Steve Gunn Residency Night #3
Little Black Egg, Nathan Bowles
484 Union Ave
Brooklyn, NY, 11211
This event is 21 and over
We are very excited to announce this intimate residency with Steve Gunn, who will be joined with a full band each week as he works out some new songs and of course, plays some old favorites too. Making these shows even more special, are the remarkable acts that he has asked to join him each week, all of which have inspired him over the years in various ways.
Opening night on October 25th will feature legendary English singer-songwriter, Bridget St. John, who will be performing a rare solo set.
November 1st will bring the incredible guitar duo of Loren Connors and Alan Licht to the stage for the first time since 2010!
And to close it out on November 8th, Little Black Egg, the solo side project of Yo La Tengo’s Georgia Hubley will ease us into the night.
Steve Gunn is a Brooklyn, NY based musician whose work is featured on Matador Records.
Little Black Egg
Little Black Egg (Yo La Tengo's Georgia Hubley solo):
Like her bandmates in her day job, Georgia Hubley does it all (drums, vocals, keyboards plus) - but at this show, we're told to expect her on guitar - and alone. That’s how she did it on Little Black Egg's record Buzzard’s Bed. About that piece of vinyl, Jesse Jarnow submitted these few characters: “shifting & swelling electric guitar clouds, faint birds. gorgeous.” Georgia's sounds will be a great pace-changer between the other sets.
Nathan Bowles is a multi-instrumentalist musician and teacher living in the mountains of southwestern Virginia. His work, both as an accomplished solo artist and as a sought-after ensemble player, explores the rugged country between the poles of Appalachian old-time traditions and ecstatic, minimalist drone. Although his recent solo recordings prominently feature his virtuosic banjo, Bowles is also widely recognized as a masterful and versatile drummer, and he considers himself first and foremost a percussionist, with banjo as a natural extension of his percussive practice.
He and his bandmates in the popular and critically acclaimed old-time group the Black Twig Pickers steep themselves in local traditions of Appalachian folk music and dance, very much a vital part of cultural life in their region of Virginia. As a member of the long-running improvisational drone outfit Pelt, Bowles focuses on the various sonic possibilities inherent in struck and bowed percussion—metal, wood, skin, or otherwise. When playing by his lonesome under his birthname, he prefers either minimal and hyper-nuanced percussive drone or tranced-out solo clawhammer banjo. Bowles has also recorded, collaborated, and performed with Steve Gunn, Jack Rose, Hiss Golden Messenger, Black Dirt Oak, Scott Verrastro, Pigeons, Spiral Joy Band, and others.
The seven songs on his second solo album Nansemond deploy banjo, percussion, piano, tapes, and—for the first time—his robust voice, moving effortlessly between composed sections, improvised passages, and field recordings. The Nansemond suite demonstrates the elasticity of Appalachian and Piedmont stringband music and the inherent connections, when those forms are distended, dilated, and dissected—as in the “Sleepy Lake” pieces, “Chuckatuck,” or “Golden Floaters/Hog Jank”—to contemporary improvised and post-minimalist avant-garde music. Bowles’ inventive playing on the album somehow finds common ground between tradition-bearing masters like Dock Boggs, Dink Roberts, and Etta Baker and the outré compositional experiments and extended techniques of Paul Metzger, Clive Palmer, and Henry Flynt. But these two strains always feel purposefully and organically integrated, not distinct or hierarchical, and that elegant and novel elision is perhaps the most notable accomplishment of these hypnotic recordings: they respectfully refuse to accept the porous boundaries between Southern vernacular music and modernism.