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About this concert
-All seats are reserved. -Everyone through the door, regardless of age, requires a ticket. -Latecomers will be seated at the discretion of Management. -The Morrison Center reserves the right to search all bags. -Clutches or purses no larger than 14×14 are permitted. -Large purses, tote bags, backpacks and fanny packs are strongly discouraged and prohibited for most shows. -Outside food and drink are not allowed into the Morrison Center. -Event parking is included with ticket purchase. -Morrison Center is a smoke-free environment. No vaping allowed. -Please be advised that the Morrison Center facility has been designated as a guns-free environment. The full policy is at http://security.boisestate.edu/guns-on-campus/ -ALL SALES ARE FINAL. NO EXCHANGES. NO REFUNDS.
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PBJ
3 de septiembre de 2023
Max was great! Reminded me how good a songwriter he is. Good set list, his singing and guitar playing were excellent, the sound was good.
El Prado, NM@KTAOS Solar Center
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Max Gomez Biography
Max Gomez has always had the heart of an old soul. As a child, the first songs he learned to sing were originally recorded in the 50s by Johnny Cash. As a teenage guitarist he adopted Big Bill Broonzy as his blues master. And as a budding performer, he apprenticed in the rarefied musical climate of northern New Mexico, where troubadours like Michael Martin Murphey and Ray Wylie Hubbard helped foster a folk and Western sound both cosmic and cowboy. You’ll find his hometown of Taos and nearby Red River right there between Colorado and Texas on both your sonic and Google maps. Splitting his childhood between there and a farm in the Flint Hills of Kansas, Gomez is at home in the heartland, too.
The youngest of five brothers, by several years—“That’s why I got into ‘old’ music”—Gomez got a children’s guitar for Christmas when he was 10. The family moved from Santa Fe to Taos in the ’80s, and his father, Steve, became a furniture craftsman. “There’s a similarity between my dad’s work and mine,” says Gomez. “He really studied what he did; there were always a lot of books on old furniture in his studio.”
Gomez reports that growing up in Taos was “wild." It’s still the Wild West compared to any city or suburb. You can get away with just about anything there, and we were turned loose as kids.”
At 14, when Gomez performed at a benefit concert, he played “SundayMornin’? ?Coming Down”—the? ?down-and-out? ?classic? ?by? ?future? ?labelmate? ?Kris? ?Kristofferson.? ?Soon? ?thereafter? ?he? ?was playing? ?at? ?a? ?late,? ?lamented? ?institution? ?of? ?a? ?venue? ?called? ?the? ?Old? ?Blinking? ?Light.? ?“The? ?school? ?I? ?went to? ?was? ?playing? ?in? ?that? ?bar,”? ?he? ?says.? ?? ?Country? ?greats? ?like? ?Mentor? ?Williams? ?and? ?Lynn? ?Anderson frequented? ?the? ?place? ?that? ?led? ?them? ?to? ?become? ?fans? ?of? ?his? ?music.
Gomez? ?moved? ?to? ?Los? ?Angeles? ?at? ?18? ?to? ?pursue? ?his? ?music? ?career? ?and? ?began? ?writing? ?songs? ?and performing? ?around? ?the? ?city? ?at? ?many? ?notable? ?clubs.? ?He? ?wrote? ?some? ?songs? ?with? ?Shawn? ?Mullins, who? ?later? ?recorded? ?them.? ?“That’s? ?when? ?I? ?began? ?taking? ?it? ?all? ?a? ?little? ?more? ?seriously? ?and? ?turned? ?my music? ?into? ?a? ?job,”? ?says? ?Gomez.
In? ?his? ?early? ?twenties? ?he? ?began? ?recording? ?his? ?own? ?songs? ?with? ?producers? ?in? ?? ?New? ?York,? ?L.A.,? ?and Nashville.? ?His? ?debut? ?album,? ??Rule? ?the? ?World?,? ?was? ?released? ?in? ?2013? ?by? ?New? ?West? ?Records,? ?home to? ?the? ?likes? ?of? ?John? ?Hiatt,? ?Buddy? ?Miller,? ?and? ?Steve? ?Earle.? ?Soon? ?after,? ?Kiefer? ?Sutherland? ?directed the? ?music? ?video? ?for? ?the? ?single? ?“Run? ?From? ?You.”
Gomez? ?grew? ?up? ?in? ?a? ?rich? ?musical? ?environment,? ?but? ?represents? ?more? ?than? ?the? ?sum? ?of? ?his influences—he’s? ?got? ?that? ?ineffable? ?and? ?instantly? ?recognizable? ?x-factor? ?called? ?talent.? ?Melodies that? ?flow? ?naturally.? ?Trenchant? ?lyrics? ?that? ?express? ?wise-beyond-his-years? ?observations? ?on? ?the ways? ?of? ?the? ?heart.? ?Laconic? ?phrasing? ?in? ?a? ?cafe? ?mocha? ?timbre,? ?and? ?guitar? ?skills? ?that? ?can? ?stand alone.? ?In? ?short:? ?the? ?whole? ?package.
