Everyone gets hooked on a handful of songs they can’t seem to skip over during a period of time. Well, these are mine from the month of July.
“Crystals” – Of Monsters and Men
This song kicks complete butt. The heavy drum intro leads into the crashing of symbol waves throughout the entire track, while lead singer Nanna Bryndis Hilmarsdottir’s voice carries the powerful lyrics along the melody. This entire album is unique to their previous style, developing lyrics on a more honest and open level. Seriously, listen for yourself.
“Red Eyes” – The War On Drugs
This retro Indie Rock band from Philly wraps their beat around modern-meets-’80s music, especially their on this, their most popular jam. The impeccable beat is bob-your-head worthy, in addition to the powerful voice of the longhaired lead singer Adam Granduciel. Such a cool dude.
If you’re taking a long drive through the night with flickering highway lights passing your cracked windows and a chill in the air blowing through ever so slightly, you’ll easily feel like you’re racing back through time. It rocks so hard you’ll find it hard to skip.
“Soul Is Fire” – Elliot Root
I dare you to play this at your desk and try not to tap your foot (I tried, and it’s pretty impossible). Scott Krueger’s upbeat and unique voice is enough to turn any song into a party, especially this particular jam. It’s catchy, it builds and it’s just plain fun. Elliot Root got their own roots in the heart of Nashville, Tenn., but they’re not what you’d expect from the South. Give them a listen and dance around with your shoes off. It won’t be hard.
“Delilah” – Florence + The Machine
Delilah” is one of Florence + The Machine’s many singles sung by the beyond-badass Florence Welch and those incredible pipes of hers. This single, and two others that were released prior, are now featured on their latest album How Big, How Blue, How Beautiful. The entire album just continues to follow up with Welch’s tough-as-nails attitude and lyrics, giving women the sense of ability and power they should all possess. Not to mention it makes you want to dance.
“Wolves” – Phosphorescent
remember 2013’s “Song for Zula,” right? Turns out Phosphorescent has other
hidden gems, and I choose to listen to this gentle tune before I close my eyes
for the night. It’s simple, genuine and repetitive in a way that doesn’t feel that way. The unique use of a
ukulele as a long introduction pieced together with a soft, electric guitar and
the thick sounds of an accordion subtly enter into the center of the song.
Matthew Houck’s sad and sincere voice has that “cabin in the woods” vibe to it,
similar to Bon Iver’s For Emma, Forever Ago.
It’s overall a beautiful piece, even if it took me this long to discover
Though it hasn’t always been a loving relationship, Bogart’s has been a part of my musical life since the ’80s. I’m slightly older than the venue. I was 5 when it opened. But in less than 10 years, as my music fanaticism truly took hold, Bogart’s would become a place of awe to me.
It began when I entered junior high. I went to a school just a few blocks up Vine Street. It was commonly known as Schiel, but I attended during a brief period when it focused on foreign languages and was called the Cincinnati Bilingual Academy.
My fellow musically-obsessive friends at the time loved to hang out on Short Vine. The record stores were a big draw, as was the arcade, Jupiter and Beyond. So we spent as much time as we could in the area after school and on weekends. Bogart’s sat right in the middle of it all, but it was this magical, mysterious entity to us. Because the venue was yet to have “all ages” shows, we’d never seen a concert there. But we would stand out front and marvel at the posters in the window, wishing we could go see some of these very bands with which we were becoming deeply obsessed.
At some point, we discovered the alleyway that ran behind the club and realized that was where the artists entered and loaded in. So we began a ritual that lasted through high school. A few friends and I would linger around the backstage door before shows by artists we loved, hoping to see our heroes and maybe get an autograph. We would also sometimes be able to hear the musicians doing soundcheck, and every so often during our early high school years we’d be there late enough that we could actually hear some of the concert through those back doors.
There I got to meet some artists who were favorites of mine then and remain important to me to this day. Guitarist Andy Summers of The Police stopped at Bogart’s on a solo tour. The Police were by far my favorite band at the time, so it was incredibly exciting to say hello to Summers (who is a tiny, tiny man) and have him sign the pickguard I yanked off of my cheap acoustic guitar. I also got to meet the members of L.A. Punk legends X. Billy Zoom, the band’s blonde-pompadoured guitarist, was hilarious. He chatted with us briefly and then when we asked for autographs, he happily obliged, pulling a silver paint pen from his leather jacket. It must’ve been a new acquisition because he couldn’t get the cap off, so he handed it to me for help. Nervously, I got it off, but also broke the pen in the process somehow. Zoom started giving me shit and I was horribly embarrassed, but later realized he was likely just busting my chops and having fun with me.
When I was just starting junior high, British Ska/Pop band The English Beat played Bogart’s on its 1980 tour. The Beat were second only to The Police to me, but the show was during a time where we could only longingly look at the gig posters in the front windows. Later, while in high school, with our back door ritual in full swing, General Public — which featured the Beat’s frontmen Dave Wakeling and Ranking Roger — were booked to play Bogart’s, so we made plans to try and meet Dave and Roger. We arrived a few hours before the show and noticed that a few upperclassmen from our high school were there hanging out as well. It was a cold day and Roger and Dave came hurriedly around the corner towards us, huddled up in coats and trying to stay warm. Dave saw the five or six of us hanging around and instantly invited us in out of the cold. This was my first time inside of Bogart’s and it felt like I’d just entered a sacred temple. I had to leave (Mom was waiting for me), but we got to make that climb up the stairs from the backstage, walk across the stage (where the band members were messing with equipment), then through the big hall and out the front doors. It was a highlight of my life up to that point.
