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DTSTART;TZID=UTC:20251108T190000
DTEND;TZID=UTC:20251108T190000
DTSTAMP:20260515T185328
CREATED:20251104T175502Z
LAST-MODIFIED:20251104T175502Z
UID:135734-1762628400-1762628400@www.mikebrowngroup.com
SUMMARY:Margo Price w/ Dillon Warnek
DESCRIPTION:Nearly a decade ago\, Margo Price turned Nashville on its head with her breakthrough\,\nbeloved debut solo album\, Midwest Farmer’s Daughter. Released in the throes of bro-country and\nbefore pop stars were crossing over into the genre left and right\, it showcased an artist completely\nunafraid to double down not only on herself\, but what she’d always loved: classic country songs\nwritten from the intellect and the gut\, hell-bent on truth-telling and both timeless and urgent all at\nonce. Respected by her peers\, praised by critics and beloved by her fans\, Price created a lane where\nindependent-minded\, insurgent country music can exist and thrive alongside the mainstream\, and\nbecame an ardent fighter for her beliefs in a genre where the norm is to shut up and sing. A\ntrailblazer and a champion for the craft\, Price redefined what it meant to be a modern country\nartist.\nAnd now she’s back with an exquisite\, truly timeless album that reconnects with her roots\nand pays tribute to the art of the country song\, inspired in part by the legends whom she now calls\ncolleagues and friends. Hard Headed Woman is both a look forward and a look back: a way to\nmarch forward while staying true to yourself when the path of less resistance is right there in front\nof us\, and short cuts are around every corner. And a way to look back when we need to trim what\nis no longer working\, and to stay connected with where we’re from. It is a promise and a manifesto\,\na love song to both a city and a genre\, and a defiant cry for individuality.\nIn creating Hard Headed Woman\, Price brought all of her power as one of our most\nbeloved and respected songwriters to craft a deep exploration of love and America in a time of\nunprecedented uncertainty. Featuring appearances from Tyler Childers\, co-writes with Rodney\nCrowell and a Waylon Jennings song that his widow\, Jessi Colter\, urged her to sing\, it is country\nmusic as only Price can make it: free of rules\, cherishing tradition\, hard headed to the core but\nwith a delicate\, beating heart.\nSince releasing Midwest Farmer’s Daughter\, Price has barely slowed down. She’s made\nfour records\, played Saturday Night Live\, been nominated for a Grammy\, toured the world\nalongside artists like Chris Stapleton and Willie Nelson\, released a lauded memoir (Maybe We’ll\nMake It\, due on paperback September 2nd)\, became an in-demand producer and was appointed as\nthe first female board member of Nelson’s Farm Aid. And she’s been fearless when it came to\ngenre\, venturing into psychedelic rock on her most recent\, Jonathan Wilson-produced record\,\nStrays. It would have been easiest to just stay that course\, and keep running. But Price doesn’t\nfollow success or comfort. She follows the art.\nIt took a whole lot of hard work and honesty with herself and others to get there\, but that’s\nnever stopped Price before. “I made the decision that I had to rebuild everything from the ground\nup\,” Price says. “There’s all this pressure to be pumping out content\, and I felt the opposite in the\nway I wanted to approach this record and my life in general.”\nPrice had also established herself as one of the most passionate\, vocal artists in country\nmusic and beyond when it came to standing up for political and personal causes\, from the\npresidential election\, to abortion to gun control: happily hard headed when it came to the fight for\nequality and justice\, especially for the working class and underserved in our society. Price has\nalways brilliantly woven her activism into her songs\, but her role as a spokesperson had started to\novertake\, on occasion\, her role as a songwriter. She wanted to focus on using her written word to\ndeliver the most potent punch of all.\n“I always hope to do like Johnny Cash did\,” Price says\, “which is speak up for the common\nman and woman. But there have been so many threats and anger and vitriol over the years\, when\nI am only coming from a place of love.”\nPrice realized she just needed a break from everything outside of the bubble of family life\nand her art. She started spending more time at home\, writing songs alone and with her husband\,\nJeremey Ivey. She started popping up in the dive bars and tiny venues around Nashville where she\ngot her start\, sometimes just to play a country cover or two or dance with the crowd. She refused\nguidance to write for pop stars or compromise her values for a quick buck. Most of all\, she turned\nthe emphasis in her music back to songwriting\, exactly where she began.