9/17 OK Sweetheart, Arc Iris - All ages, mostly seated, bar w/ ID
Fremont Abbey Arts Center
Seattle, WA
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Thursday Sep 17, 2015 8:00 PM - Thursday Sep 17, 2015 10:30 PM | $8.00 - $10.00


9/17 OK Sweetheart, Arc Iris - All ages, mostly seated, bar w/ ID
$10 advance / $13 at the door
Doors 7:00pm | Show 8:00pm

All ages, mostly seated, bar w/ ID

Arc Iris: "A deliriously ambitious collection of songs birthed from folk and country traditions, cabaret, jazz and classical, and seventies pop."
- The Guardian via The Key (Philadelphia)

About OK Sweetheart:

"OK SWEETHEART is more than just a band name. It's a phrase for keeping
the peace without backing down, a term of endearment for a person and
also, if read right, a place. OK SWEETHEART is a way of life.
Living that life is Erin Austin, a 31-year-old singer-songwriter with one foot out
the door and the other in the recording studio. Austin is a woman constantly
on the move. After some years touring through all types of venues, her most
recent stop landed her in the Northwest, recording in late 2013 and early '14
with producer Ryan Hadlock at the famed Bear Creek Studios outside Seattle.
Harkening to the Golden Era of Motown and Abbey Road, tunes like "Get
Back" and "Save the World" grapple with the call of far-off horizons versus
the warmth of the familiar.
       Previous stops had Austin writing and recording through Los Angeles, New
York, and taking time in Denton Texas to record with members of indie-rock
band Midlake, Lucius, Via Audio and the Polyphonic Spree. She self-released
those songs as her first album, Home, in April 2011. Erin's audience expanded
as her songs found their way to prime time TV shows and commercials.
       Restlessness, change, progressthese ideals are at Erin Austin's core. With
a single release planned for Fall, the band is ready to grow. For OK SWEETHEART,
home is in the music she makes, the people it brings into her life and
all the places it takes her."

About Arc Iris:

Arc Iris crystallizes the evolution of composer, singer, and multi-instrumentalist Jocie Adams, a former core member of renowned indie-folk band The Low Anthem. This is a breakaway moment for Adams, who now takes center stage as composer, lyricist, and lead vocalist.  Embracing her new role as auteur, Adams has created a genre-bending style that often shifts between cabaret-infused jazz, orchestral sophistication, grimy outlaw country, delicate and whimsical harmonies, and big-band exhilaration  sometimes all in the same song. Hers is an all-together different world where fantastical whimsy goes hand in hand with down-to-earth grit, and where rigorous classical training inflects but never softens the visceral rawness of hard-won experience.

Adams is a refreshingly grounded character who draws on the same combination of technical wizardry and lighthearted wonder whether she is grappling with a complex set of notes or rigging up an indoor playground for her cat.  She's dabbled in rocket science, but a stint working at NASA isn't really what sets her apart  it's the fact that she couldn't care less about it.  That same freedom of spirit compelled Adams, who is a classically trained composer, to make the leap to the world of rock when she joined The Low Anthem in 2007.  Now, she's transformed herself once again by carving out a space that is wholly her own within the worlds of lyric writing and orchestral arrangement. Songs on the 11 track album range in sonic and emotional intensity - from the patient brooding of "Honor of the Rainbows" to the smoky cyclical aura of "Lost on Me."

Adams' vast aesthetic vision is matched only, and appropriately, by the band's multifaceted musicianship, which includes Zach Tenorio-Miller on piano, Mike Irwin on trumpet, Robin Ryczek on cello, Ray Belli on drums, Max Johnson on bass, and Charlie Rose on steel banjo and trombone.  In rehearsing, the group drew inspiration from a range of artists, in particular Dirty Projectors, Harry Nilsson, and Leonard Cohen.  James Reed writes in The Boston Globe that, "the album's unique sound is informed as much by Joni Mitchell as it is by Bj√∂rk's sonic experiments and sweeping film soundtracks."

Yet while songs on the album pull just as readily from 19th century cello and 1970s pop, what emerges cannot be called mere eclecticism.  Adams' style is highly focused at every twist and turn, creating an aesthetic where juxtaposed edges are sharpened rather than blunted.  In "Money Gnomes," the rollicking simplicity of a bluegrass bassline makes room for sweeping, cello-infused turns around the dance floor.  Part morning jaunt down a dusty road, part lithe-limbed waltz, the music, like its lyrics, seems to offer potential for adventure and ultimately, in the breathy mantra of its coda, intimacy. "Swimming," meanwhile, infuses the wry commentary and piano-draping antics of a folk-cabaret routine with woozy, orchestral impressionism.  Saucy trumpet hitsdoubled in Adams's vocalsand the obsessive ticking of snare and high-hat foreshadow, but never quite give away, the song's eventual, and eminently satisfying, dissolution into wailing rock outro.  Together the pieces cohere to explore the concept of the new  an experience that is as intoxicating as it is terrifying. "Arc Iris encapsulates that sense of the future for me," Adams says, "a sign of something beautiful that will hold my hand for a long time."

The group's fearless embrace of juxtaposition is apparent in the way they practice and perform.  Members won't hesitate to spend hours tinkering with a few notes if it means enhancing the synthesis of sound and storytelling.  "We will always try every single idea," Adams explains. (Her neighbors probably agree  one morning after a rehearsal went past 3 a.m., a crew arrived to install sound-proofing for the house next door). Yet on stage, disciplined background morphs seamlessly into spontaneous innovation. Band members don't have set parts so the group never quite repeats itself two nights in a row. The musicians say that such on-the-spot acts of creation require two key ingredients: mutual trust, and individual nerve.  And, they say, "we've got a pretty healthy dose of both."  This rare mix of obsessive attention to detail and quirky playfulness is a distinguishing feature of Arc Iris. This is what makes it possible to have, on the one hand, an album so refined and tightly crafted that it considers everything including the cords that connect one track to the next  and yet on the other hand have the musicians gleefully sum it all up as "mystical rainbow fairy kitten astronauts hurtling through the cosmos."


$8 early discount tickets / $10 general advance / $13 at the door
Doors 7:00pm | Show 8:00pm

All ages, mostly seated, bar w/ ID

Abbey Arts is a Seattle nonprofit curating welcoming arts & cultural experiences for people of all ages & incomes.

We support low income families, veterans, and humanitarian nonprofit workers with free event tickets. Work at a nonprofit? You may be able to get free tickets to Abbey Arts events - www.fremontabbey.org/artsconnect
Curating welcoming arts & cultural experiences for people of all ages & incomes
www.fremontabbey.org | www.abbeyarts.me | www.creativeseattle.org
arts@fremontabbey.org  / 4272 Fremont Ave North, Seattle, WA 98103  / 206-414-8325

All sales are final.


Fremont Abbey Arts Center (View)
4272 Fremont Ave North
Seattle, WA 98103
United States


Music > Experimental
Music > Folk
Music > Indie

Kid Friendly: Yes!
Dog Friendly: No
Non-Smoking: Yes!
Wheelchair Accessible: Yes!