The Decemberists – Tickets – Iron City – Shows – Birmingham, AL – September 21st, 2018

The Decemberists

Birmingham Mountain Radio Presents

The Decemberists

Presented by Birmingham Mountain Radio, Kacy & Clayton

Friday, Sep 21st 2018

Doors: 7:00 pm / Show: 8:00 pm

Iron City - Shows

Birmingham, AL

$36.00 - $189.00

This event is all ages

$1 to charity

The Decemberists
The Decemberists
Indie folk rock band from Portland, OR, USA, founded in 2000.

Colin Meloy: singer, songwriter
Chris Funk: guitar, multi-instrumentalist
Jenny Conlee: Hammond organ, accordion, melodica, piano, keyboards, harmonica
Nate Query: bass guitar, string bass
John Moen: drums, backing vocals, melodica, guitar
Presented by Birmingham Mountain Radio
Presented by Birmingham Mountain Radio
Birmingham Mountain Radio – is an internet based radio station that has a world class rock/adult album alternative format and focuses on local content through local DJ’s, specialty shows, promotions, and through highlighting local and regional bands.
Kacy & Clayton
Kacy & Clayton
In Greek mythology, the sirens were mystical creatures whose magnetic voices and enchanting
songs lured enraptured sailors to their doom. Kacy & Clayton’s haunting, evocative music has a
similarly intoxicating effect on present-day listeners.
On their second New West release The Siren's Song—produced by avowed K&C admirer Jeff
Tweedy—the startlingly expressive voice and violin of Kacy Anderson combine with the intricate
guitar work and warm harmony vocals of her cousin and musical partner Clayton Linthicum.
They make music that seems to exist outside of time, tapping into centuries of tradition while
effortlessly channelling fundamental human truths. Their 2016 New West debut Strange Country
earned the Canadian twosome an enthusiastic following on both sides of the border, and The
Siren's Song looks likely to expand their audience further.
Kacy & Clayton's music taps into a bottomless well of folk and country influences from North
America and the British Isles, injecting centuries of musical and cultural history with youthful
energy and a modern sensibility. Their vivid, character-filled songs explore the singers' rural
roots, often addressing dark and bittersweet lyrical subjects in a manner that counterpoints the
joyous uplift of the pair's musical chemistry.
Throughout The Siren's Song, which Kacy & Clayton recorded with Tweedy in Wilco's in-house
studio The Loft, they extend and expand the spare sound of Strange Country, augmenting their
emotionally resonant songcraft with subtly textured full-band arrangements that complement
their distinctive voices and Tweedy's organic recording approach, imbuing such tunes as "The
Light of Day," "Just Like A Summer Cloud," "A Lifeboat," "A Certain Kind of Memory" and the
Clayton-sung "White Butte Country" with gravity and urgency. Meanwhile, "Cannery Yard" and
"Go and Leave Me" harken back to the spare acoustic sound of Kacy & Clayton's prior releases.
The critical acclaim and fan attention that have accompanied their album releases are a long
way from Kacy & Clayton's humble Canadian roots. Second cousins and friends since
childhood, they grew up a few miles apart in the Wood Mountain Uplands, an isolated
community in southern Saskatchewan, 12 miles from the Montana border and hours from the
nearest record store. They both gravitated towards music early in life, learning about classic
country and folk music from relatives and neighbors, picking up rare old vinyl when they could
and discovering a world of vintage obscurities through the internet.
When a ten-year-old Clayton's parents went on a trip and left him in the care of his great-uncle
Carl, Carl taught Clayton to play guitar. Clayton also experimented with the instruments he found
in Carl’s basement, sometimes performing with Kacy and her sisters. Soon, Kacy & Clayton were
performing together in a local tavern and spending most of their Sunday evenings singing at the
local senior citizens home. Since they lived so far apart, the teenagers often illegally drove to
each other's homes to rehearse.
"We both started playing music because we were nerds about it," Kacy recalls. "The history of
music and reading biographies and things like that; learning about artists and traditions and
Word of mouth spread, winning Kacy & Clayton club gigs and festival bookings. Clayton also did
a stint in the Canadian roots-rock band Deep Dark Woods, and he and Kacy released a pair of
indie albums, Kacy & Clayton and The Day Is Past and Gone, in 2011 and 2013 respectively. In
2015, the duo toured England, where they took the opportunity to spend a day perusing the
legendary song archives of folk music historian Cecil Sharp.
"Lots of our songs are inspired by old stories from our family," notes Kacy. "The common
ancestors Clayton and I share were ranchers that moved up from South Dakota and settled in
the Saskatchewan hills we both live in now. Loneliness and seclusion, sickness and death; the
stories are often tragic, yet all recounted with fondness."
"We're both pretty obsessed with the old world," Clayton adds. "The farmers and ranchers and
old people in our areas are still strong characters. It's kind of a neat thing to observe, especially
when trying to come up with characters for songs, because there are always a lot of them
around us. A thing that we love about early country and folk music is that those musicians
conveyed characters, vivid imagery, and concise stories within short songs.”
"Because Kacy and I have been friends for our whole lives, that allows us to be pretty honest
with each other when it comes to working on songs," Clayton asserts. "A lot of times when you
work with people, you want to be polite and you don't want to offend them. But when you have
a close, sibling-like relationship, you can feel comfortable offending each other, knowing that
your fights usually lead to better material."
Kacy & Clayton met Jeff Tweedy—whose production resume includes albums with the likes of
Richard Thompson, Mavis Staples and White Denim—when they shared a bill with Wilco in San
Francisco’s in September 2016.
"He said, 'If you're coming through Chicago, you should come by the Loft,'" Clayton recalls. "We
were going through Chicago a few weeks later, so we stopped by and he showed us around the
studio. We talked about rural Canada, where we're from, and rural Illinois, where he's from, and
he said if we ever wanted to make a record there, he'd be glad to help us. So that's what we did.
It's a very comfortable place to make music, with a comfortable atmosphere and lots of soft
surfaces to sit on."
"Jeff's very positive, and very good at inspiring performances," Clayton adds. "He would often
tell us that we were being too hard on ourselves. Once we got onto the same page where we
could refer to older records that we all have in common, that's when things really started to
cook. If we were trying to communicate how a part should fit in the mix, we'd say, it should
sound more like the piano on Link Wray's chicken-shack LPs, or we'd say that something should
sound like John Renbourn's acoustic lead tones on that Pentangle song, or the Sir Douglas
Quintet's ride cymbal sound. That's how Kacy and I communicate, and eventually we got Jeff on
board with that."
The Siren's Song gentle, full-bodied instrumental arrangements, fleshing out the acoustic
textures of the duo's prior releases with the key addition of a rhythm section, namely longtime
associate Shuyler Jansen (who produced Strange Country) on bass and Mike Silverman on
"We wanted to make an album with a different set of influences, and an album that could be
played by a four-piece rock 'n' roll group," Clayton explains. "Part of it is that we wanted to have
some material that we could play in a loud club. We've been touring with our duo material, and
that's good when you get a nice quiet venue. But when you play in a bar with people talking and
eating chicken wings, it's more fun to have some volume behind you."
Having recorded The Siren's Song with their new rhythm section, Kacy & Clayton plan on touring
behind the album as a full-on four-piece combo. "There's a little less room in the truck," Clayton
observes, "but otherwise it's pretty fun. It's fun to travel with more of a team, and musically
there's a lot more possibilities within the dynamic range of a four-piece band."