Under the Streetlamp is a new act storming the nation that presents audiences with a vocal performance spotlighting what they call the "American Radio Songbook." The ensemble took its classic approach and turned it into a full production that has been drawing packed houses all over. Under the Streetlamp is currently barnstorming across the country on the heels of its PBS special and debut self-titled album, which showcases UtS's strong Doo-Wop/Pop/Motown/Rock & Roll-oldies sound.
CityBeat recently spoke with one of the vocalists, Michael Ingersoll, of Jersey Boys fame, and discussed the rise and evolution of the group as well as where the sights are set for the future. Under the Streetlamp performs at the PNC Pavilion at Riverbend Music Center on Sunday night.
CityBeat: You guys have been around for a couple years but you are a fairly new group. Can you tell me the story of how Under the Streetlamp formed?
Michael Ingersoll: Absolutely. The four of us met when we were doing a play called Jersey Boys. Chris Jones and I did the first national tour of Jersey Boys and then he went off on his way and I met the other two fellows in Chicago and we did the production there. While we were in Jersey Boys, on our nights off we were putting together these concerts for clubs and local theaters to sing other music besides musicals, like things from The Beach Boys, The Drifters, The Beatles and songs like that.
After the show closed in Chicago, the momentum for us was actually following this band; this "side-gig" took off so we decided to pursue it rather than pursuing our individual career as actors. So we took advantage of that momentum and submitted a five-minute demo of what we were doing to (PBS outlet) WTTW in Chicago and they said they were interested in helping us develop this project.
That is the really short version. Once PBS was on board, we were able to book a 27-city tour, which is pretty ambitious for a new group.
CB: What is the biggest difference between performing in Jersey Boys on stage and the Under the Streetlamp group?
MI: Well, Jersey Boys, first and foremost, is a musical with a story and a book. We are a band; we are a concert. There is nothing Broadway about us at all. We have full artistic control over everything we do. This is a project that we guide. This is a project that we own.
That was really one of the big motivations for doing this because our acting careers where we were doing pretty well in the acting business.
It is a concert and we have a lot of fun with each other. We have a lot of the fun with the audience. We take the music very seriously but we don’t take ourselves very seriously at all and the audience seems to enjoy that.
CB: I have been listening to the album this weekend. How did you pick these particular songs to perform or put on the album?
MI: The four of us — each of us is a lead singer. It is actually pretty rare for a band to have four lead singers. We wanted to lead with our strengths, our individual personality.
Michael Cunio, for example, has a crazy high singing voice so he did Etta James “At Last” in Etta’s original key and it is always a big surprise to the audience when it is coming. Chris (Jones) has got a very powerful, kind of balladeer voice so we sing “I Come For You” for him. I am kind of a Folk Rock/Rockabilly guy. Shonn (Wiley) is an incredible tap dancer and Broadway showman so we do “When You’re Smiling” for him.
So basically we just chose the songs as it suited our strengths and flowed for the evening. We also chose artists that are in that same genre that we learned when we were in Jersey Boys. So that’s where we get The Beach Boys and The Drifters and The Beatles.
Our music is fun, it is life-affirming, it is joyful, it makes people feel good. That is probably the biggest criteria for how we choose.
CB: I know your family was an influence musically to you growing up. I also know that you are from Dayton, so you are a local to us. Did you have a good music program in Dayton growing up or did your family give you private lessons? How did you develop musically?
MI: Well, there are two major factors. My grandfather was a professional Jazz pianist and so there was always music around in that environment. He taught me to play piano by ear and really get into Jazz primarily.
There is also an amazing arts program called Muse Machine in Dayton, Ohio. It is a program where kids come from all over — high schools from probably a 30-, 40-, 50-mile radius and every year they put on a musical and they bring in Broadway caliber directors and choreographers and producers. I was lucky enough to be cast into one of those shows and that is really where my interest exploded in performing and what led me to go to college and study acting.
Check out the Muse Machine website, you can learn all about it, it is an amazing organization. I would credit them with the biggest influence, the biggest push.
CB: You are on the road now. You said you were doing 27 cities, which is a lot to take on. Is there anything about home or here you miss when you are on the road?
MI: Obviously my family is there, but who doesn’t miss Graeter’s ice cream and Skyline Chili and the Cincinnati Reds. I love those things. Those are the things I do as soon as I come back. I usually go to Skyline Chili and Graeter’s and try to catch a Reds game. I am a huge Reds fan and Bengals fan. I live in Los Angeles now so I miss the change of seasons in Ohio, but (there are) good, friendly folks there and it was a wonderful place to grow up.
Cincinnati has a vibrant and rich arts community so we just can’t wait to play. I also did a year at the Cincinnati Shakespeare (Company). That was my first actual professional acting job to work there for a year, so I got my start in Cincinnati.
CB: Where do you see yourself in five years?
MI: I think that we are on track to be a top tier act in the Adult Contemporary market, with Michael Buble, Norah Jones, Diana Krall and artists like that. I think we have a product that makes people happy. I think we have a got a very powerful team with PBS and our management. We are determined to take this to as many people as will possibly let us do it. We are doing every single thing we can to make sure we are here to stay. As long as we make people happy, we are optimistic that will happen in big ways.
