BEGIN:VCALENDAR METHOD:PUBLISH VERSION:2.0 CALSCALE:GREGORIAN PRODID:-//NONSGML Sandhills Development\, LLC//NONSGML Sugar Calendar Fe eds v3.4.0//EN X-WR-CALNAME:Ali McGuirk – TIL IT’S GONE Release Show w/ Cilla Bonni e X-WR-CALDESC:Portland Downtown X-WR-TIMEZONE:America/New_York BEGIN:VTIMEZONE TZID:America/New_York BEGIN:DAYLIGHT TZOFFSETFROM:-0400 TZOFFSETTO:-0400 DTSTART:20220430T080000 TZNAME:EDT END:DAYLIGHT END:VTIMEZONE BEGIN:VTIMEZONE TZID:America/New_York BEGIN:DAYLIGHT TZOFFSETFROM:-0400 TZOFFSETTO:-0400 DTSTART:20220430T080000 TZNAME:EDT END:DAYLIGHT END:VTIMEZONE BEGIN:VEVENT SUMMARY:Ali McGuirk – TIL IT’S GONE Release Show w/ Cilla Bonnie DESCRIPTION:ADVANCE PURCHASE: $14\nDAY-OF: $18\n10% MEMBER DISCOUNT\n\n When I was out in L.A.\, I had the sensation that I was doing exactly what I was supposed to be doing\,” Ali McGuirk says of recording her s tunning Signature Sounds debut\, Til It’s Gone. “That’s such an el usive feeling to capture.”\n\nOn the recommendation of producer Jonah Tolchin (a star singer-songwriter in his own right)\, McGuirk traveled f rom her adopted home of Burlington\, Vermont to the Los Angeles neighbor hood of Silver Lake to track much of Til It’s Gone. A sublime set of s ongs that pairs McGuirk’s trademark soul sound with rootsy turns and r aw rock ‘n’ roll detours\, the album began to bloom at the L.A. sess ions. McGuirk remembers describing to Tolchin the vibe she envisioned fo r the record. She mentioned something about it being akin to the cool fu sion of styles that Little Feat achieved in the ’70s – that funky\, twangy\, jazzy and thoroughly-authentic feel. Tolchin suggested they jus t call up legendary Little Feat guitarist/mandolinist Fred Tackett and g et him to lay down a few parts.\n\n“Fred Tackett came in and was casua lly telling stories about sessions he did with Ringo and Harry Nilsson l ike it’s not a big deal\,” McGuirk says with a laugh. “It took me a minute to acclimate\, but once the music started\, everyone was so sup portive and into the tunes.”\n\nTolchin and engineer/studio owner Shel don Gomberg recruited an A-list of session players including Tackett\, o rganist Larry Goldings (James Taylor\, Norah Jones)\, singer Valerie Pin kston (Ray Charles\, Luther Vandross)\, percussionist Lenny Castro (Stev ie Nicks\, Stevie Wonder). They provided the astounding chops\, but the true magic of Til It’s Gone comes from McGuirk’s singular voice as b oth singer and songwriter. The nine tracks – songs that run from intim ate introspection to wider meditations on oppression and justice – suc ceed because McGuirk has composed dynamic\, hypnotic frames for her voca ls.\n\nGrowing up just outside Boston\, McGuirk doesn’t remember a tim e when she didn’t want to be a singer. But as a kid\, she didn’t see a path forward. To her\, professional singers were pop icons like Brand y\, Britney or Mariah. McGuirk got a guitar in high school but admits sh e basically only played the same four chords over and over again. By col lege\, after a couple decades of absorbing ’90s r&\;b\,’70s singe r-songwriters and classic soul of every era\, McGuirk found her own aest hetic: earthy\, pure\, propelled by a voice capable of whispering dark t ruths or belting out big hooks on her originals. Boston responded with a wave of love. The Boston Globe named her an “artist to hear.” She r acked up nominations and wins at both the Boston Music Awards and New En gland Music Awards. Her standing-room-only residency at Somerville’s B ull McCabe’s Pub delivered electric performances – Til It’s Gone a lso features key contributions from McGuirk’s Boston bandmates such as guitar ace Jeffrey Lockhart.\n\nThe songs on Til It’s Gone are a culm ination of McGuirk’s influences\, experience and soul searching. Over jazz vamping and a deep groove\, “Evelyn” speaks to “several layer s of generational trauma that the women in my family have survived.” S omewhere between folk ballad and quiet storm r&\;b cut\, “The Work addresses how too many people refuse to have honest and earnest conve rsations about their privilege – “If we can’t talk to each other a nd hold space for people when we can\, nothing will progress\,” she sa ys. “Wealthy people\, white people\, cisgender people\, straight peopl e and anybody who holds institutional power need to first learn what ins titutional power is\, then realize they\, or we\, have it\, then do some work.”