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Adam Del Monte
February 7thAdam Del Monte
February 10thMusic and Culture in Sardinia
February 16thTinsley Ellis
February 17thAcoustic Eidolon
February 18thThe Ocean Blue
February 21stKathleen Edwards
February 22ndKathleen Edwards
February 23rdAlbert Castiglia
February 25thAlbert Castiglia
February 26thSadness, Madness, & Mayhem
March 1stJesse Dayton
March 7thJesse Dayton
March 9thAltan
March 12thRonnie Baker Brooks
March 13thRonnie Baker Brooks
March 14thNani Vazana
March 14thLúnasa
March 18thGoodnight, Texas
March 19thGoodnight, Texas
March 20thK.Flay
March 25thDavid Wilcox
March 27thDavid Wilcox
March 28thYagody
March 29thJohn Splithoff
March 30thYagody
March 31stScott & Johanna Hongell-Darsee
April 5thThe Glass Hours
April 8thThe Glass Hours
April 9thMatt Andersen
April 11thNefesh Mountain
April 11thNefesh Mountain
April 12thMatt Andersen
April 12thArkansauce - NEW DATE!
April 19thThe Martin Sexton Abbey Road Show
May 10thThe Martin Sexton Abbey Road Show
May 11thZoë Keating (New Date)
May 13thThe Young Dubliners
May 16thHataałii
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Thanks to the New Mexico Music Commission and the Friends of the Public Library for funding these library shows!
Register for the event and we'll send you updates if there are any schedule changes, as well as info on future free programs and other events around Santa Fe and Albuquerque.
Hataałii—the singer, songwriter, and poet born Hataałiinez Wheeler in Window Rock, AZ, the capital of Navajo Nation—arrived just in time to witness American collapse. Not a galvanizing, grand explosion of empire but a paralysis-inducing decay and alienation that infects the American body politic. Zealotry repurposed into a new cultural crusade every week. Reality-building and delusion affirmation masquerading as liberty. The show-horse ladder of success. Pandora's Box purchased on credit, driving everyone mad in different ways, algorithmically determined to suit your unique neuroses.
It's from this vantage point that Hataałii brings us Waiting For A Sign, a heady collection of ghost town anthems, short story mirages, and brain fog-clearing personal reckonings. At times it recalls the playfully languid puzzlement of Pavement's Wowee Zowee, the trickster melancholy of Lou Reed's The Blue Mask, the economical yet winking earnestness of Blaze Foley, or the softer Spacemen 3 songs that cast awe and mystery against a droning, endless atmosphere. But, as easy as the tempos can get, Hataałii operates with purpose: the obscurantist details come into focus, giving way to trenchant observations about paranoia, accountability, and post-colonial fallout.