Lucy Arnell
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Lucy Arnell

Larkspur, CA | Established. Jan 01, 2014 | SELF

Larkspur, CA | SELF
Established on Jan, 2014
Band Rock Psychedelic




"Phish Drummer Records With Lucy Arnell"

San Francisco-based singer-songwriter Lucy Arnell recently recorded her upcoming solo album, The Whole Sky Turned Red With The Rainbow, which will be released later this summer. The guitarist enlisted Jason Abraham Roberts of Norah Jones's band to produce her debut LP and he in turn enlisted the help of Phish drummer Jon Fishman to contribute to the recording. Lucy Arnell will appear at Terrapin Crossroads on Friday, June 26 for a free gig billed as Lucy Arnell & Friends which will include Roberts as well as Steve Adams and Ezra Lipp. Below watch footage from New Monkey Studio in Los Angeles of Fishman adding drums to Arnell’s “Fatal Folk." - JamBase

"Lucy Arnell's New Album is a Psychedelic Journey ft. Phish's Jon Fishman"

It’s been a sweet summer for Lucy Arnell, the San Francisco psych - folk - rock songstress you’ve most likely seen at a number of DIY venues around town. Most recently, Arnell hosted her record release party at Phil Lesh’s Terrapin Crossroads. In the end of August, she dropped her debut LP The Whole Sky Turned Red With The Rainbow.

Arnell calls San Francisco home - Larkspur, to be exact. By chance she was introduced to producer/guitarist/multi-instrumentalist Jason Abraham Roberts (Norah Jones, HYMNS), and the two formed an excellent studio partnership. They collaborated on ten original songs to create The Whole Sky Turned Red With The Rainbow, Arnell’s debut studio LP release. The album was recorded at the late Elliott Smith’s stomping grounds New Monkey Studio, and features drumming from cult improvisational rock band Phish’s Jon Fishman. Tanpura sounds in the opening moments of the record begin the moody, psychedelic outburst of "Dr. Captain’", reminiscent of some early 'Summer Of Love’ fantasy. The intense guitar riff driving the song coupled with Arnell's dreamy vocals and vintage tones create an array of interesting moods and emotions, all of which amount to: incredibly pleasing to the ears.

The second track stands in stark contrast to the first - yet, bears a similarity that can only be Arnell’s budding style. A dreamy acid-fueled landscape quickly turns into a more modern one, a love song - 'Man Of Sound' embodies a more classic vintage pop sound. It’s Roberts' guitar weaving with pianist Pete Remm’s modest notes that add simple but powerful emphasis to the lovesick call of the tune. The time signature is interesting as Arnell weaves through the song the story of a man, impassioned by music yet longing for love. The dichotomy of the main character’s developed lyrics matches the interesting rhythm sections.

Later on, the instrumental, catchy, upbeat "Sans-Souci" is a 60’s surf-rock inspired carefree and goofy release, possibly the most easy going tune on the record. Don’t be deceived, however, as easy going for Arnell does not mean simple. The interesting riff hooks the listener, and the powerful ending guitar duel between Arnell and Roberts features soaring rock n' roll notes intertwined with dirty feedback noises, creating a wild landscape.

The final track, "Fatal Folk", features the album's most recognized contributor, Phish’s Jon Fishman. Although his performance is not played in the typical Fishman drumming style, it is oddly refreshing to hear him playing a more straight forward beat. Still, as the verse turns around to a second part, he still manages to add a flair of interesting timing. The song's driving, somber yet hopeful chords create quite an interesting mood of a dreamlike space of fear and sadness. The song's final jam seems almost mandatory when you have Jon Fishman at the helm, yet the spaceyness and sparseness of the notes and psych-drenched tones make this jam all Arnell's own.

Arnell's record allows you know her. The developed lyrics tell emotional and complex stories which seem to be so real they could only come from her own experiences. The themes are evolved and curious, exhibiting an endearing passion of life. Above all, the 10 songs are incredibly thoughtful. The messages, words, lyrics, vocals, chords, sounds - everything - are dripping with care, passion, thought, and honesty. These qualities are rare in music now a days, and it’s these exact attributes that set Lucy Arnell apart in my eyes - and will soon in the public’s eyes.

