Neko Case w/ Oh No Oh My - Benefit for Austin Food Bank

372 lush lush http://do512.com/lush http://do512.com/lush.xml Events for lush from Do512.com http://s3.amazonaws.com/do512/photos/134913/amplifier_poster.jpg 105222 Neko Case w/ Oh No Oh My - Benefit for Austin Food Bank Alternative country singer-songwriter Neko Case won a steadily growing cult audience for her smoky, sophisticated vocals and the downcast beauty of her music. Neko Case's voice often brings to mind women ranging from Natalie Merchant to Patsy Cline, but her music is like a combination of Townes Van Zandt, Johnny Cash, and Tori Amos. She released her solo debut, The Virginian, in 1997, delving wholeheartedly into traditional country via a mix of covers and originals. Since then, she has released several other studio albums, including 2006's Fox Confessor Brings the Flood, a live album recorded on the Austin City Limits Television series, and her fifth studio album in 2009's Middle Cyclone. She also plays with the New Pornographers and other artists, such as Nick Cave, Great Big Sea, and The Corn Sisters - an old time country duo with fellow Seattleite Carolyn Mark. Click "I Like It!" for a chance to win a pair of FREE TICKETS!   http://do512.com/event/2009/11/24/neko-case-w-oh-no-oh-my-benefit-for-austin-food-bank http://do512.com/event/2009/11/24/neko-case-w-oh-no-oh-my-benefit-for-austin-food-bank.xml Tuesday 11/24/09 20091125T020000Z/20091125T020000Z 0 199.0 08:00 PM Tue, 24 Nov 2009 20:00:00 -0600 Tue, 24 Nov 2009 20:00:00 -0600 Click "I Like It!" for a chance to win a pair of FREE TICKETS! 162 TUE http://antones.frontgatetickets.com/ http://s3.amazonaws.com/do512/photos/89781/neko_sq_90.jpg Antone's 135 Antone's http://do512.com/venue/antones http://do512.com/venue/antones.xml

213 W 5th St

Austin TX 78701 antones http://s3.amazonaws.com/do512/photos/129045/1_poster.png http://www.antones.net http://antones.frontgatetickets.com/

105933 Wednesday Night @ The Continental Club with Jon Dee Graham and James McMurtry http://do512.com/event/weekly/wed/wednesday-night-the-continental-club-with-jon-dee-graham-and-james-mcmurtry http://do512.com/event/weekly/wed/wednesday-night-the-continental-club-with-jon-dee-graham-and-james-mcmurtry.xml Wednesday 11/25/09 20091126T043000Z/20091126T043000Z false 0 16.0 10:30 PM Wed, 25 Nov 2009 22:30:00 -0600 Wed, 25 Nov 2009 22:30:00 -0600 6 WED 12/30/2009 http://s3.amazonaws.com/do512/photos/170160/m_2023a0ff671cd91eb9ee36567f96dda1_sq_90.jpg Continental Club 353 Continental Club http://do512.com/venue/continental-club http://do512.com/venue/continental-club.xml

1315 S. Congress

Austin TX 78704 continentalclub http://s3.amazonaws.com/do512/photos/129285/continental_poster.jpg http://www.continentalclub.com

105763 Cafe Tacuba http://do512.com/event/2009/11/29/cafe-tacuba http://do512.com/event/2009/11/29/cafe-tacuba.xml Sunday 11/29/09 20091130T010000Z/20091130T010000Z false 0 16.0 07:00 PM Sun, 29 Nov 2009 19:00:00 -0600 Sun, 29 Nov 2009 19:00:00 -0600 17 SUN http://gettix.net/concert/?venue_id=40 http://s3.amazonaws.com/do512/photos/95115/7_sq_90.jpg La Zona Rosa 109 La Zona Rosa http://do512.com/venue/la-zona-rosa http://do512.com/venue/la-zona-rosa.xml

612 W 4th St

Austin TX 78701 lazonarosa http://s3.amazonaws.com/do512/photos/128967/1_poster.png http://www.lazonarosa.com http://gettix.net/concert/?venue_id=40

