[NEohioPAL] Wood Brothers At Kent Stage - Sept. 29th

[The Kent Stage via NEohioPAL]

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The Kent Stage
Concert Announcement
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VERY SPECIAL CONCERT ANNOUNCEMENT

- Please include in your publication and/or event listings -
*** Media Interview Opportunities Possible ***
The Wood Brothers
Tuesday, September 29, 2015   8pm

KENT OHIO - The Kent Stage is proud to announce that the Wood Brothers will perform
at the Kent Stage on Tuesday, September 29th, 2015 at 8pm. All tickets are general
admission.

The cover of The Wood Brothers' gorgeous new album, 'Paradise,' is adorned with 
an illustration of a mule staring at a carrot dangling just inches in front of its
mouth. The carrot, though, is hanging from a stick affixed to the mule's own head.

"In some ways, he's already got it," explains guitarist Oliver Wood. "And in some
ways, he'll never have it."

That paradox is at the core of 'Paradise,' an album about longing and desire and
 the ways in which the pursuit of fulfillment can keep it perpetually out of our
 reach. It's a beautiful collection, the band's most sophisticated work to date 
and also their most rocking, with bassist Chris Wood playing electric on tracks 
for the first time. Recorded at Dan Auerbach's Easy Eye studio in Nashville, 'Paradise'
captures the latest chapter in the ongoing evolution of a band-and a family-navigating
the joy and challenges of a life in music.

Dubbed "masters of soulful folk" by Paste, The Wood Brothers released their debut
studio album, 'Ways Not To Lose,' on Blue Note in 2006. You'd be forgiven at the
 time for expecting it to be something of a side project. Chris Wood already had
 legions ofdevoted fans for his incomparable work as one-third of Medeski Martin
 & Wood, while his brother Oliver toured with Tinsley Ellis before releasing a half-dozen
albums with his band King Johnson. Almost a decade later and with drummer Jano Rix
added as a permanent third member, it's become quite clear that The Wood Brothers
is indeed the main act.

'Paradise' follows the band's acclaimed 2013 release 'The Muse,' which was recorded
almost entirely live around a tree of microphones in Zac Brown's Southern Ground
 studio. Hailed previously by the New York Times for their "gripping" vocals and
 by the LA Times for their "taught musicianship," the brothers found the live setting
to be a remarkable showcase for their live chemistry and charismatic magnetism. 
But when it came time to record 'Paradise,' their fifth studio album, the band knew
the music called for a different approach.

"For this album, we wanted to have a more up-close and dry sound," explains Chris.
"I worked on another record at Easy Eye and I just loved the room. Dan's studio 
is cool because it's not old, but it feels that way when you walk into it. It reminds
me of Sun Studios. It just has that feeling of a small room with natural compression,
and I think you hear that in the sounds on the record."

The decision to record in Nashville was no coincidence either, as this marks the
 first album written with the entire band living in Music  City.

"Oliver and I spent a lot of hours just in a room together writing songs," says 
Chris. "That's really never happened before. All the music in the past was written
long distance or over the course of touring. It's definitely the most collaborative
album we've ever made."

"It was kind of a luxury to be able to play together not just at a soundcheck," 
adds Jano. "It was a different starting point. Rather than people bringing in compositions
that were relatively finished, we were starting from the ground up as a group."

The album opens with "Singing To Strangers," which sets the tone for what's to come
both musically and thematically.

"Singing to strangers is something we do every night," explains Oliver, "and there's
some satisfaction about singing to strangers. It's this weird thing that I think
 we get addicted to. It's not that we need attention as much as we need connection.
On a good night, when we're singing to strangers, everybody in the room bonds, and
you have this amazing sense of connection."

That desire for connection permeates the album, from "Touch Of Your Hand"-a song
 about what Chris describes as "the most basic human need that there is"-to "Two
 Places"-a track about longing for home and family while on the road-to "Never And
Always," which examines the fundamental emotional experiences of loneliness and 
belonging. "Snake Eyes" and "American Heartache" both explore the dark side of longing,
how the constant need for more in our consumer culture can engender a perpetual 
dissatisfaction with never having enough, while on "Without Desire," they find the
beauty and the magic that the titular emotion can bring into our lives.

