2003 Gigography

Here is the list of concerts by Joseph Arthur in 2003

If you own an audio / video recording and an "unavailable" concert, thank you kindly send me an email to whenyoucryyoureyesarehollow@gmail.com

2003-01-09 North Star Bar, Philadelphia, PA USA
2003-01-10 Knitting Factory, New York, NY USA
2003-01-15 Hotel Cafe, Los Angeles, CA USA
2003-01-16 Troubadour, Los Angeles, CA USA
2003-01-17 Craig Kilborn Show, Los Angeles, CA USA
2003-01-17 Crocodile Cafe, Seattle, WA USA
2003-01-18 Bottom of the Hill, San Francisco, CA USA
2003-01-21 Twist & Shout Instore, Denver, CO USA
2003-01-22 Fox Theatre, Boulder, CO USA
2003-01-25 KCRW Radio, Santa Monica, CA USA
2003-01-31 Martyr's, Chicago, IL USA
2003-02-01 400 Bar, Minneapolis, MN USA
2003-02-06 Middle East, Boston, MA USA
2003-02-07 Aldrich Museum, Ridgefield, CT USA
2003-02-09 FNX Radio, Boston, MA USA
2003-02-10 WFUV Radio, New York, NY USA
2003-02-13 Carson Daly TV Show, New York, NY USA
2003-02-13 Rivoli, Toronto, Canada
2003-02-14 Cabaret, Montreal, Canada
2003-02-21 Housing Works, New York, NY USA
2003-02-25 Fordham University, Bronx, NY USA
2003-02-27 Smiths Olde Bar, Atlanta, GA USA
2003-03-08 Calvin College, Grand Rapids, MI USA
2003-03-09 Union Ballroom, East Lansing, MI USA
2003-03-13 Higher Ground, Winooski, VT USA
2003-03-14 The Continental, Buffalo, NY USA
2003-03-15 Bowery Ballroom, New York, NY USA
2003-03-28 Rosebud, Pittsburgh, PA USA
2003-04-03 Iron Horse, Northampton, MA USA
2003-04-04 Colony Cafe, Woodstock, NY USA
2003-04-08 The Living Room, New York, NY USA
2003-04-18 Peabody Hotel, Memphis, TN USA
2003-04-19 Gerstle's Place, Louisville, KY USA
2003-04-20 3rd & Lindsley, Nashville, TN USA
2003-04-23 Waterloo Records Instore, Austin, TX USA
2003-04-24 Stubbs, Austin, TX USA
2003-04-25 Jenny Craig Pavilion, San Diego, CA USA
2003-04-26 Coachella Festival, Indio, CA USA
2003-04-30 Fletcher's, Baltimore, MD USA
2003-05-01 The Orange Peel, Asheville, NC USA
2003-05-22 KMTT Radio, Seattle, WA USA
2003-05-23 Railway Club, Vancouver Canada
2003-05-24 Sasquash Festival, Seattle, WA USA
2003-07-08 Meadow Brook, Rochester Hills, MI USA
2003-07-09 Murat Center, Indianapolis, IN USA
2003-07-11 Calvin Theater, Northampton, MA USA
2003-07-12 Merrill Auditorium, Portland, ME USA
2003-07-13 Veterans Memorial, Providence, RI USA
2003-07-15 Beacon Theater, New York, NY USA
2003-07-18 David Letterman Show, New York, NY USA
2003-07-18 Fleet Center, Boston, MA USA
2003-07-19 Casino, Hampton Beach, NH USA
2003-07-20 The Green, Shelburne, VT USA
2003-07-22 Electric Factory, Philadelphia, PA USA
2003-07-24 Wolf Trap Filene Center, Vienna, VI USA
2003-07-25 Regency Park Amphitheatre, Cary, NC USA
2003-07-26 Pier 6 Concert Pavilion, Baltimore, MD USA
2003-07-29 Thomas Wolf Auditorium, Asheville, NC USA
2003-07-30 The Tabernacle, Atlanta, GA USA
2003-07-31 House of Blues, New Orleans, LA USA
2003-08-02 The Backyard, Austin, TX USA
2003-12-13 Theatre Arc-en-Ciel, Lievin France
2003-12-14 Le Cactus, Brugge Belgium
2003-12-15 Le Botanique, Brussels Belgium
2003-12-16 Le Botanique, Brussels Belgium

UPDATED ON 2018-05-07

INTERVIEW : 2003 Bring True to the Song and Writing About Insanity (by Andy Garrigue)

In 1995 Joseph Arthur was selling guitars in some shop in Atlanta, possessed of dreams but no real prospects. In 1996, Arthur was signed as the first rock artist on Peter Gabriel's Real World label, and great expectations were heaped upon him as his first release BIG CITY SECRETS emerged.

