Arlo McKinley
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ARTIST PROFILE | Arlo McKinley
In 2019, Arlo McKinley played a show at the High Watt in Nashville. While he had years of such gigs on the DIY singer-songwriter circuit behind him, this night was different. In the audience was one of his musical heroes, John Prine. When they met briefly beforehand, Prine, who never gave praise lightly, told Arlo he was a fan.
McKinley recalls, “Just that moment, if that's where it ended, it would've been one of the coolest things that ever happened to me, something I remembered forever.”
But it didn't end there. Shortly after, he was signed to Oh Boy Records, Prine's indie label. Arlo came into 2020 with the momentum of a new album on deck - his first with a producer and a street team - and an international tour booked. Then things took a strange turn.
“Right before the record came out, my mother passed away,” he says. “She had always supported me and she didn't get to see this stuff happen for me. Then one of my best friends died shortly after. And I lost two other friends to drug addiction. I was trying to navigate through all the emotions of that.”
And of course, like all musicians that year, he couldn't tour.
A soft-spoken introvert who's open about his past drink and drug addictions, McKinley had to look to himself to find comfort. And in the process, he wrote the songs for what's become his latest release, the aptly-titled This Mess We're In.
“I'm kind of private with a lot of things I go through, but in my songs, I'm honest about everything,” he says with a smile. “So I started to write as a way of getting stuff out. To me, this is a growth record. I was navigating through a pretty bad time, but also there was the realization that it's time to really change, find a better way of life. My last album was me figuring out whether to stay or go from a very confused spot in my life. This one is trying to better myself - as a musician, as a human being, as a friend.”
When talking about his music, McKinley often uses the word “navigate.” And indeed, the eleven songs on This Mess We're In feel like compasses to help orient himself in an uncertain world. The opener “I Don't Mind,” an ode to self-forgiveness that gathers a quiet power through each verse, sets the mood. From the plaintive reckonings of lives in limbo on “City Lights” and “Back Home” to the delicate devastation of “Stealing Dark From The Night Sky” and the catchy, Neil Young-grooved “Rushintherug,” through the gorgeous, widescreen piano-and-strings balladry of the title track and the hymn-like “Here's To The Dying,” these are songs that take their time revealing their secrets. They come from deep inside and go deep inside, speaking to you through McKinley's warm, oaky voice and leaving you a little different than how you came in. They make you feel seen, recognized.
That feeling is borne out by the many personal letters that Arlo receives from fans. “When I wonder if I'm doing the right thing or not with my life, these messages make me realize that I am,” he says.
A recent memorable one came from a soldier who'd done several tours in Afghanistan. “He said my last two albums were the only thing that got him through. I thought, 'I can't imagine what he saw.' If the music I was making helped him get through, that's a pretty heavy compliment.” Another came from a man who'd been diagnosed with brain cancer. “He said he'd kind of stopped living and wasn't really present with his wife and kids. He said my record made him really want to enjoy the moments that he had left with them. I invited him out to a show. He came with his family, and said, 'This is the first time I've been out in I don't know how long.' That's beyond anything I could ask for.
“Maybe I get these messages because I write from my experience,” he reckons. “I figure if I'm going to put myself out there, I want to put who I am out there. I think some people relate to that, like they're not the only ones going through these darker times. But it's still crazy that something I'm writing in my bedroom can end up meaning so much to someone.”
Music has always had special meaning for McKinley. Born and raised in Cincinnati, he started singing in Baptist church when he was eight. At home, the family record collection included everything from George Jones to Otis Redding. As a teen, inspired by his dad and uncle, who played guitars in church, Arlo learned some power chords and figured out every song on the first Social Distortion album. “From there, I taught myself,” he says.
But a full-time music career was still years away. Through his twenties and early thirties, he worked at a record store, gigged with a duo called The Great Depression and “dabbled in songwriting.” Weirdly, it wasn't until he found himself in what seemed like a dead-end job delivering tuxedos that he decided to pursue music. “I did that for years, driving from Cincinnati to Detroit and back, but it gave me a lot of time to think and listen to music. That's when I started writing the songs that led to up to what I'm doing now.”