Judging? ?by? ?the? ?company? ?he? ?keeps,? ?Gomez? ?is? ?there? ?positioned? ?to? ?emerge? ?as? ?a? ?prominent? ?voice of? ?Americana’s? ?next? ?generation.? ?Since? ?the? ?release? ?of? ?his? ?debut? ?album,? R?? ule? ?the? ?World?,? ?in? ?2013, he’s? ?shared? ?billing? ?on? ?hundreds? ?of? ?stages? ?with? ?stalwarts? ?of? ?the? ?genre? ?like? ?Shawn? ?Mullins,? ?James McMurtry,? ?Buddy? ?Miller,? ?Jim? ?Lauderdale,? ?Patty? ?Griffin,? ?and? ?John? ?Hiatt.
“I? ?first? ?saw? ?Max? ?perform? ?when? ?he? ?was? ?17,? ?about? ?10? ?years? ?ago,”? ?says? ?songsmith? ?and? ?sideman extraordinaire? ?Keith? ?Sykes.? ?“I? ?sensed? ?he? ?had? ?something? ?even? ?then.? ?When? ?I? ?saw? ?him? ?last? ?year,? ?I was? ?pleased? ?to? ?see,? ?and? ?hear,? ??something?? ?has? ?turned? ?into?? ?it?.? ?Listen? ?and? ?you’ll? ?see,? ?and? ?hear, what? ?I? ?mean.? ?He’s? ?among? ?the? ?best? ?of? ?his? ?generation.”
Gomez’s? ?career? ?is? ?being? ?steered? ?by? ?the? ?veteran? ?A&R? ?man? ?Gary? ?Briggs,? ?who? ?signed? ?him? ?to? ?New West? ?and? ?has? ?now? ?assembled? ?an? ?industry? ?A-team? ?around? ?him? ?as? ?the? ?first? ?signing? ?of? ?the? ?newly formed? ?Brigadoon? ?Records.? ?Neil? ?Young’s? ?managers? ?Frank? ?Gironda? ?and? ?Elliot? ?Roberts? ?are? ?on board,? ?and? ?Frank? ?Riley? ?is? ?handling? ?booking.
Jim? ?Scott—who’s? ?worked? ?with? ?Johnny? ?Cash,? ?Tom? ?Petty,? ?and? ?Lucinda? ?Williams—produced Gomez’s? ?new? ?EP? ??Me? ?&? ?Joe?,? ?which? ?features? ?Williams? ?collaborator? ?Doug? ?Pettibone? ?on? ?guitar? ?and Eric? ?Clapton? ?and? ?Jackson? ?Browne? ?accompanist? ?Greg? ?Leisz? ?on? ?pedal? ?steel.? ?The? ?soundscape? ?is acoustic? ?and? ?warm,? ?a? ?comfort? ?zone? ?for? ?Gomez’s? ?buttery? ?vocals.? ?“Senseless? ?Love”? ?and? ?“Make? ?it Me”? ?reflect? ?on? ?love? ?lost? ?and,? ?perhaps,? ?found,? ?while? ?“Sweet? ?Cruel? ?World”? ?sounds? ?like? ?it? ?could? ?find its? ?way? ?onto? ?a? ?Taj? ?Mahal? ?album.? ?“Rule? ?the? ?World? ?(Reprise)”? ?revisits? ?and? ?re-works? ?the? ?title? ?song? ?of his? ?debut? ?album,? ?which—like? ?the? ?new? ?“Make? ?it? ?Me”—has? ?the? ?ring? ?of? ?a? ?neo-classic.? ?The? ?surprise tune? ?here? ?is? ?“Joe,”? ?written? ?by? ?Max’s? ?musical? ?compadre? ?Jed? ?Zimmerman.? ?The? ?song? ?is? ?sung? ?from the? ?point? ?of? ?view? ?of? ?a? ?regretful? ?character? ?who? ?compares? ?cocaine? ?to? ?coffee? ?and? ?pain? ?to? ?cash? ?in? ?a powerful? ?twist? ?of? ?emotion? ?laid? ?on? ?a? ?rich? ?bed? ?of? ?steel? ?guitar? ?and? ?swirling? ?cellos.? ?Gomez? ?considers the? ?track? ?”lightning? ?in? ?a? ?bottle.? ?It? ?took? ?us? ?15? ?minutes? ?to? ?make? ?that? ?record.? ?Jim? ?Scott? ?would? ?always say,? ?‘You? ?know? ?how? ?long? ?it? ?takes? ?to? ?make? ?a? ?hit? ?record?? ?Three? ?minutes.’? ?”
