Monday, September 16, 2019, 7:00 PM – 11:00 PM
UNDERGROUND ORCHARD & SLIMEHOLE Present:
LOLA KIRKE (Los Angeles, Downtown Records)
ODETTA HARTMAN (New York, Northern Spy)
Monday, September 16th @ Gallery 5 - RVA
7pm doors // 8pm sounds
$10 Advance // $12 Day of Show
"Shape-shifting" renaissance lady LOLA KIRKE is no stranger to the spotlight from growing up in London and New York as the daughter of Simon Kirke (Bad Company/Free) and sister of singer-songwriter Domino Kirke, she also had major acting roles in Mozart In The Jungle, Gone Girl and Mistress America. Now she's taking on the road to showcase her own musical passions, focusing particularly on her interests in cosmic-americana and the lines that blur the country and rock genre. SLIMEHOLE and UNDERGROUND ORCHARD have teamed up to bring the new DOWNTOWN RECORDS signee to town to headline at RVA staple GALLERY 5 and she'll be bringing along New York and NORTHERN SPY RECORDS absolutely amazing eperimental indie/pop/avant-garde pop artist ODETTA HARTMAN who is so good that the self tagged genres of "cowboy soul, cowboy club, and future folk" seem about as perfect as any we could have come up with and have better rings to em than ours (western-gothic bedroom space-folk). Stay tuned as we're sure to add at least one more killer performer!
LOLA KIRKE: At sixteen, LOLA KIRKE discovered Gram Parsons and the Cosmic American genre he defined. In spite of being a New Yorker by the way of London, Kirke felt a strong connection to his Country-Rock sound. “For whatever reason, I thought I could resolve all my problems by just becoming him.”
Kirke is no stranger to shape shifting—as an actress with a steadily ascending star, she’s had major roles in David Fincher’s “Gone Girl” and Noah Baumbach’s “Mistress America,” as well as the Golden Globe-winning Amazon show “Mozart in the Jungle.” While less in the fore, her passion for music has stayed constant, with her guitar following her from dressing room to dressing room.
Born to a musical family (her father is Simon Kirke, drummer of Bad Company and Free, and her sister is singer-songwriter Domino Kirke), Lola embarked on her own musical journey with her four track EP released in 2016.
Tracked live to tape in East Los Angeles and produced by frequent collaborator Wyndham Garnett (Elvis Perkins in Dearland, WYNDHAM) her debut LP, Heart Head West, asserts her as part of the artistic tradition she holds so dear: delivering her own heart, laid bare for someone else to hear as theirs. “It’s a really personal record about basically everything I thought about in 2017–time, family, loss, social injustice, sex, drinking, longing—essentially everything I’d talk about with a close friend for 40 minutes.”
The opening track, “Monster” delves into themes of self esteem and alienation, a lyrical narrative that reappears through the album. Says Kirke, “I wrote ‘Monster’ while I was watching someone I love struggle with self love and care, but in the process of writing it, I realized that I hadn’t exactly mastered the delicate balance of those things either.”
Her more upbeat second single, “Supposed To,” features searing guitar licks from Lilah Larson (Sons of an Illustrious Father) while attempting to weed through the expectations we create for ourselves and the expectations others have of us.
Heart Head West was released summer 2018.
ODETTA HARTMAN: With a heart-stopping voice & wide ranging instrumental talent, ODETTA HARTMAN carries cowboy soul into an era where country can clash with computers & bluegrass isn’t afraid of bass. Her debut LP 222 - an experimental, bedroom-produced hybrid of folk, musique concrète & psychedelia - was released on Northern Spy Records in 2015 to critical acclaim.
Odetta Hartman’s newly released 2nd album, Old Rockhounds Never Die, is a bonanza of beautiful contradictions: intimate yet fiercely internationalist, spiritual and yet tangible, sweet and also sexy. It convenes with the ghosts of the past while marching relentlessly forwards.
Produced by Jack Inslee (of Full Service Radio), Old Rockhounds Never Die continues to explore this uncanny sonic vernacular woven with badass banjos, detuned violins, field recordings, superstitious soundscapes, and vocal stylings ranging from sensual to spooky.
In a musical ecosystem where singular is overused and haunting is all but nauseating, Hartman and Inslee’s work here is deserving of such accolades. There is nothing quite else that ties together such imaginative incongruence with ease, a quilt of scraps that cannot be replicated. What should be a hot mess is a marvel, a constellation of sounds shining bright and mysterious.
Erin Osmon - Pitchfork