Lewis Watson

Lewis Watson (9:00 PM)

Patrick Park (8:15 PM)

Roméo Testa (7:30 PM)

Sun, November 9, 2014

7:00 pm

Adv Tix $15.00 / Day of Show Tix $17.00

Sold Out

This event is all ages

Rescheduled date is Sunday, November 9, 2014. All tickets from the October 22 show will be honored for the new date. If you cannot attend the new date, you may request a refund from Ticketfly until Wednesday, October 22, 2014 at 5:00PM.

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Lewis Watson - (Set time: 9:00 PM)
Lewis Watson
Lewis Watson
brand new album: ‘midnight’ - released March 3rd, 2017

You can tell how much Lewis Watson has changed by his hair. Gone is the heavy, forward-swept fringe that was his trademark in his teens, when he was signed on the strength of a single, self-released EP and wrote much of his acclaimed debut album, 2014’s The Morning. In its place are long locks he recently dyed from dark to white – not to shock, but in part to signal a new start.

“I’ve always wanted white hair,” says Lewis. “So I thought, why not? I’m finally in a position to make my own decisions, and not just about my music. The biggest change I’ve made is taking control of my career. Everything I do, everything you see comes from me.”
Midnight, the Oxford singer’s sensational second album, is testament to that change. Written and recorded entirely under his own stream, with friends as collaborators it’s a sonic leap on from his largely acoustic debut – bigger, bolder, beautifully textured and more experimental, but still as brutally honest and achingly intimate as his bewitching early EPs.
“It’s an evolution from my first album,” says Lewis. “It’s grander, heavier and more electronic. I still like acoustic music – and there are some quieter songs on there – but I also love Death Cab For Cutie, Bombay Bicycle Club and Bon Iver. It is a big change, but it’s still me. Maybe me with added spice.”
Recorded in just three weeks last summer at The Vale in Warwickshire and produced by Lewis’ close friend Anthony West of Oh Wonder, Midnight was made without any label involvement. In fact, it wasn’t until Zane Lowe premiered gritty, drums-driven first single ‘Maybe We’re Home’ on his radio show in January that anyone outside Lewis’ circle had heard his new material.
“It was crucial for me that these songs sounded exactly as I imagined them,” says Lewis. “I didn’t want any outside input. In the past, I’ve been forced to write with people I didn’t know and work with producers I had nothing in common with. I’m still incredibly proud of The Morning. It will always be special because it’s my debut, but it was a bit of a Frankenstein. The songs were recorded with a half a dozen producers in six or seven studios over the course of two years. We made Midnight in a bubble, so it’s much more coherent. Every track has my stamp on every aspect. It’s a snapshot of where and who I am right now.”
As soon as ‘Maybe We’re Home’ hit the airwaves, labels came calling. Having left his deal with Warners after their delay in releasing his debut, Lewis was cautious, but when Cooking Vinyl, on both sides of the Atlantic, made an offer, he accepted.
“The musician City & Colour, who is on their roster, is the reason I took up music,” says Lewis. “He was and still is a big influence. He’s a career musician with a huge cult following who makes his own decisions. My aim is to sing for a living for the rest of my life, so the deal had to be right. And so far, it’s gone like a dream.”
Key to Midnight is the stately, stirring, Snow Patrol-esque ‘Deep The Water’, the first song Lewis wrote for the album after a self-imposed six months away from making music in 2015. “I was still playing shows,” says Lewis. “We toured the States and Australia and played a fantastic festival in the Philippines, but for a full six months, I stopped writing songs. I’d grown to dislike the process, which was heart breaking for me because I’ve loved songwriting since I picked up a guitar aged 16. But I needed a break, to be reinvigorated, to learn to love it all over again. I took a step back for as long as possible to see what would change.”
That summer, Lewis found out. He got together with Anthony West and Josephine Vander Gucht just to jam and discuss ideas, but straight away songs started to flow. The first was ‘Deep The Water’ but in a matter of days, they had completed five songs, among them the album’s sweet, spine-tingling, strings-soaked highlight ‘Hello Hello’ and the epic ‘Little Light’ an emotionally-exposed love letter to Lewis’ girlfriend of five years.
