Annie Stela (9:15 PM)

Travis Linville (8:30 PM)

Thu, July 12, 2018

8:00 pm

Adv Tix $20.00 / Day of Show Tix $22.00

This event is all ages

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BOB SCHNEIDER - (Set time: 10:00 PM)
One of Austin’s most celebrated musicians, Bob Schneider, is set to release his new album, ​Blood and Bones​ – his 7th studio album since his 2001 solo debut ​Lonelyland​ – on June 8th via his Shockorama Records imprint. ​Blood and Bones​ captures Schneider at a unique, and distinct, place. “Most of the songs are about this phase of my life,” he admits. “I’m re-married, I have a 2-year-old baby daughter who was born over two months premature because my wife had life threatening preeclampsia. So dealing with that traumatic event while getting older and looking at death in a realistic, matter of fact way, experiencing the most joy I’ve ever experienced along with feelings of utter despondency in a way that would have been impossible to experience earlier in my life, all comes out in the songs. My relationship with my wife is the longest committed relationship I’ve ever been in, so there was a lot of unchartered territory there to write about.”

The songs on ​Blood and Bones​ reflect this. Recorded quickly with producer Dwight Baker, who has worked with Schneider on 6 of his previous releases, the album highlights the chemistry that Schneider and his backing band of Austin’s very best musicians have developed while relentlessly playing live, most notably at the monthly residency Schneider has held at Austin’s Saxon Pub for the last 19 years. “I didn’t want to overthink the songs,” Schneider says. “I really respect Dwight’s ability to make great calls when it comes to what works and isn’t working when we are recording the songs. I felt pretty good about the quality of the songwriting, so I figured that would come through in the end if we just went in and played them the way I do live.”

While the performance and production are stellar, the songwriting finds Schneider in a particularly reflective mode. Sure, there are live favorites like “Make Drugs Get Money” and “Texaco” that will get even the most reserved crowds dancing. But more often the album finds Schneider reflecting on marriage, parenthood, and mortality. “I wish I could make you see how wonderful everything is most of the time, but I’m only blood and bones,” he sings on the title track, a meditation on the beauty and the limits of marriage. Later, on “Easy,” he tells his daughter “it’s always been a scary thing to do, to let my heart fall down into the endless blue, but it’s easy with you.” Through it all, there is a clear sense of mortality, of just how fleeting all of this is. “The hours and days stack up in the mirror,” he sings on “Hours and Days”. “We’re just snowmen waiting for the summer” he sings on “Snowmen”, before adding “we can’t bring them back, can’t bring nothing back.”

One thing Schneider has excelled at in his career is bringing audiences back. Though he has received little national press or major label support, he has managed to become one of the biggest acts in Austin, if not in Texas. His fans, who often discover him from being brought to his shows by their friends, are fiercely loyal. Many have attended dozens or even hundreds of shows. Thanks to these fans, Schneider has won more Austin Music Awards than any other musician, including Best Songwriter, Best Musician, and Best Male Vocals, rounding in at 54 total awards to date.

In retrospect, it appears inevitable that Bob Schneider would become an artist. He was born in Michigan and raised in Germany, where his father pursued a career as a professional opera singer. As a boy, Schneider studied piano and guitar, often performing at family parties and backing his father on drums at nightclubs throughout his youth in Germany and Texas. He went on to study art – his other primary passion and avocation – at the University of Texas El Paso, before moving to Austin and establishing himself as a musician. He performs relentlessly, creates new music compulsively, writes poetry, and regularly shows his visual art in galleries around Austin. With ​Blood and Bones​, Schneider further cements his reputation as one of the most versatile, inventive, and engaging songwriters working today.
Annie Stela - (Set time: 9:15 PM)
Annie Stela
I can still remember when my parents brought a newly-born Annie home from the hospital. I stood above her, gazing down at her in her crib. And, briefly… oh so briefly… the thought crossed my mind to take the pillow from behind her head and smother her with it.

Boy, am I glad I didn't! Because then the world would have been robbed of some seriously sweet tunes.

As a child, Annie was always singing, always writing, always creating. She wore out her copy of Really Rosie. Seriously, no young girl growing up in the late '80s should be that obsessed with Carole King and Billy Joel. It was a little... weird. And as her older brother, it was up to me to constantly remind her of her weirdness.

