MUSIC

MUSIC MUSIC

Arlo McKinley

PHOTO: EMMA DELEVANTE

Arlo McKinley Ends His Bad Luck with Arlo McKinley Ends His Bad Luck with

This Mess We’re In This Mess We’re In After an unfortunate streak, the Cincinnati singer/songwriter’s latest album is something special. After an unfortunate streak, the Cincinnati singer/songwriter’s latest album is something special. BY BRIAN BAKER

BY BRIAN BAKER

Cincinnati-born musician Arlo McKinley has been guided by one rule, a subset of Murphy’s Law that could be dubbed McKinley’s Codicil: If something good happens, expect a swift kick in the teeth to follow.

McKinley’s 2022 album is Mess We’re In seems to turn the bad luck around, but the musician had a hard run once he landed at the record label of his dreams.

After endless local, regional and national gigging in the wake of 2014’s debut release Arlo McKinley & the Lonesome Sound, a series of fortunate events began to unfold. McKinley had just recorded his sophomore album, 2020’s Die Midwestern, and was considering a self release when he received a call from Jody Whelan, the son of John Prine and Fiona Whelan Prine and the head of his father’s Oh Boy Records. Whelan had heard McKinley’s music and asked him to play Nashville’s annual AmericanaFest, which turned out to be a major turning point.

“John Prine had a little pop-up bar for the weekend, and Jody invited me down for one of the nights,” McKinley tells CityBeat during a phone interview. “I did the show and met Jody, but I didn’t believe they were thinking anything of it. I was thinking, ‘ at was a cool thing to do.’”

“Some time went by, and there was talk that my music got passed along to John and there was interest in working together. I still didn’t let myself get too overboard excited [then],” McKinley

Cincinnati-born musician Arlo McKinley has been guided by one rule, a subset of Murphy’s continues. McKinley needn’t have worried at Law that could be dubbed McKinley’s that point; he signed a contract with Codicil: If something good happens, Oh Boy on his birthday in 2019 after expect a swift kick in the teeth to follow. meeting with the label’s brain trust at a

McKinley’s 2022 album is Mess gig at the High Watt in Nashville.We’re In seems to turn the bad luck It was a classic McKinley moment.around, but the musician had a hard “Jody introduced me to his mom run once he landed at the record label and I knew she was a part of Oh Boy, of his dreams. so I wanted to be attentive to our

After endless local, regional and conversation. Finally Jody said, ‘Well, I national gigging in the wake of 2014’s would introduce you but I don’t think he needs an introduction,’” McKinley

debut release Arlo McKinley & the Lonesome Sound, a series of fortunate events began to unfold. McKinley had just recorded his sophomore album, 2020’s Die Midwestern, and was considering a self release when he received a call from Jody Whelan, the son of John Prine and Fiona Whelan Prine and the head of his father’s Oh Boy Records. Whelan had heard McKinley’s music and asked him to play Nashville’s annual AmericanaFest, which turned out to be a major turning point.

“John Prine had a little pop-up bar for the weekend, and Jody invited me down for one of the nights,” McKinley tells CityBeat during a phone interview. “I did the show and met Jody, but I didn’t believe they were thinking anything of it. I was thinking, ‘ at was a cool thing to do.’”

“Some time went by, and there was talk that my music got passed along to John and there was interest in working together. I still didn’t let myself get too overboard excited [then],” McKinley continues.

McKinley needn’t have worried at that point; he signed a contract with Oh Boy on his birthday in 2019 after meeting with the label’s brain trust at a gig at the High Watt in Nashville.

It was a classic McKinley moment.

“Jody introduced me to his mom and I knew she was a part of Oh Boy, so I wanted to be attentive to our conversation. Finally Jody said, ‘Well, I would introduce you but I don’t think he needs an introduction,’” McKinley

recalls. “ en I realized John [Prine] had been standing next to me the entire time. I almost freaked out.”

“He told me that ‘Bag of Pills’ was a good song, and then he said, ‘I’m really looking forward to seeing you play,;” McKinley adds. “People ask if I have any John Prine stories and I don’t – just that one and that’s good enough. e fact that he came out to see me that night – I don’t think I’ll have a thing that I will look at as more successful than that.”

