Caitlin Canty (Shane Leonard supports)
Saturday April 22, 7:30pm
Caitlin Canty delivers her songs with a dusky alto and a 1930’s Recording King guitar. Her breakout record Reckless Skyline features songs that veer nimbly between country ballads and straight-up rockers, dark blues and sparsely arranged folk. Produced by Jeffrey Foucault, Reckless Skyline garnered glowing praise from NPR, and The San Francisco Chronicle lauded Canty’s, “casually devastating voice and unshakable poise,” and her “easy way with folk, blues and country motifs.” Canty won the 2015 Telluride Troubadour songwriting contest, and she writes and performs with several bands including Down Like Silver, her duo with Peter Bradley Adams. Both on the road and on her records, Canty creates a sound that harnesses the grit and spark at the very heart of American music, tempered with a voice both haunting and distinct.
Shane Leonard is a multi-instrumentalist and composer living in Eau Claire, WI. Over the past few years he's toured the UK opening for Jeff Tweedy, worked with Field Report, Larry Campbell (Bob Dylan, Paul Simon), Justin Guip (Levon Helm Band), The Stray Birds, Sara and Sean Watkins (Nickel Creek), Todd Sickafoose (Ani DiFranco, Andrew Bird) and more.
Now increasingly sought-after as a producer and player, Shane Leonard began his relationship with music very early, sitting-in on drums as a kid at jazz sessions in Milwaukee and Chicago. From there it was classical percussion lessons with players of the Milwaukee Symphony Orchestra and legendary percussionist Jim Sewrey. After college he embarked on a journey across Appalachia to learn banjo, fiddle, and hundred-year-old songs in the presence of masters Clyde Davenport, Lee Sexton, Frank Lee, Bob Carlin, and Joe Newberry.
These influences come together in the record, Printer's Son (under the moniker Kalispell), which Leonard crowd-funded by independently raising over $15,000 on Kickstarter. Connecting an improvisational heart with meticulously constructed arteries of melody, it eschews the stomp-clap boom-chuck trend of indie-folk, instead giving nods to the entranced sonic tapestries of Phillip Glass and lyrical sophistication of Paul Simon.