The Head and the Heart
Tuesday, April 11th, 2017
7:30 pmBrooklyn Bowl Las Vegas
$31.00 - $46.00 +
This event is 18 and over
$31 general admission. $36 day of show.
$46 club level.
All guests must have a valid government/state issued ID for entry to the venue. No refunds.
TICKETS PURCHASED IN PERSON AT THE BOX OFFICE INCLUDE A $2 BOX OFFICE FEE
All general admission tickets are standing room only.
ALL TICKET PRICES INCLUDE NEVADA'S 9% LIVE ENTERTAINMENT TAX
Brooklyn Bowl Las Vegas is excited to offer special room discounts via Caesars Hotels & Resorts for traveling fans. For hotel rooms use promo code: BRB15 at www.caesars.com applicable for rooms at The LINQ Hotel and the Flamingo.
*Advertised times are for doors -- show time not available until day of show*https://www.brooklynbowl.com/event/1402437/
Then, something unexpected happened. That music began to reach audiences all over the United States and the rest of the world, and The Head and the Heart went from playing open mic nights to selling out headlining shows in prestigious venues. The album became one of Sub Pop's best-selling debut releases in years. And slowly but surely, ideas began to form for the band's second album, imbued with the experiences of traveling the world and cultivating a listenership with a deep connection to the music.
"There is a certain level of confidence gained from having such an amazing fan base," says group member Jonathan Russell. "You start to trust yourself more. When we were busking, we were filling so much space to keep the listener from walking away. Now we are in a very different situation." Adds group member Josiah Johnson, "We wanted to write songs that felt bigger, and didn't need to be so frantic. I think for the most part we wanted to record an album that sounds like the way we play now."
Indeed, The Head and the Heart's new release, Let's Be Still, is a snapshot of a band that didn't exist just four short years ago. Virginia native Russell and California transplant Johnson formed the core songwriting partnership, which was rounded out by drummer Tyler Williams, keyboardist Kenny Hensley, vocalist/violinist Charity Rose Thielen and bassist Chris Zasche, who'd met Russell and Johnson while tending bar at an open mic they frequented. The nascent group dove headfirst into writing, recording and performing, and even moved into the same house to ensure that inspiration could strike at any moment.
"The first record was very thematic. It just had to do with all of us being together and writing songs, and leaving home to come to Seattle," says Thielen. "I honestly don't know if there is a theme this time around. There are things that stick out, like the idea of going from busking to becoming a full-on band and touring like crazy." Adds Williams, "Before we started recording, I wondered, 'What if this doesn't work? What if the momentum dies down?' But once we got in there, we realized that we felt so good together doing it. The weight was lifted. It was like, 'Right! This is what we do.'"
Let's Be Still was recorded at Seattle's Studio Litho with assistance from prior production collaborator Shawn Simmons. Later, the band traversed the country to mix the album in Bridgeport, Conn., with Peter Katis, revered for his work with bands such as the National, Interpol and the Swell Season. The 13 tracks here build naturally on both the sounds and themes of the debut, from the piano and violin-dappled opener "Homecoming Heroes" and the heartfelt "Josh McBride" to vibrant, bouncy future concert staples "Shake" and "My Friends."
"The first record was written and recorded with a lot of limitations. It's almost easier that way," says Zasche. "This time around, with more time and resources, there were few limitations, so we had to be in charge of keeping a focus and not getting distracted but at the same time exploring the options available. It wasn't easy, but from this I think a clearer, more focused record has been made."
Band members point to "Another Story" as a moment that embodies their collective creative spirit. Russell wrote the song shortly after the elementary school shooting in Sandy Hook, Conn., but hadn't showed it to anyone in the band except Johnson. "One day everyone was taking a break from tracking and I was sitting in my booth and started to play this song," Russell recalls. "You could hear what I was doing in the control room and then one by one, a bandmate would walk in, grab their instrument and start playing along. We didn't talk about it. We didn't have to go back and rearrange anything. It was all there." Adds Williams, "Jon is so smart about waiting to introduce new ideas. He knows when the mood will be right." Says Johnson, "The song was undeniable, and the vibe didn't change from when he was playing it acoustically. Everybody just lifted it up, in the way that this band does."
