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UID:ca866ae4-e6f0-4955-9dcd-757ad11a992f@findlocal.community
DTSTAMP:20261012T010721Z
DTSTART;TZID=America/Chicago:20270207T190000
DTEND;TZID=America/Chicago:20270207T210000
SUMMARY:Fink with special guest Maggie Koerner
DESCRIPTION:Fin Greenall is an enthusiast. Rather more so than you might 
 expect\, in fact\, from someone with more than ten albums under their be
 lt. This is someone who's lived a life-and-a-half of hard graft and hard
  gigging in electronic\, acoustic and even pop music already - that enth
 usiasm bubbles like someone half his age discovering the buzz of musical
  and cultural engagement for the first time. Fin\, currently a Berlin re
 sident\, was born in Cornwall but found himself growing up in 80’s Brist
 ol\, in the midst of it’s famous cultural explosion. "It was an epic pla
 ce to grow up\," Fin says. "The Rare Groove revival\, the outdoor rave s
 cene\, pirate radio - you'd see Massive Attack driving around\, you'd se
 e Tricky in the clubs\, you'd have your mind blown by a DJ playing 'LFO'
  one moment then by seeing Horace Andy... I was skateboarding too\, I wa
 s right IN it\, and we were so\, so proud to be from this place with its
  own thing”. After signing while at college to legendary rave label Kick
 in’ Records and discovering that Electronic music wasn’t some kind of ma
 gical dark art – in fact it was achievable with no experience and a stud
 ent loan – he was introduced to the concept of London\, the concept of D
 J’ing for real\, and the record label Ninja Tune Records that he signed 
 to in 1996. Mid 90s London was a "thrilling place to be"\, the music ind
 ustry was on the up\, and he grabbed opportunity with both hands. He wor
 ked major label publicity jobs by day\, and DJed\, went clubbing and hun
 g with the Ninja Tune crew by night. "I just automatically got drawn to 
 what they were doing\," he says\, "because they were the one advancing w
 hat it could be: not just two decks but three\, four\, with multiple DJs
  at once\, VJs\, projections\, art\, international gigs in Rome\, Budape
 st\, Paris\, Montreal and Berlin as well as residencies at the now infam
 ous “Blue Note” club in Hoxton. It was just incredibly exciting." Record
 s followed\, first for Ninja's experimental sub label N-TONE which gave 
 Fin leeway to swerve from jungle to easy listening and back\, then Ninja
  Tune proper\, and the Fink Mark 1 sound fell into place. There was stil
 l plenty of spacey electronica present – but this was far truer to Fin's
  West Country roots: the swing and soul of Bristol music were shot throu
 gh the 2000 album Fresh Produce\, which remains a sparkling example of c
 lassic Ninja downtempo funkiness. All this time Fin was DJing internatio
 nally\, hustling at his day job\, and generally enjoying "the clothes\, 
 the music\, out every night\, and everything else that you want when you
 're in your 20s." But\, it transpired\, this wasn't sustainable. "I was 
 burning the candle at both ends\," he says\, "trying to prove something 
 to myself\, picking up some bad habits\, but looking up the DJ tree and 
 not really seeing anyone I wanted to be. At the same time I was looking 
 at my job and thinking\, 'do I really want to climb that ladder and be t
 he CEO of something?'" His escape came through songs. As a hip beatmaker
  he'd find himself asked to produce up and coming singers\, including a 
 then unknown\, teenaged Amy Winehouse. Rather than just provide backing 
 tracks\, he found himself writing with her\, and as with production a wo
 rld opened up: songwriting wasn't a "dark art" either - it was a skill t
 o learn like any other. One of the tracks from this session was released
  without permission on her posthumous Lioness album. Meanwhile he was re
 discovering his dad's records\, and deepening his own love of acts like 
 John Martyn\, discovering "something honest\, something filterless" abou
 t acoustic music and live music. Gigs by acts as diverse as Radiohead\, 
 System Of A Down and 80s folk legend Dick Gaughan turned his head: "this
