Pedro The Lion
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ARTIST PROFILE | Pedro the Lion •
Early into Santa Cruz, the poignant third album in David Bazan’s ongoing musical memoir of his sometimes-uncanny life, he discovers the Beatles. He is the new kid from Arizona in a new school in the famous California coastal town where his dad has accepted another post at a Bible college. He and his first friend there, Matt, are sitting on the carpet in Matt’s little bedroom, flipping through the records bequeathed by his father, when Bazan spots a familiar cover—The White Album, known only from a church documentary that warned children of the Satanic secrets of “Revolution 9.” Play it backwards, the propaganda said, and it would offer acommand: “Turn me on, dead man.”
So, of course, the kids played it forward and were fascinated by the sound, by the imagination, by the act of consecrated creativity far outside of Christian rock. Bazan was 13. “Treading water on the open ocean/Then you threw me out a life ring,” he sings, the smile obvious just through the sound as the beat picks up like a racing pulse, more than three decades later. “All I needed was a little help from a friend.” That is the moment where, in many ways, the remarkable songs of Pedro the Lion begin to take shape.
In 2019, after a 15-year break filled with solo records and side-projects, Bazan returned to the moniker under which he had become one of indie rock’s most identifiable voices and incisive songwriters, Pedro the Lion. He sort of stumbled into 2019’s Phoenix, a charged chronicle of his childhood there, while spending the night with his grandparents during a tour stop. But he soon understood that unpacking his peripatetic youth, where his music minister father shifted around the country like a Marine moving bases, was helpful, healing, and maybe even interesting. The gripping Havasu followed in 2022. Bazan was onto something, untangling all the ways his past had both shaped and misshaped his present inside some of his best songs ever.
That past truly begins to become the present on Santa Cruz, the most fraught and frank album yet in a planned five-album arc; this one covers a little less than a decade, from just after he turned 13 until he turns toward adulthood around 21. These songs ripple with the anxiety and energy of teenage awakening—of hearing rock ’n’ roll, of understanding that independent music exists, of making out with an older schoolmate in deepest secret, of falling in love, of finally starting to understand that in order to be yourself you’re going to need to be something other than your parents’ vision of you. It is the rawest, most affecting and affirming album Pedro the Lion has ever made.
Santa Cruz begins with a prayer that feels like a dirge, a synth-led funeral march to another town where Bazan knows no one. “If I lay it down/And I keep my eyes on you,” he moans, steeling himself through self-sacrifice. “It’ll all work out.” But when he arrives in Santa Cruz to begin eighth grade, the self-flagellation comes quickly, Bazan lecturing himself for the lameness of the neon-green backpack he picked out in Phoenix and the Christian rock that is his lifeblood. For decades now, Bazan has been known for his music’s deliberate pace, often linked to slowcore. Here, however, he renders detailed images in rapid-fire waves, his voice stapled atop the quick rhythm like never before in order to capture his nerves as he learns there might be life outside ofhis family’s Christian fiefdom—apocrypha, whispers of sex, mere games of ping-pong.
But every time stability seems to appear during these 11 songs, the family is off to another job. By ninth grade, amid the metronomic mile markers of “Tall Pines,” they are headed for little Paradise, where there are dreams of drum sets and clandestine shirtless make-out sessions when his parents are away. With the stirring “Don’t Cry Now,” as close to a dance track as Pedro the Lion has ever made, they’re bound for Seattle, where Bazan found his own fledgling music scene, deepening friendships, and the dawn rays of what would become his future.
When his family splits for California yet again, he stays behind, living with a friend just so he can graduate from the place where he’s become so invested in drums, guitars, and songs that he’s barely maintained his grades. The day after he graduates, he stuffs everything he owns into plastic garbage bags and heads south with his mom, returning to the family flock, now in Modesto. “You sweetly slept in the passenger seat/I gripped the wheel, messed up inside,” he sings of his mother during “Parting,” his voice a true-to-life ad mixture of love and longing, of devotion and doubt.
The six-month stay in Modesto, though, would prove to be among the most transformative moments of his life, the slow-motion catapult that sent him into right now. After he quits selling vacuum cleaners to sad women, he nabs a gig at a guitar store. That’s where he hears a crisp piece of lo-fi wizardry from a local Modesto band, a moment that feels almost like a Beatles-sized revelation, a permission slip that says he can, in fact, make music on a scale as small as he wants. He writes the first Pedro the Lion songs there, and, in the cathartic and gorgeous climax of “Modesto,” vows to return to Seattle, to be in a band, to fall in love, to be himself. Its successor, “Spend Time,” feels like some skeletal and celebratory arena-rock anthem, with incandescent harmonies and sharp harmonics and slicing riffs. Back in Seattle, “back in his room, drumming with Paul,” he is on the precipice of the rest of his life, the life that you now know as a listener.
When Bazan began considering the times and the songs that would soon become Santa Cruz, he thought about fictionalizing it all. He could break with the narratives of Phoenix and Havasu to give himself and everyone else in the story some critical distance. These events are not old news, after all, and he worried about untangling the active threads of the rather recent past from right now. And would it seem like he was scolding his parents, two people trying to raise kids the best they knew how? The result does not feel like blame. It feels like redemption, like finding the way forward for yourself, however it happens. “Your grief is not a burden,” Bazan beautifully sings in one of the final verses. “It’s energy.” And it’s currently powering one of the most real, riveting, and powerful song cycles in memory, happening right now.
READ MORE >>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!
