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Monqui Presents

Wednesday, March 20
Doors : 7:30pm, Show : 8:30pm
ages 21 +
$0 to $18

About Marnie Stern:

It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.

But this is no nostalgia trip. The Comeback Kid is a statement of intent.

“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.

“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”

“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.

“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”

Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.

“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.

 
 
 
Monqui Presents

with special guest Blusher

Sunday, March 24
Doors : 7:30pm, Show : 8:30pm
ages 21 +

The Icelandic born, Berlin based musician Daði Freyr had been making music for over a decade before his career took off in 2020 with the song ‘Think About Things’ which seemingly went viral overnight with celebrities such as Russel Crowe and Jennifer Garner posting about it. It all started in his Berlin studio, a tiny space in his flat where he writes and records most of his music. The lyrics for Think About things are directly inspired by Daði becoming a father in 2019 and all the changes in his life around that.

The song was supposed to be Iceland’s contribution to the Eurovision song contest in 2020, performed with Gagnamagnið (the Data Plan) a fictional band made up of Daði’s friends and family members. Think about Things was high in the polls before the contest got cancelled due to Covid but the song grew exponentially in the following months earning a silver record in the UK and recognition as Time magazine’s number six on the top10 songs of 2020 list.

Monqui Presents

with special guest Daffo

Tuesday, March 26
Doors : 7pm, Show : 8pm
all ages

Dana Foote put Sir Chloe together in college to serve as her senior thesis. She wrote “Michelle,” and “Animal,” songs that would become the band’s first major hits a few years later, on the floor of her college dorm. The band recorded the songs in the early hours of the morning, the only time their school’s studio was available. The rest of Sir Chloe’s EP Party Favors was recorded in a warehouse that the band transformed into a decent recording space with just $100 dollars and sheer will. This labor of love soon transformed into something colossal. Due to the success of the EP, Sir Chloe would go on to tour with Portugal. the Man and alt-J, open for the Pixies, and headline two tours in the United States and Europe.

When Sir Chloe wasn’t touring, Foote worked with Grammy award-winning producer John Congelton to make what would become Sir Chloe’s debut album: I am the Dog. She wrote with pop powerhouse Teddy Geiger and Sarah Tudzin, from illuminati hotties. Collaborating with a team supported and challenged Foote, and the resulting work is a more stylistically dynamic and mature song cycle. I am the Dog is a record that grapples with finding control in the entropic chaos that is nature, that is life: “The violence of the natural world is pretty constant throughout the record,” says Foote, “It’s about trying to find control within that violence.” It’s a record invested in constructing exquisite and impossible tensions, toying with opposition, resolving it, and then destabilizing any comfortable resolution once again. Foote is not as invested in being at rest so much as she’s interested in interrogating why she cannot be.

Single “Hooves,” is an urgent song, fast and intense. It’s campy and serious at the same time. Foote was thinking about the particular physical freakishness of goats: their three eyelids, how their eyes move independently from each other, that these bizarre features better equip them to avoid predators. Characteristic of Foote’s songwriting, “Hooves” embodies paradox to get its point across: sonically it’s deliciously perverted and dark, while lyrically it demands space, expresses a unequivocal bid to be left alone: “I don’t want to hold hands,” Foote sings over the violent thrash of guitar, “You’ve been chewing my hair over and over again.” It bursts open, erupts, leaves both nothing and everything to the imagination.

Foote’s voice is emotional and dynamic. Her alto is vibrant, intense, sometimes frightening. Lyrically, she’s frank, but avoids giving too much away. Foote is always toeing the line between expression and concealment. She makes a fetish of the unsaid, preferring to shield her songwriting with a degree of opacity. I am the Dog opens with “Should I,” written with Sir Chloe’s guitarist Teddy O’Mara and Teddy Geiger. It’s severe, dissonant. Foote asks a naughty question, explores a back and forth, oscillates between “Yes” and “No”. Foote is always wondering which way to go. “Know Better,” orbits a similar tension. “I wanted it to sound like I was teasing someone,” says Foote. Like when you pull someone’s hair instead of asking for a kiss. It’s disarming, at the same time molten and edgy, obscuring and revealing desire in the same breath. It’s the outline of someone’s tongue against the inside of their cheek, suppressing the smile that would reveal the secret they’re looking to keep.

