Old 97's LIVE at Sons of Hermann Hall

Join us on March 23 for an exclusive opportunity to experience an intimate evening with the Old 97’s.

Two Shows
Two Sets
One Live Concert Film
Performing Too Far to Care in its entirety

This is not a typical concert. Please ensure you read the description entirely and pick the appropriate ticket.

On March 23, Old 97's will perform two full sets of their landmark album Too Far to Care, recorded live as part of a special concert film and documentary.

Fans will have the rare chance to be part of this exclusive filming experience inside the historic Sons of Hermann Hall, a venue the band has long cherished. Be there to help capture the energy, the music, and the history of this iconic record — live and in the moment.

Don’t miss this once-in-a-lifetime event.

Please Note: By attending, you consent to being filmed, photographed, and included in the live concert film and documentary.

Kitchen & Bar Open @ 5PM

Show Schedule

Early Show
Doors: 5:00 PM
Show: 6:00–7:00 PM

Intermission / Changeover

Late Show
Doors: 7:30 PM
Show: 8:30–9:30 PM

Ticket Options

Combo Show (This Will Include Access To Both Performances)
General Admission Combo (Standing Room Only): $120
VIP Seated Combo: $225

Single Show
General Admission (Standing Room Only): $65
VIP Seated: $125

Links:

Facebook - https://www.facebook.com/old97s/

Instagram - https://www.instagram.com/old97s

YouTube - https://www.youtube.com/@Old97sOfficial

Tiktok - https://www.tiktok.com/@old97s

Website - https://old97s.com/

BIO:

The thirteenth studio album from Old 97’s, American Primitive arose from what

vocalist/guitarist Rhett Miller refers to as a “de-evolution” of the legendary Dallas-

bred band. “As much as I want us to calm down and grow up, the songs that felt

right for this record were mostly big and loud and brutal and dirty,” says Miller,

whose bandmates include bassist Murry Hammond, guitarist Ken Bethea, and

drummer Philip Peeples. Arriving just months before the 30th anniversary

of Hitchhike to Rhome—a powerhouse debut that played a vital part in pioneering

the alt-country genre—the result is a gloriously rowdy body of work, revealing a

veteran band more attuned than ever to the raw and reckless energy of truly

timeless rock-and-roll.

With its title lifted from a bit of fictional art criticism in Stephen King’s psych-

horror novel Duma Key, American Primitive merges its unvarnished sound with

the punchy yet poignant storytelling signature to Old 97’s, radiating a

rambunctious joy even as Miller’s lyrics contend with complex questions of love

and mental illness and the routinely daunting state of the world. Produced by

Tucker Martine (My Morning Jacket, The Decemberists, Neko Case) and featuring

iconic guest musicians like Peter Buck of R.E.M. and Scott McCaughey of The Young

Fresh Fellows and The Minus 5, the album took shape in a series of deliberately

whirlwind sessions at Flora Studio in Portland, Oregon. “This was the first record

we’ve ever done with zero pre-production,” Miller points out. “It’s us working

completely on instinct, leaning on 30 years of playing together to come up with

something on the fly rather than overthinking any of our choices.”

Kicking off with the frenzied riffs and restless grooves of “Falling Down,” American

Primitive opens on a lyric encapsulating the album’s snarling joie de vivre: “You’ve

got to dance like the world is falling down around you, because it is.” Next, on

“Somebody,” Old 97’s deliver a thumping punkabilly anthem channeling both

desire and doom. “That song came from looking back over my relationship history

and acknowledging that I spent a long time as something of a serial monogamist,”

says Miller. “As a young man I was in love with the idea of being in love, and I

wanted ‘Somebody’ to speak to the hopelessness of exiting a very intense

relationship and knowing you’re just going to rush right into the next one.” From

there, American Primitive bursts into the breakneck urgency of its title track, a

gorgeous entangling of poetic observation and feverishly expressed longing. “I was

sitting on the balcony of a hotel in Peachtree, Georgia, watching the sun setting

over the forest and trying to identify the trees, and I started writing what began as

meditation on nature but eventually turned into a song about missing someone,”

Miller recalls. “I wound up taking inspiration from that phrase in the Stephen King

novel, which felt like a perfect description for our band and how primitive and

unstudied we are.”

Another track born from Miller’s contemplation of the natural world, lead single

“Where The Road Goes” slips into a lush and hypnotic reverie, achieved in part

through Buck’s arpeggiated 12-string guitar and a trance-inducing drum loop

dreamed up by Peeples and Martine. “I was in Montana and found myself on the

banks of the Blackfoot River, watching the water pounding with a ferocious power,

and I started building this song as a statement of gratitude for having survived this

long,” says Miller. “It revisits some of the darkest moments of my life, including a

suicide attempt at age 14 that by all rights I shouldn’t have lived through and yet

somehow did. In a way it’s like a spiritual travelogue that rolls back through all the

places that shaped me for better or worse, and ends up in this beautiful place that

I felt so thankful to experience.”

A distinctly literary lyricist who’s authored a number of children’s books and

written for publications like McSweeney’s and The Atlantic, Miller

threads American Primitive with so much lived-in yet dreamlike detail, such as on

the sublimely blistering “Masterpiece” (“So I sank to the bottom of the hotel

pool/You drank sunshine like you always do/Then it rained broken glass on your

paperback/The ink ran and so did I, never said goodbye/Just fade to black”).

“Magic” serves up a jittery piece of power-pop echoing the anguish of grasping for

salvation, while “Western Stars” presents an intimate portrait of pained isolation

inspired by an epic Alfred Lord Tennyson poem that Miller memorized in high

school. Equal parts sprawling rumination and freewheeling joyride, the album also

spans from the stripped-back benediction of “Incantation” to the sweetly skewed

whimsy of “Honeypie” (a loping and lighthearted love song featuring McCaughey

on piano and Buck on mandolin). And on “Estuviera Cayendo,” American

Primitive closes out with an instrumental reprise of “Falling Down,” beautifully

reimagined on flamenco guitar by guest musician Jeff Trapp.

In choosing the cover art for American Primitive, Old 97’s selected a painting

created by Hammond’s 17-year-old son Tex Hammond—a prodigious talent who,

at age 14, became the youngest artist ever to exhibit at the prestigious LA Art

Show. It’s a fitting choice for a band who’ve maintained a certain youthful

exuberance more than three decades into their career, and for an album in which

a palpable sense of wonder prevails despite its world-weary undercurrent. “Over

the last year of touring in celebration of our 30th anniversary, it’s been impossible

not feel some emotion welling up at the idea that my bandmates and I have been

in this close brotherhood for so long,” says Miller. “I think a lot of that longevity

has to do with the fact that we’re really the same band we were back then. We’ve

experimented with pushing in different directions, and we’ve had experiences

outside the band where we’ve learned new things, but the way we approach this

music has fundamentally remained the same. Our heart is still in the exact same

place.”

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Host or Publisher Amber Morchower