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Robert Earl Keen w/ Hayes Carll
July 6thLone Piñon
July 7thRed Baraat
July 9thLa Doña
July 10thDigable Planets w/ The Soul Rebels
July 10thVieux Farka Touré
July 11thVieux Farka Touré
July 12thVandoliers
July 12thM. Ward & The Undertakers
July 12thThe Meditations
July 13thThe Fabulous Thunderbirds
July 14thLow Cut Connie
July 15thMountain Grass Unit
July 15thPhosphorescent
July 16thLumbre Del Sol
July 17thThe Psychedelic Furs - SOLD OUT
July 17thMereba
July 17thImprovement Movement
July 18thBully
July 18thSonia De Los Santos
July 19thThe Wild Robot
July 19thSurprise Chef
July 19thReverend Peyton's Big Damn Band
July 21stFather John Misty - SOLD OUT
July 21stJulian Marley
July 22ndThe Family Stone
July 25thDavid Berkeley
July 26thGyedu-Blay Ambolley
July 26thTanner Usrey
July 27thBuena Vista Orchestra
July 27thBoris McCutcheon and The Salt Licks
July 28thKT Tunstall
July 29thDogs in a Pile
July 31stSanta Fe Salutes: Ladies of the 80's
August 1stGirls Inc. Stronger Together Fest
August 2ndInside Out 2
August 2ndRebirth Brass Band
August 3rdFelix Y Los Gatos
August 4thWaxahatchee
August 4thAl Hurricane Jr.
August 5thMarty Stuart & His Fabulous Superlatives
August 6thThee Sinseers & The Altons
August 7thYelawolf
August 7thBig Daddy Kane With His Live Band
August 8thJunior Toots
August 9thChuck Prophet and His Cumbia Shoes
August 10thRosali
August 10thChuck Prophet and His Cumbia Shoes
August 11thLevi Platero
August 12thMacy Gray
August 12thIndigenousWays Festival: Robert Mirabal
August 15thHot Buttered Rum
August 16thA Complete Unknown
August 16thABBAquerque
August 18thThe English Beat
August 19thCuarenta y Cinco
August 21stNew Breed Brass Band w/ Trombone Shorty
August 22ndA Hawk and A Hacksaw
August 23rdModest Mouse
August 23rdTennis
August 24thThe Dead South
August 24thDetroit Lightning
August 25thPokey LaFarge
August 26thKeb' Mo' and Shawn Colvin - SOLD OUT
August 27thThe Blue Ventures
August 28thSam Barber
August 28thScott Bradlee's Postmodern Jukebox
August 28thJon Batiste Plays America - SOLD OUT
August 31stJon Batiste Plays America
September 1stThe Fixx
September 5thThe Mavericks - SOLD OUT
September 6thA Prairie Home Companion's 50th Anniversary
September 7thTribal Seeds and The Movement
September 9thSamantha Fish
September 10thMelvins
September 10thBlossoms & Bones
September 11thMax McNown
September 11thThe Swell Season
September 15thBirdtalker
September 16thFortunate Youth
September 17thWyatt Flores
September 17thKeller Williams' Grateful Grass
September 19thBad Suns
September 19thPile
September 20thBUNT.
September 23rdCuco
September 23rdJohn Moreland
September 24thNate Sib
September 25thNathaniel Rateliff & The Night Sweats
September 27thI'm With Her - SOLD OUT
September 29thThe Dandy Warhols
September 29thLiam St. John
September 29thThe Waterboys
September 30thLA LOM
September 30thSoftcult
September 30thDominique Fils-Aime
October 1stNoah Reid
October 1stRainbow Kitten Surprise
October 1stBuilt To Spill
October 2ndThe Head and The Heart: Aperture Tour
October 2ndPanda Bear
October 5thWednesday
October 9thThe Julia Keefe Indigenous Big Band
October 9thStrawberry Guy
October 17thLas Cafeteras
October 19thNicotine Dolls
October 21stThe Last Revel x Oliver Hazard
October 22ndBooker T. Jones
October 25thArlie
October 26thBETWEEN FRIENDS
October 26thLas Cafeteras
October 28thJosh Johnson: The Flowers Tour
November 1stJosh Johnson: The Flowers Tour
November 2ndMurder By Death - SOLD OUT
November 2ndOsees - SOLD OUT
November 4thRichy Mitch & The Coal Miners
November 5thWilli Carlisle
November 6thThe Brian Jonestown Massacre - SOLD OUT
November 8thJoshua Radin
November 10thDean Johnson
November 12thLucius
November 12thStanley Clarke
November 13thInfinity Song
November 19thWillie Watson
November 21stNeko Case
November 21stDakhaBrakha
December 3rdDakhaBrakha
December 4thThe Klezmatics: Happy Joyous Hanukkah
December 17thSquirrel Nut Zippers Christmas Caravan
December 19thWelcome To Night Vale: Murder Night in Blood Forest
January 26thStorm Large
February 5thThe Assad Brothers
February 26thThe Bad Plus
March 13thLunasa
March 15thPink Martini
March 23rdPink Martini
March 24thChristian McBride & Edgar Meyer
April 7thUkulele Orchestra of Great Britain
April 28thMac DeMarco - SOLD OUT
May 21stEmma Ruth Rundle
w/ Storefront Church
at
Meow Wolf
Add to Cal
TICKETS: $25-30
Member pre-sale: Wednesday, August 7, 10 am
Public sale: Friday, August 9, 10 am
FOR ONLINE CUSTOMER TICKETING sales and support contact support@holdmyticket.com or call 1-877-466-3404.
