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Jeff Rosenstock to perform at College Street Music Hall

Jeff Rosenstock w/ Sidney Gish, Gladie
Saturday September 9, 2023 at 8:00PM – Doors at 7:00PM
College Street Music Hall – 238 College Street, New Haven, CT 06510
$25.00
All Ages
On sale NOW via www.collegestreetmusichall.com

Jeff Roseenstock to perform at College Street Music Hall in New Haven, Connecticut
Jeff Rosenstock photo via College Street Music Hall

Tenuously beloved punk and EMMY-nominated Craig of the Creek songwriter Jeff Rosenstock is back today with “LIKED U BETTER,” his first new single since 2020’s critically acclaimed NO DREAM (unless you count 2021’s SKA DREAM, his ska re-interpretation of the album, or quarantine collection 2020 DUMP, both of which absolutely ruled).

“LIKED U BETTER” was recorded in the summer of 2022, in Los Angeles during a break in the band’s rigorous touring schedule and Rosenstock’s daily gig as a composer for Craig of the Creek. The band tracked at EastWest Studios (TheBodyguard Soundtrack, Californication) with longtime collaborator and Grammy nominee Jack Shirley (Shit Coffins, JeffRosenstock).

Sidney Gish

Sidney Gish to perform at College Street Music Hall in New Haven, Connecticut
Sidney Gish photo via College Street Music Hall

Sidney Gish is a songwriter and producer based in Boston, MA. Her first album, Ed Buys Houses, was self-released on Bandcamp in 2016. Her second album, No Dogs Allowed, was released on New Year’s Eve in 2017, receiving a 7.7 rating on Pitchfork and winning Album of the Year at the 2018 Boston Music Awards. Following the moderate internet success of No Dogs Allowed, Gish briefly toured with singer-songwriter Mitski in 2018. In March 2019, she performed at South by Southwest and was featured on NPR Music’s Austin 100. She was listed as one of Stereogum’s Best New Artists of 2018.

Gladie

Don’t Know What You’re In Until You’re Out, the second full-length record from Philadelphia band Gladie, opens with a contemplative instrumental called “Purple Year.” Along with acoustic strumming and a late-night wall of cricket-chirps, cello and gentle horn runs set a dewy, moonlit stage before second track and single “Born Yesterday” bursts alive with drums, bass, and bright guitar chord crunch. It’s like a cold, heart-jolting morning plunge as Augusta Koch’s familiar Philly tenor starts in: “It takes me more time, I’m a little unsteady/I was born yesterday, I forgot I could be somebody.”Koch realized while writing these songs that she had become an entirely different person: a mental, spiritual, and physical renaissance had unfolded over several years that, together, constituted an entirely new reality. Everything had changed, from relationships with friends to relationships with alcohol. Being on the other side of these tectonic shifts offered the sort of clarity that you can only get by going through the darkness: You Don’t Know What You’re In Until You’re Out. It’s optimistic, but it’s scary, too—life changes always are. Who will you be at the end of them? “Born Yesterday,” which Koch wrote about not drinking alcohol anymore, offers a critical revelation that guides the record, and which was hard- earned while experiencing the overwhelming emotional acuity that developed while living without alcohol: “The way I feel, I could fill the ocean/When the wave comes crashing in, it said I’m not a fixed thing/I’m changeable.”

“I like the idea that the record’s title can be both a positive and a negative,” says Koch. “It could seem sad, but it can also be hopeful in the sense that when you’re going through something really rough. It will get better, you will change, you will survive it, and you will be able to see it from a different perspective that you never thought you could.”Don’t Know What You’re In Until You’re Out cycles through these transitions sonically and thematically. “Hit The Ground” is a folksy, desert-drive shuffle, while “Nothing,” opening with feedback screech, is a punk-rock rollercoaster ride that rejects the American cultural drive to want more and more and more until we die: “What would it feel like to want nothing?” cries Koch.“Soda” tells a shoegazey, indie-psych love story that imagines creating our own normal when we’re around the people that make us feel seen, rejecting societal pressure to hate ourselves and feel like we’re not enough: “I like the way we live in tandem and the world we wish to see/Sweet and cheap, we thrive on less,” Koch sings on the second verse. The gentle alt-rock waltz of “Smoking” reflects on a deeply missed habit, and pensive, spacey, synth-and-cello- centric closer “Something Fragile” ends the record with as many questions as it started: “Am I something fragile or something strong?” Koch wonders, still finding her footing in strange new realities. 

Don’t Know What You’re In Until You’re Out marks the first Gladie production with a set band lineup, a feature which was previously hampered by the pandemic. As a result, the LP leans into Gladie’s live energy and dynamics, moving away from the home-recorded keys and drum machines of their 2020 debut Safe Sins.Koch recorded Don’t Know What You’re In Until You’re Out at The Bunk in early 2022 with Matt Schimelfenig (guitar, keyboard, vocals), Pat Conaboy (guitar), Dennis Mishko (bass), and Miles Ziskind (drums). Schimelfenig also recorded and mixed the record, while Ryan Schwabe mastered. Mark Glick (cello), Mike Park (saxophone), and Brian Lockerm (trumpet) guest across four tracks.

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