33 West St.
Annapolis, MD, 21401
Doors 7:00 PM / Show 8:00 PM
This event is 21 and over
Shawn Colvin won her first GRAMMY Award for Best Contemporary Folk Album with her debut album, Steady On, in 1989. She has been a mainstay of the contemporary folk music scene ever since, releasing twelve superlative albums and establishing herself as one of America’s greatest live performers. She triumphed at the 1998 GRAMMY Awards, winning both Record and Song of the Year for “Sunny Came Home.” Her inspiring and candid memoir, Diamond In The Rough, was published in 2012. With the wit, lyricism, and empathy that characterize Shawn’s performances, Diamond in the Rough looks back over a rich lifetime of highs and lows with stunning insight and candor.
Shawn’s most recent solo endeavor, Uncovered, is the long-awaited follow up to fan-favorite Cover Girl. Uncovered includes masterful interpretations of songs by Bruce Springsteen, Paul Simon, Tom Waits, Stevie Wonder, Graham Nash and more. In June 2016, Shawn Colvin and Steve Earle united to release, Colvin & Earle, their acclaimed self-titled duo album. Fueled by their longtime friendship, Colvin & Earle beautifully captures the pair’s extraordinary chemistry and is a true standout in careers already filled with pinnacles and masterpieces.
Shawn was recently recognized for her career accomplishments when she was honored with the 2016 Lifetime Achievement Trailblazer Award by the Americana Music Association. Presenting her with this prestigious award was Bonnie Raitt. Said Raitt, “She’s simply one of the best singers I’ve ever heard— and a truly gifted and deep songwriter and guitarist… She was groundbreaking when she emerged and continues to inspire me and the legions of fans and other singer/songwriters coming up in her wake”
Shawn Colvin’s latest release is The Starlighter (Amazon Music), a new album of songs adapted from the children's music book "Lullabies and Night Songs." The Starlighters’s 14 tracks are a mix of traditional numbers and children's standards, an elegant and graceful collection for listeners of all ages.
Seth Glier’s new album Birds is steeped in conflict and contradictions. There’s grief and loss, but also strength and resilience; doubt and dismay, but also a sense of optimism as Glier confronts heavy topics and wrestles them into the daylight.
Glier (pronounced “Gleer”) recorded Birds in an airy loft in western Massachusetts outfitted with a grand piano and floor-to-ceiling windows. Birds roost just outside those windows, on the roof of the converted mill building where he lives, and they became his sympathetic audience while Glier made the album. “I felt a tremendous amount of comfort talking to the Birds,” he says “I’d check in with them regularly to see how they thought things were going so far.”
Birds is Glier’s fifth album, and the latest entry in a burgeoning career that has included a Grammy nomination and a pair of Independent Music Awards while touring with artists including Ani DiFranco and Ryan Adams.
The songs on Birds range from personal to political, and are bound together by the awareness that our world is a fragile place that is all the more magical for it. Glier makes that point on a large scale with “Water on Fire,” a terse, grinding tune that opens with a cynical reworking of a Ray Charles lyric as Glier uses fracking to dig into the false equivalence between freedom and capitalism. “Hasn’t Hit Me Yet” has a more visceral, intimate approach: the soulful slow jam, full of warm guitars and multi-tracked vocals, is about the death of Glier’s autistic brother.
Together, those songs represent the opposite poles of Birds. “I was really trying to explore connections on this record,” Glier says. Among those connections is the one between race and the criminal justice system on “Justice for All,” a raw chain-gang stomp that sounds almost like an old field recording. “Like I Do” takes a more oblique tack, drawing out feelings of anger through the use of noisy synthesizers and fuzzed-out bass pads.
The songs on Birds reflect a scope of sound and style: the title track is lush and & orchestral, for example, while “Too Much Water” pairs Glier’s voice and piano with subtle accompaniment from horns, for a classic, elegant feel that calls to mind Harry Nilsson in the early ’70s. “People Like Us” is jaunty and up-tempo, while the trebly guitar arpeggios and moaning saxophone on “Just Because I Can” sound like a sock-hop slow dance, until you zero in on lyrics delivered by a narrator who dynamites his domestic bliss simply for the power trip. Conflict. Contradiction.
Rams Head On Stage
Fri, January 18
Sat, January 19
Sun, January 20
Mon, January 21
Tue, January 22