Dan’s Silverleaf

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Dan’s Silverleaf
103 Industrial Street, Denton, TX, 76201, United States

Upcoming Events At This Venue

April 20, 2015


Caitlin Rose / Andrew Combs

When: Monday, April 20
Where: Dan’s Silverleaf
Times: Doors: 8:00 pm | Show: 9:00 pm
Tickets: Advanced: $8 | All-Ages


Exploring your emotions can make for a good song, but it’s shining light on those which plague us all that builds the backbone of the truly great ones. Coupled with tireless melodies that seep into the small spaces between your bones; it’s the kind of music that brings on little movements when life has gotten too stiff. This is what Caitlin Rose does best. Her lyrics — visceral, illustrative, witty and wry — are pieces of stories that examine matters of the heart through a unique lens that makes us all see a bit more clearly: from the loneliness of relationships, to palpable dissolving human connectivity, to the loss of love with none of the melodrama. At her core, Nashville’s Rose is a storyteller and a song-crafter who is more interested in what’s being produced than how it helps her along the way.
Though much of her acclaimed debut “Own Side Now” was personally-inspired, what stood out most was its ability to paint a picture and tell a near-cinematic story, from the simultaneous last puffs of both cigarette and relationship, to the delightfully seedy characters pocketed in a coin-toss on the streets of New York City. With her follow-up, “The Stand-In,” Rose seems more interested in telling tales than spilling confessionals. “It feels more compelling to live through a song than it did having already lived it,” she says. “The Stand-In” is a journey down a road she’s always wanted to take: the path of the story-song. One track, “Pink Champagne,” inspired by a Joan Didion short essay, accounts for the desperate, short-lived passions of a Vegas wedding. The emotions stem from both protagonists, but are dissected and recounted by the watchful eye of the chapel or some honest observer from within. This collection of songs seems bent on investigating relationships from different perspectives; male and female, young and old, left and leaving, but they all tackle the bitter farewells, romantic misunderstandings and endless responsibilities in life. Using fibers of her fringe country roots and the bold musical capabilities of fellow producers/co-writers, Jordan Lehning and Skylar Wilson (Justin Townes Earle), “The Stand-In” seamlessly melds pedal steel guitar with restless pop beats, creating lush instrumentals that build on the more spare construction of “Own Side Now.” “These songs are all based in sentiment. We wrote the stories to convey a feeling.” The result is infinitely more universal.

Rose doesn’t like to categorize her music, but like the great songwriters of our time, what she creates is beyond easy classification. While she often mentions core influences like Linda Ronstadt, Bob Dylan and Patsy Cline, she’s constantly absorbing books, movies, cultural ticks: when explaining her writing style, she pulls a quote from famed 1930′s daredevil, Karl Wallenda who said, “being on the wire is life; the rest is just waiting.” The quote is referenced in Bob Fosse’s 1979 semi-autobiographical film, “All That Jazz.” The film was written and directed by the famed choreographer turned director whose colorful personality and editorial brilliance became a lead inspiration in the making of “The Stand-In.” In the context of the scene in which it’s used, the quote comes off as a bit of a put-on, but somehow rings true for ‘slave to show-biz’ character Joe Gideon; and Rose as well for whom, all paths lead to the song. Much like Fosse, she tends to describe her work as restrained and deliberate, something evident on “Own Side Now.” Though for “The Stand-In,” she’s taken a few leaps outside her comfort zone, making the result, as she puts it, something like a “first attempt at a high kick.”

Date: April 20, 2015 8:00 pm

April 24, 2015


Doug Burr Album Release w/ Daniel Markham & Dim Locator

When: Friday, April 24
Where: Dan’s Silverleaf
Times: Doors: 8:00 pm | Show: 9:00 pm
Tickets: $10 | All-Ages


On March 10, Doug Burr is releasing his latest 7″ single, “White Night, Black Light” b/w two B-sides, “Visible Noise” and “Never Gonna Be Young again.” Today (March 5), Diffuser is ecstatic to team up with Burr to debut the title-track from the disc — you can stream it in the audio player below.

With a fast-paced, grungy acoustic foundation, “White Night, Black Light” will either serve as a perfect introduction to Burr’s genre-bending career or a refreshing taste of what he’s been up to since 2010′s O Ye Devastator.

“I did intend for the song to be more driving — I intended for the record as a whole to be a little louder and faster. It fit the themes of the record, and was a new direction for me, allowing me to stretch out in a new way,” he tells us.

Read More: Doug Burr, ‘White Night, Black Light’ – Exclusive Premiere


Doug Burr has a habit of mulling things over, kneading thoughts around until they yield something of value. Burr is soft-spoken, bespectacled and rangy. Yet his placid manner belies the storm of paranoia, longing and wonder agitating at his core. The singer-songwriter from Denton, Texas, is often lauded for his candor, a reputation earned through no small labor.  Burr is a disciple of the hard way that weaves between easy answers, always pressing toward the truth. It takes patience to navigate that way, bypassing all the satisfying hokum the world oers in order to stress your brain into a deeper thought.  But for Burr, anything less is a wasted half-eort. “I’m not in a rush,” Burr plainly declares, and returns to his thoughts.  Burr’s patience is refreshing in the harried world of music.  It helps that he entered it well into adulthood. Musically inclined from adolescence, Burr never made much public use of his talents until, as a married man in his late twenties, he found himself playing to a roomful of middle-aged baries. It planted the seed of a humanistic ethos, in no way novel, but never outworn.  Burr found himself connecting to those people through music, so he set about doing that as honestly as a man could.

Doug Burr does believe in reclamation, redemption, restoration.  It all accords with his credo as a Christian, a reality he has no interest in either obscuring or marketing. In that sense, he is cut from the same black cloth as Johnny Cash.  And like Cash, he eschews stylistic borders.  Burr moves freely between country, folk and pop. A lazier writer might call him “Americana” and, unwittingly, be more on point. Burr is an American musician, thinker, composer and lyricist, shaking hands with both the spirits of Appalachia and the ghosts of the Mississippi Delta.

Now Doug Burr returns with a new album, Pale White Dove.  While Devastator, dabbled with heavier sounds, Pale White Dove swings the sledgehammer with abandon. Burr sounds like a man whose noted patience is worn to a raw bundle of nerves.  The album’s aggression is cut with beautiful country tunes “Never Gonna Be Young Again.”  But the soul of Pale White Dove is the electried “I See Satan Fall Like Lightning.”  Titled after the René Girard book, the tune is soaked in Southern Gothic and delivered in a fevered prophecy.  The song, and much of the rest of the album, recounts a world tangled in its own violent scapegoating, hopeless save for supernatural intervention. For this reason, Pale White Dove is apt for this age, marred as it is by violence in word and deed.  Just one more cogent volume in Burr’s patient vocation of storytelling and truth-digging for the people.

Date: April 24, 2015 8:00 pm