The Bowery Presents
My Morning Jacket's One Big Holiday

My Morning Jacket's One Big Holiday

My Morning Jacket, Portugal. The Man, Nathaniel Rateliff & the Night Sweats, Spoon, Broken Social Scene, Toots & the Maytals, Preservation Hall Jazz Band, Sylvan Esso, Moon Taxi, J. Roddy Walston & The Business, Hurray for the Riff Raff

Fri, March 2, 2018 - Tue, March 6, 2018

12:00 pm

Hard Rock Hotel & Casino - Punta Cana

Punta Cana, Bv. Turístico del Este

This event is all ages

My Morning Jacket's One Big Holiday
My Morning Jacket's One Big Holiday
My Morning Jacket
My Morning Jacket
Portugal. The Man
Portugal. The Man
American indie rock/psychedelic rock band founded in Wasilla, Alaska in 2004 and based in Portland, Oregon.
Nathaniel Rateliff & the Night Sweats
Nathaniel Rateliff & the Night Sweats
Nathaniel Rateliff & the Night Sweats practically explodes with deep, primal and ecstatic soulfulness. This stunning work isn’t just soul stirring, it’s also soul baring, and the combination is absolutely devastating to behold. You don’t just listen to this record—you experience it. So it’s entirely fitting that the self-titled album will bear the iconic logo of Stax Records, because at certain moments Rateliff seems to be channeling soul greats like Otis Redding and Sam & Dave. But as this gifted multi-instrumentalist honors the legacy of the legendary Memphis label, he’s also setting out into audacious new territory.

Those who were beguiled by In Memory of Loss, Rateliff’s folky, bittersweet 2010 Rounder album, will be in for an initial shock when they spin Nathaniel Rateliff & The Night Sweats. But when you delve beneath the rawboned surface of the new album’s wall-rattling presentation, with its deep-gut grooves, snaky guitars, churning Hammond and irresistible horns, you’ll find that same sensitive, introspective dude, who bravely tells it like it is, breaking through his reticence to expose often harsh truths about the life he’s lived, the people he’s hurt and the despair he’s struggled with. The difference between the two albums is that the Nights Sweats’ funkiness insulates the starkly confessional nature of Rateliff’s songs while at the same time underscoring their emotional extremes.

The place where Rateliff is coming from is intensely real and intimate. Doing what he does is an act of bravery. “These songs are about the struggles I’ve had in my life—drinking too much, that kind of crap,” he says with characteristic candor, punctuating the admission with a rueful laugh. “And then the relationships we all have. I’m not a great communicator in my personal life, so it’s funny to be writing songs that say the things that I’m never very good at saying. It’s taken me a long time to figure that out. I’m trying to be a better communicator, but it’s horribly awkward—it’s awful—to tell somebody something you know is gonna hurt their feelings. I’ve always been one to go, oh, I’ll just eat this one; it’ll be okay.”

As the band blazes away on the soul-rock rave-up “I Need Never Get Old,” the visceral “Howling at Nothing” and the supercharged “Trying So Hard Not to Know” (key line: “Who gives a damn and very few can”), which open the album with a sustained outpouring of torrid intensity, Rateliff is opening himself up emotionally as well as physically, the raw grit in his voice conveying anguish and hope in equal measure. The buoyant immediacy of the music makes the hard truths embedded in the songs easier to swallow than it would be in Rateliff’s other primary mode—a solitary guy with a guitar, the brim of his baseball cap pulled down, putting his heart and guts on the line without the protection of his simpatico cohorts. Make no mistake, these songs would stop you in their tracks presented in that naked way as well, but the additional layers of soulfulness provided by the Night Sweats—its core comprising guitarist Joseph Pope III, drummer Patrick Meese and keyboardist Mark Shusterman—bring a convergence of intensities, musical and psychological, to the performances.

