W.I.T.C.H. (We Intend To Cause Havoc)

311 E Congress St,Tucson AZ 85701

13 March, 2022

Description

W.I.T.C.H. (We Intend To Cause Havoc) Ages 21+ Witch Night Beats, Breanna Barbara W.I.T.C.H. (We Intend To Cause Havoc) with Night Beats and Breanna Barbara live on the Plaza stage. W.I.T.C.H. (We Intend To Cause Havoc)w/ Night Beats and Breanna Barbara Sunday, March 13th @ Club Congress Plaza 7pm // $20/$25 // 21+ *PROOF OF VACCINATION OR NEGATIVE COVID TEST REQUIRED FOR ENTRY* (As of right now; subject to change) The artist and venue have agreed to require proof of vaccination or proof of a negative covid test that was administered by or under the supervision of a healthcare provider within 72 hours of the show. We will accept a picture or scan on your cell phone, photocopy or original document of your CDC-issued vaccination card. If you need a replacement vaccine card, you can contact your vaccine provider or local health department. We will accept a printed or digital copy of a negative covid-19 test result administered by or under the supervision of a healthcare professional within 72 hours of the date of the show. At-home tests will not be accepted under any circumstance. W.I.T.C.H. (We Intend To Cause Havoc) Facebook | Instagram W.I.T.C.H. (We Intend To Cause Havoc) were the biggest rock band in Zambia in the 1970s and spearheaded a new genre dubbed Zamrock, fusing influences that ranged from the Rolling Stones to Black Sabbath and James Brown and mixing them with traditional African rhythms and bush village songs. At the peak of their popularity, the band often needed police to keep fans at bay while their lead singer Jagari - whose name is an Africanisation of Mick Jagger’s - riled up crowds by stage diving from balconies and dancing manically as the WITCH’s blend of psychedelic rock and African rhythms permeated the surrounding atmosphere. Jagari is the charismatic sole surviving original member of the band. As Zambia’s economy stagnated and the country buckled under the AIDS crisis, WITCH fell apart. Jagari retreated to a life of quasi-anonymity as a university music professor before being wrongfully arrested during Zambia’s toughest hour. Now a man in his 60s, he spends his time mining gemstones hoping to strike it rich, until very recently the band being just a nostalgic memory of his youth. Largely unknown outside of their home country, WITCH finally got the exposure they deserved when Now Again Records reissued their entire discography in 2012. This allowed Jagari to play outside Africa for the first time and for a new generation of fans to discover his music. In 2016 he began a collaboration with Dutch musicians Jacco Gardner and Nic Mauskoviç, and together with them, in September 2017 WITCH headed out on its extremely successful first-ever European Tour. In the Fall of 2019, WITCH embarked on their first North American tour, including a well-received performance at Desert Daze. The band will be returning to the U.S. & Canada, Spring 2022. Look out for the award winning documentary, which will be released in North America on July 13th. Night Beats On June 4th 2021, Night Beats – the Texas-born brainchild of Danny Lee Blackwell – will release their fifth full-length, ‘Outlaw R&B’, via Fuzz Club Records. The album arrives following the 2019 ‘Myth of A Man’ LP (produced by Dan Auerbach of The Black Keys and released by Heavenly Recordings) as well as last year’s ‘That’s All You Got’ 7”. Made during the height of the California wildfires (where Blackwell currently resides), rioting in the streets and a nation in lockdown, the raucous technicolour rock’n’roll of ‘Outlaw R&B’ is a call to rejoice in some sorely needed post-apocalyptic hedonism. Blackwell says of the album: “Outlaw R&B is music for the borderless, the free, the outcasts and the forgotten. The outlaw is the runner. Those whose minds aren't sold by perfect pitch and clean fingernails. Through this medium you can escape the confines of mental feudalism and bask in the euphoric glow of psychedelic R&B.” Where the last Night Beats LP was a distinctly polished and soulful affair, ‘Outlaw R&B’ sees the band return to their natural habitat: riotous, acid-fried rock’n’roll to lose your head to. This creative rewiring is perhaps of little surprise given the social unrest unfolding as the bulk of the album was written and recorded. You might say that the upbeat garage-rock of ‘Revolution’ feels like a long-lost 60s counter-cultural anthem but this is no anachronism. Instead, the song’s radical intentions provide a perfect soundtrack for navigating your way through our current hellscape: “It's a story as old as time, revolution always begins in your mind." Dedicated as the album is to outlaws past, present and future, ‘New Day’ sees our current crisis through the lens of spaghetti western melodrama: ”New Day’ is my postcard from purgatory. This is the result of sleepless nights while hearing the world crumble outside my window. I sing of desperation and loss while grinning in the face of an uncertain future.” Then there’s the thrashing psych-rock wig-out that is ‘Ticket’ – a fast-moving, no-holds-barred cut tackling police brutality and thinly-veiled corruption in the US. Blackwell says of the song: "Ticket was recorded in Los Angeles at the height of the riots and chaos in 2020. Police sirens, fireworks and gunshots became the soundtrack to everyday life in Hollywood. The main character of Ticket is another victim of a twisted f*ck with a badge. The first half of the song is from the perspective of the cops but then the lens shifts and eventually the predator becomes the prey.” On ‘Outlaw R&B’ we also hear Night Beats dabble in a more Eastern-influenced sound that parts ways with much of the Western thirteenth-floor psychedelia that courses through the band’s veins. Blackwell is of half-Indian, half-American heritage and was raised in a Hindu and Catholic household – a multicultural upbringing which has long influenced his creative output. On the white-knuckle garage-psych of ‘Thorns’, he says: “My mother was a Bharatanatyam dancer when she was younger and this track is inspired by all the classic 60s bollywood films I would see passed down from her side. Bollywood from that era always inspired me. Mohamed Rafi, for example, is a constant source of inspiration." ‘Shadow’ also takes its cues from Latin psychedelia by way of Anatolian rock: "I wrote this song as an escape. It was originally titled Oasis because it was meant to be a smoke signal from a mirage in the desert. I pictured Brian Jones sitting around a pool in the desert singing and strumming this hypnotic rhythm over and over, then all of a sudden Barış Manço appears and joins in." Other experimental cuts on the record include ‘Cream Johnny’, a song of multiple parts that’s inspired by Dalton Trumbo’s 1938 anti-war novel ‘Johnny Got His Gun’ and has many other secrets to be found within: “The words of Percy Shelly are also interwoven while a secret message in morse code plays via controlled electric guitar feedback”, Blackwell hints. With four albums behind them – their self-titled 2011 debut, 2013’s ‘Sonic Bloom’, 2016’s ‘Who Sold My Generation’ and 2019’s ‘Myth of A Man’ – Night Beats have garnered a reputation as one of the finest purveyors of contemporary rock’n’roll around. They’ve clocked up critical acclaim, toured across North and South America, Europe, Asia and South Africa and shared the stage with the likes of Ty Segall, Thee Oh Sees, The Black Angels, Roky Erickson, The Jesus and Mary Chain, Black Rebel Motorcycle Club and The Zombies, among many others. ‘Outlaw R&B’ sees the band return sounding better than ever. In the form of psychedelic rock’n’roll hedonism Night Beats deliver a much-needed antidote to the tumultuous times we currently live in. Witch Night Beats, Breanna Barbara