"Desire gets a bad rap sometimes," explains Chris, "and people think it's the root
of all of our problems. We wanted a song that said, 'Maybe it's not, maybe we need
it.' What would it be like if we didn't desire all those good things in life?"

In addition to Chris's electric bass, which appears on two tracks, the album also
showcases Jano's "shuitar," a portmanteau for "shitty guitar." The name belies the
instrument's complexity, though. It's actually an acoustic guitar that Jano has 
rigged up with noisemakers to function as an easy-to-travel-with drum kit.

"I made one in The Wood Brothers because we needed a portable drum set we could 
take to play on sessions and on the radio," he explains, "but then we've been using
it so much live, we started writing for it and not wanting it to even sound like
 a drum set anymore. We wanted to let it be its own thing."

It turns up prominently on "Heartbreak Lullaby," which also features guitar playing
from Oliver inspired by field recordings of African folk musicians. There's more
 to Jano than percussion, though, as he sits down at the piano on several tracks
 on 'Paradise,' including album closer "River Of Sin."

"That song imagines how when people get baptized in a river, it's supposed to wash
away their sins," explains Chris. "But what happens to the water? Where do the sins
go? And what if you live downstream from all that baptizing?"

"A lot of the songs are dealing with these themes of longing and desire," adds Oliver,
"but the album finishes with 'River of Sin' because it's a positive and empowering
message, which is that you can't really do anything unless you're persistent. The
narrator is humble and understands that there are all these things larger than him
and he's just trying to understand them and he's determined to do better and be 
as good as he can. And he recognizes the only way to do that is to keep trying."

It's a fitting, lovely, gospel-tinged ending to an album that traces both the darkness
and the beauty in our nature, the perpetual hope and the futility of it all. The
 quest for the carrot often blinds us to the fact that we already possess it, and
that's the

irony of desire.

"He who is not contented with what he has would not be contented with what he would
like to have." Socrates said that.

"I can't live without desire / If I didn't want anything / Why would I rise? / Why
would I sing?" The Wood Brothers said that.

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TICKET INFORMATION:

Tickets Go On Sale Friday, July 24th at 10am

General Admission

Advance:  $20     Day of Show: $25

Purchase Tickets [http://r20.rs6.net/tn.jsp?f=001czK-pc9d_sUWldfLCjSrZvGhey7wi0anF99UVf-mOgEWQPGG3BQLRSUYMLU-eBWTXSLVrqA-mAm3rsf_TtjcZjF4RYSTcXj6gIKsGhsNZmZcPzltWIkFMLdtK9HjDU1WLC10I67NSNXJ6J6pbczqWTxcviHHxCNyUlBs0_XODWQ1jl1yGcggIPXF6Rwe6OWQ9Pq0hjdvFS071OV_CvAGwWpddutI_tD548xmoP76PK6N4JJ3NDBTQSkoEozF-QbC9_qhoKq26fzA-DXluuVFInF3EFm5bQv3QQ1X7Pz_lnk9nOw1Ozl8NBQKZXFPM7NJqlgbguxsw54xEZ63cCDUS3AGOPdLP41phgF6S0nU8MIza98-83_O5Q==&c=tbunt6kK4sOTSkPJvk4Kww70HNR84pf2xScGHfyf9Txc2ewu4AFL1A==&ch=zmbWY4nWz8t8yCs_Hi4lc-uS0i_6oitHUVVERBSzrzQverMobs6PIw==]

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MEDIA CONTACT INFORMATION

If you are a member of the media and are interested in interviewing this artist 
or need additional information, please contact:

Rod Flauhaus

rod at viawerk.com [mailto:rod at viawerk.com]

(216) 272-7776

About The Kent Stage

175 East Main
Kent, OH, 44240

(330) 677-5005

wrfaa at yahoo.com

Since 2002, the historic Kent Stage has been the host to hundreds of award winning
artists of multiple genres. Drawing audiences from across the country to more than
120 events a year, the iconic venue pumps millions of dollars into the Kent area
 economy on an annual basis. The Kent Stage is managed by the Western Reserve Folk
Arts Association, a 501 (c)3 not-for-profit corporation.
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