MCA Nashville’s Jordan Davis has been named an “Artist to Watch” by Billboard, Rolling Stone, CMT, Pandora, Shazam, Amazon Music, Sounds Like Nashville, The Tennessean, SiriusXM, Whiskey Riff, and more. A Native of Shreveport, Louisiana, Davis graduated from LSU and briefly pursued the path of his degree working as an environmental consultant; however, his passion for music and songwriting eventually compelled him to move to Nashville in the summer of 2012. In 2018, Davis released his Gold-certified debut album, Home State, which features his three consecutive No. 1 hits: Platinum-Certified “Slow Dance In A Parking Lot,” the Double Platinum-Certified “Singles You Up” and Platinum-Certified “Take It From Me.” In 2019 Davis won Best New Country Artist at the iHeart Radio Music Awards and was a two-time nominee for ACM New Male Artist of the Year. He was also named Billboard’s Top New Country Artist of 2018 as well as Country Aircheck/Mediabase’s Most Heard New Artist of 2018. Davis has since accumulated over 2 billion streams worldwide. The hitmaker released a six-song, self-titled EP featuring a collaboration with pop superstar Julia Michaels titled, “Cool Anymore.” In May 2021, Davis announced his new eight song EP, Buy Dirt to be released later that month. Davis co-wrote every song on the EP except for the John Prine inspired “Blow Up Your TV.” Davis cites Prine as one of his most important influences throughout his life and on his music. The EP also features country superstar, Luke Bryan, who lends his vocals on the vulnerable title track and centerpiece of the EP. Davis’ latest single, “Almost Maybes,” is currently Top 10 and climbing on the country radio charts. The singer/songwriter will hit the road this Fall performing on Kane Brown’s Blessed and Free Tour. Davis has made appearances on Good Morning America, Late Night with Seth Meyers, TODAY Show, and has previously toured with the likes of Rascal Flatts, Jake Owen, Kip Moore, Brett Young and Old Dominion.

For additional information, visit www.jordandavisofficial.com.

Boyfriend is a songwriter (Big Freedia, Charli XCX, Mala Rodriguez, Mykki Blanco), producer, and performer.

A festival darling ("Bonnaroo's Best Find" - Bob Lefsetz, "Top 10 Performances of Outside Lands" - Rolling Stone), Boyfriend is best known for her over-the-top live show which blends components of cabaret, pop music and theatrical elements such as costume changes, props & interactive set pieces.

Two-time Grammy winning bassist Oteil Burbridge has been in the music business touring and recording for over three decades. His first step into the national spotlight came in 1991 when he became a founding member of the Aquarium Rescue Unit featuring Col. Bruce Hampton, a cult classic that has stood the test of time. That led to his membership in the classic rock group the Allman Brothers Band. Since 1997, his work with the band has earned him two Grammy nominations for best rock instrumental, in 2003 and in 2004. Over the years, Oteil has shared the stage with rock and blues legends such as Eric Clapton, Carlos Santana, Levon Helm, Taj Mahal, Buddy Guy, Pinetop Perkins, Hubert Sumlin, Billy Gibbons, Chuck Leavell, Bob Weir, Phil Lesh, Johnny Winter, Bonnie Raitt, Sheryl Crow and Trey Anastasio. In 2012, Oteil received a Grammy Lifetime Achievement Award for his 15 year contribution to the Allman Brothers Band as the longest running bassist in the band’s history.

While touring and recording with the Allman Brothers over the years, Oteil still found time to collaborate with many other musicians. He formed his solo group, Oteil and the Peacemakers in 1998. From 1998 until 2007, the group toured extensively and released three albums. In 2001, Oteil joined Phish’s keyboardist Page McConnell and The Funky Meters’ drummer Russell Batiste to form Vida Blue. He also founded an improv based trio with Grateful Dead drummer Bill Kreutzmann and Max Creek guitarist Scott Murawski called BK3 in 2008.

