Music Hall of Williamsburg
Steve Gunn and the Outliners

Part of Northside Festival

Steve Gunn and the Outliners

Yonatan Gat, Cut Worms

Thu, June 9, 2016

Doors: 8:00 pm / Show: 9:00 pm

Music Hall of Williamsburg

Brooklyn, NY

$13 advance / $15 day of show

This event is 18 and over

Steve Gunn
Steve Gunn
Steve Gunn – Eyes On The Lines

People have written about roads for as long as they’ve been around. And before there were roads, they still wrote about travel and about landscape. Landscape is the stage upon which our greatest experiences and desires play out. Steve Gunn’s music has always embraced expanse and movement. It springs from the simple and profound relationship between humans and their environment. Eyes On The Lines is his most explicit ode to the blissful uncertainty of adventure yet.

Gunn’s roots in the underground run deep, from his days in GHQ to his collaborations with Black Twig Pickers and Mike Cooper. He’s toured and recorded with Michael Chapman, and released two remarkable duo albums with drummer John Truscinski. His solo ventures, emerging over the past decade and culminating most recently the highly-acclaimed Way Out Weather, have been pastoral, evocative affairs. Here he embraces his urban surroundings through a series of songs that fully showcase his extraordinary ability to match hooks to deftly constructed melodies. Gunn is a consummate guitarist, that rare fingerpicker who can harness the enigma of the American Primitive vernacular without lazily regurgitating it. His playing is inventive and full of personality. His instrumental virtuosity calls upon a vast library of technical skills at will, but he’s never showy — his riffs and runs are always in the service of the song at hand.

And what a pleasure to have this music presented to the wider public.

This song cycle melds thoughtful inquisitiveness with poetic reflection, fully embracing rhythmic uplift, allowing personal stories and impressions to live their own lives on their own terms. Gunn is more narrator than diarist; he pours real-life moments and real-life people into vibrant and evocative tales. Dreams and encounters spiral out – they form their own dramas and illuminate their own truths. Indeed, Eyes On The Lines works like a book of the finest short stories, its songs interlocking with an urgent necessity, forming an ever-questioning whole. In Gunn’s own words: “The music isn’t about me. It’s about characters, either real or fictional. It’s about images.”

And what are lines if not one of the foundational aspects of images? Lines on the road draw one’s attention to the lines comprising the landscape. Gunn’s music runs ahead and twists – like time, like the road itself. Guitar lines are highway lines are lines carved by the view out the window are the lines one waits in to get a quick meal on the way from one destination to another are lines one draws in the van to stay amused. It’s good to be out on the road and it’s good to be home, and each feeds into the other. This record sees lines run together and leap across one another.

He’s honest about the necessity of being comfortable in being lost. His music values the unknown, so it is always born of the present. We lose ourselves to find ourselves. With all of this comes humility. And gratitude. Listen to “Nature Driver,” a statement of thankfulness for the generosity of the plethora of kind souls who welcome travelers into their homes.

“Ancient Jules,” which opens the record, is a travel fantasy of a different sort. Built around a head-nodding motif, the song bobs and weaves its way through a tale which foregrounds the surprising joy that can come with a break – a deep sigh in the midst of an onrush, punctuated by the finest example of Gunn’s electric soloing to emerge yet. A song like “Conditions Wild” also rambles through strange clouds of roving. Interlocking strings, percussion, and vocals join in an irrepressible rush. This record is like that – the songs get lodged in one’s head because they’re catchy, but their atmosphere sends the mind reeling into memory and mystery.

These are songs you can take in quickly, but spend all the time in the world devouring. The very large and the very small are present in equal measure. The inability to categorize them within the avalanche of impotent diatribes that pass for categorization is a testament to their power.

Stories give us ways to discover meaning. They provide us with signposts – when we recognize our own lives within them, we clarify our existence. “Far from the world is the mystic fool,” Gunn sings on the opening track. The fool may be far from the world, but that doesn’t matter. The so-called fool is jacked in to the cosmos.

Matt Krefting
Holyoke, MA 2016
Yonatan Gat
Yonatan Gat
“Echoes of funk from Benin; Cuban son from Senegal; Chicano rock from Los Angeles; Afro-Brazilian soul from Rio de Janeiro; and the pentatonic and Arabic scales that connect much of the world - but there’s always a lilt and an invitation in it. He leaves a space for you to get in. They were playing for themselves and they were playing for you, but they weren’t playing for any static definition of a concert.” - NY Times

"Best Guitarist in New York, 2013" - Village Voice

“Psych-jazz improv fusion of late period Miles Davis, weirdo Middle Eastern surf-rawk and Western African complexities with raging punk rock intensity. A mind-blowingly prolific journey crossing vibes of DIY dives and avant-garde jazz spaces." - Vice

"Bring his part of Monotonix's furious energy into a much more improvised realm, his ecstatic guitar playing takes the tune from a bombastic romp into some kind of bizarre and heavenly celebration."
- All Music Guide

“A dizzying performance by a true master of his craft.” - Wondering Sound

"Yonatan Gat makes music that has no home. I say that because the guitarist and his band create a sound that is from seemingly everywhere and specifically nowhere at once, channeling everything from Afrobeat grooves to Middle Eastern folk melodies to straight up rock n’ roll noise, sometimes all within the span of one song – weaving the global smattering of styles seamlessly together like the great jazz musicians of the ‘60s" - The Bay Bridged

“One of the most enjoyable parts of a Yonatan Gat show, especially if you’ve seen the band before, is watching the new listeners, the unsuspecting folks who happen to be at the bar on a mid-week night, as the show unfolds. One guy in the front row stands with his hand on his jaw, staring, transfixed. Another rolls his head around his shoulders in synchronicity to the jolts of the song, occasionally rocking forward suddenly to accompany sudden musical shifts; with a shocked expression, his eyes look like they might burst from their sockets. Yonatan Gat is currently performing one of the most incredible sets in small to medium venues." - Pop Press International
Cut Worms
Cut Worms
“The cut worm forgives the plough.” – from William Blake’s Proverbs of Hell

Cut Worms is the nom de plume of Max Clarke, assumed while studying illustration at Chicago's Columbia College. Relocating to New York City in October 2015 shortly after releasing a collection of demos via Chicago's Dumpster Tapes, Cut Worms soon began generating tremendous buzz with the stark, timeless honesty of the demo recordings as well as incomparable live performances, showcasing a powerful vocal talent equally compelling for its vulnerability, that calls to mind greats like The Everly Brothers, Harry Nilsson, and Buddy Holly. Cut Worms spent 2016 supporting dates with The Growlers, Foxygen, Steve Gunn, Jessica Pratt, and more, quickly becoming an opening act of choice in New York City, while preparing a forthcoming debut LP.
Venue Information:
Music Hall of Williamsburg
66 North 6th St
Brooklyn, NY, 11249
http://www.musichallofwilliamsburg.com/