Premier Concerts and Manic Presents:
Billy Bob Thornton and The Boxmasters
Girls Guns And Glory
295 Treadwell Street
Hamden, CT, 06514
Doors 7:00 PM / Show 8:00 PM
This event is all ages
Billy Bob Thornton and The Boxmasters
2017 & 2018 have seen The Boxmasters team up with legendary Engineer/Producer Geoff Emerick for an album that Geoff has called, “One of the most exciting projects I’ve worked on since The Beatles.”
Known for taking over the engineer’s chair on The Beatle’s albums “Revolver,” “Sergeant Pepper’s Lonely Heart’s Club Band” and more, Geoff added a familiar sonic touch to the sound of The Boxmasters, who have been unapologetic Beatles and British Invasion fans. His work on albums by Badfinger, The Zombies, America and Paul McCartney, among many others, have always been huge influences on The Boxmasters.
Sonically “Speck” touches on all of The Boxmaster’s influences, including The Beatles, The Byrds and Big Star but there are new sonic touches as well. Ukulele, Cardboard boxes and the Beatle’s famous “tea towels on the drums” trick pop up on songs throughout the album. “Geoff really did an amazing job on the mixing of this album and did it in a way that you recognize sounds you’ve known all of your life, but at that same time are in a new way. And I really loved being able to sit back and enjoy the mixes of an album instead of sweating every tiny detail of every song.” Says J.D. who typically mixes all of The Boxmaster’s material.
“Lyrically it deals with every thing from personal relationships to politics , social issues . The theme being that we are all specks in this universe trying to navigate it , during trying times in the world we still have our own loves, desires , problems and dreams as individuals.” Says Bud. “We're just little humans. No matter what our standing is in society”.
The always prolific Bud, J.D. & Teddy have also been working on finishing another long awaited project titled “And Then We Drove” as well as contributing music to an upcoming independent feature film titled “Spare Room.” Songs for the followup companion to “Tea Surfing” have begun being written and recorded as well.
• Released three albums – “The Boxmasters,” “Modbilly,” “Christmas Cheer” on Vanguard Records
• “Somewhere Down The Road” on 101 Ranch Records released April 2015
• “Providence” was released in August of 2015 on www.theBoxmasters.com
• “Boys And Girls…And The World” & “Tea Surfing” released on NDR Records in 2016
• “Modbilly” reached #1 on the Americana Radio Chart for 2 weeks in 2009 and was #14 on the Americana Music Association’s Top 100 Albums of the Year
• Contributed a cover of “Sylvia’s Mother” to the compilation “Twistable Turnable Man- A Tribute to Shel Silverstein”
• “I’ll Give You a Ring” is featured in the film “The Winning Season” starring Sam Rockwell on Lionsgate Films
• Contributed a version of “Little Boxes”, the theme song for the Showtime comedy “Weeds” second season
• Contributed score/end title song to the upcoming independent feature film “Spare Room” directed by Jenica Bergere
Network TV performances include:
• “The Late, Late Show with Craig Ferguson”
• “Jimmy Kimmel Live”
• “Live with Regis & Kelly”
Venue performances include:
• Performed on The Grand Ole Opry in 2015
• Headliner at the Minnesota State Fair for 2 nights in August/September 2016
• Headliner at the Iowa State Fair in August 2016
• Co-Headlined with Marty Stuart at Ravinia Place in Chicago in 2016
• Tony LaRussa’s Animal Rescue Foundation’s Benefit in 2009 & 2011
• Hosting/Performing for The Country Music Hall of Fame’s “All For The Hall” Benefit in New York City in 2008
• Levon Helm’s Midnight Ramble twice as well as Levon’s concert “Ramble at The Ryman” in 2008 & 2009
• Billy Bob’s in Fort Worth, Texas, with ZZ Top as the opening act in 2009
• Opening act for Willie Nelson and Family and Ray Price tour 2009 & 2010
• Opened for The Steve Miller Band in Virginia Beach in 2015
• “Virtual Concert” at Michael Nesmith’s Video Ranch in 2009
• The Harley Davidson “Hog Rally” in Milwaukee in 2009
• BMI Showcase at The Sundance Music Festival in 2009
• Headlined the Washington Correspondent’s Jam in Washington, D.C. in 2017
• Performed over 300 feet below ground in the cave at The Bluegrass Underground in McMinnville, Tennessee in 2017
• Multiple SXSW showcases
Band member details:
• Shared the stage with legendary artists from Guns N Roses, Carole King, Alice
Cooper, Chuck Berry, Bo Diddley, to B.B. King and others.
• Long-time counselor and mentor at Rock and Roll Fantasy camps.
• Released solo album “Innocent Loser” in 2012.
• Grammy Award-winning recording engineer whose credits include The Rolling
Stones, Kanye West, The Pussycat Dolls, Will Kimbrough, Tommy Womack, Guy
Clark, and more.
• Mixer of Documentaries “Iron Will, A Veteran’s Battle with PTSD” (2016) and “It’s
Not A Race: The Scooter Cannonball Run” (2015)
• Co-founded The Boxmasters in 2007.
• Recorded four solo albums “Private Radio”, “Edge Of The World”, “Hobo,” and “Beautiful Door.”
