An Evening with The Paranoid Style (Full band show) Baltimore, MD

A houseshow with The Paranoid Style at Club 603 in Roland Park, Baltimore, MD. Limited tickets will be available for the concert, so act quickly if you're interested!

PLEASE NOTE: Address of venue will be provided once you purchase your tickets.

The Paranoid Style:

A fever dream of Van Morrison-horns and Leonard Cohen sentiments, Known Associates is the 5th LP from The Paranoid Style which ratifies the steadily rising reputation of Elizabeth Nelson as one of our insurgently crucial songwriters. Like her longtime hero Lucinda Williams, Nelson’s slow burn has run side by side with an ever-growing literary reputation, which has seen her work as an acclaimed contributor to the New York Times, the Atlantic, the New Yorker and Oxford American, as well as writing liner notes for reissues by Bob Dylan and the Replacements.

Elizabeth Nelson's usual Paranoid Style lineup of Peter Holsapple, William Matheny, Michael Venutolo-Mantovani, Jon Langmead and Timothy Bracy all play on Known Associates, the exhilarating follow up to 2024’s ten-alarm panic attack The Interrogator.

Known Associates also includes notable appearances from the multi-instrumentalist Matt Douglas (from the Mountain Goats) and Eugene Edwards, a Danny Gatton disciple who is Dwight Yoakam's lead guitarist.

"Tearing the Ticket” pays tribute to lost DC-area music legends Danny Gatton and Roy Buchanan, and wrestles with the ghosts of the past amidst a flickering future. One part funeral march and one part valedictory commitment to carry on, “Tearing the Ticket” features Matt Douglas, who provides keening saxophone and flute for the Springsteen-meets-X-Ray-Spex examination of a hard, long life lived in music, which is dedicated to Bar/None's recently deceased and terribly missed longtime label manager Mark Lipsitz.

“It’s a Dog’s Breakfast (for LR),” is a song Elizabeth Nelson wrote for Linda Ronstadt, sharing the following with Southwest Review: “Ronstadt the interpreter is so wild. From Mike Nesmith to Roy Orbison to Elvis Costello, she always amplified and extended, making it possible to hear those things in a song that had previously been just out of reach. THAT is what it means to be an interpreter, just as Sarah Vaughan could take Cole Porter to unimaginable places. But how to reimagine the already astonishing and bawdy Stones classic ‘Tumbling Dice’ is yet another question. Maybe that’s why she changed the lyrics and made them simultaneously more shocking and yet more relatable to women everywhere. So, I wrote this song for Linda Ronstadt, whom I love so much. It’s called ‘It’s a Dog's Breakfast.’ That’s a Britishism for a hot mess, but it's my favorite track I have ever recorded with the ParanoidStyle, with killer additions by Lisa Walker from Wussy and Matt Douglas from the Mountain Goats. I never travel far without a little LR.”

The wry, rollicking, anthemic rocker “White Wine Whatever,” is an ode to contemporary malaise and cognitive dissonance, which Elizabeth Nelson calls: "A favorite Paranoid Style track of mine,” adding: “...Though recorded under a dark cloud of inter-band mystery that day—Tim was pissed at Jon, which is common enough, but even William and Peter and the typically unflappable Mike V. seemed on edge. Of course I hadn't slept the night before, or any of the recent nights, finishing the songs and all. We were maniacs. This thing is just a pure fucking brawl. By the time Eugene Edwards—Dwight Yoakam's lead guitarist—laid in a series of intensely greasy licks, Matt Douglas of the Mountain Goats had jumped in too, on sax, it was the closest thing to Mick Taylor and Bobby Keys I've heard since ‘Can't You Hear Me Knocking.’ If nothing else, tune in for that. My fingers are still sticky."

“Elegant Bachelors” finds Nelson observing nostalgia of a bygone era that may or may not have existed in the way it’s remembered, singing “On a hillside, by the abandoned old barn/ You can still weave a tale, you can still spin a yarn/ You can still see the shadows incarcerate the day/ Elegant Bachelors having their way.”

Nelson explains: “I wrote it about Don Henley, or anyway my idea of who Don Henley might be behind all of the swagger. In some ways he is the saddest and most clear eyed observer of his own generation. ‘Boys of Summer’ is brutally lacerating, an isolated loser issuing a bitter critique to a former flame and a former way of life, only to desperately want to relive the fraudulent affair again. It’s a perfect song, and no one else can play that tune. Springsteen would have somehow made it feel aspirational. Neil Young would have sounded sarcastic. Henley lays into every line with the coked-out fury of your average ‘80s Wall Street tycoon: the first spasms of the angry investor class. Buckle up.”

Regal, ragtag and filled with the sort of hard luck stories, busted-up epiphanies and thriftstore miracles that will be familiar to any fan of Richard Thompson, David Berman or Tom Waits, the mystics and statistics are already saying it: Known Associates is one of the greatest records of 2026, and Elizabeth Nelson is one of the best singer-songwriters in the world.

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