52 Church street
MA, 02138

Blitzen Trapper – Tickets – The Sinclair – Cambridge, MA – November 7th, 2017

Blitzen Trapper

Blitzen Trapper

Lilly Hiatt

Tue, November 7, 2017

Doors: 8:00 pm / Show: 9:00 pm

$20 advance / $22 day of show

This event is 18 and over

The Sinclair is general admission standing room only. Tickets available at AXS.COM, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box office Wednesdays-Saturdays 12-7PM.

Blitzen Trapper
Blitzen Trapper
Over the course of 15 years and seven full-length albums, Blitzen Trapper has crafted one of the more compelling and varied catalogs in contemporary rock and roll. Indeed, singer and guitarist Eric Earley, who is also the Portland, Oregon-based band's primary songwriter, is possessed of a musical and lyrical sensibility that is remarkably deep and wide; big ideas and universal emotions are wrung from the seemingly plainspoken details of small-screen and often highly personal stories, and set to music that reaches way, way back to old-timey folk and bluegrass, travels through everything from country, psychedelia and soul to prog, garage and metal, indulges gloriously in the classic rock of the 70s and 80s, and makes occasional side trips into hip-hop, skewed pop and noisey freakouts.
Even while continuing to explore broad stylistic territory, Blitzen Trapper's eighth studio album, a 10-song collection titled All Across This Land, stands as an exceptionally focused and immediate effort. Though it follows 2013's somewhat experimental VII, a futuristic hip-hop/country-rock hybrid, All Across This Land, in contrast, is a top-down, tightly defined piece of classic rock and roll, full of big riffs, bigger hooks and compelling, instantly relatable lyrics. In sound and scope it recalls two of the band's more beloved albums, 2008's breakthrough fourth effort, Furr, and 2011's landmark American Goldwing. "I think it's a return to the sort of more 'classic' Blitzen Trapper thing, for sure," Earley says.
It also follows something of a pattern. "It seems to be that every other album goes this way," Earley continues. "After Furr we did [2010's] Destroyer of the Void, where we were exploring all these different things. Then came American Goldwing. After that, VII. Now we're back to that rock thing again."
Something else All Across This Land shares with Furr and American Goldwing: the fact that these new songs came quick, and in a very concentrated period of time. "Those two albums, I wrote all the songs at once and they all hang together. But the records that came in between, they were written over the course of a year-and-a-half or so," Earley says. For All Across This Land, he continues, "I had all the songs written and demoed in a three or four month span. And I think they work together because everything came in such a short period."
And yet, for a record characterized by its focus, there is still plenty of musical and lyrical ground covered within its ten songs. Gentle, almost folksy moments–the lilting, pedal steel-inflected "Love Grow Cold"; the fingerpicked closer "Across the River"; the acoustic-guitar-and-harmonica-led "Lonesome Angel"–abound, even if, for the most part, All Across This Land is defined by its more upbeat rock-and-roll numbers. To that end, Earley says it's the record that perhaps best represents what Blitzen Trapper is as a live act. "It's funny, because I think with this band, there's two different ways people see us," he says. "People who just hear the music somewhere, they tend to think of us as this, like, indie-folk act. But people who come to the shows know that we're actually a hard rock band. And who knows? Maybe all that some people really want from us is folk music. But what we like to do is play rock music."
On All Across This Land, they certainly do. The album kicks off with "All Across This Land," a slice of sun-drenched rock propelled by a stabbing and syncopated guitar riff and full-voiced chords, accented by some euphoric "hoo hoo" backing vocals. When Earley's vocal enters, it's with a greeting of sorts: "Welcome to earth my son you're here just in time / So much to learn so many ways you can shine." The song is, at its core, a celebration of life, in particular of one that is just beginning. "One of the members of our band, Mike [Van Pelt] had just had his second boy, and I was thinking a lot about that," Earley says. From there, he also began to look back on his relationship with his own father, a bluegrass and folk musician. "I was remembering how my father taught me to play music, There's just so much potential in that relationship you have with a new life."
From here, the record moves into "Rock and Roll Was Made for You," another celebration of sorts, this one for music itself. Over a driving, percussive guitar riff, Earley testifies about its sometimes otherworldly powers: "Rock and roll gonna make you shout / It's for shooting down planes after blacking out."
Music also serves as the inspiration behind the record's third track, the pulsing and atmospheric "Mystery and Wonder." "In a lot of ways this one is me reminiscing about the songs I've written in the past and my reasons for writing them," Earley says. "And it also looks at how we got into playing music as a band. Because we all came from much smaller places and then we moved to the city, which was Portland. Now, Portland isn't really that big a place, but to us it was. And that's where it all started." Another cut, "Nights Were Made For Love" finds Earley examining his life and band from a more nostalgic perspective. Over a quick-paced but laidback country-rock rhythm, he sings about being "stupid, strange and young at heart / and all we wanted was to rock and roll." "It's looking back at our high school days–going to football games, playing music," he says. "In certain ways, it's sort of the story of the journey of our band."
Earley's childhood comes into play in a much different way on the dark and driving "Cadillac Road." "That song is about a small mill town in the mountains outside of where we all grew up," the singer explains. "Around '83 or '84, they shut down the mill and everyone was told to pack up and leave. And everyone did–but one guy stayed. People said he lived in the woods, and that if you listened you could hear him at night. It was this odd story that stuck with me, and I felt like I should tell that story." But in telling the tale of one man, Earley manages to touch on much larger themes of loss, regret and perseverance in the face of a shifting American landscape. "Gotta change with the times," he sings at one point, "but I dont have the heart."
The album ends with another big statement, "Across the River," a rumination on life and death that Earley sees as something of a bookend to opener "All Across This Land." "I feel like they tie in together, because the first song is about new life, and the last one is almost a near-death experience," he says. "I'm crossing a river to another place that's something like the afterlife–it's heaven, but it's not. And then my father shows up and he says, 'You're not supposed to be here yet. You've got more stuff to do.' "
Earley's father comes up often in the context of his lyrics, which is understandable–the elder Earley has cast a long shadow over his son's musical life. "My dad and my grandfather both played instruments–guitars, banjos...my grandfather was a harmonica virtuoso," Earley says. "So there was a lot of music around me as a child. And it was old-timey stuff. Like mountain music–the kinds of songs where no one knows who wrote them, basically."
Earley's childhood was so rooted in this music that he didn't get turned on to rock and roll until much later, when he was already in high school. "So to me," he says, "the 80s is kind of my foundation for rock. A lot of my influence is from the Replacements, R.E.M., that kind of stuff. Even Pavement in the early 90s." As a result, on All Across This Land, "when I'm thinking of rock and roll, I'm thinking of Paul Westerberg, to be honest," Earley admits with a laugh. In addition to Westerberg, he also cites Joe Walsh as one of his main rock influences: "He's always been one of my favorite guitar players, and you can hear it on the album. The riffs and chords on 'All Across This Land,' that's straight from Joe Walsh."
That love of a particular type of rock and roll helped guide Blitzen Trapper's approach on All Across This Land. "We recorded it specifically to be a two guitar, bass, drums and piano record," Earley says. "Every song is a band song, and arranged just how we'd play it onstage. Because at this point, we've made tons of records and we've played tons of shows. And the people who come out to see us, they understand what we're doing and they don't care about genres or anything like that. They're more interested in our actual specific unique personality as a band."
As for what that specific personality is? "I think there's two kinds of songs I love to write," Earley says. "I love songs that rock hard and that just make you feel good, and then I love songs that are sad and introspective and touch you in a very deep place."
Which, in essence, is exactly what Blitzen Trapper puts forth on All Across This Land. "I was trying to distill everything down to those two things," Earley explains. And if, in doing so, the band happens to pick up a host of different sounds and styles along the way, so be it. "We're never going to be a band that plays the same song over and over again," he says. "We like to explore. And sometimes that's not so easy for people to deal with. But we're going to just keep on doing what we do."
Lilly Hiatt
Lilly Hiatt
Lilly Hiatt is set to return with Trinity Lane on August 25th, 2017. The 12-song set was produced by Michael Trent of Shovels & Rope and engineered by Andy Dixon at Trent’s Studio Bees in Johns Island, SC. It is the follow up to her acclaimed sophomore album Royal Blue, which Paste Magazine described as “a glorious tumble of influences – surf rock, Smiths vibes, Laurel Canyon twang and jangle, Sonic Youth flatline, Britpop flourishes, Seattle grunge and Joy Division meets Human League synthery.” In addition to her backing band, Trent is featured as a musician throughout, and is joined by his wife and Shovels & Rope partner Cary Ann Hearst for backing vocals on “Everything I Had.” Lilly’s love of the ‘90s alt-rock she was raised on continues to shine through on Trinity Lane in the distressed guitars and urgent backbeats. She cites the Pixies, Breeders, Dinosaur Jr., and her favorite, Pearl Jam as influences, but there is also something distinctly Americana lurking in the songs. Rolling Stone Country premiered the Michael Carter-directed video for the album’s title track HERE, stating, “The daughter of John Hiatt, she keeps the family tradition alive, mixing Southern influences – Americana, folk and left-of-center country – with a raw approach that’s better suited to the garage than the saloon. The album’s title track is no exception…the song finds Hiatt making peace with her old demons, while guitars crash and pianos chime in the background.” They continued, “‘Trinity Lane’ is an empowerment anthem stocked with details from Hiatt’s everyday life, from the name of her street to the smell of her neighbor’s cooking.” Trinity Lane will be available digitally, on compact disc, as well as LP and can be pre-ordered now via PledgeMusic.

