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Saturday Mar 18

Cory Branan

$20 - $22
LO-FI Lounge
Indianapolis, IN
Mar 18
Saturday
6:00 PM
Doors Open

More about this event

Learn More About This Show
Add to Calendar 03/18/2023 07:00 PM03/18/2023 09:00 PMCory BrananMore Information: https://mokbpresents.com/event/cory-branan/LO-FI Lounge
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ARTIST PROFILE | Cory Branan

AlternativeAmericana/FolkSinger/Songwriter

“I pulled these songs from a batch of fifty that mostly predate the pandemic, and all of these felt kin. They’re about doubt, loss, depression, general stir-craziness.

“But I knew I didn’t want to make a record that pondered itself, I wanted it to have motion, so I gave this record an overarching rule: The sadder the song, the more it had to move and groove. That’s how the country weeper ‘That Look I Lost’ got the Motown treatment. I wanted you to nod along, then after listening ask, Wait, what am I shaking my ass to?”

When I Go I Ghost is Cory Branan’s sixth full length release. His first was 20 years ago: He ain’t  banging out pulp here.  A writer’s writer, Cory’s lines grip like a page-turner, giddy with interior rhyming and wordplay:

I took a shower but the shower didn’t take
– “O’ Charlene”

the kinda wreck I recognize
– “C’Mon If You Wanna Come”

You post a picture, notice the mixture
The camera captures
That ‘before and after’ look in your eye
– “C’Mon If You Wanna Come”

When she’s staring down the bad end of the barrel
Of yet another long and loaded night
– “That Look I Lost”

One propulsive song that jangles with hope is “Come On If You Wanna Come,” with lyrics about being too depressed – maybe too hungover – to venture out, accompanied by music that catches the buoyancy one feels after recovering. “’Come On’ is about as optimistic as I can get. We did all the fun Simmons 1980’s drum samples on there, and added concert toms, putting reverse gated reverb on the drums – an old ‘80s Cars-era trick. There’s Rickenbacker and a 12 string guitar. It’s a respite in the record. It evokes the Traveling Wilbury’s, though maybe a meth-y Wilburys.”

Cory’s stories don’t resolve neatly. “I embrace my fluctuating doubt. The way I write, I feel my way through these dark halls and then realize, Oh, this is how the house is shaped.”

Like a novelist, he inhabits the minds and hearts of his creations, much as they inhabit him. “I’m interested in characters at a crossroads, getting in the flux and staying there. In ‘Of Two Minds,’ I got this feel for the lead character and I asked myself, Who else is in the room with her? Then I realized – she’s the other character too! And by the end, I found myself so wholly identifying that I realized she’s also me.” First she says, “I’m gonna quit while I’m behind,” but in a later verse it’s: “I double down when I’m behind.” Flux indeed, just like real life. That song also features this stinger: “Set the pistol on the dresser and the bed on fire.”

On “Pocket of God,” he’s created a noir movie. “I tried to get as much of a story as I could in there, with someone in the hot seat. You don’t know who he’s singing to until the end, and it’s a s story of what happened to someone he cared deeply about. That song began as a sweet line about somebody thinking he picked the pocket of God to have met someone, and I thought, That’s too Hallmark, so I tried to balance it with a Raymond Carver sensibility, where definitions aren’t the same for everyone, where the narrator is untrustworthy. I’m a big fan of Randy Newman, the songwriter king of untrustworthy narrators. And this song is an exception on the album in that I didn’t try to counteract the dark lyrics with brighter music. I stayed there, I painted an open void, then kept the music staring right there with me. The string arrangement helps with that – put the headphones on to hear the ear candy in those layered strings from Matt Combs! (Combs is the staff fiddler and mandolinist for The Grand Ole Opry.) And that’s Spencer Cullum (Steelism) on steel guitar holding drone notes through the whole thing, and he’s also on ‘O Charlene,’ ‘Room 101’, and he plays lap steel on ‘When In Rome.’”Cory approaches songwriting with a combination of self-abnegation and the hyper-critical. “I try to not exist when I’m writing. I write with a magnet, or a divining rod. Then when I’m editing I go in with a scalpel. I try not to look for certainties, I try not to get dogmatic, and all my hope is qualified, highly qualified.”