And while he labored initially in obscurity, people started to notice. A 1999 EP VACANCY got a Grammy nomination for packaging - and Arthur earned that recognition himself because he did all the art. His second album COME TO WHERE I'M FROM drew even more attention, with Entertainment Weekly naming it the 'Number One Album of the Year 2000', and many publications, including The New York Times and CMJ, naming it to their Top 10 lists for the year.

With the release of REDEMPTION'S SON at the end of 2002, Arthur's star continues to rise, and he stands a chance of making the leap from treasured secret of in-the-know critics to household name. The London Sunday Times says the new work "exhibits the sure sign of a classic album ... brilliant." The Boston Herald calls it a "near-masterpiece, dominated by irresistible hooks, an aching falsetto and ethereal backup choruses...One of the year's best pop releases." 
CMJ New Music Report says "Arthur creates a rewarding, dreamlike universe of sound, allowing the listener to get lost deep within its sprawling canvas." And these critics apparently aren't the only ones enjoying REDEMPTION'S SON, because the album recently scored the top position on the College Music chart on the back page of Rolling Stone. I agree that REDEMPTIONS'S SON is an impressive, ambitious, enjoyable work, with a host of different feels and shades within its 75 minute journey into a man's tormented psyche. Recommended tracks include "Dear Lord," "Innocent World" and "Let's Embrace" on the prettier and poppier side, and "Nation of Slaves" and "Blue Lips" for the more harrowing and poignant moments. We caught up with Arthur at his apartment in Manhattan, shortly after the College Music Chart news arrived that this album seemed to be well on its way to more than cult success. 

