Win a pair of tickets to see Father John Misty & Jason Isbell
FATHER JOHN MISTY:
reveals a bittersweetness and directness in Tillman’s songwriting, without sacrificing any of his wit or taste for the absurd. From “Mr. Tillman,” where he trains his lens on his own misadventure, to the cavernous pain of estrangement in “Please Don’t
Die,” Tillman plays with perspective throughout to alternatingly hilarious and devastating effect. “We’re Only People (And There’s Not Much Anyone Can Do About That)” is a meditation on our inner lives and the limitations we experience in our attempts to give and receive love. It stands in solidarity with the title track, which examines the ironic relationship between forgiveness and sin. Together, these are songs that demand to know either real love or what comes after, and as the album progresses, that entreaty leads to discovering the latter’s true stakes.
God’s Favorite Customer was produced by Tillman and recorded with Jonathan Rado, Dave Cerminara, and Trevor Spencer. The album features contributions from Haxan Cloak, Natalie Mering of Weyes Blood, longtime collaborator Jonathan Wilson, and members of Misty’s touring band.
JASON ISBELL AND THE 400 UNIT:
Jason Isbell and the 400 Unit’s new album, The Nashville Sound, is a beautiful piece of American music-making, but watch yourself: it will light a fire under your ass. “You’re still breathing, it’s not too late,” Jason sings.
This album is a call, and the songs on it send sparks flying into a culture that’s already running so hot the needle on the temperature gauge is bouncing erratically in the red. And while it’s understandable that, in this moment, some people want their radio to help them drift away, this finely calibrated set of ten songs is aimed right between the clear eyes of people who prefer to stay present and awake. It’s a call to those who won’t cower no matter how erratically the world turns, and who aren’t afraid of what looks back when they look in the mirror. Bruce Springsteen did that. Neil Young did that. Jason Isbell does that.
As with Isbell’s 2013 breakthrough, Southeastern, and his double-Grammy-winning follow up, 2015’s Something More Than Free, The Nashville Sound was produced by Dave Cobb. Isbell says that he and Cobb created a simple litmus test for the decisions they made in the two weeks they spent at RCA Studios (which was known as “The home of the Nashville Sound” back in the ’60’s and ’70s): they only made sonic moves that their heroes from back in the day could’ve made, but simply never did. It’s a shrewd approach—an honest way to keep the wiz-bang of modern recording technology at arms length, while also leaving the old bag of retro rock ’n’ roll tricks un-rummaged. Lyrically, The Nashville Sound is timely. Musically, it is timeless.
Jade Bird is fast becoming one of the most exciting new British voices. With her debut release the 'Somewhere American' EP and 2018's follow-up breakthrough single 'Lottery', Jade has won the hearts of people across the globe. She has already preformed on 'Later with Jools Holland', 'The Late Show with Stephen Colbert' and 'The Tonight Show Starring Jimmy Fallon' and at SXSW she won the Grulke Prize for upcoming talent which follows her win of the ANCHOR Award at the Reeperbahn Festival in 2017.
Twisting big themes of disillusionment, divorce, cheating, sorrow into the realities of an independent-minded, modern British 20-year-old, Jade's music transcends genre with a wealth of influence coming from everywhere and anywhere. Classic, contemporary, and a total breath of fresh air in the current musical landscape, Jade Bird is that rare, next-generation artist who appears as clued up on the past as she is determined to learn from its lessons: in control, sometimes in your face, and in possession of gifts beyond her years.