Rachel Baiman Trio

“Shame”  Album Release Tour

7:o0pm at La Tourelle (on the terrace, weather permitting)
Advance Price: $15.00
Door Price: $20.00
Student Price: $15.00

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Join us at La Tourelle for a wonderful evening of original music featuring the Rachel Baiman Trio performing songs from Rachel’s new CD Shame.  On her Shame tour, Rachel is being accompanied by the Tattletale Saints who will open the show with a short set of their own material. 

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LEARN MORE ABOUT RACHEL BAIMAN

LEARN MORE ABOUT THE TATTLETALE SAINTS

 

 

ABOUT RACHEL BAIMAN

In many ways, Shame, the new album from 27-year-old Nashville Americana songwriter and multi-instrumentalist Rachel Baiman, is an exploration of growing up female in America. “I wasn’t necessarily trying to write songs that would be easy to listen to,” Baiman says of the project, “I wanted to write about reality, in all of it’s terror and beauty.” From the title track about abortion politics, to love, sex, and abuse in relationships, to classism and inequality in her re-write of Andy Irvine’s working class anthem “Never Tire of the Road,” the album is ambitious in its scope, yet remains cohesive through Baiman’s personal perspective. Despite the serious subject matter, the overall feeling of the album remains light, with the tongue-in-cheek “Getting Ready to Start (Getting Ready)” and feel-good anthem “Let them Go To Heaven.” A departure from her stripped-down work with progressive folk duo 10 String Symphony, Shame is lush and varied in instrumentation and musical texture.

“a goose-bump-instigating talent that reminded me of a young Gillian Welch or Joy Williams (Civil Wars).”-Z. N. Lupetin, The Bluegrass Situation

Inspired in equal parts by John Hartford and Courtney Barnett, Baiman’s influences span a wide range, but years spent playing traditional music shine through in the album’s firmly rooted sound. For recording and production, Baiman turned to the talents of Mandolin Orange’s Andrew Marlin. “At the time that I was writing the music for this record, I was listening to all North Carolina-made albums, including Mandolin Orange and the album Andrew produced for Josh Oliver (Oliver is also featured heavily on Shame).” Shortly after reaching out to Marlin, Baiman traveled to Chapel Hill, NC for three intensive days in the studio. “The energy was amazing,” Baiman says. “It became clear that we were making something really special that needed to be finished.”

Added to the musical intensity was the context of the material they were recording—namely, how the songwriting on Shame sits within the current American political climate. “I think what is happening in the country right now has really shifted my career priorities, and brought the folk music community together. We are all suddenly seeing our purpose come into focus, and feeling a renewed responsibility to be a voice of unity and resistance.” In addition to the release of her new solo album, Baiman is the co-founder of a new political group called Folk Fights Back, a musician-led national organization that puts together benefit concerts and awareness events in response to the Trump administration.

Baiman is no newcomer to activism. Raised in Chicago by a radical economist and a social worker, she was surrounded by social justice issues her entire life. “If I wanted to rebel against my parents I could have become a finance banker or a corporate lawyer” she says of her childhood. While her classmates went to church or temple on Sunday mornings, Baiman attended the Ethical Humanist Society of Greater Chicago, a non-religious community formed around discussions of morality and current events. “That was always a tough one to explain at school” she says with a laugh.

As a teenager, Baiman found music to be a welcome escape from worrying about global politics. “I often found the constant discussion of seemingly unsolvable problems to be intense and overwhelming, and when I moved to Nashville to pursue music it felt like something positive, beautiful and productive that I could put into the world. Now that I’ve had some years to devote to music,”—Baiman has been recording and touring internationally for the past 4 years with 10 String Symphony, and has played fiddle for numerous other artists including Kacey Musgraves and Winnipeg folk band Oh My Darling—“I find it hard to escape from the values that I grew up with, and I feel compelled to write politically, to speak out about things that I’ve experienced or seen. Songwriting is a unique opportunity to do that, because it avails a more emotional vehicle for discussion. I love the political tradition of folk music, from Woody Guthrie to Tupac, and my hope is that this record adds another voice to it.”

ABOUT THE TATTLETALE SAINTS


Formed in New Zealand and currently based in Nashville, the duo takes a unique approach to Americana music, rolling jazz influences, coed harmonies, upright bass, and electric guitar into a sound that’s as wide-ranging as the band’s own travel schedule. With their self-titled sophomore album, Tattletale Saints push that sound into new directions, adding full-band arrangements and sharp, observational storytelling to the mix.

Bandmates Cy Winstanley and Vanessa McGowan began performing together years ago in a New Zealand-based jazz ensemble before relocating to London, where they experimented with country music as one half of the four-piece Her Make Believe Band. Drawn to Nashville’s creative community, the two eventually headed to Nashville in January 2013 to record their first record as a proper duo, teaming up with Grammy-winning producer Tim O’Brien along the way. That album, How Red is the Blood, became a launching pad for Tattletale Saints, earning them an audience on both sides of the Pacific Ocean while also winning the New Zealand Music Award for Folk Album of the Year in 2014.

Now living full-time in Nashville, Tattletale Saints expand their sound with Tattletale Saints, a self-titled album of forward-thinking roots music. Produced by Josh Kaler (Matthew Perryman Jones, Dar Williams, Heather Nova), the album finds frontman Winstanley embracing his role as a storyteller, penning slice-of-life songs about the light and dark shades of love and heartbreak; folk tales of murder and atonement; and musings on aging rock stars. He plays more electric guitar this time around, too, drawing a line of evolution between the acoustic-based How Red is the Blood and the band’s new material. Meanwhile, McGowan’s upright bass helps root the band in the Americana tradition, holding down a foundation for Tattletale Saints’ ever-evolving sound.

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