demo

Friday, March 13, 2020

Grace Potter

6:30 pm doors, 8 pm show

$38.50 advance, $43.50 day of show

All ages welcome

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Grace Potter

Grace Potter

In the years that followed the release of her widely acclaimed 2015 album Midnight, Grace Potter considered never putting out a record again. Having endured the tumult of the breakup of her band and subsequent divorce — as well as far more joyful events like a new marriage and the birth of her first child — Potter continued writing on her own, but had no intention of sharing those songs with the world.

“Too many things had happened, and I needed to take a step back,” says the Vermont-born artist. “There were moments where I thought, ‘Maybe I’ll just go back to painting houses.’”

But by the end of 2017, Potter began to feel the call of the studio and soon started laying down tracks in the Topanga Canyon home she’d recently settled into with her husband, Midnight producer Eric Valentine. Unsigned and entirely free of any pressure to appease, Potter slowly carved out the songs that now make up Daylight: an album that emerges as her most emotionally revealing, musically daring and exactingly realized body of work to date.

“In the past, I’ve aimed to write songs from a universal perspective; so that anyone who heard my music could relate, but that actually made it harder for me to take ownership of my own perspective. This new collection of songs were all written so that I could process – and be accountable for – my own life experience,” Potter says. “I had just pulled the ripcord on my whole life. It was an incredibly jarring, private experience. When the dust settled a bit, the last thing I wanted to do was tell the whole world about it. It was a very gradual process of re-framing music and its purpose in my life. So when I finally started writing songs again - I did it for me.”

Potter’s seventh full-length and first release for Fantasy Records, Daylight was created in close collaboration with producer/mixer/engineer Eric Valentine. In constructing the album’s wild collage of rock-and-roll, blues and soul, Potter tapped into her tightly honed musicianship while harnessing the untamed energy of her live performance for the very first time. “I had kind of resigned myself to the fact that I was always going to be better live than in the studio - but Eric was determined to tap into that raw energy that I have onstage.” she says. “He chased down a few different approaches, ultimately creating a kind of live music venue setup in his studio, so I could feel the sound reflecting off the walls and interact with the band instead of just singing into a void.”

Partly recorded in Potter’s garage and living room, Daylight mostly came to life through a series of live-to-tape sessions at Valentine’s Hollywood studio, Barefoot Recording. Along with capturing the undeniable vocal power Potter’s previously shown in sharing the stage with The Rolling Stones, Robert Plant and Neil Young, the album unfolds with an irresistibly vital sound birthed with the help of guests like Benmont Tench and Lucius. “Having all these incredible musicians playing live in the room with me gave the recording an urgency — like, this matters right now,” Potter recalls.

On the album-opener “Love Is Love,” Potter brings that urgency to a breathtaking slow-burner, her voice shifting from fragile to soaring with understated elegance. The very first piece written for Daylight, the track finds Potter fully surrendering to unbridled feeling — a process so unsettling, it temporarily put her off from attempting any further self-examination in song form. “‘Love Is Love’ is so confessional, it was terrifying. I dove deep into the darkest corners of my personal life.” she says. “After we recorded the demo, I had no desire to keep on writing because the feelings were still too raw. I wasn’t ready to dig any deeper.”

Just one song later, Potter proves to have wholly conquered that fear, turning out a full-tilt rocker raging with pure passion. With her vocals taking on a gravelly intensity, “On My Way” telegraphs unhinged joy as Potter documents a particularly fraught moment from the past few years when she took a solo drive across the country. “Once you allow certain feelings in, there’s no turning back.” Freewheeling and cathartic, “On My Way” builds its frenetic tension in part from a riff that she and Valentine conjured up on their back porch. “Musically, it’s meant to take you in two directions — there’s a powerful tension between darkness and light. It’s a theme that plays out a lot on this record, and that riff kind of just says it all.” Potter notes.

