Old Crow Medicine Show
The Lumineers, The Milk Carton Kids
Mon, August 6, 2012
Doors: 5:30 pm / Show: 6:30 pm
SummerStage, Central Park
New York, NY
$35 advance / $40 day of show
Sold Out
This event is all ages
Proceeds from this concert help make possible the free programs of SummerStage
Rain or Shine Event, General Admission, Standing Room Only
http://www.bowerypresents.com/event/116275/
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Old Crow Medicine Show
Old Crow Medicine Show (OCMS) have come full circle playing their own brand of American roots music with a rock and roll attitude. The quintet met in New York in 1998 and hit the road, traveling city to city in a van and busking in the streets. They eventually settled for a year in North Carolina, where they ran into a bit of good fortune while playing in front of a local pharmacy to an impressed Doc Watson; the folk icon promptly scheduled the band to play at his MerleFest.
Soon after, OCMS relocated to Nashville and found themselves gracing the stage of the Grand Ole Opry, opening for Dolly Parton, touring with Merle Haggard and regularly appearing on NPR’s A Prairie Home Companion. They caught the attention of Nettwerk Records in 2003 and signed on to release their debut album O.C.M.S, which they recorded at RCA’s legendary Studio B and Woodland Sound Studio with producer/guitarist David Rawlings (Gillian Welch, Robyn Hitchcock) at the helm. O.C.M.S was released in 2004 to critical acclaim; the New Yorker said of the album, “Heartbreaking, plunky ballads and unfastened fiddle tunes charged with youthful vigor,” while the Village Voice predicted, “Fame will soon lift her skirt for the band.”
Their sophomore album, Big Iron World, was released in August 2006 and combined traditional American standards (including Woody Guthrie’s “Union Maid”) with OCMS originals that blended American roots, folk, blues, gospel, bluegrass and a little bit of gritty rock. Again produced by Rawlings, the album caught the attention of critics from Billboard to Vanity Fair and the first single, a cover of the Rolling Stones’ “Down Home Girl,” quickly became the #2 most added song at Triple A radio. Combined, the two albums have gone on to sell over 300,000 units.
Today, OCMS prepare to release their third Netterk album called TENNESSEE PUSHER in September ‘08, this time teaming up with legendary producer Don Was (Bob Dylan, Bonnie Raitt, The Rolling Stones). The album was recorded earlier this year at the famed A&M Studios (now called Henson Sound Studios) and is made up of 13 infectious tracks, 12 of which are Old Crow originals and one American standard called “Always Lift Him Up” by Blind Alfred Reed.
OCMS can attribute much of their success to their relentless touring schedule. Between headlining shows and countless festivals (Bonnaroo, Telluride Bluegrass Festival, New Orleans Jazz Festival, etc), the band is constantly on the road and thrives off of their fans and live shows. They have made a name for themselves as energetic performers with an unbridled spirit.
Photo By: Crackerfarm
Soon after, OCMS relocated to Nashville and found themselves gracing the stage of the Grand Ole Opry, opening for Dolly Parton, touring with Merle Haggard and regularly appearing on NPR’s A Prairie Home Companion. They caught the attention of Nettwerk Records in 2003 and signed on to release their debut album O.C.M.S, which they recorded at RCA’s legendary Studio B and Woodland Sound Studio with producer/guitarist David Rawlings (Gillian Welch, Robyn Hitchcock) at the helm. O.C.M.S was released in 2004 to critical acclaim; the New Yorker said of the album, “Heartbreaking, plunky ballads and unfastened fiddle tunes charged with youthful vigor,” while the Village Voice predicted, “Fame will soon lift her skirt for the band.”
Their sophomore album, Big Iron World, was released in August 2006 and combined traditional American standards (including Woody Guthrie’s “Union Maid”) with OCMS originals that blended American roots, folk, blues, gospel, bluegrass and a little bit of gritty rock. Again produced by Rawlings, the album caught the attention of critics from Billboard to Vanity Fair and the first single, a cover of the Rolling Stones’ “Down Home Girl,” quickly became the #2 most added song at Triple A radio. Combined, the two albums have gone on to sell over 300,000 units.
