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Wednesday, March 20


Family of the Year

7 p.m. door, 8 p.m. show

All ages welcome

Sold out!

Presented By: 94/7 and Widmer Brothers Brewing present


Close your eyes. Okay, no wait -- open them because you need to keep reading -- but close them in spirit. Now pretend Fun. is not a band, but an amusement park. Just replace the guitar with a log flume and the percussion with a carousel. Now imagine the crowds lining up for a ride on Fun.'s sophomore record, "Some Nights." The line snakes around the whole park. Maybe there are some bearded ladies on it. Maybe lots of bearded ladies. Anyway. As you get closer, you see the entrance to "Some Nights" is actually Nate Ruess' head. His mouth is open wider than should be physically possible and his uvula dangles in the dark. The musical tracks harden into wooden rollercoaster tracks. You get on the car, and with a jerk, it starts to move. There's that familiar feeling that tells you something pretty transformative is about to happen. Lights flash as you go plummeting into the darkness. The rollercoaster version of "Some Nights" follows the same path as the album version: colorful on the outside, deeper than you had imagined in the center, and so good it'll make your head spin.

Want to go again?

"I had met Jack briefly once and thought he was kind of a douche," says Nate Ruess of his first encounter with Jack Antonoff. They were 18 years old and going, separately, to punk rock shows in southern New Jersey. Nate had worked at one of the clubs since he was 16 ("It's how I developed a sense of what really works, and what is boring."), and Jack was in love with the whole scene -- well, almost the whole scene.

"In the late 90s there was just a brilliant punk world happening in legion halls and fire houses. I was immediately taken with Nate's voice but everything else -- no." Years later, Nate, who was the lead singer of The Format at the time and Jack, Steel Train's front man, wound up on tour together. Impressions hadn't changed much. "It was just like an, 'Oh God, this guy,' vibe from both of us right off the bat. But 24 hours into that tour, Nate and I became inseparable."

When The Format broke up, Nate's first call was to Jack.

Though not a "meet-cute" tale, it's indicative of who Fun. is as a band. You hear them and think, "Are they really going to pull off this sound, this arrangement, and create a moving, catchy, memorable rock song?" It's become their signature. So long as that signature has one last element: Nate's second call was to Andrew Dost, the force behind all the literal bells and whistles of Fun. "Andrew," says Jack, "is one of those people who see the world like a giant art project. I can't begin to tell you how vital he is in our band."

"My first impressions of them were both overwhelmingly positive," says Andrew Dost, "I've heard they were....unsure of each other when they first met?" Fun. has not stopped living up to its name since their 2009 debut, "Aim & Ignite." A year after the debut they were opening for Paramore on their headlining tour and performing at Coachella along with The Strokes and Jay-Z. Now they've teamed up with Janelle Monae, a melodic collaboration on display in one of three videos for "We Are Young." In addition, the TV series "Glee" just plucked "We Are Young" off "Some Nights" to cover on the show, an experience that meant the world to a band that prides itself on appealing to any demographic that might feel disenfranchised or just plain odd. "None have us have ever felt like anything but outcasts our entire lives," says Jack, "and I know that's something that has resonated with Fun. fans. They are the same people as us -- kids who never fully latched onto a specific music scene because it couldn't define them."

With a trail of accolades behind them, Fun. knew they had to step up their game in an unexpected way when it came to producing their second record. "I got really got into hip-hop," says Nate, "I mean really into it. Songs started coming to me in the middle of the night, and I would hear them with breakbeats and samples, and it all made sense... I told everyone I wanted the next record to sound like a hip-hop album, and I don't think they were unsupportive, but they were definitely confused." Then, a few hours before a show in Phoenix, the band snuck into a music room at Arizona State University. Nate doesn't play any instruments, but by now Jack and Andrew have learned to "crack the code." This time the code was for the track that would become "Some Nights." Andrew pounded out the chords out on a piano, while Nate sang, and Jack stomped his feet and clapped as hard as he could to establish the pulse of the song. "That moment really brought us together as the band that was going to be making this album....I just had to explain how the MPC (Music Production Center) would be our new best friend."

Jack is a whip-smart horn-rimmed glasses-wearing guitarist whose influences are Tom Waits, Jack White, and Neil Young.

Andrew counts the flugelhorn and glockenspiel among his conquered instruments. (Influences: Weezer, ELO, and Claude Debussy.)

And here they were, jumping out of their skin, listening to My Beautiful Dark Twisted Fantasy and Drake in a concrete building in the middle of the desert.

"What can I say? Eventually they fell victim to Drizzy," laughs Nate.

When pressed by their label and management for a list of potential producers, Nate consulted the albums he loved most. The name that appeared time and time again was "Jeff Bhasker."

