Portugal. The Man
$45.00 – General Admission
*plus applicable service fees
Presale begins Thursday, January 26th at 10am!
(password = rock)
The general on sale begins Friday, January 27th at 10am.
Tickets are also available service charge free at The Fox Theater’s Box Office (located on the 19th street side of the theater) on show dates and on Fridays from noon – 7:00pm.
Portugal. The Man
It was last spring 2012, and John Gourley—frontman of Portugal. The Man—found himself in New York City about to ring the bell at Danger Mouse’s apartment–a long way from his current home in Portland, and farther still from his real home in Alaska. Six full-length albums in six years, nonstop touring, a stint with The Black Keys and festival stops at Coachella, Bonnaroo and Lollapalooza—up until this moment, Portugal. The Man embodied all dimensions of DIY rock range.
When it came time to begin work on the seventh album, Gourley thought long and hard about the next move and kept coming back to one concept: The most satisfying work is collaborative work. From building houses with his father in Alaska to building a devoted fanbase, he had sought partnerships. So he took a bold step — bold for a proven band, bolder still for its uncertainty of sound — a step up to the apartment of a possible collaborator, Danger Mouse.
So Danger Mouse — aka Brian Burton, the five-time Grammy award winning producer behind everything from Gnarls Barkley and Beck to The Black Keys and now U2 —and the band agreed that they were game for the challenge and began production on what would become Evil Friends, the undaunted re-awakening for Portugal. The Man. As much as their collaborative imaginations melded, to construct songs that lived up to the ambitious visions they had would take some time. After all, here was a band with an evolving lineup — Kyle O’Quin on keyboards, Noah Gersh on guitar/percussion/keyboards, and Kane Ritchotte on drums joined Zach Carothers on bass and vocals and Gourley on lead vocals and guitar — building new songs with a new producer trying to do something neither of them had done before.
In 2010, Local Natives galvanized a musical scene in Southern California, crafting a sound that they loved, and that others flocked to in turn, with the breakout success of their debut album, Gorilla Manor. The five-piece from Los Angeles featuring Taylor Rice, Kelcey Ayer, Ryan Hahn, Nik Ewing, and Matt Frazier have since created a series of different cathartic chapters informed by their constantly changing surroundings.
As the band began to grow, so too grew its lens, and suddenly the “indie rock” lens cap did not seem to fit any longer. These 30-year-old Los Angelenos had seen the world and heard its sounds, and knew, deep down, that there was more in them. And, as in the style and paths of those arcs of our heroes, when Local Natives filtered this whole new layer of influences through their spectrum, the result is an everywhere-you-turn showcase of vision and virtuosity and their grandest statement yet: their third album, Sunlit Youth.
What has always been there for Local Natives is their meticulous crafting of musical elements while constantly pushing and pulling melody, harmony, and rhythmic components from within their construct and out into the cosmos. Their method lends to a dynamic beyond cerebral execution and into pure, unbridled emotional and energetic territory. As the hedges grow higher in our minds, the band has tapped into that which got the seeds planted in the first place, and the result is an empowering concept of eternal life embodying what Sunlit Youth is all about.
Looking back upon their own youths yet constantly moving forward to the future, Local Natives have embraced their evolution and made what could be seen as the most Local Natives-sounding album of their young careers.