See Us Live

Drew Holcomb & The Neighbors, Andrew Combs, Peter Mulvey and more on Mountain Stage

September 10, 2017 7:00 PM
WVU Creative Arts Center - 2261 Monongahela Boulevard, Morgantown, WV

Drew Holcomb & The Neighbors
Andrew Combs
Peter Mulvey
and more TBA
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Ticket Information


Doors 6:30pm

Show 7:00pm

On Sale NOW to University Series Subscribers

*On sale Monday, July 17 at 10:00am

Advance Tickets $24-39

WVU Students: $10

Available at 304.293.SHOW (7469),​or at the CAC Box Office (10am-5pm).

More information here.

Press Release

​Drew Holcomb & the Neighbors Souvenirs. Drew Holcomb has collected many of them. A road warrior for more than a decade, he's spent his adulthood onstage and on the road, traveling from place to place with a catalog of vibrant, honest songs that explore the full range of American roots music. He turns a new corner with 2017's Souvenir, a highly-collaborative album that finds Drew Holcomb & the Neighbors focusing on the things that truly stick with you — including family and friends, music and memories, people and places — in a fast-moving world. Equal parts folksinger, roots-rocker, country crooner, and pop-hook provider, Holcomb blurs the lines between genres on his newest release. Souvenir is his band's most expansive album to date, dishing up everything from the West Coast country-rock of "California" to the front-porch folk of "Mama Sunshine, Daddy's Rain." The rootsy songs are more rustic than ever before, laced with harmonica, upright bass, and banjo, while the rockers are downright electrifying, from the searing guitar solo that carves a lightning-shaped streak through "Sometimes" to the emotionally-charged duet with Holcomb's wife, Ellie Holcomb, on "Black and Blue." Holcomb is still the captain of this band's ship, but Souvenir relies on contributions from the whole crew. It's a proper "band album," in other words, stacked with songwriting contributions from longtime members Rich Brinsfield and Nathan Dugger. Arriving two years after Medicine, a watershed album that cracked the Top 15 on both the Billboard Folk and Rock charts, Souvenir was borne out of collaboration. Holcomb and company had played nearly 200 shows in support of Medicine's release, and the pace took a toll on the frontman. Looking for help to whip up new material, he began holding weekly songwriting sessions with Brinsfield and Dugger. The two bandmates responded by bringing in some top-notch tunes. Dugger came up with "Yellow Rose of Sante Fe," a classic country song whose warm, western sway brings to mind a young Willie Nelson, while Brinsfield wrote "Sometimes," whose stacked harmonies and pop melodies evoke the Beatles. The trio finished an additional handful of songs together, while a solo acoustic tour through Europe gave Holcomb the time to polish off several tunes on his own. Fiercely supportive of his adopted hometown, Holcomb recorded Souvenir in East Nashville, teaming up with the same producers — Joe Pisapia (k.d. lang, Guster, William Tyler) and Ian Fitchuk (Maren Morris, James Bay, Kacey Musgraves) — who helped bring 2015's Medicine to life. Rather than try and resurrect the classic, stripped-down vibe of the previous album, though, the team adopted an "anything goes" approach in the studio. They used a drum machine on "New Year," a song about the annual cycle of triumph and tragedy. They made room for gang vocals, layered guitars, and epic, rock-influenced arrangements. On "Wild World," a socially-conscious song about embracing diversity and loving your neighbor, the crew recorded live, allowing the sounds of the outside world — including a passing ambulance, its siren blaring — to filter their way into the finished track. While Drew Holcomb & the Neighbors worked on Souvenir at Pisapia's home studio, America endured the final days of a dark, contentious election that seemed to leave everyone — both winners and losers — in a state of exhausted unhappiness. There's palpable anger rising from Holcomb's voice in "Fight for Love," whose epic tale of struggle and redemption was recorded one afternoon after Election Day. Souvenir doesn't shy away from those dark corners — the challenges and controversies that help give context and depth to our happier moments — but it does place most of its focus on one central theme: love. "Love is physical," says Holcomb, who kicks off the album with "The Morning Song," his most sexually-charged track to date. "Love is geographic," he adds, pointing to the album's tribute to the Golden Coast, "California." Then, looking at the rest of the 11-song tracklist, he draws connections to songs about estranged brothers, long-lost lovers, precocious daughters, and everyone in between. "Love is hard and tragic," he finishes. "Love is rewarding. Love is friendship. Love is fatherhood." Love is musical, too. One month after recording "Wild World," Holcomb found himself in the ER, once again listening to the blare of ambulance sirens outside. He was soon diagnosed with a rare case of viral meningitis, a disease that left him in the hospital and unable to listen to the finished, mastered mixes of Souvenir's tracks. Years ago, he might've waited until he completely recovered, delaying the album's release until he could personally approve each song. This time, he tossed the job to his bandmates, giving the Neighbors the trust, love, and support needed to finish SouvenirReleased on March 24, 2017, by Holcomb's own label, Magnolia Music, Souvenir is the very thing its name suggests: a keepsake from a band that's still moving, still growing, still scaling new heights. Like Medicine, the album is built around the idea that music helps bind people together. It's the population's connective tissue. It's part of our lives, carried with us from one milestone to the next, always providing the soundtrack to our individual journeys. For Drew Holcomb & the Neighbors, that journey is still going. Souvenir is the newest memento from that trip, its songs shining a light on the band's past while also pointing toward the next destination. Onward. 

