3TEN ACL LIVE

Sat 8 Jan

Robert Wagner's

Black Crowes Experience

with Madam Radar

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$20.00 ADVANCED // $25.00 DAY OF SHOW

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ABOUT ROBERT WAGNER'S BLACK CROWES EXPERIENCE

"ROBERT WAGNER’S BLACK CROWES EXPERIENCE BRINGS THE CREAM OF AUSTIN MUSICIANS TOGETHER TO PAY A VISCERAL LIVE MUSICAL TRIBUTE TO THE GREAT AMERICAN ROCK ICONS, THE BLACK CROWES! ALL THE FIRE...AND ALL THE HITS. THE WALLS WILL SHAKE…AND YOUR MONEYMAKER TOO!"

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ABOUT MADAM RADAR

"MADAM RADAR is an Americana rock band that punches hard with their explosive harmonies and eclectic original tunes. Having the unique advantage of three lead singers and songwriters, there’s something to be enjoyed for a variety of listeners. Once described as Fleetwood Mac meets the Eagles, there’s palpable energy in this family band that can be felt from the stage. Jace and Kelly Green are husband and wife and hold down the front end while their brother Kody Lee and Violet Lea make up the rhythm section. Soaring guitar solos, sweeping vocals, rich harmonies, and the diversity in the songwriting as the lead singers swap tunes truly makes a MADAM RADAR show a unique experience."

[/et_pb_text][et_pb_video _builder_version="4.9.10" _module_preset="default" src="https://www.youtube.com/watch?v=xIysmdEYHMw" hover_enabled="0" sticky_enabled="0"][/et_pb_video][et_pb_social_media_follow _builder_version="4.9.10" _module_preset="default" hover_enabled="0" sticky_enabled="0"][et_pb_social_media_follow_network _builder_version="4.9.10" _module_preset="default" follow_button="off" url_new_window="on" url="http://www.facebook.com/madamradarmusic" hover_enabled="0" sticky_enabled="0" social_network="facebook" background_color="#3b5998"]facebook[/et_pb_social_media_follow_network][et_pb_social_media_follow_network _builder_version="4.9.10" _module_preset="default" follow_button="off" url_new_window="on" social_network="twitter" background_color="#00aced" url="https://twitter.com/madamradarmusic" hover_enabled="0" sticky_enabled="0"]twitter[/et_pb_social_media_follow_network][et_pb_social_media_follow_network _builder_version="4.9.10" _module_preset="default" follow_button="off" url_new_window="on" social_network="instagram" background_color="#ea2c59" url="https://www.instagram.com/madamradarmusic" hover_enabled="0" sticky_enabled="0"]instagram[/et_pb_social_media_follow_network][/et_pb_social_media_follow][/et_pb_column][/et_pb_row][/et_pb_section]

BUY TICKETS

Fri 29 Oct

NIGHT TWO

Midlake

with Buffalo Hunt

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$18.00 ADVANCED // $20.00 DAY OF SHOW

[/et_pb_text][et_pb_acf_single_item field_name="Event Details|doors_time" image_size="thumbnail" link_image="none" format_output="none" admin_label="Doors Time" module_class="doors-time" _builder_version="3.22.2" z_index_tablet="500"]
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Masks are required and must remain in place unless eating or drinking.

Attention Midlake fans! At the request of the artist, there are updated health and safety requirements for fans coming to see Midlake at 3TEN Austin City Limits Live on September 18, October 29, and November 27, 2021.

All attendees of these events must have received a negative COVID-19 test result within 72 hours of attending each show. Guests not wishing to provide a negative test result can voluntarily show proof of full vaccination instead. In attending the event(s), you certify and attest that you and all individuals in your party:

All fans must provide printed proof of a negative COVID-19 test (PCR or antigen) obtained within 72 hours prior to entering the venue for the show(s).
In lieu of a negative test result, guests fully vaccinated against COVID-19 (at least two weeks after final dose) at the time of the event may instead provide proof of vaccination - either the original vaccination card or a printed copy of the vaccination card.

These regulations will apply to all members of your party (including children) before they are allowed entry to the event(s) and to any users of the tickets purchased by you.

DO NOT attend the event(s) if you have recently been exposed to a confirmed COVID-19 case or are exhibiting symptoms consistent with COVID-19 in the 48 hour period prior to the event(s).

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MIDLAKE heads to Austin for three shows at 3TEN this fall on September 18 (with Dancey Jenkins of The Texas Gentlemen), October 29 (with Buffalo Hunt), and November 27 (with James Petralli of White Denim)!

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ABOUT MIDLAKE

Midlake is an American folk rock band from Denton, Texas, formed in 1999. The band consists of Eric Pulido, McKenzie Smith, Paul Alexander, Eric Nichelson, Jesse Chandler, and Joey McClellan. In 2012, vocalist, guitarist and primary songwriter Tim Smith left the band during the recording of its fourth studio album.

