Connor Barwin's Third Annual MTWB Benefit Concert
Hop Along & Waxahatchee
Special Guest TBA
Fri, June 3, 2016
Doors: 7:30 pm / Show: 8:15 pm
$5.00 - $300.00
This event is all ages
The MTWB foundation is a non-profit organization dedicated to enriching the lives of Philadelphia’s youth by providing safe and fun places for artistic and athletic development. Over the last two years, close to $500,000 has been raised for both Ralph Brooks Park and Smith Playground.
Every dollar from this year's concert (both bar and ticket sales) will be matched by MTWB and donated to a project in Philadelphia which will be announced at the concert. Key project partners include Urban Roots, Philadelphia Parks and Recreation, Councilman Kenyatta Johnson and Philly Rising.http://www.utphilly.com/event/1179051/
Their new album, Painted Shut, (out on May 5, 2015 via Saddle Creek) is their 2nd full-length (preceded by Get Disowned in 2012). However, this release marks their first time creating as a full-formed entity, arranging everything as a group. It was co-produced, recorded and mixed by John Agnello (Kurt Vile, Dinosaur Jr., Sonic Youth, etc.) in the great cities of Philadelphia and Brooklyn, and incidentally finished in the shortest span of time the band has ever made anything.
Like their debut, Painted Shut is a series of accounts, a procession of fleeting and repeating characters. However, it diverges from its predecessor in its close-up, controlled approach (most of the album features the band recording live), and more focused portraiture. Whereas Get Disowned calls forth a dreamy collage of protagonists in a tone that’s often anthemic and surreal, Painted Shut is a grounded, less merciful image of many struggling adults (and children) in a severe landscape.
Often depicted in Painted Shut are the two lives of legendary (though generally unknown) musicians, Buddy Bolden and Jackson C. Frank, who were plagued with mental illness until their penniless deaths. Included are accounts of more everyday poverty, abuse, greed; and banal, sub-par behavior. Society is unveiled as a structure that, in reality, was most certainly not built with everyone in mind. Clearly this is difficult subject matter. Yet the songs themselves move unencumbered and easily, forming angular pop anti-anthems, at times jubilant as well as irreverent. Somehow, they are not sad songs. There is joy, in the abandon of Frances’ unforgettable voice, in the exulting choruses. One wakes to a sky that is a bright, ageless blue. It’s morning and so clear outside that multitudes of lives can be seen, in focus despite the distance. All of this is viewed through a window sealed with cracked paint that cannot be opened on either side. That is how we must often view the lives of others, especially when it comes to people who have lived and gone from this world. That’s another story.
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.”
1026 Spring Garden St.
Philadelphia, PA, 19123