105687 The Monahans, Distant Seconds, The Pons, Jesse Po-Dunk Monahans - Named for the West Texas sandhills, Austin-based Monahans began in 2006 as an offshoot project by Milton Mapes collaborators Greg Vanderpool, Roberto Sanchez, Jim Fredley and Britton Beisenherz. As Monahans, the group expanded on their landscape rock-and-roll with an intense, rhythmic, yet decisively apolitical pulse. The band's first release, Low Pining (Undertow 2007), was born mostly out of nameless instrumental soundtracks (Explosions In The Sky meets Califone) and later weaved with lyrical strands of detachment and Cold War Era urgency in the spirit of early U2, R.E.M., The Police and everyone's hero, Neil Young. With the consistent support of regional radio airplay, the record gradually found its way to various year-end favorites lists. Magnet Magazine listed Low Pining as one of its "10 Hidden Treasures of 2007" and Harp Magazine called it an "under-the-radar gem". Distant Seconds - Edward was blowing his mind, under the boardwalk. “Well my mind is blown now. Nine mantras and three bottles of insect repellent, under the boardwalk. I shall certainly be sick tomorrow. But it is worth it to have a blown mind. To stop being a filthy bourgeois for a space, even a short space. To gain access to everything in a new way. Under the boardwalk. Those cream Corfam shoes clumping overhead. I understand them now, for the first time. Not their molecular structure, in which I am not particularly interested, but their sacredness. Their centrality. They are the center of everything, those shoes. They are it. I know that, now. Too bad it is not worth knowing. Too bad it is not true. It is not even temporarily true. Well, that must mean that my mind is not fully blown. That harsh critique. More insect repellent!” - Donald Barthelme The Pons - If the Pons music requires Mazzi and his cohorts to continue to be a bit confused and unfulfilled, then let’s hope they are prolific and take advantage of these darker times. Nowhere is the Pons’ tug-of-war between anger and sadness, rage and loneliness, frustration and emptiness more evident than as their debut wraps up. Over churning guitar riffs as big as anything The Who put on “Tommy”, “Blackhawk” unloads and assaults the promises of wars, truths, and happiness before “Metal Heart” and “Peace on Earth” fade out. Over an acoustic guitar and a gently urgent drumbeat, Tommy Mazzi sings “peace on earth/ I’ve never known/ for what it’s worth/ I’d rather be shown”; As the band ratchets it up, Painter joins him to declare the fighting is over, and over a soaring outtro it’s hard not to feel like they both are singing for all of us. - Marc Perlman Jesse Po-Dunk - A born visionary and aspiring wordsmith, Jesse Podunk wrote consistently for many years until 1998 when he began performing locally as a solo act and simultaneously assembled a full band, Jumpstart Racer, working on both projects with equal energy and focus. It was during this period that Podunk's melodic brand of Indie Folk Americana began to take shape, fueled with relentless riddles and metaphors... influenced by the likes of Tripping Daisy , David Bowie, and The Beatles, et al. Rather abruptly, this creative period was cut short by the beginning of an experience that would shape both art and artist. In 1999 Podunk joined The Polyphonic Spree, led by former Tripping Daisy frontman, Tim DeLaughter. Over the next four and a half years, Podunk would traipse endlessly around the US, Canada, and Europe with The Spree. Full of inspiration and approaching fatherhood, Podunk left The Spree in 2004 to focus on family as well as writing and performing his still blossoming call. Jesse Poe re-located to Austin, Texas in August of 2006 and within the span of 6 Months He founded a psyche pop rhythm section to help add an element of tasteful noise to this peaceful display of honesty in melody. Still fanning the flame of his solo vision, Jesse Poedunk will be touring December of '09 with good friend Jarrett Killen. Jesse Po-Dunk's debut record is set to be released in October of '09. http://do512.com/event/2009/12/03/the-monahans-distant-seconds-pons-jesse-po-dunk http://do512.com/event/2009/12/03/the-monahans-distant-seconds-pons-jesse-po-dunk.xml Thursday 12/03/09 20091204T030000Z/20091204T030000Z false 0 10.0 09:00 PM Thu, 03 Dec 2009 21:00:00 -0600 Thu, 03 Dec 2009 21:00:00 -0600 5 THU http://s3.amazonaws.com/do512/photos/307155/monahanspic_sq_90.jpg The Mohawk 741 The Mohawk http://do512.com/venue/the-mohawk http://do512.com/venue/the-mohawk.xml

