The Rialto Theatre Presents...

RISO @ 191 Toole w/ Ryan David Green (of Ryanhood)

Friday, August 12
Show: 7:30pm

Price: $16-$18 + Taxes and Fees

Buy Tickets

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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ABOUT THE ARTIST

WEBSITE | FACEBOOK  | INSTAGRAM

“A slice of folk perfection.” –Jonathan Aird, Americana UK

For New Eyes, Arizona folk music powerhouses Matt Rolland and Rebekah Sandoval Rolland of Run Boy Run have come full circle. Their band, RISO, is the culmination of a musical lifetime spent together – and the album is a document of the ebb and flow of the last decade of their lives as students, musicians, and, more recently, parents.

They met as kids at the Arizona State Fiddle Contest, which Rebekah’s grandfather organized for many years. Matt was a frequent contestant in Payson, and both of them grew up in family bands, playing the Arizona bluegrass and acoustic festival circuit. When they both ended up at the University of Arizona, they started a band. The partnership led them through many musical projects over the years, but none more fully the both of them than RISO.

Matt and Rebekah bring very different influences to the table despite their shared culture, and the interplay is on full display on New Eyes. Matt’s history as a contest fiddle player in the Texas and bluegrass styles shows itself in nimble, quick melodic lines. Rebekah’s fascination with old-time music comes out in speech-driven, “crooked” rhythms and unexpected phrasing. Matt introduced Rebekah to pop influences like the Shins and Iron and Wine; Rebekah fell in love with another band they listened to two decades ago, Crooked Still, and that affair has continued unbroken. From the Latin word for “smile” or “laughter,” RISO synthesizes that push and pull. It embraces an old-time aesthetic that seems to emanate from the very bones of the earth yet incorporates pop flourishes and sometimes complex arrangements to get the message across.

The album feels like the natural growth of an old tradition, flourishing into something new. Rebekah’s voice has a heartbreaking clarity and grace, traveling seamlessly between filigrees of a dreamy springtime delicacy and crescendos of strength. There is an innocence to it that makes the weight of her words hit all the stronger. Matt’s sure hand gives rise to it, responding to every nuance and cradling the sound with sometimes surprising textures – like a 60s psychedelic guitar jangle or French horn coming through the acoustic pop. His original instrumental tunes buoy the album forward, melding influences from Celtic, old-time, and bluegrass traditions.

The songs will break your heart and fix it again. From the wistful “Geometric Slide” to the jaunty “Caterpillar Prince,” from the ominous and smoky “Always Running” to the budding of desire in “Closer,” these are songs of innocence and of experience (to borrow from Blake).

Matt and Rebekah summoned formidable friends to help with the project. Arthur Vint (credits include Postmodern Jukebox) provides the drums; Ryan David Green (Ryanhood) contributes electric guitar; Steff Koeppen (Steff and the Articles; Copeland) is on keyboard; Thøger Lund (Giant Sand) plays bass; Ben Plotnick (The Fretless, Oliver the Crow, and Atwood Quartet) and Kaitlyn Raitz (Oliver the Crow and Atwood Quartet) wrote several of the string arrangements and played fiddle and cello respectively. The album was engineered by Tucson stalwarts Peter Dalton Ronstadt and Steven Lee Tracy and mixed by Philip Shaw Bova (Father John Misty, Lake Street Dive, Feist). But such a team of captains – most lead their own bands – never overshadows the wit and heart of the Rollands. RISO is their love letter to you.

“A rising star in the Americana music world.” – Ear to the Ground

 

About RISO @ 191 Toole

________

 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

________

ABOUT THE ARTIST

WEBSITE | FACEBOOK  | INSTAGRAM

“A slice of folk perfection.” –Jonathan Aird, Americana UK

For New Eyes, Arizona folk music powerhouses Matt Rolland and Rebekah Sandoval Rolland of Run Boy Run have come full circle. Their band, RISO, is the culmination of a musical lifetime spent together – and the album is a document of the ebb and flow of the last decade of their lives as students, musicians, and, more recently, parents.

