The Bowery Presents


Special guest Brett Dennen solo acoustic

Fri, November 25, 2011

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

The Wellmont Theatre

Montclair, NJ

$35.00 Single Show ticket / $50.00 2-Day Pass

“I guess we could have called it Live at Various Theaters” says drummer Brian Rosenworcel, referencing the fact that the songs on the album were culled from many performances and not just one. “Actually, I wish we’d called it Live at Various Theaters. Is it too late to call it Live at Various Theaters?”

It’s been eight years since Guster released a proper live album - 2004’s upbeat Guster On Ice - and on January 1st, the renowned live band will offer up new live material with Guster: Live Acoustic. Recorded during their 2012 acoustic tour, the sixteen tracks are a musical tribute to the varied faces and places that made last year’s travels one of the most remarkable in Guster’s impressive career.

For a band that has experienced a drastic sonic overhaul during its two decades, the acoustic presentation acts as the glue, bridging material as varied as the somber, percussive “Rocketship” from 1996’s Goldfly and the pop charmer “Do You Love Me” from 2010’s Easy Wonderful. The band digs deep and rediscovers “Rise and Shine,” a B-side from Ganging Up on the Sun, as well as reinventing 2006’s “Beginning of the End” as an angry acoustic hoe-down of sorts.

The acoustic sound is nothing new for Guster, who began their career in the early 90s writing songs in their dorm room at Tufts University on acoustic guitars and hand drums. After 1999’s seminal Lost and Gone Forever launched their stripped down sound into the national spotlight, the band threw a wrench into their instrumentation and surprised fans with a deeper, more textured album, Keep It Together (2003). The trajectory only continued with the more experimental Ganging Up on the Sun (2006), which featured the hit “Satellite” and saw the band branching out with its arrangements and styles. Pop masterpiece Easy Wonderful (2010) was hailed as their most mature and complete album-to-date.

Last spring’s unorthodox, stripped-down tour is par for the course for a band that has always done what’s necessary to keep things interesting for themselves as they’ve transitioned from college band to vaulted songsmiths. The band has been known to open up for themselves in disguise as psychedelic rockers “Trippin’ Balls” and as Christian Southern Rock outfit “The Peace Soldiers.” And Guster has joined forces with the Boston Pops Symphony Orchestra and the Colorado Symphony in recent years, with another show scheduled with the Dallas Symphony in January.

Singer Ryan Miller has branched out into film scoring, soundtracking 2012’s beloved Sundance standout Safety Not Guaranteed, and bandmate Adam Gardner has achieved great success greening the music industry through his non-profit “Reverb,” which works with bands, artists, and venues to reduce the music industry’s environmental footprint.

While the members of the band mainly stick to the acoustic guitars on Live Acoustic, the songs are fleshed out with Charlene Huang on violin and April Guthrie on cello – helping to bring out the parts and arrangements that have made Guster’s studio recordings such mainstays.

Rosenworcel plays a drum kit adorned with glockenspiel and percussive drums like djembe and hand snare, while newest member Luke Reynolds alternates with bandmates Ryan Miller and Adam Gardner on acoustic guitar, bass, piano and ukelele. The melodies and harmonies that have made Guster famous have never been more purely on display. Guster: Live Acoustic is an album that pulls from an impressive fifteen year discography and makes a case for Guster’s place amongst the best pop bands and songwriters of their era.
Special guest Brett Dennen solo acoustic
Special guest Brett Dennen solo acoustic
“In many ways this is my first album,” Brett Dennen says of his fourth record, Loverboy, out April 12th,
2011. “On my previous albums I said what I needed to say. I evoked every different mood and sentiment
and emotion. Now I don’t really have anything to prove. I’ve been the new kid on the block and now that
phase is over. I get to start all over again, relax, and refocus.” He pauses and flashes a laidback grin. “And
what I’m focused on is having fun.”

Dennen’s wunderkind rise has been impressive. In 2004 Dennen released his self-titled debut, followed
quickly by his sophomore LP So Much More (2006,) which spent months on the Billboard Heatseeker
chart. The release drew the attention of John Mayer, for whom Dennen opened in 2006 and 2007. In 2008
the artist released his follow-up, Hope for the Hopeless, which debuted at #41 on the Billboard Top 200
and firmly established Dennen as a definitive new voice in modern songwriting. He’s worked with Femi
Kuti, Natalie Merchant, and Jason Mraz; he’s toured with Dave Matthews, Rodrigo y Gabriela, and The
John Butler Trio; and he’s played Bonarroo, Austin City Limits, Coachella, Outside Lands, and Newport
Folk Festival. He’s also become the go-to guy for some of the best and most artfully soundtracked
contemporary TV shows. His songs have appeared on Scrubs, Grey’s Anatomy, Parenthood, Brothers &
Sisters, and House among others.

