Roman Candle Presents Dylan LeBlanc & Nicole Atkins

Sunday 16th September, 7.30pm.
 
£14 Adv.
Dylan LeBlanc
Nicole Atkins
 
St Mary's ~ A Creative Space
Facebook event page

 

Roman Candle is delighted to welcome Dylan LeBlanc with special guest Nicole Atkins to St Mary's Creative Space, Chester.

 

Sunday 16th September, 7.30PM. £14 Advance tickets from Grey n Pink Records or SEE Tickets.

 

DYLAN LEBLANC KNOWS SECOND CHANCES DON’T COME AROUND OFTEN.

 

BUT, NEITHER DO VOICES LIKE HIS.

 

Overwhelmed by the speed at which his gift took him from Applebee’s server to “the new Neil Young” in a matter of months, he walked away from an unlikely major label deal after releasing two critically acclaimed albums. He slipped into a blur of booze and self-doubt. Exhausted and damaged at just 23-years-old, Dylan came home to Muscle Shoals, Alabama to write a new life for himself.

 

In between the moments of clarity and a few familiar falls, he also wrote a new album, Cautionary Tale: a collection of shimmering, arresting songs with the same haunting vocals that caught the attention of Lucinda Williams and Bruce Springsteen, now with a sharpened edge honed by hastened maturity.

 

“THIS RECORD IS ABOUT ME GETTING HONEST WITH MYSELF,” SAYS DYLAN. “I HAD TO LET THE GUILT ABOUT THE PAST GO AND FIND A NEW TRUTH WITHIN MYSELF. THIS TIME, I FELT LIKE I REALLY HAD SOMETHING TO SAY.”

 

To help him say it, he sought out long-time friend Ben Tanner, the same guy who had secretly helped Dylan record his first songs after hours while working at fabled FAME Studios. (He also introduced a 16-year-old Dylan to Wilco, George Harrison, and Ryan Adams by way of an external hard drive). In between touring with Alabama Shakes, Ben was beginning to engineer records again at the label he started with another friend of Dylan’s, Grammy Award-winning musician John Paul White, formerly of The Civil Wars. The two both produced and played on Cautionary Tale.

 

“They prevented me from burying my words,” says Dylan. “Doubt can often be my first instinct, and I’ll try to cover things up with more elements to hide my voice, but I made up my mind to trust them. I heard Merle Haggard say once that the singer is secondary to the song, and they both helped me build a strong foundation for the emotions I was feeling.”

 

The stripped down aesthetic that John Paul and Ben have made their label’s calling card sets Dylan’s voice in a light bright enough to see the patina the last few years has left behind.

 

“I SPENT A LOT OF TIME WRITING ABOUT PROGRAMMING AND CONDITIONING AND THE IDEA OF EGO,” SAYS DYLAN. “I DON’T WANT TO RELY ON MY CIRCUMSTANCES OR THE PAST TO SAY WHY I AM THE WAY I AM ANYMORE. A LOT OF MY SONGS LIKE ‘CAUTIONARY TALE’ AND ‘LOOK HOW FAR WE’VE COME’ ARE ABOUT TRYING TO BREAK OUT OF A VICIOUS CYCLE. I WAS WONDERING IF I COULD FIND MY SOLUTIONS FROM WITHIN—IF I COULD BELIEVE IN SOMETHING BEYOND THE PRESENT.”

 

If Dylan was wandering through a cemetery with his first album Paupers Field (“Songs are like headstones to me,” he told The Guardian), Cautionary Tale is an abandoned desert town. He reflects on what once was, and if anything could be again. At times, he wonders if the signs of life he sees on the horizon are real or just a mirage. Phantasmic, warbling voices in the background rise to meet his own and fade into the ether; ghostly guitar riffs echo in the emptiness around him.

 

Finding the right arrangement and words was a more deliberate effort for Dylan this time. After feeling lost in the “mania” of recording his first two albums, he relied on Ben and John Paul to help him collect the pieces of his vision.

 

“I’ve definitely become more disciplined. I don’t count on things like inspiration anymore,” says Dylan. “I learned so much from putting songs together with John Paul. Anything he does, it’s always going to be well-thought-out and well-placed. I’m naturally an improv guy, but now I see how that can be more limiting than planning your next move.”

 

That new-found discipline shows. Never one to write out parts, Dylan methodically scored the stunning string sections with violinist Kimi Samson and cellist Caleb Elliot. To form the polished rhythm section he wanted to drive songs like “The Easy Way Out” and “Beyond the Veil,” he paired drummer Jeremy Gibson with Alabama Shakes bassist Zac Cockrell (“I wanted it to feel like a Bill Withers record or Al Green—soulful, but tight.”)

