2015 Santa Monica Twilight Concert Series

JULY 30, 2015

www.twilightseries.org

FREE THURSDAY NIGHTS

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PM a t The Santa Monica Pier

JD MCPHERSON wi th Sarah Gayle Meech

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Table of contents NEW TCS STAGE

P5 JD MCPHERSON

P6 BAND BIOS

P7, 10, 12, 14 EVENT MAP

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2015 TWILIGHT CONCERT SERIES

CLASSIC ROCK

WEEK 8 ~ AUGUST 27

JEFFERSON STARSHIP with PURPLE MOUNTAINS MAJESTIES RUSTY'S EAC WINNER NEW ORLEANS BRASS

WEEK 9 ~ SEPTEMBER 3

REBIRTH BRASS BAND AMERICANA

WEEK 4 ~ JULY 30

JD MCPHERSON

with MILES MOSLEY AND THE WESTCOAST GET DOWN

with SARAH GAYLE MEECH

INDIE POP

ELECTRONIC POP

TUNE-YARDS

WEEK 5 ~ AUGUST 6

with AVID DANCER

WEEK 10 ~ SEPTEMBER 10

BEN BROWNING OF CUT COPY with DMA'S REGGAE/DANCE HALL

WEEK 6 ~ AUGUST 13

INSIDERS GUIDE

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SISTER NANCY with JESSE ROYAL INDIE POP

TRANSPORTATION

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WEEK 7 ~ AUGUST 20

ARIEL PINK with THE MYNABIRDS

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New stage enhances concert experience his summer, the musicians at the Twilight Concert Series will perform on a brand new stage for the first time in a decade.

Designed by STEREO.bot, the new stage is inspired by historic bandshells but updated with a modern look and structure, mirroring the Pier's philosophy of contemporary offerings in a classic setting. Architect Alexis Rochas describes the stage as a civic structure seeking to strengthen the connection between artist and audience by breaking the fourth wall and fusing music performances, architectural spaces and dynamic lighting into a multi-faceted sculptural framework.

“The inspiration for the project comes from the idea that a stage is a civic function nucleating people together, and as such the project needed to address the context around it: the city to the east, the beach to the south and the Pier to the north,” he said. “With this aim in mind, we developed a fully 3-dimensional luminous truss system surrounding the stage and linking front audience, backstage and VIP into one continuous space.”

Martin Fleischmann, one of the series curators adds, “We are very excited to put the new and improved Pier stage into action. The enlarged deck and innovative design of the shell are going to be a treat for the audience and performers alike.”

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Rochas said the new stage enables concert-goers to experience the show from multiple points of view.

“The stage’s towering luminous beams effectively transmit the performance’s energy across the pier and beyond, and much like ‘seeing the music’ on an LP’s grooves, you can sense the performance in its rhythmically changing hues and pulses,” he said.

Pier administrator Jay Farrand said the concept of a classic bandshell with modern edge fits with the TCS 2.0 philosophy exhibited this year. “It's slightly larger than

the old stage, and Stereobot is made up of architects from SciArc who specialize in cutting edge event design,” he said.

Fleischmann said the end result is highly beneficial for the audience. The new stage is higher off the ground, which provides greater visibility of the performers and the overall experience is enhanced by the sheer visual impact of a larger stage.

“The increased footprint is a huge benefit to the logisitics of producing a show as more space allows both the

artists and crew many advantages,” he said. “Depending on the size of the band, our previous stage could be cramped and overwhelmed with equipment. The new stage gives performers more room to move around and express themselves.

The crew can work more efficiently and quickly when setting up or breaking down equipment, which is a really big help.”

Pier officials said the new stage is built of lightweight but strong aluminum through a propriety system of arms and nodes. The skeleton is wrapped in a custom printed mesh that hides some of the audio components. The mesh also provides a hollow space for LED lights allowing the stage to glow from within.

Rochas said weight reduction was a significant concern for construction, given the Pier’s historic character.

Partnering with STEREO.bot provided organizers access to specialized technology that reduced the weight while increasing strength.

