Saturday, January 9, 2016 7:00 PM (Doors at 6:30 PM)

Paul Thorn

$25 money-back guarantee 16 and under FREE

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OFOAM & the Egyptian Theater Foundation are bringing Dave Alvin & the Guilty Ones to Ogden not only to provide great music but to support the preservation of Ogden’s beautiful Peery’s Egyptian Theater, one of only a handful of Egyptian Theaters still standing, one of two existing “atmospheric” ceilings that currently exist, and Utah’s only remaining bona-fide Movie Palace. The building façade needs repairs, from the leaking canopy, to the plaster damaged exterior and columns.

Repairs will be accomplished with the oversight and approval of Ogden’s Historic Society. Plans are underway for the repairs and we need your help! A portion of our ticket sales ($18 adv./$20 day of) and any direct donations will be put to work to continue Ogden’s love affair with this beautiful venue. For tickets and more information visit the Peery's Egyptian Theater website.

Dave Alvin has been receiving critical acclaim for his song tracks on the popular TV show “Justified”. He was picked by the show’s music supervisor because Dave’s voice was the voice that he felt would be playing in the main character’s head.

"Alvin headlined opening night for the Ogden Music Festival three years ago, playing in a folk duo with Chris Miller. Miller and Alvin will be plugged in with their full band, The Guilty Ones, (Brad Fordham and Lisa Pankratz round out the band) for the Egyptian show.

“You know Dave likes to say there is soft folk music and loud folk music, and he likes to play both,” said Michelle Tanner, founder of OFOAM. “With this Egyptian show, we’re having him back to Ogden to play the loud kind.”" Linda Brady, Ogden Standard-Examiner

"Dave Alvin is steeped in Americana – not just the genre but a deep river of American myth that keeps giving him characters to write about. Former guitarist for roots heroes the Blasters, Alvin fills his 11th album with small towns, highways and losers we imagine he’s encountered on countless tours. Though Alvin has often switched between electric and acoustic, almost everything here is plugged in – above all Alvin, an underrecognized guitar hero. Two songs are addictive: the tear-jerker "Black Rose of Texas" and "Johnny Ace Is Dead," a tragicomedy powered by Steve Mugalian's backbeat and Alvins' burning Strat." Rolling Stone

Saturday, November 3, at 7:00pm the Eilen Jewell Band returns to O-Town for a special night of music at Jefferson Hall! After wowing the Ogden Music Festival crowd in 2010, Eilen Jewell released "Queen of the Minor Key" in 2011 on Signature Sounds.

Jefferson Hall is at 607 26th Street in Ogden, UT

Click on "Tickets" above to buy your tickets online here for the advance price of $15. $20 at the door, Kids 16 and under get in free

It is the battered cassette jammed in the tape deck of the getaway car, the music Ida Lupino cues up on the roadhouse jukebox as she counts the till after close. This is Queen of the Minor Key by Eilen Jewell, a smart cookie with a heart of burnished gold and enough stories to keep even the rowdiest crowd hanging on her every word. Though its long shadows and dark corners make her kingdom feel intimate, her sovereign domain stretches as far as the imagination. Its denizens seek refuge in padded rooms, abandoned automobiles... and strong spirits. They defend their territory by any means necessary: weird voodoo, sawed-off shotguns, broken bottles.

But beware, savvy observer. There is more to Eilen Jewell than meets the ear. Do not confuse the singer and her songs. The drama and darkness that give Queen of the Minor Key its gritty texture are in short supply in the Boston-based songwriter's personal life. And in a curious twist, these fourteen originals actually took shape in a sunny, idyllic location that contrasts strikingly with the album's moody, film noir atmosphere.

In August 2010, Jewell headed to a tiny cabin in the mountains of Idaho. Although her clan hails from the Gem State, this was no comfy retreat at the family fold. Her temporary abode had no running water or electricity, and sat at the end of a winding dirt road. Wild elk would graze in the surrounding meadows while she worked. When it was time to unwind, she availed herself of a nearby hot springs. A dilapidated truck she found on the property even made its way into the album artwork.

She had no set game plan, and her sole objective for the new material was refreshingly modest (or incredibly daunting, depending on your point of view). "My goal as a songwriter is to always improve," she demurs. "Every time I make a record, I want it to be even more real, more heartfelt, than the one before it. I want the slow songs to be slower and the fast songs to be faster." Drawing on a connoisseur's love of roots music and a writer's eye for detail, Jewell fashions her musical vignettes with impressive economy. Each turn of phrase and chord change is executed with an élan that belies the measured precision behind it.

Jewell is wary of repeating previous success by following formulae. "But I also don't want to change things just for the sake of changing them," she adds. Never underestimate the public's ability to recognize calculation masquerading as inspiration. "You always want to ride the creative process to new territory, without being overwhelmingly novel."

Towards that end, she experimented with dark humor in the new material. The title tune takes inspiration from a poke someone made about her harmonic preferences. "I decided to run with that and adopt the moniker, even if it started off as a nickname that wasn't necessarily intended to be flattering." "Bang Bang Bang" eschews the cliché of Cupid as a rosy-cheeked cherub ("he's more reckless and violent than that"), and replaces his petite bow-and-arrow with a gun show six-gauge, plus a laughing disregard for such trivial concerns as aim.

Queen of the Minor Key is also the first Eilen Jewell album to feature a significant number of guest players, even as she continues to work in close consort with her longtime trio of drummer Jason Beek, guitarist Jerry Miller, and upright bassist Johnny Sciascia. Zoe Muth and Big Sandy (of Big Sandy & His Fly-Rite Boys) both contribute vocals. "I was writing the songs with them in mind—if I could work up the courage to ask them—so I was really honored that they agreed to sing with me." Further augmenting the sound are Rich Dubois on fiddle, David Sholl on tenor and baritone saxophones, and Tom West on organ. The arrangements, Jewell insists, occurred organically as the music was fleshed out in the studio; the songs tell her where they want to go. "We don't really think it out that much."

Since her official 2006 debut, Boundary County, Jewell has surveyed a wide range of traditional musical styles, from the folk and jug band leanings of her early recordings, through an album-length homage to Loretta Lynn and the country gospel of her work with The Sacred Shakers, right up to 2009's Sea of Tears, which bristled with the electricity of '60s UK garage rock and Chicago blues. Queen of the Minor Key draws on everything from classic country (the fiddle-driven "Reckless") to early R&B (the shuffling "Hooked"), with an emphasis on sounds from the seamier side of the tracks. With dirty sax riffs and low-slung guitars, the instrumentals that bookend the album—"Radio City" and "Kalimotxo"—evoke the bump-and-grind exotica of vintage Southern California suburban saloons. Yet on the flipside, Jewell imbues slow, jazzy numbers like "I Remember You" and "Only One" with torch and tenacity that linger long past last call.

Eilen Jewell is the Queen of the Minor Key. Sad songs are her wealth and finery. Lend her your ears, and you will quickly hear why her humble subjects admire and adore her more with each passing year.