Oteil reunited on stage with his brother Kofi after ten years of touring separately when Derek Trucks and Susan Tedeschi formed the Tedeschi Trucks Band in late 2010, featuring the Burbridge brothers in the rhythm section. The 11-piece super group released their first record, Revelator, in 2011 which won a Grammy in February 2012. The Tedeschi Trucks Band played Eric Clapton’s iconic Crossroads Guitar Festival in 2011. Oteil’s original composition “Love Has Something Else to Say” was including in the DVD release and on their Grammy-winning debut album. The Tedeschi Trucks Band released their second album (and first live album) in 2012, titled “Everybody’s Talkin”. 

Over the years, Oteil has also recorded and shared the stage with jazz and jazz-rock fusion legends Herbie Hancock, Roy Haynes, Randy Brecker, John Scofield, Jerry Goodman, Bob Moses, Lenny White, Steve Smith, Bela Fleck, Jimmy Herring, Howard Levi, Victor Wooten and Branford Marsalis. Grateful Dead members Bob Weir, Bill Kreutzmann and Mickey Hart joined forces with John Mayer in 2015 to form “Dead & Company” with Burbridge on bass and Jeff Chimenti on keys. The band toured the US in the fall of 2015 and the summer of 2016 and 2017. These tours included sold-out shows at Wrigley Field, Fenway Park, and Citi Field and a headlining spot at Bonnaroo Music Festival. Plans for future Dead & Company shows are underway, including the destination event “Playing in the Sand” in Riviera Maya, Mexico in February 2018. 

Oteil’s fourth solo record, “Water In The Desert” was released on October 20, 2017. He assembled an all-star group of musicians for this record, including brother Kofi on keyboards and flute, Little John Roberts and Sean O’Rourke on drums, vocalists Alfreda Gerald and Mark Rivers, and producer David Ryan Harris. “Oteil & Friends” are now touring to support the record.

IN ORDER TO ATTEND THIS SHOW, UPON ENTRY, YOU MUST SHOW EITHER A VALID COMPLETE COVID-19 VACCINATION CARD OR PROOF OF A NEGATIVE COVID-19 TEST PERFORMED WITHIN 72 HOURS OF THE DOOR TIME LISTED FOR THIS SHOW.

Documentation must be directly from the healthcare provider, accompanied by a matching valid ID, and displayed on your phone, as a physical copy, or via LA Wallet App’s SMART Health Card. As a reminder, in accordance with the current state mandate, all patrons are currently required to wear a mask indoors at all times except while consuming a drink or in accordance with other statewide exemptions. For anyone requesting a medical, disability or religious exemption to any of the above policies, please email info@wintercircleproductions.com for instructions. Thank you for your cooperation. For more information, visit aegpresents.com/health-policy.

By purchasing a ticket to a WCP event, you acknowledge that you have read, understand and agree to the WCP Purchase Policy and WCP Privacy Policy.

Artist information

LETTUCE both feed the rich history of funk and also combine it with strains of hip-hop, rock, psychedelia, jazz, soul, and go-go. The GRAMMY® Award-nominated six-piece—Adam Deitch [drums, percussion, arrangement], Adam “Shmeeans” Smirnoff [guitar], Erick “Jesus” Coomes [bass], Ryan Zoidis [alto, baritone, tenor sax, Korg X-911], Eric “Benny” Bloom [trumpet, horns], and Nigel Hall [vocals, Hammond B-3, Rhodes, clavinet, keyboards]—once again break rules, push boundaries, and uplift on their sixth full-length studio offering, Resonate [Round Hill Records].

