I drifted off Thursday night and had my wonderfully fitful sleep punctuated by the strangest dream. Like most dreams, it was disjointed and surreal, but it made an odd sort of sense. It’s never easy to describe these nocturnal apparitions but it was so vivid, I shall give it a try.
Friday, July 13
I was walking downtown. I knew exactly where I needed to go but I didn’t know exactly how to get there. A ridiculously convoluted route got me to the desired entrance, I received my press credentials and a map of a fascinating kingdom which I entered through the back gate, popping up in the midst of a Craft Beer Village, a place I would revisit many times.
Because of family obligations, I had arrived late, and the celebration, which had been dubbed Bunbury, was already in full swing. I headed for what I perceived to be the main concentration of activity and there ran into Brent and his wife Kat, who I frequently cross paths with at these sorts of soirees and who are always a welcome sight and great companions. Almost immediately, I encountered my nephew Jim, who proceeded to buy me a multitude of beers, a welcome refreshment on a steamy afternoon.
We made our way to the Globilli stage to see The Crash Kings, a keyboard/bass/drum trio that made sounds like Led Zeppelin and Black Sabbath with a twist of Styx (when they were a decent Rock band) refracted through an Indie Rock prism. Keyboardist Tony Beliveau was improbably wearing a long sleeve flannel shirt in 90-degree heat, but he said they were from L.A., so he may have legitimately been cold. They played songs from their eponymous debut and a few from their as-yet unreleased new album, there was an epic bass solo at one point, and Beliveau made other worldly sounds with the use of a whammy bar on his rig, which I had never seen before. The Crash Kings were incredible, and they would have kicked 1975 square in the balls.
At the Landor Stage, Ponderosa were cranking out some sweet Indie Rock/Soul from their first album, Moonlight Revival and their new album Pool Party, which ultimately led to a cover of Prince’s “I Would Die 4 U.” Kalen Nash, clad in a much cooler serape and stalking the stage in Hobbit-like bare feet, bemoaned the loss of the Southgate House and said to the crowd, “Let’s bring that back.” We couldn’t have agreed more.
Back at Globilli, O.A.R. were giving a sizable audience a fair dose of heartland Indie Rock and getting an enthusiastic response in turn. The band started in Maryland but rose to prominence as students at Ohio State, and became something of a regional phenomenon. Much like the Dave Matthews Band, O.A.R.’s reputation grew by grassroots methodology and hard work. Marc Roberge acknowledged their local ties and thanked fans for their loyalty with a rousing set. Jim’s pals Andre and Kevin arrived at some point, more beers were acquired and all was well.
I took my leave of Jim and his friends to check out Ra Ra Riot at the Bud Light Stage. I love their studio brand of visceral Chamber Pop/Indie Rock and they most certainly do not disappoint in the live arena as they tore shit up good and proper. Ra Ra Riot make compelling feel-good music but I always feel a touch of melancholy when I listen to them, remembering their courage and loyalty when they remained together as a band in the aftermath of losing their original drummer John Pike, a drowning victim five years ago. Their biggest successes have come in the wake of that tragedy, but they remain in contact with Pike’s family who have in turn remained fully in Ra Ra Riot’s corner. That is truly inspirational, and that depth of feeling is translated into every note that RRR puts out into the universe. The real headline from RRR’s set was Wes Miles’ announcement that Bunbury was “the best run festival we’ve ever played,” high praise from a band that’s attended SXSW, CMJ, Seaport Music Festival and a good many others.
Somewhere between O.A.R. and Ra Ra Riot, I ran into Sean Rhiney (Messerly & Ewing) and Brian Kitzmiller (Black Owls), and was introduced to a flock of people (between them, Sean and Brian know every human in the Tri-State area) whose names are lost in a haze of previous beers but who were constant friendly faces in a sea of humanity over the next three days. I raise a perpetual glass to your continued well being and camaraderie.