9x: Congratulations on your album occupying the #1 slot on the College Music chart in Rolling Stone. Do you feel you've now 'arrived', or did you 'arrive' a while ago?
Joseph Arthur: Um...hmmm... I don't know. I don't know what 'arrived' really means.
9x: Maybe you 'arrived' when your song "In the Sun" got played on Dawson's Creek.
JA: Right.
9x: So what has made this record #1 on the College Music chart? Is there a single that's getting played?
JA: I'm not sure. It's nice that people like the record. "Honey and the Moon" is the single. The people at the label who study these things say people are most responding to it. It's got that AAA vibe, I guess. If that's a hit, then the sky's the limit! If not, I guess it's time... to release a new record -- which I wouldn't mind. It's kind of a win-win situation - either I have a hit or I get to release more material. I don't want to have to hold off on releasing new material. Sometimes people can have a hit, and they're not allowed to release more material for a while. Then, that's a lot of pressure - knowing it has to be good. I wouldn't want to be in a position like that. I've got plenty of material, and I'd like to be able to release it. I'm pretty much always writing. I haven't had that writer's block thing yet.
9x: You do a lot of art, too. You've done the covers for your records, and received a Grammy nomination for the packaging for one of your EPs. You also do a lot of sculpture, working often with found objects that you pick up on the streets of Manhattan. Does the process of songwriting compare at all to the process of painting or sculpture for you?
JA: I guess so. They're similar in some ways. You can learn things from paintings that you use in songs and vice versa.
9x: Is producing your own record kind of like directing a film you're starring in? You produced REDEMPTION'S SON. Do you produce all of your records?
JA: No, I don't produce all my records. T-Bone Burnett produced the last one, and I helped out, too. Marcus Drab produced the one before that. I don't know if producing a record is like directing a film I'm starring in, because I've never directed a film I starred in!
9x: Fair enough. Is not producing your record a frustrating experience, artistically?
JA: No, not really. First of all, production is kind of a bullshit term anyway. It means so many different things to different people. It could be getting the coffee. It could be writing the songs and playing and everything. People always talk about it as if it's something specific. It's similar to a business arrangement, where each time it can be something different, known only to those involved. I've always been really creatively involved in the production of my records, whether I'm producing or not.
9x: I first heard you on WFUV up in New York, a public radio station that plays a very wide open "City Folk" format. I heard "In the Sun," which I love, enough to let it get under my skin, and I went out and bought the record. I later heard you doing an interview there, and playing some live in the studio, and talking about the road journals that you sell as well, with notes and drawings you've done when out on the road. My question is how important is a station like that to you?
JA: Well, not that many stations play my music. So I guess they're really important!
9x: I saw on a recent set list, that I viewed on your artist's home page (accessed via www.josepharthur.com), that you did the Stones song "Wild Horses." Why did you do that one? It's a great song. And what other covers do you play? You don't strike me as a guy who does covers.
JA: That's probably the only cover I've ever played. I wish I played more. I was moved to learn that song and play it at that time. Plus it was easy to figure out. There was no special reason I played it, really.
9x: How has your life changed since COME TO WHERE I'M FROM came out? You seem more high profile now.
JA: Not really, no. Nothing has changed. Not even any more interviews. I still live in the same apartment. I still don't have any money. I mean I have money to live, don't get me wrong - I'm okay. I can eat and all. But nothing's really changed in my life. I think I need a hit for things to change. I'd like a bigger place to live. I have this one bedroom apartment - it's pretty cramped. But it keeps me honest, keeps me focused.
9x: REDEMPTION'S SON is the name of the new album, and the opening track. What does the term Redemption's Son mean?
JA: It's like... the son of Redemption. You personify Redemption. You're the product of Redemption.
9x: On the second cut on the new album, "Honey and the Moon," there are some very atmospheric background vocals, and it's very dreamy. I'm reminded somewhat of Robbie Robertson's first solo album. Would you agree?
JA: I'm familiar with his work with The Band, but not his solo work.
9x: That first one is the one to get - he's got Peter Gabriel singing on a couple of tracks, actually.
JA: Really! I didn't know that.
9x: Yeah, check out the song "Broken Arrow". Do you sing all the background vocals?
JA: I do most of the background vocals, although sometimes Pat Sansone's singing. (Hint: check out the bass background vocals on "Dear Lord" towards the end, rumbling just below the surface.)
9x: On "Dear Lord," I hear both Bob Dylan - from the BLONDE ON BLONDE era with the acoustic harp work and keyboards - and World Party. Are either of those influences on you?
JA: Bob Dylan has been. I haven't listened to World Party, so I really don't know what he sounds like. I met Karl Wallinger, though - he was really funny. I got to go to his studio in London. People have told me I sound like him ever since my first record. I take it as a compliment. I started getting lots of comparisons, and it kind of tripped me out for a while, but it's okay.
9x: I've been studying the lyrics to this new album, and I was trying to think of what album it reminded me of, and then it hit me. I hope you don't mind that I'm going to compare it to another album. This album reminds me of THE WALL by Pink Floyd, from the angle that it's an in-depth chronicle of a soul's torment and struggle with madness. Is that fair?
JA: Yeah. That's good. I like that. I like that comparison. It's funny - you're the first person who's said that. I've always thought the main character's dealing with insanity. What I'm really doing is writing about insanity. People always think I'm religious. But I'm always writing about mental illness, and just the... human condition. Every one I know is mentally ill! I don't mean that in a bad way. I think everyone is mentally ill, to some degree, if you think about it.
9x: Do you have spiritual struggles like you describe on REDEMPTION'S SON? Do you feel at times lost and then found and then lost again? The accounting seems very heartfelt and honest, as if you'd experienced it yourself, or seen it up close in someone you know.
JA: Yeah, I think so. It's definitely personal - but I don't necessarily think I'm always writing about myself. Although I am a lot of times.
9x: Who are some of your favorite songwriters or instrumentalists?
JA: I just got the Bonnie Prince Billy album, by Will Oldham. I really like that, so that's a current thing I'm into. I like the Smiths, Bob Dylan, Lou Reed, Nick Drake.
9x: I hear some nice acoustic guitar on a couple of tracks on the new album that make me think of Nick Drake, actually. I guess it's on "Honey and the Moon" and some others. What about favorite albums? I know you used to listen to Jimi Hendrix a lot when you were younger.
JA: It's always changing. To key in on one, or even a few, is misleading. That's the thing with artists - they're always into something, and it keeps changing. I like that new record The Streets a lot. Have you heard that?
9x: I haven't got that one yet.
JA: You haven't? You really should. I like that new Primal Scream record, too.
9x: What does the future hold for you?
JA: I'm working on eliminating negative things from my life - like television. And drugs. I'm thinking about writing, and how to be a better writer. The older you get, the more have to work at it, I guess. I'm more into work, and less into bullshit. Then I'll make babies! Then I'll become a full time painter when I'm 40, and have switched my passions... I'm just bullshitting now... I'm just trying to be positive, and have some peace on Earth, which seems pretty hard right now.
9x: What would surprise people about you?
JA: People think that I'm really serious. People think that because of my music. But I'm not. I guess I am in some ways, but, really... I'm a clown. I'm a goofball.
9x: Is there a message to REDEMPTION'S SON?
JA: Hmmm. I hadn't really thought about it, but there probably is. It's an overall vibe. There's a philosophy inherent in it, but there's not a particular, overt message. I'd have to say it's positive, because at the end he's still trying. So it's not nihilistic.
9x: What's the most important thing to you about your music? Would it be honesty? Your work seems very honest, and your lyrics are very direct a lot of the time.
JA: I think it's good to not be pretentious. I think you can hide behind that. I think a lot of smart people fall into that, and they get rewarded for it. So I'd like to avoid that. And honesty, yes, that's important. Being true to the song - not necessarily being true to yourself, because I think it's okay to be in character. Ultimately I'm most concerned about lyrics and melody. If that's on point, I'm less concerned about the other stuff.