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ABOUT BUFFALO HUNT

Recorded under the moniker Buffalo Hunt, “Apple Tree” is the debut single and video by Stephanie Hunt, Austin-based songwriter and co-frontwoman of the band Nancy And Beth, opposite Megan Mullally.

Backed by the Texas Gentlemen, “Apple Tree” is inspired by the great Doug Sahm. “The first time I heard Doug’s music it was like being given permission to cross pollinate. I related to him as a fellow Texan who loves where they come from, but can’t get away from wanting to add the cosmic sound to it,” Hunt tells Rolling Stone.

“Apple Tree” is the first song released from Buffalo Hunt’s upcoming debut LP Play the Fool, out summer 2020 on the Austin-based non-profit label, Spaceflight Records. The album features some of the best on the current Texas scene—the stunningly versatile Texas Gentlemen; Hunt’s fiancé Shakey Graves; and drummer McKenzie Smith, to name a few.

Stephanie is also a member of Nancy And Beth, the punk/vaudeville heart-child led by her bandmate, musician, comedian and actor, Megan Mullally. Megan and Stephanie pick dope songs and sing them while dancing and wearing matching costumes, with a backing band that includes Petra Haden, drummer Joe Berardi, and Austin musicians Datri Bean (keyboards) and Andrew Pressman (bass). They’ve been described by The New York Times as having a “fearless take on live performance, and by Noel Gallagher as “definitely not bigger than The Beatles.”

Nancy And Beth also most certainly left a lot of newfound fans Googling the name “Stephanie Hunt.” What they would find is the c.v. of a musician and actress who is both still rising and already thoroughly accomplished. Hailing from Austin, Hunt grew up surrounded by music. Her father began gigging in New Orleans at age 12 and went on to study with classical guitar maestro Andrés Segovia; her sister is the critically lauded singer-songwriter Phoebe Hunt. Stephanie studied violin seriously throughout her childhood and began writing original music in high school. In her early 20s, she formed an experimental psych-rock band, the Ghost Songs, with Black Angels members Alex Maas and Christian Bland. Acting also came by way of music: She was cast as a young musician in the NBC TV hit Friday Night Lights in large part because she’d been practicing bass guitar. An enviable amount of work followed, from more era-defining TV (Fox’s Glee, Showtime’s Californication) to buzzed-about indie flicks (Somebody Up There Likes Me) and sitcoms for ABC and TBS.

All throughout her acting years, when she was based in Los Angeles, songwriting remained a refuge or a sanctuary—“a place to be able to actually consider how I felt about life rather than saying lines that people had written for me,” she says. With Buffalo Hunt and her continuing musical life back home in Austin, she’s giving voice to her own ideas and those of the fabulously creative friends that surround her.

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BUY TICKETS

Sat 30 Oct

Mariachi Metal and Mayhem

Tequila Rock Revolution

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$15.00 ADVANCED // $20.00 DAY OF SHOW

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Masks are required and must remain in place unless eating or drinking.

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ABOUT TEQUILA ROCK REVOLUTION

Tequila Rock Revolution is a metal-fueled, Mariachi-infused spectacle of sight and sound paying homage to the tradition of Mariachi through an unprecedented fusion with modern metal and electronica. The band is the brainchild of Austin Latino Rocker/Electric Violinist Haydn Vitera.

Picture the machine gun rhythms of vihuela firing over a bed of intense dubstep grooves, requinto trading licks with shredding lead guitar and Mariachi strings joining forces with 7-string Viper electric violin. "Metallized" Mariachi standards and well-known metal/rock covers are weaved into a performance rife with dark imagery, Mexican folklore and stunning visual effects.

Donning traditional Mexican sugar skull face paint, the 7- to 10-piece supergroup features some of Austin's premiere Latin Rock and modern metal musicians joining forces with some of Central Texas’ most talented Mariachi players.

TRR’s latest performance was a sold-out show at 3Ten-ACL Live, one of Austin’s premiere concert venues, on May 7, 2021. The band’s digital releases include high-octane renditions of Mariachi standards “El Cascabel” and “Cancion Del Mariachi,” a dark re-imagining of the ballad “Remember Me” from the Oscar-winning film Coco, and most recently, a collaboration with rock violinists/vocalists Cassandra Sotos and Haydn Vitera on a powerful signature version of the classic Ozzy Osbourne/Lita Ford duet “Close My Eyes Forever” available now on all streaming outlets and YouTube.

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ABOUT BANG ATX

Performing classic Metal anthems from 80's hard rock bands such as Guns 'N Roses, Motley Crue, Ozzy, Ratt, Van Halen and many more - BANG is here to melt your face off and get the heavy metal party started.