CB: You said you play piano, but do you guys play any instruments during the show or is it just singing?
MI: No, we are four singers and we have a seven-piece band of incredible world-class musicians. These are folks that have played with Sinatra and Frankie Valli and huge, huge names. We have a rhythm section and then three horns. That horn section helps kind of give it that "streetlamp" character. It helps with that distinctive sound.
CB: Tell us, in summary, what can the fans expect to see in the show?
MI: There is a lot more music we perform live than on the DVD for the folks that are familiar with us from PBS. There is a lot more music and people come away from it often saying, “I can’t believe I laughed that much” or “I didn’t expect the show to touch me emotionally like it did.”
I think people are going to laugh a lot. Hopefully they get up and dance a lot. When they leave, hopefully they feel better than when they came in from listening to this great, joyful music performed by people who really care about them having a good time.
And also, if you have got time, just check out the Under the Streetlamp Facebook page because our fans comment on there after every single show, and really their comments, and there are tons and tons of them, say it all.
CB: That was one of my next questions — are you guys using social media to promote the band?
MI: Absolutely. We have a great website and great designer. We use Facebook, we use Twitter. Any way that we can possibly interact with our fans, we do so. We answer our own e-mail. We maintain our own Facebook page. We spend a lot of time talking to our fans. Anybody that writes in and asks us a question or comments on Facebook, we interact with.
Without them, we are nobody. We make sure they not only feel welcome at the shows but feel welcome in the cyber universe 24/7.
CB: What music are you currently listening to or what is inspiring you right now?
MI: It is funny, a lot of the music that I listen to outside of the band is not music that has anything to do with what we do.
CB: That is pretty common though. I talk to Metal people all the time and they never listen to Metal music. It is really an interesting dynamic. I always find it interesting to see what people really listen to when they are not playing.
MI: Right now I am listening to Foo Fighters latest album, Wasted Life, (and) Ben Folds latest album.
So what the heck happened at the concert by the always dazzling Neko Case at the Taft Theatre last night? Case's biggest show ever in the Cincinnati area was musically solid, but didn't go as smoothly as planned thanks to flared tempers, the proliferation of smartphone cameras and some angry and/or obnoxious audience members. It's safe to say that you can add Case to the increasingly growing list of performers who are losing their patience with omnipresent smartphone use at concerts.
Case is fairly prolific with her Twitter account, but her tweets from yesterday showed no clear indication of the kerfuffle. Earlier in the day, she praised Iris Book Cafe for their hospitality and good grub and, post-show, she tweeted "Thank you, Cincinnati, you are kind folks," followed by some heart symbols. (Sarcasm?)
CityBeat contributor Keith Klenowski was there to photograph the show (not on his phone; he was credentialed) and says the problems started during the second song of the night, when Case stopped the show and asked everyone to stop taking photos with their phones because the flashes were bothering her. Things calmed down, people seemed to oblige and the show picked up again.
Several songs later, according to Klenowski, Case stopped the show again and appeared to be talking to a fan near the front of the stage about putting their phone away. Case made a comment about happily refunding tickets, adding, "Just put away the cameras. It isn't going to kill you, but it might kill me" and "You can boo and call me a spoiled Rock star. I am." Case claimed there were signs about cameras posted around the venue, though Klenowski says he didn't see any.
Case's reaction was met with a mix of cheers and boos; some people got really bent out of shape about her protestation. "I (saw) people put on their coats and walk out," Klenowski says. "One guy (flipped) her the bird and storms out."
He says that not long after the second stoppage, a woman came down the aisle towards the stage and took a photo before immediately being escorted out by security. Before the band returned for an encore, Klenowski says he saw another skirmish that involved a man arguing with security as he was being kicked out.
"Neko looked tired and even admitted at the start that it was time to wake up or something like that," Klenowski says, adding that the singer was apologetic to the non-heckling/non-photo-taking fans throughout the show and at the end of the night. "I got her frustration, but I have never seen anyone threaten to leave and stop a show because of it."
The Gentlemen of the Road stopover tour started off as a rather simple concept. Mumford & Sons would invite a few of their music-playing friends to travel with them. They’d stop over for the weekend in towns they’d never been to before, towns they had no reason to visit. They would play two days’ worth of gigs for people they’d probably not ever played for before.It was just a small, scattered list of dates in BFE. NBD. Somewhere along the way, it became something much different. And much bigger. The “stopover tour” now looks much more like a takeover tour.
“It’s more about the town than the music,” was a sentiment you could hear echoed all over town. From the security guards to the people charging fans $20 to park in their driveway near the festival grounds. And that is an accurate statement.
When the Gentlemen rolled into Troy on the very last weekend of August they did, indeed, take over the tiny town. They did everything possible to put Troy’s best foot forward. The city center, with the fountain that turns pink in June for a strawberry festival, was closed down. WACO airfield was turned into a magnificent parking lot. Multiple school districts sent school buses to help transport music lovers from the parking lot to just a few blocks away from the festival grounds. You never had to wait for a bus, there were always plenty. Why can’t school districts work their own bussing schedules so fluidly? Even the Wendy’s in the next town stayed open until 2 a.m. in order to cater to Mumford fans.
