The Cadillac Three – Tickets – Wonder Ballroom – Portland, OR – March 9th, 2017

The Cadillac Three

Showbox Presents

The Cadillac Three

Quaker City Night Hawks

Thursday March 9

Doors: 7:30 pm / Show: 8:30 pm

$20.00 - $25.00

This event is all ages

The Cadillac Three
The Cadillac Three
"This is where I was born and this is where I'll die."
With that passionate battle cry, the centerpiece lyric of their anthem "The South," The Cadillac Three have launched a movement in country music, forging a bond with fans both in the U.S. and overseas in a way not seen since Garth Brooks. Born and raised in Nashville, Tennessee, the trio of singer-guitarist Jaren Johnston, lap-steel player Kelby Ray and drummer Neil Mason are brothers in "hell yeah!" spirit and in music. They are effortlessly cool, as real as they come and arguably the most vital addition to the country-music landscape this decade.
The proof lies in both their hard-rocking live shows and their blistering new album Bury Me in My Boots, their first recorded for Big Machine Records. Onstage, the group possesses a sonic power that other touring bands couldn't match with double the players. Johnston sings and shreds with a room-filling "kiss my ass" attitude, Ray delivers slippery riffs and a phantom bass line on his steel, and Mason pulverizes the kit with the force of Zeppelin's John Bonham. Remarkably, they've harnessed that same crackling energy on Bury Me in My Boots, a collection of 14 songs that were hatched the old-fashioned way: written on the road and tested live in front of an audience.
"I've never seen any other band in Nashville say, 'Yeah, man, we like to try out a song live for a long time just to make sure it goes over well, before we put it on a record,'" says Johnston. "Most Nashville bands, they get a demo, they like it, they cut it, and it's on the record and sometimes the radio the next week."
Produced by The Cadillac Three with Dann Huff and Justin Niebank, Bury Me in My Boots is the follow-up to their self-titled 2012 independent debut, which Big Machine re-released after signing the band. But there's more than just years separating the projects.
"We drove thousands of miles in a van and a bus between these two records. We played hundreds of shows in the past five years and have been through so much," says Ray.
Indeed, The Cadillac Three have toured relentlessly in the U.K., where they've garnered a rabid fan base, opened U.S. tours for Eric Church and Dierks Bentley, and are currently on the road with Florida Georgia Line.
"We're still writing songs about where we're from because it's our favorite place in the damn world," says Mason, "but at the same time, we have all these other experiences to draw on. We've been all around the world. This record is everything that has happened since."
The constant, however, is authenticity. More than any other act in country music today, The Cadillac Three paint the sharpest picture of small-town life — all three members have a hand in writing the songs on Bury Me in My Boots.
Led by Johnston, who has penned monster hits like Tim McGraw's "Meanwhile Back at Mama's," Jake Owen's "Beachin'" and Keith Urban's "Raise 'Em Up," the trio compose in an organic and spontaneous way.
"It's like in the movie Almost Famous. We're riding on the bus, somebody's got a guitar, somebody's drinking a beer. That's the idea," says Johnston. "And we all have one goal in mind: making an album that is better than the first one."
While that debut record broke ground for the group with its rebellious swamp-rock vibe, Bury Me in My Boots finds The Cadillac Three writing, recording and performing at a more assured, bolder level. It is the sound of a band fully aware of its power, one ready to decimate arenas.
In the stomping title track, they flip the popular carpe-diem theme on its head, looking not at how the guys live life, but how they hope to exit it — in their boots, the very ones that grace the album's cover.
"Lyrically, it goes to a place that can be sad and dark. This guy is talking about the pine-box clock," says Johnston. "But he says, 'If I'm going down, I want to go down in style!'"
It's the type of bravado at which the band excels, whether they're singing about coming face-to-face with the Reaper, or a hot girl at the bar. The single "Drunk Like You," the "Black Betty" homage "Slide" and the woozy "Buzzin'" all resonate with a certain swagger, while the beachy get-wasted jam "Ship Faced" is laugh-out-loud funny.
Quaker City Night Hawks
"Good evening from Fort Worth, Texas." Those are the first words of out Sam Anderson and David Matsler's mouths on 'El Astronauta,' The Quaker City Night Hawks' electrifying debut album for Lightning Rod Records, and it's the only introduction you'll need. Over a viscid, bluesy slide-guitar, the band transports you to the sweltering Texas heat, a "land of oilfields, iron nightmares, and fevered dreams." That song, "Good Evening," plants the band's flag firmly in the sand, simultaneously celebrating the pride of home and acknowledging the ominous clouds that hang over it, all while perfectly setting the stage for the raucous journey through time and space that follows.
The Night Hawks—Anderson and Matsler on vocals and guitars, Pat Adams on bass, and Aaron Haynes on drums—are a Southern band, to be sure, but it's not the South we've come to expect from our rock and roll. Equally influenced by ZZ Top and science fiction, they write of landscape both familiar and foreign, of a people working to shed their past but still burdened with its repercussions even in the distant future.
"Dave and I both pull from older artists when we write," says Anderson, "but we're trying to put a new spin on it. We're harkening back to old Texas, but we're writing about a new southern culture, maintaining the past and moving it on into the future."
Eras collide in every aspect of the record, from the title—which merges Texas' Spanish and Mexican roots with its role at the center of the modern space race—to its pop art cover, depicting a classic hot rod from the 70's that's been modified into a spacecraft hovering over an exotic desert landscape. Songs like "Mockingbird" play out as a classic-rock road warrior's tale souped-up for the 22nd century, while "Liberty Bell 7" re-imagines current-day border issues through the eyes of a "space coyote" smuggling illegal immigrants on and off the planet. The track, which was engineered by Centromatic's Matt Pence, is actually named for a real NASA mission from 1961.

Leave a Reply

Your email address will not be published. Required fields are marked *