[/et_pb_text][et_pb_image src="https://3tenaustin.com/wp-content/uploads/2021/10/bang.jpeg" title_text="bang" _builder_version="4.9.10" _module_preset="default"][/et_pb_image][/et_pb_column][/et_pb_row][/et_pb_section]

BUY TICKETS

Sun 31 Oct

Halloween at 3TEN with

Supersuckers

with Rod Gator

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$20.00 ADVANCE // $25.00 DAY OF SHOW

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Masks required for entry and must remain in place unless eating or drinking.

[/et_pb_blurb][et_pb_text _builder_version="4.9.10"]

Spend your Halloween partying with "the greatest rock 'n' roll band in the world!"

[/et_pb_text][et_pb_text admin_label="Headliner Bio" _builder_version="4.7.3" z_index_tablet="500"]

ABOUT SUPERSUCKERS

“You’ve heard our name, you’ve seen our records, our t-shirts and our stickers. We’re probably the favorite band of someone you know and yet maybe we’re still a mystery to you. Well my friend, that’s okay, you’re at the right place to get to know the greatest rock-n-roll band in the world, The Supersuckers.

And the next time you see the ‘Supersuckers’ name, whether it’s in the record store, online somewhere, or on the marquee at your local rock club, know that there’s some quality, honest, ass-kicking, hard working individuals behind it all trying to make your life a little better through the “Evil Powers Of Rock-n-Roll” (and the occasional detour into the country music, of course) and we’d love nothing better than to have you there with us as! Just remember to wear clean underwear, ‘cuz we’re gonna rock the pants right off of you!”

– Eddie Spaghetti, The Supersuckers

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ABOUT ROD GATOR

You can take the Gator out of Louisiana, but you can't take Louisiana out of the Gator.

Years before launching his career as an internationally-celebrated southern songwriter, Rod Gator grew up in the Louisiana backcountry, making trips to his family's crayfish pond while absorbing the sounds, stories, and swampy swagger of his surroundings.

"My dad is an old-school Cajun guy who wanted to name me 'Gator,'" he says. "He's got a good sense of humor, and I think he was also a big fan of Burt Reynolds' Gator films, which were a hit at the drive-ins in the '70s."

Gator's mother didn't approve of the suggestion, and the boy was christened "Rod Melancon" instead. It was under that name that he first made his stand as a musician, releasing four albums — including 2019's critically-lauded Pinkville — that blended Louisiana soul with greasy country-rock, Texas blues, and electrified funk. Rod's music didn't just nod to the American South; it created its own sonic geography, too, channeling everything from the dark, cinematic sweep of Los Angeles (where he moved as an 18 yearold actor) to the amplified twang of Austin (his adopted hometown for nearly half a decade). With 2021's For Louisiana, he blends that diverse sound with sharply-written songs that take a hard look at his old stomping grounds. This isn't just a love letter to Louisiana — it's also an examination of the state's hard-to-love struggles with social justice, political reform, and natural disasters.

For a frontman who's at the top of his game — writing every song, leading a multi-cultural band of road warriors, and whipping up his own musical gumbo — there's never been a better time to level up while still embracing his roots. That's why he's adopting a new name. A name with humor, heritage, and a bit of a bite: Rod Gator.

"For Louisiana is a product of where I grew up and where I've been since I left town," Gator says, speaking in the southern drawl he picked up during his childhood in Vermilion Parrish. "It's also a product of a group of players from different backgrounds, coming together to create. Any time you have a unique group of musicians from all kinds of cultures, the sound is going to be special. That's emblematic of Louisiana, too. It's emblematic of the Cajun people."

These are the strongest performances of his career, laced with Muscle Shoals-worthy grooves, overdriven amplifiers, sharp storytelling, and Gator's unique blend of spokenword delivery and southern crooning. He doesn't just sing; he rasps, twangs, talks, and howls, dipping into his background as an actor for a larger-than-life approach that's every bit as evocative as the songs' arrangements. There's something equally cinematic about songs like the moody, guitar-driven "Chickenhawk" (a war song delivered from a military man's perspective), the funky "Mermentau Bridge" (a nostalgic look at the places we're from, and the vices that are slow to leave us), and the heartland-rock title track, all of which were co-produced by longtime collaborator (and son of Emmy-winning composer Snuffy Walden) Will Walden along with GRAMMY®-nominated producer and Black Pumas leader, Adrian Quesada. Meanwhile, "August 29" is a talking-blues anthem punctuated by Staxsized organs and thick vocal harmonies — the sort of song that might have blasted from the AM radio dial of a muscle car as it pulled into the drive-in for a Gator showing — and "Out Here in Echo Park" is a slow-building, piano-driven power ballad fit for slow dances and lighters hoisted into the air.

