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The Center For The Arts Presents Brandi Carlile Winter Acoustic Tour with opening support from Savannah Conley
Sunday, December 17th, 2017 8:00 PM Veterans Memorial Auditorium
- Premium seating
- $71 (Rows A-K)
- Tier 2 seating (Rows L-EE)
$56 Member, $63 General public
- Tier 3 seating (Rows FF-KK)
$43 Member, $48 General public
- Tier 4 seating (Rows LL-QQ)
$33 Member, $38 General public
- Doors open at 7:00pm
(Ticket price includes $2 facility fee for in-person events where applicable. Fees for online purchases may apply.
Members:Login to receive your discounts at checkout.)
Everyone needs to be risking something,” says Seattle-based singer-songwriter Brandi Carlile. She’s discussing the M.O. behind The Firewatcher’s Daughter, her stunning new release – her first for artist-friendly indie label ATO. The 12-song collection marks a triumphant return after a three-year recording hiatus, and her strongest, most rock & roll album to date.
“Rock & roll music as a genre always has a sense of erratic recklessness to it,” she says. “It can’t really be rehearsed – in fact, rehearsal can kill it. On this album, each song has its honest rock & roll moment, even the ballads; it’s between the point where you’ve learned the song enough to get through it, but you don’t have any control over it yet.”
Since her heralded, genre-defying 2005 Columbia debut, Carlile and her indispensable collaborators, Tim and Phil Hanseroth, aka The Twins, have always offered listeners both control and abandon, often within a single song. The most well-known Brandi Carlile tunes, 2007’s “The Story” and 2012’s “That Wasn’t Me,” are dynamic journeys in themselves, encompassing myriad emotions and varied stylistic touches; “The Story” morphs from understated balladry to epic stadium rock, while “That Wasn’t Me” effortlessly straddles country soul and pop gospel. Infused with Carlile’s clarion voice, The Twins’ tight sibling harmonies, and stellar musicianship from everyone, it all simply sounds like Brandi Carlile.
Yet, over four acclaimed Columbia albums, countless sold-out tours, and fruitful relationships with top producers Rick Rubin and T Bone Burnett, something was missing: Carlile and The Twins hadn’t yet captured the distinctive spark of old friends working up new tunes, a slippery magic born of years touring together, and often caught only on raw demos made at the behest of the label. The Firewatcher’s Daughter, by contrast, is a full-on Carlile/Twins co-production, cut live in Seattle’s Bear Creek Studio, with complete artistic control granted by ATO. With this new freedom, Carlile and The Twins, intent on capturing the elusive essence of a song’s spirit, tracked the album live, with little or no rehearsal.
Ironically, during this time of liberation, Carlile and The Twins all transitioned to married life; the Hanseroths became dads, and Carlile’s wife, Catherine Shepherd, was pregnant during the making of The Firewatcher’s Daughter. So when the engineer hit RECORD, the stakes were higher than usual: Carlile and the Twins producing, kids underfoot or on the way, and three years since an album. But true to form, they wrangled it all into song, catching many, many lightning-in-a-bottle moments; the crackling Lucinda Williams-meets-Fleetwood Mac of “Wherever Is Your Heart,” the CSN-meets-Bonnie Raitt of “The Eye,” to the dark folk-punk of “The Stranger at My Door,” the Elton John-meets-McCartney of “Beginning to Feel the Years,” and more – all executed without a net.
Its easy to find talent in a place like Nashville Tennessee, with its ebb and flow of bright eyed hopeful songwriters and musicians melting into its very fabric. Twenty year old Savannah Conley knows this first hand having grown up immersed in the music business from a very young age while keeping Nashville just at arm’s length in her farming suburb home of Kingston Springs. With her father, an accomplished studio and touring guitarist and her mother a hardworking background singer there was no escaping the countless spins of records from a genre-less household.
At age seven, Conley was being hired for studio vocals that eventually led to her start at songwriting at the age eleven. Upon winning the John Lennon Songwriter’s award in 2016 it became very clear that it was time to release something new. “Prior to this, I seemed to write with the lens of a girl who was looking out the window at life being lived,”she says. “Now I’ve had some life to live and have drawn from it for my writing. A coming of age piece, I guess you could say.”
18th and Portland, the debut EP from Savannah Conley was released subsequently on September 8, 2017. No Country For New Nashville writes“The surest introduction to Conley is EP opener and arguable standout track “Midnight Train.” Conley’s voice rings out like a train whistle in the black of night, and it lingers in your head long after the song is over…leaving us anticipating Conley’s next move.”
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