33 West St.
Annapolis, MD, 21401
Doors 7:00 PM / Show 8:00 PM
This event is 21 and over
Watch & Listen
To put Katie Herzig in any sort of box is for it to be broken, as she continues to outdo herself with each new release. Her music is as intimate as it is epic - something that her fans have come to expect. Herzig grew up in Colorado and found her way to Nashville upon starting her solo career in 2006. Fresh off the 2018 release of her 6th album, Moment of Bliss, Herzig tours the US this summer for the first time in 4 years on her highly-anticipated Moment of Bliss Tour. Herzig has performed at Bonnaroo, on VH1, toured extensively both as a headliner and as support for artists such as Brandi Carlile, Sara Bareilles, Ingrid Michaelson, The Fray, and as a member of 10 out of Tenn. She has had her music licensed for many film, TV, and commercial uses including over 10 songs on Grey’s Anatomy. Her song “Free My Mind” reached top 20 on AAA radio which led to a collaboration with RAC on their song “We Belong,” earning a lot of love from LA’s KCRW and the like and a remix of the song by Odesza. Herzig has always been very hands on in the production of her own music which has led to opportunities to co-write and produce music for other artists as well, including Ingrid Michaelson’s platinum-selling single “Girls Chase Boys." ASCAP awarded Katie the Sammy Cahn Award for her song “Closest I Get.” In 2017 Katie was nominated for an Emmy for her song “Morse Code” written for Netflix’s The Mr. Peabody and Sherman Show. An eclectic career for an artist who has always relied on her own instincts to consistently release music that goes deep and asks you to feel something at every turn.
“Growing up, people would always say I was too happy to be depressed, or too social to have anxiety,” says Liza Anne Odachowski, the critically acclaimed songwriter better known these days by her stage name Liza Anne. “In their eyes, because I was one thing, I couldn’t also be something else. I think we all exist in duality, though. I can be everything and nothing all at once.”
Duality is at the core of Liza Anne’s arresting new album, ‘Fine But Dying,’ her debut release for indie powerhouse label Arts & Crafts. Synthesizing the elegant sincerity of Angel Olsen with the wry lyricism of Courtney Barnett and the unapologetic candor of Feist, the music is both tough and vulnerable, bold and withdrawn, a helping hand and a middle finger. Firing on all cylinders with distorted alt-rock guitars and explosive drums one minute, hushed and delicate the next, it’s an eclectic collection that reflects the messy complications of growing up in the modern age, as the 23-year-old grapples with the fallout of falling in love, reckons with the patriarchy, and stares down the panic disorder she refuses to let define her. ‘Fine But Dying’ is the sound of an artist taking total control of her life and her art, a proud misfit crafting an aggressively infectious kiss-off to an industry (and a society) that’s tried to box her in from day one.