AJJ @ 191 Toole

Psycho Steve & The Rialto Theatre Present

AJJ @ 191 Toole

John Congleton & The Nighty Nite, ROAR, Logan & Lucille

Aug 20 Sat

Doors: 7:00 pm / Show: 7:30 pm

191 Toole

$14.00 - $16.00

This event is all ages

General Admission

For their sixth album, garbage-pop veterans AJJ chose to reinforce their strengths and leave any limp frivolities behind. They reconvened with producer John Congleton, who oversaw 2014’s sonically expansive Christmas Island, but recorded and mixed the album in a mere nine days,having arranged most of the songs during tour sound checks and down-time in the van. This made for a confident stride into more elaborate arrangements and wider dynamics while staying just as dour. They also opted, amid some sensation, for the simplified band acronym (previously
Andrew Jackson Jihad). Singer Sean Bonnette told The AV Club that, among many reasons, thechange cleared a space for new imagery and allowed their music to define them, not their band
name. As a result, their new album, The Bible 2, is their most ambitious and assured collection of scuzzy punk screeds, employing even more production heft while sparing none of the vulnerability. The album’s mantra is placed right at the center: “No More Shame, No More Fear, No More Dread”. The Bible 2 finds the band choosing intimacy over isolation, gravity over the vacuum, the stage instead of the scene. The album is also an examination of boyhood from an adult distance, putting some of its tumult and pain to rest. It’s also the most impressive work of Bonnette’s, who has honed his confessional lyrical prowess into a punk inflected mire of Trent Reznor’s unrestrained turmoil, Jamie Stewart’s profane gallows humor and a touch of David Berman’s surreal quotidian imagery. Opener “Cody’s Theme” rings like Jay Reatard distorted with Neutral Milk Hotel neuroses (“I set the mommy on fire / I set the baby on fire / not even Jesus could stop me”). The character of Cody, a recurring Bonnette motif, returns as a kool-aid stained kid navigating transience, intrusive thoughts and involuntary delusion, brimming wild with destructive energy and having nowhere to put it. Elsewhere, cross-eyed metaphors float above the shredded acoustic Pixies tension of “Terrifier” (“Some days you’re a member of Queen / other days you’re a Kottonmouth King”), and some of Bonnette’s most intense grotesqueries (“My blood is worse than your blood / this heart pumps baby piss”) get bit-crushed into the lo-fi Guided By Voices pop of “My Brain is a Human Body”.
But Bonnette’s narrative skills, and the band’s growing nuances, have never been more heartbreaking than on “Junkie Church”, a tender acoustic tale about affection and companionship on the lowest rung of society (“I used your ribs as ladders / and I climbed up on your chest / and I jumped up and down just like a trampoline” Bonnette sings). Preston Bryant’s synth, Mark Glick’s cello and Ben Gallaty’s bass are employed to haunting Leonard Cohen-like production ends, staccato plucks and serrated chords hiving like gnats then quickly dissolving into darkness.
This cinematic arrangement also bolsters the power-folk epic “Small Red Boy”, organ heaves and cymbal swells coloring Bonnette’s vivid story of rebirth. Near the album’s midpoint, right after spelling out their thesis, AJJ pounds through the jangly
throb of “Goodbye O Goodbye”. The song is a cathartic fever dream, the band walloping furious chords, a kiss-off to so many things worth shedding: the emotional heap of a past life, some
long-aching baggage, any and all expectations.
John Congleton & The Nighty Nite
John Congleton & The Nighty Nite are the new band put together by Producer, John Congleton formally of the paper chase.
The Phoenix, Arizona, band ROAR is what we can imagine to be a child of Cuomo's wide-spread power-pop influence, but just as much the offspring of Brian Wilson playing his piano in the middle of a sandbox filled with dog turds and Van Dyke Parks thinking about dreamy, ginger-scented girls, whose wholesomeness is unparalleled and boys who have the purest (sometimes with devils inside them) intentions toward them that we could possibly expect out of boys of any era. Owen Evans writes songs that are the new versions of romantic odes. They aren't the baby, baby, lovey dovey, romantic odes of the Phil Spector or Ronnie Spector times (the pair's black and white illustrations make up the front and back sleeves of ROAR's "I Can't Handle Change" vinyl album), but instead, they are the romantic odes of two young people in love with each other, who happen to casually and without incident cuss in conversation, who maybe talk about Michael Pollan books, who maybe don't have any problems with pornography and who aren't afraid to admit that they love the movies "Waitress" and "Kill Bill" equally and for similar reasons, oddly enough. The above description doesn't really matter at all. It's just an exercise in showing that classic love stories have changed, but here they are on "I Can't Handle Change." You hear the muggy, distorted guitar in "Just A Fan" that could have come right from "In The Garage," Cuomo's take on Wilson's "In My Room," and you hear within the doo-wop-y swings of these songs, a young man who just wants to spend his time holed up with the girl who comes as close to his dreams as he can ever hope to get and if that happens - if their hands fit snugly together - then he knows he could wish for nothing else. It's just about fitting together with another person who's uncannily like you in the important ways and it's about eating soup and sharing ice cream together, not worrying if your feet stink and enjoying the mundane and the thrilling all with the same kind of enthusiasm, then writing a love song about it all. Yes, that's what it's all about.
Logan & Lucille
Logan & Lucille are a folk-pop duo from Tucson, Arizona. Lucille Petty is an accomplished actress and ukulele player while Logan Greene has been playing and studying music since the year 2000. They started playing together in 2014 when touring as two solo acts, but by the end of the tour, they had began playing their sets together as one. Since then, they have toured non-stop both nationally and internationally between them having performed in Peru, Ecuador, Germany, France, Netherlands, England, Scotland, Canada, Mexico and of course the USA.

In 2015 they recorded with Steven Lee Tracy at St. Cecilia Studios, released their debut self-titled album and embarked on a 63-day international tour. In 2016, they released the EP "The Long and the Short Of It" to kickoff another long tour where they became less than ten shy of reaching their goal of performing in all 50 states. While still self-releasing and self-booking through their own label Diet Pop Records, they have played festivals around the world and have their music on Pandora, Spotify and more.
    191 Toole
  • Bookmans Entertainment Exchange
  • The Rialto Theatre
    318 E. Congress St.
    Tucson AZ 85701

    Box Office : M-Sat noon-6pm

    (520) 740-1000

  • The Rialto Theatre Foundation is a 501(c)(3) non-profit organization dedicated to the stewardship and preservation of the historic Rialto Theatre, a unique entertainment venue and cornerstone of downtown Tucson, offering a broad range of high-quality performing arts that are reflective of the diverse and vibrant community it serves.