KC Turner Presents
Anthony da Costa, (SEATED SHOW-INDOOR SESSION ROOM)
224 Vintage Way
Novato, CA, 94945
Doors 7:00 PM / Show 8:00 PM
This event is all ages
Watch & Listen
Nominated for two 2017 Grammy Awards: Best Folk Album (Upland Stories) and Best American Roots Song ("Alabama at Night")
Robbie Fulks was born in York, Pennsylvania, and grew up in a half-dozen small towns in southeast Pennsylvania, the North Carolina Piedmont, and the Blue Ridge area of Virginia. He learned guitar from his dad, banjo from Earl Scruggs and John Hartford records, and fiddle (long since laid down in disgrace) on his own. He attended Columbia College in New York City in 1980 and dropped out in 1982 to focus on the Greenwich Village songwriter scene and other ill-advised pursuits.
In the mid-1980s he moved to Chicago and joined Greg Cahill’s Special Consensus Bluegrass Band, with whom he made one record (Hole in My Heart, Turquoise, 1989) and toured constantly. Since then he has gone on to create a multifarious career in music. He was a staff instructor in guitar and ensemble at Old Town School of Folk Music from 1984 to 1996. He worked on Nashville’s Music Row as a staff songwriter for Songwriters Ink (Joe Diffie, Tim McGraw, Ty Herndon) from 1993 to 1998. He has released 10 solo records on the Bloodshot, Geffen, Boondoggle (self), and Yep Roc labels, including the influential early alt-country records Country Love Songs (1996) and South Mouth (1997), and the widely acclaimed Georgia Hard (2005).
Radio: multiple appearances on WSM’s “Grand Ole Opry”; PRI’s “Whadd’ya Know”; NPR’s “Fresh Air,” “Mountain Stage,” and “World Cafe”; and the syndicated “Acoustic Cafe” and “Laura Ingraham Show.” TV: PBS’s Austin City Limits; NBC’s Today, Late Night with Conan O’Brien, Last Call with Carson Daly, and 30 Rock. TV/film use of his music includes True Blood, My Name Is Earl, Mary Shelley’s Frankenhole, Very Bad Things, and Flintstones in Viva Rock Vegas, and he has voiced or sung campaigns for Budweiser, McDonald's, Nickelodeon, and Applebee's. From 2004 to 2008, he hosted an hourlong performance/interview program for XM satellite radio, “Robbie’s Secret Country.” His compositions have been covered by Sam Bush, Kelly Hogan, Sally Timms, Rosie Flores, John Cowan, and Old 97's.
Robbie’s writing on music and life have appeared in GQ, Blender, Chicago Reader, DaCapo Press’s Best Music Writing anthologies for 2001 and 2004, Amplified: Fiction from Leading Alt-Country, Indie Rock, Blues and Folk Musicians, and A Guitar and A Pen: Stories by Country Music’s Greatest Songwriters. As an instrumentalist, he has accompanied the Irish fiddle master Liz Carroll, the distinguished jazz violinist Jenny Scheinman, and the New Orleans pianist Dr. John. As a producer his credits include Touch My Heart: A Tribute to Johnny Paycheck (Sugar Hill, 2004) and Big Thinkin’ by Dallas Wayne (Hightone, 2000). Theatrical credits include Woody Guthrie’s American Song and Harry Chapin’s Cottonpatch Gospel. He served twice as judge for the Winfield National Flatpicking Guitar competition. He tours yearlong with various configurations and plays a weekly residency at the Hideout in Chicago.
His 11th record, Gone Away Backward, returned him to his bluegrass days and extends the boundaries of that tradition with old-time rambles and sparely orchestrated, acoustic reflections on love, the country life, the slings of time, and the struggles of common people. His latest album Upland Stories (2016) continues this tradition with the additional of drums and several electric instruments. Both albums were recorded by Steve Albini.
Anthony da Costa
Anthony da Costa’s songs don’t extend metaphors or spin yarns. They shoot straight. The singer-songwriter and guitarist speaks plainly, from the heart and the gut.
