A lot of people still call it “Jazz Fest” (a hold-over from some of its early names, like the Kool Jazz Festival) and more recently (as of last year) it went by the name of Macy’s Music Festival, but Cincinnati’s popular, long-running celebration of classic and contemporary R&B and Soul is now cutting to the chase and, for its 2015 edition, will be called the “Cincinnati Music Festival.”
The name and logo may be different (and the primary sponsor is now P&G), but not much else has changed. This year’s event takes place July 24-25 at Paul Brown Stadium on the riverfront. Tickets for the fest — which began in 1962 in Carthage as the Ohio Valley Jazz Festival and has featured everyone from Miles Davis and George Benson to Stevie Wonder and Marvin Gaye — go on sale this Saturday through Ticketmaster.com.
This year’s lineup features Maxwell, Jennifer Hudson, The O’Jays, Joe and Luke James on July 24. For July 25, the event will feature longtime fest faves Maze featuring Frankie Beverly, plus Jill Scott, KEM, Avery Sunshine and Mali Music.
Click here for complete info on the 2015 Cincinnati Music Festival.
The Bunbury Music Festival will present its fourth annual three-day event on Cincinnati’s riverfront (Sawyer Point and Yeatman’s Cove) June 5-7 this year (moved up from the usual July dates due to Reds/All Star Game activities). This morning, organizers of the festival — which was purchased by Columbus-based PromoWest Productions late last year — officially announced the lineup this morning.
Bunbury 2015 will feature headliners The Black Keys, Snoop Dogg and The Avett Brothers. The rest of the lineup includes Brand New, Tame Impala, The Decemberists, Old Crow Medicine Show, twenty one pilots, Walk the Moon, Matt and Kim, Bleachers, Royal Blood, Manchester Orchestra, Father John Misty, Atmosphere, Temples, Shakey Graves, Kacey Musgraves, The Devil Makes Three, Reverend Horton Heat, Lindsey Stirling, Catfish & The Bottlemen, Jamestown Revival, Mikky Ekko, The Reverend Peyton’s Big Damn Band, Mini Mansion, The Front Bottoms, Jessica Hernandez, Secret Sisters, Lil Dicky, machineheart, Go Analog, Bummers and Indigo Wild.
So far, Cincinnati acts on the bill include Multimagic, Buggs Tha Rocka and RCA recording artists Walk the Moon, who have been touring relentlessly behind their sophomore major label release, Talking Is Hard (the band recently appeared on The Tonight Show; see video below). More artists are expected to be announced leading up to the festival.
One-day and three-day tickets for the 2015 Bunbury fest are available now. Click here for pricing and links.
Musical acts interested in being considered for a showcase slot at the 14th annual MidPoint Music Festival (scheduled for Sept. 24-26 in various venues around Downtown and Over-the-Rhine) can begin submitting today.
The festival — owned and operated by CityBeat — has announced a new partner for facilitating submissions, switching from Sonicbids to the locally-based CloudPressKit. The move will save artists some money — the submission fee for MPMF 2015 is $15 (through Sonicbids, it was $25, plus a Sonicbids membership) — and CloudPressKit is described as more “artist friendly.”
Click here for MPMF submission details. MPMF.com has a Q&A with the fest's head honcho, Dan McCabe, about the application process that answers a lot of questions submitters may have (other questions can be directed to email@example.com). Applications are being accepted through May 17.
MusicNOW, the popular new music festival founded by Cincinnatian Bryce Dessner of internationally acclaimed Indie Rock band The National, will celebrate its 10th anniversary this year when the fest returns March 11-15 at Music Hall, Memorial Hall and first-time venue Woodward Theatre.
On March 10, the Over-the-Rhine fest will be celebrated with the digital release of a compilation album featuring musical highlights from MusicNOW’s first nine years. MusicNOW- 10 Years will feature previously unreleased performances by Dirty Projectors, Sufjan Stevens, Bon Iver’s Justin Vernon, Bonnie “Prince” Billy, Grizzly Bear, My Brightest Diamond and others.
The album’s “Trials, Troubles, Tribulations” by Sounds of the South, a project featuring Vernon, Sharon Van Etten, Megafaun, Matthew E. White and Fight the Big Bull, was recently released as a preview.
“The first track ‘Trials, Troubles, Tribulations’ gets at the spirit of the compilation and the event. It is an American bluegrass gospel song written by Estil C. Ball. Here it is performed by Sounds of the South, a project featuring Justin Vernon (Bon Iver, Volcano Choir), Sharon Van Etten, Megafaun, Matthew E. White, and Fight the Big Bull. The project, organized by Megafaun, initially appeared at Duke Performances in North Carolina and MusicNOW in Cincinnati, Ohio, and subsequently traveled to Sydney Festival in Australia.”
In the press release for the album, Dessner says, ““Many of my most significant memories as a musician have taken place in Cincinnati during the MusicNOW Festival over the last 10 years. When we started, we were driven to create an intimate music festival that was as much a creative refuge for the artists as it is for the audience to partake in intimate and rare performances. We have celebrated works in progress and new commissions, new collaborations and detailed music of all kinds regardless of genre or popularity."
This year’s MusicNOW festival features appearances by Stevens, Nico Muhly, So Percussion, Timo Andres, concert:nova with Jeff Zeigler, Cloud Nothings, Will Butler and more. The National will also perform at the festival on March 13 at Music Hall with the Cincinnati Symphony Orchestra. Click here for full details and ticket info.
