Saturn Presents:



Thu. May 3, 2018

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


$20.00 - $22.00

This event is 18 and over

Andrew W.K.
Andrew W.K.
It all began with a feeling.
Of being alone and wanting to belong.
Of wanting to share that feeling of belonging.
And experience the euphoria of bonding with others.
The feeling became a dream.
To make the most exciting music imaginable.
Music that embraced and celebrated life in all its facets, electrifying and uniting everyone
who heard it.
The dream attained reality in major chords pounded out on piano, an unrelenting four-to-
the-floor beat, a set of dirty whites, a bloody nose.
And found its voice with these words:
"When it's time to party, we will party hard."
It's safe to say, nobody has partied harder, longer or more fervently than the undisputed
King of Partying himself, Andrew W.K.. A one-man music machine possessed of a
single-minded, monomaniacal focus to spread a singular message:
That to party is to exist.
And to exist is to party.
This mission he embarked upon in 2001, with the release of his debut single and
signature tune "Party Hard," and has never swerved from since. Released the same
year, his debut album I Get Wet, an instant, ageless classic, was a full-throated
declaration of that hedonistic intent. Twelve songs, no ballads, delivered at breakneck
speed and with maximum intensity from beginning to end. All the bluntness, passion and
classicism of rock 'n' roll, boiled down and purified to its base elements.
Power. Movement. Melody. Emotion. Noise.
A sound simultaneously life-affirming, enervating and overwhelming.
A sound that obliterates ego and bludgeons self.
As an artist, he seemed to have emerged out of nowhere, fully-formed right out of the
box, with an image, a style, and a sense of purpose that set him far apart from his peers.
If that seemed to good to be true, then maybe it was. Andrew W.K., the critics opined,
was either the savior of music or its biggest fraud. Either deadly serious or an elaborate
prank. None of which bothered the fans who took up the mantle of the Andrew W.K.

ethos, to live every moment as if it was simultaneously their first and their last. Live
shows, backed by a six-piece band of hard-driving musicians, became a collective
celebration of unbridled joy that often turned entire dance floors into a giant, whirling
circle pit of jostling bodies, with sweat and hair flying, and ended in a mass stage
invasion that tore down the boundary between artist and audience.
Two years later came The Wolf, an album that doubled as a manual for self-realization,
blending the personal with the philosophical, drawing on the past to forge a path towards
the future, then folding back on itself like a Möbius strip, invoking an existence with no
beginning, no end, seamless. From this point on, his fans became his friends and allies
in a cause undertaken purely for its own sake; an idea explored further in a 2004 MTV
series, Your Friend, Andrew W.K., where he offered himself up as cheerleader and life
coach, helping others to realize themselves and their dreams.
A third album in 2006, Close Calls With Brick Walls, as ambitious in scope and sound as
it was oblique in theme and tone, suggested an artist who seemed to have freed himself
from all the restrictions placed upon him, by himself and by others, who had peered into
a looking glass and seen... his mirror image, staring back. Everything that he was and
everything that he wasn't, merged into one. A series of reflections arching backwards
into infinity. Multiple images of a face with the same forced smile. As if Andrew W.K., the
performer, had been replaced by a different person entirely.
The rumors that had persisted since the very beginning of his career, began to multiply
and take hold, begging the question: not who is Andrew W.K., but what is Andrew W.K.?
A person, a persona, a wig. An entity, a corporation or a symbol. An enigma behind a set
of initials.
That question would remain unanswered as, over the next decade, Andrew W.K.
adopted a dizzying array of roles that took him into virgin territory for a rock 'n' roll
musician, establishing a unique place for himself in popular culture, as a ubiquitous
celebrity presence, while at the same time calling into question the very nature of that
celebrity. Advice columnist, university lecturer, and children's game show host. Nightclub
impresario, talk radio personality and talk show guest. Motivational speaker and cultural
ambassador. Performance artist and magician's assistant. Party philosopher and
weatherman. He was all these things and more.
Now, as he readies the release of a brand new album of rock music, his first in over a
decade, and prepares to embark on his first full-band tour in five years, Andrew W.K.
has come full circle to celebrate a party still raging strong.
A party that is now and forevermore.
Because the party never dies.
Blasted grassland, the thin ribbon line of the freeway unspooling beneath wheels, skies stretched wide between mountaintop.It is dream music, foggy, atmospheric, the melodies you hear while you gazing out through fingerprint smeared windows into a constantly moving, metamorphing -landscape....It makes sense then, that BRONCHO, born out of out a film project, its initial incarnation sparked when founder Ryan Lindsey was asked to create music, “to set to an early 80s punk film.” “That’s all I knew about it,” he remembers, “they were looking for songs that touched this era. And songs kept coming to me and turned something on inside of me artistically.”Lindsey found himself in the midst of prolific run of songs and heliked the idea “of starting out there and seeing where it could go.”What’s evolved from those first tracks there has been a steady run of success, critical accolades and two full-length albums; 2011’sCan't Get Past the Lips, 2014’sJust Enough Hip to Be Woman.And beneath it all –the music has been constantly mutating and ceaselessly experimental. From that first inception as a soundtrack in 2010, BRONCHO has taken on a life of its' own –initial inspiration still there, but now pushing far beyond the stiff confines ofscore. And what began as an ode to ramshackle, high-energy early punk has become something deeper, weirder, and much more nuanced.The undercurrent of early 1980 punk is still there, but The Ramones pogo has been replaced more often by a kind of Love and Rockets inspired, honeyed, cotton-mouthed drift.Double Vanityis Lindsey and band mates Ben King, Nathan Price and Penny Pitchlynn steadily moving ahead, transforming the raw angst of the first record into a sound decidedly more layered and complex.Tracks like“New Karma"or “TwoStep"riff off the later explorations of punk, culling up refracted images of John Hughes prom nights, love songs echoing from a boom box held high. "Jenny Loves Jenae"and "Speed Demon"strut with an when 80s met 50s swagger, discord transformed into a jagged, frenetic pop. "SeñoraBorealis" is all bad boy sneer -sensual, moody, with a sly and predatory swagger. "I Know You"is simultaneously infectious and brooding, somehow both exalting and heartsick.
The result is a record that veers gleefully from BRONCHO’s roots, moving from graffiti spray backrooms into a sleeker, plusher sound, a place bright with the polished gleam of chrome and bleached white sunlight.Close your eyes and what you feel is the raw wound pulse of adolescence, what you see behind your lids is suburbanshopping mall wastelands, glazed eyes, dead grass, lips glossed in bubblegum pink. There is the burst chest thump of teenage longing, the smell of hairspray and cigarette.There is glow of neon and the glint of streetlight rolling across hood.Double Vanityevokes a shared nostalgia, for the past and for the unknown future, as BRONCHO takes a turn off the wide freeways and into a world of intimate, intricate -but always universal -emotion.
Venue Information:
200 41st Street S
Birmingham, AL, 35222