This show has moved to 3/31/22--your original 3/26/20 will be honored. If you cannot attend new date please seek refund point of purchase. Due to the current Covid-19 situation the Troubadour has implemented new safety protocols. West Hollywood has now passed a mandate starting October 11, 2021 that all persons MUST be FULLY VACCINATED and show proof in order to enter an indoor facility. People are considered “fully vaccinated” against COVID-19 two weeks or more after they have received the second dose in a 2-dose series (e.g., Pfizer-BioNTech or Moderna) or 2 weeks or more after they have received a single-dose vaccine (e.g., Johnson and Johnson [J&J]/Janssen). Vaccination Verification Requirements for Patrons at Covered Businesses: As soon as possible, but no later than October 11, 2021, Covered Businesses must require all patrons age 12 and older to show proof that they are Fully Vaccinated (with a photo ID)before entering any indoor portion of a facility. Persons 11 and under are not required to show proof of full vaccination (instead we require a PCR test within 72 hrs prior to the event. Rapid test results not accepted). Establishments where food or drink is served indoors, including, but not limited to; restaurants, bars, nightclubs, theaters, cannabis consumption lounges, and entertainment venues; That being said, till the unforeseeable future will require that everyone is vaccinated (with photo ID)— all attendees, bands, and staff. To that end, we’ll be asking you all to show proof of FULL vaccination, either a card, a photo of your card, or the CA QR code. All Patrons Must Provide proof upon entry of a completed vaccination against COVID-19 (patrons must have a completed COVID-19 vaccination card, with their final dose at least fourteen days prior to the event) along with their photo ID, NO Exceptions. No FULL Vaccination Proof, No Exception! We appreciate your understanding and support. The Tallest Man on Earth show originally scheduled for March 26, 2020 has been rescheduled again to March 31, 2022. All tickets purchased for the March 26th show will be honored for the March 31, 2022 show. If you cannot attend new date please seek refund at point of purchase. The Tallest Man On Earth On April 19th, 2019, The Tallest Man On Earth released his first album in 4 years. I Love You. It’s A Fever Dream. was written, produced and engineered by Kristian Matsson and was recorded almost entirely in his apartment in Brooklyn, NY. When asked for some insight into the album, Matsson says “Here’s what I can tell you: Of course there are some love songs and then there are some other songs. Making the album I was thinking a lot about the lenses we view our lives through and that, for some reason, our worst tendencies seem to be carried out so loudly, while our best can go unnoticed. I’ve come to realize that some of the most powerful, most inspiring moments in my life have been the most subtle and that so often the thing that deserves my attention, is trying the least to get it.” In recent years Matsson has undertaken single oriented projects that incorporate writing, producing and self releasing songs and videos in regular intervals, often with purposefully intense deadlines. He’s described finding inspiration in the entire process, and in particular in the satisfaction of making something and having it out quickly. For listeners and viewers the fascination has been in watching an artist work through his life, in problems and celebrations large and small, putting his thoughts out into the world while he’s still processing them himself and watching them evolve over time.Official Website. Facebook. Instagram. Twitter Soundcloud. Bandcamp UWADE — There are Greek myths that speak of voices that lull and linger. That shimmer with a kind of sonic that can bend the laws of physics, dropping us into underworlds and lifting us back out again. Uwade has a sound that could live in myths like these. And it’s no secret why. A scholar of the highest order, Uwade, 21, has studied Classics at Columbia and Oxford, received fellowships and scholarships at each, and has been deemed a genius in certain circles. Knowing this, it’s easy to want to plunge into the academic depths of her sound. (Along with Julian Casablancas, Nina Simone and Sir Victor Uwaifo, Uwade cites Lucian, Catullus and Virgil amongst her influences). It’s easy to want to describe her voice as something that lives outside of time, ancient and altogether new, equally at home in the dive bars of folk and rock songs as in the sublime texts of wine-dark seas. To say it’s nothing short of a divine signal. But all of this feels heavy. And the truth is that Uwade’s voice is an embodiment of light. It’s tender and unwavering but sharp, too, like honey on the edge of a knife, or cool, clear water over stones. Amidst the infinite possibilities we can find within her sound, the thing we’re always left with, the thing that keeps us coming back, again and again, is joy. The joy of following a feeling. Of being lost in the pleasure of the present moment. Of singing together with people in a room. Yes, there is hope and influence and complexity there, but in the end, there’s joy. And thank God for it. For Uwade, singing is prayer. This stems, in part, to her spiritual upbringing. Born in Nigeria, she was raised as an only child in North Carolina, steeped in the sounds of hymnal choral music and Fela Kuti. Her mother owns a hair salon and she credits her father with teaching her to sing. Uwade’s father passed away in August 2020 and since then, she’s found herself diving deeper into her Nigerian heritage, basking in the bright sounds of Highlife. Her recent recording of Sir Victor Uwaifo’s “Lodarore”, a favorite song of her dad’s, was met with acclaim by the legendary Edo singer himself. It’s Uwade’s voice you hear opening Fleet Foxes’ 2020 record Shore, sparking the attention of global critics, and her latest single “The Man Who Sees Tomorrow” could stand as a balm to our present time, a modern-day hymn that sings of hope, even in the midst of unbearable loss: “And even though my memories are fading far too fast / One day I will know it all / And frolic in the grass.”