The Bowery Presents
City and Colour

City and Colour

Lissie, Lucy Rose

Fri, September 20, 2013

Doors: 6:00 pm / Show: 6:30 pm

Rumsey Playfield

New York, NY

This event is all ages

Rain or Shine Event, General Admission, Standing Room Only

City and Colour
City and Colour
“I just wanted to make an honest record.”

So says Dallas Green, otherwise known as City and Colour. He’s not really talking about confessionals (though that might happen, too) but truthfully incarnated music: organic songwriting, natural process and sincere moments captured in the studio.

Captured—not manipulated. For his fourth LP, The Hurry and The Harm, Green not only wanted to present an honest album, but an honest version of himself. To do so, he had to leave some things behind, confront others and let the rest simmer.

Green wasn’t quite prepared to make another album so soon. On tour to support his last album, Little Hell (2011), he couldn’t quite shake the feeling that something was unbalanced, uneasy. “I was being pulled in two different directions,” Green recalls. He was mentally near the end of the road with his former band, Alexisonfire, but couldn’t yet share the news with his fans. “I wanted to be in one place, but I didn’t want to let my friends down.” He started reading poetry—specifically the Kentucky-born author Wendell Berry, and his work “The Peace of Wild Things.” “I come into the peace of wild things, who do not tax their lives with forethought of grief. I come into the presence of still water,” it goes. Those lines made Green “excited about words again,” and comforted him in a time when things didn’t seem too peaceful. The songs came—quickly, even.

It’s no surprise, really. City and Colour’s music is exactly that: peace, in wild things. There’s a calm, dulcet tone to the songs, the melodies crafted to provide restlessness amidst a sonically complex journey that both soothes and rustles. The record’s first leaked track, “Of Space and Time,” showcases Green’s voice as it dangles in his own special kind of falsetto, set to a chugging drumbeat and subtle strum. “I’m roaming through the hills all alone,” he sings. “I’m trying to find my direction home.” Maybe he didn’t know it at the time, but home is City and Colour—it’s not simply a “solo” project from an otherwise accounted-for band member, but is Green, his primary entity, and his honesty.

The Hurry and The Harm is the first City and Colour album recorded outside of Canada—Green took his process this time to Nashville, Tennessee’s Blackbird Studios. “I’ve never gone anywhere else to make a record,” Green recalls. “I think it worked out, and it was a wonderful experience.” He recruited an excellent team of players to round out the songs, including Jack Lawrence on bass (The Raconteurs, The Dead Weather), Bo Koster on keys (My Morning Jacket), Spencer Cullum (Caitlin Rose) on pedal steel and both Matt Chamberlain (Pearl Jam, Fiona Apple) and James Gadson (Bill Withers, BB King) on drums. Green once again found great kinship in producer Alex Newport, who has worked with such varied and dynamic artists as At The Drive-In, Death Cab for Cutie, Bloc Party and The Mars Votla (and more notably with Green on Little Hell).

The resulting album is a journey through a state of mind, exploring everything from Green’s struggles to leave his previous band (“Of Space and Time”) to his distaste for gossip media (“Commentators”). Musically, the artful evolution can be felt in the crushing, sweeping rush of the first single, “Thirst,” with its aggressive vamp and both acid instrumentals and tongue: “after I’m gone / once I finally leave / you will be left alone to the wolves and the thieves.” There is a longing in the words but a certain direction in the songs, such as on “Two Coins” which balances a quiet folkiness with an unexpected guitar solo, searching through the play in his voice and the introspection of the ironically upbeat strums of “Harder Than Stone.” “Lyrically, now that I look back at the record as a whole, there are a lot of songs that deal with me searching for something,” he says. “And I know now that I wrote those songs near the end of Alexisonfire.”

“I don’t have a lot of faith in myself, so it is hard for me to have a lot of faith in something I have created,” Green says. “But I’ve never been happier or prouder about something that I have done.”

Green began recording as City and Colour in 2005, with Sometimes, followed by 2008’s Bring Me Your Love and 2011’s Little Hell and has experienced huge success both on the charts and the road. All three previous studio albums have achieved platinum status in Canada, while Little Hell is also now Gold in Australia. Additionally, Little Hell debuted at #1 on Canada’s Top 200 Chart, #28 in the U.S., #2 in Australia and top 40 in the U.K. Moreover, almost every show in 2011 and 2012 sold out (including the famed Royal Albert Hall, a two night stay at the Roundhouse in London and New York’s Terminal 5). In support of The Hurry and The Harm, City and Colour will once again embark on a wide-ranging set of dates across North American and the world. The tour will feature a brand new touring band including Jack Lawrence (The Raconteurs, Dead Weather) on bass, Dante Schwebel (Hacienda, Dan Auerbach) on guitar, Doug MacGregor (Constantines) on drums and Matt Kelly on pedal steel guitar and keys.

