Lucero

105.5 The Colorado Sound Welcomes

Lucero

Strand Of Oaks

Thursday, November 15

Doors: 7:00 pm / Show: 8:00 pm

Washington's

$22.00 - $25.00

PLEASE NOTE, WE ARE A STANDING ROOM ONLY VENUE.

All tickets non-refundable. Price does not include service charge.

Lucero
Lucero
Lucero has long been admired in their hometown of Memphis, where they have hosted “The Lucero Family Block Party” every spring for a number of years. At the 2018 Block Party they celebrated their 20th anniversary as a band, with the city’s Mayor Jim Strickland officially declaring it “Lucero Day.”

The group found their name in a Spanish/English dictionary. “Lucero” is variously translated as “bright star” or “morning star.” None of them can speak Spanish.

It’s been two decades since original members Ben Nichols, Brian Venable, Roy Berry, and John C. Stubblefield (keyboardist Rick Steff joined in 2006) started playing shows in Memphis. The band’s first show was April 13, 1998 at a warehouse space across the street from what is now the National Civil Rights Museum, the infamous Lorraine Motel where Martin Luther King Jr. was shot. Their first set was six songs played to about six people. On August 3, 2018, record release day for Among the Ghosts, the band will be co-headlining Red Rocks Amphitheater in Colorado.

The band’s ninth studio album, Among the Ghosts, is their first for noted Nashville indie label Thirty Tigers. It was recorded and co-produced with Grammy-winning engineer/producer and Memphis native Matt Ross-Spang (Jason Isbell, Margo Price, Drive by Truckers) at the historic Sam Phillips Recording Service, the studio built by the legendary producer after outgrowing his Memphis Recording Service/Sun Studio.

Recorded primarily live as a five-piece, Among the Ghosts eschews the Stax-inspired horns and Jerry Lee Lewis-style boogie piano featured on some of the band’s past recordings for a streamlined rock & roll sound that pays homage to their seminal influences as it seeks to push that legacy into the future. For a band who carried the torch of the alt-country movement back in the 90’s and helped pave the way for what is now called Americana, Lucero have re-discovered what inspired them in the first place. The sound is more their own and at the same time not exactly like anything they’ve done before. This is a band settling into their craft. The 10-song disc’s title is both a tribute to the spirits which roam the streets of their fabled city, as well as the hard road the determinedly independent band set out on 20 years ago. The band played around 200 shows per year for many of those 20 years.

With a nod to his younger brother Jeff Nichols, an acclaimed filmmaker whose movies include Loving, Mud, Take Shelter, Midnight Special, and Shotgun Stories; Nichols has written songs that are cinematic short stories, steeped in Southern gothic lore. There are nods to regional authors like Flannery O’Connor and Faulkner, as well as newer writers like Larry Brown (Big Bad Love, Fay), Ron Rash (The Cove, The World Made Straight), and William Gay (The Long Home).

As the first album he’s written since his marriage and the birth of his now two-year-old daughter Izzy, Nichols approached the task as a narrator rather than in first person. It’s a dark palette that includes tales of a haunting (“Among the Ghosts”), a drowning (“Bottom of the Sea), a reckoning with the devil
(“Everything has Changed”), a divorce (“Always Been You”), and a shoot-out (“Cover Me”). And that’s just Side A. Side B is a letter from a battlefield (“To My Dearest Wife”), a crime (“Long Way Back Home”), a straight-out rocker (“For the Lonely Ones”) and even a spooky spoken-word cameo from actor Michael Shannon, who has appeared in every one of Nichols’ brother’s films. The song’s title “Back to the Night” references a line from Nick Tosches’ Jerry Lee Lewis biography, Hellfire. In addition, there’s a song Nichols wrote for his brother’s movie Loving, which appeared in the film and on the soundtrack, re-recorded for Among the Ghosts with the whole band.

