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Eric Bachmann Living Room Show

By Anna Chandler

Updated May 30, 2017 at 11:34 a.m.

Archers of Loaf and Crooked Fingers singer Eric Bachmann comes to town through Undertow Music Collective, a company that links artists and their fans to create unique, intimate concert experiences. You won’t know the address of the concert until you purchase a ticket—and that’s half the fun!

Bachmann kicked off his music career in the ‘90s with beloved indie/noise-pop band Archers of Loaf. After Archers dissolved in 1998, he spearheaded Crooked Fingers, a folk-tinged indie/Americana project that highlighted Bachmann’s warm vocals and lyrical stylings.

It wasn’t until 2002 that Bachmann released a solo album under his own name. Short Careers , an entirely instrumental record, also served as his first attempt at film scoring and was the soundtrack to the film Ball of Wax . A followup came in 2006, to The Traces .

While maintaining Crooked Fingers and working on solo material, Bachmann also played in Neko Case’s touring band, releasing a third solo album on Merge Records in early 2016. At that time, he announced that Crooked Fingers was finished and he would be operating under his own name from then on.

His Undertow tour offers Archers, Crooked Fingers, and Bachmann fans the chance to hear the songwriter in a cozy, personable environment.

You must buy a ticket in advance to attend the show. No audio or video recording is allowed, but flash photography is okay as long as it’s non-intrusive.

Published April 19, 2017 at 1:00 a.m.

About The Author

Anna Chandler

• Eric Bachmann ,
• Crooked Fingers ,
• Archers of Loaf ,
• Undertow Music Collective

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Eric Bachmann Would Like To Play In Your Living Room

On July 30, 2016

In Indie Music

Say what!? Yes, it’s true. Eric Bachmann (Archers of Loaf, Crooked Fingers) is looking for some cozy living rooms for October up and down the East Coast (plus a few places in Florida) where he can serenade you, your family and 40-60 other people. It’s appropriately being called his “Living Room Tour,” and he just started the August leg of it. See dates below. For this new set of October dates, he’s asking interested hosts to submit a few photos of their living room for consideration. It’s being sponsored by The Undertow Music Collective and they have all the important information on their website . The deadline is August 5, so if you have the space and would like to see Eric Bachmann performing up-close and personal (and not have to go anywhere), submit your living room today!

Here’s a video I filmed when Eric and his band were at the Lizard Lounge in Cambridge back in April. Not a living room, but almost.

Regarding the August dates, tickets are obviously very limited (and some shows are already sold out) but there are still a handful for certain locations. You can buy tickets here .

Eric Bachmann’s Living Room Tour

Tue, August 2 : Nashville TN Wed, August 3 : St. Louis MO Thur, August 4 : Madison WI Fri, August 5 : Milwaukee WI Sat, August 6 : Chicago IL Sun, August 7 : Cincinnati OH Mon, August 8 : Knoxville TN Tue, August 16 : Greensboro NC Wed, August 17 : Richmond VA Thur, August 18 : Washington DC Fri, August 19 : Cleveland OH Sat, August 20 : Columbus OH Sun, August 21 : Lexington KY Mon, August 22 : Brevard NC

October Living Room Tour – Venues T.B.A.

Wed 10/5 : Orlando FL Thu 10/6 : Tampa FL Fri 10/7 : Gainesville FL Thu 10/13 : New York City Area Fri 10/14 : New Haven or Hartford CT Sat 10/15 : Boston MA Area Sun 10/16 : Portland ME Mon 10/17 : Burlington VT Tue 10/18 : Albany NY Wed 10/19 : New York City Area

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The Undertow Music Collective web | facebook | twitter

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Live Review: Eric Bachmann at Ming Toy Gallery…

by Tim McMahan, Lazy-i.com

The folks at Undertow (the living-room concert promotion company booked the show) said Eric Bachmann would arrive at our gallery at around 6:30 to begin his “load in,” but here we were at a quarter past 7 and still no Bachmann. About a half-dozen patrons had already arrived, three of them Undertow concert veterans who had brought small, fold-out chairs and a small foam-sided cooler, the stuff you see at the Memorial Park concerts. One of them asked where in the room Bachmann would be performing so he could set up his chair. 