Mumford & Sons ran Troy’s economy. The bakery served a limited menu and from the window hung loaves of bread shaped like mustaches – the international symbol for “Folk band.” A seemingly otherwise unused storefront became Mumford Market, which sold strawberry donuts and other festival essentials. Every storefront had a purpose, featuring window art of the four Brits in charge, of their acoustic instruments or of that omnipresent mustache (it was even painted on the streets). Aside from the Troy High School football field, which held the main stage and the bulk of fest goers, there were still two small stages downtown and another handful of street performers littering the crowded streets.
Heck, they even took over the Troy Police Department. For a town as tiny as Troy, they can’t possibly have very many cops and it seemed like nearly all of them were roaming around inside the closed-off festival area. You know that hard-assed vibe cops often get, especially when pulling security detail? Troy cops were the nicest (and best looking) unit to pull security at a concert I've seen. One of the highlights of the festival was watching an older (clearly drunk) woman swat an officer’s backside with her tambourine. He was quick to whip around and give her a quirk of the brow. When she gave him a grin and a wink, he laughed, wagged his finger and carried on. Later, as the woman and her tambourine flirted endlessly with one of the security guards, the TPD watched with grins and amusement. Nothing more.
And that bout of tambourine-assisted sexual harassment? Probably one of the worst crimes committed during the festival. One of the stage security guards remarked at how surprisingly low-maintenance the crowd was and one of the police officers on duty was quick to agree that the out-of-towners were exceptionally well-behaved. All of his calls had been to deal with locals — and even those calls didn’t seem like anything noteworthy or unusual for a festival environment.
Mumford & Sons fans know how to be polite when overtaking a city.
The festival repaid fans by taking over their nature. When they bought their tickets for the stopover date, they were sent a wristband, a fancy holographic ticket and a passport. The passport held info about last year’s first ever stopover tour, the band, the best restaurants and scenes to check out while in the area. And, just like a real passport, there were places to have stamped. Certain restaurants and stores had stamps. Every performer had a person in a booth at the back of the stadium with a custom stamp. People walked the festival grounds” with the rubber stamp, ready to bequeath another ink splotch on each passport. It was a race to get them all. A chance to maybe, just maybe, win a prize or learn something new.
What you really want to know about is the music though, right?
The festival may have been more about the town than the music, but the music was still what drew thousands of people to Troy’s gorgeous city streets. It was, after all, a concert, and the music that took over Troy’s stadium needs to be discussed.
Friday was a short day, with the festivities not kicking off until after everyone had time to show up after work. Of course, Edward Sharpe and the Magnetic Zeros, the Friday night headliners, were the clear draw for fans on Day 1. The Zeros have traveled with Mumford & Sons before, most notably on their "railroad revival" tour, and even released their newest album on the Communion label, a pet project of Mumford’s piano player, Ben Lovett. Technically, the band is solid. The only difference between their records and their live performances is the sheer amount of energy they bring to the stage. The group has fun on stage and that fun easily makes its way into the crowd. But if you’ve seen one Edward Sharpe concert, you’ve seen them all. If you haven’t ever seen them, then you’re missing out.
Saturday was magnificent, loud and the best kind of exhausting you could imagine. A little after lunch, the stage came to life with the lovely Indie Brit Rock band Bear’s Den (who will be back in Ohio to play Cincinnati's MidPoint Music Festival at the end of the month). They might have only kicked off the day, but their talent deserved a later slot. After Bear’s Den came Nashville’s Those Darlins, headed by Jessi Darlin, a wisp of a girl with a set of dragon-sized lungs. Rubblebucket, from Brooklyn, showed up next and bestowed upon festival goers all their weird, twitching energy. They’re awesome, but putting them before the decidedly more mellow (but still oh-so-awesome) Justin Townes Earle seemed a little ill-placed. It felt a little like revving the engine of a Mustang when you’re still three stop signs away from an open country road. Justin Townes Earle was brilliant, of course, but very laid back, and Rubblebucket left everyone pretty amped. On the upside, Earle’s joke about the Westboro Baptist Church earned him laughs.
Mumford & Sons also imported their friends, The Vaccines. Also hailing from England, The Vaccines’ lead singer Justin Young previously recorded on the Communion label as Jay Jay Pistolet, a far more tame version of the vintage Rock that evolved to make The Vaccines what they are today. This new creation doesn’t seem to get quite as much love from Communion’s heads as some of their other friends and that’s really a shame. The Vaccines are with Columbia now and blowing up in the U.K., but still floundering in America. They’re brilliant, though, and crowds eat them up. They sound gritty and much more Punk Rock than anything on the radio right now, but they could very easily end up on those playlists. They bring an insane amount of sexual energy to the stage, too. Remember that old Almost Famous quote about the fans “getting off?” One guttural bellow from Young ignited a crowd full of shrieks. The end of The Vaccines meant half the crowd needed a cigarette.
Earlier in the day, one of the security guards said he’d worried the concert would be full of Bluegrass bands, something he hated. So far, though, he liked what he had heard. He had no idea that after The Vaccines, things were about to get real blue, real fast. Old Crow Medicine Show are old pros by now. Not only have they toured with Mumford & Sons previously, but they’ve also been around for ages. Maybe that’s why their concerts always seem similar. They’re a blast and, if you know all their songs, you’ll be hoarse by the end of their set. But, at the end of the day, nothing changes much from concert to concert … not even the between-song banter.
