José González "A Tiger in Paradise"

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T HE TOW N HA L L P RE S E NTS

TUESDAY, NOVEMBER 14, 2023 • 8PM THE TOWN HALL AND MURMRR PRESENT AN EXCLUSIVE EVENING WITH

JOSÉ GONZÁLEZ FEATURING THE NYC PREMIERE OF THE FILM

A TIGER IN PARADISE

A Conversation with Singer/Songwriter González and Film Director Mikel Lee Karlsson; Special Event Includes a Solo Concert by Gonzalez Performing Music from Local Valley and More

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AB O UT T HE PRO G RA M

An Exclusive Evening with José González will feature the New York City premiere of A Tiger In Paradise, a film written and directed by Mikel Cee Karlsson and narrated by González. Described as “a semi-fictional documentary” by González, A Tiger In Paradise offers an intimate view into his world and the music of his fourth studio album, Local Valley.

The screening will be followed by a conversation between Gonzalez and Karlsson and a solo performance by González featuring tracks from his latest release and some of his most famous songs.

“The format of the evening allows us to talk about the making of this movie and then dive deeper into some of the topics I discuss in the movie,” said González. “The songs I’ll be playing will be to give more depth to the whole experience.”

Karlsson, who directed many of González’s music videos and the film The Extraordinary Ordinary Life of José González (2010), “is a friend, he knows me well, and he knew that I was working on my fourth solo album, and told me ‘I know it’s early, but I would like to not only do videos, I would like to make a whole film with all the songs.’ But then I found out he wanted to talk quite a lot about my personal history,” recalled González as he discussed the origins of A Tiger In Paradise. “So, it shifted from being about the making of the album to being more about me in general. The album, the music, and the lyrics remain at the core but are now set in relationship to my history and the ideas I want to convey.”

Born to Argentine immigrant parents and raised in a suburb of Gothenburg, González grew up listening to João Gilberto and bossa nova, Latin American folk artists such as Mercedes Sosa, Nueva Trova singer-songwriter Silvio Rodriguez, and the Tropicalia sound of Caetano Veloso. But his work also owes significantly to West African musical traditions and artists such as Ali Farka Touré. “His style has been a huge inspiration. Still is,” says González.

González articulated these influences in a very personal, deceptively simple-sounding style, combining deft fingerpicking on a nylon string guitar and understated, conversational delivery of the lyrics to create intimate and hypnotic atmospheres.

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Photo Credit: Mikel Cee Karlsson

Notably, for the first time in his recorded work, in Local Valley González sings in the three languages he speaks: Swedish, English, and Spanish.

“It has been important for me for a while, but when it came time for it, I just chickened out,” he says with a soft chuckle. “This time around, it felt pretty easy. It felt natural.”

His work has been captured in various settings, from troubadour-like solo performances to concerts with orchestra, and its impact has been global. His recordings have exceeded 1 billion streams.

He says the unique Town Hall hybrid event, combining a movie presentation, a talk, and a musical performance, is an opportunity to expand and deepen his communication with his listeners.

There is a promotional aspect of the film for the new album, notes González, “but there also this other part to it that has to do with my personal history. I have opened up to my fans in Sweden, but with this film, I’m opening up my world to all my fan base.”

“I’ve always believed I have way more to say than I can convey in a song or interviews, partly because I’m not that good at speaking, but also because I’m touching on so many different subjects,” he says. “This presentation with the movie is another way to enrich the conversation.”

- Fernando González

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AB O UT J OS É GO N Z Á LEZ

Born in Sweden to Argentinian parents who fled the 1976 military coup via Brazil, José González grew up in Gothenburg, where his early taste for Latin and folk music was soon overshadowed by a growing love for more commercial pop and, later, rock, hardcore and punk. Having played in a number of noisy bands, however, he returned to a more peaceful style with the Swedish release by Imperial Recordings of his debut solo album, 2003’s Veneer. Wielding just a classical guitar, González sang songs of hypnotic intimacy, whether his own, like the evergreen ‘Crosses’, or covers like The Knife’s ‘Heartbeat’.

Though recorded in his cramped apartment, with just one guest invited to contribute trumpet to its final song, ‘Broken Arrows’, the record proved successful enough to prompt him to quit his studies for a Ph.D in biochemistry.

In 2005, Veneer received an international release courtesy of Peacefrog in Europe and Mute in the USA, when it was met with similar acclaim. In The Independent, eminent British critic Andy Gill highlighted its broad appeal, praising “a compelling mood... which recalls Nick Drake, Simon & Garfunkel, Kings Of Convenience, Tim Buckley’s folk-jazz, Brazilian Tropicalismo singers like João Gilberto and Caetano Veloso, and José Feliciano”.

