Aimee Mann / Rhiannon Giddens
Tue, July 18, 2017
Doors: 4:30 pm / Show: 6:00 pm (event ends at 8:30 pm)Woodland Park Zoo
$29.50 - $104.50 + Ticket Fees
This event is all ages
For the safety and enjoyment of all, personal possessions will be inspected prior to admittance into the venue.
All sales are final. No refunds or exchanges. Cameras, recording devices and outside alcohol are not permitted. Showtime and supporting acts are subject to change.
General admission seating is festival style on the North Meadow. General admission ticket holders are seated on a first-come, first-served basis.
Rain or shine. Low-backed (24") chairs only.
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Mental Illness shows off Mann’s rich, incisive and wry melancholia in an almost all-acoustic format, with a “finger-picky” style inspired by some of her favorite ‘60s and ‘70s folk-rock records, augmented by haunting strings arranged by her longtime producer, Paul Bryan. Additional players include: Jonathan Coulton on acoustic guitar and backing vocals, Jay Bellerose on drums, Jamie Edwards on piano, John Roderick as a co-writer and Ted Leo (who recently joined her in a joint side project, The Both) as a background singer.
On this eleven-track album, the Oscar-nominated, Grammy-winning singer remains a student of human behavior, drawing not just on her own experiences to form the characters in the songs but tales told by friends. “I assume the brief on me is that people think that I write these really depressing songs,” Mann says. “I don’t know—people may have a different viewpoint—but that’s my own interpretation of the cliché about me. So if they thought that my songs were very down-tempo, very depressing, very sad, and very acoustic, I thought I’d just give myself permission to write the saddest, slowest, most acoustic, if-they’re-all-waltzes-so-be-it record I could…I mean, calling it Mental Illness makes me laugh, because it is true, but it’s so blunt that it’s funny.”
In support of the release, Mann confirms a headlining North American tour this spring, with stops in New York, Los Angeles, San Francisco, Boston, Philadelphia and more. Tickets can be purchased here: aimeemann.com/tour. See below for complete tour details.
After several albums with Til Tuesday, Mann began her solo career in 1993 with the album Whatever and made a name for herself through her independent success and the founding of her record label, SuperEgo Records. In addition to her solo albums, she has appeared on many film soundtracks, most notably the song score for Paul Thomas Anderson’s Magnolia, with “Save Me” landing her Academy Award and Golden Globe nominations for Best Original Song.
In 2014, Mann joined up with Ted Leo for a more rock-oriented duo project, releasing a self-titled album under the name The Both. Other extracurricular activities since Charmer ranged from playing herself on the hit TV series Portlandia to performing for President Obama and the First Lady at the White House. Named one of The Huffington Post’s “13 Funny Musicians You Should Be Following On Twitter,” Mann has gained a diehard social media following for her quick wit and stinging observation
On her Nonesuch solo debut Tomorrow Is My Turn, Giddens and Burnett revisit “Water Boy,” its Odetta-arranged work-song rhythm serving as both provocation and a statement of power. Giddens delivers an equally thunderous rendition, one made all the more striking when placed between a gentle, ruminative interpretation of Dolly Parton’s “Don’t Let It Trouble Your Mind” and a version of Hank Cochran’s “She’s Got You,” popularized by Patsy Cline, that Giddens imbues with “an old-timey R&B vibe,” abetted by Carolina Chocolate Drops band-mate Hubby Jenkins. The breadth of musical vision on Tomorrow Is My Turn fulfills the promise of that brief but stunning star turn at Town Hall. The album incorporates gospel, jazz, blues, and country, plus a hint of proto-rock and roll, and Giddens displays an emotional range to match her dazzling vocal prowess throughout.
The life that Giddens explores at the climax of Tomorrow Is My Turn is her own creative one, on the lilting, self-penned ballad “Angel City.” Though she regards herself far more as singer than songwriter, “Angel City,” composed in the course of a single night during the recording of the Burnett-helmed The New Basement Tapes project, fits perfectly at the close of the set, gently paying homage to the elder artists whose work comprise the rest of the album. “It was these women, these artists, who had helped me, who had come with me on this journey, and here are lyrics that represented that.”
Tomorrow Is My Turn was recorded in Los Angeles and Nashville, with a multi-generational group of players whom Burnett assembled. Among them are fiddle player Gabe Witcher and double bassist Paul Kowert of label-mates Punch Brothers; percussionist Jack Ashford of Motown’s renowned Funk Brothers; inventive drummer and Burnett stalwart Jay Bellerose; veteran folk-blues guitarist Colin Linden; legendary backup singer Tata Vega; and Nashville session great, bassist Dennis Crouch. Giddens enthuses, “We had Dennis and Paul on stand-up bass at the same time on some of these tracks. They are all ‘musicians’ musicians’ and they did cool stuff they don’t always get the opportunity to play. It was a bit of a challenge for them too, all these different kinds of music; every day was something new. We’d start the day by watching the original inspiration for the song on YouTube, and then we would go cut it. They were a diverse group of people, but it felt like a real band.” Giddens’ bandmates from the Drops—multi-instrumentalist Hubby Jenkins, cellist Malcolm Parson, and multi-instrumentalist Rowan Corbett—are part of her touring band for Tomorrow Is My Turn.
The songs here, says Giddens, “are all facets of the human condition.” Taken together, they answer the question Twyla Tharp posed at the beginning of Giddens’ solo adventure. Tomorrow Is My Turn is a composite portrait of “Ruby,” of America, and of Giddens herself, whose turn is clearly right now.
Woodland Park Zoo
5500 Phinney Ave N
Seattle, WA, 98103