Friday July 15, 2022
Doors: 7 PM Show 8 PM
$22 Advance | $25 Day of Show- - - - - -
COVID ENTRY REQUIREMENTSPlease note this performance is requiring all attendees to provide proof of vaccination OR negative COVID-19 test within 72 hours of the event for entry.
All attendees must be vaccinated against COVID-19 and provide proof of vaccination [either the original, or a digital printed copy of the vaccination card] OR have received a negative COVID-19 diagnostic test within 72-hours before entry to the facility and provide printed proof of a negative result prior to entering the venue.
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When Poliça’s Channy Leaneagh fell off her roof while clearing ice in early 2018, she smashed her L1 vertebrae and battered her spine, leaving her in a brace with limited mobility for months. Yet Poliça’s fourth album, When We Stay Alive, is not about one debilitating accident. It’s about the redemptive power of rewriting your story in order to heal, and reclaiming your identity as a result.
While recovering, Leaneagh’s doctor told her to focus not only on physical healing, but to meditate on the mental act of healing as well – working to erase the anger, regrets, and fear she felt about her fall. To do so, he suggested she rewrite the story she told herself about what happened on February 28th. Left alone with her thoughts and her back fully braced, Leaneagh would visualize herself slipping and falling not onto cement, but instead onto a cloud, landing safely before breaking into a sprint over snow melting to reveal tall blades of green grass. As she felt the positive effects of this mental exercise, she set about doing the same for other injuries and pains that she gripped onto from her past.
Prior to Leaneagh’s accident, she had been setting music aside as she raised her children and worked to make ends meet as a nursing assistant. Now in the still silence of healing, she found that a multitude of feelings were becoming very loud. Leaneagh realized her self-identity had become attached to her experiences of physical and mental trauma, and she began to consider what it would be like to live without the past as a burden. “I felt there were many things I could look at and say, ‘This happened to me but I’m okay now. It’s not happening anymore and I got the care I needed for it. Now it’s time to rewrite the story I tell about myself and to myself,’” she explains.
Wilsen are the Brooklyn-based trio of Tamsin Wilson (guitar/vocals), Johnny Simon Jr. (guitar), and Drew Arndt (bass). Ruiner is the second album, follow-up to 2017’s I Go Missing In My Sleep.
With producer Andrew Sarlo (Bon Iver, Big Thief, SASAMI) at the helm, Wilsen’s new album Ruiner dissolves both the heavy reverb and ethereal moments found on their first recording by instead letting the band’s essentials - drums, bass, guitar, and vocals - have centre stage. In the album’s opening moments, you might hear a knotted wash of guitars and Wilson softly humming, for a very brief moment returning you to their dreamscape but sharply, a driving rock rhythm comes into focus and so too does a revitalised band.
“Making this record was somewhat of a coming of age process,” Wilson explains. “We’re getting older and becoming more deliberate, less precious, less measured. Overthinking less and trusting instincts more.”
Although Wilsen haven’t lost their fragility entirely, on Ruiner they mainly use bolder sounds and play with gritty textures and jarring grooves. See ‘Birds II’ which centres on a piercing guitar line or the crunchy ‘Down’ which is powered by a riotous percussion section. Wilsen are moving with purpose towards something, not away from it.
For Wilson, she’s moving towards self-acceptance, “I have an inherent shyness,” she says. “I guess I’m acknowledging and finding a way with shyness as I get older.” Throughout the record, Wilson comes to terms with her many sides including her introversion and her inner monster which the album title refers to on ‘Feeling Fancy’, Wilson, with her distinctively hushed vocals overpowering the track’s clamorous instrumentals, offers listeners a powerful, and celebratory, declaration, “Quiet’s not a fault to weed out.”
When writing the lyrics, Wilson says that she trusted her instincts and “seized whatever emotion was happening at the time and ran with it.” The songs, as a result, are Wilson’s most honest; her openness is especially noticeable on the record’s quieter tracks when Wilson is alone with her guitar; “I woke up in a life not mine,” she murmurs on the spellbinding closer ‘Moon’.
But even in the loudest moments of Ruiner, Wilson doesn’t retreat into cacophony. She maintains her vulnerability and beautifully captures intimate moments like the brief peace found in a pair of eyes across the room or the exhausted resolution of a relationship.
“It’s so dramatic, isn’t it?” laughs Wilson about the title Ruiner. “Another option was ‘Worthless’,” she jokes. But despite the air of melodrama, Ruiner aptly characterizes the process Wilson and the band took to make their album: they had to destroy the walls they built to reveal their authentic selves.
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Support acts are subject to change. No refunds.