BEGIN:VCALENDAR VERSION:2.0 PRODID:-//wp-events-plugin.com//7.3.3//EN TZID:America/New_York X-WR-TIMEZONE:America/New_York BEGIN:VEVENT UID:156871@kingstonhappenings.org DTSTART;TZID=America/New_York:20260711T000000 DTEND;TZID=America/New_York:20260711T000000 DTSTAMP:20260610T221419Z URL:https://kingstonhappenings.org/events/buck-meek-w-kisser-live-at-assem bly-kingston-ny/ SUMMARY:Buck Meek w/ Kisser LIVE at Assembly - Kingston\, NY DESCRIPTION:https://www.tixr.com/groups/assembly/events/buck-meek-178285\n\ nBUCK MEEK\n\nA gleaner of the forgotten\, Buck Meek tips over the familia r and turns the unknown into a companion. On The Mirror\, the artist’s f ourth solo record and second album released by 4AD\, there’s a tender po wer\, countered by immutable vulnerability. With an uncanny curiosity\, Me ek conjures twin worlds to reveal the uniqueness in the mundane. Inviting in reflection as collaborator and demon as friend\, The Mirror doesn’t s eek to know but to ask\, looking to the shape of a question rather than th e illusion of its answer.\n\n“The more I get to know you\, the less I kn ow of love /\nIs it science? Is it art? / Can I learn to give away my hear t?”\n\nMeek grew up in Wimberley\, Texas. The grandson of a Shakespearea n scholar grandmother and Faulkner scholar grandfather\; the son of a chil d psychologist mother and glass sculptor father\; and teenage protege to a n old guard of mystic Texas songwriters and musicians\, outlaw poets\, aci d hillbilly jazzers\, and gutbucket guitarists. Meek’s first gig was at thirteen\, playing rhythm for the Memphis bluesman Brandon Gist\, kicking Gist's old amp when it would short out on stage. The artist went on to cut his teeth playing Manouche\, Romanian waltzes\, ragtime\, western swing\, rock and roll\, and his own songs in bars\, icehouses\, square dances\, p ie socials\, cowgirl kabuki theaters\, fire dances\, and acrobat squats in high desert mission churches. He moved to Boston to study jazz\, and quic kly found community in other young “jazz musicians” who really just wa nted to write songs and play rock and roll at house shows. Later\, he move d to New York where he met Adrianne Lenker. The two lived in a van while s inging their songs across the country before forming Big Thief.\n\nPeeking into the corners of The Mirror’s Wunderkammer\, angels fly above the be d\, and demons learn to read. The lens shapeshifts––out of curiosity a nd out of yearn. For Meek\, language is something shared\, passed in cuppe d hands\, outstretched\, and spilled again––back into the river\, and to the source. In “Demon\,” Meek reflects this inheritance\, “The mo re I learn the less I know / Stole that last line from my friend / Tucker Zimer-zim-zim-zimmerman / The line between us all is thin.” The record m oves as an artifact of friendship\, both in process and lyric. The Mirror dances loose-limbed into an unknown where shared listening is the language .\n\nEmerging from a decade of work together in Big Thief\, the partnershi p of Meek and producer James Krivchenia on The Mirror arrived from the ide a to combine the band’s live\, kinetic energy with an oblique electronic world. The pair share a school of thought that holds foundational trust i n a song\, to let performance be the guide. Krivchenia brought technique a nd philosophy from his own experimental music practice. From production pr ojects like Big Thief’s Dragon New Warm Mountain I Believe In You\, and Westerman’s An Inbuilt Fault\, to his recent solo record\, Performing Be lief––Krivchenia’s work enlivens through electronic elements\, alway s seeking to deepen sound. The concept for The Mirror welcomed a collectiv e atmosphere in which simultaneous experiment could occurr––the musici ans responded to each other in real time\, while their instruments trigger ed modular synthesizers and electronic magic boxes. The warmth and texture s of the live band are emphasized by the electronic edge\, revealing subtl e parallel realities inside the recording. In merging the two worlds\, Kri vchenia and Meek found a shared telepathy through the process\, an unspoke n creative sync.\n\nThe pair looked towards the experiment\, welcoming in friends\, family\, and longtime collaborators from ranging musical eras of life as vital co-creators. Adrianne Lenker\, who contributed vocals\, is Meek’s creative collaborator of fifteen years while Adam Brisbin on guit ar and Ken Woodward on bass have been strongholds in Meek’s solo project for a decade. New creative partners and longtime friends like composer an d ambient musician Alex Somers joined in on synthesizer\, toy microphone\, and piano\, and Mary Lattimore brought in the sounds of her prismatic har p. A rotating cast of four drummers: Jesse Quebbeman-Turley\, Jonathan Wil son\, Kyle Crane\, and James Krivchenia provide a wide dynamic arc of groo ves. Germaine Dunes\, Staci Foster\, Jolie Holland\, and Lenker sing as a choir on many songs. Meek’s brother\, Dylan Meek contributed piano\, key s\, and vocals. Adrian Olsen created a wide range of sounds and melodies w ith modular synths.