Somewhere during the Old Crow set an older, surlier photographer made a comment that I caught just the tail-end of. He either said “They’re better than this” or “I’m better than this.” The answer to both of those sentimentswas the same, however. “Clearly Not.” If Old Crow were better than doing a clone show in a tiny town, then millions of people wouldn’t be singing along to “Wagon Wheel” right now and thinking it was by Darius freaking Rucker. And, if that photog were better than that festival, well, he wouldn’t have been there. Oh, the egos.
Mumford & Sons finally took the stage just as the sun was sinking down past the stadium, though we’d seen them during the set before when they crashed a few Old Crow songs. The first time I saw them was in 2010 at Beachland Ballroom. They sold out the 500-person capacity room and joked their way through the entire set. Not much has changed in those three years except the size of the crowd. As I bought a pair of Vaccines underwear from the merchandise barn (because, why not?), one of the boys added a sincere moment. Winston Marshall (I think. I was really far from the stage by then and trying to size underwear) told the fans there were a lot of people in America that the band loved “very, very much.” And that there were a few dickheads, too. Whether playing to a crowd of 500 or 50,000, the guys of Mumford know how to make each group of people feel awesome. Even if it’s just knowing to say, “O-H!” and grin when the Ohio crowd screams back the usual reply of, “I-O!” After all these years, they still really get a kick out of that trick.
Their performance was great, too. But it seems pointless to tell you that. At this point, Mumford & Sons have become so famous, so overplayed on the radio, you’ve no doubt already made up your mind about those four mates from London. Either you love them or you hate them. End of story. For me, the answer is love. I can respect a well-informed adverse opinion on the matter, however. So I won’t try to change your mind.
I walked back to my car as the Yacht Club DJs began their cool-down set after Mumford & Sons left the stage. Troy was quiet except for the bands and the revelers and drunks (so it wasn’t very quiet at all). But the town has a peaceful vibe to it and the band has always had a respectful sense to themselves that together kept everyone in check.
Would I do it again? Yes. But do I still absolutely hate festivals? Yes. Would I recommend the experience to anyone that made it this far in my review? Without hesitation, I recommend that you go visit Troy. And I will always tell everyone I meet that Mumford & Sons puts on the best show around and you should witness it once in your life. Whether you decide to hold out for their next stopover tour or settle for their next arena show, that’s up to you. Or, if you decide to wait a decade until the fuss dies down and they’re back to playing places like the Beachland or Bogart’s, I won’t judge you. I already know those gigs will be just as amazing.
Hunter Hayes is one of the fastest growing, most unstoppable forces rising in Country music. At just 20 years old, he recently released his debut self-titled studio album featuring the hit single “Storm Warning." In less than a year of truly being a part of the Nashville music scene he has found himself on tour with superstar acts Taylor Swift and Rascal Flatts and he will be taking the main stage at the CMA Music Festival next month in one of their nightly concerts in front of 70,000+ in attendance.
CityBeat spoke with Hayes by phone recently and discussed his uniquely introspective writing and recording process as well as his passion for the fans that come out to each of his shows. Hunter will be performing at Bogart’s Friday night. It's a great opportunity to see an act that could be headlining stadiums and arenas very soon.
CityBeat: What made you decide to play all of the instruments and parts on your debut album? Do you plan to do this again on the next album?
Hunter Hayes: There is this part of my brain that I got from my Dad that is really technical, that loves technology, I guess, like fixing stuff — not fixing stuff as much as messing with it. I think that became an outlet for me. The more time I spent making music and writing the more I loved the technical side of it.
One Christmas, I asked for a 8-Track recorder and I got it and I didn’t come out of my room for like three years after that. I literally learned more instruments and spent all my time on this machine making demos and I just started building my own recordings. I didn’t know for sure but I felt inside that was the only way these songs were going to become completed and it became a way of working.
I continue to write during that process. When I moved to Nashville, I started songwriting and every time I would write a song with somebody I’d go home that night and I’d start working up a demo. It just became a way I love to work and now is the only way I know how to work. I have sat in a studio across the looking glass with some of the most phenomenal musicians in Nashville and I sit there and I am a very shy guy, naturally. I am naturally very reclusive so when I get nervous around songwriters, I am very intimidated and I don’t share my thoughts a lot like I probably should. I kind of defer to someone else. So we decided to do the record this way because they knew I was comfortable working that way and there is something cool that happens when you start recording the song playing all the instruments. It is a very minute thing but you will notice the consistency in the emotion.
And by no means do I consider myself a professional player of any of the instruments I played on the record but I guess I was fluent enough to get where my mind wanted these songs to go with what I wanted to hear for these songs. I was able to translate it from the same heart I wrote the songs.
CB: What is your favorite song you have ever written and why?
HH: Oh God … to put it in perspective for you, we had 70 songs I wrote specifically for this record that we were considering. So, it is nearly impossible to pick a favorite.
I have to say I was really fortunate because I had a big say in what songs went on this record. I actually picked all but one. This one song on the record, it is not that I don’t love it, but it is so out of character for me, I was worried about putting it on the record because I didn’t want people to get the wrong idea, because it is a very bitter song.
