The Hideout Block Party & A.V. Fest Friday 9/14/12 & Saturday 9/15/12

The Hideout Block Party & A.V. Fest Friday 9/14/12 & Saturday 9/15/12

Wilco, Iron & Wine, Glen Hansard, Lee Fields & The Expressions, Wye Oak, The War On Drugs, The Corin Tucker Band, Wild Belle, Kelly Hogan, The Waco Brothers w/ Paul Burch, CAVE, The Lawrence Peters Outfit, Redmoon Theater, Plastic Crimewave Vision Celestial Guitarkestra

Fri, September 14, 2012 - Sat, September 15, 2012

5:00 pm

The Hideout

Chicago, IL

$30 - $60

Sold Out

***$4 of the service fees go to the charities***This ticket is for a rain or shine event. No refunds, exchanges, and all tickets are nontransferable. Tickets are only available online here. You will exchange your ticket for a two-day wristband. All event information, including line-up, is subject to change. 10 and under no ticket needed.

All patrons subject to search.

Please do not bring: Instruments - Knives / Weapons Etc. - Chains - Blankets - Outside Food & Beverage - Camelbacks Bota Bags - Tents - Flags - Chairs - Video Cameras - Audio Recording Devices - Pets - Drugs & Drug Paraphernalia Fireworks.

The Hideout Block Party
The Hideout Block Party
SATURDAY
1:30 - Guitarkestra
2:00 - Crowd Out Rehearsal
3:00-3:40 - 75 Dollar Bill
4:00-4:40 - Antietam
5:00-5:40 - Condo Fucks
6:00-6:40 - Jon Langford & Skull Orchard
7:00-8:30 - Eleventh Dream Day

SUNDAY
1:00-1:30 - Mint Mile
1:50-2:20 - FACS
2:40-3:10 - Meat Wave
3:30-4:00 - Shannon Wright
4:20-4:50 - Dianogah
5:10-5:40 - Danielson Famile
6:00-6:40 - Nina Nastasia
7:00-7:40 - Man or Astroman?
8:00-8:40 - Screaming Females
Wilco
Wilco
The Chicago rock band Wilco release their eighth studio album - The Whole Love - on September 27 through their newly launched dBpm Records. It follows the band’s 2009 Grammy-nominated Wilco (The Album) and was recorded at the band’s Chicago recording studio The Loft. The Whole Love features 12 new original tunes and is produced by Jeff Tweedy with Patrick Sansone and Tom Schick.

The Whole Love is a veritable sonic stew, showcasing Wilco’s far-reaching musical prowess (multiple guitars, keyboards, synthesizers and percussion plus Mellotron, strings, loops and more) perfectly accompanying Jeff Tweedy’s provocative and insightful lyrics. The Whole Love opens with the seven-minute “Art of Almost” and concludes with the twelve-minute “One Sunday Morning (Song For Jane Smiley’s Boyfriend).” In between: 10 adventurous tunes (each clocking in at four minutes or less) including the current single, “I Might” which was released this past weekend at the band’s Solid Sound Festival.

Coinciding with the album’s release will be the first leg of Wilco’s North American tour, with performances at Toronto’s Massey Hall, Boston’s Wang Theatre, New York City’s Central Park Summerstage, Nashville’s Ryman and more. Nick Lowe supports on all dates. Complete tour dates are listed below.

The Whole Love track listing: Art of Almost, I Might, Sunloathe, Dawned On Me, Black Moon, Born Alone, Open Mind, Capitol City, Standing O, Rising Red Lung, Whole Love, One Sunday Morning (Song For Jane Smiley’s Boyfriend).

Wilco are Jeff Tweedy, John Stirratt, Glenn Kotche, Nels Cline, Patrick Sansone, Mikael Jorgensen.

