The Mowgli's

The Mowgli's (9:45 PM)

Pom Poms (8:45 PM)

The Greeting Committee (8:00 PM)

Wed, June 8, 2016

7:00 pm

Adv Tix $20.00 / Day of Show Tix $22.00

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The Mowgli's - (Set time: 9:45 PM)
The Mowgli's
One of the most exciting things in all of music is discovering a band early on, following them throughout their career and watching that moment as they come into their own. For California alt-pop band THE MOWGLI'S that moment is two-fold on their superb third album "Where'd Your Weekend Go?," due fall 2016. They not only get to share their songwriting growth with fans who have followed the band since they formed in 2010, the band got to experience it themselves.

Ask singers and principal songwriters KATIE EARL, JOSH HOGAN and COLIN DIEDEN the secret to the band's growth on this new album and they will all say it came from within. "Involving the whole band in the writing process was a hugely important factor in this new record. When everyone's there you just have more brains, more minds," HOGAN says. EARL echoes this: "A lot of our songs start with one or two people's ideas and the band puts their mark on them later. This time we spent a great deal of time in the room together as the six of us, building many songs from the ground up."

The results of incorporating band members whose tastes run from "musical theater to black metal to pop" according to HOGAN, are an incredibly diverse collection of songs that run like a musical time machine through the best of the past four decades of music.

From the jangly folk/pop of the Sixties-infused "Arms & Legs,"and the groovy Seventies feel of "Monster" to the 80's inspired "Bad Thing" and anthemic "Spiderweb" this latest collection is a testament to songwriting.

One recent song released from the LP, "Spacin Out" is one of the first tracks that came together from jamming in the studio. "'Spacin Out' has a kind of jazzy feel, but it's very Mowgli's, "says HOGAN. "In the bridge we cut to a seven/eight time signature -- it's little things like that come from the fact we have some really amazing musicians in our band." In addition to Dieden, Earl and Hogan, the band is rounded out by MATTHEW DI PANNI (bass), DAVID APPELBAUM (keys) and ANDY WARREN (drums).

The band has been previewing some of the new songs on recent tour dates with great success. "'Monster,' it's just crazy the reaction we've been getting from audiences," DIEDEN says. "It's an immediately familiar-sounding song." They're also playing the album's first released track, "Freakin' Me Out," a thoroughly engaging and winning blend of summer-like pop, R&B and soul that is one of the band's favorite songs since their first LP's debut single "San Francisco."

HOGAN, EARL and DIEDEN freely admit that the success of "San Francisco," which led to TV appearances on The Tonight Show, Conan and Jimmy Kimmel, sold-out tours and, arguably most excitedly, a prominent role in the San Francisco Giants' World Series title in 2012 (the team played it regularly on their way to the championship) had influence on the sophomore record, Kids in Love.

Making that second LP, they felt rushed and pressured by often conflicting outside opinions. But as the cliché goes, "That which does not kill you...." HOGAN credits that experience with motivating the band to take a stand against external forces on this collection. "With this record we were very clear about doing it ourselves and we just said, 'Give us a little time and we'll write you a sick record,'"

They backed it up, showing growth, not only musically, but lyrically as well. "These songs are about really digging deeper into personal issues because there are only so many times you can sing about loving each other. It's not that we have moved past that message necessarily, it's that we want to explore other concepts," HOGAN says. "There's one song on the record, 'Last Forever,' that was meant for the second album but we ended up reworking it a lot. It's a song I was writing going through a breakup and life changes, with a line in the song that says, 'If we lose it altogether, maybe love will last forever.' That, to me, is the opposite of what the Mowgli's would normally say. But I hope people can connect with that sentiment."

Helping them channel all these changes into the growth on the new album is producer Mike Green (Pierce The Veil, All Time Low, The Wanted), who the band was so confident they wanted to work with that they revised their whole recording schedule to accommodate his availability.

To EARL, it was absolutely the right call. "We're a lot of really big personalities, a lot of energy and Mike has this really calming, relaxed vibe that's much different from any of the rest of ours. And he works so fast that nothing gets lost or overthought," she says. "It just felt like the right fit. We had never worked with him before, so we did a trial run, and just clicked."

DIEDEN agrees. "Mike has a really good sense of contemporary popular music but I think he's very aware of how to make ideas sound different and unique. He also understands what people want to hear right now, which is a great balancing act." The band also collaborated with U.K. producer Rob Ellmore on "Automatic" and "Bad Thing," the LP's first radio single. "'Bad Thing'' says Dieden, "is a song about the kind of person who feels so good they're dangerous. The kind of person you want to run away from and pull closer to you simultaneously. The song also makes ya wanna shake your butt with your pals."

All of these elements -- Green, the band's renewed independence and collaborative process -- have weaved together seamlessly to make The Mowgli's third record a career album, that moment where the band steps to the next level as artists. HOGAN and EARL hear it proudly as they listen to the album all the way through.

"It's been really cool to learn and experience everything we have and now, us as people, we're very close and I think we're just at our best," HOGAN says.

