The Wild Reeds
200 41st Street S
Birmingham, AL, 35222
Doors 8:00 PM / Show 9:00 PM
This event is 18 and over
The Wild Reeds
The Wild Reeds’ sound is highlighted by the interweaving vocal harmonies of three phenomenally talented front-women - Kinsey Lee, Sharon Silva and Mackenzie Howe - who swap lead vocal duties and shuffle between an array of acoustic and electric instruments throughout the set. They are backed by a rhythm section of Nick Jones (drums) and Nick Phakpiseth (bass).
Each with their own style, The Wild Reeds' three songwriters make music that is dynamic and unpredictable. They write lyrics and melodies with the thoughtfulness of seasoned folk artists, and perform with the reckless enthusiasm of a young punk band in a garage. Warm acoustic songs and harmonium pump organ seamlessly give way to fuzzed-out shredding and guitar distortion.
With the upcoming release of 'The World We Built' on April 7, the Los Angeles-based quintet continues a national breakthrough that has been rapidly growing since the release of their EP ‘Best Wishes’ this summer. NPR Music critic Bob Boilen championed the band, saying “great singers aren’t easy to come by, so finding three in one band is something special." The New York Times praised their live show, saying “the communal experience was amazing,” while KCRW (Los Angeles) called them “top-notch vocalists."
The first single from the new album, "Only Songs," is catching the attention of radio programmers around the country, like John Richards of KEXP (Seattle), who after listening to the track declared, "we just decided this is the best song ever."
"Only Songs” was written by Howe, and highlights her rock-centric approach, inspired by the '60s and '70s rock songs her mother raised her on. "It's about the feeling that music gives you," she told NPR in an interview. "There's a freedom in music found nowhere else and it doesn't discriminate, it's in the garage and the cathedral."
Lee penned the second song on the album, "Fall To Sleep," a lament to her own mental health under the strains of both a nine-to-five job and the extremes of a touring musician's life. True to her roots in folk music, it begins on a soft note, as a dreamy acoustic ballad, before taking a slightly darker turn, breaking into distorted guitar parts and a Pixies-esque chorus.
Silva's contemplative, complex lyrical approach is best represented on the anthemic standout track "Capable." When asked to describe her songwriting style, she explains, "lately, my songs have been like stories with high highs and low lows - sort of like yelling at someone and then whispering an apology."
Despite their distinct viewpoints, each songwriter complements the next, with each song building on the anticipation created by the last. "What brings us together is the three part vocal harmony," says Howe. "When we're all singing together, it really becomes one unique voice."
The band takes a humble approach to their recent success. "I think that when you write earnestly and honestly, people will relate," says Silva. "But there are lots of bands who do that and don't receive any attention, so I think any success we've had must just be pure luck."
When watching them perform live, it quickly becomes obvious that luck has nothing to do with it. Each of The Wild Reeds is more than talented enough to front their own band, but when all three are singing at once in harmony, their music reaches its emotional apex.
"I don't think that we have figured out how to detach from our emotions yet. We take it all on stage. The voice is such a personal and vulnerable instrument," says Lee. "We aren't as concerned with sounding 'pretty' as we are with sounding real. Everything we do is very raw and I think that's why people tend to find comradery in our lyrics."
Recreating that feeling in a studio environment is an ambitious task. Recorded by producer Peter Katis (The National, Interpol, Local Natives) at Tarquin Studios in Connecticut, 'The World We Built' captures it perfectly, and elevates their sound to a whole new level.
"Our sound has evolved as we have evolved as people. We've grown to love a lot of records on the road, sharing music with each other during the hours we spend in the van, which has broadened and united our taste," says Howe. "We've also grown as musicians and it's allowed us to explore new instruments and sounds. This new record is a much more accurate depiction of what we sound like live. It's got more punch and depth."
Along with musical growth, the content of their songwriting has changed with the band's life experiences since they started out. "The songs on the album were written over the last three years, and it's apparent that we are more empowered now as women," says Howe. "The title 'The World We Built' refers to the social constructs we've had to face during the last three years touring as a female fronted band. A lot of these songs illustrate our disillusionment with the myths we've been taught in a patriarchal society, and how we've experienced them in different aspects of our lives - love, success, self esteem, etc."
"As we got older and started to witness the world from a different perspective, we started to write about human issues in a different light," explains Lee. "It's so easy to write about love when you're young because that's the only thing you have to worry about. Now we have a lot of other things in life to occupy our thoughts and songwriting, like experiencing the struggle and exhaustion from following your dream, coming of age, and doubt."
