Elephant Revival / Mandolin Orange

Elephant Revival / Mandolin Orange

Elephant Revival (9:30 PM)

Mandolin Orange (8:00 PM)

Thu, March 24, 2016

7:00 pm

Adv tix $17.00 / DOS tix $20.00

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Elephant Revival - (Set time: 9:30 PM)
Elephant Revival
Elephant Revival is a unique group of multi-instrumentalists blending elements of gypsy, Celtic, Americana, and folk. Brought together by a unified sense of purpose, Elephant Revival communicates the importance of harmony among all living things and uses music to unite us in ways that no other medium can.

A haunting sound, at once evocative and mysterious, ushers in Petals, the latest album by Elephant Revival. Notes rise and suffuse the silence; are joined by a deep bass drone, a quiet pulse of cello and a percussive tick: daybreak made music.

That first sound on the lead track, “Hello You Who,” is a steel guitar, and its cinematic swell foreshadows the exploration of new territory by this beloved Rocky Mountain ensemble. A new band member and the introduction of instruments like the pedal steel and the cello into their already impressive treasure trove of strings and percussion are just the beginning. Petals embodies a deepening, as the quintet dives into themes of loss and rebirth, time and memory, love unbound by body or farewell. “Hello you who moves with me in a dance/Hello you who moves me like the sea/…Who loves me Love loves me just to be.” This hello is both a celebration of unconditional love and an invitation to join Elephant Revival in its wayfaring.

The death of a close friend having left its indelible mark on the band, many of the songs on Petals represent what guitarist Daniel Rodriguez calls “an honoring and a coping.” But this is not an album about despair or darkness; it’s a thanksgiving and a prayer for what endures and returns. “She thanks the sky, and she walks the earth/…To the broken-hearted, to the burdened, too/To everyone, peace tonight” (“Peace Tonight”). This idea is embodied in the very name Elephant Revival: moved by the separation and subsequent death of three elephants at the Chicago zoo, bass and mandolin player Dango Rose was inspired to busk in front of what was once their enclosure. Not just a gesture, but a true endeavor to create meaning and grace from loss. Petals, the band’s fourth album, is, in fact, a revival.

As ever, Nature is both a real and metaphorical touchstone in Elephant Revival’s work, from the petals pressed into the book of memory in the title track (“These petals intended for giving release”), to the seasons spinning through death and rebirth in “Season Song.” There are intimations too, of the ominous vulnerability of Nature to our darker impulses. In “Raindrops,” Bonnie Paine sings, “Raindrops on the rooftops he said/Just stop and listen/Constant as the earthquakes.” She is both warning of the real effects of fracking and reminding us that a remedy may lie in deep listening—to each other and to the earth itself. The band’s commitment to community and the environment remains at the core of their music.

Elephant Revival’s music maintains its roots in American and Celtic songcraft, but on Petals, they achieve a compositional maturity that in moments can evoke the modern classical ensemble. Spare, almost conversational strings punctuate the rhythmic momentum in songs like the title track and the almost archetypically stark Celtic narrative, “Furthest Shore,” a continuation of the story told in the song “Currach” from their first 2008 self-titled release. The icy drama of the North Sea inhabits those percussive strings and resounding drums. This kind of intensity recurs in other songs, like “When I Fall,” a Dango Rose-penned shout-out for transcendence through trial, whose unison power chorus brings to mind Pink Floyd’s The Wall.

