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Discover Salt Lake magazine’s music section. Here you’ll find previews and reviews of upcoming local concerts and performances in Salt Lake City, along the Wasatch Front and Back, and around Utah to help you discover great live music and events.

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triggers

Small Lake City Concert • Triggers and Slips

By Arts & Culture, Music

Up until he was 23 years old, Morgan Snow’s sole ambition was to become a professional baseball player. But after playing college ball in Myrtle Beach, S.C. and after several attempts with pro-MLB tryouts, he decided to let go of his big-league dreams. Soon after this life-altering choice, Morgan bounced around a bit and found himself working the door at a dueling piano bar. A friend and co-worker started teaching Morgan how to play guitar. Adjusting to life without baseball, music became his new outlet, “I started to practice guitar for hours a day and getting lessons every night after the bar shift.” In 2005, Morgan’s guitar guru was killed in Iraq. Years later, one of the Triggers & Slips first songs “Old Friends,” was inspired by this friendship that gave Morgan a new purpose and direction.

At the State Room
May 18, 2019

On May 18 “Triggers & Slips will play an acoustic set of Alice in Chains (and other grunge-era bands) covers at the State Room. Alice in Chains front man Layne Staley died of an overdose and Morgan, who is a drug counselor by day, hopes the event will bring awareness of the opioid epidemic and the lifesaving benefits of the overdose reversal drug Naloxone. For tickets and info stateroom.com.

Triggers & Slips started simply with Morgan on vocals, guitar and harmonica and continues to develop and evolve. For instance, Four Letters,  Triggers & Slips’ self-titled album, brings a modern take on honky-tonk. By the third album (The Stranger, expected to be released Fall of 2019) Morgan has added a full-on six-member band. The new record was recorded live to tape in single takes, which Morgan says gives the music spontaneity and freshness.

“You need to be prepared, being live, there are no go-backs,” he says. 

These sessions took place at Man vs. Music Recording Studio under the guidance of legendary local producer Mike Sasich, who has lent his skills to local bands like Thunderfist, Joe McQueen and other. The album comes across (deliberately) like a group of friends at a party, jamming together in the living room until the wee hours. Morgan says they really wanted to stumble upon “those subtle imperfections that come through. That’s what people fall in love with.”

Along with Morgan, Triggers & Slips is John Davis- lap steel, dobro, electric guitar, harmonies and occasional lead vocals, Greg is on the Midgley-piano and organ. Tommy Mortenson plays bass, Eric Stoye on drums and Page McGinnis on guitar, and mandolin. Morgan jokes: “I like to be the least talented person on the stage, and so far, I feel like I have been able to achieve that.” 

On May 18 “Triggers & Slips will play an acoustic set of Alice in Chains (and other grunge-era bands) covers at the State Room. Alice in Chains front man Layne Staley died of an overdose and Morgan, who is a drug counselor by day, hopes the event will bring awareness of the opioid epidemic and the lifesaving benefits of the overdose reversal drug Naloxone. For tickets and info stateroom.com. 

See all of our Small Lake City Concerts here. See all of our Music coverage here.

 

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We Got Spiritualized at The Depot

By Arts & Culture, Music

Last Friday, April 5, 2019, at the Depot was a mix of ingredients that made for what felt like a tepid 20-year high school reunion. The show was at 8:30. Doors opened at a responsible 7 p.m: more than enough time for the audience to filter in and take one of the metal seats splayed throughout the hall. There was a lot of flannel-wearing, middle-aged sophisticates engaging in fluttery chatter and laughter. A bartender circulated the room, taking drink orders. Even the drunken heckler who kept screaming some inane phrase considerately wrapped up his spectacle and was escorted out after a few minutes.

Photo credit: Charissa Che

Instead of a Spiritualized show, were we at a lounge with a live band? A cozy graduation? A PTA assembly? One couldn’t be totally sure.

Spiritualized

Photo credit: Charissa Che

Singer/guitarist Jason Pierce came out in sunglasses and went straight to his slightly comfier-looking chair at the far right of our periphery. At least for the first three-quarters of the show (before I left) he did not once acknowledge the people who came to see him, or engage at all with us or his own band – who was scattered on the other side of the stage. Upon recollection, he didn’t turn his head at all. The right side of the room watched his back the whole time. Eyes on his lyrics, he strummed his electric guitar as some neat colors swirled behind him (one nearby observer likened it to a Windows screensaver: not entirely inaccurate). Behind Pierce were three backup gospel singers who conveyed more emotion than everyone else. Too bad they weren’t at the fore of the show.

