Sweetwater Presents : A Late Summer Jam with Jackie Greene, Blitzen Trapper, Kelly Finnigan & Kendra McKinley
19 Corte Madera Ave.
Mill Valley, CA, 94941
Doors 5:00 PM / Show 6:00 PM
This event is all ages
Americana and roots singer-songwriter Jackie Greene is a jack-of-all-trades, and an artist who can croon over soulful piano ballads as much as he can shred a bluesy guitar solo (like he did as the lead guitarist for The Black Crowes in 2013). A road warrior and musician's musician, Greene's new EP 'The Modern Lives - Vol 2' (out October 2018 on Blue Rose Music) finds him at a new chapter in his life: his first months of fatherhood, time off his relentless touring circuit, and a cross-country move from Brooklyn to his birthplace of Northern California.
This new collection of six original songs is a thematic extension of 'The Modern Lives - Vol 1' EP (released in 2017 on Blue Rose Music), imbued with a Brooklyn basement DIY feel and ethos. He is a student of American music, transfixed upon its progression through time, as well as how regional sounds fit in a contemporary context. Whereas 'Vol 1' saw Greene experiment with the Delta blues as a canvas for his examinations of modern society, 'Vol 2' sees Greene embrace the sounds of the bluegrass and folk tapes of his youth.
Lead single "Crazy Comes Easy" showcases Greene's dynamic, multi-instrumental range as he plays slide guitar, organ, bass, and percussion, the guitar licks an appreciative nod to his time in The Black Crowes. Meanwhile, "Good Old Bad Times" highlights Greene as the songwriter as he rattles off lines like "How can somebody find a future? / If they ain't got a foothold in the past?" while taking a critical eye to the idea of nostalgia. Piano ballad "Victim Of The Crime" was one of Jackie's oldest demos up until the feel of these sessions gave him the tools to finish a song that, in his words, was written for his wife before she was his wife. While the title possesses a kind of melodrama, the song itself is tender and heartfelt as he details love's trials and tribulations.
Greene partnered with Academy Award-nominated "king of indie animation" Bill Plympton for a series of music videos for 'The Modern Lives - Vol 1' that would eventually become an animated short film titled 'The Modern Lives'. The film is currently making the rounds at film festivals where it has already won the Jury Award at the USA Film Festival in Dallas, TX, and the Grand Remi Award / Best in Show at WorldFest in Houstin, TX. The short is also being exhibited at the 71st Festival de Cannes/Court Metrage, Melbourne International Animation Festival, and ASIFA-East Festival, amongst others.
Since the release of his critically-acclaimed debut album 'Gone Wanderin’', Greene has built an enduring audience through a relentless touring schedule with the likes of BB King, Mark Knopfler, Susan Tedeschi, and Taj Mahal. He played lead guitar with The Black Crowes on their Layin’ Down With #13 World Tour, recorded and toured with Trigger Hippy - his supergroup with Joan Osborne - and in the last four years performed over 300 shows of his own, all while continuing to record and release his solo work. Greene is a frequent member of Phil Lesh & Friends, and sits in with countless other artists including Tedeschi Trucks Band, Govt Mule, Mississippi All-Stars, Amy Helm, Steve Earle, and Bob Weir.
A question I ask myself, why make records? And why in particular did I make this record? I've made lots of records, about half of them shared with the world, the other half squirreled away for no good reason.
Songs upon songs upon songs.
But I guess in the end I just had some stories to tell, like the one about the cop turned cocaine dealer, or the murderous 13 year old girl, or the underage lovers who steal her mom's checkbook, her dad's truck and go on a spree down the west coast, free as the wind, until it becomes clear the boy is addicted to heroin, the physical freedom outstripped by enslavement to the substance. And but lets not forget the one about the woman in the black TransAm who steals hearts from wrecked/jaded men deep in their cups, another form of internment. Stories upon stories.
Each story is true in some sense.
So I guess I have my reasons for making a record. For adding to the overwhelming fetid deluge of content running wild, pushing at the banks of cultural consciousness for no good reason. And really the value of a record seems to be increasingly non-monetary. As it should be I guess, the true craft, the reality of music, of voice, is played out on stages across the country, not in bluetooth earbuds.
And so 10 years after Furr, a record that touched a vein and continues to, the song itself more widely known than the band that made it, after 10 years of touring with Blitzen Trapper, after all the drug busts, run-ins with the law, drunken nights/fights/wrecks, flings with fans/groupies/angels, run ins with demons/criminals/saints, TV appearances, court appearances, disappearances, what do we have to show for it?
Nothing much that can be physically pointed to, it's more a feeling. A cerebral kind of currency, of having communed/partaken/contributed to the dialogue of rock music, of the musical arts as well as a sense of America as a whole. This country like a willfully ignorant child, blind to its faults, not knowing how good it has it, half-heartedly adhering to a God that no longer exists, its leadership nothing but a mirror held up to its own fat misshapen face. To possess this sense, this knowledge is worth its weight in gold. This is the true meaning of that genre we are a part of, what we call Americana.
We recently created a theater event that ran for a couple months in our hometown of Portland, OR called Wild and Reckless, half musical, half rock-opera dealing with heroin abuse, desperation, True Love and western power structures. Heady as shit, but in the end as it unfolded I realized it was really about music, that longing for escape, that pure juvenile psychedelia we possessed as kids laying in summer grass gazing up at the clouds in the sky seeing shapes in them, imbuing them with a reality that was not really there but that we saw it and named it. Stories upon stories.
This resultant album Wild and Reckless is a companion to Furr, a second volume in that wild dystopian reality of killers and shape-shifters, and there is a running narrative to it that, like its companion Furr hinges upon Love, love lost, found, hidden. That's the center, the Heart of the matter and all the stories upon stories revolve around it like a menagerie of rocks around a burning sun.
Eric Eddy Earley,
Portland, OR July 14, 2017
The birth of the soul music revival—galvanized by Lee Fields and the late Sharon Jones and Charles Bradley since the early 2000s—offered a potent dose of authenticity to an industry watered down by fabricated pop stars. These artists, orchestrated behind the scenes by vinyl collectors turned label heads at Truth & Soul and Daptone, poured their hearts out on stage and on records, and audiences responded in kind. But what the movement has been missing thus far is an auteur, a visionary that writes, records, performs and produces his own material. Enter Kelly Finnigan.
The 37-year-old, Bay Area-based singer, songwriter, engineer, and producer will release his first solo album, The Tales People Tell (Colemine Records), in the Spring of 2019.* The ten-song collection is raw and gritty, tender and emotive, lush and symphonic. With Finnigan guiding these songs from their conception all the way to the record pressing plant, the new release provides the singular voice missing from soul music.
Kendra McKinley is a San Francisco Bay Area singer, songwriter and bandleader whose songs burst with color, wonder, sensuality and wit. Finger painting with the sounds of chamber pop, jazz, soul and psychedelia, McKinley draws from a deep well of empathy. Whether she’s performing solo with a guitar and a looping pedal, fronting a full funk band, or collaborating with artists both local and around the globe, McKinley’s confident, honeyed voice enacts a gravitational pull on all who hear it.
SOLD OUT! THANK YOU!
A Hardly Strictly Out of the Park show.
$1 from every ticket sold goes to Music In Schools Today.
Sweetwater Music Hall
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