Umphrey's McGee

Umphrey's McGee

The Marcus King Band

Sat, February 3, 2018

Doors: 6:30 pm / Show: 8:00 pm

Wings Event Center

Kalamazoo, MI

General Admission: $27.50 - $37.50 | $5 increase day of show

This event is all ages

Single show ticket prices:
$37.50 - Floor
$32.50 - Bowl
$27.50 - Bowl Early Bird

2 show ticket prices:
$65.00 - Floor
$55.00 - Bowl
$50.00 - Bowl Early Bird

Early bird prices apply to bowl seats only. The early bird will start on October 25 and can be accessed with the pre-sale password info provided below. Early bird tickets will no longer require a password to be accessed starting on October 27 at 10AM and will be available until Friday, November 10 or while supplies last.

$5 increase day of show for all ticket prices

2-Day tickets for February 2-3 can be purchased here.

To RSVP to the official Facebook event and for special pre-sale offers and passwords, click here

Tickets are also available at the Wings Event Center box office or by calling 1-800-514-3849. 

Umphrey's McGee
Umphrey's McGee
After 18-plus years of performing more than 100 concerts annually, releasing eight studio albums and
selling more than 3.5 million tracks online, Umphrey’s McGee might be forgiven if they chose to rest on
their laurels. But then that wouldn’t be consistent with the work ethic demonstrated by the band, which
consistently attempts to raise the bar, setting and achieving new goals since forming on the Notre Dame
campus in South Bend, IN, in 1997. After releasing their eighth studio album, Similar Skin, the first for
their own indie label, Nothing Too Fancy (N2F) Music (distributed by RED), the group continue to push
the envelope and test the limits. Their brand-new studio album, The London Session, was a dream come
true for the members having been recorded at the legendary Studio Two at historic Abbey Road. The
stealth recording session yielded 10 tracks in a single day, proving once again, the prolific UM waits for
no one.

The original Umphrey’s McGee played a mix of originals and cover songs, waiting just eight months to
release their debut album, the cheekily titled Greatest Hits Volume III. Their initial “proper” recording,
Local Band Does OK, came out in 2002, followed shortly afterward by an appearance at the first-ever
Bonnaroo in Tennessee, selling more albums than any other band on the bill. The 2007 double album,
Live at the Murat, earned a four-star review in Rolling Stone and a Jammy for Best Live Album.

Despite attempts at categorizing UM, the band has devoted its craft to making their devoted followers feel as if they are part of something larger, through such technology-fueled innovations as fan-curated sets, theimmersive high-end audio offering, “Headphones & Snowcones,” where the pristine sound of the live soundboard mix is piped wirelessly through high-end personal monitor systems and headphones, as well as making every live show since 2005 available via their live music portal UM were also the first group to launch its own single-artist streaming service.
2014’s Similar Skin saw Umphrey’s McGee aim to strut their rock and progressive roots, with
touchstones ranging from the Police and U2 (“The Linear”), the Beatles (“No Diablo”), Nirvana (“Loose
Ends”) and Led Zeppelin (“Hindsight”) to Metallica, Soundgarden and Pantera (“Puppet String”) and
even the symphonic rock of Gentle Giant, King Crimson, Yes or Genesis (the closing nine-minute live
staple, “Bridgeless,” finally committed to record). “Every night, we have the opportunity to play whatever and however long we want,” says singer/guitarist Brendan Bayliss. Going into the studio, the challenge was to be as concise as possible, to trim all the fat we could.”

Recorded at IV Labs in Chicago between tour dates, Similar Skin was produced by Umphrey’s McGee
themselves as “a coherent vision,” featuring plenty of dynamics and contrast, with many of the songs
coming from their live repertoire. Thematically, Bayliss was inspired by his own fatherhood, tackling
such issues as living in the moment (“The Linear”), his own mortality (“Cut the Cable,” “Hourglass”),
having children (“No Diablo”), the things that bring us together (“Similar Skin”), the question of whether
there is a God (the Ryan Stasik slap-bass-driven “Puppet String”), sleep-walking (“Educated Guesses”),
the art of storytelling and, according to Brendan, “unresolved psychological issues from the past” (“Loose Ends”).

Finding themselves in London for three shows at the Brooklyn Bowl in June 2014, the idea of
recording at Abbey Road was first proposed by Umphrey’s producer Manny Sanchez, a notion, as
Bayliss recently told Rolling Stone that seemed as likely as “being asked to give a sermon at the

“It wasn’t a goal,” he explains, “because it never seemed like a possibility.” But never to be bound by
what seems possible, UM secured a coveted day at the world’s most famous recording studio and dove in headfirst.
The first songs Umphrey’s McGee recorded that day were altered acoustic arrangements of “Cut the
Cable” and “No Diablo,” from Similar Skin. “Something we could go in and get quickly,” according to

“Bad Friday,” a song the band debuted live in Denver the previous New Year’s Eve and “Comma Later,”
a song described by Rolling Stone as “smooth R&B menace with Jeff Beck-styled lead guitar” – was
another recent original, recalling the Rock and Roll Hall of Famer’s Wired album was also recorded at
Abbey Road under its cathedral-high ceiling.