Spiritualized

Photo credit: Charissa Che

Maybe Pierce played aloof to maintain an aura of mystery about him? Was that a brand he had to uphold? Again, one could only guess. Before half his set was through, the metal seats had largely been vacated by their previous occupants. Some people socialized at the bar and others were just gone.

Photo credit: Charissa Che

There’s the good kind of “weird” show, where maybe the frontman is eccentric but still engaging. Then, there was this one, which seemed to be more of a casual gathering of people who happened to like the same band, the band, who happened to be passing through, so why not, and a good ol’ fashioned time where people could sip their Bud Lights while relaxing their backs and catching up. Which is cool, if that’s what you knew you were heading into. But if you were heading to a venue that is typically known for putting on rock and indie shows with standing room, a feeling of community, and just general excitement, this was not going to be your jam.

Spiritualized

Photo credit: Charissa Che

To peek more pics from the show, go here. (They were taken sans a photo pit, and therefore with as much possible effort without impeding any of the seated audience’s view. Perhaps they adequately convey the vibe described above.)

See all our music coverage here.

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“Jazz and Other Drugs” Brings Local Utah Talent to the Fore

By Arts & Culture, Music

Jazz and Other Drugs” was a pleasant way to start off this past weekend. On Saturday, April 6, 2019, friends, family, and local music fans gathered at the Sugar Space to watch six of Utah’s gifted jazz musicians showcase their talent. The occasion was simple: to celebrate instrumentalists and singers (and as a bonus, boost the visibility of Asian American musicians) in the community. Thanks to curator-emcee-performer Brandan Ngo, audiences were privy to a cozy and communal experience.

I interviewed Ngo and singer-guitarist Amanda Lau (who sang a kickass cover of “Rubber Ducky,” mind you) post-show to pick their brains about what brought on the show, why it mattered, and what we might expect from them in the future. The show also featured the stylings of the Merry Kim Kim Trio (keyboardist Jon Kim; cellist John Kim; drummer Aaron Merry), Drew Olsen, Alex Bowen, John Bergquist, and April Kerr. Check them all out in action here.

Brandan Ngo and the Merry Kim-Kim Trio. Photo credit: Charissa Che

Can you tell me why this show was conceived?

Amanda: Brandan! His passion for music and involvement in other local productions motivated him to create his own show. I like to think this concert was his dream come true, the first of many shows I hope!

Brandan: I’ve always wanted to make music, and put on a show with talented musicians, but for some reason it seemed like an unattainable goal for many, many years. I was always waiting for the opportunity to present itself to me; waiting for permission from “people in charge” to grant me a path to go out and perform.

This show is actually a result of a fortunate sequence of events. My friend April Kerr, who is featured in this concert, put on her own concert sometime last year to promote the release of her first ever album. It was an incredible night full of talented friends. Walking out of that, something started fomenting at the back of my mind. I had just watched my friend put something amazing together out of her own volition. It was a novel idea and still quite exotic to me. After months and months of auditioning and searching for opportunities, and after one particularly nasty audition, it finally clicked. If I want to see myself on stage so badly, then I need to put myself on stage. Nothing is stopping me from creating my opportunity. My voice teacher, Keri Hughes, was a great catalyst in getting this concert idea going as well. I knew I wanted to do it; she’s the one that affirmed I’d be crazy not to.

Amanda Lau. Photo credit: Charissa Che

What do you hope to leave your audience with?

Amanda: The joy of jazz!  

Brandan: I hope to leave my audience with a spark and a hunger to create something of their own; the same spark I left with after leaving my friend’s concert a year ago. Good art should inspire you to consume more art; great art should inspire you to create it. I hope at least one person in my audience leaves to finally write that song or take that photograph or choreograph that dance.

John Kim and Aaron Merry. Photo credit: Charissa Che

Tell me a little about the pieces you’ll be performing. Why did you choose them for this occasion?