To date, their discography comprises Outta Here [2002], Rage! [2008], Fly [2012], Crush [2015], the EP Mt. Crushmore [2016], the live album Witches Stew [2017], and Elevate [2019]. The latter lifted LETTUCE to new heights. Notably, it garnered a 2020 GRAMMY® Award nomination in the category of “Best Contemporary Instrumental Album” and bowed at #1 on both the Billboard Contemporary Jazz Albums Chart and iTunes Top R&B Albums Chart. Elevate also soared to the Top 15 on the Billboard Jazz Albums, R&B Album Sales, and Heatseekers Charts. Not to mention, it put up 3 million streams within six months, and simultaneously received acclaim from BrooklynVegan, Billboard, Rolling Stone, NPR, and more. Throughout 2019, LETTUCE siphoned all of this energy back into the studio. Written and recorded during the same Colorado Sound sessions that spawned Elevate, the band brought Resonate to life alongside iconic producer and engineer Russ Elevado [D’Angelo, The Roots, Erykah Badu]. Lettuce introduces this chapter with the first single “Checker Wrecker” featuring Washington D.C. go-go music legends Big Tony Fisher of Trouble Funk and Tyrone “Jungle Boogie” Williams of Rare Essence.

With Special Guests Jackie Greene and New Orleans Suspects

At one point on his 2019 album, Buddha and The Blues, Anders Osborne sings, “Oh, it’s a miracle we still care. Oh, it’s so wonderful we’re still here. We’re still here!”

He’s not going anywhere either… 

Osborne’s six-string virtuosity, inventive musicality, and poetic songcraft underpin an ever-expanding three-decade catalog celebrated by fans and critics alike. As a sought-after studio talent, his writing resounds through Keb Mo’s GRAMMY® Award-winning Slow Down, Tim McGraw’s number one “Watch The Wind Blow By,” and covers by Brad Paisley, Jonny Lang, Edwin McCain, Aaron Neville, and more. His output live and in the studio spans working with everyone from Eric Church, Toots and the Maytals, and John Scofield to The Meters, North Mississippi Allstars, and Galactic. His extensive touring history encompasses gigs, collaborations, and performances alongside everyone from Derek Trucks, Warren Haynes, and Stanton Moore to The Grateful Dead’s Phil Lesh and Jackie Greene. Not to mention, he lights up the screen on an episode of the HBO hit Treme. Plus, he has garnered acclaim from USA Today, Guitar Player, Relix, Offbeat, and more.

He also gives back whenever possible via the “Send Me A Friend” foundation and through writing music for New Orleans Children’s Museum. A pair of 2016 albums—Spacedust & Ocean Views and Flowerbox—maintained his prolific output at a record pace. Now, 2019’s Buddha and the Blues references the full scope of the creative and personal duality at the heart of everything this maverick does.

“I came up with the title early on, so I knew what the vibe of the record should be,” he explains. “Buddha and the Blues means the duality of our existence.”

As Osborne crafted the music, he pondered an existential struggle we all face. On the one hand, humans do good, but it’s under the expectation of personal gratification. On the other hand, they desire success and wealth, but they attempt to maintain an appearance of humility. This constant push-and-pull led him to write about “not getting lost in a sunken path or idolizing an intangible future, but instead to be present in this moment and to be fully alive.”

These thoughts filtered into the words, especially. 

He goes on, “The lyrics are supposed to be true, conversational, and uplifting with clean, classic, and thumpin’ sounds. That’s what I set out to accomplish.”

In order to do so, he joined forces with “a world-class ensemble” of Waddy Wachtel [guitar], Bob Glaub [bass], Benmont Tench [keys], Windy Wagner-Cromwell [background vocals], and Chad Cromwell [guitar]. Chad also assumed the role of producer. Like “a big brother” to Osborne, the producer and artist leveraged years of friendship, trust, and creative kinship to “make a record [they] wanted to do for many years.”

“I didn’t have to push,” admits Chad. “It was his idea to let me ‘drive the bus,’ so to speak. That allowed him to focus on songs and his performances. The freer he is to write, play, and sing; the better the record. He really trusted me. To trust someone to help you make a record is an act of faith. It’s a big responsibility to make sure that happens. That’s a mighty thing Anders did, and I appreciate his trust. All signs pointed to this team, this time, and this music.” 

