Jade Jackson

Pappy + Harriet's Presents

Jade Jackson

Matt Hopper & The Roman Candles

Thu, February 21, 2019

Doors: 7:00 pm / Show: 8:00 pm

$15.00

This event is all ages

Jade Jackson
Jade Jackson
Within seconds after a guitar plays the intro to her song “Aden,” Jade Jackson’s voice, illuminated by experience, sings: “I grew up my father’s daughter. He said don’t take no shit from no one. You’ll never see me cry …”

And it’s with that voice and those lyrics that imply a thousand stories, this singer/songwriter hints at what she is capable of crafting, of how many tears she can stir in recounting her rambles to the far corners of her imagination, further even than she has actually travelled.

For Jackson has spent much of her time in a small California town, working in her parents’ restaurant, jotting down verses and picking out chords during breaks, then venturing eventually to more formal music studies in college before coming back home and startling listeners with the depth and intensity of her music.

Scheduled to release in May on Anti- Records, Gilded introduces her preternatural writing and raw, roots-rough sound. Surrounded by the close friends and gifted musicians that constitute her band, Jackson finds the perfect twist of phrase again and again, to express regret (“Let me walk over the bridges I’ve burned,” on the mournful “Bridges”), foreboding (“He kept his shiny blue gun underneath his dash/Deep inside she knew their lives were gonna crash,” a doomsday premonition set to a galloping beat and spaghetti-Western guitar on “Troubled End”) and freedom (“I feel my boot heels sink in quicksand, baby, every time we kiss,” she tells her baffled lover on “Motorcycle.” “Ah, understand, boy, it’s been fun, but my motorcycle only seats one.”)

How did Jackson develop this command so young? First, of course, she was born with talent, which her home life nurtured. Though neither parent was a musician, both of them — especially her father — listened constantly to a range of artists, from Johnny Cash and Hank Williams to The Smiths, The Cure and assorted punk outfits.

“There was always music at home,” Jackson remembers. “In fact, it weirded me out when I’d go to a friend’s house and we were supposed to be quiet.”

Just as important, she had a compelling reason to develop her talent from an early age.

“I was just bored!” she insists. “That’s why I started playing guitar. I’d grown up in a really small house in a small town. I shared a room with my brother and sister until I was 12. Then when I was 13 we moved about 30 miles away to Santa Margarita because my parents wanted to open a restaurant there. So there were more people around but I didn’t know anybody. That summer it was 118 degrees and we didn’t have air conditioning. I didn’t have any friends. My parents were kind of anti-technology, so I grew up without the Internet.”

So she found escape on her own. “Even before I picked up the guitar, my favorite thing was to tell stories. I was so in love with poetry: I would watch how people reacted when I read something I wrote … and then I’d put myself in their shoes and try to imagine how it felt to be them because I was kind of sheltered.”

She wrote prolifically — still does, in fact. “I couldn’t stop,” she admits. “I would write on whatever I could grab. If I was in the car, I’d write on a piece of trash. If there was no trash, I’d write on cardboard. In my junior year of high school, the local newspaper did a story that said ‘Jade Jackson writes a song every day!’ They had me count all the songs I’d written by then and I think I was up to 375.”

The numbers grew. Through hard work and a willingness to challenge herself with each new effort, the quality of the music grew too. At the same time, Jackson began thinking about music as possibly something more than a private escape. This epiphany dates back to the night she went to a concert for the first time without her parents; the headliner that night was one of her favorites, Social Distortion.

“When I watched Mike Ness walk onstage and felt the energy from the crowd, it ignited something in me,” Jackson says. “I wanted to be on that stage too. I never knew I wanted to perform until that day. That shifted all the gears in my life.”

She began by playing every Sunday at a coffee shop in Santa Margarita. “They had a guitar hanging on the wall, so I’d take it down, spread all my lyrics out on the floor, sit on the couch and read them from there,” she says, with a laugh. “But then this musician named Don Lampson saw me playing. He asked if I wanted to open for him. So I memorized four or five of my songs and for the first time in my life, sang through a microphone. I connected with that energy of performing. I loved it when I could make people feel emotions through my songs.”

Her following, like her catalog, grew steadily. By the time she’d completed high school, Jackson’s work had become impressive enough to persuade Cal Arts to accept her into its music program. There, she had her first formal music instruction as well as some more personal struggles and applied both to finessing her craft even further.

“When I was little and listening to Johnny Cash, his songs were so sad, kind of slow and melancholy,” she says. “I didn’t understand what the words meant but I understood how they made me feel. In college, when I had my first taste of real depression, all of a sudden his songs and Hank Williams’s stories came true. I was like, ‘Holy shit! Now I actually know what those words meant!’ It was like a circle completing itself.”