I also camped out around back when Adrian Belew and The Bears (featuring local musicians Rob Fetters, Bob Nyswonger and Chris Arduser of The Raisins) were making their Bogart’s debut in 1985 (it was the start of the band’s very first U.S. tour). I was a huge fan of Belew’s solo albums and work with King Crimson and The Raisins were one of my favorite bands. The Raisins were the first “local band” I truly fell in love with and anytime the group played an outdoor, non-club, all-ages show (in a park usually), I was there.
Belew finally was making his way into the club as we approached, accompanied by a man we didn’t recognize. It was Arduser, who was actually the drummer during an earlier period of The Raisins, not during the time when I’d go to see them constantly. As Belew jotted down autographs for me and my friends, he introduced Chris with a silly joke I’ll probably never forget: “This is Chris Arduser, also known as Chris Our Drummer.”
Years later, when I started my writing career, several of these moments connected and came full circle. While living in New York City, I had the chance to interview X’s frontpeople Exene Cervenka and John Doe in their record label offices (I didn’t bring up the Zoom/exploding-pen incident). I did an extensive phone interview with Belew. And through writing about and interviewing Arduser and Fetters over the past 20 years, I think if they saw me on the street they’d recognize me and say, “Hello.” Just being able to talk to those guys (and Nyswonger), considering my fanaticism over their bands from a young age, was and is pretty amazing.
A few years ago, I got to sit backstage at Riverbend with Dave Wakeling when The English Beat opened for 311. He was the kindest “Rock Star” I’d ever met and he actually hung out with me and a few other people I was with before and after the show. (When he let us into Bogart’s, I was convinced it was because one of the older high school girls was very cute, but I’m now more convinced he was just being a cool guy.) At one point, I was standing next to Wakeling at the side of Riverbend’s stage watching 311 play. At one point, he leaned over and said in my ear, “I think me and Roger (who no longer performs with The Beat; Wakeling is the only original member) will get back together at some point.”
If my 13-year-old self would have been told that any of those moments would happen several decades later, he would’ve fainted.
At some point in the ’80s, Bogart’s began experimenting with having all-ages show. My very first show at the club was to see Violent Femmes (I believe in 1986), but, in the early stages of this experiment, Bogart’s herded us under-agers up into the balcony. I remember loving the show and being in the club, but I more vividly recall looking down on the club’s floor and noticing what a small audience there was. While the balcony had hundreds of kids smushed together and barely able to breathe, it seemed like there were only a couple hundred people below us. Still, I’d made it into Bogart’s! Not long after, I made it to the floor-level when the club was hosting high school cover bands for all-ages shows. The Complaints (who also did some originals I really liked) were the big band at my high school at the time and I remember the club being packed with teens for their show. (Fun fact: The Complaints’ drummer was Michael Meisel, who later became a big-time music manager for several popular artists, including Nirvana.)
The club kept expanding its all-ages policy over the next few years. Punk Rock matinee shows were very popular; I fondly remember seeing some of my favorite local Punk acts, like SS-20, The Edge and Human Zoo, thrashing around on the Bogart’s stage. It seems like a weird dream now, but there were also Punk shows that featured wrestling — an actual ring was installed in the middle of the floor and local Punk icon/radio host/Bogart’s employee Handsome Clem Carpenter not only MCed (I believe), but also wrestled.
Another early show I saw was True Believers, Alejandro Escovedo’s early punk-ish band. I remember this show because it was the first time I actually was served beer at the club. My teenage friends and I were sitting at a long table and a waitress came up to take our order; she didn’t flinch when we ordered a pitcher of beer. So, of course, we ended up ordering about 20 pitchers of beer throughout the night.
Around this time, I played my first shows at Bogart’s, something almost any young musician will tell you is a pretty special feeling. My Punk band was added to a few bills by a gracious promoter or fellow local band. I remember being so nervous at those first shows that I could barely play my instrument, partly because I was thinking about all of the famous musicians (U2, Prince, R.E.M.) who had stood right where I was standing. I ended up playing there many times over the years with various bands (opening for bands like New Model Army, Prong, Matthew Sweet and Fugazi), but the early shows were the most memorable. When my first band opened for 7 Seconds, we started to get heckled by a gaggle of skinheads in the crowd (we mixed Rap, Funk and Post Punk into our sound, which offended their purist tastes apparently). Our singer started taunting them so they approached the stage; as one started to climb up, I punched my combat boot directly into his face at the lip of the stage. After our set, the club provided us with a couple of security guards so that we could walk back up and watch 7 Seconds. We were told some skinheads were waiting for us outside, but by the time we got out, they were gone.
