BEGIN:VCALENDAR
VERSION:2.0
PRODID:SoDel
X-WR-CALNAME:The Wallflowers
BEGIN:VEVENT
UID:271852025-07-15
DTSTART:20250715T230000Z
SEQUENCE:0
TRANSP:OPAQUE
DTEND:20250715T040000Z
LOCATION:31806 Lake View Drive\nSelbyville DE 19975
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=31806 Lake View Drive\nSelb
 yville DE 19975;X-APPLE-RADIUS=49;X-TITLE=31806 Lake View Drive:geo:38.466
 017,-75.112054
GEO:38.466017;-75.112054
SUMMARY:The Wallflowers
CLASS:PUBLIC
DESCRIPTION:Rock ‘n’ roll is often hard to define\, or even to find\, i
 n these\nfractured musical times. But to paraphrase an old saying\, you kn
 ow it\nwhen you hear it. And you always hear it with the Wallflowers. For 
 the\npast 30 years\, the Jakob Dylan-led act has stood as one of rock’s\
 nmost dynamic and purposeful bands — a unit dedicated to and\ncontinuall
 y honing a sound that meshes timeless songwriting and\nstorytelling with a
  hard-hitting and decidedly modern musical attack.\nThat signature style h
 as been present through the decades\, baked into\nthe grooves of smash hit
 s like 1996’s Bringing Down the Horse as\nwell as more recent and explor
 atory fare like 2012’s Glad All Over.\nEven so\, in recent years\, Dylan
  — the Wallflowers’ founding\nsinger\, songwriter and guitarist — ha
 s repeatedly stepped outside of\nhis band\, first with a pair of more acou
 stic and rootsy records\,\n2008’s Seeing Things and 2010’s Women + Cou
 ntry\, and then with the\n2018 film Echo in the Canyon and the accompanyin
 g soundtrack\, which\nsaw him collaborate with a host of artists classic a
 nd contemporary\,\nfrom Neil Young and Eric Clapton to Beck and Fiona Appl
 e. But while\nit’s been nine long years since we’ve heard from the gro
 up with\nwhom he first made his mark\, the Wallflowers are silent no more.
  And\nDylan always knew they’d return. “The Wallflowers is much of my\
 nlife’s work\,” he says simply. Plus\, he adds with a laugh\,\n“It
 ’s pretty hard to get a good band name\, so if you have one\,\nkeep it.
 ” Good band name aside\, that life’s work continues with\nExit Wounds\
 , the brand-new Wallflowers studio offering. The collection\nmarks the fir
 st new Wallflowers material since Glad All Over. And\nwhile the wait has b
 een long\, the much-anticipated record finds the\nband’s signature sound
  — lean\, potent and eminently entrancing —\nintact\, even as Dylan su
 rrounds himself with a fresh cast of\nmusicians. Which\, the front man is 
 quick to point out\, is not all that\nunusual. “The Wallflowers has alwa
 ys been a vehicle for me to make\ngreat rock ‘n’ roll records\,” he 
 says. “And sometimes the\nlineup that makes the record transfers over in
 to touring\, and\nsometimes it doesn’t. But my intention is always to ma
 ke the\nWallflowers record I want to make\, using the musicians I have bes
 ide\nme.” Dylan’s vision has always been the core of the Wallflowers'\
 nmusic. How he chooses to express that vision\, however\, is what makes a\
 nsong a Wallflowers song. “I usually just let the songs tell me what\nki
 nd of arrangements they need\,” he says. “And if they're asking\nfor f
 ull-band electric arrangements\, then that’s what the\nWallflowers provi
 de. And I knew I wanted to make a full-band electric\nrecord this time out
 .” And made one he has\, with one special guest\non board — Shelby Lyn
 ne\, who lends her voice to three of the\nalbum’s tracks. “I hadn’t 
 met Shelby before\, but like most\npeople\, I’ve been a fan of hers for 
 quite some time\,” Dylan says.\n“She has one of those voices that's ve
 ry uncommon\, very unique\, very\nrare.” But there was more to their due
 t than just a mutual\nappreciation. “You can have your favorite singer c
 ome in\, but it\ndoesn’t mean you’ll have any connection — there has
  to be more\nthan that\,” Dylan continues. “And as soon as I heard She
 lby sing\,\nI knew we had something.” That “something” is present th
 roughout\nExit Wounds\, which\, true to its title\, is an ode to people 
 —\nindividual and collective — that have\, to put it mildly\, been\nth
