Cat's Cradle

The ArtsCenter - Cat's Cradle


Feb
1 Tue
Image for The Weather Station, with Sam Amidon

The Weather Station, with Sam Amidon

Carrboro, NC
United States
Doors at 7:00 PM, Show at 8:00 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
ADVANCED: $20.00
DAY OF: $23.00

TICKET SALE DATES
ADVANCED Public Onsale: June 11, 2021 10:00 AM to February 1, 2022 12:00 AM
DAY OF Public Onsale: February 1, 2022 12:00 AM to February 1, 2022 6:00 PM

PERFORMANCE DESCRIPTION

Attention Patrons,

Due to the increase of the Delta Variant and the danger it poses, we are writing to let you know that starting October 1st, 2021, in additional to masks, proof of vaccination will be required for all attendees of in-person performances at the ArtsCenter.

This was a difficult decision to make, however given the risks that the new variant poses to the health of the community, we believe this organizational mandate is the most sensible measure for the safety of the community.

Ignorance, the forthcoming album by the The Weather Station, begins enigmatically; a hissing hi hat, a stuttering drum beat. A full minute passes before the entry of Tamara Lindeman’s voice, gentle, conversational, intoning; “I never believed in the robber”. A jagged music builds, with stabbing strings, saxophone, and several layers of percussion, and the song undulates through five minutes of growing tension, seesawing between just two chords. Once again, Toronto songwriter Tamara Lindeman has remade what The Weather Station sounds like; once again, she has used the occasion of a new record to create a new sonic landscape, tailor-made to express an emotional idea. Ignorance, Lindeman’s debut for Mississippi label Fat Possum Records, is sensuous, ravishing, as hi fi a record as Lindeman has ever made, breaking into pure pop at moments, at others a dense wilderness of notes; a deeply rhythmic, deeply painful record that feels more urgent, more clear than her work ever has.


On the cover, Lindeman lays in the woods, wearing a hand made suit covered in mirrors. She was struck by the compulsion to build a mirror suit on tour one summer, assembling it in a hotel room in PEI and at a friend’s place in Halifax. “I used to be an actor, now I’m a performer” she says. In those roles, she points out, she often finds herself to be the subject of projection, reflecting back the ideas and emotions of others. On the album, she sings of trying to wear the world as a kind of ill fitting, torn garment, dangerously cold; “it does not keep me warm / I cannot ever seem to fasten it” and of walking the streets in it, so disguised, so exposed. Photographed by visual artist Jeff Bierk in midday, the cover purposefully calls to mind Renaissance paintings; with rich blacks and deep colour, and an incongruous blue sky glimpsed through the trees.


The title of the album, Ignorance, feels confrontational, calling to mind perhaps wilful ignorance, but Lindeman insists she meant it in a different context. In 1915 Virginia Woolfe wrote: “the future is dark, which is the best thing a future can be, I think.” Written amidst the brutal first world war, the darkness of the future connoted for Woolfe a not knowing, which by definition holds a sliver of hope; the possibility for something, somewhere, to change. In french, the verb ignorer connotes a humble, unashamed not knowing, and it is this ignorance Lindeman refers to here; the blank space at an intersection of hope and despair, a darkness that does not have to be dark.


Emerging out of Toronto’s vibrant folk scene, Lindeman debuted a moody, introspective sound with her independently released East EP in 2008. Her LP The Line followed in 2009, expanding on an earthy, lyrical style, driven by her distinctive fingerpicked guitar and banjo parts. For the next Weather Station release, Lindeman worked with friend and collaborator Daniel Romano, signing with his You’ve Changed Records label to release the critically acclaimed follow-up, All of It Was Mine, in 2011.


