The Steepwater Band (Record Release), Angela Perley

Sat, Aug 29 2020, 8:30pm - $12 in advance, $15 at door - Tickets

FitzGerald's presents The Steepwater Band “Turn of the Wheel” record release show. Doors open at 7 pm.

The Steepwater Band will celebrate the release of their brand new album “Turn of the Wheel” via the band’s own imprint, Diamond Day Records, with a special two set evening of music, featuring the new album “Turn of the Wheel” performed in its entirety, along with a second set of music from the band’s vast live repertoire of songs.

“Turn of the Wheel” is an eleven song set recorded last year on the shores of Lake Michigan at the new Vigo Street Studios in Miller Beach, Indiana, marking the band’s return to work with producer / engineer Jim Winters (brother of TSB drummer Joe Winters), who recorded their fan-favorite 2006 release “Revelation Sunday.” For TSB, it’s their seventh full length studio record and first recorded work since 2016’s “Shake Your Faith.” This also marks their first album to feature new bassist Joe Bishop, rounding out the sound along with veteran guitarist Eric Saylors, and co-founding members Jeff Massey on lead vocals / guitars, and Joe Winters on drums. The songwriting on “Turn of the Wheel” is an eclectic, rootsy mix of musical contributions by all four band mates, with Massey handling the lyrical content exclusively.

"To my ears, this is the best Steepwater record to date," said Jeff Massey regarding the upcoming release." He added, "this new music displays the raw quality of the band's early efforts, combined with a confidence that could only come from many years of recording and touring." TSB drummer Joe Winters said, "I think this record says everything about where we are RIGHT NOW as a band, and getting to reconnect with my brother Jim in the studio sure was a lot of FUN!” The finishing touches for “Turn of the Wheel” were added by Grammy award-winning mastering engineer Adam Ayan at Gateway Mastering in Portland, Maine.

“Turn of the Wheel” LPs & CDs will be available for the first time anywhere at Fitzgerald’s on April 25th. After the album’s release, extensive touring is planned for the band in the States and Europe. For more information go to  

“Just a turn of the wheel, and a foot on the gas, into the now, driving out of the past...”

Angela Perley’s been writing tragic love songs rooted in folk, cosmic country and indie rock for over a decade now, and it all started with The Howlin’ Moons, an American rock band from Columbus, Ohio. Perley began making demos in college, dressing them up in brown paper bags (CD sleeves with personalized artwork and a decorative track list on the flip-side). Soon enough, Perley’s demos were heard by Fred Blitzer, CEO of Vital Companies, who arranged for Perley to meet and begin working with Columbus-based musicians Chris Connor and Billy Zehnal.

In quick succession, Angela Perley & The Howlin’ Moons found themselves performing at Nelsonville Music Festival alongside acts like The Flaming Lips, St. Vincent, Randy Newman, Merle Haggard and Gillian Welch. Since then Perley has opened for Willie Nelson, Lucinda Williams, Tyler Childers, O.A.R. and Blues Traveller and has shared bills with The Avett Brothers, Alison Krauss, Old Crow Medicine Show, Dawes and Colter Wall.

All of this has led up to Perley’s forthcoming LP, 4:30 (out Aug. 2), her first solo effort which she co-produced with longtime guitarist and collaborator, Chris Connor. During the final phase of production, she called on Michael Landolt (Maroon 5, O.A.R.) to mix the record and Dave Collins (D’Angelo, Bruce Springsteen) for mastering. Her third full-length record illustrates the songwriter’s knack for deft storytelling, warm vocal layers and disarming melodies that beget personal growth and mobility, surging from raw and far-sighted pathos. Robbie Crowell (Deer Tick, Diamond Rugs) contributes Hammond organ, Wurlitzer and Piano, adding crucial texture to the album, a la Al Kooper (Highway 61 / Blonde on Blonde era). Chris Connor’s guitar parts and song arrangements provide a lush and expansive soundtrack for Perley’s songs with touches of psychedelic delays and smoky tremolos to compliment her sonorous vocals.

Perley's character-driven love songs on 4:30 are surreal in their ability to master genre-fluidity, with forthright storytelling, wry lyricism and a host of dreamy instrumentation. Colorful acoustic and electric pianos, rich and elegant strings (i.e. “Don’t Look Back Mary”), breezy organ and punctual pedal steel (i.e. “Snake Charmer”), along with soft and sweet folk and pop melodies reminiscent of Patsy Cline and Jenny Lewis (i.e. “Local Heroes” & “4:30”) pervade the record. Perley is a self-taught guitarist, gravitating toward folk giants and personal heroes such as Bob Dylan and Neil Young.  “I taught myself a couple chords on guitar and then that was it. I was really into solo performances at first, and told myself, ‘Okay, I can do this,’” says Perley. Other early influences include Lucinda Williams, Patti Smith, and David Bowie.