Heart introduced a fresh, rebellious sound in the early 1970s when a particular voice was truly needed. That timeless voice belonged to singer Ann Wilson. In a time when the female frontwoman was just gaining steam, Heart found their identity in theirs. To this day Wilson embodies the band’s sound and message. She helped make it possible for generations of others to find their voice in Rock & Roll.
The band's legacy was celebrated on a grand scale this year when Ann, her sister, guitarist Nancy Wilson, and the rest of the Heart family were inducted into the 2013 class of the Rock and Roll Hall of Fame with the likes of fellow legendary groups Rush and Public Enemy.
CityBeat had the privilege of speaking with the legendary vocalist in advance of Heart's performance Saturday at Riverbend Music Center. Audiences can anticipate hearing classics like “Barracuda” and "Crazy on You," as well as fresh music off of the 2012 album Fanatic, which nicely continues the Heart legacy. Don’t miss the finale with Jason Bonham (opening the show with his Led Zeppelin tribute) joining them on stage.
CityBeat: What was the highlight of your Rock and Roll Hall of Fame Induction this year?
Ann Wilson: The highlight of my (RRHOF) induction this year was standing beside Nancy at the podium. That was a feeling of great pride I will never forget.
CB: What is the most number of days you have gone without playing music?
AW: I have gone months sometimes without playing a guitar, but never a day goes by where I don't sing.
CB: What does your ideal day look like these days?
AW: Sleep in late, have a great pilates/yoga workout, hang out with my kids and their kids, cook dinner, meditate, sleep with my dog nearby.
CB: If you could trade places with someone for a month who would it be and why?
AW: I guess I couldn't do that. I don't envy anyone else that much!
CB: You have seen music recording formats change from vinyl and 8-track to cassette, CD and MP3 through the years. Do you feel like music sounds better or worse with the use of technology?
AW: Music definitely sounds worse to my ears because of digital technology. There is a hard, brittle sound to it. Analog music sounded warmer and deeper, though maybe not as " perfect." Auto-Tune makes me crazy because it removes all individuality from a person's voice. Everyone ends up sounding anonymous. The imperfections are where the soul is, I say leave them in. Leave in the humanity.
CB: How did the latest tour come about with Jason Bonham? Any favorite tour stories from the current tour?
AW: Many people saw the Kennedy Center Honors show on TV or YouTube and loved the tribute to Led Zeppelin. The management was listening and everyone agreed it would be a beautiful idea. We've only done two weeks so far, and it's been amazing. No train wrecks yet!
CB: Do you journal or take photos over the years with special tour memories. How do you document your stories and memories?
AW: We record every night and have photographers on sight. Occasionally I will blog, but I am usually pretty wound up after a show. Maybe this will be the year I take up a journal. A person can't count on their memory forever!!
CB: Does it ever get tough being on the road with family? How have you handled it for so many years?
AW: Yes, the road is rough. Traveling and performing together takes a lot out of you and sometimes things do get emotional. We are lucky to have each other for support. I don't know how I would have made it all these years without Nancy's love, strength and sense of humor!
CB: Are you working on new music while on the road?
AW: My head is full of new songs at the moment.
CB: What can fans looks forward to when the tour hits Cincinnati?
AW: The show in Cincinnati will open with Jason Bonham's Led Zeppelin Experience, Next will be the heart show, after which there will be a finale consisting of about 30 minutes of Zeppelin songs with Jason Bonham and (Bonham's guitarist) Tony Catania joining in.
There are a couple of things that have been on my mind of late, and this always seems like a decent forum to vent my musings, particularly since I'm not in therapy. First of all, what exactly constitutes medical attention for an erection lasting more than four hours? Does a stereotypically sexy nurse, um, give you a hand? Or does a mummified doctor from the bygone era of bone saws that could drop an oak tree and hand-cranked skull drills apply leeches to the affected area and then show you pictures of Yogi Berra and golf videos to bring down the swelling, so to speak?
While we wait for an answer to arrive, let's move on to the other, perhaps more salient issue that I've been pondering. As everyone knows, the end of the year brings the Cincinnati Entertainment Awards nominations, which then inspires a good deal of grumbling speculation about who has gotten nominated and, more importantly, who has not.
