Vaccine Proof or Negative Test Required
Riley Downing, Willy Tea Taylor
Doors: 7:00PM | Show: 8:00PM
With Kassi Valazza
You may know Riley Downing from his work with acclaimed New Orleans combo the Deslondes, or perhaps from his similarly rootsy and wide-ranging catalog of songs with the Tumbleweeds – indeed, the Missouri-based singer-songwriter’s ability to set gripping, evocative narratives within soundscapes that weave together country, blues, folk, r&b, bluegrass, rock, soul and whatever else catches his ear is something that, once you hear it, is hard to shake free from. Same goes for that voice – deep, dusty and drawling, it’s an instrument that can stop you in your tracks with its character and expressiveness, as well as through Downing’s knack for laying out complex emotions in plainspoken, direct language.
For Downing, it all stems from an organic and intuitive approach to songwriting and playing. “I just try to write and sing about life as I live it,” he says simply. All those little bits of life are on full display on Start It Over, his first-ever solo album. From the protagonist in the opening country-soul jam “I’m Not Ready” (“Everybody’s rushin’ / I’m movin’ at my own speed”), to the crate digger in the breezy “Start It Over” who seems as enamored of his old records as he is with his girl (“She was a 45 woman and I’m a 45 man”) to the overworked nine-to-five-er caught in a cycle of long days at work, late nights at home, followed by hungover mornings (“Long line of trouble / Troubles old and new / Once I was happy / But those days are through”) in the psych-folk lament “Crazy,” the 12 tracks collected on Start It Over unravel in a way that feels instantly relatable, as if Downing could be talking about you, me, or any one of us and doing it with the ease and empathy of a man who’s clearly been there, done that, and lived to play another day. Following his last record with the Deslondes, Downing returned home to Missouri, helping out his brother with his plumbing business, embarking on some short solo runs and otherwise playing “mostly for old friends and old dogs and whatever other critters were within earshot,” he says. At some point, Downing and his Deslondes band mate, John James Tourville decided it might be fun to collaborate and release a 45 rpm single. And so Downing and John James (that’s JJ to you) began a long-distance collaboration, adding longtime Deslondes producer Andrija Tokic (that’s Dre to you) into the musical chain as well.
The three hashed out songwriting, arrangement and production ideas by passing demos back and forth from their respective homes – Downing in Missouri, JJ in North Carolina and Dre in Nashville – during the months of lockdown. As far as approach, everything was on the table. Downing recalls one of his demos being met with the suggestion that it needed a “Lou Reed/Fats Domino sound.” He laughs. “I couldn’t even imagine what that sounded like, but I had fun trying my best to imagine it.” By the time the three met up, at Dre’s Bomb Shelter Studios in Nashville, everyone had been quarantined at home for two months, with nary a gig or jam session to be had. What they did have, however, was songs. And also, courtesy of Dre, a crack team of musicians. Who was along for the ride? Meg Coleman (Yola) and Jimmy Lester (Los Straightjackets, Blaze Foley) on drums, Dennis Crouch (Johnny Cash, Dolly Parton, co-founder of The Time Jumpers with Vince Gill) on upright bass, Jack Lawrence (The Raconteurs) on electric bass, Jeff Taylor (George Strait, Elvis Costello, The Time Jumpers) on keys, Peter Keys (P-Funk, Lynyrd Skynyrd) on Mellotron, Billy Contreras (George Jones) on strings, Derry DeBorja (John Prine, Jason Isbell and the 400 Unit) on Farfisa, and a host of backup singers, including Kyshona Armstrong, Maureen Murphy, Nickie Conley, Eric Brown and Vaughn Walters. “The musicians that Dre picked out were just phenomenal,” Downing says. “They have endless amazing credits, they've all done great things and they were 110% in it.” So much so, he continues that “some of these songs on the record were first takes. And if they weren’t, then it was maybe take two or three.” That first batch of tunes – five recorded in three days – included “I’m Not Ready” and “Start It Over,” as well as the strutting “Deep Breath,” the road-dog anthem “Never Coming Home,” and “Hey! Mister.” From there, the floodgates opened.
