The Bowery Presents
The Lumineers

The Lumineers

Cold War Kids, J Roddy Walston & The Business

Fri, June 7, 2013

Doors: 5:30 pm / Show: 7:00 pm

CMAC (Canandaigua, NY)

Canandaigua, NY

$42.50, $25 advance lawn / $30 day of show lawn

This event is all ages

The Lumineers
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.
Cold War Kids
Cold War Kids
Los Angeles four-piece Cold War Kids elevate their passionate take on indie rock with their emotionally-raw fourth album Dear Miss Lonelyhearts.

Formed in 2004, the band's breakthrough debut Robbers & Cowards was released to considerable acclaim in 2006. The darker Loyalty To Loyalty followed two years later, and 2011's Mine Is Yours introduced deeper anthemic qualities to the eclectic group's catalog.

Dear Miss Lonelyhearts, which features the rollicking, energetic single "Miracle Mile," is Cold War Kids' first release with former Modest Mouse and Murder City Devils guitarist Dann Gallucci, who also handled its production alongside Lars Stalfors.

"We were shaken up, ready to let certain songs go further than before by trying new styles and arrangements, while keeping others sparse and caring more about the finished product and less about how we got there," explains frontman Nathan Willet about the ten-track album, which was recorded at the band's private studio in San Pedro, CA.

Dear Miss Lonelyhearts is out April 2, 2013 via Downtown Records.
J Roddy Walston & The Business
J Roddy Walston & The Business
The third album from J. Roddy Walston & The Business, Essential
Tremors borrows its name from a nervous-system disorder that’s long
plagued the band’s frontman. “It’s this condition where my hands
shake―sometimes not at all, but sometimes pretty bad,” says
singer/pianist/guitarist Walston. “I’ve referenced it throughout all our
records in some way, but it made sense to be more open about it on
this album, which is partly about owning and embracing your
weirdness instead of letting it hold you captive because you don’t even
want to talk about it.”
For J. Roddy Walston & The Business―who formed in 2002 in Walston’s
hometown of Cleveland, Tennessee―embracing weirdness means a
mumble-out-loud celebration of that great and terrible burden of being
human. Forcing the oft-clashing worlds of art and rock-and-roll to make
nice, the band (including guitarist/vocalist Billy Gordon, bassist/vocalist
Logan Davis, and drummer Steve Colmus) deals in a scrappy yet
sublime sound that honors both their Southern roots and punk spirit.
On Essential Tremors, J. Roddy Walston & The Business builds off that
formula with a mix of heavy hooks and elegant melodies revealing
their affinity for artists as disparate as Led Zeppelin, pre-disco-era Bee
Gees, The Replacements, Randy Newman, and the Southern soul
outfits that once populated the Stax Records label. Co-produced by
Matt Wignall (Delta Spirit, Cold War Kids) and Grammy-winning
producer/engineer Mark Neill (The Black Keys) at Neill’s own Soil of the
South Studios (a Valdosta, Georgia-based facility where J. Roddy
Walston & The Business were the first to ever record), the follow-up to
2010’s much-acclaimed self-titled sophomore album also finds the
band crafting lyrics that ultimately serve as a secret language to the
initiated listener.
“It seems like most bands write for either the animal side of people or
for the side that’s more in tune with the spirit or even just the psyche,
but we tend to just smash all those things together,” says Walston.
“It’s like we’re writing religious songs for the animal side. We’ve got
songs that feel like party songs but if you look at it closer, it’s
something more cerebral. So for the people who want to dig in and
connect all the weird crosswires, the song can turn into something
else.” And because J. Roddy Walston & The Business is practiced in the
art of subversion, he adds, “these are songs you can get away with
listening to around ‘the straights.’ The danger is in what lies behind the
codes and the prose, and how gently they unravel once you’ve
digested them.”
Endlessly shifting from snarling and stompy to warm and soulful—and
often encompassing all of the above within the same note―Essential
Tremors opens with “Heavy Bells,” a powerhouse lead single that starts
out breezy then gives way to a blistering chorus that threatens to rip
Walston’s sweetly ragged vocals right open. The album amps up that
brutal energy on songs like “Hard Times” (an epic anthem built on a
mercilessly driving bassline) and “Sweat Shock” (a track that comes off
like dance-floor war cry for Native American metalheads), while
“Marigold” keeps it blissfully catchy and “Black Light” offers a
glammed-up bedroom boogie that could be the soundtrack to a
metaphysical seduction scene. Even when turning tender (such as on
the heart-on-sleeve serenade “Boys Can Never Tell,” the harmonysoaked
“Nobody Knows,” and the album-closing stunner “Midnight
Cry”), Essential Tremors burns with a raw passion that’s nothing short
of glorious.
Releasing their debut EP Here Comes Trouble in 2002, J. Roddy Walston
& The Business relocated to Baltimore in 2004 after Walston’s thengirlfriend
(and now wife) began studying opera at the Peabody
Conservatory of Music. Along with putting out their first full-length
album (2007’s Hail Mega Boys), the band devoted the next few years
to earning a reputation as an incendiary live act that devotees aptly
liken to “AC/DC fronted by Jerry Lee Lewis.” Along with touring with the
likes of The Black Keys, Lucero and the Lumineers, J. Roddy Walston &
The Business have brought their joyfully chaotic performance to such
festivals as Lollapalooza, Austin City Limits, and Bonnaroo. Melting all
manner of stereotypes into an as-yet-unnamed breed of New
American, each performance finds hipsters hugging Teamsters and
sweating till it hurts, and art-school cynics and metalheads screaming
out every lyric in some gorgeously desperate attempt to connect.
There seems to be a competition between the band and the crowd as
to who will give more each night.
While their frenetic live show remains a key element of the J. Roddy
experience, Walston is careful to keep his songwriting process separate
from touring. “I think it’s dangerous to write songs when you’re on the
road, since you’re so out of touch with the normal, natural human
condition,” he says. So before developing songs for Essential Tremors,
Walston waited until he’d settled into the home he’d purchased in his
newly adopted city of Richmond, Virginia. “I’ve sort of drifted back
down South again,” says Walston, who names classic Southern writers
like William Faulkner and Flannery O’Connor as major influences on his
own writing. “I don’t think our band or our music is particularly
Southern, but our sense of storytelling and use of language is very
much aligned with a more Southern way of life.”
Defining J. Roddy Walston & The Business as an “American band, just
as much as Creedence Clearwater Revival or Big Star or The Pixies
were all perfectly American at the time they were coming out,”
Walston notes that the Southern lifestyle serves as an infinite
inspiration for his music. “It’s my experience that Southerners are fully
interested in the worlds of philosophy and science and spirituality and
nature, but with a take on life that’s softer and slower. The south has a
pace that’s based on patience.” And in creating Essential Tremors―as
well as its cryptic cover art, which Walston describes as “like if
someone broke into my house and took a picture of something they
maybe shouldn’t have seen”―J. Roddy Walston & The Business sought
to encapsulate that richness while maintaining a certain air of mystery
and mysticism. “It’s not about some sort of Skull and Bones thing of
gaining access to an inner circle of high society,” he says. “It’s about
feeling an intimate connection with these weird secret worlds that are
the legs holding up the table of what seems like a normal, average,
everyday American life―but that most people might not even know are
Venue Information:
CMAC (Canandaigua, NY)
3355 Marvin Sands Drive
Canandaigua, NY, 14424