Look, no one understands better than I the elation that accompanies being recognized for your work. Six years ago I nabbed second place in the Non-Daily Newspapers Feature Personality Profile category of the Ohio Excellence in Journalism awards. I know, right? At the same time, I can count on fingers and toes the number of letters I've received over the years about things I've written, and many of those have been from the subjects I've written about just to say thanks.
My prized correspondence was from now-deceased Rolling Stone/Billboard editor Timothy White for getting the title of his Beach Boys biography wrong in a piece I wrote about Dick Dale. I had cited White's book as The Nearest Faraway Beach, largely due to my love of the Brian Eno song, "On Some Faraway Beach," and partially because I jotted down my notes in Joseph-Beth Booksellers when I was in the throes of a flu that would have eaten a vaccine for an appetizer. White's book was, in fact, The Nearest Faraway Place, and in it, he mentioned that Dale had been born in Beirut, Lebanon, among other interesting tidbits about the legendary guitarist. When I asked Dale about some of the entries in White's book, he countered with, "Does it say Dick Dale was born in Lebanon?" (he referred to himself in the third person, a lot). I said that it did, and he responded, "Then throw that book in the garbage."
It was a great quote so I used it in the story, which prompted White's letter, where he first corrected my idiot error and then clarified that he had interviewed Dale personally at a time when White speculated that Dale thought being born in Lebanon would make him seem more exotic (he was of Lebanese extraction), but when Beirut became synonymous with terrorism, he claimed Boston as his birthplace. All in all, though, he was very complimentary about the article.
As usual, I digress. As much as people love being hailed for their accomplishments, they are stung when they feel they've been passed over, for whatever reason, and that's completely understandable. It becomes slightly problematic when people demonize the process in an effort to explain their absence from the end result.
Here's the thing; those of us who comprise the nominating committee try not to take ourselves too seriously, but we are very serious about the task of establishing these nominations on an annual basis, for a variety of reasons. First and foremost, we love music and we respect the people who make it. We also feel it is extremely important to recognize great work and to share that recognition with the entire music community.
And that's pretty much it. We don't have an agenda to push. We don't nominate our friends (although our friends sometimes get nominated). Speaking for myself, I really try to set personal feelings aside when the time comes to look at the past year and determine who has done work worthy of CEA recognition.
Of course, that determination is open to a certain amount of subjectivity. We are human beings, after all. That's why we cast our nets as far as we can, to make sure the nominating process is as fair as humanly possible. Is it a perfect system? Not hardly. But I think we've gotten it pretty close to right. This year we involved the public in the process and that helped widen the focus even further, but there still seems to be a certain amount of dissatisfaction about the nominees and conjecture about how they got there. In the final analysis, it boils down to a few simple facts. If you're nominated, congratulations; you've distinguished yourself in a music community that I honestly feel is one of the best in the entire country. If you win, huzzah and holy shit, you've further distinguished yourself within a formidable slate of your musical peers.
And if you're just a spectator, keep working. Keep doing what you do. The accolades are nice, but put things in perspective; at the end of the day, the CEAs are a party with door prizes. Prestigious door prizes, but door prizes nonetheless. And whether you're a winner, a nominee or neither of the above, don't allow your recognition or lack thereof to overinflate or devalue your sense of what you do. What matters is the work. Your work. Whether it garners you a nomination or not.
It's the same in any field of endeavor. How many painters wind up in museums in their lifetimes? How many athletes give their lives over to the sports they love for an almost microscopic chance to get a plaque in their respective halls of fame? Celebrity, wealth and notoriety are all fairly illusory. What matters is the work.
The immortal and forever great Frank Zappa may have put it best: "Information is not knowledge. Knowledge is not wisdom. Wisdom is not truth. Truth is not beauty. Beauty is not love. Love is not music. Music is the best."
And there it is, in it's simplest and most potent form. If you are out there, turning words and melodies in your head into real music with your hands, heart and soul, you are contributing to one of the best things in life. Awards are the icing on a cake that doesn't necessarily need to be iced. When you make great music, we are the winners. And we'd like to thank you. And God and our families and friends and our eighth grade English teacher who said we'd never amount to anything, because he was sort of right. Thank you.