With his latest work, including his recent solo album DA COSTA, he adds the musical force of some of American folk and roots’ seminal cities to his forthright style. “In the past few years, since I moved from New York to Austin and then to Nashville, I’ve found my voice as a songwriter,” muses da Costa. “I’ve honed my band, made strong musical friendships. I felt like I started over and found what I needed to say.” You can hear it clearly in his songs, whether they are steeped in rock-country grit or frank folk.
A seasoned sideperson, he’s toured extensively with Grammy-winning performers (Sarah Jarosz) and Americana darlings (Aoife O’Donovan). He’s shared the stage with everyone from Judy Collins to Kenny Loggins, played major festivals and late-night shows (CONAN), and written songs with hitmakers (Steve Poltz).
da Costa grew up listening to everything: folk singers, rock icons, bluegrass revivalists, roots-rock storytellers like Dylan, as well as the pop on the radio. “I grew up listening to boy bands, singing in the church choir, performing in school musicals,” recalls da Costa. “There’s always a pop aspect to what I do, but one of my favorite singers is George Jones,” whose influence resounds in da Costa’s often tender tenor.
He started writing in his early teens, a precocious performer unafraid to stand up at open mic with a guitar and rack harmonica, no matter who teased him. He listened in awe to seasoned folk singer-songwriters like Dan Bern, who could mesmerize an audience for hours with his originals. “Dan inspired me, the way he could move from heartbreak to humor. I wanted to have the material to play long gigs like that. I wanted to build community from those experiences,” reflects da Costa. “Throughout high school and college, I lived a double life. Any spare moment I had I spent writing, recording, touring, performing, doing everything I could to get better.”
He succeeded, becoming the youngest winner of the songwriting contests at Falcon Ridge and Kerrville Folk Festivals in his mid-teens, competing against performers several times his age. He played gigs at any coffeeshop he could near his hometown of Pleasantville, NY, carrying a thick binder of favorite covers with him. Over time, he replaced more and more of the classic songs with his own work.
When da Costa went to New York City for college, he began to move away from music that would help him shout over an espresso machine, toward music that captured listeners with its forceful simplicity. He was inspired by Tony Scherr, Bill Frisell’s bassist and a gifted maverick guitarist in his own right, who played gigs at the same downtown Manhattan venue he did.
“Tony played like a weirdo Jimi Hendrix, sang like a weirdo Willie Nelson,” da Costa recalls. “He taught me the importance of sustain, of slowing down and digging into a note. Thanks to him, I fell in love with the trio format of guitar, bass, and drums, a format I use in my own work. You can cover so much ground with a trio. At some point, I wanted to do everything with just those instruments.”
da Costa’s approach to his own instrument shifted significantly. He was used to banging away on the guitar for maximum impact, to shredding for maximum showiness. Then, after a long tour, his hands protested. “After many years of intensive playing, I started to feel discomfort due to overuse, in both hands. That marked a change in a lot of things for me,” he reflects. “I started thinking a lot more, picking up the electric guitar. I had to use a lighter touch and focus more on nuance. I got more interested in dynamics, in building from a whisper.”
These musical explorations unfolded further when da Costa left his old stomping grounds behind for Austin, Texas. It was a clean, hard break, as he hopped into his car with a few belongings. He fell hard for the quirky, music-loving city. Its laidback vibe contrasted with terse hustle of New York, nurturing a new turn in da Costa’s writing and playing.
As he played with legendary Austin songwriters like Jimmy LaFave, Texas’ straightforward ethos seeped into da Costa’s sleek lyrics. “For me, the goal with songs is to get you to feel something, yes or no. Feel something, whatever you want, as long as you relate in some way,” da Costa notes. “In my music, this comes out in plain speech, something that’s relatable and interesting enough to affect you. On DA COSTA I wrote a lot about relationships, about what fell apart and what my experience says about the world. What I learned from it.”
What started in Austin couldn’t end there, however, as da Costa realized after a few years he was a little too comfortable for his own good. He struck out once again, this time heading for Nashville, where he began writing, and pouring himself into his solo career. He challenged himself by collaborating with far-flung musical friends like Jarosz (the two will release several songs together this year) and Adam Levy (Norah Jones)
“I feel I’m just getting my own music off the ground, though I’ve been playing it for 13 years,” da Costa muses. “But everything I’ve done has contributed to my knowledge. It was the prelude, and now I know singing and writing my songs is most important to me.”