2017
The Mothlight & Worthwhile Sounds Present **AT THE ASHEVILLE MASONIC TEMPLE**
Waxahatchee & Kevin Morby (Rare Solo Performances!) w/ Mary Lattimore
March
17
Friday
Doors 7pm, Show 8pm - $18adv / $20
Selling Fast, Hurry!
Waxahatchee & Kevin Morby (Rare Solo Performances!) **AT THE ASHEVILLE MASONIC TEMPLE**
Both Waxahatchee and Kevin Morby will be playing rare solo performances inside the beautiful Asheville Masonic Temple. Harpist Mary Lattimore opens. The Asheville Masonic Temple is located in Downtown Asheville at:
80 Broadway St, Asheville, NC 28801
Waxahatchee
Katie Crutchfield’s southern roots are undeniable. The name of her solo musical project Waxahatchee comes from a creek not far from her childhood home in Alabama and seems to represent both where she came from and where she’s going. Since leaving home, Crutchfield has drifted between New York and Philadelphia but chose to return to Alabama to write her first two albums: American Weekend, her debut filled with powerful lo-fi acoustic tracks full of lament, and Cerulean Salt, a more developed and solid narrative about growing up. Both are representations of a youthful struggle with unresolved issues and unrequited feelings.

Waxhatchee’s latest record, Ivy Tripp, drifts confidently from these previous albums and brings forth a more informed and powerful recognition of where Crutchfield has currently found herself. The lament and grieving for her youth seem to have been replaced with control and sheer self-honesty. “My life has changed a lot in the last two years, and it’s been hard for me to process my feelings other than by writing songs,” says Crutchfield. “I think a running theme [of Ivy Tripp] is steadying yourself on shaky ground and reminding yourself that you have control in situations that seem overwhelming, or just being cognizant in moments of deep confusion or sadness, and learning to really feel emotions and to grow from that.”

Recorded and engineered by Kyle Gilbride of Wherever Audio at Crutchfield’s home on New York’s Long Island—with drums recorded in the gym of a local elementary school—Ivy Tripp presents a more developed and aged version of Waxahatchee. “The title Ivy Tripp is really just a term I made up for directionless-ness, specifically of the 20-something, 30-something, 40-something of today, lacking regard for the complaisant life path of our parents and grandparents. I have thought of it like this: Cerulean Salt is a solid and Ivy Tripp is a gas.”

Crutchfield is accompanied by both Gilbride and Keith Spencer on Ivy Tripp, and the record was produced by all three of them. With the addition of more guitar work, piano, drum machines, and Crutchfield’s vocals in full bloom, we are given a record that feels more emphatic and pronounced. Ivy Tripp opens with “Breathless,” filled with only a distorted keyboard and layers of vocals, showcasing Waxahatchee’s pension for quiet, personal reflection. The record then opens up into “Under a Rock,” a quicker guitar-driven song that lays the foundation for the rest of the album, which as a whole resonates with strong, self-aware lyrics, energetic ballads, and powerfully hushed moments of solitude. Crutchfield’s voice is certainly the guiding force behind Ivy Tripp—commanding and voluminous in the rock song “Poison,” candied and pure in the frolicking “La Loose”—gripping you tightly and then softly releasing you into the wilds of emotion.

As far as her goals with Ivy Tripp, Crutchfield says, “I heard someone say that you have to be the change you want to see. I just want to be the kind of musician I want to see in the world. I want to present myself in a way that reflects that.”
Kevin Morby
Singing Saw is a record written simply and realized orchestrally. In it, Kevin Morby faces the reality that true beauty - deep and earned - demands a whole-world balance that includes our darker sides. It is a record of duality, one that marks another stage of growth for this young, gifted songwriter with a kind face and a complicated mind.

In the Autumn of 2014, Kevin Morby moved to the small Los Angeles neighborhood of Mount Washington. The move would shape Singing Saw, Morby's first album for new label Dead Oceans. Previous tenants at Morby's new home happened to leave an upright piano behind, with a few mysterious pieces of sheet music and an introductory book of common chords stacked on top. Thankful to finally be in one place for an extended spell, Morby, a beginner at the piano, immediately sat at the new instrument and began composing the songs that would form Singing Saw.

Alongside, he began taking long walks through the winding hills and side streets of the neighborhood each night, glimpsing views of both the skyline's sweeping lights and the dark, dried out underbrush of the LA flora. The duality of the city itself began to shape a set of lyrical ideas that he would refine with the sparse accompaniment of piano and acoustic guitar.