It was back to the Globilli stage for The Airborne Toxic Event (named for a phrase in Don DeLillo’s 1985 chemical spill thriller, White Noise), which I’ve found to be one of the better muscular Indie Rock outfits. On the surface, they might seem like one of many innocuous radio-friendly ciphers but they’ve got a fascinating back-story, a fairly intricate sound and impressive songwriting talent. Frontman Mikel Jollett and his TATE cohorts played with a calculated frenzy to a rapturous response, and Jollett even injected a few serious moments into the festival’s spirited atmosphere to plug the Wounded Warrior Project and to offer some bi-partisan criticism (“Don‘t tell us you’re with us if you’re for cutting veterans’ benefits, don’t tell us you’re with us if you’re for raising taxes on returning veterans...”). A show with a message and a blazing soundtrack … not too shabby.
Then it was back to Landor for the most anticipated show of the night, and quite possibly the best show of the festival; the triumphant return of Cincy's Foxy Shazam. Eric Nally was in rare form, in both gymnastic stage behavior, microphone stand ballet and crowd interaction. A sampling of his repartee: (facing GABP) “Hey Votto, if you can hear me, hit the motherfucker out of the park..."; “I did an interview and when I read the story, the writer said we were unique, and I said, ‘Yeah, we‘re unique, just like everybody else..."; “Spill a little wine over here, spill a little wine over there, eventually everything’s red, spill a little blood over here, spill a little blood over there, eventually everything’s dead.”
During “Unstoppable,” someone winged a bottle of Gatorade at Nally, who flung it straight back and took issue by singing “Whoever threw that Gatorade is going to pay” at the close of the song. He then chastised the offender, saying, “Don’t make me explain to my kids why I have a bottle of Gatorade stuck up my ass,” and noting that he would let security allow the thrower backstage if he wanted to fight. Classic Nally.
Later, Schuyler White danced on his keyboard then tossed it onto the front row of the audience and dove into the crowd, playing while the audience held him in place. Classic Foxy. The crowd went batshit crazy when Foxy launched into “I Like It” from their latest and best album, The Church of Rock and Roll. At the breathless conclusion of Foxy’s set, the bar was officially set for the next two days.
With a fairly elaborate stage set complete with women on trapezes and giant video monitors displaying some sort of acid freak-out movie from the ’60s, Jane’s Addiction clearly trumped Foxy in terms of spectacle but fell short in terms of raw energy. Dave Navarro peeled off plenty of scorching riffery, his patented classic combination of ’80s Hard Rock and ’90s AltRock with his guitar set to stun, Stephen Perkins bashed his kit like a man possessed and new bassist Chris Chaney supplied a thunderous heartbeat, while Perry Farrell stalked the Globilli Stage like an earthbound raptor, howling his way through a set comprised of songs from their latest album, last year’s The Great Escape Artist, and heavy on the classics from their other three discs.
The show couldn’t be characterized as lackluster or phoned in, as it was a feast for the senses; plenty of engaging trappings and a propulsive soundtrack that tapped into memories of a visceral and compelling band on the edge of the alternative frontier two and a half decades ago. It was all incredibly entertaining, but it was a far cry from the scalp-tingling urgency of JA’s hungrier days, which is why this tour was designed with so much visual overload; few if any bands are able to recreate their earliest chemistry 25 years after the fact. My favorite JA memory will always be their opening set for Iggy Pop in 1988; seeing Jane’s at Bogart‘s that night was the aural equivalent of licking an electric outlet. I was certainly not disappointed with what transpired during JA’s Bunbury set, but neither was I spellbound by it. And Farrell’s humorously profane diatribe (“Let the pussies hear you!”) linking Pete Rose’s absence in the Baseball Hall of Fame to Jane’s Addiction’s lack of nominations two years after their eligibility was a bit awkward; he seemed to think steroids were somehow involved in Rose’s case, and as far as JA is concerned, well, four albums over a quarter century span, regardless of the influence of the first two, does not a Hall of Fame career comprise. I was glad to have experienced Jane‘s Addiction in the 21st century and I like the bombast they’ve created to present their old and new material but, as Blue Oyster Cult once noted, this ain’t the summer of love.
At some point during the JA set, I spied my most excellent zen editor Mike Breen, so I sidled over for some quick face time (being freelance I don‘t get into the office as much as I probably should), and he seemed to be digging the show greatly. I look forward to his thoughts on it because I greatly respect his musical opinions in a completely non-ass nuzzling way. (Editor's Note: You're hired! Fireworks rock! And "Free Pete Rose"!)