Sounds of the South "Trials, Troubles, Tribulations"
Robin Pecknold "Silver Dagger"
Sufjan Stevens "The Owl & The Tanager"
eighth blackbird "Omie Wise"
My Brightest Diamond "I Have Never Loved Someone"
Dirty Projectors "Emblem Of The World"
Tinariwen "Imidiwan Ma Tenam"
Tim Hecker "Chimeras (Live) 2011"
Colin Stetson "Nobu Take"
Owen Pallett "E Is For Estranged"
Erik Friedlander "Airstream Envy"
Bonnie 'Prince' Billy "Love Comes to Me"
Grizzly Bear "While You Wait For The Others"
The Books with Clogs "Classy Penguin"
Andrew Bird "Section 8 City"
Justin Vernon "Love More"
The annual MusicNOW festival, founded by Cincinnati native and guitarist for Indie Rock superstars The National, returns to various venues in Over-the-Rhine this March for a celebration of the festival’s 10 successful years. The event will utilize Music Hall and Memorial Hall (past MusicNOW venues), as well as the new Woodward Theater (the Contemporary Arts Center will also host a related music/art installation March 11-20). Heavy on collaborations again this year, the shows will run March 11-15.
Highlights from MusicNOW 2015 include a collaborative performance featuring The National and the Cincinnati Symphony Orchestra. The CSO will also perform “Songs from the Planetarium” with MusicNOW vets Sufjan Stevens, Nico Muhly and Dessner.
Here is the full lineup announced this morning:
Wednesday, March 11th
Woodward Theater - 1404 Main St, Cincinnati, OH
Thursday, March 12th
Woodward Theater - 1404 Main St, Cincinnati, OH
concert:nova with Jeffrey Zeigler
Friday, March 13th
Cincinnati Music Hall - 1241 Elm St, Cincinnati, OH
Cincinnati Symphony Orchestra, The National with the CSO and new commission by Caroline Shaw
Saturday, March 14th
Cincinnati Music Hall - 1241 Elm St, Cincinnati, OH
Cincinnati Symphony Orchestra, Songs from Planetarium featuring Sufjan Stevens, Nico Muhly & Bryce Dessner with the CSO, new commission by Daníel Bjarnasonand So Percussion
Sunday, March 15th
Memorial Hall - 1225 Elm Street, Cincinnati, OH
Perfume Genius, The Lone Bellow, Mina Tindle
Contemporary Arts Center- 404 E. 6th St, Cincinnati, OH
An ongoing Installation (see video below)
"Many of my most significant memories as a musician have taken place in Cincinnati during the MusicNOW Festival over the last 10 years," founder Bryce Dessner says in the press release. "When we started, we were driven to create an intimate music festival that was as much a creative refuge for the artists as it is for the audience to partake in intimate and rare performances. We have celebrated works in progress and new commissions, new collaborations, and detailed music of all kinds regardless of genre or popularity."
Cincinnati is host to a great number of music festivals and it feels like every season adds another one. Midpoint is becoming nationally recognized for its ability to draw in heavy hitters, Bunbury has exploded in popularity in just a few years and Buckle Up had a great inaugural year this past summer, just to name a few obvious examples. It’s a great time to be a music lover and music journalist in this city.
But for this music journalist, there’s only one festival that gets my money, year in and year out: Ironfest.
Whereas most of Cincinnati’s festivals focus on the city’s vast assortment of Folk and Pop influenced artists, Ironfest is awash in the loud, angry and just plain aggressive side of local music. John “Black Arm” Gerhardt, the organizer of Ironfest, puts in a massive amount of time and effort to assemble a legion of acts that are all a little left of center, but still eclectic enough to bring in all types of fans. There’s only one place in town that you can see the darkened Electronic soundscapes of Black Signal alongside 500 Miles to Memphis’ Country Punk and Moonbow’s raucous brand of Heavy Metal, all under one roof, and that’s at Ironfest.
Nov. 14 and 15 marked Ironfest’s fifth year. It was founded as a celebration of the life of “Iron” Mike Davidson, a mainstay in Cincinnati’s music scene before his untimely passing. While this is still the case, Ironfest has grown beyond a simple memorial. In fact, many of the attendees nowadays didn’t even know “Iron” Mike — myself included. But if Davidson had so many talented friends in so many awesome bands, I’m sad that I didn’t.
Gerhardt has a knack for getting a great mix of bands together to take over Southgate House Revival’s three stages and this year’s iteration was no different. At any time, you could check out the bands listed above, along with the likes of Valley of the Sun, Smoke Signals, Martin Luther and the Kings, The Dopamines, Honeyspiders or out-of-towners like OC45 and Punching Moses (featuring ex-Banderas guitarist Jesse Ramsey), among many more.
While each year’s lineup is undeniably star-studded, Gerhardt also always seems to have one band on the bill that stands out above the rest and this year’s edition was no different. Closing out Saturday night was the reunion of Oxboard Drain, Iron Mike’s old band, with Valley of the Sun’s Ryan Ferrier filling in for the late bassist. I had never heard Oxboard Drain before that night but I got the distinct feeling that I missed something special. When a band still draws fans out that sing along to every word years after their dissolution, you know they made an impact during their tenure. Seeing Ferrier, Gerhardt and the rest of the band honor their friend by ripping through a powerhouse set was something to behold.
