Judah & the Lion – Going to Mars Tour
Colony House, Tall Heights
Thu · March 1, 2018
Doors: 7:00 pm / Show: 8:00 pm
$25.00 - $80.00
This event is 18 and over
Check-in for VIP M&G ticket holders starts 90 minutes prior to doors and will start 1 hour prior to doors.
Check-in for VIP Early Entry starts 30 minutes prior to doors and will be given entry to the venue 15 minutes prior to doors.
Any VIP questions or issues, please email email@example.com://www.georgiatheatre.com/event/1567135/
With their second full-length album Folk Hop N Roll, the guys shine a light on the place where their influences overlap. It's a wide-ranging sound, with fuzz bass, hip-hop percussion, distorted banjo riffs, and super-sized melodies all stirred into the same mixing pot.
"There's no boundaries," says front man Judah Akers, who shares the band's lineup with mandolin player Brian Macdonald and banjo wiz Nate Zuercher. "We wanted to make something raw, something with attitude. We all grew up loving these hip-hop beats, so why not make an album that has the grit of Run DMC or Beastie Boys, along with all the folk instruments that we play?"
Like Kids These Days — the band's debut record, which climbed to number four on the Billboard Folk Chart and number two on the genre-wide Heatseekers chart after its release in September 2014 — Folk Hop N Roll was produced by award winner Dave Cobb (Jason Isbell, Sturgill Simpson, Chris Stapleton). Cobb captured the band's new songs in a series of quick, inspired takes, aiming for performances that sounded real and raw rather than polished and perfect. Everything was done in just two weeks. The goal was to fuel the album with the same electricity that fills the band's live show.
An independent band whose success has arrived not on the back of some big budget major label, but through the band's own touring, Judah & the Lion have built a large, loyal fanbase on the road. They played 150 shows in 2015 alone, stretching their gigs all across America and Scandinavia. Along the way, they shared stages with artists like Mat Kearney, Drew Holcomb, and Ben Rector. That sort of drive — the commitment to chasing down their dreams, one encore at a time — also fuels the lyrics that appear on Folk Hop N Roll, a record whose songs spin stories of struggle, triumph, and all points in between.
"This record was made for the live show," Akers promises. "Our shows are all about the experience we share with our fans. We know that people work everyday jobs or go to school, and they're dealing with life, and yet they're still choosing to spend the night with us. We don't take that lightly. We give them an experience. We throw an absolute rage. And all the songs were made with that in mind. They're fun, carefree, and youthful, and we live our lives that way, too."
Anthemic and wildly creative, Folk Hop N Roll is unlike anything else in modern music. It's a rulebreaking record, with Judah & the Lion creating a sound that belongs entirely to them. From the earthy stomp of roots music to the bold bounce of hip-hop, Folk Hop N Roll casts a wide net, proof that Judah & the Lion — who are now four releases into their career — have developed quite the roar.
Judah & the Lion followed the release of Folk Hop N Roll with a massive tour spanning most of 2016. Late in the year, after being named iHeartRadio’s Artist on the Verge, their single “Take It All Back” began to climb the ranks at Alternative Radio, eventually culminating in a three week stint in the #1 spot to kick off 2017. In tandem with their first #1 song, Judah & the Lion also kicked off a tour as support for Twenty One Pilots which brought them to arenas all across the US.
Inspired by how their genre-blending style was connecting with fans, Judah & the Lion headed back into the studio in early 2017 to record 4 brand new songs dubbed the Going to Mars Collection, which, when combined with Folk Hop N Roll, make up Folk Hop N Roll Deluxe. In support of the Deluxe Edition, the band embarked on The Going to Mars Tour throughout much of 2017 and beyond– taking them on their biggest headlining run to date. In between, they hit the road for select dates with Kaleo and hit amphitheaters this summer with Jimmy Eat World and Incubus.
The rebooted version of the album includes the band’s follow up to “Take It All Back,” the equally high energy and anthemic “Suit and Jacket” which debuted on Jimmy Kimmel Live! in September and hit Top 5 at Alternative Radio. With no intention of slowing down anytime soon, Judah & the Lion is set to embark on yet another massive headlining run in 2018 with their new single “Going to Mars” hitting airwaves soon.
