Much has changed for the legendary Cincinnati live music venue the Blue Wisp Jazz Club over its 40-plus-year existence. Though it has consistently been the club for Jazz in Cincinnati over most of that period, the Blue Wisp has moved four different times over four decades. In its most recent locale at the corner of Race and Seventh streets downtown, the club owners also tried to attract more business by serving food and varying the types of music performed. But it wasn’t enough and the Blue Wisp has once again closed its doors (though various reports suggest it could find yet another new location in the future).
One thing that hadn’t changed at the Blue Wisp, at least since it began in 1980, is the Blue Wisp Big Band. The group of all-star local musicians has maintained one of the longest residency in the region, performing its skilled take on vintage Big Band Jazz like clockwork every Wednesday. The band is a Cincinnati institution.
When the Wisp shut down, the members of the Big Band were determined to not let their remarkable run end with a whimper. Instead, the Blue Wisp Big Band sought to continue its every-Wednesday residency at another venue. (In case you’re wondering, the group owns its moniker, so they can legally continue to use the “Blue Wisp” name.)
Veteran local Jazz pianist and Blue Wisp Big Band founding member Steve Schmidt says they’ve landed their new spot, Japp’s Annex on Main St. in Over-the-Rhine, and will pick up its Wednesday night shows beginning this week. Schmidt says the group will perform every Wednesday at Japp’s, at least through the end of July, when they’ll reassess the situation just to make sure it’s a good fit. The Big Band will again be playing two hour-long sets each Wednesday, the first starting at 8:30 p.m. The cover charge will be less than it was at the Wisp — just $5. (Parking is available in the lot on the corner of Main and Central Parkway, as well as in the garage behind the club on Sycamore.)
“We are excited about trying out this (Over-the-Rhine) spot and happy that the ownership and staff at Japp's is excited, too,” Schmidt says. “We are all thinking of ways to make it better for the customer and the band as we go along. The band wanted to start quickly, not to be dormant for too long.”
Several of the principal members of the Blue Wisp Big Band did a walkthrough several days ago to get a feel for the new space and were happy with what they saw (and felt).
“I got a very good feeling about the room,” Schmidt says, “both in terms of space — spacious yet intimate — and acoustics. I think the other guys felt the same way. (Founding BWBB anchor/drummer) John Von Ohlen rightly pointed out that there is a lot of wood — the floors and the large bar. As John said, in the fullest and most complimentary sense of the word, ‘It's a joint!’ It's what he had in mind when he formed the band and put it in the original Blue Wisp in O'Bryonville. He said he wanted a world-class big band in a beer tavern.”
“In a word,” Schmidt adds, “(the new space) has soul.”
This morning’s activities were as hectic as a hurricane as I jumped from one interview to the next in the Bonnaroo press compound.
Things started off nice and easy when I rendezvoused with a friend of a friend who is Lionel Richie’s stage manager. An industry veteran of many years, Sal Marinello has worked for Barbra Streisand, Metallica, Neil Diamond, Britney Spears and many more. Large festival stages like Bonnaroo are equipped with lights and sound, so Marinello’s workload and schedule today are not as demanding as a typical day on the road. Marinello and his crew arrived in the wee hours this morning with one truck instead of the usual seven. Main stage headliner Jack White’s line check completed and his gear rolled to the side of the stage by 8 a.m., Sal and his staff had Lionel’s gear in place onstage for their line check less than an hour later. (The rest of the day’s main stage performers will set up and perform in front of Lionel’s gear.)
The noon hour brought a flurry of activity that had my head spinning pretty much for the rest of the day. Nashville’s Wild Feathers returned on the red eye from St. Louis to do a three-song acoustic performance in the press tent that found the band looking ragged but sounding great as ever. Their material is strong, their performance was spirited, and their three-part whiskey tenor harmonies were crystal clear as ever. But they sure did look tired. Scheduled to play at noon, they were running late and had to jump right on the stage and burst into song immediately upon their 12:30 p.m. arrival.
Chatting with Ben Kaufman, Adam Aijala and Dave Johnston from Yonder Mountain String Band, I found the trio cautiously optimistic about moving forward after the recent departure of mandolin player and founding member Jeff Austin. Not that I expected them to be in a full-blown panic, but it was impressive to hear the calm in their voices as they discussed their future options with no apparent concern about securing a permanent replacement for Austin. Bluegrass legend Sam Bush joined Yonder for their 2:30 p.m. set on the main stage today. For their summer tour they’ll be joined by Jake Joliff on mandolin and Ally Kral on violin. (Yonder Mountain String Band plays Moonlight Gardens at Coney Island on the Fourth of July.)