Eclectic Cincinnati Reggae crew The Cliftones — one of the best Reggae outfits in the region — will be celebrating the release of their latest single, "Hold Steady," this Saturday with a show at Northside club Mayday. DJ Mowgli will also perform. Advanced tickets are available now for $7 here. The first 100 people through the door will receive a free download card giving access to the single.
Like the band's previously released single — "Hard Ground," released in January — The Cliftones once again have some legendary ears/mixing fingers involved with "Hold Steady." "Hard Ground" was mixed in D.C. by Jim Fox, who has worked with icons like Black Uhuru, Gregory Isaacs, Barrington Levy and Culture. For "Hold Steady," DJ Prophecy (known for work with Bassnectar and Glitch Mob) handled the mixing, while Dub legend Scientist handled mastering duties.
Here's the exclusive stream of "Hold Steady":
Peter Frampton is a true guitar legend, revered by every single one of his peers. As his Guitar Circus tour rolls into town this week, crowds will be amazed by the beautiful music from his catalog of 40 years of music, as well as performances by Blues legend B.B. King and special guests Sonny Landreth and Dave Hidalgo (Los Lobos).
CityBeat caught up with Frampton in advance of Wednesday’s tour stop at Riverbend’s PNC Pavilion and discussed how this tour concept came together and what it has been like working with one of his heroes on a nightly basis.
CityBeat: What has been the highlight of Frampton’s Guitar Circus so far?
Peter Frampton: It is hard to say because we have had so many incredible guitar players play with us already. The list is growing every day. From the other night, Vinnie Moore to Vince Gill to Don Felder to Roger McGuinn. It is like every night is so different. Every night is a highlight with all of these amazing players. Sometimes we only have someone for one night because of scheduling, like Vinnie Moore was only one night. John Jorgenson was only one night from Elton John’s band, who is also a wonderful Jazz artist (and) was with me on my Fingerprints CD. Some nights we get one, some nights we get three and sometimes we are lucky enough and we get Don Felder for six (shows) and Roger McGuinn for six (shows). They are all split up and don’t happen at the same time. I can’t really pick one.
CB: When did you come up with the idea and how did you bring it all together for the tour this year?
PF: It was last year after my little sabbatical, my year off after the Comes Alive (anniversary) tour. I was going, “What can I follow this with?” because it was a very successful tour and probably one of the most successful tours I have done in years.
It was one of those things where I said I have got to do something with other artists. We had been doing shows for quite a few years now with just me, "An Evening with," as it were. It was something I wanted to do with as many guitarists as I could, to have an opening act with a great guitar player and then have some guests. The idea was there. I sat down with my manager Ken Levitan and I said what I wanted to do. He said, “Why don’t we call it something like a 'guitar circus'?" I said that was great. It was fantastic. I have to give him credit. He came up with the idea and then we have as many guests as we can along the way.
At that point, we decided we would try to have a three-act show, which is what it is in Cincinnati, where it is Sonny Landreth opening it up. He is not an opening act, he just starts the evening because he is a headliner himself. He is a phenomenal player and has such a great history. We have him starting the evening off for us with his amazing band and himself.
The person that when we first put our feelers out (for) who might be interested in coming along with us on the Guitar Circus and said yes was B.B. King, which blew me away. That set the whole tone for the whole Guitar Circus because everyone said, “If B.B. King is doing it, I’ve got to do it.” It gave us great credibility right from the start. So B.B. King will come on. We played for the first time with him the other night. I got to sit in and jam with him, which was a dream come true.
After B.B. goes off we come on and do our hour and a half. During that period, David Hidalgo will come on, he is our guest in Cincy, from Los Lobos. He has played a couple dates with us already and it is incredible. We become Los Lobos and it is phenomenal. It is just great. It is very exciting every night. It is a challenge to be that person’s band when they come on. I’ve got an excellent band so we do a really good job.
CB: You mentioned B.B. King, who is an all-time legend. What do you talk to B.B. King about backstage?
