Hand Habits – Tickets – Mississippi Studios – Portland, OR – March 25th, 2019

Hand Habits

The sophisticated, deeply compelling project of songwriter Meg Duffy (Kevin Morby band) with new LP

Hand Habits

Tomberlin, Mega Bog

Mon, March 25, 2019

Doors: 8:00 pm / Show: 9:00 pm

$12 ADV / $14 DOS

This event is 21 and over

Mostly Standing / Limited Balcony Seats

Hand Habits
Hand Habits
Meg Duffy hasn't stopped moving, working, or growing since she left her quiet childhood home in upstate New York. You can find her in the back of the van reading a book, quietly warming up backstage with some guitar workouts, or waiting tables at a neighborhood pizzeria. Though Meg didn't pick up the instrument until she was seventeen years old, her intuitive, naturalistic musicality and commitment to the craft of guitar playing have made an in demand collaborator and guitarist for countless indie acts (Kevin Morby, Mega Bog, Weyes Blood) and kept her between the road and the studio for almost three straight years. Like much of the richest art, Meg's LP debut Wildy Idle (Humble Before the Void) (Woodsist 2017) ​is many things at once. The record is a collection of songs written amidst the constant motion of touring, recording, and working part-time jobs; recorded at home in North East LA between other commitments, around the sounds of roommates cooking breakfast, and dogs pattering though an old craftsman house. Layered with Duffy's signature extended guitar techniques, poems read by friends, and musical contributions from contemporaries like Keven Lareau (Quilt), Avi Buffalo, Sheridan Riley, and others, the album combines striking visual storytelling and compelling melody with a deceptively light touch. Drawing on diverse influences ranging from novelist Iris Murdoch to Phil Elverum's seminal work under his Microphones moniker, this album is more than the sum of its parts. Like a folded paper fortune teller, each listen reveals a new, hidden truth about living, working, and falling in and out of love buried in the quietly beating heart of the record. Dark, pulsing tracks like the intoxicating "Bad Boy" sit comfortably beside sunny strummers like "All The While" with its bouncing bass line and beguiling lyrics. The thread that runs through all these songs is Duffy's voice, in turns languid and sweet, and always telling a story. Mixed and mastered by contemporary electronic music maestro M. Geddes Gengras, the result is an LP as hypnotic as Hand Habit's impossibly immersive live set, and filled with the same engaging blend of wild improvisation and perfect restraint. Expansive, atmospheric arrangements punctuated with intricate melodic details. This record is indoor music at its finest: listen in the morning, in bed with your partner, in the kitchen while you make coffee, at night when you read on the porch.
Tomberlin
On her deeply moving debut album At Weddings, Sarah Beth Tomberlin writes with the clarity and wisdom of an artist well beyond her years. Immeasurable space circulates within the album’s ten songs, which set Tomberlin’s searching voice against lush backdrops of piano and guitar. Like Julien Baker and Sufjan Stevens, she has a knack for transforming the personal into parable. Like Grouper, she has a feel for the transcendent within the ordinary.

Born in Jacksonville, Florida, and now based in Louisville, Kentucky, Tomberlin wrote most of At Weddings while living with her family in southern Illinois during her late teens and early twenties. At 16, she finished her homeschooling curriculum and went to college at a private Christian school she describes, only half-jokingly, as a “cult.” By 17, she had dropped out of school, returned home, and begun to face a period of difficult transition in her life. The daughter of a Baptist pastor, Tomberlin found herself questioning not only her faith, but her identity, her purpose, and her place in the world.

“I was working, going to school, and experiencing heavy isolation,” Tomberlin says of the time when she first began writing the songs on At Weddings. “It felt monotonous, like endless nothingness. It was a means to get through to the next step of life.” In songwriting, Tomberlin found relief and lucidity she had trouble articulating otherwise. When she was 19, she wrote “Tornado” on her parents’ piano, and began to develop confidence in her music. A year later, she had written enough songs to fill an album.

Throughout At Weddings, Tomberlin’s lyrics yearn for stability and belonging, a near-universal desire among young people learning to define themselves on their own terms for the first time. “I am a tornado with big green eyes and a heartbeat,” she sings on “Tornado,” her voice stretching to the top of her range. Rich, idiosyncratic imagery — a fly killed with a self-help book, brown paper bags slashed violently open, clouds that weep over a lost love — sidle up to profound realizations about learning to be alive in this world. “To be a woman is to be in pain,” Tomberlin notes on “I’m Not Scared.” On “A Video Game,” she muses, “I wish I was a hero with something beautiful to say.”

Tomberlin cites the hymns she grew up singing in church as her greatest musical influence, and while At Weddings in many ways documents the unlearning of her childhood faith, it’s easy to hear the reverential quality of sacred music in her songs. “A lot of hymns talk about really crazy stuff — being saved from the depths and the mire, judgment. When you actually realize what you’re singing, it becomes really overwhelming,” Tomberlin says. “I grew up singing in church. I was still helping to lead worship when I started coming to terms with the realization that I didn’t know if I believed. I felt nauseous and shaky reading these words I was singing and feeling their intensity. If I did believe this, how could I sing these words without being scared out of my mind? That’s what’s influenced how I write.”

At Weddings is laden with reverence for music itself, for the power it has to heal others and help people navigate their lives. It is a record about learning to love oneself and others without reservation, from a place of deep sincerity — a lifelong challenge whose tribulations Tomberlin articulates beautifully. “My number one goal with my music is for honesty and transparency that helps other people find ways to exist,” she says. With At Weddings, this remarkable young songwriter offers up comfort and wonder in equal measure.
Mega Bog
Mega Bog
Mega Bog is the moniker of song-dribbler Erin Birgy, a Pacific Northwest rodeo child with an unmistakable laugh who was allegedly cursed upon conception. Over the past 8 years the band has stretched and wandered in a crescendo towards musical freedom. Now based in New York City, Birgy has adopted a band of wiggly jazz cartoons lifted from bands like Big Thief, iji, Big Eater, Causings, Hand Habits, Heatwarmer and others.

Melodies always lush, erotic and free. Chords always dissonant, abstract and evolutionary. On their 2013 album Gone Banana, Bog settled into their homemade cloud of pop and jazz. Spreading the discs around the world over countless tours of dim zones. On their new bug, Happy Together, Mega Bog leapfrogs further into the storm. Dizzying fusion of lounge, pop and bouncing rocks under poetic tantrums of love gone all the way wrong. Listen closer.