After months of rising anticipation and weeks of weirdly intermittent and torrential rain, Bunbury's first day looked to be a winner. A great announced lineup, no precipitation in the forecast and nothing but sunshine expected for the day; against all odds, that's exactly what we got. But it wasn't the rain to come that presented a problem, it was the rain that had already fallen; the area on the Serpentine Wall that had perfectly pocketed the Rockstar Stage last year was completely swallowed by the rising Ohio River, and the stage had to be moved to the opposite end of the field housing the all important Main Stage. It turned out to be a pretty decent fix, all things considered.
After securing my Level Three media pass (which, in the hierarchy of accessibility, I think meant that if any band needed help moving equipment, I was obligated to roadie for them), I headed for the Bud Light stage for Public. I had done a story on them back in January; they were home for Christmas so given their proximity, they came to my house and we did the interview in my basement. My daughter had answered the door and let them in, and for weeks afterward she was telling her friends about the cute guys I had interviewed at the house. Public's teenage girl effect was fully evident at their Bunbury appearance, as squealy females shrieked their appreciation for every song, and randomly shouted "I love you!"s arced over the rather sizable crowd. The trio did songs from their self-titled EP, a new tune called "Honey Bee" and, taking a page from the infinitely talented and creatively twisted Richard Thompson, offered a thunderously blazing turn on Britney Spears' "Toxic." In the studio, Public has the sound of a ramped up Modest Mouse, but in the live arena, they definitely blister and kick a little closer to the Led Zeppelin vibe they claimed as inspiration during our conversation, adding a dollop of harmonic Pop to sweeten the deal. If teenage girls are any indicator — and they usually are — Public could be headed for Walk the Moon territory pretty quickly.
Next up, it was Alone at 3AM at the Lawn Stage. I love these guys; super solid, crunchy heartland Indie Pop/Rock that states its case without a lot of unnecessary flash or padding. The band had plodded along for close to seven years before solidifying a dedicated line-up behind vocalist/guitarist/songwriter Max Fender and bassist Joey Beck and moving forward; a good deal of growth occurred with the additions of Sarah Davis on keys and Chris Mueller on drums (and business savvy). That in turn lit a fire under Fender, leading to a pair of albums in the last three years — 2010's Cut Your Gills and last year's Midwest Mess.
For A@3's Bunbury slot, the quintet was showing off their new guitarist; Clay Cason's recent departure left a gap which has been admirably filled by Jake Tippey, taking a busman's holiday from his howling duties in the Frankl Project and proving every bit as valuable in a Pop/Rock context. The band roared through songs from their most recent albums, introduced a couple of new songs (Chris mentioned after the show that A@3 would be working on an EP, and then tracking a new full length for imminent release) and even dipped back into their debut album, City Out of Luck, for a spin through "Mexico." Max's gruff voice sits comfortably in the Paul Westerberg/Bruce Springsteen range and it's the perfect vehicle for expressing his blue collar love-and-life songs. Can't wait to hear the new stuff in the studio, kids.
Before setting out for the Rockstar Stage, I caught the opening of Ohio Knife, one of Cincinnati's brightest new entities. Initially a side project for the Chocolate Horse, vocalist/guitarist Jason Snell, guitarist Andrew Higley and drummer Joe Suer — who all played together in Readymaid as well — ultimately put the Horse in the stable to concentrate on the Punk-scrubbed Blues of Ohio Knife, and with good reason. The trio is a sweat-soaked hurricane in the studio (their 2012 EP was a marvel), but the live translation hits with the force and heat of a flamethrower in an ammunition dump, and it won't be long before the CEA nominees for Best New Artist wind up taking home some bling. Where are we with the full length, guys?
