Citizen Cope – Clarence Greenwood Recordings 10th Anniversary Tour photo

Citizen Cope – Clarence Greenwood Recordings 10th Anniversary Tour

Citizen Cope is out on tour for the 10th Anniversary of the Clarence Greenwood Recordings. See him live November 14th at The Depot!

Date: 2014-11-14
Time: 9:00 PM
Ticket Price: $31 Adv/$36 Day Of

Special Information: On Sale: June 27 @ 10am. Must be 21+ to attend.

Special Offers

To the right you can see some special offers that are available for this event. You may qualify for a reduced price, better seating, backstage pass, or other possible benefits.


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Meet & Greet Package

$150 VIP Package includes:
- One general admission ticket
- VIP early entry into the venue
- Exclusive meet & greet with Citizen Cope
- Personal photograph with Citizen Cope
- Access to Citizen Cope's pre-show soundcheck
- Autographed silkscreened tour poster (limited print, numbered)
- Exclusive tour merchandise item
- Official meet & greet laminate
- Limited availability

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About This Person/Group

“Rawness improbably balanced by a mixture of danger and delicacy,” says one Rolling Stone writer, “is what gives Citizen Cope his edge. As a singer, songwriter and producer, he stands alone—an artist immune to corruption.”

Dug deep into the rich soil of American music, Cope’s roots are complex You may think of Bill Withers or Neil Young or John Lee Hooker or Van Morrison or Willie Nelson or Al Green. Yet, listening to Cope, you also may think of none of the above. You may not think at all, but rather feel a man exposing stories that haunt his heart.

He was born Clarence Greenwood, a child of the seventies, and his life journey is as singular as his art. He is the radically mashed-up product of Greenville, Mississippi; Memphis, Tennessee; Vernon, Texas; Austin, Texas; Washington, DC; and Brooklyn, New York. These locations are felt everywhere in his stories. His sounds are southern rural, big sky lonely, concrete urban, and painfully romantic.
In the past nine years, he has produced four albums of depth and distinction, each a critical chapter in his search for a sound that paints an auditory American landscape in which despair wars with hope and hope, tied to love, is elusive.

Cope’s musical education was catch-as-catch can. Folk tales—whether through William Faulkner or Big Bill Broonzy—shaped his sensitivity. A few college courses at Texas Tech alternately bored and excited him. In the Austin of the eighties, he took sound classes and found himself fooling with a primitive four-track setup. Turntables intrigued him. He heard hip hop as inspired invention. For years, he got lost in his self-designed lab, cooking up beats and motifs that only later would be shaped into songs.

In the midst of the squalor, grandeur, and hypocrisy of the nation’s capitol, Cope set up camp. Vocalist Michel Ivey recruited him as a mad scientist who feverishly concocted samples for the artsy-edgy configuration known as Basehead. As the group hit the road, Cope stayed in the background, moving dials and pushing buttons. Inside his head, he heard stories that still had not assumed full form.
The long night of gestation got even longer. Finally, as the songs gave birth, Cope assumed others would sing them. He had sculpted certain stories and developed certain sounds. As a serious artist with no interest in rock star glory, Cope presumed he’d eventually find the right voice to sing his songs.

The right voice was found. By playing in local venues, the writer/producer ultimately met the only singer equipped to narrate the idiosyncratic stories. That voice resided within his own soul. The writer/producer/singer were one, living inside the wide confines of Cope’s vision.

On record the vision is first expressed in Citizen Cope, the debut album from 2002. The artist is still finding his footing and, although his trademark poetry is firmly in place, this is the only record where the production isn’t entirely his own. The aural environment is more elaborate, the sound not yet reduced down to the common denominator that we come to know as Cope. The theme, though, is clear—it’s “Contact,” the cry for a connection to a world that is at once bewildering, necessary, and fraudulent. The issues are serious. “You’ve got them crooked politicians,” he writes, “eating up the treasury and taking our cash to spend on the prisons while the youth they fast.” The groove is insistent. “Let the Drummer Kick” is the name of the song that says, “You’ve got to bust through…mass confusion, solution, conclusion, inspiration is what pulls you through.” Busting through, pulling through, getting through to “Salvation,” a story in which Judas shows up in DC and takes aim at the singer’s soul.
Citizen Cope introduces us to a world of musical worry that doesn’t come fully into focus until his second album, The Clarence Greenwood Recordings (2004), which, together with his next two records, form a masterful trilogy. Emotional confusion and musical coherence sit side by side. The “Contact” Cope has been searching for is found, but it isn’t easily maintained. The effort to maintain contact keeps us moving into the heart of the mystery, the strangeness of the stories, the lull of the sound.With The Clarence Greenwood Recordings, the sound is stripped of any excess. At the same time, the sound is as big as it needs to be—injected with an urgency that, in the words of the most celebrated song from the album, examines the world “Sideways.” “Sideways” caught the attention of Carlos Santana who covered it and asked Cope to perform with him during a European tour.
Greenwood is the first of the fully mature Cope statements where, by attaining control in the studio, he can riff on the uncontrollable universe in which we live. The opening line of the opening song—“things have been getting heavy these days”—sets the scene. Cope finds his groove that, with only slight variations, will fuel his tales of seeking hope in hell. The groove becomes a mantra and the mantra, sung in a voice that is both disarmingly sincere and studiously ironic, stops us in our tracks. Cope tracks the relationship between terror, fantasy and reality.