They met as kids at the Arizona State Fiddle Contest, which Rebekah’s grandfather organized for many years. Matt was a frequent contestant in Payson, and both of them grew up in family bands, playing the Arizona bluegrass and acoustic festival circuit. When they both ended up at the University of Arizona, they started a band. The partnership led them through many musical projects over the years, but none more fully the both of them than RISO.

Matt and Rebekah bring very different influences to the table despite their shared culture, and the interplay is on full display on New Eyes. Matt’s history as a contest fiddle player in the Texas and bluegrass styles shows itself in nimble, quick melodic lines. Rebekah’s fascination with old-time music comes out in speech-driven, “crooked” rhythms and unexpected phrasing. Matt introduced Rebekah to pop influences like the Shins and Iron and Wine; Rebekah fell in love with another band they listened to two decades ago, Crooked Still, and that affair has continued unbroken. From the Latin word for “smile” or “laughter,” RISO synthesizes that push and pull. It embraces an old-time aesthetic that seems to emanate from the very bones of the earth yet incorporates pop flourishes and sometimes complex arrangements to get the message across.

The album feels like the natural growth of an old tradition, flourishing into something new. Rebekah’s voice has a heartbreaking clarity and grace, traveling seamlessly between filigrees of a dreamy springtime delicacy and crescendos of strength. There is an innocence to it that makes the weight of her words hit all the stronger. Matt’s sure hand gives rise to it, responding to every nuance and cradling the sound with sometimes surprising textures – like a 60s psychedelic guitar jangle or French horn coming through the acoustic pop. His original instrumental tunes buoy the album forward, melding influences from Celtic, old-time, and bluegrass traditions.

The songs will break your heart and fix it again. From the wistful “Geometric Slide” to the jaunty “Caterpillar Prince,” from the ominous and smoky “Always Running” to the budding of desire in “Closer,” these are songs of innocence and of experience (to borrow from Blake).

Matt and Rebekah summoned formidable friends to help with the project. Arthur Vint (credits include Postmodern Jukebox) provides the drums; Ryan David Green (Ryanhood) contributes electric guitar; Steff Koeppen (Steff and the Articles; Copeland) is on keyboard; Thøger Lund (Giant Sand) plays bass; Ben Plotnick (The Fretless, Oliver the Crow, and Atwood Quartet) and Kaitlyn Raitz (Oliver the Crow and Atwood Quartet) wrote several of the string arrangements and played fiddle and cello respectively. The album was engineered by Tucson stalwarts Peter Dalton Ronstadt and Steven Lee Tracy and mixed by Philip Shaw Bova (Father John Misty, Lake Street Dive, Feist). But such a team of captains – most lead their own bands – never overshadows the wit and heart of the Rollands. RISO is their love letter to you.

“A rising star in the Americana music world.” – Ear to the Ground

 

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.

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Clear Bag Policy

Rialto Theatre & 191 Toole Switch to a clear bag policy as of 3/1/22 – February 2022

To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole will be instituting a clear bag policy on March 1st, 2022.

The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry:

  • Bags that are clear plastic or vinyl and do not exceed 12” x 6” x 12”
  • One-gallon clear plastic freezer bags (Ziploc bag or similar)
  • Small clutch bags, approximately 5” x 7”

*All bags subject to search.
**Clear bags are available for sale at the box office.

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Para ofrecer un entorno más seguro a los invitados y agilizar la entrada a nuestros edificios, el Rialto Theatre & 191 Toole comenzará a aplicar una norma sobre bolsas transparentes el 1 de marzo de 2022.


La norma limita el tamaño y el tipo de bolsas que pueden introducirse en nuestros edificios. La siguiente es una lista de bolsas que serán aceptadas para la entrada:

  • Bolsas de plástico transparente o de vinilo que no superen las 12″ x 6″ x 12″.
  • Bolsas de plástico transparente para congelar de un galón (bolsa Ziploc o similar)
  • Bolsas pequeñas tipo clutch, de aproximadamente 5″ x 7″.

*Todas las bolsas están sujetas a registro.
**Las bolsas transparentes están a la venta en la taquilla.