While the music at Ironfest is amazing and honoring Iron Mike’s memory is important, neither is the real reason I have attended the past three years. I go for the community that Ironfest celebrates and all of the people it brings together. My roommate attended this year’s festival for the first time this year; at the end of the show he commented that I seemed to know half of the attendees that night. While estimate may have been a bit of an exaggeration, the point is valid. For fans of the scene such as myself, Ironfest is almost like a high school reunion that you’d actually want to attend. New bands mingle with established acts, old bandmates and friends reconnect with each other, and the past and present of Cincinnati’s alternative music scene is celebrated over a weekend.
That’s what makes Ironfest so special. All of the other festivals that Cincinnati hosts every year celebrate the music and musicians contained within them. Ironfest celebrates the community itself that spawns around the music and musicians. It’s a two-day period where we can fondly recall the good memories of days gone by while still creating new memories for the next time we all converge at that old church.
It’s only been just over a week since Ironfest V wrapped up and I already feel like I’m in withdrawal. That much music, that many friends, that much fun in the photo booth (and, yes, that much booze) all adds up to a weekend that’s talked about until the next one rolls around. For many, “Iron” Mike’s passing was a horrible loss but his passing spawned an event that has kept people coming back for five years straight. And for that, I have to say, “Thanks ‘Iron’ Mike, and I’ll see you all next year.”
With cool, rainy weather in the forecast, this weekend’s planned Mayesfest Bluegrass & Americana Festival in Bellevue has been cancelled. But with artists traveling into Northern Kentucky for the outdoor, riverside event, and many fans excited for it, organizers have decided to present what they’ve called on their Facebook page a “mini Mayes,” moving the music indoors to Over-the-Rhine’s Christian Moerlein Taproom (1621 Moore St., near the Shell gas station on Liberty), which hosted two stages during the recent MidPoint Music Festival.
The event will now begin at 5 p.m. on Friday and Saturday and feature a stripped-down but still excellent lineup of local and touring Bluegrass and Americana artists.
Here is the new lineup:
5 p.m. Price Hill Hustle
6:30 p.m. Al Scorch
8 p.m. Morgan O'Kane
9:30 p.m. Henhouse Prowlers
5 p.m. Honey & Houston
6:30 p.m. Jack Grelle
8 p.m. Woody Pines
9:30 p.m. Morgan O'Kane
Those jonesing for more music fest goodness after last weekend’s spectacular MidPoint Music Festival have some great options this weekend. Bluegrass fans should be especially excited for a couple of them.
• The Bend in the River Art & Music Festival debuts this Saturday and Sunday in Lower Price Hill (2104 St. Michael St., next to The Sanctuary: Center for Education and the Arts). The festival/fundraiser runs 5-11 p.m. Saturday and noon-6 p.m. Sunday with the goal of bringing the community together (and showcasing it to others) and raising money for the Community Matters (cmcincy.org) and Education Matters (emcincy.org) organizations.
Along with food trucks and booths, beer from MadTree Brewing and Rhinegeist and a variety of vendors and artists showing their wares, local musical acts from a variety of genres will provide live music. Tim Caudill, Pike 27, Blue Caboose, Under New Order, The Part-Time Gentlemen and Ohio Knife perform Saturday, while Wild Carrot, Sibling Rivalry, Matthew Schneider and Phoenix (the local Rock cover band, not the internationally famous French Indie Pop group) play Sunday.
Admission to the Bend in the River Art & Music Festival is $7 or $10 for a two-day pass (Lower Price Hill residents receive a coupon to attend for free).
• The DevouGrass Festival presents its first-ever event Saturday at the Devou Park Bandshell (1700 Montague Road, Covington). The family friendly event runs noon-dusk, and while there is no admission charge (even free parking is available throughout the park), organizers are asking for donations to the Children’s Home of Northern Kentucky.
Along with food trucks, other vendors, various children’s activities and performances by Circus Mojo and kids’ fave Joel the Singing Librarian, DevouGrass will also feature sets by area Roots/Bluegrass outfits Blue Caboose (noon), Ma Crow and the Lady Slippers (3 p.m.), Hickory Robot (3 p.m.) and the Downtown County Band (6 p.m.).
For complete festival info, visit devougrass.com.
• The Versailles State Park Bluegrass Festival returns with a new location and name: the Friendship Music Festival at the Old Mill Campground in Friendship, Ind. (facebook.com/oldmillcampground), which hosts the very popular Whispering Beard Folk Festival annually and is only about an hour drive southwest of Cincinnati. Despite moving from the state park and changing the moniker, the fest will continue to spotlight some of the region’s finest Bluegrass and Roots music practitioners.
On Saturday, the music starts at noon with a lineup featuring Mamadrones, Common Ground, Rural Route 2, Lee Sexton with John Haywood and Brett Ratliff, Whiskey Bent Valley Boys, The Tillers and Bradford Lee Folk & the Bluegrass Playboys. The music picks back up Sunday at 11 a.m. with Mt. Pleasant String Band, followed by James White & Deer Tick, Blue Mafia, Whipstitch Sallies, Rattlesnakin’ Daddies and Tony Holt and the Wildwood Valley Boys.
Weekend passes for the Friendship Music Festival are $10; one-day passes are $5. Camping is available. Visit friendshipmusicfestival.com for full details.
The last day of MidPoint is like a lot of endings in life; the end of the day, the end of the week, the end of the year, the end of a piece of cherry pie, the end of the line. This is the end, my only friend, the end.
