Dawes On Tour –

dawes_pic
Biography

Hailing from Los Angeles, California, US, Dawes are a four-piece folk-rock band, creating a sound reminiscent of 1960s ‘Laurel Canyon,’ of Neil Young, Joni Mitchell and Crosby, Stills & Nash through their dynamic vocal harmonies and well-crafted acoustic songs.

Starting life in 2009, Dawes were formed out of the remnants of the band, Simon Dawes, after main songwriter Blake Mills left the group. The remaining members continued, shortening their name to Dawes. Featuring brothers Taylor Goldsmith (lead vocals/guitar) and Griffin Goldsmith (drums), Tay Strathairn (guitar) and Wylie Gelber (bass), the band recorded their debut album, “North Hills,” with producer Jonathan Wilson. The album received positive critical acclaim, praised for its roots-rock and classic sound. They recorded the album using analog tape, helping to give a vintage authenticity to the record, which also featured contributions from Wilco multi-instrumentalist Pat Sansone.

Their second record was released in 2011, titled “Nothing Is Wrong,” which broke into the mainstream charts, peaking at number 23 on the Billboard album chart. Following the release, the band toured alongside Blitzen Trapper on a large-scale US tour. Dawes also performed at the Occupy Wall Street event in Liberty Park, New York, US, helping to support the cause through a set in collaboration with Jackson Browne.

Their third release, “Stories Don’t End,” appeared in April 2013, preceded by the two singles, “From a Window Seat” and “Just Beneath the Surface.” The album again was positively received and faired well in the Billboard charts, reaching number 36, as well as number five in the US Folk Albums chart. Their third album signalled a change in their sound after moving to producer Jacquire King, releasing the album on Red General Catalog rather than ATO Records, which was the home for Dawes’ first two albums.

Dawes – Stories Don’t End – In The Studio – The Recording Process

 

 

Tour Dates

Saturday, April 18th 2015 Portland, OR | US

Friday, June 5th 2015 Seaside Heights, NJ | US

Saturday, June 6th 2015 Seaside Heights, NJ | US

Sunday, June 7th 2015 Charleston, WV | US

Wednesday, June 10th 2015 Chicago, IL | US

NEW SHOW: PORTLAND, OR | APRIL 18

Dawes will play a free Record Store Day in-store performance at Music Millennium in Portland, OR at 6pm on April 18.

More tour dates to be added

Listen to “Liberty Street”, unreleased Bob Dylan song performed by Dawes’ Taylor Goldsmith

Pictured: Elvis Costello, Jim James,T Bone Burnett, Jay Bellerose, Rhiannon Giddens, Marcus Mumford, Taylor Goldsmith. Photo Credit: Sam Jones/Showtime © 2014 Showtime Networks Inc

Pictured: Elvis Costello, Jim James,T Bone Burnett, Jay Bellerose, Rhiannon Giddens, Marcus Mumford, Taylor Goldsmith.
Photo Credit: Sam Jones/Showtime
© 2014 Showtime Networks Inc

 

As previously reported, an all-star contingency of folk rockers recently convened to create music for two dozen newly discovered lyrics written by Bob Dylan. Entitled Lost On The River: The New Basement Tapes, the 15-track collection is the culmination of two-plus weeks of studio time by My Morning Jacket’s Jim James, Mumford and Sons’ Marcus Mumford, Elvis Costello, Dawes’ Taylor Goldsmith, Carolina Chocolate Drops’ Rhiannon Giddens, and super producer T-Bone Burnett. The lyrics in question date back to 1967, taken from the same period that spurred the recording of Dylan’s iconic Basement Tapes.

In anticipation of the album’s release, the collective has already shared several album tracks: the Jim James-fronted “Nothing To It”, the Elvis Costello-led “Married To My Hack”, the Marcus Mumford-helmed “When I get My Hands On You”, and “Spanish Mary”. Today, Goldsmiths takes over as frontman on “Liberty Street”.