After a quick shot of Ohio Knife, it was time to motor to the other end of the festival to check out the Dunwells. The UK outfit fronted by, logically enough, the Dunwell brothers, has found a good deal of success with their debut album, Blind Sighted Faith, and its ubiquitous single "I Could Be a King." When they played the single, frontman Joseph Dunwell thanked Q102 for their support, but it bears pointing out that, WNKU has been beating the drum for the Dunwells for quite some time now (just as they had for the similarly Folk/Pop toned Mumford & Sons). That being said, the age of the crowd seemed to indicate that Q102's demographic was probably best represented here today, so perhaps the win should be scored in their column after all. However the commissioner decides to rule, the Dunwells put together a crisp and wonderfully vibrant set that pays homage to the West Coast sounds of the Eagles and CSNY. The one exception to that sonic blueprint is the aforementioned "I Could Be a King," which offers an irresistable Pop edge that shimmers like the best of Crowded House. When brother David Dunwell strapped on the old five string to play the hit, he noted wryly, "I think every Englishman should at some point come to America and stand in front of an American audience holding a banjo with no idea how to play it." I think he was being graciously self-deprecating. The Dunwells seemed to go down a storm and I think they would find a large and enthusiastic audience if they returned outside of the auspices of the Bunbury Festival. Quick note: If you see a Dunwells album titled Follow the Road in stores (for you youngsters, a building where your parents buy music) or online, it is actually a re-sequenced and remixed version of Blind Sighted Faith, with a few alternate versions tossed in for flavor.
I briefly considered heading over to the Bud Light Stage to see some of Everest (a pick from Bunbury worker bee extraordinaire Jacob Heintz), but opted to check out a bit of Tegan and Sara at the Main Stage before making a definite decision.
I've interviewed both Quin twins over the years — most recently, I talked to Sara the year after the release of 2009's Sainthood — and while I lean toward their early work as far as my personal taste is concerned, their last trio of albums have been fairly well stacked with radio-friendly Pop songs with the potential to reach a massive audience. The enormous turnout for their Bunbury set would seem to support their decision to go the pure Pop route, but the fact is that Tegan and Sara have been cultivating a large and diverse audience for the past decade and a half, and their synth-driven Pop direction was not enough of a departure to alienate any portion of their slavishly loyal fan base. Predictably, the bulk of their set was devoted to Heartthrob, along with faves from The Con and Sainthood; they also reached all the way back to 2002's If It Was You for "Living Room" and they threw in a cover of Tiesto's "Feel It in My Bones," on which they originally guested. As expected, the adrenaline and volume of the live experience ferments Tegan and Sara's sugary Pop confections into something with a little more bite. Even for those who weren't completely sold on their recent work (my hand is up), Tegan and Sara's live presentation could make you see the light.
After T&S, it was time to hit the Amphitheater Stage to see Buffalo Killers. If you missed seeing the James Gang in 1971, here's your chance. Because I'm old enough to have actually missed the James Gang (with Joe Walsh, that is; I was lucky enough to see the even rarer sight of the James Gang with Tommy Bolin. Look that up in your Funk and Wagnalls …) that joke is only marginally funny. Luckily, Buffalo Killers have approximated the trio's fuzzy guitar assault and maniacally furious rhythm section here in the 21st century to give an indication of what Joe and the boys might have sounded like if they had stayed together a little longer and gelled a little better. And even though Buffalo Killers have managed to inject a bit of poppy sunshine into their bunker-busting sound, in the live arena the band still rumbles and shoots like a rhythmic Sherman tank. The Killers hit all of my teenage buttons (which were installed long ago and have never been fully deactivated, same as every man on the planet, I suppose) and any opportunity to witness their feedback-through-an-elephant-gun glory is a chance to time machine back to the days when electric dinosaurs roamed the earth and their squalling racket could be heard from sweaty and sparsely attended auditoriums to densely populated arenas. I love Buffalo Killers. They remind me that there is wisdom in remembering the past, joy in celebrating the present and excitement in anticipating the future.
