Sean Watkins (of Nickel Creek) With Very Special Guest Lily & Madeleine – Tickets – Jammin Java – Vienna, VA – December 3rd, 2017

Sean Watkins (of Nickel Creek) With Very Special Guest Lily & Madeleine

Sean Watkins (of Nickel Creek) With Very Special Guest Lily & Madeleine

Sunday December 03, 2017

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

GA $20 | Premier $20 | Premier Plus $20

This event is all ages

• Full dinner and drink menu available

• The Premier Plus section is a raised area with great views and reserved seats and tables. There is a dedicated server for faster service

Sean Watkins
Sean Watkins
Singer, songwriter and multi-instrumentalist Sean Watkins has long been known for his work as one-third of the Grammy Award-winning Nickel Creek and, more recently, for helming, with sister Sara, the itinerant, genre-hopping Watkins Family Hour ensemble. But in the last year he has more assertively – and impressively – taken on the role of solo artist. What To Fear is a follow-up to 2014’s acclaimed All I Do Is Lie, which had been Watkins’ first solo effort in nearly a decade, ten years that had been jammed with collaborative projects and a herculean amount of touring. On his own, Watkins displays tremendous warmth and soulfulness as a singer, a refreshing candor and humor as a lyricist, and prodigious skill as an arranger. And he doesn’t merely stick with the familiar: On What To Fear, he bolsters an acoustic lineup with a rock rhythm section, bringing drama and drive to these new tracks while keeping intact the emotional intimacy of all the stories he is telling.

As a writer, Watkins deftly juggles the observational and the autobiographical, convincingly taking on the personalities of others – a stalker, a preacher, a cynical newscaster – and then juxtaposing them with a voice that is clearly his own. Watkins’ singing unites disparate narrative threads; he’s disarmingly honest and sympathetic, no matter whom the character he is channeling might be. Similarly, he has managed to take the work of his acoustic collaborators – -the gifted young Northern Californian trio, Bee Eaters – with the robust bass and drums combo of Matt Chamberlain and Mike Elizondo.

The title track starts off in a deceptively simple way, just Watkins’ plaintive voice and acoustic guitar, before the band kicks in, bolstered by a dreamy, Mellotron-generated string section. It’s ominous, compelling and surprisingly topical. Watkins could be echoing the words of an evangelist, a sensationalist newscaster, or a fear-mongering political candidate. Watkins quips, “I kind of lucked out with that. I started writing before all the campaign stuff was happening. But something like that is always happening.”

Conversely, “Last Time For Everything” is “a mostly true story, from back in my early to mid twenties. The concept of ‘a last time for everything’ – a friend of mine said that once and I thought, there must be a song with that title. There wasn’t any song that I could find so I wrote it. The first thing that comes to mind with a phrase like that would be something like ‘the last time you saw someone’ but that felt cheap and sentimental. I wanted to celebrate the other side of it, the things that you are never going to do again and be grateful for that, the mistakes from the past, analyzing what you’ve done and sussing out what to keep and what to let go.”

Watkins began composing these new songs as he toured in support of All I Do Is Lie and prepared to hit the road for the first time with Watkins Family Hour, a project that until then had mostly stayed rooted at Largo, the group’s favored venue in Los Angeles. Watkins initially envisioned the album as an acoustic string-band session and reached out to the Bee Eaters, a trio he’d become acquainted with after participating in bluegrass camps they conducted in Northern California. Bee Eaters are led by Tashina Clarridge on violin and her brother Tristan on cello. Simon Chrisman plays hammer dulcimer with them, and his instrument gives both a percussive and melodic underpinning to several of these tracks. But, as Watkins’ songs developed further in the writing stage, he realized he also wanted to employ a rhythm section, and called on his friends, bassist Elizondo and drummer Chamberlain, who each boast a lengthy list of credits, from hip hop to rock to jazz. Says Watkins, “It’s mind-blowing how good they are.”

Watkins’ original idea was to cut tracks separately with these two groups of musicians. But he found himself with a few days of studio time and decided to record the same four songs with both lineups and then determine what configuration worked best for each tune. What he discovered was that these two approaches weren’t mutually exclusive. By combining elements from each session he came up with a unique sound, one that helped define, in a larger sense, where Watkins himself had arrived as a solo musician. As he explains, “I wanted to highlight where I come from musically, the strings and the solos and I wanted this album to more guitar oriented than my last one. I wanted this record to highlight my musical strengths but without getting to comfortable. I really enjoy music that it is, at once, satisfying and surprising. So this record is my attempt at approaching that balancing point between reaching forward and experimenting musically while also celebrating where I come from with regard to the acoustic, bluegrass side of the spectrum.”

