Tony Lucca & Derik Hultquist
515-B North McDonough St.
Decatur, GA, 30030
Doors 6:00 PM / Show 7:00 PM
Watch & Listen
He was cast by Justin Timberlake to play "the cool guy" in Timberlake's directorial debut.
He finished third on The Voice in 2012, won a record deal in the process, and received more press coverage than any contestant on the show that season... or any season, for that matter.
He made a record with Adam Levine, then toured with Maroon 5 and Kelly Clarkson.
He was cast on the hit show "Parenthood" playing himself as a rock singer, and performed an original song.
He even starred in an Aaron Spelling prime-time drama and dated Keri Russell for years, winding up in countless gossip mags.
His name is Tony Lucca.
So why isn't he a household name? Maybe he simply hadn't made the right record before.
This time, Lucca believes he has. It's his 8th full-length studio album, his first self-titled release, and first entirely self-produced effort.
"We went in with the intention of making a record that was as live-sounding as possible. I wanted to close my eyes and be able to visualize the players in the room or up on the stage, actually playing the songs together. One guitar over here, the other guy over there, bass, drums, some keys? I mean, that's the rock-n-roll I fell in love with when I was a kid." Lucca pulls inspiration from the heroes he heard on the radio growing up, from Tom Petty, Billy Squier to AC/DC's Angus Young, tapping into a sense of timelessness he places somewhere between The Black Crowes and the Black Keys.
Each of the 12 songs on "Tony Lucca" are deeply personal. The record kicks off with "Old Girl," Lucca's rebuff to the music business treadmill. On the upbeat "Imagination", Lucca recalls the evening where he met his wife... to the best of his ability. Lucca's fans will enjoy the diverse sonic quality of four of his trademark ballads -- the epic and sweeping piano-driven "North Star", the optimistic "Smoke 'Em", the push and pull of love lost and found in "Right On Time", and the sweet album closer that bares his daughter's name, "Sparrow."
Funded by a very successful Kickstarter campaign (one that hit its $25K funding goal just inside of 30 hours), Lucca feels strongly that his fans stepped up so that he could make the best record he possibly could -- one he could finally feel comfortable releasing with his own name as the title. To that point, Lucca says "this record is pure. And honest. And hopefully completely refreshing to its listeners."
Tony Lucca was born on the outskirts of Detroit on the heels of Motown's heyday, raised within the loving confines of an enormous family of musicians; his mom was the 10th of 12 kids who all sang and played. At the ripe old age of 12, Tony had his first paying gig as a musician at a Jr. High School dance and by the age of 15, he parlayed his childhood rock-n-roll fantasy into a legitimate career, getting cast among an extraordinary group of newcomers on The All New Mickey Mouse Club, along with Justin Timberlake, Ryan Gosling and Britney Spears.
Shortly after graduating high school, Lucca wound up in LA and embarked upon an independent recording career that would span over 20 years. Along the way he's toured with artists as colossal as Maroon 5, Kelly Clarkson, *NSYNC and Marc Anthony, as well as several of his fellow Hotel Cafe kin including Josh Kelley, Sara Bareilles, Joey Ryan (Milk Carton Kids), Gabe Dixon and Andrew Belle. Lucca won the LA Music Award for best male singer/songwriter in 2001 and appeared numerous times on Last Call with Carson Daly, as well as The Wayne Brady Show and The Tonight Show with Jay Leno. Also in 2013, Lucca was the sole entertainment for FOX's NFL Thanksgiving Day telecast for the Detroit Lions vs. Green Bay Packers game.
When Derik Hultquist declares, “my life is defined by parallel lines” one is tempted to assume he/she is listening to a road weary troubadour who is reflecting on a long musical journey of one night stands playing for tip jars. While Hultquist certainly hasn’t been exempt from these experiences, the twenty-something is sharing more of his narrative of life, than simply recounting his musical reality. An East Tennessee native, Hultquist has always been drawn to a life equal parts imagined as realized.
After leaving Alcoa, TN he spent time at Kentucky Wesleyan College tending to the business of getting an education and defending the net as goalie for the men’s soccer team. After an injury left him sidelined with too much time on his hands, he fell back into the familiar practice of songwriting, which he had been mining since before high school. The next few years, while waiting on graduation, he spent reinvigorated with the art of the song. Upon graduation, on a whim, he migrated to Nashville. While this might seem like a cliche?d, predictable move, Hultquist didn’t show up ‘demo tape in hand’ and start beating on the doors of music row. He decided to make his own path and took on flexible jobs (legislative legal clerk, server, handyman, paperboy, pharmacy tech, valet, and others), which didn’t merit much income, but did allow him time enough to write everyday. He continued making an earnest attempt to craft his songwriting into a symbolic tale of the potential in all of humanity. From this writing spawned the self-released, Anthologies and Blue Blues.
Hultquist eventually did find his way to Carnival Music, a multi-faceted company who has established itself as one of the last holistic breeding grounds of the artist/writer in Nashville. Carnival released two EPs on Hultquist, Whether Report, in early 2012 and Leaning On The Rain, later the same year. These releases revisited a few songs on his previous self-released albums in the hopes of honing in on a definitive sound. “I’m a perfect stranger in a strange place,” he laments on “Cowboy Cliche?” a track off of the Whether Report set. With such a simple statement, Hultquist immediately invites the listener to identify with his plight. It’s his subtle reflectiveness that is at the core of these songs.
On his forthcoming release, Mockingbird’s Mouth, due out in February 2014, Hultquist builds on the cerebral nature of Whether Report and Leaning On The Rain almost seamlessly; transitioning from the stark atmospheric nature of the 2012 releases to a blithely journeyman’s account of past, present, and future. The opening track, “For The Good Of The Rose” situates itself exceptionally as the tone- setting cornerstone of the seven-song collection and tempts the listener to ponder what might have been if James Taylor had developed his sound in Laurel Canyon, CA.
While the EP is loaded with imagery of life on the road, sonically, the set explores new territory for Hultquist. The upbeat “Give Me The Highway” beckons one to speculate what country radio might sound like if the ‘powers that be’ were willing to promote a more pensive agenda. The entire album juggles an introspective sentiment with an optimistic attitude, one that is certainly a testament to the values of Hultquist. It only requires a first listen to selections like “Strange Love” and “Stay Young” for one to realize he/she is witnessing a complexity that is created by a marriage eager anticipation and brooding carefulness. Hultquist beautifully assumes the role of storyteller on “#29.” He employs the four-minute vehicle to convey his observations of life, instead of letting it become just another train song.
Hultquist’s work could lead one to draw obvious comparisons to the likes of Jack Kerouac or John Steinbeck. After delving deeper into the crux of Hultquist writing, though, one might shift his/her semblance towards a Langston Hughes or Ernest Hemingway association instead, as witnessed when he closes the new project with his own spin on a love song with “Parallel Lines” and the meditative “Country Song.” In the closing number, when Hultquist asserts, “Questions don’t get clearer, just more often asked. If I knew the future, I’d still want to wait, to see if I use it before the past gets in the way” it unveils the spirit of Mockingbird’s Mouth, an album that summons a deeper examination of the ordinary.