After becoming an Oh Boy artist, Prine and Whelan o ered McKinley the choice of re-recording Die Midwestern or releasing it as it was. He chose to hit the studio, saying that he wanted to work with studio musicians and a producer.

“ ey were throwing out producers’ names – some were well known, some were not. One was Matt Ross-Spang. I looked into him and realized he had engineered a lot of albums I was listening to. He’d done a lot of Jason Isbell stu , and he won a Grammy for his work with Margo Price,” McKinley says. “We ended up at Sam Phillips Recording in Memphis with Matt as producer, and he put together an amazing studio band, and that was that.”

But then McKinley’s “rule” reared its ugly head. In rapid succession, McKinley lost a good friend to an opioid overdose, an addiction McKinley himself had dealt with (he subsequently released the non-LP single “ e Ghost of My Best Friend” in response), followed by the passings of his avowed number-one fan, his mother, and Prine at the beginning of the COVID-19 pandemic in the spring of 2020.

McKinley was devastated but became convinced that his tour to promote Die Midwestern was the tonic he needed.

“Anytime I had a new song to record, she’d want to hear it,” McKinley recalls about his mother. “In every way, she greatly impacted me. Everyone was thinking I was going to cancel [the tour], but I was the complete opposite,” says McKinley.

“I thought it was the best thing for me – just continue doing things and not sit and think. en all of a sudden, I’m stuck. I compare my experience with the pandemic to the movie Groundhog Day. It was like, ‘Okay, [at] 5:30 today, I’m going to have my daily breakdown. At 9, I’m going to put on a record,’” McKinley recalls. “How can you learn to navigate without a key gure in your life when you don’t have a chance to do anything? So I just started writing songs – a lot.” is became the crucible where is Mess We’re In was forged. Over the years, McKinley’s plain-spoken lyrics have therapeutically addressed issues in his life, and his spartan arrangements have been the perfect vehicle for them. Initially, McKinley was writing to occupy his time and mind, but eventually he turned a corner toward speci city.

“When I wrote either ‘Stealing Dark from the Night Sky’ or ‘Rushintherug,’ I realized I was writing a record,” McKinley says. “I knew I was going to call it is Mess We’re In, and that’s when all the pieces came together.”

As the COVID-19 pandemic eased a bit, McKinley began making plans for recording his third album, his sophomore release for Oh Boy. e only real plans he had were to record with the same creative team that shaped Die Midwestern and to avoid making a genre album by following some of the muses in his recent listening experiences.

“I didn’t want to be in a country mindset, but I didn’t want to be in any mindset of ‘ is is what we’re doing.’ Let’s just do it,” McKinley says. “I wanted more of an indie sound. I was listening to Nick Drake, and I kind of used Wes Anderson soundtracks as a reference.”

“I wanted something visual in a way, which was easy because I was coming in with these acoustic songs and you could turn them into anything,” he adds. “ e main thing is I wanted it to be di erent and show growth musically.”

McKinley’s instincts and RossSpang’s expertise once again dovetailed into a spectacular nished album. McKinley set out to create an album that had the feeling of a movie soundtrack, where the music created an atmosphere for the lyrics the way background music sets the mood for

