Doors: 7:00PM | Show: 7:30PM
Friday June 3, 2022
Doors: 7 PM
Show: 730 PM
$15 Advance & Day of Show
*THIS SHOW DOES NOT HAVE COVID REQUIREMENTS FOR ENTRY*
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How does one make the weird fork-in-the-road choices that steer an impromptu career? How do you go from a youthful, happy-accident starting point which happens to become a viral dance pop smash, to a debut singer-songwriter album that succeeds in transcending the genre spectrum, unlocks a few emotional truths and redefines your artistic outlook? And in the midst of such disparate points on the map, how do you navigate both music’s professional corporate pop lane AND serve the song, tapping into your own personality, over and over again?
Nick Perloff-Giles, often known by his artist moniker Wingtip but increasingly by his birth name as a successful songwriter for hire, has lived numerous musical lives. It comes almost as a surprise that, following a slew of singles and an EP which were mile-markers on his twisting climb, All Your Friends Are Here is Wingtip’s debut full-length album. Less so that it is a pearl in today’s convenience store of musical shells, a distinctive statement of the artist’s evolving personality that also shows off the pop craftsmanship required to master the system.
And if anybody should be able to pull this off, it’s Perloff-Giles, who has already seen both sides of the equation: “In some ways, the last couple years have been the process of unlearning everything I learned. It’s very liberating, and I realize that the stuff that moves me and that I really want to emulate, is both personal and a little bit more unstructured.”
You can hear those balances throughout All Your Friends Are Here. They’re on playful earworms like the booty call-questioning “When You’re Lonely,” with its Kanye’s Graduation-meets-country soul exuberance, and on “Strangers,” a new wave power-pop gem that Fountains of Wayne would be proud to call their own, as wistful as it is optimistic. Yet, these undefined spaces are also on the more acoustic songs, that seem like they’re pulled out of Perloff-Giles’ diary. Such as “Try,” with its attempts to make sense of how to grow older and wiser while still embodying the spirit of youth, and “Frayed Tape,” a piano-led autobiographical vignette about “feeling feeble in the prime of your life” that still ends in a smile. Just when you think Wingtip’s melancholy might be overpowering his defiant positivity, the sun’s rays become more hopeful and less corrosive.
This did all begin with a hit that Perloff-Giles has been inching away from for the past few years. 2016’s “Rewind” — a “throwaway idea instrumentally” — bore evidence that he was a wiz at melody and musical narrative and became a viral hit (38M Spotify streams and counting). Yet a funny thing happened on the way to Wingtip’s crowd-composed Dance Pop smash: Perloff-Giles was bitten by a bug that had nothing to do with upping the chart kings of the moment.
Nick’s ears opened wider, taking on everything from the “autobiographical, intense music… effective and striking and memorable” by then-new wave of folk-oriented guitar-slinging women like Julien Baker, Phoebe Bridgers and Lucy Daucus to pop-country hits like Keith Urban’s “Blue Ain’t Your Color” (“one of those perfect pop country songs, where the mask hides itself — it feels transparent, but obviously the verse sets up the concept and pre-modifies it and the chorus completely explains it”). And as he recognized the craftsmanship of one, and the ability to engage in personal storytelling of the other, he saw his own process evolve.
“I started trying to just have a lot more fun with it and trying to push the songwriting in different directions. I also started singing, recording my voice, and got really excited by the possibility.” Perloff-Giles began to take singing lessons, and reassessed just what sort of path he was on.
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Support acts are subject to change. No refunds.