Todd Snider: American Troubadour Tour w/ special guest Arlo McKinley

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Todd Snider: American Troubadour Tour w/ special guest Arlo McKinley

  • ALL AGES
  • Presented by Aubrey Entertainment & Marigold Festival

Todd Snider returns to NE Georgia at the Marigold Auditorium in Winterville, GA to support his new album Live: Return of the Storyteller!

When and where

Date and time

Location

Marigold Auditorium in Winterville, GA 373 N. Church Street Winterville, GA 30683

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Performers

Headliners

  • Todd Snider

More Performers

  • Arlo McKinley

Refund Policy

No Refunds

About this event

Todd Snider: American Troubadour Tour w/ special guest Arlo McKinley image

Aubrey Entertainment & the Marigold Festival present:

Todd Snider: American Troubadour Tour

w/ special guest Arlo McKinley

Friday November 25, 2022 @ Marigold Auditorium for Arts & Culture

  • Venue is located at 373 North Church Street, Winterville, GA
  • Doors open @ 7pm, Music @ 8pm
  • All ages welcome
  • Seated GA tickets (rows 4 & back) are $25 (+tax/fees) in advance
  • Preferred Seating tickets (rows 1-3) are $30 (+tax/fees) in advance

Todd Snider – Live: Return of the Storyteller

Troubadour, meaning an itinerant singer of songs, is a word that dates back centuries, and comes from the French verb “trouver,” which is to find. These musical wanderers would find and invent stories humorous and intellectual, romantic and earthy, performing them as they went from town to town. Troubadour is also the word that acclaimed musician-raconteur Todd Snider leans on to describe himself and his latest release, Live: Return of the Storyteller.

“I think my first thought with this record was I wanted to remind people really quickly that I'm a troubadour,” says Snider. “Playing live is the only chance for me to show, 'This is what I really do.' I've never thought of myself as a recording artist. I'm someone who gets over by traveling around, telling stories, making up new songs and singing them alone on stage.”

Before he even made his professional debut with Songs For The Daily Planet in 1994, Snider already knew that he wanted to be part of this time-honored tradition. “I like the romantic notion of drifting around and laughing your way through life,” he says. “Like Jim Croce or Mark Twain. I felt like I was half-doing that anyway. When I was 19, I was a real drifter and a sofa circuit person. Then when I first saw Jerry Jeff Walker and John Prine play, I became obsessed. I followed them both around like The Grateful Dead. I saw that the difference between a free spirit and a freeloader was three chords.”

“And as soon as I figured that out, I knew that it would help me as a person who didn't have a plan. Just to be a busker. I didn't want to sign up for normal life. I wanted to do another thing, and then it turned into a real gig. I was really surprised. It's still funny to be getting away with it.”

That speaks to Snider's modesty about his singular talent and deep catalog of songs of every emotional stripe. Rolling Stone has called him “America's sharpest musical storyteller” while the New York Times described him as “a wryly quotable phrasemaker and worthy antagonist.” Live: Return of the Storyteller – his third live album and nineteenth overall - plays like a masterclass by one man with a guitar and a freewheeling imagination. Threading his husky-voiced phrasing through a likable cosmic cowboy manner, he invites you on a tour of tunes humorous (“Big Finish,” and the have-meets- have-not “In Between Jobs”), Proustian (“Play a Train Song,” “Too Soon To Tell,” and the lump-in-the-throat snapshot of John Prine on “Handsome John”) and heart-worn (“Like a Force of Nature,” “The Very Last Time,” “Roman Candles”). As the fifteen-song set unfolds, you can feel a tangible bond building between Snider and his fans.

But the songs are only half of what makes the connection so compelling.

Acting as palate cleansers and putty, the stories between numbers offer colorful glimpses into Snider's interior life. Whether he's talking about being mistaken for a homeless guy in a nice hotel, searching for a song in the woods while tripping or the poetry of one of his heroes dying on stage, his spoken interludes are delivered with both meandering charm and deadly comic timing.

