Sunday, Mar 29
Tradition of Excellence: Japanese Techniques in Contemporary Metal Arts
Sunday, Mar 29
3:00 PM - 5:00 PM
Opening Reception & Gallery Talk for Tradition of Excellence
Monday, Mar 30
Tuesday, Mar 31
A Native of Thailand, Pam has lived in the South for the past thirty years. Artist, mother and grandmother, she describes her artistic process as one of prayer or praise, a gift from GOD.
An innate understanding of color and shape emerged following an illness, and Pam began to paint and sculpt. She often uses fabric, metal, and wood as part of her creative medium. Pam's art content is always simple, pure and almost spiritual ... always expressive of her gratitude. Pam's work has been on exhibition in Tennessee, Mississippi, Louisiana, England, The Netherlands, Korea and Thailand. Recent shows include The Crosstown Concourse Art Bar and the Germantown Performing Arts Center. Pam has been commissioned to create works that are part of the Methodist Germantown Hospital's permanent collection, St Georges Independent School permanent collection and the Mississippi Good Will Corporation permanent collection.
Pam's art is also part of many private collections both in the United States and abroad.
Emerald Theatre Company presents the Mid-South Premiere of SHATTERED SECRETS by Libbe HaLevy
March 20, 21, 27, 28, 29, 2020
THEATREWORKS at the Square 2085 Monroe Ave
Friday and Saturday at 8:00 PM Sunday matinee at 2:00 PM
$15.00 General Admission ALL TICKETS SOLD AT THE DOOR
Shattered Secrets: an honest, witty and raw look at childhood sexual abuse and how those victims carry the shame, anger and confusion into their adulthood. A group of people from very different ages, races, incomes, status and environments that all share the same scars, come together for a 12-step recovery meeting. Shattered Secrets dramatizes a support group for incest survivors in which members work out their pent-up emotions.
Opening Reception: Friday, January 10, 6-8pm
Artist Talk: Saturday, January 18, 11:30am
Treat yourself to Sunday Brunch at Cafe Brooks by Paradox from 11 a.m. until 5 p.m. every Sunday. Experience the unique and creative menu, especially created for the museum.
Cafe Brooks has also just launched a new kids menu! Members of the Brooks Museum receive a 10% discount. Just show your membership card when ordering.
Cafe Brooks by Paradox, Memphis Brooks Museum of Art
Curated by Hiroko Yamada, Director of HYART Gallery (Madison, WI), and originating at Penland Gallery at Penland School of Craft (Penland, NC), Tradition of Excellence explores a wide range of Japanese metalworking techniques and materials. The exhibit brings together both Japanese and American artists, honoring the profound skill and knowledge of these makers and highlighting the influence of Japanese metalworking within the contemporary metal arts field.
Orange Mound in October!
Come Join us on October 19th, from 12-3 for the opening reception of the Melrose High School Heritage room and gallery! Following directly after the Melrose High School Community Breakfast, which starts at 9:00AM and goes until around 11:30AM, The Heritage room will unveil its new exhibit;
Torchbearers of Excellence: A Tribute to Melrose Alumni
There will be pieces featured on loan from the Whithers Museum, as well as many never before seen artifacts from Orange Mound's Community and Residents and specialty pieces from community artists for all to enjoy.
Come and Soak in some Orange Mound History!
The Circuit Playhouse, in partnership with super sponsor, Dr. Thomas Ratliff is proud to welcome the all-time favorite back to the Mid-South for school matinees and limited public performances.
“Get your thing in action” and relive the glory days of Saturday Morning’s iconic cartoon series. Tom is ready to start his first day as a schoolteacher. The only problem is he is scared to death! Watch as characters from the classic series come to life, reminding Tom the best way to learn has always been with music and an imagination. With memorable songs “I’m Just a Bill,” “Inter-Planet Janet,” and “Conjunction Junction” you will want to scoot down front and grab a big bowl of cereal.