Considering his bold-name collaborators, association with hot TV shows, and impressive early chart and
radio success, Brett Dennen could be living in the Hollywood hills, gallivanting around with starlets and
hanging out in hotel bars. Nope. The bohemian artist, whose major in college was Community Studies
for Social Change, lives with a roommate in Santa Monica and rides his bike to the grocery store. Dennen
has never been into the ephemeral thrills of the rock star life, he’s after something else: a real career,
and with the release of Loverboy, he’s ready to ascend to his rightful place as one his generation’s most
inspired, authentic, artists. “Neil Young, Paul Simon, Van Morrison, they’re artists, you know? True
artists,” he explains. “And even when they have ups and downs, which is inevitable over a long career,
they’re still playing with passion. They’re still chasing greatness. They’ve let their craft change over time.
Let it evolve. That’s what I want to do.”

Dennen first started playing guitar and mandolin to amuse the kids while working as a camp counselor.
Once Dennen got the feel for writing his own material, he couldn’t stop. “It was suddenly like, I kind of
need to do this,” he remembers.

Dennen spent the next few years touring, and it wasn’t until December of 2009 that he had a chance to
think about a fourth record. “I had two weeks off from the road, my housemate and I built a studio in our
living room and we made demo versions of a bunch of songs,” he remembers. “The plan was to crank this
album out in early 2010.

Turns out we didn’t end up recording until July of that year.” Dennen was frustrated. He likes to keep
things moving. But the break turned out to be the best thing possible for the record. “Sometimes when
you’re put against a wall you do your best work,” he muses. “While we were waiting to figure out what
we were doing with this album I kept writing new songs. One of them was “Sydney (I’ll Come Running,)”
one of them was “Comeback Kid” and one of them was “Only Rain.” And those are the tracks that will
really pull people in.”

He’s right. Several of the songs Dennen wrote last are the first ones you really hear on Loverboy. “Sydney
(I’ll Come Running)” is a defiant testimony to the endurance of deep love, set to intricate but forceful
guitar and mandolin arrangements and accented by choral call-and-response. “Only Rain” is a delicate,
moody meditation, the sonic equivalent of a pensive rainy day at the beach. And songs like opening
track “Surprise, Surprise” swing with an impressive, easy confidence. That self-assurance comes in part
from Dennen’s half-decade of experience and part from the fact that he’s finally solidified a relationship
with the right musicians. “If you want to have a forty-year career you’d better surround yourself with
people who will take a bullet for you and for whom you’d do the same,” Dennen says. “If you choke you
want to look around and see guys that you trust. You want guys you can fail with. And at the same time,
if you do something triumphant, you want to be able to look around and see people you really want to
share that with too.”

The extra time Dennen took making Loverboy also had another unforeseen benefit; instead of touring
around the world, Dennen was, for the first time in a while, really home in Los Angeles. With no bus to
climb on first thing in the morning, no soundcheck to worry about, he started reconnecting with his most
basic (and precious) feeling about music: joy. “People get this amazing opportunity to play music but after
a while they figure out their routine and they stop going out to see music live, they stop listening to the
radio, they stop exploring music,” he muses. “I go out and I see live music and I love it and I try to jam
with people or just get out and play in a bar somewhere, just to be out and be involved and be a part of

The chance to retrench and be a part of a local scene inspired Dennen’s overall vision of Loverboy as
one of those classic albums that becomes the soundtrack for our lives. “I want people to feel instantly
attached to a feeling or memory from the music,” he explains. “And ten years from now, they’ll put on
Loverboy and feel like, aww it reminds me of my childhood or of this person in my life.”

Brett Dennen has the right guys backing him up, the right vision for his future in mind, and the right
album to get him where he wants to go. “In college I took this one course in mountaineering,” he
remembers. “And the professor would always say you can’t start counting how many peaks you’ve
bagged until you’ve bagged ten peaks. At the time I was like ‘what the fuck is he talking about!?’ But now
I get it. I used to feel like I had to put everything into every album. Like it was a race. But now I realize
that’s not the point. In these last two years I’ve really been thinking, if this is what I want to do then I
have to do it in a way that keeps me healthy and happy. I need to take care of my body with nutrition and
exercise. I need to take time off, even if I don’t want to, and actually appreciate and enjoy it. And I want
to bring all of that balance to my fans. That’s what this record is really about. I want people to put on
Loverboy and feel good. I want to make people dance!”
Venue Information:
The Wellmont Theatre
5 Seymour Street
Montclair, NJ, 07042