2016 Gigography

Here is the list of concerts by Joseph Arthur in 2016.

Concerts in green are concerts with an existing recording.

If you own an audio / video recording of an "unavailable" concert, thank you kindly send me an email to whenyoucryyoureyesarehollow@gmail.com

2016-01-01 City Winery, New York, NY Usa
2016-01-14 Todos Santos Music Festival, BCS MEXICO
2016-01-21 Todos santos Music Festival, BCS MEXICO
2016-01-22 Todos Santos Music Festival, MEXICO
2016-01-23 Todos Santos Music Festival, MEXICO
2016-01-30 Common Ground Coffeehouse, New York, NY, USA
2016-02-03 The Bowery Ballroom, New York, NY, USA
2016-03-04 RNDM - Triple Door, KEXP, Seattle, WA, USA
2016-03-04 RNDM - The Crocodile, Seattle, WA, USA
2016-03-07 RNDM - Gramercy Theatre, New York, NY, USA
2016-03-08 RNDM - Rock & Roll Hotel, Washington, DC, USA
2016-03-09 RNDM - The Foundry at The Fillmore, Philadelphia, PA, USA
2016-03-11 RNDM - Brighton Music Hall, Boston, MA, USA
2016-03-13 RNDM - Mod Club, Toronto, ON, CAN
2016-03-15 RNDM - Double Door, Chicago, IL, USA
2016-03-31 The Music Of David Bowie Benefit Concert, Carnegie Hall, New York City, USA
2016-04-01 The Music Of David Bowie Benefit Concert, Radio City Music Hall, New York City, USA
2016-04-15 Fargo Vinyl Shop, Paris, France
2016-04-16 Le Trianon, Paris, France
2016-04-17 Borderline, London, UK
2016-04-20 The Acoustic, Bridgeport, CT, USA
2016-04-21 Sellersville Theater 1894, Sellersville, PA, USA
2016-04-22 Rubin Museum of Art (Naked Soul series), New York, NY, USA
2016-05-26 Studio A, WFUV, New York USA
2016-07-15 WNYC Soundcheck Session, New York USA

2016-07-15 Paste Studios, New York USA2016-07-19 City Winery, Nashville, TN USA
2016-07-20 City Winery, Atlanta, GA USA
2016-07-23 Jammin Java, Vienna, VA USA
2016-07-30 Woodstock Sessions, Saugerties, NY USA
2016-08-15 City Winery, New York, NY USA
2016-08-28 City Winery, New York, NY USA
2016-09-01 WTMD's First Thursdays, Baltimore, MD USA
2016-09-03 Buskerfest, Long Beach, CA USA
2016-09-10 Secret Show, Long Beach, CA USA
2016-09-11 The Chapel, San Francisco, CA USA
2016-09-12 Troubadour, Los Angeles, CA USA
2016-09-13 The Hideout, San Diego, CA USA
2016-09-15 The Triple Door, Seattle, WA USA
2016-09-16 The Cobalt, Vancouver Canada
2016-09-17 Alberta Rose Theatre, Portland, OR USA
2016-09-19 Urban Lounge, Salt Lake City, UT USA
2016-09-20 Soiled Dove, Denver, CO USA
2016-09-21 The Tank Room, Kansas City, MO USA
2016-09-23 Dakota Jazz Club, Minneapolis, MN USA
2016-09-24 Colectivo Coffee, Milwaukee, WI USA
2016-10-29 Iridium, New York, NY USA
2016-11-03 Botanique Rotonde, Brussels Belgium
2016-11-04 De Amstelkerk, Amsterdam Netherlands
2016-11-05 Concerto Recordstore, Amsterdam, Netherlands
2016-11-06 Blue Shell, Cologne Germany
2016-11-07 Le Cargo, Paris France
2016-11-07 Rolling Stone Session, Paris France
2016-11-07 Le Point Ephemere, Paris France
2016-11-08 Oslo, London United Kingdom
2016-11-09 Deaf Institute, Manchester United Kingdom
2016-11-10 Bodega, Nottingham United Kingdom
2016-11-11 King Tuts, Glasgow United Kingdom
2016-11-13 Whelans, Dublin Ireland
2016-11-18 Live at Drew, Ringwood, NJ USA
2016-11-19 Tin Angel, Philadelphia, PA USA
2016-11-20 Concert In The Studio, Freehold, NJ USA
2016-11-23 The Summit FM , Akron, OH USA
2016-11-23 The Tangier, Akron, OH USA
2016-11-25 City Winery, Chicago, IL, USA
2016-11-28 The Drake Hotel, Toronto Canada
2016-11-30 Le Cercle, Quebec, QC Canada
2016-12-01 La Taverne, St Casimir, Canada
2016-12-02 Petit Campus, Montreal, Canada
2016-12-04 Minotaure, Gatineau, QC, Canada
2016-12-07 Celebrating the Life & Music of Leonard Cohen, City Winery, NY USA
2016-12-10 Jesse Malin perform "Goats Head Soup" with friends, Bowery Ballroom, NY USA
2016-12-11 5th Anniversary Guitar Mash, City Winery, NY USA


