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Camper Van Beethoven with Curtsy and Wildwood Highway

Since the 80s, this band has been killing it in the alternative-rock scene, mixing parts of ska, punk, pop, and alternative country for their amazing sound. They gained huge success when they released a cover of Status Quo's Pictures of Matchstick Men in '87 but soon after disbanded.  Members went their own way; separately joining the bands Cracker and Counting Crows. In '99 the band got back together, released new music, and the rest is music history.
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Performing Artists (Click on Artist for Reviews and Previews)
  • $20.00 - $22.00
  • Show Type:
  • 21 & over

Camper Van Beethoven: "We didn't want to jump right back in and make that ‘Bad Reunion Record' that most bands make when they try to reform. We were more concerned with getting used to each other and figuring out that we could still make music together, before we made a big deal out of announcing that we were back." So says David Lowery of the extended gestation period that preceded New Roman Times, Camper Van Beethoven's first album of new material since reuniting after a decade-long hiatus. In the second half of the 1980s, Camper Van Beethoven-David Lowery (vocals, guitar), Victor Krummenacher (bass, vocals), Greg Lisher (guitar), Jonathan Segel (violin, guitar, keyboards) and Chris Pedersen (drums), plus late addition David Immerglück (guitar and various stringed instruments)—was one of its era's most original and influential indie rock bands. The quintet effortlessly combined an iconoclastic, irony-laced lyrical stance with a free-spirited eclecticism that encompassed a dizzying array of stylistic influences, from punk to folk to psychedelia to all manner of world music. Camper's visionary embrace of disparate genres established them as innovators, while their songs' combination of barbed satire and poignant humanism stymied those who'd attempt to pigeonhole them as a mere novelty. The qualities that originally made Camper Van Beethoven such a significant force are prominent on New Roman Times, from the modified arena-rock of "White Fluffy Clouds" to the country-psychedelia "That Gum You Like is Back in Style" to the smooth Balkan ska of "Might Makes Right" to the jittery hoedown of "Militia Song" to the airy country balladry of "New Roman Times" to the dirge-like psychedelia of "The Long Plastic Hallway" to the Tex-Mex lilt of "Los Tigres Traficantes" to the widescreen '70s-cop-show-funk of "Civil Disobedience" to the apocalyptic danceability of "Discotheque CVB."  

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