One more circle led Jackson to her most critical step forward, when she and Mike Ness began working together. Jackson’s mother and Ness’ wife had been friends in high school, which brought the two artists together. A short while after hearing her perform, he offered to mentor her. They assembled the band that’s been by her side since they came together. He agreed to produce Gilded as well.

“He gave me homework,” she points out. “He made me listen to Lucinda Williams’s Car Wheels On A Gravel Road and told me to listen only to that album for the next three or so months. That was the template of the album he wanted to create with me, so I picked from songs of mine that had a similar feel. If I didn’t have him, Gilded would have been a lot more scattered.”

That’s the key, right there. Gilded is a closed circuit, a masterwork of emotional honesty, of epic tales and intimate confessions. What’s scattered beyond, in songs long completed and many more yet to come, is a promise of more circles, more unique perspectives on hard lessons learned and too soon forgotten.

This is just the first you’ve heard from Jade Jackson. So much more lies ahead, for her and for us.
Matt Hopper & The Roman Candles
Matt Hopper & The Roman Candles
Matt Hopper & The Roman Candles are an American rock and roll band that has been releasing music since 1999. A dizzying array of music rooted in classic rock tradition and modern rock experimentation with a penchant for stargazey jams and tender folk lie within their catalog. Think Wilco, Tom Petty & The Heartbreakers and My Morning Jacket.

Matt Hopper & The Roman Candles exploded onto the Anchorage, AK music scene in 1999; they were loud, upbeat and catchy and fueled by long winters spent jamming in basement dens and makeshift recording studios. Like most young bands, this group performed mostly in their own city, headlining all ages concerts and opening for bands like Young Dubliners, Gin Blossoms and Starflyer 59, but Hopper had his sights set on bigger oceans. They began by touring to the far corners of the Alaskan road system and eventually made their way to the rest of America...and have crossed into Europe twice. Their first foray into legit touring was in 2003 when they were asked to open for Anatomy of a Ghost (singer and bassist went on to form Portugal. The Man) and Fear Before The March of Flames.

The six-piece Roman Candles are currently based in Portland, OR where Hopper gravitated due to the wealth of musical talent available: engineer and drummer Bryan Garfinkel, pedal steel maestro Bryan Daste, folkie multi-instrumentalist Phillipe Bronchstein (who also performs as Hip Hatchet), bassist John Fauller and keyboardist Ryan Bohac. Hopper, with the help of an exhaustive list of fellow musicians, have released 11 albums of music thus far all independent of any record label help. They don’t have a manager, a booking agent, or PR, but that hasn’t stopped Hopper from penning a tune for The Head & The Heart (“False Alarm” from their 2016 release Signs of Light), recording a full length with producer Richard Swift (The Black Keys, The Shins), or touring Europe extensively, twice. Performing Songwriter Magazine refers
to him as “Alaska’s finest” and Rolling Stone magazine thought THATH’s version of False Alarm “drolly sweet...could be a mountain-scented lost track from Fleetwood Mac's Mirage – a throwback that feels cozy and stylish at the same time.”

Hopper won an Alaska Public Radio Network award for best rock song, he performed at the Miss Alaska Pageant and impressed Go Magazine enough to where they referred to him as “the Northwest’s best kept secret”. He has shared the stages with so many artists it would bore you, but some memorable concerts supporting Dr. John, Todd Snider and The Lemonheads come to mind. Hopper continues to follow his dreams of being a fully committed, unique and original artist to this day and has no intentions of stopping. Read more about Matt Hopper & The Roman Candles at www.matthopper.com. The name of the band comes from a quote in Jack Kerouac’s “On The Road” ... “the only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars and in the middle you see the blue centerlight pop and everybody goes “Awww!”

"Matt Hopper does rock and roll right. [He] has a very natural ear for memorable melodies and irresistible guitar riffs; great songs seem to pour out of him." - Ben Salmon, Bend Bulliten

"Alaska's finest" - Performing Songwriter Magazine

"With their jangling guitars, slippery basslines, smooth violin and keyboard and light, steady drumming, Hopper and company would've sounded right at home on classic rock radio next to Bob Seger and the Doobie Brothers." - B. Schulz, Here Comes The Dumptruck

"Although this songwriter recently relocated to Idaho, Matt Hopper cut his teeth in our most northern state, which would lead to the wiry, blues-flavored tracks on the 2011 album Jersey Finger. Hopper is a Tom Petty dead-ringer on “Send/Receive,” and he spends the rest of Jersey Finger drumming up nostalgia for listeners of many generations." - Taylor Kane, 9 Alaskan Acts You Should Listen To Now, Paste Magazine
Venue Information:
Pappy & Harriet's
53688 Pioneertown Road
Pioneertown, CA, 92268
http://www.pappyandharriets.com