Arnell’s songwriting is a heartfelt homage to the past, in every sense. Experimental but not pretentious, classic but not old. The psych-rock tinged canvas painted on her freshman release demonstrates more than just a sense of melody; the youth of her songwriting is endearing, and the feeling is palpable. It’s familiar, but unique. I’ve heard it before, but just can’t put my finger on it. It’s that exact type of wonder that creates a place for Lucy in your hearts. Wonderous and new, yet oddly familiar. - Live For Live Music

"Arnell's New Album Brings Back Psychedelia"

Lucy Arnell’s first album, The Whole Sky Turned Red With The Rainbow, is a beautiful, refreshing dose of West Coast psychedelia.
The melodic journey takes listeners through a soaring dreamscape of consciousness, blending the classic sounds of the Grateful Dead, Jefferson Airplane, the Allman Brothers, and Neal Young with a unique modern flair.
The album begins with “Dr Captain,” a marvelous experimental folk tune with heartfelt vocals and a supreme balance of organic sound and effects. “Crazy Moon” is one of my favorite tracks on the album. The thick groove pocket blends perfectly with bluesy guitar, which at times is almost akin to classic Grateful Dead jams.
Arnell showcases her impeccable ability to fuse southern rock and blues with a pinch of California zest, specifically in tracks like “Houseguest” and “The Ones You Love.”
Other songs such as “Carolene” and “Sans-Souci” showcase her grittier side with edgy guitar riffs and extra crunchy jams. With the help of Jon Fishman (Phish) on drums, the final track, “Fatal Folk,” carries the strongest groove on the album. The flawless rhythm enables superb melodic exploration throughout the track, with numerous notable keyboard solos.
Overall, the album was a great ride from start to finish, and I definitely look forward to seeing Arnell’s work in the near future. - The Sandspur (Rollins College)

"Indie Album Review - Lucy Arnell, "The Whole Sky Turned Red With The Rainbow""

In the essay "Red, White, Blue Suede Shoes" by author Eric Pooley, for the Grateful Dead boxset So Many Roads, he talked about how ironic it was that the powers that be had such animosity for the Dead, as they truly, truly loved America and American Music. Not the United States, mind you, but America, a spectral landscape similar to William Blake's New Jerusalem. It's hard to define what it is, exactly, because it doesn't exactly exist.

San Francisco throwback chanteuse Lucy Arnell is painting lush and ornate sonic portraits in what is sometimes known, among the heads, as Cosmic Americana. Gram Parsons coined the term to describe his unique blend of folk, country, gospel, psychedelia, and rock 'n roll.

In short, Cosmic Americana is perfect music for getting lost on country roads and back alleyways, for drifting down a muddy river on a pontoon boat (as you might imagine listening to "Carolene") under the stars. It's cosmic, as we're all under the same sky, the same stars.

Lucy Arnell describes her music as a heartfelt homage to the past, in every respect. Arnell is working predominantly with a pallet of psychedelic rock, the burnt oranges and avocado greens and bloopy letters of the late '60s and early '70s, but there's a little bit more edge here, a bit more grit, a bit more vitality that lets you know this is from now. These days, you've got to mean it. It is not the time to just relax and go with the flow.

The Whole Sky Turned Red With The Rainbow reminds me most thoroughly of a another under-appreciated purveyor of stylized American rock, Jesse Sykes, who has collaborated with experimental metal giants Sunn O))) and Boris along with fronting her own outfit The Sweet Hereafter. If Jesse Sykes is sculpting heartfelt quiet desperate country folk out of basalt and obsidian, Lucy Arnell is doing the same thing with flanged funky rock 'n roll. It's clearly rooted in the fertile soil of The Grateful Dead and Neil Young, but is delivered with a delicate shivering emotionality, behind the quavering guitar lines, like on "Houseguest" and "Cosmic America", my personal favorite track.

