Union Transfer


The Lone Bellow

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The Lone Bellow

Anderson East, Hugh Masterson

Thu, November 5, 2015

Doors: 8:00 pm / Show: 8:30 pm

Union Transfer

Philadelphia, PA

$20.50 - $109.00

This event is all ages

The Lone Bellow
The Lone Bellow
It’s been six years since The Lone Bellow was first formed by Zach Williams, multi-instrumentalist Kanene Donehey Pipkin and guitarist Brian Elmquist. But one only needs to get the lead singer and guitarist speaking to their songwriting process to witness firsthand just how passionate he remains about its teeming creativity. “It’s a beautiful process,” the effusive singer says of the almost epiphany-like manner in which the band typically translates its vivid ideas to melodies and lyrics. “You’re trying to figure out exactly what it is you’re trying to say. And then, ‘Bam! Lightning strikes, everybody’s in the room, and it’s like the heavens open. Suddenly you’re able to write a song.”

The Lone Bellow, which also now includes Jason Pipkin on keys/bass, has long nurtured a deep and highly personal connection with their music. But with Walk Into A Storm, their third studio album, due on September 15 via Descendant Records/ Sony Music Masterworks, the band turned inward like never before. “We covered such a broad range of emotion on the album,” Elmquist says of the raw, intimate and undeniably soulful Dave Cobb-produced LP recorded in Nashville’s famed RCA Studio A. The 10-track album, Elmquist says, is centered on “the human condition and how you’re trying to connect with it,” and with stunning tracks including “Is It Ever Gonna Be Easy?” and “Long Way To Go,” it features some of the band’s most poignant material to date.

When creating the follow-up to 2014’s cherished Then Came The Morning, the band confronted — and ultimately overcame — a host of personal obstacles: not only did all the members and their respective families work through a relocation from New York City to Nashville, but on the day they were to begin recording the album Elmquist entered a rehab facility for issues stemming from alcohol abuse. “There’s a thousand different ways this could have gone down but it’s the way it did,” says Elmquist, says the tumultuous experience helped “put what we’re doing in perspective.” “I got to see the love and friendship we have for each other in action. I’m thankful.”

“Our band was the receiver of a lot of grace and kindness from the music community,” Williams adds, citing peers and industry folks offering words of encouragement as well as the non-profit MusicCares greatly aiding in the costs of the guitarist’s treatment.

Elmquist’s situation presented a logistical challenge for the band — they now had nine days to record instead of the pre-planned 20. But as Pipkin notes, the sacrifice “paled in comparison to what we have with each other. Without our friendships we don’t have anything,” she says. “That’s the reason we do this. To forge ahead without taking care of each other doesn’t work. We wouldn’t be able to do what we do.”

Working with the notoriously no-nonsense Cobb (Chris Stapleton, Sturgill Simpson, Jason Isbell), was a richly rewarding process. It was also one that helped the band kick out the jams in short order. “There’s no real bells and whistles,” Elmquist recalls of Cobb’s no-frills recording process. “You go practice a song, play it, record it and put it on a record.”

The results are stunning: from the orchestral, uplifting “May You Be Well,” to “Long Way To Go,” a beatific piano-anchored ballad Elmquist wrote while in rehab; and “Between The Lines,” a harmony-drenched sing-along Williams says acts as both a letter to Elmquist and an exploration of the push-pull of drawing art from pain.

“There’s this lie that the only good and worthy art that can be made has to come from tragedy and darkness,” Williams offers. “And I get it. But it doesn’t only have to come from that. It can also come from joy and gratitude.”

And that’s exactly what The Lone Bellow is full of as they look to the future. The band kicks off an extensive tour on September 21st with Central Park’s Summerstage supporting The Head and the Heart. And as they crisscross North America they’ll have a new member in tow. “‘How early is too early to teach a child how to tune guitars?’” Pipkin, whose newborn son will be joining them on the road, asks with a laugh. “It’s going to be really exciting and different.”

Williams seems nothing short of in awe of where life has taken him and his band. The process that led to Storm, the forthcoming tour, the deepening of bonds with his band mates -- it all adds up to The Lone Bellow “becoming even more like family,” he says. “I just love being able to have that opportunity with these friends.

