Todd Snider
$43 Advance | $48 Day of Show
Doors 7pm | Lilly Hiatt opens the show at 8pm.
Doors 7pm | Lilly Hiatt opens the show at 8pm.
Cash Cabin Sessions, Vol. 3
One morning near the end of August, Todd Snider was relaxing with a visitor on the back porch of his house just outside Nashville, drinking coffee and shooting the breeze while his dog, Cowboy Jim, took a nap nearby. After awhile, Snider said to his guest, "I've got an album's worth of songs, and I think the songs are telling me to make a folk record."
This was a surprising bit of news considering he had spent the last six years making rock albums of one kind or another. But Snider was feeling as if he had "maybe drifted too far from the shore." He was feeling the pull to start over, to go back to what he was doing when he first began, to return to his roots as a folksinger.
If Snider needed any further evidence that was the direction he should pursue, he got it a half hour later. Back inside his home office, he checked his email and had one from his manager informing him he had just received an offer to play the 2019 Newport Folk Festival, an event he had never done.
Snider mentioned he had been listening to Woody Guthrie's Library of Congress Recordings, then crossed the room to the turntable and put the needle down on side one of the record. "Woody Guthrie sometimes gets me reset on why you do a song, instead of how," Snider explains of the man who has long been a touchstone for him. "When I was young, there was something about him that made me want to do it. So once or twice a year, I'll go back to him, I'll go back to the source."
Guthrie famously had the words "This machine kills fascists" printed on his guitar, and on several of the songs on Snider's new album, Cash Cabin Sessions, Vol. 3, he squarely aims his guitar at the creeping fascism he sees in America. He had been wanting to make a political record since 2016, and although only half the songs lean in that direction, there is one constant throughout the album: a man, his guitar, and the truth.
About the opener, Lilly Hiatt:
Written during a winter of deep stillness and self-reflection, Lilly Hiatt's striking new album, 'Walking Proof,' artfully balances the songwriter’s rough, rock and roll exterior with her tender, country roots, exuding a bold vulnerability as she takes a long, hard look in the mirror and deconstructs her relationship with herself and the world around her. Produced by former Cage the Elephant guitarist Lincoln Parish and featuring guest appearances from Amanda Shires, Aaron Lee Tasjan, and legendary songwriter John Hiatt (who appears on record with his daughter here for the very first time), the collection is fueled by longing and gratitude in equal measure, effortlessly shifting from gentle intimacy to brawny grit and back over the course of its eleven insightful tracks. Despite all the weighty themes, 'Walking Proof' still manages to emerge as a work of hope and optimism, offering both a newfound maturity and an abiding sense of calm in the face of chaos as Hiatt learns to make peace with just how much of life lies beyond her control.
"It's crucial to live and let live, to be able to accept things for what they are," says Hiatt. "Coming to terms with those sorts of boundaries has inspired a lot of growth in me lately, and I've realized that it leads to better outcomes both in relationships and in art. Things seem to bloom if you can just get out of your own way for long enough."
Things have been blooming for Hiatt in a big way lately. In 2017, she released her acclaimed third album, 'Trinity Lane,' a commercial and critical breakout that helped establish her as one of the leading voices to emerge East Nashville’s embarrassment of musical riches. Produced by Shovel & Rope's Michael Trent, the record earned Hiatt dates with the likes of John Prine, Margo Price, Drive-By Truckers, and Hiss Golden Messenger among others, and helped her secure festival slots everywhere from Pilgrimage and High Water to Luck Reunion and Wildwood Revival. NPR called the album "courageous and affecting," while The Independent raved that it showcased Hiatt's "gift for unpicking knotty lyrical themes in a personalised blend of countrified rock music," and Rolling Stone hailed it as "the most cohesive and declarative statement of the young songwriter’s career."
One morning near the end of August, Todd Snider was relaxing with a visitor on the back porch of his house just outside Nashville, drinking coffee and shooting the breeze while his dog, Cowboy Jim, took a nap nearby. After awhile, Snider said to his guest, "I've got an album's worth of songs, and I think the songs are telling me to make a folk record."
This was a surprising bit of news considering he had spent the last six years making rock albums of one kind or another. But Snider was feeling as if he had "maybe drifted too far from the shore." He was feeling the pull to start over, to go back to what he was doing when he first began, to return to his roots as a folksinger.
If Snider needed any further evidence that was the direction he should pursue, he got it a half hour later. Back inside his home office, he checked his email and had one from his manager informing him he had just received an offer to play the 2019 Newport Folk Festival, an event he had never done.
Snider mentioned he had been listening to Woody Guthrie's Library of Congress Recordings, then crossed the room to the turntable and put the needle down on side one of the record. "Woody Guthrie sometimes gets me reset on why you do a song, instead of how," Snider explains of the man who has long been a touchstone for him. "When I was young, there was something about him that made me want to do it. So once or twice a year, I'll go back to him, I'll go back to the source."
Guthrie famously had the words "This machine kills fascists" printed on his guitar, and on several of the songs on Snider's new album, Cash Cabin Sessions, Vol. 3, he squarely aims his guitar at the creeping fascism he sees in America. He had been wanting to make a political record since 2016, and although only half the songs lean in that direction, there is one constant throughout the album: a man, his guitar, and the truth.
About the opener, Lilly Hiatt:
Written during a winter of deep stillness and self-reflection, Lilly Hiatt's striking new album, 'Walking Proof,' artfully balances the songwriter’s rough, rock and roll exterior with her tender, country roots, exuding a bold vulnerability as she takes a long, hard look in the mirror and deconstructs her relationship with herself and the world around her. Produced by former Cage the Elephant guitarist Lincoln Parish and featuring guest appearances from Amanda Shires, Aaron Lee Tasjan, and legendary songwriter John Hiatt (who appears on record with his daughter here for the very first time), the collection is fueled by longing and gratitude in equal measure, effortlessly shifting from gentle intimacy to brawny grit and back over the course of its eleven insightful tracks. Despite all the weighty themes, 'Walking Proof' still manages to emerge as a work of hope and optimism, offering both a newfound maturity and an abiding sense of calm in the face of chaos as Hiatt learns to make peace with just how much of life lies beyond her control.
"It's crucial to live and let live, to be able to accept things for what they are," says Hiatt. "Coming to terms with those sorts of boundaries has inspired a lot of growth in me lately, and I've realized that it leads to better outcomes both in relationships and in art. Things seem to bloom if you can just get out of your own way for long enough."
Things have been blooming for Hiatt in a big way lately. In 2017, she released her acclaimed third album, 'Trinity Lane,' a commercial and critical breakout that helped establish her as one of the leading voices to emerge East Nashville’s embarrassment of musical riches. Produced by Shovel & Rope's Michael Trent, the record earned Hiatt dates with the likes of John Prine, Margo Price, Drive-By Truckers, and Hiss Golden Messenger among others, and helped her secure festival slots everywhere from Pilgrimage and High Water to Luck Reunion and Wildwood Revival. NPR called the album "courageous and affecting," while The Independent raved that it showcased Hiatt's "gift for unpicking knotty lyrical themes in a personalised blend of countrified rock music," and Rolling Stone hailed it as "the most cohesive and declarative statement of the young songwriter’s career."