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DTSTART;TZID=America/Indiana/Indianapolis:20180118T190000
DTEND;TZID=America/Indiana/Indianapolis:20180118T190000
DTSTAMP:20260404T121119
CREATED:20171113T222400Z
LAST-MODIFIED:20171113T222400Z
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SUMMARY:Greensky Bluegrass w/ Billy Strings
DESCRIPTION:Greensky Bluegrass is Anders Beck (dobro)\, Michael Arlen Bont (banjo)\, Dave Bruzza (guitar)\, Mike Devol (upright bass) and Paul Hoffman (mandolin). \nFor more than a decade and a half\, the members of Greensky Bluegrass have created their own version of bluegrass music\, mixing the acoustic stomp of a stringband with the rule-breaking spirit of rock & roll. They redefine that sound once again with their sixth album\, Shouted\, Written Down & Quoted. \nLike the band’s own name\, Shouted\, Written Down & Quoted is a collection of opposites\, full of dark psychedelic swirls\, bright bursts of acoustic guitar\, soundscapes\, solos\, freethinking improvisation\, and plenty of sharp\, focused songwriting. It’s wild and wide-ranging\, showing off the diversity Greensky Bluegrass brings to every live show. At the same time\, Shouted\, Written Down & Quoted is unmistakably a studio album\, recorded during two different sessions — one at Echo Mountain Studio in Asheville\, North Carolina; the other at the Mountain House Recording Studio in Nedarland\, Colorado — that comprise the band’s longest block of recording time ever. The result is an 11-track album whose songs cast a wide net\, mixing the full-throttle energy of a Greensky Bluegrass concert with the nuanced approach of a band that’s still eager to explore. \n“You can call us an acoustic ensemble\, or a drum-less rock band\, or a rock & roll bluegrass band\,” says mandolin player Paul Hoffman\, who\, along with guitarist Dave Bruzza\, handles most of the album’s writing duties. “All of that shifting identity has taught us to cover a lot of ground. There’s a flow to this album\, just like there’s a flow to our setlists. There are some aggressive\, rocking moments. Some bouncy\, funky moments. An acoustic think piece or two. It’s a balance of moods and textures that we create as a band\, almost like a mix tape.” \nFormed in 2000 in Kalamazoo\, Michigan\, Greensky Bluegrass kicked off their career playing living rooms and open mic nights across the Midwest. By 2005\, they were touring nationally\, and by 2006\, they were playing the first in a long series of appearances at the annual Telluride Bluegrass Festival. Bandmates Hoffman\, Bruzza\, dobro player Anders Beck\, banjoist Michael Arlen Bont\, and upright bassist Mike Devol spent most of the following decade on the road\, fine-tuning a live show modeled not after the toned-down production of traditional bluegrass music\, but the full-on spectacle of rock. \n“We play two sets of music every night with a big light show\, and really care about creating a large scale production\,” notes Bruzza\, adding that\, “the goal isn’t just to play important music. We want to cultivate an experience\, where people can escape from their everyday lives for a minute and put their worries aside.” \nPlaying as many as 175 shows per year\, Greensky Bluegrass have graduated to headlining status at some of the country’s most iconic venues\, selling out amphitheaters like Red Rocks and world-class auditoriums like the Ryman. They’ve become a regular name on the festival circuit\, too\, adding Bonnaroo\, the New Orleans Jazz Festival\, Austin City Limits\, Forecastle\, and Outside Lands to their touring schedule. Supported by a grassroots audience whose members often travel for hours to see the band\, Greensky Bluegrass are still a proudly independent act\, enjoying the success of a major-label act — including a Number One debut on the Billboard Bluegrass chart for their fifth album\, 2014’s If Sorrows Swim — without giving up complete control of their own business. \nReleased on the band’s label\, Big Blue Zoo\, Shouted\, Written Down & Quoted kicks off with “Miss September\,” a song that splits its focus between Hoffman’s mid-tempo melodies and the band’s instrumental solos. Most of the album’s tracks strike a similar balance\, showcasing a group whose vocal hooks and flat-picking skills share the spotlight equally. Meanwhile\, the guys stretch their legs on “Living Over” — an improvised\, seven-minute knockout that’s already become a live staple — and show surprising restraint with “While Waiting\,” a slower song whose ebb-and-flow arrangement often finds no more than two bandmates playing at once. “Room Without a Roof” features some of the group’s most layered production to date\, with electric instruments adding some thick sonic padding\, while “More of Me” cranks up the drama\, with Hoffman singing about heartache over a bed of minor-key guitar arpeggios. \n“We tend to have a darker sense to ours songs than most acoustic bands\,” Bruzza adds\, “but we still have light moments\, too. We’re trying to explore the textures and sounds we can make\, while still having the instrumentation of a bluegrass band. There aren’t many rules. We’ll run a dobro though an amp on a song like ‘Past My Prime.’ We can get pretty epic. This album is a crazy carnival one minute\, and it’s a psychedelic Pink Floyd jam the next.” \nEqual parts dark\, driving\, and dynamic\, Shouted\, Written Down & Quoted is Greensky Bluegrass at their best\, fusing the fiery fretwork of their live shows with the focus of a true songwriting outfit.
