• 149 WESTCHESTER AVENUE, PORT CHESTER, NY 10573-4549 · (914) 937-4126

  • Nathaniel Rateliff & The Night Sweats

    WFUV Presents

    Nathaniel Rateliff & The Night Sweats

    The Budos Band

    Sat, December 9, 2017

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

    The Capitol Theatre

    Port Chester, NY

    $49.50 // $65 (ADVANCE) $54.50 // 70 (DAY OF SHOW)

    This event is 18 and over

    Nathaniel Rateliff & The Night Sweats
    Nathaniel Rateliff & The Night Sweats
    Nathaniel Rateliff & the Night Sweats practically explodes with deep, primal and ecstatic soulfulness. This stunning work isn’t just soul stirring, it’s also soul baring, and the combination is absolutely devastating to behold. You don’t just listen to this record—you experience it. So it’s entirely fitting that the self-titled album will bear the iconic logo of Stax Records, because at certain moments Rateliff seems to be channeling soul greats like Otis Redding and Sam & Dave. But as this gifted multi-instrumentalist honors the legacy of the legendary Memphis label, he’s also setting out into audacious new territory.

    Those who were beguiled by In Memory of Loss, Rateliff’s folky, bittersweet 2010 Rounder album, will be in for an initial shock when they spin Nathaniel Rateliff & The Night Sweats. But when you delve beneath the rawboned surface of the new album’s wall-rattling presentation, with its deep-gut grooves, snaky guitars, churning Hammond and irresistible horns, you’ll find that same sensitive, introspective dude, who bravely tells it like it is, breaking through his reticence to expose often harsh truths about the life he’s lived, the people he’s hurt and the despair he’s struggled with. The difference between the two albums is that the Nights Sweats’ funkiness insulates the starkly confessional nature of Rateliff’s songs while at the same time underscoring their emotional extremes.

    The place where Rateliff is coming from is intensely real and intimate. Doing what he does is an act of bravery. “These songs are about the struggles I’ve had in my life—drinking too much, that kind of crap,” he says with characteristic candor, punctuating the admission with a rueful laugh. “And then the relationships we all have. I’m not a great communicator in my personal life, so it’s funny to be writing songs that say the things that I’m never very good at saying. It’s taken me a long time to figure that out. I’m trying to be a better communicator, but it’s horribly awkward—it’s awful—to tell somebody something you know is gonna hurt their feelings. I’ve always been one to go, oh, I’ll just eat this one; it’ll be okay.”



    As the band blazes away on the soul-rock rave-up “I Need Never Get Old,” the visceral “Howling at Nothing” and the supercharged “Trying So Hard Not to Know” (key line: “Who gives a damn and very few can”), which open the album with a sustained outpouring of torrid intensity, Rateliff is opening himself up emotionally as well as physically, the raw grit in his voice conveying anguish and hope in equal measure. The buoyant immediacy of the music makes the hard truths embedded in the songs easier to swallow than it would be in Rateliff’s other primary mode—a solitary guy with a guitar, the brim of his baseball cap pulled down, putting his heart and guts on the line without the protection of his simpatico cohorts. Make no mistake, these songs would stop you in their tracks presented in that naked way as well, but the additional layers of soulfulness provided by the Night Sweats—its core comprising guitarist Joseph Pope III, drummer Patrick Meese and keyboardist Mark Shusterman—bring a convergence of intensities, musical and psychological, to the performances.

    “S.O.B.” sits at the dead center of the album, between the brutally honest confessionals “I’ve Been Failing” and “Wasted Time.” Thematically, the song is the album’s linchpin—partly a rebuke, partly a cry of defiance, “S.O.B” is the “fuck it all” anthem of a blue-collar kid from the Heartland whose conditioned idea of therapy is a shot and a beer chaser, and then another round, on the way to sweet oblivion. In live performance, Rateliff and the Sweats have been known to mash together “S.O.B.” and The Band’s “The Shape I’m In” as the double-barreled climax of their sets (you can find it on YouTube), the frontman high-stepping and boogalooing across the stage with controlled abandon, bearing a striking resemblance in his physicality to the young Van Morrison. These moments of revelry are also revelatory, singling out two of Rateliff’s biggest influences. Indeed, he hears distinct evocations of The Band on his new album, and he was listening to “TB Sheets” and the rest of Morrison’s The Bang Masters as he was writing it.

