The Echo, Grateful Shred, and Old Pal Present the Third Annual
SHRED 420 featuring Grateful Shred
Circles Around The Sun, Howlin Rain, Pinky Pinky, Kirin J Callinan, Lola Kirke, Pacific Range, Scott Gilmore, Austin McCutchen, Sammy Brue, The Flying Fantastic Aquarium Drunkard Circus Show, DJ Johnny Basil, The Return of the First Annual Celebrity All-Star Bong Rip Competition
Sat April 20, 2019
Doors: 3:00 pm / Show: 4:20 pm
Echo + Echoplex
Los Angeles, CA
$30 Early Bird Miracle Ticket (sold out) / $35 General Admission Ticket / $45 “Horne Section” Ticket
This event is 21 and over
Wait – I know what you’re thinking. Another fucking Grateful Dead cover band?
The thing is, Los Angeles-based Grateful Shred manage to channel that elusive Dead vibe: wide-open guitar tones, effortless three-part vocal harmonies, choogling beats, and yes, plenty of tripped out, Shredded solos. The look, the sound, the atmosphere. It’s uncanny. Far from being a historical re-enactment, Grateful Shred’s laissez faire vibe infuses the band with a gentle spirit, warmth, and (dare we say it) authenticity. From their killer merch game to their eminently watchable YouTube channel, they’re clearly having a rad time and spreading the love. Strangely enough, in a world overflowing with wax museum nostalgia and Deadly sentimentalism, we need the Shred, now more than ever.
I know what you’re thinking.
Another fucking Grateful Dead cover band?
The thing is, Los Angeles-based Grateful Shred manage to channel that elusive Dead vibe: wide-open guitar tones, effortless three-part vocal harmonies, choogling beats, and yes, plenty of tripped out, Shredded solos. The look, the sound, the atmosphere. It’s uncanny. “It’s more of a ‘take’ on the Dead than a tribute band,” says bassist Dan Horne. “We end up sounding almost more like the Dead because we approach it in this free spirited way; in other bands, they’ve got the perfect tones dialed in, they practice the drum parts, they’ve got their ‘Jerry.’ We just play.” Founded one night in 2016, the band came about almost by accident. Singer/guitarist Austin McCutchen had a residency at The Griffin in Atwater Village; his band was out of town, so he drafted some friends to play a set of Dead covers, and the four founding members (Austin, Sam, Clay, and Dan) have been together ever since. Sam Blasucci and Clay Finch (of country-folk revivalists Mapache) handle vocal and guitar duties, rounded out by bassist Dan Horne (of Cass McCombs, Jonathan Wilson, and the estimable Circles Around The Sun, who provided the incidental music for 2015’s “Fare Thee Well” concerts, the last shows played by the living members of the Dead). Add a rotating cast of drummers (like Richard Gowen of The Growlers) and keyboardists (like Lee Pardini of Dawes and Jerry Borgé of Ziggy Marley), and you’ve got the essential formula. Jams convene at Liberty Hair Farm in Echo Park, the Shred’s HQ/commune/studio. It’s at the Farm where they live, breathe, and record. Just watch the hallucinatory footage of the band tearing through “St. Stephen” (filmed live in their backyard) or “Shakedown Street” (those harmonies!). Grateful Shred is the sound of 5+ guys who aren’t afraid to learn from the masters, but who know to explore beyond the pale, searching for the sound. “Never the play the same thing once,” as Phil Lesh says. Far from being a historical re-enactment, Grateful Shred’s laissez faire vibe infuses the band with a gentle spirit, warmth, and (dare we say it) authenticity. From their killer merch game (look for a new line with Dead revisionists Online Ceramics) to their eminently watchable YouTube channel, they’re clearly having a rad time and spreading the love. Strangely enough, in a world overflowing with wax museum nostalgia and Deadly sentimentalism, we need the Shred, now more than ever.
Circles Around The Sun
Neal Casal on Guitar
Adam MacDougall on Keyboards
Dan Horne on Bass
Mark Levy (2) on Drums
The mystery of just who was behind those freewheeling tunes that kept the crowds groovin' during Fare Thee Well's intermissions has been revealed! Circles Around the Sun, a band convened by guitarist Neal Casal, formed specifically to record just for the shows and the results were so captivating, and the audience response so overwhelmingly positive, we decided to give the music a proper release.
The project began when Casal was asked by video director Justin Kreutzmann to compose and record more than five hours of original music to be played along with the visuals Kreutzmann was preparing for the Fare Thee Well intermissions. "The idea was to not only show reverence for the past but to ultimately, move it forward. If there's anything to be learned from the Grateful Dead, it is to dissolve your boundaries, push your limits, and discover your own voice in this world," explains Casal, the lead guitarist and co-lyricist for The Chris Robinson Brotherhood and part-time member of Phil Lesh and Friends.
Casal was joined in the studio by keyboardist Adam MacDougall, a fellow member of Robinson's Brotherhood and Lesh's Friends. The balance of Circles Around The Sun consists of bassist Dan Horne (Beachwood Sparks, Jonathan Wilson) and drummer Mark Levy (The Congress). All of the music on INTERLUDES FOR THE DEAD was written collectively - with nothing prepared beforehand or added afterward - and recorded live by engineer J.P. Hesser.
San Francisco based rock-band formed in 2004 by Ethan Miller.
Kirin J Callinan
You are Kirin J Callinan. You are from Australia. You don't put a period after your middle initial. You slick your hair back, mostly to keep it out of the way. You will be moving a lot, herky-jerky.