The legendary Grammy-winning producer for Alicia Keys and Kanye West had his hands full at the time, working with Beyonce, and the band worried that they might not have a chance to meet him. Finally, one night late at The Bowery Hotel, Nate got his chance. Their relationship was one that fit nicely into the grand tradition of Fun. "Jeff wasn't very, shall we say, warm. He had been working on Beyonce all day, and he really gave the vibe that he didn't want to be meeting with me...but thank God for alcohol. We ended up hitting it off, and since I was drunk and lacking self-awareness, I decided to sing him something I had been working on. I remember singing the chorus for "We Are Young" kind of loud and out of key. That's when I learned that Jeff does this thing when he's excited where his eyes perk up and somehow his ears move all the way to the top of his head. He told me we had to work together."

Fun. was on their way to becoming the band that would -- that could -- produce "Some Nights."

"Jeff left a huge imprint in our brains," says Andrew, "and for me at least, made me realize all over again that songs are special, and that they deserve to sound unique. His palette of sounds is huge." Or, as Jack says: "Jeff pushed the shit out of us, and he's nothing like us. He helped us do something way bigger than what we could have done on our own."

Jeff heard the songs stripped down with just vocals, acoustic guitar and piano before the band went into the studio with him.

"Jeff has an energy, a talent, confidence, and a way of making you feel confident, like no one I've ever met, or probably will ever meet," says Nate. "Suddenly here was a gigantic beat on top of those acoustics and pianos. Jack's guitar solo in 'Carry On' was one of those magical moments. I've never seen anyone so in control of their tone, and for him to take the lyrics, internalize them, and redistribute it into the form of a guitar solo, is just so unbelievable, and it's a huge testament to his passion for music."

Lyrically, "Some Nights" has a uniquely impactful note -- and it's not always an upbeat one. See also: the line "I got nothing left inside my chest but it's all alright" in "All Alright." "I was just coming off of a darker and more introspective year," Nate remembers, "You know, I remember being a freshman in high school and feeling like an outsider who always wanted this one girl to notice me, and I would listen to 'El Scorcho' by Weezer and couldn't help but smile because there was at least one other person in the world who felt how I felt. That's what I hope to accomplish as a lyricist. But I was having anxiety attacks about whether or not I could still write a song, let alone still wanting to make music. The only way to cope with it was to write about it."

Maybe it's Nate. Or Andrew. Or Jack. Or Jeff. Or the acoustics at Arizona State. Either way, it's a good problem to have when you're pointing fingers at each other, laying the blame for the magic of your new record on your band mates. Even with the "new and improved" sound, fans will never forget what it is this band wants: "'Some Nights' has a common theme of guilt and depression and laying everything on the table, sure, but there's always some sort light at the end of the tunnel," says Nate. "That's what this album is striving for, to say something along the lines of 'Okay, I found that light, but it's just led me to another situation where I need to find the light again.'"

And down the tracks we go.




Family of the Year

Most bands function like a family, seeing how touring, writing, and studio time force them to share a lot of small spaces for extended periods of time. But Family of the Year has taken that familial feeling a step further, and not just with its moniker. The members of the Los Angeles outfit have formed unbreakable bonds amongst themselves that come from cohabitating in a run-down house and relying on each other for inspiration and support, which has led to the kind of camaraderie that allows members to finish each other's sentences. It also doesn't hurt that frontman Joe Keefe and drummer Sebastian Keefe are real-life siblings.

Not surprisingly, many of the group's songs feature numerous voices, and more than a few include a chorus of joyous handclaps. Some even sound like they should be sung by the tight-knit group around the campfire while the s'mores are melting and the wine is flowing, especially the ones that name-drop members of the band. Guitarist Jamesy Buckey, in particular, has received the lion's share of shout-outs in FOTY songs, to the point where it's become a Family tradition.

Family of the Year's story began in 2009, when Joe assembled a band around an album, Songbook, that he completed while decompressing from a five-year stint with Unbusted, the alt-rock trio he started in Boston with Sebastian that gained some notoriety for its inclusion on the soundtrack to the Farrelly brothers' film Stuck On You. Instead of relying on the distortion of his past, suddenly pianos, horns, acoustic guitars, and other assorted instrumentation were being used to display a more sophisticated-yet equally as playful-indie-rock sound that brings to mind classic pop bands like The Smiths, The Byrds, Fleetwood Mac, and The Go-Betweens.

To say that Family of the Year has accomplished a lot in a short amount of time would be an understatement. In addition to Songbook, the band has issued a pair of EPs on its own Washashore Records imprint - 2009's Where's The Sun, 2010's Through The Trees - in addition to last year's 2011's St. Croix. Songs from all four discs have made their way onto various international releases. Media attention has come from various corners of the world, including heavy rotation on French radio as well as glowing reviews from NME, BBC, IFC, Rolling Stone and Spin.

