Proceeds to benefit SIMS Foundation, Mosaic Sound Collective and local artist Jason Austin
ELECTRIC LOUNGE 20 YEAR REUNION SHOW
310 Willie Nelson Blvd, Suite 1A
Austin, TX, 78701
Doors 3:30 PM / Show 4:00 PM
This event is all ages
Watch & Listen
Sixteen Deluxe are a psychedelic noise-pop band from Austin, Texas, best known for their energetic, deafening live performances and lysergic studio creations. Formed in 1994, they quickly generated a heap of buzz in Austin, filling local clubs with a kinetic mix of sonic assault, pop melodies, smoke, lights, and film projections. From 1995-2000, the band released three full-length LPs, three EPs, and four singles, working with renowned producers John Croslin (Guided by Voices, The Reivers), Mike McCarthy (Spoon), and Keith Cleversley (Mercury Rev, Spiritualized). Best known for their 1995 single, “Idea”, the band journeyed from indie labels to majors and back again throughout the 90’s, before disbanding in July 2000.
Sixteen Deluxe reformed to play a series of gigs in 2010, including a benefit for Austin's SIMS Foundation, Roky Erickson's Psychedelic Ice Cream Social, and FunFunFun Fest. During SXSW 2012, the band were inducted into the Austin Music Hall of Fame, and later took part in Grulkefest, a public memorial and celebration of the life of sxsw’s Brent Grulke. In 2015, Sixteen Deluxe released a 7" of newly recorded material, their first since 2000. New music and archival reissues are primed for future release.
This Austin Music Hall Of Fame inductee is a 27 year veteran of the Austin and Greater Texas music scene. 12 Albums with The Gourds, before disbanding in 2013. And 4 more with Shinyribs with the 5th due in 2019. Voted Best Band in Austin 2018 and 2019. Also Album Of The Year In 2018. And Best Soul/Blues/Funk Band 2017. Russell takes perverse pride in his genre-defying parade of cosmic, Gulf-Coast Country-Swamp & Soul. Known for his more traditional blue-grass mandolin driven style in the 1990’s & 2000’s of The Gourds, Russell has put up his moonshine willies since then. And traded them for a ukulele tinged classic soul review style show replete with the Tijuana Trainwreck Horns and the Shiny Soul Sisters singers. The oldest living male exotic dancer is not just resting on his sexy laurels. Indeed, this local musical pioneer continues to push the proverbial envelope.
When the Horsies formed in 1991, all six members were already veterans of some of Austin's most heralded indie bands. Together they quickly became a popular local headline act, propelling non-stop action on the dancefloor with hook-laden songs influenced by Afrobeat and Latin music. The band released two well-received CDs, Trouble Down South, and Touch Me Columbus. Though no longer gigging regularly, the Horsies love playing reunion shows for select special occasions. And for their still loyal fans, any Horsies reunion is a special occasion
Hamell On Trial
Hamell on Trial is the musical alias of New York-based folk punk hero Ed Hamell. A one-man explosion, he is loud-as-war one minute, stepping off the microphone to whisper to an enthralled audience the next. This is a dynamic performance informed by politics, passion, intelligence and the all-important sense of humor. His caustic wit and devil-may-care attitude has long been a favorite of anti-establishment icons Aesop Rock, Kimya Dawson, Ani DiFranco and the critical elite inciting Rolling Stone magazine to call him "Bald, bold and superbad!" Henry Rollins says "Hamell is a one man rock show!" He has been described as "Bill Hicks, Hunter S. Thompson, and Joe Strummer all rolled into one" by Philadelphia Weekly and a "one man Tarantino flick: loud, vicious, luridly hilarious, gleefully and deeply offensive" by the Village Voice.