\n“So much of Strays was leaning into this psychedelic\, textural territory\,” says Price. The\nmusic lent itself to vibrant\, heavy stage jams\, with Price often hopping behind the drumkit and\nbruising her thigh from a tambourine beat. She found herself longing for the days when it was just\nher and her guitar\, playing at an East Nashville dive bar. “I always knew\,” she adds\, “I would come\nback to this more rooted sound.”\nHard Headed Woman is rooted to its core. Rooted in Price’s history and struggle to make\nit as a musician for so many years in a town that prizes uniformity and the bottom line\, rooted in\nthe country and folk sounds that have become her signature\, rooted in the simplicity of a few key\ncollaborators instead of songs-by-committee. At the heart of Price’s work is her creative\npartnership with Ivey\, with whom she describes as having a “soul connection.” “I’m a songwriter\,”\nPrice says. “I’m not somebody who goes out and needs five people to craft a song\, and then tack\nmy name on it. That’s never been my style. I have something to say.”\nSomething to say\, nothing to prove. The first song they wrote for the album that would\nbecome Hard Headed Woman was “Close to You\,” a simple\, pining call for a lover that is infused\nwith the sounds of the desert. It’s unfettered and truth-telling\, accented by some flamenco guitar\nand Price’s gorgeous\, urgent vocals. “We played the jukebox while democracy fell\,” Price sings\,\nnever letting her songs fall out of the context in which they exist. It’s the kind of thing that only\nshe could write\, carrying both love and fear in one single line.\nAs more songs started to form\, an early boost of confidence came from her friends Rodney\nCrowell and Emmylou Harris\, who heard some of the work at a political fundraiser and encouraged\nPrice to keep going. “I have both of them to thank for building me up and making me believe in\nthe songs I am writing in this season of my life\,” Price says. Crowell remained not only an\ninspiration and supporter of the album but a contributor: he co-wrote two songs with Price and\nIvey.\nThe album that unfolded from there is drenched in Price’s unique story and unshakeable\ninstincts: while Midwest Farmer’s Daughter was about her journey from childhood to Nashville\,\nHard Headed Woman is very much her battle since from dive bars to tour buses\, through\nparenthood and marriage\, through scrutiny and sacrifice all while fighting constantly for what she\nbelieves in\, and the music she loves. It begins with a proclamation on the prelude\, which serves as\nthe album’s mission statement: or\, Price puts it\, “a disclaimer and reminder that I don’t owe you\nfucking shit.”\nSongs like the album’s lead single\, “Don’t Let the Bastards Get you Down\,” speak for the\ndowntrodden and the forgotten\, an “anthem for people who are being overlooked in society and\nneed to be lifted up\,” Price says\, “because we are up against so much right now.” As so many of\nPrice’s songs do\, it speaks both for the personal and the political all at once. Price was inspired by\nthe message Kris Kristofferson whispered to Sinead O’Connor when she was booed on stage at a\nBob Dylan 30th Anniversary show\, and even got Kristofferson’s widow’s blessing to include his\nname on the credits. “I always admired Kris for how he stood by her in that moment\, instead of\npulling her off the stage like they told him\,” Price says. It serves as a reminder to anyone who\nencounters resistance in the face of fighting for justice to keep going\, especially when it would be\nso much easier to capitulate and cower.\n“The song was originally written for a movie that never happened\, but it feels so timely\nwith everything that’s going on in the world\,” Price explains. “The phrase\, ‘Don’t Let The Bastards\nGet You Down’ originates from Margaret Atwood’s brilliant 1985 piece of literature\, The\nHandmaid’s Tale. It’s referred to in Latin and used as a rallying cry for resistance against the\noppressive regime that symbolizes resilience and hope in the face of adversity. Nolite te Bastardes\nCaborundorum.”\nThat spirit resonates all across the songs of Hard Headed Woman. The blistering “Don’t\nWake Me Up” was based around some writings that Ivey stumbled upon in one of Price’s\nnotebooks\, inspired in part by her deep readings of Frank Stanford\, one of her favorite poets due\nto his freewheeling work free of boundaries. They spun it all into song in minutes that chugs with\nthe essence of Dylan’s “Subterranean Homesick Blues”: “The way this world is going\, ain’t where\nI’m at\,” Price howls in her powerful\, unmistakable voice. “Nowhere is Where\,” turns slow and\ncontemplative\, road-worn but never broken\, the call of someone who has been to the mountain but\nnever forgets the prairie below. And “Losing Streak” whirls in with an organ and out with a weary\,\nworld-worn defiance: our worst times don’t define us\, but they’re always part of who we are.