By the time I reached college, I was a regular at Bogart’s. I even started befriending some of the staff, dating a couple of bartenders and even marrying one. These were the days when I saw certain bands right before they graduated to “arena rock”-levels of success, like The Smashing Pumpkins, Beastie Boys and Marilyn Manson. One of the more memorable shows was a weird 1995 package tour headlined by Mike Watt and featuring Hovercraft (which included Eddie Vedder on drums, right as he was at his Grunge God peak with Pearl Jam) and a new band fronted by Nirvana’s Dave Grohl on guitar and vocals. Grohl was road-testing his new group, which you may have heard of (rhymes with Doo Righters). Watt headlined the show and was backed by Vedder, Growl and Germs/Foo Fighters/Nirvana guitarist Pat Smear for his set.
As mentioned above, I haven’t always loved Bogart’s. The sound has ALWAYS been hit or miss, often frustratingly. I can only imagine it’s best explained by the set-up of the club (basically a big, long brick shed). There was period when the staff was almost universally rude, with harsh pat-downs at the door (at one point, if you tried to bring in anything that could remotely be considered dangerous — a lighter! A pack of cigarettes! A chain necklace! — it was often just tossed in the trash) and overly-aggressive bouncers roughing up kids who were perhaps dancing a little too hard. About 10 years ago, I got an assignment from U.K. weekly music paper NME to review an Insane Clown Posse concert at Bogart’s. During the pat-down, the door person grabbed the pen I needed to take notes and he tossed it into the garbage. I know ICP crowds can be rowdy, but, even after explaining the pen’s purpose, the doorman just blank-stared me, seemingly convinced that I was just the type to go on a serial pen-stabbing spree during the show.
I loved the ICP show, by the way. The band is a Bogart’s staple and that was my first time seeing them. The music isn’t really up my alley, but the duo’s ridiculous showmanship is truly something everyone should experience at least once. I’m convinced the two ICP dudes know they’re more a comedy act than anything — and probably chuckle at the fans who take them way too seriously — and that makes me appreciate what they do. It was like a surreal circus show gone awry and I had a smile on my face the entire time. Though afterwards, I felt really bad for the Bogart’s clean-up crew — SO. MUCH. FAYGO. I wonder which show was more dreaded by the janitors — ICP or GWAR?
The Bogart’s of today is strikingly different and in the best shape it’s been since I started going there. I remember several years ago writing a rant about the club (probably after the ICP incident) and pointing out that, in the decades I’d been going to concerts there, the venue had made absolutely zero notable improvements. Sure, they’d upgrade the sound system from time to time (usually without much noticeable improvement to the sound), but the club never seemed to improve conditions for the customers (good Lord, those bathrooms approached CBGB levels at times). Maybe it was a money issue or maybe management felt there was no reason to upgrade, since people were coming anyway. And, besides, where else would they go to see these particular acts?
But the days when going to Bogart’s felt like entering a prison yard are long gone. A few years ago, I remember going to a show and being stunned at how different it was. It was right after some upgrades and, while nothing drastic, it changed the whole vibe of the club and the experience. The staff was friendly. The front-door inspections were respectful. The bathrooms were clean. It was suddenly customer-friendly in a way I never remember it being.
There is no way I can remember every show I saw at Bogart’s, memorable or not. There have been several hundred. But a few stick out. There was the 1990 show when on-the-rise bands Faith No More and Soundgarden opened for cult Metal group Voivod; by the time the tour got to Bogart’s, the openers were blowing up on MTV and radio, which meant that less than half the large crowd stuck around to watch the headliners. Another time, when I started my writing career, I had a pre-show interview with the guitarist for Blind Melon at a restaurant next door to the club. As we chatted, late singer Shannon Hoon (who’d later put on a great show) and the other band members threw food at each other and acted (endearingly) like 12-year-olds.
Another favorite memory was a weird Red Hot Chili Peppers/Faith No More show in 1987. This was when Hillel Slovak (who later died from a heroin overdose) was still playing guitar with the Peppers (a favorite band of mine at the time), and Faith No More featured Chuck Mosley on lead vocals (well before Mike Patton took over the mic). Faith No More opened and ran through most of the material from the We Care a Lot and Introduce Yourself albums, its only releases at the time. Then things got weird and Mosley started telling the sizable crowd that the Chili Peppers weren’t going to show. Then the band started doing jams and weird covers, playing for well over an hour. Mosley did an acoustic version of Suzanne Vega’s “Luka.” By the time guitarist Jim Martin began to do a solo Hendrix-esque rendition of “The Star-Spangled Banner,” it felt as if Mosley may not have been kidding.
Faith No More was clearly vamping and trying to fill time. Then, in the middle of a song, four heads started weaving towards the stage from the back of the room. The Chili Peppers hopped onto the stage with Faith No More and jumped up and down for a few minutes, then headed backstage. They put on a great, incredibly energetic show (they said their tour van — a VW Beetle Bus with bullhorns on the front that my friends and I saw in the parking lot afterwards — broke down on the highway, but we all suspected something drug-related caused the delay). For their encore, the Peppers came out naked except for the tube socks on their dicks (part of their schtick at the time) and looked nervous as hell, glancing over their shoulders constantly. Apparently they’d been informed about Cincinnati’s low-tolerance for anything sexual in public (remember, this was the ultra-conservative ’80s, when Cincinnati was most associated with shutting down “obscene” art exhibits and hassling Larry Flynt) and were fearful of being arrested. The band played one or two short, fast songs and then booked it off stage. (It’s just a rumor, but I’d heard the police were indeed there and going to arrest them, but the band escaped in a fan’s car and stayed at their house playing video games all night.)