PF: Well, I went back and saw him when he arrived in his own bus. I thanked him for being the reason why this whole tour is being successful, because he was the first person to say yes. I said, “Not only is it an honor that you are on one date, but you are on nearly four weeks of dates with me, every night.” I just couldn’t thank him enough. He said he was thrilled to be a part of it. I think there is a mutual respect as guitarists, definitely my way. To be able to sit and play with him the night before last was incredible. He is going to be 88 and he is still doing it. It is absolutely incredible that he is, and we are all thrilled that he is. He is just the sweetest guy. You wouldn’t think that someone as legendary as him is that nice but he is. He is a sweet, sweet man. You can’t believe it. It is how you wish everybody could be when you meet them. He takes the cake that is for sure.
CB: I can hear you smiling through the phone just talking about playing with him.
PF: It doesn’t get any better. It is one of those moments I won’t ever forget. I am not sure I will be doing it every night. I hope so. He said I can tell him what I want to do and walk out and play. He means what he says. I am just getting to know him. It is unbelievable that we had never met before until the other night. Now it feels like we have known each other for years.
CB: I saw you recently perform this Spring on The Voice. You went on with Terry McDermott during the finals. A lot of artists are coming out and speaking negatively about shows like this that try to make people stars overnight because they don’t have to pay their dues over years. Do you have any feelings about that?
PF: I am not a big fan of those shows in general. The part that I don’t like is that it is this nationwide talent show. These people come on, and it’s their fault, they put themselves in that position to have someone ream them on national TV. I sort of cringe every time I see that, (no matter how) rightly or wrongly how the judge is.
I have been asked to be a judge on those things. You will never see me as a judge. I would be saying everybody stays. That’s not me. I know what I like and everything, and I will say it in private, but I am not going to say, “You suck and get out of here,” which is basically what happens.
They asked me over a weekend, like two days before the show, if I would do The Voice. I asked them to fill me in and tell me what it was about. Then I listened to Terry and liked him a lot, all his clips and everything. I thought it was just excellent. It was a wonderful opportunity for me to go on there and do a duet. For me it was just a performance within one of those types of shows. I wasn’t part of voting anybody on or off. It was something I enjoyed doing and I think it came off really well. We got such a demand for the song, we mixed it and released it as a single. So it is on iTunes as well.
CB: What is your favorite guitar to play?
PF: I just got my Phoenix back, that is what it has been called. It is the guitar that was supposedly lost and burnt up in the plane crash in South America in Venezuela. After having that back for a year and a bit now, it is definitely my favorite. I have other favorites, but there is something about that one and the history, you know of me getting it in time to play on Humble Pie’s live record, Rockin’ the Fillmore, and everything I did in the 70s, all my solo records. It was one of only two electric guitars that I had. To have that back, it has become my favorite again overnight.
CB: I own a few Jim Marshall photographs and one is of you at Oakland Stadium in 1975. Do you remember that day? Obviously that photograph is iconic itself, but is there anything special about that day in California? Did that photo change you in any way?
PF: In San Francisco and Detroit and New York, we were already pulling huge crowds just from word of mouth and the solo albums I had out, and obviously my time with Humble Pie. I think that was the very first time we did it at a stadium. There is nothing quite like looking out to 65,000 people … I think the biggest place we had played was Madison Square Garden. There is a huge energy-level discrepancy between an arena and a stadium. There is nothing quite like the adrenaline it gives you to see 65,000 people with their hands in the air shouting at you. You never forget that first time. There were many after that in stadiums, but that first one was pretty incredible.
CB: I speak to a lot of guitar players. I spoke to one the other day that said a guitar broke up his relationship. Have you ever had a guitar break up a relationship?
PF: No, but it has come really close. The guitar, she is the other woman, always. The passion you have for music is very strong and it does come with jealousy sometimes when you prefer to play the guitar than be with the woman.
With its first three releases and about a decade worth of live shows across the region, The Frankl Project has honed a sound that has earned notice for its crafty blend of Rock, Pop, Punk and Ska. But the Cincinnati trio’s recent album, Standards, showcases the sound of a band finding its own unique voice and running with it.
