Since its inception in 2014, War of the Worlds has produced unique, star-studded, action-packed matches with ROH competitors facing and teaming with NJPW competitors. This year’s War of The Worlds tour undoubtedly will be the biggest one yet as it will feature the fallout from the sold-out G1 Supercard event from Madison Square Garden.
103.3 The Edge Presents: Caroline Rose w/ Kississippi
-Doors: 7:00pm, show: 8:00pm
-Tickets: $12 ADV/$15 DOS
About Caroline Rose:
An obsession with money, an unfaithful lover, a friend’s accidental pregnancy, misogyny, loneliness, death… This is just some of the lighthearted subject matter that make up LONER––the darkly comedic second album from songwriter/producer Caroline Rose. Armed with an arsenal of new instruments and equipment, an ever-growing sense of “ahhh fuck it,” two years of exploration, and a wicked sense of humor, Rose delivers a set of serious songs wrapped in a sprightly, angsty pop burrito. Because, as Rose puts it, “Sometimes sad songs just need a cocktail.”
LONER captures the cheeky satire, comical musings, and often jarring mood swings––sometimes goofy, sometimes emotional––that make up much of Rose’s personality. “I call it Schizodrift,” she says sipping on a martini with her pinky out. “I want to make music that sounds as manic as I feel.” Filled with catchy synth hooks, Ray Manzarek-esque Farfisa, surf guitar, depth of thought and a punk attitude, LONER captures the energy of bands like Le Tigre and The Cramps, and nods to the styles of Blondie and DEVO, the pop hooks of icons like Justin Timberlake, all the while being inspired by the artistry of Kate Bush. “I’d say this album was as much inspired by Justin Timberlake and Britney Spears as it was late 70s punk.” How did she get here? According to Rose, the transition was natural.
LONER began about three years ago. “I was 24, lonely, and realizing life might actually be as hard as people said it was. Gandalf had yet to raise his staff and part the seas for me,” she says with a straight face. “I felt a bit disillusioned with my music; it didn’t sound like my personality. I hadn’t dated in years, I was going to lose health care. I felt detached from the modern world.” So what did she do about it? “I joined Tinder. I turned 25 and rented my first real apartment and painted it bright colors. I started socializing more and little by little, weeded out all my clothes that weren’t red. I embraced my queerdom. I had a girlfriend, we traveled the country, we broke up. I discussed politics, capitalism and Rihanna. For better or worse, I became a member of the modern world. Turns out the modern world is terrifying,” she says attempting to pluck an olive out of her glass.
When it came to writing about all of it, what followed marked the beginning of a fully formed Caroline Rose. “I needed to get more personal, more aggressive. more humorous and more sonically diverse than my older material,” referring to 2014’s slinky indie-folk-rockabilly-tinged album I Will Not Be Afraid. The record was penned over four years ago while Rose was living in a van traveling the country, and received critical acclaim from national press outlets like NPR and Rolling Stone. LONER, however, marks a significant leap forward both sonically and emotionally, unleashing a burgeoning confidence teeming with character. Asked how she’d describe the transition, Rose responds, “It just felt like a bubble inside me that had been growing and was about to pop.” In a burst of creative energy, she penned and produced a slew of songs that began circulating among labels and press, resulting in a Tiny Desk Concert for NPR Music.
Over the next year and a half, Rose “got super into production and mixing––I was working 10-hour days creating new sounds, finessing EQ, blending tones, sampling basically everything. Having an apartment [rather than living in a van] gave me the space to have more instruments than just a guitar. I started collecting synths and recording equipment and tracking my material. I signed with a label that gave me a lot of creative control and resources.” After sessions and meetings with over a dozen producers, Rose chose to co-produce alongside Paul Butler (Devendra Banhart, Michael Kiwanuka, Hurray For The Riff Raff) at Panoramic Studio in Stinson Beach, California and the studios of Butler and Rose. A multi-instrumentalist and producer herself, Rose brought to the sessions pre-recorded work the two used as a foundation off which to build, having written and arranged strings, played and recorded keys, guitar and bass, sampled layers of found and recorded sounds, and programmed synths and drums. “The rest was a lot of experimentation in the studio, trying out different sounds and getting weird,” She adds. “Paul added a lot in that way. Neither of us are afraid to try things and throw a bunch of sounds at the wall.”
Another thing that drove Rose to pursue production more seriously was the blatant lack of gender diversity in the music industry. “I noticed over the course of all these meetings there was not a single female or nonbinary producer. Then the more I read up on why, the more I realized there actually are a lot of us, we just aren’t taken as seriously and either don’t receive or don’t demand the credit that we deserve.” In response, Rose stepped up across the board, having a hand in mixing as well as directing creative control over all aesthetics regarding the album. “I wanted to make sure everything was as me as it could possibly be.”
