The Collection
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ARTIST PROFILE | The Collection
Little Deaths is a nuanced, emotional and intimate step inward for the otherwise hyperbolic band The Collection, the North Carolina-based indie-pop band founded by frontman David Wimbish.
In their time together, the tightly knit, six members of The Collection have inspired listeners with their raucous, folk-based indie-pop sound, resulting in an unabashed positivity and participatory spirit of shared celebration, creating an almost congregational connection with their audience. The Collection built their familial fan base over three independent albums, 2014’s full-length debut Ars Moriendi, Listen To The River [2017] and Entropy [2018]. The latter featured “Beautiful Life,” and its 8.7 million-and-counting Spotify streams, earning the band praise from American Songwriter, Glide, Parade and more, even landing on NPR Tiny Desk Judges’ Picks This was bolstered by the band’s riotous and righteous shows touring with the likes of Oh Hello, RIPE, Tall Heights and Sammy Rae & Friends.
Their 2023 EP and first effort with Nettwerk, How to Survive an Ending was a post-pandemic roadmap of resolve and celebrating the moment.
With Little Deaths, however, Wimbish writes about the aches, joys and acceptance of deeply personal growth. The progression of the band’s sound, he says, is palpable. “Our last record was triumphant,” he says. “Little Deaths is about vulnerability.”
Key to that vulnerability was Wimbish’s decision to get sober during the pandemic. “I’d been isolated and drinking a lot, and I realized I’d lost any sense of presence in the moment,” he explains. “When I got sober, I realized the best — and worst — thing about it was that I felt all my feelings. I felt really vulnerable.”
Factor in pandemic isolation, and Wimbish was faced with an almost existential urgency writing what would become Little Deaths. “I had about 200 ideas, mostly just voice memos when I started. But if I was going to develop an idea, I had to ask myself, ‘Do I believe this in my core? You’re going to sing these songs every night and you have to be able to feel it in your soul’,” Wimbish says, adding, “Sometimes I need to write songs just to kick myself in the butt.”
And kick he did. With his five bandmates spread out all over North Carolina, The Collection’s usually collaborative writing instead fell more to Wimbish alone during lockdown, which allowed him to tap into a hardwon presence and introspection. “I wasn’t relying on everyone else - my vocals and melody had to be front and center and so the songs had to be able to stand on their own,” he explains. “Then I’d send them out to everyone to add their parts.”
“Medication,” the album’s breakout single about overcoming the stigma of needing, asking for and getting mental health help, came from a January 2023 writing retreat in a cabin in Maine. “‘Medication’ came very, very quickly. I woke up one morning, walked downstairs, made a fire, and just recorded the line, ‘I deserve to be well.’ Then I just broke down crying. I knew when I sang it this was something I needed to believe deep in my soul,” Wimbish says. “I wrote the rest of it that morning.” “Medication” has since become a viral phenomenon, inspiring tearful reaction videos, fan art and covers.
Recording in Nashville with producer Jeremy Lutito (NEEDTOBREATHE, Joy Oladokun, Jars of Clay, etc.) and engineer Reid Leslie created the opportunity to push Little Death’s sound to match the raw vulnerability of the songs by rearranging them with unconventional instruments, from ducttaped pianos to rubber-bridged guitars, giving the songs an intimate immediacy.
The album’s titular intro “Little Deaths,” another song from the Maine writing retreat, is just Wimbish at a piano. Lutito set up an extra microphone to record the sound of Wimbish’s fingers tapping at the keys. He sings about his own transformation, the radical honesty people in recovery use to describe leaving past selves that no longer serve them, with only the faith that things will get better to guide them forward. “I’m still not the person I had hoped for/But no longer who I was/ And maybe all these little deaths are keeping me alive/Like a piece of tired wood underneath ambitious vines.”
It’s a somber, sober way to begin, but it also establishes the vulnerability that shapes the album as Wimbish’s voice at times quivering with the fragility of the moment. “I had a lot of fear recording it that way. It just felt too vulnerable to put on the record,” he admits. “But Jeremy was like, ‘No, that’s it, this is where you need to be to sing these songs.’ I’d come in with this idea that my voice needed to be clean and technically perfect, but this way, it actually feels more like my voice live.” Present, indeed.
