The Rocketboys + The Whistles & The Bells

Lost Lake Presents

The Rocketboys + The Whistles & The Bells

Poet's Row, Mel Washington

Wednesday, 8/9

Doors: 7:00 pm / Show: 8:00 pm

$10.00 - $12.00

This event is 18 and over

All sales are final. Review your order carefully, there are no refunds for any reason. Tickets are non-transferable. No tickets are mailed to you, your name will be on the will call list night of show. Night of show (1) bring a valid government issued ID and (2) print your confirmation e-mail and bring with you night of show.

The Rocketboys
Mainstays of the Austin, Texas music scene for nearly a decade, anthemic indie rock band The Rocketboys have steadily built a loyal following with the release of two LPs, a handful of EPs, and by performing hundreds of live shows. Their dynamic, expansive songs often outsize the clubs in which they're performed and garnered The New York Times apt description, "... sounds like an amped up Death Cab for Cutie with Coldplay-style melodies.”

Throughout The Rocketboys' career many films, commercials, and TV shows (most notably Glee, Private Practice, and One Tree Hill) have harnessed The Rocketboys' thematic energy and offered exposure to new audiences. Tours opening for bands such as Twenty-One Pilots, The Mowgli's, and Relient K have significantly elevated the band's national profile. The last year brought many career-defining moments including working with Grammy-winning producer Joe Chiccarelli, cracking the worldwide iTunes charts with single "Viva Voce," and two tours both opening for and backing Thrice-frontman Dustin Kensrue.

Their music has always provided a snapshot of the conflicts and hopes of its members - finding one's voice, brotherhood, faith, death, and the relationship between artist and audience. The musical accompaniment to this journey features "lush, layered soundscapes" (AbsolutePunk) and "gray-hued swells of chorused guitar and minor-key piano processionals" (The A.V. Club).

Finishing touches are now being placed on The Rocketboys' third full-length album which will be released in 2017.

The Rocketboys are Brandon Kinder, Justin Wiseman, Josh Campbell and Lang Freeman.

QUOTES

"Sounds like an amped up Death Cab for Cutie with strong Coldplay-style melodies"
-NEW YORK TIMES

"When it comes to song writing, the line between 'earnest' and 'overly-earnest' could not be any finer, or risky. In their latest album 20,000 Ghosts, The Rocketboys always stay just on the right side of said line, creating rich anthems that are as infectious as they are sincere."
-PASTE MAGAZINE

"The Rocketboys have a sound as expansive as the open road and lyrics deep as a Southwest sunrise. Lofty melodies encircle broad indie rock compositions on The Rocketboys' debut album, 20,000 Ghosts."

-CHICAGOIST

"The band's got some legs to stand on -- Impressive harmonies and melodies, and, overall, quite the pleasing, heartfelt indie rock sound."
-DALLAS OBSERVER

"[20,00 Ghosts] is fresh with rich textures, like the lead guitar on “Rare Triumphs of Love and Fortune” or the underlying drumbeats of “I Saw a Stone.” With his alto range, approaching falsetto at times, singer Brandon Kinder creates an ethereal, almost spiritual, tone."
-TEXAS MUSIC MAGAZINE

"...tight, epic, densely layered sound..."
-MEMPHIS COMMERCIAL APPEAL

"Building gray-hued swells of chorused guitar and minor-key piano processionals, the Rocketboys may have a sound as wide as the West Texas skies, but they’re decidedly overcast with clouds that perpetually threaten rain."
-THE ONION, AUSTIN

"The Rocketboys' sound is rife with shimmering ambience, reverberating piano, pinging guitars and lead singer Brandon Kinder's smooth yet soaring vocals, bringing a sound resembling other bittersweet and earnest acts such as Keane."
-THE OKLAHOMA GAZETTE