On the opposite end of the spectrum was "Gone," which dated back to sessions for the debut album but didn't make the cut the first time around. The band wrestled with the arrangement while performing it live for several years, and finally cracked the code after adding a laid-back bass-and-drum groove to the beginning. Described by Thielen as "striking" in its solo acoustic form, Johnson's "Fire / Fear" underwent similar revisions until the rest of the band settled on a new progression to link the verses together. "There is a lot more patience in the music," says Russell. "I think that has a lot to do with feeling more comfortable as a songwriter and a performer."
During the mixing process, Katis was tasked with polishing what Johnson describes as "a beautiful mess" of finished tracks. Says Williams, "We have a certain energy when we play shows that didn't translate to the first record. I was getting worried about that before we went to Peter's. Things seemed a bit muted and dry to me. But I didn't realize how much mixing could change a record. Peter actually went in and messed with tones, had some production suggestions and wound up really being the right guy to help us finish the record." "His mixes turned the songs around, and breathed vibrancy into them," says Thielen. "He added some auxiliary details that helped make things more full-bodied, but still within the realm of what we do. It was really refreshing."
With Let's Be Still ready for release, The Head and the Heart is eager to return to the road to further hone the musical bond its members formed in such whirlwind fashion. "When I think about the two records together, the first one feels like we all wanted to fulfill this dream we'd had about playing music, meeting people and traveling around," says Williams. "This one feels like the consequences of doing that -- what relationships did you ruin? What other things did you miss? You always think it will all be perfect once you just do 'this.' And that's not always the case."
Adds Russell, "Has there been an impact on our lives since we have become full-time musicians? Sure. No band wants to write that second record about how hard they have it. But it's hard to get around all of it. There are a few songs on this record that express the band's hardships for sure. On one hand, it's everything you have ever wanted. On the other hand, you start to miss the things you've lost and had to give up. And that's just life. My job is to write about it."
First, DREAMERS’ aesthetic embodies psychedelia. It hearkens back to simpler times on the internet, when pixilated 8-bit imagery of starry nights looked like HD. The group flaunts its self-made exploding rainbow gifs like a unicorn in heat.
Second, contrary to what these psychedelic visions may musically imply, DREAMERS plays smart pop. The 12 tracks on the trio’s debut LP This Album Does Not Exist sizzle and spark with three-minute tunes to perk you up and make you shake.
Third, according to DREAMERS, there’s a point to this.
When DREAMERS—Nick Wold (vocals/guitar), Nelson (bass/vocals), and Jacob Wick (drums)—talk about This Album Does Not Exist, they assume a collective tone of considerate existentialism. They seek to counter the crassness of pop, the snobbery of jazz, and the pretention of indie that zaps the fun out of music with meaning. Yet, they want to draw you in, indiscriminate of taste, style, or ideology.
“Nothing exists by itself,” muses Wold. “Everything in your mind is created in your mind and you see the world through that lens. Everything has a subjective reality in addition to an objective one, especially with music and art. So on this record, we’re toying with that idea of existence and nonexistence.”
Yet, these songs of playfulness come from a place of less—homelessness, joblessness, borderline hopelessness. In 2014, Wold simultaneously vacated a relationship and an apartment and began living in his Brooklyn practice space. The brick warehouse used to be a brewery, he recalls, with rats as ubiquitous as the graffiti crawling the walls.
“It was just a cinderblock room with no windows, no bathrooms, ” begins Wold before Nelson chimes in, “Musical prison!”
Recalls Wold, “I showered with this $20 a month gym membership I had.” When he returned to the studio, “I just tried to make it look like I was coming in for a night session.”
During the two years of living in this “musical prison,” Wold reduced his bartending gig to just once per week. It freed up his schedule to write more than 100 songs, many of which ended up on This Album Does Not Exist.
Meanwhile, both Nelson and Wick bottomed out on the musician lifestyle and returned to office jobs in New York and Los Angeles, respectively. As Nelson says, “We found ourselves in ‘normal’ situations and quickly decided to yank ourselves out of it.”
So now, after bouts of vagrancy, nomadism, and vigilant attempts at normalcy, DREAMERS is now committed to its collective vision of artistry, inclusion, and idealism.
“The role of the artist in society is to be the dreamer, the one who thinks ahead,” considers Wold.
“We’re trying to pull people in. It’s a way of trying to coax people into our world, continues Nelson. “We want to bring people in to listen to our music and enjoy themselves....and then hopefully it’ll lead to a deeper connection.”
That’s the dreamer MO, after all—to find the joy in living and to chase it
Brooklyn Bowl Las Vegas
3545 Las Vegas Blvd. South
Las Vegas, NV, 89109