The singer pauses, and with a supreme sense of contentment in his voice, notes proudly of his band mates: “They’re pretty good musicians. But they’re truly amazing people.”
Anderson East
Anderson East
Anderson East is a new American artist. Known for his songwriting and unique vocal ability, he quickly caught the attention of renowned producer Dave Cobb. The Alabama native is currently finishing up his first long play due out 2015.
Hugh Masterson
Hugh Masterson
Singer-songwriter Hugh Robert Masterson grew up in Butternut, Wisconsin - a quaint but fading small town with decrepit mills, dirt roads, farms, beat down bars, and a population of 300. “It’s the kind of place where the silence is deafening and the stars are so bright you can feel nothing but humbled,” says Masterson. His band Hugh Bob and The Hustle and their masterful self-titled debut album brings to life this slice of classic Americana with ruggedly poetic lyrics and sweetly winsome roots rock.

Masterson’s blend of hard luck stories and backwoods whimsy with crisp twang, high lonesome harmonies, and heartland rock n’ roll is an aesthetic called “North Country”. It’s similar in spirit to country in its earnestness and its ties to American folk traditions, but details the plight of folks up North. Masterson has garnered favorable comparisons to Tom Petty, Bob Dylan, Bruce Springsteen, John Prine, Alan Jackson, and Dwight Yoakam. A.V. Club Milwaukee praises his debut as: “a warm, affectionate collection of straight-up AM country gold.” Rocksposure gushes “Hugh Bob never strikes an inauthentic note.” The Nashville Scene says: “We can’t help but be naturally suspicious of outlanders appropriating traditionally Southern music, but Milwaukee’s Hugh Bob avoided the pitfalls of the derivative Mumford & Sons bro-grass that has been invading our country by being charmingly sincere.”

After apprenticing as a sideman bassist, most notably with indie darlings Jaill and acclaimed roots rockers The Wildbirds, Masterson recently decided to step out as a singer-songwriter. The 11 songs on his debut are the first he’s ever written. “I just felt like I was finally ready to release something,” he says, assessing his latent creativity. “It was a confidence thing, I was afraid of putting my heart into something and people not liking it.”

Through his stories, and those of Butternut, Masterson has crafted a tender and truthful album. “I’m attracted to realness,” he says. “The natural reality of how hard life is doesn’t go unnoticed where I’m from.” The stunning “Ashland County,” rich with golden harmonies and mournful and shimmering pedal steel guitar, is a poignant snapshot of a crumbling small town. “That’s about where I grew up, it’s depressed, there’s not much there anymore,” Masterson says. His voice is sweetly pristine and vulnerable as he sings: Rivers spillin' over/Bars burnin' down/Now they're planting flowers, all over town Got high on Joint Road/In between the farms/Now they're all gone, and the mill is shuttin' down. The gritty Americana of “Butternut” mixes quaint nostalgia with powerful social commentary. Here, with raw emotionality, Masterson sings: I come from a long line of drinkers and boozers, gamblers, we're all losers where I'm from/Days go by but no one's ever leaving/No matter how hard I try this town's got a hold on me/Got a hold on me. Rounding out the album are the cheeky “This Bar Is A Prison” and “Mess With Me,” rowdy good time numbers with quicksilver twang and shit kicking humor.

Live and on record Masterson is aptly backed by The Hustle, a band of friends with telepathic interplay and a unique approach to American roots music. The Hustle is Quinn Scharber, guitar/vocals; Nicholas Stuart, bass/vocals; Bradley Kruse, keys/vocals; and Justin Krol, drums. Masterson and Stuart played together back in The Wildbirds (along with Scharber and Kruse), with Masterson playing a supportive role for Stuart’s singer-songwriter vision. In the Hustle, Stuart returns the favor. “I've known Hugh for 7 years, and he's always had song scraps in his pocket. Never a complete song,” says Nicholas Stuart. “But when he pulled out the basic structures of ‘Blame Me’ and ‘Red, White & Blue Jeans,’ I jumped at the chance to be a part of it. He has a great way of putting the listener in a place that he is, or a place that he's been. And he just really cares for the song, down to a single lyric. That's something that impresses me every time.”

Masterson is currently gigging actively with The Hustle, building a strong live profile with their vibrantly authentic musicality, impassioned sincerity, and downhome exuberance. “I remember playing that first show. I had done all this stuff to prove myself. I was sitting there in the basement of the venue and I was so nervous I wanted to run away,” he says. “But when I got onstage, the adrenaline from the people’s response made it all feel so worthwhile.”
Venue Information:
Union Transfer
1026 Spring Garden St.
Philadelphia, PA, 19123