Doc Roc Presents
423 N Main St.
Tulsa, OK, 74103
This event is all ages
Watch & Listen
Sara Bareilles first achieved mainstream critical praise in 2007 with her widely successful hit, "Love Song" which reached #1 in 22 countries around the world from her debut album LITTLE VOICE. Since then, the Eureka, CA native has gone on to sell over 1 million copies of her debut album, earn 3 Grammy nominations including Song of the Year and Best Female Pop Vocal Performance for "Love Song." Bareilles' critically acclaimed sophomore release KALEIDOSCOPE HEART was released in September of 2010, debuted at #1 on the Billboard top 200 chart and has gained critical praise everywhere including the New York Times, Wall Street Journal, People and Los Angeles Times. The album yielded the hit single "King of Anything," which earned a Grammy nomination for Best Female Pop Vocal Performance and was certified platinum by the RIAA. In 2011, Bareilles joined the judge's panel on the hit NBC show "The Sing-Off." In early 2012, Bareilles released a documentary called "A Trace of the Sun: Volunteering in Japan," which chronicled her trip to Japan where she joined All Hands Volunteer efforts in the city of Ofunato after the 2011 earthquake and subsequent tsunami that devastated coastal cities and left over 26,000 people without homes. Soon after she released her critically acclaimed ONCE UPON ANOTHER TIME EP, which was produced by singer/songwriter and fellow "Sing-Off" judge Ben Folds. Sara's highly anticipated third studio album, THE BLESSED UNREST is set for release on July 16th through Epic Records.
Philadelphia, 11:47 AM: The members of Harper Blynn find themselves in an unusual situation. Standing on the sidewalk outside the Philadelphia Academy of Music, they watch as a cadre of beefy union guys unload the band's equipment out of the Dodge Sprinter van they call home for most of the year. As their gear rolls into the venue without them, the members sip coffee, provide a running commentary on lunchtime passersby while taking in the grandeur of the building in which they will be performing that night.
After logging over 150 shows since the release of an eponymously titled EP in 2010, Harper Blynn welcome the break. Buzzing from the news of being handpicked by indie queen Ingrid Michaelson to open up a healthy chunk of dates on her spring tour, the band has spent the previous two weeks doing a run of shows up and down the East Coast while approving the latest mixes of their new full-length, Busy Hands. The Michaelson tour is the latest in a series of accolades that would seem to indicate that Harper Blynn, a unit accustomed to the rigors of managing, booking, financing and transporting themselves, might finally be on the verge of graduating from the DIY lifestyle.
Busy Hands is a worthy chronicle of the transition. Co-produced with Irish wunderkind John O'Mahony (Metric, Coldplay), the album effectively captures the sensation of hurtling towards a precipice of sorts, that fantastic moment when feet leave the ground and wings take over for the first time. Songwriters J.Blynn (vocals/ guitar) and Pete Harper (vocals/keyboards) accurately portray the limitations of long- distance relationships ("In Another Life"), infatuation and lust ("Falling In Love"), betrayal ("Knife") and bleary-eyed existential crisis ("High End Melody"). That said, Harper and Blynn never wallow in their sorrows; these songs are about finding a way out. Unlike most 21st century songwriter fare, they have an eye on the sky, a belief that transcendence is possible.
As good as the two front men's contributions are, the heartbeat of the band is its rhythm section. Bassist Whynot Jansveld and drummer Sarab Singh inject these songs with an immediacy that grounds their songwriters' soaring melodies and stylistic eccentricities. Jansveld and Singh have also played a major part in providing the band with a time-tested outlet for exposure: backing up other artists. Like The Band before them, Harper Blynn has toured as a back-up outfit for an eclectic roster of independent artists such as David Mead, Elizabeth and the Catapult, The Damnwells, Cary Brothers and Greg Laswell. The band's off-the-charts vocal abilities and instrumental prowess have made them into a unit capable of propelling these artists' shows to dizzying heights.
The band happily agrees that this experience has had a major effect on the dynamic of their own performances. It is not surprising to find out that the most often asked question after a Harper Blynn gig is, "How do you guys make all of that noise?" In an era in which bands can often be heard playing along to pre-recorded tracks, Harper Blynn manages to create a jaw-dropping wall of sound onstage with no artificial assistance whatsoever. Singh's polyrhythmic style often achieves the effect of three drummers playing at once, while Jansveld manages to generate multiple octaves from his instrument, sometimes tricking the audience into thinking an extra player must be hidden offstage. The interplay between Harper's keyboard melodies and Blynn's guitar soundscapes is reminiscent of Death Cab For Cutie, and the pristine wash of three-part harmonies that floats through much of the music recalls Grizzly Bear at its best, or perhaps a disembodied choir hovering in the ether above a very large performance hall.
The sky above the Academy of Music is darkening as the first drops of an oncoming storm splatter onto the sidewalks of Philadelphia. The union stiffs have made short work of the band's equipment, but offer no help with one major component of gigging in a major city: parking. Having enjoyed their brief flirtation with the high life, the band piles back into the Sprinter. Harper Blynn pulls out of the loading zone and is quickly sucked into a swirl of metropolitan traffic, just another band getting it done the hard way, if only for a little while longer.
Adv $25, DoS $27, Door $29, Mezz $40