“Salivate,” born out of Foote’s meditation on the way shame is leveraged to control people, shapes desire into something dark: a scream and a whine and a weapon. The album’s title track begins stripped down and melancholy, almost resigned, and then slowly builds into a cathedral of sound, cinematic and heartbreaking. It’s written from the perspective of a beloved but violent dog Foote lived with. She empathizes with the animal, recognizing the tragedy of its helplessness, entirely at the mercy of the person it can’t help but hurt: “I am the dog under your couch, gnashing teeth and open mouth,” Foote sings, “Shouldn’t have clawed my own way out, loving you is my only house.”

I am the Dog is a record of exquisite contrast: it points the finger, it pushes away, it beckons, it empathizes, it condemns, it yells and laments and prays. It’s fast and feverish and also shimmering and dreamy. It’s lush and textural and profound. I am the Dog interrogates ugly and painful things and pulls them apart until they surrender answers that are complex, or reveal the foolishness of seeking an explanation in the first place

 
 
 
 
 
 
Monqui Presents

Wednesday, March 27
Doors : 7pm, Show : 8pm
ages 21 +
$36

KMFDM (originally Kein Mehrheit Für Die Mitleid, loosely translated by the band as “no pity for the majority”) is a multinational industrial band from Hamburg, Germany, led by Sascha Konietzko, who founded the band in 1984 as a performance art project in Paris, France. The band’s earliest albums were recorded in Germany before they moved to the United States, where they found much greater success with seminal record label Wax Trax! out of Chicago.

Throughout the 90’s KMFDM constantly evolved with a revolving door line-up, becoming a household name in the US music scene. Their 1995 hit “Juke Joint Jezebel catapulted KMFDM into the Billboard charts and got them onto many movie soundtracks, notably Bad Boys and Mortal Kombat. Bands such as Rammstein or Korn had their humble beginnings opening up on KMFDM’s tours.KMFDM took a brief hiatus in early 1999 after having recorded their 10th album for Wax Trax Records which had run afoul in the hands of TVT Records.

Konietzko resurrected KMFDM in 2002 on Metropolis Records with a partially new line-up that included among others American singer Lucia Cifarelli from the band DRILL, and Tim Skold who later on joined Marilyn Manson. Releasing studio albums and touring frequently throughout the 2000’s Konietzko and Cifarelli moved back to Germany in 2008. Dozens of musicians have worked with the group across its 22 studio albums and countless singles, with sales totaling in excess of two million records worldwide.

Critics consider KMFDM one of the first bands to bring industrial music to mainstream audiences, though Konietzko refers to the band’s music as “The Ultra Heavy Beat”. The band incorporates heavy metal guitar riffs, electronic music, and both male and female vocals in its music, which encompasses a variety of styles including industrial rock , electronic body music and even reggae and dub. The band is fiercely political, with many of its lyrics taking stands against violence, war, and oppression.

KMFDM is known to tour after every major release, and band members have a reputation for their accessibility to and interaction with fans, both online and at concerts. KMFDM’s latest album LET’S GO ! will be released on March 2, 2024 followed by a month-long US Tour.

KMFDM’s current incarnation consists of: Lucia Cifarelli Andy Selway Andee Blacksugar Sascha Konietzko

 
 
 
Monqui Presents

Thursday, March 28
Doors : 7pm, Show : 8pm
all ages
$15 to $18

About Small Crush:

Small crush began in Logan Hammon’s bedroom when she was 13 years old writing songs on her dad’s old guitar and recording covers on garage band. In her sophomore year of high school, she found some friends in jazz band class to help fulfill her dream of playing her songs in a full band. Together the band began playing little shows at 924 gilman and other DIY spaces. In 2018 the band released an EP that caught the attention of a local Bay Area label Asian Man Records and recorded a full length the year after. Since then the band has grown to touring and playing venues she has always admired. Through it all the band has made the joy of playing music and having fun the most important thing.