On his follow-up, 2007’s In Our Nature, González’s arrangements subtly enlarged upon his deceptively simple, minimalist neo-folk template.

Praised by Pitchfork as “a more thoughtful and atmospheric work”, its songs on occasion provoked by his reading of Richard Dawkins and Peter Singer, were quietly more ambitious – ‘Cycling Trivialities’ even stretched to more than eight minutes long – while an interpretation of Massive Attack’s ‘Teardrop’ further broadened his appeal. @TownHallNYC | 5

Over the next few years González spent more time with Junip, the band he’d formed with childhood friends before his solo career began.

They’ve now released two albums, 2010’s Fields and 2013’s Junip, lauded for their seductively mesmeric qualities. Nonetheless, he also performed a sold-out European tour and found himself the focus of a documentary, The Extraordinary Ordinary Life Of José González. Written and directed

by Mikel Cee Karlsson and Fredrik Egerstrand, it intimately documented his philosophical approach to the writing and recording of In Our Nature, as well as the loneliness sometimes accompanying such endeavours, and it was nominated for his hometown Film Festival’s Best Nordic Film. He also provided music, both solo and with Junip, to much of Ben Stiller’s 2013 adaptation of The Secret Life of Walter Mitty.

In 2015, González returned with his third self-produced solo album, Vestiges and Claws, followed by another round of shows with The String Theory Orchestra. By now his reputation for cover versions had been sealed with interpretations, both live and on B-sides, of the likes of Joy Division’s ‘Love Will Tear Us Apart’ and Kylie Minogue’s ‘Hand On Your Heart’, but this time he wrote its ten tracks himself. Distinguished by a subtle ‘desert blues’ influence, a style pioneered in the Sahara region of northern and west Africa, and lyrically more complex, with songs addressing mortality, religion, science and human relationships.

By now, González had notched up some billion streams and even sold out London’s prestigious, 4000+ capacity Royal Albert Hall a full three years after Vestiges and Claws and, in 2021, he joined the roll call of stars, including Willie Nelson and Yo-Yo Ma, performing as part of National Geographic’s epic Earth Day Eve 2021 concert. He’d also, among other achievements, sung with Sia on Zero 7’s ‘The Garden’, been sampled by Plan B, and, in addition, the use of his ‘Far Away’ in Rockstar Games’ Red Dead Redemption had earned him ‘Best Song’ at the Spike Video Game Awards.

On 2021’s Local Valley, he continued developing his lyrical approach, employing no less than three different languages to address wider, secular issues, including effective altruism, secular humanism and ecomodernism. This time he included ‘En Stund På Jorden’ by Iranian-Swedish artist Laleh, a former refugee who’s topped Swedish charts having grown up in the same multicultural Gothenburg neighbourhood.

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In 2023, González became the subject of a second documentary, A Tiger In Paradise, this time written and directed alone by Mikel Cee Karlsson. A bold acknowledgement of psychotic episodes he’d experienced earlier in his life, including a period of illness that nearly derailed the release of Veneer, it offers a compelling and imaginatively visual insight into his creativity, his working methods and his efforts to maintain his mental health..

AB O UT M I KAL C E E KA R LSS ON

Mikel Cee Karlsson, director, writer, editor, cinematographer born 1977 in Varberg, Sweden.

During the 90´s Mikel was one of Swedens most notable skateboarders. Through skateboarding he got introduced to cinematography and started making short films.

While studying film directing at Academy Valand Film in Gothenburg, he met producer Erik Hemmendorff and director Ruben Östlund and became co-owner of the production company Plattform Produktion (Palme d’or 2017 and 2022). Mikel has directed four feature length documentaries; Greetings from the woods (In competition, Locarno 2009), The Extraordinary Ordinary Life of José González (Nordic Competition GIFF 2010, Official Selection Hot Docs 2011), FRAEMLING (Main competition CPH:DOX 2019 and nominated for 2 Guldbagge Awards, including best documentary film) and A Tiger in paradise - with José González (Main competition CPH:DOX 2023). Mikel is also an ACE nominated editor and has written and edited the documentary The scars of Ali Boulala (In competition Tribeca Film Festival 2021, Guldbagge nominated for best documentary 2022), edited Fantastic Machine (Special jury award Sundance 2023) and edited Triangle of sadness (Cannes Palme d’or 2022, Academy Award nominated for Best Picture 2023) as well as directed award-winning short films, video art, and numerous acclaimed music videos for artists like Fever Ray, Calexico, Junip and José González. @TownHallNYC | 7

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