Little Hurt + Hembree w/ TBA
Doors 7PM | Show 8PM | 21 & Over | Public On Sale 10/28 10AM ______ To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziploc bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.
Doors 7PM | Show 8PM | 21 & Over | Public On Sale 10/28 10AM
To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.
No need to pinch yourself: Hembree’s It’s a Dream! is real. The Kansas City-based indie rockers’ second album finds the quintet pushing their established sound—first glimpsed on 2019’s excellent debut House on Fire—to new, colorful zeniths. Possessing a funky looseness and hip-shaking approach that perfectly pairs with Isaac Flynn’s emotionally kaleidoscopic lyrics, It’s a Dream! is a record about getting freaky even while you’re freaking out. It’s a beyond relatable sentiment couched in music that burrows its way into your mind and stays there.
Since Hembree released their first album House on Fire back in 2019, they hit the road and came off a stretch of touring ready to channel that energy into their next artistic statement. Before the pandemic, work on what would become It’s a Dream! Was halfway done—and when the world shut down, it gave the band an opportunity to look inwards and refine their own sonic approaches while embracing a newfound maturity.
“It really let us push the art forward,” Flynn explains while discussing the creative reflection that he, bassist/vocalist Garrett Childers, synth/keyboardist Eric Davis, guitarist Alex Ward, and drummer Austin Ward undertook while shaping It’s a Dream!. “The first album was more informed by our live show, but with this one we were able to shut out the noise because there was no noise. We’ve grown up, and we’ve figured out what we want Hembree to be.”
Once the band was able to get together safely again, the quintet holed up in Burbank with co-producer e.hillman and engineers Chris Kasych and Jasmine Chen to complete work on It’s a Dream!. “Everyone felt so good being back together in the studio, it was magical,” Flynn recalls while explaining the band’s drawn influences from production techniques employed by late-’60s rock and alternative rock and pop from the late ‘90s — as well as the ecstatic energy that radiates off of Talking Heads’ classic concert film Stop Making Sense.
“I loved how much joy they were having on stage, and it felt like something solo artists have a hard time recreating,” Flynn explains. “It made me think about what being a band means in 2021, and how I want to be able to bring that energy to the stage when we return to touring.” And energy courses through the veins of It’s a Dream!, which sounds loose-limbed and exciting in its vibrance right from the kickoff of first single “Reach Out.”
“It’s the thesis song of the whole album,” Flynn continues, pointing to both the thematic material and the track’s sound—pulsing like a heartbeat, underscoring the humanity of Hembree’s genre-averse pop-rock style. “It’s about how society treats the oppressed, and how people are too embarrassed and neglected to ask for help. You lose touch with reality, which could happen to anyone.”
Featuring guest vocals from Devynn Carter, the title track uses sprightly guitar and a driving rhythm to dive into that all-too-recognizable feeling that things might not be quite right in the world around you: “It was written pre-pandemic, but I think people were feeling these things for a while, too,” Flynn laughs. Elsewhere, Hembree fall into a lush and sinister groove on “I Don’t Believe You,” while closing track “Time to Leave” slows things down as Hembree launch into new territory for them with a beautiful, glowing ballad that addresses, in Flynn’s words, “Seeing someone in a situation they need to get out of, but they’re just so immersed in their world.”
Ironically, It’s a Dream! represents new levels of sonic immersion for Hembree as an artistic entity—practically a window into their creative minds, really, as they explore and incorporate new textures into their rapidly-expanding worldview. “This album is a fully-realized vision for the band,” Flynn explains before offering his own vision of the band’s future: “I want this record to lift people up, and for the music to be a positive experience in their own lives.”
ABOUT LITTLE HURT
As a kid Colin Dieden’s baseball nickname stuck as “Little Hurt,” a nod to Frank “The Big Hurt” Thomas. He’d all but forgotten the name until recently but it was a natural moniker for his new venture. “It’s part of my past, so it felt right for the future,” he explains. “When I think about it, I can see, smell, and hear the Midwest in the summer. The memory was so clear [and] I have so much attached to it.“ After nearly a decade of writing, playing and touring with The Mowgli’s Colin wanted to share a new side of himself and began writing for what would become Little Hurt in early 2019. “There were things I needed to say by myself. I started writing about who I am and my life totally unfiltered. I’ve got a complicated head and can be my own worst enemy. I’ve battled anxiety and depression forever so I built a place to deal with these heavier subjects. I’m not always the happy guy; but I’m happy opening up like I have here.” Alongside producer/collaborator Rob “Ruffian” Ellmore, Colin recorded a handful of demos which caught the attention of RED Music, who signed him immediately. Influences from Jack Kerouac to Louis The Child, Crosby Stills Nash & Young to Major Lazer, The National and The Smiths, helped fashion a dreamy and dynamic style rooted in ethereal production and candid lyrics. “When you hear the music, I want you to feel like you’re not the only crazy person in the world,” Colin leaves off. “We’re all a little hurt, and it’s okay.”