Visulite Theatre (16+ (Must have ID) - Under 16 with Parent Only)
Doors Open: 8:00 - Show Starts: 8:30
“I was very lucky to be offered a lovely piece of property to build a career on," says Vanessa Carlton. “I started building a house on it, but it wasn't necessarily a house I would want to live in. So I ripped down that house, and I worked with these great lumberjacks to build a really cool cabin—a place I want to drink whiskey in and hang out until the sun rises." For her fourth album, Rabbits on the Run (Razor & Tie), Carlton needed a fresh start. She had been going at full sprint since she was discovered by legendary record executive Ahmet Ertegun when she was still a teenager, signed by Jimmy Iovine soon after, and exploded onto the pop scene with the platinum-selling, Grammy-nominated Be Not Nobody in 2002. But as she was nearing thirty, Carlton felt lost. Ultimately, she made her way to Peter Gabriel's Real World Studios in Box, England, where she created something that harks back to a different era of music-making: ten intimate, evocative songs, recorded direct to tape with a close-knit team of collaborators including producer Steve Osborne, drummer Patrick Hallahan from My Morning Jacket, and guitarist Ari Ingber of The Upwelling. It was not, however, an easy road to get there. “For two years, I went through a very reclusive period," says Carlton. "I was confused by a lot of decisions I had made, heartbroken in a lot of different ways. Once i got through the initial stage of grieving, I started studying everything around me. I became a sponge—listening to a lot of music from the '70s, classical music, reggae, just observing and paying attention." When she started creating again, she was writing instrumental music, and thought maybe that would be the next chapter of her work. But on a visit to England, she came up with a personal, revelatory song she called "London," and felt her writer's block receding. As she returned home to New York City and tentatively ventured back into songwriting, though, Carlton knew that things had changed. "I had no one," she says. "I was completely self-contained, I left my label, had no producer. So this was me going back to the demoing process that I was doing when I was 17. In my writing, I didn’t want to waste words anymore. It was a total arts-and-crafts vibe that I was doing all by myself." During her years of retreat, there were two vastly different books that Carlton found herself returning to over and over, and she started to feel their influence in her new songs. "My brother is in college, and he and I would get into these intense debates about physics and philosophy," she says. "Stephen Hawking's Brief History of Time really comforted me and helped me make sense of the chaos that is our lives."
Start Time: 8:30
Patrick Sweany likes the spaces in between. On a given night (or on a given album) he'll swing through blues, folk, soul, bluegrass, maybe some classic 50s rock, or a punk speedball. He's a musical omnivore, devouring every popular music sound of the last 70 years, and mixing 'em all together seamlessly into his own stew. Yet, the one thing that most people notice about Patrick isn't his ability to copy - it's his authenticity. Like his heroes, artists like Bobby "Blue" Bland, Doug Sahm, Joe Tex, Patrick somehow manages to blend all of these influences into something all his own. It's no wonder that as a kid he immersed himself in his dad's extensive record collection: 60s folk, vintage country, soul, and, of course, blues. Patrick spent hours teaching himself to fingerpick along to Leadbelly, Lightnin' Hopkins, and other folk-blues giants. In his late teens, Patrick began playing the clubs and coffeehouses around Kent, OH. He quickly gained a reputation for the intricate country blues style he was developing: part Piedmont picking, part Delta slide - with an equally impressive deep, smooth vocal style. But Patrick wouldn't stay in the acoustic world for long. His love of 50s era soul and rock fused with the adrenaline-soaked garage punk revival happening throughout the Rust Belt pushed Pat to form a band. After 4 critically acclaimed CDs (two produced by longtime collaborator and grammy award winner Dan Auerbach of The Black Keys), Patrick has expanded his touring radius to 49 states and the UK. He's played premiere festivals all over the U.S., and supported national acts such as The Black Keys, The Gourds, The Wood Brothers, Wayne Hancock, Hot Tuna, and Paul Thorn on tour. His latest record, Close To The Floor, hit the streets July 16, 2013. It was recorded to 2" tape in Nasheville, TN and features contributions from Joe McMahan (Luella & The Sun, Allsion Moorer, Webb Wilder), Ron Eoff (Cate Brothers, Levon Helm), Jon Radford (Justin Townes Earle, Lilly Hiatt), and Ryan Norris (Lambchop), among others. Close To The Floor is a gritty, hard look at some very difficult recent events in Sweany's life and recalls the halcyon days of Muscle Shoals releases by Dan Penn, Eddie Hinton and Leon Russell.