To parse his emotions, Cory stirs himself with motion. “When I write I usually don’t sit down. Plus I’m on the road a lot, 130, 140 shows a year. But I didn’t write on the road until recently when I learned to get up in the morning and free associate. I look around the motel room, see what it reminds me of, and if I do that before I start driving, then I’ve opened myself up to write in the car. A lot of this record revolves around motion and stasis—should I stay or should I go?”

Though many of the songs are about love predicaments, Cory steers strongly away from the autobiographical – despite a recent divorce. “‘Folks want to treat singer-songwriters as diaries but I’m not really into the self-mythologizing. I don’t write confessional stuff. I don’t find much inspiration in myself. We aren’t the bickering couple on ‘One Happy New Year,’ she isn’t the quasi-alcoholic mess in the venomous ‘When I Leave Here.’ I don’t think there’s any chance of folks mistaking me and her for the murdering drug dealer and thieving prostitute in ‘Pocket of God,’ – but there are plenty other songs they can misread into.”

The autobiographical elements that slip through deal with the mental health of his characters, “Room 101” and “Angels in the Details” in particular. “I’ve been recently diagnosed as manic-depressive, and I had to figure out how to talk about that. ‘Room 101’ is me trying to get a little more verbal about it. There’s a nosedive, but I pull out of it.” In terms of biography, “’That Look I Lost’ is the only relationship song that’s autobiographical, and ‘Son of Mine’ has some of me in it.”

“When In Rome” was written far from where Memphis meets Mississippi, where the rural sensibility meets the urban aesthetic, where Cory was raised. But he felt the pull, and also the aura of a great American songwriter. “I wrote ‘When In Rome’ while driving through Jersey. It came out of one drive. Sometimes the songs are little pieces that linger around and I’ll Frankenstein them together, but a lot of these came out like deer, already standing up.” He laughs. “And I did pick loaded cities to reference. You can’t be more loaded than Memphis and Asbury Park. It reminded me of Guy Clark equating the Mona Lisa, Michelangelo’s David and Doc Watson.” For the sound, “It was so hard to stay away from Springsteen’s E Street Band sound when we were doing that song. But Eric Slick, the drummer, made it work. He’s in Dr. Dog. I wanted a drummer who didn’t come from roots music. Eric was versatile and fantastic. He attacked this one like Keith Moon from the Who.”

Cory assembled the band with an ear toward the 1980s radio and MTV he was raised on. “If you look at the pop charts from ‘79 to ‘85, you can’t find two bands that sound the same.” That’s why When I Go I Ghost sounds like the spin of an old radio dial in a brand new car. “I find that over-qualified and under-prepared can create lightning in the bottle.” In addition to his expected vocal, guitar and songwriting talents, Cory now adds synth playing, something he learned during the pandemic.

The core band, in addition to drummer Eric Slick, is bassist Robbie Crowell (Deer Tick, Midland), who also played on Cory’s previous album Adios; Jarrad K, who produced Ruston Kelly and can play anything, and here is on various keys and synthesizer; and the in-demand Anthony da Costa on guitars and vocal harmonies. The album was recorded mostly in Nashville at Battle Tapes with producer and Grammy-winning engineer Jeremy Ferguson. “We went back to Memphis for the horns – don’t nobody want no Nashville horns.”

Other guests include Jason Isbell who contributes the Orwellian guitar solo to “Room 101” and is part of the “When I Leave” Nazareth-sounding guitar mountain. He also sings on three tracks. “I love Jason’s singing – I’d let him be the voice of my GPS!” Brian Fallon (The Gaslight Anthem) sings on two, including in a round with Jason and Cory on “When in Rome.”

Garrison Starr duets on “Waterfront.” “You can’t run into a guitar center and buy Garrison Starr’s voice. You need her. It’s a one of a kind instrument. She said, ‘You want me to sing harmony?’ I said, ‘No we’re swapping lines like Dolly Parton and Kenny Rogers in ‘Islands in the Stream.’” Adam Lazzara (Taking Back Sunday) sings on “Honey Come Home.”

The music of Cory Branan is like a magazine anthology that rivets you; you’re always thrilled to get to the next story because it will be different, unexpected, and galvanic. “Why limit myself to a certain genre? My style is limited by liking to tell stories. But whatever the song wants to wear is fine with me. Over the years, if I had done one thing, I’d have more than a modest career now. But if I had to stand there and play acoustic singer songwriter music all the time, I’d be bored out of my mind. I love all these different styles and sounds, I’m restless like that.”