"Kirin J Callinan is 2013′s most kinetic, confounding, and exciting "new" artist. For real! This is an opinion easier to come upon, and maintain, if you've had the good fortune of seeing him live intermittently over the past six months, as I have. (At Glasslands for CMJ, where he ruled, and a few weeks ago in a startlingly intimate 40-person theater near Union Square, where he ruled again, this time as a campy mix of Scott Walker and Patrick Bateman.)" --Stereogum
"On the title track of his debut LP Embracism, Australian howler Kirin J Callinan introduced himself with fight music. His approach to love-themed music sounds every bit as confrontational on his second single, as sharp guitar chords are erratically scraped, mangled, and pitch-shifted throughout "Love Delay" while Callinan belts out lusty lyrics in a throat-shredding howl and personifies fire so he can commune with it. Between the two songs, he establishes an understandable artistic premise, to imply the scraps and conflicts of the schoolyard and the bedroom are triggered by the same animalistic urges." --Pitchfork
LA-based musician and producer.
"Stories are all around us, and I’m listening to people even when they think I'm not," states Sammy Brue. "If I get to the emotion of it, I can find the words.”
Realism and storytelling are qualities that are prominent on I Am Nice, the 15-year-old Utah singer-songwriter's New West debut. The 12-song album—produced by Ben Tanner of Alabama Shakes and John Paul White of the Civil Wars—shows the young troubadour to be a timeless talent whose catchy compositions embody the sort of wisdom, empathy and insight that's usually associated with more experienced songwriters.
On such distinctive originals as "I Know," "Was I the Only One," "I Never Said" and "Control Freak," Brue demonstrates a rare knack for placing himself in the shoes of others, real or fictionalized, and writing melodically inventive, emotionally resonant stories about them. No wonder he's been hailed as an "Americana prodigy" by Rolling Stone and as a "wunderkind" by American Songwriter, as well as receiving early attention from The Wall Street Journal and The Fader, and from his local ABC TV station.
Sammy Brue has been writing songs since the age of 10. After receiving an acoustic guitar from his father for Christmas, he quickly embraced the instrument and began learning the songs of Bob Dylan and Woody Guthrie. Within two months, he'd written his first original, pointedly titled "The Woody Guthrie Song."
"My dad would always play Bob Dylan, Johnny Cash, Leadbelly and Woody Guthrie in the car when I was younger," Sammy explains. "So when I first discovered the radio, when I was around six, I was surprised that that kind of music wasn't on the radio. When I started making music myself, I wanted it to have that old sound, because that's what I grew up with and that's what I love.
"My dad got me an electric guitar when I was super-duper-young, and I just wasn't that into it," he continues. "So I asked him for an acoustic guitar, and for some reason that changed everything for me. I started learning the chords and wrote my first songs. The authenticity of the acoustic guitar spoke to me more than the huge sound of an electric band."
Demonstrating an impressive level of drive and dedication, Sammy busked at the Sundance film festival when was just 11 years old, performed at the Newport Folk Festival, and opened shows for the likes of Hayes Carll, Lydia Loveless, John Moreland, Lukas Nelson, Lucinda Williams and Asleep at the Wheel. He also released a trio of homespun but remarkably accomplished EPs—The Ghost of Woody Guthrie, The Bootleg Sessions and I Don't Want You to Leave—which helped to spread word of Brue's talent beyond his home state.
"The first EP," he explains, "was my Woody Guthrie phase. The second I recorded in my laundry room, and it was more like what I'm doing now. The third was me producing it and adding kick drum and tambourine and bass—I think that's where I really found myself."
Among the first to champion Sammy's talents was fellow artist Justin Townes Earle, who invited him to open for him after meeting Sammy and his dad on a tour stop, and later featured him on the cover of his 2014 album Single Mothers.
The growing buzz helped Brue to win a recording deal with New West, home of such Americana icons as Rodney Crowell, Steve Earle and John Hiatt. Recording I Am Nice in Florence, Alabama, Sammy, along with co-producers Tanner and White, gently augmented his songs with spacious, evocative arrangements that showcase the strength and substance of his lyrics and melodies.
"It was just a great experience," Sammy recalls, admitting, "I was nervous at first, because I'd never recorded an actual album with real professionals and I didn't know what to expect. But eventually I told myself 'This is your album, this is what you want to do for the rest of your life,' and that's when I pulled into another gear.
"Two days into the recording, me and John Paul White and Ben Tanner were best friends. It was so easy, because we were all on the same page, so I didn't feel too nervous to say 'let's add this' or 'let's take this out and try something else.' I expected John Paul to be a very serious, strict person, but he was an even bigger goofball than me. That made the whole experience a lot easier.
With his first full album in hand and his first national tour in the offing, Sammy Brue is matter-of-fact about taking his next musical steps.
"The whole idea of music, for me, is to make people feel certain emotions, and make them feel like I'm singing to them." he states. "When people tell me they feel that way, it gives me a lump in my throat. There's endless possibilities to music, and I can't wait to learn more about it and find new hooks and new ways that chords go together.
"I'm lucky enough to have found the thing that I want to do for the rest of my life," he concludes. "It's kind of funny, because my friends and my family all see me as a goofy teenager who can't take anything seriously, but I'm very serious about music."
The Flying Fantastic Aquarium Drunkard Circus Show
The Return of the First Annual Celebrity All-Star Bong Rip Competition