The trio continued to work together closely (but once again, from afar – there was a pandemic going on, after all) staying in constant communication to craft the next set of tunes, with Downing handling the writing and JJ and Dre working unwaveringly to bring his songs to life within vibrant and unique soundscapes. Over the summer, an impromptu road trip between JJ and Dre to transport a Hammond organ and speaker cabinet from Denver to the Bomb Shelter allowed the two to spend some additional time together doing pre-production, and they even made a quick stop in Missouri on the way back to Nashville for a quick check-in with Downing. A month later, the three reconvened at the Bomb Shelter – this time for a relatively extravagant six days – to lay down the seven remaining songs. “I’ve known and worked with both of these guys for more than 10 years and have also lived with each at one point or another,” Downing explains of his connection with JJ and Dre. “We're all old friends, so it was easy to get along and keep moving forward.”
Once again, the trio, along with the stellar backing musicians, captured inspiration in the moment, with JJ and Dre embellishing the tracks with all manner of instrumentation, from pedal steel, mandolin and fiddle to Mellotron, Farfisa and even guzheng (that’s traditional Chinese zither to you). The end result reflects the mingling of past and present, traditional and unusual, that has long characterized Downing’s musical makeup. “I might be old-fashioned, but I'm not old-timey enough to not live in the modern world,” he says. Regarding his influences, Downing continues, “It’s a little bit of everything – I could probably make a long list and it'd be all over the place. I grew up going to country shows with my grandparents, but I was also angsty and played punk rock in high school. And then at the same time, I was getting into old folk and blues and stuff like that. So I never think in terms of a song having to be in ‘this’ genre or ‘that’ genre – I’m open to doing anything. I just enjoy writing and playing music.”
That joy comes through loud and clear on Start It Over, which, even in its most serious and somber moments – and also given the fact that it was recorded during a pandemic – radiates with a sincere appreciation for life and living in the here and now. As Downing puts it in “Deep Breath”: “Try to get your head screwed back on tight / Take a deep breath – it’s gonna be all right.” This attitude, Downing says, was intentional. “There was so much going on in the world socially, politically and health-wise while we were making this record that I didn't really know what kind of music people would even want to hear. But I knew I didn't want to write a bunch of sad songs where you just stare at the fire and feel bad for yourself. I wanted the record to be about looking at things up on the upside – you know, ‘take a deep breath and we'll all get through this.’ ” As for Downing, while he may be through the recording of his first solo album, he assures that it’s certainly not his last. “I'm just going to keep working like I've been doing and communicating with Dre and JJ,” he says. There’s a plan to get started on a new Deslondes record, “and hopefully by the time that’s done,” he says, “I'll have another solo album ready to go as well.”
Willy Tea Taylor
Willy Tea Taylor is a father, brother, and son. His remarkable ability to sing about profound subjects in a simple way makes his songs a great place to lose yourself. Much of that comes from his upbringing. Willy grew up surrounded by rolling hills and horses in the small town of Oakdale, California. Known as the “Cowboy Capital of the World” for breeding so many world champion rodeo cowboys, Oakdale is still Willy’s home and the setting for many of his songs. Despite coming from a long line of cattlemen – his grandfather Walt was one of the most respected of his generation – Willy’s first love was baseball. As a catcher, he had a gift for the nuances of calling a game from behind the plate. When a knee injury ended his ability to catch, Willy turned his attention to music. At the age of 18, a discerning and intimate set by Greg Brown at the Strawberry Music Festival inspired Willy to pursue life as a folk singer. Strawberry would play an integral role in Willy’s development as a musician, going from spectator to stagehand, to performer. He made his main stage debut with his band the Good Luck Thrift Store Outfit at the 2009 festival. In 2015, Willy made his solo debut on the main stage. Willy has charmed fans at some of the best festivals in the country.