• Performed on numerous recordings including Warren Zevon’s GRAMMY winning album “The Wind,” the legendary Earl Scruggs’ “Earl Scruggs and Friends,” and “Anchored In Love: A Tribute to June Carter Cash.”
• Recently co-wrote the song “The Middle of Nowhere” with Tony Joe White on his album “Rain Crow.”
Girls Guns And Glory
Love and Protest: two concepts that seldom go hand in hand. Until you think about it a while.
That’s what singer, guitarist and songwriter Ward Hayden did as he began mapping out plans for Girls Guns & Glory’s next album, which happens to be called Love and Protest.
“That title sums up this album and it sums me up very well too,” he says. “We’ve done 10 years of touring, living, learning and growing, maturing and developing a broader world view, a view outside of the small town where I grew up.”
That decade began with Hayden and several like-minded musicians getting together. Their love for early rock ’n’ roll, true country, raw blues and pretty much any kind of authentic American music branded them quickly as anomalous — and electrifying. Since that time they’ve barnstormed far beyond their Boston hometown, playing honky-tonks, beer joints and more recently concert venues throughout the U.S. They’ve amassed a loyal legion of fans along the way. The media have noticed too, including Rolling Stone, which heralds them as a “modern-day Buddy Holly plus Dwight Yoakam divided by the Mavericks.”
Now, in this milestone year, with Girls Guns & Glory recording for the first time on its own label, the group has channeled all it’s experienced into its most personal and, paradoxically, hardest-rocking release to date.
“Love and Protest is the name of the album because its songs explore the emotion of love,” Hayden explains. “And when love is faced with opposition, it’s the protest of that emotion. It’s alpha and omega — love and protest. There’s a lot of ground to cover between those two extremes.”
They begin with the album’s first single and opening track. “Rock ’n’ Roll.” With bassist Paul Dilley and drummer Josh Kiggans laying down a no-nonsense, backbeat-driven groove, lead vocalist and guitarist Hayden sings, “I’m a hunter, a collector of things. I keep holding onto bad memories.” And yet, when the chorus hits, he proclaims that he’s “ready to rock ’n’ roll.”
Like much of Hayden’s work, these lyrics run deeper than they seem at first listen, with a sub current of heartbreak and obsession. “I don’t just collect physical trinkets,” Hayden notes. “This song is more about experiences and memories, the things you can’t see but they stay with you in your head and your heart.
Similar spirits haunt the bitterly self-destructive “Wine Went Bad,” the loneliness of “Reno, Nevada” (“I might as well be a world away”), the exquisitely pure honky-tonk lament “Empty Bottles,” the painful introspection of “Memories Don’t Die” and “Stare at the Darkness,” and “Diamondillium,” a dystopian meditation shaded by noir guitar and incongruously inspired by an episode of Futurama — really, everything on the album, including its one cover, a resurrection of Gram Parsons’ “Hot Burrito No. 1.”
“The growth and maturity of Girls Guns & Glory as a band is what led us to take on this song,” Hayden says. “Lyrically, I think it’s a song that would make Hank Williams proud. Love was, and is, there in the person telling the story, but his love interest has taken the things she’s learned from their relationship and moved on to someone else. The storyteller is left to pine over it. It’s love and protest exemplified.
To complement the immediacy of Hayden’s words, Girls Guns & Glory elected to cut Love and Protest entirely in analog, with Drew Townson, an acknowledged master of that format, recruited to produce with the band.
“There’s a nostalgia to working with analog,” Hayden says. “There are also limitations — no editing, making sure you don’t run out of tape. But those limitations force you to let things go, let things happen. The anxiety begets beauty and makes the band do its best every take, firing on all cylinders and working together as a cohesive unit.
“It’s as stripped-down as we’ve ever been. Even going into it, I didn’t imagine it would turn out as pure as it did.”
Going back to analog parallels the band’s return to its earliest days as an independent act, in control of its career. “This is the first album in eight years where we did everything ourselves,” Hayden says. “It’s the first album we’ve co-produced. We don’t worry about appeasing a label anymore. We’re creating music only for ourselves and our fans.”
To illustrate, he points to one track, “Man Wasn’t Made,” an affirmation that “man wasn’t made to just lie down and die,” set to a rollicking rockabilly beat and ignited by sparks of steel guitar. “When we were working with a label, they kept telling me that protest songs don’t sell so they didn’t want to put this kind of cut on a record. Well,” he says, smiling, “now we can sneak in a couple of actual protest songs, in a not-so-sly way.”
“With this record, we feel almost like a brand new band,” he continues. “We take things in a different direction. A lot of that is because a shift has occurred on our tours. We’re getting out of the bars and playing more in theaters and listening rooms. Instead of just trying to keep people on the dance floor for three hours, we’re crafting songs for people who really like to listen. That’s allowed us to dig deeper lyrically, to make more mature music with a higher level of musicianship. We’re making the music we want to make. We’re not limiting it to any genre in particular. We’re willing to do whatever feels right.”
“You could say,” Hayden concludes, “we’re a bigger part of the music itself than we’ve ever been.”
Nothing could be better news for those who have loved Girls Guns & Glory. Nothing can give more hope to all still waiting for their faith in real, honest-to-God American music to be restored.