URL:https://houselightventures.com/event/greensky-bluegrass-w-billy-strings/
LOCATION:IN
CATEGORIES:Talent Buying
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DTSTART;TZID=America/Indiana/Indianapolis:20180114T190000
DTEND;TZID=America/Indiana/Indianapolis:20180114T190000
DTSTAMP:20260404T121119
CREATED:20171113T221928Z
LAST-MODIFIED:20171113T221928Z
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SUMMARY:Kate Voegele & Tyler Hilton
DESCRIPTION:KATE VOEGELE \nHailing from a little suburb of Cleveland\, Ohio\, Kate Voegele first picked up a guitar at age 15. Influenced by the rock and roll history of the city and her father’s songwriting\, she began to pen her own songs from the minute she learned to play her first three chords. Voegele embraced this newfound passion\, recording her first EP during her freshman year of high school\, and soon after landed gigs alongside artists like Counting Crows and John Mayer. Those shows quickly led to attention from labels in New York and LA\, and Kate spent the majority of her high school years diving headfirst into a career in music.  \nAfter high school\, Voegele decided to attend Ohio’s Miami University\, where she quickly found new inspiration\, and simultaneously found herself uploading song after song to her MySpace page. Kate managed to get the attention of the social network’s founder\, Tom Anderson\, and just a few weeks later\, she became MySpace Records’ first signed artist. In spring of 2007 Voegele finished recording her first full-length record with Marshall Altman in LA and decided to swap her text books in for a tour bus and a year full of shows throughout the US. \nOver the next couple of years Voegele toured the country playing hundreds of shows. While traveling through LA\, Kate auditioned on a whim and would eventually land the role of Mia Catalano on the CW show\, “One Tree Hill.” What was supposed to be a two-episode run became a four-season recurrence\, and Kate found herself performing eleven of her original songs to millions of viewers over the course of the show. Record sales jumped dramatically after Voegele’s first appearance on the show\, and she was subsequently upstreamed to Interscope Records in January of 2008. At this point Kate toured internationally with artists like Natasha Bedingfield and Jordin Sparks. She split her time between the road and the television set\, and released a second full-length\, “A Fine Mess\,” in spring of 2009.  \nAfter her first two records sold over 500\,000 units\, Voegele signed with ATO Records in 2011\, releasing “Gravity Happens.” She spent the next two years continuing to tour the US and Europe\, writing new songs from airplane window seats and ultimately embarking on a new chapter in her life. \nIn fall of 2013\, Voegele moved her home base from LA to Nashville\, getting back to her songwriter roots. Being in Music City has given Kate the opportunity to work with writers like Nathan Chapman and Liz Rose\, and open up opportunities to work with the country’s best creative talents. With over a dozen new songs in tow\, Voegele is planning an EP in for late fall ’14\, followed by her fourth full-length album slated for next spring. \n  \nTYLER HILTON \nSinger songwriter and actor Tyler Hilton is a true crossover success story. He began his musical career at the age of eighteen after singing Johnny Lang’s “Breakin’ Me” over the phone to a pair of KLOS DJs. His voice caught the ear of Maverick Records\, and was signed immediately. After the release of his wildly successful first album “The Tracks Of Tyler Hilton”\, Hilton began his career in film. After musical appearances on One Tree Hill\, Tyler had a stint playing Chris Keller on the show. After One Tree Hill he appeared in the dark comedy “Charlie Bartlett\,” and symbolically played the part of a young Elvis Presley in the academy award winning “Walk The Line”.