Now the group is preparing for its busiest schedule yet, with shows and tours being planned around the forthcoming full-length Loma Vista, which is due July 10, 2012 on Nettwerk Records. In addition to plenty of stateside dates, the Family plans to return overseas, where it has already developed a significant fanbase. In 2011, the band played sold-out shows in England and across Europe, including a triumphant set at France's largest music festival, Les Vieilles Charrues.

The list of artists that FOTY has played with over the years is notable, including Edward Sharpe & The Magnetic Zeros (who took the band on tour early in its career), Mumford & Sons, Gomez, Good Old War, Belle Brigade and The Antlers, though arguably the most impressive opening gig so far was when the band warmed up a Ben Folds performance with the Boston Pops Orchestra. Handpicked by Folds and Boston Pops conductor Keith Lockhart, Family of the Year beat out 700 other hopeful artists to open the Oct. 2009 event. Not a bad way to spend your third show ever.

"We went back home to Boston to play at Symphony Hall, which was the sweetest homecoming ever," says Joe. "The show was amazing. Our mom got to stay at a nice hotel and get dressed up and come see us play. Musically we were a bit shaky, it being our third gig, but it was a great room to play in."

Proving its versatility, the Family has made fans of a couple of fellow Massachusetts-bred musicians who, on the surface at least, don't have much in common: singer-songwriter Willy Mason and Aerosmith frontman Steven Tyler. Mason contributed to the reggae-tinged "The Princess And The Pea" on Through The Trees, while the demon of screamin' discovered Family of the Year through a mutual connection and compared what he heard to "The Mamas And The Papas on acid." Interestingly enough, the Keefe brothers used to live next to the apartment in Boston that once housed Aerosmith.

"I don't think Steven Tyler is getting a tattoo anytime soon, but he likes our music," says Sebastian. "We had the opportunity to meet him once, and he was really cool."

But a band is only as good as its most recent output, which is why it's fair to say that Family of the Year has positioned itself for greatness. Recorded by what now constitutes the core of FOTY-Joe (vocals, guitar), Sebastian (drums, vocals), Buckey (guitar, vocals), and Christina Schroeter (keyboards, vocals)-the group completed 14 songs with producer Wally Gagel at his new studio in Hollywood, 10 of which made it onto Loma Vista. This is the first time that the band has worked with a producer and gone outside their own camp to release their music.

With Gagel's assistance, the band has crafted a stirring set of songs teeming with catchy melodies, clever ruminations on love, heartbreak, and staying up late enough to watch the sun rise, and a cosmopolitan flavor enhanced by the fact that the members of Family of the Year hail from all over the globe. After being born in Martha's Vineyard, the Keefe brothers followed their father's bloodline back to Wales during their formative years (during which time Britpop was booming); Buckey is from Jacksonville, Florida, where he familiarized himself with that town's all-ages punk scene; and Schroeter is the lone Southern California native, having grown up in Huntington Beach, where she inevitably became enamored with the ska scene led by No Doubt. Though still only in their 20s, the members of this Family are music veterans, and the precision with which they play is a testament to all of the hard work that got them here.

Gagel is another Boston native, having played with '90s power trio Orbit prior to his current status as half of the hit-making production duo Wax Ltd (he and Xandy Barry have collectively and individually worked with artists like Folk Implosion, Muse, New Order, and The Rolling Stones). Joe had already developed strong ties with Gagel before the band entered the studio.

"Having him be a really close friend instead of a random producer assigned to us was really helpful, because you have to be pushed to edit yourself and be better, be stronger, work harder on things," says Joe. "Working with someone like that who knows exactly what we wanted it to sound like with the same exact vision, it was really kind of a no-brainer."

As a collection, the album is a lively slice of indie, dance- and psych-rock. Most songs highlight the perennial backdrop of California sunbeams - "St. Croix" is a dreamy tune about "a boy from Florida / took a trip to the Caribbean ... he came to get over her," (and yes, it's about Jamesy), the strummy, 5-part harmonic "Stairs" and propulsive keyboard-laden "Diversity" are lovely servings of the band's signature exuberance. But, don't be misguided in thinking the band is only about cheerful, jangly tunes. Family Of The Year opens the album up to down-tempo tracks that ache a little and leave sepia-filtered images in your mind - e.g. "Hero" and "Hey Ma."

"It feels like the first time in so many ways, because it's the first time things have really clicked," says Joe.

"We inspire each other," says Sebastian. "It was important for this record to be something that would stand up as one piece, rather than something that sounded like songs strung together. We really wanted to have a record with a clear identity."

And Family of the Year's future is clearly a bright one. Playing every show like it's a special occasional and writing each song with complete conviction has allowed the band to accomplish everything it has set its sights on. As "Living On Love" notes, "they say that you can't get every little thing that you want ... it's such a lie."