He self-released his first album, Arlo McKinley & The Lonesome Sound, in 2014 when he was thirty-five. It may have seemed he was getting a late start. But he entered the game almost fully-formed, without any immature or embarrassing skins to shed. He says, “I wouldn't have been able to write about what I'm writing now or been very relatable if I hadn't lived the thirty-something years before I started writing.”
Like his last album Die Midwestern – which Rolling Stone praised for its “songs of heartbreak, restlessness and hard-won experience” and NPR called “personal and moving” - the latest was cut at Sam Phillips Recording Service in Memphis with an ace band that includes drummer Ken Coomer, guitarist Will Sexton and keyboardist Rick Steff. McKinley says, “That studio is like a time capsule. There's just a feel where you can tell there's been some great stuff made in there - Elvis, Jerry Lee, Roy Orbison. Really though, more than the studio, it's the band and the producer.”
Of Matt Ross-Spang, who's worked with Jason Isbell and Margo Price, McKinley says, “He completely gets what I'm trying to do. I sent Matt guitar-vocal demos of fifteen songs. He would show them to the band right before we'd go out to record, so a lot of these songs, the musicians are making up these parts on the spot. Jessie Munson did the string arrangements. She comes up with really pretty lines.”
The addition of strings brought a cinematic dimension to McKinley's music that accentuates his feel for romantic melancholy. “I love Nick Drake and Nick Cave, how their songs can be very simple but sound big,” he says. “Wes Anderson movies too. I love how he'll use music in a very simple scene to evoke a big emotion. I think this album conveys a mental picture a lot more than stuff I've done previously. It's more than just a collection of songs. You can visualize things.”
As McKinley visualizes the year ahead, he's optimistic that touring will be easier , and that he'll get to play Europe for the first time this summer. When asked what he hopes listeners will get from This Mess We're In, he says, “I hope they can identify with things they're too ashamed to talk about or feel. There's such a stigma that goes along with things like addiction and mental health. I just want them to know that I go through all of that stuff too. I would just like to make them feel a little less alone. At least for the 47 minutes of the album, you can remove yourself from the world and just let everything disappear for a bit.”
Supporting Acts
SHOW BY SIMILAR ARTISTS
About HI-FI | Indianapolis, IN
HI-FI is located inside the historic Murphy Arts Center in the heart of Fountain Square. HI-FI shows virtually every night of the week and is known for finding new artists on the rise. The venue is acoustically one of the best sounding venues in the Midwest. The entrance is located at the front of the building on Virginia Ave and the Indianapolis Cultural Trail.
Getting Around the Venue
Frequently Asked Questions About HI-FI | Indianapolis, IN
What are the age restrictions at this venue?
Most of our gigs are open to those 18 years and older, though there are a few exceptions. We’re also rolling out more all-ages shows to accommodate younger fans, but double-check our website for specific age requirements before getting your tickets. We’ve made it super easy to spot the age restrictions on each event listing.
If you are going to indulge in a seating upgrade in our VIP area, all guests must be 21 years of age or older.
HI-FI requires a valid ID for admission. For guests who will be consuming alcoholic beverages, a valid state or government issues ID is required. Everyone will be carded during check-in. Expired and temporary ID’s are not accepted.
Can I upgrade my to VIP seating?
HI-FI proudly offers our VIP Deck, situated at the rear of the venue. This elevated section features table seating and provides convenient access to the bar. Please be advised that all guests in this area must be 21 years of age or older. For seating upgrade inquiries, please contact the box office at boxoffice@hifiindy.com
What items are permitted or prohibited at this venue?
At our venues, we strive to ensure a safe and enjoyable experience for all guests. While specific rules may vary slightly depending on the event location, the following list generally applies across all venues.