I’m not a big fan of huge crowds, so sold-out Bogart’s show always put me in panic attack mode. But I’ve braved several and I’m glad I did. When Bob Dylan decided to play some smaller clubs in 1999 and chose Bogart’s as one of them, I proudly took my dad to see him. I’ve seen Dylan numerous times over the years and more often than not I’ve left disappointed. But at Bogart’s, he sounded amazing and played inspiringly. I also took the love of my life to an over-stuffed Bogart’s in 2003 see her favorite band of the time — The White Stripes — when she was several months pregnant with our child (if she’d given birth, the baby would have had to have been passed to the exit, crowd-surf style, because it was so packed).
Bogart’s has admirably supported local and regional artists since as long as I can remember. Locals were given opening slots for big-time bands often. After my first band played a crazy set at one of the club’s battle of the bands (competing mostly with straight-forward Hair Metal bands), Dan Reed, manager at the time, came up and asked if we wanted to open for Jane’s Addiction. We very much did, but Jane’s took off and ended up playing Hara Arena in Dayton instead. The aforementioned local Punk shows were always a blast. And I have fond memories of 97X’s old 97Xposure band contests. The club’s “battle of the bands” events (which I mostly attended as a guest judge after my competitive years were over) could sometimes be painful, but I always enjoyed watching the younger bands exhibiting that same awe that I felt the first time I played there (and it was fun to play “Spot the Parents”). The club also hosted a couple of benefits for local community radio station WAIF that were a lot of fun, one featuring a ton of local bands playing Christmas songs (my band decided to perform in just Christmas underwear — briefs! — which must’ve been horrifying) and one with local groups playing David Bowie songs. And I spent many great New Year’s Eves at Bogart’s when the great Columbus, Ohio band Royal Crescent Mob played there every year. I seem to remember The Afghan Whigs taking the slot a few times, too. (The many Whigs shows I’ve seen at Bogart’s, including their most recent one a couple of NYEs ago, have been some of my all-time favorites.) In recent years, CityBeat has hosted a new band showcase at Bogart’s — the staff has always been great and I’ve thoroughly enjoyed the shows.
I wouldn’t say Bogart’s is my favorite club — I prefer smaller venues, in general. But I’m very thankful it exists. It has been the one constant, reliable place to check out live music of every sort in Cincinnati ever since I was a teen, and its mid-size has made it possible for mid-level acts to play the Queen City instead of skipping it altogether. More or less, my musical life has revolved around Bogart’s, and it’s hard to imagine what it (or Cincinnati’s concert scene, in general) would have been like without it. Thankfully, we don’t have to.
CityBeat celebrates the 40th anniversary of Bogart's with this week's issue. Check out Brian Baker's overview Cover Story on the club's rich history and promising future, plus sidebars on Brian's favorite moments, the view from John James' nearby record stores, Prince's surprise visit in 1984 and the infamous Heavy Metal Wheel of Sex.
Back in January at Music Hall, the Cincinnati Pops Orchestra, under the direction of conductor John Morris Russell, presented its unique “American Originals” concerts. During the performances, the orchestra collaborated with several local and national Folk/Americana artists to perform and celebrate the music of Stephen Foster and other early songs that are the foundation of the “Great American Songbook.”
Read CityBeat’s cover story on the project here.
Rosanne Cash, Aoife O’Donovan (who recently returned to join the Pops for its Fourth of July concert at Riverbend; read our interview with her here), Dom Flemons (formerly of the Carolina Chocolate Drops) and Joe Henry joined Cincinnati area artists Over the Rhine's Karin Bergquist and Linford Detweiler, members of the Comet Bluegrass All-Stars and others to perform specially arranged versions of Foster compositions like “O! Susannah,” “My Old Kentucky Home,” “Camptown Races” and “Beautiful Dreamer,” as well as traditional numbers like “Red River Valley,” “Kumbaya” and “Amazing Grace.”
A live recording of the concert featuring 17 songs will be released on Friday, Sept. 11. (You can pre-order it now here from Amazon.)
