The Bowery Ballroom
Bob Schneider

Bob Schneider

Wheeler Brothers, The Wind & The Wave

Fri, July 26, 2013

Doors: 8:00 pm / Show: 8:30 pm

The Bowery Ballroom

New York, NY

This event is 21 and over

Bob Schneider
Bob Schneider
With the release of his latest album Burden of Proof, Bob Schneider breaks new ground. Exploring
loss, lust, love, dark desires and skeptical optimism, Schneider has crafted lyrically and musically,
his most ambitious and sophisticated album to date.

Born in Michigan and raised in Germany, Schneider was playing music and creating art from the
time he was four years old. “I was left-handed, but the nuns at my Catholic school forced me to
write with my right hand,” Schneider reflects. “But I still like to think of myself as left-handed. I’ve
always thought of myself as a round peg in a square hole sort of person. Like I just didn't quite fit in.
I was socially awkward and I think that led me to finding solace in imaginary worlds that I would
create in my art and music.”

At age ten, Schneider’s father, an opera singer by trade, dressed him in a leisure suit and took him
along to gigs where they’d perform jazz standards and other hits from the 1940s-70s.
Schneider spent his college years as a fine arts major, but dropped out to move to Austin and pursue
a music career after taking to heart the words of singer-songwriter Terry Allen. “I remember him
saying ‘If you’re going to do art, drop out of school and start doing your art and living your life
‘cause your degree’s not going to make a difference.”

So Bob Schneider blazed into Austin and has been packing houses and winning over
audiences ever since, firmly claiming his place as one of the most sought-after entertainers in the live music capital.
Schneider sells out venues coast to coast from New York, Chicago Minneapolis and Baltimore to
LA, Seattle, Portland and San Francisco. His live shows are playful and raw, while on stage
Schneider commandsthe room. He’s charismatic and friendly, bantering with his bandmates and
heckling the audience. As he launches into each song with his whole being, the audience is instantly
transported, tumbling through the dark recesses of his imagination.

Much like Jack White and Ryan Adams, Bob Schneider has mastered the art of keeping his
audience on their toes, never knowing what will come next. Schneider dances to the tune of his own
drum and the beat changes from album to album. With Burden of Proof, he has elevated his game
once again, creating a brilliant and elegant album. “Some folks might think that I'm taking a big risk
musically by getting away from the more easily accessible pop songs of the earlier records,” said
Schneider. “But to me it seems like a natural progression that is more subconscious than conscious

Schneider’s songs and albums thrive on the element of surprise, and the tracks on Burden of Proof
are no exception, sure to be a crowd favorite, “Unpromised Land”—the first single off the album—
packs all the energy of a Schneider performance into one fierce, rocking anthem. An instant stand
out, “Swimming In The Sea,” captures the out-of-body, spine tingling magic of falling in love.
Schneider adds, “I love love songs that go against the grain of what it means to be in love and how that's supposed to feel.
It's rarely a walk in the park for me and ‘Swimming in the Sea' (which is something that I'm deathly afraid of)
sort of captures the wonder and terror of being in love and not having any control over it all.”

Other highlightsinclude the Leonard Cohen-esque “Digging for Icicles” highlights Schneider’s vast
vocal range, his voice dropping as the song descends into mournful meditations. “The Effect,”
gospel-inflected and danceable, evokes Graceland-era Paul Simon. With the deceptively simple
“Tomorrow,” the album’s only cover, Schneider offers a stunning re-vision of the classic showtune,
raw and unguarded. Amidst the hope-tinged despair of “Wish the Wind Would Blow Me”
Schneider tosses out what amounts to a playground insult, “I wish your mom was ugly/ And your
dad was ugly too,” but then deftly twirls it into a disarmingly charming love note, “Then they
couldn’t have had a girl/ To be as beautiful as you.”

Nearly every track on Burden of Proof features string arrangements composed by Schneider himself.
The album also showcases Schneider’s decades-long creative relationship with the Tosca String
Quartet. Schneider first paired with the quartet on “Love is Everywhere,” the hidden track off of his
award-winning album I’m Good Now. At the time, Schneider wrote a string arrangement for the
beautifully devastating “Weed Out the Weak.” That fan favorite has finally found a home on
Burden of Proof, positioned amongst sensual charmers, danceable bursts of fire and bounce, and
contemplative sojourns.

