19 years old and raised in Seattle, Sage began the piano at 5 and guitar at 10. When she turned 12 she began writing songs and recording. Sage recently graduated from boarding school in Groton, Massachusetts and is attending Goldsmiths, University of London to study Popular Music. Between her studies she has been playing shows for the last four years. In Seattle, she's appeared at The Triple Door, Chop Suey, The Highdive, The Crocoldile, a show for the Vera Project and various all ages venues. She has performed at the Ace Hotel in both New York and Palm Springs and at the San Diego Indie Fest. Most recently, she has performed alongside fellow musicians from her school at the Montreaux Jazz Festival in Switzerland. Her musical influences include Radiohead, Brian Eno and Sigur Ros. Sage put out an EP in 2008, entitled It Is What It Is and released her first full length album, 93 Disaster, in January 2010. Her latest release is an EP entitled, Dramatics and a new song entitled, "I Used To Go Out" is featured on the compilation CD of NYC magazine ESOPUS, in their 17th issue.
Annemarie Ruljancich - Viola
Mike McCready - Guitar
"I Used to Go Out" - single, ESOPUS issue #17 compilation disc.
"I Used to Go Out" played on KEXP as a part of the NYC Esopus launch broadcast.
Dramatics - EP (June 2011)
Dramatics was in heavy rotation for three months at Seattle's/NYC's KEXP 90.3 FM (June-August 2011)
93 Disaster (January 2010)
It Is What It Is - EP (March 2008)
"It Is What It Is," "Show & Tell," and "Two" have been played on Kexp John in the Morning and The Mountain in Seattle
John Richards, KEXP Radio Seattle Quote
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"One of the most exciting up and coming singer/songwriters I've heard in years, the young Sage Redma..."One of the most exciting up and coming singer/songwriters I've heard in years, the young Sage Redman's music and live show continue to take huge steps forward. This is someone to keep an eye and ear on for years to come." - John Richards, John In The Morning DJ @ KEXP Seattle
Huffington Post Esopus Review Quote
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"Sage Redman -- a buzzing songstress freshly graduated from high school and well on her way to your ..."Sage Redman -- a buzzing songstress freshly graduated from high school and well on her way to your iPod --"
Esopus Survives 17 Issues (and Counting) with Due Fanfare
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Wednesday, November 2nd marks the launch party for the latest issue of Esopus magazine, a non-profit...Wednesday, November 2nd marks the launch party for the latest issue of Esopus magazine, a non-profit arts publication out twice annually since 2003. The name is etymologically Lenape, but the Esopus Creek, which flows out of the Catskills and meets the Hudson at Saugerties, is the tributary of inspiration to the title -- if not the whole curatorial force -- of the Manhattan-based Esopus Foundation. Alone at the helm, founder Tod Lippy has reared Esopus to showcase artists in an ad-free context -- a superheroic feat in these dire times of hi-fi printed matter.
As lavish in its material reality as in its content, reading this magazine is more akin to thumbing through artifacts in an on-paper museum: you'll want to spend some time exploring. Esopus 17, in particular, is the second largest issue in the magazine's eight-year history, brimming with artwork, fiction, poetry, film stills, a thorough history lesson on 1877, Victorian-era rebus puzzles (the solving of all 32 could earn readers a free subscription), found objects celebrated, art commentary by museum guards, and never-before-published archive material co-presented by such media beacons as the MoMA Archives and Magnum Foundation.
As if its multi-textured pages, plentiful inserts, and print charisma weren't enough, a compact disc of music on a theme sticks to the inside of Esopus's back cover. Lippy's compilation CD canon has, in the past, included songs on the themes of Craigslist's Missed Connections (issue #2), subscribers' imaginary friends (#4), and spam e-mails (#8) by contributors such as Stephin Merritt, Neko Case and Carl Newman, The Mountain Goats, Kimya Dawson, Grizzly Bear, Low, and Dirty Projectors, to name a small handful. Issue 17's theme is "Fear Itself." A list of subscriber-submitted "irrational fears" range from your typical creep factors (spiders, dark basements, sociopaths), to less conventional aversions (lava, unlucky circumstances in reincarnation, public vomiting), all of which were collected by Lippy and then bent by bands he selected into 13 original tracks: Bishop Allen takes on a reader's phobia of buttons, We Are Augustines sing of sudden numbness, Sage Redman -- a buzzing songstress freshly graduated from high school and well on her way to your iPod -- croons about a house being overtaken by lions, and a collaborative track, "Redback Strike," by Will Johnson (Centro-Matic), Bubba and Matt Kadane (Bedhead, The New Year), and David Bazan (Pedro the Lion) represents the public debut of the four musicians' new project.
?An exceedingly special facet of Esopus 17 -- other than its [internal] record-breaking number of inserts (124 to be exact) -- is the inauguration of the magazine's newest serial feature "Analog Recovery." Edited by Magnum Photo agency's John Jacob, it will showcase recovered portfolios from acclaimed photographers who worked with the Magnum analog distribution system. This first installment presents work by Inge Morath, contemporary of Ernst Haas, Henri Cartier-Bresson, and Robert Capa, who invited her into the Magnum agency in its early years. Morath often covered opening nights, exhibitions, inaugurations, and other high-society fanfare, and in the winter of 1955 she visited Paris to shoot Bal D'Hiver, a dance on ice for charity, performed by European royalty. The costumes were donated by illustrious couturiers of the era, including Hubert de Givenchy and Christian Dior, and the affair was attended by, in Morath's words, "some of the most distinguished names in Europe," from the Countess d'Paris to Charlie Chaplin. Sixteen images from Bal D'Hiver, never before published nor exhibited, comprise this "Analog Recovery," and 14 of them will be on display as 23" x 35" prints at the Esopus gallery space, opening in conjunction with the issue's launch.
