8:30pm. $25 ADV / $30 DOS.
Such is the degree to which Richard Dawson has drawn down long drafts from the whirlpools of Elemental North Eastern Archetypes, he may now be one himself. Fearless in his research and willingness to follow his inspiration, Dawson has created an impressive catalogue of music and storytelling steeped in both ancient myths and contemporary dread. A fog of sickness, trauma and mute inevitability inhabits these records and is often expressed in the havoc with which Dawson's hands produce sounds from his long-suffering guitar, an instrument as bruised, individual and indefatigable as its owner.
The title of Richard Dawson's new album End of the Middle is a suitably slippery contradiction, one that invites multiple interpretations: Middle-aging? Middle-class? The middle-point of Dawson's career? The centre of a record? Centrism in general? Polarisation? The possibility of having a balanced discussion about anything? Stuck in the middle with you? Middle England? Middling songwriting?
End of the Middle is a wonkily beautiful peer into the workings of the family unit, perhaps several generations of the same family: "I wanted this record to be small-scale and very domestic", Dawson explains, "to be stripped back, stark and naked, and let the lyrics and melodies speak for themselves and for the people in the songs". By paring things right back what is revealed is a suite of remarkably poised, oddly elegant, beautiful music.
Website [
https://richarddawson.net/] | Twitter [
https://x.com/richarddawson12] | Facebook [
https://www.facebook.com/richarddawsonnet/] | Instagram [
https://www.instagram.com/richarddawsonofficial/]
Photo by Sally Pilkington
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Wendy Eisenberg has spent the past decade as a fixture of independent music and an artist of inspired multiplicity. As a singer-songwriter, improviser, and virtuoso guitarist, the coordinates of their artistry are ever-shifting, from art-rock to jazz to blistering free improv and eloquent folk. On catalog highlights including 2020’s 'Auto' and the 2024 free-jazz sprawler 'Viewfinder', they’ve made a signature of ambition.
As Eisenberg told fellow guitarist Nick Millevoi in an interview for Premier Guitar in 2021, “I need to be in a punk band at the same time as I need to be playing free improv at the same time as I need to be playing songs. All at the same time—otherwise none of the practices will work for me.” Their musical range isn’t a glib manifestation of eclecticism, but a genuine artistic essence.
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