(SOLD OUT) Trampled by Turtles @ HI-FI Annex
HI-FI Annex (Behind HI-FI)
TRAMPLED BY TURTLES W/ THE GHOST OF PAUL REVERE @ HI-FI ANNEX INDIANAPOLIS
DOORS: 5:00 PM, SHOW: 6:30 PM
GENERAL ADMISSION, LIMITED SEATING.
AGE RESTRICTIONS: ALL AGES
ALL GUESTS MUST WEAR A FACE COVERING PER MARION COUNTY PUBLIC HEALTH ORDER. PLEASE BRING YOUR OWN. DISPOSABLE FACE MASKS WILL BE AVAILABLE FOR PURCHASE AT THE BOX OFFICE, BUT QUANTITIES ARE LIMITED. THIS POLICY IS SUBJECT TO CHANGE BASED ON THE ORDER OF LOCAL AUTHORITIES AND AT THE VENUE’S DISCRETION.
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Your health and safety are our top priority. HI-FI Annex will endeavor to comply with state and local orders while following CDC and Indiana Board of Health guidelines on social distancing, face coverings, and capacity. You acknowledge and agree that HI-FI Annex shall not be responsible for any illness to persons of your household or family, or yourself, and any corresponding damage, claim, or expense, of any kind, that you, your family members, or your household may experience or incur in connection with contracting COVID-19 as a result of visiting HI-FI Annex.
About Trampled by Turtles:
Trampled by Turtles are from Duluth, Minnesota, where frontman Dave Simonett initially formed the group as a side project in 2003. At the time, Simonett had lost most of his music gear, thanks to a group of enterprising car thieves who'd ransacked his vehicle while he played a show with his previous band. Left with nothing more than an acoustic guitar, he began piecing together a new band, this time taking inspiration from bluegrass, folk, and other genres that didn't rely on amplification. Simonett hadn't played any bluegrass music before, and he filled his lineup with other newcomers to the genre, including fiddler Ryan Young (who'd previously played drums in a speed metal act) and bassist Tim Saxhaug. Along with mandolinist Erik Berry and banjo player Dave Carroll, the group began carving out a fast, frenetic sound that owed as much to rock & roll as bluegrass.
Trampled by Turtles released their first record, Songs from a Ghost Town, in 2004. In a genre steeped in tradition, the album stood out for its contemporary sound, essentially bridging the gap between the bandmates' background in rock music and their new acoustic leanings. Blue Sky and the Devil (2005) and Trouble (2007) explored a similar sound, but it wasn't until 2008 and the band's fourth release, Duluth, that Trampled by Turtles received recognition by the bluegrass community. Duluth peaked at number eight on the Billboard bluegrass chart and paved the way for a number of festival appearances. When Palomino arrived in 2010, it was met with an even greater response, debuting at the top of the bluegrass chart and remaining in the Top Ten for more than a year. Two years later, their crossover appeal landed them at number 32 on the Billboard 200 pop charts upon the release of their sixth album, Stars and Satellites. In addition to major bluegrass and folk festivals, they began showing up at Coachella, Bumbershoot, and Lollapalooza. The official concert album, Live at First Avenue, followed in 2013, recorded at Minnesota's most famous venue. A year later, the band returned with the darker-toned Wild Animals, which bettered its studio predecessor on the album charts, reaching number 29. Trampled’s latest album is Life Is Good On The Open Road. TBT returns to the road in 2021 co-headlining tours with Mt Joy, Caamp and Wilco.
About The Ghost of Paul Revere:
Life constantly changes. It seesaws between hardship and triumph, loss and satisfaction, and heartbreak and love. No matter how much everything fluctuates, community flourishes at the center of existence. It binds and unites all of us. Music stitches together a strong community around The Ghost of Paul Revere. The Maine trio—Max Davis [vocals, banjo], Sean McCarthy [vocals, bass], and Griffin Sherry [vocals, guitar]—examine life’s ebbs and flows through a distinct and dynamic distillation of folk, bluegrass, rock, and alternative on their third full-length album, Good At Losing Everything.
In doing so, the band invites listeners to empathize as they holler along.
“Over the past few years, we’ve collectively endured many significant changes,” says Griffin. “When you’re writing music, it naturally morphs into what you’re doing. We were going through the same things without necessarily acknowledging it out loud, but the music writes itself along with life.”
“We always just wanted to be strong community members who create an excuse for people to come together, process, and share emotions,” agrees Max. “Those individuals who have supported us are growing all of the time. Our audience has given us a degree of freedom to grow. It’s liberating, because we’ve been able to take risks and evolve each time we go into the studio.”
Since forming in 2011, the band has created a following that has propelled them from a local to a national level, tallying 15 million total independent streams to date. After releasing the EP North in 2012, their signature style gradually progressed over the course of two full-length albums—Believe  and Monarch —and a pair of EPs—Field Notes, Vol. 1  and Field Notes, Vol. 2 . They also garnered acclaim from the likes of Billboard, Boston Globe, AXS, No Depression, Relix, and The Boot, who appropriately dubbed them, “not quite bluegrass, not quite country, not quite rock ‘n’ roll, but kind of all three combined.” Along the way, the band has performed alongside The Avett Brothers, Jason Isbell, The Revivalists, Bela Fleck, and The Infamous Stringdusters, sold out countless headlining gigs, and appeared at major festivals nationwide such as Newport Folk, Austin City Limits, WinterWonderGrass, BottleRock Napa, Shaky Knees, Okeechobee, and Voodoo Music + Arts Experience. The boys also took home “Best in Maine” at the New England Music Awards twice, in 2015 and 2019. In 2019, their song, “Ballad Of The 20th Maine”, became the official State Ballad of Maine after being passed unanimously by the Senate and House of Representatives and signed into law by Maine’s Governor, Janet Mills.
“We began with just acoustic instruments and made this style we called, ‘Holler Folk’,” Sean adds. “Now, we’re taking chances and doing things we wouldn’t have done six years ago. We’re hungry to create new things and challenge what we can do together.”
In the end, The Ghost of Paul Revere open up both thematically and musically on Good At Losing Everything. Through widening the creative palette, the sound expands and attracts an even bigger community, while bringing the inner circle closer than ever.
“We want to give listeners a whole experience,” Max leaves off. “Hopefully, they find a little comfort in reflecting on their own lives when they hear us.”
Griffin Sherry // Guitar, Vocals
Max Davis // Banjo, Vocals
Sean McCarthy // Bass, Vocals
Trampled by Turtles
The Ghost of Paul Revere