912 Red River

Austin TX 78701 mohawkaustin http://s3.amazonaws.com/do512/photos/129789/m_874052bf3c8ffcb9f056ee82bafb006f_poster.jpg http://www.mohawkaustin.com/ http://s3.amazonaws.com/do512/photos/307155/monahanspic.jpg 102682 KGSSR Anniversary Concert Celebration http://do512.com/event/2009/12/05/kgssr-anniversary-concert-celebration http://do512.com/event/2009/12/05/kgssr-anniversary-concert-celebration.xml Saturday 12/05/09 20091206T020000Z/20091206T020000Z false 0 6.0 08:00 PM Sat, 05 Dec 2009 20:00:00 -0600 Sat, 05 Dec 2009 20:00:00 -0600 1 SAT Cactus Cafe 21 Cactus Cafe http://do512.com/venue/cactus-cafe http://do512.com/venue/cactus-cafe.xml

corner of 24th & Guadalupe (at UT)

Austin TX 78713 cactuscafe http://s3.amazonaws.com/do512/photos/128793/1_poster.jpg http://www.utexas.edu/student/txunion/ae/cactus/

102683 Twang Twang Shock-A-Boom w/ David Garza & Chris Searles http://do512.com/event/2009/12/11/twang-twang-shock-a-boom http://do512.com/event/2009/12/11/twang-twang-shock-a-boom.xml Friday 12/11/09 20091212T023000Z/20091212T023000Z 0 22.0 08:30 PM Fri, 11 Dec 2009 20:30:00 -0600 Fri, 11 Dec 2009 20:30:00 -0600 7 FRI http://s3.amazonaws.com/do512/photos/218940/m_034a33e6ad9e4b5cbed4c3068aaf97f2_sq_90.jpg Cactus Cafe 21 Cactus Cafe http://do512.com/venue/cactus-cafe http://do512.com/venue/cactus-cafe.xml

corner of 24th & Guadalupe (at UT)

Austin TX 78713 cactuscafe http://s3.amazonaws.com/do512/photos/128793/1_poster.jpg http://www.utexas.edu/student/txunion/ae/cactus/

105690 The Dutchess and the Duke, Greg Ashley, Fergus and Geronimo http://do512.com/event/2009/12/12/the-dutchess-and-the-duke-greg-ashley-fergus-and-geronimo http://do512.com/event/2009/12/12/the-dutchess-and-the-duke-greg-ashley-fergus-and-geronimo.xml Saturday 12/12/09 20091212T070000Z/20091212T070000Z 0 20.0 01:00 AM Sat, 12 Dec 2009 01:00:00 -0600 Sat, 12 Dec 2009 01:00:00 -0600 5 SAT http://transmission.frontgatetickets.com/choose.php?a=1&lid=37076&eid=43463 http://s3.amazonaws.com/do512/photos/306987/ATHpresents_dd_sq_90.jpg The Mohawk 741 The Mohawk http://do512.com/venue/the-mohawk http://do512.com/venue/the-mohawk.xml

912 Red River

Austin TX 78701 mohawkaustin http://s3.amazonaws.com/do512/photos/129789/m_874052bf3c8ffcb9f056ee82bafb006f_poster.jpg http://www.mohawkaustin.com/ http://transmission.frontgatetickets.com/choose.php?a=1&lid=37076&eid=43463 http://s3.amazonaws.com/do512/photos/306987/ATHpresents_dd.jpg 104423 Grupo Fantasma w/ Foot Patrol Click “I like it!” for a chance to win a FREE pair of tickets! http://do512.com/event/2009/12/12/grupo-fantasma http://do512.com/event/2009/12/12/grupo-fantasma.xml Saturday 12/12/09 20091213T020000Z/20091213T020000Z 0 62.0 08:00 PM Sat, 12 Dec 2009 20:00:00 -0600 Sat, 12 Dec 2009 20:00:00 -0600 Click “I like it!” for a chance to win a FREE pair of tickets! 31 SAT http://antones.frontgatetickets.com/choose.php?a=1&lid=&eid=43409 http://s3.amazonaws.com/do512/photos/61879/m_238fdbf72ff0dd127cb0847589846842_sq_90.jpg Antone's 135 Antone's http://do512.com/venue/antones http://do512.com/venue/antones.xml

