Date(s) - Mon. Nov. 12, 2018
7:30 pm - 9:30 pm
Daniel Kahn & The Painted Bird–AKA the “radical Yiddish borderland bandits”–return to the road and are COMING TO BOSTON with their new record, “The Butchers Share.”
DOORS @ 6:30 pm // SHOW @ 7:30 pm
Venue is wheelchair accessible. Parking is limited.
BUY TIX here! https://danielkahn.brownpapertickets.com/
**STAY TUNED for opener/special guest announcement**
The Berlin-based Detroit-born poet / translator / singer / multi-instrumentalist (accordion, piano, guitars) Daniel Kahn has reformed the band with new and old comrades: Berlins clarinet/sax/brass master Christian Dawid, New Yorks Yiddish fiddle virtuoso Jake Shulman-Ment, expat experimental contrabassist Berlin composer Michael Tuttle, and classic klezmer drummer Hampus Melin. The live show features projected translations and images by legendary NY underground artist Eric Drooker, whose work is woven into the albums design, as well as material from the bands new videos.
Daniel Kahn & The Painted Bird continue to masterfully navigate the dichotomy between revolution and alienation, the political and the poetic, the explosive and the corrosive. The Butchers Share is available on LP, CD, and digital platforms from Oriente Musik.
This event is being hosted by the Boston Workmen’s Circle Center for Jewish Culture and Social Justice (BWC) // Arbeter Ring. BWC is a member-led and intergenerational community rooted in the radical traditions of Yiddishkayt, mutual-aid, and workers rights, and we are committed to resisting assimilation and centering the culture of diverse Jewish ancestors in our work for liberation and social justice.
Visit www.circleboston.org for more information.
More about the band and their work:
The Butcher’s Share: New anthems like Freedom Is A Verb and Josh Waletzkys 99% speak to the political moment as much as they address eternal struggles of class and liberation. Ballads like Children In The Woods and Sheyres Hora explore the depths of trauma and Traum. And the dark rock landscape of No One Survives references the brave hopelessness of late David Bowie. In the title track The Buchers Sher Kahn manages to make an upbeat Klezmer epic out of economic concepts of commodity fetishism and bourgeois morality. With songs like Shtil di Nakht Iz Oysgeshterent and Arbeter Froyen, old Yiddish ballads of resistance and revolt are made radical and relevant through poetic new translations.
“Accordion charged with punkrock… the free-spirited attitude of the New York Tzadik circle, cabaret flair, and scraps of Tom Waits.”
“Kahn’s music transcends any label, Jewish or otherwise: it is cosmopolitan in every sense of the word. His dissidents always have their bags packed and ready to go.”
– New York Music Daily