And Jim’s wife, my niece Robin, came late to the festival but somehow spotted me in the twilight and gave me a nudge in the back. Even though she is only five years my junior, I have been married to her aunt for almost three decades, and so I am and will forever be Uncle Brian, which is both touching and charming. A good number of the nieces and nephews I inherited when I started dating my wife have kids of their own now. Time and the generations march on.
I left Mike to his JA reverie when I spotted revered music connoisseur and branding legend Matthew Fenton (once an occasional CityBeat music contributor), who came down from his lair in Chicago to experience Bunbury’s inaugural year. I had e-mailed him to ask if he and his most excellent girlfriend Kelly would be in attendance, but never heard back. Turns out he’d quit his job after last year’s MidPoint and has taken up the study of improv comedy at Second City, a program from which he will graduate next month. I am both astonished and completely unsurprised because Matthew is a genius that makes geniuses insecure. Matthew assured me that Kelly would be around for Saturday’s festivities and introduced me to his older brother John, an equally princely guy by all indications.
Now we have a festival.
Saturday, July 14
I made my way back to the media entrance, this time being tended by old friend Jacob Heintz (Buckra) and the lovely and talented Sara Beiting (a former CityBeat all-star). The cloud cover was heavier, and it had already rained relatively hard north of the city but it didn’t seem to have impacted the downtown area too badly. I grabbed a beer and made my way through the throng … or did I make my way through the throng and grab a beer? The skies were not the only things that were partly cloudy.
At the Globilli stage, I was just in time for the start of Alberta Cross, a British duo now getting their mail in Brooklyn and fleshing out their live sound with a full fledged band. They sported an expansive vibe that had an appealing Verve quality, or Oasis without the contentious brothers problem screwing everything up.
I started out the second day of the Forecastle festival in Louisville by getting caught in the rain and being picked up like a hitchhiker by the Everest band van on the way to setup for their set on the main Mast Stage of the festival. The band agreed to let me hang for “A Day in the Life” photo series as they prepped to play the 10th Anniversary of Forecastle. They were laid back as the rain moved in and gear was unplugged and wrapped in saran wrap.
Everest has been on the road promoting their third album Ownerless. On Ownerless, you can hear a refined sound in which the band speaks about powerful issues as they took their time to record and find their true voice, writing from the heart and soul. The band consists of members Russell Pollard (vocals/guitar/drums), Joel Graves (guitar/keys/vocals), Jason Soda (guitar/keys/vocals), Eli Thomson (bass/vocals) and new addition Kyle Crane (drums).
Everest are rising stars in the alternative music scene and have toured with My Morning Jacket and they will be heading back on the road with Neil Young this fall.
It turned out to not be such a typical “day in the life” as the show was held back because of lightning in the area but the band unloaded and prepared to play even as heavy rain descended on the festival. The festival opened an hour late due to rain delays but they did make time for all the planned acts to perform (albeit with shorter set lists).
Everest played loud and rocked the crowd as it gathered to hear this band singing my favorite track on the new album as the opening song “Rapture.” Founding member Pollard’s raspy vocals were captivating and I instantly became a fan of this band as they sang older tunes and new record songs like “Into the Grey.” The Watson Twins joined the band for a few songs on backing vocals to round out their set.
Overall it was a great day to play music in Louisville as fans gathered to celebrate 10 years of the fest, which self-defines itself as being all about "music, art and activism." The Preservation Hall Jazz Band took the main stage by storm and had fans dancing in the grass; special guests onstage including Jim James and Andrew Bird playing classic tunes with the legendary jazz musicians from New Orleans. James' band (and hometown heroes) My Morning Jacket played over two hours to close out the night while Girl Talk played on the second stage and had a festival rave in full action on the banks of the Ohio river.
I hate festivals. I hate that they’re always at the peak of a heat wave or in the middle of a tornado warning. I hate that 90 percent of festival goers don’t understand the concept of deodorant. I hate the rushing around to multiple stages and the trying to decide who you like best when two awesome bands are both playing at 6 p.m I hate that my friends hate festivals, too, and always refuse to go with me. And I really hate the lack of cold beverages.