Andrew Combs -“Ever heard of a happy song?” That question is posed to Andrew Combs in “Rainy Day Song”, the lead track on his acclaimed 2015 album All These Dreams, during a barstool chat with a sarcastic friend. The singer – offended but gracious – smiles and allows the moment to pass, eschewing confrontation for the sake of a gem he polishes as an afterthought for the listener: “Tab’s on me if you think I’m lying / Laughing ain’t a pleasure till you know about crying.” The moment, full of the understated charm and pulsing honesty that defines his music, and is as good a metaphor as any for the songcraft of Andrew Combs. A Dallas native now living near the same Nashville airport immortalized in the opening sequence of Robert Altman’s country music odyssey, Andrew Combs is a singer, songwriter, guitarist, and heir to that 1975 film’s idea of the Nashville troubadour as a kind of musical monk. Here in the twenty-first century whorl of digital narcissism, where identity can feel like a 24/7 social media soft-shoe performance, Combs makes music that does battle with the unsubtle. Like the pioneering color photographer William Eggleston, he sees the everyday and the commonplace as the surest paths to transcendence, and he understands intuitively that what is most obvious is often studded with the sacred. As a songwriter, Combs relies on meditative restraint rather than showy insistence to paint his canvases, a technique commensurate with his idea of nature as an overflowing spiritual wellspring. NPR music critic Ann Powers noted as much in a 2015 review: “His song-pictures are gorgeous, but he recognizes their impermanence as he sings.” This deeply felt sense of ecology, of the transient beauty within nature’s chaotic churn, lies at the heart of Combs’s approach to his art. After touring behind All These Dreams, a record that earned him international accolades and comparisons to everyone from Leonard Cohen to Mickey Newbury to Harry Nilsson, Combs has returned with a new album that puts down stakes in fresh sonic terrain. Canyons of My Mind, out in March on New West, is — as its title suggests — a landscape where the personal and the pastoral converge. Drawing inspiration from the biographies of literary figures like Charles Wright and Jim Harrison, Combs has created an album that explores the notion of “sustainability” in its many facets — artistic, economic, spiritual, environmental. "When I set out to record All These Dreams, I had a distinct vision of what I wanted the record to sound like. It was a cocktail of the Roy Orbison, Glen Campbell, Nilsson vibes that you can hear right there on the surface," Combs says. "Canyons of My Mind is much more personal. It’s a testament to my acceptance of who I am as a man, and who I am becoming.” The record’s sonic adventurousness bears witness to that evolution, as well as to some big changes in his personal life. Between All These Dreams and Canyons, Combs married his longtime girlfriend Kristin, with whom he honeymooned for six weeks in the Minnesota wilderness. “She walks through her life exuding such open-mindedness and kindness,” Combs says. “I can’t help but watch in awe. She lets me be whoever I want to be, and that’s new to me. And quite refreshing, and freeing.” The quiet struggles and satisfactions of carving out an identity in a world gone wrong are palpable throughout the album. Whether questing through the labyrinth of his own spiritual yearning, (“Heart of Wonder”), recreating a rail rider’s full-body sensation of freedom beneath an azure Montana sky (“Rose Colored Blues”), imagining a near-future dystopia where the very idea of green spaces has been annihilated (“Dirty Rain”), or channeling the desire of a peeping Tom who has fallen in love with his sylvan quarry (“Hazel”), Combs refines the vulnerable vagabond persona he mastered on All These Dreams while pushing it beyond those boundaries, into a more pastoral realm aligned with artists like Nick Drake and Tim Buckley. The idea of the artist’s creative life as an ecosystem — one just as in need of cultivation and care as our own imperiled world — informs much of Canyons. For Combs, the quest to sustain his own capacity to create on a daily basis is what drives him. “I want to create for the rest of my life — writing, singing, painting,” he says. “I also want my life to include a family, a house, and kids. Seeking out other artists who’ve been able to keep the lights on without compromising their art – that keeps me inspired.”

Peter MulveySILVER LADDER is an auditory shot in the arm from veteran touring songwriter Peter Mulvey. Produced by the indomitable Chuck Prophet, it is a lean, muscular collection of tightly constructed songs, leavening Mulvey’s tendency toward ruminative and yearning acoustic songs with a dose of sharp-witted, punchy rock and roll. After a turbulent stretch in his personal life left him at sea, Mulvey decided to write his way out of it: “I've been through it. I bet you have too,” he said, “but there are times in life when you turn a corner and suddenly everything is simple: let's make some songs, people! Let's play!” Committing to writing one song a week relieved him of the precious, self-involved artist’s question, What Do I Have To Say? The songs came flooding out over the weeks and months, and within a year he had more than enough for a new record.