 
 
 
 
 
 
Monqui Presents

with special guests HOOK and Bruiser Wolf

Friday, March 29
Doors : 7pm, Show : 8pm
all ages

About Danny Brown

Danny Brown’s career is the uncompromising work of a virtuosic talent who understands how to use his unique personality as a vicious instrument. There is the lingering sense of paranoia, the requisite survivor’s guilt and anxiety, but also hysterical punchlines and party anthems built to cause speakers to crumble into ashes. He is one of the most sought after global performers and offers a unique contrast of best rapper alive, reflection and celebration in each performance. – Jeff Weiss

 
 
 
Monqui Presents

with Ferngazer

Saturday, March 30
Doors : 7pm, Show : 8pm
all ages
$22.50

About Wicca Phase Springs Eternal:

Wicca Phase Springs Eternal has been the moniker and creative persona of Pennsylvania-based singer, songwriter, producer, and multi-instrumentalist Adam McIlwee for over a decade. The name is as enigmatic as McIlwee’s work, a fittingly esoteric umbrella for his ever-growingandever-evolving catalog of music that’s been released at a stunning quality and pace. So it’s with great intention that the name is now also the title of McIlwee’s latest full-length: Wicca Phase Springs Eternal offers the musician’s most finely honed and welcoming songs to date, but it’s more than just a self-titled album–it’s a portal, an entryway into an entire world.

As 2019 merged into 2020, the former Tigers Jaw member and Gothboiclique founder was looking to step away from the hyper-concentrated melancholic Trap of 2019’s Suffer On, and set out to breathe fresh life into the WPSE project by creating a broader sonic landscape. “Suffer On and a lot of the music I was making around that time was just so emotionally heavy,” McIlwee explains. “It felt like I was putting a lot on the listener and on myself. So I started thinking about early Wicca Phase and the world building I was doing–I was just throwing things at the wall then, but now I have ten more years of songwriting experience. I realized I wanted to just keep developing a depth to Wicca Phase, I didn’t want to just scratch the surface.”

Inspired by the musings of ‘60s and ‘70s British folk bands such as Fairport Convention and Pentangle, McIlwee hunkered down in the Western Catskills and Abington Township in Pennsylvania, absorbing the scenery and trying to translate the beauty of his surroundings into an immersive experience. He began to expand the WPSE lore and fashion a more colorful and descriptive body of work–one where he still wears his heart on his sleeve, but now all of the longing and heartache exist in a vivid space that’s strikingly real and otherworldly all at once. The sound of Wicca Phase began to grow as well: never wanting the project to be defined by a genre, McIlwee worked closely with longtime collaborator Darcy Baylis, as well as newcomer Ben Greenberg, to continue to bring new styles and moods into WPSE. Looking to incorporate his love of EDM, trance, and house sounds, McIlwee and co. created an amalgam of ‘80s and ‘90s breakbeat style drums, modernistic 808s, shimmering synths, and washes of reverberating guitar and organic bass.

The more McIlwee wrote, the deeper he went into the universe he was creating, and his heartfelt songwriting transformed into a moving and breathing sonic display of the fine line between reality and mysticism. “It felt like this could be a starting point if you don’t know what Wicca Phase is about,” he says. “You’re still getting the melodrama that’s in all my lyrics, but you’re also getting this description of the world–what it looks like, what it feels like. Why wouldn’t that be self-titled?”

McIlwee makes his intentions loud and clear from the start: Wicca Phase Springs Eternal’s latest album, Wicca Phase Springs Eternal, opens with a song called “Wicca Phase Springs Eternal.” In cinematic fashion, the track’s three distinct movements draw the listener into the themes, settings, and sounds that permeate the record. McIlwee’s instantly recognizable baritone voice croons over bubbling synth arpeggiations and thumping beats, describing a blend of the natural (a lake, pines, wild horses), supernatural (magic, mystery, a tesseract), and unexpectedly mundane (a Subaru, a puffer jacket, a Dodgers hat), offering just enough grounding to leave the listener wondering if they’re in our world or on some other plane that only resembles it. “Sometimes when I’m writing I’ll be off in the fifth dimension and realize that I need to bring it back to the real world,” McIlwee says. “I’m not interested in music that’s totally ethereal–I want to relate to music and I want people to be able to relate to my music, too.”

That inescapable emotional core and McIlwee’s sincere nature still resonate throughout Wicca Phase Springs Eternal, but this time it’s stronger, imbued with a new wisdom. On “Farm,” he sings “My love lives on a plane, and when it presents itself overwhelmed and overtaken, silent and sacred,total, unknowable in shape,” his voice calling out into the night through driving breakbeats and pulsing synth lines before being swallowed up by his own echoes. Elsewhere, McIlwee and Zola Jesus duet on the fingerpicked outlaw ballad “Mystery, I’m Tied To You,”, while “One Silhouette” is Wicca Phase Springs Eternal’s version of a dance song, its pounding four-on-the-floor beat colliding into hazy slide guitar and McIlwee’s mournful hooks to conjure up an imaginary collaboration between Robert Smith and Underworld.

