Kinky Friedman with Joey Harris: Live at the Belly Up @ Belly Up, Solana Beach [18 April]

Kinky Friedman with Joey Harris: Live at the Belly Up


79
18
April
20:00 - 23:00

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Belly Up
143 S Cedros Ave Ste T, Solana Beach, California 92075
Genre: singer songwriter / country
Ticket: $22 Advanced / $25 Day of Show / $39 Reserved
Doors/Show: 7:00/8:00pm
Ages: 21+

“It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better.” — Teddy Roosevelt

Kerrville, Texas — Yes, the Governor Of The Heart Of Texas Kinky Friedman has stepped into the arena again, this time accompanied by a cadre of new songs and a bit of wisdom from lifelong pal, Willie Nelson. The legendary outlaw country singer/songwriter, novelist, political gadfly, and Texas Jewboy’s upcoming cd, The Circus Of Life, could easily be called the Matlock Collection, according to the Kinkster.

All twelve new songs on the record, a sampler of which (called Resurrected) will be available on The Man In The Arena Tour, came about as a direct result of two conversations between Kinky and Willie. It started with a call from Willie in which he asked Kinky what he was doing at that moment. Kinky answered truthfully that he was watching Matlock, the old TV chestnut, to which Willie replied, “That is a sure sign of depression, Kinky. Turn Matlock off and start writing.”

Kinky did just that and started writing the songs he hadn’t written or even contemplated for decades, tunes like Jesus In Pajamas, Me And My Guitar, and A Dog Named Freedom. After writing several songs, Kinky called Willie to let him know how successful his advice had been. When Kinky asked Willie how he was doing, Willie replied, “A little up, a little down. By the way Kinky, what channel is Matlock on?” The Circus Of Life, by way of Matlock. Via Willie.

Kinky’s recent cd, The Loneliest Man I Ever Met (Avenue A Records/Thirty Tigers), mixing older originals with interpretations of the music of his greatest contemporaries, was an Americana hit. It received rave reviews across the board, making it Kinky’s best and most popular release ever, and became part of the trajectory toward the new material, all of which is a clear departure from the raucous wild and woolly of days gone by.

Not that fans have complained; the continued popularity of tunes such as Sold American, Nashville Casualty and Life and Ride ’Em Jewboy (the Holocaust-referencing song that soothed Nelson Mandela in prison) prove Kinky is that rare talent whose work withstands the test of time. Friedman still delivers those songs — interspersed with his inimitable blend of politically incorrect quips, jokes and tales both tall and true — to appreciative audiences around the world.

And new chapters of Kinky’s fabled life have just opened up to the world, in the form of Mary Lou Sullivan’s comprehensive Kinky bio Everything’s Bigger In Texas, The Life And Times Of Kinky Friedman (Backbeat Books). Published just in time for the holiday rush, the book has been an unqualified (and unvarnished) hit. It continues to fly off the shelves, late into the winter.

A brand new book about Bob Dylan, co-written with Louis Kemp, Bob’s lifelong pal is also about to hit the streets. It is not so much a biography as a group of “tales from the Bob,” an amazing compilation of insights into the life and mind of another of Kinky’s great friends, all written in Kinky’s inimitable wry style. This book will hit on Random House and has best seller list written all over it.

On the Man In The Arena tour, Kinky will travel from village to village, singing his songs, perhaps proving a truth about resurrection, and definitely railing against evil. Though a new installment of his uber popular detective book series is also part of Kinky’s 2018 trajectory, he admits, “Maybe I’ll just have to stick with songwriting.” You will want to hear his truly amazing new material at the venues listed below, especially Kinky’s thank you note to Willie, Autographs In The Rain (Song To Willie). As Kinkster proclaims, it is what music was, before it came “homogenized and trivialized and sanitized.”
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