The Bowery Presents: Shovels & Rope w/ Caroline Rose Thursday February 12 Buckhead Theatre 7pm Doors // SOLD OUT Tix: http://bit.ly/ShovelsRopeATL Twitter: @shovelsandrope @carolinerosefm Shovels & Rope - http://www.shovelsandrope.com/ It’s not all that unusual for musicians to talk the talk about taking a less-is-more approach to their work – but it’s rare indeed for artists to really walk the walk, and apply that philosophy across the board. Over the better part of a decade, Shovels & Rope have done just that, cutting unnecessary frills from their songs, not to mention the very way they live their musical lives. Mississippi-born, Nashville-bred Cary Ann Hearst and Texas-born, Colorado-raised Michael Trent forged singular paths as solo artists before connecting – both musically and personally – in Charleston, South Carolina. While they’d both had burgeoning solo careers (Cary Ann earned kudos for her 2006 album Dust and Bones, Michael with his band, The Films, as well as his own solo outings), they quickly found that both their voices – which entwine with eerie beauty in their haunting harmonies – and philosophies matched up perfectly, and a beautiful partnership was born. “Consciously or not, we’ve always insulated ourselves from outside influences,” says Cary Ann. “The key, for us, is to be authentic to ourselves – and, sometimes to a fault, we’ve managed to do that. I don’t think we’d be able to keep doing this if we backed off from what we were doing when we started.” There’s no backing off or backing down on Swimmin’ Time, the duo’s much-anticipated sophomore set as Shovels & Rope, an album that brims with the confidence, energy and sinew of a band that’s accustomed to treating their career as a marathon, rather than a sprint. The album, recorded at the studio Trent constructed in the couple’s home, finds them cutting a new path through the sonic thickets they navigated so nimbly on their breakthrough bow, O’ Be Joyful – a disc that won rave reviews from outlets like Mojo (which called it “thrilling”) and Filter, which said “[they] were solid singer-songwriters on their own, but this is truly a thing of magic.” On Swimmin’ Time – a title that nods to the aquatic theme running through the disc’s songs -- Hearst and Trent bob and weave through a combination of witty, playful tales (like “Fish Assassin”) and brooding murder ballads (like the horn-tinged New Orleans shuffle “Ohio”) with a rare combination of intimacy and swagger. They know when to grab the listener by the shoulders and shake (as on the fiercely roiling opener “The Devil Is All Around”) and when to put a caring arm around those same shoulders in order to spin a gentler yarn (like “After the Storm,” a tale of surviving rough waters, both literally and spiritually). “We weren’t trying to make a particular kind of record, but we knew early on that there would be some evolution,” says Trent, who also produced Swimmin’ Time. “There are all kinds of dark undertones, but there are other colors, too. Every song kind of played off, and built on, the ones that came before, so they fit together really well.” That seamless construction helps Swimmin’ Time slide past the ears and into the memory banks with remarkable ease, each of its songs leaving a bit of an indelible mark, from the sonically brooding “Stono River Blues” (which could easily pass for a lost Grimm’s Fairy Tale) to the chiming “Save the World,” a sort of semaphore flag signaling hope on the horizon, to the woozy, closing-time waltz of "Coping Mechanism." “Our working model has always been to use what we have lying around,” says Cary Ann. “It’s just that this time, we happened to have an organ lying around, we had a piano lying around…we definitely had more resources at hand, but we didn’t want to seem ostentatious or anything. Besides which, we still have to recreate the songs live, so there’s a limit - even though Michael can play five things at once, like a wind-up toy.” Those live shows have played a huge part in building Shovels & Rope’s reputation among audiences and their peers – the latter of whom voted the duo in for two 2013 Americana Music Awards, Emerging Artist of the Year as well as Song of the Year (for the vivid, semi-autobiographical “Birmingham”). Over the past two years, Cary Ann and Michael kept their sleeves rolled up and their voices raised, an M.O. that helped them eventually sell more than 60,000 albums the old fashioned way – reaching one listener at a time, and making each one feel like part of the Shovels & Rope family. As a result, they were able to trade their well-loved and road-weary van for an R.V. and segue from tiny, sweat-soaked dives to larger halls, not to mention eye-opening performances at events like the Newport Folk Festival, Coachella and Lollapalooza. They may have had camera crews following them – for the intimate, revelatory documentary The Ballad of Shovels & Rope, which has been making the film festival circuit this past year – but they didn’t cut back on what Cary Ann calls “windshield time,” and certainly didn’t let their egos grow in tandem. “Word of mouth has been a huge part of our story,” says Michael. “We just toured and toured, opening up for bigger bands and playing anywhere we could. Sometimes we felt more like t-shirt selling long-distance truckers. It wasn’t like we had a huge song that came out of nowhere and was suddenly on the radio all the time. I’d be terrified if that was the case.” While they didn’t start showing up in the tabloids as a result, “Birmingham” (the number-one song on American Songwriter’s year-end list) and the rest of O’ Be Joyful did put Shovels & Rope on the larger stage in many ways – from an appearance on the Late Show With David Letterman to an acclaimed set on Austin City Limits. But as they continue to prove, night after night on tour, they aren’t about to put their blue collars into