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Supporting Acts

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About LO-FI Lounge | Indianapolis, IN

LO-FI Lounge is a unique art space, gallery, and special events venue located on the 2nd Floor of the Murphy Arts Center in historic Fountain Square. Looking for that off-the-beaten-path, hidden gem? With a capacity for up to 100 guests, LO-FI Lounge is the most intimate of our three venues. Shows and events at LO-FI are only open to guests 21 years of age or older. Find the venue for first time guests can be a challenge, but it’s also part of the experience. Guests can access the 2nd floor of the building via the main entrance (glass doors) on the corner of Virginia Ave next to La Margarita’s patio, and off Prospect St. across from the bank parking lot.

Box Office: 317-986-7101
Main: 317-986-7101

Getting Around the Venue

1043 Virginia Ave #215,
Indianapolis, IN 46203
Hours: Mon. thru Fri. 10am to 6pm
Doors: 1 hour prior to published door times

Frequently Asked Questions About LO-FI Lounge | Indianapolis, IN

What are the age restrictions at this venue?

LO-FI Lounge shows are always 21+. We apologize to our underage guests and are working to get this changed.

LO-FI requires a valid ID for admission for all guests. Only valid state or government issues ID’s are permitted. Expired and temporary ID’s are not accepted.

Can I upgrade my to VIP seating?

No. Due to the intimate nature of the venue, LO-FI Lounge does not offer any seating upgrades.

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:

  • Small Purse / Fanny Pack – subject to security inspection
  • To-go food from local restaurants
  • A warm heart & smiles

Non-Permitted Items include:

  • No outside beverages
  • No weapons of any kind
  • No drugs or illegal substances
  • No coolers
  • No glass
  • No smoking or vaping in venue, designated smoking area outside venue
  • No backpacks
  • No pets
  • No bad attitudes

The venue reserved the right to deny any item, or guest, should they feel that it poses a security threat 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@mokbpresents.com to request media credentials.

Is there food and drink at this venue?

Yes, LO-FI Lounge offers a full service bar offering beer, wine and spirits along a small selection of snacks and chips.

View seating maps for this venue

Check your show listing for information on the show’s seating configuration. The majority of LO-FI shows are general admission, standing-room-only. Depending on the show, there are a handful of tables available to those who arrive early.

Can I leave and re-enter the venue?

No. Re-entry is only permitted for use of the restroom facilities.

Do you offer ADA, handicap or special needs options?

The Murphy Arts Center is a handicap accessible building. The elevator is located inside the main entrance near the intersection of Virginia Ave. and Woodlawn Ave. Once you have arrived at the 2nd floor the accessibility continues through the corridor to the LO-FI Lounge. There is no designated ADA seating area at LO-FI. Guests with any special needs or questions should reach out to our box office 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. On LO-FI show nights, tickets can be purchased at the door.

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. LO-FI offers free WI-FI during all shows. Simply select the HI-FI Free WI-FI network and you are all set.

21+
Mar 18

Cory Branan

LO-FI Lounge
$20 - $22
Presented By: Upland Brewing Co., MOKB Presents
Doors: 6:00 PM
Start Time: 7:00 pm

Learn More About This Show
Add to Calendar 03/18/2023 07:00 PM03/18/2023 09:00 PMCory BrananMore Information: https://mokbpresents.com/event/cory-branan/LO-FI Lounge

Buy Tickets

ARTIST PROFILE | Cory Branan

AlternativeAmericana/FolkSinger/Songwriter

“I pulled these songs from a batch of fifty that mostly predate the pandemic, and all of these felt kin. They’re about doubt, loss, depression, general stir-craziness.

“But I knew I didn’t want to make a record that pondered itself, I wanted it to have motion, so I gave this record an overarching rule: The sadder the song, the more it had to move and groove. That’s how the country weeper ‘That Look I Lost’ got the Motown treatment. I wanted you to nod along, then after listening ask, Wait, what am I shaking my ass to?”