Snider credits an unlikely source of inspiration for both. “The comedian Richard Lewis is a friend and a mentor, and we talk almost every day,” Snider says. “We met about six or seven years ago through a drummer who's a mutual friend, and really hit it off. I feel like since I've known him, my storytelling has evolved. I don't know that I've gotten better, but a lot of the ways I approach my shows is from learning things from Richard. Especially this idea of being able to go on and on without just going on and on. To ramble without getting boring.”

Snider is also mindful about not repeating himself when he's returning to a familiar venue, which can add a tightrope quality to his performances. “On this record, when I left Nashville, I didn't know what I was going to say,” he admits. “I just knew that it couldn't be the same shit that I've said. I was going to have to have some new stories to tell. That's how it's been for years. Then one night, I'll get up there and open my mouth and something new comes out. And then I'll just keep telling it and refining it. It happens under pressure.”

The timing of Live: Return of the Storyteller's release has extra resonance in our post-pandemic era. Snider says, “I'm glad I recorded the tour last year, because that was the sound of the country getting to see live music again. It was unique and it won't happen again. Everyone just hugs at the start of a concert - you can tell that they're glad to see each other, and then they get more excited than they used to be about just being out and seeing music. I'm sure that it will go back to normal, but it hasn't yet.”

While the album captures what Snider laughingly calls his “second tour - because I went out on the road in '94 and never went home until the pandemic” - it acts as both a summing up of a thirty-year career and a look ahead.

“I always think that being a recording artist isn't something that I've thrived at,” he says. “I have fun with it and try all different kinds of music and try to learn more and more, but the only reason I get to do it is because of the main thing I do - which is travel around by myself and sing and tell stories. That thing works. Since I was twenty, that thing has worked. People come to see me do it and I love to do it.”

Todd Snider: American Troubadour Tour w/ special guest Arlo McKinley image

Gifted singer-songwriter Arlo McKinley will release his debut solo record at age 40 on John Prine’s Oh Boy records - after he almost gave up on music altogether, his story is one of hope and sincerity, and he is living proof that great songs will reach the right ears eventually, even if it takes time.

McKinley’s Oh Boy Records solo debut, Die Midwestern, is deeply rooted in street soul, country, punk, and gospel and draws on personal stories, set against the backdrop of his hometown of Cincinnati Ohio. It was crafted downriver, in Memphis’ legendary Sam Phillips Recording Service, produced by GRAMMY award-winning Matt Ross-Spang, with an all-star Memphis band of Ken Coomer, David Smith, Will Sexton, Rick Steff, Jessie Munson and Reba Russell. There, McKinley recorded ten remarkable songs - some dating back fifteen years - all penned with a weight, honesty and gritty-hope that comes from living in the rustbelt city where his songs were born. Matt Ross-Spang, stated, “I am in awe of Arlo’s songs and his dedication and embodiment of each one when he performs them . His willingness to bare it all on this record was more electric than the equipment used to capture it.”

Arlo McKinley is the last artist John and his son Jody signed together to their label Oh Boy records. Jody Whelan shared, “John was reserved in his praise for songwriters. I played him a couple of Arlo’s songs and he heard Bag Of Pills and said, “that’s a good song” which for him, was very high praise. He loved Arlo’s voice, this big guy with a sweet, soulful, gospel voice. He loved the dichotomy of the hard life lived, presented through such beautiful songs and John was very excited about the promise of the album’s release.”

McKinley stated, “The feeling of knowing that a hero of mine took time out of his day to come see me perform is such an accomplishment in itself to me that if it all ended the next day and I found out music just wasn’t in the cards for me, I would’ve still considered everything I have done as a success.”