Playing guitar since age eight and crafting songs since his teenage years, Green has always known he wanted to write music and sing: mostly for himself, to find peace and clarity amongst the chaos. He thinks it’s kismet that others happen to like to listen. “At the end of the day, when I write a song, it has to make me happy,” he says. “I have to want to sing it again. And then the hope after that is that somebody else will like it.”

And they do, because it’s the peace of wild things.
Lissie
Lissie
"I gotta keep my identity and focus on what I can do," goes the chorus of "Shameless," the first single from Lissie's new album, "Back to Forever." "I don't want to be famous, if I got to be shameless" she sings with equal parts strength and insecurity.

It's less of an introduction to the Illinois-born/California-resident's second album and more of a laying out of her entire ideology in a three-minute song. It's classic Lissie, which is to say, every bit as frank as the songs on "Catching A Tiger," her 2010 debut album. "Catching A Tiger" has sold over 250,000 copies worldwide, been certified Gold in the UK and Norway and led to Paste Magazine naming her Best New Solo Artist. VH1 tapped her as a You Oughta Know artist and she received a Q Awards nomination for Best Breakthrough Artist.

A similar directness, delivered by the Mezcal-and-cigarette voice that grabbed our attention on "Catching A Tiger," also infuses the other 11 tracks on "Back to Forever." Beyond that, Lissie defies characterization. She understands how much our apparent contradictions contribute to who we are -- like the observation of a new fan who described her as "so badass yet wholesome" -- and that identity is something fluid, not to be nailed down. Opinions -- of which she has plenty -- are just that, subject to change and not necessarily correct. "No one knows anything for certain, so to have a strong opinion, but also have a sense of humor about yourself is important," she observes.

Lissie grew up in the heartland, in Rock Island, Illinois, near the mighty Mississippi, Unsurprisingly, the 2,500-mile-long river shaped her personality and inspired her songwriting.

"I used to think about all of the things that happened on the river over all that distance," she says. "It was exciting to think about how people, music, ideas and goods had travelled up and down its waters. There's this enthusiasm to it, but also this darkness -- it's taken lives, there's an incredible strength to its flow. The Mississippi gives such an energy to the Quad Cities (Davenport and Bettendorf in Iowa, and Rock Island and Moline in Illinois), where I was born and bred."

While she came from a big, loving family and moved in many circles -- from musical theatre to pickup truck cornfield keg parties soundtracked by both gangsta rap and country -- she never really felt like she belonged anywhere. "There was always this tension I felt in school and in my music lessons, like you couldn't stand out or think you were special," Lissie remembers. She rebelled and eventually got kicked out of high school. After a short stint at Colorado State University and a semester in Paris, she ditched college in order to concentrate on her music. She recorded the five-track EP "Why You Runnin'" with her friend Bill Reynolds of Band of Horses and worked with Reynolds and Jacquire King (Kings of Leon) on "Catching A Tiger."

Scads of festival performances (including Coachella, Glastonbury, SXSW, Lollapalooza, Austin City Limits, Bonnaroo, V, Isle Of Wight, Bestival and Secret Garden Party), television appearances and film/TV song placements followed plus a live CD/DVD of her sold-out show at London's Shepherd's Bush. The five-song 2011 EP "Covered Up With Flowers" that featured Lissie's take on songs like Lady Gaga's "Bad Romance," Kid Cudi's "Pursuit Of Happiness" and Metallica's "Nothing Else Matters" highlight her diverse tastes. She's even begun developing her own blend of mezcal (that's booze made from the agave plant).

"With my first album, my heart was broken from this tumultuous relationship I'd been in, so I had that fresh hurt on my mind. This time around, that wasn't the case," says Lissie. "A lot of the songs on the new record are love songs, but from different angles. Time has passed. With that detachment came the ability to be objective and tell a much better, more well rounded story."

"Shameless," written in London on Valentine's Day 2012 during sessions with Jim Irvin and Julian Emery, was one of the first tracks she recorded. Lissie returned to the States and teamed up with Garret "Jacknife" Lee (R.E.M., Snow Patrol, Silversun Pickups) later in the year.

"I went out to his place in Topanga Canyon, just outside of L.A. It was such a beautiful setting to record in, no dark cave of a studio, but mountain views and open doors with fresh air while I sang. I took my band with me (Eric Sullivan, Lewis Keller and newcomer Jesse Siebenberg) and we got to work. We just had a blast!" Jacknife was such a supportive, creative and fun producer to work with," recalls Lissie. Special guests Catherine and Allison Pierce of The Pierces and Barbara Gruska (Belle Brigade) dropped by to record backing vocals.