Amanda: ‘A Love That Will Last” by Renee Olstead – I sang this at a wedding last year, but at the reception, I couldn’t hear myself and I was so nervous that I forgot an entire verse! I cherished the opportunity to play this song again in a more intimate and forgiving setting. I sent Brandan a link to the song and right away, he said “Yes, do this one!” and put it on the set list. Later, he offered me to sing a second song and I said “Yes, if you’ll have me!” I was so thankful, I could literally jam all day, all night. But I was so indecisive on what my second song should be. I kept wavering back to ‘Rubber Duckie’ by Ernie (yes, the Sesame Street one). It’s one of my fun, guilty pleasure songs. When I told Brandan I was thinking of playing this song, I was worried he would think it’s too weird. But instead, he was 100% supportive and said “Yes, do it!” 

Brandan: My first real exposure to jazz was in junior high. I don’t remember how I stumbled upon it, but Bobby Darin’s “Beyond the Sea” was a tune that [I] took to… right away. Like many things about your personality, you never quite know why something sticks with you or resonates with you. But I never grew tired of it. I felt it would be fitting for my first concert to be a night of jazz music. This night [would] feature a selection of jazz standards, pop, showtunes, and a few originals. Mostly songs about love and heartbreak, as jazz is wont to [be about].

Left to right: Drew Olson, Alex Bowen, and John Bergquist. Photo credit: Charissa Che

What’s your musical background?

Amanda: I’ve taken 12 years of classical piano lessons ever since I was 5 – thanks mom! In high school, I was in marching band as a clarinetist and in a jazz band as a pianist / xylophonist. I only started singing at the beginning of college, when I bought my first guitar on eBay and would casually practice chords in my dorm room. I do have one original song, called ‘Outcast Your Light,’ which is a hip hop track I wrote for a school project. Calling music my hobby feels like an understatement; even though it’s not my chosen career, music has always been a big part of my life. Every now and then, I get to sing at weddings or community festivals, which is always a treat and a fun way to keep up with music.

Brandan: I have been singing in choirs since high school. I was in the University of Utah Chamber Choir from 2013 to 2015, and went on tour with them to France where we placed 1st in two international choir competitions. I’ve also been doing musical theatre around the valley for several years, including a couple shows at Hale Center Theatre. I’m also a novice ukulele player and a very very very novice drummer. 

April Kerr and John Kim. Photo credit: Charissa Che

What would you like to see in the SLC music culture that is not currently there?

Amanda: More Asian American representation across different genres of music! 

Brandan: This is actually my first venture into the life of a local musician as opposed to an audience member, so I have a limited perspective on what the culture needs. From what I’ve seen, there are already a handful of great venues here for small artists to share their art and create opportunity. In [the] future, I hope to see more of these small venues popping up that are working for the artists and the community.

Jon Kim. Photo credit: Charissa Che

Going forward, where do you hope to take your talents? Any shows planned for the future?

Amanda: I would love to be part of more shows just like this one! I love a cozy, relaxed setting. It feels like home, or my favorite coffee shop. I’d love to collaborate with other musicians, like my younger brother Matthew, who is in his own band, Joker’s Hand! No shows in the future… yet. 

Brandan: There’s nothing like creating live music with talented artists for receptive, supportive audiences. I hope to keep singing, and more importantly, I’ve found I want to keep bringing artists together who have maybe never worked with each other before. I want to put artists on stage who never dreamed they’d ever find the opportunity to stand behind the microphone. I hope to be able to contribute to an already thriving local artist scene where everyone inspires everyone else to keep making music, on their own or with each other. As for shows planned for the future, I want to meet more musicians and artists, so I’m certain that means putting on more shows.

Jon Kim, John Kim, and Brandan Ngo. Photo credit: Charissa Che

Check out more pics from “Jazz and Other Drugs” here.

See all our music coverage here.

 

 

 

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Odd Couple: Metric and Zoé Co-headline the Depot

By Arts & Culture, Music

Photo Credit: Charissa Che

Admittedly, I thought I’d stumbled into the wrong show when I arrived at the Depot on Monday, March 18, 2019. Co-headliner Zoé was not at all the same genre as Metric: the psych-rock band from Mexico drew a huge following, and the philistine in me was surprised to find out from a fellow photog that they were a rather big deal, especially in L.A. Led by Leon Larregui, the five-piece troupe has been making waves since their second album, 2003’s Rocanlover. This, as well as their follow-up LPs, have been produced by Phil Vinali, the same guy behind some of Radiohead’s, Placebo’s, and Pulp’s recordings.

