Tue, April 16, 2013

Doors: 7:00 pm / Show: 7:30 pm


Tickets Available at the Door

This event is 16 and over

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Growing up a skinny preacher's kid in Spokane, Washington, Tyrone Wells was discouraged from listening to pop music and only exposed to gospel. Little did he know a decade later, the roots of soul would become a key element of his passionate, irresistible and utterly unique songs. Combining pop, soul, and rock, Tyrone sings about true love, war and heartbreak with equal power and sincerity, coming across as a voice for a generation that's both idealistic and confused.

In his five years on the music scene as a singer-songwriter, he has evolved in an honest and organic manner, first scrambling for gigs and selling albums from the trunk of his car to eventually packing out The House of Blues and having his songs featured prominently on television programs. Wells' major label debut Hold On is a fresh release filled with new promises. The first single from the record "What Are We Fighting For?" exemplifies his ability to mingle different styles into a seamless composition. A pulsing rocker fueled by a love for R&B, the song blends organic acoustic guitar, choir vocals and chiming organ into a complete array of sound. Lyrically, "What Are We Fighting For?" is just as multifaceted, addressing subjects like the difficulty of relationship, racial reconciliation and the futility of war.

Other songs on the album are equally powerful, but in different ways. "Dream Like New York," for example, is a sun-drenched ballad full of pop splendor and romantic yearning, combining conventional pop instrumentation with strings and piano. The track has already been embraced for its regional significance and played during New York Mets games in Shea Stadium. In addition, it was featured in "Everyone's Hero" (an animated film about legendary New York Yankee, Babe Ruth) and the trailers of the "50 Greatest Moments at Madison Square Garden" documentary.

Born the youngest of five children, and the only son, Tyrone grew up performing in the shadows of sisters who were accomplished. Belying his present on-stage ease, he recalls that paralyzing stage fright almost kept him out of the spotlight. "I knew I had a lot of fear in my eyes. I just kept getting up, embarrassing myself and doing it again, then one day it all came together."

Wells recorded his first studio album Snapshot, and then followed with Close: Live at McClain's in 2005. He started working on Hold On in late 2005, and culled the songs from material he had written over the prior two years. Unlike his earlier records, which were primarily acoustic, Hold On is a full band album. Produced by Chris Karn, the record proves that Wells is just as capable of turning up the amps and rocking out as he is of soothing audiences with bittersweet lullabies.

"I was in such a great space when I wrote the record" Wells says. "I was just going for it, and trying to write the best songs I could and I got totally lost in the process. I had just met my wife, I was making a living doing music and there was nobody telling me what to do."

By early 2006, Wells was regularly selling out Los Angeles clubs like the House of Blues, The Viper Room, Troubadour and The El Rey Theatre and people in the music business were taking notice. Now signed to Universal Republic Records, Tyrone is touring full-time and his infectious, soulful voice and undeniable songs are being introduced to people all over the country. Wells said, "Whether I'm in a coffee-shop down the street or on a national tour, I'm grateful to be doing what I love."
What We Say: "I was a scrawny, dopey kid—the worst athlete on the face of the planet," says Wakey!Wakey! frontman Mike Grubbs. "You know tee ball? I got to first base one time."

Good thing Grubbs had a burgundy baby grand to wail on instead, the centerpiece of a Partridge-like music room that also housed a French horn, clarinet, violin and autoharp. Grubbs started climbing scales and chords here when he was 5. Back then, his mother—a longtime piano teacher and choir director—would ask the kids to sight read songs before they could even think of eating cereal. And homework, why, that was something you did simply to score more bench time.

"For every subject done," he says, "I could play the piano for an hour. It was almost like video games for me." The games got a bit more complicated in high school, as Grubbs stumbled upon the songbooks of Billy Joel and Elton John. Not to mention the arena-ready anthems of Led Zeppelin. That unholy trinity, combined with the three B's—Bach, Beethoven and Brahms—was enough to steer Grubbs away from the church music he was forced to focus on from an early age.

"One of my main influences now is the fact that I didn't have someone teach me proper jazz or rock playing," explains Grubbs. "I had no idea how to put a song together; no one telling me, 'Hey, you should check out Gershwin,' but it was all so fascinating to me. So I found my own style by experimenting with what works and what doesn't."

Before Grubbs could tap his true voice through a string of buzz-stirring Wakey!Wakey! releases on Family Records (two live LPs, a free collection of covers and last spring's War Sweater EP), the following dues were paid: a totally '90s bar gig aimed at pint-slamming college kids; a rock band best described by its beard quotient and Black Crowes nods (Satellite Kid); and two touring musicals (Brigadoon, Camelot). "I'm a tall, skinny straight guy who can sing," says Grubbs. "That's basically gold in the musical theater business because there's none of us."

Speaking of standing out, Wakey!Wakey! made their presence known over the past couple years by finding a perfect balance between crowd-pleasing pop and art-damaged indie rock. It's something Grubbs learned from New York's anti-folk scene and its founding father, Lach. (The Lower East Side icon mentored Grubbs, which isn't a surprise—Lach shunned the piano the second he heard the Sex Pistols.) "To come from such a repressed musical environment and then hear someone like Regina Spektor perform with such abandon—shouting and hitting her stool with a drum stick—was priceless."

Nowadays, Grubbs is the crazy one, slapping his piano around and singing like his life depends on it while conducting a rich backdrop of sweeping strings, heavenly harmonies, and enough delicate details to make Wakey!Wakey!'s first proper LP feel like an Oscar-nominated film soundtrack. Which is ironic to say the least. After all, One Tree Hill creator Mark Schwahn loved a Wakey!Wakey! set so much he tapped their sun-stroked "War Sweater" track for season 6's finale and recruited Grubbs for a recurring role. That'd be the tale of a bartender/musician named, err, Grubbs—a strangely familiar life story hinted at in such standout Wakey!Wakey! songs as "Almost Everything," "Twenty-Two," and "Got It All Wrong."

"We set out to make an album this time," explains Grubbs. "I realize that's not where people say this business is headed these days, but there's something about translating a year's worth of experience into ten songs and letting that tell the story. I feel lucky to have the chance to do that on my own terms."
"A sound that dances around pop and soul with a one of a kind voice, and lyrics that everyone can relate to."

Brett Young was born and raised in Orange County California where he grew up fascinated with classic voices like Al Green, Marvin Gaye, and Smokey Robinson, all of whom would eventually impact his sound. He began playing music seriously in high school, where he lead worship at his high school every friday. That passion slowly grew into song writing and pursuing music as a career.

Read more: http://www.myspace.com/brettyoungsmusic#ixzz14vO8mqOT
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