Embracing this vulnerability also meant songs were free to take on new, thrilling shapes, as on “The Weather,” about being at an emotionally exhausted low and just hoping that this too, shall pass. “The demo version was me picking through an acoustic guitar and [guitarist Joshua Ling] on an electric, but Jeremy wanted me to play it on a rubber-bridged guitar, which sounds like a cello. Then we used a baritone guitar, which made it deeper, and recorded the bass through a vintage guitar amp,” says Wimbish. “We basically completely deconstructed it, but it was Jeremy’s way of keeping us on our toes instead of just recreating the demo.”
Likewise, “The Come Down,” which navigates a rush of highs and lows musically and thematically, finds Wimbish empathizing with being there for someone experiencing bi-polar mood swings— from the perspective of also suffering from them himself. It is thrilling and at times even jarring, featuring perfectly imperfectly distorted horns.
With its hands-in-the-air deluge of emotion, “Rain it Down” may be the most classic-sounding The Collection-esque song on Little Deaths, but it, too, finds Wimbish tapping into a deep empathy that’s more about trying to accept his flaws than simply celebrating overcoming them. “When my heart starts anticipating a majorly needed change in my life - a breakup, a move, a job - it can take a long time to express it. Fear and anxiety take over, worrying that my needs will hurt others or leave them feeling abandoned. It becomes easy to be closed off and put up walls,” he says. “But often, expressing my truth, breaking the dam, and releasing the flood brings such an intense sense of relief.”
“The Mood” started out as a demo without much of a beat, but found its groove in the studio, the track winding its way around an insistent breakbeat punctuated by horns. Wimbish details rebounding after a break-up, even though it may not be the best idea: “Break my heart again, I’m already in the mood.”
As one of the hardest songs for the band to write on the album, “Spark of Hope” has a patient, almost timid feel to it that gives its title and message a hard-won feel. “I started to analyze how I feel about life, as someone who is often optimistic about projects, but not about my own mental state or health or future, and realized I don’t feel like someone who drowns in hope, but I’m not void of it either. I always try to at least carry a little spark of it, just enough to see in the darkness, and hope it’s enough to get me through,” he says. “I wrote this song while we were in the studio, after almost a year of trying to write it and failing. It came together in a half hour and we recorded it the next day, with the lights low, during a thunderstorm.”
“Over You” isn’t so much a break-up song as a break-down song, realizing a relationship is over but still not wanting it to be. “It took awhile for us to get this one right, “Wimbish admits. “We recorded it three different times with very different arrangements. But with Jeremy in the studio, it finally found its voice - an ever growing build of emotion that comes crashing back down into a smooth onward momentum.”
Little Deaths shows the band that once wrote songs like “You Taste Like Wine” now sober and self-searching, but even more deeply connected to listeners because of it.
“I want people to relate to the record in a way that they can feel vulnerable listening to it, because sharing that vulnerability makes it easier to talk to each other, and help each other get better,” Wimbish says.
To that end, the band hosted their own music festival, Soil & Sky, in September 2023, on 32 acres of land in rural North Carolina, with plans to make it an annual event. The band plans to include playing a series of house parties to tour in support of Little Deaths, “kind of a potluck thing,” Wimbish says. “Our community tends to have a lot of room for depth and connection, so we’re like, why don’t we create a space of intimacy and connection ourselves?”
With Little Deaths, they already have.
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.
Can I upgrade my to VIP seating?
HI-FI offers a limited number of seating upgrades in designated viewing areas. The HI-FI VIP Deck is the elevated section near the back of the venue offers table seating with quick access to the bar. Please note that all guests in this area must be 21+. You can contact the box office to purchase a seating upgrade for your ticket 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?
Parking in Fountain Square can be difficult at times and we highly recommend you carpool, Uber, Lyft, or use public transportation when attending an event. Street and parking is available along Woodlawn Ave, Virginia Ave, and Prospect St. Bicycle parking is available in front of HI-FI on Virginia Ave and neighboring streets. Do not park in the Wine Market parking lot.
