Globe Hall Presents
Reverend Peytons Big Damn Band
Reno Divorce, Bar-B-Que opens at 4PM!
Doors: 8:00 pm / Show: 9:00 pmGlobe Hall
$20.00 - $25.00
This event is 16 and over
All sales are final. Review your order carefully, there are no refunds for any reason. Tickets are non-transferable. No tickets are mailed to you, your name will be on the will call list night of show. Night of show (1) bring a valid government issued ID and (2) print your confirmation e-mail and bring with you night of show. Come hungry! Check out Globe Hall’s award winning BBQ!https://www.globehall.com/event/1469148/
That passionate inspiration has made Reverend Peyton’s Big Damn Band America’s foremost country blues outfit and fuels the Rev’s new release, The Front Porch Sessions. Peyton’s dazzling guitar mastery is equaled here by his knack for vivid, emotionally impactful songwriting, and his originals are matched in their authenticity by the deeply felt vintage blues tunes that he covers. The album showcases the Rev’s irrepressible personality while echoing the enduring spirit of such acoustic blues icons as Charlie Patton, Blind Willie Johnson, Bukka White and Furry Lewis, whose “When My Baby Left Me” receives a memorable reading.
The Front Porch Sessions will be released March 10, 2017 on Family Owned Records/Thirty Tigers.
“It started as a literal whim on my part, but it turned into something really special,” Reverend Peyton says of this new collection. “I wanted it to feel like you’re on my front porch. You can almost hear the wood creaking.”
The Front Porch Sessions maintains a potent level of intensity throughout, from the upbeat optimism of the album-opener “We Deserve a Happy Ending” to the blunt slice-of-life rural reality of “One More Thing” to the rollicking, playful swagger of “Shakey Shirley,” “One Bad Shoe” and “Cornbread and Butterbeans.” Meanwhile, the instrumentals “It’s All Night Long” and “Flying Squirrels” demonstrate the Rev’s nimble, imaginative guitar work.
“I didn’t have much planned when I went into the studio,” the Reverend notes. “I went into the studio with some new songs and some old songs that I’ve always wanted to try. At first, I thought ‘Well, maybe we’ll make it a download or release a single.’ But it took on a life of its own, and when it was all said and done, I was as proud of it as anything I’ve ever done. To me, it was a lesson in not overthinking things; I just went in and let my gut guide me.
“We recorded this album at a studio called Farm Fresh, which is right down the street from my house,” he continues. “It’s in the shade of the oldest poplar tree in Indiana, and there’s a graveyard next to it and train tracks run across there. In fact, I think you can hear the train on one track on this record. The studio’s in an old church, and the main sanctuary is the tracking room, so the haunting reverb that you hear is that room.
“We used a lot of vintage gear in the recording. I love that organic sound, and I’m always chasing that in everything I do. I just like things that feel timeless. Feeling timeless to me is way more important than feeling old. When you try to make something sound old, you’re trying too hard.’
That lifelong pursuit of musical authenticity was instilled in his musical consciousness while Peyton was growing up in rural Indiana, where his early love for blues, ragtime, folk, country and other traditional styles gave him a sense of direction that would soon manifest itself in his own music. He and the Big Damn Band won a large and loyal fan base, thanks to their tireless touring efforts and high-energy showmanship, along with such acclaimed albums as Big Damn Nation, The Gospel Album, The Whole Fam Damnily, The Wages, Between the Ditches, So Delicious and the Charlie Patton tribute disc Peyton on Patton.
Despite his prior achievements, the Rev views The Front Porch Sessions as a personal creative milestone.
“This record’s very personal for me, because so much of it is just me,” he says. “The Big Damn Band is on there, but it’s mostly me. Breezy (Breezy Peyton, washboard) plays washboard on a couple of songs, and Max (Maxwell Senteney, drums) plays a suitcase drum set that we put together in the studio. It’s a snapshot of the week we spent in the studio, but it also represents a lifetime of me building up to it.”
The Front Porch Sessions has also spawned a series of audio-vérité companion videos, many of them shot on the Rev’s actual front porch, that embody the album’s intimacy and immediacy. “A lot of these songs started on the porch, and that’s what the videos are,” he says. “I’d be pickin’ and go, ‘I like the way this sounds, let me get my camera.’”
Reverend Peyton has already begun to integrate The Front Porch Sessions’ spare approach into the Big Damn Band’s expansive live shows, which are renowned for their intensity and abandon.