While those aforementioned influences are still evident, the group skillfully and more subtly integrates them into something they can completely call its own. What hasn’t changed is that The Frankls (drummer/singer Joseph Frankl, guitarist/singer Jacob Tippey and bassist/singer Paul Schroder) still write excellent songs featuring hooks a plenty and often anthem-ready, spine-tingling choruses. But the variety of the album and the way the trio presents the songs is what makes Standards so magnetic.
Unlike most Pop Rock bands (especially ones that have a “Punk” element or pedigree), The Frankl Project doesn’t try to overload its tracks with giant-sounding guitars that fill every nook and cranny, opting instead to leave lots of space to create a distinctly airy aura. Allowing the tracks to breathe and rise and fall without resorting to predictable dynamics recalls the less-is-more approach that Indie Rock stars Spoon do so well and makes Standards a gripping listening experience. With that sonic elbowroom, the musicians’ intriguing individual parts are more perceptible (Frankl, in particular, is an incredibly musical drummer and his parts — like Tippey’s guitar work — are often captivating) and add to The Frankls’ uniqueness. But the stellar songwriting is still the primary focus.
The album kicks off with “Alive on the Road,” a swaying rocker that soars on the three musicians’ airtight harmonies, while “My Hands” has a rootsy sway that would make Jay Farrar nod along approvingly. After a string of heart-swelling, evocative Pop songs, the band throws in a few curves, like the jazzy but intense “Heart Shapes & Hand Grenades,” the quirky but still resonant Indie Pop gem “Find Your Way,” the ghostly, slow-burning “Chai Bones” and the album’s most rocking track, “The Ottoman.”
If Weezer, Bad Veins, Ben Folds Five, Sunny Day Real Estate and Band of Horses every decided to make an album together and hired a producer with expert knowledge on how to utilize atmosphere as another instrument (like Joe Henry, Brian Eno or Daniel Lanois), it might sound like an unfocused patchwork of lazy, hazy Pop. But, if they (and you) were lucky, it would sound more like The Frankl Project’s impressively creative Standards.
Visit thefranklproject.com for more about Standards and The Frankl Project.
The band, which was formed in 2011 by Sebastien Hue and Pyn Wayne (and is currently a five-piece), has been touring to not only promote their forthcoming album, Dead in Ohio, but also finish it. Hue says the band has been collaborating with artists in places like Philly and New York City in order to complete the recording.
A good example of the band’s collaborative and creative openness (and truly unique sound and songwriting, which mixes Orchestral Pop, Indie Rock, Post Rock and whatever else suits the song) can be heard in the freshly-released single, “Predisposed.” The seven-and-a-half minute tune — featuring strings, percussion, piano and backing vocals provided by local guests — has electronic, Chamber music and orchestral elements, twinkling Indie Rock guitar flourishes and low-sung melodies that sound like a mix of Arcade Fire and Bauhaus, all spliced together and floated over hypnotic, unpredictable structuring.
On their old Facebook page, the band’s bio says the Formerly
Ghosts sound “cannot be contained in dead words and demonstrative
narratives attempting to describe something like a sound, a person, or a
band.” A lot of artists say similar things and are usually full of
shit. Formerly Ghosts are not. (Here is the band's current/active FB page.)
Here is "Predisposed." Click here to hear more from Formerly Ghosts.
Over the Rhine is releasing its third Christmas album, Blood Oranges in the Snow, on Nov. 4, but The New York Times’ website is offering an early listen through its “Press Play” website. Click here to listen.
The album, which follows previous “reality Christmas” efforts Snow Angels and The Darkest Night of the Year, is available now for pre-order here. Pre-orders of the CD will instantly receive a digital version of the album.
OTR’s Linford Detweiler and Karin Bergquist will do some acoustic dates after Blood Oranges’ release, beginning next week in Washington state. The duo’s “Acoustic Christmas” tour officially begins Dec. 5 in Virginia and culminates with OTR’s annual hometown holiday show at the Taft Theatre on Dec. 20.
Local Pop Rock crew Mixtapes' first track from their forthcoming full-length Ordinary Silence premiered today on The A.V. Club, The Onion's non-parody (yet still often funny) arts and entertainment website.