And yet Saturday afternoon found me in the middle of the crowd at Bunbury falling hopelessly in love with some band called “Imagine Dragons.”
It began during the second song I heard after arriving late to the Bud Light Stage. The lead singer, Dan Reynolds, bounced from one end of the stage to the other. The crowd around me sang along to songs I’d only heard once before, throwing their hands above their heads, voices to the sky and adoration at the stage. They practically worshiped a guy I’d only seen once in a small picture on Wikipedia. My love deepened when Reynolds spoke with absolute sincerity about how much it meant to see so many people singing along to their songs. Imagine Dragons hadn’t even performed in Cincinnati until their stop at Bunbury.
Then, as it often does, my heart melted at the sound of motorcycle boots and a palm on the chest as they thumped out a beat. Finally, my mug o’ love filled with melt-y heart goo, overflowed when the drummer, Daniel Platzman, flung himself off the stage after their set and bequeathed drumsticks to his adoring fans. These guys were perfect. Their music was made for screaming and dancing and the band members seemed so genuine.Nothing gets to me faster than a shaggy-haired dude saying a heartfelt “thank you” to his fans.
Thirty minutes into my time at Bunbury and I was madly in love.
It happens all the time, my falling in love at festivals In 1998, it was Hanson at a radio station festival in Miami. In 2001, it was a boy named Justin at the Buzz Bake Sale. Last year, it was The David Mayfield Parade at Appalachian Uprising and Avett Brothers at Memphis in May. This year I fell in love with Ben Howard at Bonnaroo and Imagine Dragons at Bunbury.
That feeling you get when you realize you’ve happened upon something amazing is pretty rare. Festivals, though, are like breeding grounds for that sensation. I’m certain that while music fans think festivals exist so they can see all their favorite bands at once, their organizers think festivals exist only for the purpose of making people gain new favorite bands.
Study any festival schedule and you’ll see what I mean. At some point during the day there will be about an hour of time where there will be three bands playing and you won’t have heard of any of them. You’ll call that, “dinner time.” However, as you wander along, looking for the perfect supper, you’ll also shuffle past three stages of random music. Almost inevitably the sound from of those stages will catch your attention and pull you across the grass to the barricade. Forty-five minutes later, you’re buying the band’s EP and mass texting your friends to tell them to check out this new band you just heard.
On Saturday I saw, among others, Manchester Orchestra, Gaslight Anthem and Weezer. (Weezer!) They were awesome, just as I’d expected. I flew from stage to stage, trying to catch as much of everything as possible. But the show that held my attention for the longest time was on the smaller stage and it lured me in while I was looking around for something to drink other than beer. The performance I’ll remember years from now won’t be Weezer, whom I’ve waited so long to see. It will be Imagine Dragons and it will be a memory of yet another time I fell in love.
In the words of James Hetfield (Metallica, y’all), “Nothing else matters.”
However, I’m supposed to report on the entire festival. So, here’s how the rest of my evening went something like this: I had Taco Azul for dinner and they were yummy beyond belief. I left for a bit to make my first ever walk across the Purple People Bridge to score photos of the fest from afar and I don’t regret that decision.
I spent a very long time wandering from one end of the park to the other in search of cold soda/pop, found none and I spent a hot second hoping that my poor editor thought to bring his Diet Pepsi from home. So, I bought a warm beer and immediately regretted that decision. I refused to use the porta-potties. I wandered by a DJed stage and considered how much better that section would be if it were more like Bonnaroo’s Silent Disco where everyone listened to music through headphones instead. Also, I briefly questioned the logic of scheduling the festival on the same weekend as a Reds game and the World Choir Games.
It was an awesome day. Fell in love, lost five pounds from sweating so much, and saw (here it comes, again) Weezer! And you know what else? I still don’t smell like a hobo.
Archer’s paradox, according to Wikipedia, is the phenomenon whereby "in order to strike the center of the target with an arrow, the arrow must be pointed slightly to the side of the target."
Archer’s Paradox, the band, according to the two members I spoke with on a hot Thursday — much the same.
