Keith Urban - Light the Fuse Tour
Little Big Town, Dustin Lynch
10475 Little Patuxent Parkway
Columbia, MD, 21044
This event is all ages
One of the industry's most electrifying live performers, four-time Grammy Award winner and American Idol judge Keith Urban will launch his "Light The Fuse Tour 2013" with Little Big Town and special guest Dustin Lynch. The tour will include a show in Canandaigua NY at CMAC on Friday, August 9.
The "Light The Fuse Tour 2013" first leg kicks off on July 18th in Cincinnati and concludes on October 5th, after twenty-eight outdoor shows. The second leg begins on October 18th in Omaha before seventeen arena shows conclude on December 8th.
The concerts will feature new music from Urban, expected out this spring, as well as an all-new production, the size and scope of which have become synonymous with Urban's electrifying concert experiences.
For all official Keith Urban tour news including show dates and where to purchase tickets, go to www.keithurban.net.
LITTLE BIG TOWN: Grammy-winning country group, Little Big Town-consisting of members Karen Fairchild, Phillip Sweet, Kimberly Schlapman and Jimi Westbrook-entered the music scene over 13 years ago with hits such as "Boondocks," "Bring It On Home" and "Little White Church." The group's fifth studio album Tornado was released in the fall of 2012 and includes 2x platinum-selling #1 hit "Pontoon" and album title-track "Tornado" which also peaked in the #1 spot. Collectively, the group has earned over 25 award show nominations and has taken home the award for ACM Top New Vocal Group, CMA Single of the Year ("Pontoon"), CMA Vocal Group of the Year and a Grammy Award for Best Country Group/Duo Performance ("Pontoon").
DUSTIN LYNCH: Since the release of his debut single, "Cowboys and Angels," Broken Bow Records' Dustin Lynch has earned a #1 album, over a million single sales and has surpassed 7 million views on YouTube/ VEVO. He's soared to #1 on the MTV Music Meter, earned a #1 ringtone on CMT, a Top 5 on the Billboard Heatseekers Songs Chart, a Top 3 Country radio single and was lauded by People magazine as "one of the best debuts of 2012." Dustin's follow-up, the Top 20 double-entendre head turner, "She Cranks My Tractor," continues to catapult up the Country Radio charts.
Little Big Town
It takes a perfect storm to make a great album – an audacious mix of tension and release, passion and calm, love and violence.
Hallmarks associated with all true forces of nature, these mighty attributes were exactly what Little Big Town had in their corner as they blew into the studio in late February for the whirlwind recording session that produced their strongest work yet, their aptly titled fifth album, Tornado.
LBT didn’t set out to break any land speed records in the studio. However, considering that the majority of Tornado took just seven days to record, that’s exactly what the recording process felt like to Karen Fairchild, Kimberly Schlapman, Phillip Sweet and Jimi Westbrook, a group famous for their trademark four-part harmonies.
The elements that would produce Tornado started brewing earlier this year. After doing a bit of soul-searching, the band realized they were ready for a change. Despite a solid 13-year career during which they’ve sold 1.5 million records, racked up multiple Grammy, CMA and ACM nominations, and crafted Top 10 country hits (“Boondocks” and “Bring It On Home” from their platinum 2005 album The Road to Here, and “Little White Church” from their acclaimed 2010 release, The Reason Why), LBT was feeling a little too secure in their time-tested way of doing things in the studio.
They decided to shake things up a little.
The change started with the draft of producer Jay Joyce (Eric Church, Patty Griffin), who stood in for their longtime collaborator Wayne Kirkpatrick at the boards. “We adore Wayne: he really helped us in the early days when we were trying to define our sound,” Karen says, fondly. “And he’s part of the reason why we’re a band. We love our past records, and we wouldn’t change anything about how we made them, but we wanted to break up our routine for this one and get a little bit out of our comfort zone.”
LBT was already familiar with Joyce’s work, both as a producer and a performer: a noted guitarist, he had played with the band on The Reason Why. However, there’s a big difference between dropping by the studio for a few hours to gig on one track and masterminding an entire album.
