Lambchop’s Kurt Wagner will embark on a European tour of intimate piano shows, accompanied by Minneapolis-based musician and producer Andrew Broder. Broder worked with Wagner on Lambchop’s acclaimed albums, The Bible and Showtunes. This rare and special collaboration promises to be a showcase of their talents, reducing classic Lambchop songs to their essence and highlighting their emotional power.
This will be a double concert night, that is, in addition to the Lambchop show, there will be another concert with an artist to be announced soon. The same ticket entitles you to both shows.
The An Intimate Piano Performance from Lambchop tour will include a series of intimate piano performances throughout Europe, giving audiences a rare opportunity to see these two incredible musicians up close and personal and the beauty and complexity of their music. This will be a chance to experience Lambchop’s classic songs in a new light, stripped down to their essence and presented in a way that highlights their emotional power and depth.
Lambchop formed in Nashville in 1986 and have since released more than a dozen critically acclaimed albums on the City Slang and Merge Records labels. Over the years they have incorporated elements of soul, jazz and country into their music while Kurt Wagner’s voice has remained the heart and soul of the band, a powerful and emotive instrument that can convey a world of emotions with just a few well-chosen words.
Andrew Broder, meanwhile, has carved out his own niche in the music world as producer, musician and vocalist for the experimental group Fog. With his deep knowledge of music theory and his love of experimentation, Broder has become known for pushing the boundaries of what is possible in music, mixing genres and sounds in new and exciting ways.
Together, Wagner and Broder have worked on some of Lambchop’s most critically acclaimed albums, including The Bible and Showtunes. On those albums, Broder’s contributions were instrumental in creating the lush, layered sound that the project is known for. By combining Wagner’s earnest songwriting with Broder’s sonic experimentation, something truly unique and memorable has emerged.
This tour promises to be a continuation of this fruitful collaboration, with Wagner and Broder challenging each other to new heights of creativity and expression. Whether you’re a long-time Lambchop fan or just discovering them now, this is one tour you won’t want to miss.
The pianist, composer and arranger from Paraíba presents the new album Interior in Piano Solo.
– Winner of the MIMO Instrumental Prize 2017
– Finalist of the Piano Competition at the Montreux Festival 2017 – Switzerland
– Winner of New Talents Award at the Savassi Festival 2018, in Belo Horizonte (MG)
Born and raised in Cruz do Espírito Santo, interior of Paraíba and currently living in São Paulo, also in Brazil, Salomão Soares is a virtuoso pianist, arranger and composer. He has stood out as one of the great revelations of the new generation of Brazilian instrumentalists, sharing the stage with important names in Brazilian music such as Hermeto Pascoal, Toninho Horta, Hamilton de Holanda, Leny Andrade, Filó Machado, Renato Braz, Mônica Salmasso, Itiberê Zwarg, Arismar do Espírito Santo, Toninho Ferragutti (with whom he recorded a duo album), among many others.
He won the Mimo Instrumental Award 2017, was a finalist in the Piano Competition at the Montreaux Festival 2017, Switzerland, and winner of the New Talents Award at the Savassi Festival 2018, in Belo Horizonte. He has participated in several festivals and tours around the world, as recently in Spain and Portugal, alongside the singer Vanessa Moreno, or in Uruguay and Brazil, as for example at SESC Jazz, one of the best known jazz festivals in Latin America, with his trio and also as a special guest of Hermeto Pascoal.
At Misty Fest, the pianist, composer and arranger presents live his first solo album – Interior. With tributes, references and important influences in his formation as a human being and as a musician, Salomão faced this work as a real challenge: “This work is like a conversation with my inner self, a search and also a visit in all my musical history”, says the musician from Paraíba. He adds, “I think that the solo for the pianist is the purest and most simple thing, it is like going up completely naked to play, without external interferences, so it will always be challenging and new.”
Without a doubt, a show not to be missed.
The São Paulo singer-songwriter Anna Setton presents her third album The Future is More Beautiful on the Misty Fest stages. After an international tour that started in April, in Lisbon, and that took her to some stages in Europe, Anna returns to the Portuguese capital and also to Oporto to present her show in quartet format.
Edited in March this year by the German recording company Galileo Music, The Future is More Beautiful has been conquering the critics, receiving great international attention, with highlights and interviews in several media, as well as being on the cover of several magazines, such as the Austrian magazine Concerto.
This new work by Anna was recorded in Recife with the help of several prestigious names, such as the producer and composer Barro and Guilherme de Assis, or even João Camarero, Ed Sataudinger, Juliano Holanda, Igor de Carvalho, Edu Sanginardi and Rodrigo Campello. With the help of these professionals who understand how to innovate the classic molds of MPB, Anna sings words of her own authorship, establishing herself more and more as an author.
