Discovery Series: Olive Klug with special guest Creekbed Carter Hogan
May 9 @ 8:00 PM
7 PM Doors | 8 PM Show
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- AT THE DOOR: $25
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Olive Klug refuses to be put in a box. Working out who you are in front of an ever-growing audience is no small task, but one that the Portland-born, Nashville-based singer/songwriter is up for and thriving.
Olive graduated with a liberal arts degree shortly before the 2020 pandemic derailed their plans of pursuing a career in social work. Though they’d recorded and self-released the 2019 EP “Fire Alarm” from a childhood friend’s bedroom, up until early 2021, Olive categorized their music as either a hobby or a pipe dream, depending on who was asking. However, after being laid off of a teaching job in late 2020, Olive starting working as a barista and decided to commit all of their extra energy to an ever-growing community of fans online.
Olive can’t help but be unapologetically themselves, something their community of fans (dubbed the “Klug Bugs” on Instagram and Discord) appreciate most about them. Their debut LP ranges from a playful Americana romp about “watching all the rules disintegrate” to folk-punk anthem “Coming of Age,” which somehow manages to reference both pop singer Taylor Swift and existential philosopher Kierkegaard in one song, to “Parched”‘s haunting modern ballad about a doomed relationship, to an indie rock closer about learning to take up space as a person with a marginalized identity. Through this no-holds-barred documentation of the struggles of their early adulthood, Klug embraces all their inner contradictions with reckless abandon.
Combining their knack for storytelling with a lilting soprano voice, Klug offers observations with an unflinching honesty. “I’ll stop seeking to find, start saying what’s on my mind,” sings Klug on Out Of Line, the lead single from their 2023 label-debut album, Don’t You Dare Make Me Jaded.
The album takes on the world with visceral and tactile images: it finds them falling in love with reckless abandon, haunted by the ghost of an old lover, waiting for fairies in the backyard of their childhood home. Olive’s work is optimistic, but not naive. Klug emerged into the scene in fraught times: for the folk landscape, for the country, for themself. By combining Golden Age folk references and contemporary narratives with ease, Olive Klug is a singular voice for the future of folk: honest, compelling, often unsure, but willing to try anyway.
2024 finds Olive in Nashville, attempting to stabilize after a 3-year whirlwind of viral niche internet-fame, nonstop touring, and music industry naïveté. Olive’s social work background grounds them in community, a word they keep coming back to when ego proves unfulfilling. After attending Folk Alliance International for the last two years, Olive is excited to solidify themselves as a fixture of the greater folk community and return to what inspires them the most about music; the catharsis and social change that is possible when people come together and share themselves through song.
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Creekbed Carter Hogan
Trans folksinger Creekbed Carter Hogan builds something new from the remnants of the past, weaving stories of growing up religious into songs that pierce the soul, tickle the funny bone, and revel in a mix of folk picking and queer mayhem. Their self-titled album, out March 22, 2024, via Gar Hole Records, is both a bold declaration of survival and a carefully crafted archive of transformation, blending folk sensibilities, country swagger, and the raw force of desire. Rooted in the eccentric preoccupations of a messy Catholic childhood, the album turns personal history into dazzling, sometimes troubling, but ultimately wondrous songwriting.
Recorded at Ramble Creek Studios with engineer Britton Beisenherz, Creekbed Carter features contributions from a stellar cast of Austin folk musicians, including pedal steel player Zack Wiggs (Brody Price, Pelvis Wrestley), vocalists Nora Predey and Gabriela Torres (Large Brush Collection), and fiddle player Beth Chrisman (The Carper Family, The Frauleins). Lindsey Verrill and Jeff Johnston (Little Mazarn) add textural depth, while longtime fans of Austin’s queer music scene will recognize members of Brand New Key on “Apiary.” This full-band collaboration builds on the intimacy and precision of Hogan’s live shows, where they perform as a one-rascal band in dive bars, back alleys, and national stages alike.
Careful listeners will hear echoes of folk and country legends—Nick Drake in the arrangement of “Apiary,” Roger Miller and John Prine’s troublemaking spirit in “Stayin’ With You” and “Through With Lovin’,” and Bobbie Gentry’s orchestral dramatics in “Lord, Make Me A Scorpion.” Yet Creekbed Carter defies easy categorization, embracing a lineage of DIY artists, trans visionaries, experimental writers, and country outlaws while carving a new space for queer folk and country music. Bold, unplaceable, and deeply personal, this record is an act of resilience—a flaming sword for cutting through the noise and forging a future on their own terms.
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