On “Who’s Watching Me,” a trip hop beat and ghostly keyboards create surprising uplift, like the moon shining through the clouds as McIlwee describes his arrival to “ the doorway of desire and intrigue.” It’s a moment that sums up what Wicca Phase Springs Eternal does best: capturing both the romanticism and inscrutability of life’s biggest feelings. “I probably say the word ‘mystery’ a hundred times on this record,” McIlwee laughs. “That’s what I’m trying to bottle up–this idea of something that’s hard to know, but enticing. For whatever reason, my natural strength is writing about emotions, though my interest is always more in describing the moment and describing the intangible. I definitely will keep singing about heartbreak, but I want to do it in a different way.”

McIlwee’s devotion to traversing the unknown–both emotional and extra-dimensional–is palpable and contagious. When he sings “I spent hours trying to tap into the mystery” on the eponymous opening track, you believe him, and are also reminded of what a rare joy it is to be fully captivated by a piece of art that’s this richly detailed, while still leaving so many questions unanswered, so many twists left to be discovered with every listen. When Wicca Phase Springs Eternal ends, you find yourself compelled to play it again–to enter the portal and once more find out where it leads.

 
 
 
 
 
 
Monqui Presents

with Riki

Sunday, March 31
Doors : 7pm, Show : 8pm
ages 21 +
$24

About King Woman:

NYC & LA-based Iranian songwriter, producer, and vocalist Kris Esfandiari, also known as King Woman, released a striking full-length album called Celestial Blues, on July 30, 2021 via Relapse Records. Kris Esfandiari (NGHTCRWLR, Dalmatian, Miserable, Sugar High) founded King Woman in 2009 as a solo project which later gained the talents of drummer Joseph Raygoza. Now wiser and holding less animosity than King Woman’s previous sentiments on 2014 EP Doubt and highly-esteemed 2017 full length Created in The Image of Suffering, the fantasy world that once plagued Kris’ psyche is dancing in a new light on Celestial Blues. Feeling compelled to reshape the biblical archetypes that once bound her, Esfandiari has created a theatrical tale of rebellion, tragedy, and triumph — a metaphor for her own personal experiences over the years — Celestial Blues was born.

Several years ago, Kris Esfandiari had the sudden urge to recount a near death experience she had as a child. This severe event was followed by a string of hysterical black out episodes. Esfandiari would wake with a feeling that she was being ripped from her body. Esfandiari’s words evolved into a poem called “Celestial Blues” which later became the title for King Woman’s long awaited full-length sophomore album. While uncovering the vision for her latest record, Esfandiari was reintroduced to John Milton’s Paradise Lost after a stranger gifted her an old copy at a party. As she became reacquainted with this epic poem, Esfandiari was transported back to her childhood. Esfandiari’s immigrant parents often held church at home, where she was exposed to exorcisms, spiritual warfare, and sermons about heaven and hell.

Esfandiari sets a dramatic tone for the record with “Morning Star” echoing the primeval account of Lucifer’s fall from grace. Esfandiari smugly whispers: “you know it could have been you / so don’t you dare judge the things that I do” — the fallen archangel in deceitful persuasion. Esfandiari is accompanied by the beastly drumming of Joseph Raygoza and Peter Arendorf’s heavy-laden guitar — masterfully stirring the listener with every sparse, emotional pluck. King Woman once again, takes us to church with hardcore gospel, “Coil”. “Five wounds you rape me / but I resurrect” declares Esfandiari in unhinged jubilation.

Esfandiari desperately begs to be absolved in the crazed offerings of “Psychic Wound”, ultimately regaining a powerful reflection of herself after a provocative yet tormenting dance with the Devil. Celestial Blues was recorded in December 2019 in Oakland, California with Grammy-nominated producer, Jack Shirley (Deafheaven, Amenra, Oathbreaker, etc).

In addition, King Woman teamed up with photographer Nedda Afsari, as well as designers Jamie Parkhurst and Collin Fletcher for visual packaging. Celestial Blues certainly feels like a play. Esfandiari changes costume and set with each distinct song, breathing new life into a magnificent, age-old tale. King Woman never ceases to transcend this mundane realm of afflictions only to plunge the listener back down into pandemonium. The curtain lifts, Esfandiari bows, making peace with her weighty past.