Despite the sheer star power of the project, this song is perhaps the most quaint and minimalist of the entire project, with Goldsmith crooning over some gentle piano and the faint whispers of a back-up chorus. Still, that light touch perfectly fits the song’s overall scope, with undertones of religious exploration and a message of personal growth/freedom. Watch its accompanying lyric video below, a slightly abstract animated piece.

 

The New Basement Tapes – Liberty Street (Lyric Video

 

 

Lost On The River: The New Basement Tapes will arrive November 11th via Electromagnetic Recordings / Harvest Records. The album is being accompanied by a Showtime documentary set to debut on November 21st.  According to a press release, director Sam Jones’ Lost Songs: The Basement Tapes Continued presents an “exclusive and intimate look at the making of Lost On The River: The New Basement Tapes set against the important and historical cultural backdrop of Bob Dylan’s original Basement Tapes.”

Meanwhile, Dylan himself will release the entire collection of The Basement Tapes on November 4th. The Basement Tapes Complete: The Bootleg Series Vol. 11 spans a whopping 138 songs, including 30 never known to have existed. Stream it in full here.

Lost On The River: The New Basement Tapes Tracklist:
01. Down On The Bottom
02. Married To My Hack
03. Kansas City
04. Spanish Mary
05. Liberty Street
06. Nothing To It
07. Golden Tom – Silver Judas *
08. When I Get My Hands On You
09. Duncan and Jimmy
10. Florida Key
11. Hidee Hidee Ho #11
12. Lost On The River #12
13. Stranger
14. Card Shark
15. Quick Like A Flash *
16. Hidee Hidee Ho #16 *
17. Diamond Ring *
18. The Whistle Is Blowing *
19. Six Months In Kansas City (Liberty Street)
20. Lost On The River #20

* = Deluxe edition only

DAWES ANNOUNCE TOUR DATES

Dawes

Dawes

DAWES TOUR WITH CONOR OBERST

Headed out on tour with the great Conor Oberst this May and June. We’re gonna be opening and backing him up as well. For all info, click HERE

May 8, 2014 – Haw River Ballroom – Saxapahaw, NC
May 9, 2014 – The Orange Peel – Asheville, NC
May 11, 2014 – Charleston Music Hall – Charleston, SC
May 13, 2014 – Ponte Vedra Concert Hall – Ponte Vedra Beach, FL
May 14, 2014 – The Beacham – Orlando, FL
May 17, 2014 – Track 29 – Chattanooga, TN
May 22, 2014 – The Space at Westbury – Westbury, NY
May 23, 2014 – 9:30 Club – Washington, DC
May 24, 2014 – 9:30 Club – Washington, DC
May 25, 2014 – Carnegie Library Music Hall of Homestead – Munhall, PA
May 27, 2014 – Taft Theatre – Cincinnati, OH
May 29, 2014 – Metro – Chicago, IL
May 30, 2014 – Metro – Chicago, IL
May 31, 2014 – Pabst Theater – Milwaukee, WI
June 1, 2014 – First Avenue – Minneapolis, MN
June 2, 2014 – First Avenue – Minneapolis, MN
June 4, 2014 – Sokol Auditorium – Omaha, NE
June 5, 2014 – The Blue Note – Columbia, MO
June 6, 2014 – Ryman Auditorium – Nashville, TN
June 7, 2014 – Buster’s – Lexington, KY
July 29, 2014 – SummerStage, Central Park – New York, NY

Dawes Brings Laurel Canyon Vibe to the Wiltern with Laid-Back Homecoming Gig: Concert Review

Dawes

Dawes

The Bottom Line
L.A.’s favored sons deliver a show that straddles the line between indie acoustics and amphitheater-ready anthems.