mothballs. Cary Ann jokingly says, “We keep getting more famous, but we aren’t getting any better,” before turning serious. “This is something we’ve both always dreamed of doing,” she says. “We enjoy each other’s music and we enjoy each other’s company. We thrive on doing exactly what we’re doing, and we’re making people happy with it. What could be better than that?” Caroline Rose - http://carolinerosemusic.com/ Sometimes epic failures produce epic results. With the release of her new album I Will Not Be Afraid, keen-eyed young singer-songwriter Caroline Rose has broken her long string of short-circuits with a live-wire national debut that draws on her roots in rockabilly, vintage country and blues to capture her unique and personal vision. Hoping to escape the dead ends that befell her hometown, colloquially dubbed a stop on "heroin highway", Rose found her way out via a full ride to a small liberal arts college, where she failed as a scholar, barely scraping by to graduation. Next came a stint as a failed hippie, working on and leaving an organic farm. She then bought a vintage sports car to travel the country, but it quickly broke down. On the plus side, Rose got a job at a cider distillery, where she got to taste apple brandy and applejack all day…Followed by a stint stocking shelves and sweeping floors at a grocery store for a boss who eventually fired her. "That was the last straw," Rose recounts. "I don't like most bosses and most bosses don't like me. I don't like most professors and most professors don't like me. So here I am. I've made my own way on my own terms and it's destiny knocking on my door. BAM!" She describes the 11 songs on I Will Not Be Afraid as "postcards I've picked up from along the road," and she means that literally. Rose is in perpetual motion. She tours and lives in her van, traveling the highways and back roads to fuel her creative spirit. Rose's wanderlust has taken the 24-year-old from her birthplace in a not-so-idyllic small Northeastern town to every corner of the nation, where she's made friendships, heard stories and had experiences that she's fashioned into songs like "America Religious," which uses a driving snare drum with brushes and psychedelic folk fiddle to underpin the cool waterfall of her peaches and molasses voice as she sings about the open skies and the storm clouds inside the American heart. And in her own. The themes of some of Rose's songs are drawn from the familiar. "Blood On Your Bootheels," which opens I Will Not Be Afraid with her prickly guitar and crazy-carnival organ, was inspired by the Trayvon Martin slaying and Rose's own passionate reaction to violence and intolerance. "Everyone seems to have their opinions about how to live free in this country, especially when it comes to young men and even more especially when it comes to young black men like Trayvon," Rose observes. Injustice and hardship also underline "Tightrope Walker," a song inspired by a friend's stories about working in the school system of an impoverished Mississippi town. But other songs literally haunt her dreams. The gorgeous textural arrangement and lyrics of "When You Go" — which evoke the openness of both the Southwest and of the future in Rose's and co-producer Jer Coons' shimmering guitars and her strong, defiant vocal performance — tumbled out during a night's rest. "Sometimes songs come to me while I'm asleep and they wake me up, and that's the best time for me to write," Rose relates. "When I wake up my mind is like a clear glass of water. I can see everything and capture it." That's especially apt for the stream of consciousness lyrics that bring many of her numbers to life. Rose's own life seems more akin to Jack Kerouac's On the Road. Growing up in a coastal town, her parents — who were visual artists with a love for travel — gave Rose a restless, creative spirit. And like many working class seaside locales, her hometown suffers epidemic heroin abuse. "I saw a lot of my friends get consumed by it, but I was one of the people that got out," Rose says. "I worked my ass off to go to college and that really was my only plan of escape at that point. I think I was in denial about being an artist." For two of those years Rose worked on the aforementioned farm, hoping the experience would provide her with balance and direction. "I liked the work, but I'm too city to be country and too country to be city," she offers. "So I moved on." When Rose worked at a cider distillery, she slept in the barn loft where she recorded many of the demos for I Will Not Be Afraid with her acoustic guitar. "I finally accepted the idea that writing, singing and playing songs is the only thing I've ever really been good at," Rose relates, "so I decided to forget about everything else and live in my car, and I hit the road." Rose joined a new generation of touring songwriters who blend tradition, innovation and edginess, like Hayes Carll, whom she opened for in 2014 and bandmember Jer Coons, whom Rose shared a bill with one night and discovered to be a kindred spirit. Rose produced I Will Not Be Afraid with co-production by Coons at his Burlington, Vermont studio, where they also made Rose's 2013 self-released America Religious, playing all the guitars, keyboards, harmonica, mandolin, drums and percussion themselves. Rose explains that the title track is her mantra. "So many people are held back by fear," she says. "They wish they could do something else with their lives, and they just can't take the first step. I grew up questioning everything and learned that I needed to be on my own. I needed freedom and I needed to create on my own terms and to keep moving forward without fear, wherever I go. "I also came to understand that I don't have any choice," she continues. "Music is what keeps me breathing. I can't do anything else."
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