URL:https://houselightventures.com/event/kate-voegele-tyler-hilton/
LOCATION:IN
CATEGORIES:Talent Buying
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DTSTART;TZID=America/Indiana/Indianapolis:20171216T200000
DTEND;TZID=America/Indiana/Indianapolis:20171216T200000
DTSTAMP:20260404T121119
CREATED:20171113T220736Z
LAST-MODIFIED:20171113T220736Z
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SUMMARY:An Evening With Yacht Rock Revue
DESCRIPTION:The Yacht Rock Revue is the greatest show on Surf and the finest tribute to ’70s light rock to ever perform anywhere. Ever. Their spot-on renditions of Hall & Oates\, Michael McDonald\, Steely Dan\, and the rest of the Time-LifeInfomercial Catalog have enthralled fans across the United States. It goes without saying they have taken their act to the high seas\, performing showcase sets on music cruises with Weezer\, Kid Rock\, Train\, Zac Brown Band\, Sister Hazel\, and fitness guru Jillian Michaels. \nBy blurring the lines between a tribute\, an original act\, and a comedic troupe\, the Yacht Rock Revue has forged a unique niche market and a special bond with their fans. The band attacks each song as if it were their own\, and the energy exchanged between the band and the crowd has more in common with a stadium U2 show than that of a typical bar band. \nThe band has won accolades ranging from “Best Place to Get Drunk With Your Dad” to “Best Overall Music Act in Atlanta” to “Best Place to Start an Extramarital Affair\,” and has been name-dropped by the New York Times\, Pitchfork\, the Guardian UK\,Spin\, TimeOut New York\, Billboard\, MTV.com\, and (probably) your mom at her last cocktail party.  \nSpeaking of name-dropping\, members of the band have played on-stage with members of Weezer\, Billy Joel\, Walter Egan\, .38 Special\, John Mayer\, Zac Brown Band\, Little River Band\, Sheryl Crow\, Noel Gallagher\, Starbuck\, Sarah McLachlan\, Don Henley\, Lynyrd Skynyrd\, Neil Finn\, Jellyfish\, Devo\, Nine Inch Nails\, Joan Jett\, Wet Willie\, Bon Jovi\, Skid Row\, and the Saturday Night Live Band. (None of those were a joke.)
URL:https://houselightventures.com/event/an-evening-with-yacht-rock-revue/
LOCATION:IN
CATEGORIES:Talent Buying
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BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20171215T220000
DTEND;TZID=America/Indiana/Indianapolis:20171215T220000
DTSTAMP:20260404T121119
CREATED:20171107T200036Z
LAST-MODIFIED:20171125T220740Z
UID:4003-1513375200-1513375200@houselightventures.com
SUMMARY:Punch Bowl Social Grand Opening
DESCRIPTION:Join us for Punch Bowl Social’s Sacramento Grand Opening on December 9th.  RSVP and artist information is coming soon.
URL:https://houselightventures.com/event/punch-bowl-social-sacremento-grand-opening/
LOCATION:IN
CATEGORIES:Event Management,Event Production,Talent Buying
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DTSTART;TZID=America/Indiana/Indianapolis:20171206T190000
DTEND;TZID=America/Indiana/Indianapolis:20171206T190000
DTSTAMP:20260404T121119
CREATED:20171113T215938Z
LAST-MODIFIED:20171113T215938Z
UID:4623-1512586800-1512586800@houselightventures.com
SUMMARY:The Revivalists w/ Muddy Magnolias
DESCRIPTION:It’s actually surprising that when The Revivalists take the stage\, the entire planet doesn’t hear them playing–yes\, their sound is that big. It’s not just because this band – who have performed everywhere across the country – has seven members and perform with a wide breadth on instruments. It is because there is so much passion spewing out of these guys that it’s completely impossible to ignore them.\nAfter seven years of making music together\, New Orleans rock hybrid The Revivalists (David Shaw – vocals\, Zack Feinberg – guitar\, Andrew Campanelli – drums\, Ed Williams – pedal steel guitar\, George Gekas – bass\, Rob Ingraham – saxophone\, and Michael Girardot – keyboards & trumpet) are set to deliver their latest studio album\, Men Amongst Mountains. The forthcoming release\, out on July 17\, is an album about growth. It is appropriate\, then\, that the band set out to challenge itself while writing and recording their latest batch of music.\n \nThe Revivalists cloistered themselves within the intimate confines of Bogalusa\, LA’s Studio in the Country for nearly two weeks while recording Men Amongst Mountains\, taking advantage of the studio’s generous acoustics by setting up in a single room and recording to tape in an effort to induce a more performance-based sensibility. New Orleans’ Esplanade and Living Room Studios hosted the finishing touches to an album which leans first and foremost on capturing authentic moments in warm\, rich tones and with a distinctly raw\, old-world feel. \nMirroring the broader themes which connect the individual songs on the album\, the recording and instrumentation on Men Amongst Mountains represents the next step in The Revivalists’ ever-evolving depth and maturity. Like the band’s vaunted live shows\, Men Amongst Mountains can and will turn on a dime. The gentle gives way to the heavy\, the acoustic to the orchestral. Despair becomes hope. Fire becomes light. At times\, the obstacles and troubles in our lives can make the world seem impossibly\, hopelessly big. Men Amongst Mountains\, ultimately\, is about the journey that makes us greater than the mountains standing in our way.
