Hannah Wicklund & The Steppin Stones and The High Divers with Alex Bloom
1717 Silverlake Blvd
Los Angeles, CA, 90027
Doors 8:30 PM / Show 9:00 PM (event ends at 2:00 AM)
This event is 21 and over
Hannah Wicklund & The Steppin Stones
Hannah Wicklund & The Steppin Stones are fronted by a 20-year-old powerhouse guitarist, vocalist and songwriter. The South Carolina-born (and now East Nashville-based) artist who formed the band as an eight-year-old has developed a powerful and sublime synthesis of skills and makes it clear that the future is hers to conquer. On their new (and third) self-titled album, the band--who’ve played over 2,000 shows including notable festival appearances--digs in deep, hits hard, and crushes it. Hannah Wicklund & The Steppin Stones (available 1/26/18 on her Strawberry Moon imprint) is an aural kaleidoscope of blazing guitars and searing vocals, all of which establish Wicklund as a triple-threat player, singer and writer in the fashion of Susan Tedeschi and the Pretenders’ Chrissie Hynde. The album’s producer, Sadler Vaden, who’s also guitarist with Jason Isbell & The 400 Unit, says: “Once we started writing some songs, I saw that she had a real, raw talent. I was inspired to work with her by her love of classic rock music and blues. I wanted to honor that in making this album, but also add a little modern edge to it.”On the 10-track album, Wicklund taps into the fury of loneliness (“Ghost”). She resurrects specters of Hendrix and Joplin (“Looking Glass”)as well as power ballad intensity (“Strawberry Moon”). Then, just as she’s supercharged you with about as much raw energy as you can channel, she lets you down gently with the acoustic intimacy of “Shadow Boxes”—but even here, her singing achieves an intensity that most artists can only dream of rivaling. Her music stands on a bedrock of razor-edged, old-school rock ’n’ roll reanimated by a new generation’s urgency.
That impression is doubly emphasized in the video for the album’s first single, “Bomb Through The Breeze,” a hurricane of swirling color interspersed with spare shots of Wicklund and her band in action, with black bunnies and slithering snakes adding an eerie visual complement. “Sadler and I wrote this song[“Bomb Through the Breeze”]as a response to feeling backed into a corner by someone who doesn't get the hint,” says Wicklund.“This is the type of song to hopefully inspire some self-confidence when it comes to standing up for yourself and others. Unfortunately, when someone's volume is on loud for so long, the only way to get their attention is to do something even louder.” At a table outside of an East Nashville bistro, Wicklund muses: “I feel my songwriting has matured over the last few years, both lyrically and musically. I’m definitely proud of what I’ve done previous to this new album, but hearing these latest songs finished for the first time, I was able to recognize the overall development my music has gone through. A lot of it came with getting older and living more life, experiencing things that were well worth a song or two. I’ve always had a more serious and expressive tone to my music, which is still prevalent, but in the last year my songs have started to cover a wider array of feelings and are able to emote more than just a moody song in A minor. Working with a producer that shared my musical taste, similar path and home state had a lot of impact as well. Sadler did a great job of taking what I envisioned and refining it so that every part was suiting the song.”The buzz about Hannah Wicklund & The Steppin Stones iscontinuing to grow in America and overseas, with the mediataking notice.Guitar PlayerEditor-In-Chief Michael Molenda (posting at GuitarPlayer.comon 9/13/17) has heralded Wicklund “not simply as a shredder or a tonal colorist, though she certainly has chops and can go for some buzzy and less-than-organic sounds. What’s impressive to me is how she uses her custom Tom Anderson guitar and Orange half-stack to drive the emotional context of her songs with a combination of spiky rhythms, slow lines, fast runs and cagey riffs. It all adds up to a thrilling ride.” Over in the U.K., the influential Team Rockwebsite noted that “Hannah Wicklund blends bluesy sensibilities with tasty wah guitar and jutting rhythm–with notes of (gutsier) Fleetwood Mac in the mix,”adding that she is “one to watch out for” (11/10/17).The first rehearsal of The Steppin Stones was back in 2005, after which they were playing six to nine shows every week. The first song they ever played was Neil Young’s “Rockin’ In The Free World” ata charity eventin South Carolina.By the time Hannahgraduated from high school at 16, they had loggedwell over a thousand gigs together.She grew up knowing thather life would be consumed by music. She understood that this meant working hard but never losing touch with the intensity that music requires.
Hannah credits her father with instilling that lesson. Her first guitar was a present from him, as a kind of atonement for getting rid of her backyard trampoline. That very night, he taught her to play “Rockin’ In The Free World” and Tom Petty’s “It’s Good To Be King.”(Creativity runs through the family: her mother, a talented artist, paintedthe latest SteppinStones album cover.) Wicklund rampedup her songwriting as well, based on the insights she’d picked up from playing carefully selected covers with The SteppinStones. “To craft a song well, you look at whose songs you love,” she explains. “I love that we were a cover band because we got to see what worked and what didn’t through other people’s music--and, as a three-piece, how to make it work.”At age 13, the band played the first of many private shows (which Hannah arranged) for AC/DC frontman Brian Johnson and his vintage racing car team. As word began to spread, the band went on to share billingwith Jefferson Starship, The Outlaws, Kansas, Jimmy Herring, St.Paul & The Broken Bones and other headliners. They’ve also performed at major events such as the Peach Music Festival, Firefly Music Festival and Kaaboo Del Mar.Hannah Wicklund & The Steppin Stones continue to tear it up on the road. In late 2017, they toured Europe and then performed more shows in the U.S., finishing the year out with a string of shows with The Marshall Tucker Band. In January 2018, they’ll launch “TheSibling Rivalry”tourwith The High Divers(fronted by Hannah’s brother, Luke Mitchell). Their story continues--one step, one stone, and one night of thrilling music at a time.
The High Divers
After a horrific crash in June—in which a semi truck hit and flipped their tour van, injuring all band members and crew—caused an unexpected delay, Charleston's The High Divers will at long last releaseChicora, their follow-up to 2015'sRiverlust,on March 2, 2018via True Blue Records.It's been a long road to recovery, but the band was always determined to return to the stage as soon as possible. “For a while, all we wanted to do was stare at a wall,” says frontman Luke Mitchell. “Getting back to playing got my heart beating again...We had just been sitting there in painful suspended animation, but getting back to playing shows gave us something to work towards, a goal to struggle for."Chicoratakes its name from the Charleston neighborhood the band calls home, and it's fitting, given they did all the recording in their living room. And although the album was already finished before the van accident, it also serves as a reminder of the community that rallied around the band in its time of need.The band played over 50 shows just a month after their crash, and The High Divers will be hitting the road again in January, with an extra taste of home with them this time around: they'll be joined by Mitchell's sister and her band, Hannah Wicklund & The Steppin' Stones, on the aptly named Sibling Rivalry Tour.Chicorawill be releasedon March 2, 2018on True Blue Records
Alex Bloom is an independent singer-songwriter from Los Angeles. Subtle traces of his biggest influences from a forgotten era can be heard in his use of harmony and melody, but his unique sense of songwriting is entirely his own. At just 24, Bloom harnesses deeply personal and emotional topics in his songwriting as though he’s spilling his guts right to you.
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