BEGIN:VCALENDAR VERSION:2.0 PRODID:-//360exp//Events//ES METHOD:PUBLISH BEGIN:VTIMEZONE TZID:Europe/London TZURL:http://tzurl.org/zoneinfo-outlook/Europe/London X-LIC-LOCATION:Europe/London BEGIN:DAYLIGHT TZOFFSETFROM:+0000 TZOFFSETTO:+0100 TZNAME:BST DTSTART:19700329T010000 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=-1SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0100 TZOFFSETTO:+0000 TZNAME:GMT DTSTART:19701025T020000 RRULE:FREQ=YEARLY;BYMONTH=10;BYDAY=-1SU END:STANDARD END:VTIMEZONE TIMEZONE-ID:Europe/London X-WR-TIMEZONE:Europe/London BEGIN:VEVENT UID:d872327b-f7fd-4395-a943-f4328ef9d0e6@360exp.net SEQUENCE:0 DTSTAMP:20260815T053808 DTSTART;TZID=Europe/London:20261112T193000 DTEND;TZID=Europe/London:20261112T193000 SUMMARY:Widowspeak LOCATION:Leeds Brudenell Social Club DESCRIPTION:- An album called “Roses” would be concerned with romantic gestures. Across the ten tracks that make up the seventh and newest Widow speak record\, intimate spaces and stages of love are captured with a nost algic\, vaseline-coated lens. Candles burn inside red glass as lovers get close in a leather booth. Celebrity headshots gaze down like angels in a r estaurant. Elsewhere\, carnations are pressed in a black book and dancers pull each other close. Widowspeak is a band that riffs on big emotions wit hout being too self-serious. The sweetness\, even silliness\, of an extend ed limerent phase that becomes as all-consuming as a pulpy trade paperback . Cars and their drivers serve as a way to talk about codependency. And ol d love gets worn in\, soft as an old t-shirt. If music can simultaneously be naturalistic and noir\, saturated and lush\, that is Widowspeak. They ’re a band that knows how to set a scene.These songs use intimate moment s to talk about deeper heartaches: the restlessness inherent in modern exi stence\, waiting around for something to happen. Or\, feeling at odds with playing a role in your own life. “Roses” might be the most romantic W idowspeak record\, but it’s also the most deeply realist: the stage is s et not with dramatic overtures but the backdrop of the minutiae and repeti tion of daily acts. Small observations before\, during\, and after work: t he ritual of pouring water for customers\, catching a cold on your day off . Daydreaming about winning the lottery\, or maybe realizing you already w on. Here\, love is a way to talk about what drives us\, and Widowspeak sug gest it can be the whole point. The light that illuminates the dark corner s of a day\, a life. A reason to keep going despite the pain it can cause. As the title track goes: Not all thorns will prick you\, you still feel t he first. And now you don’t grow roses because the one still hurts… I want to be the one.Widowspeak are one of the most prolific and hardworking bands going\, bubbling just under the surface. Molly Hamilton and Robert Earl Thomas are the core of the group and its songwriters\, and they have honed their sound across sixteen years and an impressively consistent cata log. A lot has happened in that time: for them\, for everyone. One of many bands to crop up in a fertile New York City music scene\, they started ou t shuffling gear between venues now-since shuttered (Glasslands\, Cake Sho p\, 285 Kent\, Death By Audio to name a few) and their practice space in M onster Island Basement (now a Trader Joe’s). The highs and lows of a lon g career mean chaotic stints as road dogs traipsing across North America\, fly-in gigs to São Paulo or Guadalajara\, wrapping seven-week European t ours… And then down-time of years in between\, considering the power of slowly building a body of work. Widowspeak is now a married couple\, worki ng day jobs in their own off-season. Robert is a carpenter\, Molly a waitr ess.Maybe time has given Widowspeak the ability to grow slowly\; “Roses ” is unpruned and more beautiful for it\; left a little wild as it stret ches its new growth in all directions. From the opening chords of “The H ook” you can hear how far they’ve come: the road is open\, the sky cle ars. The band feels at ease\, and taking their time. They recorded the alb um last January at the Old Carpet Factory on the Greek island Hydra: a stu dio in an old house tucked into the village’s steep hills. It’s quiet there in winter\, when the tourists have all gone home. Longtime touring m embers Willy Muse\, John Andrews\, and Noah Bond serve here as the players . “Roses” was then taken home and slowly\, lightly tinkered with\, bef ore being deftly mixed by Alex Farrar at Drop of Sun Studios\, and mastere d by Greg Obis at Chicago Mastering.“Roses” is Widowspeak at its best\ , drawing on forever influences. There’s dream and power pop\, a little Stones\, maybe some Petty\, open and languid ballads with the twang of a L ynchian roadhouse band… Perhaps you hear REM\, Yo La Tengo or Cat Power. A little Neil Young in Hamilton’s references to working at the diner. T he magic of the band is\, still and always\, the interplay between Molly a nd Robert in their two leading roles: her languid\, textured voice and his visceral guitar playing. And as producer\, Robert captures the ephemeral magic of a band finding a song in the studio: something that still bears t races of the directness of Molly’s voice memos and the dense guitar tape stries of the demos. The rough-hewn marks of the tools are still evident\, the noise kept in.“Can’t hold too tight or I’ll have nothing\, Like a candy melts in your hand.” As the album closer “Hourglass” contem plates the fleeting nature of something\, anything\, it illustrates what i s most true about Widowspeak. At the heart of it\, their music is special because it is real: most of all for the people making it. Fragile and temp orary\, and worthwhile… like love itself.\n\nBoletos: https://wegotticke ts.com/event/699648 URL;VALUE=URI:https://360exp.net/events/d872327b-f7fd-4395-a943-f4328ef9d0 e6 END:VEVENT END:VCALENDAR