BOMBAY BICYCLE CLUB – Tickets – 9:30 CLUB – WASHINGTON, DC –
June 7th, 2020 BOMBAY BICYCLE CLUB Liza Anne Sun, June 7, 2020 Doors:
6:00 pm / Show: 6:00 pm 9:30 CLUB WASHINGTON, DC $35 Tickets Early
show https://www.impconcerts.com/event/1889890/
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Calendar BOMBAY BICYCLE CLUB Website Facebook Twitter Instagram Liza
Anne Website Facebook Instagram “Growing up, people would always say
I was too happy to be depressed, or too social to have anxiety,”
says Liza Anne Odachowski, the critically acclaimed songwriter better
known these days by her stage name Liza Anne. “In their eyes,
because I was one thing, I couldn’t also be something else. I think
we all exist in duality, though. I can be everything and nothing all
at once.” Duality is at the core of Liza Anne’s arresting new
album, ‘Fine But Dying,’ her debut release for indie powerhouse
label Arts & Crafts. Synthesizing the elegant sincerity of Angel Olsen
with the wry lyricism of Courtney Barnett and the unapologetic candor
of Feist, the music is both tough and vulnerable, bold and withdrawn,
a helping hand and a middle finger. Firing on all cylinders with
distorted alt-rock guitars and explosive drums one minute, hushed and
delicate the next, it’s an eclectic collection that reflects the
messy complications of growing up in the modern age, as the
23-year-old grapples with the fallout of falling in love, reckons with
the patriarchy, and stares down the panic disorder she refuses to let
define her. ‘Fine But Dying’ is the sound of an artist taking
total control of her life and her art, a proud misfit crafting an
aggressively infectious kiss-off to an industry (and a society)
that’s tried to box her in from day one. “Being a young woman
playing music in Nashville, everybody had their opinions of who I
should be and what I should do next,” says Liza Anne, whose music is
as decidedly un-Nashville as it gets. “They wanted me to be happier
and softer and easier because people are conditioned to only
experience women in entertainment as a force of goodness and kindness
and light. But just because I’m a woman doesn’t mean I have to be
soft and happy and nurturing all the time. It’s pretty inhumane to
expect a human being to represent only one side of themselves. We
embody too many contradictions.” ‘Fine But Dying’ follows Liza
Anne’s self-released 2015 breakout album, ‘Two,’ which garnered
more than 20 million streams worldwide. NPR praised the record’s
“deeply introspective” songwriting and “searing reflections,”
while Nylon called it “a stunningly somber album” and dubbed Liza
an artist with the “keen ability to turn even the smallest of
feelings into a sweeping song.” The record earned her dates with
Joseph, Margaret Glaspy, The Oh Hellos, and Bears Den, among others,
as well as festival slots from ACL to Daytrotter Downs. Though Liza
Anne commands a stage like she was born to do it, a career in music
was far from her mind as she grew up in the quaint, sheltered
community of Saint Simons Island, Georgia. She discovered songwriting
one summer at sleepaway camp, when a guitar class helped her realize
that the notebooks she’d been filling with poetry and prose could be
set to melodies. Raised in a deeply religious household, Liza’s
first taste of public performance came on Sundays when she served as a
local worship leader, and though she’s since moved on from the
church, the experience proved to be formative for her. “I learned at
a very young age how to manipulate an entire room full of people to
feel what I’m feeling,” she says with a laugh. When it came time
to cut ‘Fine But Dying,’ Liza Anne brought both her band and her
producer, Zach Dyke, to France’s legendary La Frette studio, a 19th
century mansion on the banks of the Seine. Dyke and Liza’s recording
chemistry had been undeniable since they first met during college in
Nashville, and though Liza dropped out of school to tour full time,
the pair’s creative relationship continued to grow deeper and break
new ground. “Zach is my best friend and my magic charm,” reflects
Liza Anne. “Working with him just feels like working with your other
arm or another part of your brain.” In a six-day whirlwind, they
recorded eleven new songs that embodied the raw energy and tense
emotion that Liza Anne had long carried in her head but never yet
captured on tape. “This is my ‘woman at her wildest self’
album,” she says. “It’s a place for me to express all of the
things about womanhood and the human condition that I was experiencing
without fear of feeling like I’m ‘too much’ or ‘not enough.’
People used to talk about my music in such sweet terms, but they
weren’t sweet things that I was going through. With this record,
I’m not sugarcoating anything any more.” On album opener
“Paranoia,” Liza Anne weaves together lilting pop sensibilities
with moments of frenetic release as she confronts insecurity and
doubt. The result is an addictive, Cranberries-meets-St. Vincent gem,
and it proves to be a perfect entry point to an album unafraid to bare
the multitudes it contains. Liza’s crystalline voice is alternately
beguiling and jarring as she sets her distress to music on “Panic
Attack,” sends up the hollow phoniness of southern hospitality on
“Small Talks,” and sneers and snarls her way through the
third-wave feminist anthem of “Kid Gloves.” On the gentle but
bruising “I’m Tired, You’re Lonely” she channels the eerie
beauty of Jeff Buckley, while “Closest To Me” is a reverb-soaked
look in the mirror, and “Control” faces off against some of the
darker voices in her head. “There are moments in the song
‘Control’ that question what it feels like to be in love,” says
Liza Anne. “The whole album is really a catalog of my first few
years of falling in love with someone but doubting I had the capacity
to actually do it.” ‘Fine But Dying’ proves that Liza Anne is a
woman with the capacity to do far more than she’d ever given herself
credit for. By casting off the restrictions of who and what she
“should” be, by writing with unrepentant emotion and without
concern for the constructs and confines of “femininity,” she was
able to discover her truest self and create an album of incredible
power and vision, one that fully reflects the rich duality of its
author. "This album gave me space to find my voice,” says Liza Anne.
“In the end, I always want to make art that's provocative and that
challenges the stereotypes of what women are supposed to be or how
they are usually experienced. Songwriting isn't just fun for me, it's
necessity. It's my way of escaping my body and inhabiting it at the
same time.” Venue Information: 9:30 CLUB 815 V St. NW WASHINGTON,
DC, 20001 http://930.com [http://930.com] There are currently no
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