The Whole Sky Turned Red From The Rainbow is Lucy Arnell's first major outing, which made lead skeptics to dismiss this as just another indie-released debut from another flash-in-the-pan musician. I personally love listening to debuts, to see what they're leading off with, but this one caught me off my guard. From the first seconds of "Dr. Captain", there is a self-assuredness to Lucy Arnell's psychedelic ballads. It makes you hold your breath for a moment and really lean in and pay attention. That's when they have you, when music begins to seep in and become a part of your world.

This is usually the point where I start checking the press release, to see what is up with a record, what's the story? Imagine my surprise when I found out this unknown artist worked with Jason Abraham Roberts, and none other than Jon Fishman, the furious polyrhythmic drummer from Phish on album closer "Fatal Folk"!!! How on Earth does a brand new artist get Phish's drummer?The Whole Sky Turned Red From The Rainbow was debuted at Phil Lesh's Terrapin Crossroads, as well. This record is bristling with psychedelic royalty, which is clue one that you should really be paying attention (for those that don't have the fortitude to wade through the digital stacks themselves).

Those that take a moment to lose themselves in Lucy Arnell's lazy swaying psychedelic odysseys and oracles will not be disappointed. Her guitar tone is as sick as a leper, while her soloing is catchy and melodic, like Jerry on his best days! As an added bonus, The album ripples with interesting instrumentation and production, such as the bouncing piano chords of "Sans-Souci" or the mandolin and sitar at the tail end of "Dr. Captain", which sort of sounds like a meditation circle at a bluegrass festival.

For those that really, truly love American music, in all of its permutations, as well as damn fine songwriting and musicianship, get this now! ​ - The Even Ground

"Lucy Arnell Releases Hand Drawn Psychedelic Video For "Dr. Captain""

Lucy Arnell has just released a new music video for her song, “Dr. Captain.” The cool part? Arnell illustrated the entire thing herself.

“Dr. Captain” is the first track off her debut album, The Whole Sky Turned Red With The Rainbow. The album was produced by Jason Abraham Roberts (Norah Jones, HYMNS) and features Phish’s Jon Fishman on one track. The album was released independently to positive reviews in late August.

Arnell drew some of the characters just for the video, while others are selections from a book called “I Love Lucy: A Collection Of Art and Stories.” The book, co-created by fashion icon, godfather Andre Leon Talley, features a collection of art which Lucy made between ages three and five. The book was published and sold by Rizzoli Books, and all proceeds were donated to the Elizabeth Glaser Pediatric Aids Foundation. All the art on Lucy’s 12” LP package are also selections from the book.

Watch “Dr. Captain” below: - Live For Live Music

"The Uneasy Truth: Financials of Local Bands"

The Berkeley Haas School of Business is probably an unlikely place to find an aspiring musician, but that’s exactly where Zach Briefer found himself, staring down 9-to-5 mundanity and the white-collar purgatory of banking or accounting. “I knew two things,” he tells me, musing about his undergraduate days. “I didn’t want to work in an office, and I wanted to do something with music.”

Briefer didn’t go into banking or accounting. He went into rock n’ roll, and it’s probably no surprise that he and his bandmates in Pistachio treat the band like a full-time job — a business with a groove; a band that pays taxes. Though he admits a few of the members have a side gig or two to help out with costs (“They only take up about two to three hours of our day,” he’s quick to point out), the group is a self-sustaining entity that covers both band and life expenses. Pistachio is the closest I came to a band that was surviving solely as musicians when doing research for this piece.

We should all know the story by now: The Internet has completely revolutionized the way consumers listen to, access and experience music, decimating the major labels' stranglehold on the market in the process. It's great for the consumer, but is it necessarily great for the artist?

Now more than ever it seems like musicians are sifting through the debris of a crumbling industry, scavenging spare parts from the past to construct a new strategy to stay profitable in a world where anyone with a Wi-Fi connection has immediate and mostly free access to millions of songs with just the click of a button. Who would be crazy and/or desperate enough to pursue music as a viable career option at a time like this?