Here is the detailed track listing for the American Originals release (via cincinnatisymphony.org):
1) “O’ Susannah” (written by Foster, arranged by Chris Walden and with Joe Henry on vocals)
2) “Jeanie With The Light Brown Hair” (written by Foster, arranged by Rob Mounsey and with Aoife O’Donovan and Karin Bergquist of Over the Rhine on vocals)
3) “My Old Kentucky Home” (written by Stephen Foster, arranged by Rebecca Pellett and featuring Rosanne Cash on vocals)
4) “Amazing Grace” (traditional, arranged by Pellett and featuring Aoife O’Donovan and the Comet Bluegrass All-Stars)
5) “Rolling River: Sketches On Shenandoah” (composed by Peter Boyer)
6) “Why, No One To Love?” (written by Foster, arranged by Pellett and featuring Over the Rhine’s Bergquist on vocals and her OTR partner Linford Detweiler on Rhodes keyboard)
7) “Old Folks At Home” (by Foster, arranged by Timothy Berens and featuring Dom Flemons on vocals and harmonica, Timothy Berens on banjo and Paul Patterson on fiddle)
8) “Kumbaya” (traditional, arranged by Berens and featuring Timothy Lees, Kathryn Woolley, Gabriel Pegis and Scott Mozlin on violins and Richard Jensen on djembe
9) “Slumber My Darling” (by Foster, arranged by Chris Walden and featuring O’Donovan on vocals and guitar)
10) “Aura Lee” (by Foster, arranged by Pellett and with Henry and Ed Cunningham on vocals)
11) “Foster's Folly” (by Foster, arranged by Berens)
12) “Ring, Ring The Banjo” (by Foster, arranged by Walden and featuring Flemons on banjo and bones
and Cunningham on fiddle)
13) “Red River Valley” (traditional, arranged by Berens and featuring the Comet Bluegrass All-Stars)
14) “The Battle Cry Of Freedom” (composed by George Frederick Root and arranged by Berens)
15) “Beautiful Dreamer” (by Foster, arranged by Mounsey with Cash on vocals)
16) “Hard Times Come Again No More” (by Foster, arranged by Berens and featuring Over the Rhine, with Bergquist on vocals and Detweiler on guitar)
17) “Camptown Races” (by Foster, arranged by Mounsey and featuring the Comet Bluegrass All-Stars, as well as Cash, Flemons, Henry, O’Donovan and Over the Rhine on vocals)
Anyone with an adventurous bone in their body naturally loves road trips. It’s the quickest way to embrace your passion for exploration by simply hopping into your vehicle and hitting the road filled with destinations and opportunities. And what’s the ultimate source of entertainment during your long trip? Music.
I took a different approach while selecting these particular artists/songs. Playlists don’t always have a major theme to them. It’s not always necessary, and road trips are the best time for these types (or non-types) of soundtracks. As quickly as the double yellow line flickers along the street below, sometimes, so does your mood. There’s the beginning and the end of the drive when you’re nothing less than sitting out of the edge of your seat, the mid-drive mood when you need a bit of a change-up, and the nighttime (my absolute favorite part) when you’re chugging your gas station coffee, munching on beef jerky and letting the jams take you away — father than your car ever will.
This playlist meets all these moments in a road trip. Just by looking at it, it’s like I reached my hand into a pot full of weirdness and grabbed whatever I could. In reality, I selected these babies for a reason.
There were a ton of artists I considered putting on here. Candidates included Mumford & Sons, Hozier, John Mayer, and those other mainstream, super-duper talented artists we already love. Instead of giving you something you already know, I wanted to introduce you guys to some folks that may be potentially new to your music library. There’s no better time to indulge yourself in new music than driving in a car for hours, watching your view from the window change in the blink of an eye.
It’s totally OK to have it all. Ya dig? Now grab your keys and get going.
The MidPoint Music Festival today announced a third wave of artists scheduled to perform at the 14th annual event this fall.
Locals Heartless Bastards will headline Friday night's shows at the Christian Moerlein stage, touring in support of their new album, Restless One. The band will join Purity Ring and Matthew E. White on Friday night's schedule, with Saturday performers including Ride and Sylvan Esso. Iron & Wine and Tune Yards highlight Sunday's slate.
MidPoint, which is owned and operated by CityBeat, is scheduled for Sept. 25-27 and once again will take place in and around Over-the-Rhine. The full schedule will be released in the coming weeks.
The festival expects a total of around 125 total artists to perform. So far, the following have been confirmed: Heartless Bastards, Nick Diamonds, Good Graeff, Heat, Nick D' & the Believers, Roadkill Ghost Choir, Ona, The Eagle Rock Gospel Choir, Alanna Royale, Sphynx, Charles Walker Band, EZTV, Miracles of Modern Science, Bailiff, The Ghost Wolves, Wild Ones, Big Scary, Mothers, Xoe Wise, Turbo Fruits, Young Empires, Grandchildren, Forest and The Evergreens, Great Peacock, Kinky Love, Elk Creek, Ancient Warfare, What Moon Things, Bones Jugs N Harmony, Little Racer, GGOOLLDD, No/No, Kid Runner, Chrome Pony, Dirty Fences, Rose Quartz, Jackson Scott, Eclipse Movement, MULTIMAGIC, Sweet & the Sweet Sweets, Dawg Yawp, Gran Bel Fisher, Automagik, Coconut Milk, Jane Decker, Orchards, Kate Wakefield, Little Lights, DAAP Girls, The Yugos, Marcus Alan Ward, The Harlequins, yler Childers & the Food Stamps, Young Heirlooms, Us, Today, Public, Holiday Mountain, The Almighty Get Down, Noah Smith, Leggy.
Weekend passes will be available at a discount rate ($10 off) at the MidPoint Indie Summer concert at Fountain Square this Friday. Saint Motel, The Modern Novas, Grenades!? and Jane Decker will perform. More artists will be announced in the coming weeks. More info: mpmf.com.
There’s a lot to celebrate this year, folks. After Supreme Court officially legalized same-sex marriage nationwide, the feeling of freedom is especially felt in the LGBTQ community and the rest of those filled with joy for all the love in this ever-changing country. On June 25, history was made. And as July 4 approaches, it’s only acceptable to get a little crazy. We wouldn’t be Americans if we didn’t.