After moving out of an ex’s house, Hiatt settled into a new apartment off of Trinity Lane in her East Nashville neighborhood and went on tour with friend John Moreland to the West Coast and back. The intensely personal, autobiographical album was written largely upon her return, in isolation, facing the issues she escaped while on the road. Every time she wanted a man, she picked up her guitar. Every time she wanted a drink, she picked up her guitar. Hiatt says, “Love will take you to the darkest places but also the most honest places if you let it. Learning how to love myself is something I’ve always been lousy with, and I spent some time on that. I thought about my sobriety, what that means to me, the struggles I’d had throughout the years, since I was a 27-year-old and hung up my toxic drinking habit. I thought about my mother, who took her own life when I was a baby, not far from my age at 30 years old, and I related to her more than ever. As you can see, there was plenty of time spent on my own. I didn’t talk to that many folks, albeit a few close friends, and leaned into my family. I stayed away from men, and danced alone in the evenings, looking out my window observing my humble and lively neighborhood. I found power in being by myself. I found peace in the people I was surrounded with – we didn’t really know one another, but we smiled when passed on the street. One time I almost rear-ended an older woman in her car backing out of my driveway and I said, ‘Oh man, I’m just not used to any cars coming around this bend. She replied, ‘This is our little hideout, baby,’ And it really was.” She continues, “After a while, I had all these songs to play, and wanted to share them. I wanted to get out of town to get some distance from everything, so after an ongoing conversation with Michael Trent, I took my band to Johns Island, SC and we holed up for a few weeks. I poured my heart out, and trusted them with it, and these guys gave it right back. I think we all understood what it’s like to question home, intention, demons, love…I think most people understand that.”
Venue Information:
The Sinclair
52 Church St
Cambridge, MA, 02138

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