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DATE
29 AUG 2009, SAT
TIME
7.30pm
(90mins, no intermission)
(90mins, no intermission)
VENUE
Concert Hall
PRICE
$118, $98, $68
5% early bird savings for fans of Greenhorn
Tickets on sale 26 Jun
(25 Jun for early bird savings)
(25 Jun for early bird savings)
SYNOPSIS
Aimee Mann has always been at the forefront of contemporary songwriters. The close of the millennium brought her greatest success, with the simultaneous releases of Bachelor No. 2 and the soundtrack to the film Magnolia, which garnered nominations for an Oscar, a Golden Globe and three Grammys.
After a decade in which her music often took a backseat to corporate mergers and contractual obligations, the message was clear: Aimee Mann is here to stay.
“…like a date with an old crush: full of vague, sweet, unresolved feelings…” – The Village Voice
"Brainy music.” – The Globe and Mail
“… her melodies were so gorgeous and her songs so well crafted that the show never dragged.”
– Dallas Morning News
"Brainy music.” – The Globe and Mail
“… her melodies were so gorgeous and her songs so well crafted that the show never dragged.”
– Dallas Morning News
Aimee Mann has always been at the forefront of contemporary songwriters. The close of the millennium brought her greatest success, with the simultaneous releases of Bachelor No. 2 and the soundtrack to the film Magnolia, which garnered nominations for an Oscar, a Golden Globe and three Grammys.
After a decade in which her music often took a backseat to corporate mergers and contractual obligations, the message was clear: Aimee Mann is here to stay.
Aimee's latest release is @#%&! Smilers. After the runaway success of The Magnolia Soundtrack, which received nominations for an Oscar, a Golden Globe and a Grammy, Mann's music and career took a new direction.
"Magnolia got me focused on the idea of music and movies in a different way," she explains. "I started looking at songwriting from a different angle.”
Mann began looking at writingsongs as a sort of soundtrack to an imaginary movie. “It gets me out of my own head and into the head of another character,” she says. “I don't have to write about myself all the time."
That feeling was liberating, and endows much of Manns' new work with a vivid, almost visual story-telling sense that makes her music jump off the CD.
"Magnolia got me focused on the idea of music and movies in a different way," she explains. "I started looking at songwriting from a different angle.”
Mann began looking at writingsongs as a sort of soundtrack to an imaginary movie. “It gets me out of my own head and into the head of another character,” she says. “I don't have to write about myself all the time."
That feeling was liberating, and endows much of Manns' new work with a vivid, almost visual story-telling sense that makes her music jump off the CD.