I chose the songs on this record carefully but emotionally. I am definitely attached to every single one of them on this record. I could say that I love everything — “Wanted” “Love Makes Me” “Somebody’s Heartbreak” and “Storm Warning.” I was very adamant about having a song like “Faith,” I wanted “Cry With You” on the record. I’m close to all the songs on the record.
I think my favorite song I have ever written is probably the one I wrote yesterday and that is always the case. Any time I write a new song, I am jazzed about it for like 24 hours and then I am over it and want to write another one.
CB: That makes sense. How does it feel to be one of the main acts at LP Field at CMA Festival this year?
HH: It’s unbelievable. Last year, I was stoked to just play on a stage in front of the Bridgestone Arena. It was a great turnout and everybody knew my name, which was amazing. I had just wrapped up six weeks on the radio tour. The song had literally just started playing on the radio and there were already tons of people singing along to “Storm Warning” that day and that blew my mind. It was a time lapse thing. I started my radio tour with this big full band showcase in Louisiana. And we initiated it with this full band big showcase for all the industry to come down and make a day out of it.
Then I went out by myself on this radio tour. I would go to these stations. I would literally bring a little mobile studio and I would build “Storm Warning” for them, and they would get their own version of “Storm Warning” by the end of the day. We did that for six weeks straight. I went home only one day, for Mother’s Day. It was just this crazy schedule.
Fast forward six weeks ahead, I come back to Nashville to play my second ever full-band gig with the band and we were playing to a crowd that was singing along to almost every song. It was really impressive and it was just mind-boggling. It is amazing what a year can do.
I am grateful that they considered me for this spot on LP Field. I have sat in the audience to watch shows there many times so it is really cool to be a part of it this time on the other side.
CB: I have seen your show several times. One of the things that always strikes me when you play is that the girls love you. Have you had any crazy fan experiences?
HH: No, not really. I will say we have a lot of fans that we see many times, a lot of repeat fans, which always makes me feel good. When someone sees a show and wants to see another one, that makes me feel like I am doing something right.
It is so funny, they will come up during the autograph signings and say “I promise you I am not stalking you.” I am like “I don’t mind! I am honored that you have taken the time to come to more than one show.” There is this one girl who has driven thousands of miles and she is always almost apologetic about it, and you don’t even know how much that makes my day. When I see her car in the parking lot and I know she is coming, that makes me feel like I am doing something right. It literally gives me a feeling I can’t describe to you.
We have a lot of fans that are doing that. We have a lot of them who have met at our shows and have become best friends and they go everywhere together now. I just feel this unity at our shows, especially the "Most Wanted" shows, the headlining shows I get to do. They are smaller venues right now and they are growing. Tonight we are doing like 1,000 seats or something like that, but it is amazing this close feeling I feel with everyone in the room. I get to chit-chat with them during the show and goof off with them and it is fun. It is a blast. I am glad to say I have fans.
One week ago today, on Nov. 14, the fun and increasingly acclaimed Michigan-based Electro Pop band Stepdad was bringing its nearly two-month, nationwide tour to a close and was set to perform at Cincinnati’s MOTR Pub. The band had a great fall tour; outside of some trouble with its tour van, things had gone smoothly until that point. With a few final shows on the tour after the Cincinnati date in their home state, the band members were heading into the homestretch and returning home triumphantly.
Then one of them them got arrested. Stepdad had played Pittsburgh the night before its MOTR date, driving through the night and grabbing a room at the Super 8 motel in Cincy exburb Mason, Ohio, (north of the city and near the Kings Island amusement park, where the Brady Bunch once frolicked) to get some rest. Early in the morning of Nov. 14, Stepdad’s Nathan John Klages — a multi-instrumentalist and also a solo singer/songwriter who works under the name Nathan K. — was arrested at the motel, charged with public indecency and “obstruction official business,” according to the police report. Klages got arrested for doing something many, many men have done — taking a piss outside. He was booked into the Warren County Jail. The look on his face in the above mugshot is one of understandable confusion, probably a little anger and definitely a lot of fatigue after working all night and then traveling.
Those souls in attendance at MOTR Pub for the November 14 show by underground pop superstars STEPDAD won't soon forget it. Neither will Stepdad's NATHAN K. He might never forget it -- because of a very wrong reason.
The evening before the show, the band, which hails from Grand Rapids, Michigan, was staying at a motel in Mason, Ohio. It was there where Nathan K. was arrested for -- allegedly -- urinating in the great outdoors. Nathan was subsequently charged with public indecency and taken to the Warren County Jail, where his arms and legs were placed in shackles and he was placed in a cell.
He was fined, processed, and eventually released just before showtime, so as to avert what would have been the compounded injustice of having to cancel the show.
Taking into account the advice of the legal defense, we will say nothing about the charge levied against Nathan. However, Nathan is saddled with fines and travel expenses related to this episode. He must return from Michigan to Southwest Ohio on Tuesday, December 17 to face the judge, and we, at MOTR Pub, want to help.
Nathan has agreed to play a set at MOTR Pub on Tuesday, December 17 at 9 p.m. We are asking fans of Stepdad, and fans of blind justice, and fans of rock 'n' roll, and fans of Nathan K. to attend the show and join us in throwing a fiver or a ten-spot in Nathan K.'s hat to offset his debts and to make something good of the bad.
