Massy Ferguson - 11 septiembre 2025

[Mick69]

Esto es en un rato



Las entradas están en Woutick o en la puerta

Massy Ferguson were 3,000 miles away from home, getting ready for a show in Asbury Park, New Jersey, when co-founder Adam Monda began strumming some chords backstage. By the time the band took the stage, a new song called»So Long, Carry On» had started taking shape.
«That moment was the genesis of the whole record,» says the band’s frontman, Ethan Anderson. «We started writing songs everyday, and it felt like we were alive again. An entire album came out of that one tour.»
He’s talking about You Can’t Tell Me I’m Not What I Used To Be, which marks Massy Ferguson’s seventh release. Recorded just outside the band’s hometown of Seattle, it’s an album that expands beyond their acclaimed mix of bar-band twang and raw, guitar-driven bang. After nearly 20 years together, Massy Ferguson have officially left their comfort zone, exploring a more arty, cinematic version of rootsy American music with help from producer Damien Jurado.
«A journalist once wrote, ‘Massy Ferguson makes music for dark, crowded rooms where there’s a good chance of a glass breaking,» Ethan explains. «He was saying that we’re a bar band, but with this record, we’re getting out of the bar. We’re expanding to other rooms. We’re using different sounds. Maybe this is a fork in the road, where we start to go in a new direction.»
A new direction, certainly — but for longtime fans, Massy Ferguson still swirls together a familiar mix of heartland rock & roll, power-pop melody, and Telecaster twang with tracks like «When You’re Not Around.» If that song is a reminder of the band’s roots, then «Lovely Lad» — a piano ballad punctuated by swooning cello — shows just how far Massy Ferguson’s musical reach can be. «It sounded like Teenage Fanclub when we wrote it,» Ethan says, «but Damian wanted us to take a chance and record the song in a really naked way, with just piano and strings.» The band also took chances with «You Were So High» — a woozy-sounding tribute to a stoned older sister, laced with harpsichord, astral keyboard sounds, and plenty of atmosphere — and «I’m Almost There,» a slow-burning anthem powered by a drum machine. «That drum loop reminds me of The Replacements’ ‘Within Your Reach,’» Adam says, nodding to another band whose songs blurred the boundaries between genres. «All of this album is very organic — very much oriented about our live performances in the studio, warts and all — and having that rigid drum machine adds even more variety to the record. We wanted to expand the sonic palette.»
Of course, some traditions never die. After spending nearly 20 years together, tightening their sound with gigs in nine different countries, Massy Ferguson wanted to make an album that still showcased their strength as a live band. They headed to Soundview Analog — «a studio that looks like something out of 1971, filled with vintage gear,» Ethan says — and set up their instruments in the same room. Then, just like they’d do at a show, the bandmates began playing together, recording entire songs in real time, capturing the chemistry of a road-tested band on analog tape. Those live-in-the-studio performances are the basis of You Can’t Tell Me I’m Not What I Used To Be, and they highlight a group of musicians at the peak of their abilities, confident in the sound they make together yet still willing to explore new ground.
You Can’t Tell Me I’m Not What I Used To Be is the sound of a band chasing down its own muse, remaining present and spontaneous along the way. It’s an album rooted in instinct and intellect. An album filled with vintage tones, analog production, lush instrumentation, upright piano, Farfisa organ, and the sharp songwriting that’s always been the bedrock of Massy Ferguson’s sound. Nearly 20 years into their career, Massy Ferguson haven’t just established a sound — they’ve reached past it, too, turning a new page in a story that continues to be written. 


https://massyferguson.bandcamp.com/album...used-to-be


Entradas 10/15€