After a brief stroll around the grounds to grab something to eat, it was back to the Amphitheater Stage for a healthy dose of Rock hard Americana with Those Darlins. The Nashville outfit has been down a Darlin since early last year when Kelley Anderson opted out of the band to pursue other musical projects (her new group, Grand Strand, got a good buzz after touring with Richard Lloyd last year), and her amicable departure has obviously changed the group's dynamic, particularly the absence of their signature three-part harmonies. The remaining Darlins — Jessi (Wariner), Nikki (Kvarnes) and drummer Linwood Regensberg — are carrying on with the-show-must-go-on determination; new bassist Adrian Barrera seems to be slotting in quite well and Those Darlins' core sound, along the lines of the Pandoras if they'd been influenced by Wanda Jackson and the Ramones, remains largely intact. Their Bunbury set did display a good deal more Rock and a good deal less twang than you'll find on their first two albums — 2009's Those Darlins and 2011's Screws Get Loose — and it's a safe bet that the new album they're currently working on will follow that blueprint as well. No one at the Amphitheater seemed too dismayed at the shift, particularly the hyperactive dance contingent in front of the stage. Two Darlins is clearly enough Darlins to make Those Darlins.
I bailed out of Those Darlins a bit early to make the long walk back to the Rockstar Stage to take in the Gypsy Jazz goodness of DeVotchKa. I've long been a fan of the Denver-based outfit (I came to them through 2004's How It Ends, fell in love with their version of the Velvets' "Venus in Furs" from the Curse Your Little Heart EP and adored their work in Little Miss Sunshine) but have never had the opportunity to see them in the flesh, and when I saw them on the Bunbury schedule, I knew there was little that could draw me away from their show. Luckily, their 9 p.m. slot meant they weren't programmed against anyone else, so the way was cleared for my first live DeVotchKa experience.
DeVotchKa lived up to and surpassed all advance billing with a set that walked the wire between frenetic and atmospheric but maintained high energy from start to finish. Even when they slowed the pace, there was an electric tension in their presentation that made clear something explosive could happen at any moment. And it usually did. All four members of the band — Nick Urata, Jeanie Schroder, Tom Hagerman, Shawn King — play multiple instruments so almost any sound is available to DeVotchKa, including theremin, boukouki, accordion, trumpet and Melodica. And Schroder does the heaviest lifting, either plucking with power and subtlety on her enormous upright bass or blowing away like Dizzy Gillespie on steroids into a gigantic sousaphone that looks as though it would be the punishment instrument for getting bad grades in high school band ("Okay, Baker, D in Orchestra, 10 solos with the death tuba..."). It wasn't a performance to analyze or interpret, it was a Gypsy Jazz soundtrack for a magic show, a feeling to wash over you like cool waves on warm sand, a Slavic Rock and Roll dance party. More than a few people on DeVotchKa's Facebook page declared it the best show of Bunbury's three-day weekend. It was most assuredly one of them.
Finally, it was time for fun. Not the fun that we'd been having all day at Bunbury, but the fun. that's topping the charts and recently played Saturday Night Live and won a couple of Grammys this year. Admittedly, I'm not a huge fan of the band. I like their sound to a certain extent, it's energetic and entertaining and I really like Nate Reuss' voice. I actually interviewed him a decade ago when he was fronting the Format; ironically and perhaps presciently, he used the word "fun" a half dozen times to describe his band at the time.
At any rate, I hung around to see the show to be able to report how it was to my daughter, and because the band clearly doesn't take itself too seriously. When they accepted their Record of the Year Grammy for "We Are Young," Reuss said, "I don't know what I was thinking, writing the chorus for this song. If this is in HD, everybody can see our faces, and we are not very young." All in all, I was expecting a pleasant if unassuming concert experience.