“S.O.B.” sits at the dead center of the album, between the brutally honest confessionals “I’ve Been Failing” and “Wasted Time.” Thematically, the song is the album’s linchpin—partly a rebuke, partly a cry of defiance, “S.O.B” is the “fuck it all” anthem of a blue-collar kid from the Heartland whose conditioned idea of therapy is a shot and a beer chaser, and then another round, on the way to sweet oblivion. In live performance, Rateliff and the Sweats have been known to mash together “S.O.B.” and The Band’s “The Shape I’m In” as the double-barreled climax of their sets (you can find it on YouTube), the frontman high-stepping and boogalooing across the stage with controlled abandon, bearing a striking resemblance in his physicality to the young Van Morrison. These moments of revelry are also revelatory, singling out two of Rateliff’s biggest influences. Indeed, he hears distinct evocations of The Band on his new album, and he was listening to “TB Sheets” and the rest of Morrison’s The Bang Masters as he was writing it.

From there Rateliff contemplates some of the sustaining aspects of existence, from redemption by way of the forgiving love of another in “Thank You,” “Look It Here” and “I’d Be Waiting” to sexual heat in the N’awlins-style strutter “Shake.” The album ends on a hopeful note with the relatively laidback “Mellow Out,” which could certainly be heard as Rateliff admonishing himself to do just that. “Originally, I had it ending with a song called ‘How to Make Friends,’” he says. “The chorus is ‘When everybody knows you, nobody’s gonna want you.’” Another laugh follows, this one self-mocking. “But I replaced it with ‘Mellow Out,’ which is more of a release rather than a total bummer.”

When it came time to pick a producer, Rateliff went with Richard Swift, a polymath who has made records under his own name, helmed projects for Damien Jurado, the Mynabirds and others, and has played with The Black Keys and the Shins. Swift’s specialty is summoning (and capturing) inspired performances in the moment, and the synergy in the studio, first with Rateliff and then with his band, was instant and palpable. Rateliff and the Sweats already had the arrangements of the new songs down cold, having shaped them on the road. Swift, knowing a good thing when he heard it, set the mics, honed the sound, giving it plenty of space so that the studio itself served as an integral sonic component. Then he pressed “record” and coaxed it into happening organically. “Richard has such great ears, and he really knows how to play to the room,” Rateliff notes. “We have similar theories of recording: basically, you just need to play it right.”

Rateliff, who’s 36, traveled a long road to get to this point. He left school after his dad passed away at the end of 7th grade, left his home in the small town of Herman, Missouri, where his future would’ve likely involved endless shifts in a nearby plastic factory; and worked as a janitor for a high school. Not long afterward, he followed some local missionaries to Denver, thereby escaping what he describes as “the Midwestern lifestyle of working and growing up too fast.” He soon outgrew his childhood understanding of religion, realizing that “there are so many books out there besides that one,” as his worldview expanded exponentially. Rateliff spent the next 10 years on the loading dock of a trucking company before becoming a gardener and getting married along the way. But as the years passed, he became increasingly focused on writing songs and performing them at any watering hole that would have him, in time becoming part of the city’s burgeoning folk scene. “I got kind of a late start making music,” he says, “but eventually I went out on the road,” first with Born in the Flood, which he’d formed with Pope, and then The Wheel, the forerunner of the Night Sweats. By then, he’d overcome his longstanding discomfort at playing his songs in public.

“Writing at home is one of my favorite things to do,” says this constitutionally solitary man. “But for years touring was really hard for me—being alone, being married and having my relationship run through the mire, because a lot of my songs are about that. Sometimes it sucks to sing those songs and have to relive those situations. It leaves you pretty exposed, and your partner too; it can be unfair. But now I love being on stage and cracking jokes, trying not to take myself too seriously, even if the material is about failed relationships and alcoholism, that kind of stuff”—there’s that rueful laugh again.

“I try to be lighthearted,” Rateliff continues, “because, although the songs are heavy, I want it to be a release for people. I’m trying to do something that’s emotionally charged and heartfelt, and I want the experience to be joyous, for people to feel excited and dance around instead of being super-bummed by reality—I mean, things are hard. But I can remember dancing around to some song that was breakin’ my heart, dancin’ with tears in my eyes. I love that feeling, and I wanna share it with people, and hopefully they’ll feel it too.”

