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UID:613bcd19-6650-4238-82c1-4274e9cb2d05@360exp.net
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DTSTAMP:20260928T155527Z
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DTSTART:20261024T020000Z
DTEND:20261024T050000Z
SUMMARY:Fenne Lily\, Niamh Regan
LOCATION:Zebulon
DESCRIPTION:**Fenne Lily**\n\nThe record started like this: a move to New Y
 ork from England. An out of the blue phone break-up\, on Independence Day.
  A month of running\, not eating enough\, drinking too much. A month of wr
 iting thousands of words a day\, frantically\, from a place of guilt. A mo
 nth where it felt like this loss of self. It started out like an exorcism.
  But it doesn’t end that way.\n\nBecause things started to shift for Fen
 ne Lily. The blame she placed on herself dissipated. New York\, her new ci
 ty\, started to feel like her home. A place she had some ownership\; a pla
 ce that now held her own memories and experiences. She drove to New Englan
 d in a truck. She made music with her friends in the Hudson Valley. She sp
 ent nights running pool tables. She fell in love again. She began writing 
 the songs to her fourth album\, Win Win. And she found that as she did thi
 s\, the songs she wrote were coming from a place of warmth\, self discover
 y. Something new was emerging from inside of herself. “I wanted to make 
 music that sounded like the sun was out\,” says Fenne. Win Win is a reco
 rd that sounds like the sun is out.\n\n“What do you feel like you’ve w
 on?” asked Fenne’s father of the record’s title. She explained to hi
 m that what she won is what she did not lose. Of course\, she had experien
 ced loss: the loss of a relationship\, the loss of a beloved pet dog. But 
 she did not lose her integrity. She did not lie. Win Win is an exploration
  of this idea\; this need for grit and conviction as a means to make art a
 nd to feel whole. The resulting album is some of Fenne’s best\, most bea
 utiful writing to date. It is a record that is honest\, feels hopeful\, so
 unds free.\n\nIn retrospect\, says Fenne\, “Sleeping” feels like a blu
 eprint for Win Win. A proof of concept. “I say what I mean and am a litt
 le bit mean in the process\,” she says\, “It’s a thoughtful rage.”
  The song was written in the immediate aftermath of Fenne’s breakup. She
  was living in an old brownstone in Bed-Stuy\, and wrote the song as a con
 tainer for her anger\, a container to say everything she thought she could
 n’t say. “‘You kept me around long enough to learn my patterns\,” 
 she sings\, her voice clear\, “Blamed me for returning to them\, then sa
 id it’s not about me.” There’s a really gorgeous interplay between k
 eys\, guitars\, and trumpet (which\, crucially\, is not an actual trumpet
 \, it is a trumpet noise\, from the mouth of bandmate and friend Isaac Sta
 lling). The song is strong\, searching\, and triumphant.\n\nWhen Fenne can
 ’t figure out the lyrics for a song\, she’ll use poetry as a placehold
 er. She’ll figure out a song on the guitar\, then set it to a poem she l
 ikes. On Win Win\, some of those poets include Richard Siken\, Diane Suess
 \, and Franz Wright. While their words are no longer in Fenne’s lyrics\,
  the record still maintains this poetic quality. “Uh Huh\,” the album
 ’s opener\, is one such offering. The song is written from a roving pers
 pective\, where the “you” in question is Fenne. It’s a vantage point
  that creates a conversational quality in the song\, where Fenne explains 
 both her break up and her budding new relationship. The images here are cl
 ear and crisp. “Couldn’t breathe and couldn’t sleep and could’ve s
 worn you lost it all\,” she sings\, “but it all turned out to be just 
 one year-long long-distance call.”\n\nWin Win was made over the course o
 f a year and a half. In snowstorms\, heat waves\, when Fenne was in the mi
 ddle of moving apartments. There were pauses in recording due to a Samba b
 and playing outside\, down the block from the studio\, or an enormous bliz
 zard that marooned a bass player in Flatbush. She recorded with her old ba
 ndmates from England\, and new friends she’d made in New York. She recor
 ded the record live\, and some of it to tape. It was a challenging recordi
 ng process. She’d have a little distance from a session\, and found that
  the meaning of her songs were changing as time passed (so much so that sh
 e recorded the single “Stranger Things” four different times). “Uh H
 uh\,” too\, changed quite a bit from writing to recording. “I knew it 
 had to have a solid groove to it\, sound strong and sure of itself\, and i
 t took a couple of different band configurations to get there.” says Fen
 ne. The secret ingredient was\, as it turns out\, drums from longtime frie
 nd and collaborator James Luxton.\n\nWin Win was recorded in fits and star
 ts\, but the final product is a record that is so grounded\, so cohesive\,
  so incredibly lovely from start to finish. Even (and especially) “in Li
 fe and on Planes\,” the last song on the record. It is a song that was a
 dded at the very last minute\, after the album had already been mixed\, sw
 apped for a different song as a final hail mary. It is a truly glorious so
 ng\, raw and imperfect\, hissing with tape. “I don’t belong to other p
 eople now\,” Fenne sings in the song’s last moments\, over and over\, 
 like a mantra. It is a moment that feels so alive\, on a record that feels
  so alive. Win Win is alive. It is a record of self discovery. Sad but hap
 py. Happy but sad. Written in the light.\n\nBoletos: https://dice.fm/event
 /g5bmlb-fenne-lily-niamh-regan-23rd-oct-zebulon-los-angeles-tickets
URL;VALUE=URI:https://360exp.net/events/613bcd19-6650-4238-82c1-4274e9cb2d0
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