SEE YOU AROUND TOUR
I'm With Her (Sara Watkins, Sarah Jarosz, and Aoife O'Donovan)
Tue, March 13, 2018
Doors: 7:00 pm / Show: 7:00 pm
Special offer! A digital download of I’m With Her’s forthcoming album is included with every ticket you order for this show. You will receive an email with instructions on how to redeem this offer 7-10 days after your ticket purchase.https://www.impconcerts.com/event/1585731/
I'm With Her (Sara Watkins, Sarah Jarosz, and Aoife O'Donovan) - (Set time: 9:30 PM)
A band of extraordinary chemistry and exquisite musicianship, I’m With Her features Sara Watkins, Sarah Jarosz, and Aoife O’Donovan. Collectively, the multi-Grammy-Award-winners have released seven solo efforts, co-founded two seminal bands (Nickel Creek and Crooked Still), and contributed to critically acclaimed albums from a host of esteemed artists. But from its very first moments, their full-length debut See You Around reveals the commitment to creating a wholly unified band sound. With each track born from close songwriting collaboration, I’m With Her builds an ineffable magic from their finespun narratives and breathtaking harmonies. The result is an album both emotionally raw and intricate, revealing layers of meaning and insight within even the most starkly adorned track.
Co-produced by Ethan Johns (Ryan Adams, Laura Marling, Paul McCartney) and the band and recorded at Peter Gabriel’s Real World Studios in a tiny English village near Bath, See You Around delivers a warmly textured yet stripped-down sound that proves both fresh and timeless. To achieve the album’s intimate feel, I’m With Her recorded live in the tight confines of the Wood Room, all three members performing in the same room without monitors or headphones. With its piercingly lyricism, See You Around also finds I’m With Her showing the uncompromising honesty of their songwriting. That intensity is heightened by the band’s effortless harmonizing, which the New York Times has praised as “sweetly ethereal, or as tightly in tandem as country sibling teams like the Everly Brothers, or as hearty as mountain gospel.”
Layered with lush guitar tones and crystalline harmonies, See You Around’s title track opens the album with a breakup ballad of rare nuance (“It’s about coming to the end of a long relationship where you both run in the same circles, and that melancholy feeling of knowing you’re going to have to keep seeing that person again and again,” Jarosz explains). A bittersweet mood endures for songs like “Ain’t That Fine,” a wistful meditation on existential ups and downs that ultimately discovers solace in its reflection and reckoning (sample lyric: “I can’t believe the things I put my mother through/But it’s alright, I guess we all deserve our turn to be a fool”).
From track to track, I’m With Her infuses their sonic palette with so many unexpected and subtly captivating elements: the jagged guitar lines and chanteuse-like delivery of “I-89,” the percussive vocal phrasing of “Game to Lose,” the ghostly harmonies and eerie atmospherics of “Wild One.” At the same time, the band’s finely wrought lyrics gently shift from the darkly charged storytelling of “Pangaea” to the sleepy sensuality of “Ryland (Under the Apple Tree)” to the romantic travel tale of “Overland.” And on the Gillian Welch-penned “Hundred Miles”—a gorgeously understated track, and the album’s only song written outside the band—See You Around closes out with a world-weary but potent message of hope.
All through See You Around, I’m With Her exhibit a refined musicality that reflects their deep musical roots. After years of crossing paths in their intersecting scenes, the three musicians came together by happenstance for an off-the-cuff performance at the Telluride Bluegrass Festival in summer 2014. The very same day, a mutual friend texted them with a last-minute request to open a show that night at the Sheridan Opera House. “We had two hours to prepare for a 30-minute set and we said, ‘Let’s do it, let’s skip margaritas and rehearse,’” O’Donovan recalls. “We worked up six or seven songs in the bathroom, and then went on to this crazy-energetic crowd at one in the morning. I’ll never forget how amazing that felt.”
Later that year, Watkins, O’Donovan, and Jarosz met up in New York to prep for a series of European shows in early 2015, carefully crafting their own arrangements of songs by artists ranging from Jim Croce to Nina Simone. “When you’re arranging a song, you’re communicating in ways that sometimes can be really inefficient,” says Watkins. “But with us it felt like we were all in a similar rhythm.” As their chemistry continued to deepen, the trio soon founded I’m With Her and transformed the project into a fully realized band. “Once you decide it’s a band, you can put it higher on your priority list and give it more attention,” says O’Donovan. “The bar gets raised when something has an air of permanence about it, and that’s definitely been the case for us.”
Although I’m With Her spent most of 2015 performing at festivals around the world, the band also holed up for their first-ever writing session that summer in L.A. “By that point it had started to solidify that we travel well together, play well together, eat well together—it felt like we’d tested our compatibility in all these different zones,” says Watkins. And after just four days of writing, it was clear that their compatibility extended to the art of songcraft. “I loved the songs, we all loved the songs,” says Jarosz of that first batch of tracks penned in L.A. “I think that really sparked the flame for us to make a full record together.”
When it came time to get working on the record, I’m With Her convened at a borrowed farmhouse in Vermont and spent over a week carving out new material, leaving only to replenish their supply of Heady Topper beer. “We were completely on lockdown and didn’t interact with another human being for eight days,” says O’Donovan. “If you can get through that and, at the end, still be so excited about what you’re doing, then that says a lot about the whole creative flow as a band.” Jarosz adds: “A lot of times you approach songwriting as a solitary act, or maybe choose to write with one other person you feel comfortable with. It’s a whole other beast to have three people writing together, juggling all these different ideas and personalities. But somehow for us, all of the songwriting was just so seamless.”