“It makes one note just fold over and over again, coming back around,” marveled guitarist/ vocalist Jake
Cinninger, who ventured into the original microphone closet, where he discovered all the Neumann and
Telefunken mics The Beatles used still in pristine condition. “You can hear the echo in the room. The
notes keep singing operatically.”

“Glory,” “Eat” and “Out of Order” were three set-list regulars that had never been recorded for a studio
release. With time still left on the clock, the band decided to cut The Beatles’ “(I Want You) She’s So
Heavy,” for their own entertainment, but ultimately ending up including on the album.
Twelve hours after first setting foot in Abbey Road Studios, just before midnight, Umphrey’s McGee left
the historic room with their own new album, The London Session, what Rolling Stone dubs “a historical
primer, an evolution story inside 51 minutes.”

“You’re looking at 17 years of change,” says Bayliss. “We managed to capture a good representation of
our spectrum.”

Umphrey’s McGee are more than just a rock band – through nearly two decades, they have proven to be
on the cutting-edge of both music and technology, super-serving their fans through a community that
stretches from the campus of Notre Dame to the hallowed halls of Abbey Road.
The Marcus King Band
The Marcus King Band
Songwriter. Guitarist. Singer. Bandleader. At only 21 years of age, Marcus King’s dazzling musical ability is evident throughout The Marcus King Band, the young phenom’s 2nd full-length LP and first for Fantasy Records. Operating within the fiery brand of American roots music that King calls "soul-influenced psychedelic southern rock," the album highlights King’s gorgeous, rough-hewn vocals, soaring guitar work and heartfelt songwriting all amidst a group of masterful musicians who, together, are quickly becoming one of the country’s most sought after live acts.

Raised in Greenville, South Carolina, King was brought up on the blues, playing shows as a pre-teen sideman with his father—bluesman Marvin King, who himself was the son of a regionally-known guitarist—before striking out on his own. Going beyond the sonic textures of his acclaimed 2015 debut album, Soul Insight; The Marcus King Band broadens his sound, touching upon everything from funky R&B to Southern soul and Americana in the process. His band gets in on the action too, stacking the songs with blasts of swampy brass, a lock-step rhythm section and swirling organ. Ever the multi-tasker, King bounces between several instruments, handling electric and acoustic guitar — as well as pedal and lap steel — while driving each track home with his soulful, incendiary voice.

Having spent the past year tirelessly playing ever-larger venues and festivals to a burgeoning fan base, The Marcus King Band was written on the road and recorded during a series of live takes at Carriage House Studios in Stamford, CT. The album captures the energy of the band's blazing live show, as well as the talent of a rising young songwriter reaching well beyond his years.

"The majority of our songs are specific to situations I've lived," King explains. "I write as a form of therapy, to release my emotions into a musical expression. I want people to know they're not the only ones going through that pain. Music is the true healer. And when we perform, we want the audience to leave feeling as tired and as emotionally freed as we do. It's all about getting the stress of the day off your chest. It's like therapy."

The Marcus King Band features Jack Ryan on drums and percussion, Stephen Campbell on bass, Matt Jennings on keys and organ, Dean Mitchell on saxophone, and Justin Johnson on trumpet, trombone and backing vocals. Joining the band on the new album are a number of mentors and collaborators, including Derek Trucks (who plays guitar on "Self-Hatred").

No guest plays a bigger role than Warren Haynes, though. A longtime champion of King's songwriting and guitar prowess, Haynes produced every track on The Marcus King Band (and contributed his trademark slide guitar on "Virginia"), expertly capturing the group's live sound for a cohesive collection reflecting the band's expansive explorations.

"Marcus is the first player I’ve heard since Derek Trucks to play with the maturity of a musician well beyond his age," Haynes says. "He’s very much influenced by the blues, but also by jazz, rock, soul music, and any timeless genres of music. You can hear the influences, but it all comes through him in his own unique way. He has one of those voices that instantly draws you in, and his guitar playing is an extension of his voice and vice versa.”

A childhood introvert who leaned heavily on music as a way of expressing himself, King fills The Marcus King Band with a mix of biographical tunes and fictional story songs. "At the time I wrote 'Self-Hatred,' says King, "the girl I was seeing really hurt me. Broke my heart, took all of my insecurities and used them against me…she told me she hated herself for what she had said and done to me. I told her I knew exactly how it feels to hate yourself. 'Self-Hatred' is within you and me."

"Devil's Land" is loosely based on his grandfather, who worked on a farm during his younger years, while the story behind the track "Rita Is Gone" was inspired by the television show Dexter. Meanwhile, songs like "Guitar In My Hands" peek into King's personal life — a life filled with highway mile markers, truck stops, and a nightly rotation of stages, all waiting to be filled with the sound of a genre-bending band on the rise.

"This album is a big melting pot of different kinds of music," says King. "It's the sound of everyone taking their own influences and collectively coming together as a group. We're all really hungry to play, and we're so passionate about this music. I want people to feel the same thing we feel — to leave the show feeling some sense of release. It's almost like the show ends, and everyone can take a deep breath together."
Venue Information:
Wings Event Center
3600 Vanrick Dr
Kalamazoo, MI, 49001
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