213 W 5th St

Austin TX 78701 antones http://s3.amazonaws.com/do512/photos/129045/1_poster.png http://www.antones.net http://antones.frontgatetickets.com/choose.php?a=1&lid=&eid=43409

105530 DAVE RAWLINGS MACHINE (incl. Dave & Gillian Welch) 12.13 and 12.14 All Ages show, $20 cover DAVE RAWLINGS MACHINE A FRIEND OF A FRIEND A Friend of a Friend is the first record by Dave Rawlings, the guitarist, producer, singer, and songwriter best known for his work with Gillian Welch and Old Crow Medicine Show.  These long time compatriots join Rawlings on this record beside newer friends Benmont Tench from the Heartbreakers, Karl Himmel, and Nate Walcott of Bright Eyes.  The notion of recording as Dave Rawlings Machine began in 2007.  “I had a few older songs that I had written with other artists that I wanted to record myself.  Then the last year or so Gillian and I spent a good deal of time in Los Angeles, hanging out with a new group of musicians and songwriters.  This inspired a number of songs that seemed to complete the picture.  So we started recording.  It was as much of a surprise to me as it was to anybody.” Of the nine songs on the playlist, Rawlings wrote seven.  The other two are “The Monkey and the Engineer,” a country blues by Jesse Fuller, who died in 1976, and a medley consisting of “Method Acting,” by Conor Oberst, and “Cortez the Killer,” by Neil Young.  Rawlings learned “Method Acting” two years ago while playing guitar on a Bright Eyes tour.  “I played ‘Method Acting’ every night on that tour,” Rawlings says, “and it sort of sank into my awareness in a very deep way.  ‘Cortez the Killer’ is a song I heard long before I ever played guitar and it changed the way I heard music." “Ruby” is a plaintive recitation of love for a woman whose affections are remote and self-engaged.  “Sweet Tooth,” sung by Welch and Rawlings in their more customary style---two voices, two guitars sparely arranged---is an ironic and wry description of the bittersweet allure of addiction, and the obsessive pleasures and despairs revolving around the satisfaction of a powerful need.  “It’s Too Easy” has a narrator blithely content with the simplest indulgences and baffled by why anyone would lift a finger for more.  “I Hear Them All,” which was first recorded by Old Crow Medicine Show, is a solemn tribute to the under-equipped, the lost and lonely, the left behind, and overlooked, and a condemnation of the outrages that the powerful practice against the weak.  “To Be Young,” a kind of half-apology, half-screed both justifying and rebuking imperfect behavior, was written with Ryan Adams.  Rawlings’s version features his banjo playing.  “How’s About You” is a rueful, Depression-tinged monologue reflecting on hard times, past and present.  The record concludes with “Bells of Harlem,” which has an eerie, spell-like quality.  It is the sort of simple, classic-sounding melody that one can imagine being sung by Louis Armstrong or being used as a soundtrack for a David Lynch film.  A mesmeric coda, played by strings, trails off at the end like lights rising in a dark theater.  Making A Friend of a Friend, Rawlings discovered that different considerations applied when recording himself singing melody instead of harmony.  “When I listen to a Gillian record there’s a particular place and feeling in it that has an awful lot to do with the sound of her voice,” Rawlings says.  “A lot of things change from track to track, but that has always been the constant.  And a lot of the arrangements we’d worked out over the years---the way we put chords, the way we sing together---I was shocked at how little they worked for my voice or my record.  We had learned to make records in a particular way because we were always framing her voice, which is this large, takes-up-a-lot-of-space, very intimate, very good sounding thing, a beautiful tone, so you can frame it in a skeletal way.  It almost seems to me that the less you put on her records, the more powerful they are, but when we started working that way with my voice, which is so different, it turned out that nothing from that approach was valid, so we had to find different sounds and treatments that we were happy with.  I was really surprised when we started that we were in territory as uncharted as we were.  We broke new ground from necessity.”  Spontaneity was an important part of the recording. “I've learned over time that as a lead singer, I do my best singing live and on early takes, so it was essential that we capture the band quickly and in an organic way.  So when we stood in a circle to rehearse the first song I thought, ‘Well, I guess we better put a mic in the center and be done with it.’  It tied my hands as far as mixing the vocals went, but it helped us capture something in the air.  I knew that Gillian and I would be at the core of the recordings, but I became interested in a particular acoustic sound with more vocal parts that I knew the Crows could conjure up.  Karl, Benmont and Nate were the icing on the cake.”  A Friend of a Friend has more lavish arrangements than songs from the Gillian Welch catalog typically do.  They are more boisterous, but they are built on the same careful spine that Welch songs are.  Rawlings’s sly and succinct guitar playing is embedded within ensemble play as opposed to carrying the bulk of the arrangement.  The songs are exuberant, sturdy, and carefully constructed, but they also reverberate poetically.  The music on A Friend of a Friend is cousin to the deftly modern and haunting music that Welch and Rawlings are known for, but it has here been expanded; the crowd is larger, the party more robust, but the room is the same room.  http://do512.com/event/2009/12/13/dave-rawlings-machine-incl-dave-gillian-welch http://do512.com/event/2009/12/13/dave-rawlings-machine-incl-dave-gillian-welch.xml Sunday 12/13/09 20091214T020000Z/20091214T020000Z false 0 14.0 08:00 PM Sun, 13 Dec 2009 20:00:00 -0600 Sun, 13 Dec 2009 20:00:00 -0600 4 SUN http://theparishroom.inticketing.com/events/57981/DAVE-RAWLINGS-MACHINE http://s3.amazonaws.com/do512/photos/300141/daveraw_cover_select_sq_90.jpg The Parish 176 The Parish http://do512.com/venue/the-parish http://do512.com/venue/the-parish.xml

