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DTSTART;TZID=America/New_York:20250913T200000
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DTSTAMP:20260423T055524
CREATED:20250515T013521Z
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UID:18935-1757793600-1757793600@hangartheatre.org
SUMMARY:DSP Shows: Bob Mould Solo Electric: Here We Go Crazy
DESCRIPTION:DSP Shows: Bob Mould Solo Electric: Here We Go Crazy\nSaturday\, September 13\, 2025 @ 8 pm\n  \nTickets: \nOn sale Friday\, 5/16\n$35 in Advance\n$40 at the Door \nDoors open at 7 pm \nBob Mould Solo Electric: Here We Go Crazy \nWhen he calls\, Bob Mould is finishing work on his 15th solo album\, Here We Go Crazy. A distillation of the unfailing melodic skill\, the emotional lucidity and dynamic fluency he’s developed over more than four decades\, it’s also a typically bold realignment of his sonic paradigm. Its turbulent vignettes are scored by Mould’s familiar bruised tunefulness\, but the sound is pared back to its fundaments\, 11 songs blistering past in just over 30 minutes. “I’ve stripped things back to what excited me as a young guitarist\,” he explains. “The energy\, the electricity.” \nPart of the inspiration for this more primal aesthetic is the heavy itinerary of touring he’s lately undertaken\, several years spent circling the globe\, either in the company of bandmates Jon Wurster (drums) and Jason Narducy (bass) or just by himself. “I was really throwing myself in the songbook and feeling where the audience is at\,” he says. “And they were really responding to this very simple\, just-me-and-a-guitar setup. And I thought\, maybe I shouldn’t be overcomplicating things\, ‘word’-ing or ‘craft’-ing it up. Just grab for the simple bits of life we still have control over: our emotions\, our relationships.” \nAfter shows\, Mould would hang out signing merch and talking to fans. “Sometimes people bring a lot of their lifetime emotional content to me\,” he says\, “like they’ve compressed all this coal into a tiny little diamond. Sometimes I’m surprised at the weight of it\, the heaviness. I’m like\, ‘I’m here for you. I’m listening.’ I’m shocked and grateful they share so readily with me. I don’t know what I did to earn that trust.” \nMould has earned that trust with every record he’s made\, channelling his own “lifetime emotional content” for songs of wisdom\, honesty and volcanic intensity. His first band\, Hüsker Dü\, bared his angst over furious noise and turbulent melody\, an indelible influence on generations that followed. But by the time Nirvana infiltrated the mainstream\, Bob Mould had already moved on\, having sequestered himself in a farmhouse to lick his wounds and learn new ways to sing his songs. His solo debut\, 1989’s folk-rock masterpiece Workbook\, was a record of depth and sophistication. Then he pulled another sharp turn\, his power-trio Sugar alloying his most melodic songs with his fiercest noise\, yielding his most commercially successful work yet. \nOver the solo career that followed Sugar’s own mid-90s flameout\, he’s displayed a maturing gift for songwriting\, transcending the ‘alternative’ tag and recognised alongside key influences like Pete Townshend and Pete Shelley. He’s adrenalized classic forms\, alchemised angst into something addictive and powerful. “I’m just trying to figure myself out\,” he says. “After 64 years of life – 55 spent writing songs – it’s what I do.” The concepts that shaped the songs of subsequent albums reflect those years. The ruminative Beauty & Ruin (2014) and Patch The Sky (2016) were written in the wake of losing his parents and other loved ones. 2019’s Sunshine Rock was a homage to the early Capitol singles of the Beatles and the Beach Boys\, constant companions through his turbulent childhood. The terse\, political Blue Hearts (2020) was written and recorded amid the dying days of the first Trump administration. \nHere We Go Crazy\, meanwhile\, arrives at another moment of uncertainty\, a time of disruption and fear. Mould sees the songs unfolding like the three acts of a play\, each act exploring distinct but related themes. The first handful of songs concern “control versus chaos”\, Mould explains. The opening title track contrasts images of nature – deserts\, mountains\, fault-lines – with the tumult of human life. Inspired by a riff that Mould says “sounded like a fistfight”\, ‘Neanderthal’ is “a snapshot from inside my head as a young kid: growing up in a violent household\, everything being unsettled\, feeling that fight-or-flight response at all times\,” while ‘Breathing Room’ is “about feeling isolated\, cramped-up\, and literally needing that breathing space”. \nThe furious\, dynamic ‘Fur Mink Augurs’ signals the second act\, where the darkness descends. The song channels claustrophobia\, and “the cold\, crazy\, late-winter feeling I grew up with in the Adirondacks and in Minnesota. When the cabin fever really sets in deep – when the permafrost is set and it never