$15

Jerry Joseph, Abe Partridge, and Will Stewart

21+

Jerry Joseph, Abe Partridge, and Will Stewart

21+

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Last Exit Live

717 S Central Ave

Phoenix, AZ 85004

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Doors 7pm | Show 8pm | 21+

About this Event

JERRY JOSEPH

Jerry Joseph will release Full Metal Burqa (Cavity Search Records) on vinyl as a Record Store Day exclusive on April 21. In addition to Joseph, the 5-song album features his band, the Jackmormons, Steve Drizos on drums and Steven James Wright on bass.

In 2014, Jerry Joseph traveled to Kabul, Afghanistan to teach music in an underground, co-ed, rock school. On the streets and in the markets of the capital city, the iconic blue burqa and its diamond-shaped mesh veil, synonymous with Taliban-era Afghanistan, is still a commonplace sight. It had a lasting impression on Joseph, and inspired the title and artwork of his forthcoming new album, Full Metal Burqa.

Joseph describes, Full Metal Burqa as a record of outtakes, but not in the usual use of the word. “I hate that it conjures up ‘less than’ and these are not that. With the exception of ‘Peace Lights,’ these were recorded at TRI Studios with the Jackmormons and friends with Dave Schools producing. We loved them, they just didn’t fucking fit. We are very pleased they are coming out now.”

The album was inspired by experiences of traveling the world, with songs written and inspired by different countries and cultures. Two were written in Kabul. “When I was in Afghanistan, writing many of the songs that ended up on By the Time Your Rocket Gets to Mars, I was trying to stay away from ‘war songs’ as God knows that’s the last thing anyone in that city needs. The one ‘war song’ that made it in the record, ‘Brother Number 1,’ was about war zones I’d recently been in, other than Afghanistan. A couple of these songs were left off the record because of the subject matter or because Jackmormons’ songs tend to run a million minutes long.”

“Peacocks and Blackhawks” were one of those songs. As Joseph explains, “You wake up in Kabul to three sounds, first the call to prayer at 4:00am. I happened to be staying right next to a mosque and though it’s one of my favorite sounds on earth, it was really fucking loud, so it wakes up the peacocks. Peacocks have a loud, and in my opinion, less than beautiful cry. About 5 min after the peacocks, it’s the American Blackhawks and Chinook, which are also very loud, very invasive and frankly a reminder that your country is indeed at war and the Americans own the skies. Before that it was the Russians, someday it will be the Chinese. Good Morning Kabul indeed.”

“Chicken Street” was the other song inspired by Kabul. “Chicken Street is the shakedown street of Kabul. The streets are named after stuff you could buy there, so there is, I’m sure, a Burqa street. We used to walk down Tank Street (we couldn’t buy a tank) to get to Chicken Street, it’s Kabul mojo madness center, including the boys with the swinging cans of hot coals asking for money. Plus all the horrific war wounded asking for alms, and carpets and snow leopard furs and old Russian military surplus and amazing food and of course AFC, Afghan Fried Chicken. And somewhat randomly, a few women asking for money in their – sorry – full metal burqas. Amazing beautiful place.”

The first track, “Power Out” was written several years ago in the Dominican Republic after Joseph and his wife had an emergency landing at JFK. Joseph recounts, “The northwest corner of the DR is a place that means a lot to me, I wrote a lot of songs there. This recording got the Larry Crane Jackpot Studios dub treatment. After all my early years of being in a reggae band, I kept pushing for the 15 min version and the extended Scotty Van Schoick trombone solo. This could have been its own release with a dub B side as far as I’m concerned.”

“Craters of the Moon” is an homage to Joseph’s mentor, Jim Blumenthal. “I was with the band in Drumlish, Ireland when I heard my spiritual mentor and friend, Jim Blumenthal, had passed. As a doctoral Tibetan Buddhist, he had recently been sending me photos of the passing of his teacher, a 94 year old lama, who quit breathing on day 1 and 7 days later rigamortis had set in. Deep meditation to be sure. I got the call about Jim and wrote the song in my head on a run through the October County Longford countryside, came back to the studio and my band whipped it into shape in minutes. Sad Irish songs write themselves apparently. Jim was one of the most purely beautiful humans I have known.”

Lastly, “Peace Lights” was supposed to be commission for a Lebanese woman Joseph knows in NYC who was doing a peace gathering in Union Square. He wrote the song with Steve Drizos in Steve’s studio. Steve recorded it with some Decemberists and Kris Delane and they all thought it was awesome. The woman’s son said it didn’t sound enough like the Black Eyed Peas. So here it is.

