oin us for an incredible evening of music by three masters! Spanning delicate folk, windswept Americana, Appalachian bluegrass, blues, flamenco, doom metal-adjacent darkness, meditative ambient music and fearlessly experimental sounds.
Joseph Allred is a Tennessee-based guitarist, singer, multi-instrumental composer, and visual artist with deep roots in the Upper Cumberland region of Tennessee and Kentucky. Their guitar playing draws from diverse musical styles including Appalachian folk, bluegrass, blues, flamenco, and classical guitar, as well as from folk iconoclasts John Fahey and Robbie Basho, figures of the 20th century avant-garde like Albert Ayler, Derek Bailey and Henry Flynt, and the musical traditions of India, Iran, and the Arab world. They have released music on Feeding Tube Records, Worried Songs, Scissor Tail Editions, AKTI, Island House, Blue Hole Recordings, Garden Portal, Reverb Worship/Future Grave, and their own Meliphonic Records imprint.
Critical Acclaim:
“Joseph Allred-The Rambles and Rags of Shiloh: Quite possibly the greatest living guitar player, Allred has crafted an emotive record of inherited memory. There are moments that conjure what an Appalachian Segovia may sound like, but most important is the degree of authenticity that Allred displays. Rambles and Rags of Shiloh is not regional impressionism, but a sincere offering from someone with this music in their bones.” -Aquarium Drunkard
Over the course of nearly 20 tireless years of writing, recording, and touring, Marissa Nadler has amassed one of the most singular catalogs in contemporary music. Her work glides between delicate folk, windswept Americana, doom metal-adjacent darkness, meditative ambient music, and fearlessly experimental sounds, all anchored in her unmistakable singing voice and finger-style guitar. Shortly after finishing her Masters degree at the Rhode Island School of Design in Providence, Nadler released her first proper full-length album, the ethereal Ballads of Living and Dying, in2004. Though she was initially associated with the indie-folk movement, Nadler soon distinguished herself with her willingness to go darker and more personal, writing songs that felt deeply intimate with solitude and heartbreak while still retaining an otherworldly sheen. If she was born a century earlier, it’s not a stretch to imagine that her vast talents would be mistaken for conjured magic. After a decade of releasing records with various labels and on her own, Nadler joined forces with Sacred Bones Records and Bella Union for 2014’s seismic July. That record marked a kind of reset in Nadler’s career, and the sounds she explored there served as a jumping off point for subsequent modern classics like For My Crimes and her collaboration with Stephen Brodsky, Droneflower — both of which she created the cover art for. The Path of the Clouds is Nadler’s ninth solo album, and it feels like yet another significant evolution. Two decades into a storied career, there’s still an untapped reservoir of thrilling musical ideas and stirring emotions lurking in her endlessly creative mind.
Glenn Jones is a unique player in the world of solo guitar music. Steeped in both American Primitive guitar music as well as rock and experimental music, Glenn Jones creates rich sonic tapestries with a distinct and stirring voice. Endlessly curious, Jones has spent the better part of four decades exploring the boundaries of expression and storytelling with the guitar and banjo. On Vade Mecum, Jones draws on his personal history to tell stories with elaborate musical detail and emotional weight. Exploring the complexity of personal experience, emotions and our shared histories, Vade Mecum finds Jones painting his music in boundaryless colors, captivatingly vivid. Glenn Jones’ music draws from a deep well of reflection and memory. Vade Mecum revels in the profound idiosyncrasies and contradictions inherent to the act of remembering and the people remembered. Jones summons luminous detail from the complicated web of emotions intrinsically bonded to memories of loved ones, unfamiliar places, and elusive feelings alike. “It’s a fact of life that as we age, we’ll lose people we love,” concludes Jones. “Vade Mecum contains pieces dedicated to a few of these. Though there is melancholy in such losses, my album is intended to celebrate, not just mourn.”
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