“I’m loathe to use the word magical, but it really was,” laughs Lewis. “It was a joyous, organic experience. ‘Deep The Water’ came flooding out of me on the first day and lifted this immense weight from my shoulders. I’d worried I might not be able to write, but I couldn’t stop. For the first time, there was no one shoving words in my direction or making suggestions.”
‘Deep The Water’ is one of several songs on Midnight about a relationship gone wrong, but it’s also about survival.“It’s about giving the most and receiving the least,” explains Lewis. “It’s based on an experience I’ve had of loving someone who expects you to come running when they need you, but gives nothing back. But like most of my songs, it’s a sentiment that can apply to different situations. It’s about being used, whether that’s at work or by a friend or a lover, the emotion is the same.”
The two oldest tracks on the album are the dreamy ‘LA Song’ and the rootsy, Springsteen-referencing ‘When The Water Meets The Mountains’, both originally intended for Lewis’ debut, but since reinvented.
“The deluxe version of The Morning included a demo of ‘LA Song’, so you can hear how much it’s evolved,” says Lewis. “It’s now built from bass chords with floaty electric guitar on top. The whole album is rich in textures and atmosphere. ‘Give Me Life’, for example, has 28 guitar parts, but a lot of those are just layers and textures. I’ve discovered that songs aren’t simply about chords and a melody. Sometimes what’s not playing is as important as what is.”
Another change is Lewis’ first recorded duet, on the spectral ‘Slumber’ featuring Lucy Rose, whom Lewis first heard at college and has been angling to work with ever since. The gorgeous melancholy there is touched on elsewhere in the likes of ‘Forever’ which is simultaneously Midnight’s poppiest song, but also one of its saddest.
“I’ve always wanted to write a really sad, upbeat song,” says Lewis. “It’s about the frustration of being in a relationship that’s not working, despite you both wanting it to. The setting is so upbeat and instant, it tricks you in to thinking it’s happy until you really listen to the lyrics.”
The album closes with the secret title track, a Joel Pott co-write featuring Josephine on piano that returns Lewis to the stripped-back beauty of his early releases. Whilst hidden from the tracklisting it’s deeply revealing of an artist coming full circle, fulfilling his early promise while expanding his palette in ever more vibrant ways – something reflected in the striking album artwork commissioned from renowned Canadian painter Andrew Salgado, one of Lewis’ favourite artists.
“I studied art at school and cheekily emailed him with an idea,” says Lewis. “He said he admired my gusto and agreed.”
So what does the artwork tell us about the music contained on Midnight, and more specifically about its creator? “It’s an incredible, heavily textured painting of me,” Lewis explains. “It’s not at all clear, so it’s me, but it’s not me. Or maybe it’s a different me, one you weren’t expecting.”
And that’s the perfect image for the album, because with Midnight Lewis Watson has not just evolved but been reborn, creating magic with a new sound, a new look and a new career stretching ahead. This time there is no doubt – like his heroes, Lewis will be making music for the rest of his life.
Patrick Park - (Set time: 8:15 PM)
Patrick Park
From the time of his first offering in 2003, the "Under the Unminding Skies" EP, Park has spent the better part of the last decade developing a reputation as a captivating recording and live artist and has toured with a diverse range of artists such as My Morning Jacket, Seawolf, Grandaddy, Beth Orton, Liz Phair, Shelby Lynne and David Gray among others.

Since 2010's critically acclaimed "Come What Will" Patrick has been amassing a large collection of new songs. The first of these to be released is an EP called "We Fall Out Of Touch". To write the new disc, he isolated himself for ten days out in the middle of the California desert in a cabin without any distractions -- no phone, TV or internet. The recording took place over the course of three days at Kingsize Soundlabs in Los Angeles.

