Percussion is a rarity on Pearl Diver, but something like it crops up on “Hayabusa Terra,” along with stringed instruments. The album’s ever-present subtlety means that those instruments are used less as means to convey a melody and more to insert deft splashes of tone color here and there.
As it happens, the author has some things in common with the historic figures whose story she tells. Like Vanderbilt, Kiernan was born in New York City, and like the scion and his wife, Edith, Kiernan traveled widely (including a stint in Italy reporting on soccer for ESPN) before settling in Asheville.
Reflecting on his development between when he first wrote the songs on Under the Bridge and now, Stephen Evans says the years have mellowed his approach. “Fame isn’t really the goal. We just want to keep making better and better records and having fun with it,” he explains.
His tenure with the Asheville Symphony will conclude with the New Year’s Eve Gala. He conducts his final Masterworks concert — the season opener for the symphony’s 2017-18 season — on Sunday, Sept. 24.
As far as the hurricane that struck Houston last month, Franklin says that those in and around the group remained safe and accounted for. “Everyone’s been volunteering and — as much as we can — trying to provide emotional support to those who have lost everything,” she says, characterizing the response to Harvey as one big, city-wide effort.
Unlike most U.S. cities with music scenes, Asheville doesn’t offer lockout spaces or practice facilities for local or touring artists. When a storage unit facility asked local bands to leave, it left many musicians scrambling for creative solutions.
Randy Shull and his partner/“co-conspirator” Hedy Fischer will open ¡Viva! on Saturday, Sept. 16 — aka Mexican Independence Day. The exhibition features more than a dozen contemporary Latin American artists.
“There’s a lot to be learned from looking back on your life and trying to figure out certain things around your own personal motivations in an intense situation, and if you handled it well,” says playwright Lucia Del Vecchio. “And it’s kind of a fantasy. You don’t get to go back and talk to people very often.”