INTERVIEW : 2017-06-22 ‘Redemption’s Son’ on its reissue tour (by Andy Gray)

For someone who always seems to be moving forward, Joseph Arthur is enjoying taking some time to look back.

The prolific singer, songwriter and painter has released 14 album and 11 EPs under his own name as well as collaborating with others (Ben Harper and Dhani Harrison in Fistful of Mercy; Pearl Jam’s Jeff Ament and drummer Richard Stuverud in RNDM).

On the current tour that comes to Cleveland’s Music Box Supper Club next week, he’s focusing on his 2002 album, “Redemption’s Son.” A 15th anniversary edition will be released on Friday that includes nine previously released bonus tracks recorded in the same sessions.

“I thought about this yesterday, maybe there is a window, a 15-year window to be able to tour an album properly,” the Akron native said during a telephone interview last week. “By the time the record comes out, it’s already old. It’s not where you are artistically, and you’re extra vulnerable about it because it’s your new thing. The self-doubt demons kick in at high gear.”

Those issues weren’t a problem when Arthur revisited the album and the other material to prepare the reissue.

“What’s interesting is I’m able to listen to ‘Redemption’s Son’ now like I’m listening to the new Kendrick Lamar album, like a new artist almost,” he said. “Not that I don’t still relate to the songs, but there’s a healthy amount of distance now where I actually can see it and hear it and play it and get excited about it.

“The album has so much resonance in my life currently … It feels super current to me and not a look back, although I obviously am.”

The original plan was to include only three or four bonus tracks on the second disc and pair them with acoustic versions some “Redemption’s Son” songs, which Arthur recorded. But he believes the bonus tracks are better not sharing space with the new acoustic recordings. He views the bonus disc as a stand-alone album titled “Morning Star.”

“Honestly, when the bonus tracks first came to me, the nine tracks on ‘Morning Star,’ I thought, ‘How did this not make the record?’ ‘Downtown” should have made the record, ‘Pictures of a Life.’ They’re definitely as good as anything on the record, in some cases better. How did I pick ‘Buy a Bag’ over some of these other ones?”

But when he goes back and listens to “Redemption’s Son,” he has no regrets.

“There’s not a thing that drags on … It feels like there is just a flow to it.”

Arthur, who lives in Brooklyn, regularly performs at The Tangier in Akron the night before Thanksgiving, but that often is his only northeast Ohio appearance of the year. He said he still loves his hometown but he wanted to play somewhere else on this tour.

“It’s about time for that, to be more into Cleveland and open it up a little more, broaden the horizons.”

INTERVIEW : 2017-06-23 Joseph Arthur Remembers ‘Redemption’s Son’ on Its 15th Anniversary (by Michael Christopher)

by Michael Christopher June 23, 2017

Much like the career of multi-talented singer/songwriter Joseph Arthur himself, his 2002 album Redemption’s Son, went down several winding roads before people caught on to its brilliance. Stuck in major label limbo after being discovered by Peter Gabriel and delivering the landmark LP Come to Where I’m From in 2000, he was a critical favorite who suddenly had no one to distribute his material.

Redemption’s Son first came out overseas in May of 2002 and finally a deal was worked for its release late that November in the States. Since then, Arthur has been prolific to say the least, with a staggering 14 albums and 11 official EPs under his belt. He’s also been involved with several high profile side projects including contributing to Afghan Whigs frontman Greg Dulli’s collective known as the Twilight Singers.