"The Habit," another track on the new album, is a soaring, searing plea to break the cycle of addiction, whether to a person, substance or anything else while "I Don't Wanna Go To Work," an anthem for the under-appreciated, points up exactly where a college education will get a person these days: mired in debt and stuck in a thankless job.

Of the latter song, she says: "We just work and work and work. When you're young you have all these hopes and dreams for the future, then suddenly 20 years have gone by and all those dreams have slipped away. 'I Don't Wanna Go To Work' is bit of a sad song really, 'cause it's about accepting the way things are but staying out late and drinking too much on a work night and expressing your frustration and defiance about it. That's your moment and no one can take it from you. I hope that the world moves in a direction where education helps kids figure out what they are truly good at and enjoy doing. There are so many different kinds of people, I'd imagine we have enough complementary skills for it to work."

Sunkissed mid-70s West Coast melodies are all over this second album and if there's wisdom in the lyrics, there's urgency and energy in the playing. "It's hard to put into words how much I love what I do," says Lissie, summing up. "I'm just telling stories that most people can relate to, I think. I sing with full pain and joy and it's gratifying when people hunker down and get in there with me at shows."
Lucy Rose
Lucy Rose
“Each song is a confessional of her most tightly clasped secrets” The Fly
“A voice that could melt the stoniest of hearts” Q Magazine
“One of the country’s most promising new voices” Sunday Times (Culture)
“Kicking up a storm in her own right” NME
“The song writing candour evident has seen Lucy Rose tipped for… solo success” Daily Mirror
“Lucy Rose is absolutely outstanding!” Edith Bowman, Radio 1
“Absolutely beautiful” Fearne Cotton, Radio 1
“I was only a matter of time before the second wave of British nu-folk pioneers made it to the U.S, and Lucy Rose, is sure to be among its first breakout stars” Vogue.com

Just four singles in, and with her star firmly in the ascendant, Warwickshire songstress Lucy Rose is making her own destiny and shaping her future like no other new artist. A mixture of true grit, sheer dedication and an unshakeable sense of self has all led Lucy to the kind of status that most new artists dream of but can only achieve through record company support. Until her recent signing to Columbia Records, Lucy Rose had none of this, but her heart-stoppingly poignant songs and cracked porcelain voice saw her enter 2012 with YouTube hits, radio plays and crowds like nobody else out there. Such is her fan-base, she now sells out 500-capacity venues with ease. Her first in-store at Rough Trade East in November was so over-subscribed that fifty latecomers were stuck outside. And at the tender age of 23, Lucy is being tipped by the great and the good as the one New British Artist who may stick around longer than any of the other fly-by-night contenders.

Along with press accolades, including Lucy’s first ever front cover in January 2012 for The Fly and new band features at Sunday Times (Culture), NME, Daily Mirror, Music Week, etc, etc. Lucy Rose has been clocking up the airplay counts too. After support across both specialist shows and Fearne Cotton for singles Middle of the Bed and Scar at Radio 1, third single Red Face scored the coveted In New Music We Trust playlist there, while she was still unsigned. She’s playlisted twice at 6 Music, with a C list for Scar and B list for Red Face, securing back to back Record of The Weeks with Shaun Keaveny’s Breakfast show, as well as playlists for all three singles at Xfm. Lines saw a 6 Music A list and Radio 1 B List.

Lucy’s journey began, when she hopped on a train to London leaving behind the house in which she grew up in rural Warwickshire and struck out for the big city and the big time. Armed with an acoustic guitar and an unstoppable dedication, Lucy played every open-mic night imaginable, she met people on the way who are still with her now and with their support and her graft she learned the ropes. As her songs and sentiments spread their warmth through the iciest of hearts, Lucy became that most modern of phenomenon; she went ‘viral’. Her biggest videos have clocked up over 800,000 views and on average, her sessions and videos are receiving 250,000 views each.

In moving forward, Lucy decided to return home to record her debut album. Setting up in the basement where she once taught herself guitar, Lucy, the producer Charlie Hugall, recording team and band folded down their beds and mic’ing up the mixing desk. Scheduled for 24th September 2012 and with a nationwide headline tour already underway, be prepared for a confessional long player of disarming intimacy and candid truth. To quote the Daily Star: “So simple she makes Adele look try-hard”.
Venue Information:
Rumsey Playfield
69th St. at Fifth Ave
New York, NY, 10021
http://summerstage.org