Photo Credit: Charissa Che

Zoé performed tracks spanning their 2001 debut to this year’s Aztian. A heads up about the sharp, persistent strobe lights coming from the stage would have been helpful; as it was, it was hard not to wince for the majority of their set. Larregui, however, came more than prepared in Bono-esque shades, a rainbow poncho, and even a matching feathered mic stand. As seemingly one of the few audience members who was unfamiliar with Zoé, it was a rare way to be introduced to a new band: bathed in trippy lights (strobes notwithstanding) and effects, a bunch of raised smartphones, and Larregui’s warm yet raspy vocals, in a tongue that was not my own.

Photo Credit: Charissa Che

After they were done, Zoé’s audience (literally) swapped places with Metric’s. Chalk it up, perhaps, to the oddly-coupled roster. Emily Haines’ voice has that naturally shallow and echoey quality about it that recalls a female Julian Casablancas, and it translated impressively live. The top of their set mostly featured songs from their new album, Art of Doubt. Perhaps it requires a few listens in isolation, but they seemed to blend into one another a little too much, not really accentuating Haines’ unique vocals or having any distinct hooks.

Photo Credit: Charissa Che

Their more memorable numbers came toward the end: the bittersweet “Gimme Sympathy,” the hypnotic “Gold Guns Girls,” and in the encore, “Help, I’m Alive” and “Black Sheep” (Scott Pilgrim fans, unite!). While it’s a lot more contemplative and lengthier than the others, “Now or Never Now” from their new album is worth checking out for its slow burn and ’80s pop instrumentals. As the songs became more coherent and recognizable, so too did the Toronto band become livelier and more interactive with the audience. Some lingering Zoé fans even started moshing (unsuccessfully) by the bar.

Photo Credit: Charissa Che

To see more photos from the show, go here.

See all our music coverage here.

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Shoe-shots and Salty Sarcasm at The State Room

By Arts & Culture, Music

Last Thursday, March 7 at the State Room was so weird that I needed a couple of days to process what happened. So forgive me if this all comes out discombobulated—the show was likewise all over the place, sometimes in the best of ways, and at other times, irritatingly so.

Openers UPSAHL was by far the most coherent and musical act of the night. The lead singer (whose last name is Upsahl) sang with the coyness of Gwen Stefani and pipes reminiscent of SHAED’s frontwoman, Chelsea Lee, relating to us with songs called “Drugs,” (a fun singalong about her party priorities), “All My Friends Are Rich,” and “Stressed” (“Hey, I’m stressed!” shouted one guy when she introduced the song). Most of the set featured smart pop-meets-R&B songs poised to become mainstream hits, should she keep her momentum and publicity up. “Can You Hear Me Now,” features a killer bass line plus UPSAHL’s versatile vocals. She dedicated it to “all the f*ckboys out there!” “Anyone here know someone like that?” she asked. “No! We’re in Utah!” shouted a woman in the front row. “That’s true,” the singer acknowledged.

Second opener Mikey Mike really wanted us to know he showered yesterday. The first time he shared the information was after he called up the aforementioned woman to spin a big wheel with an illustration of his crazed face in its center. It landed on a free-for-all, which meant she could either take A) a “shoe shot” – drink Jim Beam whiskey out of Mikey’s shoe, or B) a shot from his belly button. The woman understandably grappled with her decision for a good minute before deciding on option B. “I support this!” her husband shouted from the front row. And as assurance, Mikey let her and us know that it shouldn’t be too bad of because he had showered the night prior. The woman emerged from his torso, grimacing, but also seemingly fulfilled with the overall experience.

He also played some music with his band. He had the country-rock vibe of Kid Rock and the feel-goodness of Jason Mraz or Jack Johnson. While none of these artists are especially relevant anymore, Mikey made his songs special because of his effervescently nihilistic charm. “How y’all doing tonight?” he said. “Good!” we replied. He adjusted his backwards baseball cap and took a swig from his paper cup, which likely held more Jim Beam. “Alright, well f*ck you!” he slurred, before going into a song. The second wheel-spin was met with more reticence from potential crowd participants. Some tentative hands were raised, then one lucky girl was hoisted onstage. Again, the spin landed on a free-for-all. Mikey gave her the choice between A) a shoe-shot, or B) lighting him on fire. The girl opted for both. She unfortunately waited too long to take the shot, as the whiskey soaked into Mikey’s boot (“These were new shoes, too!” he lamented), so she had a do-over. Borrowing a lighter from a kind audience member, she then lit some of his chest on fire. Fortunately, it was put out quickly. “My hair usually sets on fire and does this cool thing,” said Mikey, “but I showered, so…”

