[[SOLD OUT]] eTown Live Radio Show Taping w/ James McMurtry & Martha Scanlan
- When: May 26, 2015 Time: 7:00 pm - 9:00 pm
- Where: eTOWN HALL / 1535 Spruce Street, Boulder, CO 80302
- Cost: $22 Plus Applicable Service Fees
- Share:SOLD OUT
More than just a regular concert, eTown is a unique live experience! Audience members will watch the eTown Broadcast recorded before their very eyes, complete with performances and interviews with both of our visiting artists, as well as the eChievement Award segment, eTown's opportunity to honor everyday heroes who are doing their part to make the world a better place. You won't want to miss it!
Show Start: 7:00pm
Show End: 9:00pm
Photo by Shane McCauley
James McMurtry spins stories with a poet’s pen (“Long Island Sound”) and a painter’s precision (“She Loves Me”). Proof: The acclaimed songwriter’s new album Complicated Game. McMurtry’s first collection in six years spotlights a craftsman in absolutely peak form as he turns from political toward personal (“These Things I’ve Come to Know,” “You Got to Me”). “The lyrical theme is mostly about relationships,” McMurtry says. “It’s also a little about the big old world verses the poor little farmer or fisherman. I never make a conscious decision about what to write about.”
Complicated Game delivers McMurtry’s trademark story songs time and again (“Copper Canteen,” “Deaver’s Crossing”), but the record brings a new (and certainly no less energetic) sonic approach. First, recall blistering beats and gnashing guitars from his magnum opus Just Us Kids (2008). Now, unplug. “The label head wanted more acoustic,” McMurtry explains. “We built everything as we went so we ended up with more acoustic guitar as we went. We just played whatever sounded right for a given song, but we weren’t necessarily saying this is an acoustic record.”
Exhibit A: “How’m I Gonna Find You Now.” The record’s lead single boasts buoyant banjos and driving drums as endlessly energetic as anything electrified. Whiplash vocals further frenzy the beat. “I've got a cup of black coffee so I don't get lazy/I've got a rattle in the dashboard driving me crazy,” McMurtry effectively raps. “If I hit it with my fist, it’ll quit for a little while/Gonna have to stop to smoke in another mile/Headed into town gonna meet you at the mercantile/Take you to the Sonic get you grinning like a crocodile.”
Such vibrant vignettes consistently turn heads. They have for a quarter century now. Clearly, he’s only improving with time. “James McMurtry is one of my very few favorite songwriters on Earth and these days he's working at the top of his game,” says Americana all-star Jason Isbell. “He has that rare gift of being able to make a listener laugh out loud at one line and choke up at the next. I don’t think anybody writes better lyrics.” “James writes like he's lived a lifetime,” echoes iconic roots rocker John Mellencamp. Yes. Spin “South Dakota.” You’ll hear.
Further evidence: McMurtry’s Just Us Kids (2008) and Childish Things (2005). The former earned his highest Billboard 200 chart position in nearly two decades and notched Americana Music Award nominations. Meanwhile, Childish Things scored endless critical praise and spent six full weeks topping the Americana Music Radio chart in 2005 and 2006. In 2006, Childish Things won the Americana Music Association’s Album of the Year and “We Can’t Make It Here” was named the rapidly rising organization's Song of the Year.
Of course, Complicated Game doubles down on literate storytelling longtime enthusiasts expect. Recall high watermarks past: “Childish Things,” “Choctaw Bingo,” “Peter Pan,” “Levelland,” and “Out Here in the Middle” only begin the list. (Yes, Robert Earl Keen covered those last two, “Levelland” remaining a live staple.) Just Us Kidsalone includes fan favorites “Hurricane Party,” “Ruby and Carlos” and “You’d a Thought.” High watermarks deliver equal measures depth and breadth and pierce hearts with sharp sociopolitical commentary (“Fireline Road”).
More history: McMurtry critically lauded first album Too Long in the Wasteland (1989) was produced by John Mellencamp and marked the beginning of a series of acclaimed projects for Columbia and Sugar Hill Records. In 1996, McMurtry received a Grammy nomination for Long Form Music Video for Where'd You Hide the Body. Additionally, It Had to Happen (1997) received the American Indie Award for Best Americana Album.
