Bootleg Theater Presents
M. Lockwood Porter, The Harmed Brothers
2220 Beverly Blvd
Los Angeles, CA, 90057
This event is 21 and over
Elijah Ocean is an American singer-songwriter making modern folk and country music rooted in the styles of artists like Neil Young, Gram Parsons and The Band.
Ocean was born in a small house in the Hudson Valley. He grew up listening to records by The Beatles, Paul Simon and Willie Nelson in the woods of midcoast Maine. As a teenager Ocean was gifted an acoustic guitar and, inspired by the songs of Bob Dylan, began writing songs in his family's barn.
Ocean's career as a solo artist began in 2009 with the release of his folky debut, The Wind or the Wine, which coincided with a move from Maine to New York City. It was there he honed his voice and vision, establishing himself as a unique and authentic musical talent with the release of Tumble & Fall in 2012. A steady regimen of national touring followed, with Ocean recording two sessions for Daytrotter and playing to packed houses from Mercury Lounge in New York to Hotel Cafe in LA.
The opportunity to record this new group of songs at Waterfront Studios for follow-up album Bring It All In was a dream come true for the blossoming singer. Built by producer Henry Hirsch (Lenny Kravitz, Mick Jagger) inside a nineteenth-century church in Hudson, the analog studio provided the perfect space for Ocean's thoughtful songs to come to life. The album was released in Oct 2014 as Ocean once again made a simultaneous move, this time to Los Angeles.
"That's what this song does; whoever you are (providing you have a soul) it touches you. The melody is simple enough, gently building throughout with the message of just getting through it, which is fairly universal. It actually becomes quite inspirational by the end with its catchy chorus infecting your brain. Life can sometimes feel like it's on a continual loop of making you ride something or other out – good to have Elijah there to sing the soundtrack." - Chris T Poppers Best of the Year 2014, Mad Mackerel
"This is the most beautiful, aching record we've heard all year. Gorgeous vocals cascade over simply arranged acoustic guitars and tender harmonies. Fans of Gram Parsons and Graham Nash will be singing the praises of Bring It All In for years to come." - Benjamin Ricci, Performer Magazine
M. Lockwood Porter
The Berkeley, California-based singer-songwriter M. Lockwood Porter is part of a promising crop of up-and-coming Americana singer-songwriters. In the past three years, he has released two critically-acclaimed albums and performed all over the US, sharing the stage with acts like American Aquarium, David Wax Museum, Lee Bains III & The Glory Fires, Water Liars, Samantha Crain, David Ramirez, Aaron Lee Tasjan, and John Moreland. He has performed at festivals like Outside Lands, Noise Pop, Norman Music Festival, and CMJ. No Depression called Porter’s 2014 album 27 “a solid album worth your time, attention, and money." In a review of 27, Americana UK said, "Take care with M. Lockwood Porter. He is an important singer-songwriter.”
Like Conor Oberst or Jeff Tweedy, Porter’s songs are equal parts traditional songcraft and indie rock attitude. How To Dream Again was tracked live in three days with minimal overdubs. While Porter dabbled in lush country-rock and expansive power pop on 27, How To Dream Again sounds tougher and leaves more space. The band – consisting of Porter, Peter Labberton, Bevan Herbekian, and Jeff Hashfield, and John Calvin Abney – sounds tight and heavy, like Tom Petty and The Heartbreakers if they’d cut their teeth at CBGB. The acoustic songs are raw and haunting, recalling Springsteen’s Nebraska.
The heartbreak and existential crises of 27 have been replaced with boldness, wisdom, and a deeper level of self-examination. “I’m in love, in a very healthy, serious relationship, and I’m happier with where I’m at in terms of my music, but with being further along in my personal life come new questions like “How do you maintain what’s good about a relationship? “Burn Away”, “Bright Star”, and “Strong Enough”, all ostensibly love songs, are really about the uncertainty inherent in love – that there is no guarantee that it will last forever.
Porter – who has degrees in English and American History from Yale University and taught English at an inner-city middle school for 4 years – has also rediscovered an interest in social justice and activism. Porter spent the past two years reading extensively – progressive writers like Noam Chomsky, Naomi Klein, Ta-Nehisi Coates, and Thomas Piketty – and took time to rethink what he wanted to write about. “I strive for 100% honesty in my songwriting, and that means I write about what’s on my mind and in my heart. I spent most of 2015 thinking about how I should respond to what's happening in the world, so that ended up being a major theme on the record."
Porter also immersed himself in the works of topical songwriters – some obvious influences (Woody Guthrie, Bob Dylan) and others less so (Joe Strummer, Public Enemy’s Chuck D). In the process, he learned about Joe Hill – the protest singer and IWW labor organizer who was executed on highly questionable charges almost exactly 100 years ago. Porter wrote the song “Joe Hill’s Dream” shortly afterwards – at once an examination of Hill’s legacy and a critical look at the recent history of protest songwriting.
