105.5 The Colorado Sound Presents


Sarah Jaffe, Bar-B-Que opens at 4PM!

Tuesday, 12/5

Doors: 7:00 pm / Show: 8:00 pm

$12.00 - $15.00

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!

Overcoats is the New York-based female duo of Hana Elion and JJ Mitchell. Their debut album YOUNG captures a sound rich in minimalism and melody: songs of connection and tension, on the depths of love and challenges of family.

Overcoats’ music draws strength from vulnerability, finding light through darkness, and the catharsis of simple, honest songwriting. YOUNG is about a transformation: the passage into womanhood, sung through the shared experience of two best friends.

On their first single “Hold Me Close,” Hana and JJ’s melodies are purity in unison, providing two distinct but entwined perspectives on the complexity of love. In their words, “the song is about finding solace in the present when the future and past seem impossible to understand. It’s about loneliness and disillusionment that we can feel in relationships, and how we must persevere anyway in hopes of finding the beauty in love.”

Elion and Mitchell were drawn to each other when they first met in 2011, finding connection in their diverse love of music and an immediate closeness that verges on sisterhood. Their meeting was transformative emotionally as well as creatively. Both halves of Overcoats describe the first time hearing each other sing as an epiphany: the harmony of their voices leading to personal, individual discovery. This bond forms the foundation of Overcoats, and it fills the ecosystem of YOUNG with its stunning sound and sentiment.

Album opener “Father” unfurls in clouds of three-dimensional sound: a cathedral of echo over waves of delay and the din of incidental noise. There is a rare resonance in Overcoats evident from these opening tones: between their separate (but inseparable) voices, flawlessly intuitive performance, and sublime musical production. Their harmonies slide from brassy to silken with elegant ease, floating over muted rhythms wrapped in lush swells of synthesizers.

YOUNG was written by Overcoats and co-produced by Nicolas Vernhes (Daughter, The War On Drugs, Dirty Projectors, Cass McCombs) and experimental R&B artist Autre Ne Veut, with additional production from Myles Avery and mixing by Ben Baptie (Lapsley, Lianne La Havas, Lady Gaga, Mark Ronson).

Their palette is stealth and simple electronics, with traces of folk, pop, and bluegrass embedded within. Like a spectrum from Sylvan Esso to Simon & Garfunkel, Overcoats creates music deeply rooted in emotion, and guided by the search for its innate expression through voice and electronics. Songs that began as bedroom creations flourished into rich but restrained productions, with careful craft illuminating the nuance of Overcoats’ unique songwriting.

On YOUNG, Overcoats creates music of mutual empowerment, at once synthetic and organic, wistful and uplifting, triumphant and subdued.

“The Fog” is a bay of lonesome, oscillating synth chords: its boundaries defined by the reflection of echoic finger snaps. Elion and Mitchell find clarity through a lovers’ haze, their stoic verses liberated by resounding chorus: Freedom is when I’m without you / When the fog lifts I’m the only one I see.

“Leave The Light On” layers looped and transposed vocals over thumping two-step 808 and punctuations of club-ready brass. Showing the true breadth of influence, songs like “Little Memory” and “Smaller Than My Mother” are laced with gospel and jazz, strands woven in with Vernhes’ and Autre Ne Veut’s natural touch.

YOUNG has a clear, vertical ambience that lets the topical vibration of the music shine through. This is the arrival of a magical collaboration: a rare unification of two hearts under one imagination. Elion and Mitchell are bound by absolute belief in one another, and the confidence that every creation is compelled by shared purpose.

Like its arc of transformation, from “Father” to album closer “Mother,” Overcoats captures the notion that we are the intersections of our parents’ greatest fantasies and biggest follies. YOUNG is a startlingly wise portrayal of these complexities: of love, on inspiration, and the legacy of family.
Sarah Jaffe
Sarah Jaffe is set to embark on the next chapter of a career a decade in the making with her 2017 release Bad Baby. An exercise in collaboration and artistic confrontation, Bad Baby’s origin story is rooted in willed, hard won conception. Bad Baby took time and it took work, like all good things.

“The period of time leading up to this album was a pretty dark one where I was creatively complacent and a time I wasn’t moving forward until I got, truly, the most impactful advice I’ve ever received,” Jaffe recounts from her home in Dallas, Texas. “The gist was basically — ‘You’re not 19 anymore and songs aren’t just going to come to you. There’s no muse, it’s work’ — I knew this already, but I suppose I was ready to hear it because a light bulb went off.”

“I didn’t have any inspiration because I was just waiting for it, which was kind of bullshit,” Jaffe deadpans.

This isn’t to say there weren’t plenty of moments of muse. Behind the mic on Jimmy Kimmel Live! or supporting such celebrated artists as Cyndi Lauper, Norah Jones, Chelsea Wolfe, Midlake and Metric; on international stages and in front of faithful Texas crowds — Jaffe would start to make the connections that bring us to her most recent evolution.

An important point of connection and a clear line to the venturesome tone of Bad Baby leads directly to Jaffe’s collaborative project The Dividends. The Dividends, the pairing of Jaffe with S1, a Grammy Award-winning producer known for his work with Jay Z, Beyoncé and Kanye West, saw her stepping outside of her comfort zone to satisfying new ends. Describing their meeting Jaffe recalls, “We bonded immediately. I met S1 while working with Erykah Badu's band The Cannabinoids on a remix. He asked me if I wanted to write some hip hop hooks together and Eminem ended up picking up one of our tracks six months later.”

“I had written for other artists before but that experience was really solidifying and I think the influence leaked into my own writing.” The bug for collaboration didn’t stop there and Jaffe has also gone on to score film projects with Pixar and Oculus.

When it came time to put the focus on her own work, Jaffe turned to an inner circle of musicians who helped shape what was forming and lend their influence and perspective. Produced by Matt Pence with co-producing credits from Jaffe and Scott Soller (Okkervil River, The Mountain Goats, John Vanderslice), the songs on Bad Baby reflect the range of influences Jaffe has been drawing from of late, condensing them into her smartest and most effervescent output so far.

“Synthetic Love,” defines a tone for what will clearly be a personal journey — lyrically vulnerable and sonically complex — the album begins with a love letter to the art and the artist and a permission slip leading us to the more surprising places the album may travel. In the album’s title track “Bad Baby,” our protagonist finds a catchy way to stand her ground in the metaphor, a recurring theme in an album that asks as many questions as it answers.

Jaffe’s wit and philosophical leanings intersect in a bright final moment transitioning from “Manifestations” to “Shit Show” — apt, since Jaffe has built a world that relies on subverting expectation.
Venue Information:
Globe Hall
4483 Logan Street
Denver, CO, 80216