What is a singing saw It is an instrument that creates ethereal sounds, but it is also a tool: basic and practical while also being fearsome, even destructive. Morby watches the singing saw in its eponymous song; that instrument of eerie soft beauty cuts down the flowers in its path and chases after him, while his surroundings mock and dwarf him, Alice in Wonderland style. And in a singing saw, we can understand music as something more powerful than its inviting, delicate sound. No wonder Morby talks about a "songbook" in his head as something he needs to take up the hills so he can "get rid of it." Heavy themes are nothing new for Morby, whose previous records (2013's Harlem River and 2014's Still Life, both released on the Woodsist label) dealt with their own eerie visions and damning prophecies.

Morby opens Singing Saw with "Cut Me Down", a song of tears, debts and a prescient vision of being reduced to nothing. "I Have Been to the Mountain", "Destroyer" and "Black Flowers" continue to explore beauty and freedom, seizing upon the rot that seeps into even the supposedly safest of realms; peace, family and romantic love. By the end of the record on "Water", Morby is literally begging to be put out once and for all, like a fire that might burn all the visions away.

Travels beyond his mountain walks inform songs like "Dorothy", which recounts a trip to Portugal, witnessing a fishing ritual and luxuriating in the aura of a bar light-tinged reunion with old friends The touching innocence of "Ferris Wheel" stands alone in stark simplicity amidst the lush sonic textures of the album. Here, the album is balanced by Morby's signature sweetness and joie de vivre.

The arrangements of Singing Saw trace back to Morby's experience playing in The Complete Last Waltz, a live recreation of The Band's legendary last performance. There, Morby developed a fast friendship with producer/bandleader Sam Cohen (Apollo Sunshine, Yellow Birds), which led Morby to forgo recording in Los Angeles and take the nascent songs of Singing Saw to Isokon Studios in Woodstock, New York. There, in a converted A-frame house, they set about creating a record that would bring a sonic balance, intricacy and depth to match these songs and all that inspired them.

Sam Cohen added a multitude of instrumentation to the record (guitar, bass, drums and keyboard), and were joined by fellow Complete Last Waltz alum Marco Benevento on piano and keyboard, fleshing out Morby's original compositions and upholding the vision for a cohesive piano sound that serves as a touchstone for the entire album. Backup vocalists Hannah Cohen, Lauren Balthrop and Alecia Chakor contribute soaring harmonies; Nick Kinsey (Elvis Perkins) adds drums and percussion; Justin Sullivan, a longtime Morby collaborator and staple of his live band, contributes drums; Oliver Hill and Eliza Bag lift numerous songs with string accompaniments, and Alec Spiegelman on saxophone and flute and Cole Kamen-Green on trumpet bring dramatic swells. Finally, John Andrews (Quilt) adds the eerie lilt of the album's promise, providing saw on the "Cut Me Down" and "Singing Saw".

In the end, Morby fulfills the promise many heard on his first two albums, bringing his most realized effort of songwriting and lyricism to fruition. The songs of Singing Saw reflect the clarity that comes from welcoming change and embracing duality, and the distillation of those elements into an entirely new vision.
Mary Lattimore
Mary Lattimore is a harpist living in Philadelphia. She experiments with her Lyon and Healy Concert Grand harp and effects.

Her solo debut, The Withdrawing Room, was released in 2013 on Desire Path Recordings. http://experimedia.tumblr.com/post/46532399322/marylattimorestreamreview

Mary also writes harp parts for songs and recordings. She has performed and recorded with such great artists as Meg Baird, Thurston Moore, Sharon Van Etten, Jarvis Cocker, Kurt Vile, Steve Gunn, Ed Askew and Fursaxa.

Mary has been a part of soundtrack projects including the Valerie Project, Lopapeysa, a film by David Kessler set in Iceland, and the film score for Marina Abramovic: the Artist is Present, a documentary about the artist.

In March 2013, she accompanied Nick Cave’s beautiful horse soundsuits for the 100th anniversary of Grand Central Station in New York City.

Mary is a 2014 recipient of a Pew Fellowship in the Arts.
text list
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Jun
24
Monday
Free Mothlight Monday!

To Be Sure

w/ Tin Foil Hat, Gut Fauna, Andy Loebs

Doors 8pm, Show 9pm - $Free!

Jun
26
Wednesday
Worthwhile Sounds Presents...