214 E 6th St

Austin TX 78701 theparish http://s3.amazonaws.com/do512/photos/129129/1_poster.png http://www.theparishroom.com http://theparishroom.inticketing.com/events/57981/DAVE-RAWLINGS-MACHINE http://s3.amazonaws.com/do512/photos/300141/daveraw_cover_select.jpg 105475 DAVE RAWLINGS MACHINE (incl. Dave & Gillian Welch) 12.13 and 12.14 all ages show, $20 cover, on sale now! DAVE RAWLINGS MACHINE A FRIEND OF A FRIEND A Friend of a Friend is the first record by Dave Rawlings, the guitarist, producer, singer, and songwriter best known for his work with Gillian Welch and Old Crow Medicine Show.  These long time compatriots join Rawlings on this record beside newer friends Benmont Tench from the Heartbreakers, Karl Himmel, and Nate Walcott of Bright Eyes.  The notion of recording as Dave Rawlings Machine began in 2007.  “I had a few older songs that I had written with other artists that I wanted to record myself.  Then the last year or so Gillian and I spent a good deal of time in Los Angeles, hanging out with a new group of musicians and songwriters.  This inspired a number of songs that seemed to complete the picture.  So we started recording.  It was as much of a surprise to me as it was to anybody.” Of the nine songs on the playlist, Rawlings wrote seven.  The other two are “The Monkey and the Engineer,” a country blues by Jesse Fuller, who died in 1976, and a medley consisting of “Method Acting,” by Conor Oberst, and “Cortez the Killer,” by Neil Young.  Rawlings learned “Method Acting” two years ago while playing guitar on a Bright Eyes tour.  “I played ‘Method Acting’ every night on that tour,” Rawlings says, “and it sort of sank into my awareness in a very deep way.  ‘Cortez the Killer’ is a song I heard long before I ever played guitar and it changed the way I heard music." “Ruby” is a plaintive recitation of love for a woman whose affections are remote and self-engaged.  “Sweet Tooth,” sung by Welch and Rawlings in their more customary style---two voices, two guitars sparely arranged---is an ironic and wry description of the bittersweet allure of addiction, and the obsessive pleasures and despairs revolving around the satisfaction of a powerful need.  “It’s Too Easy” has a narrator blithely content with the simplest indulgences and baffled by why anyone would lift a finger for more.  “I Hear Them All,” which was first recorded by Old Crow Medicine Show, is a solemn tribute to the under-equipped, the lost and lonely, the left behind, and overlooked, and a condemnation of the outrages that the powerful practice against the weak.  “To Be Young,” a kind of half-apology, half-screed both justifying and rebuking imperfect behavior, was written with Ryan Adams.  Rawlings’s version features his banjo playing.  “How’s About You” is a rueful, Depression-tinged monologue reflecting on hard times, past and present.  The record concludes with “Bells of Harlem,” which has an eerie, spell-like quality.  It is the sort of simple, classic-sounding melody that one can imagine being sung by Louis Armstrong or being used as a soundtrack for a David Lynch film.  