Lost Lake Presents
Doors: 7:00 pm / Show: 8:00 pmLost Lake
$10 - $12
This event is 16 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.https://www.lost-lake.com/event/1738275/
“I was always really interested in singing before songwriting. I didn’t always have the confidence to write,” Molly says, “Initially it was more about finding the right songs to complement my voice.” And that voice is the first thing you’ll notice on Burch’s debut album, Please Be Mine. It’s smoky, with an incredible range, effortlessly evocative of her early influences. It was in Asheville where Burch would meet guitarist Dailey Toliver, who plays on her debut, and who inspired much of its music.
Searching for a bigger pond, Burch moved to Austin, Texas in an effort to stand on her own two feet. There, Burch began to write her own music in earnest, with the lovelorn Everly Brothers and Sam Cooke as her songwriting guides. Joined by Toliver in Austin a year later, the two connected with Dan Duszynski of Cross Record, and they recorded all the songs on Please Be Mine at his idyllic studio in Dripping Springs, Texas. Motivated by the hourly rate, Burch and her band recorded all the basic tracks and vocals live in one room and in one day, with minimal overdubs for keys and back-up vocals happening a day later. A difficult task for any talented musician, it becomes more mind-blowing when you hear her belt it on tracks like “Downhearted” and “I Love You Still.”
We’re all lucky Molly started writing music simply to complement her voice, as we’ve discovered a great new American songwriter in the process.
This is perhaps an extension of his childhood. Growing up, his family bounced from the Sierra Nevada foothills of rural California to the bayou swamps outside Houston and back again. He got a taste for the high and dry and a taste for the down and dirty, West Coast vibe and swampland groove. Most of all, he got the need for movement in his blood. The need to push beyond present circumstance and report back his findings.
All this childhood movement was soundtracked by a musician father who compulsively hummed the harmony to everything he ever heard. "I don't know if he could help it. I believe that helped me understand melody at a young age," Jesse told me. And I believe him.
Autoflower listens like a postcard from a life lived on the fringes and it overflows with harmony. "It's mostly about other people's relationships," he told me. We all know that observing something inevitably changes it. It also reveals as much about the observer as the observed.
The record's defining sound (besides Jesse's voice) is his 1950's lap steel guitar. It's a sound that embodies everything I've been saying about Jesse -- constant movement, sliding from place to place, with a certain adrift quality. And, like his music, the lap steel exudes an airy expansiveness, classic sensibility, and unshakable beauty. -Bill Baird
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