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  • The Cedar Cultural Center 416 Cedar Avenue South Minneapolis, MN, 55454 United States (map)

The Cedar Presents


Wednesday July 10th, 2019 / Doors: 7:00 PM / Show: 7:30 PM

All Ages

$15 Advance / $18 Day of Show

This is a standing show with an open floor. General Admission tickets are available online, by phone, Electric Fetus, and The Cedar during shows.

Having spent most of the previous two years touring, the unit has grown as tight as they come, and they demonstrate both the breadth of their chops and the broad expanse of country music’s potential by refusing to limit themselves to a singular sonic palette.
— PopMatters


When Sidelong, Sarah Shook & the Disarmers’ debut album, was released in early 2017, it quickly earned kudos for its blast of fresh, fierce honesty and sly wit. It was a welcome new voice in a genre too often mired in the staid and conventional. And while that record may have come to many as a surprise, Years solidifies the point: Sarah Shook & the Disarmers have moved from getting people’s attention to commanding it. The album–with its sharpened songwriting, unique perspective, deepened sound and roll-up-your-sleeves attitude–will grab you by the collar and put a defiant finger to your chest. It is resolute, blunt, and unflinching.

Inspired by artists such as the Sex Pistols, Elliott Smith and Hank Williams, Sarah sings with confidence, control, and, at times, a hint of menace. The Disarmers match her on every track, coloring the tales of resilience and empathy with as much urgency as ever as well as a broader sonic sweep. It’s easy to hear Sarah as a close cousin to artists like Hurray for the Riff Raff and Margo Price on the title track, or in the country-‘60s mod vibe on “Lesson.” “Good as Gold,” sporting a kiss-off line for the ages, “You’re as good as gold/ I’m as good as gone,” is both vulnerable and defiant, soaring with pop-inflected harmonies. And with an expansiveness evoking the wide-open West, “What it Takes” speaks to the truth of the record, to her life, and to the universe.

At its pounding heart, Years crackles with a pointedly contemporary and relevant take on the outlaw spirit. Built around the buoyant pedal steel of Phil Sullivan, and the post-punk rattle and Live at San Quentin hum of Eric Peterson’s guitar, there are echoes of Nikki Lane and Merle Haggard as much as Ty Segall. Its home is the ragged-but-real honky tonk, not the bro-country “honky tonk.” The barroom singalong “New Ways to Fail” is classic, smile-through-the-pain country. “Damned If I Do” could be the “Drivin’ Nails in My Coffin” of the 21st century, if we let it; a perfect song for rolling in the wry and sneaking in a quick two-step. The sinister “The Bottle Never Lets Me Down” will get anyone who’s ever been wronged righteously flipping the bird as they knock back the next shot. Therapy in the face of personal devastation takes many forms, after all.

As Sarah herself tells it: “This record is about finding a way. A way through exhaustion, depression, betrayal, hangover after hangover, upper after downer after upper, fight after never-ending fight. It’s about picking yourself up and dusting yourself off after years of being trampled and beaten down, jutting your chin out, head high, after they’ve done their worst, and saying, ‘Still here.’ ”

This record is shouting “fk you, I do want I want” from the rooftops to the mother**g cosmos.

The walking bass line sounds like a hammer striking piano keys in perfect meter, while the fills are dynamic flurries – like cluster bombs. I haven’t heard a young guitarist this dexterous and ass-kicking in eons.
— L.A Weekly

Sunny War

Released on the heels of her critically acclaimed 2018 album, With the Sun, Sunny War’s new album finds her a little bit older, a little bit more mature, but looking back on the rocky roads of her past with a surprising amount of nostalgia. Shell of a Girl, coming June 14, 2019 on Hen House Studios with vinyl released by Org Music, was written in a burst of creativity in Los Angeles, and marks a new transition period, with Sunny moving from the Venice Beach boardwalk, where she first made her name, to the streets of downtown Los Angeles. Holed up in a studio apartment in an old halfway house that’s rumored to be haunted, Sunny muses “I think I’ve heard ghosts, but I’ve always heard ghosts everywhere.” These ghosts are reflected in the songs on the new album, either through the ghosts of friends who’ve passed away, from overdose or accident, or in the ghosts of who she used to be. “I feel like I’ve tricked myself into trying to be a part of the system that I swore I’d never participate in,” she says. “Now I’m worried about moving from a studio to a one-bedroom. It bums me out when the thing I’m happy about is paying the light bill. I’m never happy about something that’s real anymore.”

Growing up in Los Angeles’ punk scene, Sunny was hopping trains from a tender age, riding free on the rails and living homeless on the streets. Her music has always been raw, and she refuses to shy away from a brutally open honesty about the rougher parts of her life, but now that she’s gotten a modicum of comfort and routine, she finds herself looking back to what she remembers as the happiest time in her life. Far from her early days playing house shows with members of FIDLAR, and racing through punk sets with her band Anus Kings, Sunny insists she’s never lost touch with her punk roots, in fact she feels more punk than ever; “I’ve graduated to just hating everybody,” she says with a laugh.

Sunny War jokes that the songs on Shell of a Girl come from her attempts to write a radio-friendly single, inspired by wildly varied influences like commercial jingles that fascinated her as a kid, the cross rhythms of bossa nova guitar, even a peculiarly twisted version of circus classic “March of the Gladiators.” Recording again at Hen House Studios on Venice Beach with producer Harlan Steinberger and her musical collaborators Micah Nelson (Particle Kid) Aroyn Davis, Milo Gonzalez, Tato Melgar, Lesterfari Simbarashe, and Edith Crash rounding out the cast, Sunny moves freely between musical genres, anchored by her virtuosic, self-taught fingerstyle guitar work. Playing on a temperamental Guild acoustic guitar, that she’s named Big Baby for its tendency to squall and feedback, Sunny’s guitar work is as dazzling as ever, notes cascading out of the guitar in Art Tatum-ish flourishes.

Her songs cut deeply too, confessional at times, wounded at other times, and fiercely proud throughout. As Sunny explains the title song, “Shell,” “in relationships, people just treat somebody like shit. Then that person changes and they don’t recognize them anymore. If you keep attacking me, I’m going to morph into somebody who’s more defensive and more aggressive, so why are you surprised?” “Drugs Are Bad” attempts to reconcile Sunny’s own medicated childhood and our culture of medicating children with self-righteous parents who think that the only drug addicts are those that use street drugs. “Soul Tramp” speaks to the hobo’s urge to keep moving, to avoid routine, to keep from ever being bored. “A ‘soul tramp’ is somebody who constantly feels like they need to go somewhere all the time,” she explains. “You’re just fighting that feeling. The lyrics are inspired by train hopping. When I hopped trains, I was living off of food stamps and just drinking Night Train. Looking back now, I think that those were the happiest times of my life. Everything was so random. Something new was happening every day, it was always interesting.”

Moving further into adulthood, Sunny War feels herself pulled back to the wild days of her youth, to the adventure and freedom we all remember, though rarely with the intensity that she lived it. But that freedom came with a price. “Most of my travelling friends died from ODing or liver failure,” she admits. “The drinking was a really big part of it, but also heroin. Almost everybody I know is dead. Then I think, why did I gravitate towards these kinds of people and then I think, was I supposed to be dead?” It’s a question she asks explicitly on “Rock n Roll Heaven”, reflecting that “I wasn’t really planning to live past 27, so now I’m like, OK what happens? I feel like that old gag where two kids are standing on each other’s shoulders with a trench coat on, pretending to be an adult. I kept wondering if I’m the only one pretending or…?” Of course, she’s not the only one pretending, but few other artists ask such honest questions with such an earnest curiosity