"This record is the truest representation of who we are, not just as individuals, but as a band," EARL says. It's the sound of collaboration, it's the sound of listening to and working with each other in ways that we've never done before. I'm really, really proud of every moment. Everybody shines more than they've ever shone. To me, it feels like a rebirth for us."
Pom Poms - (Set time: 8:45 PM)
Pom Poms
“We’re bringing a world into this music,” she says, sipping from the lip of a flute of champagne. “This is my world. Would you like to come in for a drink? We're going to have a blast. It's going to be a little dangerous, but it's going to be really fun.”
Of course you would find her here. Of all the available haunts and red-leather booths in town, the three-dollar beer joints, and every sad dartboard waiting for a bulls-eye never thrown, Marlene is here.
Here, Edith Piaf spills from invisible speakers and the chairs are made of wicker.
Paris? No, this is L.A.
Somehow, this is Los Angeles.
Wearing Anna Karina-style pigtails and a horizontally striped dress, she has managed to bend this entire metropolis to her will with the ease of that wave to the waiter. Of course we’d find Marlene of Pom Poms here.
To say she is in her element is an understatement. In fact, we’ll be interrupted as passerby and acquaintances pause to say hello, but not before she has finished describing her world. The world of her music is the important point. Her songs begin and end, as all songs must, but they never truly vanish. They are, in some respect, like the bubbles in that second glass (just arrived) of champagne—rising, rising, and rising just once more until they empty into the air and become, well, the atmosphere we breathe. Yes, Pom Poms make that. It is neither nostalgic nor new. It is not retro or future. It is music outside of linear measurement. Yes, it is timeless. And isn’t that the ultimate goal?
Take “Betty,” for example.
“The minute we finished writing ‘Betty’ we knew something was special about that song,” says Marlene, the “we” referring to her songwriting partner and producer Billy Mohler. “We were so proud of ourselves. We can churn out a lot of songs. We have that wonderful dynamic of just being inspired by each other. But when ‘Betty’ came around, we were like, ‘What are we going to do with this? We’ve got to do something with this song!”
The entire world of Pom Poms was built, if not in a day, then out from that moment ‘Betty” was born. The mercurial task of harnessing a sound so distinctive so soon in the life of a group (let’s not call them a band) is rare. So the two of them raced to follow that white rabbit around every turn in the magic maze. All was possible. Things were clicking into place. But we’re getting ahead of ourselves.
“A tree fell on my car,” recalls Marlene. “I was done. I didn’t know what was left. That’s when I decided I would create something only if I felt like it. That became my motto. ‘I am going to do this only because I want to.’ I was going to put myself into everything. Wherever I was going to land, I was going to land. I just needed to survive. I had no choice.”
All the usual suspects that disrupt a life—love, death, loss of love, more death—it all arrived at once and fell like that tree. But it wasn’t a metaphor, it was an actual tree, actual loss, real death, real heartbreak, and the enemy of all art came with it: doubt. Marlene nearly called it quits but now it is the song that will put Pom Poms on the musical map.
“How did I do that?” she says, describing the feeling each time a song appears to her. “You have to chase the genius. When you get that strike and you feel it coming, you’ve got to follow it or else it’s gone and you have to wait for it to happen all over again.”
She waves away any flattery with a flip of her delicate wrist. In conversation, you will hear her describe songs that “happen” and others that “come around,” as if they were visitors, not creations of her own making. Over the course of an hour, she’ll find ways to weave Quentin Tarantino, Ernie Kovacs, Roy Orbison, The Twilight Zone, Wes Anderson, Jean-Luc Godard, Yves Montand, Connie Francis, Johnny Cash, and Patsy Cline into our conversation with nary a bat of her ink-black eyelashes. In the end, she is following not a rabbit, not a muse, but some deeply instinctual aural and aesthetic drive she isn’t even certain is right for you, but positively true to herself.
“Is this going to work? Are people going to get behind this?” she wonders aloud. “To be honest, I’m just going for it. You can’t know, so you might as well just go and do it and see where it takes you.”
Outside now, she ambles delicately along the sidewalk, avoiding the tree roots that have angrily reasserted themselves and broken through the concrete. You can see her peer into shop windows, or up into the branches of a tree. She’ll scan the marquee of the movie theater and be startled by the honk of a car. What exactly does she see? Why is she looking? How many of these things that surround us will be songs? What part of this world will become the music of Pom Poms? And will you accept this open invitation to join her?
The Greeting Committee - (Set time: 8:00 PM)
The Greeting Committee
Formed in 2014, The Greeting Committee consists of vocalist Addie Sartino, guitarist Brandon Yangmi, bassist Pierce Turcotte, and drummer Austin Fraser, all of whom are still in high school. The band quickly emerged into the music scene after catching the attention of Lazlo Geiger, a radio personality from 96.5 The Buzz. The Greeting Committee's debut EP titled "It's Not All That Bad" captivated the hearts of listeners with its intelligent musicality and meaningful lyrics. "If you want smart, credible music with a raw energy that inspires, you just found it," says Geiger. The EP is set to be re-released through Harvest Records in October of 2015. "We're working to create a collaborative environment with our surroundings," explains Sartino, "To us, The Greeting Committee is an art project influenced by the listeners. The music is merely the soundtrack to something much greater."
Venue Information:
Troubadour
9081 Santa Monica Blvd
Los Angeles, CA, 90069
http://www.troubadour.com/

All lineups and times subject to change