I’ve listened to, and liked, Max Frost’s music without knowing much else about him: what he looked like; his personality. And maybe that was for the best. The solo singer and instrumentalist was no-doubt impressive, darting from one side of the stage to set up his vocal and instrumental loops, then to the other side, to sing and drum. It was a strange and somewhat distracting setup, and I wondered why all the equipment couldn’t just be right next to each other, but the energy it demanded justified the track suit he wore, I guess. It can be cool when a singer’s visual aesthetic unexpectedly clashes with his music: his voice was soulful, he busted out an impeccable falsetto at one point, and he played virtually every instrument while seamlessly transitioning between songs.

But it was hard to get over the high school jockiness he sporadically exuded. He jabbed at those sitting at the back to “get up and party” because “this isn’t a James Taylor show,” and said he “wasn’t going to let it go” until they obliged. And indeed, he really didn’t let it go. One person made a good point, that she could hear better from the back, others followed his instructions, and others simply left the room. Another uncomfortable moment came when he talked about it being good to be back in Utah. “Last time I was in Salt Lake City, I was playing at that arena,” he tells us, referring to his February show at Vivint. He chuckles. “I guess that means my career has taken a downward spiral, now that I’m playing here?”

But “White Lies” and “Withdrawal” were particularly excellent live, and his general showmanship (minus the awkward banter) seemed to get people bopping, so tomato tomahto.

For more photos from the show, check out the full album. See all our music coverage here.

COIN, Tessa Violet show fans “Simple Love”

By Arts & Culture, Music

Wednesday, February 20, 2019 at The Depot gave audiences the perfect pairing of two very smart pop acts, who knew how to meaningfully touch the hearts of their young fan base: opener Tessa Violet, and headliners COIN.

Photo credit: Charissa Che

Contrary to her observation that the crowd was not “warm enough” for the main act, Violet was more than apt at getting everyone to sing along to songs (and even dance to her choreography) that were largely unfamiliar to us. In between songs were mini confessionals that helped construct a living scrapbook of her journey through depression, love lost, and, as one song spells out, “Bad Choices.” “When I started writing this, I wanted to write about how sexy and sassy I was,” she said endearingly, by way of introducing the song. Alas, she tells us how it took on an agency of its own, to be about “what pretty much sums up my whole life thus far.”

Photo credit: Charissa Che

While Violet’s asides were frank and vulnerable, they did not pander, which is why her set was so memorable. Scanning the room, even teens wearing the toughest facades sang along to the lyrics of “Make Me a Robot,” an autobiographical song about her recent struggle with mental illness, and her journey toward self-love. “Make me a robot. Make me a robot. Make, make me cold,” the room sang. The flashlights lit up on their phones, and swayed. “Make me a robot. Make me a robot. Take, take my soul.”

Photo credit: Charissa Che

With the scene sufficiently “warmed up” (the bassist took off his shirt at one point because he was so warm, and probably at the persuasive chanting of “Take it off!” led by Violet), COIN gave us a set featuring tracks from their 2017 LP, How Will You Know if You Never Try and their more canonical 2015 self-titled debut album. Some songs from their upcoming album upped the groove of their usual sound; i.e. “Simple Romance,” which recalls “Feeling” with a teasing dash of falsetto. Echoing like The Wombats and Spoon and probably an amalgamation of others from the best of 2000s indie pop, the band rightfully deserves the traction they’ve gained this past year.

Photo credit: Charissa Che

The stage setup was simple: just four guys in front of a backdrop of horizontal neon lights. But seen especially from the back, it looked effortlessly cinematic. Silhouetted frontman Chase Lawrence threw himself on the keys, moppy hair flying and tongue out. “Run” and “Talk Too Much” were of course the popular hits that brought out the Snapchats. The latter’s guitar solo was especially delicious to behold live.

Photo credit: Charissa Che

To view more photos from the sold-out show, go here.

See all our music coverage here.

Small Lake City Concert: Pixie and the Partygrass Boys

By Arts & Culture, Music

Ben Weiss invited some musician friends he knew, Zach Downes and Andrew Nelson, to jam at a party for a few hours with a musician he’d never really played with, Katia Racine. “Three hours flew by,” Weiss says, “So at the end we all looked at each other and said ‘Well, we should start a band.’”

And that’s how the Salt Lake-based band Pixie and the Partygrass Boys was born four years ago.