Links: Website | Facebook | Instagram | Twitter
Feb
10 Thu
Image for Jonathan Richman with Tommy Larkins

Jonathan Richman with Tommy Larkins

Carrboro, NC
United States
Doors at 7:00 PM, Show at 8:00 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
ADVANCED: $20.00
DAY OF: $23.00

TICKET SALE DATES
DAY OF Public Onsale: February 10, 2022 12:00 AM to February 10, 2022 6:00 PM
ADVANCED Public Onsale: December 3, 2021 10:00 AM to February 10, 2022 12:00 AM

PERFORMANCE DESCRIPTION
Attention Patrons,

Due to the increase of the Delta Variant and the danger it poses, we are writing to let you know that starting October 1st, 2021, in additional to masks, proof of vaccination will be required for all attendees of in-person performances at the ArtsCenter.

This was a difficult decision to make, however given the risks that the new variant poses to the health of the community, we believe this organizational mandate is the most sensible measure for the safety of the community.

“Richman is one of America’s most unique and dynamic songwriters…” – Nashville Scene “Richman didn’t need much else besides a beat to work his magic.” – New York Daily News

“Buy tickets early. Buy tickets often. This is just good general life advice, but even more so when you’re talking about Jonathan Richman. Don’t get denied at the door, don’t leave things up to chance: You will regret it.” – Nashville Scene

“Rhymes worthy of Ogden Nash.” – The New York Times

“Richman has spent decades removing barriers between himself and his audience, cultivating an intimacy that is almost extinct in modern music.”- Nashville Scene

“The music we’re doing now works well in quiet places like theaters and performing art centers. We still don’t use a program or a set list so we don’t know what we’ll do until we do it. Please do not expect old songs. Many singers my age do a retrospective; this show is not like that. It’s mostly stuff made up in the last 3 and 4 years. Some of the songs presented might be in different languages; this is not to be esoteric or clever, it’s because the different languages help me express different feelings sometimes. One last thing, my idea of a good show has nothing to do with applause. It’s about if all the songs I sang that night were ones that I felt.” – Jonathan

Links: Bandcamp | Blue Arrow Records
Mar
1 Tue
Image for Bob Mould Solo Electric: Distortion and Blue Hearts!, with H.C. McEntire

Bob Mould Solo Electric: Distortion and Blue Hearts!, with H.C. McEntire

Carrboro, NC
United States
Doors at 7:00 PM, Show at 8:00 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
ADVANCED: $24.00
DAY OF: $27.00

TICKET SALE DATES
DAY OF Public Onsale: March 1, 2022 12:00 AM to March 1, 2022 6:00 PM
ADVANCED Public Onsale: November 19, 2021 10:00 AM to March 1, 2022 12:00 AM

PERFORMANCE DESCRIPTION
Attention Patrons,

Due to the increase of the Delta Variant and the danger it poses, we are writing to let you know that starting October 1st, 2021, in additional to masks, proof of vaccination will be required for all attendees of in-person performances at the ArtsCenter.

This was a difficult decision to make, however given the risks that the new variant poses to the health of the community, we believe this organizational mandate is the most sensible measure for the safety of the community.

This show is presented by Cat's Cradle & WUNC Music.

Legendary musician Bob Mould announces his “Distortion and Blue Hearts!” tour starting September 16, 2021, in Boston at Paradise. The tour is in two parts. For the first three weeks, Bob will be joined by Jason Narducy on bass and drummer Jon Wurster. Beginning October 15 in Bloomington, IL, Mould will perform “Solo Distortion” electric shows (full run of dates and locations below).

On July 16, 2021, before any tour dates happen, Demon Music Group will conclude their year-long Bob Mould retrospective campaign with their fourth vinyl box, Distortion: Live. The 8 LP set includes live recordings from Mould’s solo career and his band Sugar.

This box follows October 2020’s 8 LP Distortion: 1989-1995 vinyl set, which took in Mould’s early solo outings as well as his records with the much-beloved Sugar, January 2021’s 9 LP Distortion: 1996-2007 box set continuing through the next steps in Mould’s solo career and his outings as LoudBomb and Blowoff, April 2021’s 7 LP Distortion 2008-2019 covering District Line to Sunshine Rock, and the 24 CD Distortion: 1989-2019 box, which covers the entirety of his post-Hüsker Dü output.