The album’s centerpiece, though, is “Reach The Top”, a five-and-a-half minute dissertation critiquing the philosophy underpinning the American Dream, tying together its myriad consequences – isolation, materialism, depression, suicide, drug use, destruction of unions, college debt, gentrification, police brutality, media distortion, and American imperialism – using nothing but his voice, a guitar, and a harmonica. This song alone is a strong case that this California-based Okie transplant may be Guthrie’s closest modern heir.
On How To Dream Again, M. Lockwood Porter blends the personal and political in a way that is courageous, moving, and representative of this historical moment. “I can’t have a conversation with anyone my age right now without talking about things like inequality, gentrification, racial injustice, student debt, or climate change. I wanted to make a piece of art that captures this time, where daily life is political.” Yet at its core, this album is a very personal statement from a thoughtful, daring young artist. “The album is called How To Dream Again because it’s about trying to change my priorities – from chasing dreams of individual success to dreaming about creating something bigger than myself, whether that’s being in love or building a better world.”
The Harmed Brothers
Nestled between the rolling farmland of Oregon’s Willamette Valley and the impossibly tall trees further south, the gold and timber town of Cottage Grove has always drawn an eclectic mix of dreamers, drifters and prophets to its downtown Main Street.
For about a decade now, many of these frontier misfits have gathered to carouse and quench their thirst at the Axe & Fiddle Pub, and if the Harmed Brothers owe the path they’ve forged these past few years to any particular beer-soaked barroom along the way, it’s got to be the Fiddle.
It’s more than likely the place where, in early 2009, singer/songwriter Ray Vietti — already the veteran of one ambitious but ill-fated musical dream — first encountered Alex Salcido, and it’s probably where the two musicians first decided to jam. Soon enough, Vietti would come to recognize Salcido as a kindred spirit in both vision and song, and the young tunesmith would help write the Harmed Brothers saga with an insightful, often wistful lyrical and instrumental voice that offers a fitting complement to Vietti’s gritty baritone and powerful chords.
The fledgling duo paused in the Grove for a moment, gathering steam, trading tunes and talking possibilities, performing for crowds there and in nearby Eugene before striking out for the open road — their second home ever since and the undeniable inspiration for many of the songs and stories to follow.
Soon after their first meeting, Vietti and Salcido quickly recorded and released their independent debut, “All The Lies You Wanna Hear,” and began to tell the tales of love, loss, hard-drinking and redemption that have since endeared them to legions of fans and fellow musicians.
In 2011, the Harmed Brothers’ evolution as songwriters and as a touring act showed through with their sophomore effort, “Come Morning,” a release from Oklahoma-based Lackpro Records that sways with the rhythms of the road and the forlorn waltzes of a nation’s dive bars and dance halls.
These days, they call it “indiegrass,” the rustic American musical blend that celebrates and chronicles the physical and emotional gauntlet the Harmed Brothers have always ridden, zigzagging endlessly in vans across the nation. It’s an inclusive sound, the melding of two unique voices adorned each night with the contributions of the many pickers, singers and songwriters the Brothers have encountered in their travels.
It’s known as the “Harmed Family Roadshow,” and it’s as much a nightly happening as a sound in constant flux — from a jangly acoustic three-piece one night to a manic mariachi string band the next, a wall of rock-and-roll bombast at times giving way to the whispered incantations of two folk troubadours, often within the span of a single song.
Two years more on the road brought a European tour and a host of new fans, and by 2013, Salcido and Vietti stood poised to offer their most ambitious album to date. “Better Days,” recorded in a St. Louis studio and released by Portland, Oregon-based Fluff and Gravy Records, draws inspiration from themes of personal growth and redemption as well as the hurdles, heartbreaks and mishaps that have always accompanied the traveler’s search for enlightenment. Praised as “honest and inspired, devoid of posturing and pretense,” “Better Days” features some of the Harmed Brothers’ deepest grooves and their most plaintive and enduring tunes to date.
In the winter of 2015, the “Harmed Family Roadshow” gathered together in all its tattered glory in Portland, Oregon, the Brothers’ adopted home and headquarters, to begin amassing the riffs and recollections that will become their definitive recorded work. Due from Fluff and Gravy in early 2016, the album draws from the tales and talents of many of the duo’s closest collaborators and dearest friends. It promises textures never before captured on a Harmed Brothers release, brought together by the two visions and voices that propel the band toward an inspired and undeniable future.
Bootleg Theater - Bar Stage
Sun, November 19
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Mon, November 20
Wed, November 22
Sat, November 25