gets warm – you become frayed\, and things can really unravel\, quickly.” ‘Lost Or Stolen’ chronicles lives undone by “people losing themselves in their phones\,” Mould explains. From this focus\, he pulls back and digs into “ideas about depression\, addiction\, self-medication and collapse… The words just fell out of me.” This anguished middle-passage of the album concludes with the cathartic ‘Sharp Little Pieces’\, exploring “the end of innocence\, the idea of a young child’s trust being violated. For those of us who lost trust as children\, it disappears in a flash\, and we spend years struggling to regain that innocence. And maybe it never comes back.” \nThe song ends bluntly (Mould says the album’s “lack of sophisticated ornamentation is key – I was trying to stay out of the way of the songs\, to strip away all the things I used to think were important\, all those extra colours and complexities. I didn’t want to get deep into decorating the tree. I wanted to keep it simple\, to use the simplest words”)\, raising the curtain on the closing act. The theme here is lifting oneself out of the darkness; ‘You Need To Shine’ is a song about “looking for the bright sides\, the good parts of life\, despite everything that’s happened”\, Mould says\, a sentiment borne out by the song’s spirited holler that “all that madness doesn’t matter anymore”. ‘Thread So Thin’ is “about trying to protect the one you love\, and trying to feel protected”\, Mould explains\, while the closing ‘Your Side’ is a powerful love song from the edge of the darkness\, Mould howling “If the world is going down in flames\, I want to be by your side”. “We’re heading into a great unknown here\,” Mould says\, of the wider geopolitical and climate anxieties that inspired these songs. The message here is\, simply\, focus on that which can save you and deliver you from this moment. “This album talks a lot about uncertainty\, helplessness\, being on edge\,” Mould adds. “How much can we control? How much chaos can we handle? In the end\, the answer\, the remedy\, is placing your trust in unconditional love.” \nMould knows Here We Go Crazy is an album freighted with darkness; “There’s soothing melodies\, and there’s lyrical discomfort\,” he deadpans. “It’s manic\, frantic\, complex.” But no one ever came to Bob Mould for good news\, for the easy answers. Pop music runs through his veins\, as surely as the electricity that drives his chiming hooks into the realms of distortion\, but he’s here to give you the truth\, his truth. To give you songs that ring true when howled against a tornado of guitar\, that compress all that “lifetime emotional content” into some kind of sonic diamond. There’s eleven of those precious gems here\, sculpted to make the heaviness easier to bear\, somehow. Treasure them. \n  \nJ. Robbins \nRobbins is an independent music lifer. Starting out at the end of the 1980s playing bass in the final and longest-tenured lineup of DC hardcore mainstays Government Issue\, he went on to gain prominence in the 90s as the singer/ guitarist of the prolific and widely-traveled indie rock band Jawbox. That band’s sound developed to become a template for most of J’s later work: passionate and tuneful vocals set to driven guitars that swing between melody and clashing dissonance\, atop complex and driving rhythms\, abrasive post punk and melodic guitar pop influences in an always uneasy alliance greater than the sum of its parts. \nReleasing a slew of independent EPs and two full-length albums on DC’s iconic Dischord Records\, Jawbox (like many of their peers from the music underground of the day) transitioned to the major label world in the mid-90s\, going on to release two albums on Atlantic Records before disbanding. Returning – and rededicating himself –  to the indie music world and its ethos\, Robbins almost immediately formed a new band with former GI bandmate and drummer extraordinaire Peter Moffett: Burning Airlines\, which released two albums and toured the US\, Europe\, and Japan. \nConcurrently\, however\, Robbins had begun making a name in the studio as an in-demand  producer/engineer for bands in a new wave of post-punk indie music\, such as Texas is the Reason\, the Promise Ring\, Jets to Brazil\, and Braid. By the early 2000s\, after the breakup of Burning Airlines\, recording and producing other bands was his primary focus – though he also made time for personal musical projects such as Channels and Office of Future Plans (both of which released albums on Dischord)\, and Report Suspicious Activity (where he returned to playing bass\, and which released albums on Alternative Tentacles and Arctic Rodeo Records). \nRobbins is still highly active and maintains his primary focus as a producer/ engineer in his Baltimore studio\, the Magpie Cage\, recording bands of many styles\, from all around the world – from stoner rock icons like Clutch\, and The Sword\, to Americana songsmiths June Star\, epic rockers Daria (Angers FR) and