Quite a lot, it turns out. I’m one of them. I’ve been playing in bands since I was fifteen, and I’m still figuring out how to prioritize costs, budget band expenses and get fans to buy the music of my current projects Ken Riffey Jr., Rumble Mother, and The Y Axes. Most of the musicians I know are trying to figure this out as well, and somehow make a living in this ridiculously expensive dot on the map. Making a living as a full-time musician, however, is practically the thirteenth labor of Hercules. Is Pistachio an anomaly, or are there other Bay Area artists out there making enough income off their art to meet the costs of living inside or around San Francisco?

Who’s Making a Profit?

First off, the obvious question: are local artists in the Bay Area able to profit enough from their music to both fund their projects and cover the cost of living expenses?

The depressingly short answer: no. Most artists fund their projects through day jobs, payouts from live performances and sometimes hiring out their services for various purposes (corporate gigs, music lessons, etc.). Very few I talked to survived solely off the music they compose for personal pleasure; their finances often derived from a mix of sources.

Solo artist Robert Gillies sees this as the future for musicians, and the achievement of a steady income stream is really only obtainable through diversification. Though he has been mostly just “breaking even” over the past couple years, he does admit the amount of money generated by his music increases “a little every year.” Gillies has done this by pursuing numerous “revenue streams” and focusing on “untapped markets.” He says the most profitable endeavors have been “private house concerts, partnering with brands, and writing songs for both companies and individuals.”

He admits to a lot of frustration in this diversification, and the constant attention given to projects other than personal ones. When I asked if he feels the struggle to fund personal projects stymies the creative process, he responded with a tone of hesitant optimism, saying, “On the whole, not really. That being said, I have to be really careful about what I'm working to achieve...I take a lot of time paring down to what makes sense to create at a specific time based on what funding I have available.”

Singer-songwriter Chris Reed answered the same question even more bluntly: “Yes. Absolutely. It also makes me question whether I should still be doing this anymore.” Musicians today, he says, are “expected to also be small business owners” and observes the need to “organically find what interests us and use that to connect to our audience, so we don't need to feel like used car salesmen.”

This sentiment was echoed in various shades by every musician I interviewed. Mike Laglia from the electronic trio NVO summed it up well, “It's not that hard to keep costs down, but it is challenging to grow a project to the point where the band covers its own expenses and creates enough money for human beings to pay rent and occasionally eat something other than peanut butter.”

To combat this challenge, artists have to get creative and rely on the resources available to them. NVO in particular benefits from the fact that one band member’s day job involves video production, allowing the group to internally produce professional music videos and not hire out the work at a higher rate. Tricks like this can save a band a heap of production costs, and just having friends that work at recording studios or a PR firm can aid them immensely. Networking was emphasized as a key piece of finding ways to work around the high costs of music production and promotion.

The Obstacles

Besides time constraints, the biggest obstacle that came up again and again in conversations was (yep, you guessed it) the inability to sell music. Consumers just aren’t buying music the way they were 30, 20, or even 10 years ago. Some point to streaming as the current culprit, others still condemn Napster, but it’s clear that the internet is to blame for the easy access to an almost unlimited amount of music from every inch and crevice of the globe.

Singer-songwriter Travis Hayes remains upbeat about using the current consumer trend to his advantage. “The ideal new fan will listen to music for free,” he says, “and hopefully love it so much that they’ll buy a ticket to your next show and maybe take a T-shirt home.” This seems to be the hope of many modern musicians willing to give away their music for nothing in order to establish a following, spread the word, and eventually get the consumer out to a show.

There is, however, a troubling deeper issue extending from this consumer culture that guitarist Brent Curriden of Lords of Sealand touches on. He brings up the “issue of distraction”: “When so much music is available, each artist gets less time spent on them. For a band like Lords of Sealand, which can take a couple listens to ‘understand,’ people tend to be unwilling to invest the necessary time." Even though the Internet has made it incredibly easy for musicians to meet, record, and distribute their music, there is now so much music available even the most fervent fan can’t process it all or keep up with the massive amount of releases that drop every year.

And how can an artist invest a large amount of money in a project if very few people will end up buying it?