I began to worry. Should I text my contact at Undertow? Ah, but my concern was unfounded, as there was Bachmann, his hulking, 6-foot-7 frame standing by the open back door looking like a fit over-the-road truck driver. He quickly specked out the narrow room and decided the best place to “set up” was in the middle along the wall. I helped hump in equipment and he chatted-up early arrivers while arranging his stuff.

A few guests looked mildly confused when they realized there were no chairs and had to either stand or sit on the oak floor, having not read the website’s instructions suggesting they bring a cushion to sit on. I felt sort of bad for the few who clearly looked uncomfortable — the audience’s mean age was probably around 35 — but what could I do? By 8 p.m. – the show’s official start time – everyone had arrived and everything was ready. 

A charming, funny southern gentleman (but without a twang), Bachmann proceeded to give a 90-minute performance that included songs from Crooked Fingers and Archers of Loaf catalogs as well as solo work and new material. If you had a favorite Bachmann song, he played it last night, taking requests from the crowd throughout the set. 

Without a PA, Bachmann’s rich, reedy voice was amazing, filling our small gallery while he switched from steel-stringed and nylon-stringed acoustic guitars and an electric keyboard. 

He filled in the blanks between tunes with stories about past performances, road life and what inspired certain songs, like the woman who pulled up alongside his white van in an SUV after a Vegas show who inspired new song “Spray Tan Speed Queen (in a German Car)” – a track no doubt destined to be on his next album. 

Afterward, many patrons thanked us for hosting, and Bachmann said he had a good time, loved the room, and thought it would be a great spot for other touring Undertow artists. So, this first attempt at hosting an Undertow show at Ming Toy Gallery was, for the most part, a success.

A few take-aways:

• – The room is too small to host anything but acoustic shows.
• – Comfortable crowd capacity for the gallery is 40.
• – Some how, Undertow has to get the message to ticket buyers that we don’t provide seating and to bring a cushion or folding chair. But frankly, I don’t know how they could make the point more clear on their website . 

After this successful test run, we’ll continue to offer the gallery for future Undertow shows. While we don’t make a penny hosting them, they’re fun and they get new people into the gallery to see local art. And maybe most importantly, they provide an option for these touring musicians who no doubt are looking for ways to eek out a living doing what they love – a difficult task in this digital age…

Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2024 Tim McMahan. All rights reserved.

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Eric Bachmann :: The Aquarium Drunkard Interview

The name Eric Bachmann is well-known to indie-rock devotees, but not because it has graced the covers of records that often. Chiefly known as a member of Archers of Loaf and the main force behind Crooked Fingers, Bachmann only just released the third album under his own name earlier this year. This latest self-titled album has been met well critically, and following a full-band tour earlier this year, Bachmann is about to set off on a series of living room concerts in support of it. We caught up with Bachmann via phone to discuss the new album, the potential end of the Crooked Fingers name, how one promotes a tour like this, and how giving a 46 year-old-man some dignity is a good thing.

Aquarium Drunkard: The new album has been out since March. How has the response been thus far?

Eric Bachmann: I think, relatively speaking, it's done well. It's had a good response. It hasn't done as well as, say, Kanye West does or anything. [laughs] But I feel good about how it's going. My world isn't going to change or anything. I did a bunch of touring in April, May and June and that all went really well. And I'm going to start doing these living room shows, which is a new thing for me, and I have other things happening this year for me. But as much as I'm happy it went well, I'm always kind of moving forward. I haven't forgotten about it or anything, but I've just kind of let it go.

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About Undertow

The Undertow Music Collective began in 1996 as a group of friends sharing ideas and resources. We work closely with artists we love, respect, and call our friends. Our goal is to create a friendly and productive environment for these artists to make music while keeping their integrity and artistic vision intact.

