Here is the list of concerts by Joseph Arthur in 1997 *:
1997-01-13 Canal+ TV, Paris France
1997-01-16 ..., Cherbourg France
1997-01-17 ..., Amiens France
1997-01-18 Le Plan, Ris-Orangis France
1997-01-20 Club Ubu, Rennes France
1997-01-21 Le Chat Noir, Carouge Switzerland
1997-01-23 Le Transbordeur, Lyon France
1997-01-24 Salle Victoire, Montpellier France
1997-01-25 ..., Toulouse France
1997-01-27 ..., Clermont-Ferrand France
1997-01-28 FNAC Instore, Strasbourg France
1997-01-28 La Laiterie, Strasbourg France
1997-01-29 L'Usine, Reims France
1997-01-30 Caveau des Dominicains, Nancy France
1997-01-31 ..., Angouleme France
1997-02-01 Theatre, Arras France
1997-02-03 L'Aeronef, Lille France
1997-02-04 EXO7, Rouen France
1997-02-05 New Morning, Paris France
1997-02-05 FNAC Les Halles, Paris France
1997-02-06 Krakatoa, Bordeaux France
1997-02-08 Noumatrouff, Mulhouse France
1997-02-12 Le Botanique, Brussels Belgium
1997-02-25 Irving Plaza, New York, NY USA
1997-03-01 Mercury Lounge, New York, NY USA
1997-03-03 Arlene Grocery , New York, NY USA
1997-03-04 The Birchmere , Alexandria, VA USA
1997-03-06 CBGB, New York, NY USA
1997-03-18 Caroline Records, New York, NY USA
1997-03-19 Mercury Lounge, New York, NY USA
1997-03-20 WXPN Radio, Philadelphia, PA USA
1997-03-20 The Temperance House, Newton, PA USA
1997-03-22 Tramps, New York, NY USA
1997-03-27 Arlene Grocery , New York, NY USA
1997-03-28 Border's Bookstore, Philadelphia, PA USA
1997-03-28 Electric Factory , Philadelphia, PA USA
1997-04-04 The Point, Atlanta, GA USA
1997-04-10 Urban Art Bar , Houston, TX USA
1997-04-11 Stubbs, Austin, TX USA
1997-04-26 Showbox Music Club , Seattle, WA USA
1997-04-30 The Bagel Bar , Chula Vista, CA USA
1997-05-01 KCRW Radio, Santa Monica, CA USA
1997-05-01 Coach House , San Juan Capistrano, CA USA
1997-05-02 McCabe's, Santa Monica, CA USA
1997-05-03 Electric Ballroom , Phoenix, AZ USA
1997-05-05 Lion's Lair, Denver, CO USA
1997-05-16 Odeon, Cleveland, OH USA
1997-05-26 Italia 1, TV, ? Italia
1997-06-21 Fete de la Musique, Brussels Belgium
1997-06-22 Dolce Vita, Lausanne Switzerland
1997-06-24 L'Antirouille, Montpellier France
1997-06-28 Le Poste a Galene, Marseille France
1997-06-29 ..., Namur Belgium
1997-07-05 Blues Festival, Pistoia Italy
1997-07-09 FNAC Instore, Clermont-Ferrand France
1997-07-11 Cactus Festival, Brugge Belgium
1997-07-12 Festival de la Cite, Lausanne Switzerland
1997-07-13 Rock au Max Festival, Thiers France
1997-07-14 Cafe de la Gare, Cluses France
1997-07-19 Festival, Saint Nolff France
1997-07-20 ..., Hamburg Germany
1997-07-26 Don Valley Stadium , Sheffield UK
1997-07-27 WOMAD Festival, Reading UK
1997-08-02 ..., Crystal Palace UK
1997-08-10 Globe Theatre , London UK
1997-08-16 Amplitudes Festival, Annecy France
1997-10-07 Ronnie Scott's, Birmingham UK
1997-10-08 The Boat Race, Cambridge UK
1997-10-09 Arts Centre, Newcastle UK
1997-10-10 King Tuts Wah Wah Hut , Glasgow UK
1997-10-12 The Lemon Tree, Aberdeen UK
1997-10-13 Adelphi, Preston UK
1997-10-14 The Duchess of York , Leeds UK
1997-10-15 Axiom Arts Centre , Cheltenham UK
1997-10-17 Queen Elizabeth Hall , London UK
1997-10-18 The Varsity , Wolverhampton UK
1997-10-19 Hop & Grape , Manchester UK
1997-11-28 Reverb, Toronto Canada
1997-11-29 Reverb, Toronto Canada
* : Here is my source. You should check the amazing work of Xavier & his team !!
The complete JA Gigography is available here : http://lonelyastronauts.com/gigography.html
If you own an audio / video recording and an "unavailable" concert, thank you kindly send me an email to email@example.com
Well, Akron, Ohio, where he went to high school with supermodel Angie Everheart -- to be the first mainstream, rock and roller signed to Peter Gabriel's Real World label.
Arthur is truly an original, an artist with a dark and darkly funny vision, a storyteller with stories worth listening to. His haunting songs are set to rich, evocative music, and his voice, while unique, brings to mind influences from Leonard Cohen to Jeff Buckley, often within the same tune.
Arthur is embarking on a solo tour, traveling with just a sound engineer and a guitar. Nosy Chris Rubin tries to pry secrets big and small from him.
You seem to have come out of nowhere. What were you doing before you were discovered and signed?
