This event is all ages.
$33.00 – General Admission Floor
$33.00 – Reserved Balcony
*plus applicable service fees
For an additional $50.00, you can opt in to upgrade your experience to include access to the exclusive Telegraph Room before, during and after the show! Please note all Telegraph Room upgrades are subject to availability.
Join us at The Den one hour before doors for food & drinks!
All doors & show times subject to change.
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The self-titled record usually marks a definable phase of a musician’s career; an embrace of personal mythology, perhaps, or merely a shift to ‘take me as I am’ straightforwardness. But “Kiwanuka”, the single eponymous word that heralds Michael Kiwanuka’s third album, holds a resonant, complex significance. It signals, for one thing, a swift, pointed rejection of the stage personas that artists have historically donned as both a freeing creative mask and a protective shield. It is an act of cultural affirmation and self-acceptance: a young British-African, contemplating the continued struggle for racial equality, and proudly celebrating the Ugandan name his old teachers in Muswell Hill would struggle to pronounce. It is a nod to a suite of arresting, ambitious soul songs that – while they deftly recall the funkified epics of artists as varied as Gil Scot-Heron, Fela Kuti, Bobby Womack and Kendrick Lamar – cement the singular, supremely confident sound that made 2016’s Love & Hate such an undeniable step up.
“The last album came from an introspective place and felt like therapy, I guess,” he reasons, surveying it all. “This one was a bit more about feeling comfortable in who I am and asking what I wanted to say. Like, how could I be bold and challenge myself and the listener? It is about self-acceptance in a bit more of a triumphant rather than a melancholy way.”
“Kiwanuka” solidifies one of British music’s more remarkable career progressions. The man behind it has put his immense natural gifts to work in an album that wields difficult subjects – black identity, violence, self-doubt – with a light touch and a dramatist’s sense of mood, space and atmosphere. “The things that end up being enjoyed are often things you want to hide,” he says, quietly. “But obviously that’s the stuff that makes us connect.” Telling people who you are – truly, unabashedly showing yourself – has never sounded more thrilling.
Since Sammy Brue released his debut album I Am Nice in 2017 (produced by Ben Tanner of Alabama Shakes and John Paul White of the Civil Wars), the now-18-year-old Utah singer-songwriter has been hailed as an “Americana prodigy” by Rolling Stone, as a “wunderkind” by American Songwriter, been labeled one of the “teenagers shaping pop” by The New Yorker; and performed at the Newport Folk Festival and played shows with the likes of Lucinda Williams, Lukas Nelson and Hayes Carll.
Sammy Brue has been writing songs since the age of 10. After receiving an acoustic guitar from his father for Christmas, he quickly embraced the instrument and began learning the songs of Bob Dylan and Woody Guthrie. Since writing his first song (a fingerpicked, autobiographical tune titled “The Woody Guthrie Song”) at the age of 11, Brue has released three homespun EPs, his New West full-length debut, I Am Nice and a 2018 EP, Down with Desperation. His sophomore record will be released in the Spring of 2020, on New West Records.