The little hyper-catchy slice of melodic heaven "Elevator Days" will be featured on Mixtapes new album, Ordinary Silence, which is scheduled for release on June 25 through California-based independent label, No Sleep Records. If radio had a brain, this tune would be a radio smash. But, well, you know …
Singer/guitarist/songwriter Ryan Rockwell says "Elevator Days" is "a song about being so stuck that short of running away or crying you feel hopeless,” says Rockwell. “It's a song about realizing that every day I judge everyone around me and never realizing I'm the one that needs to change. 90 percent of our problems with other people i think are actually ourselves, it can be an awful realization, and also a necessary one.”
Click here to listen to the track or check out the YouTube version below. If you pre-order the new album, you'll receive an automatic download of "Elevator Days."
The 14-track album was recorded with Eric Tuffendsam at Moonlight Studios in Fairfield, just like Mixtapes' debut release, Even on the Worst Nights, which came out just last year. The band is gearing up for a massive cross-country tour starting in May, which will culminate with a couple of weeks on the Vans Warped Tour. Mixtapes is slated to appear at the Warped Tour stop at Riverbend in Cincinnati on July 30.
Click here to read our interview with Rockwell from last summer.
Just a couple of decades or so ago, downtown Cincinnati resembled a ghost town in the evenings. Once 5 p.m. rolled around, most downtown workers hopped in their cars and headed home, rarely staying in or visiting the city’s core for any other reason (maybe a concert or sporting event, but that was largely a “parking garage/game/home” process). It’s hard to explain to some younger locals just how much the city has changed since then, with the life and energy brought back to Downtown and nearby Over-the-Rhine over recent years becoming the norm.
There are, of course, numerous reasons for the resurrection of the city’s center, much of which is covered weekly in CityBeat (new restaurants, bars, events and other additions, plus the influx of people deciding to live in the area). Every summer I’m particularly struck by the huge shift the city has made when I attend some of the many free live, outdoor concert options available to the public most days of the week. Seeing hundreds of people from all backgrounds enjoying free music in a variety of genres is yet another thing that should make our city proud of how far we’ve come.
Lineups for this summer’s music series on Fountain Square and Washington Park, as well as the relative newcomer, Smale Riverfront Park, have gradually been unveiled over the past few weeks. Below is a list of scheduled events so far. All of the series do a great job of spotlight the enormous local talent in the city, and there are also several concerts featuring national touring acts that would otherwise cost you several dollars for tickets (or at least a cover charge of some sort).
Print this out, grab a highlighter and mark your favorites (or, heck, take a chance on something new) and then get ready for another great summer for music lovers in the Queen City. (These are only the weekly music-related happenings; visit myfountainsquare.com, washingtonpark.org and mysmaleriverfrontpark.org for all kinds of other events happening this summer in the spaces.)
Salsa on the Square
The long-running Salsa on the Square series gets a jumpstart on the other music series on Fountain Square, kicking off today (and continuing through mid-September, which is also later than the other series). Running 7 p.m. to 10 p.m., the concerts feature numerous area Salsa bands, lots of dancing and even some instructors on hand to help you out if you need some tips.
May 7: Son Del Caribe
May 14: Tropicoso
May 21: Kandela
May 28: Clave Son
June 4: Stacie Sandoval & Grupo Tumbao
June 11: Kentucky Salsa All-Stars
June 18: Son Del Caribe
June 25: Zumba
July 2: Kandela
July 9: Clave Son
July 16: Stacie Sandoval & Grupo Tumbao
July 23: Kentucky Salsa All-Stars
July 30: Tropicoso
Aug. 6: Stacie Sandoval & Grupo Tumbao
Aug. 13: Monk River
Aug. 20: Clave Son
Aug. 27: Son Del Caribe
Sept. 3: Afro-Cuban Cartel
Sept. 10: Tropicoso
Sept. 17: Latin Beat Project
The American Roots series features a variety of acts that cover the wide spectrum that is Americana music today. Most of the top local Roots acts are performing, while touring artists like American Aquarium, Chuck Mead & His Grassy Knoll Boys, Dale Watson and more will also make appearances. Each night features two performers. Music runs 7 p.m. to 10 p.m.
