4114 Vernor Hwy
Detroit, MI, 48209
Doors 7:00 PM / Show 8:00 PM (event ends at 12:00 AM)
This event is all ages
Larkin Poe have found their voice. In a genre as storied as American roots and soul, the sister duo are poised to make a mark all their own with the release of their fourth album Venom & Faith, out November 9. Rather than concede to the history of the canon they hold dear or rest on their laurels, Larkin Poe persist and emerge rattling, stomping, and sliding into a modern-day depiction of what roots rock should sound like. Another chapter in an everlasting story.“It’s a celebration of roots American music,” Rebecca says, “as translated by two sisters who are playing the blues in a modern age.Steeped in the traditions of Southern roots music the Georgia-bred, Nashville-based Rebecca and Megan Lovell showcased their mastery in orchestrating, harmonizing and breathing new life into the musical heritage of their upbringing with 2017’s Peach, which was nominated for a Blues Music Award for Best Emerging Artist Album.Recorded and produced entirely by the sisters and their engineer Roger Alan Nichols, Peach featured a mix of original songs and covers like Lead Belly’s “Black Betty.” The making of Peachunlocked a gateway into Rebecca and Megan’s newfound confidence in their art and their history.On Venom & Faith, the sisters once again tackle a majority of the instrumentation on the album. In addition to covering lead vocals and a wide range of musical instruments, Rebecca creates lush musical underpinnings that range from horn sections to hip hop drum elements. In tandem, Megan masterfully skewers the lap steel and twins her voice together with Rebecca’s to create their unique blend of sister harmony. The album’s title, Venom & Faith, is taken from a lyric on “Honey Honey” and, according to the sisters, is intended to conjure a southern gothic image. “The title of our last album, Peach, was an homage to our Georgia-roots. With this album, we wanted a title that would allude to the duality of our art: gritty guitars offset by gentle vocals; musical moments of both tragedy and joy; the sacred and the profane.”Save for two covers, ”Sometimes” by blues legend Bessie Jones and Skip James’ “Hard Time Killing Floor Blues,” the rest of the record’s tracks are Larkin Poe originals. Paired with unique production touches, like organic percussion sounds —the thumpingof dresser drawers, the slamming of back doors, and stomping on hardwood floors —Venom & Faithbleeds Lovell.Recorded in Nashville in 2018, in between headline shows, festival dates such as Bonnaroo and Lollapalooza, and a featured guest performer spot on Keith Urban’s GraffitiU world tour, Larkin Poe
P a g e| 2approached Venom & Faithwith fierce independence. From Rebecca’s powerful vocals on “Ain’t Gonna Cry” to Megan’s sultry lap steel on “Good And Gone,” the sisters weave their talents into the fabric of their experience and a picture of the American south. “Blue Ridge Mountains” harkens to the sisters’ hometown, “drinking sweet tea every day,” with stomping percussion and churning riffs. “Mississippi” enlists the slide stylings of friend and seasoned guitar legend Tyler Bryant.Still, the sisters maintain an outlaw mindset in a traditional genre. Venom & Faithredefines what it means to make emotionally resonant music while also maintaining boundary-pushing musicality.Unbound by tawdry embellishments, Larkin Poe infuse pop sensibilities into their sound, blending old-school elements of rock and soul with drum samples, hip-hop production elements, and resonant lyrics like “California king-sized dreams in a twin bed.” Since forming in 2010, Larkin Poe have proven a formidable duo both in and out of the studio. In 2014, producer T-Bone Burnett enlisted Rebecca and Megan for Lost On The River: The New Basement Tapes, a project that also saw contributions from Marcus Mumford (Mumford & Sons) Elvis Costello, Jim James (My Morning Jacket), Taylor Goldsmith (Dawes), and Rhiannon Giddens. The sisters have performed at such esteemed festivals as Glastonbury (twice) and Newport Folk Festival; have opened for and been in the backing band of Elvis Costello and Conor Oberst; and supported the likes of Gary Clark Jr. Rebecca and Megan were also members of the all-star backingband for the 2017 MusiCares Person Of The Year tribute honoring Tom Petty (also organized by Burnett) alongside Jakob Dylan, Jackson Browne, Elle King, Lucinda Williams, Gary Clark Jr., Don Henley, and Randy Newman. But on Venom & Faith, the Lovells areon their own, tapping soulful veins from whence a new iteration of Southern-inspired pop soul flowed. “Going into this record, we were feeling more confident in ourselves and our story and our voice,” Megan says. “And having found our voice —we wanted torealize that.”
If you take out a map and measure the midway point between San Francisco and Chapel Hill, North Carolina — the homes of songwriters Avi Vinocur and Patrick Dyer Wolf, respectively — you’ll find an unincorporated town called Goodnight, Texas (population at last count: 28). That’s what the duo discovered when they went looking for the center of their long-distance collaboration, a musical project that sounds, appropriately enough, like a cross-country drive on Interstate 40: Expansive, full of possibility, American in every sense of the word — the perfect place for missing someone but regretting nothing, for losing yourself in the crackle of guitar through speakers and having a good long think. The band’s contagiously entertaining dynamic at live shows, as well as the album’s energy, soul and range — from red-blooded, foot-stomping rock ’n’ roll to wistful front porch ballads to haunting tales of doomed romance — has made devotees out of both music critics and a growing legion of fans spread out across the country. Americana is arguably an overused term at the moment — but what sets Goodnight, Texas apart from the pack is its richly imagined, full-color stories. Uncle John Farquhar , the bands sophomore record, showcases this talent perhaps better than ever, with the two songwriters’ styles playing off each other to great effect, balancing a wry sense of humor with an obvious respect for the ghosts of this country’s past. Whether in Vinocur’s realm of epic sagas of loss and animated hit-the-road tunes or Wolf’s natural gift for deceptively sparse, emotion-driven songwriting, we can feel the sun-baked earth, taste the sweat of a day’s labor, hear the hound dog howling in the yard. Our protagonists are lonely travelers and scorned lovers ad sympathetically conjured bank robbers, and for the duration of a song, we are rooting for them with all we’ve got.