SOLD OUT: Morgan Wade – No Signs Of Slowing Down Tour
More about this event
ARTIST PROFILE | Morgan Wade
Morgan Wade didn’t write to be a sensation, for critical acclaim or massive concert tours. She wrote to speak her truth, to save her own life – and perhaps throw a rope to others struggling with the weight of a world moving too fast, loves where you fall too hard and nights that, good or bad, seem to go on forever.
2021 saw Reckless, her Thirty Tigers/now Sony Music Nashville debut, and lead single “Wilder Days” topping critical lists from Rolling Stone, TIME, Stereogum, New York Times, Boston Globe, FADER, Tennessean, Whiskey Riff, Billboard, and The Boot and Taste of Country who both proclaimed, “a once-in-a-decade debut.” With a voice that is raw hurt, deep knowing and somehow innocence retained, Wade wrote or co-wrote a song cycle about the reality facing teens and 20-somethings that embraced raw desire, the reality of getting high and getting sober, the realm of crawling through the wreckage with a tough vulnerability that is as singular as the young woman from Floyd, Virginia.
“I didn’t know anybody like me when I was a kid, listening to music,” she confesses. “That’s why I fell in love with Elvis, that raw emotion. He held nothing back, and I loved that, so when I started writing, that’s where I went. I didn’t know you couldn’t. And to tell kids ‘do your own thing,’ that’s a bit much, but if I can show them something else? That might light a fire.”
The sinewy songwriter covered in ink understands striking that fire. Wade, shamed for singing at school, felt the singe. She recalls, “I’d spent so long being told, ‘Your voice is weird’ by other kids, and it’s such a pivotal time. They’d say, ‘What’s wrong with you? You can play for yourself but do it at home.’
“And it helps,” she knowingly concedes, “because you do it for you.” Developing her distinctly singular – turpentine and honeycomb – vocal tone, her emotional transparency suggests Etta James, Adele, Patti Griffin, Lana Del Ray, St. Etienne’s Annie Clark, even Alison Krauss.
With insider trade HITS proclaiming, “Imagine Kris Kristofferson as a Gen Z woman,” The New York Times raving, “she sounds like she’s singing from the depths of history” and FADER offering, “Wade has a voice like a jagged blade, sharp enough to draw blood but lustrous under the light,” Reckless landed hard and true. A product of her collaboration with Sadler Vaden (guitarist in Jason Isbell + the 400 Unit) and engineer Paul Ebersold, the trio worked to keep the guitars forward, the edges rough and her voice the star in the loose tumble of players meshing on the edge of Tom Petty/Lucinda Williams’ rock & roll.
Just as importantly, Vaden – who came across Wade at a music festival, where his guitar tech asked for a CD – recognized the power of a woman being truly honest. Rather than shy away from her faltering places, self-doubt or demons, the first thing they worked on was “The Night,” a white-knuckled account of rough emotions and meaner addictions.
The straightforward lyricist explains, “Growing up in the South, people are always saying, ‘Well, you’re just having your feelings...’ But instead, you’re having a panic attack, or you’re masking something. You have to ask, ‘So, what’s causing that?’
“For so long, we try to act like ‘I’m fine, you know.’ I got sober. It’s all hunky dory,” she continues. “But it’s not. No one wants to talk about the struggle, but it happens. I wrote ‘The Night’ in an obviously dark time – and people really responded; that song means so much to so many people, I can’t tell you. But we figured since it had already been out, we didn’t need to include it on Reckless.”
Unprepared for the response to her debut album, the relentlessly touring artist just kept bringing her music to the people. A stouter kind of country that never sacrifices lyricism, she spent the fall on the road with Lucero, the hard-driving Memphis-based soul/rock/Americana icons.
With “Wilder Days” becoming a SiriusXM Highway Find, then hitting No. 1 on their fast-tracking country station, Wade’s song – one of TIME’s 10 Best of 2021 in any genre – opened a portal for Americana, alternative and rock fans to an artist straddling the craggy terrain across genres, but also life. Signed to Sony Music Nashville by a label head who’d grown up in bands with Kim Richey, Byron House and Bill Lloyd, the power of defying genres in the name of harder truths inspired Randy Goodman to want to bring Morgan Wade to the biggest audience possible without compromising what made her so special.
As people caught on, the reaction to songs like “The Night,” the ones not on the album, created a conversation about what else might not have been included in her exquisite ten song debut. With as much life lived – Wade formed her first band off Craigslist; “my friend and I drove over to this house in a pretty rough part of town, went down to the basement and found some pretty good players” – and absorbed, she was fearless in documenting her journey.