And that's pretty much how it started, with the "Some Nights" intro, the title track to their sophomore album (it would show up in its entirety during the band's two-song encore, leading into "One Foot" from Some Nights). In fact, fun. performed almost all of Some Nights (save for "All Alright"), and over half of their debut album, 2009's Aim and Ignite, perhaps best represented by "At Least I'm Not as Sad (as I Used to Be)" and the nearly eight-minute closer, "Take Your Time (Coming Home)." Of course, they saved their anthemic signature singles for the second half of the set, first "Carry On" and then, two songs later, the epic Grammy-winning Pop of "We Are Young." Sandwiched in between though was a very charming version of The Rolling Stones’ "You Can't Always Get What You Want," an interesting lead-in to "We Are Young," a song that would seem to sport a diametrically opposed message. By the time fun. concluded with "Stars" as the second song of their encore, they had fired a confetti cannon (there was still yards of fun. confetti on the field when The National played Sunday night), performed the majority of their two studio albums and put on a show that proved they were worthy of their first-night-closing status. While I think they should remove the rather severe punctuation from their name, I have to say I was at least slightly converted toward a fun. lifestyle.
The last time Slug felt as sick and contradictive as this was the last time he played a show in Cinci. He and the other half of Atmosphere, DJ/producer Ant, haven’t played one since, save a Scribble Jam or two. But the last headlining show that Atmosphere played in Cincinnati was nearly seven years ago. If you’re an Atmosphere fan, then you’ve heard the various references to Top Cat’s and that show. As someone who was there, I remember it being just about as tragically awesome as Slug does, just from a different perspective.
Bret Michaels is a one of a kind crossover superstar who has transformed himself from hard rocker to big partier to reality television star. Best known for his nearly 30 years with rockers Poison (giving us such Rock & Roll staples as “Every Rose Has It’s Thorn”, “Talk Dirty to Me” and other arena mega hits), in 2010, Michaels’ life took a dramatic turn when he was faced with multiple emergency surgeries. The first was to remove his appendix and then a sudden life threatening brain aneurysm led to brain surgery. He bounced back by winning Donald Trump’s Celebrity Apprentice, continuing solo music tours across the country, completing a summer tour with Poison and Motley Crue and plotting more television projects.
CityBeat spoke with Michaels this week in advance of his pre-Super Bowl party concert tomorrow in Indianapolis. He performs Friday at 9:30 p.m. in Indianapolis, helping open the Super Bowl Village and get fans in the right spirit for the big game next Sunday. (Friday’s concert is free; click here for more info.)
Contemporary Arts Center has officially announced that Patti Smith will perform The Coral Sea with daughter/pianist Jesse Smith on May 17, in connection with her CAC exhibit, also called The Coral Sea, that opens the next day and features work not previously seen in the U.S.
At the concert, Smith will also play selected material from throughout her career.
The CAC website says that "The Coral Sea performance work found its beginnings from Smith’s 1997 book of the same name, her requiem to her dear friend Robert Mapplethorpe (who took the cover photo of Smith’s debut album, Horses, among his many other accomplishments). With music arranged and performed live by Kevin Shields — of heralded British shoegaze band My Bloody Valentine — two separate performances were held at London’s Queen Elizabeth Hall in June 2005 and September 2006. In 2008 those performances were released as a live album."
Mapplethorpe's own posthumous photography retrospective at CAC, 1990's The Perfect Moment, became a major controversy when cultural conservatives led by now-retired Sheriff Simon Leis tried to shut it down for obscenity. In a famous trial, a jury sided with the CAC. The concert venue and ticket information will be announced soon at www.contemporaryartscenter.org.
I first wrote about Smith's art show coming to the CAC in CityBeat last year here.
One of the coolest, more unique musical experiences to be had in Cincinnati is at the concerts presented by The Loft Society, an on-the-down-low, speakeasy-like venue housed in the top-floor loft of an apartment building on Calhoun Street in University Heights (next to Mayra’s restaurant). Programmed and hosted by Al Williams, the Loft has been featuring artists on the more exploratory side of Jazz (with occasional guests from other genres) for the past two decades. The atmosphere is relaxed and communal and set up as a great listening experience first and foremost (obnoxious chatter during performances is strongly frowned upon). If you’ve yet to visit, Saturday’s “A Tribute to MLK” concert is a great place to start.
