with Dead Horses
Trampled by Turtles
with Dead Horses
|Price:||$60 Advance GA / $65 Day Of Show GA / $90 Reserved|
"Boundary-pushing bluegrass group" (Rolling Stone) with 3 albums in the top 10 on Billboard's Bluegrass Albums chart.Buy Tickets
Genre: indie folk, alternative country, bluegrass
ALL AGES: 18+ w/ valid photo ID, under 18 must be accompanied by parent or guardian.
Reserved seating is available for $90 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 6-ticket limit 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.
“There is something generous about the way they play. They make room for each other, they serve the song, yet at times seem to ride the chaotic edge of stringed oblivion. It is the sound of joy; the kind of joy that the truth gives you, even when it's a hard thing to hear.” - Alan Sparhawk, Producer
"There is an ecstasy that marks the summit of life, and beyond which life cannot rise. And such is the paradox of living, this ecstasy comes when one is most alive, and it comes as a complete forgetfulness that one is alive." - Jack London
Dave Simonett (guitar/lead vocals)
Tim Saxhaug (bass/harmony vocals)
Dave Carroll (banjo, harmony vocals)
Erik Berry (mandolin)
Ryan Young (fiddle/harmony vocals)
On Wild Animals, Trampled by Turtles’ seventh studio album, themes of impermanence run deep, both lyrically and sonically. The quintet’s hybrid folk sound continues its evolution pushing the band further into the grey area between genres that defies pigeonholing.
Trampled By Turtles formed in 2003 in Duluth, Minnesota. From their beginnings on the Midwestern festival circuit, they have reached new heights with each album. The release of 2012’s Stars And Satellites saw the band play to more fans than ever, sell close to 100,000 albums, make their first national television appearance on The Late Show With David Letterman, and have their first concert feature, Live at First Avenue, broadcast on Palladia. This year will see the band headline Red Rocks Ampitheatre for the first time and the kickoff of their own festival, Festival Palomino, which will take place September 20, 2014 outside Minneapolis.
Lead songwriter Dave Simonett has been especially affected by change over the last few years. He relocated from Duluth to the city of Minneapolis. “When I lived in Duluth, I think I took connection with uncivilized nature for granted. There, I had to drive 20 minutes and I was in the middle of nowhere, and I did this almost daily,” says Simonett. “This was a very important ritual for me. Solitary time in a nearly untouched landscape is my version of church, so I think there is a bit of loss of religion in a lot of my work these days. I've always been a little obsessed with our struggle to stay connected to our simple animal side, the part of our nature that lived off the earth, hunted live game, warshipped trees and mountains. I believe a lot of sadness is caused by feeling disconnected with the rest of nature. A lot of what is instinctual for us is beaten down and frowned upon in modern society. It has to be confusing for the subconscious.”
Wild Animals found Trampled by Turtles working with a producer for the first time in four studio records. The band placed themselves in the capable hands of longtime Duluth, MN compatriot Alan Sparhawk of the band Low and engineer B.J. Burton (Poliça, Megafaun, Volcano Choir) who crafted a sonic landscape that was spatial and new at Cannon Falls, MN’s Pachyderm Studio (Nirvana, The Jayhawks).
Says Simonett on working with Sparhawk: “Alan is one of the most musically courageous people I know and that’s exactly the attitude we were looking for. He’s great at taking a song from its false conclusion all the way down to its very core and then building it back in new and interesting ways.”
And on Burton’s contributions: “He has an exciting way of looking at sound. He shares Alan’s courage in music in that he’s ready to take organic sounds and push them to new places. He’s extremely technically skilled but not tied to any recording dogma.”
The band’s signature harmonies are intact, although the contributions that Sparhawk and Burton added created a new depth. Tim Saxhaug, the band member who has traditionally done much of the vocal arrangement says, “The production team pushed the band to consider new ways of approaching harmony, and the result 'opened our ears.' I wasn’t sure that recording could feel new after six studio albums, but that went away on the first day. Making this album was the most creative I’ve ever felt in my life.”
