Pixies and Modest Mouse are each known for their distinctive and influential styles of rock music. Pixies, who formed in Boston in 1986, are credited with helping the rise of alternative rock in the 1990s. In fact, Modest Mouse, who formed in 1993, has stated on several occasions that the Pixies had a big influence on them.
It’s rare to see two such influential and innovative bands sharing a bill, and the addition of veteran singer-songwriter Cat Power only makes the show more exciting.
$49.50 – $79.50 Advance Tickets (+ applicable fees) – SOLD OUT
All concerts are held rain or shine. Be prepared for extremes such as sunshine, heat, wind or rain. All tickets are non-refundable. In the event of cancellation due to extreme weather, tickets will not be refunded.
About Pixies Pixies have been acclaimed as the most influential, pioneering band of the late 80s alt/rock movement, having served as a major influence for artists like Nirvana, Pearl Jam, Radiohead, the Strokes, Weezer, and many more. And today, a whole new generation of music fans has been discovering and embracing the band’s “loudquietloud” signature sound. Quirky, catchy melodies have always been Pixies’ calling card; seven genre-defining studio albums, including the Gold-certified Surfer Rosa, and the iconic Platinum Doolittle, considered one of the all-time, quintessential alt/rock albums. Sell-out crowds all over the globe, Pixies’ live shows are unadulterated magic, simultaneously electrifying and lo-fi. Seventy-five minutes of the band playing anything they want, in whatever order they want, the classics and the new gems. And no two Pixies shows are ever the same.
After disbanding in 1993, Pixies launched their reunion tour in April 2004, playing to sell-out crowds across the globe for 15 years, a far longer period of time than they were a band originally. But writing, recording, and releasing new music was something that the band had been wanting to do for a long time, so they secretly booked studio time in Wales for the fall of 2012. Six days into the recording, founding bassist Kim Deal decided to leave the band; Black Francis, Joey Santiago and David Lovering made the decision to carry on, finishing and releasing the band’s first studio album in more than two decades, 2014’s Indie Cindy.
As a prolific international touring band, Francis, Santiago, Lovering began working with a number of touring bassists, including former A Perfect Circle bassist Paz Lenchantin, who came out on the road with the band in 2014 and continues to this day. In 2016 the band welcomed Lenchantin as an official Pixie. The four-piece are renowned for their emphatic live performances – where they play all four corners of the globe – their live sets regularly rack up to 30+ songs played – made even more impressive by the fact that there are no pre-planned setlists or soundchecks before the band walk onto the stage to play.
Twenty-sixteen’s Head Carrier followed (which was Lenchantin’s recording debut with the band) and marked the beginning of the band’s long-standing collaboration with British producer Tom Dalgety. Twenty-eighteen’s Beneath the Eyrie, the next full-length recording project with Dalgety, was recorded at Dreamland Studios near Woodstock, NY. The recording session was documented by the innovative “It’s a Pixies Podcast,” which captured a true un-edited record of the recording process. A deluxe edition followed, featuring unreleased demos from the Dreamland session.
Early 2022 saw the band and producer Dalgety settle into Guilford Studios in the woods of Vermont, armed with a true abundance of riches, more demos than were needed for the band’s eighth album, Doggerel. Pixies renewed musical fervor saw a stand-alone single, “Human Crime,” leap from the shadows in March 2022, and the band then headed out on the road to play sold-out shows in North America, headline BBC Radio 6 Music Festival in Cardiff, and play Mexico City’s Vive Latino festival to 70,000 people. Pixies’ first international tour since 2019 kicks off June 22 in Europe and will see the band performing in South America, Japan, Australia, and New Zealand.
Set for a September 30 release, Doggerel is a mature yet visceral record of gruesome folk, ballroom pop and brutal rock haunted by the ghosts of affairs and indulgences, driven wild by cosmic forces and envisioning digital afterlives where no God has provided one.
As the UK’s DIY put it, “God save the Pixies.”
About Modest Mouse Having recently completed a sold out 25th anniversary tour for their breakthrough album, 1997’s The Lonesome Crowded West, Modest Mouse continues to prove themselves to be one of the most consistent live acts today. Modest Mouse released their highly anticipated new album, The Golden Casket, on June 25, 2021 via Epic Records. The Golden Casket heralds another new chapter in the GRAMMY® Award-nominated multi platinum band’s unpredictable evolution. Produced with Dave Sardy and Jacknife Lee in Los Angeles and in Modest Mouse’s studio in Portland, the album hovers in the liminal space between raw punk power and experimental studio science, frontman Isaac Brock explores themes ranging from the degradation of our psychic landscapes and invisible technology, to fatherhood. The twelve tracks behave like amorphous organisms, undergoing dramatic mutations and mood swings that speak to the chronic tug-of-war between hope and despair that plays out in Brock’s head.