\n\nMcGuirk also spends time considering and reconsidering love gone wrong\, or love gone sideways\, or upside down. “Let It Be You sits happily in its classic blues pop vibe capturing a scorching vocal take that came at the end of an epic 10-hour day in the L.A. studio. Leave Me” winds through complex emotions – “If I’m gonna sing a bout the delusions of love\, let my head be squarely on my shoulders whi le doing it\,” she says – over an equally complex arrangement that s tarts with Joni Mitchell-reminiscent folk and rises to a jamming\, Grate ful Dead-esque climax. With the twang of an Emmylou Harris gem\, “Empt y Vase” came out of wanting to write some “anti-torch songs.”\n\n I used to sing a lot of jazz and loved the ‘torch’ singers like Di nah Washington\, Etta James\, Sarah Vaughan\, Abbey Lincoln\, even thoug h so many of the songs they sang felt anti-feminist to me\,” McGuirk s ays. “Abbey Lincoln says a song is like a prayer\, and you get what yo u put out and I found that to be true in my life. The idea that you can be a strong\, independent feminist\, and still suffer from the leftover feelings of a culture steeped in historically unequal power dynamics bet ween the genders is something that writing these songs has helped me pro cess.”\n\nTil It’s Gone is the rare record that features a young art ist relaxing into tender\, homey spaces and pushing herself emotionally and sonically. Stretches of the record channel those brilliant\, warm to rch singers McGuirk has spent so much time with. Then there are wild asi des\, such as album closer “Milk\,” a towering rock crescendo full o f guitar feedback and organ swells.\n\n“Every artist has genre identit y crises because you don’t want to get pigeonholed and it’s so easy to\,” she says. “But you get so invested in these sub-genres. In hig h school\, it was Joni Mitchell and Neil Young singer-songwriters. In co llege\, it was jazz. And all along it’s been soul. My go to is still t urning on Donny Hathaway to chill. But I have always felt I have had the se other secret interests that come out.”\n\n“I love ‘Milk’ beca use it makes people think I’m a rock artist\,” she adds with a laugh . “It’s the last song on the record\, but definitely one of my favor ites. I think we created a whole dystopian love scene on this one. I wan ted the vocals to be distorted and the guitars to be out front.”\n\nTi l It’s Gone loves to dip into genres and sub-genres. But it never gets lost. Acting as co-producer with Tolchin\, McGuirk let the songs wander from shadowy emotional spaces to big\, bad guitar workouts to delicate little confessions. But her voice – bold\, buttery\, spellbinding – carries each song to the next til they’re gone.\n\nIMPORTANT COVID-19 INFORMATION\nEffective immediately\, we will no longer require proof of vaccination or masks at our shows.\n\nPLEASE NOTE: additional COVID-19 p rotocols beyond the venue policy MAY be required by a specific artist or band. PLEASE REFER TO THE SPECIFIC EVENT PAGE for the event you are att ending for the most up to date information.\n\nTICKETING TERMS &\; CO NDITIONS\nOne Longfellow Square does not assume liability\; the ticket h older will assume all risks involved. By purchasing a ticket to this eve nt you agree to assume full liability for any risks incurred before\, du ring\, and after the event and agree to the current Terms of Use. URL;VALUE=URI:https://portlandmaine.com/events/ali-mcguirk-til-its-gone- release-show-w-cilla-bonnie/ UID:urn:uuid:3457d020-0df0-4203-ac38-757993b11576 STATUS:CONFIRMED ORGANIZER: DTSTAMP:20260509T165717Z DTSTART;TZID=America/New_York:20221029T200000 DTEND;TZID=America/New_York:20221029T220000 LOCATION:181 State St.\, Portland\, Maine 04101\, US END:VEVENT END:VCALENDAR