"The Rocketboys showed a mastery of mood and subtlety. Amplifying a sound made familiar to Texas music fans by bands such as Cue and Explosions in the Sky, the six-member group adorns singer Brandon Kinder's soaring melodies with clear, ringing guitars and full-bodied keyboard arrangements, hard-driving drumlines and well-practiced transitions between calm and controlled chaos."
-THE AUSTIN AMERICAN-STATESMAN
The Whistles & The Bells
“I wanted to make a record that sounded like some great cosmic dinner party,” explains Bryan Simpson (aka The Whistles & the Bells) of his sophomore LP fittingly dubbed Modern Plagues. “Not a gross, homogenized one where people
bludgeon their intellect with one-sided conversation but more of a ‘if you could invite four people from history over for dinner who would it be?’ kind of shindig.
Where some strange collection of human heavyweights sit around discussing the odd pilgrimage that is life. I wanted to sonically interpret what a cosmic intersection of such varied DNA might sound like. Except fast forward the evening past the pretense and the niceties of the appetizer course and push record as the party polishes off the last drop of an encore bottle of wine.”
Modern Plagues' 11 expansive tracks find singer / songwriter / producer / multi-instrumentalist Simpson delivering eye-opening lyrical insights and audacious verbal imagery, while displaying a freewheeling sonic sensibility that
draws inspiration from a bottomless well of genres and textures. Collaborations with The Raconteurs’ Brendan Benson resulted in such out-of-the-box tunes as "Harry Potter," "Small Time Criminals," and "Zombie Heartz,” where Simpson's
revealing lyrics and richly compelling soundscapes mix to create a singular, personally-charged vision of organized chaos. This extends to remarkably candid tracks like “Year of the Freakout” and “Playing God” when Simpson’s satirical observations call into question how we all cope with the turbulent times in which we live; and, more introspectively, to songs such as "Good Drugs" and "Highlight Reel" that sonically grasp, and for that matter, celebrate the fragility
and ferocity of man. As the album culminates with the funky, almost playful, apocalyptic closer “40 Years,” Modern Plagues leaves no deadly sin untouched, no false idol unexposed. "I wanted to make an immediate record, one that people would get from the first listen," asserts the Nashville-based Fort Worth native. "I was dead set on not making some kind of ‘ninja’ record, where the enjoyable bloodletting doesn't
begin until the fourth listen when it sneaks up out of nowhere and cuts your throat. I wanted to make something more forthright, more honest. I've made records that are slower to blossom, and some of my favorite records are like
that. But I wanted this one to jump out and make its point. I want listeners to be able to imagine and feel the spirit of a night where the air is thick with cigar smoke and opinions, brazen jokes and deep truths. With the whimsical, the
mundane, and the transcendent all sharing the same bed of nails.”
Simpson's route to Modern Plagues has been an unconventional one. Prior to launching The Whistles & the Bells, he had already won substantial success as a bluegrass mandolinist, serving a seven-year, three-album stint with the
acclaimed progressive-bluegrass quartet Cadillac Sky. That group was broad-minded enough to collaborate with both bluegrass icon Ricky Skaggs and the Black Keys' Dan Auerbach, which eventually led to an in-demand spot
on Mumford and Sons’ 2010 North American Tour. Meanwhile, Simpson also carved out a lucrative sideline as a mainstream country songwriter, composing hit tunes for the likes of Tim McGraw, Blake Shelton and George Strait.
With those achievements under his belt, a long-gestating musical and spiritual awakening pushed Simpson in a more iconoclastic direction, resulting in The
Whistles & the Bells' independently released self-titled 2014 debut. That album chronicled the artist's bold reassessment of his personal and creative choices, and struck a responsive chord with those fortunate enough to hear it, winning
acclaim from such notable outlets as Rolling Stone and American Songwriter. "I don't necessarily feel like this is me, but it's a portion of me that I'm willing to unveil and explore," Simpson notes. "I could say, 'Go listen to that Bryan Simpson record,' but that idea is just confusing to me. I don't know what Bryan Simpson sounds like, but I'm starting to understand what The Whistles & the Bells sounds like. It's more of an idea than an identity, and I had to get to a certain point in my life where I had the keys to unlock that vault."
The Whistles & The Bells' debut effort won an impressive amount of attention for an indie release, leading to Simpson's current deal with New West Records, which gave the first album a national release and set the stage for Modern Plagues.
"The first record was about spiritual transformation, and about me coming to a place of recognition of my own humanity and a better understanding of my place in the universe," Simpson says. “And as much as it has liberated me elsewhere in my life, perhaps the greatest tangible increase has been creatively.
I know the record that I probably should have made. The sophomore record that would have been a much easier transition for everybody involved. But we kept
asking ourselves: what record CAN we make?! If there’s a sound or an idea we hear, why not chase it? I want to continue to stir up conversations within myself, and within the people who listen to the music."
For Modern Plagues, Simpson collaborated with co-producer/engineer Eddie Spear (Judah & the Lion, Lake Street Dive, Rival Sons), and a crew of like-minded players, including his longtime cohort and former Cadillac Sky
member Matt Menefee. In addition to co-writing “Year of the Freakout,”
Menefee plays banjo, electric guitar, synthesizer, piano and mandocello on the album. Also contributing to the sessions are rising singer/songwriters Brooke Waggoner and Phoebe Cryar, who trade co-lead vocals with Simpson on "Supadope.” Many of the album's players will join Simpson when he takes Modern Plagues on the road.
“My cosmic dinner party might have ultimately turned out a little more like a muggy Saturday night in Coney Island with Soren Kierkegaard and Malcolm Muggeridge eating hot dogs and nervously climbing in for a second ride on the Tilt-A-Whirl only to exit 40 minutes later the best kind of woozy.” Simpson divulges while reflecting upon the finished work. “But this record is where I openly embrace the weirdness of my existence. Eleven songs, till death do us part. Hope it does something to ya.”
Poet's Row
Poet's Row
Mel Washington
Former member of All Get Out. Singer/Songwriter/Producer
Venue Information:
Lost Lake
3602 E. Colfax Ave
Denver, CO, 80206
http://lost-lake.com/