Today, OCMS prepare to release their third Netterk album called TENNESSEE PUSHER in September ‘08, this time teaming up with legendary producer Don Was (Bob Dylan, Bonnie Raitt, The Rolling Stones). The album was recorded earlier this year at the famed A&M Studios (now called Henson Sound Studios) and is made up of 13 infectious tracks, 12 of which are Old Crow originals and one American standard called “Always Lift Him Up” by Blind Alfred Reed.
OCMS can attribute much of their success to their relentless touring schedule. Between headlining shows and countless festivals (Bonnaroo, Telluride Bluegrass Festival, New Orleans Jazz Festival, etc), the band is constantly on the road and thrives off of their fans and live shows. They have made a name for themselves as energetic performers with an unbridled spirit.
Photo By: Crackerfarm
The Lumineers
Twenty years ago, Wesley Schultz saw the future.
Back then, growing up in the New York City suburb of Ramsey, New Jersey, Wesley spent his days drawing side by side with his best friend, Josh Fraites. Today, as bandleader of The Lumineers, Wesley’s replaced his pencil with a guitar, his drawings with songs, and plays side by side with Joshua’s younger brother Jeremiah. He still practices a lot, and it still turns out good.
But The Lumineers’ story didn’t come so easily.
It begins in 2002, the year Jeremiah’s brother, Josh, died from a drug overdose at 19. Amidst the loss and grief, Wes and Jer found solace in music, writing songs and playing gigs around New York. After battling the city’s cutthroat music scene and impossibly high cost of living, the two decided to expand their horizons. They packed everything they owned—nothing more than a couple suitcases of clothes and a trailer full of musical instruments—and headed for Denver, Colorado. It was less a pilgrimage than act of stubborn hopefulness.
The first thing they did in Denver was place a Craigslist ad for a cellist, and the first person to respond was Neyla Pekarek, a classically trained Denver native. As a trio, they began playing at the Meadowlark, a gritty basement club where the city’s most talented songwriters gathered every Tuesday for an open mic and dollar PBRs. Neyla softened Wes and Jer’s rough edges while expanding her skills to mandolin and piano. And so The Lumineers sound took shape; an amalgam of heart-swelling stomp-and-clap acoustic rock, classic pop, and front-porch folk.
In 2011, an eponymous, self-recorded EP led to a self-booked tour, and before long The Lumineers started attracting devout fans, first across the Western US, then back in their old East Coast stamping grounds. Young, old and in-between, they’re drawn by songs like “Ho Hey” and “Stubborn Love,” Americana-inflected barnburners in the vein of the Avett Brothers and Mumford & Sons. They’re drawn by songs like “Slow it Down” and “Dead Sea,” slow, sultry ballads that suggest the raw revelations of Jeff Buckley and Ryan Adams. They’re drawn by the live Lumineers experience—a coming-together in musical solidarity against isolation, adversity, and despair.
The roots revival of the last few years has primed listeners for a new generation of rustic, heart-on-the-sleeve music—the kind that nods to tradition while setting off into uncharted territory. The Lumineers walk that line with an unerring gift for timeless melodies and soul-stirring lyrics. It will all be on display soon, on the band’s first full-length album, due in March.
Born out of sorrow, powered by passion, ripened by hard work, The Lumineers have found their sound when the world needs it most.
Back then, growing up in the New York City suburb of Ramsey, New Jersey, Wesley spent his days drawing side by side with his best friend, Josh Fraites. Today, as bandleader of The Lumineers, Wesley’s replaced his pencil with a guitar, his drawings with songs, and plays side by side with Joshua’s younger brother Jeremiah. He still practices a lot, and it still turns out good.
