Broadside Ballads: Alela Diane

http://www.ticketmaster.com/event/0A0042838B191D39?artistid=1314843&majorcatid=10001&minorcatid=1

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2009-04-06T18:35:18-04:00

Following on from the success of the folk series last November The Loft introduces Broadside Ballads a monthly night of folk, rock, Americana and roots featuring national and international artists telling their stories through song. If you look up Broadside Ballads on Wikipedia you’ll find it’s a term as old as the hills reaching way back to ye olde Robin Hood days! A Broadside was the name given to a sheet of paper on which just a set of lyrics, some news or a story was written and often accompanied a traditional piece of music. The earliest forms of the printed word! Often performed by rural folk and travelers in public houses and on the roads. Among the topics of broadside ballads were love, religion, drinking-songs, legends, and early journalism, which included disasters, political events and signs, wonders and prodigies. Coming back to the modern day – we love to celebrate these 21st century wandering minstrels, hear their stories and tales of politics, love and woe in our intimate space. We thought who better to start off our series than Rough Trade artist Alela Diane performing songs from her 2009 release To Be Still in the midst of supporting Iron & Wine on a string of west coast dates. Parking Information Please note, the Gilman Parking Structure will be closed tonight, so we suggest using Lot P408. Parking permits can be purchased at the Gilman Information Booth at Gilman Drive and Osler Lane (see link below). Hour visitor permits are sold from the pay station for $1/hour. You can pay w/ any combination of the following: * Cash — $1 and $5 bills only * Visa * MasterCard * American Express From the Gilman Information Booth you can then drive East on Gilman to P408 at Gilman Drive and Meyers Lane. Visitor permits can be used in any V, B, or S spot. It a short walk to The Loft (north, on Myers Drive and Lyman Lane, on the second floor of the Price Center East). To get driving directions to The Loft and P408, <a href=" http://www-act.ucsd.edu/maps/index.jsp">click here</a> and type in The Loft in the search field tab. true false

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To Be Still is the follow-up to Alela Diane’s critically-acclaimed 2006 debut The Pirate’s Gospel. That record brought the Nevada city, CA-reared musician a dedicated following across the globe (especially in Europe, where she recently finished a tour of mid-sized concert halls). Considering that early copies of The Pirate’s Gospel were given away to friends in hand-sewn covers just a few years ago, this is not only quite a leap, but a well-deserved one. To Be Still was created throughout 2007 & 2008. “It began in Portland, OR and was finished in scatters between tours at my dad’s home studio in Nevada City, CA,” Alela says. “I wanted to record this collection of songs using arrangements which represent them in their finest form. These songs requested more instrumental filigree than those on The Pirate’s Gospel. It was challenging to delicately yet purposefully incorporate instrumentation into songs that I was so used to singing by myself. I was determined to make it work, because I wanted percussion! I wanted to hear the lonesome bow of the violin! I heard many harmonies in my head, and so I set out to capture them.” In the past, Alela’s work has been associated with one or more musical movements, notably the alleged “freak-folk” genre of the early to middle Oughts. And while no music exists in a complete vacuum, the wholly original music on To Be Still was borne of contemplation and isolation. “Most were written in the cabin in Nevada City, and during my stint of domesticity in the Victorian flat further North; others were captured elsewhere, in moments of calm,” she says. The album shows Alela Diane to be a compelling and unique voice. The tale of Mariee Sioux began as delicately and spiritually as her captivating song, as a small ember introduced to the universe that soon grew into a flame of hope and illumination. Her dazzling debut album, Faces in the Rocks, weaves together the poetic interpretations of the universe’s deep truths and interconnectedness that have intrigued her since childhood. Each spin invites listeners to be the cast in Mariee’s entrancing tale with a journey ahead that is only beginning. The stage was set in her hometown of Nevada City, CA, a historically creative community in which artists have flourished over the ages, where Mariee intertwined the vivid verse she had been writing as a child with the life lessons she has learned as an adult for this powerful record. Her roots had been planted deep in music through the love of her mandolin-playing father, but it was not until Mariee ventured a life-changing trip to Patagonia at the age of 17 that she began to play an instrument herself. She soon perfected the spry, delicate finger picking guitar technique featured on Faces in the Rocks, a faultless accompaniment to her strong yet sweetly cooing vocals, and toured internationally with her adoring compatriots Brightblack Morning Light. - Grass Roots Record Co.

2009-05-07T20:00:00-04:00

2009

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with Mariee Sioux

Regular: $8 UCSD Student: $5 advance; pay as you can at the door.

Broadside Ballads: Alela Diane

2009-05-08T16:05:50-04:00