Years later, every day after school, while I'm in the family room trying to get my Sega Genesis on, there she is banging away at the piano. Or off in her room, writing poetry. Which I made fun of, obviously, feeling honor-bound to do so. In high school and early college, she was always performing, always in bands, pushing out there, finding her voice. It was immediately apparent she should be the lead singer - that her songs should be the ones the band was playing. And making fun of her…it just wasn't what it used to be. Maybe I was starting to be a bit impressed, not that I would ever have let on.

At the age of 22, Annie moved to Los Angeles and promptly got a deal at Capitol Records. I started thinking maybe I'd been playing this all wrong.

Shortly after signing with Capitol, Annie came to New York, where I lived, to play a show. Having not seen her play in a couple years, this was a revelation for me. The leap had been made. This was no longer a young girl writing her journal into song form. This was a songwriter. Who was this person? This adult who was so good at her craft, with such clarity of expression, writing about heartbreak and growth. Where was my little sister? Clearly, I had not been paying attention.

After recording her debut album Fool, Capitol Records went through a difficult merger. Seeing the storm clouds gathering, Annie left Capitol, taking her LP Fool with her, and releasing it independently and on iTunes. Leaving Capitol was of course a blow though in important ways it was a gift. It gave her the freedom to develop as an artist on her own terms. The result was music that was stripped down, more elemental, while still retaining that classic pop sound.

Our mother once told me three of the hardest things to go through in life are a relationship ending, moving, and losing your job. Annie writes often about two out of three of these (she's never had a real job). Annie's music is very much concerned with growing up. Not from the perspective of a teenager going through it, but from the perspective of an adult who has survived it and still bears the scars. That's what makes the music so universal. If you're a teenager going through this stuff, you feel comforted. If you're an adult, you listen and the feelings come flooding back. She's always been an old soul. I can only assume this is due to the torment I put her through during the early years of her life. Yeah, I'll take the credit.

After the release of two successful EP's (Hard City/Little House) of original music last year, Annie was chosen by Macy's as the inaugural artist in their American Rag series supporting independent and emerging musicians. Macy's combined the two EPs into one album and distributed physical copies of the album to customers in their stores this past summer.

Next, Annie set out to do a covers album. The idea was to do an EP of songs by artists with the same first name. Naturally, she settled on the name 'Gary.' After a couple hours of realizing there are no good musicians named Gary, she moved on to her second choice 'William.' Ah, so much better. Billy Idol, Billy Joel, Billy Squier and, of course, Willie Nelson. The collection of covers does what good covers are supposed to do. You hear these songs in a new way, filtered through a new voice. She devours the originals, chews them up and spits them out new. They come out sounding like Annie Stela songs, through and through. And you have never heard Billy Idol like this.

The days of me becoming Annie's "business manager" and embezzling huge chunks of money from her are so close I can taste them.
Travis Linville - (Set time: 8:30 PM)
Travis Linville
It’s a quiet confidence, an air of authority limited to only the most studied artists, a commanding irreverence woven with a thread of vulnerability. There’s something inexplicably authentic about Oklahoma’s Travis Linville, and it’s carried him from dive bars and classrooms to “The Tonight Show” and esteemed theaters and festivals across the globe.

Linville is legendary regionally for his work in the now-defunct Burtschi Brothers and for his behind-the-scenes influence—including producing John Fullbright’s first album and teaching guitar lessons to a then nine-year-old Parker Millsap. The “Oklahoma Gazette” rightly called him a “godfather of modern Oklahoma folk” and noted that his success opened doors for a state teeming with talent: a mentor and contemporary for other Oklahoma acts like Fullbright, Millsap, Turnpike Troubadours and John Moreland.

His acclaimed solo releases include 2012’s “Sun or Moon” and 2014’s “Out on the Wire” EP, called “rich, soulful and beautiful” by Jimmy LaFave. A live audition of a track from the latter even netted him a role in a William H. Macy film, in which he performed the song.

A gifted instrumentalist, Linville is also known for his work as a sideman with Texas songwriter Hayes Carll, who calls him “criminally underrated.” He’s also performed with Willie Nelson, Tommy Allsup and Ryan Bingham and shared billing with Merle Haggard, Other Lives and Billy Joe Shaver, among countless others.

Independently, Linville has sold 15,000 albums and played thousands of shows across his 20-plus year career, with an ever-evolving repertoire deeply rooted in songcraft, sly humor and subtlety.

"Travis Linville writes, plays and sings music the way it's supposed to be done,” Carll says. “With depth, heart and soul. One of my all-time favorite musicians."
Venue Information:
9081 Santa Monica Blvd
Los Angeles, CA, 90069

All lineups and times subject to change