\n\nMeek’s songwriting became compass to the recordin g process\, instead of limiting the tracks to something controllable\, he invited interaction\, pulse. The album was recorded in Meek and Germaine D unes' log cabin studio\, Ringo Bingo. While Meek recorded vocals outdoors on the front porch\, looking through the living room window where the band played inside\, Krivchenia and engineer Adrian Olsen were building a mirr or dimension of slurm that breathed alongside the songs. With the live ban d emerged a kinetic immediacy that when layered with Krivchenia’s buoyan t and textural electronic atmospheres\, a new habitable world was formed.\ n\nViva voce\, hallowed or an afterthought\, Meek captures essential human feeling with humor and sweet reverence. The Mirror searches for new meani ng and the familiar is reframed through Meek’s singular voice. Love\, as an idea\, is always close––but in its reflection comes an afterimage of the way things could be and how they’ve been before. “In Heart In t he Mirror\,” the reflection takes on a literal form––“Backwards lo ve is easier to read / When it’s tattooed on my heart in the mirror.” The Mirror steps through phases of love\, from freshly formed to union\, a nd the songs seek an infinite curiosity rather than resolution. The feedba ck loop takes hold in “Can I Mend it\,” as self-reflection is magnifie d in partnership: “Can I mend it? Can I make it whole? / Now that you’ ve seen into the dark side of my soul.” The answers may come eventually\ , but the record treats love less as confession than as study—a map of n ot-knowing and a reverence for those shadows of intimacy. In “Gasoline\, ” Meek signals linguistic play again\, this time irreverently in shared company\, “Making words up while we made love / one month and she’s in my blood / Ooheeah lalo\, faroosee mneykro.” The record holds the absur dity of devotion\, the choice to love—with equal parts ache and grin.\n\ nLexical mirrors are handheld\, tactile\, and kept close throughout The Mi rror––each one holding up a new truth. Language continues to spill ove r itself in “Demon’s” aural doubling\, “I try to write a broken wi ng.” Meaning flickers. At once\, the line appears like a healing call th rough the homophone of write and right\, while containing within it the id ea of the descriptive\, the evocation of injury. Can’t it be both? On “Pretty Flowers\,” Meek writes: “Show me how to come into my power w ithout being mean / the garden weeds are making it look easy.” Meek look s for duality\, finding it in the overgrowth.\n\nThese images echo themati cally through the record as a lighthouse beacon\, positioning the self as both subject and collaborator in a transformation where the reflection is infinite. On “Gasoline\,” language arrives unformed with tender ease\, layering past with new love. “We lay in silence through the morning / U ntil language slowly started forming / She hummed a lullaby / I recognized from when I was a newborn.” Memory gets a slippery incarnation\, making doubles and threading timespaces. On “Soul Feeling\,” memory becomes a site for loss and the emergence of new meaning. “Memories are disappea ring / But he’s still got his soul feeling.” The song becomes a vessel to expand and contract time\, moving through story and experience.\n\n“ My demon is my darkness and my darkness is my angel /\nI taught him how to read\, now I’m teaching him to write.”\n\nThe Mirror keeps on holding multiplicity and the line stays thin: “My demon is my darkness and my d arkness is my angel / I taught him how to read\, now I’m teaching him to write.” On “Demon\,” mirror and demon become twin symbols for the s elf-encounter. Fear\, darkness\, and reflection are collaborators rather t han enemies––versions of the self with hands waiting to be held. How c an you protect the spontaneity of reflection before it hardens into self-a nalysis? Before it calcifies as criticism? Before it argues for perfection ? The questions keep arriving\, playing with expectation\, when on the oth er side there could be anything.\n\nThe creek films with leaves\, jimson t rumpets\, wild roses\, tarmac\, worms and blue jeans\, love and hot air. N earby\, in one million years\, a lightbeam\, a warm rock and a cool breeze . When memory returns it arrives in a new body\, it asks an old question. As an artist\, Meek continues to reveal his singular aptitude as translato r of human feeling and its endless portals. Through The Mirror\, Meek aptl y embraces this unknown with an abiding desire to find the right questions to ask\, rather than their answers. “I don’t know the meaning of your dreams\,” Meek writes on Deja Vu\, “Though tell me everything.”\n\n “I don’t know the meaning of your dreams / Though tell me everything ” ATTACH;FMTTYPE=image/jpeg:https://kingstonhappenings.org/wp-content/upload s/2026/06/buck.jpg CATEGORIES:@Featured,Music,Nightlife and entertainment LOCATION:Assembly\, 236 Wall St. 3rd Floor\, KINGSTON\, NY\, 12401\, United States GEO:41.931738;-74.018648 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=236 Wall St. 3rd Floor\, KI NGSTON\, NY\, 12401\, United States;X-APPLE-RADIUS=100;X-TITLE=Assembly:ge o:41.931738,-74.018648 END:VEVENT BEGIN:VTIMEZONE TZID:America/New_York X-LIC-LOCATION:America/New_York BEGIN:DAYLIGHT DTSTART:20260308T030000 TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT END:DAYLIGHT END:VTIMEZONE END:VCALENDAR