URL:https://houselightventures.com/event/the-revivalists-w-muddy-magnolias/
LOCATION:IN
CATEGORIES:Talent Buying
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BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20171115T190000
DTEND;TZID=America/Indiana/Indianapolis:20171115T190000
DTSTAMP:20260404T121119
CREATED:20171113T213510Z
LAST-MODIFIED:20171113T213510Z
UID:4599-1510772400-1510772400@houselightventures.com
SUMMARY:St. Vincent
DESCRIPTION:“Every record I make has an archetype\,” says Annie Clark\, the creative force behind St. Vincent. “Strange Mercy was Housewives on Pills. St. Vincent was Near-Future Cult Leader. MASSEDUCTION is different\, it’s pretty first person. You can’t fact-check it\, it’s not a diary entry\, but if you want to know about my life\, listen to this record.” \nMASSEDUCTION (out October 13\, on Loma Vista Recordings)\, is a bold\, emotional reckoning largely themed around power. Or as Clark specifies\, “All the forces that can swallow you whole.”\nThe album comes at a pivotal point in her life. Clark’s last album\, St. Vincent\, won her breakout acclaim plus performances on the season finale of SNL and with a reconstituted Nirvana for their induction into the Rock & Roll Hall of Fame. The album landed on several album-of-the-year lists (among them\, Pitchfork\, New York Times\, and Rolling Stone)\, culminating in Clark’s first GRAMMY nomination and win for Best Alternative Music Album. Around the same time her personal life was thrust into tabloids. The mass seduction she writes of includes notoriety and beauty\, but it also basks in intoxicating distractions such as pills\, sex\, and sorrow. \nThe first single\, “New York\,” feels astonishingly intimate. Its intro (“New York isn’t New York without you\, love”) was something she texted to a friend\, but the sentiment has multiple meanings. “The song is a love letter to the city\, too\,” she says\, “to all my friends and lovers who’d either moved away or moved to a different plane of existence.” \n“New York”’s intimacy notwithstanding\, MASSEDUCTION scales up from its predecessor; it’s richly melodic and vividly produced. The album marks her first collaboration with co-producer Jack Antonoff (Taylor Swift\, Lorde\, Sia)\, and their work occupies a fertile space between pop and art rock\, with narratives that pivot from sentimental to savage. \nThis aesthetic figures most literally into “Pills\,” a song that used the language of advertising and beats from Digi+Phonics producer Sounwave (Kendrick Lamar\, ScHoolboy Q) to convey a darker reality. “It came to me after I took a sleeping pill\,” Clark says of its sticky rhyme (“Pills to wake\, pills to sleep\, pills pills pills every day of the week”). “‘There’s a pill for everything. It’s an interesting thing\, how to figure out lifelong anxiety and depression.” \nThe song\, the second on MASSEDUCTION\, sets up the listener for a power struggle to come. Clark’s songs are profound\, without being crassly confessional. The title track\, for instance\, is a metaphor for both sexual desires and blithe consumerism (“I can’t turn off what turns me on”). The brightly pulsating “Sugarboy” and epic\, thunderous “Fear the Future” (“definitely the action-movie sequence where the world is falling apart\, but you’re running towards each other\,” Clark says) follow in kind\, exploring the reckless abandon of romance. The stark funk of “Savior” and ethereal “Smoking Section\,” meanwhile\, dig into its codependent side. \nThe latter\, an elegiac provocation penned two years back\, was the first song Clark wrote for the album. And its lyrics are razors: “Sometimes I go to the edge of my roof/And I think I’ll jump just to punish you.” Says Clark\, “Doesn’t everybody feel like that at times? I had a deep imprint of that feeling\, and wrote it as a lyric first.” It features soulful pedal-steel guitars courtesy of Greg Leisz (“the best in the world\,” she enthuses)\, who can be heard throughout the album. “The sound of the pedal steel just breaks my heart into a million pieces\,” she says. “It’s that sweet spot of joy and sorrow in the same breath.” \nEven a track such as “Los Ageless\,” which paints an absurdist reality\, bears autobiographical relevance. (Clark\, currently a New Yorker\, has opened a studio on the West Coast.) In the space of seconds\, the synth-dripping anthem swells from assessment of the city’s Peter Pan complex to outsize self-awareness (“How can anyone have you\, lose you\, and not lose their mind\, too?”). “It is about love lost. But it can mean a lot of different things\, too. I was also thinking about youth\, beauty\, and fame\,” she says. “All these things people try to hold on to. The proximity to all that\, but not having it\, drives some people insane. I like L.A.