And it had the chance to be the perfect end of perhaps the most perfect MidPoint in the festival's history, from the lineup to the weather to the experiences. And you know what, Aunt Em? I think it was. You were there, and you were there, and so were you. And so was I. I'm fairly sure of it.
I had a lot of possibilities circled on my MidPoint program for Saturday night, allowing for the chance to leave something I wasn't crazy about or merely the opportunity to see a couple of great things in the space of an hour. All of that happened and so much more. Saturday night was more sampler platter than focused attempt to see a set number of bands and it turned out pretty well. And for the first time since I began doing this daily wrap-up thing God knows how many years ago, I didn't take a single note all night as an inadvertent experiment in appreciation recall. Success or not? You be the judge.
As I was finding a parking space, I was listening to Little Steven's Underground Garage. The former Silvio Dante had been playing snippets of Groucho Marx bits from the Marx Brothers' movies, and finished with a hilarious Groucho interview about how the moustache came into existence. Moments later, as I was walking across Central Parkway on my way to the first show of the evening, I heard a horn honk and saw a massive arm wave from a Kia Sol. Of course, it was the semi-ubiquitous Jacob Heintz, the pope of MidPoint, giving me his blessing from his diminutive popemobile. Saturdays at MidPoint don't begin much better than that.
First up on my last day's dance card was Cincy’s The Ready Stance, who were slotted as the first show of the evening on the Midway stage. When the band began, I was still near the food court, and as the music cranked up, I would have sworn that the production staff was pumping some Marshall Crenshaw through the sound system for a level check. Within seconds, I realized this was no lost Crenshaw track but the Stance in full Pop jacket mode. The Stance churns out classic Pop/Rock informed by the '90s college Rock histories of guitarist/vocalist Wes Pence, bassist Randy Cheek and drummer Eric Moreton and the contemporary classicism of guitarist/vocalist Chase Johnston. As the foursome ran through a set that was evenly divided between tracks from their 2012 debut Damndest and new songs that may wind up on the band's in-the-works sophomore album, the Stance's numerous gifts were evident.
Pence and Johnston play with a two guitar/one mind synergy that crackles with intensity, Cheek lays down a massive groove that could be tracked from space and Moreton has the malleable sensitivity to control tempo and volume with a flick, a roll or an outburst. These guys are working stiffs on the old day job/night Rock treadmill, and the gears turn slowly in that world, so the new album may be on the far horizon. But as good as they were Saturday evening — Goose's Jason Arbenz pronounced them "Cincinnati's Jayhawks" and I wouldn't dispute it, although I'd toss in occasional nods to Mitch Easter and Ray Davies — the anticipation can only grow.
I bailed on the tail end of The Ready Stance's set to see OK Go down at beautiful Washington Park, and that may have been a mistake. I could have easily seen the entire Stance set and still made it in time for OK Go, as the band started close to 20 minutes late (It's a festival, boys … check the clock on your Jetson phones). When they finally hit the stage, the confetti cannons went off, they did two songs and then launched into … a question and answer session with the audience.
I did get to see "Writing on the Wall," a pretty good tune which is accompanied by one of the band's most inventive videos, and a track called "Obsession," also from their impending new album. But it was already time to hit the next thing on my slate, and as I walked out of Washington Park and heard frontman Damian Kulash taking an inordinate amount of time to teach the audience how to sing along with whatever was coming up next, I knew I'd bailed in the nick of time. I like OK Go, a lot, but this was a massive disappointment.
If I was feeling somewhat burned by OK No (cheap shot? Perhaps …), that feeling was almost immediately dissipated by Chicago trio Bailiff, who were just taking the Midway stage as I approached up 12th Street. The band had been recommended by my friend Paul Roberts, who had seen them at their last local appearance at MOTR, and he was lathered up by the prospect of seeing them again, so I added them to my list of possibles. Boy, was that the right thing to do.
Bailiff is not easy to pin down to a specific genre, but they play the living hell out of everything they do and they do just about everything. At one point, they were grinding out a Prog/Pop vibe that suggested the sound of King Crimson with Adrian Belew at the helm and Robert Fripp in a support capacity, a pretty neat trick considering Josh Siegel is the only guitarist in the band. Or they'll take a left turn into a tribal Jamaican/African reverie, or Art Rock bluster with the classicism of Talking Heads and the future shock of Radiohead. I kept wondering if there was a keyboardist behind the amp and out of my line of sight, but no such accompaniment was present, just the Siegel's sinewy guitar acrobatics, bassist Ren Matthew's Entwistle-meets-Pastorius lead runs and drummer Owen O'Malley's baby Bonham antics. The trio was drifting between their 2011 debut, Red Balloon, and their just released Remise, and it was all over much too soon for anyone's taste.
For reasons that will be revealed in the notes, I hung around the Midway for Alexander Giannascoli, aka Alex G, an impossibly young guitarist from Philadelphia with a pretty happening band around him. G's got a pretty good backstory, writing and recording at 12, posting songs online at 16, then lathering/rinsing/repeating into his current early 20s. He's got a wispy vocal delivery that rivals the late Elliott Smith for ephemeral atmospherics, and a Beck-meets-Robert-Pollard sense of Avant Pop, qualities that stand in clear and extremely appealing relief on his studio work, particularly his just released DSU. Unfortunately, a lot of those recorded subtleties and quirks are lost in the clatter and bash of their live presentation, and with the dynamic and emotional range smoothed and leavened, Alex G's largely mid-tempo odes don't offer much else to latch onto in the course of a set. This is most certainly not a case of good songs performed poorly, more like edgy songs with just a little too much of the edge sanded off. Alex G is obviously a considerable talent, and if I were to offer a bit of unsolicited advice to young G, it would be to either find a band that can recreate your basement lab concoctions or write for the live band you have, because they're talented players.
