TICKETS

$32.50 + fees
DAY OF SHOW: $37.50 + fees

THIS IS A REDUCED-CAPACITY SHOW WHERE YOU CAN BRING YOUR OWN CHAIRS.
KIDS 12 AND UNDER ARE FREE FOR THIS EVENT. 

MEMBER PRE-SALE: Wed, Mar 25, 10 am. Want pre-sale access? Become a Lensic member!
PUBLIC SALE: Fri, Mar 27, 10 am

For online ticketing sales & support, contact [email protected] or call 1-877-466-3404.
For in-person sales, visit the Lensic box office.

TICKET UPGRADES

VIEWING DECK: $51

Tickets are now available to watch the concert from the Bridge's new VIP Viewing Deck! See the stage and beyond from the deck on top of the Bridge building. Limited availability.

PREFERRED PARKING: $24

Want guaranteed parking close to the venue? You can now purchase a preferred parking ticket. Limited availability.

For preferred parking holders please present your proof of purchase to the parking attendant as you turn on Fire Place and they will direct you to the location.

VENUE THE BRIDGE AT SANTA FE BREWING CO. (INSIDE)

SEATING: Yes, there is some seating indoors

ALCOHOL: Yes, beer sold on site

OUTSIDE FOOD/DRINK: Drink, no - Food, yes

PARKING: Yes

ADA: Yes

Please be advised that by entering this event, you are agreeing to being filmed and/or photographed, and the resulting assets may be used for Lensic marketing or promotional purposes. Should you wish not to be photographed or recorded on video, please notify a staff member or one of the event photographers/videographers.

JAMES MCMURTRY

A Lone Star sheriff hunts quail on horseback and keeps a secret second family. A mechanic lies among the spare parts on the floor of his garage and wonders if he can afford to keep his girlfriend. A troubled man sees hallucinations of a black dog and a wandering boy and hums “Weird Al” songs in his head. These are some of the strange and richly drawn characters who inhabit James McMurtry’s eleventh album, The Black Dog & the Wandering Boy. A supremely insightful and inventive storyteller, he teases vivid worlds out of small details, setting them to arrangements that have the elements of Americana—rolling guitars, barroom harmonies, traces of banjo and harmonica—but sound too sly and smart for such a general category.

As varied as they are, these new story-songs find inspiration in scraps from his family’s past: a stray sketch, an old poem by a family friend, the hallucinations experienced by his father, the writer Larry McMurtry. “It’s something I do all the time,” he says, “but usually I draw from my own scraps.” As any good writer will do, McMurtry collects little ideas and hangs on to them for years, sometimes even decades. “South Texas Lawman” grew out of a line from a poem by a friend of the McMurtry clan, T.D. Hobart. Driven by gravelly guitars and a loose rhythm section, it’s a careful study of a man whose feelings of obsolescence motivate him to take drastic action in the final verse. “Dwight’d stay at our house way back in the ‘70s, when we lived in Virginia. During one visit he wrote this poem about his father’s attitude toward South Texas. He wrote it down on cardboard, and I came across it recently. There was a line about hunting quail on horseback, and that was the seed of the song. I’ve lost the poem since then.”

Soon McMurtry had enough of these songs for a new record. “It happened like all my records happened. It’d been too long since I’d had a record that the press could write about and get people to come out to my shows. It was time.” What was different this time was the presence of his old friend Don Dixon, who produced McMurtry’s third album, Where You’d Hide the Body?, back in 1995. “A couple of years ago I quit producing myself. I felt like I was repeating myself methodologically and stylistically. I needed to go back to producer school, so I brought in CC Adcock for Complicated Game, and then Ross Hogarth did The Horses & the Hounds. It seemed natural to revisit Mr. Dixon’s homeroom. I wanted to learn some of what he’s learned over the last thirty years.” During sessions at Wire Recording in Austin, McMurtry observed firsthand Dixon’s grasp of digital recording technology as well as his instinctual approach to tracking. “What Don’s really good at is being able to sense when it’s happening. He can hear when it’s going down. If I’m producing myself and I don’t have him, I have to do three takes and then go in and listen to them. Listening to those three takes can take about 15 minutes. So Dixon’s ability to know when it’s happening is crucial, because it can cut 15 minutes out of the day. That can really save a session, because you only have so many hours in the day and only so much energy.

Once the album was mixed, mastered, and sequenced, McMurtry recalled a rough pencil sketch he had found a few years earlier in his father’s effects. It seemed like it might make a good cover. “I knew it was of me, but I didn’t realize who drew it. I asked my mom and my stepdad, and finally I asked my stepmom, Faye, who said it looked like Ken Kesey’s work back in the ‘60s. She was married to Ken for forty years.” The Merry Prankster’s—Kesey’s roving band of hippie activists and creators—stopped by often to visit Larry McMurtry and his family. “I don’t remember their first visit, the one documented in Tom Wolfe’s Electric Kool-Aid Acid Test. I was too young, but I do remember a couple of Ken’s visits. I guess he drew it on one of those later stops. I remembered it and thought it would be the perfect art, but I had to go back through the storage locker. It’s a miracle that I found it again.”

It's a fitting image for an album that scavenges personal history for inspiration. Even the songwriter himself doesn’t always know what will happen or where the songs will take him. “You follow the words where they lead. If you can get a character, maybe you can get a story. If you can set it to a verse-chorus structure, maybe you can get a song. A song can come from anywhere, but the main inspiration is fear. Specifically, fear of irrelevance. If you don’t have songs, you don’t have a record. If you don’t have a record, you don’t have a tour. You gotta keep putting out work.”