dBpm Records is a full-service label, releasing all future Wilco recordings and more. ANTI- Records provides distribution and additional label services for all dBpm Records releases.
Iron & Wine
Iron & Wine
Over the course of his ten-year career, Iron & Wine's Sam Beam has become one of today's greatest story tellers, crafting meticulous tales full of forlorn love, religious imagery and wistful dreams. It's been more than three years since his last studio effort, The Shepherd's Dog, which was widely praised by fans and critics alike. While Beam's early albums were sparse, intimate solo affairs, Shepherd's introduced layered textures and poly-rhythmic sounds that allowed his lyrics to spring to life. It's only natural then, that Beam took this sonic collage and built upon it for his new album, Kiss Each Other Clean. The result is a brighter, more focused record that retains the idiosyncratic elements that make Iron & Wine such an engaging band.
Glen Hansard
Glen Hansard
Over 20 years in the making, singer songwriter Glen Hansard will release his first ever solo album, Rhythm and Repose, on Anti- Records June 19. Best known for his work with The Frames, The Swell Season and in the feature film Once, for which he won an Academy Award, Rhythm and Repose is Hansard's debut solo album and first album of new material since his 2009 release Strict Joy with The Swell Season. The album will be available for pre-sale at the Anti Store.
In recent months Hansard has been seen in the documentary The Swell Season which has toured the film festival circuit this year, contributed two songs to the blockbuster soundtrack, The Hunger Games, and been active in the promotion of Once, The Musical which successfully opened on Broadway on March 18 to rave reviews, including the New York Times who explains, "what was always wonderful about 'Once,' its songs and its staging, has been magnified." Hansard will support the new record on a U.S. tour. See reverse for details.
Rhythm and Repose is a result of Hansard's last year and a half of living in New York City. The album was recorded by Patrick Dillett (David Byrne, Arto Lindsay, Laurie Anderson) and produced by Thomas Bartlett (Doveman, The National, Antony and the Johnsons). The record features the musical talents of Brad Albetta (Martha Wainwright) on bass, Ray Rizzo on drums, Nico Muhly and Rob Moose on strings (Bon Iver, Y Music), David Mansfield on slide guitar (Dylan's Rolling Thunder Tour), Javier Mas (Leonard Cohen touring band) and half of Bruce Springsteen's current horn section. Assisting on vocals are Cristin Milioti (Once, The Musical), Sam Amidon, Marketa Irglova and Aida Shahghasemi (Marketa Irglova touring band).
Hansard is celebrated as the principal songwriter and vocalist/guitarist for the Irish group The Frames, who have established themselves as one of the most influential bands in Ireland. Hansard garnered a reputation as not only an unparalleled front man, but also for his dedicated following and his grounded, real-life songs. Whether he's busking the streets of Dublin, where he got his start, or at the Hollywood Bowl, Hansard is always earnest and in-the-moment.
Hansard is also one half of the acclaimed duo The Swell Season. In 2007, he and Czech songstress Markéta Irglová took home the Academy Award for Best Original Song for "Falling Slowly" off the Once soundtrack. Hansard and Irglová continued the success of Once with the 2009 release Strict Joy under the namesake of The Swell Season.
Lee Fields & The Expressions
Lee Fields & The Expressions
There aren't too many artists making soul music today who had a release in 1969, back when R&B was first beginning to give the drummer some. Lee Fields, however, is one such artist--or maybe he's better labeled a phenomenon. Since the late sixties, the North Carolina native has amassed a prolific catalog of albums and has toured and played with such legends as Kool and the Gang, Sammy Gordon and the Hip-Huggers, O.V Wright, Darrell Banks, and Little Royal. With a career spanning 43 years, releases on twelve different record labels, and having toured the world over with his raucous-yet-tender voice, it's mind-blowing that the music he's making today with Brooklyn's own Truth & Soul Records is the best of his career.

With a catalogue that ranges from James Brown-style funk to lo-fi blues to contemporary Southern soul to collaborations with French house DJ/producer Martin Solveig, Lee Fields has done it all. Today, with The Expressions--Truth & Soul's house band, Lee Fields continues to evolve, enmeshed into the group's sweeping, string-laden, cinematic soul sound. Their first full-length together, My World, released in June 2009 on Truth & Soul, was called "one smoking mother of an old-sound soul record" and a "throwback done right" by Pitchfork.

While drawing comparisons to groups like The Moments, The Delfonics, The Stylistics, and--of course--James Brown, My World has been able to create a space of it's own due to the group's desire to interpret and further the formulas of good soul music rather then parrot and imitate them. Chalk that up to Truth & Soul producers and co-owners Jeff Silverman and Leon Michels, as well as the high level of musicianship of everyone involved. These are the same individuals that wrote, produced, and played on Aloe Blacc's global smash hit LP Good Things for Stones Throw Records, and have provided the back drop for records by El Michels Affair, Adele, Liam Bailey, Ghostface Killah, and Jay-Z to name a few.