If there were any lingering doubts that Joyce was a good fit for the project, they all fell away when the producer showed up to his first meeting with the band brandishing a plan for a recording experience that was unlike anything else they had ever done before.
“Jay was the only guy we talked to who said, ‘I know what I would do with you guys. I’ve loved your other records, but I have some things I’d love to try,’” Karen recalls. “When he talked to us about what he wanted to do, there was no hesitation,” Jimi adds. “He was all there; in Jay’s mind, he had already started working.” The band quickly followed suit, launching into what would become a wonderful cyclone of a recording session. Rehearsals began in late February; a month later, they had recorded the entire album.
Adapting to this swift course of action was admittedly a bit of a shock to the band’s system. The week before entering the studio, LBT was on the road, removed from any kind of preproduction. “It was Sunday night, and we were going into the studio the next morning,” Karen says, “and there were still 25 potential songs that needed to be whittled down. And we needed to figure out who was gonna sing them, and in what key, with what arrangement … We panicked. But when I called Jay, he said, ‘Don’t worry about it. Just show up here tomorrow and we’ll figure it out together.’”
Flying by the seat of their pants was an entirely new way of working for four avowed perfectionists accustomed to a much more conventional recording process. Joyce encouraged them to approach their work with feeling rather than reason. “He really pushed us,” says Kimberly. “We tend to toil over things; we like to rethink and discuss problems. Jay stopped us from doing that. Literally, we would be in the middle of talking something out, and he would tell us to stop thinking and start singing.”
“Less thinking, more singing” became LBT’s unofficial slogan as they followed Joyce’s plan of action, which was new to him as well. “The process wasn’t typical of how Jay works, either,” Jimi explains. “It was exciting to see what would happen. Because of that, there was a great energy all the time in the studio, and I think you can hear that on the record.”
If some of Joyce’s methods were foreign to the band, others were rooted in familiarity. For instance, the producer encouraged LBT to use their road band in the studio. “That ended up being a huge part of the energy and spontaneity that comes across on the album,” Kimberly says. “We have a natural chemistry with those guys,” Phillip adds. “We already loved playing with them on the road, so being with them in the studio made sense. It was amazing how great it felt.”
The team worked together, in one room, with Joyce taping everything, including four days of rehearsals. No recording was off-limits: some practice tracks ended up on the album. “Even if it was a loose version of what we going for, if it had the right vibe, it was used,” Karen says. Wishy-washiness was also stricken from the agenda, Phillip says: “If it didn’t come together fast, then it didn’t come together at all. We’d drop it.”
On the fifth day, the group headed to Nashville’s Sound Emporium to start recording. To keep the sessions feeling organic and relaxed, Joyce asked the band to pretend that they were on tour; each session was treated like a live show. “He told us to come in dressed to go on stage, and to do whatever we normally do before we play a show,” says Karen. “We’d go to dinner and come back laughing with some drinks in us, in a great mood,” Phillip remembers.” And it continued into the studio.
The first point of action was clocking the languid, sexy strains of “Pontoon,” the album’s first single. (“We did it first because we wanted to start out having fun,” Karen says. “There was a psychology to how we did things.”)
A buoyant, light-hearted sing-along, “Pontoon” was written by Natalie Hemby, Luke Laird and Barry Dean. The song’s presence on the album is a direct result of the band’s conscious decision to include different writers in their process. “We always cut a few outside songs, but this time we wanted to really open it up and see what we could find, no matter where it comes from,” Karen says. Fun songs were a chief priority. “‘Pontoon’ is crazy and silly, but sexy and smart, too. We’d never recorded anything like it.” The gamble paid off: released in April as the album’s first single, “Pontoon” is LBT’s first summertime party hit.
LBT eased through ten more songs during the session. “Front Porch Thing” is a happy anthem about proudly doing as little as humanly possible. “This song takes me back to my first love,” says Kimberly. “It’s playful and spirited and a big ol’ dose of feel-good. It’s so much fun to sing in the live show. We open it up with only vocals and it gets bigger and more rowdy as we go.”