COVERART : Holding The Void

REVIEW : Holding The Void - 75orless.com

May 13, 2003 3:57 PM

Holding The Void (Joseph Arthur)

As a side project for the increasingly prolific Joseph Arthur, this is a straight-up rock album that stands apart from his solo act.
Supported by a backing band, Arthur indulges in the occasional guitar solo and, more importantly, sounds like he's having fun the whole time. 
While the lyrics aren't terribly deep, it's proof that, underneath it all, everyone just needs to rock out every once in a while.

REVIEW : Redemption's Son - The Austin Chronicle


If Joseph Arthur ever decided to contract his name, "Joe Art" would work just fine, because this Ohio-born, NYC resident is a true artist. 
His paintings are stark and powerful and helped him earn a Grammy nod for album artwork previously. 
With sound, Arthur paints with both broad and subtle brushstrokes, and his lyrics can stand free as poetry. Having contributed to several compilations, and released EPs and two LPs under his own name, Arthur has earned binders of critical and artistic praise. 
His latest, Redemption's Son, may be his best. 
Culled from over 75 songs, the 16 tracks here are all gold, and it's not hard to find overlap with other acts. 
"Evidence" could be from Elvis Costello's looped beat set list, "Nation of Slaves" is the fruit of a hypothetical Bowie-Tool recording session, and "In the Night" could be a lost gem from a Lennon-McCartney fin-de-siècle songbook. These overlaps don't mean that Arthur mimics, but rather that these artists should cover Arthur's compositions, for he is quite simply a stunning songwriter and aural watercolorist. 
"Innocent World" is beatific, but be ready to turn up the volume, because you'll want to get closer to the expression. 
While the sounds and words used by Joseph Arthur are wholly singular, his songs about loss and redemption are universal.


REVIEW : Redemption's Son - Houston Chronicle

'Ambiguous genius'
Enigmatic Joseph Arthur explores excellence again on 'Redemption's Son'

It's unjust that Beck could become a winner with Loser while Joseph Arthur toils in obscurity despite near-unanimous critical kudos.

Arthur's last album, Come to Where I'm From, was honored as the top album of the year for 2000 by heavyweight magazines including Entertainment Weekly and Newsday.

His progressive sound and traditional songwriting are highly touted by other musicians such as Peter Gabriel, who signed the rock artist to his world-music-dominated Real World label.

Yet few beyond the music industry know his name.

For Redemption's Son, Arthur continues his exploration of computer vs. man-made sounds, emphasizing bass loops and catchy guitar balladry.

Arthur's latest is not the masterpiece Come to Where I'm From was, but he sacrifices little in an attempt to find his own Loser.

The title track offers a soothing embrace of strings and Mellotron around Arthur's narration of comfort. The tranquility is threatened by a booming bass march, like an infantry unit coming over a hill. That he created this drama with references to faith and his father's cigar butts is his ambiguous genius.

Like the dark silhouettes haunting his CD cover's painting, Arthur's melodies offer peripheral moods and images shrouded by a more central focus.

Honey and the Moon is an understated country strum that introduces the soft hues of Fleetwood Mac-ish soft rock. It unfolds deftly, but the rural tone is set in the song's first seconds with what sounds like a tin can being spun on a broom handle. The hollow clang continues, coyly underneath, for the track's entirety.

Favorite Girl does a similar bait 'n' switch in its lyrics. The music sounds like an unexpected burst of adoration, but Arthur passively offers the compliment, "I'm so happy being unhappy with you."

Arthur is a loner, but labors to make his songs sound like an ensemble effort.

September Baby is as gentle as a warm bath, with its spare guitar and snare-drum whisper. Synthesized notes, crying like a melancholy tuning fork, are artificially sweetened dollops of chamber pop.

The extras aren't always necessary. Innocent World plays like an acoustic studio outtake of Arthur showcasing his fragile falsetto. Dressed up with synthesizers and faux violin strings, however, it suffers from overaccessorizing.

Arthur still may not have a hit on Redemption's Son, but he's once again proved that he's no loser.