Today (June 23), the 15th anniversary edition of Redemption’s Son will be released on 180-gram double LP, double CD, and digitally. There are also nine previously unreleased songs which form a “lost album” which Arthur has named Morning Star. He’s currently on tour playing the record in full, with a show tonight in his adopted hometown of New York City, where last month he opened for the Afghan Whigs much-anticipated show at the legendary Apollo Theater. It was during that gig when Arthur plucked a girl decked out in a gold lamé from the audience while the Whigs were on the final song of their encore – and almost derailed the entire show at the same time.

Catching up with Arthur, he talked about that incident, the history of Redemption’s Son, the death of Chris Cornell and – perhaps the most important topic of all – what’s going on with his hair.

What was it like playing the Apollo?

That was my second time. I actually headlined and sold out the Apollo with my band Fistful of Mercy with Ben Harper and Dhani Harrison. The Apollo is, like, golden in my mind – I got to have a golden moment at it, you know? So it’s funny when that door got reopened. I’ve been friends with Greg [Dulli] for many years and he calls me up and says, “I’ve got a curveball for you,” and I’m like, “Uh-oh.” He says, “No, it’s a good curveball.” [laughs] He says, “Do you want to open for the Whigs tomorrow at the Apollo?” and I was like, I had 24 hours to prepare, but it was fun – I had a great night that night.

You looked like you were having a blast – especially during “Faded,” you were dancing like a madcap, pulled that girl up on stage…

Yeah, I almost blew it in the Whigs set [laughs], like when I pulled that girl up onstage. I was watching her dance, and I was like, “She needs to be up onstage.” When she first went to Greg’s – she went right for worship mode and I was like, “Oh no! Am I gonna have to bounce this girl off right now?” But then she killed it. It was awesome the way she did it – it was almost like we planned it, but it was not planned. And then I almost tripped over the guitar rig and stopped the gig which would’ve probably promptly ended my friendship with Greg [laughs]. But sometimes you gotta risk it all for magic – you know?

I think I was most struck by your shaved head – when did you do that?

I’ve been doing that off and on since, I mean, well my first album [1997’s Big City Secrets] is me with a shaved head on the cover. So I came out the gate with this as my look [laughs]. Then I became a hippie in front of everybody. It’s just one of those things; my hair tends to go “classic-rocker-bad-haircut” look, so I just shave it every now and again. It started to grow back in, and I didn’t know I was gonna open for the Afghan Whigs or I probably wouldn’t have done it, but I had just shaved it with, like, a beard trimmer two days before – because I didn’t expect to be out in public for a while. It wasn’t on purpose and I couldn’t “fast grow” hair” [laughs]. I want to do a cute David Bowie cut, like a mullet but spiky on top.

So Redemption’s Son. The record has quite the storied history. Do you think that’s part of the reason why it’s one of the fans’ favorite albums, because there was this period of difficulty in getting it out? Like, it’s available only in the U.K., there there’s cover changes, the track listing changes, then it’s out here.

Man…that was such a weird period. It was sort of when my relationship with Real World Records fell apart, which is thankfully totally back together. I was kind of having this moment of being the critic’s darling at that time. But [the music industry at the time] was so numbers-based and you’re dealing with major labels and I had all that critical acclaim but I sold like 20,000 records – like nothing at the time. Politics being what they were, I was in a state of being dropped by Virgin, but I was not dropped at the same time – it gets confusing, but I was trapped and in a holding pattern for a couple years there. And it was right when I shouldn’t have been – I was really, really going for it.

And now the Morning Star songs are all out.

Dude, it’s so gratifying, and instead of being like, “Oh, why didn’t this happen then?” It’s more like, it’s all now – it doesn’t really matter. And I’m more excited to play these songs than I typically am to play a new album. I love the album.

Looking back, what do you see in the Joseph Arthur of 15 years ago? Is there anything that makes you cringe, or parts that are like, “Yeah, good on that dude,” what do you see in yourself?