The first album to be tracked at Quesada's new studio, Electric Deluxe Recorders, For Louisiana also features contributions from Melancon's longtime drummer, Adam Nurre, and Black Pumas' keyboardist, JaRon Marshall. On an album that's heavy with A-list collaborators, though, it's Rod Gator who swims to the top. His source material may be heavy — with songs inspired by the aftermath of Hurricane Katrina, the murder of George Floyd, and the long-simmering racial tensions that continue to plague Louisiana — but his writing is elevated, full of the cadence, characters, and charisma of his home state. For Louisiana is equal parts love letter to the motherland and rallying cry for cultural progress, delivered by a Bayou State export who's still happy to let his freak flag fly.

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STRANGELOVE – The Depeche Mode Experience

BUY TICKETS

Fri 5 Nov

STRANGELOVE – The Depeche Mode Experience

with Electric Duke: Tribute to Bowie

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$25.00 ADVANCED // $30.00 DAY OF SHOW

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Masks are required and must remain in place unless eating or drinking.

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ABOUT STRANGELOVE

Los Angeles based STRANGELOVE-The Depeche Mode Experience delivers a career spanning, pitch perfect “best of” concert that transports the listener through time and touches on several key points in Depeche Mode’s illustrious career. Songs from throughout the Depeche canon are lovingly recreated; from favorites on DM’s debut Speak and Spell to the newest fare from ‘Mode’s latest- 2017’s “Spirit”. No detail of STRANGELOVE’s presentation has been overlooked. The visual presentation with stage set pieces and in-show costume changes reflect different eras of Depeche Mode’s story; which spans almost four decades!

Truly evocative of a Depeche Mode arena/stadium stage show; the scale of STRANGELOVE’s theatrical stage production is unparalleled, save for the real article. Custom-produced multimedia projection visuals delight the concertgoer’s senses and enhance the illusion that they’re witnessing an actual Depeche Mode concert.

These accomplished musicians have a reverence and devotion to Depeche Mode’s body of work that has driven them to recreate every possible detail and bring the “Music To The Masses” in a concert setting that transcends a mere tribute production and feels more like a shared communal fan club celebration of halcyon days of new wave and emerging electronica. Accuracy and authenticity is a hallmark of the project, with the band employing as many authentic vintage synthesizers and samplers as possible in recreating the classic and widely varied sounds of Depeche Mode’s discography.

With over 120 million records sold and a rabid international fan base, Depeche Mode’s status as elder statesmen of electronica is cemented. Their enormous fan base encompasses all ages and crosses every demographic. They just won a Grammy this year. Their Global Spirit tour, continuing into 2018, has set world box office records. STRANGELOVE –The Depeche Mode Experience brings a thoroughly enjoyable and staggeringly authentic DM concert to concertgoers, and connects with international audiences, wherever the group performs.

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ABOUT ELECTRIC DUKE

If bowie was electronic and the songs were his personal favourites.

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BUY TICKETS

Sun 7 Nov

Riley Downing

of The Deslondes

with Kassi Valazza

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$14.00 ADVANCED // $17.00 DAY OF SHOW

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ABOUT RILEY DOWNING

You may know Riley Downing from his work with acclaimed New Orleans combo the Deslondes, or perhaps from his similarly rootsy and wide-ranging catalog of songs with the Tumbleweeds – indeed, the Missouri-based singer-songwriter’s ability to set gripping, evocative narratives within soundscapes that weave together country, blues, folk, r&b, bluegrass, rock, soul and whatever else catches his ear is something that, once you hear it, is hard to shake free from. Same goes for that voice – deep, dusty and drawling, it’s an instrument that can stop you in your tracks with its character and expressiveness, as well as through Downing’s knack for laying out complex emotions in plainspoken, direct language.

For Downing, it all stems from an organic and intuitive approach to songwriting and playing. “I just try to write and sing about life as I live it,” he says simply. All those little bits of life are on full display on Start It Over, his first-ever solo album. From the protagonist in the opening country-soul jam “I’m Not Ready” (“Everybody’s rushin’ / I’m movin’ at my own speed”), to the cratedigger in the breezy “Start It Over” who seems as enamored of his old records as he is with his girl (“She was a 45 woman and I’m a 45 man”) to the overworked nine-to-five-er caught in a cycle of long days at work, late nights at home, followed by hungover mornings (“Long line of trouble / Troubles old and new / Once I was happy / But those days are through”) in the psych-folk lament “Crazy,” the 12 tracks collected on Start It Over unravel in a way that feels instantly relatable, as if Downing could be talking about you, me, or any one of us and doing it with the ease and empathy of a man who’s clearly been there, done that, and lived to play another day.

Following his last record with the Deslondes, Downing returned home to Missouri, helping out his brother with his plumbing business, embarking on some short solo runs and otherwise playing “mostly for old friends and old dogs and whatever other critters were within earshot,” he says. At some point, Downing and his Deslondes band mate, John James Tourville decided it might be fun to collaborate and release a 45 rpm single.

