Wade Bowen

Wade Bowen

Paul Thorn

Sat, May 10, 2014

Doors: 7:00 pm / Show: 7:00 pm

$20.00 - $25.00

Tickets Available at the Door

This event is 18 and over

Indoors - Mostly Standing Room. All Minors Will Be Charged an Additional $5 At the Door. General Admission. 17 & Under Admitted with Parent or Guardian Only. $20 Advance/$25 Day of Show

Wade Bowen - (Set time: 10:30 PM)
Wade Bowen
In the fall of 2010, thirteen years to the day after launching his career at Stubb's Barbecue in Lubbock, Texas, Wade Bowen started recording this self-titled album, his first for a major country label. Those years had seen Bowen rise from collegiate greenhorn to the top of the Texas music and Red Dirt circuit. His colleagues and friends the Randy Rogers Band, Pat Green, Jack Ingram, Eli Young Band, Cross Canadian Ragweed and others had already made the major label leap, helping to take a vibrant regional sound to the rest of America. Now it's Wade Bowen's turn to bring some Red Dirt and independent spirit to country music at large.

This isn't a debut, more like a fresh start on a bigger stage. Working with Justin Niebank, a master mixing engineer and Vince Gill's producer of recent years, Bowen cut new versions of four of his most popular songs along with seven new tunes that reflect his evolving vision as a songwriter. Longtime fans (and there are quite a few of them) will hear the Bowen they've known and the next steps on his journey. They'll get better acquainted with the ballad singer who doesn't often get a chance to show himself in honky tonks. Newcomers will hear a head-turning country artist with range, road-tested hits and one of the best male voices in the business.

That voice truly jumps out of these 11 tracks. Wade's baritone is dense and concentrated, with traces of whisky and smoke and an autumnal warmth. Bowen takes command of his songs, cutting over the top of Niebank's sculpted guitar-scapes. The sound is one hundred percent country, rife with pedal steel and vivid emotion, but it's also music could easily find a home with fans of Bowen's non-country idols - folks like Bruce Springsteen and Jackson Browne. Take a few passes through this project and you'll hearing a singer's singer and a focused songwriter who's adding layers to his music all the time.

"All this work and the care we've taken with this album just falls in the category of trying to get better," says Bowen. "When it comes to my intent as a musician, I've not changed anything since day one. I've only tried to mature and tried to get better, and I think this record is representative of that." On a live circuit where the overwhelming mandate is to stir up a party, Bowen has aimed to leave folks with a memory. As a writer, even one from a state with some tall literary traditions, he's not trying to earn a PhD in poetry; he's trying to communicate. "My style," he says, "is more to try to evoke an emotion. I'm more about trying to leave a mark on people."

Growing up in Waco, Bowen's exposure to the music of Texas was limited to whatever made it on FM country radio. George Strait was king. Guy Clark was a name he'd not have recognized before getting to college. There, in Lubbock, he discovered the iceberg below the surface, starting with Robert Earl Keen. "He was a big changing point in my life," says Wade. "I realized by listening to him that there was way more out there than I ever knew. So I started getting into Guy Clark and other great Texas music. But I was obsessed with Robert Earl. When we started the band we were sort of a Robert Earl cover band."

That band was called West 84, and they found that with their large posse of friends who'd always show up for a good time, it was easy to land gigs. Bowen meanwhile began to channel a life-long love of writing into songs, and when college ended he made two major decisions. He took on the role of solo artist under his own name, and he moved to Austin. By then, about 2001, fellow Waco native Pat Green had busted out to national prominence and the Texas music phenomenon was the buzz of Nashville. It was part of Wade Bowen's inspiration to charge ahead.

Try Not To Listen is the album Wade regards as his true debut, the project that kicked off a life and living made of 200-plus nights a year on the road and patient grassroots fan development. Then with Lost Hotel in 2006, things really began to click. The opening track "God Bless This Town" reached No. 1 on the bellwether Texas Music Chart, and over the next six years, he released six more chart-toppers and three additional top fives. He achieved another landmark when he was invited to add his name to the roster of great artists who've made a Live At Billy Bob's CD/DVD combo at the iconic club in Fort Worth. With a decade that good, it was inevitable that Music Row would become interested.

