Brooklyn Bowl Las Vegas
The Linq Promenade
Las Vegas, NV
$31.00 General Admission
$33.50 General Admission (week of show)
$36.00 General Admission (day of show)
Courtney Barnett has partnered with PLUS1 so that a portion of proceeds goes to supporting Indigenous-led organizations working for equity, justice, and community development. www.plus1.org
Please note this show is requiring all fans to provide proof of a negative COVID-19 test within 72 hours of the event OR full vaccination for entry.
Proof of your vaccination record (vaccination card or picture of your card with a matching ID card), demonstrating you were fully vaccinated at least two weeks in advance of the day of show. OR proof of a negative COVID test, administered within 72 hours of the day of show, with matching ID card.
A negative PCR or antigen COVID-19 test will be accepted. Please be sure to bring printed or digital proof of your negative test result, dated and time-stamped. At home test will not be accepted for entry
Acceptable Vaccines include: Pfizer | Moderna | Johnson & Johnson | vaccines authorized by WHO (if vaccinated outside of the U.S.)
MASKS: In accordance with local guidelines: Until further notice, masks are required to be worn at all times for attendees, regardless of vaccination status, except while actively eating or drinking. All Brooklyn Bowl staff are fully vaccinated and must wear masks while inside the venue.
By purchasing a ticket you acknowledge you will be required to show proof of vaccination or a negative test result. There will be no refunds for purchased tickets based on non-compliance of venue COVID-19 protocols, however, if you are unable to attend a show due to a positive Covid-19 test, please reach out to email@example.com and we will help facilitate a full refund.
An inherent risk of exposure to COVID-19 exists in any public place where people are present. COVID-19 is an extremely contagious disease that can lead to severe illness and death. According to the local health authorities, senior citizens and guests with underlying medical conditions are especially vulnerable. By visiting our establishment, you voluntarily assume all risks related to the exposure to or spreading of COVID-19.
Clark County, the Southern Nevada Health District, and Nevada National Guard are offering free drive-thru COVID-19 testing and vaccination services at UNLV Stan Fulton Parking Lot, 801 E. Flamingo Road (off Paradise Road). For more information on testing locations, please visit this link here: https://www.clarkcountynv.gov/top_services/covid19/testing_locations.php
All guests must have a valid government/state issued ID for entry to the venue. No refunds.
Tickets purchased in person, subject to $2.00 processing charge (in addition to cc fee, if applicable).
All general admission tickets are standing room only.
ALL TICKET PRICES INCLUDE NEVADA'S 9% LIVE ENTERTAINMENT TAX
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*
* Venue closes between 12am - 1am unless otherwise noted*
Four albums into her career, Courtney Barnett remains one of the most distinctive and compelling voices in indie rock. Her sprawling-but-intense live shows oscillate between intimate folk-balladry to glorious, feed-back heavy jams. Armed with a back-catalogue of gems as well as some of her best and most musically adventurous new work to date, Barnett will bring her thunderous rhythm section back to North America for the first time in almost three years.
Barnett's enigmatic and introverted character is made all the more compelling by the honesty and brutal self-reflection laid bare in her writing. With countless awards in her home of Australia as well as Grammy and BRIT nominations, fawning press and an adoring audience, Barnett’s rise to global prominence feels both unprecedented and important. Music fans have rarely witnessed the breathless acclaim and superlatives that comprised reviews of Barnett’s debut album “Sometimes I Sit And Think, And Sometimes I Just Think” - Rolling Stone praised her as “one of the sharpest, most original songwriters around—at any level, in any genre”. 2017 saw the release of the wonderful album "Lotta Sea Lice”, an introspective but beautiful album of duets with Kurt Vile while we awaited the release of 2018’s fierce sophomore solo album “Tell Me How You Really Feel”.
Barnett has a brand-new album due for release in late 2021.
― Italo Calvino
“I am a pilgrim and a stranger traveling through this wearisome land. I’ve got a home in that yonder city, good Lord and it’s not, not made by hand.”
Bedouine, a gallicized riff on bedouin, the nomad, the wanderer. Anyone can assume such a name, but Azniv Korkejian has an experience of what it means, the type of ground it covers. “Moving around so much caused me at some point to feel displaced, to not really belong anywhere and I thought that was a good title.” Her development was shaped by political landscapes and family opportunities, her adult life patterned by paths of her own. Born in Aleppo, Syria to Armenian parents, Korkejian spent her childhood in Saudi Arabia, moving to America when her family won a Green Card lottery. They settled in Boston, then Houston, but she split for L.A. as soon as she could. A casual offer to stay on a horse farm took her to the rolling hills of Lexington, Kentucky, followed by a year in Austin, and a trip east to Savannah for a degree in sound design. Returning to L.A., she discovered a close-knit community of musicians in Echo Park that started to feel like home. Maybe America is just a highway that leads back to L.A.
Korkejian works with sound professionally, in dialogue editing and music editing, a slice of Hollywood’s sprawling industry. She never set out to be a singer in L.A., taking a zen approach to that part of her life, thinking that if it happens, it happens. “I just kept meeting the right people, who were professional musicians, and even though they were going on these big legitimate tours, they were still coming back to this amazing small scene, still demoing at home, and I immediately felt welcomed to join in on that. L.A. actually made me less jaded.” One day she walked into the studio of bass player / producer Gus Seyffert (Beck, Norah Jones, The Black Keys) to inquire about portable reel-to-reel tape machines and ended up cutting “Solitary Daughter in a first take. So they began another kind of journey.
Bedouine has a sound. Sixties folk meets seventies country-funk with a glimmer of bossa nova cool. Lithe guitar picking and precise lyrical excursions. That mesmerizing voice and phrasing. Working on around thirty tracks over three years, with contributions from a remarkable cast of players like guitarist Smokey Hormel (Tom Waits, Joe Strummer, Johnny Cash), Seyffert and Korkejian brought a selection of ten songs to Richmond, Virginia. She specifically sought out Spacebomb, approaching Matthew E. White after a show in L.A. He remembers listening to the song she sent over and over, on and off the road, “‘One of These Days’ became our alarm when we woke up for almost all of that tour.” Anticipating this future collaboration, the tracks were created with breathing room for the Spacebomb touch and Trey Pollard’s sinuous symphonic arrangements. Back in California, Thom Monahan (Pernice Brothers, Devendra Banhart, Vetiver) brought all the elements together in a masterful final mix.
Eschewing notions of nomadic chic, Bedouine represents minimalism motivated by travel, paring down and paring down until only the essential remains. Her music establishes a sustained and complete mood, reflecting on the unending reverberations of displacement, unafraid to take pleasure along the way. At the end of “Summer Cold” Korkejian composed an interstitial piece to recreate the sounds of her grandmother’s street in Aleppo. Partly due to America’s role in destabilizing Syria, this sonic memory is the only way to return to her birthplace. Worlds that have been lost might only be accessed through a song, in a line or a melody or a trace of tape, but they must be looked for in order to be found, so she wanders on.