There was a considerable spike in the Midway energy level when Low Cut Connie took the stage. Typically just a duo featuring piano basher Adam Weiner and drummer/erstwhile guitarist Dan Finnemore, LCC tours with a full band complement and makes a mighty racket in the process. Weiner plays with the ferocity and brash confidence of early Jerry Lee Lewis at his most petulant — he even has a vestige of The Killer's untamed forelock of hair — and he sings with the raw animal magnetism of Iggy Pop. Weiner hops up on his bench, plays with his elbows and occasionally his ass and stands atop his piano threatening to do a strip tease as the band vamps on. And when Finnemore steps to the front of the stage with his guitar, the U.K. native truly embodies his Punk/Garage Rock roots and influences. Low Cut Connie's songs are dripping with snarky humor but they stop well short of being mere novelties by virtue of being great bloody songs. The band's Facebook posting on Saturday morning at 9:30 a.m. stated, "On our way to mess up Cincinnati real good … tonight at #mpmf … gonna rip it." Damned if they didn't.
Once again, I had to tear myself away from Low Cut Connie's compelling Midway spectacle in order to take in a little of Mr. Elevator and the Brain Hotel down at MOTR. When working on their blurb for the CityBeat preview issue, I was absolutely captivated by the Brain Hotel's hypnotic Psych/Pop soundtrack and dark Carnival of Souls demeanor, and it translates well into the band's live performance. There are hints of the '80s Paisley Underground in the Brain Hotel's sonic profile, particularly the helium-tinged vocals of the Three O'Clock's Michael Quercio, but it's the band's visceral impact that is most satisfying. It reminds me of the first time I saw The Doors on The Ed Sullivan Show in 1967 and was completely mesmerized, not by royal lizard/frontshaman Jim Morrison but by hunched-over keyboard alchemist Ray Manzarek. Any band that can consistently access that hallowed memory from the dusty archive of my brain's pre-hard drive file cabinet has my undying devotion.
I had initially earmarked the 11 p.m. spot for the Bonesetters at Arnold's, but my bum leg was starting to throb a bit and the prospect of walking to Arnold's and then back to MOTR for Kid Congo at midnight suddenly seemed painful and ill-advised. For the sake of saving my leg for possible use on Sunday (and sort of forever), I opted to keep my spot on the MOTR dance floor and hang around to check out Corners. Deirdre Kaye's preview noted that the L.A. trio had been working a Surf/Psych angle but that they'd recently shifted to a Post Punk direction. That became evident with their first song, a blazing two-guitar/bass/synth percussion screamer that brought my last two years of college back to life like an acid flashback with a Synth Punk soundtrack.
Corners bears all the marks of late '70s Electro Punk, somewhere in the vicinity of Joy Division and their post-Ian Curtis iteration New Order, with flecks of the Units, San Francisco's dour Synth Pop avatars, a splash of Gang of Four, a dash of Bauhaus and Red Lorry Yellow Lorry and maybe a trace of the Sisters of Mercy and Killing Joke. All of this will most assuredly be reflected on Corners imminent new album, Maxed Out on Distractions, which provided the bulk of the songs for the band's MidPoint set, which was dark, vibrant and enjoyable. (Ironic fun fact: the entire lineup at MOTR on Saturday night will appear at Corners' L.A. record release party in early October.)
At last, it was time for Kid Congo and the Pink Monkey Birds, the last band of the last night of MidPoint, and brothers and sisters, the Kid and his compatriots were more than up to the task. The former Gun Club/Cramps/Bad Seeds guitarist has been staging some form of the Pink Monkey Birds for over a decade and this iteration (guitarist/keyboardist Jesse Roberts, bassist Kiki Solis and drummer Ron Miller) might be the best batch yet. Peeling any loose paint from MOTR's walls was absolutely no trouble for the Kid as he scorched away on selections from his latest album with the PMB, Haunted Head, as well as a couple of songs from their upcoming single and a bunch of old favorites, including The Cramps' "Goo Goo Muck," The Gun Club's "She's Like Heroin to Me" and his own brilliant "Black Santa" and "Killer Diller."
The MOTR's dance floor was a boiling mass of rhythmically moving bodies, propelled by the Kid's blazing guitar runs and the Pink Monkey Birds' perpetual motion soundtrack. And since it was the band's last night of their current tour, they were not about to leave anything on the table, so after their standard club-clearing encore of "LSDC," the Kid and his Birds returned for one last brilliantly incendiary romp through The Gun Club's "For the Love of Ivy;" I fully expected lightning to shoot out of the Kid's fingers and eyes as he overloaded every internal and external circuit in the joint. I don't think he could have given us any more and I'm not entirely sure we could have taken it even if he had any more in him. As the Kid and the Birds bid us adieu, I had to believe that this might have been one of the most spectacular last nights of my personal MidPoint attendance history. It will be hard to top going forward, you can bet your sweet ass on that.