The origins of Bowen's new record deal can be traced to his music publisher, Sea Gayle Music. It's where Brad Paisley, Radney Foster, Jerrod Niemann, Chris Stapleton and other do their songwriting, and in 2010, it was the first indie company to be named ASCAP Country Publisher of the Year since 1982. Sea Gayle has a track record of investing in artists and helping them reach their potential, and that's how they've worked with Bowen, ultimately backing this album and introducing its independently made sound to Sony Music. Step one in that process was to find a producer who could preserve Wade's vision yet find the sweet spot that would help his music have its best chance at country radio. "Of all the producers we talked to, Justin Niebank was the only one who said 'I need to come down and see you live,'" says Bowen. "Well after 13 years of doing this I'd hope someone would want to see what we do, why we have fans. He totally got it and based the whole sound of this record around that."

That live immediacy certainly throbs on "Saturday Night," which tracks the internal monologue of a lonesome hombre sitting on his stool, nursing his drink and thinking about "that sad goodbye." As the album's first single, its chiming descending guitar riff will be the first thing many audiences will hear from Wade, his calling card. Also likely to grab listeners early is "Patch Of Bad Weather," a brisk, rocking take-down of a treacherous lover. It paints dramatic pictures of a stormy Texas landscape and it kicks like a gun.

Bowen has also taken advantage of his recent songwriting sessions and the comfortable studio environment fostered by Niebank to develop his love of ballad singing and the emotional side of country music. "All That's Left" brings strings into the mix, and it works. Bowen sounds at home. In "Say Anything," a guy can't think of a thing to say to a girl he's just met except gush on about the one he let get away, so he shuts up and listens. Its chorus will surely make some leading male country singers wish they'd been given a shot at the song. "I love those songs like that. Sad ballads," says Bowen with an apologetic shrug. "That's where my passion is. 'Say Anything' is one of my favorite tracks on the record."

Bowen was extremely pleased that the offer of a deal from Sony's BNA Records included an invitation to re-work his best material. "It was a huge opportunity to make these four songs a little better," he says. "We've played them lives for a long time, and we learned from that. We changed some tempos and tried to animate them a little bit. We created more dynamics and more signature hooks. That's stuff Justin has taught me as a producer."

Among these, "God Bless This Town" is probably the closest Bowen has so far to a greatest hit. A Texas No. 1 in 2006 and a popular music video with tons of CMT and GAC play, it's got stories layered in its stories and its characters feel familiar and alive. The narrator is torn between cynicism and attachment, and the song is all the more affecting because of it. The new version has a clean, coiled energy that ought to propel it into the hearts of a new wave of fans. Also re-worked is the smoldering "Trouble" and a breezy song written by Paul Thorn called "Mood Ring" that uses a dime-store novelty as a device to get the narrator to reveal his conflicted feelings.

Now one last note, because Bowen knows it's going to be interesting to roll out a "Nashville" album to his fans. A contingent of them have preemptively made it known that they live in mortal fear of Bowen being eaten by the Music Row machine. Yes, Wade did record this project in Nashville, with Nashville session players. But study those previous albums, and you'll see that's exactly where and how he's made them all. Bowen's been making regular writing trips for years as well, working with an expanding circle of masters and taking advantage of the town's expertise and experience. Wade will tell anyone who has a low opinion of Music City that for him, it's the home of Guy Clark and Todd Snider and Rodney Crowell, of the greatest guitarists on Earth, the finest studios and producers.

And of course Nashville was the origin of those radio dreams instilled when Wade was growing up in Texas and hearing country legends on his FM radio. The calling he felt was toward authentic music that reaches people, and that's not unique to Austin, Lubbock, Waco or Nashville for that matter. It lives in the heart and the work of the artist, and those who've believed in Wade Bowen all along will find in this album and the many albums and tours to follow, plenty more reasons to keep the faith.
Paul Thorn - (Set time: 9:00 PM)
Paul Thorn
Paul Thorn took an unexpected detour on the road to recording a follow-up to his most successful release, 2010's Pimps and Preachers. After writing many discs of semi-autobiographical tunes that have drawn comparisons to John Hiatt and John Prine, the critically acclaimed singer/songwriter - hailed as the "Mark Twain of Americana" - decided to do an album of covers. "I wanted to take a break from myself," he reveals, "do something different, and just have fun."

