Amanda Shires

Amanda Shires

Lilly Hiatt

Fri, August 24, 2018

Doors: 7:00 pm / Show: 8:00 pm

Alberta Rose Theatre

Portland, OR

General Admission $25 | $2.50 increase day of show

Tickets are $25| $2.50 increase day of show

To RSVP to the official Facebook event click here.

Tickets are also available by calling 503-764-4131.

Amanda Shires
Amanda Shires
Amanda Shires is not an entertainer. She isn’t looking to help listeners escape their everyday lives or soundtrack celebrations. She isn’t reaching for celebrity, and she isn’t concerned with cultivating a personal brand. She is an artist in the true sense of the word, meaning she creates because she has a real need for the process of creating. That is not to say that the songs on My Piece Of Landaren’t entertaining, but that quality is a by-product. The real intention here is to relate. Ms. Shires began her career as a teenager playing fiddle with the Texas Playboys. Since then, she’s toured and recorded with John Prine, Billy Joe Shaver, Todd Snider, Justin Townes Earle, Shovels & Rope, and most recently her husband Jason Isbell. Along the way she’s made three solo albums, each serving to document a particular period in her life while improving on the perceptive qualities of the previous record. The songs on My Piece Of Land deal with family, with anxiety, with the phases of one young woman’s life; but the primary focus of My Piece Of Landis the concept of home. Ms. Shires addresses the similarities and differences between the home she was born into, the two homes she was eventually split between, and the home she has finally made for herself. Some of these stories are from the creator’s point of view and some most certainly are not. You’d be hard-pressed to identify which is which, though, considering the level of empathy involved in the creation of these stories. “The concept of home, like the concept of love, is more complex than it seems,” says Ms. Shires. “You start out with this inherited idea of home, but as you grow you realize that’s only a suggestion. You have to use that along with all the little pieces of wisdom you’ve picked up along the way to finally build your own place in the world.” Ms. Shires sometimes describes songwriting as “solving the puzzles,” but before the songwriter even begins to arrange rhymes and melodies, she must first be acquainted with the complicated workings of the heart. Most of this album was written after Ms. Shires had reached the seven-month point in a summertime pregnancy, and was no longer able to travel. For a woman used to touring most of the year, being stuck inside brought challenges and offered creative rewards. “Pregnancy does weird things to you,” Amanda says. “You walk around holding your arms over your belly, sometimes almost overcome by anxiety. I constantly wondered if I would be able to protect this child, if my marriage would last forever, if I’d learned enough about the world to be a good mother. At the same time, you’re so excited, so hopeful, and so severely physically limited.” About how the setting affected the finished product, she says “This record turned out to be a personal record, set in our home where I had lots of time for reflection and time to face my concerns and
fears.” The listener can hear Ms. Shires unpacking those anxieties in a song like “Slippin,’” with its ruminations on what could go wrong in a relationship that seems stable. There’ll be a trigger,then up starts the fire,a handful of matchessome faulty wiring.You’ll say you have this hollow feeling. Something’s always been missing. Tonight could be the night you go slippin' away from me. Her piece of land is one with a panoramic view, and she pays close attention to even the smallest details. Take, for instance, the first stanza of “Harmless.” A phased golden light rained down from the streetlight. It fell across your shoulder, paused just above your collar. With this description of one fleeting moment, the writer sets an entire scene. Ms. Shireswould argue that the term “poet” should not be used to mean “unusually perceptive songwriter,” since the roles of modern songwriter and poet are so very different. However, it isn’t hard to understand how her post-graduate education in poetry helps Ms. Shires choose which details to include. “It’s all about precision. My time in the MFA (Master Of Fine Arts) program at Sewanee taught me a lot about different ways of writing and how they all have one thing in common: the better you are at editing, the better your work will be. Spending long hours workshopping poems and reading the classics gave me a solid standard when it came time to edit my songs.” Ms. Shires recorded My Piece Of Land under the guidance of brilliant Nashville producer Dave Cobb at his Low Country Sound studio. Inviting Cobb to produceMy Piece Of Landwas an easy decision to make, considering Ms. Shires had worked with him before on Jason Isbell's albums Southeastern and Something More Than Free. Ms. Shires knew of Dave’s propensity toward arranging the songs in-studio, rather than rehearsing or making demos beforehand. Cobb believes in the spontaneity of early takes, and with the proficient rhythm section of Paul Slivka and Paul Griffith, the studio band was able to record the album in a relatively short amount of time without sacrificing performance quality. This approach gives each song on the album emotional urgency along with a groove that’s loose and effortless. Among other things, “Pale Fire” is about consciously shifting one’s own priorities. There are two types of lovers: the kind we need and the kind we want. The hard part is finding someone who represents both. “You Are My Home” is written as a gift, a token of appreciation to someone who has helped the narrator define her place in the world. “Mineral Wells” is a song Ms. Shires wrote many years ago, after relocating to Nashville from her childhood home in Texas. It speaks to the part of us that never really leaves that original homeplace. With My Piece Of Land, you get the sense that Amanda Shires has reached a personal pinnacle. This album is the creative milestone suited to accompany the recent milestones in her life: becoming a mother, developing into a true artist, and finally finding a home.
Lilly Hiatt
Lilly Hiatt
"Gonna hang on a little bit longer, sleep well, work a little harder; put my faith in something I can't see," sings Lilly Hiatt on the title track of her third LP, Trinity Lane. It's a set of honest words from an album of personal truths; a collection of songs that take stock of where she's been, where she's going and the challenges she's weathered to get there. Produced by Michael Trent of Shovels & Rope, Trinity Lane is indeed about hanging on, working hard and keeping the faith, centered on songwriting that melds the observational with the confessional and never tries to follow any particular genre code – the guitar riffs are as Seattle as they are southern, the topics are modern as they are built on the past. East Nashville's Trinity Lane is where Hiatt lives, and Trinity Lane is a document of what lives inside her.