“Bands often underestimate the value of a good quality recording,” musician Lucy Arnell says, “and it truly is difficult and costly to have good sounding recordings. It takes people who are experienced in studio work and sometimes even a third party — like a producer — to help guide the band and get more out of them. After the recordings, you have mastering, the art of the package, and then the cost for whatever format you choose to put your record out on, if any...all of these things add up and can be extremely expensive for a band, and also discourage bands from attempting to record at all.”

The Old-School Approach

Pistachio’s strategy for making ends meet is nothing particularly groundbreaking. It has less to do with savvy social media skills and indispensable record contacts than a nose-to-the-grind work ethic that propelled past generations of artists to success — James Brown didn’t want to be known as the hardest working man in show business just for the hell of it. He played around 300 shows a year to pay bills, bring his music to new audiences, and make performance a full-time profession.

Pistachio can’t claim that astronomical number, but Briefer insists that the band has played about 120 shows in 2015 alone. Many of these aren’t half hour sets either: In order to get a good guarantee from bars and clubs, the band had to learn three hours’ worth of material, filling the slot with both originals and a slew of covers. By playing out so much, and being careful to stick to paying gigs, the group is not only promised a nice chunk of change (from $200 to $500 a night depending on the venue), but they also have been able to build up a following from the constant exposure.

“There is money out there for music,” he tells me, “and it is possible to make a living depending on what you are willing to and can give up. Sometimes it’s not the most ideal way, and a lot of sacrifices are necessary, but the grunt work can and does pay off. It’s about turning what’s out there into what you want.”

Pistachio hopes to turn the money they make from the road into a new album and, when asked if the band has ever considered an alternative platform to raise the capital for a recording such as crowdfunding, Briefer laughs, “I knew this question was coming. There is merit to raising money on a project, but our band consciously did not go that route. Going straight to crowdfunding felt like it would take away from the struggle necessary to make a tight band. Our long shows and busy schedule can feel grueling at times, but it also tightens us up as a band, focuses our attention and motivates us to work harder.”


Speaking of crowdfunding, Briefer isn’t the only musician who cautions about this seemingly simple solution to all financial woes. Kat Robichaud successfully funded her debut album through Kickstarter and, while it worked for her, it wasn’t easy. “It's worth it if you have the time,” she says, “It's hard if you're going at it alone. I've been fortunate to have a large outlet in which to gain the exposure I needed to fund my first album," she says, referring to her appearance on The Voice."Since the show, I've refocused my reach locally rather than internationally because I do feel it's better to make one fan at a time." But she doesn't think she'll do it again. "It was wonderful to have the album paid for, but it was so much work on top of actually creating an album. I put 6 months of my life aside to finish completing packages for my backers. With my schedule as it is, I just don't have time to do that again.”

Platforms like Indiegogo and Kickstarter seem to be filling the void that labels once used to occupy, investing in bands before they are proven profit-makers. Unfortunately, they often get misconstrued as a form of charity when it’s really just a new form of investment. It’s a perverted business model, but one that relates to the current consumer trend.

The Consumer

This next question I didn’t ask my interviewees because it’s an ugly question that would only get them ugly responses from fans: How much is the consumer themselves to blame in all this?

Consumers barely purchase albums by mainstream, superstar artists, so how much is really going to the no-name local bands? Some of this is no doubt due to sensory overload: The daunting number of acts out there is mind-numbing and can lead to consumer paralysis. But, let’s be real here: you can afford it. This is not the late ‘90s when Tower Records was charging $20 for a one-hit Backstreet Boys album. New releases are almost always hovering around $10, and local artists usually sell their stuff for less than that — sometimes even using the “name your price” model on sites like Bandcamp. As Reed points out, “People don't buy music the way they used to because streaming has been made so easy. I wonder if people knew that us artists only make a fraction of a penny on every play, if that would change the way they listen. Would they purchase music more to help keep us artists afloat?”

That’s something you the consumer have to ask yourself. You have more responsibility here than you probably realize.

Final Thoughts

A piece of advice that resurfaced numerous times in the responses was the idea of the musician as the businessperson, with Gillies going so far as to say he sees the biggest problem with artists these days are the “musicians” who are not “treating themselves as a business.”