Since joined by Amanda Grapes on fiddle, the band has been an important part of the Salt Lake music scene. On any given night you might find Pixie and the Partygrass Boys as the opener at The Commonwealth Room, playing a regular gig at the Hog Wallow or at their once-weekly bluegrass jam at Gracie’s.

Part of the band’s popularity is their genre-busting style—Weiss describes the band as “non- traditional bluegrass with heavy jazz and funk influences. “The crossover of playing Stevie Wonder with a bluegrass band seemed like a no-brainer for us,” says Weiss. “People who love bluegrass get to see something they might not usually see at a bluegrass show, and people who don’t normally like bluegrass might find something that they do like because we’re playing something familiar with a bluegrass style.”

And while the band started with a lot of covers, these days they play more and more of their own music. “Every member of the band is a composer,” says Weiss, “We all write songs then get together as a band to arrange them.” The fans are happy with the transition, too, he says, “It’s a really special thing to watch our fans come because we are fun and we play songs we write and now they come and sing along to songs we’ve written.”

Ultimately, Weiss says the goal of the group has always been the same, “When we started this band we wanted to have fun. We wanted to play music people could dance to and we wanted to have a creative outlet to express ourselves freely. We always try to have the most fun in the room, and you know, sometimes we do. It’s not traditional but we always keep it ‘grassy.”

Watch all of our Small Lake City Concerts at saltlakemagazine.com/small-lake

Preview: Avett Brothers at Red Butte

By Arts & Culture, Music

Let’s find something new to talk about. I’m tired of talking about my myself.

So say the lyrics of the Avett Brothers tune “Open Ended Life,” from an album released a couple years ago. But, as they make their way to Red Butte Garden on Tuesday night, on the heels of the release of their latest album True Sadness, fans should expect lots of talking about the Avetts. Because the main theme of the album, as you may have guessed, is heart-sickness and most of the songs were written in the wake of Seth’s fairly scandalous divorce.

For a good snapshot of the band’s evolution, compare the perhaps a little too on the nose “Divorce Separation Blues” from True Sadness to “Shame” from 2007’s Emotionalism. Both are about failed relationships—one is a self-centered view of how the end of a relationship affected the narrator while the other is a tender apology for cross words and poor judgement. I know which I prefer.

So, on their latest album the navel-gazing is more present than it was when the boys from North Carolina were writing a slew of bluegrassy songs titled “Pretty Girl From (insert town name here)” and the music has matured along with the subject matter, True Sadness features synthesizers. For those of us who are Avett fans, this is a Dylan Goes Electric moment and I know I’ll be interested to see how the new sounds are incorporated into their live show.

But, there’s good news! The Avett Brothers are always a rollocking good time.  Brothers Seth and Scott have endless energy, along with their ever-expanding band on stage. They play the hits, and their Utah crowds always know the back catalog. The harmonies area always tight. And even when the subject matter is less cheerful, Joe Kwan’s cello playing is sure to put a smile on your face.

The Avett Brothers play Red Butte Garden Tuesday, July 26th. Gates open at 6, the show starts at 7. Sold-out.

Utah Opera Presents Carmen

By Arts & Culture, Music

Carmen is an opera sung in French with Spanish characters that takes place in Italy—with English subtitles.

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Utah Opera kicks off its 2016 season with Carmen, a classic opera by Bizet that tells the story of loyal soldier Don Jose, his love and Carmen, the gypsy who steals his heart (yes, I know we’re not supposed to say gypsy anymore, but what should we call her?)—and it has become one of the most well known operas of all time.

And I’m going to be honest with you. I’m not an opera writer. I’m not even going to summarize what the Utah Opera has put together here and here about the history of the performance and about Bizet because everything I know about classical music and opera I learned from Looney Tunes.

But here’s what I do know: I know pop culture and modern music. Carmen has permeated the both genres centuries after its release. You might not know the story, but you know the songs. From Up to The Muppets (my personal favorite), “Habanera” is everywhere—even in pasta commercials.

So, combine music you know with beautiful costumes, the always fantastic Utah Symphony Orchestra and support from Madeleine Choir School and Carmen is sure to delight.

Carmen debuts on October 8 and plays through the 16th. Tickets are still available here.

Preview: Elizabeth Cook at The State Room

By Arts & Culture, Music

Americana singer-songwriter Elizabeth Cook plays The State Room on Sunday, October 9.  Last month she talked with Salt Lake magazine by phone from Nashville to discuss her new album, rehab and feminism.

