Wye Oak

Wye Oak

Luke Temple

Thursday, October 5

Doors: 6:00 pm / Show: 8:00 pm

$20.00

This event is 21 and over

Ticket Policy
Many of our shows sell out well in advance. All sales are final; no refunds and no exchanges.

To Guarantee seating, please purchase Reserved Seating Ticket Levels.

For General Admission shows, tables and seating in the club can be guaranteed only with a dinner reservation. General admission does not guarantee a seat.

Flash photography is prohibited. We are a 21+ club. Younger audiences may attend shows when appropriate and with permission from Helsinki Management only.

All event information is subject to change. Please check back before date of event.

Wye Oak
Wye Oak
Wye Oak’s music is variously called indie-rock, dream-pop, and indie-folk. We like to think of the duo as the 21st century’s answer to Eurythmics. In Wye Oak, Jenn Wasner’s dreamy vocals float above Andy Stack’s electro-beats and New Wave keyboard parts, variously creating a fusion of singer-songwriter folk, dance-floor ecstasy, and ambient soundscapes. Stack has worked with members of the National, Sylvan Esso, T. Rex, and others. Jenn Wasner has worked with members of Dirty Projectors, Flock of Dimes, and the Decembrists.


Opener Luke Temple similarly begins with a singer-songwriter foundation atop which he applies soul, R&B, and electronic touches that lend a contemporary urgency, not unlike some of Paul Simon’s recent efforts.
Luke Temple
Luke Temple
I want to call Luke Temple a disciple of Hank Williams and Roger Miller. I want to call him an avant-garde traditionalist. I want to say he’s got an unmatched intuition for the askew. I want to say his only real contemporary peer is another master songsmith named Cass McCombs. I could make a pretty infallible case for any of these statements. But at the end of the day, it’d be adding too many bells and whistles to what his new album is. At its core, it’s one of the year’s most stunning folk records. You should just let Temple’s high-and-lonesome salve of a voice raise your goose-pimples from their dormancy. You should let his insightful, devastating lyrics make tiny, tender tears in your soul.
A Hand Through the Cellar Door is, in many ways, Temple’s most straightforward collection of song-storying tunes to date. There are tales of dysfunctional, broken homes and of dysfunctional, broken people. “Birds of Late December,” with its fluttering, nimble fingerpicking, paints an exacting but impressionistic portrait of divorce through the eyes of an exceptionally wistful child. In both “Maryanne Was Quiet” and “The Case of Louis Warren” we follow two characters whose lives unravel in very different ways, though their central question is the same: After you shed all the things you think make you who you are, what is left? Temple is creating small, confident stories with a massive scope - like a good Alice Munroe story. Album standout “The Complicated Men of the 1940s” is a thought experiment concerning the sacrifice of a passing generation, where the heroes of yesterday seem like the stuffy, old guard to a new generation that’s grown just a bit too entitled to their comfort.
But this being Temple and all - the creative mind behind Here We Go Magic - nothing is really ever so straightforward. The arrangements, kept to a minimal drums/guitar/bass/string set-up here, expand and contract in unexpected ways.Temple writes with the eye of a painter like Eric Fischl. Whereas Fischl will put a subtle provocative image in the margins of a piece to create a feeling of imbalance, Temple will add a guitar hiccup or a just-behind-the-beat string section to create a sensation of everything being slightly off. And in that imbalance, both artists show us grace. Yes, while the tales Temple weaves are bleak, the aura of hope never quite fades from the picture. He turns the tragedies of human folly into a celebration of our eccentricities.
Venue Information:
Club Helsinki
405 Columbia St
Hudson, NY, 12534
https://helsinkihudson.com/