Due to sound check restriction the door time indicates the earliest opportunity we can give access to the venue. Live music will start 20-30 minutes after the door open time.
“Ever heard of a happy song?” That question is posed to Andrew Combs in “Rainy Day Song”, the lead track on his acclaimed 2014 album All These Dreams, during a barstool chat with a sarcastic friend. The singer – offended but gracious – smiles and allows the moment to pass, eschewing confrontation for the sake of a gem he polishes as an afterthought for the listener: “Tab’s on me if you think I’m lying / Laughing ain’t a pleasure till you know about crying.” The moment, full of the understated charm and pulsing honesty that defines his music, and is as good a metaphor as any for the songcraft of Andrew Combs. A Dallas native now living near the same Nashville airport immortalized in the opening sequence of Robert Altman’s country music odyssey, Andrew Combs is a singer, songwriter, guitarist, and heir to that 1975 film’s idea of the Nashville troubadour as a kind of musical monk. Here in the twenty-first century whorl of digital narcissism, where identity can feel like a 24/7 social media soft-shoe performance, Combs makes music that does battle with the unsubtle. As a songwriter, Combs relies on meditative restraint rather than showy insistence to paint his canvases, a technique commensurate with his idea of nature as an overflowing spiritual wellspring. NPR music critic Ann Powers noted as much in a 2014 review: “His song-pictures are gorgeous, but he recognizes their impermanence as he sings.” This deeply felt sense of ecology, of the transient beauty within nature’s chaotic churn, lies at the heart of Combs’s approach to his art.
After touring behind All These Dreams, a record that earned him international accolades and comparisons to everyone from Leonard Cohen to Mickey Newbury to Harry Nilsson, Combs has returned with a new album that puts down stakes in fresh sonic terrain. Canyons of My Mind, out in March on New West, is — as its title suggests — a landscape where the personal and the pastoral converge. Drawing inspiration from the biographies of literary figures like Charles Wright and Jim Harrison, Combs has created an album that explores the notion of “sustainability” in its many facets — artistic, economic, spiritual, environmental.
"When I set out to record All These Dreams, I had a distinct vision of what I wanted the record to sound like. It was a cocktail of the Roy Orbison, Glen Campbell, Nilsson vibes that you can hear right there on the surface," Combs says. "Canyons of My Mind is much more personal. It’s a testament to my acceptance of who I am as a man, and who I am becoming.” The record’s sonic adventurousness bears witness to that evolution, as well as to some big changes in his personal life. Between All These Dreams and Canyons, Combs married his longtime girlfriend Kristin, with whom he honeymooned for six weeks in the Minnesota wilderness. “She walks through her life exuding such open-mindedness and kindness,” Combs says. “I can’t help but watch in awe. She lets me be whoever I want to be, and that’s new to me. And quite refreshing, and freeing.”
Americana music fans will remember Paul Cauthen’s name from Sons of Fathers, the raucous Texicana group he co-founded in 2011 with bassist David Beck. The band earned glowing praise from Rolling Stone, NPR, and others, thanks to two albums that climbed into the Top 10 of the Americana Music Chart. “We had just played a show with Edward Sharpe and the Magnetic Zeroes, playing for 7,000 people,” Cauthen says. “And I quit. I just knew it wasn’t where I was supposed to be anymore.”
That was three years ago––and the impetus for ending up in Austin. Cauthen has since learned to channel his racing mind and rumbling baritone into the blues, gospel, and rock-and-roll that fuel his new album ‘My Gospel’ with gale-force power. Over the course of three years, Cauthen recorded the album in several different studios across the country: Willie Nelson’s Arlyn Studios in Austin; FAME Studios in Muscle Shoals; Sargent Recorders in Los Angeles; Modern Electric Sound Recorders in Dallas. The result is a quintessentially American album unlike anything in recent memory. “We were going for timeless. We were going for righteous. Those were the two words that we focused on while we were recording,” Cauthen says. “That’s it.”