About Cat Power
Chan Marshall’s latest covers album as Cat Power arrives, as all of her music does, at just the perfect time. Covers is a deeply felt, intimate, and altogether holistic collection of songs intended as a healing salve for the artist and listener alike, showcasing Marshall’s singular chronicling of the ever-evolving great American songbook. Self-produced and featuring renditions of classic songs from artists like Jackson Browne, the Replacements, Nick Cave and the Bad Seeds, Billie Holiday, and the Cat Power catalog itself, Covers is at once a reminder of Marshall’s artistically intuitive power and the latest chapter in a truly illustrious career.
With a catalogue of songwriting that’s unparalleled in the worlds of indie rock and American music at large—spanning several decades and ten studio albums—Marshall’s work at Cat Power has defied genre and convention, her legacy rippling through the work of a wide range of contemporary musical luminaries ranging from Lana Del Rey, Clairo, and Soccer Mommy to Phoebe Bridgers, Julien Baker, and Angel Olsen. There’s a rawness and immediacy to Marshall’s music that has stood the test of time, with every new musical missive from her as essential as what’s come before it.
Her second Domino release, Covers is also Marshall’s third collection of covers, following 2000’s seminal The Covers Record and the blockbuster Jukebox from 2008. “When I do covers, I feel such a responsibility to the artists I love—some I’ve never met, some I have,” Marshall explains, and longtime fans will instantly recognize some of the covers included here from live sets in recent years.
Her intense take on Frank Ocean’s “Bad Religion” originated after a spell of performing the excoriating “In Your Face,” from 2018’s visionary Wanderer, on tour. “That song was bringing me down,” Marshall admits while discussing how the experience brought about her take on “Bad Religion.” “So I started pulling out lyrics from ‘Bad Religion’ and singing those instead of getting super depressed. Performing covers is a very enjoyable way to do something that feels natural to me when it comes to making music.”
The cover of Lana Del Rey’s “White Mustang” came about similarly during a European tour with Lana alongside bassist and longtime collaborator Erik Paparazzi. “He started playing ‘New York, New York,’ I just started singing ‘White Mustang’ over it, and I said to him, ‘Let’s keep this and do it on the tour,’” she recalls. Eventually, Marshall gathered Paparazzi and a supporting band in the studio to record what would become Covers in a series of loose, off-the-cuff sessions produced by Marshall herself.
“I didn’t know what music I was creating while we were recording,” she discusses while reflecting on the recording process, as well as her production mindset at large. “When I work, I don’t look back—I just keep going. Trusting my gut is a survival technique. My approach is elementary—it’s not technical or super academic. My mission is to complete what I see, and as soon as the fibers of that vision are realized, I move on to the next song.”
From the pounding pulse of her take on Dead Man’s Bones’ “Pa Pa Power” to the haunting harmonies applied to the Pogues’ “A Pair of Brown Eyes,” Covers is a reverent testimony to the songs of Marshall’s life. While putting her own spin on these selections, she also utilized an Auto-Tune-inflected mic setup that she also used on 2012’s spectral Sun as well as subsequent live tours. “It sounds like outer space,” she explains while discussing the technical aspects of the recording process. “It creates another dimensional atmosphere, and it somehow sounds like I’m not alone.”
Of Covers’ 12 songs, one is an original, of a sort: “Unhate,” a re-recording of “Hate” from Marshall’s 2006 LP as Cat Power, The Greatest. “I’ve always felt antsy about that song and wanted to re-record it someday,” she explains. “It’s interesting to play an old song again. There’s different thoughts and feelings that didn’t happen before—new information, somehow, in there.” And the collection closes with a powerful take on the Billie Holiday-sung standard “I’ll Be Seeing You,” inspired by recent losses surrounding Marshall’s inner circle of life—including Sun collaborator Philippe Zdar, who tragically passed in 2019.
“When people who you love have been taken from you, there’s always a song that holds their memory in your mind,” Marshall ruminates while talking about the importance that the cover itself holds in her heart. “It’s a conversation with those on the other side, and it’s really important for me to reach out to people that way.”
And as Marshall explains herself, creating a conversation that spans generations is part of what drives her to continue performing and recording renditions of others’ songs like she’s done here: “I play covers all the time, and it’s important for me to record them because it’s what me and my listeners both get,” she explains, and in that regard Covers is an impressive document of artistic interpretation that is truly built to last.
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