In college, studying medical sciences, she played out after a break-up, performing a song to put it all out there. Without a role model, she performed the same way she learned to sing and write: for herself, to herself. But when she gigged, something happened. People connected to her alienation, distress and seeking answers for things no one was talking about.
“I guess the songs are saying the things they can’t say,” she concedes. “I see these big guys crying. I’ve had these great big men come up to me after my shows to tell me I’m saying what everybody’s thinking.”
That drove her forward, bringing Reckless to fruition. The loping want-you-now reality-checking “Matchsticks and Metaphors” with its confession, “if you don’t want me, that don’t bother me at all/ don’t be upset when I don’t answer if you call...,” the stark Appalachia of “Met You” and the swirling, snapped finger compulsion beyond drugs or alcohol “Last Cigarette” captivated listeners for their white knuckled hold on reality. Like “Wilder Days” – with its j’accuse “You said you hate the smell of cigarette smoke...” hook, which Rolling Stone called “the year’s most irresistible country-rock chorus” – the sense of mystery allows listeners room their own lives in her songs.
“I’m not naming names,” Wade says, eyes rolling at the idea. “But I’m always for whatever paths gonna pave the way for the next outcast, the next person who feels so alone. If the songs speak to the people who need to hear them, it makes me feel good about having been so vulnerable and honest. When people scream ‘Wilder Days’ right back to me or tell me they feel like they have a story, their story in my story, that’s when you know you’re not alone.”
To that end, Wade, Vaden and Ebersold talked about what’s next. With songs left uncut, songs that expand the story, it seemed a shame to move on. “We decided we wanted to share some more. Take ‘The Night.’ In concert, people sing that back to me as loud as ‘Wilder Days,’ so there were things we wished we could change – there’s a B-3 part that got buried in the mix – and this way, we could bring back it into the story. To me, that’s what all of this is... The story of where I was, what I want and where I’m going.”
In a nod to Elvis Presley, whose “Suspicious Minds” she’s been scalding live with a portion of AC/DC’s “You Shook Me (All Night Long)” interjected, Deluxe contains a sizzling rendition that dials up its sexual obsession. At the other end of the spectrum, there’s “Through Your Eyes,” a chiming power-pop perspective shift on her recklessness.
“When you have younger siblings, when they say ‘I wanna be like you,’ thinking you’re so cool, that’s sobering,” Wade explains. “You see all of it in a very different light. You know, it’s one thing when you know you shouldn’t, and you do it anyway; it’s another when you realize a three-year-old is taking it in.” As for Elvis, “It’s very sacred to cover one of his songs, and I wanted to choose one I could make my own. I have a lot of younger fans who don’t know, who think it’s my song, so I love that I can take something and introduce it to a new generation... but we wouldn’t have done it, just to do it.
“Vocally, it works for me; it’s got a great range, especially when I hit that chorus. I’m kind of weird about covers, but when I asked the band, ‘What do you think about this?’ They were all in.”
Between the road, the critical acclaim, the growing radio believers, Wade knows the future is coming – and intends to be ready. With one foot strongly in the realm of where she’s been, she wrote the tumbling the rollicking “When the Dirt All Settles,” with The Cadillac Three’s Jaren Johnston and “Run” – Vaden a co-writer on both tracks – to find a lighter way to escape the things that pull you down. She knows sobriety is a daily battle, that the dark moods and other issues are a fact of life. But the wide-eyed songwriter also knows how we face the day is often up to us. Rather than drowning in boredom or desperation, “Run” is a launching pad, looking both ways and finding whatever escape might be found in the company of someone outrunning their own sad memories – and the galloping running into the distance “When the Dirt All Settles.”
“It was fun, the polar opposite of what I thought [writing with someone new would be],” she says. “I’ve always written out of emotion, out of the moment, so I had it in my mind you had to be all serious all of the time. But sometimes it’s okay to kind of let go, to just have three minutes to just kick it out and have some fun. You can keep the honesty, but maybe take it from somewhere else.” Somewhere else? For Morgan Wade, wherever that is, you can bet it’ll be wild and free and seeking.
“I figure if I keep saying the things I want to say, then people are still going to be thinking them, too. We’re all running into those feelings, so let’s just get it out in the open where we can let ‘em go.”
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!
