Toadies - Rubberneck 25th Anniversary Tour @ HI-FI Annex

TOADIES RUBBERNECK 25TH ANNIVERSARY TOUR @ HI-FI ANNEX INDIANAPOLIS 

W/ THE REVEREND HORTON HEAT (PLAYING LIQUOR IN THE FRONT) & NASHVILLE PUSSY

DOORS: 5:00 PM, SHOW: 6:00 PM

GENERAL ADMISSION, LIMITED SEATING.

AGE RESTRICTIONS: ALL AGES

ALL TICKETS ARE NON TRANSFERABLE AND NON REFUNDABLE. SUPPORT ACTS ARE SUBJECT TO CHANGE.

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About Toadies:

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What’s more thrilling than knowing, in the first seconds of favorite band’s new album, that it’s gonna be a doozy? When you go into it cold and know instantly that the band knows why you like them—you’re still in tune with each other, and you can whip out your air guitar and play along like you know the songs. That’s the essence of the rock ‘n’ roll experience, and that’s the Toadies’ seventh album, The Lower Side of Uptown (Kirtland Records). Opening track “When I Die” starts with guitarist Clark Vogeler holding a sneering, distorted guitar note. Two seconds later, the full band joins. Mark Reznicek’s drums stomp along with Doni Blair’s bass and Vaden Todd Lewis’ rhythm guitar. Vogeler’s note ascends into shrill, singing feedback, fading just as Lewis—in his formidable caterwaul, sings the titular line: “When I die/ don’t bring me down/ meet me on the lower side of uptown.” In those 27 seconds, the Toadies hit almost every hallmark of their signature, unique brand of alternative rock. Mammoth odd-time rhythms that put us off-balance. Guitars that grind and saw and gnaw. Evocative, provocative words that harrow and haunt—delivered in that voice. This is why, after 27 years, the Toadies are still killing it. With their prior album, 2015’s semi-acoustic Heretics, the band subverted their fans’ expectations, toying with new and different sounding songs and gentler arrangements of classics like “Possum Kingdom” and “Jigsaw Girl.” The ensuing tour found the Toadies playing different venues—the kind with seats. Going into the studio for Uptown, Lewis says the group expected that the Heretics experience would influence Uptown’s sound. “The intention was that it would be kind of a melding of the two sounds: chill and acoustic, and loud, electric guitars,” he says. “It turned into the heaviest record we’ve ever done.” . “There are a few points on Lower Side that are really fuckin’ weird and don’t necessarily conjure what we think the Toadies sound like,” Vogeler says. Those moments may or may not be readily apparent to anyone but the band. But to them, it signifies something much more important than a simple deviation from the norm. Twenty years ago, they were trying to please label executives. Today, they’re free to be themselves. “I think it makes us a better band and, hopefully, better music.” All told, The Lower Side of Uptown is an immensely gratifying and thrilling listen that shows the Toadies continuing to build on the creative boost that commenced when they ended a seven-year drought of new music with 2008’s No Deliverance. Whats next? Toadies have enlisted Steve Albini to record their eighth studio album. Bassist Doni Blair refers to Albini as a “bucket list producer.” Guitarist Clark Vogeler adds “There are records in each of our collections that were recorded by him which mean the world to us. The sound he brought to records like The Pixies’ Surfer Rosa, and PJ Harvey’s Rid of Me, capture the feeling of being in a room with a band while they play (quite loudly, it would appear). A personal fave, Wedding Present’s Seamonsters saved me in a way that no other record has. The emotion of the songs just pours out of the speakers. His recordings of bands are honest; there’s not much in the way of Pro Tools fixing (he records to tape) or studio trickery (no autotune in sight!). It’s mostly just a band in a room with microphones, playing the songs, and that appeals to us at this point. We’ve always felt like we could deliver live, so why not record the band live?” Toadies have more than 25 years, countless shows and seven studio albums behind them. The Rubberneck track “Possum Kingdom” appeared on Guitar Hero 2 and was featured in a Beavis and Butthead episode. They have played Lollapalooza and ACL, graced the cover of Marvel Comics, released five signature beers with Martin House Brewing, a signature coffee with Full City Rooster, have had a “Toadies Day” declared by their hometown of Fort Worth along with hosting ten Dia De Los Toadies, their festival that launched in 2008 honoring Texas musicians and beyond.