"There is a lot of hope in the album," says Hiatt about the follow-up to her sophomore LP, Royal Blue. "There is a lot of pain, but this album is a more mature response to that pain. It's taking responsibility for those emotions, and realizing what they are. A little brighter perspective. It took some time to get there."

Hiatt went through many toils to finally reach Trinity Lane: she overcame heartbreak, she conquered alcohol abuse, she lived with the heaviness of knowing she had surpassed the age her mother was when she took her own life when Hiatt was just a baby. It was after a particular breakup when she moved to an apartment off Trinity Lane in East Nashville, off the beaten path from the town's growing tourist draws – there, she started writing by herself, fresh off the road supporting John Moreland, mixing a sense of creative isolation with a newfound feeling of belonging in the idiosyncratic neighborhood.

"It's an A-frame with brown carpet," she says, describing that home off Trinity Lane. "It's really cheap to live in, and there are all kinds of people in my neighborhood. None of us seem to have a ton of money. My house is right by the woods, and I can stare out to the trees, which I love because I grew up on a farm. I just love me some trees."

It was there, amongst those trees, where the songs started to work as both diary entries, expositions and therapist sessions in one, helping her to explore and decode what exactly was going on inside her own mind. Once completed, she took them to Trent’s Studio Bees in Johns Island, SC, where he produced (his Shovels & Rope partner, Cary Ann Hearst, appears on a song) and Andy Dixon engineered, in a way that really hit at Hiatt's playful, rock-focused core. She brought her band along to South Carolina, where they not only preserved Hiatt's Americana roots but let her gritty influences shine – like an array of nineties grunge and post-punk bands like Dinosaur Jr., the Breeders and the Pixies. Somehow she's created a sound that exists within both those roots and rocking realms, firing along with ample sass and unbridled attitude.

"I like to rock out," says Hiatt. "Trent really brought that alive. I wasn't playing by the rules because I didn't and don't believe in them. "And what I really miss is the way we celebrated angry women in the nineties very openly and allowed them to express that side of themselves through their music. I think women should be allowed to be angry"

Trinity Lane isn’t all an expression of anger, but it is an emotional, honest confrontation of Hiatt's feelings and her past, like how she's processed her mother's suicide over the years. Hiatt lost her mom when she was just one year old and was raised by her father, John Hiatt, and his wife Nancy, struggling her whole childhood and adult life thus far with how to process that resentment and grief. And it's a chronicle of overcoming heartbreak and addiction: "Different, I Guess" is a slow folk ode to losing love, and "Imposter" is about the difficulties her father faced raising his daughter, and the sparks of her mother that still shine through.

"I've been thinking a lot about my dad and the strength it took him to keep me going and to bring me to Nashville," she says about "Imposter." "Just to keep us together and keep us going, that's always meant a lot to me. For a long time I felt pretty angry with my mother. But through maturation, I feel like I understand her more these days."

"She's never coming back, I think we both know that," sings Hiatt before cooing with her steady twang, "I count on you." It's an incredibly vulnerable and intimate family diary, but never at the expense of a rich and stirring melody perfectly in tune with the modern pulse of Americana. It's an offering of sonic salvation that Hiatt hopes will do as much for the listener as it has done for her own personal healing.

"It's really cool to be honest with yourself," she says. "When I have a clear head and a peaceful mind, that process of looking back at things is so much easier. It's a very empowering feeling. It has literally saved my soul, songwriting. I would not be here without that and without that outlet of writing."

The songs on Trinity Lane have even helped Hiatt process things like the death of David Bowie, which functions as a metaphor for a lost lover. On the heavily nineties-tinged "The Night David Bowie Died," she bids farewell to a relationship and to a musical genius while also evoking Veruca Salt-style vocals and guitars. It was a track written entirely in one stream-of-consciousness, where Hiatt didn't edit or write anything down – she just sang and played. "That was David Bowie's little gift to me," she says with a laugh.

Trinity Lane is full of gifts and full of guts – an album that is a healing process and a road map forward, filled with Hiatt's wildly expressive approach to songwriting and stark, honest lyrics. To get there, she finally had to put her faith into something she couldn't see. But to hear that journey, all you have to do is listen.
Venue Information:
Alberta Rose Theatre
3000 NE Alberta St
Portland, OR, 97211
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