A friend recently asked me what my worst pet peeves are about going to concerts. It took me all of two seconds to spit out, "Everything is outrageously expensive: the tickets, the parking, the T-shirts and, of course, the ridiculously overpriced beers."
I’ve been a huge fan of AC/DC since I first heard them when I was 11 years old. So it’s difficult for me to even acknowledge that I'm pissed at them for their high-priced tickets.
CityBeat was able to speak with Anderson this week about protests, social issues and his thoughts on performance art.
CityBeat: Why did decide to bring the flute to Rock music?
Ian Anderson: When I was a young aspiring guitar player in my late teens I became aware of Eric Clapton, Jimmy Page and Richard Blackmore, who were the hot-shot guitar players down in London, and I decided maybe I should switch from guitar and find something else to play. The shiny precision of the flute, the ergonomics, the design, the manufacture — it’s kind of like a Swiss watch. It appeals to my sense of physics and engineering. For a particularly good reason, other than the way it looks, I decided I would give that a go. I learned to play it by trying to imitate the lines I played on guitar — solos and rifts. So I became the flute player in a Blues band and I was the only flute player in a Blues band, which gave me the difference that helped Jethro Tull stand out from the crowd.
CB: One of my favorites on Thick as a Brick II is “Adrift and Dumbfounded.” Can you tell me a little bit of the story behind that song or how it came about?
IA: Having been picketed a couple nights ago in Kansas City by the Westboro Church, the “Godhatesfags.com” people … I am seen as a fag-hyphen-enabler according to that unworthy organization. I don’t think I am a homosexual, but I am a supporter of gay rights and a lot of my friends and people close to me are gay people and I find that the prejudices and difficulties faced by young people, particularly in post-puberty, where they are sometimes questioning their gender and their physiology because some people are just born that way … so, it is a difficult time for relationships with parents and for society around you.
It’s difficult now. Back in the ’60s, it was really scary. So at the time when homosexuality wasn’t just a predilection but an actual crime, punishable by the courts by incarceration, being gay was a difficult position for any young person to be in, so I decided I would write a parent’s perspective of what that may be like — to lose a child through lack of communication and understanding with the parental, to lose that child to drugs and to, essentially, male prostitution.
That is an extreme scenario but it happens out there in the world. These are issues that face society today. These are issues that have faced society throughout the history of mankind. These days I suppose we are more able to talk about it and to examine the possibilities themselves. I always have to think when I was 15 years old and a little unsure of myself, maybe that could have happened to me. I try to use some of my personal history with my parents, with the lack of communication, particular on matters of sex. I try to extrapolate a little on my own limited experiences in that world.
CB: The Westboro Baptist Church never ceases to amaze me. How did you handle it that day?
IA: I was rather hoping to see them in the flesh. Unfortunately, I had my spies out. I had my spies out to try to keep an eye out because I tried to get a photograph opportunity with these people. Unfortunately, at the time, I guess they showed up when the audience was coming in or going out. When the audience is coming in, I am busy in my dressing room changing and tuning up my guitar. Afterwards, I am busy changing again and packing up my instruments. Unfortunately, I did not get to see them. That is very disappointing. I was really hoping to have the opportunity to have a nice smiling photograph with them and their evil representatives.
CB: Why did you choose this tour to play the Thick as a Brick albums in their entireties?
IA: When you are planning any kind of stage show, your first obligation is to keep it on a level that will engage people and keep it interesting for them and present them with a lengthy piece of musical work with a 15-minute intermission. You have to put your thinking cap on and try to construct everything to keep the audience with you, especially if you are playing a lot of music (with) which the audience is unfamiliar, you have got to make it work the first time around. It is not the result of hearing it many times so you have to make it a piece of working entertainment.
It seems to be successful because I have yet to see, when I go onto the second half of the show, any empty seats as a result of people leaving at halftime. Normally people stay until the end of the show and they seem to follow the momentum of the whole show. You get a personal sense of achievement when you present a large amount of relatively unknown music and you keep people engaged and enjoying the stage.
I don’t think many bands would attempt to do that. I can afford to do it because, a) I am prepared to take more risks musically and, b) I am really kind of doing it for me more than I am doing it for the audience anyway. I have always been a musician who has gone out there to make myself happy. You have to really have your own personal goals you achieve every night in performance. Primarily, I will say, it is nice you folks are here as well, but if you weren’t here, I would be doing this anyway. I am just doing this for fun.
CB: You have seen music change in the way it is recorded over many decades. Do you think it sounds better or worse today?
IA: Music has evolved in the terms of recording techniques over a period of about 60 years, hugely. It goes back to the early stages of monophonic and stereophonic tape recorders, which is what it was when I was a teenager.
When it got to the mid-’60s, it was becoming possible to create the simplest multi-track recordings, usually using two-track recorders, but bouncing back between the two to get a four-track sound. The very first Beatles recordings were made that way. By the time they got to Sgt. Pepper, they were recording with four-track and shortly on the heels of that came eight-track.