Grade: B+

MICHAEL D. CLARK, Copyright 2002 Houston Chronicle
Published 6:30 am, Sunday, January 5, 2003

REVIEW : Redemption's Son - A.V Club

By Keith Phipps
Jan 20, 2003

When Joseph Arthur's American debut Come To Where I'm From appeared in 2000, it signaled the arrival of a talent at once intriguing and half-formed. Thanks to an enveloping sound appropriate to an artist signed to Peter Gabriel's Real World label, Arthur made it easy to overlook his shortage of memorable songs, as well as lyrics which might politely be called direct–;or, less politely, clumsy.

In a reversal of how notable albums usually work, Come To Where I'm From grew less pleasurable with each listen. The new Redemption's Son seems unlikely to encounter the same problem. 
Not every track represents a powerful stride in the right direction, but more than enough do for Son to make good on Arthur's past promise. 

His new songwriting muscularity reveals itself on the opening track; "Redemption's Son," a dark, cooing tale of a lost father, establishes the themes of emotional and spiritual dislocation that haunt the disc. With the help of mixer Tchad Blake, Arthur carries forward the sonic layering that distinguished his last record, but he makes room for a lot of diversity within that framework.

"Let's Embrace"; sounds unabashedly poppy, the album-closing "You've Been Loved" belongs on any make-out mix, and "Dear Lord" sneaks gospel into a harmonica-driven rave-up. Jesus is name-checked more often than on some DC Talk albums, and "Dear Lord" is only one of God's many cameos, sometimes as a distant friend, sometimes as an impossible ideal, and sometimes as an alter ego. 

Arthur can occasionally sound like a clove-smoking undergrad, but he mostly handles his headiest material with grace to match his musical ambition, and a depth of feeling that should only grow more impressive over time.

Rare Tracks 2003-2005

RARE TRACKS 2003-2005 - MP3

REVIEW : Redemption's Son - Variety


“Redemption’s Son” (Enjoy/Universal), the newest album from New York-based critics’ darling Joseph Arthur, is a sprawling collection of orchestral singer-songwriter rock that often feels as if it’s about to collapse under its own heady ambition. Arthur was smart, then, to leave the band at home and accompany himself at this show; by looping percussive guitar tracks with a sampler he brought out the best qualities of his songwriting without highlighting its occasional pretentiousness.

Arthur focused mainly on the new album, unfortunately leaving behind some of his best songs from 2000’s “Come to Where I’m From” (Real World). His set was split evenly between intimate, personal guy-with-a-guitar strumming and band-re-creating sampling, which found Arthur tweaking knobs as much as it found him playing his instrument. Though he remained on an acoustic through the night his sampler gave his playing room to breathe; he often emulated electric sounds, playing swooping, distorted space-rock solos over his own atmospheric backing tracks.

His secret weapon, though, is his voice, a Marlboro-tinged growl that often falls from falsetto to whisper in a moment. When Arthur howls, his banshee-like emoting is resonant; the set’s high points all included some sort of vocal acrobatics.

Arthur was almost upstaged by opener Alexi Murdoch, who has been rapidly drawing buzz thanks in part to heavy support from KCRW. His set of band-backed songs evoked both Nick Drake and David Gray, and audience response to even the quietest numbers was rapt, silent attention, a sign that Murdoch is well on his way to being a headliner himself.


2003-12-16 - Le Botanique, Brussels

On Stage :

Solo concert

Setlist : 

stumble and pain
keyboard improvisation
redemption' son
i'm in your life
crying like a man
i donated myself to the mexican army
you are the dark
you've been loved
into your heart
glass pipe
in the sun
eyes on my back
i am the witness

Recording :

This concert was officially recorded, and sold on CDr after the show.


2003-12-15 - Le Botanique, Brussels

On Stage :

Solo concert.

Setlist :

glass pipe
into your heart
can't exist
eyes on my back
i am the witness
good about me
leave us alone
in the sun
toxic angel
speed of light

Recording :


2003-12-14 - Le Cactus, Brugges

On Stage :

Solo concert

Setlist :

can't exist
leave us alone
glass pipe
september baby
birthday card
big city secret
echo park
eyes on my back
in the sun
ashes everywhere

Recording :

This concert was officially recorded, and sold on CDr after the show.

2003-12-14 Brugges


2003-12-13 - Theatre Arc-en-Ciel, Lievin

On Stage :

Solo concert

Setlist : 

glass pipe
can't exist
eyes on my back
toxic angel
blue lips
echo park
i donated mysef to the mexican army
leave us alone
honey and the moon
in the sun
speed of light
straw dogs

Recording :

This concert was officially recorded, and sold on CDr after the show.