His tenth album, Tackle Box , is his second for New West Records and features all instruments and sounds played by Hamell himself, with the exception of one. Hamell states, “ The first voice you hear on the album is Donald Trump. It’s from a campaign rally where he was saying he'd like to punch a protester in the face. His supporters cheer. I thought I'd kickstart the album making people aware that, should they disagree with that attitude, should they find his actions deplorable, his lies, his vanity, his lack of grace and intellect, his pandering to the lowest common denominator, his inciting violence towards minorities and the disenfranchised, they could find safety here at a Hamell show, from a Hamell song. Let us remember that he did not win the popular vote, his supporters are in the minority and I will treat them with all the respect THEY show minorities. The first voice you hear on the album is Donald Trump. ALL other voices you hear on the album, in firm and resolute opposition, are mine.”
Tackle Box was co-produced by the Grammy award winning producer Phil “The Butcher” Nicolo (Bob Dylan, Ms. Lauryn Hill) and features the controversial song “Not Aretha’s Respect (COPS),’ an autobiographical tale teaching his child how to not get shot by a police officer. “‘COPS’ is a song about parenting. My son is 15, I'm teaching him how to drive. I'm explaining, because he has the ability at home to explain his side of the story to me, that he might not have that chance when he's in a situation with a police officer. Say ‘Yes sir, no sir’ and come home safe to me. The boss ain't always right, but he's always the boss. All four incidents in the song actually happened. I play all kinds of gigs, house concerts, theaters, diy punk rock rooms and the kids love this song. It's even has a chorus they can sing along to and rally behind. Last year I was touring across the country with my son and the day after we played Dallas, some cops got shot. I wish no violence on anyone. I preface my introduction to this song live now by saying I just wish the good cops would call out the bad cops. This “Code of Blue” thing is helping no one. And if we don't think it's a race thing, well…”
Once again we see Hamell uncompromising, fearless, obscene, insightful, absurd, angry & poignant and, in a first-time-ever ploy, including four children's songs...for balance. Hamell says, “I threw the four ‘FROGGY’ songs in there, trying my hand at children's songs if you will, to maybe make sense of what the American Dream is or maybe was. In the four songs, interspersed throughout the album, we see the character Froggy as a child, courting, running a business with his wife, and finally surrounded by his grandchildren. This is how he interprets success. I think in light of all the volatility in the country, I needed to remind myself of happier times or potential. And of course the listener, after so many confrontational topics, needs a little refuge.”
Hamell tours the world constantly, seemingly enjoying every performance challenge. From larger stages and theaters, winning the coveted Herald Angel Award at the Edinburgh Fringe Festival, to house concerts and DIY underground spaces, this is a man who clearly loves to play. Armed with a battered 1937 Gibson acoustic guitar that he amplifies mightily and strums like a machine gun, a politically astute mind that can't stop moving, and a mouth that can be profane one minute and profound the next, with Tackle Box , Hamell sets his sights on the new America and issues personal and spiritual. His performances invoke thoughts of the great, rebellious satirists and social commentators of the past: Lenny Bruce, Richard Pryor and Bill Hicks. Hamell is a great mind with acoustic punk rock mixed with a seeker's soul. There's no way around his obscenity but in that is a willingness to fight for the free thinkers of the world. Don't we need that now more than ever?
Called “the quintessential modern composer” by the London Independent, Austin-based composer-bandleader-improviser Graham Reynolds creates, performs, and records music for film, theater, dance, rock clubs, and concert halls with collaborators across a multitude of disciplines.
Heard throughout the world in films, TV, stage, and radio, he recently scored Richard Linklater’s Last Flag Flying with Steve Carell, Bryan Cranston, and Laurence Fishburne for Amazon Studios, the Rude Mechs’ Stop Hitting Yourself for Lincoln Center Theater, Ballet Austin’s Belle Redux, and a multi-year commission from Ballroom Marfa, The Marfa Triptych. He’s performed on an array of legendary stages, from the Kennedy Center to the Green Mill Tavern to the Conan O’Brien Show. His Creative Capital Award winning project, Pancho Villa from a Safe Distance, a bilingual cross-border opera created with librettists Lagartijas Tiradas al Sol (Mexico City) and director Shawn Sides (Rude Mechs), is currently touring.
