638 South State Street
Salt Lake City, UT, 84111
Doors 8:00 PM / Show 9:00 PM
This event is 21 and over
Watch & Listen
The night before Con Brio headed into the studio to record their first full-length album, 23-year-old Ziek McCarter had a dream. In it, the singer received a visit from his father, an Army veteran who died at the hands of East Texas police in 2011. His father deliv-ered an invitation: Come with me to paradise.
McCarter woke up with a song in his bones. “It was one of the most spiritual moments of my life,” he recalls. It was up to him, he knew, to rise above injustice, and to perform in a way that lifted up those around him as well. To make Con Brio’s music a place of se-renity, compassion -- even euphoria -- right here on earth.
Paradise, which saw the San Francisco band teaming with legendary producer Mario Caldato Jr. (Beastie Boys, Beck, Seu Jorge), is the result: a declaration of independ-ence you can dance to; an assertion of what can happen when the human spirit is truly free.
Formed in 2013, Con Brio is the offspring of seven musicians with diverse backgrounds but a shared love for the vibrant Bay Area funk and psychedelic-soul sound pioneered by groups like Sly & the Family Stone.
By 2015, when the band self-produced their debut EP, Kiss the Sun, Con Brio had al-ready become a West Coast institution on the strength of their magnetic live show, with McCarter’s swiveling hips, splits and backflips earning him frequent comparisons to a young Michael Jackson or James Brown.
After a busy 2015 spent touring the U.S. and Europe, playing alongside veterans Galac-tic and Fishbone, and racking up critical acclaim on proving grounds like Austin City Limits -- where PopMatters declared Con Brio “the best new live band in America” -- they headed home to parlay their momentum, chemistry and tight live sound into a full-length record.
In an era when much has been made of the “death of the album,” there’s no question that Paradise; released July 15th, is a fully-formed journey -- a trip made all the more immersive by Caldato’s raw, live style of production. “We tried to create a narrative in the studio, in the same way that we segue between songs live,” explains McCarter of the record’s arc.
From the first primal wail of Benjamin Andrews’ electric guitar on the title track -- Para-dise is bookended by intro and outro versions -- the album tells a story about modern life through its contradictions: “Liftoff” speaks of an urge to fly, to transcend the day-to-day with a starry, bird’s-eye view. “Hard Times” brings us crashing back to earth with the struggles of city life, inequality, and a fractured society desperate for healing. “Mon-ey” is a revolution, a rejection of societal pressure to equate success with a paycheck and abandon one’s dreams in the process.
“Free & Brave,” the band’s most overtly political anthem, is also arguably its most infec-tious. Over a driving R&B groove courtesy of veteran rhythm section Jonathan Kirchner and Andrew Laubacher (bass and drums), McCarter name-checks Trayvon Martin and Dr. Martin Luther King, Jr. Clearly inspired by his own personal relationship with police brutality, the song is equal parts heartbreaking and hopeful.
“‘Free & Brave’ is in part a response to the Black Lives Matter movement, but it was al-so created to serve as a reminder -- to myself and to whoever finds joy in that song -- that there is a light there. We don’t have to get bogged down, we don’t have to feel help-less,” says McCarter. “We might not see it on a daily basis, but we are still ‘the land of the free and home of the brave’...I still take pride in that, in what pieces of joy and hap-piness we can create here with our actions.”
Of course, songs about love and passion remain Con Brio’s native tongue. (At a recent Australian festival in which the band shared a bill with D’Angelo, one journalist told McCarter his sex appeal had eclipsed that of his longtime idol. McCarter continues to have no comment.) So it’s a refreshing surprise that the strongest love song on Para-dise, in fact, is “Honey,” a sweet, spacious and vulnerable tune that allows the band’s horn section, Brendan Liu and Marcus Stephens, to shine. Though the band’s built a reputation on sonic bravado, it’s choices like these -- moments in which the music’s power flows from its subtlety -- that truly highlight where Con Brio is going.
In the second half of 2016, Con Brio embarked on an ambitious international touring schedule, including stops at the lion’s share of major American music festivals (Bon-naroo, Lollapalooza, Summerfest and San Francisco’s own Outside Lands); Fuji Rock, Japan’s largest annual music event; Montreal Jazz Fest, the North Sea Jazz Festival in Rotterdam, the Netherlands; London; Paris; with many more international dates to come throughout the year.
Which is not to say they’re intimidated. After performing most of these songs live throughout the past year, the team is running on adrenaline, and they’re thrilled to finally put this record in people’s hands. To bring old fans along for the journey, to help new fans lose themselves in a beat or a message. To spread music that, hopefully, shakes away the daily grind -- and nurtures listeners’ dreams about what their version of para-dise on earth might look like, even for the duration of a song.
Ziek McCarter already knows what his looks like, because Con Brio’s building it. And from where he’s sitting, they’re well past ready for liftoff.
“We don’t want to walk, we don’t want to drive,” he says with a laugh. “We want to fly. We want to levitate.”
Born from the ghosts of ancient Hawaiian warriors, you can feel the Night Marcher's rhythm, pulsing in the distance as they ward off evil spirits. Though it may blur in and out of reality, this is not an illusion.
Rewind. In the late-nineties, static clogged the radio waves and Night Marcher drifted from music. As the crowd poured out into the streets after a late night rock show, he was handed a Horde Tour Compilation CD and one track resonated like no other.
It is no coincidence that "Night Marchers" was the first tune that songwriter Rob Reinfurt heard from the avant-groove band, Medeski, Martin and Wood; a band that has been influential in the way Reinfurt approaches music.
Fast forward ten years. Selfish wandering and social promiscuity was taking it's toll and Reinfurt got knocked out. It was clear that passionless pursuits had no place in his life. He battled with the law and himself. The angst summoned songs and they came in droves: Rock songs, fuzz, reminiscent of the ones which rattled his teenage years. His first creative pursuit, The Weekenders, became his outlet for this expression.
As the grip loosened, the music which greeted him started to morph, churn and groove, becoming more psychedelic, musky and soulful.
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The State Room | 638 S. State St. | email@example.com
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