PETAL / CAMP COPE

PETAL / CAMP COPE

Sidney Gish

Thursday 7/5

7:00 pm

$15.00

Sold Out

This event is all ages

Orders place for the sole purpose of resale will be cancelled. Orders exceeding the 6 ticket limit subject to cancellation.

 

PETAL
PETAL
Despite our best efforts, there are some things we just can’t outrun. Everything catches up to us in the end, no matter what we do to hide from it. It’s a reality that Petal’s Kiley Lotz examines on Magic Gone, the band’s latest full-length album on Run For Cover.

Recorded over the course of a month at Studio 4 in Conshohocken, PA, Magic Gone is a bitingly honest look at adulthood, accountability, responsibility, mental health and the difficulties that go along with each of them. “I was a closeted queer person struggling with chronic mental health disorders,” says Lotz of the three year period that inspired the album. “There comes a moment where all the paranoia, anxiety and pain become too much and you realize the structure you built to survive is no longer is going to serve you. I had to make some very big life changes to make sure I didn’t die. It was not easy taking that level of control over my life after spending many years worrying about upsetting others and being the best and most successful person I could be.”

That’s not to say that the last few years have only been negative for Lotz - there were a lot of great moments, too. She moved from New York City to Philadelphia, changed her focus from acting and theatre to music, toured with Julien Baker, Slingshot Dakota, and Kevin Devine, and chose to come out and live openly as queer, which she looks back on as one of the most beneficial decisions she’s ever made.

Still, the highs of her rapidly changing life weren’t able to outweigh the lows, and in early 2017, Lotz found herself hitting a breaking point. Her mental health was rapidly declining, and after a relapse of suicidality, she made the difficult decision to prioritize her health above all else and move back to her hometown to enter intensive treatment for her major depressive and panic disorders.

It was that duality - the valley between the positives and negatives of life that she’d experienced - that inspired Magic Gone and its two halves. Side A, titled Tightrope Walker, features songs Lotz wrote before entering treatment, while Side B, Miracle Clinger, is comprised of songs she wrote in recovery.

The culmination of it all is an album that showcases Lotz’ prowess as both a vocalist and a songwriter, drawing equal influence from ‘70s powerhouses like Queen and Nina Simone as it does modern vocalists like Solange, Margaret Glaspy and Mitski. Producer Will Yip distills Lotz down to her purest form, lending an unprecedented rawness to her sound. Themes of duality even make their way into the album’s instrumentation, specifically in Lotz’ decision to include church organ on it; playing organ was a huge part of her life growing up, and to this day the sound of it inspires both comfort and fear in her.
CAMP COPE
CAMP COPE
Camp Cope have become somewhat of a force in music since forming in a Melbourne backyard over home job tattoos a few years ago.

Shortly after the release of their acclaimed self-titled debut album, Camp Cope launched the It Takes One campaign to say enough is enough: no more sexual and physical assault at shows. The widely-covered campaign continues to drive conversation around safe spaces at live music events, including the implementation of an ongoing safe spaces Hotline initiative at Laneway Festival in Australia.

They’re a band whose work far extends that which happens on stage, or in the recording studio. They use their resilience and strength to fight for the betterment for the music industry and related communities, and have proven that they aren’t afraid to put their heads on the chopping block to do so.

They share this experience on their acclaimed sophomore album How to Socialise & Make Friends (2018). It features the standout opener ‘The Opener’, a rally cry which called the music industry to task on its sexist and inequitable structures, and ‘The Face of God’, a harrowing account of sexual assault at the hands of someone whose art you admire, a song that “proved to be the most fearless and powerful thing the Melbourne trio could possibly do” (Noisey).

And you can feel it, too. The energy at a Camp Cope show is rare. Not just because they write good songs that have the audience on their feet. They’re a band that takes action – they say no, they stand their ground, they take up space, and the audience can feel the power from those words. They unite in a space that is truly equal as they scream back every word, arms in the air, veins pulsating. You can feel it in the air. It doesn’t just feel a show – it feels like an uprising.
Sidney Gish
Sidney Gish
"What stands out to me ... is her songwriting ability, particularly the way she imbues her innately infectious melodies with an actor’s ear for emotional inflection." --Stereogum

"Despite her habit of describing herself as unsure or erratic on No Dogs Allowed, Gish is remarkably consistent in capturing what it’s like to enter your twenties without a clear sense of whether you’re living life correctly, or what living life correctly even means." --Pitchfork

"In No Dogs Allowed, Gish showcases everything great about her previous releases—her trademark witty lyricism, criminally catchy choruses, and the layers and layers of melodies tailored to perfection—while introducing an even fuller and fine-tuned sonic energy." --Boston Hassle
Venue Information:
Rickshaw Stop
155 Fell St
San Francisco, CA, 94102
http://rickshawstop.com