That’s a good question. I think I was writing really good songs and it’s just so funny to be investigating them and remembering where my head was and what I was doing and why I was deciding certain things. Then you realize, “Oh my god, there’s so many different ways I could’ve chosen to evolve.” It’s hard to explain, but this feels like a very forward-thinking time for me and yet completely appropriate to be reapproaching this album in particular. There’s no songs on it that make me fully cringe; there’s a couple where I’m like, “Really? You put that on the record and not that? Are you insane?” But at the time, you’re thinking in terms, like, that throws in a different flavor. What’s great is you can reinterpret things and fix things. I’m into that.

When you revisit something like Redemption’s Son in concert, do you have to tap into the same emotions you had at the time…

Oh that’s easy. Good songs are just like good outfits; you put them on and the dude of the day is wearing the clothes. A nice outfit, you’re gonna feel good any day even if it’s 10 years, “Oh – this old suit still fits!” you know? “And it looks good too!” [laughs].

Some of these songs you haven’t played live, so are you struggling with relearning any of them?
The struggling with me learning looks like this: procrastinating in beginning to learn [laughs]. So “yes” is the answer – it just means I haven’t attempted it yet. I know I’ll find a way into each of these Redemption’s Son songs.

Shifting to a more somber topic, you developed somewhat of a friendship with Chris Cornell in recent years and published a moving post on Facebook after his passing. How hard is his death on you?

[Let’s out a big sigh] There’s no way to quantify that. Ugh. Death is so shocking and beyond…it’s hard to talk about it. I didn’t know him that well – I described my level of friendship; it was a few times we hung out and it was nice. He is a sweetheart of a person, a really beautiful soul. He gave us a lot and he’s a legend, an amazing artist and just a beautiful guy. There’s not gonna be another one like that dude ever, ever, ever – that’s a one of a kind human.



LYRICS : Pictures Of A Life

Lyrics transcribed by the one & only Helen @junkyard_h :)

Walk down the street
Along the harbor
She's next to me holding
A rose I bought her
And I
See everything

This is the life
This is the life
I'm glad I met you
Glad I met you

I have a friend but he's
More like my brother
We always laugh whenever
We are together
Oh I
I can't explain

This is the life
This is the life
Glad I met you
Glad to know you
Glad I met you

LYRICS : Secret Ghost

Lyrics transcribed by the one & only Helen @junkyard_h :)

What if dreams were held for ransom
By an angel flying over you
Would you pay for a chance to have one
Even if it meant you'd be untrue

To be held by the ocean
From what you fear
You're a secret ghost
You're a clouded notion
In my atmosphere

What if you were always running
And always coming back to where you've been
Would you stop and change direction
Even if it took you to the end

To be held by the ocean
From what you fear
You're a secret ghost
You're a clouded notion
In my atmosphere

(find a way home / find a way)

In the night why aren't you sleeping
Why are you afraid to close your eyes
No one's here, to whom are you speaking
Who do you expect will sympathize

To be held by the ocean
From what you fear
You're a secret ghost
You're a clouded notion
In my atmosphere

To be held by the ocean
From what you fear
You're a secret ghost
You're a clouded notion
In my atmosphere

LYRICS : Downtown (Losing My Way)

Lyrics transcribed by the one & only Helen @junkyard_h :)

Do you even know what you'd see
Over the walls of your misery
Behind them
A world keeps passing you by

Do you even know who you are
If you could see underneath your scars
You act like a vacuum turned to the sky
Inhaling any dirt that floats by

And I feel like I'm losing my way
Downtown every night looking for my fire
Yeah I feel like I'm losing my way
I'm older

In my dream you asked me why
Love should be blind opening your eyes
It was a nightmare
Like a neon sign in the sky

I woke up from that tragedy
Only to find you next to me still sleeping
Like all the secrets inside
I'm keeping next to my alibi

And I feel like I'm losing my way
Downtown every night looking for my fire
Yeah I feel like I'm losing my way
I'm older

Angel every day (and the devil every day/night)
Oh Lord

(You know that) I feel like I'm losing my way
Downtown every night looking for my fire
Yeah I feel like I'm losing my way
I'm older

I feel like I'm losing my way
Downtown every night looking for my fire
Yeah I feel like I'm losing my way
I'm older


LYRICS : Cracking Heart

Lyrics transcribed by the one & only Helen @junkyard_h :)

I must have 
A cracking heart
'Cause I feel closest to you
When we are apart
I want to love you
But I am afraid to start

