Everclear w/ Chapell & DJ Alex Kayne
General Admission – Standing Room
• $37.50 Advance / $45 Day of Show
• Limited Seating Available First Come, First Served
VIP Side Wing Seating
• Includes Guaranteed Seating in Designated Section
• Full Dinner Menu Available
• All Ages
Considering Everclear has written and recorded some truly iconic ’90s alt-rock hits, it would be all too easy these days for the band to be a victim of its past successes, relegated to performing as a glorified jukebox, existing to satisfy the nostalgic cravings of Gen Xers everywhere. But singer-guitarist Art Alexakis isn’t about to start phoning it in now.
Although the band hasn’t released a new studio album since 2015’s triumphant Black Is The New Black, Everclear continues to tour actively. And while it’s a virtual surety that no Everclear gig is complete without a rendition of “Santa Monica” and “Father of Mine,” lately the band has found that exploring the full range of past material—especially the “deep cuts”—not only gives fans a rare treat, it also injects new life into the band’s live dynamic.
“By mixing it up and digging into the catalogue, it still makes it fun and relevant for us, and I think for the fans as well,” says Alexakis. “It’s still important to play the hits, but by playing those other songs as well, it makes it all seem more vibrant and real. Even though I recorded some of those songs 20 years ago, I haven’t played them in a long time, so it’s like reinventing the wheel. I’m having more fun now than I have in years. I think all of us are.”
Alan Chapell is a unique character – even by quirky the standards of the West Village, NYC. The product of years of traveling the world, honing his craft and moving through several musical genres, Chapell’s lush sonic pallet falls somewhere between the progressive pop rock of Bryan Ferry and pre-indie rock nuance of 10,000 Maniacs.
Growing up on the “mean streets” of Stamford, Connecticut, Alan was something of a musical wunderkind – playing piano and trumpet before the age of six. He recorded with the legendary producer Jimmy Ienner at age 15, and more recently with Talking Head Jerry Harrison. He’s played to jam-packed houses around the world from Mumbai to Managua. It took Chapell a while to get to this point, but audiences across the U.S. are starting to take notice in a big way.
What’s perhaps most interesting about Alan is that, along with his musical success, he’s carved out a niche advising tech companies on privacy issues. When the producers of HBO’s Silicon Valley consider creating a character to lampoon your role in the tech space, you know you’ve made it. Chapell is now drawing comparisons to Roger McNamee’s Moonalice as each have one foot firmly planted in both the tech and music worlds – and each are vocal critics of the privacy practices of Facebook.
CHAPELL’s newest LP, Penultimate, is the closest he’s come to bridging his innate musicality with the perspective gained wading neck deep through the rise and fall of the Internet age. Chapell’s music evokes the naïve optimism of the early Internet age and juxtaposes that with the more current reality as we approach constant surveillance. “Ride,” the first song on Penultimate, somehow manages to be both optimistic and dark – asking “if you’re hanging on just long enough to watch it all burn down.” Similarly, in “I am Zuck” Chapell parodies the never-gonna-happen confession of Mark Zuckerberg – at times using Zuck’s own words to take him down. And if you’ve paid any attention at all to what’s currently taking place in the tiny Central American country of Nicaragua, you’ll find “Sandinista” to be nothing short of chilling.
Chapell balances dystopia and totalitarianism with an almost child-like sense of fun on tracks like “the Radio” (“I kissed the DJ”) and “Yes We Can.” And Chapell delves deep into the past in “The Girl with Blue Eyes” – a song that opens with a shoegazer groove that would make the Cure’s Robert Smith proud and ends in a cacophony of post-punk noise.
On making music in 2019 Chapell now says, “I feel like I’m discovering myself as an artist in a way I never could have earlier in my life. For too long, I bought into the notion that I couldn’t become a successful artist in my 30’s – and it was liberating to recognize how foolish that was. The most invigorating thing is that I don’t feel I’ve written my best song yet. I know who I am now and I am excited that I am nowhere close to my peak.”