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Spotlight: Guster

Having started out with two acoustic guitars and a pair of bongos, Guster have since evolved and expanded their instrumentation, gaining a massive fan base that follows them to sold-out shows at New York’s Radio City Music Hall and Nashville’s Ryman Auditorium. The band’s last release, 2010’s Easy Wonderful, earned their highest chart debut on the Billboard Top 200 and opened at #2 on iTunes. The album was praised by the Wall Street Journal for its “jangly, ebullient rock” and by USA Today for the “impeccable, infectious” songs that are “impossible not to feel,” while Vanity Fair called it “feel-good” and Boston Globe hailed its “effervescent and thoughtful pop.”  Now, as they gear up for their first album in four years, Evermotion, Guster is fearlessly experimenting with new instruments and collaborations to create their most vibrant album yet. Produced by Shins keyboardist/Black Keys bassist Richard Swift, who has produced records for Damien Jurado, Foxygen and Stereolab, the new album bulldozes inhibitions, propelling the band to a harder-charging, more freewheeling sound. Evermotion, set to drop on January 13, 2015, is a joint release by Nettwerk Records and Guster’s own label Ocho Mule. The quartet of Ryan Miller, Adam Gardner, Brian Rosenworcel and Luke Reynolds recorded at Swift’s Cottage Grove, OR studio in three whirlwind weeks – the fastest the band has ever finished an album. Despite the stripped-down sessions, Guster’s songs are packed with tight hooks, muscular guitar riffs, clanging percussion and surprisingly dark lyrics. The new album features adventurous turns on slide guitars, brassy trumpets and a glockenspiel, with sax and trombone accompaniment by Jon Natchez, whose stints with the War on Drugs, Beirut, Passion Pit and others have led NPR to call him “indie rock’s most valuable sideman.” Please join us as we welcome Guster to The Clive Davis Theater for an exclusive interview, moderated by Scott Goldman, Vice President of The GRAMMY Foundation and MusiCares, and performance.

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