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SLM: Good to talk to you, I’m a big fan. I wanted to talk to you about Exodus of Venus because it feels different than your other albums. Do you feel like it’s different?

EC: I feel like it’s way different. The passage of time and everything that happened in my life just sort of reset me artistically and that’s what happened.

SLM: How would you define the change? I’ve read reviews where they call it dark, but I don’t think it’s dark. I think that’s a mis-categorization. I think maybe its more grown up.

EC: I think that’s fair. And sometimes life gets heavier as you go and you take more blows. It’s all part of the process.

SLM: You’ve gotten a lot of attention for this album. It was kind of like you burst onto the scene and got a wider audience than you have for some of your previous work.

EC: That’s good news. (laughs)

SLM: So last time I saw you, and I think the last time you were in Salt Lake, you were playing with Todd Snider.

EC: That’s right, I remember that.

SLM: And you’ve done a lot of collaboration and a lot of touring with him. He’s got kind of a cult following, it’s fair to say. Do you feel like your audience is often the same as his?

EC: There’s some crossover. It’s not exactly the same but there’s some crossover because he’s been so kind to introduce me to his audience so many times as I’ve played shows with him.

SLM: In the Rolling Stone interview you did when your album came out you said something funny about how people think the two of you just do drugs and sleep together but you’re actually creative partners.

EC: You know, above all else we’re just friends. We get together and we talk shop and we commiserate over the music business and ex-husbands and ex-wives and show each other songs that we’re starting. It’s really a lot of that.

SLM: I always think it’s so interesting. I don’t know if Emmylou Harris has ever had an interview where people haven’t asked her about her relationship with Gram Parsons.

EC: Right. Like no one believes that that relationship could have been platonic.

SLM: Or like she hasn’t done enough on her own to not be asked about him every once in while.

EC: (laughs) Right.

SLM: But on the same note, I noticed when I was pulling things together to prepare for this interview that a word that’s used a lot—even in the subheading of that Rolling Stone interview—is outspoken. And I thought to myself, how many times is a male singer-songwriter called outspoken?

EC: True. There’s a different set of standards, a different set of rules.

SLM: I have this idea for a thesis paper I’m never going to write about country music and feminism and how country music is full of these strong female characters—you have Loretta and you have Dolly—and you have all of these women who are strong, but you have an audience who would never, ever identify themselves as feminists.

EC: Right. I’ve heard it said that Gretchen Wilson, she’s someone who came on to the scene in country music really fast and we all thought she reset everything in terms of what females were doing, and then she drank from a whiskey bottle and it was over. It was just over. No country radio shows were letting her in the door. There were suddenly like, “No. We won’t have our women carrying on that way.”

SLM: I find it fascinating. I’m from the south and all the women in my family carried on more like the outspoken women of country music than the others. My family is more Loretta Lynn than Tammy Wynette. But it’s interesting to me at the end of the day who audiences are listening to. And there’s definitely a theme of strength in your music. And sometimes it’s really on the nose, like “It takes balls to be a woman,” and sometimes it’s more subtle than that when you talk about the strength of a mother whose child has been abducted. And I just think it’s a fascinating topic and an interesting peek into American culture.

EC: It is. I’ve always thought it was interesting too, that Tammy Wynette sang “Stand By Your Man” but she was divorced and Loretta Lynn is the one who sang about leaving and threats all the time, but she was the who stayed with her husband through all those years.

SLM: A lot of that is public perception. We package ourselves as something you aren’t necessarily and it cuts both ways. So, as a follow-up to that, how do you feel like you package yourself?

EC: You know, I let the music dictate how it seems to be branded. I really am not that calculated with it. I might be better off if I was but I just sort of let the music do it and however that’s perceived the rest follows.

SLM: I think your radio show (Apron Strings on Sirius XM) does a lot to brand you authentically without a huge marketing machine behind you.

EC: That’s definitely true.

SLM: So people who didn’t come to know you through the stuff that you did with Todd Snider, and this follows up with the radio stuff, you were on Letterman a lot. And Letterman did more for Americana music than any other platform when he was on air, I think. So I wonder if you see anyone who has taken that—is there a show now or a personality who is carrying that torch of bringing that music to the masses.