ABE PARTRIDGE

Abe Partridge is one of the most respected songwriters and visual folk artists in Mobile, Alabama. He released his second full-length release, Cotton Fields and Blood For Days, in January 2018 to rave reviews and substantial airplay on Americana radio and landed Partridge a lengthy feature in The Bitter Southerner. Ranging from the earthy to the surreal, from the spiritual light to the depths of depression, Partridge draws listeners in with a combination of southern gothic storytelling, dark humor and gripping intensity. Savannah Morning News said, “The singer/songwriter has emerged in the last two years as a tour-de-force of a live act, with the DNA of folk heroes named Townes, Bob and John, combined with his own unique perspective of rock ‘n’ roll and his Southern homeland.” Partridge made his debut at The Bluebird Café in Nashville, July 2018 and brought the house down with his passionate performance. He toured the Netherlands and Belgium November of 2018 and performed at the prestigious 30A Songwriter Festival in Santa Rosa, Florida, in January of 2019 along with performers such as Jason Isbell, Steve Earle, Shawn Mullins and more.

Alan Harrison of THE ROCKING MAGPIE said, “...Partridge sounds like a prodigy of Townes, Guy and Rodney the way his lyrics poetically twist and turn via a grizzled and lived in voice over a jagged acoustic guitar”. Tony Paris of Creative Loafing Atlanta, GA said, “ To call Partridge a singer-songwriter/ guitarist would be a disservice. He’s far more than that. He doesn’t just wear his heart on his sleeve, but rips out the one in his chest, putting what’s pumping through his veins on display.” Jim Halfpenny, producer of the Dripping Springs Songwriters Festival in Austin says, “Abe Partridge is that special kind of singer/songwriter who has the ability to connect with just about any audience. His songwriting is top notch and his stage presence and song delivery are nothing less than stellar. Everyone should keep an eye on Abe Partridge - his future is bright.”

Partridge is currently putting the finishing touches on a new album he is recording with Nashville guitarist/producer Shawn Byrne. His new album is expected to be out by the end of 2019.

WILL STEWART

In March 2016, Will Stewart headed back home to Alabama.

He'd been away for years, living in Nashville while earning his stripes as a songwriter, frontman, and lead guitarist. His fans reached as far away as London, where The Guardian — one of the U.K.'s most widely-reached papers — hailed his work.

Still, something kept drawing him down South. He'd grown up there, surrounded by the twang of classic country music and the stomp of rootsy rock & roll. Alabama was a complicated place, its history filled with dark characters and cultural clashes, but it was oddly compelling, too. It was home. Unable to resist the pull, Stewart returned to Birmingham. There, after a decade away, he rediscovered his muse: the Modern South, whose characters, complexities, open spaces, and strange beauty are all channeled into Stewart's full-length solo debut, County Seat.

Released in 2017, County Seat is a guitar-fueled Americana record, caught somewhere between the worlds of country and electrified rock. The songs are roomy and lush, the result of an inspired — led by Stewart, who handles singing and guitar-playing duties — whose members recorded all nine tracks in two short days. There are swirls of swooning pedal steel, layers of vocal harmony, and the pastoral punch of a songwriter looking to turn the landscape of his home state into music. Close your eyes while playing songs like "Brush Arbor," whose title references Dennis Covington's Salvation on Sand Mountain, and you'll hear Stewart's Alabama home.

County Seat is also a record about time. On the album's title track, Stewart sings about a lonely man in his twilight years, hoping to find some sort of transcendence from an otherwise mundane, day-to-day life. During the nostalgic "Sipsey," Stewart longs for the wonder and innocence of young adulthood. And with "Heaven Knows Why," he takes a look at his own vices, realizing the hour has come to leave some of those habits behind. Like Stewart's own move back to Birmingham, County Seat finds its narrator in constant motion, hoping to weather the mysteries and murkiness of the 21st century South by holding on to a shred of hope.

Co-produced with Les Nuby (who also engineered and mixed the album) and recorded in a series of live takes, County Seat nods to a number of songwriters who sing about the beauty of their homeland without glossing over its imperfections. There are electrified moments influenced by Neil Young, guitar arpeggios suited for R.E.M., turns-of-phrase worthy of Bob Dylan, and the modern-day folksy charm of Hiss Golden Messenger. On an album that evokes some heavy starpower, though, Will Stewart shines the brightest. This is his first full-length release as a solo artist: a rallying cry from a Son of the South who, having returned home after a long trip, looks at his birthplace with renewed eyes.

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Last Exit Live

717 S Central Ave

Phoenix, AZ 85004

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Refund Policy

No Refunds

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