Throughout Daylight, Potter imbues her songs with equal parts aching vulnerability and unapologetic self-possession. A stark piano ballad partly written while Potter was in the process of moving out of her home, “Release” transmits a quiet sorrow but ultimately finds its resolution in a lyric supplied by co-writer Mike Busbee (“I hope that someday/The sun will shine again/And you’ll release me too”). On “Repossession,” meanwhile, Potter sharply contrasts the song’s sleepy rhythm, dreamy guitar tones and unearthly harmonies with a brilliant lyrical barb (“And you say/That I threw it all away for nothing/But the only thing I threw away/Was you”). “We were driving through the Southwest; we stopped at a pawnshop and bought this busted old guitar with a missing string, dragged it out to these vast sand dunes and just started playing,” Potter recalls in revealing the song’s origins. “We’d been listening to a lot of classic country and AM radio on the road trip. These heart-wrenching songs spoke directly to what we were going through - and even though they were recorded over 50 years ago, it felt like they’d been reading my diary - so when we sat down to write, ‘Repossession’ just happened. Like it had always been there, just waiting for someone to show up and claim it.”

While much of Daylight mirrors the emotional chaos of her recent past, the album also channels a certain soulful wonder on songs like “Every Heartbeat,” an acoustic-guitar-laced serenade for Valentine and their infant son, Sagan. And on “Desire,” Daylight drifts into an unpredictably playful mood, serving up a sweetly winking celebration of unabashed lust. “I’ve often cloaked my carnal themes in metaphor,” Potter notes. “Ultimately that approach lost a lot value for me. I was tired of burying my desires, my truth, my pain…in euphemisms. I had to start over and rebuild my sense of self, so I went straight to the source with a song that celebrates the fact that we’re all just animals.”

On the title track and finale to Daylight, Potter offers up one of the album’s most galvanizing and glorious moments: a shapeshifting epic that endlessly careens from simmering blues lament to brutally thunderous rock-and-roll anthem. “It’s a song about the darkest time,” Potter recalls. “We started composing that song because we wanted to honor the long, difficult process of finding peace. It’s a musical bookmark; and a reminder that darkness doesn’t last forever.”

For Potter, the making of Daylight marks a return to the unfettered creativity she felt upon first discovering songwriting. “I really dug back into the roots of my creativity. When I was 12 or 13, I would sneak away to write songs because I didn’t want anyone to hear me bearing all,” she says. “It was all so honest, because I had no awareness of how people might perceive me.” At the same time, she made use of the masterful chops she’s developed over the course of her career, a 15-year run that’s included playing nearly every major music festival (in addition to launching her own festival, Burlington’s Grand Point North. “Throughout my career, I’ve always been a bit of a tinkerer; experimenting and exploring all these different facets of who I am through music,” says Potter. “But this album isn’t an experiment: it’s a statement.”

As she shares that statement with the world, Potter hopes that Daylight’s fearless honesty might inspire each listener to embrace their own truth, in all its messy complexity. “This album is about being able to take complete ownership of your feelings, without any anger or hate or shame. And that can be absolutely terrifying — but once you get to the other side, it’s exhilarating. It’s the feeling of knowing that you’re finally home.”

Twitter:
http://twitter.com/gracepotter

Facebook:
http://www.facebook.com/GracePotter/

Instagram:
http://www.instagram.com/graciepotter/

YouTube:
http://www.youtube.com/user/gracepotterofficial

Events

The Crystal Ballroom

1332 W. Burnside
Portland OR 97209

(503) 225-0047
Contact us

Where On Any Night, Anything Can Happen!!

In these walls...

The historic Crystal Ballroom -- now over a century old -- is one of those rare concert halls that can point to a proud, diverse history while also laying claim to an ongoing musical legacy. Every time you enter this majestic ballroom, let your imagination sense the tremors resonating from a century's worth of gatherings, and realize that you are joining a thriving, generations-long procession of show-goers. Welcome!

Looking for your Crystal Ballroom Passport Stamps?