The entire band shares co-writing credits with Lori McKenna on the yearning ballad “Your Side of the Bed,” an evocative inquiry into the mind of a distant lover. “I love that this lyric is so brutally honest,” Karen says. “There are times in a relationship when you allow things to come between you, so much so that it feels like an incredibly long way back to each other. It's a lonely place to be especially when you’re lying right next to someone you love.”
“Tornado” is a wicked threat from writers Natalie Hemby and Delta Maid that deftly compares a scorned woman to a force of nature that the band and its fellow Southerners know all too well. “Natalie played it for us one night and we were like, man, I don’t think I’ve ever heard a chick say, ‘I’m a tornado,’” Karen says of the song, featuring an ominous chorus in which the singer threatens to destroy the house she shares with her wayward man, to “toss it in the air and put it in the ground/Make sure you’re never found.” “Yeah, it’s pretty badass,” Jimi agrees.
“Pavement Ends” and “On Fire Tonight,” which the band wrote with Laird, are balls-out party songs. “Can’t Go Back” sounds like a whispered prayer delivered by a quartet of kind kindred spirits. "The first time I heard it I knew I wanted it on this record,” Jimi says. “It has one of the most beautiful and haunting melodies I've ever heard - one of those songs that feels like it’s washing over you as you listen to it. It’s one of my favorite things we've ever cut."
The album ends with “Night Owl,” a soothing lullaby caringly penned by all four members of the group that promises comfort and love at the end of an oft-traveled road.
The cooing chorus of “Night Owl” was achieved by the band singing into an echo chamber. “ At the studio, there’s a little hole in the wall that you go through to the chamber, where there are microphones set up to catch the echo. We all got inside to sing the ‘who-o-oohs,’” Phillip remembers. (Kimberly and Jimi used the space to create the spooky whistles on “Tornado.” “They had a duel – a whistle-off in the chamber,” Karen jokes.)
“Self Made,” written by Karen and Jimi with Natalie Hemby and Jedd Hughes, was intentionally the last song to be recorded. A forceful testament to the challenges LBT has faced as a band and as individuals – challenges they’ve ultimately transcended – it’s become the band’s working mantra, “so we thought it was a good way to finish,” Karen says.
By the time “Self Made” was recorded, everyone had let down their guard, not to mention their hair, which gives the track extra energy and a special sense of urgency that was felt by everyone involved. “During the session our guitarist Johnny (Duke) asked Jay what advice he had for him, because there’s some amazing guitar work on that song,” Karen remembers. “And Jay’s, like, ‘Release your inner monkey, man!’ He was standing on top of the speakers wearing big Chanel sunglasses - I don’t know where he got them – holding a bullhorn. On the track that made the album, you can hear him counting off: ‘One, two, three - get it, Johnny!’ Jay said his heart was racing when we finished.”
“We all came off that session with our hearts beating out of our chests,” Phillips says. “When Karen and Jimi first played us that song, I instantly gravitated towards it because I love what it said: ‘Born a survivor, like father, like gun.’ It was just cool.”
Beyond being a solid song, Phillip says the creation of “Self Made’ also represented a change in how the band members went about their work: “We were allowing ourselves to be open and creative in the writing process and good stuff was happening. I think we found that we were stretching ourselves and not just doing the same old things we had done before.”
Fond memories of their brief time in the studio notwithstanding, each member of the band is thrilled with the final product. “I think ‘edge’ is a word that gets overused,” Karen says. “But this record does have a raw edge to it.” “It has a really different vibe to it,” Jimi agrees “It doesn’t sound like anything else on the radio right now.”
“There’s a confidence that permeates this album,” says Phillip. “And that applies to the sound of the vocals and the performances; it applies to the lyrics and the ways we’re emoting. We weren’t scared to perform it or say it from our heart. There was no tiptoeing around about it. It was about speaking the message clearly and as loudly as you can.”
For a band of Little Big Town’s stature, experience and esteem, this level of transparency and the decision to take the road less traveled into the studio are bold moves - ones they’re proud to have taken. “I read a quote recently that said you should do something everyday that scares you – it’s good for you,” Phillip says. “Well, at the beginning we were scared and nervous. But we would have never dreamed that it would come together so beautifully.”