IN-PERSON WALK-UP SALES ONLY for all shows are available at the Lensic Box Office during Box Office hours.
VENUE INFO: Meow Wolf
Alcohol: Yes
Seating: Standing
Outside Food/Drink: No
Parking: Yes
ADA: Yes, please speak to a Meow Wolf team member
PROHIBITED ITEMS: Recommend to leave the following items in your car or secure them in a locker. Please review our Prohibited Items list for further questions.
-Backpacks & oversized bags
-Laptops or Tablets
-Oversized coats
-Umbrellas
-Luggage
-Strollers
-Skateboards
-Professional recording equipment
EMMA RUTH RUNDLE
“I don’t know what to reveal about this album,” Emma Ruth Rundle responds when pressed to talk about her latest record, the stark, intimate, and unflinching Engine of Hell. “I feel like I want to be left alone for a little bit… it doesn’t feel like it’s time to wave the ‘look at me’ flag.” It’s an understandable position given the heavy lyrical content of the record and the naked and exposed nature of the accompanying music. Even the most cursory listen of the album is sure to elicit some questions. Rundle has opted to forego the full-band arrangements of her last two albums—Marked For Death and On Dark Horses—in favor of the austerity of a lone piano or guitar and her voice, putting every word under the microscope. Engine of Hell was recorded almost entirely live with minimal overdubs, and the effect is an extremely up-close and personal confessional with an ASMR-level focus on the rich subtleties and timbre of Rundle’s graceful performances. Much like Nick Drake’s Pink Moon or Sibylle Baier’s Colour Green, Engine of Hell captures a moment where a masterful songwriter strips away all flourishes and embellishments in order to make every note and word hit with maximum impact. But it’s also a record that leaves little to hide behind.
Emma Ruth Rundle has always been a multifaceted musician, equally capable of dreamy abstraction (as heard on her debut album Electric Guitar: One), maximalist textural explorations, and the classic acoustic guitar singer-songwriter tradition (exemplified by Some Heavy Ocean). But on Engine of Hell, Rundle focuses on an instrument that she left behind in her early twenties when she began playing in bands: the piano. In combination with her voice, the piano playing on Engine of Hell creates a kind of intimacy, as if we’re sitting beside Rundle on the bench, or perhaps even playing the songs ourselves. “I really wanted to capture imperfection and the vulnerability of my humanity,” Rundle says of the album’s sonic approach. “In some small way, there is this tiny punk rock feel of ‘well, fuck this perfect, polished, produced, and rehearsed thing that we are so pressured to do. Here are some very personal songs; here are my memories; here is me teetering on the very edge of sanity dipping my toe into the outer reaches of space and I’m taking you with me and it’s very fucked up and imperfect.’”
The instrument of Rundle’s childhood is the perfect vehicle for an album that is essentially a collection of memories from her youth, though one doesn’t need to dig too deep to realize Engine of Hell isn’t some saccharin nostalgia trip. A gentle melancholy piano line introduces album opener “Return,” and when Rundle finally sings, every syllable guided with the utmost intention, she unleashes the ominously cryptic opening lines “A rich belief that no one sees you / Your ribbon cut from all the fates and / Some hound of Hell looking for handouts / The breath between things no one says.” The ambiguity may obscure the muse, but it doesn’t diminish its heaviness. However, as the album progresses, it becomes apparent that Engine of Hell is more memoir than pure poetry. By the next song—the soft-spoken acoustic guitar ballad “Blooms of Oblivion”—we’ve been given more explicit details. “Down at the methadone clinic we waited / hoping to take home your cure / The curdling cowards, the crackle of china / you say that it’s making you pure.” It gets even heavier on Engine of Hell’s third song “Body,” where Rundle recounts a childhood memory of seeing a deceased family member wheeled away by strangers.