Director-Choreographer, Whitney Branan (Cabaret, Madagascar: A Musical Adventure), leads the multi-talented cast of Karl Robinson (Junie B. Jones the Musical, Madagascar: A Musical Adventure) as Tom, Angie Thompson (Junie B. Jones the Musical, Head Over Heels) as Shulie, and Kylan Owen (Junie B. Jones the Musical, Kinky Boots) as Joe. Rounding out the cast are Playhouse on the Square Associate Company Members Isaiah Rosales (Indecent, Kinky Boots), Hope Schafer (Indecent, Peter Pan), and Haley Wilson (Memphis, Kinky Boots).
By: Alfred Uhry
Directed by: Jason Spitzer
Set in mid-century Atlanta, Driving Miss Daisy tells the story of an elderly Jewish matron, Daisy Werthan, and her chauffeur, Hoke Coleburn. At first, Daisy is none to happy about being forced to rely on a African American man to get from one place to the next. Gradually, however, Hoke wins her over, and during the 25-year span of the play, the two develop a deep-rooted affection. This Pulitzer-Prize winning masterpiece is a delicate depiction of racial tensions, the passage of time, and the experience of aging. Playwright Alfred Uhry creates two outsiders who come to a mutual respect grounded in each of their independence, strength, and stubborn integrity.
“Hold the Door,” Part I of the Fall 2019 BFA Thesis Exhibition, features the work of four graduating seniors of The University of Memphis Department of Art: Ivy-Jade Edwards, Jeff Carter, Robert Fairchild IV, and Nicholas Svoboda. The exhibition is a compilation of works in a variety of media including painting and sculpture where color is paramount. The presentation celebrates the completion of their undergraduate studies and the culmination of each student's artistic exploration and experiences.
The exhibition will be on view in The Martha and Robert Fogelman Galleries of Contemporary Art. The students will discuss their work in a gallery talk on October 29th at 11:30 am. All events are free and open to the public.
“Chatter in the Skull,” the MFA Thesis Exhibition of Christopher Davis, is a phrase used by philosopher Alan Watts in reference to over-thinking and its relationship to reality. Influenced by the unique landscape of Southern Illinois where he grew up, his work is formed by assembling fragments of beauty into monuments, fetishes, markers, and relics. The exhibition features assemblages cast to create relief sculptures and small totems, as well as larger totems/markers assembled from steel, cast objects, and wood.
We gather at the garden each Tuesday during the school year from 3p.m. until 5p.m. We work with children from Cornerstone Prep and Lester Middle School on take home art projects and permanent art installations.
egister here to volunteer or contact Megan at 319-981-0380 or [email protected] to learn more!
WinterArts, The South's Premiere Holiday Artists' Market presents its 11th annual showcase of exceptional & unique hand-crafted works by our region's finest artists. This year's stellar collection of holiday gift ideas wrought in glass, metal, wood, clay, fiber, and more, will be staged at 888 South White Station Rd (between Poplar & Park Avenues; next-door to Bed Bath & Beyond).
Open daily Saturday, November 30, through Christmas Eve; hours are: Mondays - Wednesdays 10am to 6pm; Thursdays 10am to 7pm; Fridays 10am to 9pm; Saturdays 10am to 6pm & Sundays noon to 5pm. For more information see winterartsmemphis.com or WinterArtsMemphis on facebook. Presented by ArtWorks Foundation.
Art in The Loop, April 3 –5 – ArtWorks Foundation presents its 3rd annual edition of Art in The Loop , the Art Festival in East Memphis, featuring works of Fine-Craft in metal, glass, wood, clay, & fiber, as well as 2-D disciplines. You’ll also enjoy performances of classical music by area youth ensembles, and the fare of the town’s top food trucks. Art in The Loop will take place on Ridgeway Loop Road (between Briarcrest Avenue & Ridge Bend Rd.); hours are Friday (4/3) 1pm to 6pm; Saturday (4/4) 10am to 6pm; Sunday (4/5) 11am to 4pm. Art in The Loop is sponsored by WKNO TV, WKNO FM, and Memphis Magazine. Art in The Loop is presented by ArtWorks Foundation: admission is Free. For more, see: www.artworks.foundation or www.artintheloop.org
The Green Room at Crosstown Arts presents Women of Folk — performances by the Xaris Waltman Trio and Bailey Bigger Band.
