This is a past event.
Windstorm Productions presents:

SOJA

Nahko & Medicine For The People

Fri October 25, 2013

Doors: 7:30pm / Show: 8:30 pm
Cost: $20 Adv/$22.50 Day Of Show

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Artist Bios

SOJA

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Mention folk music to the average listener and the list of usual suspects come to mind: Bob Dylan, Joni Mitchell, Woodie Guthrie, etc. Talk to SOJA lead singer/guitarist Jacob Hemphill, however, and you’ll walk away with a different perspective. “To me, Rage Against The Machine, Wu -Tang Clan, Sade, Johnny Cash, Bob Marley – they’re all folk artists,” he says. “There’s no difference between Raekwon saying, ‘I grew up on the crime side, the New York Times side, where staying alive was no jive,’ to Bob Marley saying, ‘Cold ground was my bed last night and rock was my pillow, too,’ to Johnny Cash saying, ‘I know I had it coming, I know I can’t be free, but those people keep on moving (around) and that’s what tortures me.’ Folk is all about storytelling and passing on a legacy. It’s timeless, it’s limitless and it crosses all boundaries. That’s what this band is striving for. It’s a tall order,” he laughs, “but we’re making our way.” They’ve raised the bar with Strength to Survive, their fourth full-length album, an intoxicating mix of hot-rod reggae grooves and urgent, zeitgeist-capturing themes. The album, produced by John Alagia (Dave Matthews, John Mayer, O.A.R.), is the band’s first for ATO, the label co-founded by Dave Matthews. Hemphill says the album was greatly inspired by Bob Marley’s Survival. “That’s the greatest reggae album ever made,” he says. “It has the best basslines and the best lyrics ever heard on one record. Marley wrote it after he went to Africa. I was 13 or 14 when I listened to it for the first time and it triggered all these long-forgotten memories of when I lived in Africa as a kid. My dad was an IMF res rep in Liberia in the late 80’s. I remember when the coup first started – my family had to hide in these iron bathtubs for 3 days because the military was shooting at everything. I was 7 and that was one of my first memories. We made it out on the last flight. So Africa was always a big part of our lives. Over the course of the past few years, SOJA has sold more than 200,000 albums, headlined large theaters in more than 20 countries around the world, generated over 40 million+ YouTube views, amassed nearly 2 million Facebook fans, and attracted an almost Grateful Dead-like international fanbase that grows with each tour, with caravans of diehards following them from city to city. Most impressive of all, they’ve accomplished all this on their own. This 8-piece band has spent the past year and a half grinding it out from venue to venue, playing more than 360 dates, including headlining sold-out tours of North and South America, as well as opening for O.A.R. and sharing stages with everyone from Dave Matthews Band to Matisyahu.

