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UID:b3aeaaca-0023-45ac-a03a-d98d1d451ad6@360exp.net
SEQUENCE:29827992
DTSTAMP:20260928T090323Z
LAST-MODIFIED:20260917T211227Z
DTSTART:20270209T193000Z
SUMMARY:Greg Freeman
LOCATION:Leeds Brudenell Social Club
DESCRIPTION:- When Freeman quietly released his debut LP I Looked Out in 20
 22\, it had no PR campaign\, label\, or music industry promo\, but still r
 eceived raves from Stereogum and Uproxx. The word-of-mouth success of that
  release had Freeman on a relentless tour schedule. An itinerant lifestyle
  from ceaseless long drives made him think about home and his role in it. 
 “I was trying to make an album about where I live\, without specifically
  writing about myself and my immediate surroundings\,” says Freeman. Dri
 ving around Vermont\, he’d pass by the birthplaces of Joseph Smith\, the
  founder of Mormonism\, and Ethan Allen\, the Revolutionary War figure and
  state icon. “I was drawn to these slightly tragic regional figures who 
 helped me understand the culture of that area even today\,” he says. Bur
 nover borrows its title from “The Burned-Over District\,” a term used 
 to describe parts of central and western New York that became hotbeds of f
 ervent religious revival and utopian communities during the early 19th cen
 tury. “There was this period where all these apocalyptic religious movem
 ents started\, along with territorial expansion\,” says Freeman\, citing
  Jack Kelly’s Heaven’s Ditch as well as Louise Glück\, Emily Dickinso
 n\, and Jim Thompson’s writings as inspirations. On the album\, there’
 s a sense that danger or revelation lurks behind every corner. It opens wi
 th the foreboding “Point and Shoot\,” where he sings\, “But I was lo
 st like a little child / In a wilderness where the West was way too wild.
 ” It’s a livewire track\, with tangible momentum and an expansive arra
 ngement. When Freeman was touring I Looked Out\, he revamped his live setu
 p as a five-piece where he was the only guitar player. He took that mindse
 t to Burnover\, which he recorded with Benny Yurco\, drummer Zack James (D
 ari Bay\, Robber Robber) and Freeman’s live band\, at Benny Yurco’s Li
 ttle Jamaica Recordings in Burlington. “I wanted to write songs that wer
 e fun and challenging to play on guitar\, and maybe had a little more move
 ment\,” he says. Songs like “Gone (Can Mean a Lot of Things)” burst 
 with intensity and Freeman’s guitars envelop the track with crunch and w
 inding leads. But Burnover shines when Freeman tweaks the formula\, like o
 n “Curtain.” Originally demoed as a meandering guitar jam\, the track 
 came to life when pianist Sam Atallah tracked a tack-piano take at the stu
 dio. His lively leads invigorate the song\, especially as Freeman sings li
 nes like\, “My thoughts die out slowly on the blood swept plains where I
  see you every night / And to the lonely hours\, it’s like burning the f
 urniture to keep the house bright at night.” Freeman says\, “As soon a
 s Sam laid down the piano\, we heard the song for what it was and it came 
 alive.”For all its propulsive\, noisy power\, Burnover\, which is produc
 ed by Yurco and Freeman\, and mixed by Adrian Olsen\, is immensely invitin
 g and often beautiful. Take the heartfelt and woozy “Gallic Shrug.” A 
 deceptively simple and low-key track that evokes Paul Westerberg at his mo
 st earnest\, Freeman sings\, “You’re looking to the sky for love and a
 ll you get is a Gallic Shrug.” The complicated people who live in these 
 songs are all searchers\, grasping to understand a landscape that no longe
 r makes sense and was never theirs in the first place. (In “Gone\,” he
  sings\, “Down in Rensselaer\, nothing’s quite clear / You can cross t
 he plane\, but gone can mean a lot of things.”) On the booming “Salesm
 an\,” which boasts horns from Cam Gilmour\, Freeman sings\, “Light spe
 nt your life wrapping all around you / And always finding your form / And 
 now it drifts like some – blind drunk salesmen / Looking for you door to
  door.” With wailing pedal steel from Ben Rodgers and pristine harmonies
  from Lily Seabird\, the track reaches a hair-raising crescendo broadcasti
 ng the kinetic force of Freeman’s touring band. Though Burnover is an al
 bum about feeling like an outsider and grappling with American myths to cr
 eate or uncreate a sense of self\, it also reflects Freeman’s firm commu
 nity in his adopted home in Vermont. “I had a choice whether to make thi
 s record in Burlington or do it somewhere else\,” he says. “I wanted m
 y friends to play on it so the decision was obvious.” He ended up with a
  collection of songs that burst at the seams with raw immediacy and spark.
  “With this album\, I really just wanted there to be as many things to h
 old onto as you can\,” he says.\n\nBoletos: https://wegottickets.com/eve
 nt/715201
URL;VALUE=URI:https://360exp.net/events/b3aeaaca-0023-45ac-a03a-d98d1d451ad
 6
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