The memories and their accompanying songs aren’t always steeped in grief. “Dancing Man” is one of the most delicate and somber songs on the album, with its sleepy cadence and hushed delivery giving it a distinctly dream-like quality. Yet the song serves a positive purpose: it chronicles a cherished memory of Rundle dancing with a friend—an experience she returns to in dark moments when she needs the reminder of “perfect days with this perfect love that exists in a space which can never be taken away from me, can never be ruined, can never be changed.”
Engine of Hell’s definitive statement comes with the final song “In My Afterlife.” The verses find Rundle singing about passing on against a drape of sparsely arranged minor chords on the piano. But the somber tone turns redemptive on the choruses, where the melody shifts to a major key, and Rundle seems to bask in the possibilities of coming untethered to the past. “I’ve been living in a state of dissociation for so long,” Rundle reflects, “and that’s what gave birth to this particular song. Once all the songs for the album were done I realized ‘In My Afterlife’ was what the album is actually about. For me this album is the end of an era to the end of a decade of making records. Things DO have to change and have changed for me since I finished recording it.” In essence, Engine of Hell signifies a major turning point for Emma Ruth Rundle as both an artist and as a person. The catharsis of this type of songwriting has effectively served its purpose, and to continue ruminating on the past going forward is less of a healing process and more like picking at a scab and refusing to let it heal. This may help explain why Rundle is less than enthusiastic about divulging the details about her muses, but it doesn’t alter the fact that these songs served a purpose in their creation, and that they may continue to bring comfort to others.
Engine of Hell is a potent album, and it may prove too emotionally overwhelming for fans of a more anodyne brand of songwriting. But for anyone that’s endured trauma and grief, there’s a beautiful solace in hearing Emma Ruth Rundle articulate and humanize that particular type of pain not only with her words, but with that particular mysterious language of melody and timbre.
STOREFRONT CHURCH
Lukas Frank is the songwriter, producer and multi-instrumentalist behind Storefront Church. Its members include a large rotating cast similar in makeup to Broken Social Scene or Black Country New Road. Contributions have ranged from Laetita Sadier, Phoebe Bridgers, Zachary Cole Smith (DIIV), George Clarke (Deafheaven), Circuit Des Yeux, Lauren Auder, Cassidy Turbin (Beck), Sam Wilkes, and a dozen more.
Storefront Church contributed their song “The Gift” to the Netflix Series The Queen’s Gambit, as well as performed opening slots for Weyes Blood, Madison Cunningham, DIIV, Deafheaven. In the new year, they’re releasing a single featuring Laetitia Sadier with a tour to follow. Storefront Church has demonstrated an unheard of versatility in their ability to open for soft rock balladeer Weyes Blood as well as for the seminal metal act Deafheaven.
The new album, five years in the making, conceived in the pandemic during forced isolation and rolling fires in Los Angeles, finds Lukas looking for a connection out of complete isolation. “My cynical, atheistic worldview was killing me, I was looking for a way into some kind of faith, and my own imagination seemed like it could be a way in.”
The album Ink & Oil maintains the lush cinematic vision of Los Angeles as his first release, but dials it up to 12 with a full live orchestra on every song, drawing connections to artists like Scott Walker, Brian Wilson, Nick Cave & The Bad Seeds and Ennio Moricone. Ink & Oil is a record about family history, as much as it is a reckoning with mental health and spirituality. Broken narratives about ghosts of relatives pass through the record like forlorn faces pressed to car windows as they pass by. “I know a lot of the lyrics are cryptic and even a bit hifalutin, but I had to allow myself to sometimes not know exactly what I was writing about and let the meaning come later. There were mysteries for me about these songs that weren’t solved until way after recording, and sometimes not at all. Ultimately, somehow, I arrived at something that felt genuine, something still deeply personal that I came to through these songs.”
There are many stories that accompany Ink & Oil. While all of these stories speak to something from Lukas’s past, there is genuine mystery as to what’s factually real and what’s emotionally real. Lukas finds his inspiration in the tension between the two; the gray area where memory and belief overtake accepted truth and certainty to then reform into something deeper; something that Lukas feels can be described simply as Faith.
We take what we know and we add to that what we believe and we arrive somewhere new, sometimes somewhere fantastic or surreal, and sometimes somewhere profound. All the while trusting that music borne from inspiration, be it divine or mundane, will open the door.