White Reaper

w/ Twen, The Styrofoam Turtles

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

Tickets, please
Jun
27
Thursday

Matt Heckler

w/ Casper Allen

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

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Jun
28
Friday

Faye Webster

w/ Jenny O.

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

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Jun
29
Saturday

He Is Legend

w/ As Sick As Us, Strange Avenues

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

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Jul
05
Friday

Sea Moss

w/ Ahleuchatistas

Doors 8pm, Show 9pm - $7

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Jul
06
Saturday

Rye (Album Release Show!)

w/ Many A Ship Trio, Wyla

Doors 8pm, Show 9pm - $7

Jul
10
Wednesday

Mystery Skulls

w/ Phangs

Doors 8pm, Show 9pm - $15adv/ $18 / $35 VIP M&G

Tickets, please
Jul
12
Friday

Sister Mantos (Tropical Psych Funk Cumbia Core Desde Los Angeles)

w/ Patois Counselors, DJ Malinalli from RitmoKultural

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

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Jul
13
Saturday

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



Doors 8pm, Show 9pm - $10

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Jul
16
Tuesday

Sessa (Brazilian Pop!)

w/ Groupo Libro

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

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Jul
18
Thursday

The Moth: True Stories Told Live (Theme: BOLD)



Doors 7pm, Stories 7:30 - $15

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Jul
20
Saturday

Holy Grail

w/ Striker, Bewitcher

Doors 7:30, Show 8pm - $13adv/ $15

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Jul
21
Sunday

Spotlights

w/ Vampyre

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

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Jul
23
Tuesday

Prince Daddy & the Hyena

w/ Retirement Party, The Obsessives, Diva Sweetly

Doors 7pm, Show 8pm - $12adv/ $14

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Jul
24
Wednesday

Mike Krol

w/ TBA

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

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Jul
27
Saturday

Bask

w/ Nest Egg, Almuten

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

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Jul
28
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



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

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Jul
31
Wednesday

Kaleta & Super Yamba Band



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

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Aug
02
Friday
Worthwhile Sounds Presents...

Sleepwalkers

w/ Slow Packer

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

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Aug
08
Thursday

Hibou

w/ Normal State, Boy Band

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

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Aug
10
Saturday
Worthwhile Sounds Presents...

Black Joe Lewis & The Honeybears

w/ TBA

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

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Aug
13
Tuesday

Molly Burch

w/ RF Shannon

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

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Aug
14
Wednesday

Illiterate Light

w/ TBA

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

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Aug
15
Thursday

The Moth: True Stories Told Live (Theme: ANIMALS)



Doors 7pm, Stories 7:30 - $15

Tickets, please
Aug
19
Monday

Mannequin Pussy

w/ Empath, T-Rextasy

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

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Aug
20
Tuesday

Slaughter Beach, Dog

w/ Cave People, Early Animator

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

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Aug
23
Friday

Big Business

w/ Death Valley Girls, Craig Brown Band

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

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Sep
07
Saturday

Strand of Oaks

w/ Apex Manor

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

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Sep
08
Sunday

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

w/

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

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Sep
08
Sunday

Chance McCoy

w/ TBA

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

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Sep
13
Friday

Daydream Creatures

w/ Nicholas Mallis, Minorcan

Doors 8pm, Show 9pm - $5

Sep
14
Saturday

Sinkane

w/ TBA

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

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Sep
17
Tuesday

Jerry Paper

w/ TBA

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

Tickets, please
Sep
19
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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Sep
19
Thursday

The Moth: True Stories Told Live (Theme: LESSONS)



Doors 7pm, Stories 7:30 - $15

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Sep
25
Wednesday

Agent Orange

w/ The Turbo A.C.'s

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

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Oct
03
Thursday

Sheer Mag

w/ TBA

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

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Oct
04
Friday

ACID KING (Busse Woods 20th Anniversary Tour)

w/ Wizard Rifle, Warish

Doors 8pm, Show 9pm - $18adv/ $20

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Oct
15
Tuesday

Bedouine

w/ TBA

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

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Oct
16
Wednesday

Mike Watt & the missingmen

w/ TBA

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

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Oct
17
Thursday

The Moth: True Stories Told Live (Theme: SPOOKY)



Doors 7pm, Stories 7:30 - $15

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Oct
29
Tuesday

Cat Clyde

w/ TBA

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

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Nov
17
Sunday

Chastity Belt

w/ TBA

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

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Nov
18
Monday

Titus Andronicus

w/ TBA

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

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Nov
19
Tuesday

Fruit Bats

w/ TBA

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

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