"Releasing music and touring the country have been amazing and eye-opening experiences," says Silva. "I'm still majorly pumped and grateful that I get to play music for people every day."
That optimism resonates with audiences. When they perform live, their passion is infectious. They look like artists living out their dream on stage - the kind of band you idolized as a kid, and as an adult, the kind of band that reminds you why you loved music in the first place.
"Our live show has been how we've gained most of our fans. We've learned that people are just looking for authenticity. If we're vulnerable, people feel it," says Howe. "We always want to put on a show that has energy and leaves peoples feeling more hopeful than when they arrived."
'The World We Built' will be released April 7 via Dualtone Records, an Entertainment One company.
The full-length debut from Los Angeles-based band Valley Queen, Supergiant takes its title from the most massive and luminous yet fastest-burning stars in the universe. “The song ‘Supergiant’ is about how we’re all made up of the same stuff as stars, and I liked the idea of tying the whole album together with that metaphor,” says Carol. “It takes all the drama you hear on the record—the aggressive, chaotic moments, and the more beautiful or quieter moments—and puts it all into a more galactic perspective.”
With the album finished and ready to be released into the world, it’s now easier for Carol to take a step back and be philosophical but there were moments when it almost seemed like Supergiant would never come to light.
The first iteration of Valley Queen formed not long after Carol moved to L.A. and crossed paths with Neil Wogensen through the local music scene. With Shawn Morones and drummer Gerry Doot later joining the lineup, the band named themselves Valley Queen in a nod to the region where ancient Egyptians buried their deceased matriarchs. They released the singles “In My Place” and “High Expectations,” as well as 2017 EP Destroyer to widespread critical acclaim. The band also supported artists including Laura Marling and Thao & the Get Down Stay Down on tour. Musically and creatively, they were in a place they never dreamed of.
As the band’s profile grew, so did days on the road and time spent away from home. Any touring band will testify to the intensity of togetherness, tight finances, being away from significant others, physical exhaustion, unhealthy diets and habits, etc., but they were doing what they loved and it was resonating with people. The band had found their own magical pocket musically but, ultimately, the strain was too much for Morones and Doot who left the band after years on the road. They were replaced with session musicians and the band continued to win fans and play bigger rooms, but the chemistry that Carol had come to depend on was gone.
The growing success earned them a record deal—a dream finally coming to fruition—but Carol was unable to find the creative cohesiveness she knew she needed to make the record. “I wondered how to record the record. I believed in myself but I had also believed in the people around me. I write these songs in solitude but Valley Queen is not my solo project. I thrived in the collaboration. I came back from these new tours feeling creatively depleted, like something important was missing.”
Carol knew ultimately what needed to happen. Like a parent knowing what’s best for their child, she understood that Valley Queen was more than lyrics and sessions musicians. It was about people, chemistry and the relationships that created such a powerful musical force to begin with.
“I knew nobody else could record this record with me but our original line up. They had grown into the arrangements, had a personal understanding of what the songs were about.” Doot couldn’t rejoin—the strain touring had put on his newborn baby and wife was too much for him to reconsider—and Mike DeLuccia came forward, which was a godsend. Then Carol called Morones. The time on the road had strained their relationship significantly and there was healing that needed to happen. After long discussions and sharing, they all decided it would be worth the risk to try to create this album and tell the story of what had happened. Two months later, Valley Queen was in the studio.
Carol reflects, “Recording the album was a transformative experience for the band. It certainly trod the ground of the past, the difficulty and disappointment we had faced. But moving through and completing the project brought with it a sensation that the chapter was over. All of us will always be in process, we will always be learning how to better work with each other and ourselves. But a power was created in actively choosing to meet with that process.”
The result is Supergiant, produced by Lewis Pesacov (Best Coast, Fool’s Gold, Nikki Lane, FIDLAR). Not surprisingly, the album emerges with raw production and relentless intensity. It’s a record that could not have been made any other way, each member bringing their own creative force and energy to every song. It’s about self-exploration, not just as an individual, but also as a collective whole.
“It can be really painful and isolating to go through something that doesn’t really look like anybody else’s experience but your own,” Carol says in reflecting on Supergiant’s intensity. “But ultimately that’s part of the beautiful orchestration of being alive—instead of trying to go around that experience, you need to go fully into it. I think that’s the only way to get a deeper understanding of who we really are.”