Doors at 8:30
9 - Blackwater Jukebox
10 - Professor Colombo
11 - The Herbert Bail Orchestra
Five years can be an eternity in the music business. Yet for The Herbert Bail Orchestra’s Anthony Frattolillo, whose songs often confront the illusory nature of time, a rushed follow-up to his collective’s acclaimed 2013 debut, The Future’s In The Past, was never in the cards. 2013’s The Future’s In The Past saw the band praised at LA Weekly, Nowness, The Huffington Post and more. But with the new record, Frattolillo was interested in confounding the expectations of anyone who might try to classify his group based on their earlier sound. “Devotchka and Gogol Bordello were really popular at the time, and because we had an accordion and a trumpet, we got swept up in that whole gypsy-folk thing,” he says. “All the cool kids in Echo Park and the venue bookers were like, ‘Oh shit, it’s a gypsy folk band from L.A.—all they need is a bottle of whiskey and a good time will happen!’ and that’s what was written about us. But I always tried to get away from that because it felt limiting. It wasn’t a true reflection of our ethos.” Like Pink Floyd before them, there is no Herbert Bail in the Herbert Bail Orchestra—the group’s moniker is actually an homage to a whimsical figure in Frattolillo’s life. “Herbert Bail was my grandfather’s real name,” he says, “though I grew up knowing him as Grandpa Jack. At the end of his life, we found out he was born by another name, and had another wife and a whole other family we never knew about. So the name Herbert Bail Orchestra is an homage to this idea that we all lead many lives and there are no single truths.” Herbert Bail Orchestra’s new set of songs also broadens the collective’s sonic palette, instrumentation-wise, and—as befitting an album inspired in part by Frattolillo’s travels across America—has a distinct heartland sound. “I wanted to make the great American album,” he says. “On the song ‘Chains,’ which is a look at the modern state of America, I was going for something like Springsteen’s ‘Born in the U.S.A.’ And we used a lot classic American folk instruments this time, like singing saw and banjo.” That’s not to say History’s Made At Night completely eschews the more exotic sounds of the band’s debut—songs like “Gavrilo” and “Radio Tower” instantly recall the Balkan-influenced vibes of The Future’s In The Past. But tracks like “Hometown Honey” and “Hold Your Own” build from quiet, acoustic opens into stirring, Americana anthems. And Frattolillo is charismatic enough as a performer to produce riveting results on “Shine” with only the barest accompaniment.