No Depression says of the EP, "Park's lilting vocals are somewhere between Lou Reed and Elliott Smith. It's dreamy and sad and emotional and simple, and does everything right"

Patrick chose the song "We Fall Out Of Touch" as the title of the EP because it encapsulated the general feel of the record and the moment. He says, "To me it has several different layers of meaning. It's a great modern day irony, in an age ostensibly defined by our glorification of communication technology, that we are more out of touch than ever before. The songs on this record are definitely more personal than a lot of the songs I've written in a while. It wasn't a choice, they just came out that way. I always try to resist saying explicitly what the songs are about for me because it's totally unimportant and doesn't matter in the slightest. Songs to me are about communication, that's the only way they live at all. But, it's a different kind of communication than me just telling you what's going on in my life or whatever. It's about that moment when you as the listener hear your own life in a song. At that moment you feel a little more in touch with your own life, and in a weird way you feel in touch with others. If a song doesn't do that, then it's just wallpaper. It's just more noise in a world full of noise." He adds, That being said, I'm sure I've written more than my fair share of wallpaper."

Park's earnest start at becoming a songwriter, something he knew he was destined to do since the age of thirteen, began around 2000 when living in Los Angeles with a batch of songs that he decided to demo. He lacked the money to go into a studio, but that didn't deter him. "I ended up recording in the back of a store that a friend's girlfriend owned. I sang all the vocals on my knees inside of this couch cushion hut that we built because there was a cricket in the room and it kept bleeding into the microphone. It was August and it was hot and horrible," Park laments.

With his first album underway, he began playing solo shows in LA. "There is a freedom to the simplicity of solo acoustic shows which I love," says Patrick. "Musically, it's direct and pure, and there's nothing to hide behind, no way to cop out. I bare the sole responsibility for the quality of the performance. I like that it's all on my shoulders." The local press immediately reacted enthusiastically. PopMatters' Kimberly Mack reviewed a 2003 LA support slot with Supergrass and wrote, "When you see a Patrick Park show, the music is the star. And in a music business over saturated with pre-packaged studio acts, an artist like Patrick Park is a welcome breath of fresh air. Though Park plays music that can be easily classified as folk or even alt-country-folk, his punk roots are evident. Strongly reminiscent of Kurt Cobain, with a little Morrissey thrown in for good measure..."

Developing a loyal following for his performances, he also grabbed the attention from fellow artists as well, as he opened shows for the likes of Richard Buckner and Gomez, and Beth Orton handpicked Park as the supporting act on her U.S. tour. Hollywood Records also took notice, and signed him. While recording for the major label, in 2003 Badman Recording Co. released Park's gorgeous first offering, the six song EP: "Under the Unminding Skies."

Park's critically-acclaimed first full length studio record, "Loneliness Knows My Name," (Elle voted it "Best Of The Month" and said " ...Patrick Park's rich tenor and effusive melodies -- as much John Denver as Nick Drake -- are ripe with strength and sorrow..."), soon followed later in 2003, and he immediately hit the road, touring with My Morning Jacket, David Grey, Liz Phair, The Thrills, Rachel Yamagata, and Granddaddy, among others.

After enduring the long process of getting off Hollywood Records, he finally released his second full length disc, "Everyone's in Everyone" in 2007. For that record, Patrick worked with several producers including Dave Trumfio, Rob Schapf (Elliott Smith, Beck) and Chris Stamey (Whiskeytown). The album was well received, making several year-end "Best Of" lists and lead off track, " Life Is A Song", was featured as the final song on "The O.C", and viewed by over eight million people, and the second single, "Here We Are", was one of Stereogum's most downloaded tracks of 2007.

On his third album, 2010's "Come What Will," Patrick returned to working with his friend, producer Dave Trumfio, once again to accolades. Absolute Punk's Gregory Robson said, "'Come What Will' is chock full of songs that resonate and smolder inside the psyche. Five albums into an oft-overlooked career, Park may have just written the album of his life."

His latest album, 2014's "Love Like Swords," ebbs & flows through a variety of styles, with Patrick's pure vocal poetry captivating the listener. LP cut "Dust and Mud" is an upbeat track accented by horns, bright harmonies & stomping drums. "Let's Go" tells the tale of a desperate getaway with sparse guitar twangs, handclaps & drum beats rolling like tumbleweeds along the desert road. Title track "Love Like Swords" is an emotive track of booming percussion amidst intricate guitar riffs.
Roméo Testa - (Set time: 7:30 PM)
Roméo Testa
Roméo Testa has that rare voice that can seamlessly blend rock, blues and soul into one potent pop music package. At 19, he is already a music business veteran and released his debut six-song EP on Columbia Records on May 6.

