Nikki Lane, New Madrid, The Artisanals: Ho Ho Ho Down VII
New Madrid, The Artisanals
Sat · December 9, 2017
Doors: 7:30 pm / Show: 8:30 pm
$17.00 - $22.00
This event is 18 and over
Proceeds from the evening will go towards Team Nelsonhttps://www.georgiatheatre.com/event/1570736/
Blending potent lyrics, unbridled blues guitars and vintage Sixties country-pop swagger, Lane’s new music will resonate as easily with Lana Del Rey and Jenny Lewis fans as those of Neil Young and Tom Petty.
Highway Queen is a journey through heartbreak that takes exquisite turns. The record begins with a whiskey-soaked homage to Lane’s hometown (“700,000 Rednecks”) and ends on the profoundly raw “Forever Lasts Forever,” where Lane mourns a failed marriage – the “lighter shade of skin” left behind from her wedding ring. On “Forever” and the confessional “Muddy Waters,” Lane’s lyrics align her with perceptive songwriters like Nick Lowe and Cass McCombs.
Elsewhere, “Companion” is pure Everly Brothers’ dreaminess (“I would spend a lifetime/ Playing catch you if I can”). She goes on a Vegas bender on the rollicking “Jackpot,” fights last-call blues (“Foolish Heart”) and tosses off brazen one-liners at a backroom piano (“Big Mouth”).
“Love is the most unavoidable thing in the world,” Lane says. “The person you pick could be half set-up to destroy your life with their own habits – I’ve certainly experienced that before and taken way too long to get out of that mistake.”
In 2014, Lane’s second album All or Nothin’ (New West) solidified her sandpaper voice beneath a ten-gallon hat as the new sound and look of outlaw country music. Produced by Dan Auerbach, the record’s bluesy Western guitars paired with Lane’s Dusty Springfield-esque voice earned glowing reviews from NPR, the Guardian and Rolling Stone. In three years since her Walk of Shame debut, Lane said she was living most of the year on the road.
Growing up, Lane used to watch her father pave asphalt during blistering South Carolina summers. She’d sit on the roller (“what helps smooth out the asphalt”) next to a guy named Rooster and divvy out Hardee’s lunch orders for the workers.
“My father thought he was a country singer,” Lane laughs. “He partied hard at night, but by 6:30 AM he was out on the roads in 100-degree weather.” That’s the southern work ethic, she says. “We didn’t have a lot of money, but I was privileged with the knowledge of how to work hard, how to learn and to succeed when things aren’t set up for me.” Creativity was an unthinkable luxury, she adds.
“When people told me I should try to get a record deal for songs I was writing, I was like, ‘that’s cute – I’ve got to be at work at 10 A.M.’”
“Becoming a songwriter is one of the most selfish things I’ve ever done,” Lane says plainly. She describes writing her first song at age 25 like it was a necessary act of self-preservation after a devastating breakup. Many of her early songs, she said on Shame and Nothin’, were about the fleetingness of relationships she believed were permanent, she says. Lane’s main line of work in those days was a fashion entrepreneur (she’s currently the owner of Nashville’s vintage clothing boutique High Class Hillbilly). It brought her to cities around the country, New York to Los Angeles to Nashville. And like a true wanderer, Lane’s sound crisscrosses musical genres with ease, while the lonesome romantic in her remains. Even a soft song like, “Send The Sun,” with its lilting downward strum, is flush with bittersweet emotion. “Darling, we’re staring at the same moon,” Lane sings lovingly. “I used to say that to my ex,” she says with cheerful stoicism, “to try to brighten the long nights, stay positive.”
Highway Queen is poised to be Lane’s mainstream breakthrough. “Am I excited to spend years of my life in a van, away from family and friends? No, but I’m excited to share my songs, so they’ll reach people and help them get through whatever they’re going through. To me, that’s worth it.”
“Lay You Down” is one of those unexpected moments for Lane. “That song was inspired by something Levon Helm’s wife posted on Facebook when he was sick with cancer,” Lane says. “I was just so moved by her telling the world how much love he felt from people writing to them, and moved that because of the Internet, I was able to see that love – even from a distance.” The song became surreal for Lane and her band when her longtime guitarist, Alex Munoz, was diagnosed with cancer while they were playing it. “It deepened my perspective and the importance of keeping everyone safe,” says Lane.
On the record cover, Lane looks out on wide, unowned Texan plains, leaning on the fearsome horns of a massive steer. Wearing a vintage Victorian dress, the stark photo invokes a time before highways existed. The symbolism isn’t lost on Lane. Highway Queen was a pioneering moment for her as an artist.
“I was always a smart girl, always had to yell to be heard,” she says, “But this was the first time in my career where I decided how things were going to go; I was willing to take the heat.” Lane included the bonus track “Champion” as a small testament to that empowerment. “It makes a point,” Lane says with a smile, “That I appreciate what you’re saying, but get the fuck out of my way.”
magnetkingmagnetqueen (Normaltown Records) takes a wide swath of influences ranging from the guitar tangle of Television and the tripped-out introspection of Yo La Tengo, to the angular experimentation of Can and the harmonic bath of Magical Mystery Tour; and combines them into something entirely unique.
magnetkingmagnetqueen has it all. The album reveals New Madrid’s evolution and collective growth, resulting in the band’s most complete work to date. “Don’t Hold Me Now” is like Pylon channeling the preTommy Who. “Untitled III” is a pint-sized epic, with several movements in a three-minute window. On the other end is the dark, onolithic stomp of “Guay Lo” and the dirge-like march of “Shades.” Bringing it all together are centerpieces like “Summer Belles” and “Darker Parts,” songs with an undeniable pop sensibility that go through the looking glass and emerge as the sonic amoeba well known to fans of New Madrid’s live performances.
magnetkingmagnetqueen was made with engineer/producer David Barbe (Deerhunter, Drive-By Truckers, The Glands) in two primary locations. The group started out recording at Dogwood Lodge, the site of an unused summer camp on Lake Chickamauga in a large, open room with mobile recording gear over a week in the summer of 2015. More recording and mixing was done at Barbe’s Athens, GA studio, Chase Park Transduction with additional recording at New Madrid’s home base, The Barn.
New Madrid formed in the fall of 2010, and shortly after was approached by Barbe, who invited them to his studio to record their first full-length album, Yardboat. It happened fast. Inspired, they finished in three days.
Signing with Normaltown/New West Records, the band released their sophomore album, Sunswimmer in 2014. A live EP, Dawn Teeth Rattling, was released in 2015.
Since then the band has toured consistently across the U.S., Canada, and Europe. When not on the road, they live together in The Barn (a literal barn located in the agrarian outskirts of Athens) constantly working on new ideas.
Singer/guitarist Johnny Delaware previously performed with SUSTO. The Artisanals recently recorded their debut album at The Magic Barn, a recording studio in the countryside of Iowa, using a 1970 NEVE 80 Series console acquired from Magic Shop in New York City, the same console on which, among many others, David Bowie’s Blackstar, Kurt Vile’s Smoke Ring for My Halo, and Arcade Fire’s The Suburbs were recorded. The Artisanals nod their head to ‘70s heartland rock and perform with a refreshing energy.
215 N. Lumpkin St
Athens, GA, 30601