Willy calls John Hartford, Roscoe Holcomb, Bob Dylan, KISS, Weird Al Yankovic and Willie Nelson his biggest influences, but is always quick to advocate for his favorite contemporary songwriters which include Tom VandenAvond, Nathan Moore, and his Good Luck partner in crime, Chris Doud. He and VandenAvond have travelled the country together on a series of tours they call “Searchin’ for Guy Clark’s Kitchen” where each evening’s show is just a precursor to an endless quest for the kind of serene late night scene depicted in the cult classic documentary Heartworn Highways. On his new release Knuckleball Prime, Willy received support from greats like Benmont Tench (Tom Petty & the Heartbreakers), Greg Leisz (Bruce Springsteen, Eric Clapton), and Gabe Witcher and Noam Pikelny of the Punch Brothers.
Of the album’s title, Taylor says “most baseball players peak in their twenties, but knuckleball pitchers tend to blossom in their late thirties and early forties. I’m staring down my knuckleball prime.” Led by producer Michael Witcher, the songs on Knuckleball Prime are arranged and accompanied magnificently by a first rate team of musicians and engineers. If you’re a fan of well-written lyrics, alluring melodies, and a voice that ties them together with emotion as deep as the artist’s own roots, you’ll savor Knuckleball Prime, and just about anything else Willy Tea Taylor has ever done.
Kassi Valazza has a viscous, light gold voice. It swirls around in your head like whiskey in a snifter; vaporous, and intoxicating. For most of her album Dear Dead Days pedal steel and electric guitar lope along at half time, the in-pocket rhythm section booming from deep in the low end. Its frequencies penetrate your flesh. The songs reverberate off your bones. Her lyrics drip down the inside of your skull.
Musicians with Southwest origins dependably bring a languorous relaxation – the slow pace, a defense against the oppressive heat of the high desert– and a grim sense of gravitas, having walked among the bleached bones and arid landscapes. At times Valazza sings as if her lyrics are smoke she’s exhaling. You get the hint: Valazza is pretty goddamn good at writing a sad song –but there’s another element, a painted desert, coloured canyon walls at sunset, endless sky vision. Kassi will be your peyote coyote; a guide through these psychedelic vistas. Here she’s found a way to trap the world of cheaters, drifters, lovers and leavers in amber. Wander from your own woes, and come walk with Valazza’s.
An inherent risk of exposure to COVID-19 exists in any public place where people are present. COVID-19 is an extremely contagious disease that can lead to severe illness and death. According to the local health authorities, senior citizens and guests with underlying medical conditions are especially vulnerable.
By visiting our establishment, you voluntarily assume all risks related to exposure to COVID-19.
Proof of Vaccination OR Negative COVID-19 Test Required for Entry
To enter our establishments, you are required to provide proof that you are fully vaccinated*, OR proof of a negative COVID-19 test that was administered by or under the supervision of a healthcare provider within 48 hours of the date on which you are attending a show at Exit/In. Proof of vaccination and test results must bear a name that matches the government-issued identification for the patron that is seeking entry.
Proof of Vaccination
We will accept a picture or scan on your cell phone, photocopy, or original document of your CDC-issued vaccination card.
If you need a replacement vaccine card, you can contact your vaccine provider or local health department.
*To be fully vaccinated, you must be:
14 days after your second shot of either Moderna or Pfizer
14 days after your first shot of Johnson & Johnson
Negative COVID-19 Test
We will accept a printed, or digital copy of a negative COVID-19 test result administered by or under the supervision of a healthcare professional within 48 hours of the date of the show you are attending.
At-home tests will not be accepted under any circumstance.
If our staff has grounds to believe that you have presented fraudulent or falsified documents, we reserve the right to deny you entry into our establishment. If you are unvaccinated, we encourage you to wear a mask even if you have tested negative for COVID within the past 48 hours before the show.
The CDC recommends that masks are worn in public indoor spaces in areas with high transmission rates regardless of vaccination status. The CDC also recommends that unvaccinated people wear masks at all times. We highly encourage mask-wearing for all patrons, and will have free masks available at points of entry.
Valid government-issued photo ID required for entry.
Lineups and times are subject to change.
Any ticket suspected of being purchased for the sole purpose of reselling can be canceled at the discretion of EXIT/IN and/or SeeTickets.
No refunds - No exceptions.
Riley Downing / Willy Tea Taylor