Logjam Presents:

The Jesus And Mary Chain

Cold Cave

The Wilma

Missoula, MT
7:00pm (door) 8:00pm (show)
$32 (Adv.) $37 (DOS)
Add to Calendar 10/31/2017 20:00 11/01/2017 01:00 America/Boise The Jesus And Mary Chain

Logjam Presents is proud to welcome brothers Jim & William Reid, Scotland natives who make up The Jesus And Mary Chain to The Wilma on Halloween Tuesday, October 31, 2017! Tickets are on sale now and available at the Top Hat, online or by phone at (877) 987-6487.  Reserved premium balcony seating and general admission standing room only floor tickets are… Continue Reading

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The Jesus And Mary Chain

Logjam Presents is proud to welcome brothers Jim & William Reid, Scotland natives who make up The Jesus And Mary Chain to The Wilma on Halloween Tuesday, October 31, 2017!

Tickets are on sale now and available at the Top Hatonline or by phone at (877) 987-6487.  Reserved premium balcony seating and general admission standing room only floor tickets are available. All ages are welcome.

Additional ticketing and venue information can be found here. Join the conversation by RSVPing to the Facebook Event!

After a nineteen-year absence from recording, The Jesus And Mary Chain returned with ‘Damage And Joy’ which hit the Top 20 and immediately became their highest charting album since ‘Stoned & Dethroned’ back in 1994. The phenomenal reaction has been as if they’ve never been away: they’ve toured the UK and the US, sold-out London’s Shepherds Bush Empire and hit Stephen Colbert’s Late Show to perform ‘The Two Of Us’ with Sky Ferreira.

Although the album version of the ‘The Two Of Us’ featured Isobel Campbell, The Jesus And Mary Chain have again teamed up with Sky Ferreira to record a fresh new version of the track. Jim Reid’s coolly understated delivery contrasts with Ferreira’s impassioned vocal, while William Reid’s distorted riffs add rock ‘n’ roll grit to the Sixties-tinged track.

About: The Jesus And Mary Chain

The Stooges, the Ramones, Einstürzende Neubauten, The Shangri-Las: an eclectic range of influences for sure, and one that inspired brothers Jim and William Reid as The Jesus and Mary Chain emerged from Lanarkshire, Scotland, to become one of the most influential bands of their era.

What followed was a rush of creativity and controversy in which the power of their music – most strikingly the landmark debut ‘Psychocandy’ – was matched by the volatility of their relationship. Their journey sparked a wider influence. Not only did their success help Alan McGee’s Creation Records to flourish into the home of Britain’s most critically acclaimed bands from My Bloody Valentine to Oasis to Super Furry Animals, but early drummer Bobby Gillespie made history of his own with Primal Scream.

By 1998, however, chaos had devolved into terminal conflict and the JAMC story was over.

“At the time it was the old, ‘I’m never gonna do this again, no matter what’,” recalls Jim Reid. “And then as the years go by, you can’t really remember the reasons why you broke-up in the first place. Maybe we could’ve repaired the relationship back then, and we were too quick to end it.”

A spirit of sibling stubbornness continued, with each Reid assuming that the other wouldn’t want to reunite. Eventually they found what sounds like a reluctant common ground by agreeing, “I’d do it if you do it.” As Jim adds, “We thought, ‘Well fuck it, why not?’ It seems crazy not to. And if we leave it any later maybe we’re gonna be too old.”

In their absence, the list of bands influenced by the JAMC blueprint seemed to run on and on, while Sofia Coppola’s use of ‘Just Like Honey’ in the closing scene of ‘Lost in Translation’ allowed a new generation the chance to discover JAMC. In the years that followed, Coachella repeatedly tried to persuade them to reform the band: a ploy that was finally rewarded when JAMC made their big comeback in 2007 – accompanied by special guest Scarlett Johansson.

And while the live shows kept on coming – including a special back-to-back ‘Psychocandy’ tour – the prospect of a new album remained tantalisingly out of reach. The challenges were multiple: disagreements on where and how to record, together with Jim’s reluctance to leave a comfortable-but-quiet life with his young family to spend months abroad.

So what changed?

“We started to – can you believe? – listen to each other a bit more,” he explains. “In the last couple of years, we’ve buried the hatchet to some degree, and thankfully not into each other. Most people who know us would say that we haven’t mellowed that much. I think it was to do with the fact, dare I say it, that wisdom comes with age. Let’s live and let live, and let’s take each other’s opinions into account. The thing that surprised both me and William was that there wasn’t much animosity in between us in the studio.”

