ArtsLIVE! Fall Fundraiser Featuring Keller Williams In Concert
September 23 @ 3:30 pm - 5:00 pm$30 – $70
ArtsLIVE! will hold its 2018 Fall Fundraiser featuring Keller Williams in concert Sunday, September 23, 3:30 – 5:00 pm at James Monroe High School Auditorium. Nonconformist and unconventional, Keller Williams seamlessly crosses genre boundaries. The end-product is astounding and the novel music encompasses rock, jazz, funk, and bluegrass, and always keeps the audience on its feet. Tickets are $30 for general admission, $45 for reserved seating, and $70 for VIP. VIP ticket holders are entitled to front row(s) seating, access to the hospitality room prior to the concert and entry to a meet-and-greet reception with Keller Williams. For more information please visit http://artsliveva.org/event/sept-23-keller-williams, email email@example.com, or call (540) 374-5040. All proceeds benefit ArtsLIVE! education and outreach programs.
Keller Williams released his first album in 1994, FREEK, and has since given each of his albums a single syllable title: BUZZ, SPUN, BREATHE, LOOP, LAUGH, HOME, DANCE, STAGE, GRASS, DREAM, TWELVE, LIVE, ODD, THIEF, KIDS, BASS, PICK, FUNK, VAPE, SYNC and RAW, , those who have followed his career will know this. Each title serves as a concise summation of the concept guiding each project. GRASS, for example, is a bluegrass recording cut with the husband-wife duo The Keels. STAGE is a live album and DREAM is the realization of Keller’s wish to collaborate with some of his musical heroes. THIEF is a set of unexpected cover songs, KIDS offers Keller’s first children’s record, PICK presents Keller’s collaboration with royal bluegrass family The Travelin’ McCoury’s, and RAW is a solo acoustic album. Each album showcases Keller’s comprehensive and diverse musical endeavors and functions to provide another piece of the jigsaw puzzle that is Keller Williams. Keller’s collaborative and solo albums reflect his pursuit to create music that sounds like nothing else. Unbeholden to conventionalism, he seamlessly crosses genre boundaries. The end-product is astounding and novel music that encompasses rock, jazz, funk, and bluegrass, and always keeps the audience on their feet.
Since he first appeared on the scene in the early ’90s, Williams has defined the term independent artist. And his recordings tell only half the story. Keller built his reputation initially on his engaging live performances, no two of which are ever alike. For most of his career he has performed solo. His stage shows are rooted around Keller singing his compositions and choice cover songs, while accompanying himself on acoustic guitar. With the use of today’s technology, Keller creates samples on the fly in front of the audience, a technique called live phrase sampling or looping, with nothing pre-recorded, the end result often leans toward a hybrid of alternative folk and groovy electronica. A genre Keller jokingly calls “acoustic dance music” or ADM.”
That approach, Williams explains, was derived from “hours of playing solo with just a guitar and a microphone, and then wanting to go down different avenues musically. I couldn’t afford humans and didn’t want to step into the cheesy world of automated sequencers where you hit a button and the whole band starts to play, then you’ve got to solo along or sing on top of it. I wanted something more organic yet with a dance groove that I could create myself.”
Williams’ solo live shows—and his ability to improvise to his determinedly quirky tunes despite the absence of an actual band—quickly became the stuff of legend, and his audience grew exponentially when word spread about this exciting, unpredictable performer. Once he began releasing recordings, starting with 1994’s FREEK, Williams was embraced by an even wider community of music fans, particularly the jam band crowd. While his live gigs have largely been solo affairs, Williams has nearly always used his albums as a forum for collaborations with fellow musicians. An alliance with The String Cheese Incident on 1999’s BREATHE marked Williams’ first release on the band’s label SCI Fidelity Records, DREAM, Keller’s 2007 release, found him in the company of such iconic musicians as the Grateful Dead’s Bob Weir, banjo master Béla Fleck, bass great Victor Wooten, American musician/poet Michael Franti and many others.
“That album took, from start to release time,” says Williams, “about three years. The object was to get people that I admire musically to play my stuff, so when I’m old I can crank this album in my pimped-out golf cart and have something that I’m really proud of. I was going for the historical effect for my own personal listening pleasure.
“Each record,” he continues, “is a little snapshot of history. I like to think of it as a period piece for an artist. Each record is a little bit different but all of them have some kind of common thread, which is my musical ability as far as I can take it. I enjoy making records. In some people’s eyes, they’re a dying breed, but I’m very passionate about it. They document where my head is at that time in my career and where I am in my songwriting.”
Williams’ story begins in Fredericksburg, Virginia, just south of Washington, D.C. There he was exposed to a wide variety of music at an early age, starting with country and bluegrass and working his way up through hip-hop and go-go, a brand of funk particular to that part of the country. Once he began playing guitar, Williams’ sphere expanded to what he calls “the post-pseudo-skateboarder punk-rock rebellious type of thing, Black Flag and Sex Pistols and Ramones, Dead Kennedys, things like that. That slid into the more melodic college rock, like the Cure and the Cult, the Smiths, R.E.M.’s first five or six records.