About Langhorne Slim:
For more than two decades, Langhorne Slim has been a fearless voice in modern Americana, known for his raw emotion and rule-breaking spirit. On his ninth album, The Dreamin’ Kind, the Nashville-based songwriter plugs in his electric guitar and dives headfirst into big-hearted, 1970s-style rock & roll. Produced by Greta Van Fleet’s Sam F. Kiszka, the record pairs power chords and soaring hooks with the vulnerable storytelling that’s long defined Slim’s work. “It felt like I was blowing some old shit up so I could plant some new flowers,” he says. “I love folk music, but rock & roll tickles the same part of my soul. I wanted to explore that.” The collaboration began after Slim opened for Greta Van Fleet, leading to loose, inspired sessions with Kiszka and drummer Danny Wagner. Together they built songs that move from the propulsive rush of “Rock N Roll” and the swagger of “Haunted Man” to the tender sweep of “Dream Come True” and “Stealin’ Time.” Recorded over a year in Nashville, The Dreamin’ Kind bridges Slim’s rootsy past with a louder, more expansive present. It’s a record of freedom and discovery, equally at home in rock clubs and around campfires—proof that Langhorne Slim, ever the dreamer, still finds new ground to break with every song.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
This show has been moved to Doug Fir Lounge. All Wonder Ballroom tickets will be honored. Get Doug Fir Tickets.
At the age of nine, Clark played violin in an orchestra in St Albans – not that he was too keen at the time, he admits. Folk violin? Yes, he enjoyed that (although Clark’s teachers were somewhat scornful). But classical music? When there was Public Enemy, Prince or Metallica to listen to? It just felt, says Clark, kind of “inappropriate”.
And yet, a seed had been planted. One that would take a while to germinate. “I do remember thinking, ‘I’ll put this on hold for a bit and come back to it later’,” Clark recalls. In the three decades since, he has taken us on a series of intensive sonic odysseys, characterised by an unquenchable personal ambition to keep on climbing. From his 2001 debut, Clarence Park, onwards, there has been no template. You will encounter glowering techno and brittle, ghostly piano pieces; eerie, fluttering folktronics and found sounds – each time, something new, something unexpected.