The setting proved to be as instrumental as the players did. From the beginning, Osborne envisioned making the album in California, but not the big screen vision of Hollywood. It made perfect sense to zero in on a location just far enough from the city. Ojai felt perfect to siphon the soul of SoCal into wistful sun-soaked soundscapes. You can practically hear Ojai in the aural fabric of the album.

 “The Southern California vibe was essential to the record,” Osborne continues. “Early on, Chad and I agreed it had to be tracked out there. I’ve been wanting to do this for a while, and we needed to go out there. You can hear the influence. It’s played with a gentle breeze and tight precision. Cutting it in Ojai was crucial to achieving the right atmosphere. I usually write with a location in mind, so it helps me stay focused and guides me to craft a body of tunes rather than individual songs.”

That “body of tunes” kicks off with the dusty dynamics of “Alone.” In the pocket of a steady beat, the twang of clean guitar offsets his gruff delivery as the track unfurls towards a discordant guitar lead highlighted by organ. 

“‘Alone’ was a meditative prose I wrote in my backyard,” he says. “It had a circular vibe to it, When I added the music, I wanted it to match the poem: a small word with an epic impression.”

Elsewhere, “Escape” captures the tension prior to his California trip with its off-kilter groove and roots-y shuffle. A wail of slide guitar cuts through sunny strumming as an idyllic narrative unfolds on “Traveling with Friends.”

He adds, “I wrote ‘Traveling with Friends’ on St. Thomas, Virgin Islands while on vacation with my family. We had an amazing spot on top of a mountain overlooking a big part of the island, and I felt inspired and really grateful. I had a moment of relief from all of my searching and dissonance. I saw us all for what we are—beautiful, fragile, and in this tumultuous space trip all together.”

He crafted the perfect soundtrack to the trip with Buddha and The Blues, illuminating his own duality like never before. The message ultimately becomes clear in the music.

“Learn to choose,” he leaves off. “Be happy or continue suffering.

IN ORDER TO ATTEND THIS SHOW, UPON ENTRY, YOU MUST SHOW EITHER A VALID COMPLETE COVID-19 VACCINATION CARD OR PROOF OF A NEGATIVE COVID-19 TEST PERFORMED WITHIN 72 HOURS OF THE DOOR TIME LISTED FOR THIS SHOW.

Documentation must be directly from the healthcare provider, accompanied by a matching valid ID, and displayed on your phone, as a physical copy, or via LA Wallet App’s SMART Health Card. As a reminder, in accordance with the current state mandate, all patrons are currently required to wear a mask indoors at all times except while consuming a drink or in accordance with other statewide exemptions. For anyone requesting a medical, disability or religious exemption to any of the above policies, please email info@wintercircleproductions.com for instructions. Thank you for your cooperation. For more information, visit aegpresents.com/health-policy.

By purchasing a ticket to a WCP event, you acknowledge that you have read, understand and agree to the WCP Purchase Policy and WCP Privacy Policy.

Artist information

The Disco Biscuits are an entirely different band today than they were when they first broke out of Philadelphia in the mid-90s. That's not to say that they've abandoned their foundations, switched gears entirely, or set sail for distant shores. The Disco Biscuits are still very much the trailblazers of "trance-fusion" that they've always been, bridging the gap between electronic music and jam bands. They remain rock pioneers whose soul belongs as much to marathon dance parties as it does to live improvisational journeys. They still employ emerging technologies to help them create music that is 100 percent human, although perhaps not entirely of this earth. 

IN ORDER TO ATTEND THIS SHOW, UPON ENTRY, YOU MUST SHOW EITHER A VALID COMPLETE COVID-19 VACCINATION CARD OR PROOF OF A NEGATIVE COVID-19 TEST PERFORMED WITHIN 72 HOURS OF THE DOOR TIME LISTED FOR THIS SHOW.

Documentation must be directly from the healthcare provider, accompanied by a matching valid ID, and displayed on your phone, as a physical copy, or via LA Wallet App’s SMART Health Card. As a reminder, in accordance with the current state mandate, all patrons are currently required to wear a mask indoors at all times except while consuming a drink or in accordance with other statewide exemptions. For anyone requesting a medical, disability or religious exemption to any of the above policies, please email info@wintercircleproductions.com for instructions. Thank you for your cooperation. For more information, visit aegpresents.com/health-policy.

