SUSTO w/ Indianola
General Admission - $17 (plus fees)
Price increases $5 on day of show (if available, plus fees)
Mobility has always helped define America. Don’t settle for where you start. Find a new town, new coast, or new state of mind––then make it yours. “We export this idea of getting in your car and going somewhere, trying to find something new, bouncing around,” says Justin Osborne. “We live in some strange, crazy times. There is a sense of darkness. But I’m crisscrossing the country, and people are good and fun. There is a lot of beauty everywhere. I think not forgetting that is important.
Osborne is home in Charleston, South Carolina, reflecting on the personal journey and cultural climate that have led to Ever Since I Lost My Mind, the third record and label debut for his acclaimed project SUSTO. The album is a resounding triumph: a mix of new partnerships and collaborations with old friends, all anchored by Osborne’s perceptive songs that explore connection, loss, and transience––and the pain and joy each brings.
“Ever Since I Lost My Mind is very personal. This collection of songs came together over the course of a couple of years, and they all represent different moments,” he says. “It felt cathartic writing all of them, and they were also all fun in different ways.”
With a rock-rooted sound that doesn’t shy away from radio-ready hooks, SUSTO keeps listeners engaged by refusing to occupy an easily defined space. Produced by Ian Fitchuck (Kacey Musgraves, Ruston Kelly) and featuring key input from Osborne’s longtime creative sounding board Wolfgang Zimmerman, Ever Since I Lost My Mind defiantly experiments with synth embellishments, Latin heart, guileless folk, and more. Osborne’s mellow vocals comfort without losing the ability to surprise––delicate croons, growls, and occasional screams take turns.
“There’s a duality present in a lot of these songs,” says Indianola’s Owen Beverly. “There’s a push and a pull that’s constantly going on. The music is modern and retro and optimistic and bleak and carefree and apocalyptic all at once.”
Those juxtapositions lie at the heart of ‘Kiss Tomorrow Goodbye,’ Beverly’s thrilling debut LP under the Indianola moniker. Recorded at Shovels & Rope’s studio in Charleston, South Carolina, the collection stitches together a broad range of genres and eras, gleefully toying with decades of music history in order to create a sonic collage from an alternate timeline, one in which snarling garage rock guitars flare up alongside 60’s girl group melodies and greasers and punks party with velvet-voiced crooners. Beverly mines the past like a found footage artist, seizing on unexpected moments from long-forgotten productions in order to splice them together in a wholly new context. The result is utterly engrossing and infectious, a pop culture Frankenstein that sounds like Roy Orbison fronting The Sonics or Buddy Holly soundtracking a B horror flick.
‘Kiss Tomorrow Goodbye’ follows Indianola’s 2017 debut EP, ‘Zero,’ which Paste praised as “wise beyond its years” and the Charleston City Paper hailed for its “rock ‘n’ roll fervor.” Beverly was named a Southwest Airlines Artist On The Rise, and the collection earned him festival performances from Luck Reunion to Wildwood Revival alongside dates with Josh Ritter, Butch Walker, Langhorne Slim, Matthew Logan Vasquez, Nicole Atkins, and more. The following year, Indianola appeared as a special guest on Shovels & Rope’s ‘Busted Jukebox Volume 2,’ collaborating on a reimagining of The Hollies’ “The Air That I Breathe” that prompted the husband-and-wife duo to describe Beverly as “one of the finest singers and writers out there today” in an interview with Entertainment Weekly.