Father John Misty

93XRT & JAM PRESENT

Father John Misty

Weyes Blood

Wed. Sep 20

Doors: 6:30 pm / Show: 7:30 pm

Auditorium Theatre

$29.50 - $49.50

This event is all ages

Father John Misty
Father John Misty
Father John Misty has scheduled the first round of 2017 North American tour dates in support of Pure Comedy, his forthcoming third album. The new headlining dates include a reserved-seat show at the historic Chicago Theatre on May 15. Show time is 7:30pm. Tickets [$49.50 / $39.50 / $29.50] become available Friday, March 3 at Noon through Ticketmaster.com, by phone at 800-745-3000 or in person at The Chicago Theatre box office.

Father John Misty’s “Ballad of the Dying Man” is a standout from Pure Comedy. The track has earned raves from Pitchfork (“Best New Track”), Rolling Stone, Stereogum, The Ringer, SPIN, and more. The Ringer says of the track, “It is simultaneously plaintive and winking and obnoxious and beautiful, as all the good Father John Misty songs are.” SPIN offers this, “It opens with a descending chord progression on acoustic guitar and piano that recalls Neil Young’s “Motion Pictures,” then slides into a patient pop arrangement worthy of Elton John.”

Pure Comedy will be available April 7 on deluxe 2xLP / 2xLP / CD / DL / CS worldwide through Sub Pop and Bella Union. The album’s front/back covers and gatefold feature a gargantuan original piece (his first ever commission of its kind) by Ed Steed (The New Yorker). Preorder the album now through Father John Misty’s Official Store
Weyes Blood
Weyes Blood
Natalie Mering, the being behind Weyes Blood, sings sublimely on Front Row. These are her words and she means them. Between the subtle pulses of her breath, we feel the textures of her voice. Her delivery is a trained low gloss, polished with the charm of speech. Mering embeds her song in a harmonic gauze of arpeggiated piano, acoustic guitar, druggy horns, and outer space electronics. Propulsive, spare drums carry us across the album's course.

There is a faded California beauty to Front Row. A gentle honesty that recalls the finest folk music made on the West Coast of the '70s. The hue hangs in the sweet-spooky harmonies, the pulsing sway of the vibrato, and the ecstatic chord resolves. It is the joyful release of energy as the song delicately unfolds from intro to extrospection.

But this beauty is scratched with shadow; with dark foreboding, alienation, and acceptance of change. Love and loss balance together in suspended alchemy, as the earthiness of the singer-songwriter tradition wears digital sounds like feathers in its hair. Mering, together with co-producer Chris Cohen and some special guests, contrasts live band intimacy with the post-modern electric sheen of A.M. radio atmospherics. The experimental flourishes sparkle amid the succinct, thoughtful arrangements.

The closeness of this record - how personal, alone, and frank it feels - conceals its aspirations to the outside, to the "Earth" of its title. Mering wants to lead us through the microcosm of the personal to the macrocosm of the transpersonal. Her witness harbors devastating weight ("... and now you can't stay, please baby don't go away") while universalizing the strange ways of identity and relationships.

These are not typical love songs or protest songs; they are painful, poignant riddles that celebrate the ambiguity of love. Mering affirms the conflict of harmonious life within a disharmonic world. She illuminates and mythologizes it, projecting it back over the whole of Earth. The inner ecology leads outward, bridging "us" with our obscure inheritance of nature.

Active in underground music since 2006, Natalie Mering has collaborated with Jackie-O Motherfucker and Ariel Pink, and released four records as Weyes Blood. Front Row Seat to Earth is her third record for Mexican Summer.
Venue Information:
Auditorium Theatre
50 E Congress Parkway
Chicago, IL, 60605