But The Lumineers’ story didn’t come so easily.
It begins in 2002, the year Jeremiah’s brother, Josh, died from a drug overdose at 19. Amidst the loss and grief, Wes and Jer found solace in music, writing songs and playing gigs around New York. After battling the city’s cutthroat music scene and impossibly high cost of living, the two decided to expand their horizons. They packed everything they owned—nothing more than a couple suitcases of clothes and a trailer full of musical instruments—and headed for Denver, Colorado. It was less a pilgrimage than act of stubborn hopefulness.
The first thing they did in Denver was place a Craigslist ad for a cellist, and the first person to respond was Neyla Pekarek, a classically trained Denver native. As a trio, they began playing at the Meadowlark, a gritty basement club where the city’s most talented songwriters gathered every Tuesday for an open mic and dollar PBRs. Neyla softened Wes and Jer’s rough edges while expanding her skills to mandolin and piano. And so The Lumineers sound took shape; an amalgam of heart-swelling stomp-and-clap acoustic rock, classic pop, and front-porch folk.
In 2011, an eponymous, self-recorded EP led to a self-booked tour, and before long The Lumineers started attracting devout fans, first across the Western US, then back in their old East Coast stamping grounds. Young, old and in-between, they’re drawn by songs like “Ho Hey” and “Stubborn Love,” Americana-inflected barnburners in the vein of the Avett Brothers and Mumford & Sons. They’re drawn by songs like “Slow it Down” and “Dead Sea,” slow, sultry ballads that suggest the raw revelations of Jeff Buckley and Ryan Adams. They’re drawn by the live Lumineers experience—a coming-together in musical solidarity against isolation, adversity, and despair.
The roots revival of the last few years has primed listeners for a new generation of rustic, heart-on-the-sleeve music—the kind that nods to tradition while setting off into uncharted territory. The Lumineers walk that line with an unerring gift for timeless melodies and soul-stirring lyrics. It will all be on display soon, on the band’s first full-length album, due in March.
Born out of sorrow, powered by passion, ripened by hard work, The Lumineers have found their sound when the world needs it most.
The Milk Carton Kids
"Gorgeous contemporary folk" - NPR
"A sweetly dazzling variation on close-harmony vocals, part Simon and Garfunkel and part Everly Brothers, with occasional acoustic prestidigitation" - The New York Times
While The Milk Carton Kids' most obvious frame of musical reference is the classic folk sound of twin acoustic guitars and close harmonies, the band both expand and contradict that rich legacy. The music strikes listeners immediately with its sweet, bluegrass-inflected simplicity, but underneath snake Pattengale's sinuous modal guitar lines, sounding for all the world like a jazzified Bert Jansch dropped in to jam with the Everly Brothers. Their harmonies, too, while recalling classic brother duos from the Louvins to the Everlys, achieve a richness that blends into a vivid singularity. Their new album, The Ash & Clay will be released 3/26 on Anti Records.
"A sweetly dazzling variation on close-harmony vocals, part Simon and Garfunkel and part Everly Brothers, with occasional acoustic prestidigitation" - The New York Times
While The Milk Carton Kids' most obvious frame of musical reference is the classic folk sound of twin acoustic guitars and close harmonies, the band both expand and contradict that rich legacy. The music strikes listeners immediately with its sweet, bluegrass-inflected simplicity, but underneath snake Pattengale's sinuous modal guitar lines, sounding for all the world like a jazzified Bert Jansch dropped in to jam with the Everly Brothers. Their harmonies, too, while recalling classic brother duos from the Louvins to the Everlys, achieve a richness that blends into a vivid singularity. Their new album, The Ash & Clay will be released 3/26 on Anti Records.
Venue Information:
SummerStage, Central Park
69th St. at Fifth Ave
New York, NY, 10019
http://www.summerstage.org/
SummerStage, Central Park
69th St. at Fifth Ave
New York, NY, 10019
http://www.summerstage.org/
