with Hannah Georgas
Tuesday, June 21st
Tickets: ADV $18 • DOS $20
Boy & Bear
Anyone who has seen Australia’s Boy & Bear perform will attest to their power as a live outfit – tight snaking rhythms, silky harmonies and intense instrumentals all propel the group’s shows to a level few modern bands can match. It’s not surprising then that, when the time came to return to the studio for the follow up to 2013’s Harlequin Dream (#1 charting and Platinum-selling in Australia), Boy & Bear decided to make the most of their well honed performance chops, cutting their third album the old fashioned way – live to tape, with almost no overdubs or editing.
“Sometimes we only did two takes, and the most I think we did was ten,” explains frontman Dave Hosking, who recorded his vocals live with the band, something almost unheard of these days. “There are still a few overdubs – a bit of percussion and that sort of thing, but it was very selective. We’ve learned that sometimes, the more you put in, the smaller the song sounds. We didn’t want that this time.”
Recorded in the inspirational surroundings of Peter Gabriel’s Real World Studio – an open plan room filled with an abundance of natural light and space – Limit of Love captures a band at the height of their powers, both as performers and composers. Under the careful guidance of esteemed producer Ethan Johns (Ryan Adams, Kings of Leon, Kaiser Chiefs), Boy & Bear have crafted a collection of tunes bristling with energy and integrity. The live tracking approach – of which Johns is a huge advocate – highlights the magic of real musicians interacting together, making for an album that feels human and honest. Cut straight to 2-inch tape, there were no computers to hide behind – even Johns’ mix-down was done the old fashioned way, without automation, just hands on faders, a live performance in itself. And underpinning that approach was the core philosophy behind Limit of Love – worrying less about things being perfect, and more about them feeling good.
Light dancing with shadow, fingers finding answers in the expanse of a keyboard, a voice that shimmers even in its most shattering moments—this is the power of acclaimed pop singer-songwriter Hannah Georgas. Over two full-length albums, 2010’s This is Goodand 2012’s self-titled follow-up, she’s traversed a carefully constructed soundscape that never fails to surprise. Georgas has an endless capacity for crafting textured pop songs that confound expectation. She’s as likely to layer luminous, devastating, and witty as she is upbeat, broken, and defiant. This is what makes her music, even at its simplest, so transfixing, something that’s never more evident than on Georgas’ forthcoming release, For Evelyn.
For Evelynis Hannah Georgas’ third record. Since her debut release, the Toronto-based musician has won numerous awards and racked up multiple nominations, including four Juno nods, for everything from Best New Artist to Songwriter of the Year. Georgas has toured the world, sharing stages with the likes of Kathleen Edwards, City and Colour, and Sara Bareilles, playing everywhere from Madison Square Gardens to the LA Greek Theatre. Georgas’ music has also been featured on HBO’s hit show, Girls.