EC: Well, I think there are several who are doing a little bit, but not to the extent Dave did. Like Conan dabbles in it. Colbert dabbles in it. Fallon dabbles in it. But I don’t sense there’s the hardcore fandom that there was with Dave.

SLM: And you said in that Rolling Stone article that I keep referencing that you still speak to him, that you sent him your new album—he’s still paying attention to the scene even if he’s not bringing it to the rest of us.

EC: He’ll ask me, “Who should I be listening to? Who should I be checking out right now?” And I enjoy sharing that.

SLM: That’s a question I always asks everybody I interview, too. Who should I be checking out right now?

EC: Lydia Loveless—she’s so good and she’s so young. She’s going to do great things—and Robert Ellis is good.

SLM: So with regard to influences, you grew up in a musical family, but what were you listening to, outside of your family’s music?

EC: I had the cultural experience of MTV coming on the air when I was like ten, 11, 12 somewhere in there. And it really opened my eyes and ears to a whole other genre of music that I didn’t know existed up until then. They were playing Michael Jackson and Bruce Springsteen.

SLM: So you were listening to rock while the rest of your family was still listening to more traditional country?

EC: When I came to that age. Yes. My sister left a few cassette tapes in her closet. She’s 11 years older than me, so I was pretty young when she moved out of the house but she left and Eagles cassette tape and a Creedence Clearwater Revival cassette tape, and I think a Lynard Skynyrd cassette tape.

SLM: That’s all you need! That’s the southern rock anthology.

EC: It’s still some of my favorite music ever made.

SLM: So when you songwrite, you obviously draw a lot from your personal experiences in that song writing.

EC: True. My lyrics come from my journaling.

SLM: How often do you journal?

EC: Every few days.

SLM: So how’s that process work, you journal and then every so often you go through it and pull stuff out? What’s it look like?

EC: Right. That’s exactly it.

SLM: That definitely puts you in a place of vulnerably, if it’s literally from your diary. That’s really just leaving it all on the stage.

EC: It would just feel inauthentic to do it any other way.

SLM: Is it cathartic? Is it useful to you to process things that happen to you through that lens?

EC: Very Much, yes. It’s my greatest incentive on doing this.

SLM: I thought one of the most interesting things I read about you while doing my research was that you went to rehab even though you didn’t think you were an addict because you thought there might be something you would get something out of it. Did you get something out of it?

EC: You like to think that everything happens for a reason, but it was a very tough experience and I lasted like, 11 days. I felt like the treatment I was getting wasn’t helpful for me at that moment. I was in for an eating disorder as well and I was losing weight because I wasn’t getting enough food. They highly regulated my calorie intake and I was hungry all the time.

SLM: So, do you think the people who staged this intervention and told you they thought you needed to go to rehab thought they were acting in your best interest. So it’s such an interesting thing to read to your story compared to the New York Times and New Yorker stories about Jason Isbell when he went to rehab. Because it sounds like the genesis was the same. It was people who love you coming together and saying this is something you need to do, but the outcome was very different.

EC: Right. That was the greatest impact. He had a chemical substance addiction.

SLM: So, I’m a single mom and I talk to my other single mom friends and we’re like, sometimes a forced vacation sounds like it maybe wouldn’t be so bad. Like, maybe it would be nice to have someone take care of us at rehab.

EC: There were people in there doing that! And that’s sort of how I looked at it too, you know, I thought well, we’ll go and we’ll find out. I’m definitely not in a good place. Maybe I do have some problems that I’m not identifying. And it’s fair for me to go and I was under a lot of pressure to go from people who love me. They cancelled a tour I was supposed to go on. But once I got in I didn’t find it relaxing.

SLM: It wasn’t all spa robes and flip-flops and talking about your feelings, then? Maybe I need to find a different vacation.

EC: Right. Yeah, do that. This one was really good at looking resort-ish. It had a fountain and a koi pond. I never got to go by the koi pond. I never saw the koi pond one time

SLM: Maybe you get the koi pond on day 12.

EC: They were treating hardcore addicts and people in crisis. I was certainly in crisis. But not the same way they were tailored to assist in.

SLM: So you checked out of the rehab that you didn’t need in the first place, but because you were still in crisis, you obviously found something that worked better for you at that point.

EC: I needed one-on-one therapy and time.

SLM: And journaling!

EC: Yeah!

 

Elizabeth Cook plays The State Room on Sunday night. Tickets are still available here. Lee Harvey Osmond opens.