Myer U Clark
With support from Adeline Hotel + Cameron Knowler

£5 Adv
7pm doors

Myer U Clark:
“I feel at home when I hear disorientation in a song. It feels natural. Even a bit moving,” says Myer U Clark. It’ll come as no surprise to those who’ve had the joy of hearing the Bristol singer-songwriter’s new album Tinderbox. It’s a record of elegant and sophisticated off-kilter folk pop that constantly undercuts itself, nimble guitar leading the listener down melodic paths that appear inviting, but soon start winding their way in curious unexpected directions as it takes them deeper, buffeted by banjo, viola, cabasas, oboe, double bass and harmonium. It’s the kind of strange music Clark’s loved since encountering John Williams’ E.T. soundtrack as a child. “The chords are crazy,” he says. “I was obsessed with the big changes you never would have expected. I think I’m trying to do that too.”

Adeline Hotel:
In the tender, surrealist world that Dan Knishkowy has developed under the name Adeline Hotel, stories have been told through sprawling psych-rock epics, stark solo guitar performances, piano-led orchestral song cycles, and lush, jazzy compositions that felt like a genre unto themselves. Inspired by indie lifers and fellow world-builders like Jim O’Rourke and Phil Elverum, the Ruination Records co-founder has rewritten the rule book with each new project, inviting listeners to join as he discovers new channels for his singular voice. By now the sound of Adeline Hotel is equally identifiable through Knishkowy’s dextrous fingerpicking—the aural equivalent of tracing your fingers through cool sand at sunrise—as his low, whispered vocals and autumnal melodies.

Cameron Knowler:
On the dusty streets of Yuma, Arizona, under a brilliantly ubiquitous sun, Cameron Knowler spent his childhood picking guitar and racing motorcycles at the foothills of the Gila Mountains.  It was from this setting - a desert town gilded in silence, home to 90% of North America’s lettuce production and a high school that once functioned as a territorial prison - that Knowler developed his place-based philosophy of documentation.  An acclaimed educator, multi-instrumentalist, and recording artist, Knowler specializes in the art of the conceptual record, putting forth instrumental works that Folk Radio UK has referred to as “Western sound-painting.”  His craft follows in the theoretical footsteps of instrumentalist and songwriter Norman Blake and expands upon that territorial folk convention: Knowler brandishes a post-modern perspective on American traditional music that nods to both his formal theory training and his roots in the American West.