Nahko & Medicine For The People

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Oregon-­‐born Nahko was born from strife and intermingling identities; his origins are a mix of Apache, Puerto Rican and Filipino cultures. His grandmother forced his mother into prostitution at age 14 and his life began in an act of violence. In the song on the new album, Dark As Night, by his group Medicine for the People, he sings, “So thankful, I never thought I’d give thanks for rape/but that’s how I got here today.” That line, filled with a poignant sense of acceptance and forgiveness, equally exemplifies this musician’s power and grace.
At nine months of age, Nahko was adopted by a white American family who raised him as a conservative Christian and introduced him to the world of music. As a child Nahko was given classical piano lessons and learned to sing in church. He then went on to teach himself how to play guitar and became a piano teacher as a teenager. Questions always lingered about his cultural identity and his past, urging Nahko to set out on his own in hopes of discovery.
Nahko’s journey took him first to Alaska, where he found a job playing piano in a dinner theater. His world view expanded as he left Oregon for the first time in his life and began to consider the alternatives to his Christian upbringing. There Nahko began developing his own music. He played with friends by the river and at open mic nights, hitting upon the folk style that characterizes his music now. “That brought me into storytelling,” Nahko says. “It helped paint my pictures for me. I appreciated the Kerouac mentality of being on the road and rebelling against the system. I hadn’t yet dialed in to where my angst was coming from, but finding folk music and indie rock helped start to channel it.”
The journey continued in Hawaii, where Nahko moved a few years later to work on an organic farm and where he continues to reside. As he moved around, meeting people who would impact his songwriting, Nahko’s curiosity about his origins grew. This urge drew him to search for his mother and through the internet he found her almost a year later. His identity crisis was only beginning to unwind as he got to know his siblings and was introduced to his father’s family via Facebook a few years later. Discovering the news of his biological father’s murder in 1994, Nahko was given an opportunity to forgive the man he had always carried so much hate for. He then went on to visit his father’s murderer in prison, an experience that compelled him to truly consider the idea of forgiveness.
As the pieces of his past fell into place, creating an image of diversity and connecting identities, Nahko began to explore his disparate past in song. The musician used the music to reconcile his family’s trauma and find a sense of overarching oneness.
His first album with Nahko and Medicine for the People, On The Verge, came out in 2010, reflecting this exploration. The group’s second album, Dark As Night, followed in the spring of 2013 and further expanded on Nahko’s evolving ideas about self-­‐ discovery and acceptance. There is also an underlying theme of social and political change woven throughout the songs. Bridging the music and activism worlds, Nahko has promoted and raised awareness with organizations that range from climate change awareness (350.org) to a myriad of projects surrounding first nation rights, energy policies, environmental and social justice issues with elders such as Winona LaDuke (www.honorearth.org) and birthing clinics (Bumi Sehat, Bali) to teaching cultural respect and accountability through music at schools all over the world.
Medicine for the People is backed by the tribal hand percussion and rhythms of Hope Medford. She is known for her sensual hypnotic world beats infused with maternal soul. Hope has played percussion for nearly 20 years, drawing inspiration from our natural world, the feminine spirit, and people of many cultures. Having studied traditional music in West Africa, Peru, and Brasil, she currently brings her African Djembe and Afro-­‐Peruvian Bajo Cajon drums to the stage to co-­‐create the urban roots sounds for which Medicine is known.
Hope plays powerful rhythms to honor the ancestors and simultaneously call awareness to activate the present moment. She is currently on the board of Honor the Earth, an indigenous organization working to protect our environment. Her past also includes community activism as midwife and permaculture educator. Hope just completed her second solo album, Purify (2013). hopemedford.com
Lead guitarist Chase Makai brings an edgy rock vibe to the Medicine sound, with his electrified 12-­‐string acoustic guitar. Having learned guitar in Australia from age 12 where he lived for almost 20 years, Nahko met Makai in Hawaii where he led a band called Twisted Tree. They soon formed a solid friendship based around their mutual love of music, surfing and skating, and Makai jumped on board the Medicine for the People train in 2011. They have been touring together ever since. “Through the years we’ve been fine tuning the purpose behind what we’re doing,” Nahko says. “The oral tradition of storytelling is so important for our generation to bring with us. Part of what we try to convey is accountability and empowerment. These songs direct us to look at ourselves, whether it’s about a social issue, environmental or a personal issue. They embrace Bob Marley’s idea of world-­‐ bridging, bringing people together to resolve differences. For us, music is a tool to create healing and activate people to change things.” Nahko and Medicine for the People expands this sensibility onstage. The band has toured with SOJA, and internationally with Xavier Rudd, and performed at festivals such as Electric Forest and Wakarusa (USA), the Bali Spirit Festival (Indonesia) and the Byron Spirit Festival (AUS), continually bringing a powerful catharsis to the audience. Dark As Night debuted at No. 4 on the Billboard Top Alternative New Artist chart and No. 6 on the Billboard Heatseekers chart, revealing how much Nahko’s personal journey is relatable to those outside of himself. The music is meant to be a connecter, drawing people and ideas and cultures together in surprising new ways. “I think our music promotes the bridging of all tribes,” Nahko says. “The lyrics and the stories and our energy as a group break down people’s walls. You’ll find us in the most unique places on earth because it’s real, raw, and honest storytelling about what we’ve been through and what we believe in. And that’s why people connect with it. I think that’s the most important thing you can do with music.”

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