Pedro The Lion
Start Time: 8:00 pm
Santa Cruz Tour 2024
Buy Tickets
ARTIST PROFILE | Pedro the Lion
Early into Santa Cruz, the poignant third album in David Bazan’s ongoing musical memoir of his sometimes-uncanny life, he discovers the Beatles. He is the new kid from Arizona in a new school in the famous California coastal town where his dad has accepted another post at a Bible college. He and his first friend there, Matt, are sitting on the carpet in Matt’s little bedroom, flipping through the records bequeathed by his father, when Bazan spots a familiar cover—The White Album, known only from a church documentary that warned children of the Satanic secrets of “Revolution 9.” Play it backwards, the propaganda said, and it would offer acommand: “Turn me on, dead man.”
So, of course, the kids played it forward and were fascinated by the sound, by the imagination, by the act of consecrated creativity far outside of Christian rock. Bazan was 13. “Treading water on the open ocean/Then you threw me out a life ring,” he sings, the smile obvious just through the sound as the beat picks up like a racing pulse, more than three decades later. “All I needed was a little help from a friend.” That is the moment where, in many ways, the remarkable songs of Pedro the Lion begin to take shape.
In 2019, after a 15-year break filled with solo records and side-projects, Bazan returned to the moniker under which he had become one of indie rock’s most identifiable voices and incisive songwriters, Pedro the Lion. He sort of stumbled into 2019’s Phoenix, a charged chronicle of his childhood there, while spending the night with his grandparents during a tour stop. But he soon understood that unpacking his peripatetic youth, where his music minister father shifted around the country like a Marine moving bases, was helpful, healing, and maybe even interesting. The gripping Havasu followed in 2022. Bazan was onto something, untangling all the ways his past had both shaped and misshaped his present inside some of his best songs ever.
That past truly begins to become the present on Santa Cruz, the most fraught and frank album yet in a planned five-album arc; this one covers a little less than a decade, from just after he turned 13 until he turns toward adulthood around 21. These songs ripple with the anxiety and energy of teenage awakening—of hearing rock ’n’ roll, of understanding that independent music exists, of making out with an older schoolmate in deepest secret, of falling in love, of finally starting to understand that in order to be yourself you’re going to need to be something other than your parents’ vision of you. It is the rawest, most affecting and affirming album Pedro the Lion has ever made.
Santa Cruz begins with a prayer that feels like a dirge, a synth-led funeral march to another town where Bazan knows no one. “If I lay it down/And I keep my eyes on you,” he moans, steeling himself through self-sacrifice. “It’ll all work out.” But when he arrives in Santa Cruz to begin eighth grade, the self-flagellation comes quickly, Bazan lecturing himself for the lameness of the neon-green backpack he picked out in Phoenix and the Christian rock that is his lifeblood. For decades now, Bazan has been known for his music’s deliberate pace, often linked to slowcore. Here, however, he renders detailed images in rapid-fire waves, his voice stapled atop the quick rhythm like never before in order to capture his nerves as he learns there might be life outside ofhis family’s Christian fiefdom—apocrypha, whispers of sex, mere games of ping-pong.
But every time stability seems to appear during these 11 songs, the family is off to another job. By ninth grade, amid the metronomic mile markers of “Tall Pines,” they are headed for little Paradise, where there are dreams of drum sets and clandestine shirtless make-out sessions when his parents are away. With the stirring “Don’t Cry Now,” as close to a dance track as Pedro the Lion has ever made, they’re bound for Seattle, where Bazan found his own fledgling music scene, deepening friendships, and the dawn rays of what would become his future.
When his family splits for California yet again, he stays behind, living with a friend just so he can graduate from the place where he’s become so invested in drums, guitars, and songs that he’s barely maintained his grades. The day after he graduates, he stuffs everything he owns into plastic garbage bags and heads south with his mom, returning to the family flock, now in Modesto. “You sweetly slept in the passenger seat/I gripped the wheel, messed up inside,” he sings of his mother during “Parting,” his voice a true-to-life ad mixture of love and longing, of devotion and doubt.
The six-month stay in Modesto, though, would prove to be among the most transformative moments of his life, the slow-motion catapult that sent him into right now. After he quits selling vacuum cleaners to sad women, he nabs a gig at a guitar store. That’s where he hears a crisp piece of lo-fi wizardry from a local Modesto band, a moment that feels almost like a Beatles-sized revelation, a permission slip that says he can, in fact, make music on a scale as small as he wants. He writes the first Pedro the Lion songs there, and, in the cathartic and gorgeous climax of “Modesto,” vows to return to Seattle, to be in a band, to fall in love, to be himself. Its successor, “Spend Time,” feels like some skeletal and celebratory arena-rock anthem, with incandescent harmonies and sharp harmonics and slicing riffs. Back in Seattle, “back in his room, drumming with Paul,” he is on the precipice of the rest of his life, the life that you now know as a listener.
When Bazan began considering the times and the songs that would soon become Santa Cruz, he thought about fictionalizing it all. He could break with the narratives of Phoenix and Havasu to give himself and everyone else in the story some critical distance. These events are not old news, after all, and he worried about untangling the active threads of the rather recent past from right now. And would it seem like he was scolding his parents, two people trying to raise kids the best they knew how? The result does not feel like blame. It feels like redemption, like finding the way forward for yourself, however it happens. “Your grief is not a burden,” Bazan beautifully sings in one of the final verses. “It’s energy.” And it’s currently powering one of the most real, riveting, and powerful song cycles in memory, happening right now.
READ MORE >>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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