"In a curious case of musical evolution, the older Fields becomes, the closer he gets to perfecting the sound of soul that he grew up with as a young man," so said music writer, scholar, and DJ Oliver Wang about Fields in a piece for NPR in July 2009. The latest LP from Lee Fields and The Expressions, titled Faithful Man, is the next step towards this perfection. A step that may find Fields, The Expressions, and Truth & Soul as a label, finally being bestowed the contemporary soul music crown.
Wye Oak
Wye Oak
"Wye Oak, a Baltimore-based indie rock duo comprised of Jenn Wasner (guitar, vocals) and Andy Stack (drums, vocals), took their name from a symbolic 460-year-old tree in their home state of Maryland. Formed in 2006 under the moniker Monarch, Wasner and Stack recorded their first album gypsy style, bouncing around various basements and apartments, eventually landing a record deal with indie heavyweight Merge. The label would go on to release the act's 2008 debut, If Children, as well as the 2009 follow-up Knot and 2010 EP My Neighbor/My Creator. By the time of their 2011 self-produced album, Civilian, which was also released by Merge, Wasner and Stack were producing the finest work of their career and firmly placed themselves near the top of the indie rock pile." - James Christopher Monger, AllMusicGuide
The War On Drugs
The War On Drugs
Philedelphia's the War on Drugs reside at the blurred edges of American music: overexposing studio limitations, piling tape upon tape to maximum density, and then -- with each song -- they pull off the scaffolding to reveal what sticks, keeping only what's absolutely necessary and dig into what sounds like the best kind of fucked up. As on their 2008 debut, Wagonwheel Blues, central member Adam Granduciel takes small moments occurring over multiple tapes and multiple song versions, and puts every last drop of trust in his own keen instinct of momentum.

That's not to overshadow the sharp, personal songwriting at play here. There are certainly cues taken from our very best American bards (Dylan, Petty, Springsteen). Yet, The War on Drugs are wise enough to also implode those cues or send themselves into outer space when the moment calls for it. The driving organ riff that pushes "Baby Missiles," from the band's 2010 epic EP Future Weather, may well be inspired by a fever dream of Springsteen rather than any particular song in his catalogue. And the endless layers of guitar melody and atmospherics of "Comin' Through," also from Future Weather, rather than add weight to the vessel, only work to fill its sails with warmer and warmer winds.

It’s been over two years since The War On Drugs‘ critically praised album, Slave Ambient, came out and the Philadelphia band’s newest offering, Lost In The Dream is now out worldwide.

Setting up shop along the East Coast in Philadelphia, North Carolina, New York, and New Jersey, Adam Granduciel of TWOD somehow found time to record the new album between two years of constant touring. Lost In The Dream is a familiar kick in the gut reminding listeners what music is supposed to sound like, making you want to run Rocky-style through the streets (or at least us anyways).

Critics praise the new album:
“the band’s most lustrous, intricately detailed, and beautifully rendered record to date” - Pitchfork | Best New Music

“If Slave Ambient represented a breakthrough, this one is an out-and-out star-maker that should rank among the year’s best albums” - SPIN | 9/10

“Adam Granduciel’s impassioned songs stop short of lighters- aloft choruses, twisting buffed-up sounds into exquisite shapes” - The Guardian | ★★★★
The Corin Tucker Band
The Corin Tucker Band
“Groundhog Day,” the first track from the Corin Tucker Band’s highly anticipated sophomore effort Kill My Blues (out September 18 on Kill Rock Stars), is premiering at Pitchfork along with the album’s artwork: http://bit.ly/OsKick. The follow-up to the group’s critically acclaimed 2010 release 1,000 Years—an album hailed as “thoughtful [and] subtle” by Pitchfork and “a determined effort” by the Los Angeles Times—Kill My Blues finds former Sleater-Kinney frontwoman Tucker returning to her riot grrrl sonic roots along with band members Seth Lorinczi (Golden Bears), Sara Lund (Unwound) and Mike Clark (Stephen Malkmus and the Jicks). The group will tour the east coast this fall, please see a list of dates below.

Of writing and recording the new album, Tucker notes that Kill My Blues was a group effort. “After the past two years playing together, traveling and making music, I think we’re more comfortable,” she says. “We collaborated on every song on this record and no one was shy about their ideas. I think you can hear that sense of joy and abandon in the songs.”