—Bud Scoppa
Spoon
Spoon
Hot Thoughts, Spoon’s 9th album, is the bravest, most sonically inventive work of their career, though keep in mind, Britt Daniel has already overseen a number of other reincarnations. With all due respect to earlier efforts that have made the band both critically acclaimed and a commercial contender, preconceptions about Spoon are about to be obliterated. That’s not to say Hot Thoughts doesn’t have a requisite supply of infectious earworms — WE DIDN'T SAY THIS WAS A DIFFERENT BAND (though this is the first Spoon album with no acoustic guitar) — but there’s a lyrical bent that’s as carnal as it’s crafty, and a newfound sense of sonic exploration that results in the genre-smasher Spoon have flirted with in the past but not fully consummated.

The ten songs on Hot Thoughts run the gamut from the kaleidoscopic opening title track (as tone-setting as say, “Dirty Mind” for the album it commences) through the gargantuan stomp of “Do I Have To Talk You Into It” and ubiquitous wiry hooks of “Can I Sit Next To You" to the bittersweetness of “I Ain’t The One” and the deadpan swing of “Tear It Down” — less the telling of an apocalyptic vision and more what Daniel describes as a song about “empathy for strangers.”

Ample recognition should be tossed in the direction of Dave Fridmann, whose wizard-level ingenuity has brought a diabolical sheen to the band’s swagger (there may be many great ways to occupy one’s time in Cassadaga, New York, but we do know that holing up at Fridmann’s studio to make a masterpiece is one of them).