    From there Rateliff contemplates some of the sustaining aspects of existence, from redemption by way of the forgiving love of another in “Thank You,” “Look It Here” and “I’d Be Waiting” to sexual heat in the N’awlins-style strutter “Shake.” The album ends on a hopeful note with the relatively laidback “Mellow Out,” which could certainly be heard as Rateliff admonishing himself to do just that. “Originally, I had it ending with a song called ‘How to Make Friends,’” he says. “The chorus is ‘When everybody knows you, nobody’s gonna want you.’” Another laugh follows, this one self-mocking. “But I replaced it with ‘Mellow Out,’ which is more of a release rather than a total bummer.”





    When it came time to pick a producer, Rateliff went with Richard Swift, a polymath who has made records under his own name, helmed projects for Damien Jurado, the Mynabirds and others, and has played with The Black Keys and the Shins. Swift’s specialty is summoning (and capturing) inspired performances in the moment, and the synergy in the studio, first with Rateliff and then with his band, was instant and palpable. Rateliff and the Sweats already had the arrangements of the new songs down cold, having shaped them on the road. Swift, knowing a good thing when he heard it, set the mics, honed the sound, giving it plenty of space so that the studio itself served as an integral sonic component. Then he pressed “record” and coaxed it into happening organically. “Richard has such great ears, and he really knows how to play to the room,” Rateliff notes. “We have similar theories of recording: basically, you just need to play it right.”

    Rateliff, who’s 36, traveled a long road to get to this point. He left school after his dad passed away at the end of 7th grade, left his home in the small town of Herman, Missouri, where his future would’ve likely involved endless shifts in a nearby plastic factory; and worked as a janitor for a high school. Not long afterward, he followed some local missionaries to Denver, thereby escaping what he describes as “the Midwestern lifestyle of working and growing up too fast.” He soon outgrew his childhood understanding of religion, realizing that “there are so many books out there besides that one,” as his worldview expanded exponentially. Rateliff spent the next 10 years on the loading dock of a trucking company before becoming a gardener and getting married along the way. But as the years passed, he became increasingly focused on writing songs and performing them at any watering hole that would have him, in time becoming part of the city’s burgeoning folk scene. “I got kind of a late start making music,” he says, “but eventually I went out on the road,” first with Born in the Flood, which he’d formed with Pope, and then The Wheel, the forerunner of the Night Sweats. By then, he’d overcome his longstanding discomfort at playing his songs in public.

    “Writing at home is one of my favorite things to do,” says this constitutionally solitary man. “But for years touring was really hard for me—being alone, being married and having my relationship run through the mire, because a lot of my songs are about that. Sometimes it sucks to sing those songs and have to relive those situations. It leaves you pretty exposed, and your partner too; it can be unfair. But now I love being on stage and cracking jokes, trying not to take myself too seriously, even if the material is about failed relationships and alcoholism, that kind of stuff”—there’s that rueful laugh again.







    “I try to be lighthearted,” Rateliff continues, “because, although the songs are heavy, I want it to be a release for people. I’m trying to do something that’s emotionally charged and heartfelt, and I want the experience to be joyous, for people to feel excited and dance around instead of being super-bummed by reality—I mean, things are hard. But I can remember dancing around to some song that was breakin’ my heart, dancin’ with tears in my eyes. I love that feeling, and I wanna share it with people, and hopefully they’ll feel it too.”

    —Bud Scoppa
    The Budos Band
    The Budos Band
    When it came time to title their new album, one decision was easy: “This isn’t The Budos Band IV,” proclaims drummer Brian Profilio. “This isn’t just more of the same.” The Budos Band embarked on an experimental journey since the release of The Budos Band III in 2010, seeking inspiration from sources far and wide.

    While wizards use books of spells and alchemy to mix their masterful potions, the Budos employ heavy doses of continent-spanning psychedelic rock to beckon the occult and conjure the supernatural. Hence the title of the band’s fourth album: Burnt Offering.