Work on the album, subsequently titled ‘Damage and Joy’ (a reference to the English translation of schadenfreude), began in September 2015, with producer Youth also contributing bass and diplomacy to proceedings during sessions in London, Dublin and Granada, Spain. It was a process, notes Jim nonchalantly, “that didn’t feel as weird as you might expect.”

News of the album broke to the world at large via Alan McGee – now again their manager – in November 2016 and the lead track ‘Amputation’ emerged just a few weeks later. Its waves of distorted guitar flow under Jim’s insouciant vocal delivery collide to create a hypnotic address to his feelings of “being edited out of the whole music business and wondering what had gone wrong. We didn’t seem to fit in anywhere and I felt like a rock ‘n’ roll amputation.”

Elsewhere, ‘Damage and Joy’ expertly judges that precarious balancing act of needing to both grow and to remain true to the spirit that captured people’s imagination the first time around. William’s ‘All Things Must Pass’ is a refined re-energised version of the song that previously appeared on ‘Upside Down: The Best of The Jesus and Mary Chain’ in which tales of hedonistic excess simultaneously feel like both a cry for help and an extension of their sardonic black humour.

That’s a trait that emphasised in ‘Facing Up To The Facts’ with the couplet “I hate my brother and he hates me / That’s the way it’s supposed to be.” It’s also not a lyric that Jim considers to be at all remarkable. “At times we do hate each other, it’s been largely what’s fuelled the Mary Chain. It would be just as correct to say that I love him too, but that doesn’t sound so good, does it?”

It’s easy to assume that McGee’s management of the Reids was effectively his training ahead of guiding the Gallaghers. “There are a lot of similarities, it’s quite spooky actually,” laughs Jim. “We certainly laid the groundwork for him in terms of having to deal with sibling rivalry within a band, and being brothers that wanted to kill other.”

Not that he’s so interested in tracing the impact of JAMC upon their many followers. “If you’ve listened to music for as long as I have, you find a cycle. You start off with Joy Division and if you stay tuned there’ll be some young band like them decades later. Rock ‘n’ roll is a borrowed art form. I’m sure when Mary Chain came along there were old guys calling us to the new Velvets or what have you. Personally I’d rather listen to my old Beatles, Joy Division and Velvet Underground records, and not bother with the bands that sound like them.”

Ultimately, the triumph of ‘Damage and Joy’ is one in which its sonics transcend its story. “The interesting thing about this record is what comes out of the speakers. To make a good record is an achievement if you’re twenty-two, but to do it in your fifties, the way we are, I think is a minor miracle.”

Cold Cave

Cold Cave Image

Cold Cave is the creative rebirth of acclaimed Musician and Writer Wesley Eisold. Cutting his teeth in legendary hardcore punk and noise bands American Nightmare and Some Girls, Eisold’s body of work has truly effected a generation of listeners. Through constant cross-pollination Eisold has gained mass appeal, influencing underground and popular culture with his ever evolving artistic vision.

With an already prolific number of releases, Cold Cave has become a name synonymous with the contemporary resurgence of Darkwave and Synth-Pop. Propelling Cold Cave to perform at world class museums The Getty and The Guggenheim, with Nine Inch Nails at the Hollywood Bowl and the O2 Arena, The Jesus and Mary Chain, Echo & The Bunnymen, Gary Numan, and Sonic Youth. He has worked in collaboration with Fashion Designers Rick Owens and Alexandre Plokhov, and Conceptual Artist Doug Aitken for his Station-to-Station Film and Concert Series. He has performed at Coachella Music Festival and Matt Groening’s curated All Tomorrow’s Parties. Cold Cave performed at the wedding of Legendary Skateboarder Tony Hawk. As well as released books by Genesis P-Orridge and Richard Brautigan on his Heartworm Imprint.

Eisold was born without his left hand, making his foray into electronic music and singing, the obvious path, situating him as a voice of adversity for the outsider. Cold Cave craft melodic synthscapes with jackhammer beats, songs celebrating the contradictory beauty of the human condition. The songs have an immediacy that belies thought-provoking titles like “The Laurels of Erotomania”, “People Are Poison” and “The Trees Grew Emotions And Died”. In this way they mark that transitional moment when synthesizer music went from a subversive device for sound collagists to a serious commercial force. They are cerebral and savage, yet sweet and seductive.

A reluctant god of nihilism and despair, his baritone is as rich and resonating as that of Morrissey, Nick Cave, or David Bowie, juxtaposed with the prophetic musings of his collaborator Amy Lee, stylistically they are heirs to the noir of The Velvet Underground, Joy Divison, The Cure, and Depeche Mode, with the ideals of artistic minimalism reminiscent of the avant-garde. Marked by a pitch black aesthetic – there is a light of hope in their brand of goth new wave.

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