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Matt Andersen & the Bona Fide

LeE HARVeY OsMOND

at The Cooperage
7220 Lomas Blvd NE
Albuquerque NM 87110
View Website   |   Other Events at The Cooperage

Time: 7:30pm     Day: Monday     Doors: 6:00pm     Ages: 21+ without parent or guardian    
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Tickets are $15 in advance, $20 day of show (including all service charges). They are also available through Hold My Ticket (112 2nd St SW), 505-886-1251, Monday to Friday 9 AM - 6 PM, Sat & Sun 11 AM - 6 PM.

Tune in to The Blues Show on KUNM on Wednesday, May 4 for a preview of Matt's music and a short phone interview with DJ Putnay.  The show starts at 7 PM MT.

With over 5 million views on YouTube, independent sales of over 30,000 albums, a 2013 European Blues Award, and winning Best Solo Performer at the Memphis Blues Challenge, it appears that the entire world is now discovering Matt Andersen. A powerhouse performer with a giant soul-­filled voice and commanding stage presence, Matt has built a formidable following the old-fashioned way—touring worldwide and letting the converted audiences and Andersen devotees spread his reputation through word of mouth.

In addition to headlining major festivals, clubs and theaters throughout North America, Europe and Australia, he has shared the stage and toured with Bo Diddley, Buddy Guy, Greg Allman, Tedeschi Trucks Band, Randy Bachman, Little Feat, Jonny Lang, Serena Ryder, and more. Andersen has won the 2013 Euro Blues Award for Best Solo/Acoustic Act, three Maple Blues Awards in 2012, and nabbed him 2010 International Blues Challenge in Memphis. Since the release of W​eightless ​in early 2014, Andersen has received a JUNO nomination for Roots & Traditional Album of the Year, a CIMA Road Gold award, and a Maple Blues Award for Male Vocalist of the Year.

H​onest Man follows up Weightless and sees the songwriter pushing himself into new territory. Andersen found a perfect partner in crime with producer Commissioner Gordon. "Gordon has worked with so many different people, like Santana and Quincy Jones, on so many historic albums," says Andersen. "He has such a great approach and was able to tie ­in so many new ideas to what I've done in the past without losing touch with my sound."

The ten songs that make up H​onest Man ​explore both the political and the personal. The title track, co-­written with Chris Kirby, was inspired by a US political cartoon while "Let's Get Back," co-­penned with Andy Stochansky, has Andersen thinking about how his country as a nation has changed, but not for the better. "Who Are You Listening To?" was hatched with Ryan Hupman during a pre­-election social media flood and emerges as rally call for people to make up their own minds and not be swung by the "information" we're being fed.

On "All The Way," written with Gordie Sampson, Andersen takes a more personal approach as he sings about the decision to fully commit to a relationship, while on the alluring piano ballad "I'm Giving In," composed with Andy Stochansky and Jamie Hartman, he muses about the moments leading up to that commitment.

The career of LeE HARVeY OsMOND, a.k.a. Tom Wilson, the progenitor of "Acid Folk," spans over three decades, including stints with Junkhouse and Blackie and the Rodeo Kings. LHO's voice—forever the hallmark of his sound—is like a warm hand to the forehead, an arm on the arm of the stricken, a comforting growl at the heart of a screaming world. At once evoking Howlin' Wolf, Mike Scott and Roy Loney, LHO's third album, Beautiful Scars, bends and twists and stretches and squeezes his deep baritone, the producer treating it as if caged in a transistor radio, bathed in echo from above, or sunk in the muck of distortion. LHO's previous two albums, A Quiet Evil and The Folk Sinner, were previously long-listed for the Polaris Prize and nominated for a Juno. "The bass-lines that rattle your spine, the guitar reverb that echoes in your head and sultry horns that glide on through you—these are all as irresistible as a sinful dessert. And when you add Wilson's sonorous baritone, well then you're talking the stuff of bluesy roots rock heaven. Wilson sings of broken dreams, regret and lost loves in a place that has no set location in time. It is a world beneath this one or separate from it, like a Twilight Zone episode or a David Lynch movie." (Ride the Tempo)


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