The Bowery Presents
Ben Howard

WFUV Presents

Ben Howard

Gill Landry

Wed, September 19, 2012

Doors: 7:00 pm / Show: 8:00 pm

Webster Hall

New York, NY

$22 advance / $25 day of show

Sold Out

This event is 18 and over

Ben Howard
Ben Howard
Ben Howard is excited to announce a full North American tour this winter, his most extensive and longest tour ever in the United States. Beginning on January 15 in Dallas, the tour will bring Ben from coast to coast through February. Ben will head to the US in October for two shows in Los Angeles (October 27 at the El Rey Theatre) and New York City (October 29 at Music Hall of Williamsburg). For his full itinerary, please see below.

Ben Howard is touring in support of the release of I Forget Where We Were to be released on October 21st 2014 through Republic Records. It was produced by drummer Chris Bond at Deep Litter Studios in Devon. The album is available for pre-order now.



Pre-Order: Ben Howard I Forget Where We Were

Listen to new track "Conrad" from I Forget Where We Were now.

Listen: Ben Howard - "Conrad"

Fans can also preorder the physical album & the vinyl (which includes one extra song) via Ben's website: http://www.benhowardmusic.co.uk/

Ahead of the album's release, Ben Howard performed I Forget Where We Were in its entirety on Zane Lowe's Radio One show last week as part of the BBC's Even More Music Month. Ben and his five-piece band are the first artists to ever perform an entire album live on Radio One.

The first single from the album, "I Forget Where We Were," is streaming here: http://www.youtube.com/watch?v=ki5HBBEtfak

The single follows the epic eight minute taster, "End Of The Affair," posted online earlier this summer: http://po.st/EOTAaudio

I Forget Where We Were Tracklisting:
1. Small Things
2. Rivers In Your Mouth
3. I Forget Where We Were
4. In Dreams
5. She Treats Me Well
6. Time Is Dancing
7. Evergreen
8. End Of The Affair
9. Conrad
10. All Is Now Harmed

Vinyl Tracklisting
1. Small Things
2. Rivers In Your Mouth
3. I Forget Where We Were
4. In Dreams
5. She Treats Me Well
6. Time Is Dancing
7. Evergreen
8. End Of The Affair
9. Conrad
10. All Is Now Harmed
11. Am I In Your Light?

I Forget Where We Were follows the release of Ben's hugely successful debut album, Every Kingdom. Every Kingdom, released in October 2011 sold in excess of 1 million copies globally, received a Mercury Music Prize nomination, and was the catalyst for Ben picking up two Brit Awards in 2012 for British Breakthrough and British Solo Male Artist.

In support of the album's release,

www.benhowardmusic.co.uk

Ben Howard Live:
10/27/14 - Los Angeles, CA @ The El Rey Theatre TICKETS
10/29/14 - New York, NY @ Music Hall of Williamsburg TICKETS
1/15/2015 - Dallas, TX - House of Blues
1/16/2015 - Austin, TX - Austin Music Hall
1/17/2015 - New Orleans, LA - Civic Theatre
1/19/2015 - Miami Beach, FL - Fillmore Miami Beach at Jackie Gleason Theatre
1/20/2015 - St. Petersburg, FL - Jannus Live
1/21/2015 - Atlanta, GA - The Tabernacle
1/22/2015 - Nashville, TN - Ryman Auditorium
1/24/2015 - Philadelphia, PA - Union Transfer
1/25/2015 - Washington, DC - 9:30 Club
1/27/2015 - Boston, MA - House of Blues
1/30/2015 - New York, NY - Hammerstein Ballroom
1/31/2015 - Montreal, QC - Metropolis
2/2/2015 - Toronto, ONT - Massey Hall
2/4/2015 - Chicago, IL - Riviera Theatre
2/6/2015 - Kansas City, MO - Uptown Theater
2/7/2015 - Denver, CO - The Fillmore
2/10/2015 - Los Angeles, CA - Shrine Expo Hall
2/11/2015 - Oakland, CA - Fox Theater
2/13/2015 - Seattle, WA - Moore Theatre
2/14/2015 - Vancouver, BC - U.B.C. Thunderbird Stadium
2/15/2015 - Portland, OR - Roseland Theatre
Gill Landry
Gill Landry
Tennessee Williams is attributed with saying the Southern Gothic literary style his name was often attached to described "an intuition, ofan underlying dreadfulness in modern experience". Though his tales donot necessarily adhere to the stylistic criteria used in labeling a work Southern Gothic, New Orleans singer/songwriter Gill Landry reveals a true understanding of the purposes and effects Williams spoke of.

The Ballad of Lawless Soirez , Landry's solo debut, has an almost cinematic feel, as if an homage to a time and place both destructive and strangely alluring. Landry as narrator rambles and stumbles through a bleak landscape, down dimly lit avenues littered with dashed dreams, keeping company with friends, lovers and dubious characters who share a singular characteristic in common: the lonely hopelessness oftheir existence.

Lest his woozy narratives appear an imaginative concoction created through the use of characters or images lifted from the art of a forgotten age, a look at the arc of Landry's career progression proves he certainly knows what it is to live the life of an itinerant musician in communities defined by their beguiling eccentricity. Landry has performed as a busker on New Orleans streets, as the co-creator of versatile old-style band the Kitchen Syncopators, and most recently as a sideman, contributing banjo and steel guitar to the sound of fast-rising Americana group Old Crow Medicine Show. Now a member of the Nettwerk label, as are his friends in Old Crow Medicine Show, Landry has a chance for his music to gain broader attention and appeal.

Incorporating elements of blues, folk, jazz, and country, Landry's songs exist in a veritable stew of styles and structures that is diverse yet harmonious, much like the multi-cultural city from which he hails. On the album's best moments, Landry achieves a strange synergy, telling stories of people whose private earth is about to spin off its axis through a sound just focused enough to communicate such messages without distraction. Straightforward in structure, songs like "LawlessSoirez" and "Dixie" use simple variations on a shared acoustic folk center to highlight the feelings which Landry wishes to convey.

The former employs exotic horns and more insistent rhythms to illustrate the hard luck tale of a man who admits "I was born a rambler, guess I always will / Once you get the habit you just can't stand still". The latter draws on warmer guitar sounds and dulcet strings to share the story of an almost familial bond between a band of dysfunctional drifters: "We drank to the future, we drank to the past / We drank to the moments we knew wouldn't last / Leaning on the shoulders of highways that abused us like friends / And we caught those trains justlike a disease / With our heads in the clouds and our heart on its knees/ Looking for something that we may never find."

Other album highlights draw a more defined inspiration from jazztextures and performers, both past and present. "Loneliness" sounds is if it belongs to a period rarely revisited in modern music, assuming the feel of an intoxicating rag complete with metered guitars and sweaty, sultry horns that evoke images of Prohibition-era speakeasies and the genesis of such musical technique as a powerful art form. "Ugly Town"(a tune that sounds like it could be found amongst the work of Elvis Costello) and "Desiree" take a slower, more soulful approach, aptly expressing disgust and desire respectively in ballad form.

As a whole, The Ballad of Lawless Soirez gives a glimpse into an artist who, though largely unknown to record buyers, has honed his talents through hard work, out of the glare of media hype, to the point of developing a variety of resources with which to tell his compelling tales. Landry's songs deserve an audience and will reward those who seek out this creative, capable storyteller.
Venue Information:
Webster Hall
125 East 11th Street
New York, NY, 10003
http://www.websterhall.com/