We opened our online merch store in 1998 to help our bands sell their music and shirts direct to fans. We've been able to expand our store by offering great music and exclusive merchandise at the lowest possible prices with world-class customer service. We've shipped tens of thousands of orders to people all over the world for nearly 25 years!

We started Undertow Shows in 2008 when David Bazan embarked on his first living room tour. We've since expanded our shows to include some of our favorite artists and have coordinated thousands of successful shows.

We are an independent, woman owned small business with no outside investors or corporate overlords. We are based in Champaign IL, the greatest city in the world!

Bob Andrews (he/him) Bob grew up in Nashville and got his start in the music business in 1991 working at the historic Hewgley’s Music Shop. In 1993, he stumbled into a job as tour manager for Uncle Tupelo through a friend’s recommendation and worked with the band until their final show in 1994. Bob continued as tour manager for Wilco during the recording and touring of their debut album in 1995. In 1996, he co-founded Undertow with a few friends to create a DIY record label and artist management collective where he's been helping moderately successful artists ever since.

Jayne Ballantyne (she/her) Jayne is a native of southern Illinois where she was involved in a number of musical and theatrical productions. She eventually   moved to central Illinois to finalize her college career at Millikin University and emerged with a bachelor’s in Music Business. Starting as an Undertow intern in 2014, she has assisted on a number of projects before taking over the day-to-day management of our Living Room Show operations. In her spare time Jayne enjoys cooking, cat photos, and smashing the patriarchy.

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Eric Bachmann shares timely new song “Misinformation Age” ahead of new living room shows

From just the first few lines of his new song “Misinformation Age,” you sense that Eric Bachmann has had enough of the current administration and the 24-hour news cycle that supports it. Gently singing of graying truth and a nameless demagogue, “Misinformation Age” marks Bachmann’s first new music since 2018’s No Recover . Listen today:

Bachmann provided the following statement:

American lawmakers value wealth over the health and safety of other people’s children. American leadership is affiliated with several criminal organizations, both foreign and domestic. The citizenry knows they’re not getting accurate information. We’re distracted. We value entertainment over the truth. We value comfort over justice. Young people, participate! All strains of human decency, please! You’re being lied to! Vote the bastards out!

Hear “Misinformation Age” and plenty more from Bachmann’s storied career when he performs at a handful of new living room shows , beginning October 17 in Ventura. 

Eric Bachmann on tour: Oct 17 Ventura, CA – living room show Oct 18 Los Angeles, CA – living room show Oct 19 Los Angeles, CA – living room show Oct 20 Phoenix, AZ – living room show Oct 22 Denver, CO – living room show Oct 23 Kansas City, MO – living room show

Q&A: Ahead of orchestral tour, Beck says listening to classical music is a 'spiritual' experience

It’s been 30 years since Beck released his breakout lo-fi anthem “Loser.”

LOS ANGELES — It’s been 30 years since Beck released his breakout lo-fi anthem “Loser.”

In the time since the song and its hit album “Mellow Gold,’’ Beck has sought to shed the slacker image inadvertently linked with him. The versatile, genre-bending musician will perhaps complete that pendulum shift this summer as he celebrates his love for the refined skill and precision that goes into performing classical music with an orchestral tour.

The 53-year-old has always appreciated the unique, “spiritual” potential of the genre, thanks in part to his composer father, David Campbell, who helped Beck with the arrangements for the tour, which makes its grand finale at Carnegie Hall.

Ahead of his performance at The Hollywood Bowl on Saturday, Beck reflected on why weekly trips to the LA Philharmonic were at one time a regular “pilgrimage,” his upcoming duet with Orville Peck and the artistic potential of artificial intelligence. The interview has been edited for clarity and brevity.

AP: What has it been like preparing for this orchestral tour. You can't really rehearse, right?

BECK: Well, we get like a two-hour run through on the day of, but it’s the first time we’re playing together. It’s the first time they’re playing the songs. But the music is all written out and they play it perfectly. It’s a bit miraculous because you’re used to rehearsing for many weeks or months and then you go out on a tour and then it works. But this is sort of an instantaneous kind of magical human experiment, where you just bring dozens and dozens of people together, and then it somehow works. It’s still a bit of a novelty to me.