“It started about a year ago. I disbanded from a band I was in earlier (with Mia Carruthers, of MTV’s Taking the Stage fame) and Stefan Wright (drummer) and I started making songs in my room by myself,” says project founder, Seth Huff, “and then Cam (Nawaz, synth and backup vocals) started coming over out of nowhere, and we started hanging out and he was like, ‘Hey, those songs are pretty good’, and here we are, a year later, with four other people, having fun.”
Originally conceived as a two-piece consisting of Huff and Nawaz performing live with recorded backing tracks, the duo realized that direction would be “the most boring thing in the world,” says Nawaz, “so we quickly moved past that. And we realized that we have numerous friends who are really good at playing instruments.”
The band was fleshed out with Wright on drums, guitarist Alex Solin, and bassist Mark Wilson.
Working with a five-song EP recorded solely on Huff’s MacBook Pro, Archer’s Paradox has a distinctly DIY vibe. Very calculated in their approach to publicity and performing, Archer’s Paradox only performed its first show this year at Rohs Street Café during the sixth The Heights Music Festival in Clifton.
“We’re all about the DIY thing. That’s kind of like our religion. If we had to pick a religion, it would be DIY,” says Huff, who writes all of Archer’s Paradox material.
More shows followed, and in “a stroke of luck”, as Nawaz says, Archer’s Paradox earned a slot at the inaugural Bunbury Music Festival, held at Sawyer Point today through Sunday. Nawaz details how, while informing friends via text of their latest project and upcoming show, Wright happened to text Ian Bolender, a former bandmate from another band (Ellison), who happened to be an employee of Nederlander Entertainment, which happened to be the company booking Bunbury Music Festival. Bolender responded within 15 minutes with the offer of having Archer’s Paradox play Bunbury.
“We make our own luck,” clarifies Nawaz. “We use every outlet of who we know and every resource to our absolute maximum potential.”
Huff agrees, relaying how other shows have fallen into place just as harmoniously. I point out that maybe instead of finding "luck," Archer’s Paradox has serendipity on their side.
“THAT’S our religion,” Huff jumps in, eagerly. “I take back that thing I said before.” We note the fact that the letters “DIY” are also in ‘serendipity’, and thusly, the band’s definition is fully confirmed.
“Work smart, not hard,” Huff continues. “Observing the way other bands do it, you can learn a lot and make a game plan from that. If you have decent music, you have a really good shot if you learn to use the machine that is the Internet.”
“We knew we didn’t want to take the ‘let’s get signed right away, let’s get distributed’ path before playing anything,” Nawaz chimes in, referencing internet-phenom bands without much substance to back up their product.
“You have to gain the respect of fans and then they’ll actually want to pay for the music,” says Huff.
At this year’s Bunbury Music Festival, Archer’s Paradox will have their biggest chance yet to do just that.
Archer’s Paradox opens up the Landor Stage at Bunbury on Sunday at noon. Listen to them here and check out this clip for the group's song "Patience."
What to Bring (Allowed Items)
- Sun Gear (e.g., sunglasses, sunscreen, etc.)
- Seating (e.g., folding chair*, blanket, etc.)
- Bug Repellent (no Deet)
- Rain Gear (ponchos are best, but small hand-held umbrellas are OK)
- Baby strollers
- Empty water bottled (no glass) or Cambelbak
- Wall mounted rapid charger (charging stations provide iPhone and mini-USB chords, but if you have your own chord, you won't have to wait)* Sand chair with seat no more than 9" off the ground.
What NOT to Bring (Prohibited Items)
- Weapons, fireworks or explosives of any kind
- Illegal substances (including narcotics) or drug paraphernalia
- Framed or large backpacks
- Glass containers of any kind or coolers
- Food, beverages or Cambelbaks that are full
- Carts, bicycles, skateboards, scooters, or personal motorized vehicles (including Segways)
- There is bike/scooter parking outside the event site
Tents, large umbrellas or chairs that are NOT sand chairs (seat more than 9" off the ground) Pets (except service dogs) Any audio recording, professional camera or video equipment Moshing, crowd surfing, and/or stage diving Vending without a Bunbury license or permit Bills over $20.00. We won't accept them at the beverage booths.All subject to change. Festival organizers reserve the right to prohibit any item that isn't listed.
