JAMES McMURTRY RELEASES COMPLICATED GAME,
HIS FIRST STUDIO ALBUM IN SIX YEARS

Celebrated tunesmith's highly anticipated record an elegant
collection “mostly about relationships” and “the big old world”

AUSTIN, Texas: James McMurtry spins stories with a poet’s pen (“Long Island Sound”) and a painter’s precision (“She Loves Me”). Proof: The acclaimed songwriter’s newComplicated Game. McMurtry’s first collection in six years spotlights a craftsman in absolutely peak form as he turns from political toward personal (“These Things I’ve Come to Know,” “You Got to Me”). “The lyrical theme is mostly about relationships,” McMurtry says. “It’s also a little about the big old world verses the poor little farmer or fisherman. I never make a conscious decision about what to write about.”

Complicated Game delivers McMurtry’s trademark story songs time and again (“Copper Canteen,” “Deaver’s Crossing”), but the record brings a new (and certainly no less energetic) sonic approach. First, recall blistering beats and gnashing guitars from his magnum opus Just Us Kids (2008). Now, unplug. “The label head wanted more acoustic,” McMurtry explains. “We built everything as we went so we ended up with more acoustic guitar as we went. We just played whatever sounded right for a given song, but we weren’t necessarily saying this is an acoustic record.”

Exhibit A: “How’m I Gonna Find You Now.” The record’s lead single boasts buoyant banjos and driving drums as endlessly energetic as anything electrified. Whiplash vocals further frenzy the beat. “I've got a cup of black coffee so I don't get lazy/I've got a rattle in the dashboard driving me crazy,” McMurtry effectively raps. “If I hit it with my fist, it’ll quit for a little while/Gonna have to stop to smoke in another mile/Headed into town gonna meet you at the mercantile/Take you to the Sonic get you grinning like a crocodile.”

Such vibrant vignettes consistently turn heads. They have for a quarter century now. Clearly, he’s only improving with time. “James McMurtry is one of my very few favorite songwriters on Earth and these days he's working at the top of his game,” says Americana all-star Jason Isbell. “He has that rare gift of being able to make a listener laugh out loud at one line and choke up at the next. I don’t think anybody writes better lyrics.” “James writes like he's lived a lifetime,” echoes iconic roots rocker John Mellencamp. Yes. Spin “South Dakota.” You’ll hear.

Further evidence: McMurtry’s Just Us Kids (2008) and Childish Things (2005). The former earned his highest Billboard 200 chart position in nearly two decades and notched Americana Music Award nominations. Meanwhile, Childish Things scored endless critical praise and spent six full weeks topping the Americana Music Radio chart in 2005 and 2006. In 2006, Childish Things won the Americana Music Association’s Album of the Year and “We Can’t Make It Here” was named the rapidly rising organization's Song of the Year.

Of course, Complicated Game doubles down on literate storytelling longtime enthusiasts expect. Recall high watermarks past: “Childish Things,” “Choctaw Bingo,” “Peter Pan,” “Levelland,” and “Out Here in the Middle” only begin the list. (Yes, Robert Earl Keen covered those last two, “Levelland” remaining a live staple.) Just Us Kidsalone includes fan favorites “Hurricane Party,” “Ruby and Carlos” and “You’d a Thought.” High watermarks deliver equal measures depth and breadth and pierce hearts with sharp sociopolitical commentary (“Fireline Road”).

Marisa Andreson

Marisa Anderson channels the history of the guitar and stretches the boundaries of tradition. Her deeply original work applies elements of minimalism, electronic music, drone and 20th century classical music to compositions based on blues, jazz, gospel and country music, re-imagining the landscape of American music.

Anderson tours extensively throughout Europe and North America. Her work has been featured in Billboard, Rolling Stone, NPR, SPIN, Pitchfork, the BBC and The Wire. Festival appearances include Pitchfork Midwinter, Le Guess Who, Moog Fest, and the Copenhagen Jazz Festival.

Anderson’s latest release, Lost Futures, is a collaboration with guitarist William Tyler. In 2020 Anderson released ‘The Quickening’ with drummer Jim White (Dirty Three, Xylouris White). Anderson is in demand as a collaborator and composer, contributing to recordings by Matmos, Tara Jane O’Neil, Beth Ditto, Sharon Van Etten and Circuit Des Yeux among others, as well as creating music for short films and soundtracks.

Classically trained, she honed her skills playing in country, jazz and circus bands. Originally from Northern California, Anderson dropped out of college at age nineteen to walk across the US and after more than decade of wandering landed in Portland, Oregon, where she currently lives. .

Effective Monday, March 21, 2022, Harvester Performance Center will no longer require proof of vaccination or a negative test result to attend our shows. In addition, we will no longer require masks to be worn during performances. 

The Harvester may still implement COVID precautions such as masking and entry requirements on a per-show basis when requested by the artist. When special protocols apply, we will clearly indicate them on the show’s ticket page so that guests can be prepared when they arrive. 

In addition, if you feel ill, are running a fever or displaying other symptoms, or have been exposed to COVID-19, please refrain from attending Harvester events. This helps us keep other guests, staff, volunteers and performers safe and healthy. 

We are pleased to be able to update our precautions as the CDC revises its own guidelines. We will continue to monitor public health guidance and may adjust our protocols as conditions change. For the latest information, visit the FAQ page on our website and the ticket pages for the events you wish to attend.

If you have questions about our protocols or the requirements for a specific show, please contact our box office at 540-484-8277 or info@harvester-music.com. 

We appreciate your cooperation and look forward to welcoming you to the Harvester!