HigherGround Music
The Head and the Heart

Higher Ground Presents

The Head and the Heart

Springtime Carnivore

Sunday, March 05, 2017

Doors: 7:15 pm / Show: 8:00 pm

Flynn Theatre

Burlington, VT

$55.50 | $45.50 | $35.50 advance, plus $3 day of show

This event is all ages

The Head And The Heart have partnered with Plus 1 so that $1 from every ticket sold will go to support Artists For Peace And Justice serving communities in Haiti through programs in education, healthcare, and dignity through the arts (http://www.apjnow.org/)

The Head and the Heart
The Head and the Heart
The Head and the Heart's third release, Signs of Light, is due out September 9. Recorded in Nashville with producer Jay Joyce (Eric Church, Cage the Elephant, 2015 Producer of the Year Grammy nominee), Signs of Light crackles with the upbeat sing-a-long energy that is The Head and the Heart's finest work to date. This will be The Head and the Heart's first release on Warner Bros. Records. Their debut single, "All We Ever Knew" is currently #1 at AAA radio and #8 at Alternative. They have released three other songs from the record in addition to "All We Ever Knew" - "Library Magic", "Colors" and "Rhythm &Blues". The Head and the Heart will hit the road in October on their Signs of Light tour with sold out shows in Nashville at The Ryman Auditorium two nights, New York at Terminal 5 (second show added), Boston at The Orpheum, Austin at Stubb's Waller Creek Amphitheater (second show added), and two sold out nights in Seattle at The Paramount (third show added).
Springtime Carnivore
You know the curious, almost out-of-body feeling you sometimes get when you wake up in the middle of the night, where everything seems a bit fuzzy and you're not sure if maybe you're still dreaming? It's a state Greta Morgan perpetually revisited during the second half of 2015, when she was writing and recording the new Springtime Carnivore album, Midnight Room. "I was on a really jagged sleep schedule," says the Los Angeles- based singer-songwriter, describing the months during which she worked on the follow- up to her critically adored 2014 debut. "It was the first time I'd ever lived by myself, and there was this bizarre feeling at night of the house being so quiet and being so totally alone. And Midnight Room came out of that."

Earlier in the year, Morgan went through one of those break-ups that completely topples your world. Though it was as amicable as those things can be, the twenty-eight year-old musician felt shattered. She began working on songs for Midnight Room during those strange waking interludes last summer, finding an abundance of beautiful melodies in the melancholy ether. "A lot of lyrics on the record are collaged or don't necessarily make sense next to each other," she says. "But I guess my whole headspace was like that for a few months. I felt like I couldn't trust my memory completely -- like i was space cadeting through the weird space between sleeping and dreaming and waking and reality."

The melodies came easily, but the words were initially harder to find. So she tried a new approach for Midnight Room's lyrics, inspired by her own disjointed thinking during those months. When an intriguing phrase or evocative image occurred to her, she wrote it down on a piece of index card. Sitting with the dozens of scraps on the floor in front of her, Morgan would rearrange the fragments until she found a way to make sense of it all. "A lot of the themes are, like, 'How do you lovingly change a relationship?,'" she says. "How do you say good-bye to someone in a certain way and still keep him or her in your life? I feel like I was asking a lot of questions during the making of the record that I still don't really have answers to, but at least some of the songs were exploring that territory."

In the interest of achieving a more cohesive sound for Midnight Room, Morgan reached out to producer Chris Coady, whose work with Future Islands, Beach House and The Orwells she'd admired. "To me, Chris's greatest gift as a producer is creating a sonic palette for an album that really brings their songs to life," she says. "I wanted the whole thing to feel like you're looking through a cobalt blue glass, and to get textures that almost feel like being able to see stars in the sky. I wanted it to have this very velvety midnight blue purity to the sound, and I feel like the synthesizers that we used and a lot of the guitar tones we used evoked that kind of visual texture."
Venue Information:
Flynn Theatre
153 Main Street
Burlington, VT, 05401