FT Live: Joseph (POSTPONED)

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Showings

Event Info
Doors Open:1 Hour Before Show

Description

This performance is postponed; we are continuing to work with the artists and their representatives to reschedule. All previously purchased tickets will automatically transfer to the new date once it is determined.
We thank you for your continued support and patronage of the Franklin Theatre and remain committed to bringing you the best entertainment experience, while also seeing to the health and safety of our staff, volunteers, artists, and visitors during the coronavirus pandemic.
The sophomore effort from Oregon-bred trio Joseph, Good Luck, Kid is a road movie in album form, an odyssey at turns emotional, existential, and entirely literal. With their intimate storytelling and restless intensity, Natalie Schepman and her sisters Allison and Meegan Closner detail that journey in songs that careen and sprawl and often soar, ultimately spinning a narrative of life-changing transformation.

“The through-line of the album is this idea of moving into the driver’s seat of your own life-recognizing that you’re the adult now, and everything’s up to you from this moment on,” says Natalie. “You’re not completely sure of how to get where you need to go, and you don’t have any kind of a map to help you. It’s just the universe looking down on you like, ‘Good luck, kid.’”

In the making of Good Luck, Kid, Joseph deliberately strayed from the dreamy folk of their 2016 debut I’m Alone, No You’re Not, giving way to a far grittier and more dynamic sound. Produced by Christian “Leggy” Langdon (Meg Myers, Charlotte OC), the result is a nuanced breed of pop/rock built on thick drums and lustrous guitars, heavy grooves and radiant melodies. Despite that bolder sonic palette, Good Luck, Kid remains centered on the band’s crystalline vocal work, including the otherworldly harmonies that suggest a near-telepathic connection among sisters.

Kicking off Good Luck, Kid with the sweeping lead single “Fighter,” Joseph immediately prove the transcendent power of that connection, even as their lyrics speak to a nearly disastrous discord. “That song’s about how our band almost broke up,” explains Natalie. “It’s the story of the three of us wanting different things and dealing with that conflict, and eventually deciding to just keep going.” Driven by a heady momentum, Good Luck, Kid then takes on the breakneck pace of the title track, a gloriously dizzying anthem that channels the raw urgency of desire. But on “Green Eyes,” Joseph shift into a torchy poignancy, echoing the album’s undercurrent of romantic devastation. “‘Green Eyes’ is about wanting to stay with someone but giving them the freedom to walk away, and feeling the pain of realizing that they’re no longer in this with you,” Meegan points out.

On “Revolving Door”-the gorgeously sorrowful centerpiece to Good Luck, Kid-that pain reaches a heart-crushing crescendo. “As we were putting the record together, the arc that emerged was ‘Hope, Betrayal, Rebirth,’” says Meegan. “We put ‘Revolving Door’ at the middle because it’s about that moment of finally realizing ‘Okay, you don’t choose this-you don’t choose me.’ It’s the pinnacle of betrayal, and it’s the turning point for the whole album.”

With the remainder of Good Luck, Kid documenting what Natalie describes as “a rising-up out of the ashes,” Joseph grace every song with the captivating chemistry they first discovered upon forming in 2014. Spontaneously choosing their name on a trip to visit their grandfather in the Oregon town of Joseph, the band got their start playing backyard parties, and gradually amassed a devoted fanbase. Following the release of I’m Alone, No You’re Not-an album made with Mike Mogis (First Aid Kit, Jenny Lewis)-Joseph soon began taking the stage at major festivals like Bonnaroo and touring with such artists as James Bay and Amos Lee. As they brought Good Luck, Kid to life, the Closner sisters expanded on the elegant synergy of elements initially glimpsed on their debut: Meegan’s sharp melodic skills, Allison’s gift for uncovering the emotional heart of each track, and Natalie’s extraordinary songwriting instincts. “Making this album, there were so many times when we’d be trying to come up with the next verse to a song, and Natalie would pull together something amazing completely out of nowhere,” Allison recalls. “It’s like she’s some kind of magician.”

In reflecting on the quiet metamorphosis chronicled within Good Luck, Kid, Joseph hope that the album might spark a similar evolution in listeners. “For me this record is about stepping out of being a victim, and I’d love for it to help people feel like they have the power to change their own lives too,” says Meegan. In the spirit of that well-wishing, Good Luck, Kid closes out with a starkly arranged but unforgettably tender benediction called “Room for You.” “My best friend recently had a baby, and as I was holding him I had this feeling like, ‘I never want you to hurt, ever,’” says Natalie. “I love the idea of ending the record by sending people off with that message: ‘I hope the world makes room for you and your dreams.’ I know that an album can’t ever fix anything, but I hope it can be a balm whatever’s hurting, and helps people feel like they’re truly believed in.”


Opener: Trent Dabbs

It's evident in Trent Dabbs’ newest collection of songs, Positano that he's been ruminating on the bigger picture of life, love and the depths of emotion. In line with his other ten solo albums, this release captures his ethereal and reverb-induced laid back vocals we've all come to love from him that flow over steady grooves and gorgeous melodies allowing the listener to hit play and let the album run song after song after song. It's the perfect playlist for your heavy mellow moods. In fact, one of the early believers in this new collection of songs is none other than Taylor Swift who, just a few months ago, added track three – “Come Home Safe” – to her Spotify Playlist titled “Songs Taylor Loves.”

Positano is Dabbs' eleventh album, and if you think he's been busy just writing and recording his own albums over the last couple decades, you're wrong. He's spent a decent portion of his career writing songs for other people, Dabbs refers to songwriting as his passionate day job.

Dabbs has an undeniable gift of pouring into the new generation of music, helping artists evolve and find their own sound or take their career to the next level. In addition to working with Nashville heavy-hitters like Kacey Musgraves pinning her show closer “High Horse”on her grammy award winning album and Ingrid Michaelson on her Top 40 hit “Girls Chase Boys", Dabbs has collaborated with a long versatile list of artists including Joseph, Natalie Hemby and Liza Anne, just to name a few. His work with Michaelson has led to several songs on her last two albums including her catchy hit single, "Girls Chase Boys.” And last year alone, Dabbs' singles have included Kacey Musgraves “High Horse,” COIN “Growing Pains, American Authors “Deep Water” and Matt Simons “Made It Out Alright,” and the list goes on.

But for Dabbs, it’s the others.

The other songs that only make sense for the artist to keep because it only makes sense for them to sing. Songs that are so vulnerable that the artist wonders if they can even sing them live. These are the songs that infiltrate this record. The album’s title Positano, is a place where Dabbs spent his honeymoon 18 years ago and it is symbolic because it was there that he recalls realizing that loyalty wasn’t just a word, it was a lifestyle. It’s almost as if Dabbs is using his own conviction and determination to be a better man to challenge the listeners along with him. So, take it as you take it and hear what you hear, but don't be afraid to let it change you.


Sponsored by Jackson National Life

Presented by Franklin Theatre Live

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