There's a sad song
On the radio
We both listen
Like it was us it was written for
A streetlight through your window
It puts our shadows on your wall

I am empty pass me by (3x)
I am empty pass me

I can feel you
Thinking about me
It should be so simple
But that's the hardest thing to believe
'Cause when you touch me
Something won't let me be free

I am empty pass me
I am empty pass me by (3x)


INTERVIEW : 2017-06-22 Joseph Arthur Talks About Each Track on 'Redemption's Son,' Which He'll Play In Its Entirety at the Music Box (by Jeff Nielsen)

Posted By Jeff Niesel on Wed, Jun 21, 2017 at 5:49 pm

Singer-songwriter Joseph Arthur, an Akron native, has released 14 albums under his own name and 11 official EPs. He’s also been involved with several side projects such as Fistful of Mercy, a group that featured Ben Harper and Dhani Harrison. 

Since this year marks the 15th anniversary of Arthur’s studio album Redemption’s Son, he decided he wanted to do something to honor the occasion. 

He’ll play the album in its entirety, something he’s never done before, when he performs on June 29 at Music Box Supper Club. 

Real World Records, the imprint run by Brit rocker Peter Gabriel, has just reissued the original album (with its original artwork) along with nine bonus tracks, all of which have been previously unreleased. The anniversary edition will be available on 180-gram double LP, double CD and digitally. It will be the first time the album has been available on vinyl. 

In a phone call from his Brooklyn home, Arthur talks about each track on the album. 

“Redemption’s Son”

I think this was the first album where I started writing albums from the perspective of a character in a story. I did that later with The Ballad of Boogie Christ and The Family. The title is so close to Bob Marley’s “Redemption Song,” it might as well be called “Blowing in the Wind.” I was aware of that and decided to call it “Redemption’s Son” regardless of that. Starting it with the song might be a challenging equation because of the heavily Christian overtones even though I was thinking of the character. There would have been easier openers. At the time, the label wanted me to start the album with “Favorite Girl,” which is an interesting choice.

“Honey and the Moon”

That was just about a relationship I was in. I was young and in love and couldn’t commit myself at that point. It’s about that kind of heartbreak. It came from a genuine place. That was real. I think it resonated with people because I remember how much that was resonating in my own life. 

“You Could Be in Jail”

That’s me singing the backing vocal track. I love this song. That was one of my favorites then and now. Nobody ever talks about it. I never played it live. I remember writing it based on this article I read about how cults work and pivoting that to larger relationships in general. You have to be careful.

“I Would Rather Hide”

That’s Pat Sandsone from Wilco playing the wicked guitar on that song. I met Pat and drummer G. Wiz when Roger Moutenot was producing. Pat and G. Wiz have been two of my best friends since then. Pat’s musical contributions on the album are powerful. Pat had this influence on this musical level that I hadn’t allowed people in before. With Pat, we were brothers from another mother but he’s such an accomplished musician. I’m a natural musician and I didn’t go to school. I do everything on an instinctual level. Pat is very schooled. He’s a ringer. 

“Innocent World” 

It’s like the first-ever Bon Iver song. Did I just say that? I’m not dissing Bon Iver or claiming anything. Culturally, it is falsetto acoustic and has a funky beat. It does have that sound. That song was Peter Gabriel’s favorite. He always made sure I would include that song and play it live. 

“September Baby”

I’m trying to think about when I wrote that. That’s one where Pat and G. Wiz are huge on. That’s one of the reasons why it sounds like it does. I can’t quite remember what the inspiration was. I’m born in September, so that’s part of the inspiration. It’s a break up sort of thing. 

“Nation of Slaves”

The lyrics of that resonate with where we are now. The lyrics of that are now. That’s what I feel with this record. If it came out yesterday, I think it would still sound forward thinking. It’s still pushing. As far as a singer-songwriter record, I don’t think there’s a new one that’s as modern sounding as this one. I can’t believe this is 15-year album. I remember consciously trying to push the singer-songwriter landscape forward with songs like this. I feel like I’ve always tried to do that and I’m still trying to do that. 