 rough some stuff. “I think everybody — no matter what side of\nthe ais
 le you’re on — wherever we’re going to next\, we're all\ntaking a lo
 t of exit wounds with us\,” Dylan says. “Nobody is the\nsame as they w
 ere four years ago. That\, to me\, is what Exit Wounds\nsignifies. And it'
 s not meant to be negative at all. It just means\nthat wherever you’re h
 eaded\, even if it’s to a better place\, you\nleave people and things be
 hind\, and you think about those people and\nthose things and you carry th
 em with you. Those are your exit wounds.\nAnd right now\, we’re all swim
 ming in them.” To be sure\, Exit\nWounds is populated by scarred souls t
 hat “used to rumble\, used to\nroar\,” of “nobodies drinking flat be
 er\,” and those who’ve been\n“abandoned and locked out and pressed t
 o the fire.” Throughout\,\nDylan’s lyrics are specked with images of s
 pears and swords and\nbattle-worn flags being raised\, of wayward buses an
 d battered ships\,\nriderless horses and lost planes. Of course\, ask Dyla
 n what these\nsongs are about\, and\, well\, like most practiced songwrite
 rs\, he’s\nnot going to tell you. “I'm always a little cautious when p
 eople ask\nthat\,” he says. “Not because it demystifies the songs\, bu
 t more\nbecause I think it's belittling to the listener to have to be\n‘
 told.’ I usually find that if you have to do that for someone\,\nyou pro
 bably didn't hit your mark.” That said\, Dylan will at least\nacknowledg
 e that the tracks on Exit Wounds reflect the tumultuous\ntimes in which th
 ey were written. “The climate affects how you feel\,\nwhich affects how 
 you're writing songs\, even if you’re not writing\nspecifically about cu
 rrent events.” He turns to the late John Prine\nto illustrate his point.
  “If we still had John Prine\, I don't think\nhe'd be writing songs spec
 ifically about current affairs\, but he'd\nprobably be writing songs about
  characters affected by current\naffairs. I think that's mostly what I do.
 ” As far as Exit Wounds\,\nDylan continues\, “I’m the same writer I
 ’ve always been – I was\njust also writing during a time when the worl
 d felt like it was\nfalling apart. That changes the way you address even t
 he simplest\nthings\, because you have panic in your mind all the time. Yo
 u have\nanxiety. And you also have hope. And it’s all in there.” When 
 it\ncame to realizing these new songs on record\, Dylan assembled a backin
 g\nband of musical associates — “people that I've wanted to play with\
 nor that I have played with through the years” — and headed into\nthe 
 studio under the watchful eye of producer Butch Walker. As for\nwhat Butch
  brought to the sessions? Beyond his pedigree as an\nin-demand producer an
 d first-rate singer-songwriter and musician\,\nhe’s also\, Dylan says\, 
 “someone I’ve known a long time\, and that\nwas important to me. Becau
 se you go through a lot when you make\nrecords\, to be honest. When you’
 re young\, you're taught that if you\ndon’t have conflict in the studio\
 , then you're probably not doing\nanything good. But I don't believe that.
  And so it was more of a\njoyful experience making this record.” That jo
 yful experience\nextended to Dylan’s interplay with his fellow musicians
 . “This was\nnot the type of thing where it’s a rotating cast and you 
 call a\ndifferent drummer for each song\, or you pull out the Rolodex and 
 ring\nthe local sessions guys\,” Dylan says. “The record was made as a
 \nband — the five Wallflowers.” And to Dylan\, a band\, even one with\
 na constantly shifting lineup\, is a sacred thing. “I've always been a\n
 believer in collaboration\,” he says\, “and no matter who I'm\nplaying
  with I've always tried to include them very heavily.\nOtherwise\, why wou
 ld they be around? Because I do think bands\, whether\nit’s a long stand
 ing group or just five people who are working\ntogether for that one stret
 ch of time\, make better rock ‘n’ roll\nrecords than solo artists.” 
 He laughs. “I mean\, it's not 100\npercent true\, but it's usually true.