—don’t get me wrong—but it’s a little bit of a funhouse mirror.” \nMASSEDUCTION is\, most accurately\, a mosaic of Clark’s experiences. “I have all this source material\, because I never really stop writing\,” she says. “With this record\, I had years’ worth of notes and voice memos that I’d collected on the road”—the aforementioned intro to “New York” being one of them—“‘Here’s this melody from Amsterdam.’ ‘Here’s this lyric from Latvia\,’ and so on.” \nTurning that source material into MASSEDUCTION required monastic discipline. “For months\, until I finished the record\, I refrained from anything that could be a distraction. I wasn’t drinking\, and I was celibate\,” she explains. “I was a tabula-rasa version of myself\, the conservation and focus of energy.”\nMuch of Clark’s creative process has entailed challenging\, then surprising\, even herself. “I started playing the guitar when I was 12 and really never stopped” she adds. It’s somewhat inevitable that her identity would ultimately entwine with her creations. “Music is still my entire identity. There are so many ways to be creative. With this record\, I really broadened my palate.”
URL:https://houselightventures.com/event/st-vincent/
LOCATION:IN
CATEGORIES:Talent Buying
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20171113T190000
DTEND;TZID=America/Indiana/Indianapolis:20171113T190000
DTSTAMP:20260404T121119
CREATED:20171113T214435Z
LAST-MODIFIED:20171113T214435Z
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SUMMARY:Robyn Hitchcock w/ Tristen
DESCRIPTION:Robyn Hitchcock is one of England’s most enduring contemporary singer/songwriters and live performers. A surrealist poet\, talented guitarist\, cult artist and musician’s musician\, Hitchcock is among alternative rock’s father figures and is the closest thing the genre has to a Bob Dylan (not coincidentally his biggest musical inspiration). \nSince founding the art-rock band The Soft Boys in 1976\, Robyn has recorded more than 20 albums as well as starred in ‘Storefront Hitchcock’ an in concert film recorded in New York and directed by Jonathan Demme. \nBlending folk and psychedelia with a wry British nihilism\, Robyn describes his songs as ‘paintings you can listen to’. His most recent album is self-titled and marks his 21st release as a solo artist. Out on April 21 2017\, the album is produced by Brendan Benson (The Raconteurs). Hitchcock describes it as a “ecstatic work of negativity with nary a dreary groove.” \nIt has received rave reviews from UNCUT\, Rolling Stone\, Paste\, Tidal and more. \n“A gifted melodist\, Hitchcock nests engaging lyrics in some of the most bracing\, rainbow-hued pop this side of Revolver. He wrests inspiration not from ordinary life but from extraordinary imaginings…” – Rolling Stone \n“These 10 gems slither\, rock\, roll\, glide and shapeshift\, coalescing around Hitchcock’s typically anxious\, strained but striking and immediately identifiable vocals.” – American Songwriter \n“Beloved of everyone from Led Zeppelin to REM\, Hitchcock has only enhanced his status with this wonderful outing.” – Hot Press \n“Witty\, moving and seriously catchy\, Robyn Hitchcock is a glorious return for a man who wasn’t really gone in the first place.” – Paste Magazine
URL:https://houselightventures.com/event/robyn-hitchcock-w-tristen/
LOCATION:IN
CATEGORIES:Talent Buying
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20171110T210000
DTEND;TZID=America/Indiana/Indianapolis:20171110T210000
DTSTAMP:20260404T121119
CREATED:20171108T194917Z
LAST-MODIFIED:20171111T040108Z
UID:4213-1510347600-1510347600@houselightventures.com
SUMMARY:Bad Dagger\, Kaleidoscope Jukebox w/ The Trip