    “We made a conscious decision to embark on a new sound,” explains baritone saxophone player Jared Tankel. The heavy, trippy side the group unveiled on The Budos Band III reaches full flower on new tunes like “Aphasia,” “Trouble in the Sticks” and particularly the title track “Burnt Offering.” “We were messing around with an old Binson Echorec at practice one night and this loop emerged,” recalls bassist Dan Foder. The droning fuzz guitar is a call to the gods from below and encapsulates the band’s sonic progression perfectly. “This record is fuzzy, buzzy and raw, and more obviously psychedelic,” adds Profilio.

    Like a cratedigger’s classic from a parallel universe, “Tomahawk” melds heavy, distorted guitar riffs with bright blasts of brass and bubbling drums. An eerie, ceremonial vibe awakens the slumbering giant “Into The Fog” and prods it to life.

    Driven by melodies, rhythms, and changes that animate muscle and bone to move, yet compel the ear to lean in closer, these full-bodied instrumentals push Budos’ music deeper into new territory.

    All lingering traces of touchstones of yore—be they Fela Kuti, Dyke and the Blazers, or Black Sabbath—have been wholly absorbed and filtered through the Budos Band’s ever-evolving aesthetic. “We sound nothing like our first record anymore,” confirms Profilio. Anyone content to just slap the old “Staten Island Afro-soul” tag on Burnt Offering and move on clearly didn’t listen to the music first.

    The group composed more than two dozen songs in the course of making Burnt Offering, yet only recorded fifteen, further distilling its essence to ten classic cuts for the full-length release. If a new tune failed to capture the rambunctious energy of their live show, if it revised familiar territory or obvious influences, it got cut. Budos was determined to break new ground. “If any band says that’s easy to do, they’re fooling themselves—and not writing good enough songs,” insists Brenneck.

    In order to reach the apex of the mountain, the band had to come together like never before. Always a brotherhood, the time spent writing and recording Burnt Offerings saw changes that many bands would have run from, but for the Budos presented opportunities to hone their craft. “Making this record reaffirmed that we work together really well,” says Profilio.

    Burnt Offering breaks from Budos’ earlier records in another significant regard: this is their first album without an outside producer. “We had arrived at a different place sonically and needed see it through completely ourselves,” says Tankel. They still praise Daptone mastermind Gabriel Roth, who worked alongside Brenneck co-producing their first three records, but parting ways at this juncture made sense.

    “We know exactly where we’re at,” says Profilio. “We didn’t want to have to explain ourselves if we were in pursuit of a specific sound or vibe.”

    “We made the demo that got us picked up by Daptone in my parents’ basement when I was eighteen years old,” Brenneck recalls. “This album is a continuation of that, fifteen years later … with a lot more records under our belts.”

    After all that time, Budos has become more than a band—it’s a brotherhood. “This is a real family band,” says Brenneck. “Guys who’ve been making music for a long time, and friendships that run completely parallel to the music.” They still rehearse religiously almost every week, even if some of those rehearsals encompass just as much drinking, socializing, and listening to music as actual practice.

    That camaraderie doesn’t evaporate when they put their instruments down. On tour, they hit a brewery or pub for lunch en masse before sound check whenever possible, and like to stir up trouble. There are dust-ups and reconciliations. All that kinship comes to a head when they hit the stage. “We’ve seen some things out there that most bands don’t get a glimpse of these days,” suggests Tankel. “All of that craziness just brings us closer together. We couldn’t shake each other if we tried.”

    And capturing the intensity of Budos’ electrifying shows on wax, making the grooves vibrate with excitement, was one of the biggest challenges of Burnt Offering. “We record live to tape, with minimal effects,” Brenneck says. Nowhere to hide, then. The band insisted that each song push the envelope. No room for filler.

    The Budos have traveled far and wide—playing across four continents—since the band’s inception. A lifetime of world tours and weekly rehearsals went into the making of Burnt Offering, and the journey is far from over. As long as there are new audiences to thrill and sonic frontiers to explore, they’ll forge ahead. “We haven’t fulfilled our mission,” concludes Profilio. “We’re still very hungry.”
    Venue Information:
    The Capitol Theatre
    149 Westchester Avenue
    Port Chester, NY, 10573
    http://thecapitoltheatre.com/