SOLD OUT: Morgan Wade – No Signs Of Slowing Down Tour
Start Time: 8:00 pm
THIS SHOW IS SOLD OUT. JOIN THE OFFICIAL WAITLIST VIA THE TICKET LINK
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ARTIST PROFILE | Morgan Wade
Morgan Wade didn’t write to be a sensation, for critical acclaim or massive concert tours. She wrote to speak her truth, to save her own life – and perhaps throw a rope to others struggling with the weight of a world moving too fast, loves where you fall too hard and nights that, good or bad, seem to go on forever.
2021 saw Reckless, her Thirty Tigers/now Sony Music Nashville debut, and lead single “Wilder Days” topping critical lists from Rolling Stone, TIME, Stereogum, New York Times, Boston Globe, FADER, Tennessean, Whiskey Riff, Billboard, and The Boot and Taste of Country who both proclaimed, “a once-in-a-decade debut.” With a voice that is raw hurt, deep knowing and somehow innocence retained, Wade wrote or co-wrote a song cycle about the reality facing teens and 20-somethings that embraced raw desire, the reality of getting high and getting sober, the realm of crawling through the wreckage with a tough vulnerability that is as singular as the young woman from Floyd, Virginia.
“I didn’t know anybody like me when I was a kid, listening to music,” she confesses. “That’s why I fell in love with Elvis, that raw emotion. He held nothing back, and I loved that, so when I started writing, that’s where I went. I didn’t know you couldn’t. And to tell kids ‘do your own thing,’ that’s a bit much, but if I can show them something else? That might light a fire.”
The sinewy songwriter covered in ink understands striking that fire. Wade, shamed for singing at school, felt the singe. She recalls, “I’d spent so long being told, ‘Your voice is weird’ by other kids, and it’s such a pivotal time. They’d say, ‘What’s wrong with you? You can play for yourself but do it at home.’
“And it helps,” she knowingly concedes, “because you do it for you.” Developing her distinctly singular – turpentine and honeycomb – vocal tone, her emotional transparency suggests Etta James, Adele, Patti Griffin, Lana Del Ray, St. Etienne’s Annie Clark, even Alison Krauss.
With insider trade HITS proclaiming, “Imagine Kris Kristofferson as a Gen Z woman,” The New York Times raving, “she sounds like she’s singing from the depths of history” and FADER offering, “Wade has a voice like a jagged blade, sharp enough to draw blood but lustrous under the light,” Reckless landed hard and true. A product of her collaboration with Sadler Vaden (guitarist in Jason Isbell + the 400 Unit) and engineer Paul Ebersold, the trio worked to keep the guitars forward, the edges rough and her voice the star in the loose tumble of players meshing on the edge of Tom Petty/Lucinda Williams’ rock & roll.
Just as importantly, Vaden – who came across Wade at a music festival, where his guitar tech asked for a CD – recognized the power of a woman being truly honest. Rather than shy away from her faltering places, self-doubt or demons, the first thing they worked on was “The Night,” a white-knuckled account of rough emotions and meaner addictions.
The straightforward lyricist explains, “Growing up in the South, people are always saying, ‘Well, you’re just having your feelings...’ But instead, you’re having a panic attack, or you’re masking something. You have to ask, ‘So, what’s causing that?’
“For so long, we try to act like ‘I’m fine, you know.’ I got sober. It’s all hunky dory,” she continues. “But it’s not. No one wants to talk about the struggle, but it happens. I wrote ‘The Night’ in an obviously dark time – and people really responded; that song means so much to so many people, I can’t tell you. But we figured since it had already been out, we didn’t need to include it on Reckless.”
Unprepared for the response to her debut album, the relentlessly touring artist just kept bringing her music to the people. A stouter kind of country that never sacrifices lyricism, she spent the fall on the road with Lucero, the hard-driving Memphis-based soul/rock/Americana icons.
With “Wilder Days” becoming a SiriusXM Highway Find, then hitting No. 1 on their fast-tracking country station, Wade’s song – one of TIME’s 10 Best of 2021 in any genre – opened a portal for Americana, alternative and rock fans to an artist straddling the craggy terrain across genres, but also life. Signed to Sony Music Nashville by a label head who’d grown up in bands with Kim Richey, Byron House and Bill Lloyd, the power of defying genres in the name of harder truths inspired Randy Goodman to want to bring Morgan Wade to the biggest audience possible without compromising what made her so special.