Best-known for her role in punk rock mainstay Sleater-Kinney, Tucker also played in the influential early-`90s rock group Heavens to Betsy. Recently she has appeared alongside Sleater-Kinney bandmate Carrie Brownstein in the IFC comedy Portlandia. Corin lives with her two children and filmmaker husband Lance Bangs in Portland.
Wild Belle
Wild Belle
Wild Belle is the new duo of siblings Natalie and Elliot Bergman. The two have weaved in and out of each other's musical lives for years sharing records, tapes, sounds and experiences. Wild Belle marks their first official collaboration, finding their sound rooted on a tropical island where rocksteady rhythms, disco beats and soulful grooves shine down steadfast and abundant.
Kelly Hogan
Kelly Hogan
This Georgia native is a supremely talented and multi-faceted singer profoundly respected within the music world. She was recently touted "a national treasure" by colleague, friend and former Chicago neighbor, Andrew Bird.
On her album "I Like to Keep Myself in Pain" Hogan curates an ambitious and moving labor of love, mining the perfect intersection between classic pop, country and soul. She utilizes her incredible voice to interpret compositions penned for her by musical luminaries including M. Ward, Vic Chesnutt, Magnetic Fields, the Mekons' Jon Langford, the Handsome Family, Bird, Freakwater's Catherine Irwin, John Wesley Harding, Robbie Fulks, Gabriel Roth and Robyn Hitchcock.
She is backed on the album by an absolutely all-star band consisting of R&B legends Booker T. Jones and James Gadson (Bill Withers, Beck) as well as talented young lions Gabe Roth (of Daptone Records, the Dap-Kings) and Scott Ligon.
Pitchfork has just premiered the song "We Cant Have Nice Things" written for Hogan by Jack Pendarvis and Andrew Bird. It is a contemplative and soulful track which periodically swells into an unforgettable Burt Bacharach-like pop crescendo.
As Hogan explains, "My dear friend Jack Pendarvis is a writer and he sent these lyrics called "We Can't Have Nice Things." He thought it would turn out like this George Jones she-left-me type of song. But I had asked Andrew Bird, who I have worked with a long time, to write me a song. He asked if I had any lyrics he could write with so I sent him Jack's. He sent them back with this amazing music and it turned into this really deep soul searching psychological song."
To hear Kelly Hogan's "We Can't Have Nice Things" care of Pitchfork.com, go here.
Kelly Hogan's I Like To Keep Myself In Pain is the record of a lifetime by a beloved talent. From her time fronting acclaimed bands The Jody Grind and Rock*A*Teens, to her role as, what she proudly calls "the noble sideman" with artists such as Neko Case, Mavis Staples, Jakob Dylan and many others, it has all been leading directly to this moment, and this unforgettable new album.

"This record is my history and all my acquired tools and these really amazing songs that people sent me," Hogan says. "I'm just this person who loves music. And it's my life. And I hope that people love the songs as much as I do and I hope people will listen to them and make out to them."
The Waco Brothers w/ Paul Burch
The Waco Brothers w/ Paul Burch
"A bracing, wickedly smart album that draws on the strengths of both acts...If the Rolling Stones were still making great records, this would be it." --Chicago Tribune

A Chicago band known for its muddy work boots, anarchic stage shows and fondness for committing musical “pure butchery” (the New York Times’ words, not ours) may seem an odd match for the stylish craft and classicism of a Nashville
songwriting treasure, but that’s just what came to be on the Great Chicago Fire.

Great Chicago Fire is a happy collaboration borne out of label mates, Paul Burch, a progenitor of the ‘90s Nashville Lower Broad scene, and the Waco Brothers, the Lenin-esque statue in the Square where the avenues of punk, country and rockn-roll intersect, sharing pitchers of Guerro’s margaritas in Austin, TX at SXSW. Maybe it was the salt, maybe it was the heat, maybe it was the parade of cowboy boot shoppers and industry moguls passing before their eyes on South Congress Avenue, but two distinct creative energies decided to explorewhat music they could make together. Sharing songwriting, performing and production credits, it’s the Wacos’ first new material since 2005’s Freedom and Weep and puts Paul’s voice at the front and center of their mighty sonic assault; it’s a willing collision of energy and ideas, of different voices, possibilities and permutations.

It turns out that the spit of the Waco Brothers, so at home in the blue collar and punk rock dives of Chicago, share an emotional camaraderie with the polish of the traditionally minded and archetypal stories and songs Nashville’s Paul Burch has skillfully produced in his career, with both styles benefiting in surprising ways. The anthemic bluster of the Wacos, exemplified on the title song—with the whiff of T. Rex in its grooves—adds muscle to the thoughtful eloquence of the Burch penned “Monterey” and the galloping “Transfusion Blues,” while the Appalachian echoes in “Up On The Mountain” move from the holler to the pub.

