June 17, 2015 | doors at 8:30pm
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Triple Ds presents:
The Pollies | Kip Bradley
  • $8
  • $8
Tedo Stone
With a sound that has drawn comparisons to Alabama Shakes, Dinosaur Jr. and at times Neil Young, Tedo Stone’s live show is one not to miss. Tedo was born to play rock and roll. Growing up in a family with a musical father and where brothers handed down bass guitars to younger siblings like old sweatshirts, Stone was fronting a band and playing in motorcycle bars around his hometown of Covington, Georgia, when he was 12 years old. While hanging out in Athens, Georgia and playing with the endless array of talented young musicians there, Stone realized his songs were sounding different live, evolving with a mixture of wailing guitars and raw emotion. Tedo Stone's highly anticipated third full length studio album, Summer Sun, will be released in November 2017 on Laser Brains.
The Pollies

It’s their first release for Florence, AL’s Single Lock Records, and it shows the band shedding their alt-country skin in favor of experimental noise and unadulterated risk.

"Not Here" is how I felt when I wrote the majority of the songs for this record,” lead singer and songwriter Jay Burgess says. “I was almost living parallel to myself. I’m watching myself react to what some people probably view as "normal life occurrences", but for me, someone who’s never been through these "normal life occurrences", it was very difficult.”

Burgess is the songwriter behind The Pollies, and on “Not Here”, he hits on all the familiar topics— love, loss, triumph and regret— with an edge and ferocity that shows up on tracks like “Lost” and “Jackson”. Simply put, these are compelling stories—and Burgess has stepped into his own as a gifted storyteller.

“Love lost is what drives the record lyrically,” Burgess says. “Some of these songs started as musical ideas—where I’d record something on my phone and then go back 3-4 times and make sense of the words—and other songs were just there without a lot of work.”

“Lost”, the record’s lead single, started as one phrase and a host of different musical ideas.

“It was a song that I had sitting around with unfinished and unrealized lyrics,” Burgess says. “I’d do multiple recordings of it with different lyrics. One phrase I kept coming back to was “I wish I was lost”. For weeks, that one line stayed on my notepad. Soon after that, a friend of mine found out his marriage was falling apart. I was someone for him to talk to, and after one of our conversations one night, the words for “Lost” just fell into place.”

Another standout track, “Jackson”, came together in a much quicker fashion—with a far different focus.

“I’ve always been into revolutions—more specifically thinking about what things would be like if they hadn’t happened,” Burgess says. “Obviously, a major movement in this country’s history was the Civil Rights movement. I think about how long that effort took and how great the risk was and it’s amazing to me. I thought I had heard all of the stories that went along with the movement until I heard the story of Jimmie Lee Jackson.”

“At the time, there was no movie explaining him and his involvement with the Selma story. He’s pretty much the reason Dr. King came to Selma, and I found his story inspiring in many different ways. I had to write something about him, and frankly, I could’ve probably done an entire record on him.”

The subject matter changes, but the themes remain: love, loss, triumph and regret. It’s clear that Burgess is the kind of songwriter that throws a lot of curveballs. Accompanied by a deft and accomplished band, “Not Here” is the kind of statement that signals the arrival of a great American band.
Kip Bradley
Kip Bradley has a voice that will make your blood run cold. At times he sings with a mercurial warble, at others with the shriek of a bird of prey, but always with electricity. It's rare to run across such a powerful voice that retains melodiousness at its most intense. The Tennessee- based singer/songwriter uses his instrument to stunning effect via an unique brand of Americana that doesn't eschew the influence of the classic-rock radio that every southern kid grew up with. And there is a childlike wonder that runs through the ten songs of Hunky Diamond, Bradley's debut album. From woodsy, acoustic fingerpicking to primal rock, with starry atmospherics and gorgeous slide guitar in tow, the album evokes images of late-night highway drives under the Milky Way and making it into town just as dawn breaks. Just the kind of place where childhood dreams clash with adult realities.

These songs were written and recorded mostly at nighttime, after Bradley worked long days at his construction job. The lyrics reflect this "I use my hands," Bradley recorded all the instruments (except drums, which were played by Tim Newton) on an outdated computer with ragtag equipment in any place he could find. The results are breathtaking. Bradley's arrangements brim over with creative flourish--they are constantly surprising and often stunningly beautiful. Bradley has learned the craft of recording well, and developed an exquisite taste for dynamics. His resume includes a stint at Sweet Tea Studios in Oxford, MS, where Modest Mouse recorded Good News for People Who Love Bad News, as well as time in the offices of Fat Possum and Domino Records.

Born in the middle of five brothers and a sister in a church-going North Georgia family, Kip grew up singing Tom Petty songs in the car with his father, and it was on a borrowed guitar from church that he learned to play his first chords. When he reached adulthood he went out to Oregon, Mississippi, North Carolina and New York City before landing back near home in Chattanooga, TN, nursing a broken heart. There, on the shores of the Tennessee River, he rose from his ashes, forming the rock group, SharkWeek, that has toured extensively throughout the Southeast and become well- loved there. Since then he has made an extremely compelling statement with these "songs about tearing yourself down and seeking redemption." He plans to tour all around the United States in 2015, playing both acoustically and with a full electric ensemble.

- by Clark Williams