the garage/afro-beat hybrid Des Demonas\, to name a few. Since 2013 or so\, Robbins’ main creative outlet as a songwriter/singer/musician has been writing and releasing music on solo records. Two so far: Un-Becoming (2019) and Basilisk (2024)\, both on Dischord Records. \nGetting older has not meant slowing down; especially in the upside-down world we currently inhabit\, it has only made the need to create more urgent. Robbins’  current writing is driven partly by a desire to write songs that can survive in all sorts of different arrangements\, from solo acoustic (recent years have brought solo acoustic tours \, including strings of dates in 2022 and 2024 supporting Bob Mould)\, to electronic\, to rock band bashing away at top volume. “Un-Becoming” and “Basilisk” are solo records\, with a broad sonic palette\, but the sound of a rock band is still at their core\, and collaboration is still key. \nRobbins (band) has varied in lineups\, often including cellist/guitarist Gordon Withers and Robbins’ former Channels and Office of Future Plans bandmate Darren Zentek on drums. In 2024 the band coalesced into its current touring form as a power trio\, with (War on Women founder/guitarist) Brooks Harlan on bass – a fixture in this role since Office of Future Plans formed in 2010 – and Peter Moffett (who also drummed on Un-Becoming) once again behind the kit. This lineup toured like crazy in 2024\, including headlining tours around the US\, festival appearances at The Fest (FL) and Caterwaul Festival in Minneapolis\, and California dates supporting Sunny Day Real Estate. \nRobbins (band) has already begun recording for a third full-length\, and is looking forward to shows in France and Spain in April 2025 with dear friends Daria (Angers\, FR)\, and a late Spring East Coast/Midwest run supporting Bob Mould Band on the “Here We Go Crazy” tour.
URL:https://hangartheatre.org/event/bobmould/
LOCATION:NY
CATEGORIES:DSP Shows
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250917T193000
DTEND;TZID=America/New_York:20250917T193000
DTSTAMP:20260423T055524
CREATED:20250513T175936Z
LAST-MODIFIED:20250520T203155Z
UID:18930-1758137400-1758137400@hangartheatre.org
SUMMARY:DSP Shows: An Evening with Cowboy Junkies - Celebrating 40 Years
DESCRIPTION:DSP SHows: An Evening with Cowboy Junkies: Celebrating 40 Years\nWednesday\, September 17\, 2025 @ 7:30 pm\n  \nTickets: \nOn sale Friday\, 5/16\nTier 1: $75\nTier 2: $59.50 \nDoors open at 6:30 pm \nWATCH: Cowboy Junkies – Live on Tour \nCowboy Junkies \nSometimes revolutions begin quietly. \nIn 1988\, Cowboy Junkies proved that there was an audience waiting for something quiet\, beautiful and reflective. The Trinity Session was like a whisper that cut through the noise — and it was compelling. It stood out amid the flash and bombast that defined the late 80’s. The now classic recording combined folk\, blues\, and rock in a way that had never been heard before and went on to sell more than a million copies. Their ability to communicate volumes before the lyrics kick in defines an enduring career. Where most bands chase trends\, the Junkies have stayed their course\, maintaining a low-impact excavation of melody and evocative language delivered sotto voce in singer Margo Timmins’ feathery alto. \nFormed in Toronto in 1985\, Margo was joined by siblings Michael Timmins on guitar\, Peter Timmins on drums\, and Michael’s lifelong friend Alan Anton on bass to begin a journey that has evolved over 29 albums. “I’ve known Alan longer than I’ve known Pete\,” says Michael. “We were friends before Pete was born.” \nUnlike most long-lasting groups\, Cowboy Junkies have never had a breakup or taken a sanity-saving hiatus. There’s an appreciation of each other that keeps them constantly working. “It’s that intimacy and understanding of what each one of us brings to the table\,” says Michael. Michael\, the oldest\, is the chief architect; songwriter\, and guitarist\, who works with Margo on sculpting the emotional planes and vocal performances before bringing in younger brother Peter on drums and lifelong friend Alan Anton on bass to create the soundscapes that have made Cowboy Junkies a band who defies categories. \n“The expectations and responsibilities of our roles are a big part of the band’s ethos. We’re still amazed that we’re doing things our way and continuing to grow the band\, but the longer we are at it\, the more fun it’s become. We don’t take it for granted\,” Michael offers.  “We do what we do\,” Margo agrees\, “and it feels right for all of us. After 30-plus years of playing together\, the band and its music are more important to us than ever. The music we make brings each us a great sense of contentment\, a knowledge of place\, and a sense of doing what we were meant to do.” \nAn evening with Cowboy Junkies promises a career-spanning show\, including songs from their recent album\, ‘Such Ferocious Beauty’\, which was released worldwide in 2023\, to universal critical acclaim.
