Bootleg Theater Presents
Laura Jean Anderson / Mara Connor / Anna Ash /Susy Sun
2220 Beverly Blvd
Los Angeles, CA, 90057
This event is 21 and over
Laura Jean Anderson
Laura Jean Anderson, born in Olympia, Washington and now residing in Los-Angeles, is an artist with her feet rooted in old American music from soul to folk/americana to rock n roll, while embracing pushing the boundaries of modern music. Her weekly shows across Los Angeles have established her as a staple of the LA music scene, garnering support from KCRW, and having LA Weekly proclaim that her music as a “timeless sound… a mysterious conception that sounds as it’s from another era." Laura Jean recently finished recording her debut album with producer Tyler Chester in Los Angeles.
LA native Mara Connor just released her debut single and music video "No Fun" which garnered praise from Rolling Stone. The song was recorded to tape at the Bomb Shelter in Nashville, produced by Andrija Tokic (Alabama Shakes) and mixed by Noah Georgeson (The Strokes). "No Fun" is the first single off her forthcoming debut album which includes duets with Langhorne Slim and Joseph Arthur.
“Southern California singer-songwriter Mara Connor pays tribute to her roots with her delightfully bright debut single, ‘No Fun.’ Connor recorded the track in Nashville, and tinges of country blend seamlessly with Sixties and Seventies beach-pop here. It’s a promising sign for this newcomer, and all that retro flavor never stops this song from sounding like right now.” — ROLLING STONE
“‘No Fun’ is also an elegant charmer - Connor’s drawn-out, yet lucid vocals are set against a majestic string arrangement and gleaming jangly guitars, wrapped around a melody that a band like Big Star could’ve written in their more tender moments. ” — THE DELI MAGAZINE
“‘No Fun’ is the heart-melting introduction to her debut album, arriving in 2019...the title track, strings-swept and swoon-worthy, a confessional that’s equal parts girl-group pop and ’70s AM radio finery, her buttery voice somewhere between Allie Crow Buckley and Lana Del Rey.” — BUZZBANDS
Anna Ash's sophomore record, Floodlights, is a test of tension. Tension between her sun-baked concrete present in Los Angeles, and the faint and frozen nostalgia of her northern Michigan past. Nights spent waitressing and days in the studio — love spent lonely, in a city choked with people. A lifestyle that destroys your life, and that freakish resilience that keeps you breathing. Her voice holds a rare type of hesitation, careful not to reveal too much of itself too soon, while her lyrics urgently, precisely, pleadingly, throw it all on the table, bare, under a blazing white cold light.
It’s major keys though — it’s amp buzz, tape warmth, mid-tempo back-beats — it’s kind of rock and roll, or country, or maybe even folk. Tracked live at a friend's studio in Northfield, Minnesota, and mixed with Dan Horne (Beachwood Sparks, Cass McCombs) in Los Angeles, Floodlights features Joe Dart on bass (Vulfpeck), Julian Allen (Borns) on drums, James Cornelison and Brett Farkas (Aimee Mann, Lord Huron) on guitar, and Joey Dosik (Mocky, Nikka Costa) and Theo Katzman (Vulfpeck) on additional vocals, piano, and guitar.
The tape crackles under Ash's sometimes soaring, sometimes aching soprano. You can hear her fingernails against her Silvertone as the band settles into the first track. There’s no click track, no auto-tune, no string section – just a band in a room playing songs. It’s raw, simple, heartbreaking, and startlingly honest.
It’s a record seriously indebted to Ash’s childhood spent listening to Emmylou Harris and Bonnie Raitt, filtered through the lens of indie-folk contemporaries like Feist and Sharon Van Etten. Each tune's a carefully considered gift to the listener, at once spacious and tight, forgiving and fraught. It all comes to reflect Ash's life, a mirror to the sadness and joy of growing up in our strange present.
“These Holy Days, the first full-length album by Anna Ash, is an audacious vehicle for a spine-shivering voice that’s as much rooted in Aretha Franklin and Ella Fitzgerald as it is in Annie Clark and Sharon Van Etten...”
Anthemic pep talks, gutted relationships, cutting critiques illuminated by hymn-like allegory — all this makes The Way the Wind Blows both Susy Sun's most hyper-personal and universally resonant work yet. The upcoming debut LP stretches the umbrella of pop with Americana moxie.
In 2016, the classically trained pianist and songwriter traded the stages of the Northwest for the studios of Los Angeles. En route, struck by the immovable presence of thousand-year Redwoods, this album took root. Produced by Grammy award-winner Dennis Herring with string arrangements by Alexander Rudd, the compilation of introspective songs and instrumental interludes walks, marches, paces and waltzes through another ancient forest: the crowded woods of self-doubt and skyless ruminations of love, lost.
In other words, it’s a cathartic coping mechanism that insists you absolutely can shake it off and find your way through the trees. Talk it out, the saying goes. You’ll feel better. What Sun has done in The Way the Wind Blows is give not just vocabulary, but voice — shifting from hushed to gale-force in turn — to our most wrenching roadblocks to happiness: get over that breakup, get out of your head.
Sing it with her: Nothing can take my heart of gold away.