I attended my first South By Southwest festival in Austin, Tex., over 15 years ago to cover local Funk group SHAG's appearance at the festival for a much younger CityBeat. It seemed exciting back then that one of Cincinnati's biggest bands was invited to showcase at SXSW. This year, the amount of acts from the area performing is unprecedented — never has Cincinnati had such a presence at America’s premier music fan/industry showcase and conference (which starts a week from today).
And it’s not just performers. Representatives from local promo company The Counter Rhythm Group will be on hand in force, venture development group CincyTech is hosting regular chats as well as a Cincinnati hospitality headquarters and party in Austin and the progressive promotional/licensing machine The All Night Party is sponsoring both a tour centered around the Texas festival and its own showcase night at the event, a first for a local organization.
And, as we have most SXSWs over the past 17 years, CityBeat will have a reporter on the scene providing regular updates for this here blog. Be sure to check back often starting next week and see how are hometown heroes are doing.
Here’s an overview of just some of the Cincy-centric happenings related to SXSW 2012:
• The All Night Party presents the Midwest by Southwest tour (also sponsored by this summer’s Bunbury Music Festival and assisted by Counter Rhythm and Reveal Concepts) featuring, as the tagline reads, “Four Midwestern Bands — On A Mission to Rock.” The tour has Cincinnati bands The Sundresses (repeat visitors to SXSW) and Wussy, as well as Cleveland rockers The Whiskey Daredevils and Lexington’s Oh My Me. The jaunt begins Thursday at Mount Lookout’s The Redmoor. (Doors open at 6 p.m., showtime is 8 p.m. and tickets are $10.) MWXSW will hit several other cities before and after the ANP SXSW showcase Tuesday at the Soho Lounge. The Lions Rampant will appear on the bill in Austin, as well.
If you'd like to help the caravan out, there is a Kickstarter campaign with some cool perks you can check out here. (Quick, only three days left!) Here's the promo vid:
• R. Ring, the acoustic duo featuring local musician/engineer Mike Montgomery (thistle, Ampline) and Dayton, Ohio’s Kelley Deal (Breeders), will perform at a showcase hosted by the Misra label on March 15. Misra is releasing the twosome’s first single in a few months, with a full-length to follow.
• Ohio Knife, a new duo project from The Chocolate Horse’s Jason Snell, Andrew Higley and Joe Suer, is also headed to Austin and the local branch of branding agency Landor is tagging along. The company is hosting a travelogue website here so you can follow along at home. Ohio Knife plays a tour kickoff show Friday at The Comet in Northside. The band will hit other clubs in Tennessee and Texas along its way to SXSW.
• Local Indie Pop faves Pomegranates are now labelmates (on the Modern Outsider imprint) with fellow Cincy band Bad Veins. While the Veins won’t be performing in Texas (they’re preparing their own tour launch March 19 in Colorado), the Poms will play the official Modern Outsider SXSW showcase on March 14 at Trinity Hall.
• Indie/Folk/Electro/Pop powerhouse The Seedy Seeds took part in a SXSW launch party a couple of weeks ago. The band performs at the All Night Party showcase Tuesday.
• Eccentric breakout rockers Foxy Shazam are one of the headliners of a showcase presented by the huge booking company The Agency Group on March 15 at Latitude 30; the day before they’ll play an afternoon party.
• Cincy RCA Records recording artists Walk the Moon aren’t technically “showcasing” for SXSW, but they will be in Austin for the MTVu Woodie Awards ceremony and festival held in during SXSW, where they’ll be performing and hoping to score the Breaking Woodie award they’re competing for against acts like tUnE-YarDs and Lana Del Rey. Vote for the hometown boys here, where you can also watch a live stream from the March 15 festival.