“I? ?asked? ?Max? ?to? ?try? ?the? ?song? ?and? ?he? ?nailed? ?it,”? ?says? ?Briggs,? ?the? ?executive? ?producer? ?on? ?the recording.? ?“Max’s? ?passion? ?and? ?pursuit? ?for? ?the? ?perfectly? ?written? ?song? ?has? ?always? ?inspired? ?me. He’s? ?always? ?been? ?a? ?great? ?singer? ?and? ?as? ?a? ?self-taught? ?performer? ?he’s? ?been? ?surrounded? ?by headliners? ?and? ?learned? ?from? ?the? ?best.? ?He’s? ?on? ?the? ?verge? ?of? ?finding? ?his? ?audience.”
Leer másThe youngest of five brothers, by several years—“That’s why I got into ‘old’ music”—Gomez got a children’s guitar for Christmas when he was 10. The family moved from Santa Fe to Taos in the ’80s, and his father, Steve, became a furniture craftsman. “There’s a similarity between my dad’s work and mine,” says Gomez. “He really studied what he did; there were always a lot of books on old furniture in his studio.”
Gomez reports that growing up in Taos was “wild." It’s still the Wild West compared to any city or suburb. You can get away with just about anything there, and we were turned loose as kids.”
At 14, when Gomez performed at a benefit concert, he played “SundayMornin’? ?Coming Down”—the? ?down-and-out? ?classic? ?by? ?future? ?labelmate? ?Kris? ?Kristofferson.? ?Soon? ?thereafter? ?he? ?was playing? ?at? ?a? ?late,? ?lamented? ?institution? ?of? ?a? ?venue? ?called? ?the? ?Old? ?Blinking? ?Light.? ?“The? ?school? ?I? ?went to? ?was? ?playing? ?in? ?that? ?bar,”? ?he? ?says.? ?? ?Country? ?greats? ?like? ?Mentor? ?Williams? ?and? ?Lynn? ?Anderson frequented? ?the? ?place? ?that? ?led? ?them? ?to? ?become? ?fans? ?of? ?his? ?music.
Gomez? ?moved? ?to? ?Los? ?Angeles? ?at? ?18? ?to? ?pursue? ?his? ?music? ?career? ?and? ?began? ?writing? ?songs? ?and performing? ?around? ?the? ?city? ?at? ?many? ?notable? ?clubs.? ?He? ?wrote? ?some? ?songs? ?with? ?Shawn? ?Mullins, who? ?later? ?recorded? ?them.? ?“That’s? ?when? ?I? ?began? ?taking? ?it? ?all? ?a? ?little? ?more? ?seriously? ?and? ?turned? ?my music? ?into? ?a? ?job,”? ?says? ?Gomez.
In? ?his? ?early? ?twenties? ?he? ?began? ?recording? ?his? ?own? ?songs? ?with? ?producers? ?in? ?? ?New? ?York,? ?L.A.,? ?and Nashville.? ?His? ?debut? ?album,? ??Rule? ?the? ?World?,? ?was? ?released? ?in? ?2013? ?by? ?New? ?West? ?Records,? ?home to? ?the? ?likes? ?of? ?John? ?Hiatt,? ?Buddy? ?Miller,? ?and? ?Steve? ?Earle.? ?Soon? ?after,? ?Kiefer? ?Sutherland? ?directed the? ?music? ?video? ?for? ?the? ?single? ?“Run? ?From? ?You.”
Gomez? ?grew? ?up? ?in? ?a? ?rich? ?musical? ?environment,? ?but? ?represents? ?more? ?than? ?the? ?sum? ?of? ?his influences—he’s? ?got? ?that? ?ineffable? ?and? ?instantly? ?recognizable? ?x-factor? ?called? ?talent.? ?Melodies that? ?flow? ?naturally.? ?Trenchant? ?lyrics? ?that? ?express? ?wise-beyond-his-years? ?observations? ?on? ?the ways? ?of? ?the? ?heart.? ?Laconic? ?phrasing? ?in? ?a? ?cafe? ?mocha? ?timbre,? ?and? ?guitar? ?skills? ?that? ?can? ?stand alone.? ?In? ?short:? ?the? ?whole? ?package.
Judging? ?by? ?the? ?company? ?he? ?keeps,? ?Gomez? ?is? ?there? ?positioned? ?to? ?emerge? ?as? ?a? ?prominent? ?voice of? ?Americana’s? ?next? ?generation.? ?Since? ?the? ?release? ?of? ?his? ?debut? ?album,? R?? ule? ?the? ?World?,? ?in? ?2013, he’s? ?shared? ?billing? ?on? ?hundreds? ?of? ?stages? ?with? ?stalwarts? ?of? ?the? ?genre? ?like? ?Shawn? ?Mullins,? ?James McMurtry,? ?Buddy? ?Miller,? ?Jim? ?Lauderdale,? ?Patty? ?Griffin,? ?and? ?John? ?Hiatt.
