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BEGIN:VEVENT
UID:9b584e0c-4cd5-4bde-b4a9-82e926e74bae@360exp.net
SEQUENCE:29843048
DTSTAMP:20260928T172315Z
LAST-MODIFIED:20260928T080833Z
DTSTART:20261115T010000Z
DTEND:20261115T040000Z
SUMMARY:Greg Freeman
LOCATION:Eulogy
DESCRIPTION:Eulogy Presents: Greg Freeman w/ Robber Robber\n\nSat\, Novembe
 r 14th\, 2026\n\nEulogy - 10 Buxton Ave. Asheville\, NC 28801\n\nDoors 7PM
  || Show 8PM\n\n**Greg Freeman**\n\nGreg Freeman won’t be getting comfor
 table anytime soon. Across New Mexico\, Vermont\, Los Angeles\, and a long
  stretch of tour stops hooking those places together\, All Set The Bone ca
 me alive. While writing and recording it\, Freeman moved out of his longti
 me home in Burlington\, holed up in a middle-of-nowhere part of the Southw
 est\, and stepped into music full-time\, leaving behind odd jobs as a ceme
 tery landscaper and restaurant line cook. The following album is populated
  by a grain of similarly unsettled people: a voter buried in credit card d
 ebt\, a pair of Christian hearts clanking like trapped lobsters\, a town o
 f bent necks\, a lover with limbs bent like crabapple trees. Freeman calls
  All Set The Bone a “reflection of a lot of change\, and a lot of tensio
 n.” It’s a box of political and personal yarns spread across four side
 s\, “inhuman events” and grief pulled into a “perfect tsunami.”\n
 \nFreeman was barely done making Burnover when he started writing its succ
 essor. He chased disruptions with confidence\, creating on impulse rather 
 than familiarity. “I had this epiphany moment where I understood what th
 e next record should be\,” he says\, “which surprised me\, because I t
 hought it would take a lot longer to have the influences or inspiration re
 quired to undertake writing a new album.” What arrived instead were radi
 oactive songs that never seemed overworked or moralizing. There may as wel
 l have been a “no overthinking” sign pasted above the studio door.\n\n
 Traces of pre-Good News Modest Mouse and early Pavement linger\, but All S
 et The Bone resists easy lineage through a deliberate fracture that’s tw
 isting yet familiar. Freeman’s longtime obsessions with Fugazi and Unwou
 nd color the album’s heavier dirges—like “Hail Mary”’s math-rock
  chords snapping against post-hardcore distortion—and its spangled outpo
 sts grew from a diet of Big Star\, The Drones\, and Mission of Burma. The 
 best parts of All Set The Bone blink like psychotic blues ramp-ups\, while
  the heavy-metal/weeping violin onslaught of “Untitled 10” leaves room
  for punches of brass. Lyrically\, Freeman’s pen is too strong for analo
 gy\, as he riffs on bodies turned to ground beef\, or chasing a dream but 
 settling for a niche.\n\nAfter Burnover’s queasy fixation on ghost stori
 es and various New York locales and histories\, Freeman again returns to t
 he immediacy and anxiety of time and history\, building a choir of questio
 ns out of constellations where “the light pours in the like hourglass sa
 nd.” Opener “Cahokia” is titled after the ancient Indigenous mounds 
 that sit on the Illinois side of the Mississippi River\, whose builders di
 sappeared. Freeman uses taxidermy and amber-casted bugs to contextualize s
 ongs about love and grief in “Untitled 10.” Near the end of side one\,
  he even makes this striking declaration: “No culture\, and no more rock
  and roll.” But “Decade” may sum All Set The Bone up best: “Histor
 y rubbernecks at each of your darkening thoughts.” Freeman says there’
 s a “sense of time running out\, of us becoming stuck in the trajectory 
 of our own history.” It’s a theme that he’s been unpacking since I L
 ooked Out\, but he’s never done it better than right here in these seven
 ty minutes.\n\nAnd what we get is paradoxical: Freeman’s most exposed wr
 iting but also his most evasive. Songs like “Costs” cut closer to dire
 ct confession: “in the flash of puke’s surrender\, I relive life throu
 gh every bender\,” or the “thousand gears between my ears\, working ov
 ertime to taxidermy every worthy heartbreak into rhyme.” But much of All