URL:https://hangartheatre.org/event/dsp-shows-an-evening-with-cowboy-junkies-celebrating-40-years/
LOCATION:NY
CATEGORIES:DSP Shows
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DTSTART;TZID=America/New_York:20250919T200000
DTEND;TZID=America/New_York:20250919T200000
DTSTAMP:20260423T055524
CREATED:20250815T140052Z
LAST-MODIFIED:20250912T173940Z
UID:19099-1758312000-1758312000@hangartheatre.org
SUMMARY:DSP Shows: Jade Bird
DESCRIPTION:DSP Shows: Jade Bird – Who Wants to Talk About Love?\n  \nFriday\, September 19 @ 8 pm\n  \nTickets: $25 in advance / $30 day of show \nHeadliner: Jade Bird \nSupport: Jake WIld \n  \nJade Bird  \nAre we doomed to repeat our parents’ mistakes? It’s a question that hangs over Jade Bird’s third album\, a record that interrogates the way relationship patterns repeat through the generations and\, above all\, the great cosmic question mark that is ‘love’. From its title\, which sincerely asks Who Wants To Talk About Love?\, onwards\, it’s a record that invites us to join her quest to understand this powerful\, addictive\, beautiful\, destructive force that drives us all. “I want it to be a conversation\,” she says. “I want it to be a real back and forth.”   \nAfter 2023’s EP Burn The Hard Drive\, which plunged us into Jade’s anger and existential confusion in the wake of a life-altering break-up\, Who Wants To Talk About Love? zooms a little further out. “I wrote it over a long period while trying to make sense of the broken relationships in my family and the way they echoed into my own life when my engagement ended\,” she says. She brings us into some of the most personal\, psyche-forming bonds in her life: “It’s as much a question as an answer\, wondering if I could break the cycle while finding my own path to forgiveness.”   \nThe title Who Wants To Talk About Love is taken from the first single\, a song Jade started writing when she was 16\, which finds beauty in the pain of realising you’ve lost yourself in a relationship. But really\, it has been generations in the making. Its ghostly aura echoes the ghost that she saw the women in her family become when they lost themselves in toxic situations and partners who took up so much space there was none left for them.   \nJade’s mum had her when she was 19\, and when Jade was around 7 years old her parents divorced. She and her mum moved from Germany to the UK to live with her grandmother\, also freshly divorced from a troubled relationship: the three generations of women in pain in one house. The relationship between Jade’s parents had broken down amid a lot of conflict and this move was all about a fresh start. “They sheltered me from a lot of stuff\, but\, you know\, I could tell my mum was hurting big time\,” she recalls.   \nAround the same time\, Jade started writing songs. From day one\, her artistic expression was steeped in the fallout of romantic love. Sitting at the piano\, she was – not necessarily intentionally – condensing the feelings hanging in the air at home into songs. “It didn’t feel like a jigsaw clicking into place\,” she says\, because life is rarely as neat as a movie montage. “But from then on I was always writing.”   \nFast forward a few years. “I picked up grandma’s guitar – and then it all really started coming out\,” she laughs. Teenage angst brought with it all the drama of adolescence\, but at the same time as Jade was learning the guitar and figuring her own self-hood out\, her mum had entered another difficult relationship. “It all sort of accumulated in my artistic sense. When I listen to my early catalog\, there’s a lot of anger. A lot of rage. My parents’ relationship was super conflict heavy – yelling was very normal; it’s a little bit Italian\, but then it’s also really fucking stressful! I’ve followed that into my relationships; there was arguing\, but there’d also be a lot of nasty arguing.” Because whether you know it or not at the time\, “you’re following what you saw.” \nIn 2022\, she realised how much those early models of relationships had shaped her when her engagement to a longtime member of her band disintegrated. They had recorded\, toured and eventually moved to Austin together; everything about her life and her career had been wrapped up in this increasingly unhealthy relationship\, coloured by vicious arguments and unhealthy behaviours. As it fell apart\, Jade felt further from herself than she had ever been.   \n‘Dreams’ is an upbeat bop that was written mid-breakdown. It sounds like a shard of light but is actually “a very dark song”\, Jade says. “It’s a captured moment at a really tough time.” She was driving through LA on her way to the studio\, to one of her biggest sessions of her life (with Greg Kurstin). She was still engaged but starting to realise it was destroying her\, emotionally and physically exhausted after a bad night’s sleep\, and she saw a billboard that read\, This is what dreams are made of. “That\, with the LA sun\, it just felt so deeply ironic… I was so completely broken\, just like at the lowest point of my entire life. We wrote that song and cut the vocal; the production has changed quite a lot but the vocal stem was so important because I was like\, you can’t really get rawer than that.” Amid the sunny production and upbeat piano riff\, you can hear the wobble in her voice on the verses\, the fight going out of her on the big chorus and the bite of self loathing in the lyrics.   \nOn ‘Stick Around’\, she dissects the way she\, like her mother before her\, lost herself in that relationship: “It was a way to process a lot of the stuff I was feeling after that break up\,” she says\, “I can’t shake this idea that we’re repeating fates.” Over strained guitar that grows increasingly fractious as the song wears on\, she sings\, “If you really loved me why was it so hard to stick around?” It was one of those songs that came out almost fully formed – “Sometimes it feels like you were tugging on a little string out the sky\, and then it’s like\, woah\,” she says. “It was like being under a fog; the start of being like\, okay\, I’m pretty low.”   \n‘Stick Around’ hints too at Jade’s dad\, but nothing comes close to the searing\, devastating emotion of ‘Wish You Well’\, a song she’s spoken about before on social media and at live shows in which she tries to forgive her dad\, tries to move on – almost manifesting the feelings that she doesn’t yet feel. “I’ve always been really upfront about the fact that this is not a song about a romantic relationship\,” she says. “I haven’t spoken to my dad in… about four years now – over a sort of disagreement at what being a father is.” It’s the sort of thing many people would shy away from talking about publicly\, but sharing songs like ‘Wish You Well’ is at the core of why Jade even writes songs and puts them out into the world. For her to process her feelings\, but for us too: “There’s not been one gig that someone hasn’t come up to me and been like\, I fell out with my mum\, I don’t speak to this person any more\, I’ve lost this person…  That connection\, giving a person the opportunity to say ‘that’s how I feel’ – that’s the whole point in releasing music\, especially at a time like this.”   \nHard Drive was a musical detour\, dipping a toe into a pool of synths under the guiding hand of Mura Masa; Who Wants To Talk About Love? sees Jade returning to her roots in acoustic guitar and modern Americana with her soaring voice always reaching for the light. The glimmer of light here is her current partner\, Andrew xxxx\, with whom she made the bulk of the album (talk about a bonding experience). ‘Save All Your Tears’ is a tried and true love song\, a glistening layer of gold dust left in the pan after the sand and dirt has been washed away.   \nOnce she started seeing patterns and shapes in the relationships in her own life\, suddenly she was seeing them everywhere – including reality TV. The final piece of the puzzle that is Who Wants To Talk About Love? was ‘How To Be Happy’. “I got really into this really filthy reality TV show where all these divorced couples go into a house and start dating each other. And being the drama queen that I was\, I was like ‘Oh my God\, these people loved each other once – these people would lie next to each other and be like\, you’re the one…’ how do you get here from there?” It tapped into a real and lasting fear: of love that doesn’t last and people who don’t stay. It was the final song she wrote for the record\, and a reminder to herself that she doesn’t have all the answers quite yet.   \nIt’s fitting that Jade started writing the title song and first single when she was 16. Because as she extricated herself from the bad relationship\, examined her family’s patterns and found new love and hope\, she was looking to someone very specific for guidance\, sometimes without really knowing it: her younger self.   \n“I know this sounds a little bit silly\, but I genuinely think – and again this sounds so corny – but I became the through line: I started to use my debut [2019’s self-titled Jade Bird] as a real guide. Because even though I was 19\, I was so sure of myself. I had a compass; even if I wasn’t sure about something\, I knew deep down\, ‘Oh this is what Jade thinks.’” Sometimes we inherit troubling patterns from our families; but sometimes we inherit the really good stuff too: “I got that from my mum. Little Jade – she was unstoppable against the world!” There are odes and tributes to Jade Bird scattered across the record. “I remember that being the last time I felt invincible\, in a way. Confident. And I was like\, I want some of that. So I’m gonna return to that as a woman\, you know\, instead of a girl.”   \nNow living in LA\, Jade is happy with her partner and her dog and her work. It’s happy but it’s not an ending: she still wants to talk about love with you and anyone who’s open to it. “I don’t feel like I want to talk about love because I know everything\,” she pauses\, throws her hands up and grins. “I know absolutely nothing!” No one can listen to Jade’s music and believe that to be true: but there’s always more to say and think and feel and learn. And for Jade Bird\, it starts with a simple question: who wants to talk about love?
URL:https://hangartheatre.org/event/dsp-shows-jade-bird/
LOCATION:NY
CATEGORIES:DSP Shows
END:VEVENT
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