Gin Wigmore

Gin Wigmore (9:00 PM)

Patrick Park (8:15 PM)

Thu, September 24, 2015

8:00 pm

Adv Tix $13.00 / Day of Show Tix $15.00

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Gin Wigmore - (Set time: 9:00 PM)
Gin Wigmore
It all began a few weeks after Christmas, about 15 years ago. My dear dad had politely abandoned the electric guitar he had been bought by Santa/Mum as a “relax and unwind” gift.
I, on the other hand, saw it as my opportunity to swoop in and become the family rock star…well, something like that. At the very least, I figured life looked better and attracted more boys to the yard if I walked around with a black Fender guitar in my arms. So, I quickly embarked on learning all the big hits, Oh Danny Boy and Stairway to Heaven being on high “MUST LEARN!” rotation. My dad’s “How To Play The Guitar” book from the 70’s that I had dug out from the variety of dusty music paraphernalia crammed into the piano chair seat at our family home was what you would call limited in the world of popular music circa 1999. However, I seemed to make it work. My angst filled teenage diary was now coming alive to the simple G, C & D chords I had now mastered, and my regular bathroom series concerts (audience in attendance maxing out at 2) were in full swing. For me to show any kind of interest in something for longer than at least 6 months had my parents kissing the ground and sky, agreeing that I may truly be invested in music and this might not just be another “phase” I was going through. Putting “Recording Budget” at the top of my Christmas wish list that year, my parents/Santa came through with the goods by way of $150 to spend at the local recording depot to track two of my most current musical creations. I was 15 and the world truly was my oyster. I had 2 “hits” in my back pocket, the teenage acne was fading fast, my first underage tattoo was ill fittingly inked across my lower back and my local digs of Devonport never looked brighter. And just as life dishes up sweet cake, it humbly throws you a truck of lemons right after. My dad got sick, real sick. He passed away not long after and my world quickly fell down around me. At 16 years old, I never understood the weight of his passing, the hole it would create in my life and the way it would shape the years to come. It was songwriting and that enchanting attraction of music that would catch my fall that year, and it did, in a big way. I wrote a song called, Hallelujah. A song that pieced together all the sentiments, all the loss, all the sadness in losing a parent. It truly was the only way I could pry open my feelings at the time to relieve the pressure valve on my heart. After a year in Argentina, a failed relationship, and a move to Australia, I was back in the swing of life. Age 21, working 3 waitressing jobs in Sydney and saying yes to every shitty gig I could hustle, I felt like I was on top of the world again. I later signed to Island Records, ditched 2 of the waitressing jobs and began work on my first E.P. with Tony Buchen. This is when I started really tasting the musician dream. Following the somewhat underground success of Extended Play, I quickly learned that the U.S. was where I needed to be. My A&R at the label agreed and next minute I found myself making my first full length album Holy Smoke at prestigious Capitol Studios with Mike Elizondo at the helm and The Cardinals as my band. It truly was a whirlwind time in my life. I mean, I even had kittens brought to an interview with Rolling Stone one time to just “set the vibe” for the interview. Were Unicorns going to show up for breakfast with me tomorrow? Quite possibly. For a little gal from New Zealand, this all seemed like some definite pie in the sky shit, but I was blissfully taking it all in my stride at the time. My slight obsession with a band called Shovels & Rope quickly became full blown, and I tracked down anyone associated to help me write and produce the next album. Enter, Butch Walker & Jake Sinclair. These two gents were pivotal in my career, setting the tone of a “fuck you, I got this” attitude and more importantly, a careless abandon when it came to red wine. We all got on splendidly and spent a glorious summer in Santa Monica writing and recording, Gravel & Wine. That album went on to do some great things. Not only did it swipe a few Tui Awards in NZ (very proud moment indeed!), it helped kick of the sync career I now have. Placements with Heineken, Grey’s Anatomy and Nissan began rolling in and my desire to make the USA home was getting stronger. I was heavily touring at this point, I think a mixture of escapism and a decent excuse for unwashed hair seemed a big draw at the time. In the summer of 2013 I was invited to play The Vans Warped Tour. Without a doubt, I was the most obvious fishy out of water that summer. Entering the stage with my rockabilly/western attired band, amongst a sea of death metal and punk music we were definitely a band for the parents that accompanied their young children that summer. However, it was there that I almost stumbled into my future by finding my greatest love and now husband Jason Butler. A catalyst in every sense of the word, he was the man that helped pack my bags and make the hop over the pacific to the city of Los Angeles a reality. Ready for album number 3, Blood To Bone consumed 2015 with writing and recording. I felt a larger than usual dose of self-deprecation that year and decided the only way to quell that feeling of inadequacy was to try producing an album. So, I did. A quick surprise marriage to Jason in Hawaii rounded out 2015 and with my tanks full of love I was ready to take a break from music for a while, or at least I thought I was. Like everything in life, well, particularly with music, when I make these bold statements to myself about packing it all in, the music universe always finds an uncanny way to show me the juiciest of carrots to lure me back. I was convinced that 2016 would be a year of honing in on myself as a writer for others, hanging up my boots on being an artist for a minute. Little did I know, the “artist carrot” would be especially juicy that year. It began with Nashville. A trip down there during a hot summer is like playing out a scene from a classic romance film…think The Notebook. My friend (NOT Ryan Gosling, but wished it was) and I sat on the porch after a day’s writing, Thai food take out and homemade old fashioned in hand, reflecting on the glory of the day as the warm air whipped around us, I kept thinking all these songs we were writing would be better if I tucked them away for one of my albums. After 11 “tuck away tracks” I found myself looking at a very decent body of work. And that will be an album called Ivory, releasing March 2018. So there you have it, a bio of sorts, but rather a peek into the last 15 years of my careers’ twists and turns and how it got me to here.
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.
Venue Information:
Troubadour
9081 Santa Monica Blvd
Los Angeles, CA, 90069
http://www.troubadour.com/

All lineups and times subject to change