According to Rose, the visuals and aesthetics of LONER are an important vehicle in bringing out her personality, as well as a lot of the more sarcastic elements within the music. “I’ve gotten really interested in the visuals over the years, from producing videos and creatively crafting the images to how I express myself via what I wear.” The video for “Money,” for example, written and directed by Rose and Horatio Baltz, depicts Rose playing all of the parts––a sort of maniacal, Coen Brothers-meets-David Lynch two-minute story involving three people (perhaps the same person?) that leaves viewers asking…What just happened? Not too different a feeling after listening to LONER, in fact. And this, is precisely how Caroline Rose wants you to feel.
DSP Shows presents Bruce Cockburn live in the 9th Ward
7pm Doors, 8pm Show
Tickets : On Sale Friday, 2/1 noon – Reserved Seated tickets available for $40 in advance, $45 day of show at Ticketfly.com, Babeville Box Office (M-F 11a-5p), or charge by phone at 877.987.6487
Few recording artists are as creative and prolific as Bruce Cockburn. Since his self-titled debut in 1970, the Canadian singer-songwriter has issued a steady stream of acclaimed albums every couple of years. But that output suddenly ran dry in 2011 following the release of Small Source of Comfort .
There were good reasons for the drought. For one thing, Cockburn became a father again with the birth of his daughter Iona. Then there was the publication of his 2014 memoir Rumours of Glory .
“I didn’t write any songs until after the book was published because all my creative energy had gone into three years of writing it,” Cockburn explains, from his home in San Francisco. “There was simply nothing left to write songs with. As soon as the book was put to bed, I started asking myself whether I was ever going to be a songwriter again.”
Such doubt was new to the man who’s rarely been at a loss for words as he’s distilled political views, spiritual revelations and personal experiences into some of popular music’s most compelling songs. What spurred Cockburn back into songwriting was an invitation to contribute a song to a documentary film about the late, seminal Canadian poet Al Purdy and he was off to the races.
Bone On Bone , Cockburn’s 33rd album, arrives with 11 new songs, including “3 Al Purdys,” a brilliant, six-minute epic that pays tribute to Purdy’s poetry. Cockburn explains its genesis: “I went out and got Purdy’s collected works, which is an incredible book. Then I had this vision of a homeless guy who is obsessed with Purdy’s poetry, and he’s ranting it on the street. The song is written in the voice of that character. The chorus goes, ‘I’ll give you three Al Purdys for a twenty dollar bill.’ Here’s this grey-haired dude, coat tails flapping in the wind, being mistaken for the sort of addled ranters you run into on the street—except he’s not really ranting, he’s reciting Al Purdy. The spoken word parts of the track are excerpts from Purdy’s poems. After that, once the ice was broken, the songs just started coming.”
Cockburn’s rugged fingerpicking style on the Dobro perfectly matches Purdy’s plainspoken words and the grizzled voice of his street character. A similar guitar style can be heard on two of the next songs Cockburn wrote, the gospel-like “Jesus Train,” and “Café Society,” a bluesy number about people who gather at his local coffee shop to sip their java and talk about the state of the world.
There’s a prevalent urgency and anxious tone to much of the album, which Cockburn attributes to living in America during the Trump era. But, more than anything, Bone on Bone amounts to the deepest expression of Cockburn’s spiritual concerns to date. The 12-time Juno winner and Canadian Music Hall of Fame inductee turned away from traditional Christianity in the mid-1970s toward a quest for the more all-inclusive mysticism he documents in his memoir. And it’s that kind of spirituality that figures prominently in “Jesus Train” and “Twelve Gates to the City.” In “Looking and Waiting,” Cockburn sings of “scanning the skies for a beacon” from the divine.
“It’s a song of faith and frustration,” says Cockburn of the latter. “…Tired of looking in from the outside. My MO has always been to be aware of the divine…that dimension…always dealing with being stuck in a kind of observer’s position with respect to all that. I know it’s there. I don’t really see as faith so much as knowledge. Others may have different ideas about those things, but for me, I don’t have to struggle to believe in God, or the notion that God cares what happens to me. But I do have to struggle with being in a conscious, intentional relationship. That underlies a lot of these songs.”
“Forty Years in the Wilderness” ranks alongside “Pacing the Cage” or “All the Diamonds” as one of Cockburn’s most starkly beautiful folk songs.
“There have been so many times in my life when an invitation has come from somewhere…the cosmos…the divine…to step out of the familiar into something new. I’ve found it’s best to listen for, and follow these promptings. The song is really about that. You can stay with what you know or you can pack your bag and go where you’re called, even if it seems weird…even if you can’t see why or where you’ll end up.”