AP: How does doing a tour like this change how you think about the performance?

BECK: It’s completely different. For me, it’s more focused on the singing. And typically, when we’re doing a tour, there’s much more production happening. The energy is really different. It’s more of a rock show energy, which means that we’re all running around, and there’s a kind of kinetic thing happening with everybody reacting in a more physical, visceral way. This is just kind of more purely about the songs and the music. You’re taken in by the sound of the orchestra.

AP: I read that at one point you would go to the LA Phil like every week. Why was it important for that to be such a regular part of your routine?

BECK: For a lot of years, I was so busy, and I was touring and working nonstop. And I’d say about six or seven years ago, I just started making space for it. Maybe it was a kind of personal pilgrimage or a meditative rite. It felt like something that would add this kind of rich layer to my life and felt very personal. There is something about that sound that is spiritual. I don’t know. I can’t quite put my finger on it. But I would walk out of there feeling a bit different, like somebody washed my brain. I don’t know how else to describe it, but it felt like something that I needed. And I noticed that a lot of the people at the concert hall tended to be more in their 70s and 80s. So maybe it has a kind of healing aspect that feels necessary when you’re getting older. I don’t know.

AP: It's cool that you're getting to work with your dad again. Do you guys feel like you have a pretty seamless working relationship at this point?

BECK: Yeah, it’s fairly automatic. It kind of always was. Like anybody you’re related to, you sort of speak an unspoken language, where you already know or understand before you have to really explain it.

AP: I know you're featured on the upcoming Orville Peck duets album. How did that collaboration come about?

BECK: We’re friends. We just hang out. We would, for years, always say, “We got to get together and make a song.” So he reached out to me a couple of years ago and then I didn’t get around to it. And then I reached out to him. I said, “Hey I think I have something.” Because he had said, “I want to do something like Elvis in Vegas.” And I said, “You know what? I completely understand.” Elvis in Vegas is, you know, Vegas by way of Memphis. It’s a totally different thing from Sinatra Vegas. So yeah, we did the song, and it came together very quickly. We did it about a year ago. And then we just did a video for it.

AP: I was thinking about your AI project with NASA in 2020. Even in the few years since then, we have such different connotations with artificial intelligence. I wondered, given your willingness to experiment as a musician, how you feel about using AI to make music or art.

BECK: I’m not somebody who has really used it or thought about it. But I think, you know, something that John Cage factored into his work and embraced was this idea of chance. And other artists have embraced that idea of chance. Bowie is probably the most famous. And for me, that’s always something I’ve looked for in the studio. I’m looking for those random accidents, and sometimes it’s a random accident of technology. Like a piece of equipment malfunctioned or the computer glitched and was repeating the same two seconds of music by accident and we’ll say, “That’s great, let’s use that.” And I’ve been doing that for decades.

So, in a way, I get that those are sort of collaborative moments with the computer. But if it’s able to provide something that is unexpected that can be incorporated into something, that’s where it would be interesting to me. But I don’t think that’s the way people are looking at it. I think they’re looking at it as something that’s more predictable that they can depend on. Whereas yeah, like I’m saying an artist would be looking at it from more of a standpoint of what accidents could happen that would lead to somewhere new or interesting.

AP: Can we expect new music soon?

BECK: I’m making music all the time. You know, it’s just all about getting the time to finish it and get it out there. So, yeah, I have all kinds of projects I’m working on.

AP: Will you turn this tour into a live album?

BECK: You know I haven’t even talked to anybody about recording it. I feel like it should be. I hope we’re recording it or filming it at some point. It’s pretty special and rarified to get to do something like this, and it’s not lost on me. And also, being able to dig into some of the deeper cuts on my records. There’s a lot of orchestral work over the last, you know, seven or eight albums that we don’t get to play live. So, this is a chance to let some of those songs have their moment.