Whatever your plans are, you can’t forget your Fourth of July essentials: fireworks, beer, picnic grub and music. GOOD music. Although our speakers will mostly be filled with the classics by Bruce Springsteen and Tom Petty (nothing wrong with that), this doesn’t mean we have to sacrifice the contemporary jams we love so much for one day.
Check out and hang out to this modern, Mellencamp-free playlist for your day of kicking back and celebrating all the perks of being a damn proud American.
My Morning Jacket
My favorite band of all time. Be sure to avoid their album Circuital, though. (Too deep/spacey for the Fourth). I went with anything from Z, It Still Moves and Evil Urges, where their experimentation outside of their Rock-meets-Country roots stays at a minimum.
Ryan Adams & The Cardinals
The collaboration between these two artists seems to work in the best way possible, especially because it perks our buddy Ryan Adams up a bit. Still following through with his Alternative Country vibes, Adams’ voice we all know and love is given a more upbeat tempo to jam along to while you drink your beer in the grass.
Trampled by Turtles
Bluegrass and Folk with a crazy-ass banjo blended with that old violin sound. If Old Crow Medicine Show and Avett Brothers had a baby, this is it. They can go fast, they can go slow. Whatever your preference, it’s all Folk all the time.
As many films as “The Underdog” has been featured in, I still imagine it working in a Sandlot soundtrack. Doesn’t exist, but I can’t help but envision Smalls hitting that Babe Ruth ball when it comes on. If you can wrap your brain around that the same way I do, you’d understand why the rest of Spoon had to be on this playlist. Play ball!
These guys immediately make me want to take off my shoes, run through the grass and jump into a creek. That’s why I can only listen to them in the summer. (Kidding, but you get the idea.) Their Folky, earthy tunes are ideal for the Fourth. Hopefully you’re near a creek!
The Flaming Lips
Ridiculously weird with the best intentions. This holiday can get weird, so embrace it and throw these guys on there. Less Folky than the other stuff, but it still works. I promise.
People totally underestimate these guys. I saw them live last summer, dancing around stage in their fedoras and denim flannels like the happiest people on the fucking planet. Singing songs about their hometown in South Carolina and this sweet, sweet country we live it — how could you not put these songs on your list?
Have a great weekend, folks. ‘MURICA.
When you think summer music festivals, you probably think about things like high-powered sunscreen, hydration and the chance that you might get drenched if a storm rolls through. But this weekend in Greater Cincinnati, there are three festival that spotlight our great music scene, and you won’t need an umbrella, SPF 500 or $8 bottles of water for any of them. (Two of them feature “patio stages” that are outside, but schedules will be adjusted if harsh weather strikes.) Click on the artists' names for more on each of the acts.
• Stanley’s Reggae Fest returns for its fifth year to Stanley’s Pub Saturday, showcasing some perfect summertime music with vendors, Jamaican food (from Ena's Jerkmania) and an outdoor patio stage (weather permitting; see above).
Music starts at 6 p.m. Get a ticket today for $12 here, or pay $15 at the door.
• The eclectic Folk/Americana scene in Greater Cincinnati is one of local music’s most thriving, and Saturday at Newport, Ky.’s Southgate House Revival, you’ll be able to catch some of its guiding lights (as well as a few touring acts). The inaugural Cincy Folk Festival is being presented by the local music website cincygroove.com and proceeds benefit local Northern Kentucky radio station WNKU.
The fest will utilize all three stages at the Southgate. Tickets $20 (get yours in advance here). There are also VIP tickets available for $30 (VIPs will be treated to catered food and music from The Young Heirlooms and Honey and Houston at 5 p.m.).
Here is the full schedule (visit cincyfolkfestival.com for updates and full info).
7:30 p.m. Bulletville
8:30 p.m. David Gans
9:30 p.m. Kim Taylor
10:30 p.m. AJ Ghent Band
12 a.m. Chicago Farmer
9 p.m. Mamadrones
10 p.m. Hickory Robot
11:15 p.m. Souse
12:30 a.m. Gabbard Brothers
8 p.m. Carole Walker
9 p.m. Tracy Walker
10 p.m. Ma Crow & The Lady Slippers
11 p.m. My Brother The Bear
12:30 a.m. Wilder
• Tonight and tomorrow (Friday/Saturday), the Northside Tavern hosts the return of the Northside Music Festival on three stages, including one on its outdoor patio. The fest, now in its eighth year, features some of the city’s finest Indie and Rock acts of various shades and styles. And it’s all FREE. Visit the NMF’s Facebook event page here for the “in case of rain” schedule.
Back Room stage
10:45 p.m. Skeleton Hands
11:45 p.m. Artisan
12:45 a.m. Dream Tiger
Front Bar stage
10 p.m. Smut
11 p.m. Everyday Objects
7:30 p.m. The Slippery Lips
9 p.m. Subsets
10:30 p.m. Tweens
Back Room stage
10:45 p.m. The Harlequins
11:45 p.m. Temple
12:45 a.m. Soledad Brothers
Front Bar stage
10 p.m. New Strange
11 p.m. The Sundresses
7:30 p.m. Leggy
9 p.m. The Tigerlilies
10:30 p.m. Fairmount Girls
Since the forecast for this upcoming weekend screams “absolutely sucky,” instead of fighting it, go ahead and embrace the rain. Whether you’re allowing yourself some “me” time to sink into your own thoughts or are keeping your favorite human close to your side, slide your ass back into bed, pour yourself some tea and put on these slower, deeper jams, old and new. (You know, when you’re done binging on Netflix).