  was what I wanted\, not the same club spaces night in night out\, week 
 in week out." So he gave it all up\, and scraping by on savings and tiny
  gigs\, the album that would become 2006's Biscuits for Breakfast was sl
 owly fomed in his attic\, with 3 mics and no budget\, honing a sound tha
 t still had that Bristolian low-slung groove - a little beatbox here\, s
 ome Hammond organ soul licks there - but with all electronic elements di
 scarded\, and the songs paramount\, assisted by what would become his lo
 ng term band\, drummer Tim Thornton and bassist Guy Whittaker. Ninja Tun
 e stuck by him - in fact it was them that pushed him to fully trust his 
 songwriting\; he'd imagined he'd combine beats and songs but Skev and Pe
 ter at the label told him that if he wanted to "go singer-songwriter" it
  should be all or nothing. From there\, it was step-by-step\, bit-by-bit
 \, gigging and hustle. Songwriting became "a kind of psychoanalysis - wh
 ere I hadn't really spent any time on myself in that relentless period o
 f my 20s - and the more I did it\, the better it worked for me!" 2009's 
 home-recorded Sort of Revolution was "the break even album"\, 2011's Per
 fect Darkness upped the creative ambition and solidified Fink as a playe
 r in the sync game\, and 2014’s Hard Believer record led to world tours\
 , festival seasons and the life of a road-worn troubadour. As a songwrit
 er he picked up 3 BMI song-writing awards for this work with John Legend
  on his Evolver record\, including co-writing his #1 single “Greenlight”
 \, and contributing tracks to his 12 Years A Slave soundtrack\, and work
 ing with Ava DuVernay on her screen debut Middle of Nowhere and the Osca
 r winning Selma. 3 critically lauded studio albums recorded with legenda
 ry producer Flood (Depeche Mode\, U2\, Nick Cave) followed after he hear
 d the demos for Fink’s Blues project - Sunday Night Blues Club (2017) \,
  Resurgam (2017) and Bloom Innocent (2019)\, along with their associated
  world tours\, set Fink as a stalwart of the Indy scene\, with a worldwi
 de fanbase whose loyalty is unparalleled. In the world of Sync\, he has 
 had so many TV shows and movies it is impossible to count – from True De
 tective\, Suits\, The Walking Dead\, Better Call Saul\, Lie To Me\, Teen
  Wolf\, Blacklist in the TV world to Til Schweiger’s Honig Im Kopf\, Wil
 l Smith’s Collateral Beauty and Lasse Halstrom’s Dear John. In 2023 – af
 ter signing a landmark deal with Sony Music Publishing Germany after 30 
 years as an independent artist – Fink has found himself writing and prod
 ucing the soundtrack to the Dutch Documentary film All You See (Dir. Nik
 i Padidar)\, a moving and haunting exploration of the immigration experi
 ence of young girls. He also produced the OST to Ubisoft’s Prince Of Per
 sia – The Lost Crown with the contemporary Iranian producer and composer
  Mentrix\, as well as campaigns for La Furla and Levi’s. He also penned 
 the end credit song for Ava DuVernay’s Origin. 2024 brought his long-awa
 ited new album\, after a five-year break. Beauty In Your Wake\, recorded
  in a church in his beloved Cornwall\, was the first to be co-produced a
 nd recorded by Sam Okell at his new Zennor Sounds studio (Sam won a Gram
 my for his role in remastering the entire Beatles catalogue at Abbey Rd)
 . It came out in July\, hitting the top 20 in Germany\, and no.2 on both
  the UK Independent chart and the UK Folk chart. Fink followed this with
  a 100-date tour\, heading to Europe\, North America\, India and\, for t
 he first time\, Thailand. Not willing to rest for very long\, 2026 will 
 bring Fink’s ninth album and second with Sam Okell\, The City Is Coming 
 To Erase All… out everywhere now…\n\nTickets: http://www.prekindle.com/e
 vent/99154-fink-austin\n\nhttps://findlocal.community/event/ca866ae4-e6f
 0-4955-9dcd-757ad11a992f
LOCATION:04 Center\, Austin\, TX
URL:https://findlocal.community/event/ca866ae4-e6f0-4955-9dcd-757ad11a992
 f
STATUS:CONFIRMED
SEQUENCE:0
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