When asked about themes in his writing, Simonett says, “I’ve always felt they’re just various ways humans have attempted to explain the unexplainable. To keep the fear of the darkness that waits for all of us at bay. The death of a loved one, the parting of friends, the changing leaves, the loss of love. All the little parts that come and go. In a way it’s refreshing because the knowledge that nothing will ever stay the same offers innumerable opportunities for rebirth. “
Sparhawk adds about the band’s relationship, “The sound that caught my ear was there from the beginning and stands to this day: I call it the 'wall of strings.' Taking instruments we have heard for generations, the Turtles dive in with post-punk energy and selflessness. Everyone has a part in the arrangement that leans on and enhances the others, always serving the song. The message is not about individuals - it's about what can be done when people get together, apply their heart and soul, and make a little room for each other. Music has always had that potential, but it's rare when it actually happens.”
Erik Berry says of the band's chemistry, "From the earliest times we started playing, there has always been a real hard-to-define quality about our chemistry, something special. It’s been a treat to find that more than ten years in we still can turn new corners, at least new-to-us corners, together in the way we approach a song or a sound and still with that quality. That something that makes us, us."
Wild Animals is the sound of a band at the peak of their potential, strengthened from a decade together, winning some and losing some, but growing none-the-less. The album captures the intense nature that goes with being alive, melding the universal and the personal.
At fifteen, Dead Horses frontwoman Sarah Vos’ world turned upside down. Raised in a strict, fundamentalist home, Vos lost everything when she and her family were expelled from the rural Wisconsin church where her father had long served as pastor.
“My older brother was diagnosed with schizophrenia and my twin had mental illnesses and cognitive disabilities,” explains Vos. “When the church kicked us out, they basically told my dad, ‘If you can’t lead your family, how can you lead your church?’”
What happened next is the story of Dead Horses’ stunning new album, ‘My Mother the Moon,' a record full of trauma and triumph, despair and hope, pain and resilience. Blending elements of traditional roots with modern indie folk, the songs are both familiar and unexpected, unflinchingly honest in their portrayal of modern American life, yet optimistic in their unshakable faith in brighter days to come. Earthy and organic, Vos’ songs often reveal themselves to be exercises in empathy and outreach; she writes not only to find meaning in the struggles she’s endured, but also to embrace kindred souls on their own personal journeys of self-discovery. As much as the album is a reckoning with the past, it’s also an effort to shape the future, to build a community based around art and love and beauty and acceptance, a community to replace the one she was so brusquely robbed of as a child.
“At the time we were expelled, we lived in the church’s parish house,” explains Vos. “Suddenly, my father was unemployed and my family was homeless. My parents couldn’t afford insurance for the medical care my siblings needed. We were kicked out and completely abandoned.”
However, Vos’ love of music carried on after she left the church.
“Almost half of those services [were] just singing hymns,” she reflected in a recent interview. “I also went to a parochial school, so I had to memorize hymns and Bible verses all day, too. When I really look back, before I had the chance to explore music on my own, that was really central. Even the way I write songs [today] is reminiscent of hymns. That’s maybe why I was so drawn to folk music to begin with: it’s geared towards communities singing it together.”
By the time Vos turned 18, her family had begun to get back on their feet. She headed to Milwaukee for college, and there, came to terms with revelations about her sexuality that her religious upbringing had forced her to repress. The mix of freedom and relief and shame and guilt was overwhelming, and a depressive breakdown ensued.
“I couldn’t take care of myself,” she remembers. “I couldn’t sleep, I couldn’t eat, I couldn’t do anything. I stopped going to classes, and then I dropped out altogether and moved back home to Oshkosh. That’s where I met Dan.”