By purchasing a ticket to a WCP event, you acknowledge that you have read, understand and agree to the WCP Purchase Policy and WCP Privacy Policy.

Artist information

The Disco Biscuits are an entirely different band today than they were when they first broke out of Philadelphia in the mid-90s. That's not to say that they've abandoned their foundations, switched gears entirely, or set sail for distant shores. The Disco Biscuits are still very much the trailblazers of "trance-fusion" that they've always been, bridging the gap between electronic music and jam bands. They remain rock pioneers whose soul belongs as much to marathon dance parties as it does to live improvisational journeys. They still employ emerging technologies to help them create music that is 100 percent human, although perhaps not entirely of this earth. 

IN ORDER TO ATTEND THIS SHOW, UPON ENTRY, YOU MUST SHOW EITHER A VALID COMPLETE COVID-19 VACCINATION CARD OR PROOF OF A NEGATIVE COVID-19 TEST PERFORMED WITHIN 72 HOURS OF THE DOOR TIME LISTED FOR THIS SHOW.

Documentation must be directly from the healthcare provider, accompanied by a matching valid ID, and displayed on your phone, as a physical copy, or via LA Wallet App’s SMART Health Card. As a reminder, in accordance with the current state mandate, all patrons are currently required to wear a mask indoors at all times except while consuming a drink or in accordance with other statewide exemptions. For anyone requesting a medical, disability or religious exemption to any of the above policies, please email info@wintercircleproductions.com for instructions. Thank you for your cooperation. For more information, visit aegpresents.com/health-policy.

By purchasing a ticket to a WCP event, you acknowledge that you have read, understand and agree to the WCP Purchase Policy and WCP Privacy Policy.

The music that Sven Gamsky makes as Still Woozy is meant to be comforting. This feeling is partly a matter of circumstance. The Portland artist has long worked out of his home — first in a garage that smelled like weird chemicals, now in a room in a house with windows and air conditioning — which has only magnified the snug, relaxing energy of his guitar pop. Each song feels homespun and handmade, full of dewy harmonies, glittery arpeggiations, and clear affection for loping rhythms. It's an effort, in part, to quiet the noise of an overwhelming world.

"I get melancholy at times," Gamsky says. "And I think creating music helps me see out of it. I strive for this feeling of warmth that acts as a buffer to some of those harsher feelings."

Still Woozy's singles often confront those feelings directly, but their lush arrangements offer a way to look beyond, too. On "BS," Gamsky murmurs insecurities over a yawning guitar line, wrestling with his brain but wrapping his struggles in music that feels pillowy. It's placid by design, a way for himself to maintain peace and stillness in the face of darkness. "Window," released early 2020, is a love song that acknowledges Gamsky's own hangups — a light and soulful cut about how he might press on through the world. On his 2021 release “Rocky,” the first song to be released from his forthcoming debut album, Gamsky unspools an escapist fantasia, dreaming of better days. “I just...I just dream,” he sings in the song’s stuttered refrain, pitching a nighttime reverie as a way of floating above the mundane problems of life. Buoyed by a featherlight synth line and the golden haze of Gamsky’s voice, it’s a tempting proposition. Who couldn’t use a break from a tumultuous world? 

Gamsky’s idiosyncratic approach to pop songwriting, mixing heavy themes and lighter arrangements, is the result of a lifetime of being unwilling to conform to an expected path. Gamsky grew up in the Bay Area in a family of doctors and nurses, but he chose to write songs. His parents made him and his brothers take piano lessons as a kid, but he begged to play guitar instead. "My whole life has been just doing the opposite," he says with a laugh. "Sometimes for the sake of being the opposite."