And so Downing and John James (that’s JJ to you) began a long-distance collaboration, adding longtime Deslondes producer Andrija Tokic (that’s Dre to you) into the musical chain as well. The three hashed out songwriting, arrangement and production ideas by passing demos back and forth from their respective homes – Downing in Missouri, JJ in North Carolina and Dre in Nashville – during the months of lockdown. As far as approach, everything was on the table. Downing recalls one of his demos being met with the suggestion that it needed a “Lou Reed/Fats Domino sound.” He laughs. “I couldn’t even imagine what that sounded like, but I had fun trying my best to imagine it.”

By the time the three met up, at Dre’s Bomb Shelter Studios in Nashville, everyone had been quarantined at home for two months, with nary a gig or jam session to be had. What they did have, however, was songs. And also, courtesy of Dre, a crack team of musicians. Who was along for the ride? Meg Coleman (Yola) and Jimmy Lester (Los Straightjackets, Blaze Foley) on drums, Dennis Crouch (Johnny Cash, Dolly Parton, co-founder of The Time Jumpers with Vince Gill) on upright bass, Jack Lawrence (The Raconteurs) on electric bass, Jeff Taylor (George Strait, Elvis Costello, The Time Jumpers) on keys, Peter Keys (P-Funk, Lynyrd Skynyrd) on Mellotron, Billy Contreras (George Jones) on strings, Derry DeBorja (John Prine, Jason Isbell and the 400 Unit) on Farfisa, and a host of backup singers, including Kyshona Armstrong, Maureen Murphy, Nickie Conley, Eric Brown and Vaughn Walters.

“The musicians that Dre picked out were just phenomenal,” Downing says. “They have endless amazing credits, they've all done great things and they were 110% in it.” So much so, he continues that “some of these songs on the record were first takes. And if they weren’t, then it was maybe take two or three.”

That first batch of tunes – five recorded in three days – included “I’m Not Ready” and “Start It Over,” as well as the strutting “Deep Breath,” the road-dog anthem “Never Coming Home,” and “Hey! Mister.” From there, the floodgates opened.

The trio continued to work together closely (but once again, from afar – there was a pandemic going on, after all) staying in constant communication to craft the next set of tunes, with Downing handling the writing and JJ and Dre working unwaveringly to bring his songs to life within vibrant and unique soundscapes. Over the summer, an impromptu road trip between JJ and Dre to transport a Hammond organ and speaker cabinet from Denver to the Bomb Shelter allowed the two to spend some additional time together doing pre-production, and they even made a quick stop in Missouri on the way back to Nashville for a quick check-in with Downing.

A month later, the three reconvened at the Bomb Shelter – this time for a relatively extravagant six days – to lay down the seven remaining songs. “I’ve known and worked with both of these guys for more than 10 years and have also lived with each at one point or another,” Downing explains of his connection with JJ and Dre. “We're all old friends, so it was easy to get along and keep moving forward.”

Once again, the trio, along with the stellar backing musicians, captured inspiration in the moment, with JJ and Dre embellishing the tracks with all manner of instrumentation, from pedal steel, mandolin and fiddle to Mellotron, Farfisa and even guzheng (that’s traditional Chinese zither to you).

The end result reflects the mingling of past and present, traditional and unusual, that has long characterized Downing’s musical makeup. “I might be old-fashioned, but I'm not old-timey enough to not live in the modern world,” he says. Regarding his influences, Downing continues, “It’s a little bit of everything – I could probably make a long list and it'd be all over the place. I grew up going to country shows with my grandparents, but I was also angsty and played punk rock in high school. And then at the same time, I was getting into old folk and blues and stuff like that. So I never think in terms of a song having to be in ‘this’ genre or ‘that’ genre – I’m open to doing anything. I just enjoy writing and playing music.”

That joy comes through loud and clear on Start It Over, which, even in its most serious and somber moments – and also given the fact that it was recorded during a pandemic – radiates with a sincere appreciation for life and living in the here and now. As Downing puts it in “Deep Breath”: “Try to get your head screwed back on tight / Take a deep breath – it’s gonna be all right.”

This attitude, Downing says, was intentional. “There was so much going on in the world socially, politically and health-wise while we were making this record that I didn't really know what kind of music people would even want to hear. But I knew I didn't want to write a bunch of sad songs where you just stare at the fire and feel bad for yourself. I wanted the record to be about looking at things up on the upside – you know, ‘take a deep breath and we'll all get through this.’ ”

As for Downing, while he may be through the recording of his first solo album, he assures that it’s certainly not his last. “I'm just going to keep working like I've been doing and communicating with Dre and JJ,” he says.