Crystal Ballroom, Lola’s Room & Crystal Brewery Tour occurs daily at 2 p.m. - meet at Ringlers Pub (street level below the Crystal Ballroom.) The tour takes about half an hour to complete. Any questions may be directed to the Crystal box office, 503-225-0047.

Stamps for the Crystal Ballroom and Lola’s Room are also available when you see a show – ticketed or free – in either venue.

Please note: Due to private events, concert setup needs and brewers’ schedules, not all spaces are guaranteed to be available to tour daily, but our staff will give it our best shot and show you the spaces that we can.

Tech Specs

Floor and stage plan
PDF download

Lighting diagram 
PDF download

Sound manifest
Crystal:
PDF download
Lola's Room: 
PDF download

Technical and logistical packet
For Crystal Ballroom & Lola's Room
PDF download

Ballroom height and beam-to-beam dimensions
16' 11" from beam to floor
19' 11" from floor to ceiling
14' 6" in between beams

Promoter Info

Rental Expenses To Outside Promoters

RENT VARIES, PLEASE CONTACT A BOOKING COORDINATOR
$900  SOUND & LIGHTS
$365  PRODUCTION MANAGER ($54.75/hr OT)
$255  STAGE MANAGER ($38.32/hr OT)
$255  FOH TECHNICIAN ($38.32/hr OT)
$255  MONITOR ENGINEER ($38.32/hr OT)
$255  LIGHTING DIRECTOR ($38.32/hr OT)
$150  HOSPITALITY ($20/hr OT) [mileage is 33 cents per mile]
$1,000*  SECURITY ($100/hr OT)
$100  BOX OFFICE STAFF ($20/hr OT)
$200  ADMINISTRATION FEE
$ ----  PARKING HOODS
$ ----  CHAIR RENTAL ($2 per chair)
$ ----  ADVERTISING
$500  PIPE AND DRAPE/BARRICADE
$175  STAGEHANDS
$ ----  BOX OFFICE CREDIT CARD FEE (3% of Box Credit Card Sales)

* Security cost is an estimate. Additional security may be required depending on the nature of the event. 

Overtime: All expenses incurred by the Crystal Ballroom for Catering, Advertising, requested stagehands, overtime (anything over 10 hours), backline, barricade, risers, etc. will be added to total rental rate.

Deposits: A non-refundable 50% room deposit and a $2,500 'untenured promoter fee' (UPF) is due immediately in order to secure the room. If ticket sales exceed 500 the 'UPF' will be refunded; if ticket sales are below 500 the room keeps the entire $2,500 to make up for less than 1/3 capacity and corresponding lack of sales. The 'UPF' will not be refunded if the event cancels within 60 days of the event.

Settlement: Venue will pay renter with a company check at the immediate conclusion of door sales. Venue will not provide any cash at settlement.

Late Night Fee: There is a $1,000/hour additional fee for any events after 3 a.m. We may also require additional security for events of that nature.

Merchandise: Merch rate is 20% they sell. We can provide a seller with advance notice and will keep 30% of sales. The outside promoter will receive no revenue from the merchandise as that is the prerogative of the house. House keeps a percentage of all transactions.

Tickets: All tickets must be placed through the venue onto the Cascade Tickets system. All comps, label buys, and holds must be approved by the venue. There is a $2/ticket venue fee at the Box Office.

Refunds: All refunds will be directed to the outside promoter. In the absence of an outside promoter representative, the venue shall use its own discretion regarding refunds and all refunds shall be deducted from settlement.

Insurance and Licenses: Renter must provide liability insurance not less than $1,000,000 for any single occurrence naming McMenamins Inc. d.b.a. Crystal Ballroom as additionally insured. Tickets will not be placed on sale until binder is received. Promoter is responsible for all ASCAP, BMI, and SESAC fees.

Production Advance: Performers or their representative must contact venue's production manager 5 days prior to the event in order to advance production needs, otherwise runner will arrive at 6 p.m. and all rider items/requests will be greatly limited if provided at all.