“You could also say there’s a rescue, a getaway, a survival story and a middle finger to Satan himself,” laughs Nichols. “It’s all in your perspective.”

Several songs juxtapose going off to battle with a rock & roll band’s endless touring, shifting time periods like the spirits which haunt the album, the happiness of domestic bliss undercut with fears of loss and the specter of mortality. Among the Ghosts simultaneously reprises the past and looks to the future, while being firmly anchored in the present.

Musically, the band highlights range from co-founding member Brian Venable’s Dire Straits-meets- War on Drugs guitar pyrotechnics in “Bottom of the Sea” and “Cover Me” to the Springsteen vibe of “For the Lonely Ones”, Rick Steff’s skeletal piano lines on “Always Been You”, John C’s bass lines in “Everything Has Changed” and “Long Way Back Home”, and drummer Roy Berry’s dynamic shifts from the powerful and brutal title track “Among the Ghosts” to the marching drive of “To My Dearest Wife” and the subtlety of “Loving”. Throughout, Nichols’ bourbon-soaked growl has become even more distinctive and commanding.

Among the Ghosts offers a timeless perspective on Lucero’s distinctive sound. The lyrics could’ve been written 200 years ago or yesterday. Representing a new South compared to the one that’s been mythologized, Lucero have formulated their own ideas and culture which, in some cases, contradicts what came before them (no Confederate flags), but also updates and reconsiders those traditions in a new light.

“I think we’ve tried to remake this place that we love and cherish in our own fashion. We are very proud of where we are from and we’ve spent the last 20 years trying to bring a bit of our version of home to the rest of the world... It may have taken 20 years, but everything has fallen in place right where it needs to be,” acknowledges Nichols. “There were some dark days in those middle years, but we’ve learned how to do this and survive. We still write heartbreak songs, but now, with a family at home, it’s a whole new kind of heartbreak.”

Among the Ghosts lays out that new territory with alacrity, as Lucero shines their Morning Star, burning just as brightly, if not more so, 20 years later. As one of the album’s song titles so aptly puts it, “Everything Has Changed”, but one thing hasn’t... Lucero’s music remains more vital than ever.
Strand Of Oaks
Strand Of Oaks
Hard Love, Tim Showalter’s latest release as Strand of Oaks, is a record that explores the balancing act between overindulgence and accountability. Recounting Showalter’s decadent tour experiences, his struggling marriage, and the near death of his younger brother, Hard Love emanates an unabashed, raw, and manic energy that embodies both the songs and the songwriter behind them. “For me, there are always two forces at work: the side that’s constantly on the hunt for the perfect song, and the side that’s naked in the desert screaming at the moon. It’s about finding a place where neither side is compromised, only elevated.”

During some much-needed downtime following the release of his previous album, Heal, Showalter began writing Hard Love and found himself in a now familiar pattern of tour exhaustion, chemically-induced flashbacks, and ongoing domestic turmoil. Drawing from his love of Creation Records, Trojan dub compilations, and Jane’s Addiction, and informed by a particularly wild time at Australia’s Boogie Festival, he sought to create a record that would merge all of these influences while evoking something new and visceral. Showalter’s first attempt at recording the album led to an unsatisfying result-a fully recorded version of Hard Love that didn’t fully achieve the ambitious sounds he heard in his head. He realized that his vision for the album demanded collaboration, and enlisted producer Nicolas Vernhes, who helped push him into making the most fearless album of his career.

Throughout the recording process, both Showalter and Vernhes maintained an environment that paired musical experimentation with a mindset that defied Showalter’s previous studio endeavors: the atmosphere had to be loose, a celebration of the creative process and a reinforcement of the record’s core themes. “In a time of calculation and overthinking, I wanted to bring back the raw, impulsive nature that is the DNA of so many records I love.” And in keeping with that loose, hedonistic vibe that encompasses so much of Hard Love, Showalter looked to his best friend, Jason Anderson, whose musical prowess and expert shredding augmented the unrelenting energy that would become the record’s backbone.