“Pablo Picasso,” for example, is a portrait of a “forty feet tall” woman who requires defense from the law. Her defender is the poet, the singer, the “wild man.” “They say a wild man is defending his lady, but for some odd reason, they calling you a painting.”
Art requires defense. Without art, we can’t cope. But Cope’s art isn’t the high art of elitism; it’s the low art of funk. It’s the art that paints a penitentiary on fire; the art the gets you through hurricane waters yet puts you between the bullet and target. The voice of the singer—as messy as it precise, as eloquent as it is enigmatic—is half-hoarse, half-hilarious, wholly hypnotic.

Every Waking Moment (2006) is more self-reflection, sly personal and political analysis projected in another suite of free-wheeling stories. Hooks, repeating motifs, and iron-clad choruses anchor the primal production. Cope makes it easy on your ears and demanding on your mind. The heat’s turned up—“it’s 107 degrees”—and the love is “seven feet deep.”

Questions are not resolved in The Rainwater LP (2010). More questions are encouraged. “Keep Askin’,” says the song. A “Lifeline” is offered, but not explained. Cope cops to his limitations: “I forgot what the wise man said about that ancient threat.” The thread is about survival, the realization of romance, the hope for reconciliation, the strain to connect father and son, life and death, heaven and hell.
While making records over the past decade, Cope has wrestled with a number of record companies. They have loved him, rejected him, readopted him, and ignored him. Listening to his uncompromised songs—to the tough integrity in his voice—it’s not surprising to learn that he hasn’t hesitated to go over the heads of the music execs. From the get-go, he has taken his case to the people. He has toured tirelessly. He has brought his stories—with a band or simply with his guitar—to whatever venue would have him. His motivation to make music directly in front of people, so matter the size of the crowd, has won his a vast audience in America and abroad. As a troubadour, he has prospered, relentlessly criss-crossing the land, his songs in his back pocket.

In fact, with The Rainwater LP, his self-reliance has been realized in the form of his own independent label. Citizen Cope is a self-realized musical/poetic/production entity. In that sense, his Americanism is profound. His approach is radical. He’s a rebel in the tough tradition of Henry David Thoreau and Ralph Waldo Emerson. He wanders through the woods alone. His accountability is to his own heart, his own values and vision.

Cope’s a one-man band, trying to make sense of all the nonsense that marks the 21st Century.


Venue Details

13 North 400 West
Salt Lake City, UT 84101

Driving from North on I15
Take 400 South off ramp (heading East)
Turn left on 400 West (heading North)
The Depot main entrance is on the corner of South Temple and 400 West on the West side of the road under the marquee

Driving from South on I15
Take 600 South off ramp (heading East)
Turn left on 400 West (heading North)
The Depot main entrance is on the corner of South Temple and 400 West on the West side of the road under the marquee

Driving from West on I80
Take 600 South off ramp (heading East)
Turn left on 400 West (heading North)
The Depot main entrance is on the corner of South Temple and 400 West on the West side of the road under the marquee

Driving from East on I80
Take I15 Northbound
Take 600 South off ramp (heading East)
Turn left on 400 West (heading North)
The Depot main entrance is on the corner of South Temple and 400 West on the West side of the road under the marquee

Using TRAX
TRAX is also available to and from all events. Exit TRAX at the Arena station on South Temple across from EnergySolutions Arena.

Pay lot across 400 West, Gateway paid parking (we do not validate), street parking

Public Transportation
TRAX, UTA Bus, Taxi service

Box Office Numbers
801.456.2800 or 801.355.5522 if box office does not pickup

Box Office Hours
5pm – 10pm show nights (excluding private events and club nights), Friday’s from 2pm – 6pm (excluding holidays).

Types of Payment Accepted
American Express, Visa, Discover, MasterCard, Cash

Will Call
Must have a valid photo ID to pick up your will call tickets

General Rules
The Depot is 21+ unless otherwise stated
Must have a valid photo ID to enter the building

For ALL AGES shows,  
Patrons 18 years of age and younger are welcome to our ALL AGES shows when accompanied by a parent or guardian that is over the age of 18.  Age information will specified for each show.  Additionally, because of Utah’s curfew law any ALL AGES show has to be over by 11 o’clock P.M. (unless otherwise stated).