I find it both ironic and problematic to blame the musician for not wanting to become a businessman. Those who pursue the arts do it because it is everything that business is not: creatively liberating, full of weirdos, and free from strict rules and regulations. It’s a cruel twist of fate to tell musicians they have to treat their passion like the thing they’ve probably always wanted to avoid. Zach Briefer’s model with Pistachio is a bit more palatable — hitting the road and playing non-stop shows to pay the bills is work, but it’s also pretty fun at times. Composing songs for corporations or sucking up to endorsement deals — that’s an uglier compromise that some musicians may be unwilling to make.

If the successful musician of the 20th century was characterized by hedonistic excesses, of rock stars trashing hotel rooms and engaging in orgies that would put Caligula to shame, the successful musician of now is a sober-minded entrepreneur; a workaholic always looking for the next fan, the next subscriber, the next Facebook “like.” This is both good and bad for the modern-day musician. It is, indeed, easier than ever to get your music distributed but harder than ever to break through the clutter. Musicians have an unprecedented amount of creative control and autonomy (no more interference from suited label executives), but less real chance to reach out to the distracted masses without the power of a major label behind them. Consumers have more access to music than ever before but less and less of them, in the words of Robichaud, “see the value in paying for music.”

If you’ve made it this far you might still be wondering: is it possible for local, under-the-radar musicians to make a living off their music in this century?

If “making a living” isn’t code for fame and fortune, then yes. If you think “musician” means “celebrity,” you definitely won’t be able to survive the many hardships that come with the territory. If you’re looking to start a project, gain some fans who will support your artistic vision, and make enough money to fund a few albums and go on a few tours, well, that is certainly within reach. To quote Robichaud one more time (because I adore her quotes), “Being in a band is expensive. Touring is expensive. Recording is expensive. And there is zero guarantee that you will ever see that money again. Never do it for the money or the fame. Do it because you love to perform and you love to create and the thought of not playing music makes life seem meaningless.” - The Bay Bridged

"The Magic Of Bowie's Passing & 11 Things You Didn't Know"

Icon; leader; gender barrier defier; genius; artist; clever; dazzling; master of reinvention; wizard. If you said any of these in regard to David Bowie, you’d be correct. The man defied what it meant to be a musician, and paved a path for thousands to come. He gave otherwise odd people confidence and a voice; two incomparable gifts. His contributions not only to the art of music itself, but to the souls of humanity, are why we mourn him.

Although a sad mark in history, it is also one of intrigue. Of all the personalities David Bowie can be characterized by, by far the most consistent and well known is his gender fluidity. His effeminate outfits, stage designs, photos, expressions, words, songs, personalities, and notions added up to a man who tried to show the world that humans don’t belong in boxes. Human is not one or the other - human is fluid, and should be able to express himself as so. He didn’t just preach that, he lived it.

The same tragic day of Bowie’s passing is also the birthday of a woman - a Suffragist named Alice Paul, the leader of and brains behind the success of the 19th amendment in 1920. The bill provided women the right to vote, and Alice took equality even a step further when she successfully included Women in the Civil Rights Act of 1964 bill, legally protecting the group from discrimination. It is ironic to me that on the same day as the passing of arguably the most gender fluid artist of our time, this woman, the original Suffragette, was born in 1885. You know she’s got ‘Suffragette City’ on repeat. As sadness comes, let’s remember that there’s a bigger picture; a larger scheme, and magic can always be found. That’s what Bowie would have wanted us to see.


1. He was born on the same day as Elvis Presley (January 8th).

2. Space Oddity was released just days before the 1969 moon landing, and was used by BBC in it’s coverage. Always impeccably timed….

3. In 2003, he turned down Knighthood (yes, he told the Queen “no”……..).

4. His left pupil is permanently dilated after being punched over a dispute involving a female. Later in life, at a show, a patron would hurl a lollipop at him, causing further injury.

5. He changed his name from David Robert Jones to David Bowie to avoid confusion with Davy Jones, who was having major success at the time with the Monkees. Good thing, because we definitely would’ve gotten them confused.

6. Bowie’s idea for his Ziggy Stardust character came after a random encounter in London with acid freak - pop star Vince Taylor. The album cover was shot just around the corner.