On the flipside, Jon Langford’s jittery first-wave punk urgency on “Cannonball” is tempered by Burch’s deft touch with the piano and hand jive percussion; don’t even get us waxing about the tremolo guitar and those saucy sweet backing vocals
by Tawney Newsome and Bethany Thomas. With Burch’s inborn pop leanings as a polestar, the Wacos show they not be all fistfight energy, as with their closing time wistfulness on the gorgeous and lush “Flight to Spain.” Similarly, Deano’s meaty hooks and rust belt lyricism on “Give In” and “On The Sly” would fit right in at the Nashville watering hole shrine Tootsie’s Orchid Lounge. Wrapping it all up with the sun’s about to come up and it’s time to go home giddiness of a night spent jamming with friends is a bleary and joyful singalong version of Bob Dylan’s “Hard Rain’s Gonna Fall.”
CAVE
CAVE
Tremors rhythmically shaking your place—the air’s gone electric! You’ve seen this kind of weather before… you weren’t expecting it today. This is the beginning of Allways.
CAVE are kind of beyond time, though. You might feel like it’s been awhile since you’ve seen or heard them, but when you see or hear them again, that moment will feel like Allways.
During the making of the last album, Threace, CAVE was in the process of becoming a quintet. They toured the world afterwards, playing on four continents and eighteen countries—as close to everywhere as they could get. Then they took a minute. They recorded it over time, in Chile and then Chicago. You can hear all of this, the energy of liveness, the reps, and consolidating expanded possibilities within their new alignment, the time away, the distance, and the freshness of returning to recorded sounds, everywhere on Allways.
CAVE digs driving down into a pulse and staying there for as much of FOREVER as they can (though it’s really only a single blissed glance into the infinite). In the past, much has been made of CAVE’s use of particular compelling tropes, but man, their inspiration comes - from everywhere—Miles, psych, beats, exotica, library music, rock, punk, the Germans, the New York guys too, minimalists, the Dead, music from India, everywhere! This is a bunch of guys playing rock-based music in a way that pushes them forward from everything they’ve experienced. When we listen to the new CAVE, we’re hearing guitars, lots of ’em, bubbling under, scratching, fanning, locking in and taking off, soaring on acid-washed wings, with keys that pump, burr and whoosh in and out of the rhythms. Fuck man, we’re even hearing vocals! We hear space, groove and rock, flying together. This is CAVE, Allways.
Half-speed mastering of Allways at Abbey Road has allowed the activity at all frequencies to present with a liquid fullness and ripe detail. Allways is a blueprint for your ears to read a map for —and CAVE to follow through the world. Allways , and forever!
The Lawrence Peters Outfit
The Lawrence Peters Outfit
Two time winners of the “Best Country And Western Entertainer” (Chicago Music Awards), The Lawrence Peters Outfit, play un-ruined country music, a term Lawrence coined to describe the band’s original, deep-rooted, honky tonk sound. Best known for his lead vocal on "The Old Black Hen", for the watershed Songs: Ohia- Magnolia Electric Company album, Peters leads the "Outfit" through his own finely crafted originals, and cherry-picked classics. The band is a super-group of Chi-Town pickers, including Matt Gandurski on lead guitar, Dave Sisson on rhythm guitar and harmonies, and Josh Piet on upright bass.
Redmoon Theater
Redmoon Theater
Redmoon Theater is a Chicago based not-for-profit theatrical company under the direction of Jim Lasko and Frank Maugeri that specializes in site-specific productions, emphasizing visual spectacle, pageantry, elaborate sets, live music, puppetry, and physical theater. Productions are often out of doors, sometimes ticketed, sometimes freely viewable in public spaces. Redmoon also produces shows in traditional venues, and is involved in community projects in Chicago.
Plastic Crimewave Vision Celestial Guitarkestra
Plastic Crimewave Vision Celestial Guitarkestra
The Plastic Crimewave Vision Celestial Guitarkestra makes a special appearance tonight at the Hideout!

Whether you can shred or you've never played a note, you are needed--even small children have participated! All string instruments and some other sound-generators allowed, amps/power strip/extension cords preferred, but an acoustic instrument or 2 is ok. Past Guitarkestras have been bonafide spiritual sonic happenings in NY, at the Hyde Park Art Center, Empty Bottle, etc that i loosely conduct into "E" infinity, with up to 70 guitarists! So invite any friends/acquaintances to play too...!

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Venue Information:
The Hideout
1354 W. Wabansia Ave
Chicago, IL, 60642
http://www.hideoutchicago.com