“Forty Years in the Wilderness” is one of several songs that feature a number of singers from the church Cockburn frequents, for the sake of convenience referred to in the album credits as the San Francisco Lighthouse “Chorus.” “The music was one of the enticements that drew me to SF Lighthouse. As I found myself becoming one of the regulars there, and got to know the people, I felt that I really wanted all these great singers, who were now becoming friends, to be on the album. They were kind enough to say yes!” Among other songs, they contribute call-and-response vocals to the stirring “Stab at Matter.” Other guests on the album include singer-songwriters Ruby Amanfu, Mary Gauthier, and Brandon Robert Young, along with bassist Roberto Occhipinti, and Julie Wolf, who plays accordion on “3 Al Purdys” and sings with the folks from Lighthouse, together with LA songwriter Tamara Silvera.
Produced by Colin Linden, Cockburn’s longtime collaborator, the album is built around the musicianship of Cockburn on guitar and the core accompaniment of bassist John Dymond and drummer Gary Craig. Also very much part of the sound is the accordion playing of Cockburn’s nephew John Aaron Cockburn and the solos of noted fluegelhorn player Ron Miles
(check out his stunning work on the cascading “Mon Chemin,” for example).
Two other songs should be noted. The environmental warning “False River” came about at the invitation of Yvonne Bloomer, the poet laureate of Victoria, British Columbia. Bloomer was seeking a poem about the controversial Kinder Morgan Trans Mountain Pipeline. “Pipelines have their own perils that we’re all aware of,” says Cockburn, “so I started writing what was meant to be a spoken-word piece with a rhythm to it. But it evolved very quickly into a song.”
“States I’m In,” which opens the album, conjures up feelings of mystery and dread. “It’s literally a ‘dark night of the soul’ kind of song,” Cockburn explains, “as it starts with sunset and ends with dawn. It passes through the night. The song is about illusion and self-delusion, looking at the tricks you
play on yourself.” He adds: “Maybe it’s also a play on words about me living in the States.”
Cockburn, who won the inaugural People’s Voice Award at the Folk Alliance International conference in February and will be inducted into the Canadian Songwriters Hall of Fame in September, continues to find inspiration in the world around him and channel those ideas into songs. “My job is to try and trap the spirits of things in the scratches of pen on paper and the pulling of notes out of metal,” he once noted. More than forty years after embarking on his singer-songwriting career, Cockburn keeps kicking at the darkness so that it might bleed daylight.
Free Happy Hour:
6:00pm JazzFest Kickoff Happy Hour w/ Banjo Juice Jazz Band
8:30pm Mark Filsinger Quintet
10:30pm Alex McArthur Quintet
$7 ADV // $10 DOS
8:00pm Why Not?
8:45pm Nelson Rivera & Somos La Gente
9:30pm Vanishing Sun
10:15pm THE TRUTH
11:00pm Jon Lehning Underground
$9 ADV // $12 DOS
9:30pm Tim Clarke Soul-tet
10:30pm French ConéXion
11:00pm Acid Cats
12:00am Donny Frauenhofer Trio
1:00am Lamont J. Collective
2:00am JAM SLOT: Jazz Caché
$9 ADV // $12 DOS
8:00pm Paradigm Shift
9:00pm Kristen Smigielski
10:30pm Elliot Scozzaro
11:30pm Jonathan Scales Fourchestra
1:00am JAM SLOT: The Jacob Jay/Dalton Sharp Quintet
$5 DOS // Free after 6:30pm
3:00pm GGC Organ Trio
5:30pm Susan Peters
6:30pm Ann Philippone
8:30pm Dr. Jazz & the Jazzbugs
ALL EVENTS are 21+ unless accompanied by a parent/guardian
Thursday, May 9th – 97 Rock’s The Who Are We Pre-Concert Party
-Doors: 4:00pm, event: 5:00pm
-Tickets: $15 ADV/$20 DOS
97 Rock Presents: The Who Are We Pre Concert Party at Iron Works
Entrance to Iron works is FREE, ticket prices allow access to food and the complimentary T-shirt! $15 in advance or $20 at the door. Includes a buffet from Ilio DiPaolo’s and free souvenir 97 Rock t-shirt.
You may purchase your tickets at 97 Rock, 50 James E. Casey Drive, Buffalo 14206 or 3pm the day of the show at Iron Works, 49 Illinois St, Buffalo
97 Rock DJ’s on hand, on-air check ins and plenty of The Who music!!
Thursday, May 9th – The Who After Party w/ Jack West
-Doors: 4:00pm, show: 10:30pm
About Jack West:
Jack West started performing at open mic nights at the tender age of 8 in his hometown of Rochester, NY. He is a regular at the Fairport Music Festival and can be found at The Inn on Broadway during the Rochester International Jazz Festival