• Before the Ready Stance set, I ran into Ready Stance. The Midway seemed like a good place for that to happen. Wes Pence was first, busy with logistics on the phone, then in short order Randy Cheek and Chase Johnston. The Good Rockkeeping Seal of Approval King Slice was on hand for the madness, as were Paulie, Big Jim and Stufest (that's Stu to you and me). Also down in front for the Stance was Randy Campbell, formerly with Screaming Mimes and now with Faint Signal, who promised a new FS album coming shortly. I will keep you appraised of the situation. And once again, Eddy Mullet, my Class X comrade in Rock, sought to gain my attention by standing impossibly close to me as the Stance pulsed and pounded. Note to Eddy: For the record, 20 years ago, on a trip to Michigan, my best friend's wife, completely circuit fried on Xanax and Grey Goose, was dancing around their living room, grabbed my foot, shoved it between her legs and started hopping around in front of me like my shin was a stick pony from the '50s. With my foot in her cooch. Believe me, I'm not suggesting that you need to escalate to that DefCon level of weird, but it's safe to say that my threshold of the unusual is well above a bar you'd be willing to attempt to clear. And we're back. Accompanying Eddy was his most excellent daughter Jess, the smartest, most music savvy high school senior I know. Big things coming for that girl, I just know it.
• Down at Washington Park just before OK Go played, I crossed paths with Latha Mannava, former CityBeat worker bee and now more gainfully employed by F&W. Latha graciously introduced me to her friends by saying, "Whatever Brian recommends, that's what I go see." Ironically, I had written up the OK Go preview as a glowing endorsement, and Latha noted about two songs in, "These guys are doing nothing for me." Just to keep things in perspective, folks, the best hitters in baseball are only successful a third of the time, and that's a better percentage than some highly salaried and over-radared weathermen. I'm pretty sure my reputation is still pretty good with Latha.
• I spent a good deal of the evening on the Midway with Ready Stance drummer Eric Moreton and his wife Kristiana. Eric couldn't really go anywhere because someone in the band had lost his wristband (I don't want to assess blame but his initials are Wes Pence), so I just kind of hung around and had a lovely conversation with the two of them. I'm fairly certain I scared the living shit out of them with tales of my dysfunctional life and times and the epic tale of why I was on a self-imposed one beer limit throughout MidPoint (which I'm surprised wasn't tweeted about at some point during the weekend, with the suggestion, "Please shut up already, please"). In any event, it was nice, thanks for the company, and if either of you requires therapy after our compressed time together, I think my insurance will cover part of the cost before tying a cinder block to my waist and throwing me off the Big Mac Bridge.
• As I was headed into MOTR for the Brain Hotel experience, the wisdom of checking out this show was magnified a hundredfold with the appearance of the much-too-absent Matthew Fenton and his friends Kyle and Nicki (I'm guessing at her spelling, as I did with last year's Bunbury report). Matthew had also decided to stake out an early spot for Kid Congo, and a look at Corners' crazy Gary Panteresque T-shirt designs at the merch booth salted his decision. I love seeing shows with Matthew; they typically involve exchanges like this:
Matthew: Who is this again?
Brian: Mr. Elevator and the Brain Hotel.
M: Very Paisley Underground.
B: Remember the Three O'Clock?
B: They need a go-go cage.
M: With you in it?
B: I don't dance.
M: You've gotta do something.
B: (Frankestein-then-master voice) "Arrrrhh!" "No, Caezar!" "Fire, bad!"
M: Well, not that. You can't just sit there sucking your fingers.
B: May I go to the bathroom?
B: Thank you.
Pretty much endlessly. I love our time together. It's so pointless and perfect. And it usually has a pretty cool soundtrack.
• As Corners left the stage, Matthew's friend Ashley showed up with her friend Tone (again, guessing … it could be some Scandanavian derivation with no vowels and the symbol for magnesium as an accent, or it could be short for Tony), who was a super nice guy and a good hang for the Kid Congo show. Ashley mentioned that they were only there because of a bug in the MidPoint app that kept defaulting to Thursday; they thought they were coming to see Nikki Lane. But they both thoroughly enjoyed Kid Congo, so no harm no foul … but have I.T. check that app for next year, kids.
• Also taking in the raucous Garage/Punkabilly jailbreak that was Kid Congo and the Pink Monkey Birds: Paulie, Big Jim and Sir Dan of MidPointville, who I'm beginning to believe was assigned my case and has been keeping pretty close tabs on me. For the record, I'm fine, and you can count the silverware. It's all there. I spotted Wes Pence at the very end of the show but when I did a quick walk through MOTR, he was gone. Cest la vie — see you again soon, my friend.
• On my way back to the car, I ran into the always fabulous Mike Sarason, dressed to kill after a friend's wedding, along with his stunning date Margaret. Mike mentioned that he had moved to New York, and that the hiatused Pinstripes were likely done, news that I had gotten from Pinstripes drummer John Bertke Thursday night at MOTR. It was great to see Mike, he's a world class guy and I certainly hope he continues to pursue a musical path because he's amazing, but the reality of the end of one of my absolute favorite bands and a perpetual highlight at this very festival made for a rather bittersweet end to the last day of MidPoint.
• And so one of the most nearly perfect MidPoints in the event's history is in the book. As usual, there is much credit to be spread around for the success of an undertaking with this much complexity and requiring this much planning. First and foremost to Dan McCabe, who somehow manages, year after year, to play the most intricate game of chess with artists, agents, publicists, labels and venues and then come up with a strategy where it seems everyone wins.
• Obviously, MidPoint couldn't happen without the sturdy volunteer army that clockworks this potential mess every fall with very few glitches. This absolutely could not be done without your skill, patience and stamina.