Without question, the prior works of Daniel, drummer Jim Eno, bassist Rob Pope and no-longer-a-secret weapon Alex Fischel have scaled some lofty heights (from 1996 debut LP Telephono, 1998’s A Series Of Sneaks, 2001’s Girls Can Tell, 2002’s Kill The Moonlight, 2005’s recently reissued in deluxe 10th anniversary grandeur Gimme Fiction, through the trifecta of U.S. Top 10 albums that was Ga Ga Ga Ga Ga (2007), Transference (2010) and They Want My Soul (2014), you’re talking about a winning streak that’s nothing short of Mayweather-esque), but Hot Thoughts is a daring, futuristic chapter in the Spoon story. Daniel’s spot in the pantheon of rock's genius songwriters was established long ago—but with the crackling, incandescent, multi-dimensional backdrop conjured on Hot Thoughts, the lines between accessible and experimental become non-factors for once and all. It’s pop as high art, delivered with total confidence and focus.
Broken Social Scene
Broken Social Scene
Toots & the Maytals
Toots & the Maytals
Preservation Hall Jazz Band
Preservation Hall Jazz Band
At a moment when musical streams are crossing with unprecedented frequency, it’ s crucial to remember that throughout its history, New Orleans has been the point at which sounds and cultures from around the world converge, mingle, and resurface, transformed by the Crescent City’ s inimitable spirit and joie de vivre. Nowhere is that idea more vividly embodied than in the Preservation Hall Jazz Band, which has held the torch of New Orleans music aloft for more than 50 years, all the while carrying it enthusiastically forward as a reminder that the history they were founded to preserve is a vibrantly living history. PHJB marches that tradition forward once again on So It Is, the septet’ s second release featuring all-new original music. The album redefines what New Orleans music means in 2017 by tapping into a sonic continuum that stretches back to the city’ s Afro-Cuban roots, through its common ancestry with the Afrobeat of Fela Kuti and the Fire Music of Pharoah Sanders and John Coltrane, and forward to cutting-edge artists with whom the PHJB have shared festival stages from Coachella to Newport, including legends like Stevie Wonder, Elvis Costello and the Grateful Dead and modern giants like My Morning Jacket, Arcade Fire and the Black Keys. So It Is finds the classic PHJB sound invigorated by a number of fresh influences, not least among them the band’ s 2015 life-changing trip to Cuba. A visit to the island, so integral to the evolution of jazz and New Orleans culture in general, had long been in the works when President Obama’ s diplomatic opening suddenly allowed for a more extensive journey than had originally seemed possible. “When the restrictions were lifted,” says bandleader/composer/bassist Ben Jaffe, “It was no longer just about going down there and playing a concert. We were able to explore a bit more, which profoundly impacted the band not just musically but personally. In Cuba, all of a sudden we were face to face with our musical counterparts. There’ s been a connection between Cuba and New Orleans since day one - we’ re family. A gigantic light bulb went off and we realized that New Orleans music is not just a thing by itself; it’ s part of something much bigger. It was almost like having a religious epiphany.”Producer David Sitek, a founder of art rock innovators TV on the Radio who has helmed projects by Kelis, the Yeah Yeah Yeahs and Santigold among others, offered both a keen modern perspective and a profound respect for the band’ s storied history. Upon arriving in New Orleans to meet with the band, Sitek recalls he and Jaffe accidentally stumbling into one of the city’ s famed second-line parades. “I was struck by the visceral energy of the live music all around, this spontaneous joy, everything so immediate,” he says. “I knew I had to make sure that feeling came out of the studio. It needed to be alive. It needed to sound dangerous.”For those wary that a band with the rich history of the PHJB is tackling new material, Jaffe is quick to point out that Preservation Hall – which his parents, Allan and Sandra Jaffe, founded in 1961 – was never meant to be a museum. At its beginnings it broke racial boundaries to present the living legends of New Orleans music, living links to the origins of jazz. Today, with a band whose ages range nearly 60 years, the mission remains the same: to pass on the traditions while continually revitalizing it with new blood and fresh ideas. “I see it as something that’s necessary for the evolution and survival of New Orleans music,” Jaffe says. “Interpreting the repertoire that’ s been around for a hundred years is one thing, but the challenge is to keep that repertoire and those traditions alive while at the same time being honest about who you are as a musician, allowing all of your musical influences to be reflected in what you create.”While that’ s always been a key component of the PHJB, whether at their world-famous French Quarter home or on stages around the world, it took on a renewed urgency in the aftermath of Hurricane Katrina. “When something that catastrophic happens in your life,”Jaffe says, “it becomes important to understand and focus on the things that are most important.” The band began charting a new path with the release of That’s It!, their first album of original material, in 2013. So It Is continues and significantly expands on that expedition. The music on So It Is, penned largely by Jaffe and 84 year-old saxophonist Charlie Gabrielin collaboration with the entire PHJB, stirs together that variety of influences like classic New Orleans cuisine. Longtime members Jaffe, Gabriel, Clint Maedgen and Ronell Johnson have been joined over the past18 months by Walter Harris, Branden Lewis and Kyle Roussel, and the new blood has hastened the journey into new musical territory. The album’ s seven new pieces of buoyant, window-rattling funk find commonancestry with the Afro-Cuban sounds that the band heard in the streets of Havana (witness the NOLA-meets-Cuba bounce of “La Malanga”), Fela Kuti’ s Nigerian funk and the entrancing melodies of Ethiopian jazz (most evident on the sinuous “Innocence”), the passion of envelope-pushing ‘ 60s jazz and soul pioneers, and the intense grooves of their modern Coachella counterparts – then filters them all through a Crescent City lens to emerge with something that compels the listener to move. “When we play music, the barometer for us as a band is whether the locals are reacting,”Jaffe explains. “In New Orleans we play music for dances and parades, funerals and church. It’s important to us to make music people connect to, that people dance to, that people really feel, emotionally and physically. That’s the tradition we grew up with, that’s what we know." Preservation Hall Jazz Band: BEN JAFFE – Bass (upright), Tuba, Percussion CHARLIE GABRIEL – Saxophone (tenor), Clarinet CLINT MAEDGEN – Saxophone (tenor), Percussion RONELL JOHNSON – Trombone WALTER HARRIS – Drums, Percussion KYLE ROUSSEL – Piano, Wurlitzer, Organ BRANDEN LEWIS – Trumpet
J. Roddy Walston & The Business
J. Roddy Walston & The Business
Hurray for the Riff Raff
Hurray for the Riff Raff
Venue Information:
Hard Rock Hotel & Casino - Punta Cana
Km 28, #74
Punta Cana, Bv. Turístico del Este
http://www.hardrockhotelpuntacana.com/