$12 advance tickets available HERE (click on HERE) // $15 door. 7pm showtime
A Cuban-American whose parents fled Castro’s Havana with him still in the womb, Walter Salas-Humara was raised bilingual just across the Florida Straits in Fort Lauderdale. College at University of Florida in Gainesville and a residency with the Vulgar Boatmen left him with a lifelong habit of Mudcrutch/Tom Petty-style crunchy guitar riffs. Chasing the punk prairie fire to New York just in time to sift through the ashes, he formed The Silos in 1985 with guitarist Bob Rupe and violinist Mary Rowell, plugging the main cable of American rock idiom into the jerry-rigged soundboard of Velvets-era feral experimentalism. The unlikely result, as evidenced by About Her Steps (1986), the seminal Cuba (1987) and their RCA debut The Silos (i.e., The One with the Bird on the Cover, 1990) was a loose-limbed conceptual country-rock that in turn influenced (if not outright inspired) the alt-country No Depression movement just around the corner. The band was voted Best New American Band in Rolling Stone Magazine’s Critics’ Poll of 1987 and appeared on Late Night with David Letterman in 1990.
With this apocalyptic agrarianism safely encoded in his band’s name, Salas-Humara moved on once that lineup had run its course — taking with him not the country revisionism that by now could have sustained him in an endless holding pattern, but rather the Lower East Side’s fervid avant-gardism, that high-test mixture of aggression and dissonance the neighborhood wears like a jailhouse tattoo. He forged connections in Austin, another lost outpost tailor-made for his particular set of influences, where he formed the poor man’s supergroup the Setters with songwriters Michael Hall of the Wild Seeds and Alejandro Escovedo of the True Believers. Moving to Los Angeles, he recorded and toured with Tom Freund, Manny Verzosa, Jon Dee Graham, Gary Sunshine and Darren Hess. Those middle records – Hasta la Victoria! (1992), Susan Across the Ocean (1994), Heater (and its remixed mutant twin Cooler) (1998) validated the early acclaim and expanded Salas-Humara’s reputation as one of the finest songwriters working in the American vernacular. In 1998, Salas-Humara moved back to New York and formed Silos 3.0, with Konrad Meissner on drums and Drew Glackin on bass and guitar.
Throughout the new millennium, the Silos have continued to release an admirable body of work. Laser Beam Next Door (2001) and Come on Like the Fast Lane (2007) are fierce power trio albums that burst with the crackling intensity of proto-punk legends the Velvet Underground and Television. And more...
Semi-Twang: the name says country… sort of. To be more accurate, fold in some Blues, Rock and Roll, Folk and a pinch of the British Invasion sound and you’d be closer to the tasty stew they serve.
Semi-Twang is a band of brothers — literally and figuratively. John Sieger writes the songs and sings them, brother Mike Sieger plays bass and sings sibling harmonies in the higher reaches. Producer/guitarist Mike Hoffmann, Keyboard/saxophonist Bob Jennings and drummer Bob Schneider, all veterans of great midwestern bands, flesh it out and then some.
Formed in the 80’s and re-formed in 2009, Semi-Twang released the critically-acclaimed album "Salty Tears" on Warner Bros Records in 1988, with critics mentioning similarities to The Band, Creedence Clearwater and Doug Sahm. They call it Americana now, back then it was pretty new territory.
After regrouping, Semi-Twang got busy. They released “Wages of Sin” in 2011, followed by “The What and the Why For” in 2014. Their 2019 release, “Kenosha,” is an ode to the Sieger brothers’ gritty but inspirational hometown. Coming down the pike in 2020 will be an unnamed collection of topical songs played on mostly acoustic instruments.