 ” At the end of the day\, Dylan\ncontinues\, “It’s just exciting to 
 have guys playing in a room\ntogether. That's how you get the one plus one
  equals three factor\, you\nknow? That’s the magic.” For Dylan\, Exit 
 Wounds is the next\nchapter in a career devoted to chasing — and capturi
 ng — that\nmagic. “I came up in an era of great rock ‘n’ roll band
 s making\ngreat music\, and it’s the way I always imagined I would do it
  one\nday\,” he says. “So that’s always been my vision with the\nWal
 lflowers – to be a great rock ‘n’ roll band. And I've worked\non it 
 for 30 years now and I still have a lot to say. It’s something\nI starte
 d a long time ago\, and it’s far from finished.” Venue:\nFreeman Arts 
 Pavilion.
X-ALT-DESC;FMTTYPE=text/html:Rock ‘n’ roll is often hard to define\, or
  even to find\, in these fractured musical times. But to paraphrase an old
  saying\, you know it when you hear it. And you always hear it with the Wa
 llflowers. For the past 30 years\, the Jakob Dylan-led act has stood as on
 e of rock’s most dynamic and purposeful bands — a unit dedicated to an
 d continually honing a sound that meshes timeless songwriting and storytel
 ling with a hard-hitting and decidedly modern musical attack. That signatu
 re style has been present through the decades\, baked into the grooves of 
 smash hits like 1996’s Bringing Down the Horse as well as more recent an
 d exploratory fare like 2012’s Glad All Over. Even so\, in recent years\
 , Dylan — the Wallflowers’ founding singer\, songwriter and guitarist 
 — has repeatedly stepped outside of his band\, first with a pair of more
  acoustic and rootsy records\, 2008’s Seeing Things and 2010’s Women +
  Country\, and then with the 2018 film Echo in the Canyon and the accompan
 ying soundtrack\, which saw him collaborate with a host of artists classic
  and contemporary\, from Neil Young and Eric Clapton to Beck and Fiona App
 le. But while it’s been nine long years since we’ve heard from the gro
 up with whom he first made his mark\, the Wallflowers are silent no more. 
 And Dylan always knew they’d return. “The Wallflowers is much of my li
 fe’s work\,” he says simply. Plus\, he adds with a laugh\, “It’s p
 retty hard to get a good band name\, so if you have one\, keep it.” Good
  band name aside\, that life’s work continues with Exit Wounds\, the bra
 nd-new Wallflowers studio offering. The collection marks the first new Wal
 lflowers material since Glad All Over. And while the wait has been long\, 
 the much-anticipated record finds the band’s signature sound — lean\, 
 potent and eminently entrancing — intact\, even as Dylan surrounds himse
 lf with a fresh cast of musicians. Which\, the front man is quick to point
  out\, is not all that unusual. “The Wallflowers has always been a vehic
 le for me to make great rock ‘n’ roll records\,” he says. “And som
 etimes the lineup that makes the record transfers over into touring\, and 
 sometimes it doesn’t. But my intention is always to make the Wallflowers
  record I want to make\, using the musicians I have beside me.” Dylan’
 s vision has always been the core of the Wallflowers' music. How he choose
 s to express that vision\, however\, is what makes a song a Wallflowers so
 ng. “I usually just let the songs tell me what kind of arrangements they
  need\,” he says. “And if they're asking for full-band electric arrang
 ements\, then that’s what the Wallflowers provide. And I knew I wanted t
 o make a full-band electric record this time out.” And made one he has\,
  with one special guest on board — Shelby Lynne\, who lends her voice to
  three of the album’s tracks. “I hadn’t met Shelby before\, but like
  most people\, I’ve been a fan of hers for quite some time\,” Dylan sa
 ys. “She has one of those voices that's very uncommon\, very unique\, ve
 ry rare.” But there was more to their duet than just a mutual appreciati
 on. “You can have your favorite singer come in\, but it doesn’t mean y
 ou’ll have any connection — there has to be more than that\,” Dylan 
 continues. “And as soon as I heard Shelby sing\, I knew we had something
 .” That “something” is present throughout Exit Wounds\, which\, true
  to its title\, is an ode to people — individual and collective — that
  have\, to put it mildly\, been through some stuff. “I think everybody 
 — no matter what side of the aisle you’re on — wherever we’re goin
 g to next\, we're all taking a lot of exit wounds with us\,” Dylan says.
