2019
Chris Cohen w/ Emily Easterly
April
09
Tuesday
Doors 8pm, Show 9pm - $10adv/ $12
Tickets, please
Chris Cohen
Chris Cohen’s songs initially sound easy. They’re each tiny jewels that unfurl at a leisurely pace, but dig a little deeper and you’ll reach a melancholy core. His previous two albums — 2012’s Overgrown Path, and 2016’s As If Apart — were built from lush, blurry tracks that embedded themselves in your subconscious, like they’d always been there.

Chris Cohen, his third solo album, was written and recorded in his Lincoln Heights studio and at Tropico Beauties in Glendale, California over the course of the last two years. Cohen would sing melodies into his phone, fleshing them out on piano, then constructing songs around the melodies, and later, adding lyrics and other instrumentation with the help of Katy Davidson (Dear Nora), Luke Csehak (Happy Jawbone Family Band), Zach Phillips, and saxophonist Kasey Knudsen, among others. It is his most straightforward album yet, but it is also the conclusion of an unofficial cycle that began with Overgrown Path.

“My parents got divorced while I was making this record,” he says. “They were married for 53 years and my father spent most of his life in the closet, hiding both his sexual identity and various drug addictions. For me it was like being relieved of a great burden, like my life could finally begin.” It is this sense of truth and freedom that is woven into the very fabric of the record even as it grapples with complicated emotions. Indeed, a core truth of the record is what at first seems like a simple idea: “I hoped that by writing about what was closest to me at the time, I might share something of myself and where I came from,” Cohen says.

Though the album is undeniably part of the framework that made up his previous two records — Chris Cohen is also a thoughtful, accomplished meditation on life and family, backed by dusky instrumentation influenced by the late evening beauty of Pat Metheny’s Falcon and the Snowman soundtrack, and Thomas Dolby’s Golden Age of Wireless. It’s beautiful, but it’s also unflinching in its depiction of emotional turmoil.

On “Edit Out,” written in the wake of his parents’ divorce, Cohen examines his relationship with his father through devastatingly straightforward lyrics: “We were loved from afar / Everyone kept in the dark.” Though it’s a gorgeous song, the emotional weight is immense. A line like “people want a lot” carries a substantial amount of power, even if the initial intention of the lyric is not immediately clear.

But Chris Cohen is not a confessional record in the traditional sense. Instead of picking at open wounds, the album looks forward by embracing the past. Cohen’s father worked in the music industry, which exposed him as a child to not just the practical realities of a career in music — from a young age he saw plenty of recording studios and heard stories about musicians from his parents — but the more creative as well. “I had the sense that music was important and was something I could do,” he says.

On album opener, “Song They Play,” Cohen revisits his childhood, and his attempts to get his father’s attention. “I was mostly shielded from what was going on,” he says. “but had occasional glimpses into my parents’ complex world. When I sing these songs, I think it’s my way of communicating what I am unable to communicate in real life.”

None of these songs are abrasive or even aggressive. The soft drum fills on “Song They Play” comfort, and the guitar virtually glitters. Chris Cohen is a beautiful album about pain and loss but it’s also about accepting loss. Of the song “Green Eyes,” Cohen says “[It’s about] the men in my family and how they passed their worldview along to each other from great emotional distances. My father and grandfather were full of secrets and longing, which were communicated through everyday actions like driving a car or cooking a meal. We all wanted closeness, but never found it in each other.” This is a statement about a specific song, but it is also a statement about the album as a whole: Chris Cohen is not so much autobiographical as it is multi-generational.
Emily Easterly
"With a mix of D.I.Y. attitude, guitar proficiency, and songwriting skills modeled after Cat Power and Exile in Guyville-era Liz Phair, Emily Easterly made her debut in 2001 with the self-released Assembling Emily. Featuring collaborations with several of Easterly's hometown heroes (including Sparklehorse's Alan Weatherhead and Cracker guitarist Johnny Hickman), the record was issued during the songwriter's final weeks of high school in Richmond, VA. The following months saw Easterly relocating several hours south to study music at the University of Miami, where she released Cole in 2002 and garnered support from college radio. Seasons Never Change followed in 2005, boasting an intimate, stripped-down sound that reflected upon the singer's four-year stay in sunny Miami, and Easterly subsequently moved to Brooklyn to pursue her craft full-time. Inspired by Neil Young, the Beatles, and Sylvia Plath's The Bell Jar, Heart Comma Heart arrived in late 2007. The following year, Easterly teamed up with fellow songwriter J Seger to record a split single, Please, Please Say Goodnight/City Love Is Strange, which was released on 45-rpm vinyl that fall." -Andrew Leahey, allmusic.com