• Of course, there's everyone at CityBeat who helps facilitate and promote MidPoint and who are its main boosters well before and well after the event, from Dan Bockrath. Danny Cross and (now it can be told, cyborg) Mike Breen, right on down through the entire staff. Sting told me, every little thing you do is magic.
• And obviously to all the bands who came from down the block, across the country and, in some cases, around the world to be here for the express purpose of entertaining us with their creative gifts. But most especially, thanks to everyone who attends MidPoint year in and year out, for showing up to experience the region's absolute best music crawl. This year’s may well have been the best populated Thursday night in the festival's history, and that couldn't happen without patrons who believe in the event and the promise of great music to be heard and that couldn't be done without all of the above. Funny how symbiosis works, isn't it? Thanks again to you all for a brilliant MidPoint 2014. Set your watches for late September 2015 … you'll know me, I'll be the thirsty one with a limp
MidPoint Music Festival 2014 kicks off this Thursday and we've been showcasing some of the Critic's Picks from our official MidPoint guide (which will be available throughout the fest). While most of attendees are likely very familiar with some of the bigger headlining acts, these suggestions mostly focus on some of the lesser known gems. (If you're in doubt, any act with "Cincinnati" next to their name is a slam dunk.)
12:15 a.m. @ Arnold's
Baskery (Stockholm, Sweden)
Sweden’s Baskery formed in 2007, but the members didn’t have to go far to find each other. The group consists of sisters Greta, Stella and Sunniva Bondesson, who dub their unique spin on Roots/Country music everything from “Nordicana” to “Banjo-Punk.” But descriptions are especially difficult when it comes to Baskery; the trio’s third album, this year’s Little Wild Life, finds the sisters spinning a wide range of American Roots music styles into their own distinctive, wildly diverse sound. One second the group is showcasing its vocal harmony prowess a capella on the haunting “Northern Girl,” the next its strutting swamp boogie a la Southern Culture on the Skids on “The NoNo.” If you’re tiring of Roots music that doesn’t go off the same exact blueprints established a century ago, Baskery will show you just how far Americana can be taken.
You’ll Dig It If You Dig: The Dixie Chicks without boundaries, The Beatles reborn as a sister act fascinated by Americana. (Mike Breen)
7:15 p.m. @ Christian Moerlein Brewing Co. (Outdoor Stage)
Ancient Warfare (Lexington, Ky.)
Ancient Warfare’s dark and quiet intensity transcends the band’s tough-chick exterior. The quartet designs a sonic atmosphere the same way Saul Bass once designed logos: with elegant simplicity and ferocious creativity. The psychedelic aspect to Ancient Warfare’s presentation is more about texture than actual sound, as their languid, fuzzy melodies drift through their ethereal yet solidly constructed songs, like the heavy smoke in an opium den. The palpable weariness of Echo Wilcox’s gloomy vocals and haunted guitar, the intractable pull of Rachael Yanarella’s hypnotic violin, the subtle thunder of Reva Williams’ bass and the exquisite filigrees provided by multi-instrumentalist Emily Hagihara swirl and combine to make Ancient Warfare’s enveloping totality and assure that their imminent debut album, The Pale Horse, will be one of the fall’s most anticipated releases.
YDIIYD: Sixteen Horsepower reimagined as the Velvet Underground by P.J. Harvey, Aimee Mann and Hope Sandoval. (Brian Baker)
10 p.m. @ Christian Moerlein Brewing Company (Indoor Stage)
Apache Dropout (Bloomington, Ind.)
Like all good college towns, Bloomington, Ind., is forever dishing up awesome bands with fresh, new music. In the case of Apache Dropout, that “new” sound is perfectly and thankfully reminiscent of some of the best music of the past. Their newest album, Heavy Window, comes from Magnetic South, co-owned by band member Seth Mahern. The guys pressed 1,000 copies of Heavy Window, one of their largest printings yet. Fun fact: The first half of those records feature glowing eyes on the eerie-cool cover. It’s the ultimate tell-tale sign of the drug-addled, paranoid Rock & Roll boogie on the inside.
YDIIYD: The Who on acid, Sgt. Pepper’s Lonely Hearts Club. (Deirdre Kaye)
11 p.m. @ The Drinkery
Xoe Wise (Chicago)
At 19, Xoe Wise moved from her North Carolina home (the first song she wrote was for a sick goat on her family’s farm) to Chicago and immediately became a fixture in the city’s burgeoning scene. Wise’s debut album, 2010’s Echo, generated a pile of positive local press, while its follow-up, 2012’s Archive of Illusions, earned her a sell-out crowd at Schuba’s, a spot on WGN-TV and a feature in the Chicago Tribune. Wise’s third EP, Breakfast, hit the Top 20 on iTunes’ Singer/Songwriter chart and she’s currently at work on her third full-length, irresistibly titled Racecar Orgasm. Wise plays solo acoustic or with a full Electro Pop crew, but either way she creates a dreamy and undeniable vibe.
YDIIYD: Imogen Heap and Suzanne Vega play Twister on a musical game board. (BB)
11:15 p.m. @ Mainstay Rock Bar
The Tontons (Houston)
Big-haired Texas and its Rock & Roll-loving youngsters have eaten up and loved every second of their time with The Tontons. Now the band is out touring the nation and conquering ears and hearts across the globe. The group’s sultry Rock is just good enough to make The Tontons Cincinnati’s favorite band, too. “So Young,” off 2011’s Golden, feels like a modern, youthful, rockin’ spin on elevator music or like Henry Mancini decided to start a female-led Rock band. Asli Omar’s one-of-a-kind voice and perfect squeal makes each song on this year’s Make Out King and Other Stories stand out.
