The Bowery Ballroom
Ed Sheeran

Ed Sheeran

Rosi Golan

Mon, June 11, 2012

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

The Bowery Ballroom

New York, NY

$18 advance / $20 day of show

Sold Out

This event is 16 and over

Ed Sheeran
Ed Sheeran
How does the school geek, famed for his ginger hair and massive blue NHS specs, go on to win the support of the hard-to-please grime scene and bag hoards of screaming females along the way? Follow the Ed Sheeran School of folk acoustic hip-hop thought. Nineteen-year old Ed, the son of two happily married former art exhibitors, was never going to be defeated by his gingerness, poor eyesight and lack of hearing in one ear. But this childhood, which Ed describes as "slightly depressing", instilled in him balls of steel and a wicked sense of humour (hence why he now wears a lot of orange).

"I remember during the yoyo craze my mum wouldn't spend £8 and made me one out of jam jar lids and string. Can you imagine taking that to school? But now I see it was cool and I realise how amazing my parents are for not giving me that stuff - all the kids I knew with everything aren't really in a good place right now." It was a chance meeting with Damien Rice that led to the then 11-year old Ed's foray into songwriting. Meeting his idol backstage at a gig in Ireland he heeded Rice's words of advice and wrote his first song the next day. Soon after he began selling CD's, recorded on an eight track in the confines of his bedroom, with the initial earnings going on Coca Cola and Twix's. His first five-track EP, The Orange Room, came not long after, but It was during the summer holidays, aged just 14, armed with the support of his parents, a backpack, guitar and a spare set of underwear, that he headed to London for the summer holidays. A chance meeting with Julian Simmons (Guillemots), in a Limehouse studio, led to Ed's self-titled debut album been born, with another Simmons-produced release, Want Some?, following a year later.

Adding to his repertoire, beat boxing, rapping and the loop pedal became a staple part of his formula. Garnering the attention of a large management company, he soon became a regular face on the acoustic circuit (despite frequently having to sneak in the back door due to his youthful stature). By this point he'd also landed a job as a roadie with Nizlopi ('JCB Song'), jetting off at every opportunity to change their guitar strings. "I did a cover of one of their tracks on YouTube which they saw and liked. They invited me to join them on tour and I learnt everything I know about singing, song-writing and live music from them." Other musical influence comes from hearing his parents playing The Beatles, Van Morrison, Joni Mitchell and Planxty on road trips, and personal favourites like Foy Vance, Nizlopi and anything with hip hop credentials. Despite his hectic diary leaving little time to study, Ed managed to bag his GCSE's, including five A's and an A*, and still excels in the arts, with jewelry craft one of his few hobbies.

With formal education on a back burner, it was the 16-year old Ed who became a resident of London town. Meeting producer and songwriter Jake Gosling on his first day, recording began immediately, with his track about moving, 'The City', going on to feature MC Scorcher and receiving heavy rotation on 1Xtra. Tinchy Stryder's co-hort's Ruff Sqwad called not long after, requesting Ed to star on 'Without You'. Gigging daily for the entirety of his first year in the Big Smoke, he performed at integral nights like Soundbites, alongside the likes of Mr Hudson, Joe Driscoll, Get Cape.Wear Cape.Fly and Jamie Woon, selling albums to get by. Support slots ensured for The Noisettes, Jay Sean, Gabriella Cilmi and Nizlopi, further boosting his CV. With 100's of songs on his hard drive, 2009 saw the road testing of the new material begin with another 312 gigs in the diary. Celebrity fans now range from Goldie ("I've been working with him ever since we met at a gig"), Pixie Lott (who's also a good friend) to Wiley, Example and Elton John.

