eTown Live Radio Show Taping featuring JJ Grey with special guests Cicada Rhythm – Tickets – Georgia Theatre – Athens, GA – April 7th, 2017

eTown Live Radio Show Taping featuring JJ Grey with special guests Cicada Rhythm

eTown Live Radio Show Taping featuring JJ Grey with special guests Cicada Rhythm

Cicada Rhythm

Fri · April 7, 2017

Doors: 6:00 pm / Show: 7:00 pm

Georgia Theatre

$28.00 - $50.00

This event is 18 and over

eTown, the popular radio variety show broadcast weekly across the country and worldwide, travels to Athens, Georgia for a live taping at the Georgia Theatre!

Hosted by radio personalities Nick and Helen Forster, each eTown show features live musical performances by (and ‘up close and personal’ conversation with) several visiting musical artists. The Athens show will include the influential and soulful singer-songwriter/acclaimed touring artist JJ Grey, as well as the Georgia-based modern folk duo Cicada Rhythm.

In addition to the music, eTown will present its signature eChievement Award live on the air to one extraordinary individual who is making a significant, positive difference in the community.

This event will run 2 hours.

Sponsored by WUGA-FM, Visit Athens and Georgia on My Mind.


JJ Grey - (Set time: 7:00 PM)
JJ Grey
From the days of playing greasy local juke joints to headlining major festivals, JJ Grey remains an unfettered, blissful performer, singing with a blue-collared spirit over the bone-deep grooves of his compositions. His presence before an audience is something startling and immediate, at times a funk rave-up, other times a sort of mass-absolution for the mortal weaknesses that make him and his audience human. When you see JJ Grey and his band Mofro live—and you truly, absolutely must—the man is fearless.

Onstage, Grey delivers his songs with compassion and a relentless honesty, but perhaps not until Ol’ Glory has a studio record captured the fierceness and intimacy that defines a Grey live performance. “I wanted that crucial lived-in feel,” Grey says of Ol’ Glory, and here he hits his mark. On the new album, Grey and his current Mofro lineup offer grace and groove in equal measure, with an easygoing quality to the production that makes those beautiful muscular drum-breaks sound as though the band has set up in your living room.

Despite a redoubtable stage presence, Grey does get performance anxiety—specifically, when he's suspended 50 feet above the soil of his pecan grove, clearing moss from the upper trees.

“The tops of the trees are even worse,” he laughs, “say closer to 70, maybe even 80 feet. I'm not phobic about heights, but I don't think anyone's crazy about getting up in a bucket and swinging all around. I wanted to fertilize this year but didn't get a chance. This February I will, about two tons—to feed the trees.”

When he isn't touring, Grey exerts his prodigious energies on the family land, a former chicken-farm that was run by his maternal grandmother and grandfather. The farm boasts a recording studio, a warehouse that doubles as Grey's gym, an open-air barn, and of course those 50-odd pecan trees that occasionally require Grey to go airborne with his sprayer.

For devoted listeners, there is something fitting, even affirmative in Grey's commitment to the land of his north Florida home. The farms and eddying swamps of his youth are as much a part of Grey's music as the Louisiana swamp-blues tradition, or the singer's collection of old Stax records.

As a boy, Grey was drawn to country-rockers, including Jerry Reed, and to Otis Redding and the other luminaries of Memphis soul; Run-D.M.C., meanwhile, played on repeat in the parking lot of his high school (note the hip-hop inflections on “A Night to Remember”). Merging these traditions, and working with a blue-collar ethic that brooked no bullshit, Grey began touring as Mofro in the late '90s, with backbeats that crossed Steve Cropper with

George Clinton and a lyrical directness that made his debut LP Blackwater (2001) a calling-card among roots-rock aficionados. Soon, he was expanding his tours beyond America and the U.K., playing ever-larger clubs and eventually massive festivals, as his fan base grew from a modest group of loyal initiates into something resembling a national coalition.

Grey takes no shortcuts on the homestead, and he certainly takes no shortcuts in his music. While he has metaphorically speaking “drawn blood” making all his albums, his latest effort, Ol’ Glory, found him spending more time than ever working over the new material. A hip-shooting, off-the-cuff performer (often his first vocal takes end up pleasing him best), Grey was able to stretch his legs a bit while constructing the lyrics and vocal lines to Ol’ Glory.

“I would visit it much more often in my mind, visit it more often on the guitar in my house,” Grey says. “I like an album to have a balance, like a novel or like a film. A triumph, a dark brooding moment, or a moment of peace—that's the only thing I consistently try to achieve with a record.”