particular scenes in a lm. McKinley’s intimate songs of loss, loneliness, regret and heartbreak somehow are the perfect set pieces for the cinemascopic backdrop created by Ross-Spang and his guns-for-hire (renowned guitarist Will Sexton, Lucero keyboardist Rick Ste , session bassist Dave Smith, exWilco drummer Ken Coomer, violinist Jessie Munson and harmony vocalist Reba Russell). “I’m comfortable with them but I don’t think I’ll ever get used to it,” McKinley says. “On this album, I was looking around and I’d heard of these people way before I met them, and now here we are, recording my second record with them. It was crazy. I’m doing a lot of things I never thought I’d do.” With mini-tours of the East and West Coasts and a handful of European dates completed, McKinley is in the midst of a short Midwestern run through the end of August. He’s had time to re ect on everything that’s happened to and around him, and he’s recognizing the growth he wanted to display on is Mess We’re In. McKinley says he’s more con dent in his performance – he notes that eight years ago, it took him half a set to feel at home on stage, but he’s over that now – as well as in his songwriting abilities. “I used to have a problem with my songwriting because I thought it was so basic and speci c. I wasn’t using crazy words or being all poetic, but that’s one of the things people ended up enjoying the most,” McKinley says. “I can’t catch up with all the letters and emails we get from fans where songs have helped people in ways I never would have imagined. ese songs are very speci c to certain times and situations, but I’m glad other people are getting what they need out of it. at’s a good feeling.” Interestingly, McKinley feels as though his growth has taken place recalls. “ en I realized John [Prine] within the parameters of his original had been standing next to me the in uences of the Baptist choral tradi-entire time. I almost freaked out.” tion, his father’s bluegrass records, his

“He told me that ‘Bag of Pills’ was a early punk roots (he references Black good song, and then he said, ‘I’m really Flag and says he tries to keep his songs looking forward to seeing you play,;” short) and his long musical relation-McKinley adds. “People ask if I have ship with fellow local songsmith Jeremy any John Prine stories and I don’t – just Pinnell. that one and that’s good enough. e “I write songs that are structured like fact that he came out to see me that the hymns I sung in church when I was night – I don’t think I’ll have a thing a kid. ey’re not necessarily bluegrass, that I will look at as more successful but they are basic three chord singer/than that.” songwriter stu ,” McKinley says. “And

After becoming an Oh Boy artist, Jeremy just did some shows with me, Prine and Whelan o ered McKinley and I will forever give him the credit he the choice of re-recording Die Middeserves. He was the rst person that western or releasing it as it was. He I heard that wrote in that direct way, chose to hit the studio, saying that he which I took on, being honest about wanted to work with studio musicians myself.”and a producer.