In middle school, Gamsky started writing songs he describes as "really cringey," but even in those early days his process was similar to now. He'd hole up in a room alone, pluck out a few chords, and use music as a means of channeling the trials of life. For a while, Gamsky played in a math-rock band, which he says gave him an appreciation for his craft as a guitarist. His 2019 debut EP, Lately, was a short but self-assured collection of longing, lovesickness, desperation, and self-doubt wrapped in kaleidoscopic instrumentals and buoyant arrangements. 

Gamsky describes the music he loves most as "enveloping," surreal compositions that "take you outside of your own body for a second." That's the feeling he's seeking in his own music too — and actively creating for others as Still Woozy — as he continues to write and record. "When you're walking with your headphones on, I want you to feel like the music is a part of everything, like the trees to your left and right," he says. "That's the s*** that I love.”

VIP Meet & Greet tickets include a signed book, premium Orchestra seating, and a pre-show meet & greet with Anjelah Johnson-Reyes.

Book Bundle tickets include a signed book and premium Orchestra or Lower Balcony Seating.

Chelcie Lynn is a comedian, actress, and internet personality who was recently named one of Variety’s 2021 Top 10 Comics To Watch. She started building a fan base in 2014 when her sketches featuring her alter ego, Trailer Trash Tammy went viral. Her videos have since gained hundreds of millions of views across the internet and have launched her career on screen and in comedy touring. Chelcie recently shot a prank television series for a major streaming platform, which will air later this year. She can be seen in the Duplass Brothers feature film Tangerine as ‘Madame Jillian’, and recently starred in the digital series Coach Von Pidgeon for Funny or Die & Facebook Watch. Catch her on THE TAMMY TOUR in a city near you!

The VIP ticket includes a post-show meet and greet, an autographed photo of Chelcie Lynn, and a VIP lanyard.

VIP EXPERIENCE NOW SOLD OUT

This show is for Adult Audiences Only – age limit of 18+ applies.

WOMB is the newest offering from Purity Ring of Edmonton, Canada, and their third album on 4AD. Once again, Megan James and Corin Roddick wrote, recorded, produced, and mixed the album, infusing their care and intention into every element. 

WOMB chronicles a quest for comfort, the search for a resting place in a world where so much is beyond our control. The striking vulnerability of “ruby insides” - “If I could, I would let you see through me” - charts a course that’s both intensely personal and deeply connected to those close to us, our kin whether by nature or nurture. As the ground shifts beneath their feet, WOMB’s characters help one another face death, despair, and world-altering discovery with resilience and grace.

For all the terrain it encompasses, Womb’s quest culminates in “stardew”, a glittering, transcendent invitation to “just be where you are” - to experience the kind of powerful peace that can only be found by truly coming home. 

Sweep It Into Space

Here is Sweep It Into Space, the fifth new studio album cut by Dinosaur Jr.. during the 13th year of their rebirth. Originally scheduled for issue in mid 2020, this record's temporal trajectory was thwarted by the coming of the Plague. But it would take more than a mere Plague to tamp down the exquisite fury of this trio when they are fully dialed-in. And Sweep It Into Space is a masterpiece of zoned dialing.

In the decades since the release of Dinosaur Jr.'s original triptych of foundational albums, it has become clear that their sound -- once hailed as a sort of  almost-tamed noise -- is/was/always-has-been fully functioning pop music of a sort. The subsequent generations of bands who grew up breathing Dino's fumes managed to tinker around with the edges of their original post-hardcore song-forms enough for listeners to realize there had always been melodies at the center of everything they did. What Dinosaur Jr.. produces is nothing but a beautiful new version of the rock continuum -- riff, power, beat and longing, created with an eye on the infinite future.

Recorded, as usual, at Amherst's Biquiteen, the sessions for Sweep It Into Space began in the late Autumn of 2019, following a West Coast/South East tour. The only extra musician used this time with Kurt Vile.