Doors at 7 pm | Show at 7:30 pm
Born and raised in small-town Arkansas, just outside of the musically historic city of Memphis, Tennessee, Bailey has always had a passion for songwriting. She first picked up a guitar at only nine years old and began to write songs within the first week of playing.
At age 17, Bailey won “Memphis’ Best Song Of 2017” for her original song, “Wildflower.” Since then, she has performed at many festivals and venues from Celebrate Memphis (being one of 4 headliners), AmericanaFest, and many more. She has recorded at Dark Horse Studios, Sun Studios, and Ardent Studios. Bailey has also been recognized as a top ten up-and-coming Americana artist you should be listening to by Memphis Magazine.
Following Bailey’s first record “Closer to Home,” she released her second EP, “Between The Pages.” This EP was engineered by Jessica Willis and released by the University of Memphis record label, BlueTOMRecords.
Xaris Waltman’s mother claims she was humming tunes before she could talk. As a young child, Xaris picked up her dad’s guitar and discovered a deep connection to folk songs. Xaris loved how the songs had lives of their own and have been telling the same stories for generations. Xaris still feels the same way. Relaying these stories to audiences during her shows makes her feel like she’s doing something bigger than herself.
In 2019, at nineteen years old, Xaris released an album of old-time songs titled “Under The Willow” with BigTone Records. Right out of high school, Xaris began traveling the country solo; just a girl and her guitar. Playing listening rooms, living rooms, and festivals, she has captured the people of small-town America’s ears with her melodious, high-toned voice.
Join the Hot Foot Honeys, Memphis’ only professional tap dance company, for Lights / Camera / TAP!, their 7th annual show. Lights / Camera / TAP! comments on the intimate relationship of tap dance and film, and features choreography that ranges from Broadway-style showstoppers to pieces that integrate tap, contemporary dance, and spoken word. Each of the numbers in Lights / Camera / TAP! are inspired by an aspect of film, including: soundtracks, plots, characters, specific scenes, and even morals of stories taught through film.
The show also features choreography set on the company by world-renowned tap dancer Charles Renato (American Tap Dance Foundation, Broadway Dance Center, Steps on Broadway) and solo work by Memphis native Jessica Tenbusch, now a professional tap dancer with Chicago Human Rhythm Project and Tapman Productions. The closing piece of Lights / Camera / TAP! is a collaboration between the Hot Foot Honeys and DanceVersify Academy, Memphis’ Indian dance school, and fuses tap dance with Kathak, known for its storytelling through facial expressions, hand movements, and rhythmic footwork.
Lights / Camera / TAP! runs April 3-5 at the Buckman Performing Arts Center and is sponsored by the Tennessee Arts Commission.
Show Information –
April 3-4 @ 8 p.m., April 5 @ 2 p.m.
Buckman Performing Arts Center, 60 Perkins Ext., Memphis, TN
On sale now
Adults - $20
Children (10 and under) - $7
Student/Senior (65+) - $15
Groups of 10 or more - $12 (call 901.537.1483 to arrange)
About Hot Foot Honeys –
Founded in December 2012 by Artistic Director Marianne Bell, Hot Foot Honeys Tap Dance Company is based in Memphis, Tennessee and dedicated to the preservation, promotion, and performance of rhythm tap.
19th Century Conjuring Arts / Parlour Magic
This is my “one-man-show” that is based on the magicians of the 19th century. I will be performing this in the beautiful Victorian ballroom at the Woodruff-Fontaine House Museum (built 1871). I will be sharing magic from some of the magicians you've probably never heard of, such as Harry Keller, Howard Thurston, Ching Ling Foo, Johann Nepomuk Hofzinser, and Ehrich Weiss (Harry Houdini) are performers who were extremely popular in the 1800s. I have been developing this show for many years, and it is suited for an intimate theater audience, as was the case back in the Victorian era. In this show you will be seeing some exciting magic that has seldom been seen, even by current day magicians.