 
 
 
Monqui Presents

with special guest Ryan Montbleau

Friday, April 5
Doors : 7pm, Show : 8pm
ages 21 +
$30

About Keller Williams

Virginian, Keller Williams, released his first album in 1994, FREEK, and has since given each of his albums a single syllable title: BUZZ, SPUN, BREATHE, LOOP, LAUGH, HOME, DANCE, STAGE, GRASS, DREAM, TWELVE, LIVE, ODD, THIEF, KIDS, BASS, PICK, FUNK, VAPE, SYNC, RAW, SANS, ADD, SPEED and CELL.   Each title serves as a concise summation of the concept guiding each project. Keller’s albums reflect his pursuit to create music that sounds like nothing else. Un-beholden to conventionalism, he seamlessly crosses genre boundaries. The end product is music that encompasses rock, jazz, funk and bluegrass, and always keeps the audience on their feet. Keller built his reputation initially on his engaging live performances, no two of which are ever alike. For most of his career he has performed solo. His stage shows are rooted around Keller singing his compositions and choice cover songs, while accompanying himself on acoustic guitar, bass, guitar synthesizer and drum samples; a technique called live phrase sampling or “looping”.  The end result often leans toward a hybrid of alternative folk and groovy electronica, a genre Keller jokingly calls “acoustic dance music” or ADM.” Keller’s constant evolution has led to numerous band projects as well;  Keller & The Keels, Grateful Grass, KWahtro, Keller and the Travelin’ McCourys, Grateful Gospel and More Than A Little to name a few. Keller can be found playing clubs and festivals around the U.S. with these projects throughout the year. 

 
 
 
 
 
 
Monqui Presents

with special guest Fantastic Cat

Saturday, April 6
Doors : 7pm, Show : 8pm
ages 21 +
$25

About Low Cut Connie

“This record is all kink and no shame,” says Adam Weiner of ART DEALERS, the tough, sexy and tender new album coming from Low Cut Connie. “With Low Cut Connie, I try to create a safe space for you to just absolutely get your freak on.”

For years now, Low Cut Connie has built its grassroots coalition of oddballs, underdogs, and fun-loving weirdos with songs that celebrate life on the fringes of polite society. The band’s infamously wild, passionate live shows provide a total release – of stress, of inhibition, of shame – working up a primordial rock n roll sweat for fans to get blissfully soaked in. The new album, and its full-length companion film, sizzle with that same cathartic sweat, reminding us that it’s time to get dirty again, and to feel alive. ART DEALERS sits at the intersection of sleazy and soulful – a collection of risky, romantic, life-affirming anthems, all dedicated to you.

“I think rock n roll exists to be a red-blooded, countercultural medium,” says Weiner, who has performed under the Low Cut Connie moniker for over a decade, “You’re supposed to get your hair messed-up.” That imperative comes through in the adults-only tone of songs like the opening “Tell Me Something I Don’t Know,” a sinuous, lurid rocker that sounds like walking through depraved Times Square in 1978 – neon-lit and nasty with a snapping beat. The speedy, fuzzed-up garage-rocker “Whips and Chains” calls out Trump and the current wave of neo-fascism, without ever losing its boogie rhythm section.

But there’s also tenderness behind the curtain here, as on the yearning first single “Are You Gonna Run?” and “Call Out My Name”, which evoke the sweet sad love that punky boys like the New York Dolls and the Ramones used to have for tough girls like the Ronettes and the Shangri-La’s.

The sounds throughout the record comprise a grimy modern urban landscape, a soulful but broken place that Weiner and his band (including rock n roll guitar hero, Will Donnelly, in his 9th year in Low Cut Connie) have been gravitating towards throughout the band’s history. Weiner grew up amid the lawns and strip malls of suburban New Jersey, and his own teen dreams were lit up by the beacon of the big city, where he could shed his skin like so many artists before. “If you think about it, so many great artists who we associate with the city were actually bridge and tunnel people,” Adam said. “Patti Smith, Lou Reed, Springsteen. Debbie Harry, Robert Mapplethorpe. People who came from the burbs had this vision of what they could achieve in the city, what attracted them to this art life, who they could turn into and what impressions they could make – if they could just get there.” ART DEALERS is in many ways a tribute to that feeling at the pumping heart of the city – that enlightened buzz that can come in a packed hothouse of creativity and free expression. Songs like the Grace Jones styled “Take Me to the Place” and the penetrating title song point to all the people who cross those bridges, who choose the art life, who find their liberation on the edges of propriety.