"Colony House, a humble apartment complex on 11th Ave. in downtown Franklin, Tennessee, has at some point in each of our lives been our home. Now it is our namesake as we take Franklin, TN with us and travel around the world playing music for those who will listen!"
They’ve reached their biggest junction so far — Neptune, out now, is Tall Heights’ first album for Sony Music Masterworks, and the latest step in the ongoing evolution of their sound and style.
Harrington and Wright formed Tall Heights in 2010, keeping their songs stripped down to their essential elements, in part, to make it simpler to perform on the streets of Boston.
Neptune is a far lusher construct: along with pristine and emotive vocal harmonies, there’s subtly chugging electric guitar and a spare descending bassline on “Iron in the Fire,” ethereal synthesizers and a spacious drum part on “Spirit Cold,” a brittle splash of percussion to open “Backwards and Forwards” and feedback created by two cellphones on “Cross My Mind.”
“It was helpful and I think comforting to define ourselves as two vocalists, guitar and cello,” Wright says. “There was a beauty and a simplicity, and stepping outside of that box is pretty scary, because you’re forced to redefine yourself and do some sonic soul-searching. I think this record reflects the results of that scary step.”
The band’s broadening sound came from the musicians’ conscious effort to push themselves, and each other, to create in new ways. By relying on a few core elements at the start, the duo learned to make the most of their minimalist set-up. “It taught us to be lean and mean and effective with just two voices and two instruments,” Harrington says. “It made us consider vocal tone and the way voices can mesh and interact.”
As those lessons took root, the pair essentially gave themselves permission to push their musical boundaries outward over three separate recording sessions at Color Study studio in tiny Goshen, Vermont, that yielded songs for their 2015 EP Holding On, Holding Out, and for Neptune. Not only did Harrington and Wright expand their sonic palette throughout the process, they also altered their approach to writing. The musicians tend to develop ideas separately, before one brings a new song to the other for further development. It’s a reflection of their early days sharing musical ideas, when Wright was living overseas and Harrington was finishing up college.
“We would send each other terrible sound-recorder voice memo files and we’d write these nice emails to each other about each other’s songs, so creating concepts independently is something we’ve always done,” says Wright, who has been friends with Harrington since they were kids growing up in the central Massachusetts town of Sturbridge.
They changed the formula on Neptune. Four songs on the album — “River Wider,” “Infrared,” “Cross My Mind” and “Growing” — are the result of one musician looping a simple instrumental part and letting the other write lyrics for it. With the last recording session looming, the duo worked faster than usual on those songs, particularly the somber, atmospheric “Cross My Mind.” “We were under the gun, he was downstairs making one thing, I was upstairs making another thing, we put them together and then we workshopped it in the car on the drive up to the studio,” says Harrington, whose Boston apartment is literally upstairs from Wright’s.
Their ever-closer collaboration, and the time they gave themselves in the studio to develop it, is indicative of the band’s developing approach to making music. “I can hear the evolution happening,” Harrington says. “I feel like we’re walking across a bridge from one place to another, and maybe I’ll always feel that way, but I’m really happy with how we’re moving.”
“Intimate and arresting” – NPR
“Tall Heights employ a collection of acoustic guitar, cello, and electronic drums, reminiscent of contemporary indie folk giants like Justin Vernon and Fleet Foxes.” – XPN
“In addition to finger-picked guitar, swelling cello and tight, prismatic vocal harmonies, ‘Spirit Cold’ boasts a bold, airy drum part that propels the song through the peaks and troughs of the arrangement.” – Wall Street Journal
“It’s a contemporary sound that is not without its ageless qualities.” – Chicago Sun Times
“Certifiably unclassifiable” – Boston Herald
“There have been many bands in recent years that have employed beautiful close harmonies, but when you add the strings and the great songwriting, Tall Heights is a notch above the pack.” – WBEZ
“Call it simply gorgeous.” – WFUV
215 N. Lumpkin St
Athens, GA, 30601