"Think of England" – Bear’s Den
“Do you lie back and think of England?” Maybe, maybe not. But the concept is there. Whether it’s a place or a person from your past, this song is dedicated to a memory that questions if it’s been forgotten or not. Many of us experience this “letting go of the past” feeling in our lives, and Indie Folk trio Bear’s Den’s does it well through such heartfelt poetry.
"Holocene" – Bon Iver
The immediate peace behind Justin Vernon’s voice paired with the tranquil melody that takes you out of this world and beyond is enough. It’s just enough. As much of Bon Iver’s music is based off of a pain or time of love and loss, this particular song is wrapped around the beauty given by earth and embracing the parts of life that are greater than you’ll ever be. (Little tip: I recommend watching the video. Absolutely worth it).
"Love You" – For Against
The wonderful thing about instrumentals is that they can be interpreted any way you like and let them take you wherever you want to go. It’s pretty awesome. It causes listeners to get more caught up in the title rather than the assigned lyrics, leaving an open canvas for their most creative thoughts to tell a story. For Against uses distinct rhythms and their Post-Punk/Dream Pop sound to allow you to capture a story throughout each of their tracks.
"Come Back to Bed" – John Mayer
If I’m being honest, in my wildest dreams, if John Mayer told me to come back to bed I’m sure as hell going to do it. Whether you’re embracing the emptiness or wishing your person were by your side, this song is a calling to bring you back into your sheets and leaving the bad things behind. John is a major necessity to any rainy day soundtrack, and this particular track is a strong winner.
"Jolene" – Ray Lamontagne
I don’t care who you are or what genre you prefer, everyone admires this beaut. Ray Lamontagne’s rough-meets-earthy voice is exactly what anyone needs on the slowest of days. It’s sad, yes, but a wise man once told me, “The sad ones cause you to feel the most.” Sometimes we need that, especially while the dreary rain pours outside our windows. And Ray is the king of that.
"Song For Zula" – Ronnie Fauss
This acoustic remake is simply remarkable. I first heard it in one of my music-loving friend’s cars, driving home late from a Hozier concert, and I was hooked. I wanted to crawl under the sheets and sleep the weekend off, drifting away to this sweet lullaby dedicated to a lover. If you enjoy the original, this version will tug just as strongly at your heartstrings.
"Dye" – Tycho
Another instrumental, another story. This one with a more Techno-feel and a beat you’ll feel. It reminds me of a club at 2 a.m. in complete slow motion. Weird, I know. But like I said, it’s all about where your creative mind takes you. This artist especially is creative and unique enough in itself to get the ball rolling in your mind. So while you’re lying there watching the day pass by, let your thoughts drift to this song, this artist, and this album.
"More Streets" – zpiderflower
This instrumental is a bit darker feeling than the rest with its deep, electric strings flicking one after the other and its low and steady beat remaining consistent throughout the entire track. This song was made for sleep. It was made to hide out from the nasty weather while still accepting it’s among you. These guys aren’t likely to come across often, so grab on and give them a chance while it’s still raining outside. You’ll grow for them more now than ever.
"Georgia" – Vance Joy
I LOVE this song. I love the verses more than the actual chorus, and that’s totally OK with me. It’s sweet and pretty and talks of love in such an elegant way. Vance Joy describes a woman as electric and strong, with a weight of love that’s worth it all. Sure, we all are familiar with Joy’s ever-so-popular song "Riptide," but in reality his other work is equally as incredible. You can’t help but think of the person you love most when you hear this tune.
"Comrade" – Volcano Choir
You bet your ass I put Justin Vernon on twice. As used as this phrase is, I can’t help but best describe Volcano Choir as Bon Iver “on steroids.” Its electric twist is strong, loud and powerful, while keeping its simplistic/natural style and sounds in the works. The entire Repave album is worth giving a listen, however, if you’re adding to a mellow playlist, I pick "Comrade."
On Wednesday, June 10, The War On Drugs performed live at the Madison Theatre in Covington, Ky. They slowly becoming one of my favorite artists in just a few short months, and I couldn’t pass up the opportunity to catch these guys while they were in town, just minutes from my city.
This American Indie Rock band from Philly began back in 2003 after Kurt Vile and Adam Granduciel met at a party. (Alcohol really does bring people together for more than just a one-night stand). Finally calling themselves The War On Drugs in 2005, the rest became history.
The disparate crowd in the Madison Theatre grew silent as Vile stepped onto the stage of smoke with his back turned away from us. The intro music patiently slipped through the fingers of the players, giving the crowd enough time to psych themselves up before Vile slowly circled, sending his voice through the microphone. I’d like to think goosebumps were contagious in that moment.
The show kicked off with “Burning” from their album Lost in the Dream, an album that needed and deserved an entire concert time. They dove into each song random and out of order, just the way concerts should be. They even chose to throw their most popular track “Red Eyes” into the middle of the show — something we as music-lovers are unfamiliar with, subconsciously expecting the ordinary concept of “saving the best for last” (or in some cases, the most popular). Instead, it kept the crowd on their toes. It kept us wondering … what’s next?