In 2004, McMurtry released the universally lauded Live in Aught-Three on Compadre Records. The following year, Childish Things notched arguably his most critical praise, spending six weeks at No. 1 on the Americana Music Radio Chart in 2005 and 2006. In September 2006, Childish Things and “We Can’t Make It Here” won the Americana Music Awards for Album and Song of the Year, respectively. McMurtry received more Americana Music Award nominations for 2008’s Just Us Kids. This album marked his highest Billboard 200 chart position in more than nearly two decades.
In 2009, Live in Europe was released, capturing the McMurtry band’s first European tour and extraordinary live set. Along with seasoned band members Ronnie Johnson, Daren Hess, and Tim Holt, the disc features special guests Ian McLagan (The Faces) and Jon Dee Graham (True Believers, Skunks). Also, for the first time ever, video of the James McMurtry Band’s live performance is available on the included DVD.
The poignant lyrics of his immense catalog still ring true today. In 2011, “We Can’t Make It Here” was cited among The Nation’s “Best Protest Songs Ever.” “‘We Can’t Make It Here,’” Bob Lefsetz wrote, “has stood the test of time because of its unmitigated truth.”
McMurtry tours year round and consistently throws down unparalleled powerhouse performances. The Washington Post notes: “Much attention is paid to James McMurtry’s lyrics and rightfully so: He creates a novel’s worth of emotion and experience in four minutes of blisteringly stark couplets. What gets overlooked, however, is that he’s an accomplished rock guitar player ... serious stuff, imparted by a singularly serious band.”
Martha Scanlan’s long-awaited third release, The Shape Of Things Gone Missing, The Shape Of Things To Come, is already being heralded as her best work yet. Given the beloved status of her first two records, that’s a tall order to fill.
Her first solo album, The West Was Burning, featuring production by gifted multi-instrumentalist Dirk Powell and spirited performances by Levon Helm (of The Band) and Amy Helm, was met with critical acclaim:
“A revelation, an instant classic and one of those rare albums that defies genre and generation. Scanlan evokes western landscapes as effectively as Georgia O’Keefe did on canvass.” - Dirty Linen
Martha Scanlan first gained national recognition for her songwriting at the prestigious Chris Austin songwriting contest at Merlefest in 2004, where she won awards in two categories. With the Reeltime Travelers, she was featured on the soundtrack for the film Cold Mountain, produced by Grammy Award winner T-Bone Burnett. Since then she has collaborated and shared the stage with a variety of roots musicians including Alison Krauss, Emmylou Harris, Levon Helm, Ollabelle, Black Prairie, Ralph Stanley and Norman and Nancy Blake.
Her song “Little Bird Of Heaven”, was the centerpiece of celebrated American novelist Joyce Carol Oates’ book by the same name.
The Shape Of Things Gone Missing, The Shape Of Things To Come is the result of a relative hiatus from the road; five years spent immersed in working and living on a 120 year-old small family cattle ranch in a remote corner of Southeastern Montana. Tongue River Stories was recorded on location there four years ago.
“I thought I was stepping back from music and writing,” says Scanlan, “but when these songs came together I realized that I have been writing them all along. There’s a beautiful congruence in music and working with cattle and horses- it’s all about the flow, finding the current in things. I was curious about how that would translate in the studio, how the landscape would come through.”
She couldn’t have found better company for such an endeavor; producer and long time musical collaborator Jon Neufeld brought fellow members of Black Prairie and the Decemberists, Dolorean and Amy Helm together into the studio for four short days. The record was mixed and mastered within ten.
“We wanted it to be a live, improvisational and collaborative process, to really let the current of the songs be the guide.”
The result is stunning.
The gift of a great storyteller is the bringing of the listener into the story, and the story into the listener. It’s not just the words of the songs that provide that rare lasting transformative alchemy that has become so characteristic of Martha Scanlan’s work, and earned her the small loyal cult following that seems to be steadily growing. It’s the space between the words, the current of things, the sound of the place itself.
Recorded at Type Foundry Studios in Portland, Oregon, The Shape Of Things Gone Missing, The Shape Of Things To Come was just released in April 2015.