“I? ?first? ?saw? ?Max? ?perform? ?when? ?he? ?was? ?17,? ?about? ?10? ?years? ?ago,”? ?says? ?songsmith? ?and? ?sideman extraordinaire? ?Keith? ?Sykes.? ?“I? ?sensed? ?he? ?had? ?something? ?even? ?then.? ?When? ?I? ?saw? ?him? ?last? ?year,? ?I was? ?pleased? ?to? ?see,? ?and? ?hear,? ??something?? ?has? ?turned? ?into?? ?it?.? ?Listen? ?and? ?you’ll? ?see,? ?and? ?hear, what? ?I? ?mean.? ?He’s? ?among? ?the? ?best? ?of? ?his? ?generation.”
Gomez’s? ?career? ?is? ?being? ?steered? ?by? ?the? ?veteran? ?A&R? ?man? ?Gary? ?Briggs,? ?who? ?signed? ?him? ?to? ?New West? ?and? ?has? ?now? ?assembled? ?an? ?industry? ?A-team? ?around? ?him? ?as? ?the? ?first? ?signing? ?of? ?the? ?newly formed? ?Brigadoon? ?Records.? ?Neil? ?Young’s? ?managers? ?Frank? ?Gironda? ?and? ?Elliot? ?Roberts? ?are? ?on board,? ?and? ?Frank? ?Riley? ?is? ?handling? ?booking.
Jim? ?Scott—who’s? ?worked? ?with? ?Johnny? ?Cash,? ?Tom? ?Petty,? ?and? ?Lucinda? ?Williams—produced Gomez’s? ?new? ?EP? ??Me? ?&? ?Joe?,? ?which? ?features? ?Williams? ?collaborator? ?Doug? ?Pettibone? ?on? ?guitar? ?and Eric? ?Clapton? ?and? ?Jackson? ?Browne? ?accompanist? ?Greg? ?Leisz? ?on? ?pedal? ?steel.? ?The? ?soundscape? ?is acoustic? ?and? ?warm,? ?a? ?comfort? ?zone? ?for? ?Gomez’s? ?buttery? ?vocals.? ?“Senseless? ?Love”? ?and? ?“Make? ?it Me”? ?reflect? ?on? ?love? ?lost? ?and,? ?perhaps,? ?found,? ?while? ?“Sweet? ?Cruel? ?World”? ?sounds? ?like? ?it? ?could? ?find its? ?way? ?onto? ?a? ?Taj? ?Mahal? ?album.? ?“Rule? ?the? ?World? ?(Reprise)”? ?revisits? ?and? ?re-works? ?the? ?title? ?song? ?of his? ?debut? ?album,? ?which—like? ?the? ?new? ?“Make? ?it? ?Me”—has? ?the? ?ring? ?of? ?a? ?neo-classic.? ?The? ?surprise tune? ?here? ?is? ?“Joe,”? ?written? ?by? ?Max’s? ?musical? ?compadre? ?Jed? ?Zimmerman.? ?The? ?song? ?is? ?sung? ?from the? ?point? ?of? ?view? ?of? ?a? ?regretful? ?character? ?who? ?compares? ?cocaine? ?to? ?coffee? ?and? ?pain? ?to? ?cash? ?in? ?a powerful? ?twist? ?of? ?emotion? ?laid? ?on? ?a? ?rich? ?bed? ?of? ?steel? ?guitar? ?and? ?swirling? ?cellos.? ?Gomez? ?considers the? ?track? ?”lightning? ?in? ?a? ?bottle.? ?It? ?took? ?us? ?15? ?minutes? ?to? ?make? ?that? ?record.? ?Jim? ?Scott? ?would? ?always say,? ?‘You? ?know? ?how? ?long? ?it? ?takes? ?to? ?make? ?a? ?hit? ?record?? ?Three? ?minutes.’? ?”
“I? ?asked? ?Max? ?to? ?try? ?the? ?song? ?and? ?he? ?nailed? ?it,”? ?says? ?Briggs,? ?the? ?executive? ?producer? ?on? ?the recording.? ?“Max’s? ?passion? ?and? ?pursuit? ?for? ?the? ?perfectly? ?written? ?song? ?has? ?always? ?inspired? ?me. He’s? ?always? ?been? ?a? ?great? ?singer? ?and? ?as? ?a? ?self-taught? ?performer? ?he’s? ?been? ?surrounded? ?by headliners? ?and? ?learned? ?from? ?the? ?best.? ?He’s? ?on? ?the? ?verge? ?of? ?finding? ?his? ?audience.”
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