Artist Profile: Sage Redman - Might Be The Coolest 16 Year Old In Indie Music
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When I was a kid, I worked my shit out by skulking down to the basement in my parents’ house and ban...When I was a kid, I worked my shit out by skulking down to the basement in my parents’ house and banging away for hours at the piano we inherited from my grandfather. Every so often I could sense a presence come down the stairs behind me and just settle in while I perambulated across the keyboard. Eventually people started talking - they said I had something special. I didn’t care and I wouldn’t have known any different if they hadn’t said anything. But it took me another ten years to figure out how to begin to capture that essence onto a recording.
Seattle, Washington-based Sage Redman figured it out though - she figured out how to do it at sixteen. From within a boarding school. She sounds a lot older, but I am not sure what that means; I think I knew a lot more, felt a lot more, understood and saw a lot more when I was her age - before the dregs of life overwhelmed me, like it does so many of us. So if you didn’t know she is still half a decade from twenty, you probably wouldn’t guess it. Maybe it is the open-hearted, unfiltered nature that makes her sound so wizened. Maybe it’s that she cites Benjamin Britten and Daft Punk as influences in the same breath. At fifteen she opened for Martha Wainwright to critical acclaim.
All this to say - I never thought I would be one of those writers about music that made the distinction about an artist’s capabilities via their age. I sure resented it when I was a kid. So I apologize to Sage for being that guy. But kid, the future will be yours if you can hack the rigors of the road ahead, because you are amazing. And don’t let them beetles ever get you down.
Here is what Ms. Redman had to say between homework assignments when pressed with MusicZeitgeist.com’s notoriously incisive queries:
I’m 16 and when I first sat down to write a chord progression on my old moss green chipped upright piano four years ago, music composition engulfed my life. I live in Seattle but go to boarding school outside of Boston. I can’t really talk you through who I am, because I’m only just starting, but I think that my songs do the question more justice than any explanation I can write here. Music fills a silence, on stage and everyday. I won’t tell you a funny narrative in the middle of my set because I can’t think of one. So be ready for the next song.
I have many memories of how music has influenced me. There is no anecdote or formula of how it all happened, just bits and pieces of things that lead to other things that lead to the next things. It’s really just a beginning. Last I remember it was Elvis Presley, then The Beatles, then Coldplay, then Sigur Ros, then Radiohead and here I find myself in somewhat of a new wave stage. My attempts at the Thom Yorke side of life amuse me and I don’t hide the fact that I draw influence from 80’s cheesed up hits, Spacehog’s bass lines and choral music. I got the first four descending notes of a new melody from a Britten Magnificat I’m pretty sure….
The first time I heard Hound Dog, it was blaring from the old phonograph in my best friends living room, late at night, humming the melody that would forever be the base of my early musical knowledge. I didn’t know it at the time but it felt like 1956. Better yet was waking up still humming it and realizing that Presley and I shared the same birthday. As a six year old, how could I not come back for more? I have been influenced by different sounds in different eras: listening to Joe Jackson’s Look Sharp! all the way through and picking Is She Really Going Out With Him as my cover in my first show; spending half my summer inside KEXP radio station; and studying Pink Floyd’s The Wall in seventh grade. We’re talking Edith Piaf to Daft Punk.
Growing up in Seattle has no doubt had an affect on my musical roots and point of view. Pearl Jam’s Ten was practically on a constant repeat for the first years of my life, and I had a childhood obsession with the album paintings on the walls of Tower Records. I’ve opened at the Triple Door, Chop Suey, and other local venues in Seattle; places I’d drive by and only imagine playing growing up.
MZ: Until When?
From 6 to 16, from 16 on to forever.
Music is a water in which you don’t need to surface for air. I’m in and I’m staying.
Last Night: Martha Wainwright & Sage Redman at the Triple Door
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"Opening for Wainwright was 15-year-old wunderkind Sage Redman, a singer and pianist of immense pote..."Opening for Wainwright was 15-year-old wunderkind Sage Redman, a singer and pianist of immense potential whose sure, husky voice belies her relative youth. Yet only when Redman covered Joe Jackson's "Is She Really Going Out With Him" and "Rich Girl" by Hall & Oates did she distinguish herself from any number of female vocalists whose songs have appeared on Grey's Anatomy. But the young lady's obviously got time, and a helluva base to build on."
I have a 45 minute - 1 hour set that has 12+ originals and 2-4 covers.
I Used To Go Out (un-released track on Esopus magazine's compilation CD)
Most Important Things
It Is What It Is
State of Mind
Dust On The Moon
and I usually play 2 to 4 of these covers
Over - Portishead
Two Doves or Temecula Sunrise - Dirty Projectors
These Days - Nico
Breakfast In America - Supertramp
Larger Than Life - Backstreet Boys
Original of the Species - U2
Is She Really Going Out With Him? - Joe Jackson
Rich Girl - Hall & Oates
King of Carrot Flowers - Neutral Milk Hotel
Overkill - Men at Work
Tempted - Squeeze
Manic Monday - The Bangles
There are no upcoming dates at this time.