Marc Broussard

Marc Broussard (9:00 PM)

Fairground Saints (8:15 PM)

Fri, September 25, 2015

8:00 pm

Adv Tix $20.00 / Day of Show Tix $25.00

Sold Out

Facebook comments:

Marc Broussard - (Set time: 9:00 PM)
Marc Broussard
Marc Broussard is an artist with a unique gift of channeling the spirits of classic R&B, rock and soul into contemporary terms. This gift has been a matter of common knowledge since 2002, when Broussard released his debut album, Momentary Setback, which he recorded and released independently at age 20. It was no secret before then, going back to those lucky witnesses who heard him belt "Johnny B. Goode" onstage at age 5 while sitting in with his father's band. Throughout his life, Broussard has been tapped as a talent to watch.

Marc’s song “Home” was successful at radio and catapulted him onto the national touring stage. His music has been placed in many TV shows and movies. The timeless, soulful nature of Marc’s vocal lends well to Film and TV, and will continue to do so for years to come.

Most recently, Marc released an independent Christmas Album titled, “Magnolias & Mistletoe”. The original song, “Almost Christmas” received radio play word wide. Marc’s next project is a charitable rhythm and blues covers record to be released summer 2016. He will be donating fifty percent of the proceeds to City of Refuge.
Fairground Saints - (Set time: 8:15 PM)
Fairground Saints
Mason Van Valin (vocals, guitar) / Elijah Edwards (vocals, guitar, mandolin, keyboards, Dobro, accordion) / Megan McAllister (vocals, guitar, dulcimer)
Los Angeles-based trio Fairground Saints create their warm and wistful sound by playing off the delicate contradictions at the heart of their music. With each member sharing songwriting duties, Mason Van Valin and Elijah Edwards impart a starkly literate, sometimes-gritty sense of introspection informed by artists like Bob Dylan and Jim Messina, while their fellow vocalist Megan McAllister lends a soulful vulnerability and gutsy intimacy inspired by everyone from Linda Ronstadt to Rihanna. “We each bring in our own different elements, but what connects us is the level of honesty that we go
?for in our songs,” says McAllister. And in achieving that honesty, Fairground Saints infuse their music with intense emotional power. “All of us in the band believe in being as real as possible with our music, and not shying away from wherever a song is trying to take us,” Van Valin says.
Produced by Matthew Wilder (No Doubt, Christina Aguilera), Fairground Saints’ self-titled debut album is shot through with elegant melodies and lush three-part harmonies. Showing both an artful sophistication and a guileless passion born from what Van Valin describes as “almost a biological imperative to make music,” the album also captures Fairground Saints’ easy chemistry and a shared sensibility that feels beamed in from the golden era of singer-songwriters.
True to that era — yet entirely fresh in perspective — Fairground Saints keep each track candid and confessional in its lyricism. To kick off the album, the slow-building “Ain’t Much for Lyin’” takes an unblinking look at the experience of “getting into a new relationship when you’re still in love with somebody else,” according to Van Valin, and gloriously unfolds into a sweeping epic richly textured with Dobro and pedal-steel tones. Gracefully shifting mood, the horn-backed “Can’t Control the Weather” puts a carefree spin on riding out depression with the help of rippling guitar riffs, gospel-esque harmonies, and quirky-sweet lyrics (“Somehow it seems the bees have lost their buzz”). “The explanation’s in the title,” says Van Valin, who penned “Can’t Control the Weather” when he was just 14-years-old and “frustrated with not being able to control a million different aspects of my life.”
Throughout Fairground Saints, the band takes brilliant advantage of the sheer impact of their vocal prowess. On “All for You,” for instance, aching harmonies meet dreamy mandolin and soaring strings as Van Valin gently depicts the pain of unreturned love (“Living in the color blue/It’s all for you”). “I think all the songs I write come from a pretty dark place,” says Van Valin of his favorite track off the album. “Writing helps me in so many ways emotionally, so it’s kind of a therapeutic necessity. If you search for the heart of the lyric, you’ll see where the sadness is coming from.” On “Turn This Car Around,” Van Valin and McAllister use their alternating vocals to explore the sharp contrast in point of view from either side of a bad breakup. “It’s that back-and-forth story where you get it from his perspective then her perspective — and ultimately the woman wins,” McAllister explains. So while “Turn This Car Around” starts out as a stripped-back, folky meditation on regret (“I spoke words I should’ve swallowed,” laments Van Valin), by the second verse the tempo has kicked up and set the stage for McAllister to belt out lines like “I don’t know where I’m going/But I’m not coming home” at the song’s triumphant climax.
Although the trio set to work on Fairground Saints just months after getting together, the album reveals an instant camaraderie that’s got much to do with the band members’ parallel backgrounds as lifelong music devotees: McAllister started writing songs and self-recording when she was six, Edwards began playing piano when he was four and eventually added about a half-dozen more instruments to his repertoire, and Van Valin grew up in an exceptionally musical family and learned to play his dad’s guitar when he was 12. The first stage of their collaboration took place several years ago, when Van Valin attempted to get a band together by posting an ad online and ended up connecting with Edwards (a fellow Santa Ynez Valley native, then 15). “He was so young that I didn’t really take him seriously, but we talked on the phone and I sent him a song I’d been working on, just me on an acoustic guitar,” says Van Valin. “A little while later he sent it back and he’d added drums, bass, mandolin, Dobro, all this crazy stuff. It sounded great, like he’d recorded it in a professional studio, so I was just like, ‘Well, cool, man — you got the job!’”
Soon after they started playing together, Van Valin and Edwards crossed paths with McAllister, a Michigan native who’d moved to L.A. after touring the globe and leading songwriting workshops as a part of a music education nonprofit called The Young Americans. “We gelled quickly and started making music together right away,” says McAllister of her first meeting with Van Valin and Edwards. “It was almost like we were already family.”
In making Fairground Saints, the band took advantage of that togetherness by allowing themselves to shake off all inhibitions in their creativity. But no matter how playful their approach in writing and recording, Fairground Saints held true to their vision of creating what McAllister calls a “very love-driven album” that’s mainly shaped by heartache. “There’s no filter on the emotion coming through in our songs,” notes Edwards. “They’re all based in visceral feeling, and the lyrics are as real as a conversation you could be having with an ex-girlfriend or boyfriend.” And in bringing the album to life, Fairground Saints learned to embrace the pain that comes with that realness. “Music has made me realize I wasn’t alone more times than I can count, and I want to put that back into the world,” Van Valin says. “So if the upside of focusing in on something you don’t necessarily like about yourself is that other people might eventually benefit from it, then that’s all right with us.”
Venue Information:
9081 Santa Monica Blvd
Los Angeles, CA, 90069

All lineups and times subject to change