DESCRIPTION:Disco. Metal. House. These three words form the mission statement adopted by the dance powerhouse experience that is Bad Dagger. Bursting onto the scene in 2012\, Bad Dagger was comprised of Cameron Reel (music production\, synths and bass guitar) and Eddie Roodvoets (drums\, samples\, and triggers). This duo stunned and entertained audiences with there unique brand of Disco/Meta/House or Electrosexymetal\, as their style has been called. Extremely danceable\, this act has a tendency to switch gears without warning. This makes it possible to touch on a wide array of genres in each set. Bad Dagger makes use of this versatility with relentless passion and energy. \nIn the fall of 2016\, Brice Jones (guitar) was added to the lineup. Never really knowing how a guitar player would fit in with their style\, Cameron and Eddie were immediately floored by the element that Brice brings to the music. Brice’s instincts and artistic taste were spot on right away\, adding a crucial ands melodic balance to the band. Although they have similar influences in music\, each member has a unique taste and sensibility. This helps add to the evolution of the unique brand of music they have developed.  \nBad Dagger – The world’s original innovators of and only true source for pure\, high-grade Electrosexymetal. \nYou’re about to embark on a very exciting adventure.\nA journey which along the way will bring to you new color\, \nnew dimension and a new experience. \nLet your minds eye go wild. \nEvery atom of your being is animated by its action. \nFrom an invisible source comes blunted breaks\, \ndeep bass\, ethnic elements from around the world\, lush keyboards\,\nwarm brass and samples from the caverns of yore… \nThe music emitting from this jukebox takes you on a kaleidoscopic journey \nthru the past\, present and future. A deep space beam which hints at \ndub\, hip hop\, downtempo\, soul\, funk\, latin\, jazz.\nAll captured forever in Hi-Fi. \n…I am one with its rhythm…
URL:https://houselightventures.com/event/bad-dagger-kaleidoscope-jukebox-w-the-trip/
LOCATION:HI-FI\, 1043 Virginia Ave\, Indianapolis\, IN\, 46203\, United States
CATEGORIES:Event Production,Talent Buying
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X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=HI-FI 1043 Virginia Ave Indianapolis IN 46203 United States;X-APPLE-RADIUS=500;X-TITLE=1043 Virginia Ave:geo:-86.1407527,39.7525463
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Indiana/Indianapolis:20171109T200000
DTEND;TZID=America/Indiana/Indianapolis:20171109T200000
DTSTAMP:20260404T121119
CREATED:20171108T200243Z
LAST-MODIFIED:20171108T200415Z
UID:4220-1510257600-1510257600@houselightventures.com
SUMMARY:Jenny O. w/ Richard Edwards\, It's Just Craig
DESCRIPTION:ABOUT JENNY O.\n“These aren’t necessarily the songs I wanted to write\, but they were the ones I had to write\,” Jenny O. says of the material that became Peace & Information\, her sophomore record\, and the second she’s collaborated on with producer Jonathan Wilson. “I wrote my way out of a difficult time\,” she says. The result is a group of songs about increased intuition\, the pursuit of self-actualization\, unrequited love\, PTSD\, equality\, and garbage\, among other things.\n\nAfter O.’s first album\, Automechanic\, was released\, she spent the bulk of two years on the road in support of acts like Father John Misty\, Leon Russell\, and Rodriguez. She confesses\, “I’m into music but I’m not an extrovert. I’m really sensitive and each tour presents new dynamics to surf through. When you’re in a bad place spiritually but obligated to perform\, the shows feel like fraud. I wanted it to stop until I could get my shit together.” The end of the album cycle prompted a move to Nashville for a while. “I felt like riding a bicycle in a mellow town—being transient\, elsewhere\,” she explains.