“ ey were throwing out producers’ names – some were well known, some were not. One was Matt Ross-Spang. I looked into him and realized he had engineered a lot of albums I was listening to. He’d done a lot of Jason Isbell stu , and he won a Grammy for his work with Margo Price,” McKinley says. “We ended up at Sam Phillips Recording in Memphis with Matt as producer, and he put together an amazing studio band, and that was that.” But then McKinley’s “rule” reared its ugly head. In rapid succession, McKinley lost a good friend to an opioid overdose, an addiction McKinley himself had dealt with (he subsequently released the non-LP single “ e Ghost of My Best Friend” in response), followed by the passings of his avowed number-one fan, his mother, and Prine at the beginning of the COVID-19 pandemic in the spring of 2020. McKinley was devastated but became convinced that his tour to promote Die Midwestern was the tonic he needed. “Anytime I had a new song to record, she’d want to hear it,” McKinley recalls about his mother. “In every way, she greatly impacted me. Everyone was thinking I was going to cancel [the tour], but I was the complete opposite,” says McKinley. “I thought it was the best thing for me – just continue doing things and not sit and think. en all of a sudden, I’m stuck. I compare my experience with the pandemic to the movie Groundhog Day. It was like, ‘Okay, [at] 5:30 today, I’m going to have my daily breakdown. At 9, I’m going to put on a record,’” McKinley recalls. “How can you learn to navigate without a key gure in your life when you don’t have a chance to do anything? So I just started writing songs – a lot.” is became the crucible where is Mess We’re In was forged. Over the years, McKinley’s plain-spoken lyrics have therapeutically addressed issues in his life, and his spartan arrangements have been the perfect vehicle for them. Initially, McKinley was writing to occupy his time and mind, but eventually he turned a corner toward speci city. “When I wrote either ‘Stealing Dark from the Night Sky’ or ‘Rushintherug,’ I realized I was writing a record,” McKinley says. “I knew I was going to call it is Mess We’re In, and that’s when all the pieces came together.” As the COVID-19 pandemic eased a bit, McKinley began making plans for recording his third album, his sophomore release for Oh Boy. e only real plans he had were to record with the same creative team that shaped Die Midwestern and to avoid making a genre album by following some of the muses in his recent listening experiences. “I didn’t want to be in a country mindset, but I didn’t want to be in any mindset of ‘ is is what we’re doing.’ Let’s just do it,” McKinley says. “I wanted more of an indie sound. I was listening to Nick Drake, and I kind of used Wes Anderson soundtracks as a reference.” “I wanted something visual in a way, which was easy because I was coming in with these acoustic songs and you could turn them into anything,” he adds. “ e main thing is I wanted it to be di erent and show growth musically.” McKinley’s instincts and RossSpang’s expertise once again dovetailed into a spectacular nished album. McKinley set out to create an album that had the feeling of a movie soundtrack, where the music created an atmosphere for the lyrics the way background music sets the mood for particular scenes in a lm. McKinley’s intimate songs of loss, loneliness, regret and heartbreak somehow are the perfect set pieces for the cinemascopic backdrop created by Ross-Spang and his guns-for-hire (renowned guitarist Will Sexton, Lucero keyboardist Rick Ste , session bassist Dave Smith, exWilco drummer Ken Coomer, violinist Jessie Munson and harmony vocalist Reba Russell). “I’m comfortable with them but I don’t think I’ll ever get used to it,” McKinley says. “On this album, I was looking around and I’d heard of these people way before I met them, and now here we are, recording my second record with them. It was crazy. I’m doing a lot of things I never thought I’d do.” With mini-tours of the East and West Coasts and a handful of European dates completed, McKinley is in the midst of a short Midwestern run through the end of August. He’s had time to re ect on everything that’s happened to and around him, and he’s recognizing the growth he wanted to display on is Mess We’re In. McKinley says he’s more con dent in his performance – he notes that eight years ago, it took him half a set to feel at home on stage, but he’s over that now – as well as in his songwriting abilities. “I used to have a problem with my songwriting because I thought it was so basic and speci c. I wasn’t using crazy words or being all poetic, but that’s one of the things people ended up enjoying the most,” McKinley says. “I can’t catch up with all the letters and emails we get from fans where songs have helped people in ways I never would have imagined. ese songs are very speci c to certain times and situations, but I’m glad other people are getting what they need out of it. at’s a good feeling.” Interestingly, McKinley feels as though his growth has taken place within the parameters of his original in uences of the Baptist choral tradition, his father’s bluegrass records, his early punk roots (he references Black Flag and says he tries to keep his songs short) and his long musical relationship with fellow local songsmith Jeremy Pinnell. “I write songs that are structured like the hymns I sung in church when I was a kid. ey’re not necessarily bluegrass, but they are basic three chord singer/ songwriter stu ,” McKinley says. “And Jeremy just did some shows with me, and I will forever give him the credit he deserves. He was the rst person that I heard that wrote in that direct way, which I took on, being honest about myself.”

Purchase Arlo McKinley’s This Mess Purchase Arlo McKinley’s This Mess We’re In and watch for upcoming We’re In and watch for upcoming tour dates at arlomckinley.com. tour dates at arlomckinley.com.

SOUND ADVICE SOUND ADVICE

Willie Nelson

PHOTO: AMELA SPRINGSTEEN Willie Nelson

PHOTO: AMELA SPRINGSTEEN

WILLIE NELSON WITH ZZ TOP, GOV’T MULE AND LARKIN POE July 30 • Riverbend Music Center

Willie Nelson is 89 years old, and he just can’t stop playing music. e Texas native’s latest album, A Beautiful Time, which dropped back in April, is his 72nd studio e ort, a mindboggling number that is likely to grow at any moment now. Even more impressive is Willie’s dedication to delivering his music in a live setting. Nelson has toured extensively over the last ve decades, each jaunt another opportunity to deliver the Southwest- avored country and western music he grew up on — an eclectic meld of folk, bluegrass, rock and jazz.