\nThere are songs that go back to the beginning of Price’s early grind\, like the western-tinged\n“Wild at Heart\,” reflecting on how much her life and the city of Nashville has changed over the\nyears – and how important it is to stay true to exactly who you are despite it all. Another\, called\n“Red Eye Flight\,” is about both leaving a lover and also leaving her longtime band the Pricetags.\n“I’ve been with those players for ten\, thirteen years\,” she says. “But I could feel that I needed to\nmake a change\, and to change texturally what’s going on with the band. But it’s a familial bond\,\ndifferent than a friendship.”\nThere are a few choice covers and cuts\, too: “Love Me Like You Used To Do” is by Price’s\nfriend Steven Knudson\, an unsung Nashville writer on whom she hopes to shine a spotlight\n(helping to elevate the town’s incredibly talented but buried voices is one of Price’s favorite\npastimes). Friend Tyler Childers joins Price on that waltzing country ballad\, while “I Just Don’t\nGive a Damn” is Price’s “Jolene goes to Memphis” take on the Jimmy Peppers and George Jones\nclassic. And showcasing how Price has been trusted by the greats to lead the next generation of\ncountry music renegades\, “Kissin You Goodbye” was given to Price by Jessi Colter\, Waylon\nJennings’ widow\, when Price was producing her record. They’re songs chosen to appreciate the\npast and the present as she sees it – not as Music Row or the algorithm might dictate – and place\nPrice squarely amongst her heroes as a living and breathing part of the new country tradition.\nWhen it came time to record Hard Headed Woman\, it was important for Price to keep that\nethos alive\, decamping to Nashville’s RCA Studio A and reuniting with producer Matt Ross-\nSpang\, with whom she made her first two solo albums. Though she has worked with everyone\nfrom Sturgill Simpson to Jonathan Wilson since\, it was Spang’s vocal rebuke of easy studio\nshortcuts that made her eager to reunite again. “He’s so unpretentious\,” Price says. “He fully\nbelieves in me\, he fully believes in my songs. He got us back to feeling it in your gut and not\nneeding everything to be so perfect.”\nIt felt truly significant for Price to make the album in Nashville\, a city where she’s lived\nfor over two decades and played a seminal role in its transformation\, yet somehow never recorded\nan album in the place she’s called home. The historic RCA Studio A helped connect Price even\ncloser to the legacy of songwriting she holds so dear\, a place where everyone from Dolly Parton\nto John Prine to Loretta Lynn have made albums. “It felt like there were ghosts and spirits just\nhanging out\,” Price says. In perfect kismet\, she also launched her own signature Gibson J-45 guitar\,\ninspired by her 1960’s Gibson she’s had by her side for years as her career took off. It’s all part of\nthe continuity that she wishes to create with her art\, not just with timeless songs but inspiring future\ngenerations of women\, mothers and artists in general who don’t want to sacrifice their vision\,\nmoral compass or family life in favor of mainstream success.\nAt its core\, Hard Headed Woman is about that furious instinct to never waver\, especially\nwhen ourselves\, our values and our future is so clearly on the line. As she sings on the title track\,\n“I ain’t ashamed\, I just am what I am.”\n“I hope this album inspires people to be fearless and take chances and just be unabashedly\nthemselves\,” Price says\, “in a culture that tries as hard as it can to beat us into all being the same.” \n\n \n\nDillon Warnek\nWith the seal of approval of Nashville’s coolest couple Margo Price and Jeremy Ivey\,\nDillon Warnek has emerged as one of Music City’s most skillful new songwriters\, writing\nwith all the verve and attitude of Warren Zevon. Rolling Stone raved that his debut\nalbum Now That It’s All Over was full of “wry character studies about con artists and\ndead men.” That’s true: Warnek — a construction worker by day\, piano balladeer at\nnight — revels in such tales. He immerses himself in reckless evenings of spending\nother people’s money\, in hazy mornings waking up in a strange woman’s trailer\, and in\nfantasies about keeling over with far too many secrets to reveal. Onstage\, Warnek holds\ncourt at his keyboard\, mixing wry anecdotes in with his subversive lyricism. Some say\nthere are no good piano men like Randy Newman anymore. But they just haven’t seen\nDillon Warnek.
