Bootleg Theater Presents
Far Out Fundraiser - Haiti Benefit
Springtime Carnivore, Bedouine, Pearl Charles, Laura Burhenn (The Mynabirds), BUZZY LEE, Leslie Stevens, Kate Berlant
2220 Beverly Blvd
Los Angeles, CA, 90057
This event is 21 and over
You know the curious, almost out-of-body feeling you sometimes get when you wake up in the middle of the night, where everything seems a bit fuzzy and you’re not sure if maybe you’re still dreaming? It’s a state Greta Morgan perpetually revisited during the second half of 2015, when she was writing and recording the new Springtime Carnivore album, Midnight Room. “I was on a really jagged sleep schedule,” says the Los Angeles-based singer-songwriter, describing the months during which she worked on the follow-up to her critically adored 2014 debut. “It was the first time I’d ever lived by myself, and there was this bizarre feeling at night of the house being so quiet and being so totally alone. And Midnight Room came out of that.”
Earlier in the year, Morgan went through one of those break-ups that completely topples your world. Though it was as amicable as those things can be, the twenty-eight year-old musician felt shattered. She began working on songs for Midnight Room during those strange waking interludes last summer, finding an abundance of beautiful melodies in the melancholy ether. “A lot of lyrics on the record are collaged or don’t necessarily make sense next to each other,” she says. “But I guess my whole headspace was like that for a few months. I felt like I couldn’t trust my memory completely -- like I was space cadeting through the weird space between sleeping and dreaming and waking and reality.”
The melodies came easily, but the words were initially harder to find. So she tried a new approach for Midnight Room’s lyrics, inspired by her own disjointed thinking during those months. When an intriguing phrase or evocative image occurred to her, she wrote it down on a piece of index card. Sitting with the dozens of scraps on the floor in front of her, Morgan would rearrange the fragments until she found a way to make sense of it all. “A lot of the themes are, like, ‘How do you lovingly change a relationship?,’” she says. “How do you say good-bye to someone in a certain way and still keep him or her in your life? I feel like I was asking a lot of questions during the making of the record that I still don’t really have answers to, but at least some of the songs were exploring that territory.”
In the interest of achieving a more cohesive sound for Midnight Room, Morgan reached out to producer Chris Coady, whose work with Future Islands, Beach House and The Orwells she’d admired. “To me, Chris’s greatest gift as a producer is creating a sonic palette for an album that really brings their songs to life,” she says. “I wanted the whole thing to feel like you’re looking through a cobalt blue glass, and to get textures that almost feel like being able to see stars in the sky. I wanted it to have this very velvety midnight blue purity to the sound, and I feel like the synthesizers that we used and a lot of the guitar tones we used evoked that kind of visual texture.”
Like her name implies, Bedouine's music has a nomadic heart. Sweeping, hypnotic. Esoteric yet familiar. It is untethered to place because it's home is everywhere.
Los Angeles native Pearl Charles’ smoky, psych-folk footprint treads somewhere between a gentler, silky Jefferson Airplane and more fiery sides of Joni Mitchell. Her debut EP was recorded with the help of a crew of local producers who’ve aided similarly roiling records from Rooney, Cherry Glazerr, and La Sera. That release’s first single “You Can Change” was a soulful pop track where Charles commands and deplores (“you can change what you want, but I just can’t change your mind) with feisty harmonic woos. But the simmering “I Ran So Far,” debuting here, pairs rootsier lyrics (“I run to the river/But the river run dry”) with a western twang and grave, moaning guitars.
