Ardenland presents Grayson Capps

Doors open at 7:00pm, show at 8:00pm.

This is a partially seated general admission show. First come, first serve to available seating.

Tables are available to be reserved prior to the show. Please contact the Ardenland office at 601.292.7121

Tickets are $10 advance, $15 day of show. There will be a $5 upcharge for persons under 21.

Order tickets by phone at 877-987-6487.

**Show Presented in part by Capital City Beverages, Inc., Cathead Vodka, A2Z Printing & Find It In Fondren®

Grayson Capps is relaxed. You can hear it in the tone of his voice when he speaks, in the thoughtful, laconic way he reflects on the sometimes-tumultuous course of his life and work. It’s not the sound of complacency or comfort, but rather of personal growth and understanding. Capps is not without worry or darkness in his life, but he’s reached a kind of peace with it, an unhurried acceptance that enables him to write with unflinching honesty and remarkable humanity. His long-awaited new solo album, ‘Scarlett Roses,’ is his first in six years, and it showcases the kind of understated brilliance that can blossom when creativity is detached from expectation, when songs are truly given the space and time to find their writer. Grayson Capps is relaxed, but it wasn’t always this way.

“Up until 2011, I was expecting myself to come up with a new record every year,” says Capps, “but then something just clicked. I told myself, ‘Man, you don’t need to worry about the timing. Just let these songs and your career catch up with you.’”

The Alabama native moved back to his home state with his wife, the Grammy Award-winning engineer/producer Trina Shoemaker, and cut himself loose from the self-imposed deadlines he’d been adhering to for the better part of a decade. He built a writing shack in his backyard and christened it a sacred space for creation without targets or schedules. There, he tapped deep into his subconscious, channeling the songs that would become ‘Scarlett Roses’ from a trance-like state in which the music practically bubbled up out of him like water from a spring.

“A lot of these songs came to me the way dreams do, where all these different bits and pieces from all these different parts of life come together,” says Capps, who documented his streams of consciousness with the voice memo app on his phone. “I would sit back there in that shack and just play, and things would come to me because I wasn’t actually trying to make a record. Nothing was forced. It made me relax.”

Hailed by NPR’s Mountain Stage for his “unbridled energy and authenticity,” Capps first emerged as a solo artist in 2005 following stints in the New Orleans thrash folk band the House Levelers, which he joined while still a student studying theater at Tulane, and his subsequent blues-rock group, Stavin’ Chain. His proper debut release under his own name, ‘If You Knew My Mind,’ earned rave reviews, with the New Orleans Times Picayune writing that “his character-based narratives are guaranteed to make you ache and exult” and Exclaim! calling it “a Southern gothic tour de force.” After Hurricane Katrina forced Capps to relocate to Franklin, TN, he went on to release a string of similarly exalted albums that earned him devoted followings in both the US and Europe, including 2006’s ‘Wail & Ride,’ which JamBase said “hums with quiet wisdom and unforced momentum;” 2007’s ‘Songbones,’ described by All Music as “poetry filled with the bloody glory and taut acceptance of real life on the bottom;” and 2008’s ‘Rott & Roll,” an album that prompted American Songwriter to declare, “Take the poetry of Texas troubadour Townes Van Zandt, combine with Steve Earle’s edgy attitude and stir with a little cup of the bayou-blues (think Howlin’ Wolf) and you start to get a taste of Capps’s scrumptious gothic gumbo.” He followed it up in 2011 by assembling a crew of Gulf Coast all stars to back him on ‘The Lost Cause Minstrels,’ a record which found him more than living up to the “Tennessee Williams-meets-Charles Bukowski” tag he’d earned from Blurt, and upon returning to Alabama, he teamed up with Will Kimbrough, Sugarcane Jane, and Corky Hughes to host a weekly songwriters’ night that proved to be so much fun it resulted in a pair of collective albums released under the name Willie Sugarcapps.

While working at such a prolific pace has its benefits, it can leave precious little time for experiencing the life you’re writing about. Capps found himself undergoing immense personal changes during this period, and only through slowing down was he able to process what it all meant.

“The songs on ‘Scarlett Roses’ really chronicle me discovering my position in the world,” says Capps. “It was a process that felt like gaining something and losing something at the same time.”


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