URL:https://www.mikebrowngroup.com/event/margo-price-w-dillon-warnek/
LOCATION:Treefort Music Hall\, 722 W. Broad Street\, Boise\, ID\, 83702\, United States
CATEGORIES:Arts & Music,Music
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DTSTART;TZID=UTC:20251108T193000
DTEND;TZID=UTC:20251108T193000
DTSTAMP:20260515T185328
CREATED:20251104T180319Z
LAST-MODIFIED:20251104T180319Z
UID:135740-1762630200-1762630200@www.mikebrowngroup.com
SUMMARY:Boise Philharmonic Presents MENDELSSOHN'S ITALIAN
DESCRIPTION:MENDELSSOHN’S ITALIAN\nConductor Eric Garcia \nTranscend borders\, cultures\, and traditions in a concert that spans the globe. Your journey begins with Clarice Assad’s Baião ‘n Blues\, a delightful opener that blends Brazilian rhythms with echoes of American blues. Pianist\, Joyce Yang takes center stage with Grieg’s audience favorite Piano Concerto in A minor\, a blend of lyrical beauty\, classical form\, and fiery virtuosity. The program concludes with Mendelssohn’s effervescent Italian Symphony\, capturing the vibrant culture of Italy. \n\nPRE-CONCERT TALK \nJoin Musicologist Bradley Berg and Music Director Eric Garcia (and special guests) as they guide you through the music you are about to hear\, providing an enlightening look at the repertoire and composers before the performance begins. Bring your questions! Please gather inside the concert hall by the stage. \nMatinee Pre-Concert Talk starts at 12:45 pm (for 2:00pm Sunday)\nEvening Pre-Concert Talk starts at 6:15 pm (for 7:30pm Saturday)
URL:https://www.mikebrowngroup.com/event/boise-philharmonic-presents-mendelssohns-italian/
LOCATION:Morrison Center\, 2201 West Cesar Chavez Lane\, Boise\, Idaho\, 83725
CATEGORIES:Arts & Music,Music
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DTEND;TZID=UTC:20251108T210000
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CREATED:20251104T175944Z
LAST-MODIFIED:20251104T175944Z
UID:135737-1762635600-1762635600@www.mikebrowngroup.com
SUMMARY:Emo Nite
DESCRIPTION:Emo Nite\n\n \n\nNot a band. Not DJ’s. We throw parties for the music we love. \nAs Rolling Stone observed a few years ago\, “Emo Nite Vindicated the Scene.” \nSince they threw their first party at an East L.A. dive bar\, Morgan Freed and T.J. Petracca\, and a dedicated crew of regular attendees\, built Emo Nite into a phenomenon. Top-tier emo artists\, old and new\, curate playlists and perform\, with guest lists boasting members of blink-182\, All Time Low\, Dashboard Confessional\, The Maine\, and Good Charlotte. Scene-friendly pop culture mavericks often participate\, like past attendees Post Malone\, Demi Lovato\, Machine Gun Kelly\, and Skrillex. \nIt’s all too easy to forget that before the first Emo Nite in December 2014\, “emo” was a joke. \nSomehow on its journey from a melodic post-hardcore subgenre\, built on earnest emotional expression\, to a mainstream moniker assigned to anything remotely angsty\, “emo” became a dirty word. Despite the positive impact ushered in by waves of bands\, from the crucial “Revolution Summer” and Sunny Day Real Estate through Taking Back Sunday and My Chemical Romance\, accepting “emo” as a dismissive designation or identity invited polite embarrassment and even scorn. \nBut Freed and Petracca grew up loving the music associated with emo and the people like them who similarly embraced outsider art and subculture\, regardless of changing fashions or pretentious snobbery. Petracca told The New Yorker the idea behind the first Emo Nite celebration was to center a happy\, communal experience on the music they once listened to when they were upset and alone. \n“I sang Dashboard Confessional at karaoke at a friend’s birthday party and thought it was super fun to go out with friends and listen to music we actually liked\,” recalls Petracca\, who met Freed when the pair worked at a creative agency together. “Every other club in LA played EDM\, Top 40\, or hip-hop. We always found ourselves pre-gaming with emo and pop-punk music before we went out.” \nFreed knew a bartender at the Short Stop in Echo Park and convinced him to let them throw a party on a random\, rainy Tuesday. They invited friends via Facebook; double the bar’s capacity turned up. “We decided to see how far we could take it\,” Petracca says. “‘Who would be the craziest guest?’ We invited Mark Hoppus\, and he came! He did our first one at Echoplex\, which was our third party ever.” \n“There’s no disconnect between the artist and fan\,” Freed points out. “I think that’s brought people closer to the music. It created a really strong sense of community\, at a time when emo wasn’t ‘cool.’” \nThere may be a surprise acoustic set or even a full-band performance\, but ultimately\, it’s about the experience. Emo Nite turned a party into a community\, reclaiming the spirit of how the scene began. \nIt’s now a recurring event thrown by dozens of friends in over 30 cities in the United States. Emo Nite runs full-day festivals and curates coveted performance spots at Coachella\, Life is Beautiful\, and Firefly. Freed and Petracca launched successful clothing collaborations with brands like OBEY\, Urban Outfitters\, PLEASURES\, The Hundreds\, Rose in Good Faith\, Market\, and OWSLA. \n“A larger promoter told us the shelf life of a club night in Los Angeles was two years\,” Freed says\, marveling at Emo Nite’s staying power. “A hundred percent of it is the people that go to it. This music makes people feel connected. The energy of it is so special. You get a group of people together who look different\, but they have this thing in common. We started seeing friend groups form really\, really quickly. People met their significant others at these events. The community really trusts each other.” \n“Emo Nite LA has become an essential gathering point for fans of emo\, pop-punk\, and related styles\,” Rolling Stone noted. \nIn October 2021\, Emo Nite’s founders threw Emo Nite Vegas Vacation\, a three-day event headlined by Avril Lavigne and Machine Gun Kelly\, with Sleeping With Sirens\, MOD SUN\, 3OH!3\, and more. \n“What Emo Nite does better than any of their competitors is they make ‘emo culture’ feel both nostalgic and brand new\,” The Summer Set’s Brian Logan Dales told Forbes\, in a profile which included professions of love from members of Papa Roach\, Underoath\, and State Champs. “You can go to an Emo Nite with your best friends and sing along to old songs you grew up with\, and at the same time\, discover a brand-new artist who’s making music today because they grew up on that very same music as you. They’ve taken the emo of the past and helped it forge a new path for the future.” \nAs emo reenters popular culture with a blend of adoring nostalgia and optimistic forward- thinking\, Emo Nite remains an authentic space to celebrate diversity\, experience passionate catharsis\, and champion authentic expression. Emo Nite isn’t a band or a DJ crew. It’s an idea\, one as simple as the urge to throw a party for a beloved style of music. Often imitated but never truly duplicated\, Emo Nite’s founders and supporters are fond of saying\, “If you don’t see the grave\, it ain’t our rave.” \n“There’s a lot of ownership from our community of the event itself and the Emo Nite brand\,” Petracca says. “It’s about breaking down that barrier of ‘Look at me\, it’s all about me.’ No\, it’s about us\, together\, in this room. It belongs to every single person that comes through the door.”\nThe co-founders continue to look ahead. “Emo Nite definitely impacted culture\,” Freed notes. “But we have no plans to stop changing the way we view the evolution and expansion of the genre.”
URL:https://www.mikebrowngroup.com/event/emo-nite-9/
LOCATION:Knitting Factory\, 416 S 9th St\, Boise\, Idaho\, 83702
CATEGORIES:Arts & Music,Music
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