When I Go I Ghost is Cory Branan’s sixth full length release. His first was 20 years ago: He ain’t  banging out pulp here.  A writer’s writer, Cory’s lines grip like a page-turner, giddy with interior rhyming and wordplay:

I took a shower but the shower didn’t take
– “O’ Charlene”

the kinda wreck I recognize
– “C’Mon If You Wanna Come”

You post a picture, notice the mixture
The camera captures
That ‘before and after’ look in your eye
– “C’Mon If You Wanna Come”

When she’s staring down the bad end of the barrel
Of yet another long and loaded night
– “That Look I Lost”

One propulsive song that jangles with hope is “Come On If You Wanna Come,” with lyrics about being too depressed – maybe too hungover – to venture out, accompanied by music that catches the buoyancy one feels after recovering. “’Come On’ is about as optimistic as I can get. We did all the fun Simmons 1980’s drum samples on there, and added concert toms, putting reverse gated reverb on the drums – an old ‘80s Cars-era trick. There’s Rickenbacker and a 12 string guitar. It’s a respite in the record. It evokes the Traveling Wilbury’s, though maybe a meth-y Wilburys.”

Cory’s stories don’t resolve neatly. “I embrace my fluctuating doubt. The way I write, I feel my way through these dark halls and then realize, Oh, this is how the house is shaped.”

Like a novelist, he inhabits the minds and hearts of his creations, much as they inhabit him. “I’m interested in characters at a crossroads, getting in the flux and staying there. In ‘Of Two Minds,’ I got this feel for the lead character and I asked myself, Who else is in the room with her? Then I realized – she’s the other character too! And by the end, I found myself so wholly identifying that I realized she’s also me.” First she says, “I’m gonna quit while I’m behind,” but in a later verse it’s: “I double down when I’m behind.” Flux indeed, just like real life. That song also features this stinger: “Set the pistol on the dresser and the bed on fire.”

On “Pocket of God,” he’s created a noir movie. “I tried to get as much of a story as I could in there, with someone in the hot seat. You don’t know who he’s singing to until the end, and it’s a s story of what happened to someone he cared deeply about. That song began as a sweet line about somebody thinking he picked the pocket of God to have met someone, and I thought, That’s too Hallmark, so I tried to balance it with a Raymond Carver sensibility, where definitions aren’t the same for everyone, where the narrator is untrustworthy. I’m a big fan of Randy Newman, the songwriter king of untrustworthy narrators. And this song is an exception on the album in that I didn’t try to counteract the dark lyrics with brighter music. I stayed there, I painted an open void, then kept the music staring right there with me. The string arrangement helps with that – put the headphones on to hear the ear candy in those layered strings from Matt Combs! (Combs is the staff fiddler and mandolinist for The Grand Ole Opry.) And that’s Spencer Cullum (Steelism) on steel guitar holding drone notes through the whole thing, and he’s also on ‘O Charlene,’ ‘Room 101’, and he plays lap steel on ‘When In Rome.’”Cory approaches songwriting with a combination of self-abnegation and the hyper-critical. “I try to not exist when I’m writing. I write with a magnet, or a divining rod. Then when I’m editing I go in with a scalpel. I try not to look for certainties, I try not to get dogmatic, and all my hope is qualified, highly qualified.”

To parse his emotions, Cory stirs himself with motion. “When I write I usually don’t sit down. Plus I’m on the road a lot, 130, 140 shows a year. But I didn’t write on the road until recently when I learned to get up in the morning and free associate. I look around the motel room, see what it reminds me of, and if I do that before I start driving, then I’ve opened myself up to write in the car. A lot of this record revolves around motion and stasis—should I stay or should I go?”

Though many of the songs are about love predicaments, Cory steers strongly away from the autobiographical – despite a recent divorce. “‘Folks want to treat singer-songwriters as diaries but I’m not really into the self-mythologizing. I don’t write confessional stuff. I don’t find much inspiration in myself. We aren’t the bickering couple on ‘One Happy New Year,’ she isn’t the quasi-alcoholic mess in the venomous ‘When I Leave Here.’ I don’t think there’s any chance of folks mistaking me and her for the murdering drug dealer and thieving prostitute in ‘Pocket of God,’ – but there are plenty other songs they can misread into.”

The autobiographical elements that slip through deal with the mental health of his characters, “Room 101” and “Angels in the Details” in particular. “I’ve been recently diagnosed as manic-depressive, and I had to figure out how to talk about that. ‘Room 101’ is me trying to get a little more verbal about it. There’s a nosedive, but I pull out of it.” In terms of biography, “’That Look I Lost’ is the only relationship song that’s autobiographical, and ‘Son of Mine’ has some of me in it.”