The collection, entitled What The Hell Is Goin' On? (due May 8th on Perpetual Obscurity/Thirty Tigers) finds Thorn putting his own gritty rock stamp on some of his favorite songs. There are some names familiar to Americana fans (Buddy Miller, Ray Wylie Hubbard), some lesser-known (Foy Vance, Wild Bill Emerson) and some surprises. The Buckingham/Nicks tune Don't Let Me Down Again originated on that duo's debut, not during the Fleetwood Mac era, while the Paul Rogers/Free song that Thorn chose to cover is an obscure one, Walk In My Shadow.

The idea for a covers album grew as Thorn encountered tunes that meant something important to him. "I would hear them in the tour van or I'd be at a festival and see someone perform them live," Thorn says, "and I'd say 'That's a great song, I wish I had written it!'" One thing all the writers of these songs have in common, according to Thorn, is that they are true artists. "They don't just write songs in an effort to become popular or follow trends," he explains. "At the risk of sounding corny, they write with their hearts. None of these songs are cookie-cutter tunes like you hear on the radio today. They all have real depth, which is very appealing to me."

The set covers subjects that are familiar territory to Thorn, from the spiritual pull of Miller's Shelter Me Lord to the spirited fun in Big Al Anderson's Jukin'. Thorn, so skilled with his own character studies, plays storyteller with such lurid tales as Hubbard's Snake Farm and Emerson's Bull Mountain Bridge. Emerson (who has written for George Jones and Tammy Wynette) is someone, according to Thorn, who "can tell a story in a song like nobody else."

What The Hell Is Goin' On? also delivers songs of love and salvation. Vance's Shed A Little Light and Eli "Paperboy" Reed's Take My Love With You are emotionally powerful tunes. The latter particularly expresses Thorn's feelings about being on the road and missing his family back home: "Being a touring musician is a blessing and a curse... and Eli put into words what I feel like sometimes."

What The Hell's centerpiece is the powerful title track, a blistering look at life in modern times that was penned by blues-rock icon Elvin Bishop. "We are living in a new world where people are very connected, but also at the same time are disconnected," Thorn states. "I believe technology in moderation is good but too many folks are walking around wearing ear phones and some have forgotten the lost art of basic social skills."

The song also is significant because he has developed a friendship with Bishop over the years. "I sometimes visit him at his house when I'm out in California and he always gives me a jar of his homemade jelly that he makes with fresh kiwis from his garden," Thorn recalls. "He sang this song for me on his front porch one day and it blew me away." It was also a treat to have Bishop perform a guitar solo on the tune - which Thorn describes as "wonderfully raw and dirty." Other special guests on the album are Delbert McClinton (another Thorn idol) and the marvelous singing McCrary Sisters.

The heavy lifting on the album, however, was done by Thorn and, as usual, his touring band (guitarist Bill Hinds, keyboard player Michael Graham, bassist Ralph Friedrichsen and drummer Jeffrey Perkins). "The guys in this outfit are a tight unit and a well-oiled machine," he proclaims. "I've had the same guys in my band for goin' on 15 years and they are incredible musicians." Another long-time collaborator is Billy Maddox, who steered the ship and also served as What The Hell's producer. The sense of camaraderie among Thorn, his band and Maddox contributes to the disc's loose, live performances. The lived-in quality is undoubted aided by the fact that Thorn and the band had already played these songs live and honed them into what he calls "crowd-pleasers."

Thorn has been pleasing crowds for years with his muscular brand of roots music - bluesy, rocking and thoroughly Southern, yet also speaking universal truths. The Tupelo, Mississippi native worked in a furniture factory, jumped out of airplanes, and was a professional boxer before sharing his experiences with the world as a singer-songwriter. Pimps and Preachers, which topped the Americana charts for three weeks and broke into the Billboard Top 100, perfectly exemplified the vivid scope of his songwriting and illuminated his family background. While his father is a Church of God Pentecostal minister, his uncle (his father's brother) spent time as a pimp, and Thorn was influenced by both of these men. Mining these "saint and sinner" scenarios, Thorn crafted a disc that All Music Guide lauded as "a great rock & roll album," while The Nation labeled it "an incredible find."

When Thorn and his band hit the road, he'll be performing both his captivating originals and these favored covers, because, as he says, "there are so many great writers out there whose songs need to be heard." Thorn also might slip in a new song or two as he already has started writing more songs of his own for the next album.
Venue Information:
John T. Floore Country Store
14492 Old Bandera Rd.
Helotes, TX, 78023