Guster & The Mountain Goats on Saturday, July 26 at MASS MoCA in North Adams, MA

$58 + $1 charity advance, $63 + $1 charity day of show

All ages, Kids 6 & under get in free

Guster

Not long before the making of their new album Ooh La La, Guster celebrated three decades together as a band—a journey that’s included landing a series of hits on the Billboard charts, working with luminaries like Steve Lillywhite and Richard Swift, launching their own music festival, and amassing an ardent fanbase partly on the strength of their relentless touring and deeply communal live show. But despite reaching a milestone few musical acts ever come close to attaining, Guster’s ninth studio LP reveals a band fully in touch with the voracious creative energy that first inspired their formation. A major leap forward for lead vocalist Ryan Miller, guitarist Adam Gardner, drummer Brian Rosenworcel, and multi-instrumentalist Luke Reynolds, Ooh La La ultimately matches that wide-eyed spirit with a newly heightened sense of confidence, conviction, and commitment to the raw sincerity that’s made them so beloved.

“In all the time we’ve been together we’ve never really felt our age as a band—we’re still so hungry, still excited to create,” says Gardner. “A lot of people have told us they’re amazed at how democratic our process is, but I think that’s a big part of why we’re still able to open up this space where the ideas just flow. It also helps that we’ve built a relationship with our fans where there’s a real sense of trust and a desire for us to keep growing and keep pushing ourselves. It’s such a gift that allows us to be truly free, and to make whatever music we want to make.”

The follow-up to 2019’s Look Alive, Ooh La La marks a bold departure from its predecessor—a sonically adventurous and electronic-leaning effort made with producer Leo Abrahams (Brian Eno, Regina Spektor). This time around, the band worked mainly with producer Josh Kaufman (The National, The Hold Steady, Bonny Light Horseman), holing up at Isokon Studio in Woodstock and carving out a lush and expansive sound rich in acoustic guitars and graceful piano work. With additional production from Ron Aniello (Bruce Springsteen) and Rich Costey (Death Cab for Cutie, Of Monsters and Men), Ooh La La endlessly radiates an undeniable warmth, even as its songs delve into the more daunting aspects of living in modern times. “One of Josh’s great strengths is finding the heart of the song, which felt right for the world we live in,” says Rosenworcel. “When I listen back to the album now it feels like there’s depth everywhere—there’s not a moment where we strike a chord that isn’t meaningful to us. Nobody was going to accept a song that didn’t hit at a certain level, and it feels good to still have that passion more than 30 years into our career.”

 

the Mountain Goats

Jenny from Thebes began its life as many albums by the Mountain Goats do, with John Darnielle playing the piano until a lyric emerged. That lyric, “Jenny was a warrior Jenny was a thief Jenny hit the corner clinic begging for relief,” became “Jenny III,” a song which laid down a challenge he’d never taken up before: writing a sequel to one of his most beloved albums.

The Mountain Goats’ catalog is thick with recurring characters—Jenny, who originally appears in the All Hail West Texas track bearing her name, as well as in “Straight Six” from Jam Eater Blues and Transcendental Youth side two jam “Night Light,” is one of these, someone who enters a song  unexpectedly, pricking up the ears of fans who are keen on continuing the various narrative threads running through the Mountain Goats’ discography before vanishing into the mist. In these songs, Jenny is largely defined by her absence, and she is given that definition by other characters. She is running  from something. These features are beguiling, both to the characters who’ve told her story so far and to the listener. They invite certain questions: Who is Jenny, really? What is she running from? Well, she’s a warrior and a thief, and, this being an album by the Mountain Goats, it’s a safe bet whatever she’s fleeing is something bad. Something catastrophically bad.

Jenny from Thebes is the story of Jenny, her southwestern ranch style house, the people for whom that house is a place of safety, and the west Texas town that is uncomfortable with its existence. It is a story about the individual and society, about safety and shelter and those who choose to provide care when nobody else will.

This is what a follow-up to All Hail West Texas entails. But if you think about the Mountain Goats as they were in 2001, when Darnielle wrote and recorded that album on his own, mostly into his Panasonic RX-FT500 boombox, and how they are now as the recording and touring outfit of Darnielle, Peter Hughes, Matt Douglas, and Jon Wurster, you may find yourself asking how. That occurred to Darnielle, too.

“If we’re going to do a sequel to a record that was recorded almost entirely on a boombox,” he asks,“why not do the opposite and make it as big as possible?”