About The Reverend Horton Heat:

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With their hot-rodded fusion of dazzling high-speed guitar runs, thundering rhythms, high-profile swagger, and lyrical smirk, the Reverend Horton Heat are perhaps the most popular psychobilly artists of all time, their recognition rivaled only by the esteem generated by the genre's founders, The Cramps. The Reverend (as both the band and its guitar-playing frontman are known) built a strong cult following during the '90s through constant touring, manic showmanship, and a barbed sense of humor. The latter was nothing new in the world of psychobilly, of course, and Heat's music certainly maintained the trashy aesthetic of his spiritual forebears. The Reverend's true innovation was updating the psychobilly sound for the alternative rock era. In their hands, it had roaring distorted guitars, rocked as hard as any punk band, and didn't look exclusively to the pop culture of the past for its style or subject matter. Most of the Reverend's lyrics were gonzo celebrations of sex, drugs, booze, and cars, and true to his name, his early concerts often featured mock sermons in the style of a rural revivalist preacher. On their 1992 debut Smoke 'Em If You Got 'Em, the group established the template of their no-frills, high-intensity approach to rockabilly, and though celebrity producers helped beef up the sound of their next two albums -- Gibby Haynes of The Buttole Surfers on 1993's The Full Custom Gospel Sounds and Ministry's Al Jourgensen on 1994's Liquor in the Front -- the Reverend's essential style changed little with time. They would explore a more introspective side on 2004's Revival, embrace their country influences on 2009's Laughin' & Cryin' with the Reverend Horton Heat, and add a pianist to the mix on 2018's Whole New Life, but on-stage and in the studio, Jim Heath and his bandmates could always be depended upon to deliver some of the twangy fire that their fans loved.

About Nashville Pussy:

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Formed in 1997, Nashville Pussy preached its sleazy gospel over the past couple of decades alongside MOTÖRHEAD in every rock outpost from Asia to Europe and back again. Raised on a diet of Marshall stacks, Gibson Guitars, Jack Daniels, and weed, Nashville Pussy are the bastard offspring of foul-mouthed, demented hillbilly ice-cream man Blaine Cartwright and tractor-driving, nude art school model, and guitar prodigy Ruyter Suys. Nashville Pussy quickly gained a reputation for being like “AC/DC with a female Angus” in Ruyter’s blues-meets-punk frenzied guitar solos and Blaine’s hilarious “jailhouse nursery rhyme” lyrics. The band’s bass player — Bonnie “Bon” Buitrago — began as a teenage fan of the band sneaking into shows, determined to make the leap from audience member to member of the band by mastering her craft on bass. Atlanta native and ex-landscaper Ben Thomas on drums has quickly become known for his showmanship, precision, and all-around sensuality behind the kit. “We are rock ‘n’ rolls’ dirty little secret — blissfully outliving musical trends we never knew existed,” says Suys. “More than ever, everyone needs to escape to a place where they can pretend they don’t give a shit, let their hair down and get loud, sweaty and dirty. Nashville Pussy provides that unpretentious refuge. Everyone is welcome — just don’t dress up ’cause it’s gonna get messy.” The Gods of Rock smiled upon on Nashville Pussy in creating the band’s brand new studio album, “Pleased To Eat You”. Combining the talents of producer Daniel Rey (Ramones, White Zombie, Ronnie Spector and Raging Slab) and studio engineer David Barrick (Black Stone Cherry, The Kentucky Headhunters, Marshall Tucker Band), the band was fresh off an international tour and hungry for new songs to sink their teeth. “Pleased To Eat You” is their seventh studio album and certainly another milestone recording by the band you’ll need to share with your mom: Bourbon, BBQ, horse farms, good people, and a great fucking record. Seriously, you’ll hardly find a band that manages to act so easy, so fast and yet so impulsive as Nashville Pussy — a band that is not shy about expressing opinions loud and clear.