Keeping hydrated by drinking plenty of water throughout the day. Cincinnati in July can be hot. It’s quite a distance from one end of the park to the other. Considering all the walking, dancing, etc., you’ll need to make this a priority. Take advantage of the water stations. (NOTE: As mentioned above, don't bring water, but you can bring an empty container to fill throughout the weekend.)
We love kids. LOVE THEM! (NOTE: Kids 10 and under admitted free with a paid adult.) There are; however, some tips for those families who plan on coming to Bunbury:
- Re-read the the first part of this page. Sunscreen, staying hydrated, etc. is even more important for kids.
- A stroller or small wagon is permitted. The park is large, kids will get tired and you don’t want to carry them.
- Head phones or ear plugs for ear protection.
- A first aid kit; Band-Aids and Neosporin always come in handy.
- Baby wipes are awesome. Even if you don’t have a kid they can be great to have!
- Feeding your baby formula? Please use plastic bottles with disposable liner bags.
The inaugural Bunbury Music Festival — three days of top-shelf Alternative music at Cincinnati's riverfront Sawyer Point Park — is TOMORROW! All this week, CityBeat's music blog has featured samples from some of our "sleeper picks" for the fest, artists who some may not be as familiar with as they are Weezer or Death Cab for Cutie or Jane's Addiction.
Our next "sleeper" is Now, Now, performing Sunday at 3 p.m. on the Bud Light Stage.
Cacie Dalager and Bradley Hale, paired up as songwriters since 2003 when both were in high school marching band, officially started as a duo with the unwieldy handle Now, Now Every Children; their 2008 debut full length Cars was an indie sensation.
That success ultimately resulted in a moniker makeover to the sensibly edited Now, Now and the addition of second guitarist Jess Abbott, which broadened the band’s sound on its 2010 EP, Neighbors. Sporting an energetic Indie Pop vibe that could pass for Kathleen Edwards channeling Motion City Soundtrack, Now, Now teamed with veteran producer Howard Redekopp for its just-released sophomore full length Threads, an expansive album that throbs with an aggressive Ambience.
Here's "Thread" from Threads.
Though there is a lot of it, this weekend's three-day Bunbury Music Festival isn't just dudes with guitars playing Alternative Rock music. You'll also find Folk, AltCountry, Post Punk, Blues, Pop and, if you're a fan of DJs and Electronic music, besides acts like RJD2 and Lights, there's a whole stage set up for you.
Self Diploma, the crowd-brining-and-moving local promoters behind the successful Beats Summer Music Series (which has packed Fountain Square every Saturday this summer with a mix of DJs, Electronic and Hip Hop artists), has booked Bunbury's DJ stage and assembled a great mix of local artists with a few marquee headliners.
The DJ/Electronica bookings will perform on the Red Bull Stage, which is the westernmost stage at Sawyer Point, right before the bridge underpass that separates the park from Yeatman's Cove (and next to the "Craft Beer Village"). Here is the full lineup and a little sampling from each day's headliner.
Ice Cold Tony (Noon); CJ the DJ (1:30 p.m.); Alex Peace (3 p.m.); DJ AMF (4:30 p.m.); Mixin Marc (6 p.m.); The Alchemist (7:45 p.m.)
The Alchemist has been an important player on the Hip Hop scene for the past two decades, from his early years learning under mentor DJ Muggs and producing Dilated Peoples and Mobb Deep, through his run in the ’00s producing some of the biggest names in Hip Hop (Ghostface, Snoop Dogg, Nas) through his acclaimed solo albums and DJing gig with Eminem. Al's latest project is the long-awaited Russian Roulette album, which features guest MCs like Evidence, Action Bronson, Schoolboy Q and Danny Brown and has drawn positive reviews for its progressiveness (and trippiness).
The album is due July 17. Here's a track with Big Twinz from the album.
Davey C (Noon); DJ Etrayn (1:30 p.m.); Big Once (3 p.m.); DJ Ivy (4:30 p.m.); DJ Spider (6 p.m.); DJ Irie (8 p.m.)