“When In Rome” was written far from where Memphis meets Mississippi, where the rural sensibility meets the urban aesthetic, where Cory was raised. But he felt the pull, and also the aura of a great American songwriter. “I wrote ‘When In Rome’ while driving through Jersey. It came out of one drive. Sometimes the songs are little pieces that linger around and I’ll Frankenstein them together, but a lot of these came out like deer, already standing up.” He laughs. “And I did pick loaded cities to reference. You can’t be more loaded than Memphis and Asbury Park. It reminded me of Guy Clark equating the Mona Lisa, Michelangelo’s David and Doc Watson.” For the sound, “It was so hard to stay away from Springsteen’s E Street Band sound when we were doing that song. But Eric Slick, the drummer, made it work. He’s in Dr. Dog. I wanted a drummer who didn’t come from roots music. Eric was versatile and fantastic. He attacked this one like Keith Moon from the Who.”

Cory assembled the band with an ear toward the 1980s radio and MTV he was raised on. “If you look at the pop charts from ‘79 to ‘85, you can’t find two bands that sound the same.” That’s why When I Go I Ghost sounds like the spin of an old radio dial in a brand new car. “I find that over-qualified and under-prepared can create lightning in the bottle.” In addition to his expected vocal, guitar and songwriting talents, Cory now adds synth playing, something he learned during the pandemic.

The core band, in addition to drummer Eric Slick, is bassist Robbie Crowell (Deer Tick, Midland), who also played on Cory’s previous album Adios; Jarrad K, who produced Ruston Kelly and can play anything, and here is on various keys and synthesizer; and the in-demand Anthony da Costa on guitars and vocal harmonies. The album was recorded mostly in Nashville at Battle Tapes with producer and Grammy-winning engineer Jeremy Ferguson. “We went back to Memphis for the horns – don’t nobody want no Nashville horns.”

Other guests include Jason Isbell who contributes the Orwellian guitar solo to “Room 101” and is part of the “When I Leave” Nazareth-sounding guitar mountain. He also sings on three tracks. “I love Jason’s singing – I’d let him be the voice of my GPS!” Brian Fallon (The Gaslight Anthem) sings on two, including in a round with Jason and Cory on “When in Rome.”

Garrison Starr duets on “Waterfront.” “You can’t run into a guitar center and buy Garrison Starr’s voice. You need her. It’s a one of a kind instrument. She said, ‘You want me to sing harmony?’ I said, ‘No we’re swapping lines like Dolly Parton and Kenny Rogers in ‘Islands in the Stream.’” Adam Lazzara (Taking Back Sunday) sings on “Honey Come Home.”

The music of Cory Branan is like a magazine anthology that rivets you; you’re always thrilled to get to the next story because it will be different, unexpected, and galvanic. “Why limit myself to a certain genre? My style is limited by liking to tell stories. But whatever the song wants to wear is fine with me. Over the years, if I had done one thing, I’d have more than a modest career now. But if I had to stand there and play acoustic singer songwriter music all the time, I’d be bored out of my mind. I love all these different styles and sounds, I’m restless like that.”

READ MORE >>READ LESS >>
CONNECT:

Supporting Acts

About the Venue

LO-FI Lounge is a unique art space, gallery, and special events venue located on the 2nd Floor of the Murphy Arts Center in historic Fountain Square. Looking for that off-the-beaten-path, hidden gem? With a capacity for up to 100 guests, LO-FI Lounge is the most intimate of our three venues. Shows and events at LO-FI are only open to guests 21 years of age or older. Find the venue for first time guests can be a challenge, but it's also part of the experience. Guests can access the 2nd floor of the building via the main entrance (glass doors) on the corner of Virginia Ave next to La Margarita's patio, and off Prospect St. across from the bank parking lot.
Amenities: Full Bar, 21+, Premium Sound, General Admission, Limited Seating, Street-Level Box Office


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
Refund Policy: All tickets are non-transferable and non-refundable unless the show is canceled.  Contact the box office with any questions: boxoffice@hifiindy.com.
1043 Virginia Ave #215 Indianapolis, IN 46203

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