Mould’s live shows will span his entire 40+ year career, including songs from the Distortion collection and from his landmark band Hüsker Dü, as well as songs from last year’s explosive and critically acclaimed album Blue Hearts — about which Rolling Stone’s 4 out of 5 star review raved, “feels like a lost Hüsker Dü album with Mould howling invective over his buzzsawing guitar.”

“It’s been a year and a half away from the stage. I’ve missed the noise, the sweat, and seeing your smiling faces. I’m fully vaccinated, and I hope you are too, because this Fall will be a punk rock party with the band — and the solo shows will be loud and proud as well. It’s time to make up lost time, reconnect, and celebrate together with live music!”

As with the previously released box sets in the Distortion collection, each album has been mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston and is presented with brand new artwork designed by illustrator Simon Marchner and pressed on 140g clear vinyl with unique splatter effects. This box set includes 4 live albums: Live At The Cabaret Metro, 1989; the Sugar album The Joke Is Always On Us, Sometimes; LiveDog98 (first time on vinyl), and Live at ATP 2008 (first time on vinyl). In addition, the set includes a 28-page companion booklet featuring liner notes by journalist Keith Cameron; contributions from Bully’s Alicia Bognanno; rare photographs and memorabilia, and a bonus LP Distortion Plus: Live, which features live rarities including B-Sides and stand-out tracks from the Circle of Friends concert film.

Discover more about the box sets including full track listings and FAQs here:
https://www.demonmusicgroup.co.uk/bob-mould-distortion/

Links: Website | Facebook | Instagram | Twitter
Apr
14 Thu
Image for James McMurtry, with Betty Soo

James McMurtry, with Betty Soo

Carrboro, NC
United States
Doors at 7:00 PM, Show at 8:00 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
ADVANCED: $25.00
DAY OF: $28.00

TICKET SALE DATES
DAY OF Public Onsale: April 14, 2022 12:00 AM to April 14, 2022 6:00 PM
ADVANCED Public Onsale: May 27, 2021 10:00 AM to April 14, 2022 12:00 AM

PERFORMANCE DESCRIPTION
Attention Patrons,

Due to the increase of the Delta Variant and the danger it poses, we are writing to let you know that starting October 1st, 2021, in additional to masks, proof of vaccination will be required for all attendees of in-person performances at the ArtsCenter.

This was a difficult decision to make, however given the risks that the new variant poses to the health of the community, we believe this organizational mandate is the most sensible measure for the safety of the community.

The New York Times Magazine's cover story "25 Songs That Tell Us Where Music Is Going" (Sunday, March 12) prominently features a four-page spread focusing on James McMurtry's "Copper Canteen," from his 2015 release Complicated Game. The author points directly to the song's frequently quoted opening line as a representative passage in McMurtry's work: "Honey, don't you be yelling at me while I'm cleaning my gun."

"Though that line about the gun got a big laugh when McMurtry played it in Dallas," Ruth Graham writes, "I still don't know whether to hear it as a joke or a threat, and McMurtry has never been one to offer the easy comfort of a straight answer."

Additionally, while many fans consider McMurtry an overtly political songwriter ("We Can't Make It Here Anymore," "Cheney's Toy"), Graham notes that he's actually more concerned with the effect of policy on personal workaday matters. "McMurtry often writes about how seemingly distant political concerns nudge his characters' choices and prod their psyches," she says, "the stretched budget of the Veterans Affairs Department or the birth of a new national park's consuming the neighbors' land through eminent domain."

Read the New York Times Magazine in full here.

Those living and visiting Austin during South by Southwest this week will have several chances to catch McMurtry, from his full-band showcase at Mojo Nixon's Jalapeno Pancake Mayhem at the Continental Club to a solo gig at El Mercado's Backstage. Fans on the East Coast can see him on his Stateside Solo tour later in March, which launches at the Clementine Cafe in Harrisonburg, Virginia on March 25 and routes throughout the region before concluding at New York City's City Winery on April 2.