A mesmeric coda, played by strings, trails off at the end like lights rising in a dark theater.  Making A Friend of a Friend, Rawlings discovered that different considerations applied when recording himself singing melody instead of harmony.  “When I listen to a Gillian record there’s a particular place and feeling in it that has an awful lot to do with the sound of her voice,” Rawlings says.  “A lot of things change from track to track, but that has always been the constant.  And a lot of the arrangements we’d worked out over the years---the way we put chords, the way we sing together---I was shocked at how little they worked for my voice or my record.  We had learned to make records in a particular way because we were always framing her voice, which is this large, takes-up-a-lot-of-space, very intimate, very good sounding thing, a beautiful tone, so you can frame it in a skeletal way.  It almost seems to me that the less you put on her records, the more powerful they are, but when we started working that way with my voice, which is so different, it turned out that nothing from that approach was valid, so we had to find different sounds and treatments that we were happy with.  I was really surprised when we started that we were in territory as uncharted as we were.  We broke new ground from necessity.”  Spontaneity was an important part of the recording. “I've learned over time that as a lead singer, I do my best singing live and on early takes, so it was essential that we capture the band quickly and in an organic way.  So when we stood in a circle to rehearse the first song I thought, ‘Well, I guess we better put a mic in the center and be done with it.’  It tied my hands as far as mixing the vocals went, but it helped us capture something in the air.  I knew that Gillian and I would be at the core of the recordings, but I became interested in a particular acoustic sound with more vocal parts that I knew the Crows could conjure up.  Karl, Benmont and Nate were the icing on the cake.”  A Friend of a Friend has more lavish arrangements than songs from the Gillian Welch catalog typically do.  They are more boisterous, but they are built on the same careful spine that Welch songs are.  Rawlings’s sly and succinct guitar playing is embedded within ensemble play as opposed to carrying the bulk of the arrangement.  The songs are exuberant, sturdy, and carefully constructed, but they also reverberate poetically.  The music on A Friend of a Friend is cousin to the deftly modern and haunting music that Welch and Rawlings are known for, but it has here been expanded; the crowd is larger, the party more robust, but the room is the same room.  http://do512.com/event/2009/12/14/dave-rawlings-machine http://do512.com/event/2009/12/14/dave-rawlings-machine.xml Monday 12/14/09 20091215T020000Z/20091215T020000Z 0 14.0 08:00 PM Mon, 14 Dec 2009 20:00:00 -0600 Mon, 14 Dec 2009 20:00:00 -0600 4 MON http://theparishroom.inticketing.com/events/57981/DAVE-RAWLINGS-MACHINE http://s3.amazonaws.com/do512/photos/300135/daveraw_cover_select_sq_90.jpg The Parish 176 The Parish http://do512.com/venue/the-parish http://do512.com/venue/the-parish.xml

214 E 6th St