Unlike most of his peers, Watkins has been a performer for more than 25 years. He was a mere 12 years old when he played his first gig in Nickel Creek, with sister Sara on fiddle and Chris Thile on mandolin, at a San Diego pizza parlor. The trio’s star ascended quickly; within a few years, a progressive bluegrass following grew into a large mainstream audience. Its 2002 album, This Side, garnered a Best Contemporary Folk Album Grammy. Since then, Watkins has released discs with Switchfoot frontman Jon Foreman as the duo Fiction Family and with fellow guitarist Glen Phillips as Works Progress Administration, an eight-piece band featuring a stellar lineup of fellow L.A. session players. He also managed to release three solo efforts along the way. The Watkins Family Hour began as an informal event at Largo, where Sean and Sara could carouse on stage with an ever-changing group of like-minded friends. A core group of musicians became a regular part of the festivities, including pianist Benmont Tench, bassist Sebastian Steinberg and singer Fiona Apple. Together they recorded The Watkins Family Hour disc last year and took their convivial show on the road. What To Fear includes guest-star turns from Sara, as well as Tench, Steinberg and Petra Haden. In fact, the instrumental “Local Honey” was originally written as a kind of Family Hour theme song, for the live show and the group’s podcast.

Having friends and family on board has long been a hallmark of every Watkins project. He’s also been regularly invited to record and tour with many other musicians, among them Jackson Browne and Lyle Lovett. But What To Fear is all about Sean Watkins himself, front and center, as his songwriting matures and his persona as a solo performer blooms.

“For the longest time I didn’t feel comfortable in that role, “Watkins admits. “I loved being in bands. But now that I’ve done songs that I really like– I’m proud of my last one, and even prouder of this one –that makes a big difference when you’re traveling solo, stepping on stage by yourself. It’s fun to go out on stage – anything is possible. It’s gone from feeling daunting to being hopeful and free.”

— Michael Hill
Lily & Madeleine
Lily & Madeleine
Keep It Together

Madeleine:

Keep It Together is our third full length album and it’s a bit of a departure from our last two records. We arranged all the songs with our friends Kate Siefker (drums, percussion, synth, bass) and Shannon Hayden (cello, guitar, mandolin, synth). Working with a closer knit team of just four ladies helped tighten our sound and unify each track into a complete collection. Our live performances with Kate and Shannon will be will be very tightly arranged because they were directly involved in the orchestration/recording process.

Lily and I wrote many of the songs separately and came together to revise/finish them. I hope listeners are able to see our unique personalities through our different lyrical themes. “Keep it together” is a lyric from the first track “Not Gonna,” which Lily wrote. This simple phrase has a lot of meaning to us: keep your shit together, keep our relationship as sisters together, pressure to keep our image a certain way as young ladies.

Women, and young women especially, are multifaceted, yet are often trapped in certain roles. As Nicki Minaj has said, “If you speak up for yourself, you’re a bitch. If you party too much, you’re a whore. Men don’t get called these things.” I admit I’m constantly afraid of saying something too “edgy” and offending someone or being “too nice” (what is too nice??) and not being true to myself. Lily and I started making music when we were teenagers, but we’re adults now and we’re thinking about the future. I don’t want to be afraid of my future because I’m a young woman. I want to do my best to be my best and create kick ass art without hesitation.

One of my favorite tracks is “Nothing,” which I wrote. This song is a dramatization of personal experience. While writing this album I thought about my romantic relationships and friendships and considered how these bonds affect me positively or negatively (or both). I’ve learned a lot about myself through my musical career so far and these songs sort of look back on who I was a year ago and who I’m becoming now.

Lily:

Keep It Together is the most personal body of work that Madeleine and I have created. It feels especially vulnerable to me because I was a lot more involved in the writing process for this album. Each song represents a moment in time that is either a past memory or an event that I could experience in the future: these songs feel just like little parts of me.

This album is very honest too and has a good mix of drama and simplicity. I wanted some of the songs, like “Westfield” and “Smoke Tricks”, to feel like simple and steady streams of thought, which balances out the drama of songs like “Chicago” and “Nothing”.

Along with reflecting on the personal bonds that Madeleine and I both have, I also really wanted to focus more on the bigger picture and write about the experience of being a white woman in America and a college age kid in the 21st century. As I attempt to further discover who I am as an individual, the way society wants me to define myself is becoming clearer. It seems to me that young people are the same everywhere: regardless of race, gender, or socioeconomic class. All young adults are in the same boat, trying to figure out what makes us individuals and trying to find our value in society. I see the same situations reoccurring within my age group: my peers are dealing with eating disorders, drug problems, and abusive/manipulative relationships constantly.

Madeleine and I are used to answering the same unintelligent questions (“What’s it like being sisters?” “Do you ever worry about picking out the perfect outfits for your performances?” “What do your boyfriends think about dating someone famous??”), but I believe with this album, people will pay more attention to our creation instead of our appearances and our “story” as a band. I can only speak for my own experiences, but my greatest hope for this album (as with every album we make) is that people will continue to listen closely and relate.
Venue Information:
Jammin Java
227 Maple Ave E
Vienna, VA, 22180
https://jamminjava.com/