One of the more random twists in Ed's career came when Just Jack rang inviting him on his national tour. After the Shepherds Bush show meeting requests from Guy Chambers and the head of Universal Publishing led to Ed parting company with his management team. Three months later he launched the Loose Change EP and in January this year signed to the same management as musical moguls Lily Allen and Just Jack. Having recently discovered the art of grime, Ed is pulling in fresh influence and looking to collaborate with a number of the scene's stalwart fixtures as well as jetting off to LA to work with Iglu & Hartly. Demonstrating his ability to re-jig songs of any genre with his Martin guitar, a recent song filmed for infamous online street music channel, SB.TV, has garnered 20,000 views in a week. "I feel like the lovechild of Damien Rice and Jay-Z, but not quite! My dream is to sellout Shepherds Bush. I look at people like Plan B who hasn't had loads of hits but has respect. His album will be listened to in a decade and that's what I want. Respect."
Rosi Golan
Rosi Golan
Rosi Golan didn’t so much choose to be a songwriter as much as it took her over. In many ways, Golan’s songwriting can most closely be likened to a storm, or a weather system that has come and stayed for the last decade of her life. In the years since this weather system has entered her life, it’s changed significantly – gaining elements and force as it travels across the topography of her emotional life. This weather system has reached its most lovely expression on Golan’s sophomore album, Lead Balloon, the culmination of two years, organized around the pain and joy contained within that space.



Unlike most, Golan didn’t dream of live shows and lyrics. At the age of 19, Golan found herself rudderless and unsure, reeling from the simultaneous experiences of both personal and communal tragedy. “My grandmother passed away, and it was not long after September 11th. I was trying to figure out what I was going to do with my life,” Golan explains. “I was having this thought while I was in a car – and a commercial came on for a guitar store.” Shortly thereafter, Golan found herself there, and, never having played before, purchased a guitar for the self-admitted worst reason ever: “I liked the color,” she laughs. It shouldn’t have worked out, but it has.



In the years since that fateful radio tuning, Golan has worked to refine and calibrate her sound, collecting new elements and shaping it in the places she finds herself. The Drifter & The Gypsy, Golan’s first album, generated several songs that were prominently featured on numerous television shows (including One Tree Hill and Private Practice) and in film (Dear John). Golan embarked on a series of tours on the strength of Drifter that sent the Israeli-born Golan traipsing the globe. Lead Balloon was written on breaks from tours over the past two years, Golan can hear the spaces the songs took shape in – there is the bone-damp of London, the constant buzz of Brooklyn, the arid wind of Los Angeles. Building on the success of the friendships that lead to her well-received debut, Golan continued working with many of the songwriters she co-wrote that album with. “Everyone who I co-wrote with has become like family,” says Golan. “Generally, the group of people I write with are people who I have a relationship with, who I keep in touch with. We spend time together outside of writing music together.” The emotional shorthand shared in the context of her friendships imbues the tracks with a warm ease, even if the subject matter lacks it.



If the relationships were what Golan wanted to carry forward on this record, its production was another matter. “I wanted to throw in some wrenches,” says Golan. “And I think those wrenches were thrown by Tony Berg.” Golan credits her producer with reframing her approach to making music. “Every song was its own entity. The only thing that glued the record together was my voice, and maybe the constant of an acoustic guitar.” With no strict structure to the sound of the album, Golan was freed to interpret each song as it came to her, rather than concerning herself as to whether it kept to an overall sound. As a result, the album moves fluidly between genres, containing songs steeped in Americana, clever pop currents running throughout, and thoughtful folk.



As much as Golan may have been working without a conscious idea, in retrospect she realizes there was some governing order to Lead Balloon. It wasn’t until Golan was finished that she realized the polarities contained on the album. If “Lead Balloon” serves as the album’s mission statement, album opener “Paper Tiger” is its contrast, a honey-vocalled kiss-off that chugs along to resolution through strings, triangles and a xylophone. In contrast, the gorgeous “Lead Balloon” borrows from the best of country music, with Golan harmonizing with a mournful lap steel buoyed by its steady beat. “That song came from a bad day I was having,” says Golan. Fortuitously, she was due to meet with co-writer and friend Natalie Hemby. “When we came up with the title ‘lead balloon,’ I thought no matter what happens, I’m pretty sure that’s going to be the title of the record.” The quietly stirring “Everything Is Brilliant” is a series of recollections, followed by its refrain, which serves as both a statement of fact and a wish.



In keeping with the twin polarities Golan sees on the record, there is as much joy on the record as there is pain, and with the output of loss, there is the input of hope. When asked whether the emotional depths reached on this record are ever difficult to plumb or painful, Golan explains that in the writing, there is catharsis. “Once you write the song and put it on the record, you put them out there and let them become somebody else’s. I’m going to see it to its completion, and I’ll send it off, and let it find somebody else.”
Venue Information:
The Bowery Ballroom
6 Delancey St
New York, NY, 10002
http://www.boweryballroom.com/