With the jazz-based but far reaching Golden Arm Trio, Reynolds has repeatedly toured the country and released four critically acclaimed albums. As Artistic Director of the non-profit Golden Hornet, he leads efforts which draw on the collaborative spirit of rock bands and the composer-led nature of classical music, with a focus on commissioning new music, fostering young and emerging composers, and presenting adventurous works in non-traditional settings. Alongside Kronos Quartet's longtime cellist Jeffrey Zeigler, he curated The Sound of Science, which will begin touring in November 2018.
He is a company member with the internationally acclaimed Rude Mechs theater collective and resident composer with Salvage Vanguard Theater and Forklift Danceworks. His accolades include a Creative Capital Award, an Independent Music Award, two Frederick R. Loewe Music Theatre Awards, nine Austin Critics Table Awards, the John Bustin Award, multiple Austin Chronicle Best Composer wins, and a B. Iden Payne Award. Graham released a twelve album set on Innova Recordings in early 2017.
Jennings Crawford (guitar, vocals) and Hunter Darby (bass, vocals) met in middle school in the Dallas/ Ft. Worth Metroplex and began playing together in a band called Humans From Toledo in 1983, later forming The Wannabes at Texas Christian University. On their way to Minneapolis, they decided to stop briefly in Austin, Texas at the beginning of 1987 and have remained there for the past thirty two years enlisting guitarist Kevin Carney and Thad Swiderski who was followed by Steve McCarthy on drums. Rolling Stone described their sound as early Replacements-inspired fuzz-rock. After a ten-song cassette Lucky Pierre, the band released the "Dead True" single in 1992 and their debut album for national release, Mod Flower Cake on DejaDisc in 1994. This was followed up in 1995 by another offering from Dejadisc, Popsucker which won, much to the label’s surprise, the NAIRD Award for Best Alternative Album that year by beating out the likes of Ani Difranco. During all of this, the power pop combo played all over most of the United States becoming one of America’s best bar bands and worst wedding bands simultaneously.
With the members of legacy Austin psych-punk/grunge act Ed Hall at its core Pong combine an uplifting proto-rave sound reminiscent of Eno’s early solo work with an engaging live show that has made them a local favorite.
The Gay Sportscasters were formed way back in 1995. Singer Jeff Smith had the band name kicking around in his head for a number of years, his only real goal being to have some T-shirts bearing the band name with Howard Cossell holding a microphone that resembled a penis. His wildest dreams were exceeded as he found a number of co-conspirators (including longtime friend and songwriting partner "$3" Bill Wise, Evan Johns and Jeff Daniels). The 7 piece "stuporgroup" played their first show at South By Southwest that year. The band received a glowing mention in Rolling Stone for that frenzied first performance and a number of shows followed but the band was all but done within a year, collapsing under the weight of its' seven players personality conflicts and their own "fame". The band was resurrected in 2009 and regularly play around Texas to enthusiastic crowds with their dancing girls "The Lollygaggers". Big dumb party rock - imagine a low-rent punk and roots version of The Happy Mondays and you're on your way...
Ethan Azarian & Jeff Johnston (Orange Mothers)
Genevieve Van Cleve
$20.00 - $25.00
Tickets Available at the Door
During the Electric Lounge’s tenure from 1993 to 1999 as one of Austin’s best music and performing arts venues, the city began its transformation from cosmic cowboy-loving college town to the crowded tech and culture hub it is today. Twenty years later, venue owners Mark Shuman, Jay Hughey and Mike Henry will present a showcase featuring artists that once blasted Austin’s soundtrack from the Electric Lounge stage in a long-awaited encore at 3TEN ACL Live, on Saturday, April 13.
Proceeds from the event will benefit The SIMS Foundation, Mosaic Sound Collective and local visual artist Jason Austin.
* There is a $4.00 fee that is added to every ticket purchased at our Box Office. This includes Day of Show pricing.