In Vermont, the band settled into their creative stride, but when the additional voice of producer Ethan Johns was added to the process in the studio, they found themselves starting another round of learning and growth. “Going into the recording, there were a lot of unknowns and a lot of questions,” says Jarosz. “It was a challenge for us to figure out how to make our vision and Ethan’s vision come together in a way that worked for everyone, and there was definitely some friction at times, but about halfway through we started to work it out.” With each member playing guitar and handling various aspects of the instrumentation— including fiddle and ukulele for Watkins, mandolin and banjo for Jarosz, piano and synth for O’Donovan—the band cut most of the album live and under exceptionally close-knit conditions. “Ethan had the studio so that we played all in the same room and facing each other,” Jarosz says. “There was really no separation between us at all.”
In looking back on the making of See You Around, I’m With Her note that a sense of unity has sustained in every step—including the moments when one member’s song idea failed to fly with the others. “If an idea doesn’t get accepted, it’s not like, ‘I’m a failure, this will never be heard,’” says Watkins. “You just move on to the next thing and put that idea aside for something else. We don’t have to be as precious with things, which really helps that forward-motion of creativity.” It’s exactly that dynamic spirit that, despite the album’s many moments of graceful restraint, imbues so much of See You Around with a powerful urgency—or, as O’Donovan, puts it: “In this band, there’s no time to get bogged down in what doesn’t happen. It’s all about what is happening."
Andrew Combs - (Set time: 8:15 PM)
“Ever heard of a happy song?”
That question is posed to Andrew Combs in “Rainy Day Song”, the lead track on his
acclaimed 2014 album All These Dreams, during a barstool chat with a sarcastic friend. The singer – offended but gracious – smiles and allows the moment to pass, eschewing confrontation for the sake of a gem he polishes as an afterthought for the listener: “Tab’s on me if you think I’m lying / Laughing ain’t a pleasure till you know about crying.” The moment, full of the understated charm and pulsing honesty that defines his music, and is as good a metaphor as any for the songcraft of Andrew Combs.
A Dallas native now living near the same Nashville airport immortalized in the opening sequence of Robert Altman’s country music odyssey, Andrew Combs is a singer, songwriter, guitarist, and heir to that 1975 film’s idea of the Nashville troubadour as a kind of musical monk. Here in the twenty-first century whorl of digital narcissism, where identity can feel like a 24/7 social media soft-shoe performance, Combs makes music that does battle with the unsubtle. Like the pioneering color photographer William Eggleston, he sees the everyday and the commonplace as the surest paths to transcendence, and he understands intuitively that what is most obvious is often studded with the sacred. As a songwriter, Combs relies on meditative restraint rather than showy insistence to paint his canvases, a technique commensurate with his idea of nature as an overflowing spiritual wellspring. NPR music critic Ann Powers noted as much in a 2014 review: “His song-pictures are gorgeous, but he recognizes their impermanence as he sings.” This deeply felt sense of ecology, of the transient beauty within nature’s chaotic churn, lies at the heart of Combs’s approach to his art.
After touring behind All These Dreams, a record that earned him international accolades and comparisons to everyone from Leonard Cohen to Mickey Newbury to Harry Nilsson, Combs has returned with a new album that puts down stakes in fresh sonic terrain. Canyons of My Mind, out in March on New West, is — as its title suggests — a landscape where the personal and the pastoral converge. Drawing inspiration from the biographies of literary figures like Charles Wright and Jim Harrison, Combs has created an album that explores the notion of “sustainability” in its many facets — artistic, economic, spiritual, environmental.
"When I set out to record All These Dreams, I had a distinct vision of what I wanted the record to sound like. It was a cocktail of the Roy Orbison, Glen Campbell, Nilsson vibes that you can hear right there on the surface," Combs says. "Canyons of My Mind is much more personal. It’s a testament to my acceptance of who I am as a man, and who I am becoming.” The record’s sonic adventurousness bears witness to that evolution, as well as to some big changes in his personal life. Between All These Dreams and Canyons, Combs married his longtime girlfriend Kristin, with whom he honeymooned for six weeks in the Minnesota wilderness. “She walks through her life exuding such open-mindedness and kindness,” Combs says. “I can’t help but watch in awe. She lets me be whoever I want to be, and that’s new to me. And quite refreshing, and freeing.”
The quiet struggles and satisfactions of carving out an identity in a world gone wrong are palpable throughout the album. Whether questing through the labyrinth of his own spiritual yearning, (“Heart of Wonder”), recreating a rail rider’s full-body sensation of freedom beneath an azure Montana sky (“Rose Colored Blues”), imagining a near-future dystopia where the very idea of green spaces has been annihilated (“Dirty Rain”), or channeling the desire of a peeping Tom who has fallen in love with his sylvan quarry (“Hazel”), Combs refines the vulnerable
vagabond persona he mastered on All These Dreams while pushing it beyond those boundaries, into a more pastoral realm aligned with artists like Nick Drake and Tim Buckley. The idea of the artist’s creative life as an ecosystem — one just as in need of cultivation and care as our own imperiled world — informs much of Canyons. For Combs, the quest to sustain his own capacity to create on a daily basis is what drives him. “I want to create for the rest of my life — writing, singing, painting,” he says. “I also want my life to include a family, a house, and kids. Seeking out other artists who’ve been able to keep the lights on without compromising their art – that keeps me inspired.”
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