting had always been an extension of our inner-world. Now we retreated to that world every time we stepped onstage.

​After the final show of our tour in Austin, we received another phone call. Patrick's mother Karen was in the hospital on the brink of a stroke. We got on a plane and went straight to her bedside. Her recovery took weeks. In the hospital waiting room, I wrote the opening line of "Matrimony II": I only have certainty when you hold my hand.

​On a hot July day, after Karen's return to good health, we sailed as a family into the Pacific and scattered Edward's ashes at sea. I marked our position on the chart with a small x. The album was already well under way. In that moment, I realized what I wanted to call it.

​Swimmer is a tour of the darkest time in our lives. But it is not a dark record. Named for the feeling of suspension and upendedness that characterized this period, it is the story of deep-rooted companionship strengthened by pain and loss. These songs carried us through our grief. It is us at our most vulnerable, so we kept a small footprint, recording everything ourselves in our home studio. I set out to describe the love I have come to know after ten years of marriage, when you can no longer remember your life before that person, when the spark of early attraction has been replaced by a gravitational pull.

Swimmer is available everywhere February 14, 2020.

Links: Website | Facebook | Twitter | Instagram | YouTube | Spotify | SoundCloud
 Public Onsale:
12:00 AM
Oct 29, 2021
Apr
6 Wed
Image for Black Midi

Black Midi

Saxapahaw, NC
United States
Doors at 7:00 PM, Show at 8:00 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
ADVANCED: $20.00
DAY OF: $22.00

TICKET SALE DATES
DAY OF Public Onsale: April 6, 2022 12:00 AM to April 6, 2022 6:00 PM
ADVANCED Public Onsale: May 21, 2021 10:00 AM to April 6, 2022 12:00 AM

PERFORMANCE DESCRIPTION
No second album syndrome and no sophomore slump for Britain’s most exciting and challenging young rock band. black midi’s follow up to Schlagenheim is a dynamic, hellacious, inventive success. Cavalcade, their second studio album for Rough Trade, scales beautiful new heights, reaching ever upwards from an already lofty base of early achievements.

The meaning of the word cavalcade is a procession of people, such as a royal parade, and black midi picture their new album as a line of larger than life figures – from a cult leader fallen on hard times and an ancient corpse found in a diamond mine to legendary cabaret singer Marlene Dietrich – strolling seductively past them. The album art – again, another intricate collage created by David Rudnick – brings this idea colourfully to life, drawing the listener inexorably into this mysterious world, reinforcing the idea that Cavalcade is a glorious collection of stories just waiting to be dived into.

Geordie Greep, the band’s mercurial guitarist and primary singer explains the fundamentals of Cavalcade: “A big thing on this album is the emphasis on third person stories, and theatrical ones at that.” Cameron Picton, the inventive bassist and occasional singer agrees: “When you’re listening to the album you can almost imagine all the characters form a sort of cavalcade. Each tells their story one by one and as each track ends they overtake you, replaced by the next in line.” Morgan Simpson, the powerhouse drummer advises: “Enjoy it, live with it, spend some time living in it.” When pressed to choose one word to describe the album, Geordie elects for “drama” adding: “The emphasis when we were making and sequencing Cavalcade was to make music that was as dramatic and as exciting as possible. The flow has the feel of a story, which is rewarding to listen to.”

But the record is dynamic in its musical ambition above all else. black midi listen widely and deeply not just to rock and jazz but to hip hop, electronic dance music, classical, ambient, prog, experimental... And their ethos is simple according to Geordie: “We just combine lessons learned from all of this music to make something that’s very interesting to listen to and something that is brand new.” They are quick to bat away any suggestion that it’s a risky strategy drawing from such a wide source of influences, that the resultant eclectic mix of influences could produce something resembling a mad man’s breakfast. Geordie says simply: “If you worry about that before you start you’re limiting yourself. You have to try because you could either end up with a madman’s breakfast or you could end up with a fantastic kaleidoscope and the only way to find out which one it’s going to be is to try. If you fail, so what? Try again.”

Ground was broken on Cavalcade in those now weird seeming pre-pandemic days of 2019. Songs that had been brewing since the release of Schlagenheim in July began muscling their way onto set lists and finally became individual entities by October, getting refined in between an extensive world tour and a scorching turn at the Mercury Prize ceremony. Early in 2020, the fourth member of black midi from the original line up, guitarist/vocalist Matt Kwasniewski- Kelvin, told the other three that he needed some time away from the group due to problems with his mental health. They went on to play several live dates as a trio augmented by saxophonist Kaidi Akinnibi and keyboard player Seth Evans. This hook up felt right and the pair feature prominently on Cavalcade.

Links: Website | Facebook | Instagram

Haw River Ballroom

1711 Saxapahaw-bethlehem Church Rd
Saxapahaw, NC
United States