Layout: The Crystal Ballroom is located on the 3rd floor. The first floor is Ringlers Restaurant and the 2nd floor is Lola's Room, both of which may have a public or private event simultaneously with the Crystal.

Cancellation/Postponement: The contract covers the specified event for the specified date. No substitution will be accepted for a cancellation. If the event is postponed the room deposit will be transferred to the date of the new event but the $2,500 'UPF' will be applied toward the date of the originally scheduled show and an additional $2,500 will be required in order to reschedule.

Capacity: The venue's capacity is 1500*. All artist and promoter guests and comps will be deducted from sellable. Comp and guest space must be reserved in advance. House is entitled to 20 guests. House guests will not effect sellable. Promoter must have guest list to house no later than 2 hours prior to doors. VIP cap is 25.

* Seated capacity is 850. Seated shows must be 21 and over. There is a $2/chair rental fee.

Venue and corporate sponsor banners may be present during event.

Marketing your event at the Crystal Ballroom

Please contact Mike Walker for information about marketing your event through McMenamins resources.

Box Office

Please note! Both the Crystal Ballroom and Lola's Room specialize in open-floor shows with a very limited amount of seats. The rare seated events will be clearly denoted as such, within the event description on our schedule page.

Box Office Information

Tickets for all McMenamins shows are ticketed by Cascade Tickets, and may be purchased at the Crystal box office (located under the Crystal's awning) and McMenamins Edgefield, by phone at 1-855-CAS-TIXX, or by clicking the "Buy Tickets" link located at the event listing on our schedules.

Tickets bought directly at the Crystal box office or any of our four ticket outlets will only incur a $1 facility charge. (Please note! Tickets to Edgefield Concerts on the Lawn will incur additional service fees.)

Crystal Ballroom Box Office Hours 
Daily, 11:30 a.m. to 6 p.m.
The box office is open later on nights when there is a performance.

The box office accepts cash, VISA, MasterCard, American Express and DiscoverCard.

Will Call

Will call is located at the box office.

Refunds

All ticket purchases are non-refundable.

Parking

There are three pay lots nearby, and street parking is available.

Accessibility

Those with disabilities may call (503 225 0047) or email in advance to arrange early admittance.

There is an elevator located in the lobby.

Hold your Private Event at Crystal Ballroom

Weddings  Meetings  Social Events

The Crystal Ballroom is a truly awe-inspiring venue with its vaulted ceilings, grand chandeliers, giant wallscapes and famous "floating" dance floor. Accommodating groups from 100 to 1000 people, this 7,500-square-foot space includes access to the Ballroom's classic corner stage, floor-to-ceiling windows, swooping balcony, and full bar service.

Tucked in the Crystal’s second story is Lola’s Room accommodating events of up to 200 guests.  Lola’s comes with a handsome fully stocked bar, original artwork, and a floating dance floor all it’s own.

For overnight accommodations, our Crystal Hotel is just a block away!

Contact our sales team to inquire or book your event.
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Art

Artwork plays an important role in the character of McMenamins locations throughout Oregon and Washington. We believe art makes life richer and more enjoyable. So, you'll often find paintings covering our walls, ceilings doors, overhead pipes, and equipment -- works as diverse and entertaining as our places for family and friends. Many artists have contributed to this vast variety of delightful eye candy. Jump in and enjoy some now!

History

 

 

Explore the Crystal Blocks

Our Crystal Hotel and legendary Crystal Ballroom are just across the street from each other, each offering their own unique spaces for live music, Northwest style fare and McMenamins hand crafted beverages.  Explore these properties and all they have to offer. 

Crystal Ballroom Property

Crystal Ballroom  Lola's Room  Ringlers Pub  Crystal Brewery

Crystal Hotel Property

Crystal Hotel  Al's Den  Ringlers Annex  Zeus Cafe

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