ART DEALERS isn’t constrained by a gender binary, either. “When I’m onstage, I am the freest, most uninhibited version of myself,” Weiner explains. “It’s total freedom of spirit and body. Over the years, that freedom has given me more confidence to write songs from a perspective that isn’t necessarily male. I’ve slowly been walking toward a more gender-fluid voice with Low Cut Connie.” Weiner’s first steady gig at age 21 was as a piano-player in a drag karaoke bar in Manhattan called Pegasus, a seedy place where trans people, gay, straight and otherwise would gather around Weiner’s piano in a benevolent yet fully debauched array. “There are so many songs that came out of that bar for me. Things like ‘Shake It Little Tina [the single off of Low Cut Connie’s Hi Honey album]” But it wasn’t until ART DEALERS that he fully allowed himself to let the gender binary go so completely on songs like the upcoming single “Don’t Get Fresh With Me,” “Wonderful Boy,” and “Sleaze Me On” (with its sweet refrain “Treat me like a modern girl!”). Says Weiner, “I have no idea the gender identity of those songs. And that feels real comfy for me, the ‘not knowing’.”

ART DEALERS goes out to all the outsiders. On the no-fucks-to-give anthem “King of the Jews,” Weiner gets deep in the weeds of his personal and ethnic outsider identity. “There are just so many entry points these days to antisemitism, so my absolute unapologetic full-frontal Jewiness feels more needed now, I guess,” he says. “My Jewiness gives me an outsider perspective and humor that I wouldn’t trade for any goddamn thing, and the minute I start hiding that, I’m dishonoring myself. Shedding shame is a key element of Low Cut Connie.”

Weiner feels like a certain dark prince of rock n roll was a companion to him on this whole album and film project. “I felt like Lou Reed was riding with me the whole time I was making Art Dealers,” he said. “Lou was the toughest motherfucker out there, a subversive Jew like me – but he had a real rock n’roll heart underneath it all.”

ART DEALERS comes on the heels of a few very busy years for Low Cut Connie. During the height of COVID lockdowns, Adam and Low Cut Connie guitarist Will Donnelly did the near-impossible with their “Tough Cookies” live-streaming rock and soul variety shows. Even in a bathrobe, from his South Philly guest bedroom, Adam managed to generate the electricity of a live show – twice a week, no less – earning him the New Yorker’s newly-minted laurel of “Pandemic Person of the Year” in 2020. The broadcasts drew hundreds of thousands of viewers from more than forty countries, who joined previous appreciators like Bruce Springsteen (who invited Weiner backstage on Broadway in 2018) Barack Obama (an early adopter, who included the band on his official Spotify favorites playlist in 2015) and Elton John (who both praised the band from his own concert stage and featured Weiner as a guest, twice, on his satellite radio show) in Low Cut Connie’s de facto fan club.

In the midst of all this, Low Cut Connie also released 2020’s acclaimed PRIVATE LIVES album. The album’s title track finished the year in the top 20 nationally for non-commercial radio and was praised by NPR as “the freak anthem we need right now.” PRIVATE LIVES was praised for the vivid interiority and intimate detail of its songwriting and was included on many best-of-the-year lists that year (Rolling Stone, NPR/Fresh Air, PopMatters, Glide, AllMusic, etc). For that album and ART DEALERS, Weiner sat solo in the producer’s chair.

Further exploring new media, Weiner co-directed (with filmmaker Roy Power) an 80 minute feature film that will premiere late this year as a companion piece to ART DEALERS. The film is a hybrid-genre documentary that combines a stellar run of NYC concerts from 2022 shot at Sony Hall and the Blue Note, as well as 15 years of performance footage and musical and personal misadventures that led up to ART DEALERS. There will be limited festival screenings of the ART DEALERS film late in 2023, in tandem with this Fall’s US tour, and the film will see wider release in 2024.

Ahead of the release of this new album and film, Adam Weiner aka Low Cut Connie explains what motivates him to keep pushing deeper into art life.

“I’m always trying to get back to the heart and soul of things with the intention of my music and my performances,” says Adam. “I don’t know what’s hip. I don’t know what’s in fashion. I don’t know what I’m supposed to be doing to be accepted by whatever’s popular or trending. I have no idea – I don’t care anymore. I just want to turn people on with what I do. The world is a dirty and broken place… we might as well live it the fuck up while we’re here.”