“The system’s unmatched customization capabilities made it ideal not only to achieve a dramatic structure able to withstand 100 mph winds but also to create a dynamic foundation system able to adapt to the pier deck’s irregularities,” he said.

“It is noteworthy that not a single anchor or screw were driven into the wood deck; the stage literally hugs the pier.”

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JD McPherson introduces their take on roots rock n’ roll efore you let JD McPherson listen to Little Richard’s “Keep A-Knockin’,” you should probably put away the fancy dinnerware.

Practically everything he loves about early rock ‘n’ roll is stirred into the tune’s punchy drum intro, grating vocals, skidding saxophone and boundless, over-thetop energy.

“That record is like a shot of mescaline in vinyl form,” McPherson says. “It just makes you want to walk into the nearest china shop and smash everything.”

The classic song serves as a fitting reference point for McPherson, whose contemporary brand of roots rock ‘n’ roll hearkens back to music that was created nearly 60 years ago.

It’s a style he’s harnessed and embraced, and it’ll be on display when he and his band take the stage July 30 for the Twilight Concert Series at Santa Monica Pier.

But McPherson didn’t set out simply to rehash the vibes of a bygone era, and it’s clear from his two albums, including the recently released “Let The Good Times Roll,” that he’s much more than a 1950s jukebox.

“I had no intention of recreating a sound or trying to build a time machine,” he says. “I’m not concerned with taking some political or ideological stand of doing something that’s old-fashioned. I just write from personal experience, incorporate weird art school ideas into it and try to make something new. You make it something you enjoy, something you love, and build on it.”

McPherson’s love of music — from Little Richard and Buddy Holly to Led Zeppelin and the Wu-Tang Clan — carried him through his upbringing in Oklahoma, sustaining him as he studied film at the University of Oklahoma and earned a master’s degree at the University of Tulsa.

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JD MCPHERSON

And his musical background continued supporting him as he worked in art and technology education. If his students were learning to type, they were probably hammering out words about American swing and jazz guitarist Charlie Christian. If he was helping them with their PowerPoint skills, chances are he was demonstrating the software with a presentation about The Clash.

“I was always trying to find to fit the round peg of music into the square hole of middle school teaching,” he says.

Looking back, McPherson is deeply grateful that he was making a record

during his stint as a teacher. After all, losing his job encouraged him to put all of his energy into launching his music career. Around the same time, he was asked to play at a festival in Spain.

Another gig followed. Another came after that. And soon enough he was a full-time frontman.

“It seems like a lifetime ago now,” he says of the transition. “It was the best thing that ever happened to me. ... I didn’t let (music) out of the cage for a long time, but I’m glad that it’s happening now.”

McPherson has made impressive

strides in his musical endeavors since leaving the classroom behind.

About three years ago, he performed at McCabe’s Guitar Shop on Pico Boulevard in Santa Monica. The intimate setting made for a memorable show for McPherson, who noted the history and tradition of the venue. But he’s a much more seasoned performer now than he was that evening at McCabe’s, and he’s started turning heads as he revives a rockabilly sound while adding his own flair.

About six months later he was on the “Late Show with David Letterman” with a rendition of the feverish “Fire Bug,” and he was back on the program earlier this year in support of his latest album.

McPherson has toured extensively following the release, which features the bouncy “Head Over Heels,” recently performing at the massive Glastonbury Festival in England. Meanwhile, the video for what is arguably his most popular song, “North Side Gal,” has garnered more than 1.9 million views on YouTube.

McPherson says the follow up to “Good Times” is “definitely materializing” even as he and his band continue touring this year and prepare to spend part of 2016 abroad to promote the album even further.

Not only is he looking forward to the outdoor concert in Santa Monica, but he’s also excited about the challenge of introducing his modern take on roots rock ‘n’ roll to new listeners.

“We have the same goal every show, and that’s to win people over,” he says before referring to a quote by the Replacements’ Paul Westerberg. “If you swing and miss long enough, people start to root for you. So even if we miss a few, we’ll win ’em over. We always try to pick up new friends.”