Any illegal items found will be confiscated immediately. Guests discovered with prohibited items inside the venue may face ejection, and those attempting to enter with such items may be denied entry.
We appreciate your cooperation in adhering to these guidelines to ensure everyone’s safety and enjoyment during our events.
Permitted Items Include:
- All bags and possessions are subject to search and may be subject to metal detection. No backpacks are permitted at any of our venues.
- Clear tote or bag made from plastic, vinyl or PVC that does not exceed 14” x 14” in size.
- Personal purse, fanny pack or handbag so long as it does not exceed 14” x 14” in size
- A warm heart and smiles
Prohibited items include:
- Weapons of any kind: Firearms (with or without permit), knives (any size), multi-tools
- Pepper Spray or Mace
- Flares or Fireworks
- Oversized bags (Bag larger than 12” x 12”, including all backpacks, briefcases, luggage, or duffle bags)
- Illegal Substances
- Outside Beverages
- Laser Pointers
- Removable lens cameras or flash photography, tripods, monopods, selfie-sticks (unless pre-approved by Event Manager)
- Audio or Video recording devices (unless pre-approved by Event Manager)
- Signs larger than 11” x 17” or any sign attached to a stick or pole
- Skateboards, hoverboards, rollerblades, scooters, or bicycles
- Hula hoops, spray paint, silly string
- Noise Making devices (i.e. Air Horns, drums, whistles)
- Coolers or Ice Chests
- Animals/Pets (Except Service Animals)
HI-FI reserves the right to prohibit any item, including items not listed above, from entering the premises if deemed hazardous or disruptive to the event.
Can I bring a bag into the show?
Yes! You’re welcome to bring personal purse, fanny pack or handbag so long as it does not exceed 14” x 14” in size. No backpacks are permitted at any time.
What’s the parking situation like?
Depending on the day and time, finding a spot can be tricky. On busy show days we advise arriving early to ensure you get a good spot.
Parking is free on all of the surrounding streets in Fountain Square and most parking lots.
The LAZ pay lot directly across from the Murphy Arts Building (on Prospect St) offers paid parking by the hour and is the closest public parking to the venue.
We advise against traveling down St. Patrick St on show days, as it can become congested one-way with traffic coming from both directions.
Bike parking is available at any of the bike racks on Virginia Ave in front of HI-FI.
What is the camera/photo policy for this venue?
Our photo policy varies for each event and is at the discretion of the artist performing that night. This policy can change from night to night.
As a general guideline, we typically do not permit professional photography unless it has been pre-approved by either HI-FI or the Artist Management.
For approved photographers, you’re welcome to snap photos during the first three songs of the performance. However, please refrain from using flash.
Media personnel and professional photographers interested in covering our events can reach out to us at marketing@hifiindy.com to request media credentials.
Is there food and drink at this venue?
Absolutely! We’ve got you covered for some tasty bites to fuel your night.
Our very own Easy Rider Diner is your go-to spot on most show nights, serving up mouthwatering dishes right next door to HI-FI. With a convenient connection door open for most shows, you can easily hop back and forth without missing a beat. We highly recommend making a reservation in advance, as show nights tend to get busy. Please note that Easy Rider is closed on Mondays and Tuesdays, but fear not – you can still grab some chips, candy, or snacks at HI-FI’s bar.
View seating maps for this venue
Check your show listing for information on the show’s seating configuration. The majority of HI-FI shows are general admission, standing-room-only. Depending on the show, there are a handful of tables available to those who arrive early. There is a limited amount of seating upgrades available on the VIP deck. Contact the box office to secure a seating upgrade for your show at boxoffice@hifiindy.com. Shows that are reserved or partially reserved seating configurations will have information or purchase options directly on the event listing.
Can I leave and re-enter the venue?
Re-entry is allowed for HI-FI shows once you’ve been stamped or wristbanded by a member of our staff.
Do you offer ADA, handicap or special needs options?
