Two Nights with Dynamic Roots Music Troubadours...
SOLD OUT (thank you!) Goodnight, Texas (Duo) and M. Lockwood Porter (solo) - Private Parlor Show (($15 before/$20 day of show))
65 Capp Street
San Francisco, CA, 94103
Doors 7:30 PM / Show 8:00 PM (event ends at 10:30 PM)
This event is 12 and over
At the midway point (as the van drives, not as the crow flies) between San Francisco and Chapel Hill, North Carolina — the longtime homes of songwriters Avi Vinocur and Patrick Dyer Wolf, respectively — sits an unincorporated town called Goodnight, Texas (population at last count: 28). That’s what the duo discovered when they went looking for the center of their long-distance collaboration, a musical project that sounds, appropriately enough, like a cross-country drive on Interstate 40: Expansive, full of possibility, American in every sense of the word — the perfect place for missing someone but regretting nothing, for losing yourself in the crackle of guitar through speakers and having a good long think.
After meeting in San Francisco in 2007, Vinocur and Wolf built a friendship based on trading words and tunes. “I had never been able to sing with anyone before Pat. I was terrible at it,” says Vinocur. “But I didn't even have to try to harmonize with him. I still sort of have a hard time believing how easy it still is.” When Wolf moved to North Carolina in 2009, the songwriters kept in touch, finding their stylistic midpoint amidst banjo, guitar and mandolin, a love of working-class anthems. Though the two singers have notably different styles — Wolf showcasing a lifelong love of acoustic folk; Vinocur clearly comes from the world of garage rock, and leans toward darker blues — the duo shared a mutual admiration and easy harmony, as well as a fascination with late 19th century small-town America: A vision of a grittier, simpler world, full of raw pain and mysterious beauty. In 2012, after picking up a rhythm section (Alex Nash and Scott G. Padden), Goodnight, Texas released their debut LP, A Long Life of Living, to much critical acclaim.
The band’s contagiously entertaining dynamic at live shows, as well as the album’s energy, soul and range — from red-blooded, foot-stomping rock ’n’ roll to wistful front porch ballads to haunting tales of doomed romance — has made devotees out of both music critics and a growing legion of fans spread out across the country. The band released their sophomore record, Uncle John Farquhar, in the summer of 2014, and has spent much of the past several years out on the road, supporting acts like Shakey Graves and Rusted Root, co-headlining with Whiskey Shivers and Bombadil, and playing two sold-out hometown shows at the Fillmore alongside Bombay Bicycle Club and Nicki Bluhm & the Gramblers.
Americana is arguably an overused term at the moment — but what sets Goodnight, Texas apart from the pack is its richly imagined, full-color stories. In the longstanding folk tradition of Bob Dylan, Woody Guthrie and Johnny Cash, Goodnight, Texas sings songs that are each a world in and of themselves — transporting listeners from the battlefields of the Civil War to a saloon full of hard-drinking but good-natured regulars to the nervous feeling in the stomach of a poor boy about to ask for his girl’s hand in marriage.
The two songwriters’ styles play off each other to great effect, balancing a wry sense of humor with an obvious respect for the ghosts of this country’s past. Whether in Vinocur’s realm of epic sagas of loss and animated hit-the-road tunes or Wolf’s natural gift for deceptively sparse, emotion-driven songwriting, we can feel the sun-baked earth, taste the sweat of a day’s labor, hear the hound dog howling in the yard. Our protagonists are lonely travelers and scorned lovers and sympathetically conjured bank robbers, and for the duration of a song, we are rooting for them with all we’ve got.
M. Lockwood Porter
M. Lockwood Porter’s songs toe the line between country-tinged Americana and straight-up rock-and-roll, with poetic storytelling front and center. A SF Bay Area transplant from rural Oklahoma, Porter’s sound recalls his birthplace and a childhood spent exploring the far reaches of the rock canon. The result is something close to timeless - reminiscent at times of Neil Young, Wilco, Ryan Adams, and Bruce Springsteen.
Porter first caught the attention of many fans and critics with the release of his home-recorded debut LP Judah’s Gone in July 2013. At the time, Independent Clauses called him “a talent to watch”, and The Bay Bridged wrote that he was “poised to join… the national Americana scene with the release of his debut LP, Judah’s Gone.” On October 14th, Porter follows up his promising debut with 27, the bold, carefully crafted work of a talented young artist.
On 27, we find Porter (who himself turned 27 in July) wrestling with a growing awareness of life’s limited possibilities with a mixture of melancholy and defiance similar to that of Carter-era Springsteen, describing failing relationships with a nuanced poignancy reminiscent of Ryan Adams and Lucinda Williams, and eulogizing Big Star founder Chris Bell - who died at age 27 (like Kurt and Jimi, as Porter reminds us) – while name-checking Paul Westerberg and arguing with Neil Young on “Chris Bell”.
In other words, 27 is a confident-sounding record. That’s a bit ironic for an album that - half breakup record, half quarter-life crisis – is all about the disillusionment and sense of “Is this really all there is?” characteristic of one’s late twenties. But Porter’s willingness to write and sing about the travails and uncertainties of life with courage and honesty is exactly what makes 27 such a compelling album.
27 was primarily recorded in San Francisco’s Hyde Street Studio C - where classic albums like CCR’s Cosmo’s Factory, Grateful Dead’s American Beauty, and CSNY’s Deja Vu were recorded. Showcased on these songs is Porter’s new live band. The band is both tight and spontaneous – sounding something like a cross between Tom Petty’s Heartbreakers, The Band, and Wilco – bringing a rawness and intimacy to the performances that a home recording never could. Porter’s vocals, too, are stronger and more confident – honed by a year of gigging in support of Judah’s Gone.
$15.00 - $20.00
$15 up to the day before and $20 day of show both online and at the door.
Private Parlor Shows are open to all friends and fans of The Lost Church and the performers.
Seating is first come, first served. We recommend you buy in advance to ensure being a part of the event (parlor shows often sell out), but you can also try purchasing at the door on the night of the show.
Online sales are active until 9:30pm the night of show (unless sold out). You can purchase tickets right at the door using a card via your phone and the above Ticketfly.com link. That old-fashioned cash is also accepted, of course.
The Lost Church
Thu, December 14
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Mon, December 18
Tue, December 19