I was working at a music store in Atlanta, selling guitars and picks, and generally going mad. I had graduated high school in Akron and moved to Atlanta. There was a band I was in at the time, Ten Zen Men. We chose Atlanta just because we felt like, let's get out of Akron. I had a friend down there who gave us a place to stay, booked us a month of shows. I made it my home for four or five years. I quit that band soon after moving there, and then started my own group, Bellybutton, that was more hard rock. That's when I started singing -- before I had just played bass. I started thinking along the lines of lyrics, and felt like maybe I had a bit of a knack for writing. In high school, I wrote essays, I felt like it came natural to me. But then you doubt yourself, at least you do if you're me. I assume that if it comes easy to me, it must come easy to anybody.
What happened to Bellybutton?
That band was where I put all my dreams and ambitions, instead of college. I invested all my energies in Bellybutton, but it disintegrated because I filled it with all my ambition. I was living with a woman and we broke up around the same time. Suddenly my life was very empty. I started writing on acoustic guitar. I realized if I played simple chord structures, and just let the music and the ego get out of the way, there would be more room for lyrical and emotional content.
What were you like in high school? Were you an outsider?
I went to same school, Firestone High, as Chrissie Hynde, Mark Mothersbaugh and Angie Everheart -- she looked then just like she looks now. I struggled, I still struggle. I wasn't rejected in high school because I'm kind of outgoing, so I can make myself into characters, be very upbeat and obnoxious, the class clown.
How did the Peter Gabriel connection come about? You're not exactly typical Real World material.
Total grace. I was sending out my tape. There was ambition in my heart for sure. I was getting rejected, lots of "return to sender" kinds of things. I also got my number of full-on, "We listened to your tape and decided you suck" letters. I was kind of reaching the point -- there was a lot of hope when I started -- I was starting to lose fire. I was also giving tapes out to friends to get feedback. One friend gave it to a friend of his at a label, and he passed it on to another friend, who then gave it to Harvey Schwartz at Capricorn, who knew Peter Gabriel and gave it to him when he came to New York. [Arthur laughs.] The person I originally gave it to had no real connections.
And how did you initially connect with Peter Gabriel?
I came home to a phone message from him -- I have saved the tape from my answering machine. Now I'm a huge fan of his music. I was not a big fan then, I didn't really know his music. Shock the Monkey was one of the first singles I ever bought. I always liked him, but I hadn't found my way to him yet. I had heard through Harvey that Peter liked the tape before coming home to find the message. Knowing him and Real World, it's amazing. He's so full of ambitions and things to do, projects. He's constantly busy. I would never have thought to send my stuff to Gabriel or Real World.
Is it odd to be the first non-world artist on what is perceived as a world music label?
I'm really glad to be on the label for a number of reasons. The people who are on that label, their music is filled with integrity. The influence and guidance of Peter has been indispensable to me. It's amazing to have somebody like him to guide me through a lot of the hardships one has to go through in this business. It's also nice to be able to know him.
Your debut CD, Big City Secrets, was finished about a year ago. What's it been like waiting for it to be released?
Waiting has been very difficult. I went through all kinds of crazy thoughts and emotions. But I sort of believe there's some kind of cosmic intelligence about things. I learned a lot in that year. I sort of found myself. It took me that long to get used to the idea of putting an album out, and all the other things that go along with that. Deciding what my character is.
What have you been doing in the meantime?
The album's been out in France for a few months, and I toured there. They're very concerned with lyrics, more than American and English audiences, I've heard. But there's not much of a language barrier. At least, I never felt it. I always felt like I was communicating. It's going really well over there. "Daddy's On Prozac" and "Mercedes" have been getting airplay.
What do you expect from Big City Secrets?
I really hope the album does well. It was doing really well in France. I was thinking, this is great, but none of my family and friends could see it. [Arthur laughs.] Girls that didn't go out with me, I want them to regret every minute that they rejected me.
Do you think your material is commercial?
I thought all my songs were pop. I think it could surprise people, take off. What I hope it does is make a bit of a noise, set up the next record. Peter said it's best to have a slow start, not come out huge, to build up over time. I have no need to have a huge album, just an album that's big enough to justify enthusiasm for Joe Arthur, number two.
Holding The Void
Our Shadows Will Remain
Let Just Be
Our Shadows Will Remain
Let Just Be
AllMusic Review by Evan Cater
Joseph Arthur refers to his music as "someone struggling to heal over experimental folk-rock." His major-label career began after he received an unexpected answering machine message from Peter Gabriel offering him a contract on Gabriel's Real World label. Arthur's music employs a wide range of musical influences, adorning his songs with instruments as diverse as hurdy gurdy, corn horn, Venetian xylophone, caxixi, birimbau and harmonic missles. Experimental folk-rock is an apt label for such eclectic instrumentation. As for "struggling to heal,"
Arthur's strategy appears to be to heal through catharsis. His lyrics are populated with angsty lines like "You're easy for me to bleed on," "Put my daddy on Prozac, I don't think I want him back" and "You became a spider as I fed you the blood from my nose." All that "healing" can get to be a bit overbearing, especially when expressed in Arthur's tortured vocals. In his most restrained moments, his voice resembles David Rice or Jeffrey Gaines, but at his most extreme he's a dead ringer for Billy Corgan of the Smashing Pumpkins. The songwriting is at its best when Arthur uses his sharp ear for melody, as on "Mikel K," "Big City Secret," and the harmonica-driven "Mercedes," which features background vocals from Brian Eno and Gabriel himself. The album's weaker offerings ("Desert," "Porcupine") have a tendency to drone tunelessly. But even then the weakness of the melody is somewhat mitigated by the inventiveness of the arrangements, and it's easy to see what attracted Gabriel to this promising artist.
Gave my fortune to heaven
I laid my soul on the ground
Like a lost Gypsy weapon
No one ever found
I took myself to the doctor
He gave me one week to live
He said if I were you now
I'd find someone to forgive
And I know you
When I come through
And I know you
When I come through