Indeed, it’s safe to say McPherson is going to keep a-knockin’.

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2015 Twilight Concert Series bios AMERICANA

WEEK 4 ~ JULY 30

JD MCPHERSON with SARAH GAYLE MEECH You could mistake JD McPherson for a revivalist, given how few other contemporary artists are likely to assert, as he boldly does, that “'Keep a Knockin' by Little Richard is the best record ever made. It's so insanely visceral, you feel like it's going to explode your speakers. If I'm listening to that in the car, I find myself having to brake suddenly. I can listen to that and it makes me feel like I'm 20 feet tall. And the feeling of joy I get from that record is always going to be the real push behind trying to make music.�

For his most recent record, McPherson wanted to maintain raw power while also capturing the more mysterious side of the records he loves. To that slightly spookier end, he enlisted as a collaborator Mark Neill, known for his work as a producer and engineer with versed-inthe-past acts going back to the Paladins in the 1980s, but, most recently, for recording The Black Keys and Dan Auerbach-a friend of McPherson's who SEE BIOS PAGE 10

SARAH GAYLE MEECH

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BIOS FROM PAGE 7 co-wrote the new album's “Bridge Builder.”

Talking up one of the freshly minted tunes, “Bridge Builder,” McPherson describes it as being “the psychedelic Coasters.” That no such thing really existed prior to this album doesn't deter him. “This is something I actually talked about with Mark at the beginning of the record: 'I want to make a '50s psychedelic record!'”

McPherson certainly doesn't begrudge the attention that Signs & Signifiers unexpectedly brought him. “If it hadn't been for the 'North Side Gal' video, this probably never would have caught on,” he says, recalling the fame he found on YouTube even before Rounder picked up his indie release. “That's how we found our label and found our management. I was still teaching school, and here I am with got this video that's like a million hits. I'm like, what? I had no plans to quit my job. Luckily, I lost it.” A middle school art department's loss was Rounder's and the rock world's gain.

Since the debut album came out, McPherson has played for a lot of genre nerds who pick up on every single influence. But he and his band have also opened for acts ranging from Bob Seger (getting a standing ovation at an arena in Detroit, the headliner's hometown) to the Dave Matthews Band to Nick Lowe to Eric Church (who sought him out to write some songs together). For a Halloween night 2014 show at the Forum in L.A., super-fan Josh Homme, one of McPherson's biggest supporters, handpicked him to open for Queens of the Stone Age. These may not all seem like natural pairings, but the music is primal and melodic enough that, after a few minutes, it never fails to make sense even to audiences with the least of expectations and musical educations.

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reached into his collection of vintage synths to provide keyboard programming, producing some of the the classic keyboard tones herein. What's that you say? You wanna dance? Never fear, the single is rounded out by two energetic remixes of the lead track I Can't Stay. Cutters' own Knightlife, who has made spacey disco bliss his stock in trade, has transformed this into and epic, infectious melodic house gem. And DFA's Juan Maclean opts for an energized version, more faithful to the original, much like classic expertly finessed dance mixes of old.

DMA’S DMA'S is the musical project of Johnny Took, Matt Mason & Tommy O'Dell - three best friends from Newtown, Australia.

Having cut their teeth playing with a number of different bands in Sydney's inner west over the years, the trio began writing and recording demos in Johnny's bedroom around 2 years ago. Set on taking their time to hone their craft and sound, the three friends soon found themselves with a library of nearly 40 demos.

Finally content with the identity that the songs had taken, DMA'S released their debut single in February this year in the form of a track simply titled 'Delete' (along with a short film by director Mitchell Grant that was filmed in

Johnny's bedroom - the same location that the band recorded and produced the track) and despite having never played a show under this moniker, the reaction was instantly overwhelming as critics and fans alike proceeded to jump on board including Dave Rowntree of Blur (who awarded them his record of the week on XFM, comparing them to Arctic Monkeys & Oasis), Triple J and NME Magazine.

