Fri, February 9, 2024
Doors: 6:30 pm
Tickets are non-transferable until 72 hours prior to the show time. Any tickets suspected of being purchased for the sole purpose of reselling can be cancelled at the discretion of The Atlantis / Ticketmaster, and buyers may be denied future ticket purchases for I.M.P. shows. Opening acts, door times, and set times are always subject to change.
Tired Hearts, the new album from rising indie-pop power trio, BAILEN, delivers a dazzling set of songs that navigates the space between the heart’s expectation and the head’s sober reality. New York based siblings, Daniel, David, and Julia’s second full-length album for Fantasy beats with empathy, vulnerability, and resolve.
At times intricate and playful, measured and elaborate, the 12 original songs on Tired Hearts wrestle with an uncertain future where ethics and morality—both communal and personal—seem to be constantly shifting. Locating one’s compass amidst the chaos—a world-wide pandemic, toxic social media culture, economic insecurity and political turbulence—is at the LP’s core.
Producer Brad Cook (Bon Iver, Waxahatchee, Snail Mail) who, along with the band, co-produced Tired Hearts, helped to expand BAILEN’s ambition beyond what they initially envisioned. “We’d played the last record live a hundred times before recording it, so we tracked a lot of it live,” Daniel explains. “With Brad, we took a collagist’s approach. It freed us up to explore and be sonically adventurous.”
In contrast to the road-tested songs on their accomplished debut LP, 2019’s Thrilled to Be Here produced by John Congleton, many of the songs on Tired Hearts were honed in the studio as opposed to live on tour – “the songs changed so much over the course of recording process,” Julia remarks.
Most noticeably, Cook encouraged the trio to experiment with how they sing. “We deliberately used the more vulnerable parts of our voices,” Julia says. “After not being in the studio for years, we were in vulnerable places, and this record reflects the frustration and tenderness of that time.” “We pushed ourselves lyrically, it’s the most exposed, intimate music we’ve written as a result,” David affirms.
Indeed, BAILEN’s radiant harmonies, spare, synth-driven tracks, and futuristic, ear-catching arrangements usher in Tired Heart’s exhilarating avant-pop evolution. “Shadows,” affectingly captures “the moment you see someone and realize you can spend the rest of your life with them.” “Nothing Left to Give” echoes of HAIM’s sparkling pop, while “These Bones,” contains a hint of Phoebe Bridgers’ hushed intimacy.
Perhaps no two songs embody that fresh ethos (and the band’s incredible range) more than the high-gloss, New Wave dance track “Call It Like It Is,” and the stunning “BRCA (Nothing Takes Me Down),” which takes its name from the hereditary breast cancer gene that Julia and her mother (who is a breast cancer survivor) share. Over the track’s slow building rhythmic pulse, Julia sings of hospital gowns and uncertainty, untying a complex knot of familial anxiety, guilt, and acceptance, while embracing the determination to move forward: I’ll still live like I’m dying/ But I won’t let it take me down, she insists. “It’s about finding ways to not be defined by these circumstances, and to move past them with resilience.”
Raised and rooted in New York City by classically trained musician parents and their wide-ranging, eclectic record collection, BAILEN has emerged as a favorite in indie circles by cultivating a passionate following via word of mouth, robust playlisting and a stream of steady touring and collaborating with artists such as Amos Lee, The Lone Bellow, Joseph, and Hozier to name a few.
On Tired Hearts, their exquisite and thought-provoking new album, BAILEN learns how to dream in the face of life’s uncertainty and in the process, moves forward aware, resilient, and hopeful. “This album is a breakthrough for us,” Daniel says. “It’s been a rocky road, but we’re really grateful that it’s led us here.”
Gold-selling Esmé Patterson releases her long-awaited 5th full-length album, Notes from Nowhere, early this October; creating a genre-avoidant musical realm that blooms with honesty and magic. Now living in the woods of Tennessee, the Colorado-born singer/songwriter never fails to give her devoted following what they want – something completely new yet somehow familiar.
Esmé emerged from the wreckage of a crowded Colorado folk experiment (Paper Bird) and struck out on her own path in a 2012 solo debut, All Princes, I. Her followup was an AMA-nominated Song of the Year that went Gold in the US and Canada, landed Patterson performances on Letterman and Conan, and brought sold-out shows nationwide. Predictably unpredictable, she deftly ditched the folk/americana tags to offer barbed responses to male-gaze hits in 2015’s Woman to Woman, then to death, sex, and feedback in 2016’s fanged We Were Wild, from which her performance on NPR’s Tiny Desk derived.
Ever provocative, poignant, polymorphic, and prescient (her last album, the apocalypse-themed There Will Come Soft Rains, was released on the first day of Covid19 lockdowns in March 2020), Esmé’s latest release, Notes from Nowhere, returns to the (super)natural world, evoking the chill of dead winter, parched forest lightning, midday moons, and the cicada hum of summer swamps. Esmé’s intense performances arrest her audience in ears-open shared contemplation. Her music churns and crackles until you find yourself frozen, staring into the fire.
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