There are 2 handicapped parking spots in the lot located across Prospect St. closest to El Arado Mexican Grill. The box office handles any special needs or ADA seating requests at boxoffice@hifiindy.com.
Where is the box office located?
Getting tickets to our shows is super easy! You have a few options, depending on how you like to roll:
Online: Grab your tickets in advance from our official websites, hifiindy.com and mokbpresents.com, or through our trusted ticketing partners tixr.com and seetickets.us.
In Person: Swing by one of our convenient box office locations around the Murphy Arts Center building and grab tickets with no service fees:
Main Box Office at Virginia Ave Mercantile: Located at 1043 Virginia Ave Suite 2 (between Easy Rider and La Margarita). Open Monday through Friday from 10 am to 6 pm and Saturdays from 9 am to 5 pm.
HI-FI Box Office: Found at 1043 Virginia Ave Suite 4 (at the main entrance to HI-FI). Open only on show nights, starting 1 hour before published show times until 10 pm.
I lost something at the show. Who do I contact?
Have you misplaced something during one of our events? Don’t worry, we’re here to help reunite you with your belongings! While we can’t take responsibility for lost or stolen items, we’re committed to assisting you in any way we can.
Found items are securely stored at our Virginia Ave Mercantile & Box Office until they’re claimed. Please note that items lost during late-night events might take until the next morning to reach our lost and found. We know you might be eager to retrieve your belongings (like that phone you’re pinging outside our door at 6 am), but our team typically wraps up late-night events and may not be available until later in the morning.
For lost items, please follow the outlined process rather than popping into Easy Rider in the early hours. They’re open early, but our restaurant team is busy during weekends and can’t assist with lost items during busy service hours.
To inquire about lost items, shoot us an email at boxoffice@hifiindy.com. Mercantile hours are Monday through Friday, 10 am to 6 pm, and Saturdays from 9 am to 5 pm.
Let’s work together to get your goods back to you as quickly as possible!
What is your refund policy?
What’s Your Refund Policy for Postponed Shows?
If a show gets postponed, don’t sweat it! We’ll shoot you an email to let you know about the change, and if you’re cool with the new date, no further action is needed on your part.We’ll be working diligently to find a new date for the show, and we’ll keep you updated every step of the way. But if you can’t make it to the rescheduled gig, we’ve got your back. You’ll have a generous 30-day window following the announcement of the new date to request a refund.
For those who paid with cash at our box office, just drop us a line at boxoffice@hifiindy.com for further instructions on processing your refund.
Please bear with us as we explore rescheduling options with the tour. Your patience is much appreciated as we work to present the best possible show experience for you.
What’s the Refund Policy for Canceled Shows?
In the unfortunate event of a canceled show, don’t fret! If you purchased your tickets online, your refund will be processed automatically. Just sit tight and allow 3-5 business days for the refund to appear in your bank account.
No need to lift a finger! However, there are a few scenarios where you might need to reach out to our box office:
- If you paid cash at our box office.
- If you’ve received a new or different card since your original purchase.
- If you haven’t seen the refund in your account after 5 business days.
What Happens if a Show Gets Rescheduled?
No worries! If a show you’ve already grabbed tickets for gets rescheduled, your tickets will still be valid for the new date. We’ll shoot you an email to let you know about the change, and if you’re good to go for the new date, no further action is needed on your part.
However, if you can’t make it to the rescheduled gig, we’ve got you covered. You’ll have a generous 30 days from the announcement of the new date to request a refund. Just reach out directly to our box office to kickstart the process.
Beware of counterfeit tickets. How do I tell if my ticket is valid?
It’s crucial for all buyers to exercise caution when purchasing tickets from unauthorized sites and ticket resellers. Tixr and SeeTickets are the only two ticket vendors supported at our venues. Unfortunately, this is a widespread issue affecting venues nationwide, and true fans often find themselves at a loss. Regrettably, there’s little we can do in such situations. Since the original transaction didn’t occur through our authorized ticketing partners, we lack the necessary information to assist. It’s disheartening to witness fans being taken advantage of, especially on platforms like Craigslist, Facebook, StubHub, VividSeats, SeatGeek, and others. We are only obligated to honor valid tickets purchased through our approved channels.