May 26: American Aquarium and Ben Knight and the Welldiggers
June 2: Buffalo Wabs & the Price Hill Hustle and Wild Carrot
June 9: Chicago Farmer and Shiny and the Spoon
June 16: Chuck Mead & His Grassy Knoll Boys and Jeremy Pinnell
June 23: The Shook Twins and G. Burton
June 30: The Quebe Sisters and Howlin’ Brothers
July 7: Dale Watson and Straw Boss
July 14: TBA
July 21: Quiet Life and Crow Moses
July 28: The Brothers Landreth and Josh Eagle and Harvest City
Aug. 4: Arlo Mckinley and Wilder
Aug. 11: Young Heirlooms and The Hiders
Aug. 18: Bulletville and Noah Smith
Aug. 25: Elk Creek and Frontier Folk Nebraska
Sept. 1: Dallas Moore and Pure Grain
Joining the usual array of some of the finest Reggae bands in the city and region this year for Reggae Wednesday are numerous touring bands, including St. Louis’ Taj Weekes & Adowa, Jamaican natives Yabba Griffiths and Jah Messengers Reggae Bnad and Brooklyn’s New Kingston. Reggae Wednesdays run 6 p.m. to 10 p.m.
May 27: Areesaa Iyah & The Eastwind Band
June 3: Taj Weekes & Adowa
June 10: Yabba Griffiths & the Traxx Band
June 17: Ras Bonghi Reggae All-Stars
June 24: Positive Mental Attitude
July 1: The Flex Crew
July 8: The Ark Band
July 15: The Cliftones
July 22: Gizzae
July 29: Oriel Barry and the Revoluters
Aug. 5: New Kingston
Aug. 12: Ukombozi
Aug. 19: All Star Jammerz
Aug. 26: Jah Messengers Reggae Band
Sept. 2: Anthem Reggae Band
MidPoint Indie Summer
Sponsored by the popular late September MidPoint Music Festival (which, full disclosure, CityBeat runs), this year’s Indie Summer concerts (held each Friday) feature some of the biggest acts in the series’ history, alongside some of the best Rock/Indie/Alt/Electronic bands in Cincy. The Indie Summer shows showcase four acts and begin at 7 p.m. each week. (More artists are to be added to certain dates.)
May 29: Surfer Blood; The Yugos; Automagik; Harbour
Jun 5: The Mowgli's; One Day Steady; Nevele; Beloved Youth
Jun 12: Kopecky; Broncho; Coconut Milk; Near Earth Objects
Jun 19: Buffalo Killers; Ohio Knife; Mad Anthony; Go Go Buffalo
Jun 26: Sloan; Mother Mother; Old City
Jul 3: Red Wanting Blue; Young Heirlooms; Motherfolk; Chris Salyer
Jul 10: Saint Motel
Jul 17: The Ting Tings; Brick + Mortar; Black Signal
Jul 24: Givers; Prim; Even Titles
Jul 31: The Whigs; Multimagic; Pop Goes the Evil; The Never Setting Suns
Aug 7: Tweens; Leggy; Smut; Shark Week
Aug 14: Judah & The Lion; Seabird; Matt Hires; Along the Shore
Aug 21: San Fermin; Lemon Sky
Aug 28: Wussy; Pike 27; The Perfect Children; JetLab
Sep 4:The World is a Beautiful Place & I am No Longer Afraid to Die; Injecting Strangers; Moonbeau: Edison
Beats by Self Diploma
Local production/promotion crew Self Diploma has always done a fantastic job of bringing in some of the hottest acts on the EDM and Hip Hop circuits, making its Saturday night showcases some of the biggest of all the series. Last year, the group opened things up to other genres and offered audition opportunities to artists of all sort. Though still heavy on DJs, Electronic/Dance music and Hip Hop, this year’s lineup also includes things like Country Pop and live R&B and Funk. Music starts each Saturday at 7 p.m., with the last act going on at 10 p.m.