Longtime fans will recognize Schneider’s trademark fusion of eclectic musical styles, innovative
compositions, and intricate, emotion-filled lyrics. Schneider croons, drawing listeners in with the
promise of romance. Then the energy shifts, the strings swell, and the songs turn seductively tangy,

Veering away from the traditional music video model, Schneider is instead honoring the cinematic
feel of Burden of Proof by engaging the talents and artistic vision of twelve film directors. Directors
include internationally renowned filmmaker Robert Rodriguez, who shot the video for Schneider’s
AAA Radio hit “40 Dogs (Like Romeo and Juliet)” from his 2009 album Lovely Creatures, and
award-winning photographer and director Dan Winters, whose photograph and drawings grace
Burden of Proof’s cover and liner notes.

Schneider’s artistic exploration is not limited to the stage or the studio. He is also a celebrated
sculptor, painter, and poet with two published books of poetry and art and another one forthcoming.
With Burden of Proof,Bob Schneider delivers a much-heralded explosive addition to his already
expansive artistic canon, a work of sophisticated craftsmanship and a wild ride to boot.
Wheeler Brothers
Wheeler Brothers
“Long, Hard Road,” the first song on the Wheeler Brothers’ first album and a title that gives you a pretty good indication of where this Austin, Texas five-piece feels most comfortable. Indeed, although they’re five-time Austin Music Awards winners who’ve never played a hometown gig that hasn’t sold out, the Wheelers view the world as one big stage.

“We’ve always respected the bands that just get out there and work their asses off,” says singer-guitarist Nolan Wheeler, who adds that the band’s goal this year is to play 200 shows by Christmas. “There’s really no better way to create a connection with your audience.”

Nor is there any better way to refine your music—to find yourself in it and discover what makes it yours. That’s precisely what the Wheeler Brothers—who also include bassist Tyler Wheeler and drummer Patrick Wheeler, along with guitarist Danny Matthews and lap-steel whiz A.J. Molyneaux—have done over the past two years, honing a unique roots-music sound has described as bringing “a bit of the enthusiasm and flavor of The Arcade Fire into their Texas-tinged Americana” and Carson Daly has called “…music at its finest. Rock & roll with a bit of twang…”

They’ll be the first to tell you: Portraits, the group’s remarkable debut, arrives steeped in tradition, with a sound as rich as Southern soil with echoes of Willie Nelson and Townes Van Zandt, not to mention more recent trailblazers such as Wilco and Radiohead. (And let’s not forget Western swing institution Asleep at the Wheel, whose frontman Ray Benson released Portraits on his Bismeaux Records.)

But in these rough-and-tumble songs of home and heartbreak, fortune and family, the Wheelers tell their own stories, as well, drawn from their experiences as young men with old souls. In “Call Me in the Morning,” a propulsive rocker with fuzzy guitars, they channel the exuberant innocence of one’s salad days, while the quieter title track paints a heavy scene inside a hospital room; elsewhere, they envision life from different perspectives, as in the horn-enriched “Spent Time,” which ponders the way a just-released prisoner might greet the sky.

The Wheeler Brothers’ yarn-spinning dates back to their high-school days, when they first began jamming at the Wheelers’ place. “We’d just be in there, drinking beers, having fun,” A.J. remembers. Upon graduation, the lap-steel player enrolled at the University of Texas, while the band’s other four members went off to Louisiana State University; they played together during their time there, but things didn’t lock into place until their return to Austin, at which point A.J. rejoined the group and the quintet began playing around town.

“The support we’ve gotten from the community here has just been incredible,” Tyler says, and it’s that solid base—coupled with their extensive social-media presence—that’s allowed the Wheeler Brothers to venture out, wowing audiences around the United States between recording sessions for their upcoming sophomore disc.

“For us it’s just about writing great music, playing killer shows and staying in touch with our fans,” Nolan says. (To that end, the Wheelers travel with a special cell phone anyone’s welcome to call for a chat. Seriously, give it a whirl: 512-983-5934.) Of the new album, they can’t say much yet, except that it’s sure to reveal an evolution of one kind or another.

“I think we’re constantly in a place where we’re developing our sound,” Danny says, calling to mind again that long, hard road. “We’ll always be striving to make it more our own.”
Venue Information:
The Bowery Ballroom
6 Delancey St
New York, NY, 10002