When bassist Daniel Wolff and Vos first started playing music together, it felt as if the clouds had finally parted. Vos introduced songs she’d been writing since high school open mics, Wolff learned a new instrument for the band (the double bass), and within months, they had earned a devoted local following. Regular gigs led to steady residencies led to regional touring and their first recordings. Two of the band’s original members ultimately left the group due to opioid addictions (“I still see the pawn shop sticker every time I look at my guitar tuner,” remembers Vos), but the Dead Horses moniker the pair created as a tribute to a friend who’d over-dosed from heroin stuck even after their departure.
‘My Mother the Moon’ is Dead Horses’ third album, which NPR Music has described as “evocative, empathetic storytelling," Rolling Stone has already called "a beautifully uncluttered collection of songs,” and No Depression has declared as "a lovely album" and notable upcoming roots music release. The album follows hot on the heels of their acclaimed 2016 release, ‘Cartoon Moon,' a record that prompted the Milwaukee Journal Sentinel to declare Dead Horses a Band To Watch and earned them honors for "Best Album," "Best Americana/Bluegrass Artist," and "Best Female Vocalist" at the 2017 WAMI Awards. American Songwriter called Vos “a compelling vocalist…who carries every tune with her husky, deeply emotional tone that feels lived in and real,” while No Depression hailed her songwriting as “beautiful and fresh.” With a fleshed out touring lineup, the group logged countless miles, sharing bills along the way with Trampled by Turtles, Mandolin Orange, Rhiannon Giddens and Elephant Revival in addition to making festival appearances from Bristol Rhythm and Roots to WinterWonderGrass.
When it came time to record ‘My Mother the Moon,’ Vos and Wolff traded Wisconsin for Nashville to collaborate once again with producer/drummer Ken Coomer (Wilco, Uncle Tupelo). Cut primarily live in the studio over the course of two weeks, the album is raw and understated, drawing its potency from the power intimacy and hushed revelation. With a sound that calls to mind everything from Joni Mitchell to Gillian Welch, Vos draws on a Biblical lexicon in her lyrics, but the gospel of Dead Horses belongs to no particular religion. Instead, these are songs of the people, stories of Vos’ own efforts to come to terms with her turbulent upbringing as well as stories of the men and women she grew up with in a rural America.
“As much as I want to express the narrative of my own life within the songs and the lyrics, this album is also naturally very reflective of what I’m observing every day on the road,” Vos explains. “One of the hardest things in life is watching your family suffer, to be so close but unable to ease their pain. Visiting my siblings in psych wards hurt me in a way that I'm still not sure I've made sense of. While I can look back now and say that it maybe wasn’t conducive to me developing in a healthy way as a young person, I can see that it instilled such a sense of empathy in me. As much as that can feel like a weakness sometimes, I think it’s also a great gift. An essential part of any Dead Horses song or show is that sense of compassion for strangers.”
On the gently fingerpicked “Swinger in the Trees,” Vos uses a Robert Frost poem as a jumping off point to explore the ways in which we isolate ourselves, while the waltzing “My Many Days” reckons with how we find fulfillment with our limited time on this Earth, and the tender “Darling Dear” comes to terms with the fact that our closest loved ones will always, in some ways, remain a mystery to us. Even when Vos approaches the political, as she does on “Modern Man” and “American Poor,” she does so on a very personal scale.
“Poverty doesn’t discriminate,” she reflects. “If you’re poor, you’re poor, but there are a lot of ways to be poor. You can be poor in spirit or poor in knowledge. Ignorance is one of the deepest kinds of poverty.”
Perhaps the album’s most arresting moment arrives with closer “Ain’t No Difference,” a heartbreaking, elegantly orchestrated track that swings manically between major and minor keys. Inspired by a vivid memory of a night of bitter conflict in her childhood home, Vos sings, “The house is gone now / It’s an empty lot now / There ain’t no difference.”
Far from obliterating the past, though, ‘My Mother the Moon’ draws strength from it. It’s an album of catharsis and redemption that comes at a time when both are in high demand and short supply. Sarah Vos may have lost the community that raised her, but with Dead Horses, she’s raised an entirely new one, and this time, everyone’s welcome.