May 30: Alex Angelo; Ezzy; Aprina; Justin Stone
June 6: Ja Rule; Trademark Aaron; Diamond Star Russell; Mayo
June 13: King Chip; Cameron Grey; Razook; Sarob
June 20: Nappy Roots; Packy; Ajax Stacks & Nate Paulson; Alexa Lusader
June 27: OnCue; Cato; Rhett Wellington
July 4: Ground Up; DJ Kev the Goon; Swah; David Zup
July 18: Milk N Cookies; Panzer; Reaux; Button Mashers
July 25: Futuristic; Marc Goone; Puck; The Media
August 1: No Sleep; DJ Drowsy; CopyCats; Gold Dash
August 8: Huey Mack; Kid Quil; Lauren Vanatsky; Kid Slim
August 15: Kap Slap; Saranate; RandiFloss
August 22: Academy; TJ Hickey; Sh3llz; Benji
August 29: JMSN; Oregonia; Tana Matz
September 5: The Jane Doze; Gateway; Halogen
Washington Park has stripped back to two weekly music series this year, but both offer plenty of exciting performers.
The Bluegrass shows return this year to the centralized gazebo/bandstand stage every Thursday (except Aug. 6, which sees the return of the popular Lumenocity multi-media extravaganza). The “Bluegrass” part of the name is a bit of a misnomer; Bluegrass bands are on the schedule, but so are plenty of other Americana/Country/Roots/Folk acts. I guess alliteration is more fun than bad puns (or maybe Dick Clark’s production company would sue if they went with “Americana Bandstand”). Music starts at 7 p.m. and there are usually two acts per night. This year’s lineup includes an appearance by Country Blues favorite Charlie Parr, diverse Michigan ensemble The Appleseed Collective and a few other national acts.
May 28: The Mamadrones
June 4: Mustered Courage and Blair Crimmins
June 11: Willow Tree Carolers
June 18: Jake Book and New Country Rehab
June 25: Woody Pines and Barefoot Movement
July 2: Casey Campbell and Charlie Parr
July 9: Mipso and Railsplitters
July 16: The Appleseed Collective and The Tillers
July 23: Buffalo Wabs & The Price Hill Hustle
July 30: Red Cedars and Blue Rock Boys
August 13: Hu Town Holler and Town Mountain
August 20: Mike Oberst and My Brother’s Keepers
August 27: Comet Bluegrass All-Stars
September 3: Al Scorch & Friends
Fridays at Washington Park, R&B and Jazz acts from all over the country (there are some real legends in this bunch) will provide the sounds for Friday Fusion. The concerts rotate between the Bandstand stage and the Main Stage (across from Music Hall). Music begins at 7 p.m.
May 29: Midnight Star (Main Stage)
June 5: Dixie Karas Group (Bandstand)
June 12: Michel’le (Main Stage)
June 19: Eddie Brookshire Quintet (Bandstand)
June 26: Hot Magnolias (Bandstand)
July 3: Delfeayo & Jason Marsalis (Main Stage)
July 10: Zapp Band (Main Stage)
July 17: Straight Ahead All-Female Jazz Band (Main Stage)
July 24: Tim Warfield Quartet (Main Stage)
July 31: Marc Fields Quintet (Main Stage)
August 14: Soul Pocket (Main Stage)
August 21: Vernon Hairston Trio (Bandstand)
August 28: Kathy Wade with the Cincinnati Contemporary Jazz Orchestra (Main Stage)
SMALE RIVERFRONT PARK
Cocktails and Crown Jewels
Washington Park previously hosted the weekly Crown Jewels of Jazz concerts, but this year the series moves to one of the city’s newer green-space gems, Smale Riverfront Park (near the river and The Banks). Now called Cocktails and Crown Jewels, the concerts are heavy on Jazz acts but also include some R&B, Salsa and the melange of styles crafted by funky party crew The Cincy Brass. Music starts at 7:30 p.m. The concerts take place on the park’s Schmidlapp Event Lawn & Stage most Thursdays throughout the summer. The shows are free but attendees can also pay $25 to enjoy the music from the special VSP Area (with some food and drink included).
May 28: Alex Bugnon
June 4: The Cincy Brass
June 11: Urban Jazz Coalition
June 25: WOW featuring Tim Warfield and Bobby Floyd
July 2: FrenchAxe
July 16: Craig Bailey and the Cincy Jazz All-Stars
July 23: Orquesta Kandela
Aug. 6: Ingrid Woode & the Woode Tribe Orchestra
Aug. 13: fo/mo/deep
Aug. 27: Sound Body Jazz Orchestra