When you’re dubbed the top DJ in the club-rich scene of Miami, it’s safe to say you’re also one of the best in the country. Miami Herald gave DJ Irie that distinction for his work not only as host of the No. 1 mix-show on Miami’s 99 JAMZ, but also for his crowd-pleasing, fully-energized club sets across the globe. Irie is often lauded for his ability to read a crowd and incorporate a variety of styles for any occasion. Irie could be the dictionary definition of a superstar DJ, having performed everywhere from Robert Downey Jr.’s crib to Miami Heat home games, where he’s the team’s house DJ.
Here's Irie doing a halftime showcase at a Heat game.
DJ Prism (12:45 p.m.); DJ K-Dogg (2:15 p.m.); DJ D-LO (3:45 p.m.); Mr. Best (5:15 p.m.); Mick Boogie (6:45 p.m.)
Mick Boogie is one of the more popular on-call party/club DJs in the U.S., scoring gigs literally all over the planet at some of the top clubs in the world. He's done a lot of popular remixes and commercial work for campaigns by Adidas and Bing, so chances are you've heard him even if you don't recognize his name instantly.
In honor of Adam Yauch's induction into the Rock and Roll Hall of Fame and subsequent passing earlier this year, Boogie put together a great Beastie Boys mixtape titled Grand Royal (after the group's boutique not-just-music label). Below is a sample (or you can download the whole thing here).
Tickets and full info on the Bunbury Music Festival can be found here.
UPDATE: It appears there has been some shifting around on the Red Bull Stage. DJ Irie is now spinning Sunday at 5:15 p.m.; DJ Spider has his slot Saturday at Bunbury and the afterparty. Be sure to click here for the latest scheduling updates. And click here for afterparty details featuring several of the DJs from the fest.
The inaugural Bunbury Music Festival — three days of top-shelf Alternative music at Cincinnati's riverfront Sawyer Point Park — starts TOMORROW! All this week, CityBeat's music blog has been featuring samples from some of our "sleeper picks" for the fest, artists who some may not be as familiar with as they are Weezer or Death Cab for Cutie or Jane's Addiction.
Our next "sleeper" is singer/songwriter (and frequent Cncy visitor) Tristen, performing Friday at 2:15 p.m. on the Bud Light Stage.
MidPoint Music Festival veteran Tristen returns to Cincinnati to play the first ever Bunbury Music Festival. From Chicago, Tristen moved to Nashville soon after college to join the Indie Folk music scene. Her debut album, Charlatans at the Garden Gate, was released in 2011.
Tristen is backed by The Ringers, who add an edge to her Folk Pop music. Tristen is very thoughtful in her approach to Pop music. She has studied what makes a good “hook” and this is reflected in songs such as “Baby Drugs” and “Eager for Your Love.” With lyrics that delve into the complexities of love, it’s clear that Tristen is an introspective soul as well as a fantastic songwriter and performer.
Here's Tristen's music video for "Baby Drugs."
The newly remodeled, freshly reopened Washington Park in Over-the-Rhine is shaping up to be one of the hottest music venues in the city. Last evening, the every-Wednesday "Bandstand Bluegrass" series kicked off with Jake Speed and the Freddies; tonight is the debut of the park's every-Thursday "Jazz in the Park" series (7 p.m., with Chris Comer and Napoleon Maddox of IsWhat?!); and tomorrow marks the debut of the R&B/Soul "Friday Flow" concerts, which will take place each Friday and begin with an appearance by fantastic Neo Soul singer Dwele (Selectas Choice DJs Rare Groove, Apryl Reign and DJ Pillo, as well as Under New Orders and Darris Sneed & The Pulse also perform at the 7 p.m. event).
And today it was announced that three of the biggest acts announced for September's MidPoint Music Festival will perform at Washington Park's new MPMF stage. A total of four acts will perform each night at the Park stage. The Washington Park shows will be accessible to those with MPMF All Music Access Passes or VIP Passes, or with "a la carte" individual tickets, which are on sale now.
Andrew Bird headlines the Washington Park stage on Thursday, Sept. 27. Tickets for that show only are $25. Grizzly Bear is the main MPMF act on the stage for Friday, Sept. 28 (single tickets: $30) and Sleigh Bells headlines the stage Saturday, Sept. 29 ($30). Click here for your ticketing options. Early Bird All Music Access and Loyalty Presale tickets are sold out. A limited number of All Music Access Passes ($69) and VIP Passes presented by CVG ($169) are still available.