7. ‘TCV15’, a track off 'Station To Station,’ was inspired by a dream where Iggy Pop saw his girlfriend eaten by a T.V set.

8. He’s a tea-phobe. He claims that when he was 5 years old, he had a horrible incident with a cup of tea, and would not touch it until the day he died. Teaphobia.

9. Frank Sinatra raked it in from a song Bowie wrote in 1968 when he was still a starving artist. Bowie wrote lyrics for a song called “Even a Fool Learns to Love,” but it was never recorded. Musician and Sinatra collaborator Paul Anka later reworked the song and called it “My Way,” which Sinatra eventually recorded - and we all know how that turned out.

10. Peter Frampton’s dad was head of the art department where Bowie (then Jones) attended school.

11. After learning that Tom Petty sent a thank you gift to his writer at Rolling Stone, Bowie decided he must as well. He attempted to send an unborn pig fetus in a jar to the magazine offices, but it was confiscated by border police. It’s rumored that over a three week period, Bowie repeatedly called the offices to confirm the fetus’ delivery. Needless to say, I’m sure the office was somewhat relieved when it never did. - The Lazy Yogi/ Lucy Arnell

"Lucy Arnell Releases Mad Alchemy Video, Announces 'The Lucy Arnell Experiment and Revue'"

California psychedelic folk-rock songstress Lucy Arnell has released a 42 minute video, featuring San Francisco psychedelic legend Mad Alchemy’s trippy, vibrant landscapes. The video, shot in a garage in Hayward, CA, features the eccentric and alluring Mad Alchemy in his element, creating his art - live - to the entirety of Arnell’s debut LP 'The Whole Sky Turned Red With The Rainbow.'

Watch the video below:

"It's something that can be enjoyed in many ways," says Arnell. "It's something you can actively pay attention to, or It's background music and visuals. The concept was a music video that defies what it means to conventionally be a 'music video.'" The record, produced by Jason Abraham Roberts (Norah Jones, HYMNS), features the single “Fatal Folk” with Jon Fishman (Phish). You can get the album here.

Every Tuesday in March, Arnell will host “The Lucy Arnell Experiment and Revue,” a month long residency at Doc’s Lab in San Francisco, CA. Each week welcomes a different band, from national touring sensation Lee Gallagher and The Hallelujah to Matt Jaffe & The Distractions, fresh off their U.S tour with Blues Traveler. Mad Alchemy will join Arnell and Lee Gallagher and The Hallelujah to kick things off MARCH 1ST.

All Lucy Arnell dates are listed below.




MARCH 29 - MATT JAFFE & THE DISTRACTIONS (Tickets) - Live For Live Music


2.14.14 - "Side by Side" (EP). Produced by Jason Abraham Roberts.

8.18.15 - "The Whole Sky Turned Red With The Rainbow" (LP). Produced also by JAR.



Lucy Arnell was born in New York City in August, 1989. Arnell has previously referred to herself as a "reformed concert bum," referencing the early chunk of her youth. In the Summer of 2013, Arnell relocated from New York to San Francisco, where she began honing her skills on the guitar, as well as her songwriting craft. It was around this time she met guitarist/multi instrumentalist Jason Abraham Roberts (Norah Jones, HYMNS), and the two began collaborating on recording sessions. In the Fall of 2013, Arnell recorded her first EP - the Roberts'- produced 'Side By Side,' a four song collection of three originals and an uptempo take on John Prine's "Angel From Montgomery."

In Spring 2014, they returned to the studio and began production of Arnell's first full length release, "The Whole Sky Turned Red With The Rainbow." The album, produced by Roberts, features ten original songs co-written and arranged by Arnell and Roberts. Jon Fishman (Phish) played drums on the ultimate track Fatal Folk. The record is a heartfelt homage to the past, in every sense. Experimental but not pretentious, classic but not old. The psych - rock tinged canvas painted on Arnell's freshman release demonstrates more than just her sense of melody; the youth of her songwriting is endearing, and the feeling is palpable. for dates and details. 

Band Members