There’s a plan to get started on a new Deslondes record, “and hopefully by the time that’s done,” he says, “I'll have another solo album ready to go as well.”\

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ABOUT KASSI VALAZZA

Kassi Valazza has a viscous, light gold voice. It swirls around in your head like whiskey in a snifter; vaporous, and intoxicating. For most of Dear Dead Days pedal steel and electric guitar lope along at half time, the in pocket rhythm section booming from deep in the low end. Its frequencies penetrate your flesh. The songs reverberate off your bones. Her lyrics drip down the inside of your skull. On the opening track “Cayuse”:

“cause they’re hard runnin’ critters, and wild-eyed quitters / kicking up all they can find / that fool hardy man of mine”

Musicians with Southwest origins dependably bring a languorous relaxation –the slow pace a defense against the oppressive heat of the high desert– and a grim sense of gravitas, having walked among the bleached bones and arid landscapes. At times Valazza sings as if her lyrics are smoke she’s exhaling. On “A Fine Colour” she sings every note clearly, and with force, on a surrealist-jealousy jawn.

“Juniper has come and gone this year / Soft whispers in my ear / Broken promises she swore to keep / That don’t mean a damn to me / like pickin’ daisies off your tongue / life’s a gamble for you, son…”

Likewise “Sad Songs” calls out a triflin’ troubadour. Melancholy and psychedelia folllow Kassi wherever she goes. Down the road on “Chino” she sings “…and I guess that I’ve been doing fine / and I reckon I could ease my mind / if my bills were paid”.

On the folk-tale “Mary Valaza and band craft a southern rock setting for a parable about being careful what you wish for, and –conversely– sticking around long enough to get your rewards.

The album backs off to half-time again and vibes and guitar reverberate from down the hall on the waiting-around-to-die country song “Running on Empty”. The country-soul torch-bearers “Johnny Dear” and “Verde River” illuminate side-b. You get the hint: Valazza is pretty goddamn good at writing a sad song –but there’s another element, a painted desert, couloured canyon walls at sunset, endless sky vision. Kassi will be your peyote coyote; a guide through these psychedelic vistas. Here she’s found a way to trap the world of cheaters, drifters, lovers and leavers in amber. Wander from your own woes, and come walk with Valazza’s.

Sean Jewell - American Standard Time

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BUY TICKETS

Tue 9 Nov

FIRST NIGHT

Performing Bewitched

Luna

with Caroline Says

[et_pb_section fb_built="1" _builder_version="3.22" background_image="https://3tenaustin.com/wp-content/uploads/2019/06/acl-entry.jpg"][et_pb_row column_structure="2_5,3_5" custom_padding_last_edited="on|phone" _builder_version="3.25" background_color="#ffffff" custom_padding="|2%||2%" custom_padding_tablet="" custom_padding_phone="|5%||5%"][et_pb_column type="2_5" _builder_version="3.25" custom_padding="|||" custom_padding__hover="|||"][et_pb_code admin_label="Billing Above" _builder_version="3.22.2" custom_margin="||0px|" z_index_tablet="500" custom_css_main_element="margin-bottom: 0px!important;" global_module="91263" saved_tabs="all"][wbcr_php_snippet id="91137"][/et_pb_code][et_pb_post_title meta="off" featured_image="off" admin_label="Title" module_class="event-title" _builder_version="3.22.2"]
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$30.00 ADVANCED // $32.00 DAY OF SHOW // $55.00 2-DAY PASS

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Performing Bewitched on November 9 and Penthouse on November 10

ABOUT LUNA

Luna was a New York band formed in 1991 by singer/guitarist Dean Wareham after the breakup of Galaxie 500. The band made seven studio albums before disbanding in 2005. After a ten-year break, they reunited and toured in 2015, and in 2017 released a new LP — A Sentimental Education and an EP of instrumentals — A Place of Greater Safety.

[/et_pb_text][et_pb_video src="https://www.youtube.com/watch?v=0Pyd5oKbBcs" _builder_version="4.9.4"][/et_pb_video][et_pb_social_media_follow admin_label="Headliner Social Media" _builder_version="4.9.4"][et_pb_social_media_follow_network social_network="facebook" url="https://www.facebook.com/Luna.Official.Bandpage/" _builder_version="4.9.4" background_color="#3b5998" follow_button="off" url_new_window="on"]facebook[/et_pb_social_media_follow_network][et_pb_social_media_follow_network social_network="twitter" url="https://twitter.com/luna_theband" _builder_version="4.9.4" _module_preset="default" background_color="#00aced" follow_button="off" url_new_window="on"]twitter[/et_pb_social_media_follow_network][et_pb_social_media_follow_network social_network="instagram" url="https://www.instagram.com/luna_nyc/" _builder_version="4.9.4" background_color="#ea2c59" follow_button="off" url_new_window="on"]instagram[/et_pb_social_media_follow_network][et_pb_social_media_follow_network social_network="youtube" url="https://lunamusic.com/youtube-channel" _builder_version="4.9.4" background_color="#a82400" follow_button="off" url_new_window="on"]youtube[/et_pb_social_media_follow_network][/et_pb_social_media_follow][et_pb_text _builder_version="4.9.10" _module_preset="default" admin_label="Spport Bio" hover_enabled="0" sticky_enabled="0"]

