18+ SHOW / ID REQUIRED
GA Floor/Reserved Balcony: $40.00 advance / $45.00 day of show
Reserved Loge seats: $50.00 advance / $55.00 day of show
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The best pop groups want to change the world. They want to leave an imprint that no one forgets, to do more than check out as a minor statistic in the Guinness Book of Hit Singles. They want to change the world of pop, and to engage with the politics of pop. Belle & Sebastian have re-invented the pop festival; they signed to a tiny independent label but still beat Steps to a BRIT, before sweeping into the Top 40, then the Top 20.
They’ve brought their lost sixties heroine, Evie Sands, over to play a show in Glasgow. They’ve sold out a concert at the Hollywood Bowl. And, in 2014, they cut an album – their ninth – called Girls in Peacetime Want to Dance, that blends electro-glide, baroque balladry, and giant-sized Europop hooks. They deserve several accolades, each of which are rare for any band in 2017 – Belle & Sebastian are unique, unpredictable, and fiercely loved.
Part of their appeal is that Belle and Sebastian have always given the impression of being completely unaware that they are even famous. Emerging in the late nineties, they appeared to be both press and camera-shy, but also entirely self-contained; they seemed to have a secret, something built around books and films, and yet were happy to share the love, stopping just short of writing individual songs for their fans. And their fans, naturally, became obsessive, formed their own bands, started their own loosely affiliated clubs, radio shows and websites. A secret gang – who wouldn’t want to be a part of it?
But then again if you’re a band who works with Trevor Horn, Carey Mulligan and Norah Jones, you’re probably not content to lurk in the tiny shadow offered by a seven-inch single on Postcard. And if you end up on the soundtrack to Adam Curtis’s The Power Of Nightmares, or Todd Solondz’s Storytelling, as well as Juno, then there’s going to be more than a little grit and grain to your music than adjectives like “shy” and “fragile” might suggest.
They have worked with outside producers ever since Trevor Horn helmed Dear Catastrophe Waitress in 2003, plumping up their sound, pumping it full of light and air, and getting ‘Step Into My Office Baby’ unlikely but welcome repeated plays from Ken Bruce on BBC Radio 2. This suggested a sharp step away from the tape-swapping, pen pal world they had been thought to inhabit (of course they never had, not really). Tony Hoffer (Beck, Air, Phoenix) was hired for The Life Pursuit (2006) and Write About Love (2010). The latest album was recorded in Atlanta with Ben Allen (Deerhunter, Washed Out, CeeLo Green and Animal Collective) who convinced them to leave things more open-ended, less thoroughly thought-out in advance, leaving the producer and the musicians more space to be spontaneous. The result is playful, super-melodic, with lyrical nods to both their past and an optimistic future, and joyful jumps into new musical territories.
Belle & Sebastian have stood as something different right from the beginning. Let’s have a quick poke around the previous eighteen years. Debut album Tigermilk (1996) was the product of a Stow College music business class that drummer Richard Colburn was taking; just 1,000 vinyl copies were pressed. In spite of huge major label interest (immortalized on the track Seymour Stein on their third album, The Boy With The Arab Strap) they initially signed to the tiny Jeepster label, then later to Rough Trade and now have their first worldwide deal with Matador Records. The key to their appeal was a sense of community. Their self-curated Bowlie festival would evolve into All Tomorrow’s Parties; they became central to a nascent message board culture, and a US loop of labels and fanzines (even writing a song about one, Chickfactor) that adored their music, their stance, and their imagery.
In Britain, they famously upset the applecart in 1999 by winning the “Best Newcomers” BRIT award through the votes of their fans, faced accusations of vote rigging, and in the process have got the backs of the tabloids up (sample Daily Record headline: “Belle Boy’s At It Again”). So, clearly, they’ve been doing something right. [Bob Stanley, October 2014]
Sometimes, things just seem to happen for a reason. The pieces fall into place in unexpected ways, and life takes a turn no one could have predicted. This rings strikingly true for the solo career of Memphis, Tennessee’s Julien Baker.
For years, Baker and a group of close friends have performed as the band Forrister (formerly The Star Killers), but when college took her four hours away, her need to continue creating found an outlet through solo work. The intent was never to make these songs her main focus, yet the process proved to be startlingly cathartic. As each song came into shape, it became more apparent that Baker had genuinely deep, surprisingly dark stories to tell from her thus far short life (she turns 20 this fall). Tales of her experiences are staggering, and when set to her haunting guitar playing, the results are gut wrenching and heartfelt, relatable yet very personal. There’s something wonderfully hypnotizing about Baker gently confessing her soul with such tremendous honesty.
At the prompting of a friend, Baker ventured to Richmond, Virginia to record a number of her new songs at Spacebomb Studios. The tracks from this session were circulated among Baker’s friends, meeting high praise and lots of encouragement for the songs to see a proper release. Soon, she found a home on 6131 Records’ increasingly diverse roster, and plans were made to release her debut full length, Sprained Ankle.
To call Sprained Ankle a happy accident would be misleading as to the nature of these poignant, emotive songs. Yet no one, least of all Baker, could have predicted she’d be releasing an album, especially as a solo artist. Thankfully, now the world will be able to share in her passion and sorrow.