J Mascis says, “Kurt played little lead things, like 12 string one at the beginning of 'I Ran Away.' Then I ended up just mimicking a few things he'd done. I was listening to a lot of Thin Lizzy, so I was trying to get some of that dueling twin lead sound. (laughs)”

“But the recording session was pretty well finished by the time things really hit the fan. So I just ended up doing more things by myself. Like the mini digital mellotron on 'Take It Back.' Originally I'd thought I'd have Ken Mauri (who has done keyboard work for Dino in the past) come in and play piano. But when the Lock Down happened in March, that meant I was on my own. But it was cool.”

Indeed, Sweep It Into Space is a very cool album. As is typical, Lou Barlow writes and sings two of the album's dozen tunes and Murph's pure-Flinstonian drumming drives the record like a go cart from Hell. Lou's songs here are as elegant as always. “Garden” is a mid-paced ballad with genteel guitar filigree giving it a '60 Brit feel in spots. And the album's closer, “You Wonder,” is a strangely excellent answer to the question -- “How would Blue Oyster Cult handle a country tune?” 

J's tracks flow and flower in the different directions he often follows. Some are guitar howlers, like “I Met the Stones,” with a string sound midway between Hendrix and Asheton. Some are power ballads, like “And Me,” its lyrics atomized in a manner invented by Mascis, then famously borrowed by Kurt Cobain. And there are anomalies, like “Take It Back,” which starts with a blue-beat rhythm putting one in mind of Keith Richards' Jamaican explorations (at least for a little bit.) 

But there are very few moments where you wouldn't know you were hearing Dinosaur Jr.. in blindfolded needle drop. They have a signature sound as sure as the Stooges or Sonic Youth or Discharge ever did. They continue to expand their personal universe with Sweep It Into Space, without ever losing their central core. 

So if you ever do find yourself swept into space (hey, who knows?), I just hope these tunes are on your playlist. 

--Byron Coley

In Arlo Parks world, words are as useful as photographs. Luscious, expressive vignettes pepper the poetic lyrics in her sweet, ruminative indie pop songs. Born Anaïs Oluwatoyin Estelle Marinho, the 20-year-old from West London - who burst onto the scene with 2018’s “Cola” - uses poetry as her songwriting compass, weaving vivid imagery and sensory touches throughout the stirring, honest stories that make up her already-rich body of work. “I was really interested in the idea of delving into a hyper-specific moment and making it feel universal, making it something that people could connect to,” Arlo says about drawing from poetry in her approach.

A sensitive child, Arlo grew up in a peaceful part of town. “There wasn’t that much to do, and I was a pretty happy kid, I was very much in my own little world,” she explains, describing spending her free time exploring creative ways to express her emotions. “Because I was feeling a lot, I started writing quite young,” she says, referencing poets Gary Snyder, Mary Oliver and Pat Parker and more who inspired her to write. “It’s that cinematic quality that can make you feel like you’re plunged into someone’s subjectivity,” she adds about poetry’s impact. Arlo recalls a gift from her uncle—a record collection that included classics from Sade, Earth Wind & Fire, and Bob Dylan—and choir practice as fundamentals to her musical side. Like most kids her age, she grew up digging around on YouTube for music, discovering Portishead, Odd Future, Elliott Smith, Joni Mitchell, King Krule and an eclectic range of music to root herself in.

When she was 14, Arlo downloaded Garageband and started making beats to rhyme her poetry to, which over time naturally morphed into singing and the dulce soprano that sets her apart in today’s music climate. In 2017, she took a chance and submitted her recordings to BBC Introducing, which led to her first interview, management and recording contract. In the summer of 2018, Arlo dove into her first EP, collaborating with producer Gianluca Buccellati on 2019’s acclaimed Super Sad Generation. “We were in an Airbnb in London, just writing, taking photos, and going for walks,” Arlo remembers - they ended up writing the songs in just 24 hours. Arlo’s Sophie EP quickly followed, alongside performances at Glastonbury and Latitude Festivals and supporting slots on tour with Jordan Rakei and Loyle Carner. A place on the BBC Sound Poll, and inclusion in Dazed’s 100 List, followed in 2020 - beginning a truly exceptional year for Arlo. Landing covers with NME and Evening Standard, winning the AIM One to Watch and BBC Introducing Artist Of The Year Awards, making her debut appearances on COLORS and Later.... with Jools Holland, all whilst gaining champions in Phoebe Bridgers, Billie Eilish, Florence Welch, Lily Allen, Michaela Coel and Michelle Obama.

