BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Find Local//findlocal.community//EN CALSCALE:GREGORIAN METHOD:PUBLISH BEGIN:VTIMEZONE TZID:America/Chicago BEGIN:DAYLIGHT TZOFFSETFROM:-0600 TZOFFSETTO:-0500 TZNAME:CDT DTSTART:19700308T020000 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=2SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0500 TZOFFSETTO:-0600 TZNAME:CST DTSTART:19701101T020000 RRULE:FREQ=YEARLY;BYMONTH=11;BYDAY=1SU END:STANDARD END:VTIMEZONE BEGIN:VEVENT UID:b538fead-7eb0-4195-9521-43c716c11113@findlocal.community DTSTAMP:20261012T020811Z DTSTART;TZID=America/Chicago:20261120T200000 DTEND;TZID=America/Chicago:20261120T220000 SUMMARY:Margaret Glaspy with special guest Olive Klug DESCRIPTION:In an era of excess and endless distraction\, the New York-ba sed singer/songwriter Margaret Glaspy rejects the noise in favor of some thing far more essential. On the self-possessed title track for her new album I Am Both Glaspy offers an ardent refusal of any outside pressure to compromise her multidimensionality. “I wrote ‘I Am Both’ a while ago\ ; the story is based on a female character that I look up to deeply—a wo man who contains multitudes while seeing reality very clearly\,” says Gl aspy. “It can feel safer to try to fit myself into a category\, but I fi nd that embracing my own complexity is much healthier for me.” That embr ace of complexity runs throughout the album’s eleven tracks. In the maki ng of I Am Both Glaspy stepped away from social media and soon discovere d a clarity of mind she hadn’t experienced in years\, followed by a sust ained burst of creative momentum. As she penned her lyrics in longhand a nd then polished them up on a typewriter\, Glaspy assembled a selection of songs that span from fictional vignettes to unguarded self- revelatio n to empathetic observation of the troubled world around her. Produced b y Joe Henry (the three-time Grammy-winning singer/songwriter/producer kn own for his work with luminaries like Aimee Mann and Joan Baez)\, I Am B oth ultimately stands as a striking new statement from one of the modern music canon’s most formidable songwriters. “When I started writing for this record I had a goal of getting my practice back—to walk the walk in terms of how I envision myself as a songwriter\,” says Glaspy\, a North ern California-bred artist who made her debut with 2016’s lavishly accla imed Emotions and Math. “At first it was really hard to break that addic tion to social media\, but after a while something shifted. It felt like I’d gotten back to original thought instead of being under the influenc e of so many outside opinions. It was life-changing.” Her fourth full-le ngth album\, I Am Both emerged from three days of sessions at New York C ity’s Reservoir Studios\, where Glaspy recorded live with drummer/percus sionist Jay Bellerose (Bonnie Raitt\, Robert Plant\, Alison Krauss)\, ke yboardist Patrick Warren (Tracy Chapman\, Tom Waits\, Bruce Springsteen) \, and bassist Ross Gallagher (Paula Cole\, Grails). “I always think of myself as more of a photographer than a sculptor in the studio—it’s abou t capturing the moment rather than layering and building things up over time\, and Joe has a similar mentality when it comes to recording\,” say s Glaspy\, who first connected with Henry at a T Bone Burnett-curated tr ibute to Bob Dylan at New York’s Town Hall in 2022. “There was an incred ible chemistry with the band and the whole process felt electric\, so a lot of what you hear on the album is the first take.” The follow-up to 2 023’s Echo the Diamond (hailed by Uncut as “songs that glint like shards of glass yet brim with love\, grief\, courage\, existential doubt and a ll the stuff that makes us human”)\, I Am Both brings Glaspy’s disarming ly direct vocals and eloquent guitar work to a cathartic form of folk-le aning indie-rock. In a potent introduction to the LP’s luminous immediac y\, the album opens on “Michigan”—a lush and lacerating piece of storyte lling that imagines a post- breakup escape to the Midwest. “I was in Mic higan a couple years back and had a really beautiful time\, and thought about how New Yorkers sometimes fantasize about the countryside as a ret reat from the intensity of the city\,” Glaspy says. “It turned into a so ng about someone going through a bad breakup\, and then deciding to just leave the city behind.” Like “Michigan\,” a number of songs on I Am Bot h unfold as finely detailed story fragments that privilege impression ov er exposition\, each one etched with a precise emotional truth. On the w ildly romantic “That Rose\,” Glaspy spins distanced longing into somethi ng gloriously surreal (“I dreamt you looked into the clouds like they we re my eyes You made them blush—the clouds got shy”). “It was fun to writ e a love story where the jealousy is almost sweet.” One of several songs featuring Glaspy’s soulful performance on harmonica\, “Common Ground” t ilts toward a Dylan-esque acerbic wit. “That song feels relevant to the culture these days. There’s a tendency to either put people on a pedesta l or dismiss them entirely\, instead of perceiving them as human beings or using our own reasoning.” Another outward-looking and galvanizing tra ck\, “Martin Luther King Jr.” reframes passages from a 1957 sermon by th e legendary civil rights leader\, recasting his wisdom in light of prese nt-day emergencies like the U.S. housing crisis. “I’ve been listening to Martin Luther King’s speeches for a long time\, and I find so much insp iration in how transcendent his public speaking is\,” says Glaspy. “His work is obviously very pertinent to what we’re going through right now i n America and the world over.” Throughout I Am Both\, Glaspy reveals one of the more thrilling outcomes of deepening her creative practice: a co mmitment to following her own internal logic when structuring songs. On the slow-building and softly powerful “Reminder\,” she contends with her own smallness against the scale of others’ suffering\, rendering her in ner monologue in a rush of unbroken syntax (“Hope can only get me so far I also have to be willing to catch a few scars And I also have to be wi lling to apologize And I also have to be willing to scrutinize And I als o have to be willing to not be right But I also have to be willing to fi ght\, fight\, fight”). “That song’s a message to myself for when it feel s like I’m doing nothing of value\, reminding me that it’s important to keep showing up in lots of little ways instead of giving up altogether\, ” says Glaspy. “It’s an example of something I never would’ve written if I were still praying to the gods who told me everything needs to be nea t and tidy and symmetrical.” That sense of self-acceptance extends beyon d identity and into Glaspy’s broader philosophy: one that increasingly r esists the cultural appetite for hierarchy and ascent. “In any industry\ , success is measured by climbing as high as you possibly can\, but thes e days I think of music as something more like a public service\,” she s ays. “You show up in city after city and you bring the music with you\, and hopefully it reaches whoever needs to hear it. I feel really honored to be of service in that way.”\n\nTickets: http://www.prekindle.com/eve nt/13232-margaret-glaspy-austin\n\nhttps://findlocal.community/event/b53 8fead-7eb0-4195-9521-43c716c11113 LOCATION:04 Center\, Austin\, TX URL:https://findlocal.community/event/b538fead-7eb0-4195-9521-43c716c1111 3 STATUS:CONFIRMED SEQUENCE:0 END:VEVENT END:VCALENDAR