This uninhibited and collaborative studio experience led to the most dynamic album in Strand of Oaks discography, moving beyond Showalter’s original concept for a singularly feel-good record to something more complex and real. For as much as Showalter wants this record to seem like a party, it’s more than that. It feels like living. “You went away…you went searching…came back tired of looking” is how Showalter begins the title track, a sentiment that epitomizes Showalter’s own mentality in beginning Hard Love. And as the record progresses, so do the themes of dissatisfaction and frustration with love, and family, and success, and aging, both in personal experience and songwriting.

“Radio Kids,” Showalter’s infectious, synth-driven ode to youth and a time when music represented something pure and uncomplicated, perfectly encapsulates his desire for escapism from both his adult responsibilities and a world he no longer recognizes. But if there’s a sun in the Hard Love solar system, it’s “On the Hill,” a psychedelic, celebratory homage to three days in the excesses of that mind-altering Boogie Festival. “On the Hill” captures the true zeitgeist of how Showalter wants this record to feel. “It’s like I had to fly across the world to find out who I was…it was all about getting loose, and connecting with people on a primordial level… letting go of all the bad things, losing your inhibitions, and figuring out what it means to be alive.” The accumulating intensity that Showalter crafts throughout this flagship track seems to effortlessly achieve an almost hallucinogenic ambiance, with images of lighters being lifted, concert-goers embracing, and the magnitude of the moment eliciting nothing less than mass euphoria.

And then, there’s “Cry.”

“Eventually there’s this crushing reality of what it means to hurt someone, what you did to hurt someone…you’re not the victim anymore, it’s not romantic, it’s not a narrative…you just realize you’re the cause of problems.” This noticeable shift in the tone of Hard Love-a heartbreaking, piano-laden ballad with the chorus “Hey…you’re making me cry”-is a sobering reality check in Showalter’s universe. And as Showalter struggles to reconcile his youthful desires with the realities of adulthood, we’re eventually led into the final death rattle of his pervasive partying, “Rest of It.” With its loud, raucous arrangement of sing-along vocals and searing guitars solos, “Rest of It” emerges as Hard Love’s flawless manifestation of an exceedingly fun, belligerently drunk night where you try to forego life’s responsibilities and have one more good time.

Much of Hard Love was either written or conceptualized during Showalter’s post-tour break, as he reveled in the memory of what he considered to be life-changing experiences. But it was during this period that he received devastating news: his younger brother, Jon, had suffered massive cardiac failure. “He was 27 years old at the time…it happened out of nowhere. I flew out to Indiana and stayed in the hospital for almost two weeks. They said he had a 10% chance of surviving and they had to induce a coma to prevent brain damage. Sometimes he would start to wake up and look me in the eyes…it was the worst thing that ever happened to me. But he got better. That’s all that matters.” In so many ways, it only seems fitting that Showalter’s psychedelic journey, his awakening to drug-fueled excess, the loss of inhibitions, the inevitable reality check, and his subsequent last hurrah be capped with his darkest, most life-affirming experience yet. The title of the record’s final track, “Taking Acid and Talking With my Brother,” represents Showalter’s last-ditch attempt at reconciling his personal life and his impulsions, crafting a clear connection between what were previously considered trippy experiences and the now extraordinary surrealism of witnessing his younger brother’s medical emergency.

And as Hard Love comes to its conclusion, it becomes that much more obvious that the singer/songwriter has grown to something larger and more momentous, crafting a passionate, brazen, and fully realized rock and roll record that captures the escapism of sex and drugs while offering an equally sincere perspective on the responsibilities, complications, and traumas that punctuate our lives and force us to evolve. “Some records are built like monuments, set in stone…I want this record to be burned in effigy, I want it to be burned in celebration of the limited time we have on this Earth.”
Venue Information:
Washington's
132 Laporte Ave
Fort Collins, CO, 80524
http://washingtonsfoco.com/