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
Critically celebrated British singer and songwriter BEN HOWARD will return to the road this fall and is pleased to announce details of 4 special shows. He’s lined up huge dates at iconic venues including Radio City Music Hall in New York, NY September 28, Red Rocks in Denver, CO October 2, and the Greek Theatre in LOS ANGELES, CA October 7 and Greek Theatre BERKELEY, CA October 9. Pre-sale tickets for the new summer tour dates go on sale at 10:00am local time on Tuesday, April 7th via, with public on sales to follow on Friday, April 10th. Tickets available HERE!

BEN recently performed on CBS’ The Late Show With David Letterman. He gave a stirring rendition of “I Forget Where We Were” the title track from his second full-length album I Forget Where We Were, out now. You can watch the performance HERE!

I Forget Where We Were is the critically acclaimed follow up to Ben’s 2011 debut, Every Kingdom, which sold over 1 million units worldwide. It also garnered a Mercury Music Prize nomination, and saw him receive BRIT Awards in the category of “British Breakthrough” and “British Solo Male Artist.”

Regarded as one of the most exciting live acts in recent years, Ben has recently completed back to back sell-out tours in Europe and the US and is currently embarking on a massive UK arena tour.
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