Loading Events

Since making her debut in 2010, K.Flay has spun fearlessly detailed lyrics that show the bright and dark of the world in her head. For her second full-length Every Where Is Some Where,  the  L.A.-based  alt-pop/hip-hop  artist  pushed  deeper  into  introspection  while adding  an  element  of  political  commentary.  The  result  is  her  most  deliberate  and dynamic  work  yet,  a  thrillingly  vital  album  that  channels  the  frenzy  and  anxieties  of today’s world.The  follow-up  to  her  2016  EP Crush  Me—whose lead single “Blood in the Cut” hit the top 5 on Alternative radio—Every Where Is Some Where amps up its defiant spirit with a densely textured yet gritty sound. “After Life  as  a  DogI  was  listening  to  so  much  late-’90s/early-’00s rock,” says K.Flay, aka Kristine Flaherty, referring to her 2014 full-length debut. “I was absorbing the energy of people like Karen O, Shirley Manson, and Emily Haines and feeling totally inspired by it, so there’s lots more live guitar, bass, and drums on this record.” Working with producers like Mike  Elizondo  (Twenty  One  Pilots,  Fiona Apple,  Regina  Spektor,  Skylar  Grey)  and  Tommy  English  (BØRNS,  Andrew  McMahon  in the Wilderness, Ladyhawke), K.Flay deftly infused the album with the same raw intensity she’s revealed in touring with such artists as Passion  Pit,  Icona  Pop,  Awolnation,  and Theophilus London.An inimitable lyricist who names novelist Marilynne Robinson among her inspirations, K.Flay also brought a literary sensibility to the making of Every Where Is Some Where. The album’s title, for instance, aims to “capture the flexibility of meaning, the way we fashion our own narratives,” according to Flaherty. “As a songwriter, that’s my main enterprise—looking at the events in my life and engaging in a constant framing and reframing of those events,” she says. “Experience is subjective. We get to decide what’s devastating, what’s beautiful, and what we do next. In the books of our lives, we are both protagonist and narrator. And narrators have incredible power.”On the lead single from Every WhereIs Some Where, K.Flay explores the power of lucid self-acceptance and delivers one of the album’s most blatantly upbeat tracks. Matching her seamless flow with sing-song melody, “High Enough” fuses breezy rhythm and gritty guitar lines into a hopeful meditation on keeping clear-headed. “There are so many songs out there about getting fucked up,” says Flaherty of the song’s inspiration. “I think a part of me was asking the question: ‘What if I’m already high enough? What if I don’t need anything but what I’ve got?’ There are many moments in my life—whether it’s 
because of a person or a place—that I don’t want to feel altered or high or buzzed. I just want to feel exactly what I’m feeling.”Kaleidoscopic in mood, Every Where Is Some Where also offers sombermoments like “Mean It”—a stunningly vulnerable track built around K.Flay’s outpourings on love and family and lineage. Laced with subtle wisdom (“Remember what you love/So that when the world gets painful/You become your own god”), the starkly arranged song emerged from an especially cathartic writing session for Flaherty. “I wrote ‘Mean It’ in my bedroom in L.A., pretty late at night...the song just came pouring out,” she recalls. “I remember I was crying while I wrote it, which is pretty unusual for me.” “It’s Just a Lot,” meanwhile, came to life while Flaherty was “thinking about the world and how it’s so big and beautiful and sad,” giving way to a blissfully uptempo but sweetly melancholic pop gem.On “The President Has a Sex Tape,” K.Flay’s measured vocal delivery and throbbing bassline brilliantly clash with her barbed lyrics about the state of the world. “Nothing feels sacred anymore—our highest elected official is a reality television star who is incompetent and openly hateful,” says Flaherty. “The song started out as a lament, but turned into a rallying cry as we finished it. I hope it can be a weird little anthem for people feeling disillusioned or alienated.” That anthemic quality intensifies on “Black Wave,” a powerfully frantic track born from the post-election feeling that “we were all on a beach, looking out at this terrible black wave in the distance, knowing it was going to swallow us whole,” as Flaherty explains. Driven by furious rhythms and urgent vocal work, the song ends up offering a message of resistance and speaks to “facing something immense and menacing and choosing not to cower, but to rise up.”In a certain way, defiance is at the root of K.Flay’s evolution as a musician. Originally from Illinois, she “fell into music very haphazardly” at age 19—a decade after her dad taught her to play guitar. “I was in an argument with someone and was challenged to make a song, which was my entry point to music,” says Flaherty, who studied at Stanford University. “From there I started producing and playing house parties on campus, kind of as a release from the academic life. I liked that music was a window into a world with a lot of unpredictability and chaos; it was almost diametrically opposed to my very regimented day-to-day living.”Upon graduating, Flaherty moved to San Francisco and kept up with music, making her breakthrough with the 2011 mixtape I Stopped Caring in ’96and landing a deal with a major label. Not long after putting out her 2013 EP What If It Is(featuring a collaboration with Danny Brown), K.Flay launched her own label for the release of Life As a Dog. Then in 2016, she became the first artist signed to Night Street/Interscope 
Records (an imprint helmed by Imagine Dragons frontman Dan Reynolds), releasing Crush Methat August. “I feel like I’ve somersaulted into everything that’s happened since I first started making music,” says Flaherty. “It’s like I kept slowly turning to the right and ended up doing this for a living, which is pretty amazing to me.”In creating Every Where Is Some Where, K.Flay hit a new level of complexity and candor in  her  lyrics,  as  encapsulated  in  the  stream-of-consciousness  storytelling  of  tracks  like “Champagne.” “Details are everything to me,” says Flaherty of that gorgeously unhinged song’s lyrical intricacy. “There are only so many ways that humans feel—but  infinite ways to describe and embody those feelings.” And in immersing herself in the process of crafting  such  lyrics,  Flaherty  eventually  arrived  at  the  realization  that  “you  can understand  the  fact  of  your  own  smallness  in  this world  while  still celebrating  the  very particular singularity of who you are and where you happen to stand.” That moment of truth  proved  to  be  an  album-defining  revelation,  and  instilled Every  Where  Is  Some Where with an unlikely sense of hope. “Each song on the record is about creating a different kind of meaning out of a different kind of something,” Flaherty says. “Even the dark places are places. You’re still somewhere.”

Mar 28
Granada Theater & Margin Walker Present:



Goes Great With: Sir Sly, Bishop Briggs, MC Lars, Astronautalis

American songwriter, vocalist, and multi-instrumentalist whose music is an introspective, empowering blend of hip-hop, indie rock, and electronic music. 

$22 Advance / $24 DOS

**Bringing a group? Call 214-824-9933 to inquire about drink packages**

$22 - $24
Doors 7:30 pm
Show 8:30 pm