In the fall of 2009, Easterly released a new single, "The Only Two On Earth" with the B side "Montreal". After a move to Asheville, NC she wrote songs for the EP Get Bothered, released in 2013. Since acquiring a drum kit and learning to play, many of the songs on Get Bothered were written starting with a drum groove, a departure from her usual songwriting process. In the summer of 2018 she released two new singles, the cinematic sounding "Yellow Leaves" with "Put on a Show" as the B side.

"The combination of voice, melody and production makes Emily Easterly one to watch."
-Amplifier Magazine

“Dark indie folk fading fast through gritted teeth.”
-The Village Voice

"Well-rounded to the point of perfection, sweet, slyly inventive and ultimately highly memorable." -Richmond Times Dispatch

“A promising mix of Fiona Apple (without the anger) and Mazzy Star’s quiet seductiveness.”
-Miami Street Magazine
text list
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venue info
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Doors 8pm, Show 9pm - $8adv/ $10

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Spaceman Jones and The Motherships/Effigy Seed/DJ Ra Mak & more!



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Doors 7pm, Stories 7:30 - $15

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Prince Daddy & the Hyena

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Mike Krol

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Saturday

Bask

w/ Nest Egg, Almuten

Dors 8pm, Show 9pm - $10adv/ $12

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Jul
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Sunday

William Ryan Key (former vocalist for Yellowcard)

w/ Will Pugh (of Cartel)

Doors 7pm, Show 8pm - $15adv/ $18

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Jul
30
Tuesday

Bit Brigade performs Contra + Metroid



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Kaleta & Super Yamba Band



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w/ Slow Packer

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w/ Normal State, Boy Band

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w/ TBA

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Doors 8pm, Show 9pm - $12adv/ $14

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Illiterate Light

w/ TBA

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Aug
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Doors 7pm, Stories 7:30 - $15

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Aug
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w/ Empath, T-Rextasy

Doors 7:30, Show 8:30 - $12adv/ $14

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Aug
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Slaughter Beach, Dog

w/ Cave People, Early Animator

Doors 8pm, Show 9pm - $14adv/ $16

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Aug
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Friday

Big Business

w/ Death Valley Girls, Craig Brown Band

Doors 8pm, Show 9pm - $13adv/ $15

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Sep
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Strand of Oaks

w/ Apex Manor

Doors 8pm, Show 9pm - $17adv/ $20

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Sep
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Sunday

Mdou Moctar + Boogarins **AT THE GREY EAGLE**

w/

Doors 7pm, Show 8pm - $17adv/ $20

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Chance McCoy

w/ TBA

Doors 7pm, Show 8pm - $10adv/ $12

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Friday

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w/ Nicholas Mallis, Minorcan

Doors 8pm, Show 9pm - $5

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Sinkane

w/ TBA

Doors 8pm, Show 9pm - $15adv / $18

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w/ TBA

Doors 8pm, Show 9pm - $10adv/ $12

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Thursday
The Mothlight & Toneworthy Present **At The Asheville Masonic Temple**

Sun Kil Moon **At The Asheville Masonic Temple**



Doors 6:30, Show 7:30 - $25adv/ $30

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Thursday

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Doors 7pm, Stories 7:30 - $15

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Sep
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w/ The Turbo A.C.'s

Doors 8pm, Show 9pm - $15adv/ $18

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w/ TBA

Doors 8pm, Show 9pm - $15adv / $17

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w/ TBA

Doors 8pm, Show 9pm - $17adv/ $20

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Doors 7pm, Stories 7:30 - $15

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w/ TBA

Doors 8pm, Show 9pm - $12adv/ $15

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w/ TBA

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w/ TBA

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w/ TBA

Doors 7pm, Show 8pm - $17adv/ $20

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