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WILLIAM ELLIOTT WHITMORE W/ MISS TESS @ LO-FI LOUNGE INDIANAPOLIS
DOORS: 6:00 PM, SHOW: 7:00 PM
AGE RESTRICTIONS: 21+
GENERAL ADMISSION, LIMITED SEATING
- Due to events happening in HI-FI and LO-FI Lounge during the same time, LO-FI door, show and set times are subject to change. We try to avoid this but want to make sure artists in both rooms experience minimal sound conflicts. If a change occurs, we will message all attendees immediately.
- All tickets are nonrefundable and nontransferable.
- Support acts are subject to change.
- LO-FI is located on the 2nd Floor of the Murphy Arts Building in Fountain Square. Enter through the back entrance of the building, under the Red Lion sign. Hang a right and head up the stairs. Follow the hall until you find us. ADA entrance is located on the Northwest corner of the building, by La Margarita.
HEALTH CHECK REQUIRED: Proof of full COVID-19 vaccination or negative COVID-19 PCR test within 72 hours or negative Antigen test within 6 hours. Face coverings are strongly encouraged for all attendees.
Download the Bindle Mobile Health App and verify your vaccination status to expedite entry to the venue.
If these requirements prevent you from attending, contact our Box Office for refund options prior to the show.
About William Elliott Whitmore:
William Elliott Whitmore is a singer-songwriter/banjoist/guitarist/drum-stompin’ solo act from Lee County, Iowa. He has released six full-length albums that seamlessly meld country, blues, folk, and punk styles - spanning from 2003’s Hymns for the Hopeless (Southern Records) to 2015’s Radium Death (ANTI-). His songs are haunting, rustic, powerful, and real – byproducts of living his entire life on the family farm, being involved in the hardcore-punk scene in the local community, and touring hard across the country. His seventh album Kilonova (2018) is different from everything else in his catalog, a collection of 10 cover songs from artists who have influenced his 15 plus-year career.
A man armed only with a banjo and a bass drum can be a formidable force, especially if his name is William Elliott Whitmore. With his powerful voice and honest approach, Whitmore comes from the land, growing up on a family farm in Lee County, Iowa. Still living on the same farm today, Whitmore has truly taken the time to discover where his center lies, and from that he will not be moved.
Whitmore has consistently carved his own path, honoring the longstanding tradition of folk music throughout his nearly 20-year career, while always allowing his blues, soul, and punk rock influences to shine through. Getting his first break opening for his friend's hardcore band with just a banjo in hand, he would discover bands like The Jesus Lizard, Bad Brains, Lungfish, and Minutemen and soon learn to play his own brand of rural, roots music with that same DIY ethic.
William Elliott Whitmore has been back and forth across the United States and to cities around the world. He's toured with such diverse acts as Frank Turner, Trampled By Turtles, Clutch, and Chris Cornell, to name a few. He's appeared on some of the biggest stages around the world including Stagecoach Fest, Byron Bluesfest (Australia) and End of the Road Fest (UK). His willingness to take his show to any playing field has proved invaluable as he turned strangers to diehards with every performance.
About Miss Tess:
To help capture and shape her own unique sound, Miss Tess enlisted not only her trusty 1930s Weymann archtop, but also heavy input from co-producers Andrija Tokic (Alabama Shakes, Hurray for the Riff Raff) and Thomas Bryan Eaton, her full-time bandmate and musical partner. Tess elaborates, “I think Andrija’s indie leanings were pivotal in taking these songs into a transcendent space, while still supporting my initial vision. He definitely pushed me in new ways and the three of us found a very interesting mix between bold experimentation and a more traditional approach.” Combining Thomas’ arranging ideas and skilled instrumental work with Andrija’s studio full of vintage mics, tube amps, keyboards, and tape machines, the resulting record has a rich, buttery warmth well-suited to Miss Tess's voice and authentic, retro-contemporary songwriting style.
After over a decade on the road, now making her home in Nashville — by way of Baltimore, Boston, and Brooklyn — Miss Tess has found a creative community that encourages and embraces wide artistic exploration and expression as much as she does. Alongside Thomas (who’s been a full-time band member for seven years), local heavyweights like Dennis Crouch, John Pahmer, Jimmy Lester, Jack Lawrence, and Larry Atamanuik fill out the album’s liner notes, but the songs belong to Tess.
Throughout the record, Tess uses many of these songs to look at love from every angle she can think of, except the usual. There is the mysterious thrill of “One Little Kiss,” the quiet havoc of “If You Don’t Know How to Love Me”, the uncomfortable exhilaration in “Take It Easy,” and the deceptive psychedelic darkness of “Sugarbabe.” Of the latter, which initially takes the form of a traditional Piedmont-style blues, she says, “It might sound sweet at first, but the song actually speaks to an underlying intense sexual desire and yearning for someone who is either spreading their love around to many, or is simply gone. Despite these frustrations, you are still deeply obsessed.” The song then shifts into psychedelic overdrive with a swirling instrumental section that leaves the listener unsure of which way is up, or where the journey began.
As Miss Tess shows in every moment of The Moon Is an Ashtray, questioning the status quo while maintaining her unique identity and challenging our ideas of perspective, well, there's nothing more defiant than that.
William Elliott Whitmore