A Beautiful Time is classic Willie, a timeless mix of originals and a few cover tunes anchored by his weathered, everexpressive voice, straightforward phrasing and elegiac guitar playing. In fact, perhaps expectedly at this point in his long andwinding career, Nelson’s voice seems more fragile and a ecting than ever. e sweetly swaying album opener “I’ll Love You Till the Day I Die” seems to look back at a one-time encounter that lingers to this day: “I only saw you once/

WILLIE NELSON WITH ZZ TOP, GOV’T

MULE AND LARKIN And that was a long, long time ago/You POE probably don’t remember me/But I thought I’d let you know/ at one short July 30 • Riverbend Music Center conversation/Is still reason why I’ll love Willie Nelson is 89 years old, and he just till the day I die.” “Dusty Bottles” is just can’t stop playing music. as bittersweet, re ecting on a life well e Texas native’s latest album, A spent: “But there’s something to be said Beautiful Time, which dropped back in for getting wrinkles/Every song worth April, is his 72nd studio e ort, a mind- singing’s got those lines.”boggling number that is likely to grow at e two high-pro le covers — Leonany moment now. Even more impres- ard Cohen’s “Tower of Song” and e sive is Willie’s dedication to delivering Beatles’ “With a Little Help from My his music in a live setting. Nelson has Friends” — are faithful but unique, the toured extensively over the last ve latter nding Willie’s voice in rare playful decades, each jaunt another opportu- form as he sings, “I get high with a little nity to deliver the Southwest- avored help from my friends.”country and western music he grew up Nelson’s tour, dubbed “Outlaw Fest,” on — an eclectic meld of folk, bluegrass, features an impressive, revolving crew rock and jazz. of supporting artists, from Jason Isbell

A Beautiful Time is classic Willie, a and the 400 Unit and Steve Earle & the timeless mix of originals and a few cover Dukes to e Avett Brothers and Chris tunes anchored by his weathered, ever- Stapleton. e Cincinnati stop features expressive voice, straightforward phrasfellow Texans ZZ Top — curiously one of ing and elegiac guitar playing. In fact, the few artists on the tour that, like Wilperhaps expectedly at this point in his lie, has been kicking around for 50-plus long andwinding career, Nelson’s voice years — as well as Gov’t Mule and Larkin seems more fragile and a ecting than Poe. ever. e sweetly swaying album opener Willie Nelson plays Riverbend Music “I’ll Love You Till the Day I Die” seems to Center at 4:25 p.m. July 30. Doors open at look back at a one-time encounter that 4 p.m. ere are no COVID-19 protocols lingers to this day: “I only saw you once/ in place for the event. Info: riverbend. org. (Jason Gargano)

And that was a long, long time ago/You probably don’t remember me/But I thought I’d let you know/ at one short conversation/Is still reason why I’ll love till the day I die.” “Dusty Bottles” is just as bittersweet, re ecting on a life well spent: “But there’s something to be said for getting wrinkles/Every song worth singing’s got those lines.” e two high-pro le covers — Leonard Cohen’s “Tower of Song” and e Beatles’ “With a Little Help from My Friends” — are faithful but unique, the latter nding Willie’s voice in rare playful form as he sings, “I get high with a little help from my friends.”

Nelson’s tour, dubbed “Outlaw Fest,” features an impressive, revolving crew of supporting artists, from Jason Isbell and the 400 Unit and Steve Earle & the Dukes to e Avett Brothers and Chris Stapleton. e Cincinnati stop features fellow Texans ZZ Top — curiously one of the few artists on the tour that, like Willie, has been kicking around for 50-plus years — as well as Gov’t Mule and Larkin Poe.

Willie Nelson plays Riverbend Music Center at 4:25 p.m. July 30. Doors open at 4 p.m. ere are no COVID-19 protocols in place for the event. Info: riverbend. org. (Jason Gargano)

Elvis Costello

PHOTO: MARK SELIGER, SHORE FIRE Elvis Costello MEDIA

ELVIS COSTELLO AND THE IMPOSTERS Aug. 6 • Rose Music Center

If you missed the legendary Elvis Costello’s show in Cincinnati last fall, you’d best take this current opportunity for a short road trip to see him.