Grey has been living this balance throughout his career, and Ol’ Glory is a beautifully paced little film. On “The Island,” Grey sounds like Coleridge on a happy day: “All beneath the canopy / of ageless oaks whose secrets keep / Forever in her beauty / This island is my home.” “A Night to Remember” finds the singer in first-rate swagger: “I flipped up my collar ah man / I went ahead and put on my best James Dean / and you'd a thought I was Clark Gable squinting through that smoke.” And “Turn Loose” has Grey in fast-rhyme mode in keeping with the song's title: “You work a stride / curbside thumbing a ride / on Lane Avenue / While your kids be on their knees / praying Jesus please.” From the profane to the sacred, the sly to the sublime, Grey feels out his range as a songwriter with ever-greater assurance.

The mood and drive of Ol’ Glory are testament to this achievement. The album ranks with Grey’s very best work; among other things, the secret spirituality of his music is perhaps more accessible here than ever before. On “Everything Is a Song,” he sings of “the joy with no opposite,” a sacred state that Grey describes to me:

“It can happen to anybody: you sit still and you feel things tingling around you, everything's alive around you, and in that a smile comes on your face involuntarily, and in that I felt no opposite. It has no part of the play of good and bad or of comedy or tragedy. I know it’s just a play on words but it feels like more than just being happy because you got what you wanted — this is a joy. A joy that doesn’t get involved one way or the next; it just is.”

Grey's most treasured albums include Otis Redding's In Person at the Whisky a Go Go and Jerry Reed's greatest hits, and the singer once told me that he grew up “wanting to be Jerry Reed but with less of a country, more of a soul thing.” With Ol’ Glory, Grey does his idols proud. It's a country record where the stories are all part of one great mystery; it's a blues record with one foot in the church; it's a Memphis soul record that takes place in the country.

In short, Ol’ Glory is that most singular thing, a record by JJ Grey—the north Florida sage and soul-bent swamp rocker.
Cicada Rhythm
Cicada Rhythm
Athens, GA-based indie folk band Cicada Rhythm are set to release their third full-length Everywhere I Go on April 27 via New West Records. The 12 song set was produced by Kenneth Pattengale (of Milk Carton Kids), with additional production on 3 songs by Oliver Wood (of The Wood Brothers). Upright bassist Andrea DeMarcus and guitarist Dave Kirslis embraced Everywhere I Go as a patchwork album, tracking songs that blend orchestral folk-pop and ramshackle roots-rock in recording studios, living rooms, and gospel churches throughout Tennessee and Georgia. Like interstate poets, they sing about the country unfolding outside their car window at highway speed. American Songwriter premiered a full stream of the album ahead of its release. In a 4-out-of-5 star review, they praise Everywhere I Go as “intriguing and captivating,” adding, “The duo’s rootsy underpinnings are the threads that bind these eclectic tracks, aided enormously by the pure, immediate and moving vocals of DeMarcus whose characteristic tone falls somewhere between LaVere and Billie Holiday." Everywhere I Go is available for preorder now via New West Records and will be out tomorrow digitally, as well as on vinyl and CD.

The Boot recently featured the album’s latest single, “Shake Up,” praising, “Guitarist Dave Kirslis' unique vocals kick off the rootsy, rock-driven tune, and stunning harmonies from bassist Andrea DeMarcus take the song's breezy melody to a whole new level.” Previously, PopMatters premiered the video for the album opener, “America’s Open Roads,” stating, “While it opens up with a line as harrowing as ‘every day starts with a terrible dream,’ the song ultimately raises our spirits and reminds us that we are better together than divided. Its accompanying music an ode to both the beautiful and tumultuous threads that tie America together.” The video can be viewed/shared HERE. With the announcement of the new record, Cicada Rhythm released the first single from Everywhere I Go, which was highlighted as The Bluegrass Situation’s Song of the Week. They noted, “[I]t’s a bluesy call to women — or anyone else — who feels less than the world around them. With a sly snap to her vocals and the gusto of a little punk-dripped roots, singer Andrea DeMarcus counts her value to a cascade of drums and instrumentals helmed by partner Dave Kirslis.”

Fans of Cicada Rhythm's debut will remember the socially-conscious "Do Not Destroy," an eco-friendly song that urged its listener to take care of the natural world. Much of Everywhere I Go follows in that song's footsteps, forming a bridge between two dynamic records. "We're changing, but we haven't lost our sincerity," explains DeMarcus. "A lot of the songs are still emotional. They're raw, which has always been an important part of our sound. We haven't lost our identity; we've just grown around it."

Producers Pattengale and Wood assisted in that growth by upsizing the band's sound with strings, Hammond organ, electric guitar, and pedal steel. Working with the producers separately allowed DeMarcus and Kirslis to revisit and revise a number of songs that had already become live staples. Cicada Rhythm is now touring up and down the East Coast with new members expanding their once duo to a full band and a louder set of influences propelling them forward sonically. They will make an appearance at MerleFest, ahead of which they were named one of “Ten Fresh Faces You Can’t Miss at MerleFest 2018” by North Carolina’s YES! Weekly.
Venue Information:
Georgia Theatre
215 N. Lumpkin St
Athens, GA, 30601