“I think that love is so much easier than you realize,” sings Taylor Goldsmith in the climactic moment of “A Little Bit of Everything,” a signature song for the band Dawes, ’“If you can give yourself to someone, then you should.” Maybe that boldly romantic advice goes for love of music, too, and if there’s any band worth giving yourself to at the moment, it’s Dawes, whose homecoming show at the Wiltern Friday night gave Angelenos a chance to renew vows with the city’s most crush-worthy current export.

The tag “Americana-folk” still sticks to Dawes like a Minnie Pearl price tag, and they certainly did enough to deserve it on their first two albums, which mesmerized unwitting indie-rock fans with classic virtues that were invariably described as “CSNY-like” because, well, that’s the only band that ever had vocal harmonies, right? Dawes’ acoustic leanings made for a halfway novel calling card on the L.A. scene — presaging a “back to Laurel Canyon” movement that may have been reality or hype — but those initial recordings wore their demo-ey gentleness like a badge that was meant to deflect against any charges of commercial ambition. But with their third album, this year’s Stories Don’t End, they’ve grown into their skin as an unabashedly electric, ready-for-the majors band, ready to trade Laurel Canyon for Red Rocks, if there’s even still a market for superior mainstream rock anymore.

Is there? Hard to tell from the evidence, as Dawes struggles to fill small clubs in some markets, while being hailed as conquering heroes in others, like Nashville, where they recently sold out the Ryman Auditorium well in advance. The Wiltern was a few rows shy of a sellout but still marked the largest hometown show to date for a group that, even locally, doesn’t have an obvious niche to fit into. (Tellingly, the show was sponsored not by too-cool-for-school KCRW but the upstart KCSN, a station that sort of sells neo-mainstream as the new indie.) If you squinted really hard, they were actually playing the Fabulous Forum. And forget the ‘70s, the era Dawes is most frequently — and maybe fairly — tied to. If this were a time when, say, Gin Blossoms still walked the earth, songs like “From the Right Angle,” “Most People,” and the studio version of “Hey Lover” would be huge.

But frontman Goldsmith’s singer/songwriter sensibilities are less Gin Blossoms than Jimmy Webb, with alternating currents of poetic opacity and pure, unbridled emotion that have been the twin hallmark of many a classicist rocker before him. On Dawes’ early records, Goldsmith sounded so smoothed out and unruffled that he bordered on coming off twee, but the latest album’s production lets him sound less bridled. And in person, any milquetoast qualities that you might have taken from the old albums’ meekness disappear. “If I Wanted Something,” which sounded like a folky trifle on 2011’s Nothing is Wrong, comes off as a hard-edged rock classic in the flesh now, with Goldsmith singing “If I wanted someone to clean me up, I’d find myself a maid” like somebody who’s listened to Blood on the Tracks and delivering stinging guitar solos like someone who’s spent a lot of recent time in the company of Crazy Horse.

There is a Bonnaroo-friendly aspect to Dawes, as they stretch out the albums’ fairly compact gems and let Goldsmith prove a capability for soloing you could only guess at from the recordings, even bounding around a bit — though he hardly otherwise looks the guitar hero, with his Everyman look and sleeves-rolled-up-for-work dress shirt.

Any jam-band tendencies may have been accentuated a bit Friday by the set-long presence of a guest second guitarist, Blake Mills, who was a co-founding member when the band was formerly known as Simon Dawes back in the mid-2000s. Mills has gone on to stints like being Fiona Apple’s very featured guest on her most recent tour (and has a solo project due in the spring), and he’s just notorious enough that his return to the Dawes fold was a little like Jay Farrar sitting in for an entire Wilco show. If you’ve seen any of Dawes’ other recent shows, you’d have to say that Mills’ presence slowed the set’s momentum, as the handful of contributions the band had him sing tended to be of a slower, rootsier, and less immediately compelling bent. But it did offer a fascinating look at what Dawes might be today if they’d carried on with two frontmen instead of one. Although the sharing led to some dilution of energy, there were surely benefits to having two capable but stylistically distinct lead guitarists trading riifs, as the encore’s lovely closing interplay indicated.