It would seem that word continued to quickly spread around their hometown of Sydney - illustrated by the band's first show drawing over 450 punters and leaving another 100 or so unable to get in! From that point DMA'S have hit the touring circuit of Australia, selling out multiple rooms around the country and getting the call up to played the respected Splendour in the Grass Festival - sharing the stage with acts such as Interpol and Future Islands.

REGGAE/ DANCE HALL

WEEK 6 ~ AUGUST 13

SISTER NANCY with JESSE ROYAL Ophlin Russell-Myers is a dancehall DJ and singer from Kingston, Jamaica that performs as Sister Nancy. Described as a dominating female voice in the industry, she has a reputation as one of the first female dancehall DJ's in the world.

As one of 15 siblings she shares her musical talent with older brother Robert who has carved out a successful career of his own performing as Brigadier Jerry. She developed her skills as a teen working with her brother and was discovered by producer Winston Riley in 1980, resulting in her first single, "Papa Dean" for his Techniques label.

She was the first woman to perform at Reggae Sunsplash and was the first Jamaican woman to tour internationally as a deejay.

Her career grew into strong of hits, live performances and international shows. In 1996 she relocated to America.

After a break from the recording industry, she released a new album in 2007.

INDIE POP

WEEK 7 ~ AUGUST 20

ARIEL PINK with THE MYNABIRDS Across its 17 tracks and 69 minutes, pom pom, the most recent record by Ariel Pink, is unfiltered Ariel, a pied piper of the absurd, with infectious tales of romance, murder, frog princes and JellO. The record sees the Los Angeles native strike it out alone, returning to the solo moniker he has adopted for well over a SEE BIOS PAGE 12

ELECTRONIC POP

WEEK 5 ~ AUGUST 6

BEN BROWNING OF CUT COPY with DMA'S A pulsating solo effort from electronic pop crooning man-child and Cut Copy bassist Ben Browning is the shiniest, newest addition to the Cutters stable of artists.

Prior to starting on Cut Copy's most recent album Zonoscope, Ben Browning dug into his trusty mind-hole and began penning tracks for a solo release, culminating in the new 12-inch EP which is to be released by Cutters Records. I Can't Stay is the lead single, taken from Browning's forthcoming EP on Cutters records. It opens with an almost calypso guitar lead, before opening up into bouncing bass driven club-pop, the likes of which wouldn't have been entirely out of place on the recent Cut Copy album. The vocal is trademark Ben Browning: delicately strained melodic and harmonic stylings, with a seeming fragility which belies its true versatility. The talents of Architecture In Helsinki's Gus Franklin and Haima Marriott were enlisted to add production and shimmer, with Franklin even laying down live-drums on the final recording.

Meanwhile, Cut Copy's own Dan Whitford

ARIEL PINK

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Twilight Concerts insider’s guide TICKETS No tickets necessary, this is pure free summer fun (remember that?) all thanks to our partners and sponsors who have brought us another season of awesome free concerts at the beach. Make sure to show them some love.

TIME 7 p.m. — 10 p.m., but those in the know stake out a good spot early.

FRIENDS & FAMILY Bring them, the more the merrier. You will not regret it. This is one epic summer tradition.

FIRST AID/LOST & FOUND If you need first aid or assistance, please visit the Pier Tent or flag down a security officer. If it is an emergency, please call 911.

PARKING

SMOKING

Event rates are in effect at 4pm on concert days in Lots 3N (1150 PCH), 1N (1550 PCH), and 4S (2030 Ocean Ave). To avoid higher rates, park in the Civic Lot (4th & Olympic) or Downtown Structures (2nd & Colorado), or purchase discounted parking in advance for as little as $5 at sm.clickandpark.com.

Don’t even think about it, it’s a 100-year-old wooden Pier, and we really like it.

BIKE & SKATEBOARD VALET Park your wheels at the free bike and skateboard valet located next to the beach bike path just south of the Pier.

FREE BIKE GIVEAWAY!

CONTEST IS NOW THROUGH SEP. 9TH Just go into one of our locations and fill out an entry form. The winner will be notified and invited to the September, Santa Monica Chamber of Commerce Mixer and presented with their new wheels!