The word “mesmerist” refers to Franz Anton Mesmer (1734-1815), an Austrian physician who developed a theory of “animal magnetism” and a “mysterious body fluid which allows one person to hypnotize another”. Mesmerism has taken on a different meaning in these modern times. Some of the magic that I will be performing might make one feel as though you have had a spell cast upon you. Besides the beautiful classic magic from this period, I will also travel deep into the minds of the audience using techniques from the 1800’s. If you have been to my show in previous months, you will see some "new" illusions added to the show that will make you question what your eyes are seeing. Come witness what theater-goers saw over 100 hundred years ago. You will be transported back to “The Golden Age of Magic”.
Prepare yourself to be MESMERIZED !
Her multimedia work seeks to create awareness, provoke thought, and engage in conversation on issues of social justice, equality, and prosperity. She does this from many different angles:
Villa-Calvo created the initiative Go Engage Memphis Soul (GEMS) while working as a city artist with the Memphis 3.0 Comprehensive Growth City Plan. Through GEMS, Yancy applied art as an engagement tool with city residents as part of their neighborhood planning and development process.
Her latest visual work is Barrier Free, a traveling, interactive art installation that asks viewers to reflect on the “human-made and systemic barriers that divide us, from unjust immigration laws to mass incarceration. The installation has been exhibited around the U.S. in Washington, D.C, Houston, TX, Phoenix, AZ, Baltimore, MD, and in various cities in Tennessee including Memphis, Murfreesboro, and Nashville.
Her work is an intertwining web of art and life. Her life experiences have influenced how she defines, makes, and experiences art. Experiences such as being born and raised in Mexico, living in Mozambique, and traveling to many countries have provided her with a cross-cultural perspective and an awareness of her place as a global citizen. A Mexican-American, Yancy now calls the U.S., her own.
Her work appears in diverse forms ranging from visual art to activism to performing art to urban planning. The creative process starts by questioning current systems and social dynamics. It encourages her to produce asset-based artwork that is aesthetically and emotionally powerful and that emphasizes dialogue, participation, and action. Her art form provides a platform to see that within our complex humanity there it exists common ground and encourages civic engagement for the betterment of our shared space.
Villa-Calvo is a recipient of grants and art commissions from the Smithsonian Institute Latino Center, the National Association of Latino Arts and Culture, the Tennessee Arts Commission, ArtsMemphis, UnidosUS, the Funders’ Network, the UrbanArt Commission, and the City of Memphis, among others.
She received her formal art education at Christian Brothers University and Memphis College of Art with a B.A. in Psychology, a B.F.A. in Studio Art, and an M.B.A. She volunteers at Latino Memphis and serves on boards and committees including Overton Park Conservancy, ArtsMemphis, The Brooks Museum, LeBonheur Children’s Hospital National Leadership Council, Off The Walls, and Planned Parenthood.
She frequently exhibits in solo shows, group shows, and collaborative projects. Her paintings are displayed in private collections in the United States, Mexico, Spain, Colombia, Israel, and the Netherlands.
$5 student $10 other pholkx suggest donation. As always, BYOE (easel).
Set up is 6:30-7, drawing begins promptly at 7 with warmups and then 1-2 long poses. Crit 8:45-9.
Join us in The Green Room at Crosstown Arts for a performance by contemporary jazz and soul artist Lynn Cardona.
Lynn Cardona is a contemporary jazz and soul artist living in Los Angeles, where she pens unguarded songs about love: the unrequited, the returned and ecstatic, the slow burn of longing and lust.
Doors at 7pm | Performance at 7:30pm
It’s Cardona’s voice — girlish, dreamily viscous, and reminiscent of Blossom Dearie —that first draws you in. But you soon find yourself saturated in her world, one where nostalgia and desire fill the space like rising floodwaters.
Much of this is due to the poetry that patters through Cardona’s lyrics, tugging you deeper and deeper out to sea. For example, in her new EP, Ophelia, Cardona sings in the titular song, “I’ve said this all before but now I swear it, please dare it, don’t you know how far I’d go for love …”
She wrote the song in a single night during which she found herself wanting to end her life after the dissolution of her relationship with a long-time lover. Despite the heaviness of the subject matter, Ophelia has a light-hearted feel, conveying the haunting juxtaposition between what’s felt and what’s shown on the outside.