Although only in her early twenties, Pearl Charles already has a strong résumé. She’s earned a BFA in music from CalArts and in her free time has toured with the Growlers, Father John Misty, and Thee Oh Sees aside from working on her own projects, the Driftwood Singers and the Blank Tapes. Her next tour will be a small venture around California. Listen to “I Ran So Far” and take a look at her tour dates below. Pearl Charles is out on July 28 via Burger Records. - Spin
Laura Burhenn (The Mynabirds)
American singer-songwriter Laura Burhenn is a shape-shifter who can’t sit still. Since 2010 she’s worked under the moniker The Mynabirds, releasing three critically acclaimed and stylistically different albums on Saddle Creek: What We Lose in the Fire We Gain in the Flood (2010) and GENERALS (2012), both produced by Richard Swift, and Lovers Know (2015). She has also toured as a member of the Postal Service (2013) and Bright Eyes (2011), helped found Omaha Girls Rock (a non-profit helping young girls find their voices), and in 2013 gave a TED talk based on her “New Revolutionists” portrait project, exploring what it means to be a revolutionary woman in this day and age. Before the Mynabirds, Laura was a member of DC indie band Georgie James with Q And Not U’s John Davis, and also put out two self-produced solo albums on the label she founded herself, Laboratory Records.
Through all of her transformations, there’s one thing that remains constant: her voice. She’s been compared to Cat Power, Fiona Apple and Adele. And while her songs might show up dressed in new ways on each new release, they still very much embody Laura’s distinct songwriting style. “I’ve always been most inspired by the songwriter chameleons,” Laura says. “David Bowie, Harry Nilsson, PJ Harvey, Bjork. They play — with their arrangements, their tones, their personas. But when it comes down to it, every song could be strummed on guitar, or played alone at a keyboard. And at the heart of it, they’re storytellers.” Laura is setting out on a full US solo tour this fall, stripping all of her songs back to bare bones, the way they were originally conceived: just a piano and her voice.
“…songs so elegantly composed that many could pass for old standards… Burhenn is as heartbreaking and tuneful as her finest inspirations while investing her songs with a calm fatalism that sets her apart.” –Pitchfork
"Canyon Country Bands are as common as brush fires in LA but the thing that separates this combo apart is the voice of the titular Leslie...a rounded shining thing that evokes Patsy Cline¬πs sass and sorrow in one swoop." - LA Times
"Leslie & the Badgers are quietly turning into one of the city's best...what makes the songs magical is the way Stevens spruces up the retro country-pop settings with clear-eyed and thoughtfully incisive lyrics." - LA Weekly
"As the heart of its expressive ability, Leslie Stevens' voice is the picture of gorgeous restraint, a refined mixture of urbane sophistication and genuine country honey...radiant with style and intellect...her singing is more about movement than volume, and it's what makes it an enduring marvel." Flagpole Magazine
"A fresh, ear-pleasing sound that's attracted a growing Eastside following...'Los Angeles' and pleading 'Winter Fugue' serve notice Stevens is a writer to watch." - Pasadena Weekly
"Seasoned as the weather itself...like a gypsy caravan picking up musicians and fans along the way...real enough to steal one¬πs heart away." - LA Record
"Roomful Of Smoke is an unexpected pleasure and a record that fans of Whiskeytown and Neko Case will find as comfortable as a well-traveled pair of boots...too many standout tracks to list...'Los Angeles,' sounds like it was inadvertently left off Case's Canadian Amp EP, while 'My Tears Are Wasted On You' will likely rocket up the country charts as soon as some savvy producer convinces one of Nashville's cookie-cutter starlets to warble her way through it." - My Old Kentucky Blog
"...led by adorable, sweet-toned singer-songwriter Leslie Stevens whose pipes and presence recall such honest and heartfelt vocalists as Emmylou Harris, Iris DeMent and Alison Krauss, with a touch of Patsy Cline's guilelessness...literate, emotionally-accessible, sometimes whimsical and always heartfelt lyrics...." - MOG dot com
"This album has more class in a follicle of its metaphorical hair than most new country has in its entire existence...That class is established early on by Leslie Steven's soothing voice. You can't help but be reminded of Emmylou Harris when you hear her voice but you will never be confused by it. Ms. Stevens can sing country, R & B, blues, or anything else that may come her way…You best have your ear to the ground on this. It's that good and you can expect to hear a lot more from this amazingly talented band." - No Depression
Set Times will be posted on Instagram the day of show
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