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Ronnie Baker Brooks
March 13thNani Vazana
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April 11thMatt Andersen
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June 27thEliza Gilkyson
June 28thAndrea Magee's She Rises
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November 21st
Beach House - SOLD OUT!
Once Twice Melody Tour
Ami Dang
at
The Lensic
Add to Cal
COVID POLICIES
We are opening up our COVID restrictions as much as possible within the constraints imposed by artists and venues.
The Lensic is currently requiring proof of vaccination or a negative COVID test for admission. Additionally, masks must be worn at all times.
Click here for info on COVID Requirements at the Lensic.
Tickets cost $42, $47, $52 and $70 (plus applicable service charges). They are also available from the Lensic Box Office (505-988-1234).
Beach House is Victoria Legrand, lead singer and multi-instrumentalist, and Alex Scally, guitarist and multi-instrumentalist. They write all of their songs together.
Once Twice Melody, the new album, was produced entirely by Beach House, a first for the band. Like their previous record 7, the live drums are by James Barone. Live drums were recorded at Pachyderm studio in Minnesota and United Studio in LA. The writing and recording of Once Twice Melody began in 2018 and was completed in July 2021. Most of the songs were created during this time, though a few date back over the previous 10 years. Much of this recording was done at Apple Orchard Studio in Baltimore.
Across the 18 songs, many types of style, song structure, and spirit can be heard: songs without drums, songs centered around acoustic guitar, mostly electronic songs with no guitar, wandering melodies, repetitive melodies, songs built around the string sections. While there are a lot of new sounds, many of the drum machines, organs, keyboards, and tones that listeners may associate with previous Beach House records are still present throughout many of the compositions.
Ami Dang is a South Asian-American, Sikh composer, music producer, vocalist and sitarist from Baltimore. Combining ideas from South Asian music with synthesizers, MIDI controllers, lighting design and gestural movement, her work invites the audience to reframe their assumptions about the colonial history of music, the arts, technology, and performance and its place in the contemporary musical landscape.