NO PURCHASE NECESSARY TO ENTER OR WIN WINNER DOES NOT NEED TO BE PRESENT TO WIN

PETS Dogs are welcome, but must be on a leash.

WEATHER & ATTIRE It never gets too cold, but sometimes it gets a little chilly once the sun goes down. So bring something or head up to the Pier Tent on the deck to grab this year’s limited-edition sweatshirt or T-shirt!

SEATING Seating is not provided, so feel free to bring your own chairs, blankets, etc ...

FOOD & DRINKS There are plenty of great food and beverage options on the deck and at the various restaurants on the Pier. Most even have to-go options perfect for munching during the show. As a reminder, alcohol consumption is not permitted in public spaces, but there are several full-service bars in the area.

THE CONCERT GARDEN There is a 21-and-over Concert Garden featuring Barefoot Wines, an assortment of cocktails and non-alcoholic beverages. Do not miss this view.

E-MAIL LIST & SPECIAL OFFERS Sign up at TwilightSeries.org for special announcements, offers and invites.

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BIOS FROM PAGE 10 decade when cementing his name as a king of pop perversion.

From demented kiddie tune collaborations with the legendary Kim Fowley (songs like 'Jell-O' and 'Plastic Raincoats In The Pig Parade' were written with Fowley in his hospital room during his recent battle with cancer), to beatific, windswept pop ('Put Your Number In My Phone', 'Dayzed Inn Daydreams'), scuzzpunk face-melters ('Goth Bomb', 'Negativ Ed'), and carnival dub psychedelia ('Dinosaur Carebears'), pom pom could very well be Ariel Pink's magnum opus.

“Although this is the first “solo” record credited to my name, it is by far the least “solo” record I have ever recorded,” said Ariel Pink. pom pom is Ariel Pink's third studio album for 4AD, following his Haunted Graffiti releases Before Today (2010) and Mature Themes (2012).

CLASSIC ROCK

WEEK 8 ~ AUGUST 27

JEFFERSON STARSHIP with PURPLE MOUNTAINS MAJESTIES RUSTY'S EAC WINNER

Paul Kantner founded Jefferson Airplane in 1965. The Airplane were the biggest rock group in America during the 1960s and the first San Francisco band to sign a major record deal, paving the way for other legends like Grateful Dead & Janis Joplin. They headlined the original Woodstock Festival in 1969 and like The Beatles with whom they are critically compared, lasted a mere seven years ... though their influence and impact on rock music continues well into the 21st century.

In 1974 Mr. Kantner created Jefferson Starship and again enjoyed chart-topping success. Paul, & Jefferson Airplane were inducted into The Rock & Roll Hall of Fame in 1996, the same year as Pink Floyd.

Jefferson Starship, the name created by

JEFFERSON STARSHIP

Paul for his 1971 solo debut “Blows Against The Empire” recording, has endured 40 years as one of rock's most legendary bands. That recording was the first and only to ever be nominated for literary science fiction's Hugo Award. Co-founder David Freiberg also started the legendary Quicksilver Messenger Service, the Fillmore era San Francisco band who often shared the bill with The Dead & The Airplane). David is a world famous singer, producer, composer and multi-instrumentalist.

He was also a member of Jefferson Airplane,

PURPLE MOUNTAINS MAJESTIES

and co-wrote one of Jefferson Starship's alltime biggest hits, “Jane” - which he performs.

From 1973 to 1978 Donny Baldwin was with the "Elvin Bishop" Band. During this time he toured and recorded six albums, which included the #1 hit single, "Fooled Around and Fell In Love". From 1981 to 1989, Donny was a member of Jefferson Starship. In January 1994, he joined the Jerry Garcia Band.

Chris Smith joined Jefferson Starship in 1998, having toured with The Supremes and Lou Bega. Chris has gone on to place music in film and television including the #1 rated series “CSI.” In 2000 he assumed the seeming impossible task of playing piano and (synth) bass simultaneously … a feat only duplicated by the legendary Ray Manzarek of The Doors.

