Você tem bom gosto.
Inicie sessão para seguir seus artistas favoritos, salvar eventos e muito mais.
Iniciar sessão
get app
Inscrição
Iniciar sessão
Max Gomez
Max performs at BAR DKDC with Special Guest Mark Edgar Stuart
Bar DKDC
964 S Cooper St
Memphis, TN 38104
24 de mai. de 2024
19:00 GMT-5
Eu estive lá
Avaliar
About this concert
Max performs at BAR DKDC with Special Guest Mark Edgar Stuart
Reservations by phone only - 901-272-0830
Encontre um lugar para ficar
Programação do evento
Live Photos
Ver todas as fotos
What fans are saying
PBJ
3 de setembro 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
Descubra mais artistas para seguir e sincronize suas músicas
Encontre seus favoritos
Compartilhar evento
About the venue
Follow Venue
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.”
Ler maisThe 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.”
Folk
Love Folk
Protest Songs
Americana
Blues & Country.
Original Americana Roots Music
Seguir artista