WITH CAROLINE SAYS

No Fool Like An Old Fool is the sophomore LP from Austin via Alabama musician, Caroline Sallee, aka Caroline Says. Moving beyond the surf-folk foundations of her debut, on No Fool... Sallee loosens her earthly tether, allowing her songs to float to ever higher altitudes on clouds of loops, immaculate melodies, and hypnotic harmonies, as she sings about aging, the daily grind, and hometown stymie. Moving to Austin in 2013 gave her a new perspective on her hometown of Huntsville, Alabama, which informed the overall vibe of the album. “I think leaving my fairly small hometown and then going back to visit it inspired the feeling I went for on this album. I observed that so many people I knew were content doing basically nothing. Or that they were scared to try to do anything or leave town, like they felt stuck there.”

The first few notes of the Daniel Rossen-esque opener “First Song” dutifully establish the surreal and slightly tragic tone of longing maintained throughout the album. The curiously upturning melodies ride out on a rich ambient texture before “Sweet Home Alabama” cuts the fog with a crackling 60's soul loop that's charming and catchy enough to induce a cathartic laugh from the listener. The brightness fades with the frosty and propulsive “A Good Thief Steals Clean,” which features lyrics inspired by the 1971 film Panic in Needle Park, and the idea of being in love with a heroin addict. “I tend to write from the perspectives of characters in dark situations, even though my songs may sound bright,” Sallee notes of her alluring juxtaposition of sunny production and grim lyrics. She employs this dynamic again on “Rip Off,” a frenetically percussive song with lyrics inspired by an NPR story about a young Iraqi man who was killed in an ISIS bombing just before moving to NYC to become a professional dancer. Inspired by Terrence Malick's Badlands and Bruce Springsteen's “Nebraska,” the song “Black Hole” features multi-voice harmonies sung from the perspective of 50's spree killer Charles Starkweather.

Finding time to record while working three jobs was no easy task, and her living situation didn't make it any easier. Sallee explains “I lived in a disgusting mildewed basement apartment that was like living in a gross cave. My landlords were a crazy old couple that lived above me, and it was like living inside of a drum. I could hear their footsteps, and their dog’s footsteps, and a lot of the time it just sounded like they were throwing things on their floor. It was so hard to find a perfectly quiet time to record. I recorded all my loud stuff (amped guitar, drums) during the day, and had to do quieter stuff like vocals late at night.” The hurdles she navigated to record naturally led to ad hoc recording techniques, and endless sonic experimentation, often leading to her use of the computer as an instrument. She remarks “I did a lot of recording in a state of exhaustion from working so much. I was so worn down that these songs were able to just come through.” No Fool Like An Old Fool is a fine soundtrack for this kind of liminal state, honest in its weariness, glad to be done with the day, carrying itself into tomorrow with a bleary-eyed sense of wonder and hope for the future. A tireless worker, and a wellspring of creativity, whatever Caroline Says, we will be listening.

[/et_pb_text][et_pb_video _builder_version="4.9.10" _module_preset="default" src="https://www.youtube.com/watch?v=q7I5RzJTT_c" hover_enabled="0" sticky_enabled="0" admin_label="Support Video"][/et_pb_video][/et_pb_column][/et_pb_row][/et_pb_section]

BUY TICKETS

Wed 10 Nov

SECOND NIGHT

Performing Penthouse

Luna

with Caroline Says

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[/et_pb_post_title][et_pb_acf_single_item field_name="Event Details|event_date" image_size="thumbnail" link_image="none" date_format="D, F j, Y" format_output="none" admin_label="Event Date" module_class="event-date" _builder_version="3.22.2" z_index_tablet="500" global_module="91702" saved_tabs="all"][/et_pb_acf_single_item][et_pb_code admin_label="Event Button" _builder_version="3.22.2" z_index_tablet="500" global_module="91327" saved_tabs="all"][wbcr_php_snippet id="91135"][/et_pb_code][et_pb_text admin_label="Pricing" _builder_version="4.9.4"]

$30.00 ADVANCED // $32.00 DAY OF SHOW // $55.00 2-DAY PASS

[/et_pb_text][et_pb_acf_single_item field_name="Event Details|doors_time" image_size="thumbnail" link_image="none" format_output="none" admin_label="Doors Time" module_class="doors-time" _builder_version="3.22.2" z_index_tablet="500"]
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[/et_pb_acf_single_item][/et_pb_column][et_pb_column type="3_5" _builder_version="3.25" custom_padding="|||" custom_padding__hover="|||"][et_pb_text admin_label="Headliner Bio" _builder_version="4.9.4" _module_preset="default"]

Performing Bewitched on November 9 and Penthouse on November 10

ABOUT LUNA

Luna was a New York band formed in 1991 by singer/guitarist Dean Wareham after the breakup of Galaxie 500. The band made seven studio albums before disbanding in 2005. After a ten-year break, they reunited and toured in 2015, and in 2017 released a new LP — A Sentimental Education and an EP of instrumentals — A Place of Greater Safety.

