Sorry you missed out on this show.
For those of you who do have tickets here is what you need to know:
- Doors open at 7 p.m. Weather Station will open at 8 with NEFE and Donovan Woods and the Opposition will be on shortly after 9 pm.
- We have your name on a list but it is helpful if you bring a copy of your ticket or ID with you for verification.
- This is a mostly seated event. If you require special considerations please ask one of our volunteers and we will do our best to help.
- There is a fundraising cash bar run by the Avening Hall Board. Our dedicated volunteers will be serving up Creemore Springs beer, and Tim will be slinging the Duntroon Cyder. We also offer wine and soft drinks.
- Loco por el Asado will be serving up some delicious Argentinian Food.
- Please bring cash if you intend to make purchases. There are no ATMS in Avening.
- If you still have questions please call Sara during office hours at 705-466-9906 or any time at 705-888-5139. Email [email protected]
We are thrilled to announce a sit down show with Donovan Woods and the Opposition. Those who enjoyed him as part of the Writes of Spring Show with Hawksley Workman and Tim Baker in 2017 have been begging to see him back and we are delighted to have set the date!
For those of you who do not know Donovan Woods, he is a notable Nashville writer with credits by Billy Currington, Charles Kelley, Tim McGraw and Charlie Worsham. NPR Music stated, “There are very few writers who can make you laugh and break your heart in the same song.” No Depression noted that Woods’ style is “as fresh and captivating as any out there.”
In Both Ways , Woods shows the rare ability to distill complicated situations and emotions into songs that are intriguing and relatable. Perhaps the collection’s most beautiful song is “I Ain’t Ever Loved No One,” a duet with Rose Cousins. The song captures that moment of bringing someone home to meet the family, using it as a backdrop to the anxieties of falling in love. True to the album title, a listener could either imagine a happily-ever-after ending or hear it as an ode to the one that got away. In most cases, Woods prefers to leave lyrics open to interpretation.
“The writing I always liked is about things that are indicative of a world but not the entire world. They lead you into the room and then let you fill in the details. One detail that makes you go, ‘OK, I feel like I understand.’ As long as you find that one detail, that’s the key. That’s the one you stick with and the rest is up to people’s imagination,” he says.
As Both Ways progresses, radio-friendly songs like “I Live a Little Lie” and “Easy Street” employ a full-band sound to flesh out the sonic landscape. A number of the songs are guitar-driven, yet they stop short of full-blown rock ‘n’ roll. With his typically droll sense of humor, Woods notes, “I know that nobody likes rock music anymore. I don’t even really like it anymore.” But he says the more aggressive moments on Both Ways are inspired by camaraderie in the studio and on tour, as well as the pop and R&B music he heard growing up in Sarnia, Ontario, where he could pick up the radio stations out of Detroit.
Both Ways concludes with “Next Year,” one of five songs on the album he co-wrote in Nashville, where he has a publishing deal with Warner/Chappell Music. The poignant narrative follows a boy through adolescence and adulthood, where hopes and dreams are in a race against time. While the lyrics are drawn from Woods’ own life, the experiences are universal.