Can I purchase tickets in person without fees?
Yes. HI-FI box office is located at the main entrance off of Virginia Avenue. The box office is open 1 hour prior to the published door time. Additionally, our new and primary box office is located two doors down from HI-FI in Suite 2. This box office is open Monday through Friday 10 am to 6 pm and Saturdays from 9 am to 5 pm for fee-free ticket purchases. HI-FI accepts cash as well as all major credit cards for ticket purchases.
Do you have free WI-FI?
Yes. HI-FI offers free WI-FI during all shows. Simply select the HI-FI Free WI-FI network and you are all set!
Arlo McKinley
Start Time: 9:00 pm
HEALTH CHECK REQUIRED: Proof of full COVID-19 vaccination or negative COVID-19 PCR test within 72 hours or negative Antigen test within 6 hours. Face coverings are strongly encouraged for all attendees.
Download the Bindle Mobile Health App and verify your vaccination status to expedite entry to the venue.
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ARTIST PROFILE | Arlo McKinley
In 2019, Arlo McKinley played a show at the High Watt in Nashville. While he had years of such gigs on the DIY singer-songwriter circuit behind him, this night was different. In the audience was one of his musical heroes, John Prine. When they met briefly beforehand, Prine, who never gave praise lightly, told Arlo he was a fan.
McKinley recalls, “Just that moment, if that's where it ended, it would've been one of the coolest things that ever happened to me, something I remembered forever.”
But it didn't end there. Shortly after, he was signed to Oh Boy Records, Prine's indie label. Arlo came into 2020 with the momentum of a new album on deck - his first with a producer and a street team - and an international tour booked. Then things took a strange turn.
“Right before the record came out, my mother passed away,” he says. “She had always supported me and she didn't get to see this stuff happen for me. Then one of my best friends died shortly after. And I lost two other friends to drug addiction. I was trying to navigate through all the emotions of that.”
And of course, like all musicians that year, he couldn't tour.
A soft-spoken introvert who's open about his past drink and drug addictions, McKinley had to look to himself to find comfort. And in the process, he wrote the songs for what's become his latest release, the aptly-titled This Mess We're In.
“I'm kind of private with a lot of things I go through, but in my songs, I'm honest about everything,” he says with a smile. “So I started to write as a way of getting stuff out. To me, this is a growth record. I was navigating through a pretty bad time, but also there was the realization that it's time to really change, find a better way of life. My last album was me figuring out whether to stay or go from a very confused spot in my life. This one is trying to better myself - as a musician, as a human being, as a friend.”
When talking about his music, McKinley often uses the word “navigate.” And indeed, the eleven songs on This Mess We're In feel like compasses to help orient himself in an uncertain world. The opener “I Don't Mind,” an ode to self-forgiveness that gathers a quiet power through each verse, sets the mood. From the plaintive reckonings of lives in limbo on “City Lights” and “Back Home” to the delicate devastation of “Stealing Dark From The Night Sky” and the catchy, Neil Young-grooved “Rushintherug,” through the gorgeous, widescreen piano-and-strings balladry of the title track and the hymn-like “Here's To The Dying,” these are songs that take their time revealing their secrets. They come from deep inside and go deep inside, speaking to you through McKinley's warm, oaky voice and leaving you a little different than how you came in. They make you feel seen, recognized.
That feeling is borne out by the many personal letters that Arlo receives from fans. “When I wonder if I'm doing the right thing or not with my life, these messages make me realize that I am,” he says.