YDIIYD: Blonde Redhead, wearing leather to Tiffany & Co. (DK)
8:45 p.m. @ Mainstay Rock Bar
The Nepotist (New York, N.Y.)
Good luck trying to find a one or two word descriptor for the music made by NYC trio The Nepotist. Actually, don’t even try — the group’s uniqueness and sonic diversity is what makes them so enjoyable to listen to. The Village Voice called them “Alt Soul,” a term the band has embraced and works well enough given the soulful vocals and rewired Steve Cropper guitar riffs. But then you have a track like the recent single “Kids,” which has bubbling banjo and harmonies befitting a Folk band. It’s a delicious stew that is blissfully unpredictable. The trio (formed by brothers Chris and Hayden Frank) has only been together a couple of years but has already drawn loads of glowing press thanks to its pair of EPs and various singles released just this year alone. A full-length is due early next year.
YDIIYD: Grizzly Bear, Sufjan Stevens, Dr. Dog. (MB)
10:30 p.m. @ Memorial Hall
Saintseneca (Columbus, Ohio)
When Saintseneca canceled an appearance at the Fashion Meets Music Festival in Columbus this July, the quintet made national headlines not for its music but for its social politics, because the members were against sex offender R. Kelly performing at the fest. Met with vicious protests, Kelly eventually pulled out (no pun intended) of the fest. This is one of many ways the folksy Appalachian Pop group has become famous this year, along with releasing the new record Dark Arc (produced by Bright Eyes member Mike Mogis), recording a NPR Tiny Desk Concert and gigging across the country. From grassroots house concerts in central Ohio to performing at national fests, it won’t be long now before everyone knows their name and music.
YDIIYD: Weird instruments like the bouzouki, the dulcimer and a bowed banjo playing lilting harmonies with a Ben Gibbard-y vocal affectation. (Garin Pirnia)
9:45 p.m. @ MidPoint Midway Stage
Low Cut Connie (Brooklyn, N.Y.)
If you think Piano Rock is all Billy Joel and Elton John, sorry will be a much easier word for you after you’ve experienced the 88-key onslaught of Low Cut Connie. Featuring the manic piano fireworks of Adam Weiner and the ambidextrous drum/guitar magic of Dan Finnemore (and a full band’s worth of mayhem on tour), Low Cut Connie entertains with a vengeance and accepts nothing less than total surrender. Their first two albums, 2011’s Get Out the Lotion and 2012’s Call Me Sylvia, are loaded with catchy numbers that feature a lot of humor but stop well short of being simple novelties and showcase the duo’s disparate influences (Jerry Lee Lewis and Iggy Pop for Weiner; British Punk and Garage Rock for Finnemore). Low Cut Connie’s latest triumph was a spectacular version of Harry Nilsson’s “Jump Into the Fire” on the Nilsson tribute This is the Town earlier this year, and rumors of a third album continue to swirl. But right now, the play’s the thing. See Low Cut Connie and marvel at the things a piano was never meant to do but should have been doing all along.
YDIIYD: Ben Folds dipped in speed and forced to play Replacements and Stooges songs in a seedy cabaret. (BB)
8 p.m. @ MOTR Pub
Wyatt Blair (Los Angeles)
Power Pop gets short shrift in any serious discussion of music because of its relative simplicity and perceived lack of gravity, but nothing could be further from the truth. Coming up with hooks and lyrics that get the job done in under three minutes and stick in the head like brain taffy may be among the most difficult musical tasks. Wyatt Blair doesn’t seem to have any problem at all, and his latest album, the confectionary Banana Cream Dream, is solid evidence of his lo-fi Power Pop ambitions (he also works with Peach Kelli Pop and Mr. Elevator & the Brain Hotel). As Andy Partridge once noted so succinctly, this is Pop.
YDIIYD: Rick Springfield channeling T. Rex, produced by Tommy Keene. (BB)
10:45 p.m. @ Ballroom at the Taft Theatre
Earth (Seattle, Wash.)
Much like the planet itself, the band Earth has been through a lot in the past 25 years. Guitarist Dylan Carson founded the primarily instrumental band in 1989, cribbing the name from one of Black Sabbath’s early monikers. The band’s 1993 debut, Earth 2, has long been considered the launching pad for what Carlson dubbed Ambient Metal, a feedback- and distortion-drenched drone that influenced a subsequent generation. In the mid-’90s, Carlson shelved the band to deal with heroin addiction; it would be nearly a decade before the release of 2005’s Hex; or Printing in the Infernal Method, which retained a Doom Metal structure but incorporated Country and Blues motifs and was also heavily influenced by Cormac McCarthy’s novel, Blood Meridian. Earth’s next albums, Angels of Darkness, Demons of Light I and II, were shaped by Carlson’s love of Pentangle and Fairport Convention, while the just released Primitive and Deadly finds Carlson moving in yet another new and different direction, incorporating straight Rock and even Pop elements into his long droning jams. With 16 lineup changes in a quarter century, it’s not unusual that Earth would shift identities, but even if the personnel had been stable throughout, Carlson would have retooled the band’s sound in any event and made a new, glorious noise to confront the world.
YDIIYD: God’s guitar, Gabriel’s amp, the Devil’s road crew. (BB)