My personal favorite didn’t come on until sixth to last. Waiting for “In Reverse” kept my anticipation high throughout the entire show, leaving me thoughtless and speechless and I swayed and felt more than what can be felt from listening through ear-buds.
The overall energy of the room was exactly what you’d expect it to be. The drifting rhythms and synthesized sounds of the acoustics was enough to send anyone into a parallel universe — a place I found myself throughout the show as I clung tightly to my beer with one hand and my friend’s arm with the other. "Lost in the Dream" truly says it all.
Vire’s communication with the audience was scarce, but with such strong lyrics that symbolize love, isolation and depression, it became more about speaking through the music. Instead of having to explain why a particular song was written or what is was about, it is left up to the listener to decide. It was all about interpretation.
A handful of songs from various other albums were chosen and thrown in the very beginning, as well as the encore before closing out with “Suffering,” also from Lost in the Dream. It was a slow closer (also uncommon) as if it was meant to easily transition people back down from concert to reality.
As a surprise during the encore of the show, we were treated to The National drummer Bryan Devendorf stepping in and taking over. It’s safe to say the crowd went a little nuts in the best way possible.
Every inch of the album Lost in the Dream was just as beautiful live as it is right from your Spotify playlist. Whether you’re taking a drive far out in the distance or spending an hour on your bedroom floor with your feet up on the wall, this is the background sound you’re looking for. You’ll be back for seconds — I promise.
Wedding season has officially arrived, and that means parties, dinners, showers and more parties. Yikes! It’s the perfect blend between terrifying and awesome.
This past weekend I had the opportunity to host a dear friend’s rehearsal dinner at a creative space called The Living Room. The bride and groom are in their early 20s, so the theme we chose was more of a modern, rustic feel, decorated with a collection of various plants, aged white windowpanes, flowers in vintage beer bottles and a handmade chalk drawing of the Cincinnati skyline across the blackboard wall in the café.
I created a playlist for the occasion that would fit both their personalities and the central theme of the dinner, avoiding the expected Whitney Houston or Michael Bolton tracks. This soundtrack consists of Indie, Folk and Alternative music old and new that almost everyone in the wedding party would recognize as they poured through the speakers. Hearing them sing along as they picked at the hors d'oeuvres was just the icing on the cake. (Well, the cake didn’t come until after dinner).
Check it out and see if these (not overly-cheesy) love songs will fit well in your upcoming rehearsal dinner playlist!
“Sweet Disposition” – Temper Trap
This song is strong and delicate altogether. “…A dream, a laugh, a kiss, a cry,” are all pieces of love and what we feel when we’re in it. The rapid, spacey beat is not only gorgeous, but the lyrics are no less than short and powerful.
“Mess Is Mine” – Vance Joy
What’s mine is yours — for better and for worse. It’s the concept that when you’re with someone, they are a part of you. Their problems become your problems, and this upbeat, warm song with an honest message truly says it best.
“Grow Old With Me” – Tom Odell
This song is so stinkin’ sweet. It’s heartwarming, dreaming about a future with the one you love the most. Starting slow and fading into a quick tempo, Odell’s voice gradually expresses how intense it is to feel this way toward someone for the rest of your life. Oh, and how wonderful it is.
“Ends of the Earth” – Lord Huron
When you’re in a car, driving off into the unknown with your favorite human by your side holding your hand so lightly, this is the song you want to have playing. “To the ends of the earth, would you follow me?” If marriage is an adventure, would you?
“Ho Hey” – The Lumineers
This lovely little song (already known by most) is the simplest way of saying you and your “sweetheart” belong together. It’s catchy, it’s happy and it’s even a sweet song to dance along to. The clapping alongside the rustic instruments will be enough to you get you on your feet with your partner, spinning around and loving how much you love them.
“She (For Liz)” – Parachute
I had to throw this song on here simply because the name of the bride is — you guessed it — Elizabeth. It’s that “she, she, she, story-of-a-girl” song that describes the uniqueness of one woman that makes a man love her over anyone else. Although Parachute doesn’t exactly say the name “Liz”, it was an opportunity I couldn’t pass up.
“Budapest” – George Ezra
This semi-recent song by George Ezra (whose baby face does NOT match his soothingly-deep voice) describes the passion one human has for another, so strong they would leave even the greatest things in their life. Those materialistic things have no place over that person.
“XO” – John Mayer
Almost any John Mayer on your rehearsal dinner playlist is pretty much a necessity, considering the guy’s voice practically has love embedded in it. Recreating an acoustic cover of Beyoncé’s single ‘XO’, Mayer easily gives an already beautifully written song a slower, more soothing twist for listeners looking to feed their love-struck minds.
“Like Real People Do” – Hozier
This one is a bit different. My interpretation is that the past is in the past — and however scary the future is, they should let it be. When you’re in love with someone so deeply, sometimes it’s easier to put the pain of the past away and focus on the beauty of what’s to come. Hozier did a heavenly job of putting it, pairing it with its light and angelic melody.
“Home” – Edward Sharpe & The Magnetic Zeros
“Home is wherever I’m with you.” YES. We love this one because that Southern-Folk sound and those sweeter-than-apple-pie lyrics can make a person feel so freaking giddy inside. It’s meant to make you feel like you really are home anywhere you go, but the reality is, it’s because of whose by your side.