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BEGIN:VEVENT
UID:c9dda231-b3b7-4a1c-93bb-0870e48c0bf7@360exp.net
SEQUENCE:29842558
DTSTAMP:20260928T095920Z
LAST-MODIFIED:20260927T235859Z
DTSTART:20261019T020000Z
DTEND:20261019T060000Z
SUMMARY:Edgehill - The Moving Out Tour
LOCATION:Soda Bar
DESCRIPTION:- 21+ event w/ valid ID at Soda Bar - San Diego.\n\nEdgehill ap
 preciate the cracks\, the nicks\, the bumps\, and the bruises.  \n\nThe 
 Nashville\, TN trio—Chris Kelly \\[lead vocals\, guitar\\]\, Jake Zimme
 rmann \\[lead guitar\, vocals\\]\, and Aidan Cunningham \\[drums\\]—neve
 r sand down or smooth out the edges of their songs. Instead\, they find 
 truth in the fissure between fuzzed-out distortion and disarmingly infecti
 ous melodies\, bringing old-fashioned grit back to alternative. They deli
 ver the kinds of hooks that ruled Alternative Nation during MTV’s gol
 den age\, yet could just as easily translate to a generation born and rai
 sed on social media. It’s the sound of growing up as amplified throu
 gh grainy guitar riffs and the kinds of lyrics that give you permission
  to speak your mind and heart. \n\nGenerating millions of streams indep
 endently and stirring up buzz\, the band instantly captivate on their 20
 25 full-length\, Ode to the Greyhouse. \n\n“We made an effort not t
 o get too fancy or cover up the little mistakes\,” observes Jake. “W
 e let the album be the most honest and unfiltered reflection of who we a
 re musically and emotionally.” \n\nThe band members grew up in markedly
  distinct areas of the country. Chris originally hailed from Charlottesv
 ille\, VA\, and Jake primarily grew up in Long Island\, NY. Early iterati
 ons of the band formed before the guys welcomed Aidan—who called Westfi
 eld\, IN home—into the fold. Even though their zip codes may have dif
 fered\, the guys shared a bond by virtue of “living in Suburbia and u
 sing music as an outlet for expression.” Chris and Jake initially con
 nected as students at Vanderbilt University\, cementing a fast friendsh
 ip. Jamming together\, they unassumingly established a foundation for wh
 at would become Edgehill. While working a shift at a local coffee shop\, C
 hris met Aidan\, and the group’s lineup was locked in. During 2022\, 
 Edgehill made waves with “Shooting Glances\,” reeling in over 2 milli
 on Spotify streams. Building a local buzz with countless gigs\, “Lookar
 ound” posted up 1.3 million Spotify streams followed by fan favorites l
 ike “Something (Practically)” and the Live At East Iris Studios EP
 . \n\nFor the better part of 2024\, the musicians feverishly demoed ide
 as\, chipping away and sculpting a signature sound of their own. Simultan
 eously\, they expanded their collective sonic palette by listening to ever
 yone from Pinegrove\, Alex G\, and MJ Lenderman to Weezer and Nirvana. In 
 December\, they decamped to Minneapolis\, MN for twelve days and record
 ed at Pachyderm Studios—made famous as the birthplace of Nirvana’s
  In Utero. On this hallowed ground\, Edgehill recorded Ode to the Gr
 eyhouse with producer Tone Def\, and he made an intentional effort to p
 reserve the spirit of the songs. \n\n“We zeroed in on the music’s t
 extures to create this intangible rawness\,” adds Chris. “A lot of i
 t was inspired by nineties rock\, which would have quieter vocals and roar
 ing guitars.” \n\n“Tone Deaf understood where we were going\,” says
  Jake. “He knew it couldn’t be professional and polished. He was the 
 perfect person to capture what we do and bring the best out of us. We want
 ed the album to sound lived-in\, because that’s how we’d made the m
 usic.” \n\nThis sentiment underscores the opener and single “Drone 
 Song.” Echoing through a haze\, loose guitar envelopes a steady rhythm
  as Chris’s voice booms through the haze\, “I’m not a hero\, but I
 ’ve got a drone.” Strains of distortion bleed into broken piano duri
 ng the refrain\, “It’s a joke\, but I don’t need a punchline. Don
 ’t think about it. I’ll be fine.” \n\n“It’s a reflection of hav
 ing a long day when your brain just turns to mush\,” Chris reveals. “I
 t’s the result of being scatterbrained\, not taking yourself too ser
 iously\, feeling like you’re failing at something\, and letting whatever
  absurdity in your mind out onto a sheet of paper.” \n\nSoft vocals bar
 ely break the echoes of acoustic strumming on “Double Take.” As if tur
 ning on a dime\, the verses get caught up in the undertow of a rush of fee
 dback. The chorus stomps\, “It’s okay. I got it. I’m breaking out 
 the coffin.” \n\n“It’s mournful and reflective\,” says Jake. “
 You’re looking back on a relationship and wondering how much of it was y
 our fault versus the other person’s fault. What could you have done bett
 er? It reaches a point where you can say\, ‘Fuck it. I’m going to get
  through this\, learn from it\, and move forward’.” \n\n“We were st
 uck at the moment\,” recalls Aidan. “When Chris began writing and J
 ake helped with the lyrics\, we started jamming as a band. We found the pe
 rfect way to elevate the chorus\; it was almost like living the song in t
 he moment.” \n\nThe upbeat “Love To Go” rushes forward on a punky 
 groove punctuated by a head-nodding bassline and palm-muted crunch. “It
 ’s an outlier\, since it’s a bit older\,” reveals Jake. “We’ve p
 layed it at almost every show since we became band. It felt like the rig
 ht time to record it properly and release it.” \n\nThen\, there’s “
 I Can Be Your Dog.” They master the classic “loud-soft” dynamic w
 ith a chantable Parental Advisory sticker-worthy chorus\, “Fuck you…i
 f you want me to\, I can be your dog.” \n\n“We were going to cowriti
 ng sessions for the first time and told to write ‘a pop song’\,” si
 ghs Jake. “We wrote ‘I Can Be Your Dog’ as a sarcastic pop song. W
 e’ll lay down and roll over\, but we’ll be spiteful about it.” \n\n
 Fittingly\, the band settled on the title Ode to the Greyhouse in hom
 age to the house in Nashville where Jake and Chris live and most of the al
 bum gestated. \n\n“It addresses our band and friends\,” Chris states.
  “It’s a memoir of what we had been doing for the past year. We real
 ized it fit with the method of how we actually created music. We were in t
 his house and using the sounds of the house. Everything came from there. I
 t’s our tribute to the house.” \n\nIn the end\, the album is Edgehil
 l at their most raw and real. \n\n“We want our music to give you an emo
 tional release\,” Aidan leaves off. “We hope you relate to what we’r
 e doing.” \n\n“If you listen to this\, maybe you’ll feel heard and 
 understood\,” Chris concludes. “We try to break the fourth wall by b
 eing so open that it empowers people to be open as well.”\n\nBoletos: ht
 tps://dice.fm/event/2w6nrp-edgehill-the-moving-out-tour-18th-oct-soda-bar-
 san-diego-tickets
URL;VALUE=URI:https://360exp.net/events/c9dda231-b3b7-4a1c-93bb-0870e48c0bf
 7
STATUS:CONFIRMED
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