Costello and his longtime band the Imposters will kick o a month-long tour celebrating 2022 album e Boy Named If at Rose Music Center in Huber Heights, about an hour north of Cincinnati. e album — Costello’s 32nd in the studio — includes songs that were rst performed during the fall theatre tour and has received nearuniversal acclaim from critics.

A Costello concert is a great catch no matter what, but there’s an additional lure to this show. Despite being a resolutely forward thinker when it comes to music and politics, Costello has been reminiscing lately about past times – most recently about being part of the duo Rusty. In the early ‘70s – back when Costello still was known as Declan MacManus – he and Allan Mayes performed under that name in Liverpool clubs, taking on songs written by none other than songwriter and producer extraordinaire Nick Lowe. In June, Costello and Mayes teamed up once again to release the album e Resurrection of Rust, “the record we would have cut when we were 18, if anyone had let us,” Costello says on his website. It’s a mix of the duo’s reworked original songs as well as covers of Lowe and Neil Young tunes, among others. Chances are, Costello will highlight a Rusty song or two in Huber Heights.

Speaking of Lowe, the man who helped prop up some of music’s most proli c new wave and post-punk stalwarts and who has traded songs with Costello as if they were Pokémon cards just swung through the Queen City with Los Straitjackets, a Nashville surf-rock band whose members sport suits and Mexican wrestling masks. Lowe will be performing with Costello on select tour dates, but not here – local fans instead will see indie crooner Nicole Atkins.

Elvis Costello and the Imposters play Rose Music Center at 8 p.m. Aug. 6. Doors open at 6:30. Nicole Atkins will open the show. No information about COVID-19 protocols is available. Info: rosemusiccenter.com. (Allison Babka) PHOTO: MARK SELIGER, SHORE FIRE MEDIA ELVIS COSTELLO AND

THE IMPOSTERS Aug. 6 • Rose Music Center

If you missed the legendary Elvis Costello’s show in Cincinnati last fall, you’d best take this current opportunity for a short road trip to see him.

Costello and his longtime band the Imposters will kick o a month-long tour celebrating 2022 album e Boy Named If at Rose Music Center in Huber Heights, about an hour north of Cincinnati. e album — Costello’s 32nd in the studio — includes songs that were rst performed during the fall theatre tour and has received nearuniversal acclaim from critics.

A Costello concert is a great catch no matter what, but there’s an additional lure to this show. Despite being a resolutely forward thinker when it comes to music and politics, Costello has been reminiscing lately about past times – most recently about being part of the duo Rusty. In the early ‘70s – back when Costello still was known as Declan MacManus – he and Allan Mayes performed under that name in Liverpool clubs, taking on songs written by none other than songwriter and producer extraordinaire Nick Lowe. In June, Costello and Mayes teamed up once again to release the album e Resurrection of Rust, “the record we would have cut when we were 18, if anyone had let us,” Costello says on his website. It’s a mix of the duo’s reworked original songs as well as covers of Lowe and Neil Young tunes, among others. Chances are, Costello will highlight a Rusty song or two in Huber Heights.

Speaking of Lowe, the man who helped prop up some of music’s most proli c new wave and post-punk stalwarts and who has traded songs with Costello as if they were Pokémon cards just swung through the Queen City with Los Straitjackets, a Nashville surf-rock band whose members sport suits and Mexican wrestling masks. Lowe will be performing with Costello on select tour dates, but not here – local fans instead will see indie crooner Nicole Atkins.

Elvis Costello and the Imposters play Rose Music Center at 8 p.m. Aug. 6. Doors open at 6:30. Nicole Atkins will open the show. No information about COVID-19 protocols is available. Info: rosemusiccenter.com. (Allison Babka)

ANDREW BIRD ANDREW BIRD AND IRON & WINE AND IRON & WINE WITH MESHELLE WITH MESHELLE NDEGEOCELLO NDEGEOCELLO August 8 • PNC Pavilion

