Logjam Presents

Clutch

EyeHateGod

Tiger Cub

The Wilma

Missoula, MT
Add to Calendar 04/02/2022 20:00 04/03/2022 01:00 America/Boise Clutch

Logjam Presents is pleased to welcome Clutch for a live in concert performance at the Wilma on Saturday, April 2, 2022. Tickets go on sale Friday, January 21, 2022 at 10:00AM at the Top Hat, online or by phone at 1 (800) 514-3849. All tickets are general admission standing room only. All ages are welcome. Additional ticketing… Continue Reading

Logjam Presents - Missoula, Montana false MM/DD/YYYY
7:00PM (door) 8:00PM (show)
$35 (Adv.) $39 (DOS) + applicable fees
All Ages
Tickets Event Info

Logjam Presents is pleased to welcome Clutch for a live in concert performance at the Wilma on Saturday, April 2, 2022.

Tickets go on sale Friday, January 21, 2022 at 10:00AM at the Top Hat, online or by phone at 1 (800) 514-3849. All tickets are general admission standing room only. All ages are welcome.

Additional ticketing and venue information can be found here.

About Clutch

With the release of their highly anticipated 12th studio album, the gloriously titled “Book of Bad Decisions”, it would be easy to suggest that legendary Maryland rockers Clutch have made their finest record to date. This may even be true. You see, the thing about Clutch is that ever since their 1993 debut Transnational Speedway League they’ve been in the business of writing stone cold classics, and even the most rabid fan would have trouble picking just one. “Book of Bad Decisions” won’t make that task any easier. Rest assured, it’s another classic.

Recorded over three weeks at Sputnik Studios in Nashville, “Book of Bad Decisions” was produced by four-time Grammy winner Vance Powell (Seasick Steve, The White Stripes, Arctic Monkeys, etc.), a man who apparently knows that a one degree angle change in microphones makes a difference to how an instrument sounds. Interestingly, his name first came to the band’s attention via country star Chris Stapleton.

“It started with my brother-in-law, who’s a huge Chris Stapleton fan,” says drummer Jean-Paul Gaster. “He and I would listen to The Traveller quite a bit, and one thing that stood out was that it didn’t sound like any other country record that I’d heard. Shortly after that I was on Spotify, and a song by The Dead Weather came up. It just blew me away and I could tell that whoever produced that record was doing things a different way. I looked it up and there was Vance Powell’s name again, so something was telling us that this is a guy we should reach out to.”

“Even though Chris Stapleton does music that’s not too much like our own, the sonics of the record are pretty great,” says frontman Neil Fallon. “He has a very different approach to recording; he comes from the school of live recording and engineering, and the songs, on tape, are not gonna sound that much different from what we do live.”

No stranger to the road, Powell spent three days on tour with the band in order to get a feel for what they do best, watching first from the front of house and then from the stage, checking out the live sound and how Clutch connect with their audience.

“I never go into a record having an idea of how it’s gonna sound,” he says. “But after hearing them live, I had an idea of how they could sound. I’m a big live recording fan, so I like when bands play together and I didn’t wanna get into that manufacturing a record concept. I wanted it to be real organic.”

Indeed, ‘organic’ is a word that comes up a lot when talking to Clutch about the new record, Powell taking great care to get guitar tones right and making sure that each song had its own identity.

“Vance is all about vintage guitar sounds,” says guitarist Tim Sult. “I probably had more amplifier options than on any other album we’ve done. It was like going back to a music store in 1960! This was the first time I’ve ever recorded with amps from the ’50s and I ended up buying a couple of ’50s amps while we were in Nashville.”

“I felt really good about the gear that I was bringing into the studio,” concurs bassist Dan Maines, “but Vance had this 1974 Ampeg and I’m so glad that he recommended that. As soon as we plugged it in, it sounded like Sabbath! We ended up using it alongside one of my amps, and I loved it so much that once we were done recording I scoured the ads for another one. What I really like is that each song has a different tone to it, and I think that’s Vance Powell’s style.”

With each band member contributing riffs to the album – including Jean-Paul who has added mandolin to his repertoire – there was no shortage of material, each song road-tested long before it reached the studio. Hell, with 15 songs, “Book of Bad Decisions” could easily pass as a double album! Always wary of repeating themselves and retreading old ground, there is even – for the first time on a Clutch album – a horn section that swings like James Brown’s pants!

“The third night I was watching the band,” says Vance, “they did this song that at that time was called Talkbox, which is now In Walks Barbarella. While Neil was singing, I was thinking to myself, “wow, there’s a horn line here!” And while he was singing, I was humming it to myself. I brought it up to them, tenuously, and they were like, “okay, let’s do it!” This is as Parliament, Funkadelic as it gets, maybe even a James Brown vibe!”

One thing, however, that is entirely as expected, is that as arguably the greatest rock lyricist of modern times, Fallon, as always, has provided some interesting subject matter, everything from poets to presidents and recipes to rock ‘n’ roll. You may have to Google some of it, because Fallon is nothing if not a clever bugger, and likes to keep his audience on their toes.

“Most of the time I have no idea what he’s talking about,” laughs Jean-Paul, “but the lyrics completely inform how I’m going to play that tune. Whether or not I understand exactly what Neil is singing about is not important. I listen to the way Neil sings those words and I think about what those words mean to me, and that, ultimately, informs how I’m gonna play drums on that song.”

“I think I probably second guess myself into doing that,” says Neil of his lyrical style. “I would rather not be able to answer all the questions, just to keep it interesting for myself. Sometimes a rhyme sounds awesome and I don’t know what it means, but I’ll go with it anyway. It’s become more difficult to write lyrics now that I have Wikipedia at my fingertips, because you can go down rabbit hole after rabbit hole and not get anything done! Not too long ago you’d have to spend months in a public library trying to find out the things you can find in a couple of keystrokes.”