Anna Setton is an artist, singer and instrumentalist from S.Paulo trained on the most interesting side of MPB: she moulded her voice singing in the clubs of São Paulo, travelled the world accompanying the enormous Toquinho, collaborated with Omara Portuondo, Sadao Watanabe, Mestrinho, among many other musicians of today. A journey that gave her the right balance to make her debut solo album in 2018, with a homonymous record that underlined her obvious talent. Pandemic inspired her to pick up the guitar and do weekly live shows where she would give her voice to the great treasures of Brazilian popular song. This discipline led her to produce Onde Mora meu Coração, an album of accurate versions which includes, for example, the beautiful “Morena Bonita”, by Toninho Horta.
Twelve years after having performed at the second edition of Misty Fest, at the time still Sintra Misty, John Grant is back, this time with his latest work Boy From Michigan.
John Grant is, rightly, one of the most celebrated and consecrated singers of our time, an artist that the historical NME affirms to have created in his last work a work “of astonishing beauty”. In fact, Boy From Michigan, a record produced by Cate Le Bon and created “at the very beginning of the pandemic nightmare and throughout the presidential campaign”, it says, is an extraordinary record from an artist who is careful to reinvent himself at every new step. And that will be the work he will now bring to Portugal for a much-anticipated concert. For Grant, the confinement was largely academic. He is a man of an insular nature and retired from his native America in 2011, moving to Iceland.
Grant met Le Bon when they performed at the Park Stage at Glastonbury in 2013 and quickly became friends and fans of each other’s work. She subsequently performed a duet with Grant at the Royal Albert Hall in 2016 and John returned the favour at Green Man in 2018. They have often talked about the possibility of Cate producing an album for him. “Cate and I are both very strong-willed people, which is great,” says Grant. “Making an album is hard on a good day. The mounting stress of the election and the pandemic really started to affect us in late July and August. It was a very stressful process at times, given the circumstances, but also full of lots of amazing, joyful moments.”
In the last decade, John Grant has established himself as one of the great musical chroniclers of the American Dream. “These songs are visceral to me. We end up marinating in the spirit of where we grew up. There are people who feel good about that.” And the reward is ours that we can in that way, through their songs, understand contemporary life and culture a little better. And not only through an American perspective since love, hope and loss are universal concerns to which everyone seeks answers. Boy From Michigan is already the fifth album in the well-stocked solo career of the former The Czars, but since 2020 the singer-songwriter has not been idle. He has released new singles, most recently the beautiful Bungalow, the Ep Bolero and, of course, the fantastic version of the folk classic God’s Gonna Cut You Down used as the theme song for the BBC series Inside Man. All good reasons not to miss him live in 2023.
Nadine Khouri, Anglo-Lebanese artist whose work has been highly praised by the international press, is preparing to present her latest album, Another Life, at Misty Fest.
“Perfumed traces of Galaxie 500, Mazzy Star and Cocteau Twins…
a wonderfully spectral incantation”
UNCUT
Anglo-Lebanese artist Nadine Khouri met John Parish (PJ Harvey, Eels, Sparklehorse…) about 10 years ago, at which time the British producer challenged her to sing on “Baby’s Coming” (track from 2013’s “Screenplay”) before recording and producing her debut album “The Salted Air “* (2017), a work that has since garnered a just cult following.
The recording of their second full-length, “Another Life”, also produced by John Parish), took place during the Covid-19 pandemic and was naturally marked by the emotional fallout caused by the two powerful explosions in the port of Beirut in early August 2020. “The pandemic set in just as rehearsals were about to start, when we wanted a quick recording of these new songs. Suddenly, the world froze, nothing could go on as planned,” Nadine recalls.
Inside the album cover, a photograph taken by Steve Gullick reveals, behind Nadine Khouri, the expanse of a sun-bleached Mediterranean city, Marseille, where the artist currently resides. A city of thousands of lives, thousands of memories and thousands of stories, a theatre where Nadine’s journey resonates, the joy, the sadness, the regret, the exile, the challenge or the desire – marks that feed her music. “The songs often appear to me as images from films that I try to externalise,” she explains. “Trapped between four walls, this period of isolation has led me to look at my past, to remember close people who have disappeared, past moments that are now far from me. I wrote so as not to forget, not to let it disappear.”
With the restrictions lifted, Nadine Khouri and John Parish found themselves in the studio to finally record the album as originally planned, with the help of several renowned musicians. Out of this period of uncertainty emerge compositions of captivating beauty. John Parish’s production gives a majestic breath to these impressionistic songs, and to Nadine Khouri’s voice. Live, this singular presence and distinct artistic quality become even more evident, as has been highlighted in laudatory reviews from leading publications such as Mojo or Uncut.