  “Nobody is the same as they were four years ago. That\, to me\, is what
  Exit Wounds signifies. And it's not meant to be negative at all. It just 
 means that wherever you’re headed\, even if it’s to a better place\, y
 ou leave people and things behind\, and you think about those people and t
 hose things and you carry them with you. Those are your exit wounds. And r
 ight now\, we’re all swimming in them.” To be sure\, Exit Wounds is po
 pulated by scarred souls that “used to rumble\, used to roar\,” of “
 nobodies drinking flat beer\,” and those who’ve been “abandoned and 
 locked out and pressed to the fire.” Throughout\, Dylan’s lyrics are s
 pecked with images of spears and swords and battle-worn flags being raised
 \, of wayward buses and battered ships\, riderless horses and lost planes.
  Of course\, ask Dylan what these songs are about\, and\, well\, like most
  practiced songwriters\, he’s not going to tell you. “I'm always a lit
 tle cautious when people ask that\,” he says. “Not because it demystif
 ies the songs\, but more because I think it's belittling to the listener t
 o have to be ‘told.’ I usually find that if you have to do that for so
 meone\, you probably didn't hit your mark.” That said\, Dylan will at le
 ast acknowledge that the tracks on Exit Wounds reflect the tumultuous time
 s in which they were written. “The climate affects how you feel\, which 
 affects how you're writing songs\, even if you’re not writing specifical
 ly about current events.” He turns to the late John Prine to illustrate 
 his point. “If we still had John Prine\, I don't think he'd be writing s
 ongs specifically about current affairs\, but he'd probably be writing son
 gs about characters affected by current affairs. I think that's mostly wha
 t I do.” As far as Exit Wounds\, Dylan continues\, “I’m the same wri
 ter I’ve always been – I was just also writing during a time when the 
 world felt like it was falling apart. That changes the way you address eve
 n the simplest things\, because you have panic in your mind all the time. 
 You have anxiety. And you also have hope. And it’s all in there.” When
  it came to realizing these new songs on record\, Dylan assembled a backin
 g band of musical associates — “people that I've wanted to play with o
 r that I have played with through the years” — and headed into the stu
 dio under the watchful eye of producer Butch Walker. As for what Butch bro
 ught to the sessions? Beyond his pedigree as an in-demand producer and fir
 st-rate singer-songwriter and musician\, he’s also\, Dylan says\, “som
 eone I’ve known a long time\, and that was important to me. Because you 
 go through a lot when you make records\, to be honest. When you’re young
 \, you're taught that if you don’t have conflict in the studio\, then yo
 u're probably not doing anything good. But I don't believe that. And so it
  was more of a joyful experience making this record.” That joyful experi
 ence extended to Dylan’s interplay with his fellow musicians. “This wa
 s not the type of thing where it’s a rotating cast and you call a differ
 ent drummer for each song\, or you pull out the Rolodex and ring the local
  sessions guys\,” Dylan says. “The record was made as a band — the f
 ive Wallflowers.” And to Dylan\, a band\, even one with a constantly shi
 fting lineup\, is a sacred thing. “I've always been a believer in collab
 oration\,” he says\, “and no matter who I'm playing with I've always t
 ried to include them very heavily. Otherwise\, why would they be around? B
 ecause I do think bands\, whether it’s a long standing group or just fiv
 e people who are working together for that one stretch of time\, make bett
 er rock ‘n’ roll records than solo artists.” He laughs. “I mean\, 
 it's not 100 percent true\, but it's usually true.” At the end of the da
 y\, Dylan continues\, “It’s just exciting to have guys playing in a ro
 om together. That's how you get the one plus one equals three factor\, you
  know? That’s the magic.” For Dylan\, Exit Wounds is the next chapter 
 in a career devoted to chasing — and capturing — that magic. “I came
  up in an era of great rock ‘n’ roll bands making great music\, and it
 ’s the way I always imagined I would do it one day\,” he says. “So t
 hat’s always been my vision with the Wallflowers – to be a great rock 
 ‘n’ roll band. And I've worked on it for 30 years now and I still have
  a lot to say. It’s something I started a long time ago\, and it’s far
  from finished.” Venue: Freeman Arts Pavilion.
DTSTAMP:20261027T231926Z
END:VEVENT
END:VCALENDAR