Like death, taxes, Who reunion tours and Wolfen sequels, one certainty every year in Cincinnati is a local summer appearance by the master of mediocrity, Jimmy Buffett. If you live here, it's as inevitable as the changing of the season: Buffett brings his plastic palm tree and awful music to Riverbend, and thousands of morons flock to see him.
We've resisted writing about this "phenomenon" in the past. It's kind of like making fun of Kathie Lee Gifford or Kenny G -- it's just too cheap and easy. Of course, CityBeat is nothing if not cheap and easy.
So, here, we bring you the only press you will ever read about Jimmy Buffett in this publication. Unless, of course, there's a shooting spree in the middle of the concert or Riverbend sinks into the river.
10) His music It's sorta tropical, sometimes Country-ish, sometimes "silly," and always boring. It's music for people who don't like music: background, laid-back fluff. It's easy listening for Boomers.
9) His lyrics
"Blew out my flip flop/Stepped on a pop top/Cut my heel, had to cruise on back home."
"So he took her to this movie called Body Heat/She said, 'The Junior Mints were mushy and the sex was neat.' "
"Fruitcakes in the kitchen/Fruitcakes on the street/Struttin' naked through the cross walk/In the middle of the week."
"Evolution can be mean/There's no 'dumb-ass vaccine.' "
8) His album titles A White Sport Coat & A Pink Crustacean. Last Mango in Paris. Off to See the Lizard. This guy makes "Weird Al" look like Oscar Wilde.
7) He recorded a cover of "Purple People Eater" "Itsy Bitsy Teeny Weeny Yellow Polka Dot Bikini" is bound to be next.
6) He likes to sue aspiring restaurateurs Buffett's lawyers have gone after entrepreneurs for calling their new bistros things like "Margaritaville" and "Cheeseburger in Paradise." Hey, if they're that stupid ...
5) He was a fratboy No doubt. At the University of Southern Mississippi. Shocker!
4) He wrote and staged a musical (Don't Stop the Carnival) Rock stars shouldn't do that.
3) He tricked Brian Wilson into recording one of his songs "South American" on Wilson's Imagination record. Hasn't this man been taken advantage of enough?
2) His CDs don't even make good coasters I proudly own one Jimmy Buffett CD -- 1999's Beach House on the Moon, which I use on my desk to set my drink on. Damn things keep slippin' off.1) Parrotheads Fans of Buffett use his summer concerts for an excuse to get completely obliterated and "partay." It's like Mardi Gras with tasteless people in stupid hats and Hawaiian shirts. Not so amazingly, his strongest cult is here in Cincinnati. Like we need some other cultural crisis to be embarrassed about.
The avant chamber music festival, MusicNow, returns to Memorial Hall on March 11 and March 12. The "big get" this year is the Kronos Quartet, a brilliant, legendary string troupe that hasn't played in Cincinnati in 20 years. Kronos plays both nights of the event, performing music by Jim Thirwell and Glenn Branca, as well as a new piece by Richard Reed Parry of Bell Orchestre and Arcade Fire.
Eastern Conference Champions are a Philadelphia-based Indie band that has been gaining steam through soundtrack appearances, gaining most fame from The Twilight Saga: Eclipse album with the song “A Million Miles an Hour.” They have also gained attention through songs appearing on the small screen in Friday Night Lights and Gossip Girl. The band is touring its second album, Speak-AHH, and playing Bogart’s tonight (Thursday, May 26) with Neon Trees.
CityBeat spoke with founding member Josh Ostrander about their new album and life on the road.
Easton Corbin — on tour with Rascal Flatts and coming to Cincinnati for a show at Riverbend Music Center on Friday — is one of the hottest new acts in all of Country music. Since debuting in 2009 with his self-titled album (which reached as high as No. 4 on the Country album charts) he has been gaining great recognition. His first two singles, “A Little More Country Than That” and “Roll With It,” skyrocketed to the top of the Country charts and he has been nominated for 11 awards in his short career, taking home three of them at the 2010 Academy of Country Music Awards.