The first album I recorded was done on eight-track in 1968. That quickly evolved into 16-track and then to the most often used standard of 24-track, which continued through the late ’80s and even in some cases into the ’90s.
Frankly, the digital age really came about not in the ’80s or the ’90s but in the last 10 years, because that technology began to support 24-bit audio recording, which effectively mimics the human hearing to detect the difference between that and the original audio signal. We have 24-bit 96k recording, which is essentially all we need. We don’t need to advance upon that standard. We’d have to grow new ears before we could benefit any further resolution of earlier technology.
It is the same thing as when cameras hit the 10 mega-pixel mark … essentially equal (to) the very best film quality of film cameras in the last 50 or 60 or 70 years. We have now fairly commonly cameras that will deliver resolutions of 24 megapixels, which will be essentially much better quality you or my eye could fully appreciate.
We are there with audio and visual. We have now reached, during these last four or five years, human physiology would have to change for us to benefit from any increase of the resolution of the technology we are working with now. It is as good as it needs to be. We are there. We are done. We have reached the limit in terms of audio recording and digital recording.
CB: Was there a single incident that changed how you approached music?
IA: Well, I suppose a single incident was the first moment I played notes on a musical instrument, because I was aware as a small child of music as church music and music of Big Band Wartime Jazz, which my Father played on 78-rpm records.
It wasn’t until I was 9 years old and I acquired for a couple of dollars a plastic Elvis Presley ukulele and I strummed my first simple chord on the ukulele. At that point, even though the instrument was a rubbish piece, I could actually strum some little chords and sing along with it, and that was the magic moment of making music the first time.
I suppose that was the single most important moment of discovering music. There are a lot of people who never learn to play anything on a musical instrument and I feel like they are missing out on something. But some of them might be bungee jumpers and they feel like I am missing out on something, because I haven’t thrown myself off a bridge attached to a long piece of elastic.
CB: What is your ideal day look like these days?
IA: It depends if I’m on tour. My ideal day is to wake up around 7 a.m. and be driving rather than flying and getting to another city, another hotel by lunchtime, finding a Red Lobster or McCormack & Schmidt and (eating) some seafood or that sort for lunch and then having a rest and getting my e-mails in the afternoon before going to sound check.
That’s kind of normal practice. If I am at home, I wake up a little earlier, usually around 6:30 a.m. and I usually, again because of working in different time zones, it’s a good time to check e-mails from last night, generally prepare, shower, play with the cats, let the dogs out. If it’s the weekends, I have to go and feed the chickens.
In my ideal world, it would be a mixture of sitting at my office desk, playing a little bit of music and having a little bit of time to walk around the garden and sit and talk to my cats.
CB: What is the biggest difference in touring in 2013 versus 1970?
IA: The biggest difference is you can take a little stress (out) as you are touring easily because of more organization. Twenty years ago and 40 years ago, travel was a lot more disorganized that it is today. We can now be planning the next tour while we are doing this one.
Later today and tomorrow morning when I have a little time off, I shall be booking some internal U.S. flights for the next tour, looking at the various cities and suggesting to my U.S. travel agent some hotels I would like to get quotes on. Generally speaking, doing that planning exercise, when it comes to doing the tour itself, hopefully everything is in place. Everybody knows where everybody will be on most hours on most days.
You can take the stress out of things these days, where it was not so easy many years ago. We had to employ tour managers and people to carry our bags and people to herd us like sheep through airports. These days, people have their virtual boarding pass, which they can collect online from the booking reference code, which was on the tour itinerary, and they can print out their own boarding pass and head straight to the gate. I think things are easier these days, not because of the level of security we face now that we didn’t face 40 years ago, even 20 years ago. That makes lines a little more stressful and perhaps a little longer in the course of the day. We allow for two hours at airports from flight times to be safe these days, not knowing how long security queues may be or what indignities we may have to suffer to keep ourselves safe from the bad guys.
CB: Do you have any fond or crazy Cincinnati tour memories from the past?
IA: Probably with a Holiday Inn, Hilton or a Marriott or two. My bonds tend to be with what my particular life throws at me. The airport, even after all these years, is strangely familiar. I have been tracking the evolution of the airport from the late ’70s — when we were accosted by the children of God, doing their evangelical work, trying to hand out bibles and stuff — all the way to today. Airports quite often have that sense of déjà vu, even that nostalgic memory for me — certain hotels, certain venues of course, iconic venues we still play today.
CB: What was your favorite live performance ever?
IA: It is probably the show in an American venue near Washington D.C. called Wolf Trap. It is my favorite because it is the one I am going to be doing tomorrow and the one I have to focus on and prepare for.
Past shows are in the past. I don’t dwell on those. I don’t have favorites. I don’t have preferences, except for a couple iconic venues, as I suggested. My favorite show is the one I am about to go out and attempt to do because I always have to think it could be my last. Walking on stage is not a God-given right; it is a privilege to be able to step out there into the spotlight another time. I just take each show as they come. My next show is always the best show of my life.
CB: What can the fans expect here in Cincinnati this weekend?
IA: They can expect all they like, but it won’t vary one iota in delivery to them. Their expectation may be many and may be varied, but we try to make a point of emphasis to play Brick 1 and then Brick 2, then a long call of classic repertoire.