“In a lot of our shows in the past few years, we’ll take a break and I’ll come out and do a song or two by myself,” he explains. “That brings things down and allows me to do some songs like this. We’re definitely gonna be doing more of that, so there’s definitely gonna be moments in the shows where you’re gonna hear a lot of these songs. We may also do some Front Porch Sessions shows, and maybe present some of our other songs in a more stripped-down way. We did one earlier this year as kind of a test, and that worked really well.
“Over the years, our shows have gotten more dynamic,” he continues. “The ups are more up and the downs are more down. That’s something that’s important to me. If I go and see a show and someone’s just standing there and staring at their feet and singing their songs, I feel insulted. That’s not a performance. I want to know that you’re living that song, not just regurgitating it. I don’t think artists should seem like they’re too cool for their audience.”
The Rev’s dedication to delivering the goods on stage is reflected in his flamboyant performance persona. “The Rev is me,” he states. “Sometimes that freaks people out, because the person who’s on stage is exactly the way I am offstage. I don’t know how to separate myself from my music, because it’s so personal to me. My mom calls me Rev; it’s been my nickname since I was a teenager. It was a name that was given to me by some friends, and it sort of stuck.
“I’m one of those people who feels everything really hard, for better or worse,” he continues. “If I’m angry, I’m really angry. If I’m sad, I’m really sad. If I’m happy, I’m really happy. So onstage, I tap into that. There are certain songs that I can’t play on some nights, because they’re just too sad. That may be the rantings of a crazy person, but it’s the God’s honest truth.”
With The Front Porch Sessions showcasing his expanded musical palette, Reverend Peyton is excited about bringing his new music to his fans.
“I really think it’s one of the best things I’ve ever done,” he asserts. “I’m interested in making hand-made American music, and the goal is to be timeless.”
With equal parts Orange County punk, honky tonk country, and a tip-jar full of rockabilly swagger, Reno Divorce strikes a unique chord of their own with their brand of punk rock and roll. The band’s longevity is no accident. Their fans simply won’t allow them to quit and pursue real careers. The fact that they’ve been voted the best punk band in Denver by The Westword Magazine in 2011, 2012, and 2013 can attest to their stalwart status in their home state. A successful Kickstarter campaign and a growing number of their faithful willing to have the band’s name tattooed on their bodies keeps them climbing back into the van for tour after tour. They’ve never been ones to rest on their laurels, though. To the contrary, Reno Divorce has 7 European tours and several US jaunts under their belt, supporting Reverend Horton Heat, The Queers, and US Bombs, among others.
Their well-crafted and skillfully executed songs call to mind Smithereens and Social Distortion, but a more aggressive tone lurks in-between the lines. A good hook is the bread and butter for these guys, and one listen is all it takes to realize you’ve got a band that truly stands out amongst the herd. Ten years strong and having graced some of the most legendary bars and stages around the world, they’ve played with almost all their punk heroes (ALL, Social Distortion, TSOL, Adolescents, Agent Orange, The Queers, X, The Blasters, Motorhead), and shared a tour bus with more contemporary heavy hitters like U.S. Bombs, The Bones, and Street Dogs. They’ve worked with the best behind the scenes, as well. Their latest record, “Lover’s Leap, was recorded by Blasting Room alumnus Felipe Patino and mixed and mastered at the legendary studio by Jason Livermore (Rise Against, ALL, Descendents). Their record before that, “Tears Before Breakfast,” received similar treatment, too. When you delve into their catalog, a strange feeling sets in…there’s no filler…no rehashing or redressing from the album before…no déjà vu or forced delievery. Instead, they find a way to up the ante with every record, growing musically with each outing and subversively injecting their will into whatever 3 chord progression it is you think you’ve heard before. The result is something familiar, yet foreign. And then there’s the lyrics…that’s what sets Reno Divorce apart. This is storytelling at its finest, with uncanny, almost pathological insight. From prince to pauper, sinner to saint, you always feel like you’re riding shotgun with the protagonist or anti-hero as their story unfolds.
With their 7 European tours being handled by M.A.D. Booking, their following continues to grow with each trip and makes their next appearance and return anticipated.
Among the many open air festivals they’ve played, like ‘With Full Force’, ‘Speedfest’, and ‘Rock’n’Ink Festival’, Reno Divorce has shown their fans that they are at home on a massive stage or in a seedy, whiskey-soaked dive. Always captivating live, and wrought with more hooks than a tackle box, Reno Divorce has carved out a reputation as ‘the real nitty-gritty’ and true ‘musician’s band’ that pushes the envelope with every release. Brent Loveday’s deft songwriting and clever storytelling are brought to life by the bands solid and capable musicianship.
(Biography taken from www.renodivorceband.com)
4483 Logan Street
Denver, CO, 80216