In the end, you don’t really want Goldsmith trading his way out of the spotlight for long. He’s gotten better at bringing out his acerbic side in once-sweet post-breakup ballads like “Coming Back to a Man,” but the singer also has a greater idealism that makes the audience sing-along section of the anthem “When My Time Comes” feel honestly earned. Smart enough to be a cynic but soulful enough to reach for something higher and more elusive — that’s tough to find these days, so no wonder the band is a favorite of Jackson Browne (who was in the house) and gets called out to open for Dylan. The on-point musicianship of the rest of the crew, including drummer/harmony vocalist/MVP/brother Griffin Goldsmith, seals the deal.

When Goldsmith sings “I think there are a few of us that still belong out on the road,” it’s not meant to be as much of a meta boast as it sounds, coming in the context of a song (“From the Right Angle”) that’s about valuing touring as an escape from relationships. But to the extent that the audience does cheer like it’s intended that way, it’s a deserved brag. When Dawes are out on the road, they’re about the best musical advertisement their hometown currently has for “Time Spent in Los Angeles.”

Set List:

Most People
If I Wanted Someone
Someone Will
Unworthy (Blake Mills song)
Fire Away
Just Beneath the Surface
Something in Common
Hey Lover (Mills)
Don’t Tell Your Friends About Me (Mills)
When My Time Comes
Coming Back to a Man
Curable Disease (Mills)
3 Weeks in Havana (Mills)
From a Window Seat
Bear Witness
It’ll All Work Out (Mills)
A Little Bit of Everything
From the Right Angle

Encore:

Time Spent in Los Angeles
Peace in the Valley

Dawes Live @ Crystal Ballroom, Portland Oregon

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Dawes has spent a good deal of time with rock royalty during its short lifespan. They backed up Robbie Robertson of the Band, as well as opened up for Bob Dylan on his spring tour, earning them a bigger following and perhaps even more confidence as performers. Now, Dawes is headlining their own shows at larger venues in support of their third studio album, Stories Don’t End. Comprised of brothers Taylor (vocals, guitar) and Griffin Goldsmith (drums) as well as Wylie Gelber (bass) and Tay Strathairn (Keyboards), Dawes co-headlined a show with Dr. Dog at Portland’s Crystal Ballroom. Heavily influenced by ’70s rock such as Crosby Stills Nash, the Band, Creedence Clearwater Revival and Jackson Browne, Dawes brought their free and easy music to a small, but appreciative crowd.

After Dr Dog’s set, a significant amount of the crowd left, never to return. That was expected considering it was a Sunday evening and Dawes didn’t go on until 10:45. However the band remained unfazed and energetic. They came on and dove right into the catchy chord progression of “Most People.” Taylor with messy hair and a tight white button-up shirt, confidently and passionately belted out his vocals.

All of the instruments sounded tight, despite the muffled acoustics of the Crystal Ballroom. The hour and 15 minute set was mostly filled with songs from their new album, peppered by a few older ones. Taylor showed off his guitar chops on solos during “Most People” and “From a Window Seat”, shredding on his white Telecaster as he hopped across the stage. Taylor didn’t speak very much to the audience, besides, “What’s up Portland? We’re Dawes.” All four members made facial expressions that even Bruce Springsteen would be proud of, grimacing through each song.

Even though the crowd was small, the group that stuck around were very engaged. From the start of the show, the majority of the audience sang along . “From a Window Seat” and “Time Spent in Los Angeles” definitely got the biggest reaction from fans including three guys in their mid-twenties who stood together, arms around each other as they enthusiastically jumped around and sang along.

The energy that Dawes brought to the stage makes them a band I definitely would recommend seeing live. As each new album comes out, the songs become more mature. It will be interesting to see them continue to progress as a band and as showmen.

You must watch these guys live!

  • Venue:
    Crystal Ballroom
  • City/State:
    Portland, OR
  • Date:
    04/28/13