Passion arises from compassion on this album; tenderness and wildness go hand in hand. Dan Rodriguez’ voice on wholehearted folk songs like “On and On” and “Home In Your Heart” is a gentle counterpoint to Paine’s vocal intensity, and the songwriting overall describes a wide arc. Just follow Bridget Law’s expressive fiddle through the course of the album to hear the moan of the blues, the lyricism of the folk ballad, the elegant bones of the chamber piece, the bluegrass punch. All the earthy rhythms, eclectic influences and the rich instrumental brew that Elephant Revival fans cherish are here. But eclecticism, though a key feature of their sound, has never been the point. For these multi-instrumentalists, these singers and writers, sound and song serve one another: the play between instrumentation, composition, emotion and restraint is an organic unfolding. Paine, for example, has never recorded or performed on the cello before this album, but she’s written songs on it for years, so if her throaty cello somehow sounds like a deep extension of her voice, it is. And if new band member Charlie Rose’s magnetic pedal steel conjures ghosts—of love, of landscapes—it’s because Petals is haunted by those things.

Elephant Revival’s is the music of connection—kin-folk—and the message of Petals, their most intimate album to date, is not how life is about loss, but rather how much life there is in loss, how much potency, how much love. The ghost of the beloved in the final track “Close As Can Be” is not, after all, far away. “…I feel you near/You’re lifting the leaves/Saying to me/We’ll be close as can be.” The hello of the first song has gone on a musical odyssey and found in the end, in goodbye, its mirror image: the promise once more of unending and unconditional love.
Mandolin Orange - (Set time: 8:00 PM)
Mandolin Orange
After the breakout critical success of Mandolin Orange's Yep Roc debut, This Side of Jordan, you'd expect the relentless onslaught of touring that accompanied it to seep into the writing of the North Carolina duo's follow-up. You'd expect the sound to reflect long days on the road, long nights onstage, unfamiliar cities, countless miles. You'd expect the classic "road record."
But you'd be wrong.

"All of these songs are definitely a product of being on the road," says multi- instrumentalist/singer Emily Frantz of Mandolin Orange's gorgeous new album, Such Jubilee, "but they're not about the road."

"They're about home," explains songwriter/multi-instrumentalist/singer Andrew Marlin. "Not because we were missing it, but because when you're gone so much, you start realizing what you have and what's waiting for you. You realize there's this place to come back to at the end of the journey."

The road has been good to Mandolin Orange since the 2013 release of This Side of Jordan. NPR called the album "effortless and beautiful," naming it one of the year's best folk/Americana releases, while Magnet dubbed it "magnificent," and American Songwriter said it was "honest music, shot through with coed harmonies, sweeping fiddle, mandolin, acoustic guitar and the sort of unfakeable intimacy that bonds simpatico musicians like Gillian Welch and David Rawlings." The record earned them performances everywhere from the iconic Newport Folk Festival to Pickathon, as well as tours with Willie Watson, Gregory Alan Isakov, The Wood Brothers, and more.

For the Such Jubilee sessions, Marlin and Frantz set up facing each other with just a vocal and instrumental mic each in Asheville's Echo Mountain studio. It proved to be the perfect setup to capture the undeniable chemistry of their live performances.

On "Settled Down," Marlin looks at what it takes to find that nearly-telepathic level of comfort in a relationship, singing, "Moments, just fleeting times with little wings of gold / remind us of how real we find true love in every sign of getting older." "Daylight" looks for peace in long- term companionship and trust, "That Wrecking Ball" meditates on the sometimes ravaging passage of time, and album closer "Of Which There Is No Like" is a delicate, wistful duet about coming home.

Not all of the songs are purely introspective, though. "Jump Mountain Blues" brings to life a haunting Native American legend from the rural Virginia town where Marlin spent weekends growing up, "Rounder" is written in the cowboy tradition and can be heard as a statement against capital punishment, and the ambitious "Blue Ruin" was penned in response to the horrific violence at Sandy Hook.

It's a weighty moment on an album that doesn't shy away from grappling with difficult topics: intimacy, death, distance, regret. Such Jubilee is a record about home, both the place and the idea. Some days it's a safe, warm, loving refuge from the world outside. Other days it's cold and empty and too quiet. Either way, it's always waiting for you at the end of the road.
Venue Information:
Troubadour
9081 Santa Monica Blvd
Los Angeles, CA, 90069
http://www.troubadour.com/

All lineups and times subject to change