Benjamin Lazar Davis
Saturday, June 2, 2018
Doors: 8:00 pm / Show: 9:00 pmBimbo's 365 Club
$23.00 - $45.00
This event is 21 and over
GENERAL ADMISSION is STANDING ONLY; 2 DRINK MIN; NO CAMERAS/RECORDING
GENERAL ADMISSION is STANDING ONLY
TABLE SEATING - Front Left and Right tables seat four guests are available for reservation. Must purchase the entire table. Will Call only, table credentials issued at the box office upon arrival and are non-replaceable. Purchaser of the table must be present with a photo ID at the box office to claim all 4 seats at Will Call. Please note that if the tables have not been claimed after 20 minutes into the headliners performance, the seats/table will be released to GA ticket holders.
Limited GA seating is available on a first-come first-served basis.https://www.bimbos365club.com/event/1635178/
The election happened while we were in Brussels, on a rainy horrible morning. Crossing over into England later that day, I met a border guard who had worked at the Berlin wall on the night that crowds of East Germans showed up wanting to cross over, when someone on his side had to make a judgment call to open fire or to let everyone through. He told me the story, trying to make me feel better, and I couldn’t help crying in front of him. He looked at me sadly, like a nice dad wearing a police uniform.
The new band had a recording date booked to work on songs while we were still tight from tour, and I had some material prepared but I wanted to write more. And if December 2016 was good for anything it was good for writing new songs. I wrote “The Dream and the Light” at a vacation home adjoining Frank Sinatra’s old place in Palm Springs; a friend’s father had died and she was treating herself and his nurse to a vacation and invited some friends along. Then I went to the Away cabin and wrote more new songs. We hit the studio and recorded about ten songs in three days, everybody playing together in the room and me singing vocals live. “The Dream and the Light,” “How It Is,” “External Actor” and “Pulled Up the Ribbon” were recorded during those sessions, as was “Famous Tracheotomies,” an autobiographical song about a lengthy hospitalization I experienced as a little kid.
I had intended the new songs to continue in the exact sonic vein of Away, but almost immediately they started to diverge somewhat wildly. The sound was more electric and playful – it was a happy sound, because I was happier than I’d been in years. I decided to keep going in that direction.
I scheduled another recording session for a couple months later and I went back upstate to write more songs in the dead of winter, snowed in, no way to get to town. And then I got back to Brooklyn I started writing songs with members of my band. I’ve never done that before, written with the band. I love this band. We added another nine songs and recorded those, including “Family Song,” “Shelter Song” and “Human Being Song.”
On a little tour through the South I decided I wanted to write one last song, something upbeat and catchy. So we gathered together in my hotel room in Charleston, West Virginia the morning after a radio performance and wrote “Love Somebody” quickly before they kicked us out of the room. We hit the road and were immediately held up in traffic diverted for the motorcade from that disgusting Boy Scouts speech.
I kept working on all the tracks until some of them started sounding more finished than others and I had enough finished-sounding ones to put a record out. I wanted to put it out quickly. It’s so much more fun that way, and this record is supposed to be fun, and to hopefully make people feel happy.
When I gave these songs to Shawn Everett to mix, he saw something even further in it than I saw and he made all the tracks sing. His production reminds me of my favorite experiences of recording Black Sheep Boy and The Stage Names with the brilliant Brian Beattie, who taught me more about music than anyone I've ever met. But Shawn also brought this new energy to it that elevated it and took it in a direction I hadn’t quite known it was pointing in. It was so great hearing the mixes coming back, hearing the whole thing in full, one year of my life condensed into 50 minutes. I was thrilled.
When the album was finished, I moved out of New York City.
His forthcoming full length album Nothing Matters — his very first as a solo artist —came out of an extensive period of touring followed by a difficult break up. To make the
record, Davis spent all all of his money on instruments and recording gear, including drums and drum machines, both nylon and steel string acoustic guitars, an electric and
an upright bass, a pump organ, a mellotron, a Moog, and an upright piano. He worked on the record every day, for 30 straight days, in his childhood bedroom at his parents’ house in Saratoga Springs, and once finished, he mixed it back in Brooklyn with his high school friend Luke Moellman (GGFO).
Although there are no other performers on the record, many collaborations went into the writing of the album, including cowrites with Kimbra ("Right Direction"), Alex Toth of Rubblebucket and Alexander F ("Love Song Seven Ways," "Life Is Dangerous," and "Choosing Sides"), Bridget Kearney of Lake Street Dive ("Somebody's Speaking For Me"), singer-songwriter Taylor Ashton ("Brass Tacks"), award-winning poet Michael
Gizzi ("Acquitted"), and his brother, a brilliant lyricist, Tim Davis.
Benjamin Lazar Davis writes, records, and performs with Cuddle Magic, Joan as Police Woman, and Okkervil River, and he has worked with Anais Mitchell, Kimbra, Luke Temple, Jesse Harris, Henry Jamison, Wild Belle, Delicate Steve, Star Rover, Sam
Amidon, Markus Acher (the Notwist), and Margaret Glaspy as a co-writer, side musician, arranger, producer, studio musician, touring member, and band member in
the past. While Nothing Matters grew out of Davis's desire to make music on his own in a life where he has been a chronic collaborator, the album evokes inspiration from all of
these artists, and he considers it a culmination of his life's work.
As he began work on the album, Davis found a photo of his father lounging beneath a hand- written sign that read "Nothing Matters," which eventually became the album's artwork; "It was taken in 1969 in Malawi Africa where he lived at the time. He taught me music growing up, and I think seeing that picture right before recording the record gave me a sense of letting go of all of the baggage that comes with making music and being
in a relationship. When in the midst of the meditation of making the album, nothing matters. Just let the tape roll and the ideas flow..."
Nothing Matters will be released on May 4 via 11A Records.
Bimbo's 365 Club
1025 Columbus Ave
San Francisco, CA, 94133