Following the end of her relationship, Cardona moved around the world to Seoul, South Korea, to escape her memories. The other two songs on Ophelia, “A Little Too Late” and “Mother Earth,” were written during this period of recovery.
“A Little Too Late” is a tribute to a fleeting, but life-changing, love affair with a man named Joe, whom she fell for shortly after her breakup and whom she credits as pulling her out of her dark depression. Cardona sings, “In just autumn when the leaves all beg the trees to let them go … Maybe he loved me because he let me go, but it’s a little too late,” about her brave decision to leave Joe behind and travel alone to South Korea in search of healing.
“Mother Earth” explores Cardona’s ambivalent feelings about the idea of becoming a mother. Ultimately, the song celebrates the resilience and nurturing that both Mother Earth and women embody despite the abuses of mankind.
Before her musical career, Cardona grew up in Cleveland, Ohio, and moved to Memphis, Tennessee, shortly after graduating high school. Over the following decade, she cut her teeth performing in the southern city, where she learned from Memphis’ incredible musicians and artists. Eventually, after her stint in South Korea, she made her way to Los Angeles.
Cardona enlisted some of the top talent in Southern California to help her with this project. Produced by guitarist Dori Amarillo, she’s backed by widely respected pianist and composer Josh Nelson, who is a recording artist, composer, and educator who has performed with some of the biggest names in jazz. He has recorded for countless albums, films, and TV shows, as well as releasing seven CDs as a leader.
She first heard Nelson on the radio shortly after moving to Los Angeles in 2012. “He let the music breathe, and he added to it with such grace and elegance,” says Cardona. “I was thrilled that Josh agreed to work with me. He was so incredibly busy that it took a full year of scheduling and rescheduling until we could nail down a rehearsal and a recording date. He was an absolute dream to work with, and I would wait another year to do it again.”
"Two modern-day clowns, Simone Fassari (him) and Camilla Pessi (her), play out their hilarious and unique routine through the universal language of gesture and look. Without a single word being spoken, these two characters sweep us up in a timeless and award-winning performance with all the seriousness, innocence, and unkindness of the human condition.
Pss Pss has been performed over 700 times, in over 50 countries, and on 5 continents, to huge acclaim. An hour of happiness. Don’t miss it!
The audience are in hysterics. Inventive and exciting, this couple of clowns will have you laughing long after you have left the theater.” –Broadway Baby
Extraordinary, riveting, infectious. One of the most magical shows on the circuit.”
2019 Winner of BankSA Adelaide Weekly Fringe Award
2018 Winner of the Victor Award for Most Popular Show IPAY America
2016 Winner of the Swiss Theatre Award
2014 Finalist of the Total Theatre Award UK
Region of the World Highlighted
Switzerland, Europe | Tickets $15"
"A rich family legacy. An enduring name that has been embedded in the hearts of millions around the globe. A history of solid performances for fans in both the United States and in Europe. Not many performers today have such advantages like Otis Redding III.
Legendary soul singer Otis Redding left his son with a musical heritage that extends far beyond the hit records for which he is famous.
Indeed, Otis Redding III has been bestowed with his father’s unique musical gift, and for nearly 25 years has put this talent to good use by not only touring and performing but also writing and arranging since the early ’80s.
An accomplished and recognized artist in his own right, Otis Redding III grew even more as a musician and performer touring with his band The Reddings. He did not realize until much later in his career that it is truly his father’s talent that pulses in his veins.
“The music has to have feeling and emotion…” says Otis. “While I’m playing guitar or singing, I don’t proclaim to be a vocalist like my father.”
Otis’ reach extends beyond his music and his performances as well. Actively involved in his family’s philanthropic organization, The Otis Redding Foundation, he participates in the annual Otis Redding Singer/Songwriter Camp.
