A Duluth-based pop rock songstress is headed to the Twin Cities to release her newest album, “Holy Bones.”
Mary Bue, who is known for previously piano-driven pop, says she’s bringing a “louder, grungier” sound this time around for her sixth album. It’s something she tends to make a point of at her show.
“(I’m) totally thrilled to release this album. It’s a lot different than my others as it is primarily guitar focused and louder, grungier. At the Turf, I will feature a few of my piano songs, but we will have a ceremonious removal of the keyboard from stage as I transition into the new material. Might be dramatic, but who doesn’t like a little drama?” Bue said.
Mary Bue is simply a musical workhorse. She’s been playing small coffee shops to big festivals in 38 states for over 16 years – sharing the stage with musicians like Mason Jennings, Haley Bonar, Jack Johnson, Minnesota’s own Jeremy Messersmith and many more.
Now, she’s bringing her newest sounds and experiences to the Turf Club on Tuesday, March 10 at 8 p.m. Click here for ticket information.
For more on how Duluth and yoga has influenced Mary Bue’s music — along with other fun facts, check out our interview below!
How would you describe your music to someone who’s never heard it? What song would you suggest a first-time listener to check out/why?
My music is lyric focused pop/rock, previously piano driven but now with grungy, crunchy guitars. here is some whimsy as well as some morbidity, a little wistfulness with some sass. For the new album I would check out “Candy” and for previous albums “Gorgeous”, off Boat with No Oars.
You’re based out of Duluth – how does the setting influence your music?
Winters are brutal trigger some seasonal affective disorder in me and pent-up aggression. The landscape is extreme and chillingly beautiful, especially the ice on the lakeshore right now and frozen rivers and streams. I draw a lot of peace from nature but I also like the grittiness of the town, the gorgeous old buildings and the port. You can feel some ghosts in this town. I have tried to escape a number of times but have kept coming back, a love-hate kind of relationship … as it influences my music, well, there is some small-town alienation going on (where everybody knows your name), as well as the hamster on the treadmill thinking racing thoughts as we are cooped up for so long.
I see that yoga is a big deal for you. Why? Does it connect to your music in any way?
Yoga has helped me get less attached to my desire and ego. It is a process to train your mind — “reduce the random fluctuations of the mind” — to notice that much of what we perceive is in error. I go to yoga not only for the body (stretching, breathing), but very much so for the mind. In the west, most of us only touch upon the third limb of Yoga (as written in the Yoga Sutras of Patanjali) – this is the physical piece of yoga – doing postures + “vinyasas”/flows. Classically, the postures were to prepare the body for long periods of seated meditation and that’s where the deep work gets done. Not only does it enhance body awareness and acceptance, but can increase focus, concentration and a nice well-being buzz.
What do you tend to write about?
I’ve written a lot about romantic stuff – break ups, turmoil. My earliest stuff was etheric and spiritual. Lately I’m coming out of myself a bit and singing about mortality, giving voice to the animals (singing about inhumane treatment of animals in “Veal”), and the weirdness of the modern American psyche and our neuroses and graspings for more, more, more!
Lastly, how has the new album differentiated itself from your others and what did you intend to convey with it?
The main difference is the switch of genres and instruments. I wanted to evolve personally and break out of my comfort zone but beyond that I hope to get a message across about compassion, letting go and reducing suffering via non-attachment to material plus non-material things — awards, achievements, fame, etc. It may be contradictory as I buy new amps and guitars, seek press and reviews and try to spread my music to a larger audience. But I guess I’d like to convey that, with this switch in genres that humans have many sides and I am giving voice to a louder, more rocking one of mine.
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