Speedy Ortiz

Allston Pudding presents

Speedy Ortiz

Ted Leo, Sammus, Wendy Eisenberg, with DJ's Michael Marotta and Maura Johnston

Sun, December 31, 2017

Doors: 9:00 pm / Show: 9:30 pm

Great Scott

Allston, MA

$30 advance / $35 day of show

This event is 21 and over

Tickets available at AXS.COM, or by phone at 855-482-2090. No service charge on tickets purchased in person at the Great Scott box office seven days a week 12PM-1AM, or at The Sinclair Box Office (Cambridge, MA) Wednesdays-Saturdays 12-7PM. Please note: Great Scott box office is cash only.

Speedy Ortiz
Speedy Ortiz
From their start as a full band, Speedy Ortiz found a warm reception in the Bay State’s rock underground, from Boston’s basements to Western Massachusetts’ experimental scene. In March 2012, the band recorded and self-released a two-song single (“Taylor Swift” / “Swim Fan”) with Paul Q. Kolderie (Pixies, Hole) and Justin Pizzoferrato (Chelsea Light Moving, Dinosaur Jr.). Establishing both creative momentum and a fanbase earned through near-constant U.S. touring, they continued with the Sports EP, a loosely conceptual 10” released on Exploding In Sound that June.
Their debut album Major Arcana, named Best New Music by Pitchfork, saw the evolution of Speedy Ortiz from a lo-fi project into a wholly collaborative effort, marked by Darl Ferm’s thick bass lines, drummer Mike Falcone’s boisterous fills, and the counterbalance between guitarist Matt Robidoux’s anti-melodic playing and frontwoman Sadie Dupuis’s angular riffing. The end result is a band able to distill their influences and impulses into something at once dissonant and melodic.
For their upcoming Real Hair EP, Speedy Ortiz has teamed up with Paul Q. Kolderie once again, resulting in a collection brushed with effected guitars and pop-conscious vocals. Here Dupuis attempts to untangle concerns about misrepresentation of identity in four songs delivered with the band’s signature abrasive clarity. The band will support the EP on the road into 2014 with a January southeastern string of All-Ages shows with Boston friends Grass is Green, their first European tour in February, and supporting slots with the Breeders and Stephen Malkmus & the Jicks.

With Real Hair, Speedy Ortiz once again taps into the four-part chemistry that brought their prior outings praise. They’re still equal parts noisy and poetic, and now merge those channels more seamlessly than ever.
Ted Leo
Ted Leo
By Zachary Lipez, Summer 2017

It’s a comforting cliché that “you can’t keep a good man down,” but of course you can. Good men and women and non-gender-conforming people are kept down all the time. The world crushes the good and talented and honest and decent unsparingly. We’ve all got our own problems for sure, and god knows there's a hierarchy of pain, but let’s not pretend the day to day leans towards “fair.” So, what do we do, naked and afraid, with nothing but wolves at the door to use as warmth? Huddling helps. Songs are useful. Communicating via direct message is pretty good, but a true song, sung by someone who stood with us for more than a while, whose lyrics made sense when we were marching in the street or drunk in the bar, well, that works too.

Ted Leo is one of the finest songwriters of our generation, even if it’s not entirely clear what generation that is. Starting in New York Hardcore with Citizen’s Arrest, making the ‘90s safe for power-pop and Weller-esque hair with Chisel, then singing our turbulent lives like we were smarter than we were with The Pharmacists, and most recently providing equal parts sweetness and solace with Aimee Mann as The Both, Ted never let us down. Unmentioned in Meet Me In The Bathroom because he never did coke, who do you think it was who always made sure we made it home? Every time we’d ask, “what have you done for me lately?” Ted would say, “this,” give us another collection of songs incisive and tour van-ready, and we’d say, “oh, sick” and pass out in his arms.

Before this becomes (another) installment of Ted Leo slash fiction, what you need to know: Ted Leo, at long last, seven years after The Brutalist Bricks, has a new solo album. It’s fucking wonderful.

The Hanged Man (and, in tandem, a collection of B-sides) is to be self-released on September 8, 2017. Let’s just get this out of the way; it’s self-released because Leo got dropped by his label, Matador. He bears the label no ill will, it’s cool, it’s cool. Ted, blessed/cursed with perspective, seeing a lifetime’s worth of indie labels (Touch & Go, Lookout!) devoured by Mammon, and played at every now-shuttered DIY venue in the Western Hemisphere, knows the ephemeral. If not exactly unbothered, Ted keeps it moving.