Indeed, both gorgeous and fearsome, Tornado is nothing short of a force of nature.
The note on the Bluebird Café’s Facebook page says it all: customers who visit the Nashville songwriters club – instrumental in the development of Garth Brooks, Faith Hill and Kathy Mattea – are expected to keep quiet and listen to the words from some of Music City’s most influential composers.
Listening has an added benefit – it gives the listener a chance to learn.
That’s how singer-songwriter Dustin Lynch used the Bluebird. And he used it intensely. He rented an apartment behind the venue’s back parking lot and literally walked to the Bluebird several times a week to listen and learn about the mysterious art of creating songs from some of Nashville’s most important writers. Don Schlitz (“The Gambler”), Tony Arata (“The Dance”), Paul Overstreet (“Forever And Ever, Amen”) – all are mainstays of the Bluebird legend, and it was at their proverbial feet that he picked up key insights about the writing process.
“I was soaking it in, trying to be a sponge,” Lynch says. “I was mainly trying to hear the story behind the song, how it came about, what it’s really about. There’s something about understanding the songwriter’s realm. You get a little more grip on the way it was written and why it was written and how they got to the finished product.”
That education paid off in a big way for Lynch. He signed with Broken Bow Records – the home of Jason Aldean and sister label to Stoney Creek Records (home to Thompson Square) .His debut single, “Cowboy and Angels,” is quickly rising up the Country charts. Lynch is working with producer Brett Beavers (known for his work with Dierks Bentley) and engineer Luke Wooten (Brad Paisley, Sunny Sweeney) on his debut album (due August 21, 2012) with a backlog of his own songs. He’s written that material with a bundle of Music City’s top writers – Dallas Davidson (“Just A Kiss”), Tim Nichols (“Live Like You Were Dying”), Casey Beathard (“Don’t Blink”), Phil O’Donnell (“Back When I Knew It All”) and Steve Bogard (“Prayin’ For Daylight”), to name a few.
But it all goes back to the Bluebird for Lynch, a native of Tullahoma, Tennessee. Influenced in his youth by such stalwart country singers as Alan Jackson, Garth Brooks and Clint Black, Lynch knew the importance of the Bluebird, and he chose his college – David Lipscomb University – in part because it was less than two miles from the club, which proved immensely important in his development.
Lynch auditioned on a Saturday morning for a chance to play its open-mic night the following day. He passed the audition and impressed host Barbara Cloyd so much that she chased him into the parking lot and offered to help him get some footing in the community.
As he began to establish himself at the Bluebird, Lynch got a call from Pete Hartung – manager for singer-songwriter Justin Moore – who had found Dustin’s MySpace page and wanted to get involved. Within weeks, Lynch had a publishing deal, and he made the most of it, writing a staggering 200+ songs in less than two years.
“I’m a workaholic,” he says. “I was getting paid to write songs, so that’s what I did. That’s just the guy I am, if I’m not doing something I get bored, so I was trying to write the best record possible and decided to just get after it as hard as I can.”
Even as a Bluebird visitor, Lynch had made an impression. After he signed his publishing deal, one of the company’s executives persuaded Phil O’Donnell and Casey Beathard to book a co-writing session with the new writer, even though they’d never even heard his name. As soon as he walked through the door, they exploded: “Holy crap, Dustin! We know you!”
But it’s not just physical recognition that Lynch has achieved with his studious approach to songwriting. He combined his fascination with words and melodies with concert skills he developed in high-school bands and playing the southeastern club circuit. That combination has made him one of country’s artists to watch, a performer who’s written his own mix of party songs and ballads with a unique perspective. It’s his own viewpoint, honed from watching the world, and watching the experts.
It’s all there, waiting for anyone else willing to…
$45.00 - $75.00
Ticket Limit - 4 ticket limit for this event per household, customer, credit card number, phone number or email address for this show. Patrons who exceed the ticket limit will have their order cancelled automatically and without notice.