"Nothing makes you miss Waffle House like a couple of weeks in Europe," says McMurtry, who has been touring abroad recently. "The term 'Continental Breakfast' is an oxymoron."

"James McMurtry may be the truest, fiercest songwriter of his generation" -Stephen King

Links: Website | Facebook | Twitter
Apr
20 Wed
Image for del Amitri

del Amitri

Carrboro, NC
United States
Doors at 7:00 PM, Show at 8:00 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
ADVANCED: $29.50
DAY OF: $35.00

TICKET SALE DATES
ADVANCED Public Onsale: December 10, 2021 10:00 AM to April 20, 2022 12:00 AM
DAY OF Public Onsale: April 20, 2022 12:00 AM to April 20, 2022 6:00 PM

PERFORMANCE DESCRIPTION
Attention Patrons,

Due to the increase of the Delta Variant and the danger it poses, we are writing to let you know that starting October 1st, 2021, in additional to masks, proof of vaccination will be required for all attendees of in-person performances at the ArtsCenter.

This was a difficult decision to make, however given the risks that the new variant poses to the health of the community, we believe this organizational mandate is the most sensible measure for the safety of the community.

Almost two decades on from their last album, Del Amitri easily remember the good old days, when a Glasgow indie band "who never really cut it as Orange Juice and Josef K copyists, which is kinda what we were" became, in effect, overnight successes.

Suddenly, after a still-born first album (1985's Del Amitri), with 1989's Waking Hours, hit single 'Nothing Ever Happens' propelled them to sharing a Top of the Pops stage with Phil Collins, then in the imperial phase of his solo career, newcomer Sinead O'Connor singing 'Nothing Compares 2 U,' and the premier of Public Enemy's 'Welcome to the Terrordome' video.

Two years later, Del Amitri were still regulars on the nation's favourite chart show. Promoting 1992 hit 'Always The Last to Know,' the band appeared on an episode alongside an En Vogue video ('My Lovin'), Shakespears Sister ('I Don't Care') and, performing smash US hit 'Jump,' adolescent rap duo Kriss Kross, they of the backwards-jeans.

"I remember hearing their manager shouting at someone from the BBC," says guitarist Iain Harvie, "complaining about the sound: 'Even that fucking Scottish rock band sound better than my guys!'"

Del Amitri also remember the other side of the good old days. That happens when being successful enough to bag a stadium support with one of the biggest bands in the world isn't quite enough success to insulate you from the indignity of a breakfast TV outside-broadcast from Blackpool and being upstaged by a dancing omelette.

"We did a gig with REM in Cardiff Arms Park, third on the bill with Belly and The Cranberries," begins singer/guitarist Justin Currie. "And REM were mingling round the catering area after and invited us to their aftershow. We're like: 'Oh yes! We're going to get to party with REM!'"

Alas...

"Oh no -- we had to get on the bus at midnight, drive through the night to Blackpool, sit outside the beach on the tour bus, waiting on the 5.30am call-time, then got put in a Portakabin, ignored for three hours. What the fuck are we doing here? We could still be partying with REM!

"Then at three minutes to nine, Danni Minogue comes in and yells at us to get onstage! So we get up there -- as the credits are rolling -- and it's chaos. There's a Nolan Sister, all these kids waving inflatable toys, us miming, in front of a dancing chicken and egg -- I still don't know who came on first -- waving kitchen utensils. Then Frank Carson comes on just as we're about to down tools. He spots how pissed off I was, so starts dancing behind me, occasionally leaning into my ear going: 'You're a wanker! You're a wanker!'"

"It was a travesty," Harvie laughs ruefully. "But at least our tour manager enjoyed it -- he was at the side of the stage, pissing himself laughing."

Links: Website | Instagram | Twitter | Facebook | Spotify | YouTube

300-g E Main St
Carrboro, NC
United States
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