Having worked on a collection of songs for almost a decade, through events so profoundly painful that I, given the tone of this one-sheet, hesitate to detail here, Leo could have easily given up when initial plans didn’t pan out. Instead, true to his calling and true to the job, Ted looked to crowdfunding. His expectations were reasonable. But the result was an outpouring of gratitude and faith from fans for whom Leo’s music had always been a refuge and soundtrack to their own trials and/or celebration. It’s gauche to get into exact numbers, but the money raised shook the cynicism of this writer to the floor. A lifetime of meaningful work coupled with activism, humor, and out-of-time generosity of spirit was rewarded in literally minutes. And, so, The Hanged Man.

The songs on The Hanged Man, recorded at a home-studio-in-transition in Wakefield, RI, with Ted playing almost all the instruments, are some of the finest and finely wrought of Ted Leo’s career. I’m not saying this because I’m paid to (I think we’re doing a barter deal anyway). I’ve gone behind Ted’s back and discussed this subject with some of his fellow musicians and some of my privy peers. We’re all genuinely giddy at how good this record is.

Ted describes the time working on The Hanged Man as a time of “personal desolation that felt fallow but was actually very fertile” and, indeed, lyrically, The Hanged Man is suffused with hope of sorts but crushingly heavy. The concerns addressed, whether personal trauma or the national disaster we’re all currently existing in, matched with the range and vitality of the songcraft is, forgive my insistence on a needed comfort, inspiring. Uplifting, even. There are the sharp bursts of skinny tie pop-punk fury one would expect from Leo (and even these feel streamlined like never before) but they are offset with an adventurousness in both tone and structure. The intention was to upend expectations but, on songs like the bookends of “Moon Out of Phase” and “Let’s Stay On The Moon,” the intention never gets in the way of the result. There’s no strain of effort in songs that are unlike anything Leo has done previously. This is an album to be played end to end, blasting from a car, in transit in public earbud isolation, on whatever bed one finds oneself on.

I worry that I’m framing this album release as something we all owe Ted Leo, because he has solid DIY cred, hasn’t died and is a good dude. Nah. The Hanged Man is a Rock and Roll album and Ted would be the first to claim himself lucky for what he’s got and the advantages he’s been given. The world is awash in singers who can carry a tune and don’t kick dogs. But The Hanged Man is a career high, from a man whose standards never slipped. Ted Leo has made a very fine work of art, born through industry soul sickness, nausea-inducing crisis, and a talent that feels like secular grace. You don’t have to consider it a gift – hyperbole has ruined everything – but I do and it makes me feel lucky to have received it.
SAMMUS (Enongo Lumumba-Kasongo) is an Ithaca-raised, Philadelphia-based rap artist, producer, and PhD student in the Department of Science & Technology Studies at Cornell University. Known as much for her rousing stage presence as she is for her prowess as a beatmaker and lyricist, Sammus has spent the past several years cultivating a strong following of activists, hip hop heads, punks, and self-identified nerds and geeks, among others. As noted by the Los Angeles Times, Sammus “has a gift for getting a message across.” Having recently made her Don Giovanni debut (while remaining tied to NuBlack Music Group), she is poised to cement herself as an artist who consistently thinks outside boxes and dances across lines (and does other neat things with geometrical figures).

In addition to managing a full-time music career, Enongo has spent the past eight years as a public-school and college level educator. After graduating from Cornell University in 2008 with a double BA in Sociology and Science & Technology Studies, she was accepted into the national teaching program Teach for America and placed in Houston Texas, where she taught elementary math and science between 2008 to 2010. In the fall semester of 2011 she returned to Cornell as a PhD candidate to pursue an interest a wide array of sound studies topics, including sound and gaming as well as the identity politics of community studios. As an academic in training and very-vocal feminist, Enongo has produced articles for publications such as Bitch, For Harriet, Sounding Out!, and The Mary Sue related to issues of race, hip-hop, gaming, and feminism.
Wendy Eisenberg
Wendy Eisenberg
My name is Wendy Eisenberg and I play guitar, banjo and stompboxes. I also sing. I write and improvise using these tools in order to negotiate the lines between precision and imprecision + composition and improvisation, with special respect to concepts of genre and reference.

I like to think about rhythm not just as a musical expression but also, per Henri Lefebre, method for analyzing the rhythms of urban spaces and the effects of those rhythms on the inhabitants of those spaces. This means I am concerned with both making music and considering the representational, political, and aesthetic demands placed on music-makers, and how it manifests and changes the music (or if it does).

My main projects are:

birthinghips.bandcamp.com (improvising noisy rock band)


wendyalembic.bandcamp.com (my solo songs and banjo improvisations)


thee cavemyn )(this is more recent)(

and ofc whatever improvisers I am lucky enough to play with. ..
Venue Information:
Great Scott
1222 Commonwealth Avenue
Allston, MA, 02134