We have a very tightly organized show. If anybody starts shouting out during the quiet moments of the show, they will be studiously ignored. I don’t even have time to admonish them. It happened to me last night when I came on stage, I was astonished to hear two female voices shouting at me in one of the spoken words sections with a delivery of theatrical passion. You wouldn’t be considered cultured to be shouting and whistling during a Shakespeare play — please don’t shout and whistle during the performance of mine because I am here to do the work. You are here to listen and if you don’t like it get up and leave. Don’t start interrupting me.
Once in a while you get a drunkard out there that gets to shout at your band, but it happens so rarely these days and it strikes me as so being incredibly curious. I think our audiences do understand this is not a regular Rock show but a theatrical presentation (for which) they have to sit and let me do the work. That’s what I am there for. I may be 66 years old but I am there to do a man’s work for two and a half hours, where you can sit back and, if necessary, bring yourself a comfy cushion and maybe a sandwich because it is a long show.
Jesse James Dupree is the lead singer of Jackyl, a metal band from Kennesaw, Ga., that's performing Friday at Bogart's. Jackyl was formed back in 1990 and have given their audience eight studio albums along with two live offerings. Their biggest success came with their self-titled first studio album which went platinum in 1992.
Il Volo — the popular Italian Opera trio from Sicily — features three teens with tenor voices so strong, they got America’s attention after one of the best guest performances in the history of American Idol, singing "O Sole Mio" last year. They formed in 2009 and were received very well in their native country, performing with some of the biggest international superstars in their short history. The group consists of Piero Barone, Ignazio Boschetto and Gianluca Ginoble. They are now set for their second U.S. tour which comes through Cincinnati tomorrow (Friday) night.
Il Volo is produced by long time industry veteran Tony Renis, who discovered the boys two years ago along with Grammy-winning producer Humberto Gatica (Michael Bublé, Josh Groban and Celine Dion).
CityBeat caught up with Gianluca Ginoble this week by phone to discuss his love of touring and how much he enjoys getting to do what he loves every day. He is just learning English but was able to provide a little insight into to the band’s grueling tour schedule. Check out Il Volo at Riverbend's PNC Pavilion on Friday.
CityBeat: I know you were introduced to opera from family members growing up in Italy. How important is family tradition to you?
Gianluca Ginoble: My family is the most important thing because my Grandpa is my inspiration. It was him that introduced me to this kind of music. But I love others as well, like Michael Buble and Frank Sinatra. I love Opera, but I also I love other kinds of music too. To me family is the most important thing.
CB: You guys are going to start a long tour being away from home. Is it hard being on the road being away from friends and family or what is the hardest part for you?
GG: When I am home, I can’t wait to do another tour because this is now my life. For me, it is like funny work because this is my passion. I am doing what I love to do, but when I am on tour I can’t wait to come back to my house and my home because I miss the family, my Grandpa. My Grandma died six months ago and for me it was an amazing pain. He was very important for me.
CB: I am sorry to hear that. Are there any places on the tour in the United States that you are specifically looking forward to playing, the location or the venue?
GG: Yes, yes, yes. My favorite city is Los Angeles. New York as well, but Los Angeles is the city of the dreams and the star, the Walk of Fame, the Oscars. For me it is the best city.
CB: What has been your rehearsal process for the tour? What has that been like for you?
GG: We have prepared with eight or nine hour rehearsals daily.
CB: Every day?
GG: Yes, because this is our first concert and we are preparing. When we have the soundcheck before the concert it is just 20 minutes or 30 minute,s so we have major rehearsals to get ready.
CB: How do you take care of your voices?
GG: Yes always, our voices are the most important thing.
CB: Do you ever see the band crossing over to pop music or do you think you will stay with Opera?
GG: I don’t know. We are open to many things. We did an American tour and it was wonderful, amazing because there were teenagers everywhere and in the U.S., in Miami, Los Angeles, New York and this is beautiful because it was our goal and this is a dream come true.
CB: Where do you see yourself or the band in 10 more years?
GG: I don’t know. I hope all this can continue in this way but life is unpredictable.
CB: What is your favorite song to sing and perform?
GG: "Smile," a Charlie Chaplin song.
CB: What can the fans look forward to in Cincinnati at the show?
GG: It is going to be a very beautiful show with more surprises. We have changed some things and I think it is going to be amazing. We have three new songs, which are a surprise.
CB: How do stay connected to your fans with Facebook or Twitter?
GG: Always, always. I update my fans, our fans. I am always doing “Greetings from …" I upload the pictures.
CB: What are you looking forward to the most on the tour?
GG: The most beautiful thing is to meet the fans. When I look at the people and they are happy and when they listen to our singing and we can make them happy, it is just beautiful.
Goo Goo Dolls have come a long way since they started in 1986 in the crumbling rust belt city of Buffalo, NY, where the band was probably started for no better reason than to kill time, make some music and hopefully get a few free beers from the clubs where they were lucky enough to get a gig. They have stayed together for over two decades and continue to create hits on the music charts. Their current single “All That You Are” is getting serious radio play and is featured in the newest installment of the Transformers franchise, Transformers: Dark of The Moon.
CityBeat spoke with vocalist and lead guitarist John Rzeznik about tour life, longevity, and the future of the popular group.