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 and LO-FI Lounge 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. Once inside HI-FI, there is no designated ADA seating section. 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 three 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 a.m. to 6 p.m.
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 p.m.
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, 10:00 a.m. to 6:00 p.m., and Saturdays from 12:00 p.m. to 7:00 p.m.
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. 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. Valid tickets for HI-FI, HI-FI Annex, & LO-FI Lounge are exclusively available through the locations specified in the ‘How can I purchase tickets?’ section above. Tixr and SeeTickets are the only two ticket vendors supported at our venues. section above.
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, the new and primary box office is located two doors down from HI-FI in Suite 2. This box office is open Monday through Friday 10am – 6pm 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.
The Collection
Start Time: 8:00 pm
Buy Tickets
ARTIST PROFILE | The Collection
Little Deaths is a nuanced, emotional and intimate step inward for the otherwise hyperbolic band The Collection, the North Carolina-based indie-pop band founded by frontman David Wimbish.
In their time together, the tightly knit, six members of The Collection have inspired listeners with their raucous, folk-based indie-pop sound, resulting in an unabashed positivity and participatory spirit of shared celebration, creating an almost congregational connection with their audience. The Collection built their familial fan base over three independent albums, 2014’s full-length debut Ars Moriendi, Listen To The River [2017] and Entropy [2018]. The latter featured “Beautiful Life,” and its 8.7 million-and-counting Spotify streams, earning the band praise from American Songwriter, Glide, Parade and more, even landing on NPR Tiny Desk Judges’ Picks This was bolstered by the band’s riotous and righteous shows touring with the likes of Oh Hello, RIPE, Tall Heights and Sammy Rae & Friends.
Their 2023 EP and first effort with Nettwerk, How to Survive an Ending was a post-pandemic roadmap of resolve and celebrating the moment.
With Little Deaths, however, Wimbish writes about the aches, joys and acceptance of deeply personal growth. The progression of the band’s sound, he says, is palpable. “Our last record was triumphant,” he says. “Little Deaths is about vulnerability.”
Key to that vulnerability was Wimbish’s decision to get sober during the pandemic. “I’d been isolated and drinking a lot, and I realized I’d lost any sense of presence in the moment,” he explains. “When I got sober, I realized the best — and worst — thing about it was that I felt all my feelings. I felt really vulnerable.”
Factor in pandemic isolation, and Wimbish was faced with an almost existential urgency writing what would become Little Deaths. “I had about 200 ideas, mostly just voice memos when I started. But if I was going to develop an idea, I had to ask myself, ‘Do I believe this in my core? You’re going to sing these songs every night and you have to be able to feel it in your soul’,” Wimbish says, adding, “Sometimes I need to write songs just to kick myself in the butt.”
And kick he did. With his five bandmates spread out all over North Carolina, The Collection’s usually collaborative writing instead fell more to Wimbish alone during lockdown, which allowed him to tap into a hardwon presence and introspection. “I wasn’t relying on everyone else - my vocals and melody had to be front and center and so the songs had to be able to stand on their own,” he explains. “Then I’d send them out to everyone to add their parts.”
“Medication,” the album’s breakout single about overcoming the stigma of needing, asking for and getting mental health help, came from a January 2023 writing retreat in a cabin in Maine. “‘Medication’ came very, very quickly. I woke up one morning, walked downstairs, made a fire, and just recorded the line, ‘I deserve to be well.’ Then I just broke down crying. I knew when I sang it this was something I needed to believe deep in my soul,” Wimbish says. “I wrote the rest of it that morning.” “Medication” has since become a viral phenomenon, inspiring tearful reaction videos, fan art and covers.
Recording in Nashville with producer Jeremy Lutito (NEEDTOBREATHE, Joy Oladokun, Jars of Clay, etc.) and engineer Reid Leslie created the opportunity to push Little Death’s sound to match the raw vulnerability of the songs by rearranging them with unconventional instruments, from ducttaped pianos to rubber-bridged guitars, giving the songs an intimate immediacy.