I find myself having fun sentences like this pop into my mind, “Apparently, I was in the habit of making masterpieces back in the day.” Unlike back then, the cat’s out of the bag that musicians and artists don’t have a cushy life as it was once thought. I don’t think everyone understands that, especially outside of the big leagues. That affords us the ability to congratulate ourselves when it’s appropriate and celebrate it. Everything happens from enthusiasm. 

“Buy a Bag”

That was initially when I started the project. The bonus songs were really good. The record company wanted to make “Ghost” a single. I got into the bonus tracks and fell in love with them was chastising myself for leaving songs off. Initially when I put it on, and “Buy on a Bag” came on, I was like “Really? ‘Buy a Bag’ over [the bonus track] ‘Downtown’?” Now that I’m inside the record, I don’t feel that way. I think it’s important when it comes. The party has to keep going. In order to have the possibility of going from point A to point B, you have to have some dynamics. It’s about the sleazier side of life. It can’t just be “Dear Lord, forgive us for what we’ve done.” You have to show what we’re being forgiven for.

“Termite Song”

I think I was inspired by Yo La Tengo. I worked with Roger, who they worked with. I wanted a long instrumentally kind of song and those guys do that well. They do that quite well. I was angling for something like that. That’s an alternate tuning song. In re-learning the album, I had to figure out how to play it. 


It’s about a lot. It has that whole slow outro — “in the darkness, you are naked/in the darkness, you are near.” It’s a predatory sort of song. 

“Favorite Girl”

As a songwriter you write tons of songs and some of them get gold stars by them. It’s hard to understand why at the time. That one got picked by Real World. I hadn’t even planned on putting it on the record. They they never insisted but they strongly recommended I put it on the record. I’ve grown to have an appreciation for that song. I don’t know why I wanted to leave that one off. I resonate a love for Jesus and I don’t know where it come from. It’s just there. I won’t let Bill Maher talk me out of it. 

“You Are the Dark”

A lot of it for me is based on the production. If I loved the production, that went a long way. I loved the harmony bass and the groove on it. It has a good vibe to it. 

“In the Night” 

The funny thing is that there was a journalist in the UK for Q or Mojo, and I remember doing an interview, and that was his favorite. He said he couldn’t believe I wrote it. I thought of it as this throwaway rocker but an energy track. That’s the reason I was including it. It’s an energy track to get us to the end. Now, I do appreciate it. It’s a Beatles-y thing. 

“Blue Lips”

It’s a very Hendrix-y guitar tone. I remember writing that about my friend having a breakdown. That was directly out of someone else’s life.

“You’ve Been Loved”

It definitely feels like the credits are rolling. It’s interesting because I’ve been obsessed with the new Kendrick Lamar album. Kendrick Lamar, his new album, which is so good, that’s his third album. That’s his Redemption’s Son. He’s in that place I was 15 years ago. Not that I was on the level of fame. I’m not equating that. But in the artistic journey that was something that registered to me. From this point moving forward, it’s cool to look back. There are certain ways I’ve left behind artistically. If something is easy, you don’t necessarily value it as much as the things you’ve worked for. But they’re still important. That’s my takeaway from learning all this stuff. It’s broadening my approach for how I’ll proceed from this point. It’s not like I’ll regress, but it broadens the whole spectrum.



LYRICS : Forgive Your Heart

Lyrics transcribed by the one & only Helen @junkyard_h :)

I was watching the beggar's dream
I was looking at my own heart
I saw the snake of you
I saw the monster's face

Try to forgive your heart
All the way
Try to forgive your heart
All the way
Try to forgive your heart
All the way
Try to forgive your heart

I was watching the killer
I was looking at my mind
I saw the ghost of my father
Burning down the walls of time

Try to forgive your heart
All the way
Try to forgive your heart
All the way
Try to forgive your heart
All the way
Try to forgive your heart
All the way

LYRICS : Ghost

Lyrics transcribed by the one & only Helen @junkyard_h :)

Inside my heart
There is a God
There is a God
He is not dead
He is not dead

And in this big world
Everyone's lost
Everyone's lost
Forget what you read
Forget what you read

I touch your face with my fingertips
Deep in the night I tell you what I miss
The sound of your voice steals my viciousness
I lose myself every time we kiss

Inside my dream
There is a ghost
There is a ghost
Inside my dream
Inside my dream

You always knew
Just what he needs
Just what he needs
You always knew
You always knew

I touch your face with my fingertips
The sound of your voice steals my viciousness
Deep in the night I tell you what I miss
And I lose myself every time we kiss


2017-06-18 - Redemption's Son 15th Anniversary Dress Rehearsal, Berlin, NYC

Joseph Arthur sits down for a Dress Rehearsal for his Redemption's Son 15th Anniversary Tour at Berlin in New York on June 18th, 2017.

