CHARLIE MARS WITH SPECIAL GUEST, SKILYR HICKS


Thursday, June 20th

8:00pm / doors at 6:30pm (Advanced Ticket Sales stop at 5pm the day of each show.)

Advance general admission: $14

At the door: $18

Table of 4 reserved seats: $70

“I love the rare feeling of people in a room being connected without having to share any ideology or belief system or style or walk of life or class or anything – where they can all just melt in to something magical,” says Charlie Mars. “I want to explore sonically what that is.”

Those keeping score will mark this as Charlie Mars’ fifth album, but upon first listen, Like A Bird, Like A Plane can best be described as a new debut.

Over 11 songs, Mars hits a groove that does not signify any specific genre but instead is hardwired to hearts and hips. This is an album that writhes through the headphones, which will ultimately be tossed in favor of a living room dance floor. Mars has sewn together tightly crafted songs with moods and melodies that pulse with sex, wonderment, and personal destruction – all themes that may clash on paper but in music suggest mysteries that are organic to us all.

Before Charlie heard the sound he wanted on Like A Bird, Like A Plane, he saw it and felt it. It moved along the insistent curves of a burlesque dancer he’d met at Los Angeles’ 40 Deuce Club, it snaked through the bend of late night crowds in the music halls of New Orleans and it hung in the air of the blues filled juke joints of his native Mississippi. “I started to feel less inspired by traditional rock and pulled towards the snaky, sinewy, sensuality of groove,” says Mars.

Under no direction but his own, Mars bee-lined to Austin, Texas, where he solicited players who understood how to form all four corners instead of facing straight ahead: Drummer J.J. Johnson (John Mayer), keyboardist John Ginty (Citizen Cope), bass players George Reiff (Jakob Dylan) and Dave Monzie (Fiona Apple) and producer and guitarist Billy Harvey. Parts evolved from happy accidents or group decisions; in many cases, the sweet spot was hit at first take.

The musicians played to the fragile introspection of the lyrics, but not for reverence: the Lanois meets Graceland rhythms underneath are more in league with electronic dance or hip-hop.