  Set The Bone is grounded in second-person. It’s not used as a tool for 
 distance\, but a means of rejecting any prescriptive tones. When Freeman a
 sks\, “Do you feel your world will shatter at the slightest touch? Is it
  the child in you that’s scared to feel too much?\,” the effect never 
 sounds sanctimonious.\n\nFreeman’s audience ignited like brimstone in 20
 23. Songs like “Come and Change My Body” have eclipsed the critical ci
 rcles that first engaged with his music\, making Freeman a bonafide threat
  to indie-rock’s throne. The attention\, he says\, still catches him off
 -guard. “I never get used to that\, or take that for granted\,” he say
 s. “But\, on the flip side\, I don’t think about it too much when I’
 m writing music\, and I think that’s important when you’re making some
 thing genuine. It’s about what you want to make\, not what other people 
 want.” That stance has become more complicated now that music is what pa
 ys his bills. Touring occupies most of his calendar\, while recording happ
 ens in the gaps it leaves open. Instead of enjoying a multi-year hiatus be
 tween Burnover and All Set The Bone\, he pushed straight into the latter\,
  emerging with an hour of total music devotion.\n\nHe assembled a band bui
 lt to embody and obliterate contradiction—to walk the tightrope between 
 chaos and precision. The “I wanna feel like a drummer\, felt but not sho
 wn” line in “Indu” says it best\, as the Greg Freeman Band is at its
  most spectacular when parts are heard as a sum. Freeman’s longtime coll
 aborators Garrett Linck and Sam Atallah\, Florry’s Joey Sullivan\, and T
 he Rockin Worms’ Carney Hemler lived with him in the California desert\,
  practicing for a few weeks before hitting record. He’s also joined by s
 ongwriters Anna McClellan and Trinity Ace\, whose vocal ranges complement 
 the distinctiveness of his shrill\, creaking voice rather than overwhelm i
 t. Freeman doesn’t ask for much from his duet partners. “Someone who c
 an sing with me and make it sound good” is enough. McClellan’s “high
  glottal” rises above his upper range\, while Ace’s deeper harmonies s
 it naturally beneath his.\n\nWhere I Looked Out and Burnover were made clo
 ser to home in Vermont\, All Set The Bone was redirected westward\, landin
 g in Los Angeles under the guiding hand of producer John Congleton. The sh
 ift from Burlington staple Benny Yurco to Congleton seemed like a risk ini
 tially\, but his and Freeman’s chemistry proved immediate. “Even when 
 you can’t describe exactly what you want\, he knows what you’re talkin
 g about\,” the guitarist says. The sessions flourished through instinct:
  the album’s rawest moments\, like “Bury Me The Shovel\,” were treat
 ed as live\, impromptu propositions from the outset\, built to remain unpo
 lished. In “Loser’s Prize\,” Freeman writes about the fears of love 
 “nursed by catastrophe\, yet protected by the limits of its own memory.
 ” Just as he did on I Looked Out and Burnover\, he dives well and far he
 re into what it costs to live through the present moment\, and his band’
 s instrumentation mirrors that with dense song structures and spacious imp
 rovisation.\n\nFreeman made I Looked Out without expectation or remorse. O
 n All Set The Bone\, he embraces friction instead of refusing it\, using s
 cant rehearsal times and urgent\, self-appointed deadlines to fill his thi
 rd album with ambitious whims: smile-stretching guitar scorchers\, cosmic 
 percussive surges\, near-baroque piano riffs\, psych-rock noodles\, brass 
 cutouts\, and enough key changes to build an unsolvable musical maze. All 
 Set The Bone was finished quickly\, in a real Hollywood studio with one of
  rock’s best modern architects\, and with minimal separation between ide
 a and outcome. For Freeman\, uncertainty has become his wealthiest currenc
 y. “It should never feel comfortable\,” he says. “Every album should
  scare you.”\n\nBoletos: https://dice.fm/event/6d8x37-greg-freeman-14th-
 nov-eulogy-asheville-tickets
URL;VALUE=URI:https://360exp.net/events/9b584e0c-4cd5-4bde-b4a9-82e926e74ba
 e
STATUS:CONFIRMED
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