This teenaged prodigy, born in Costa Rica, was raised in Los Angeles, where he received a
well-rounded musical education from his Panamanian/Italian/Chinese father and Mexican/Irish/German/British mother.

“I grew up on a pretty healthy diet of music,” he says, his prominent cheekbones and dark good looks making him a cross between the young Elvis Presley and Bruno Mars. “I started out with the Beatles, then evolved into Buddy Guy and Muddy Waters before turning to John Mayer. These days, most of what I listen to is hip-hop — old-school Dre and Dirty South stuff. I always try to get some of those sounds in there.”

Executive produced by Dan Wilson, The End offers that same kind of musical diversity. “The Hardest Part” has the melodic warmth of Coldplay laced with a trip-hop drum and bass beat. The song is dedicated to Testa’s older brother, who died from bone marrow cancer at 10, just a year older than Roméo was at the time.

“It’s the most honest thing I’ve ever written,” he explains. “His memory lives on with me. I pray to him before every single show and thank him after it’s over. Good or bad, I’m doing this for him and what he stood for in my life. There’s not a day that I don’t think of him.”

The blue-eyed soul of the cheeky “I’m Down” is Testa’s double-entrendre retort to a girlfriend set to leave him. His cover of For King and Country’s “Light It Up” has the anthemic feel of Peter Gabriel’s “In Your Eyes.”

“The song feels like it was written for me,” he says. “I felt in tune with the part about letting go of your inhibitions, knowing it’s going to be OK because you have people who love you.”

A gospel organ underlines the spirituality of “Still Misunderstood,” a song Roméo dedicates to victims of bullying. A loner himself, Testa insists, “We’re all the same, whether we’ve born into the richest of families or a life of hardship.”

His hip-hop influences are hard to miss in “Wish Me Well,” a song about leaving loved ones to pursue your dreams, with a soulful feel that recalls Terrence Trent D’Arby. “Well you probably think I’m crazy,” he sings, “But when you grow up in L.A./All you see is sunshine/You want to feel the pouring rain.”

While recording in London, he wrote “With You” about his experience getting lost on the bus on the way to Hyde Park. It’s a tender love song that echoes the likes of John Mayer by way of Al Green and Otis Redding.

Testa has been pursuing his muse since starting to play violin at 7 years old, encouraged by the Harmony Project, which provided funds for inner-city musical education in the Los Angeles public school system. By 11, he was writing songs in his bedroom with an electric guitar and cutting them on a TASCAM tape recorder, both given to him as birthday gifts from his father. Roméo went on to study viola at the prestigious Interlochen Music School in Northern Michigan. He remembers the first time he juxtaposed the political and personal in a song called “Hey Ma’am,” inspired by his mother taking him to a San Francisco rally against the dropping of uranium bombs in the Middle East.

“The song was about my stepbrother and the plight of the world,” says Roméo. “It’s kind of an anti-war protest song, about Uncle Sam coming to the door to tell you your son died. My outlook wasn’t as sophisticated back then, but I definitely knew something wasn’t right. If there’s one thing I’m clear about, it’s opposing injustice.”

Signed to a record contract on the strength of a single song, “The End,” which is not included on the EP, Testa immersed himself in creating music over the past two years. Now, he’s turned his attention to performing those songs before live audiences.

“I want to earn everything I get,” he says. “I never expect anything to come easily. If I want my career to have credibility, I have to develop a fan base through my live performances.”

With The End, Roméo is taking his first tentative steps in what he hopes will be a lifetime career.

“I’ve been waiting for this moment my whole life,” he explains. “I’ll be honest: I’m a little nervous, but who wouldn’t be? I’m just excited and I couldn’t be more ready. This EP represents me as a person and a musician, my taste in music and everything I want to stand for.

“It’s all the stuff I’ve learned and all the people I’ve had the chance to work with. I feel like I’ve spent the last few years doing nothing but music in this magnified environment. I can’t stress how far I’ve come.”

For Roméo Testa, The End is just the beginning.
Venue Information:
9081 Santa Monica Blvd
Los Angeles, CA, 90069

All lineups and times subject to change