Audio & Video by: Ehud Lazin

You Could Be In Jail
Favorite Girl
In The Night
I Would Rather Hide
The Termite Song
Honey & The Moon


REVIEW : Redemption's Son - The Austin Chronicle


If Joseph Arthur ever decided to contract his name, "Joe Art" would work just fine, because this Ohio-born, NYC resident is a true artist. 
His paintings are stark and powerful and helped him earn a Grammy nod for album artwork previously. 
With sound, Arthur paints with both broad and subtle brushstrokes, and his lyrics can stand free as poetry. Having contributed to several compilations, and released EPs and two LPs under his own name, Arthur has earned binders of critical and artistic praise. 
His latest, Redemption's Son, may be his best. 
Culled from over 75 songs, the 16 tracks here are all gold, and it's not hard to find overlap with other acts. 
"Evidence" could be from Elvis Costello's looped beat set list, "Nation of Slaves" is the fruit of a hypothetical Bowie-Tool recording session, and "In the Night" could be a lost gem from a Lennon-McCartney fin-de-siècle songbook. These overlaps don't mean that Arthur mimics, but rather that these artists should cover Arthur's compositions, for he is quite simply a stunning songwriter and aural watercolorist. 
"Innocent World" is beatific, but be ready to turn up the volume, because you'll want to get closer to the expression. 
While the sounds and words used by Joseph Arthur are wholly singular, his songs about loss and redemption are universal.

REVIEW : Redemption's Son - Houston Chronicle

'Ambiguous genius'
Enigmatic Joseph Arthur explores excellence again on 'Redemption's Son'

It's unjust that Beck could become a winner with Loser while Joseph Arthur toils in obscurity despite near-unanimous critical kudos.

Arthur's last album, Come to Where I'm From, was honored as the top album of the year for 2000 by heavyweight magazines including Entertainment Weekly and Newsday.

His progressive sound and traditional songwriting are highly touted by other musicians such as Peter Gabriel, who signed the rock artist to his world-music-dominated Real World label.

Yet few beyond the music industry know his name.

For Redemption's Son, Arthur continues his exploration of computer vs. man-made sounds, emphasizing bass loops and catchy guitar balladry.

Arthur's latest is not the masterpiece Come to Where I'm From was, but he sacrifices little in an attempt to find his own Loser.

The title track offers a soothing embrace of strings and Mellotron around Arthur's narration of comfort. The tranquility is threatened by a booming bass march, like an infantry unit coming over a hill. That he created this drama with references to faith and his father's cigar butts is his ambiguous genius.

Like the dark silhouettes haunting his CD cover's painting, Arthur's melodies offer peripheral moods and images shrouded by a more central focus.

Honey and the Moon is an understated country strum that introduces the soft hues of Fleetwood Mac-ish soft rock. It unfolds deftly, but the rural tone is set in the song's first seconds with what sounds like a tin can being spun on a broom handle. The hollow clang continues, coyly underneath, for the track's entirety.

Favorite Girl does a similar bait 'n' switch in its lyrics. The music sounds like an unexpected burst of adoration, but Arthur passively offers the compliment, "I'm so happy being unhappy with you."

Arthur is a loner, but labors to make his songs sound like an ensemble effort.

September Baby is as gentle as a warm bath, with its spare guitar and snare-drum whisper. Synthesized notes, crying like a melancholy tuning fork, are artificially sweetened dollops of chamber pop.

The extras aren't always necessary. Innocent World plays like an acoustic studio outtake of Arthur showcasing his fragile falsetto. Dressed up with synthesizers and faux violin strings, however, it suffers from overaccessorizing.

Arthur still may not have a hit on Redemption's Son, but he's once again proved that he's no loser.

Grade: B+

MICHAEL D. CLARK, Copyright 2002 Houston Chronicle
Published 6:30 am, Sunday, January 5, 2003