\n\nJenny moved into an 18th-century log cabin and spent eight months reading\, working\, and recuperating in her vaulted bedroom until the structure was bulldozed to make way for condominiums. “It was the cheapest\, most beautiful\, and the most necessary place I’ve ever lived\,” she says. It was here that she wrote the songs that became Peace & Information. \nJenny O. returned to Los Angeles to record the album with Jonathan Wilson\, who has also produced albums for Father John Misty\, Conor Oberst and Dawes. “We recorded to tape\, like last time. The whole record was tracked and mixed in 17 days\,” Jenny says. “We both draw from all kinds of music so the album is pretty varied. This time we used more synthesizers and grunge guitars\, and there’s a bossa nova on there too.” \nABOUT RICHARD EDWARDS\n\n\nLemon Cotton Candy Sunset\, the intense and intensely personal new album from erstwhile Margot And The Nuclear So & So’s frontman Richard Edwards\, battled its way into existence against the longest of odds. Richard Edwards’ first solo album is the phoenix that rose from the ashes of a scrapped record\, a scrapped marriage and a broken body. Less haunting than haunted\, it bears a roadmap of scars\, a cartography that\, if traced back\, leads to a much happier time. \nThere is a yellow house in Indianapolis across the street from a public park. A screened back porch where each night a young mother and father smoke a few guilty cigarettes and drink a few microbrews. There is a brilliant\, muscular\, challenging new Margot record called Sling Shot To Heaven. Then a tour\, ill-fated\, truncated and generally doomed. The young father is home all the time now\, gripped by a mysterious illness that starts in his gut and reaches out to the farthest corners of the yellow house.  \nHe finds just enough strength to muster an occasional smile for the daughter who bounces through the yellow house\, scattering sunbeams like a flower-girl might scatter rose petals down an aisle at a wedding.  \nWhen the days are darkest\, he is granted a reprieve. Some folks in an organization called MusiCares come to his rescue. Maybe he imagines these folks or maybe they’re angels but the reprieve is real enough.  \nSuddenly he’s writing songs and riding bikes. Playing in the yard and pulling his weight around the house. He chronicles the battle against his own body and turns it into an album. An examination of absence. Probably mind-bogglingly great\, but who will ever know? He shelves this record\, deciding it’s either too true or not true enough. Although things are going well\, he can’t help but agonize. \nHis newfound health has him thinking bigger. He learns that a well-known producer in California has fallen in love with Sling Shot… The young man wants to work with the producer. He re-writes and conspires. He robs a bank or something\, somehow cobbling together the money to get to LA and see all this agony reach some sort of redemptive climax.  \nBut he starts to feel sick again\, losing forty pounds like his body is the outro to a sad song fading away. He flies to Los Angeles in spite of this. He spends the winter in the studio\, tracking by day and sleeping on the tracking room floor by night. \nAnd that’s when\, as the song says\, things get weird. \nWhat awaits him at home is a new and larger devastation. The yellow house disappears. There are divorce papers and tears and a sudden iciness that can’t be blamed on the Indiana winter.  \nHe lives then in a friend’s basement. The doctors cut open his stomach. The young man is an old man now. He wanders around Indianapolis with his cane. He eats mostly painkillers. He returns to Los Angeles. With his cane. And embarks on a lost weekend that lasts a month. He is now re-writing songs he’s written twice already\, re-recording songs he’s recorded in two different cities now. He is circling back in arcing loops\, rebuilding emptiness\, closing in on a platonic ideal of despair. He is somewhere distant now. Off so far that the deep end is just a blip on the horizon. \nWhat does he do in this moment of decision? Does he give in to this darkest of desires? Does he strike out against this body that betrays him? Or does he do the hard thing\, the brave thing and convert this terror into something useful\, something beautiful\, something that works the kind of magic that reanimates a person? \nHe comes back to himself. To us. \nRichard Edwards made Lemon Cotton Candy Sunset in Los Angeles where no one ever dies and heartbreak is golden and the cold Pacific Ocean wants to eat you and spit you out again as a new man. \nThere is no band now. There is no cryptic moniker behind which this new man hides. There is just Richard Edwards\, who isn’t dead or even dead-eyed\, who hasn’t disappeared or been delivered. He has emerged
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