The following description comes from the event organizer.

Kevin Barnes did not believe they could ever leave Georgia. Barnes arrived in the erstwhile college-rock hub of Athens around 1996, a pop four-tracker in their early twenties with permissive images of Bowie, Prince, and Iggy Pop prancing through their head. Almost immediately, of Montreal became a signal flare for a slowly changing South. Barnes, who will answer to any pronoun you proffer, bent gender and genre through complicated and ever-delightful records, trouble and woe fueling kinetic tunes of radical incandescence. But there is only so much energy one can expend on the vanguard, living in a town that often felt like a frat house suffused with regressive notions of race, sexuality, and decency. It all exhausted Barnes. They had, however, built a life there—a home, a family, a studio, a reputation. Could Barnes ever really exit?

The new Lady On The Cusp is not only a rapturous synthesis of most everything of Montreal has ever done but also Barnes’ final transmission from Athens, as they’re now a fresh Southern expatriate delighted to be living among the snowy peaks and progressive politics of southern Vermont. Written and recorded in the months when Barnes and partner, musician Christina Schneider, prepared to leave, Lady On The Cusp combines a keen reckoning with the past with hopeful glimpses of the future, all clad in Barnes’ purposefully scattershot pop kaleidoscopes. The glittering trauma confrontation of “PI$$ PI$$,” the devotional R&B surrealist fantasy of “Soporific Cell,” the nuevo jazz lamentation of “Sea Mines That Mr Gone”: These 10 tracks—funny and sad, sexy and brooding, playful and serious—find Barnes finding new paths ahead. Barnes is moving both from situations that felt suffocating and toward musical ideas that feel evermore freeing.