A recent memorable one came from a soldier who'd done several tours in Afghanistan. “He said my last two albums were the only thing that got him through. I thought, 'I can't imagine what he saw.' If the music I was making helped him get through, that's a pretty heavy compliment.” Another came from a man who'd been diagnosed with brain cancer. “He said he'd kind of stopped living and wasn't really present with his wife and kids. He said my record made him really want to enjoy the moments that he had left with them. I invited him out to a show. He came with his family, and said, 'This is the first time I've been out in I don't know how long.' That's beyond anything I could ask for.
“Maybe I get these messages because I write from my experience,” he reckons. “I figure if I'm going to put myself out there, I want to put who I am out there. I think some people relate to that, like they're not the only ones going through these darker times. But it's still crazy that something I'm writing in my bedroom can end up meaning so much to someone.”
Music has always had special meaning for McKinley. Born and raised in Cincinnati, he started singing in Baptist church when he was eight. At home, the family record collection included everything from George Jones to Otis Redding. As a teen, inspired by his dad and uncle, who played guitars in church, Arlo learned some power chords and figured out every song on the first Social Distortion album. “From there, I taught myself,” he says.
But a full-time music career was still years away. Through his twenties and early thirties, he worked at a record store, gigged with a duo called The Great Depression and “dabbled in songwriting.” Weirdly, it wasn't until he found himself in what seemed like a dead-end job delivering tuxedos that he decided to pursue music. “I did that for years, driving from Cincinnati to Detroit and back, but it gave me a lot of time to think and listen to music. That's when I started writing the songs that led to up to what I'm doing now.”
He self-released his first album, Arlo McKinley & The Lonesome Sound, in 2014 when he was thirty-five. It may have seemed he was getting a late start. But he entered the game almost fully-formed, without any immature or embarrassing skins to shed. He says, “I wouldn't have been able to write about what I'm writing now or been very relatable if I hadn't lived the thirty-something years before I started writing.”
Like his last album Die Midwestern – which Rolling Stone praised for its “songs of heartbreak, restlessness and hard-won experience” and NPR called “personal and moving” - the latest was cut at Sam Phillips Recording Service in Memphis with an ace band that includes drummer Ken Coomer, guitarist Will Sexton and keyboardist Rick Steff. McKinley says, “That studio is like a time capsule. There's just a feel where you can tell there's been some great stuff made in there - Elvis, Jerry Lee, Roy Orbison. Really though, more than the studio, it's the band and the producer.”
Of Matt Ross-Spang, who's worked with Jason Isbell and Margo Price, McKinley says, “He completely gets what I'm trying to do. I sent Matt guitar-vocal demos of fifteen songs. He would show them to the band right before we'd go out to record, so a lot of these songs, the musicians are making up these parts on the spot. Jessie Munson did the string arrangements. She comes up with really pretty lines.”
The addition of strings brought a cinematic dimension to McKinley's music that accentuates his feel for romantic melancholy. “I love Nick Drake and Nick Cave, how their songs can be very simple but sound big,” he says. “Wes Anderson movies too. I love how he'll use music in a very simple scene to evoke a big emotion. I think this album conveys a mental picture a lot more than stuff I've done previously. It's more than just a collection of songs. You can visualize things.”
As McKinley visualizes the year ahead, he's optimistic that touring will be easier , and that he'll get to play Europe for the first time this summer. When asked what he hopes listeners will get from This Mess We're In, he says, “I hope they can identify with things they're too ashamed to talk about or feel. There's such a stigma that goes along with things like addiction and mental health. I just want them to know that I go through all of that stuff too. I would just like to make them feel a little less alone. At least for the 47 minutes of the album, you can remove yourself from the world and just let everything disappear for a bit.”
Supporting Acts
About the Venue
Upgrades: A limited amount of VIP seating upgrades (21+) are available for select shows. Contact the box office to purchase or check availability: boxoffice@hifiindy.com.
Ticket Support: Box Office opens 1 hour before published door time. For ticket related questions please email boxoffice@hifiindy.com.
Parking: Street Parking, Bike Parking
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