August 8 • PNC Pavilion Andrew Bird and Sam Beam (aka Iron Andrew Bird and Sam Beam (aka Iron & Wine) seem like guys who should’ve & Wine) seem like guys who should’ve known each other going back to at least known each other going back to at least the mid 2000s — an era when each the mid 2000s — an era when each became a distinctive presence on the became a distinctive presence on the indie folk landscape. Each is a writer indie folk landscape. Each is a writer and performer of particular acumen and performer of particular acumen — acoustic-based songs driven by — acoustic-based songs driven by incisive lyricism and deceptively simple incisive lyricism and deceptively simple melodic structures. Each is in their late melodic structures. Each is in their late 40s. Each a visual curiosity — Beam 40s. Each a visual curiosity — Beam set apart by his impressively rendered set apart by his impressively rendered beard, while Bird’s pencil-thin frame is beard, while Bird’s pencil-thin frame is often clad in uniquely natty attire. And often clad in uniquely natty attire. And each now sports a hearty discography each now sports a hearty discography — Bird recently released his 14th solo — Bird recently released his 14th solo studio album, Inside Problems, while studio album, Inside Problems, while Beam’s most recent e ort, 2019’s Years Beam’s most recent e ort, 2019’s Years to Burn, is a collaboration with the liketo Burn, is a collaboration with the like-minded dudes in Calexico. minded dudes in Calexico. Yet Bird and Beam didn’t meet until Yet Bird and Beam didn’t meet until a few years ago. ey hit it o so well, a few years ago. ey hit it o so well, they wanted to tour together. But then they wanted to tour together. But then the pandemic hit. the pandemic hit.“It will have been more than two “It will have been more than two years of being grounded when we years of being grounded when we nally embark on the ‘Outside Prob nally embark on the ‘Outside Problems’ summer tour,” Bird said in a statelems’ summer tour,” Bird said in a statement when their collaborative e ort ment when their collaborative e ort was nally announced last December. was nally announced last December. “I only wish it could happen sooner. “I only wish it could happen sooner. I’m not sure why it took so long for me I’m not sure why it took so long for me to meet Sam Beam. His music I have to meet Sam Beam. His music I have known and admired for many years known and admired for many years now. What a lovely guy. e kind of guy now. What a lovely guy. e kind of guy that would help you move.” that would help you move.” If the tour’s recent stop at the iconic If the tour’s recent stop at the iconic Red Rocks Amphitheatre in Colorado Red Rocks Amphitheatre in Colorado is any indication, expect a full set from is any indication, expect a full set from each guy, punctuated by a collaborative each guy, punctuated by a collaborative section during which Beam joins Bird’s section during which Beam joins Bird’s

Wilco

PHOTO: ANTON COENE Wilco

PHOTO: ANTON COENE band for a series of songs that is likely to band for a series of songs that is likely to include at least one cover (Bill Withers’ include at least one cover (Bill Withers’ “Just the Two of Us” was the choice at “Just the Two of Us” was the choice at Red Rocks). Red Rocks).As Beam described the situation As Beam described the situation recently via his Twitter account: “Sperecently via his Twitter account: “Special set of Iron & Wine and Andrew Bird cial set of Iron & Wine and Andrew Bird performing together each night — stay performing together each night — stay for full show to be surprised when it for full show to be surprised when it happens.” happens.”Andrew Bird and Iron & Wine play Andrew Bird and Iron & Wine play PNC Pavilion at 7:30 p.m. Aug. 4. Doors PNC Pavilion at 7:30 p.m. Aug. 4. Doors open at 6:30 p.m. Meshelle Ndegeoopen at 6:30 p.m. Meshelle Ndegeocello will open the show. ere are no cello will open the show. ere are no COVID-19 protocols in place for the COVID-19 protocols in place for the event. Info: riverbend.org. (JG) event. Info: riverbend.org. (JG)

WILCO WILCO August 16 • PromoWest Pavilion at Ovation

It’s not likely that Je Tweedy’s consciously stated goal after the implosion of Uncle Tupelo was to cobble together one of the most in uential and experimental bands in the history of rock and roll. Tweedy had already been down the dusty road of in uencewithout-reward; UT had been heralded as the architect of alternative country (a mantle they refused to accept) but were commercially ignored until their catalog was reissued after the subsequent successes of Tweedy, Jay Farrar and Mike Heidorn.