Cathy Richardson joined Jefferson Starship in 2008, and anchors the historic 'role' made famous by Grace Slick. She is an award winning music artist, graphic artist, and clothing designer. Her professional credits include fronting her own successful rock band, producing and releasing seven albums on various indie record labels. She was nominated for a Grammy Award for Art Direction of her band's 2003 release, “The Road to Bliss,” which also received two DIY Awards (Do It Yourself in Film, Books and Music) for Album Art of the Year and Producer of the Year.

Jude Gold is an acclaimed lead guitarist joining in 2012 for a 10 country, three-month international tour - replacing longtime lead player Slick Aguilar who recently underwent a liver transplant. Jude also tours with contemporary stars Miguel Migs, Stu Hamm and JGB (Jerry Garcia's Band) before that.

He is also a “professor” at the acclaimed Musician's Institute in Los Angeles.

NEW ORLEANS BRASS

WEEK 9 ~ SEPTEMBER 3

REBIRTH BRASS BAND with MILES MOSLEY AND THE WESTCOAST GET DOWN The Grammy Award winning NOLA soundtrack straight from the streets of Treme.

Rebirth Brass Band have continued their innovative, contemporary approach to New Orleans music following up 2012's The Grammy Award winning album Rebirth of New Orleans with 2014's Move Your Body which was released on Basin Street Records this past June. Since its release, the record hit #1 and has been at the top of both the CMJ & Jazz Week Radio charts. Whether seen on HBO's Treme or at their legendary Tuesday night gig at The Maple Leaf, Rebirth Brass Band is a true New Orleans institution.

Formed in 1983 by the Frazier brothers, the band has evolved from playing the streets of the French Quarter to playing festivals and stages all over the world. While committed to upholding the tradition of brass bands, they also extended into the realms of funk and hip hop to create their signature soul moving sound. Their signature brand of heavy funk has not only won over several generations of music lovers, it has become the soundtrack to an entire city.

Rebirth Brass Band's album “Rebirth of New Orleans” earned them the title of the first brass band ever to win a Grammy. ”Rebirth of New Orleans” reached #9 on the Billboard Jazz Chart and #1 on the CMJ Jazz Charts.

Rebirth has several cameos on the hit HBO series Treme as well as many soundSEE BIOS PAGE 14

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BIOS FROM PAGE 12 track contributions.

Rebirth Brass Band has shared the stage with Red Hot Chili Peppers, The Grateful Dead, The Meters, The P Funk All Stars, Maceo Parker, Dr. John, The Ohio Players, Ani DiFranco

INDIE POP

WEEK 10 ~ SEPTEMBER 10

TUNE-YARDS with AVID DANCER Merrill Garbus has performed as tUnEyArDs since 2009, and that band name has always been synonymous with forward movement — whether because of her explosive performance style or the alwayssurprising way in which her songs unfold.

First gaining notice with the debut BiRdBrAiNs, Garbus forged a reputation as a formidable live presence through relentless touring. In 2011, tUnE-yArDs released its second album, w h o k i l l, a startling and sonically adventurous statement that led to a whirlwind period where Garbus and bassist Nate Brenner accrued accolades from critics, performed in front of increasing numbers of rapturous crowds around the world, and collaborated with the likes of Yoko Ono and ?uestlove.

Callbacks to the past are all over Nikki Nack, the bands third album. Garbus’s vocal performance on ‘Wait For A Minute’

TUNE-YARDS

recalls Quiet Storm balladry, and the song also contains a direct callback to her own past: A wobbly keyboard line provided by a Casio she received as a gift when she was nine years old. ‘Left Behind’ is underscored by a jittery nostalgia, the playground chant

from which the album’s title is taken eventually giving way to a chorus where Garbus’s voice is masked by glossy-yet tarnished production that brings to mind the radio reigns of Lisa Lisa and En Vogue.

Nikki Nack has uncertainty about both

the past and the future, but that’s in keeping with Garbus’s overall aesthetic of constantly questioning and burrowing for a “new way,” tempered by the joy that goes hand in hand with new discoveries.

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