The album’s titular intro “Little Deaths,” another song from the Maine writing retreat, is just Wimbish at a piano. Lutito set up an extra microphone to record the sound of Wimbish’s fingers tapping at the keys. He sings about his own transformation, the radical honesty people in recovery use to describe leaving past selves that no longer serve them, with only the faith that things will get better to guide them forward. “I’m still not the person I had hoped for/But no longer who I was/ And maybe all these little deaths are keeping me alive/Like a piece of tired wood underneath ambitious vines.”
It’s a somber, sober way to begin, but it also establishes the vulnerability that shapes the album as Wimbish’s voice at times quivering with the fragility of the moment. “I had a lot of fear recording it that way. It just felt too vulnerable to put on the record,” he admits. “But Jeremy was like, ‘No, that’s it, this is where you need to be to sing these songs.’ I’d come in with this idea that my voice needed to be clean and technically perfect, but this way, it actually feels more like my voice live.” Present, indeed.
Embracing this vulnerability also meant songs were free to take on new, thrilling shapes, as on “The Weather,” about being at an emotionally exhausted low and just hoping that this too, shall pass. “The demo version was me picking through an acoustic guitar and [guitarist Joshua Ling] on an electric, but Jeremy wanted me to play it on a rubber-bridged guitar, which sounds like a cello. Then we used a baritone guitar, which made it deeper, and recorded the bass through a vintage guitar amp,” says Wimbish. “We basically completely deconstructed it, but it was Jeremy’s way of keeping us on our toes instead of just recreating the demo.”
Likewise, “The Come Down,” which navigates a rush of highs and lows musically and thematically, finds Wimbish empathizing with being there for someone experiencing bi-polar mood swings— from the perspective of also suffering from them himself. It is thrilling and at times even jarring, featuring perfectly imperfectly distorted horns.
With its hands-in-the-air deluge of emotion, “Rain it Down” may be the most classic-sounding The Collection-esque song on Little Deaths, but it, too, finds Wimbish tapping into a deep empathy that’s more about trying to accept his flaws than simply celebrating overcoming them. “When my heart starts anticipating a majorly needed change in my life - a breakup, a move, a job - it can take a long time to express it. Fear and anxiety take over, worrying that my needs will hurt others or leave them feeling abandoned. It becomes easy to be closed off and put up walls,” he says. “But often, expressing my truth, breaking the dam, and releasing the flood brings such an intense sense of relief.”
“The Mood” started out as a demo without much of a beat, but found its groove in the studio, the track winding its way around an insistent breakbeat punctuated by horns. Wimbish details rebounding after a break-up, even though it may not be the best idea: “Break my heart again, I’m already in the mood.”
As one of the hardest songs for the band to write on the album, “Spark of Hope” has a patient, almost timid feel to it that gives its title and message a hard-won feel. “I started to analyze how I feel about life, as someone who is often optimistic about projects, but not about my own mental state or health or future, and realized I don’t feel like someone who drowns in hope, but I’m not void of it either. I always try to at least carry a little spark of it, just enough to see in the darkness, and hope it’s enough to get me through,” he says. “I wrote this song while we were in the studio, after almost a year of trying to write it and failing. It came together in a half hour and we recorded it the next day, with the lights low, during a thunderstorm.”
“Over You” isn’t so much a break-up song as a break-down song, realizing a relationship is over but still not wanting it to be. “It took awhile for us to get this one right, “Wimbish admits. “We recorded it three different times with very different arrangements. But with Jeremy in the studio, it finally found its voice - an ever growing build of emotion that comes crashing back down into a smooth onward momentum.”
Little Deaths shows the band that once wrote songs like “You Taste Like Wine” now sober and self-searching, but even more deeply connected to listeners because of it.
“I want people to relate to the record in a way that they can feel vulnerable listening to it, because sharing that vulnerability makes it easier to talk to each other, and help each other get better,” Wimbish says.
To that end, the band hosted their own music festival, Soil & Sky, in September 2023, on 32 acres of land in rural North Carolina, with plans to make it an annual event. The band plans to include playing a series of house parties to tour in support of Little Deaths, “kind of a potluck thing,” Wimbish says. “Our community tends to have a lot of room for depth and connection, so we’re like, why don’t we create a space of intimacy and connection ourselves?”
With Little Deaths, they already have.
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