It is clearly Tweedy’s triumph with Wilco that has resonated the loudest. While Wilco’s rst three albums – 1995’s A.M., 1996’s Being ere and 1999’s summerteeth – re ected at least some of their personal and professional strife and achieved modest critical and commercial success, they still moved the needle on what constitutes Americana and rootsy rock. en came the fourth

Wilco album, the contentious and noisy Yankee Hotel Foxtrot, the release that got the band bounced from their label, inspired a lm documentary about its creation and went on to become their best selling album to date. e quality that remains consistent through Wilco’s catalog, including this year’s Cruel Country – their 12th studio album – is an unshakable and fearless sense of sonic adventure. eir Grammy-winning 2004 album, A Ghost is Born, featured “Less an You ink,” a three-minute ballad followed by a 12-minute electronic shitstorm intended to represent the migraines that Tweedy was su ering during the sessions. Since that album, Wilco’s August 16 • PromoWest Pavilion lineup has been stable, which has at Ovation strengthened and intensi ed the chem-It’s not likely that Je Tweedy’s con- istry between the players (guitarist/sciously stated goal after the implo- vocalist Tweedy, bassist/vocalist John sion of Uncle Tupelo was to cobble Stirratt, guitarist Nels Cline, keyboard-together one of the most in uential ists Pat Sansone and Mikael Jorgensen, and experimental bands in the history drummer Glenn Kotche), giving them of rock and roll. Tweedy had already the con dence to expand their creative been down the dusty road of in uence- parameters.without-reward; UT had been heralded At Wilco’s core is Tweedy’s artistic as the architect of alternative country restlessness, a constant need to evolve (a mantle they refused to accept) but and move beyond what has been done were commercially ignored until their to explore what has yet to be accom-catalog was reissued after the subse- plished. rough his diverse collabo-quent successes of Tweedy, Jay Farrar rations and newly minted solo work, and Mike Heidorn. Tweedy has pointed his songwriting

It is clearly Tweedy’s triumph with telescope at new musical galaxies, but Wilco that has resonated the loudest. the observatory where the bulk of his While Wilco’s rst three albums – 1995’s discoveries have been made and underA.M., 1996’s Being ere and 1999’s stood is Wilco, his longest standing and summerteeth – re ected at least some most creatively malleable entity. of their personal and professional strife Wilco plays PromoWest Pavilion at and achieved modest critical and com- Ovation at 5:30 p.m. Aug. 16. ere are mercial success, they still moved the no COVID-19 protocols in place for the needle on what constitutes Americana event. Info: promowestlive.com. (Brian and rootsy rock. en came the fourth Baker)

Wilco album, the contentious and noisy Yankee Hotel Foxtrot, the release that got the band bounced from their label, inspired a lm documentary about its creation and went on to become their best selling album to date. e quality that remains consistent through Wilco’s catalog, including this year’s Cruel Country – their 12th studio album – is an unshakable and fearless sense of sonic adventure. eir Grammy-winning 2004 album, A Ghost is Born, featured “Less an You ink,” a three-minute ballad followed by a 12-minute electronic shitstorm intended to represent the migraines that Tweedy was su ering during the sessions. Since that album, Wilco’s lineup has been stable, which has strengthened and intensi ed the chemistry between the players (guitarist/ vocalist Tweedy, bassist/vocalist John Stirratt, guitarist Nels Cline, keyboardists Pat Sansone and Mikael Jorgensen, drummer Glenn Kotche), giving them the con dence to expand their creative parameters.

At Wilco’s core is Tweedy’s artistic restlessness, a constant need to evolve and move beyond what has been done to explore what has yet to be accomplished. rough his diverse collaborations and newly minted solo work, Tweedy has pointed his songwriting telescope at new musical galaxies, but the observatory where the bulk of his discoveries have been made and understood is Wilco, his longest standing and most creatively malleable entity.

Wilco plays PromoWest Pavilion at Ovation at 5:30 p.m. Aug. 16. ere are no COVID-19 protocols in place for the event. Info: promowestlive.com. (Brian Baker)