On Die Midwestern, McKinley’s songs bleed truth and emotion from a heart scarred by wild nights and redeemed by soulful Sunday morning confessions. His lyrics are laid bare, stark and arresting in their honesty, and often penned from real-life experience. “Bag Of Pills” is an autobiographical and frank account of the drug issues which affect his hometown, “ I wrote it after I sold some pills so I could take a girl out. Those were rough times and also right around the time I started seeing a real drug addiction very close to me. After watching so many friends die from drug abuse it turned into me praying that it doesn’t get any worse while knowing that it will resulting in my writing of the lyrics, ‘life I don’t want it if it’s so easy to die.’”

“Gone For Good” sees McKinley share his lessons from broken relationships,. "I wrote 'Gone For Good' after a serious long relationship of mine ended. It’s about me realizing how short I fell on even trying to make it work.” Title track “Die Midwestern” reflects on McKinley’s love/hate relationship with Ohio, “I love it because it’s everything that I am but I hate it because I’ve seen it take my loved ones lives. I’ve seen it make hopeful people hopeless.” McKinley reflects on his brutal honesty in his songs, “Songwriting has to be real. I’m 100% putting myself out there, I’m not writing fiction. To me it is just about honesty. "

By age 8, McKinley was singing at his family’s church, Bethlehem United Baptist where he first saw the light of music. Early musical loves outside church were his Kentucky native father’s bluegrass and timeless country records of Hank Williams, Sr. as well as, Bob Dylan, John Prine, Otis Redding and George Jones. Then his two older brothers’ punk and metal collection drove him to throw himself raw onto the Cincinnati punk scene. “I grew up in the punk scene with my brothers and dad has all of that stuff that came out of King Records like Hank Williams and I was just surrounded by it,” McKinley says. “I still take parts of it and I feel I write songs in a punk rock way…” With concert covers ranging from Johnny Paycheck and The Misfits to Rihanna and Post Malone McKinley shows a diverse range of musical interest, which he attributes to musically melting pot of the Cincinnati music scene, “You go back to the history of Cincinnati music and you can see and feel that the river back then connected everything and it all flowed into one spot and brought all kinds of music here,” says McKinley, adding, “That’s why I think this town has never been known for one kind of music because so many things came through here.”

He pursued a solo career from 2014, with his own band The Lonesome Sound and achieved some success including a nomination for Album of the Year, Songwriter of the Year and Best Americana Act from the Cincinnati Music Awards, but his career stalled and he almost gave up altogether, “I don’t know why the world works the way it does but I’m beyond grateful to be in this situation.” McKinley stated, adding, “ I’m a little wiser in my ways and a 20 something me would’ve found a way to destroy the one dream that has stuck with me my entire life. Being a working musician.”

He also almost missed his big break, which came when he was offered an opening slot for Tyler Childers, and his now manager, was trying to reach him on the phone to offer him an opening slot. Arlo initially dodged the persistent unknown caller. Eventually, they connected after a friend hit him up on social media and he took the call. “My buddy was like, Arlo.. Tyler’s team are trying to get hold of you.. I don’t know where I would be if I didn’t take that call. Still delivering tuxedos which was my side job before I was a full-time musician.”

Since, McKinley has been making a name for himself around the country, humbly sharing stages with kindred musical spirits John Moreland, Jason Isbell, Justin Townes Earle, and contemporary rising singer/songwriters Ian Noe and Colter Wall, eventually attracting the attention of Oh Boy, who signed him in March 2020.

McKinley reflects on the significance of the timing of his release, stating, “I only met John briefly and I would’ve loved to have sat with John and talked music which I’m sure would’ve happened but I treasure the moment we had together when he came to see me play a show. His passing was a major knockdown blow for the entire team. I’m sure John had a vision for Oh Boy Records and I’m proud and honored to be able to contribute to the labels continued legacy.”

McKinley’s Die Midwestern remains an album of hope and he knows first hand how his music can connect with his growing audience. “I had a guy who was dealing with brain cancer walk up to me and say that he was done with it but something in my songs resonated with him and made him get out and start living even though he knows what is ahead of him. Nothing is more important than that. That’s why I write songs like I do. I’m just another lost, hurting person in this place - I just like to sing about it.”

$25 – $30