Continuing in his family’s tradition of compassion and community contribution, Otis remains dedicated to mentoring both youth and musical hopefuls. Today, Otis Redding III still performs at special events across the United States and Europe, keeping his family’s musical heritage alive. | Tickets $35"
Bruce Hornsby, the creatively insatiable pianist and singer-songwriter from Williamsburg, Virginia, always has succeeded on his exceptional gifts, his training, and his work ethic. He became a global name in music by reimagining American roots forms as songs that moved with the atmospheric grace of jazz. “The Way It Is” defined sonic joy on the radio, however as a hit record it also evidenced a thrilling re-structuring, and during the years afterward Hornsby, in staggeringly diverse ways, has kept going.
He has returned to traditional American roots forms, collaborating with Ricky Skaggs. He has played with the Grateful Dead. He has fused the plunk and dazzle of twentieth-century modernist classical composition to singer-songwriter emotional inquiries. He has scored films. He has performed with symphony orchestras. If the sound of an arrogant air-conditioner or a stretch of rude playing caught his ear, he has entered the hallowed doors of the conservatories of punk. So when Hornsby describes Absolute Zero, his new album, as “a compendium of what I like and moves me,” don’t expect perhaps a thing or two new. Prepare for a multi- faceted ride.
Learn more about the unique culture of the Gullah people who reside in coastal areas of South Carolina and Georgia through a one woman show by Leslie Jones. In her journey to discover more about her Gullah roots, Jones creates a unique theatrical experience that reveals the life and legacy of her ancestors.
Leslie Jones is a local practitioner and instructor of expressive arts, acting, film and theater production who is the Program Director for Playback Memphis and Production Manager for the Stax Academy.
Free and open to the public! GPAC’s ArtSavvy events are a fun way to enhance your knowledge and increase your understanding of the artists, art forms and cultures of the performances presented on the GPAC stage. Events include lectures, demonstrations, workshops, films and interactive gallery experiences. Call the GPAC Box Office at 901.751.7500 to reserve your space.
TICKETS AVAILABLE ON TICKETMASTER
The Levitt Shell is a non-profit organization presenting over 50 concerts free for all each year! Our mission is building a stronger Memphis community through music, finding common ground in a diverse audience. All proceeds from Shell Yeah! Benefit Concert Series support the continued preservation of our historic Bandshell while keeping the mission of the Levitt Shell accessible for all Memphis and the Mid-South. We thank you for your support!
No one is more aware than Wilco that, on the heels of albums titled Schmilco and Star Wars, reappropriating the title of one of the most famous works of music in history—and in these times*, no less—could come off to some as slightly disingenuous. But while acknowledging his band’s own history of irreverence, here Jeff Tweedy snubs that angle, intending that we should take Wilco’s 11th studio album, Ode to Joy, with open hearts.
“I think it’s audacious and sincere,” Tweedy says. “It just kept coming back as the one title that felt honest. The record is, in a weird way, an ode; this terrible stuff is happening, this deepening sense of creeping authoritarianism that weighs on everybody’s psyche on a daily basis, and you’re allowed to feel a lot of things at once. And one thing that is worth feeling, that is worth fighting for, is your freedom to still have joy even though things are going to @#$%.”
Besides, no one is more aware than Wilco that, on the heels of ten damn Wilco albums—and especially in these times**—an 11th simply wouldn’t be warranted were it not presenting something equally new and necessary.
[*Political Climate, global; **Rock Music Climate, especially that of white men]
“Nobody needs more Wilco music,” Tweedy says. “But at the same time, if you use that as motivation, that’s a lot of energy to push forward and try to make something that is worth sharing, to challenge yourself to make something that has meaning to you. As an artist, I think that’s your job.”
Following a year that produced a pair of solo albums as well as a bound autobiographical memoir, no one could ever accuse Tweedy of lacking a motor. But where those recent works reveled in their incisive, confessional focus, Wilco, as he says, has a broader mandate, one that requires the space to react to a sonic environment with a little more abstraction being baked into the equation. And so, with an eye on The Climates yet resolute in his belief that they should not dominate the headlines of our daily lives, he gathered Wilco to The Loft in Chicago for work.