Before you ancients out there turn your heads and scoff at the premise of a twenty-something rock-and-roll goofball calling himself an old-anything, consider this: said perpetrator, he who answers to the name Mac DeMarco, has spent the better part of his time thus far writing, recording, and releasing an album of his own music pretty much every calendar flip, and pretty much on his own. The fresh meat you’re now feasting on, This Old Dog, makes for his fifth in just over half a decade—bringing the total to 3 LPs and 2 EPs. According to the DMV, MacBriare Samuel Lanyon DeMarco is 26. But in working-dog years, ol’ Mac here could easily qualify for social security. To stay gold, turns out all he needed was some new tricks.

Though used to and pretty happy with that annual grind, it was a little space—in time, location, and method—that inspired DeMarco while making the record. Moving from his isolated Queens home to a house in Los Angeles helped give the somewhat transient Canada-native a broader base, and a few more months on his calendar to create did their job as well. Arriving in California with a grip of demos he’d written in New York, he realized after a few months of setting up his new shop—complete with a few new toys—that the gap was giving him perspective (insert tooth joke here).

“This one was spaced out,” DeMarco says. “I demoed a full album, and as I was moving to the West Coast I thought I’d get to finishing it quickly. But then I realized that moving to a new city and starting a new life takes time. And it was weird, because usually I just write, record, and put it out; no problem. But this time, I wrote them and they sat. When that happens, you really get to know the songs. It was a different vibe.”

DeMarco wrote some demos for This Old Dog on an acoustic guitar, an unusual yet eye-opening method for him. “The majority of this album is acoustic guitar, synthesizer, some drum machine, and one song is electric guitar. So this is a new endeavor for me.”

And from the outset, from the pops and clicks of the CR-78 and acoustic strums on the album-opening “My Old Man,” the synth-drenched beauty of the second track, “This Old Dog,” and that ironic recurring word itself, it’s clear that DeMarco’s bag is filled with new tricks indeed. This Old Dog is rooted more in a synth-base than any of his previous releases, but he is careful not to let that tactic overshadow the other instruments and overall “unplugged” mood of the work. In fact, DeMarco recognizes that he might share more than just a geographical flight-path with a certain Canadian-cum-Californian songwriter.

“I think what I was trying to do is make Harvest with synthesizers,” he laughs. “But I don’t think I even came close to the mark—something else entirely came out. This is my acoustic album, but it’s not really an acoustic album at all. That’s just what it feels like, mostly. I’m Italian, so I guess this is an Italian rock record.”

Speaking of roots, while it’s known that DeMarco’s family history is complicated at best, the songs here may be the closest glimpse into his personal life and relationships with his kin he’s ever allowed. But then again, they may not be. Only one thing is certain: the titular mutt, naturally, is DeMarco himself, and as he brings us into his world, he makes sure it’s from his own hard-earned vantage point and measured post.

“This record has a lot to do with my family and my life right now and the way I’m feeling and stuff,” he says. “One of the main goals for this record was trying to make sure I retained some kind of realness. That’s the bottom line. Being in any sort of spotlight can be jarring, especially when you’re not preoccupied with touring and you’re just sitting in your house writing songs. But wherever my bedroom is, the records are gonna be whatever is happening in there. I could be in Alaska and I’m sure it wouldn’t change things much.”

Despite the changes considered during the creation of This Old Dog, Mac DeMarco’s mid-twenties masterpiece, it’s clear that the engine that motors him is in no danger of slowing down.

“As long as I feel real then there’s nothing else that matters,” he says. “Making these albums is just something that I have to do, and so I do it.”

This Old Dog is out now on Captured Tracks.