 

“AFTER EVERYTHING I’VE GONE THROUGH, I STILL LOVE PUTTING RECORDS OUT AND SINGING FOR PEOPLE, NO MATTER HOW BIG OR SMALL THE CROWD,” SAYS DYLAN. “IT’S THE ONLY THING I WANT TO DO, AND NOW I GET TO KEEP DOING IT AS A MORE WELL-ROUNDED PERSON. I GUESS I’M BLESSED... OR WHATEVER THE HELL YOU WANT TO CALL IT.”

 

YouTube - Nicole Atkins

To borrow a phrase from heaven's new poet laureate, Leonard Cohen, Nicole Atkins was "born with the gift of a golden voice." But somewhere along the way she misplaced it. Goodnight Rhonda Lee is the story of Nicole finding her voice, and how, in doing so, she went a little crazy.

 

Great Art is born of struggle and Nicole was struggling. The problem was that she felt nothing. Her fans responded to her performances with the same fervor they always had, but Nicole felt nothing. Her new husband loved her and doted on her, but she felt nothing. She traced it back to her drinking and decided to try to learn to live without booze. But that first day of sobriety brought with it an unexpected additional test -- Nicole's dad was diagnosed with lung cancer. This Jersey girl, whose big voice was tethered to a big heart, and whose reaction to the mundane setbacks of everyday life had always been equally overblown, suddenly faced a real problem. "It toughened me up," she says.

 

And the songs started to come. Little bursts of therapeutic creativity. Thorny feelings transubstantiated into melodies. Beginning with "Listen Up," a wake-up call to a lucky girl who hadn't realized how lucky she'd been, Nicole started to find her redemption in these songs. They rang true in a way no songs ever had before. They came from a deep, vulnerable place. If Nicole had been living an unexamined life, she wasn't anymore.

 

She needed her newfound toughness though, as in the midst of all this turmoil, she prepared to move from her native Asbury Park to Nashville. Having spent more than a decade as the de facto queen of Asbury, Nicole was finally leaving the warm, but often stifling confines of her hometown. During one of her final nights before the exodus, a song came to her in a dream. “I Love Living Here Even When I Don’t” summed up the complicated feelings she experienced as she said goodbye to the only real home she'd ever known.

 

In Nashville, Nicole's once hectic life was very different. Left home alone as her tour manager husband plied his trade out on the road, Nicole found herself writing songs that examined "feelings of separation and being scared of new surroundings." In particular, the songs "Sleepwalking" and "Darkness Falls" echo like ghosts through an empty house.

 

Unsurprisingly, her sobriety faltered. She drifted in and out of it. Nicole knew the wagon was good for her, but she had a hard time staying focused on what was good for her. As it went on however, the clarity of those sober days started to shine through. And she was able to string them together in longer stretches. For the first time, she was able to offer a shoulder for others to lean on, rather than always being the one in need of a shoulder. It helped that she had to be strong for herself in order to be strong for her dad. Much of what she was feeling was painful, but it beat the hell out of feeling nothing.

 

She reconnected with her old friend Chris Isaak who encouraged her, in the midst of all the soul-searching and soul-baring, to write songs that emphasized the one trait that most sets her apart from the mere mortals of the industry, telling her, “Atkins, you have a very special thing in your voice that a lot of people can’t or don’t do. You need to stop shying away from that thing and let people hear it.” To that end, the two of them collaborated on Goodnight Rhonda Lee's standout track, the instant classic, "A Little Crazy.”

 

Great Art is a journey -- and Nicole Atkins traveled quite a distance to bring us Goodnight Rhonda Lee. As Nicole explains it, "This record came to me at a time of deep transition. Some days were good, some not so good. What I did gain, though, from starting to make some changes and going inward, and putting it out on the table, was a joy in what I do again. Joy in the process and a newfound confidence that I don’t think I've ever had until now. The album title, Goodnight Rhonda Lee, also came from those feelings. Rhonda Lee was kind of my alias for bad behavior, and it was time to put that persona to bed."

 

The direction in which these songs were headed was obvious. Nicole's voice had always recalled a classic vinyl collection. She is the heir to the legacy of "Roy Orbison, Lee Hazelwood, Sinatra, Aretha, Carole King, Candi Staton." She is untethered to decade or movement or the whim of the hipster elite.

 

In order to capture the timelessness she sought, Nicole enlisted a modern day Wrecking Crew: Niles City Sound in Fort Worth, TX, who had just risen to national acclaim as Leon Bridges' secret weapon. "We spoke the same language. We wanted to make something classic, something that had an atmosphere and a mood of romance and triumph and strength and soul." The album was recorded in five days, live to tape. The album that Nicole and the boys came up with in those five days, Goodnight Rhonda Lee, is nothing less than Great Art and a quantum leap forward for Nicole Atkins who, no matter how much she grows up, will always be a little crazy.

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