“I wanted to write lyrics and create an environment for them that felt like our current landscape,” he says. “It forces us to ask, What do you do with those really insular feelings that feel almost shameful to allow yourself to indulge because of the greater amount of suffering you are witnessing? Well, so far I’ve only been able to figure out that you make art with them. But I don’t want to ignore the reality that they are somehow smaller than the landscape. And it’s a weird landscape to make art in, because at the same time I don’t want to talk about it directly, I don’t want Him or That to own my joy or my art—they don’t deserve it. They can’t have everything. So that allowed for the music to provide a lot of the commentary.”
On the subject of resistance, another looming elephant in the room provided the band a second behemoth of which to be wary: rock music itself. “I am at a moment in my life where I feel the canon of Baby Boomer Rockism tropes—Rockist music—is complicit,” Tweedy says. “All of the music I hear that draws upon those tropes feels like it’s based in fear: I’m afraid that we are not going to have any audience anymore if we don’t keep perpetuating this. That notion is completely divorced from the most important aspect of what rock and roll is to me: self- liberation, self-actualization, self-invention. I can probably intuit that because I know that I’ve felt it. Rockism is not intellectually an honest place to be, so this is more just a personal observation of what I don’t want to do.”
From its very onset, Ode to Joy reflects and rejects these notions while building up far greater ideas from their foundations. Throughout the entire album, drums pound and plod with a steady one–two pulse, meant to mimic the movement of marching—a powerful act utilized on both sides of the authoritarian wall. From the sparse and lovely opening duo of “Bright Leaves” and “Before Us” to the Nels Cline guitar freakouts of “We Were Lucky” and the gorgeously fractured final tune “An Empty Corner,” Glenn Kotche’s percussion propels the music forward while Tweedy’s measured words flesh out the cleared paths. While all six members of the band can be heard on every song—most clearly on the upbeat acoustic numbers “Everyone Hides” and “Love Is Everywhere (Beware)”—it’s clear that Tweedy and Kotche were the launching pad from which most of the songs materialized, as they sketched initial ideas for the album together as a duo. By focusing on a unique rhythm track and a minimalist instrumental accompaniment— typically acoustic guitar—and pairing that with observant lyrics at once hopeful, morbid, tolerant, and abstract, the band’s vision was achieved.
“They’re really big, big folks songs, these monolithic, brutal structures that these delicate feelings are hung on—that’s basically how I feel right now,” Tweedy says. “Everything is designed to be authoritarian. There is a sense of foreboding but there’s also a desire to have some comfort, and to me that marching sound is really pleasing, almost like a heartbeat or something elemental, like a nice Q-tip in your ear. I’m not saying I’m depicting the current American landscape, I’m just trying to have something feel the way I feel when I think about it.”
Whether our joy is measured by sparks felt when clutching old sweaters to our chests, by the number of tiny digital hearts earned from a shared photograph, by a guitar solo or a drumbeat or a piece of cotton on a stick, or by something even greater, Wilco wants to sincerely remind us to wear that feeling loud and proud. This is Ode to Joy: pick it up, hold it tight.
…the Levitt Shell has listened to your notes about paid shows and is grateful for the input. Here is what you can expect. Thank you for your continued support.
Gates open at 6:00pm. Show at 8:00PM.
New and improved bars. Food and beverages (including wine, beer and spirits) will be sold at multiple concession stands throughout the area.
No outside food, drinks, coolers or pets are allowed at this event.
We ask that you pull up your Ticketmaster e-ticket on your phone before coming to the Levitt Shell (or take a screenshot) as you are entering our 2 box offices.
Empty water bottles are allowed. Drinking fountains are available on the property.
Rain date is April 20, 2020. Same time, same place.
Because this is a fundraiser, no refunds are available.
Lawn chairs and blankets are welcome.
There are NO reserved seats for this event. It is general admission only.
The Levitt Shell is wheelchair accessible.
All entrants must have a ticket.
No professional photography, video, or audio recording equipment.
Levitt Shell will be accepting donations at the event if you are feeling generous.
Levitt Shell has limited the number of tickets being sold to this fundraiser to ensure a pleasurable event for all. Grab those seats.