Tuesday May 13, 2014 | 7:00PM
Exit/In (Get Directions)
Toadies w/ Supersuckers & Battleme
“There’s a certain uneasiness to the Toadies,” says Vaden Todd Lewis, succinctly and accurately describing his band—quite a trick. The Texas band is, at its core, just a raw, commanding rock band. Imagine an ebony sphere with a corona that radiates impossibly darker, and a brilliant circular sliver of light around that. It’s nebulous, but strangely distinct—and, shall we say incorrect. Or, as Lewis says, “wrong.”
“Things are done a little askew [in the Toadies],” he says, searching for the right words. “There’s just something wrong with it that’s just really cool… and unique in a slightly uncomfortable way.”

Event Schedule

Battleme

8:00 PM

Supersuckers

8:45 PM

The Toadies

9:45 PM

Ticket Prices

General Admission

$22

May Discount

$18

Ticket sales ended May 13, 2014 6:00 PM. Additional tickets may be available at the box office.

Battleme | 8:00 PM
How does the story start and where will it end? Re-birth and re-discovery have been common themes to describe the inside psyche of Matt Drenik’s Battleme. 3 years ago Drenik was the lead singer of Austin, TX based psyche rock band, Lions. They had just released their first record in the UK and were touring with a reunited Monster Magnet. Then he got sick. And fought. And now his solo project, Battleme, is finding its audience. It all began with a haunting cover of Neil Young’s “Hey Hey, My My” for FX’s Sons of Anarchy. A week after its digital release, Drenik’s Battleme found itself in the Itunes Top 20 charts. A few months later, he cut a record with Ghostland Observatory’s Thomas Turner and the single “Touch” premiered on MTV Buzzworthy. The Atlantic, RCRD LBL, and MTV Hive quickly featured the track and the Washington Post claimed it as being “a career maker.” Within a few months of the record’s release, Drenik had formed a fledging new live band in Portland, OR. First it was a KEXP in studio session, then more >>>
Supersuckers | 8:45 PM
You’ve heard our name, you’ve seen our records, our t-shirts and our stickers. We’re probably the favorite band of someone you know and yet maybe we’re still a mystery to you. Well my friend, that’s okay, you’re at the right place to get to know the greatest rock-n-roll band in the world, The Supersuckers.

And the next time you see the ‘Supersuckers’ name, whether it’s in the record store, online somewhere, or on the marquee at your local rock club, know that there’s some quality, honest, ass-kicking, hard working individuals behind it all trying to make your life a little better through the “Evil Powers Of Rock-n-Roll” (and the occasional detour into the country music, of course) and we’d love nothing better than to have you there with us as! Just remember to wear clean underwear, because we’re gonna rock your pants right off of you. more >>>
The Toadies | 9:45 PM
“There’s a certain uneasiness to the Toadies,” says Vaden Todd Lewis, succinctly and accurately describing his band—quite a trick. The Texas band is, at its core, just a raw, commanding rock band. Imagine an ebony sphere with a corona that radiates impossibly darker, and a brilliant circular sliver of light around that. It’s nebulous, but strangely distinct—and, shall we say incorrect. Or, as Lewis says, “wrong.”

“Things are done a little askew [in the Toadies],” he says, searching for the right words. “There’s just something wrong with it that’s just really cool… and unique in a slightly uncomfortable way.”

This sick, twisted essence was first exemplified on the band’s 1994 debut, Rubberneck (Interscope). An intense, swirling vortex of guitar rock built around Lewis’s “wrong” songs and abstract lyrics—like the smash single “Possum Kingdom,” subject to as much speculation as what’s in the Pulp Fiction briefcase, it rocketed to platinum status on the strength of that and two other singles, “Tyler” and “Away.”

Perhaps in keeping with the uneasy vibe, that success didn’t translate to label support when the Toadies submitted their second album, Feeler. Perhaps aptly, things in general just went wrong. “We got approval for a record,” says Lewis, “and somewhere in the process of handing over the masters to get mixed, it got unapproved. So we went back to the drawing board.”

Eventually some of the Feeler tracks made it onto Hell Below/Stars Above—a sophomore offering that came seven years after Rubberneck. “It was a very weird, trying time,” says Lewis, who didn’t see the next blow—the sudden departure of bassist Lisa Umbarger—coming. “We went out on tour, and immediately the band split up,” he laughs sardonically. “We kinda shot ourselves in the foot.” They released a live album, Best of Toadies: Live from Paradise, and it was over.

Coming out of the Toadies, Lewis, guitarist Clark Vogeler and drummer Mark Reznicek were disillusioned. Vogeler went to work as a film editor, Rez hooked up with the country-western band Eleven Hundred Springs. Lewis initially thought, “Fuck this whole business. I’m gettin' out. I just wanted to do anything else.”

Toadies fans, though accepting, stuck with them, often inquiring as to the band’s activities. Says Lewis, “People just asked me “So, what are you doin’ now?” Although he’d been “foolin’ around” with Rev. Horton Heat drummer Taz Bentley, he answered, “I don’t know. Nothin’. This, that and the other. Workin’ around the house, workin’ in the garage, just toolin’ around.” Soon it occurred to him that music was all he wanted to do. “I’m a musician. That’s what I do, and I’m not happy not doing it.” Eventually Lewis and Bentley formed the Burden Brothers in 2002 and released a slew of EPs, two albums and a DVD while touring profusely.

Meanwhile, “Possum Kingdom” never left the airwaves, enjoying constant rotation at major modern rock stations. Fans clamored for a Toadies reunion. “The band never went all the way away;” says Lewis. They regrouped in 2006 for a couple of sold-out shows around St. Patrick’s Day, and again the next year for the same thing. In August 2007, when personnel changes with the Burden Brothers resulted in that band going on hiatus, Lewis began writing.

“I was pissed off again and wanted to keep goin’,” he says. “I didn’t know what I was writing, right out of the gate, but… it was just coming out very “Toadies.”

Lewis called Rez and Vogeler and asked if they were interested in making another record. They were—and the Toadies officially reconvened, signing with Kirtland and recording No Deliverance with David Castell (Burden Brothers, Blue October) at Fort Worth Sound in Fort Worth and Music Lane in Austin. Lewis says the band has gone for a “bare knuckle” sound, amping up the psychotic stomp heard on Rubberneck and Hell Below… on the grinding, relentless title track as well as the seething, death-of-a-romance gem “So Long Lovey Eyes” and the towering, sludgy “Man of Stone.” The upshot is a taut, exhilarating listen that is quintessentially Toadies.

Lewis is stoked on “the freshness of this new record. Getting back into this, back into the feel of the Toadies, is cool. Lewis, Rez, Vogeler and new bass player Doni Blair (Hagfish, Only Crime) are optimistic that their indie incarnation will succeed, thanks to the support of their devout fans—and equally supportive label. “The music industry has changed so much,” says Vogeler. “A band like us can be on an independent label and still get the music out to the people who want to hear it.” more >>>