|Price:||$85 GA / $150 Reserved|
Genre: indie, indie rock, folk
ALL AGES: 18+ with valid photo ID. Under 18 must be accompanied by a parent or guardian.
Reserved seating is available for $150 and guarantees a seat in the reserved section. If necessary groups will be paired together at tables. Seating is based on time of purchase and the configuration of groups.
There is a 4-ticket limit for general admission OR a 6-ticket limit for reserved per customer, credit card or email address. Orders exceeding these limits, or any tickets purchased for resale, may have a portion or all of their orders cancelled without notice.
Led by Montana native Colin Meloy, the Decemberists craft theatrical, hyper-literate pop songs that draw heavily from late-'60s British folk acts like Fairport Convention and Pentangle and the early-'80s college rock grandeur of the Waterboys and R.E.M. The band's initial lineup also included drummer Ezra Holbrook, bassist Nate Query, keyboardist/accordionist Jenny Conlee, and multi-instrumentalist Chris Funk. Frontman Meloy had previously devoted some time to an alternative country group before breaking off to pursue his craft as a singer/songwriter in the city of Portland, a move that eventually led to the Decemberists' formation. Drawing influence from his degree in creative writing, he began fashioning a hybrid of literate lyrics and wide-ranging pop music, touching upon everything from Sandy Denny to Morrissey in the process.
Before Hush Records released the band's debut album in 2002, the Decemberists baited their initial fans with a five-track EP. Their full-length debut, Castaways and Cutouts, was re-released that same year on the Kill Rock Stars label, and the band began to accumulate a serious fan base. After adding organist and keyboardist Rachel Blumberg to the group, in 2003 the Decemberists released Her Majesty, another fine collection of theatrical indie pop with pastoral sensibilities that further cemented their growing reputation. One year later, a five-part epic EP entitled The Tain -- based on the eighth century Irish poem of the same name -- appeared, followed by the full-length Picaresque in 2005.
The group, which at this point consisted of Meloy, Conlee, Query, Funk, and drummer John Moen, made the move to the major leagues by signing with Capitol Records in advance of 2006's The Crane Wife, which managed to hit number 35 on the Billboard 200. The album also grabbed the attention of comedian/satirist Stephen Colbert, who challenged Funk to a guitar solo competition during a live taping of his show The Colbert Report. For their next project, the Decemberists tackled one of Meloy's most ambitious ideas to date: an honest to God rock opera. The Hazards of Love appeared in 2009, featuring a fantasy-filled story line as well as cameos from My Morning Jacket's Jim James, Lavender Diamond's Becky Stark, and My Brightest Diamond's Shara Worden.
In January 2011, the band unexpectedly topped the charts with The King Is Dead, a concise and rustic country-pop collection that featured guest appearances by Peter Buck and Gillian Welch, and followed it up later that year with the outtakes EP Long Live the King. With touring completed for The King Is Dead, the band went on hiatus, but still released the double live album We All Raise Our Voices to the Air in 2012.
Coming off their hiatus, the Decemberists returned with several live dates in 2014, and began work on their seventh studio album. On January 20, 2015, the album, titled What a Terrible World, What a Beautiful World, was released, and the group celebrated the event with a three-month tour covering the United Kingdom, Europe, and the United States. In September of that year, the band issued an EP, Florasongs, that featured material from the What a Terrible World, What a Beautiful World sessions. The group then collaborated with U.K. singer/songwriter Olivia Chaney, forming the band Offa Rex for the 2017 album The Queen of Hearts. The following year, they regrouped as Decemberists for their eighth studio album, 2018's I'll Be Your Girl, bringing producer John Congleton aboard for a more synth-led record. ~ Linda Seida, Rovi
Since breakout 2011 release In Light, GIVERS have embraced a vision of life and love that, in the band’s early years, bubbled with the optimism of unchallenged youth. Ever the disciples of movement, GIVERS channels Afro-pop polyrhythms and art rock collage into raw, transcendent joy.
From the jump, the band achieved dizzying success. GIVERS toured world class stages, both international and domestic, becoming a fixture on the major festival circuit, including Bonnaroo and Lollapalooza, and winning appearances on Late Night with Jimmy Fallon and Jimmy Kimmel Live! (The band’s electricity struck Neil Young, who caught GIVERS on Late Night and mused about it, in a stream of consciousness, in his autobiography.)
Now each in their early 30s — ragged, accomplished, philosophized — the band’s creative nucleus of Taylor Guarisco, Tif Lamson, and Josh LeBlanc has transitioned from celebrating life to probing its complications: the cruel fiction of unmet expectations, the deflation in opportunities lost and the elation in new ones found. In the process, they left the place of the band’s birth (Lafayette, La.) for the cultural kaleidoscope of New Orleans, now the site of their coming of age.
On the EP Movin On, the follow-up to 2016’s deep-set and ambitious studio achievement New Kingdom, a maturing GIVERS approaches these questions with a clarified song craft, honed under the mentorship of Nashville producer Dave Cobb (Chris Stapleton, Sturgill Simpson) and New Orleans-based engineer/producer Eric Heigel (Arcade Fire, Lost Bayou Ramblers) at the legendary RCA Studio A in Nashville and at Heigel’s Wixmix Studios in New Orleans.
Where earlier recordings sprawled with sonic discovery, the title track “Movin On” corrals the band’s percussive explorations into tight, magnetic rhythms reminiscent of the new wave world beat of bands like Tom Tom Club or Dirty Projectors. The acoustic punch of lead single “Collide”, set on edge with Guarisco’s searing dance-punk guitar work, hits like a thump to the rib cage. An older, wiser GIVERS packs a concise wallop.
GIVERS now meet shattered expectations with rejuvenated positivity - a gratefulness borne of experience over naive optimism. Clear-eyed and earnest, they strip away the studio pretense of their previous efforts to reveal a simple, beating heart. Yeah, things change; that makes life for the living.