As people caught on, the reaction to songs like “The Night,” the ones not on the album, created a conversation about what else might not have been included in her exquisite ten song debut. With as much life lived – Wade formed her first band off Craigslist; “my friend and I drove over to this house in a pretty rough part of town, went down to the basement and found some pretty good players” – and absorbed, she was fearless in documenting her journey.
In college, studying medical sciences, she played out after a break-up, performing a song to put it all out there. Without a role model, she performed the same way she learned to sing and write: for herself, to herself. But when she gigged, something happened. People connected to her alienation, distress and seeking answers for things no one was talking about.
“I guess the songs are saying the things they can’t say,” she concedes. “I see these big guys crying. I’ve had these great big men come up to me after my shows to tell me I’m saying what everybody’s thinking.”
That drove her forward, bringing Reckless to fruition. The loping want-you-now reality-checking “Matchsticks and Metaphors” with its confession, “if you don’t want me, that don’t bother me at all/ don’t be upset when I don’t answer if you call...,” the stark Appalachia of “Met You” and the swirling, snapped finger compulsion beyond drugs or alcohol “Last Cigarette” captivated listeners for their white knuckled hold on reality. Like “Wilder Days” – with its j’accuse “You said you hate the smell of cigarette smoke...” hook, which Rolling Stone called “the year’s most irresistible country-rock chorus” – the sense of mystery allows listeners room their own lives in her songs.
“I’m not naming names,” Wade says, eyes rolling at the idea. “But I’m always for whatever paths gonna pave the way for the next outcast, the next person who feels so alone. If the songs speak to the people who need to hear them, it makes me feel good about having been so vulnerable and honest. When people scream ‘Wilder Days’ right back to me or tell me they feel like they have a story, their story in my story, that’s when you know you’re not alone.”
To that end, Wade, Vaden and Ebersold talked about what’s next. With songs left uncut, songs that expand the story, it seemed a shame to move on. “We decided we wanted to share some more. Take ‘The Night.’ In concert, people sing that back to me as loud as ‘Wilder Days,’ so there were things we wished we could change – there’s a B-3 part that got buried in the mix – and this way, we could bring back it into the story. To me, that’s what all of this is... The story of where I was, what I want and where I’m going.”
In a nod to Elvis Presley, whose “Suspicious Minds” she’s been scalding live with a portion of AC/DC’s “You Shook Me (All Night Long)” interjected, Deluxe contains a sizzling rendition that dials up its sexual obsession. At the other end of the spectrum, there’s “Through Your Eyes,” a chiming power-pop perspective shift on her recklessness.
“When you have younger siblings, when they say ‘I wanna be like you,’ thinking you’re so cool, that’s sobering,” Wade explains. “You see all of it in a very different light. You know, it’s one thing when you know you shouldn’t, and you do it anyway; it’s another when you realize a three-year-old is taking it in.” As for Elvis, “It’s very sacred to cover one of his songs, and I wanted to choose one I could make my own. I have a lot of younger fans who don’t know, who think it’s my song, so I love that I can take something and introduce it to a new generation... but we wouldn’t have done it, just to do it.
“Vocally, it works for me; it’s got a great range, especially when I hit that chorus. I’m kind of weird about covers, but when I asked the band, ‘What do you think about this?’ They were all in.”
Between the road, the critical acclaim, the growing radio believers, Wade knows the future is coming – and intends to be ready. With one foot strongly in the realm of where she’s been, she wrote the tumbling the rollicking “When the Dirt All Settles,” with The Cadillac Three’s Jaren Johnston and “Run” – Vaden a co-writer on both tracks – to find a lighter way to escape the things that pull you down. She knows sobriety is a daily battle, that the dark moods and other issues are a fact of life. But the wide-eyed songwriter also knows how we face the day is often up to us. Rather than drowning in boredom or desperation, “Run” is a launching pad, looking both ways and finding whatever escape might be found in the company of someone outrunning their own sad memories – and the galloping running into the distance “When the Dirt All Settles.”
“It was fun, the polar opposite of what I thought [writing with someone new would be],” she says. “I’ve always written out of emotion, out of the moment, so I had it in my mind you had to be all serious all of the time. But sometimes it’s okay to kind of let go, to just have three minutes to just kick it out and have some fun. You can keep the honesty, but maybe take it from somewhere else.” Somewhere else? For Morgan Wade, wherever that is, you can bet it’ll be wild and free and seeking.
“I figure if I keep saying the things I want to say, then people are still going to be thinking them, too. We’re all running into those feelings, so let’s just get it out in the open where we can let ‘em go.”
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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