[/et_pb_text][et_pb_video src="https://www.youtube.com/watch?v=thUS-VKXhJc" _builder_version="4.9.4"][/et_pb_video][et_pb_social_media_follow admin_label="Headliner Social Media" _builder_version="4.9.4"][et_pb_social_media_follow_network social_network="facebook" url="https://www.facebook.com/Luna.Official.Bandpage/" _builder_version="4.9.4" background_color="#3b5998" follow_button="off" url_new_window="on"]facebook[/et_pb_social_media_follow_network][et_pb_social_media_follow_network social_network="twitter" url="https://twitter.com/luna_theband" _builder_version="4.9.4" _module_preset="default" background_color="#00aced" follow_button="off" url_new_window="on"]twitter[/et_pb_social_media_follow_network][et_pb_social_media_follow_network social_network="instagram" url="https://www.instagram.com/luna_nyc/" _builder_version="4.9.4" background_color="#ea2c59" follow_button="off" url_new_window="on"]instagram[/et_pb_social_media_follow_network][et_pb_social_media_follow_network social_network="youtube" url="https://lunamusic.com/youtube-channel" _builder_version="4.9.4" background_color="#a82400" follow_button="off" url_new_window="on"]youtube[/et_pb_social_media_follow_network][/et_pb_social_media_follow][et_pb_text _builder_version="4.9.10" _module_preset="default" hover_enabled="0" sticky_enabled="0" admin_label="Support Bio"]

ABOUT CAROLINE SAYS

No Fool Like An Old Fool is the sophomore LP from Austin via Alabama musician, Caroline Sallee, aka Caroline Says. Moving beyond the surf-folk foundations of her debut, on No Fool... Sallee loosens her earthly tether, allowing her songs to float to ever higher altitudes on clouds of loops, immaculate melodies, and hypnotic harmonies, as she sings about aging, the daily grind, and hometown stymie. Moving to Austin in 2013 gave her a new perspective on her hometown of Huntsville, Alabama, which informed the overall vibe of the album. “I think leaving my fairly small hometown and then going back to visit it inspired the feeling I went for on this album. I observed that so many people I knew were content doing basically nothing. Or that they were scared to try to do anything or leave town, like they felt stuck there.”

The first few notes of the Daniel Rossen-esque opener “First Song” dutifully establish the surreal and slightly tragic tone of longing maintained throughout the album. The curiously upturning melodies ride out on a rich ambient texture before “Sweet Home Alabama” cuts the fog with a crackling 60's soul loop that's charming and catchy enough to induce a cathartic laugh from the listener. The brightness fades with the frosty and propulsive “A Good Thief Steals Clean,” which features lyrics inspired by the 1971 film Panic in Needle Park, and the idea of being in love with a heroin addict. “I tend to write from the perspectives of characters in dark situations, even though my songs may sound bright,” Sallee notes of her alluring juxtaposition of sunny production and grim lyrics. She employs this dynamic again on “Rip Off,” a frenetically percussive song with lyrics inspired by an NPR story about a young Iraqi man who was killed in an ISIS bombing just before moving to NYC to become a professional dancer. Inspired by Terrence Malick's Badlands and Bruce Springsteen's “Nebraska,” the song “Black Hole” features multi-voice harmonies sung from the perspective of 50's spree killer Charles Starkweather.

Finding time to record while working three jobs was no easy task, and her living situation didn't make it any easier. Sallee explains “I lived in a disgusting mildewed basement apartment that was like living in a gross cave. My landlords were a crazy old couple that lived above me, and it was like living inside of a drum. I could hear their footsteps, and their dog’s footsteps, and a lot of the time it just sounded like they were throwing things on their floor. It was so hard to find a perfectly quiet time to record. I recorded all my loud stuff (amped guitar, drums) during the day, and had to do quieter stuff like vocals late at night.” The hurdles she navigated to record naturally led to ad hoc recording techniques, and endless sonic experimentation, often leading to her use of the computer as an instrument. She remarks “I did a lot of recording in a state of exhaustion from working so much. I was so worn down that these songs were able to just come through.” No Fool Like An Old Fool is a fine soundtrack for this kind of liminal state, honest in its weariness, glad to be done with the day, carrying itself into tomorrow with a bleary-eyed sense of wonder and hope for the future. A tireless worker, and a wellspring of creativity, whatever Caroline Says, we will be listening.

[/et_pb_text][et_pb_video _builder_version="4.9.10" _module_preset="default" src="https://www.youtube.com/watch?v=q7I5RzJTT_c" admin_label="Support Video" hover_enabled="0" sticky_enabled="0"][/et_pb_video][/et_pb_column][/et_pb_row][/et_pb_section]