Elsewhere, however, you’ll find a more straightforward approach to lyrics, A Good Fire relating the memory of hearing Black Sabbath for the first time – something that everyone can relate to – while Sonic Counselor pays homage to Clutch fans. Indeed, it’s fair to say that Clutch fans – collectively known as Gearheads – are a breed like no other.

“I’ve always loved rock songs that just celebrated rock ‘n’ roll,” grins Fallon, “but that song was a bit more about the people who come to our shows, that make it as exciting for us as hopefully it is for them. My favorite shows that I’ve seen bands do is like going to church, especially when everybody’s in sync with each other and you walk out with your jaw on the floor. I feel incredibly grateful that people have walked out of our shows and felt the same way. It’s a tip of the hat to them.”

“We’re exceptionally lucky to have the fans we have,” Jean-Paul agrees. “They’re diehard, and because of that, we take this that much more seriously. We do not take this for granted. We know that those folks could be anywhere else, and they’ve chosen to spend the evening at a Clutch show, so we’re gonna do the best we can to provide them with the best musical experience we can. I think that translates to the records because at the end of the day, all you have is your records. When this whole thing wraps up, those are gonna be the things that go down in history.”

EyeHateGod

EyeHateGod Image

New Orleans’ EYEHATEGOD is the snarling, bilious sound of dead-end America. Since 1988, they’ve been a soundtrack for the troubled masses. Ugly music for ugly times. That’s the sense of disenchantment and disease that lies at the heart of their latest and sixth full-length album, A History of Nomadic Behavior. Anyone familiar with EHG’s story knows this is survivor’s music, a sound unto itself where Sabbathian riffs are meted out with a caustic anger that goes beyond punk. That’s been the blueprint since guitarist Jimmy Bower (also of NOLA supergroup, Down) founded the band in 1988 with vocalist Michael IX Williams joining not long after.

With a discography including sludge-punk mainstays like In the Name of Suffering (1990), Take as Needed for Pain (1993) Dopesick (1996), or 2014’s eponymously-titled LP, released in the US through Housecore Records, EHG laid the cracked foundation for their infamous and influential sound. A History of Nomadic Behavior finds the band, now slimmed to a four-piece rounded out by bassist Gary Mader and drummer Aaron Hill, leaner and meaner than ever; road-hardened by recent tours with Black Label Society, Corrosion of Conformity and Napalm Death in the US, and abroad. From the bitter pill of opener “Built Beneath the Lies” to the hypnotic haze of closer “Every Thing, Every Day” it’s clear that EYEHATEGOD hasn’t slowed or mellowed with time. In fact, it’s quite the opposite. This is disorienting, uneasy listening. Music that still very much hurts.

Tiger Cub

Tiger Cub Image

Tigercub have firmly displayed their ability to lacerate the surface with ease with thundering “I.W.G.F.U.”, the band’s first new material since their second album “As Blue As Indigo” landed at the start of summer. Produced by the band’s front man Jamie Stephen Hall and mixed by Tom Dalgety (Pixies, Ghost, Royal Blood), the latest cut from Tigercub further establishes Hall’s talent for pairing woozy melody to infectious, contorting riff-work. Hooky and immediate, “I.W.G.F.U.” is another statement from a band clearly on an ascent, quickly following up their releasing their sophomore album, As Blue As Indigo
As Blue As Indigo to rave reviews from metal, rock and alt press internationally. The record, that Upset calls one to “cement them at the top of the food chain”, was written and produced by the band’s own Jamie Stephen Hall, engineered and co-produced by Adrian Bushby (Foo Fighters, Muse) and mixed by Tom Dalgety (Pixies, Ghost, Royal Blood). Written over two years, “As Blue As Indigo” champions introspection drawing on the subjectivity of colour, paired with masterclass songwriting, mind-bending arrangements constructed with boundary-pushing production, “One of the best rock records of the year,” claims Under The Radar Magazine.

The band’s Jamie Hall had the following to say about the single:

“I wanted a party song to kick off our first headline tour in four years. I.W.G.F.U is that song, it’s a thrill ride, start to finish, it journeys through the dynamic spectrum at breakneck speed and I think lands harder than anything we’ve ever done.

It’s about drinking, and that moment when despite my best efforts to abstain, my impulse always takes over and I say: “fuck it” let’s go big.”

Jamie Stephen Hall, who stands 7 foot tall and is the band’s sole songwriter, claims the creative fire for “As Blue As Indigo” was sparked by colour theory and the notion that what each human eye sees as colour could be totally subjective. That idea led him to explore his own personal issues through a similar prism, exploring topics including anxiety, depression, toxic masculinity, the death of his grandmother and the recent suicide of a close friend; and in turn began spinning the lyrical thread that ties the entire record together. Putting himself under the microscope was to become key:
“I never really felt in the past that I could talk about really personal things. I’d always used a mask. It’s quite easy to do that because you’re not exposing yourself in any way. I’d always subconsciously tried to shy away from talking about myself,” he notes. “I didn’t want to do that anymore. I wanted this to be about me and process my emotions for the first time. I think that’s made us more genuine and authentic as a band”

As Blue As Indigo is as colourful a journey as the vivid title suggests, its ten tracks span the progressive to the immediate, the gentle to the monolithic, and most of all fulfill the significant potential the band has always promised. As Blue As Indigo is an album that looks set to cement their place at the top table of British rock acts in 2021.