The Flaming Lips brought a whole new freak rock spectacle to Bonnaroo this year and frontman Wayne Coyne was bouncing around the press tent talking to reporters for a couple hours yesterday. Spirits high and eyes aglow, Wayne happily made the rounds. The man loves to talk and this writer spent a dizzying 10 minutes with Coyne, discussing their brilliant new record The Terror. The band’s 12:30 a.m. set on the Which Stage was an explosive spectacle of lights, confetti, balloons, and dancers in costume, with the fiendish ring leader Wayne in the middle of it all looking like an evil super villain dressed in red tights with a shiny silver codpiece. (The band is one of the headliners of Cincinnati's Bunbury Music Festival this year.)
It’s not the first time I’ve seen Coyne dominate a press conference here; yesterday he spoke excitedly about The Flaming Lips’ desire to always bring something special to the Bonnaroo stage.
“If you’ve been here for three days and you’ve already seen 50 bands,” he said, “you wanna see something different. So that’s why (in 2007) we decided to land a spaceship here.”
Cool as a cucumber in spite of the summer heat penetrating the crowded tent during an early afternoon press conference, Derek Trucks fielded a question about the size of the Tedeschi-Trucks band. “An 11-piece band is a lot like herding cats.” Then he quietly mumbled the unintentionally Zen aside: “But it’s better than 30.”
Still buzzing from my conversation with Wayne, I scampered out into the crowd to catch Southern rockers Blackberry Smoke on the Which Stage. This was one of my personal Top 3 must-see bands of the weekend. It was gratifying to see the young Bonnaroo audience embrace a band that has more in common with their grandparents’ record collection than what many probably have on their current iPod playlist. I stopped to say hello to Blackberry Smoke singer and guitarist Charlie Starr after a 4 p.m. press conference and we discussed some of our favorite early Blues singers. I feel confident that he and I were probably among the very few here at Bonnaroo chatting about Ishman Bracey.
From there the day just got crazier, as the Saturday schedule was packed with stellar artists, including Valerie June, Drive-By Truckers, Phosphorescent, Lauryn Hill and Seasick Steve who boasted none other than Led Zeppelin’s John Paul Jones on bass. Walking through the crowd I heard Cake play a spot-on cover of Sabbath’s “War Pigs,” with the guitar solo section cleverly transcribed for the horn section.
After a late afternoon breather back at the campsite, I wandered through Bonnaroo’s famous archway entrance to catch some of Lionel Richie’s set. My timing was perfect. As soon as I walked through the gate he launched into the Commodores’ “Brick House,” a Bonnaroo performance I’d been looking forward to for months. Again I found it gratifying to see the young audience dialed into Richie’s performance as he pulled out one classic song after another. You can imagine how his ’80s gem “All Night Long” had the dancers moving. This was a moment of such heartwarming cross-generational bonding that it gave me goosebumps in the humid Tennessee night.
Last night’s main stage headliner Jack White nearly tore the stage in half, bringing an explosive thunder and fury that’s largely missing from Rock & Roll these days. One of the most highly-anticipated sets of the weekend, Jack and his crack band did not disappoint. A frantic and fiery performer onstage, he was straightfaced and serious, as if in character, throughout a bombastic set that stretched well over two hours. White has called Nashville home for several years now and he brought noise to these Tennessee hills last night like no one ever has before. An all-out stunner from the first song all the way through to the last note of several encores, this was unquestionably one of the most memorable performances in Bonnaroo’s 13-year history.
And believe it or not there is still more to come. Today is the fourth and final day of Bonnaroo 2014. Photographer Chuck Madden and I must bear in mind that it’s a marathon, not a sprint, as we endeavor to take in performances today by Lucero, Lake Street Dive, Okkervil River, Carolina Chocolate Drops, Arctic Monkeys, Broken Bells, Washed Out, Yonder Mountain String Band, The Avett Brothers and more. The legendary Elton John will close out the fest tonight.
Thanks to CityBeat for making this all possible! Chuck and I would like to extend a special thank you to CityBeat photographer Jesse Fox who was a big help to us this weekend.
Only 361 days ‘til Bonnaroo 2015!
The blazing two-guitar Indie Prog of White Denim’s midnight set on Bonnaroo’s That Tent stage absolutely floored Chuck and me last night. Those familiar with White Denim’s fabulous 2013 release Corsicana Lemonade might find it hard to believe that the band sounded even better on stage than on record. Drummer Joshua Block repeatedly whipped the crowd into a howling frenzy throughout a 60-minute performance that found the band shooting a virtual shower of sparks that led Chuck to conclude, “We won’t hear anything else that good all weekend.”
Rarely have I seen a band who had the crowd eating out of their hand like White Denim did last night. This performance was an all-timer for me, one of the most exhilarating experiences I have ever had watching a band on stage. (You can catch them for free Sunday at Southgate House Revival; read CityBeat’s interview with the group here.)
Blessed relief fell upon us in the form of an unexpectedly quiet first night in the Bonnaroo campground. My Friday began with an illuminating 30-minute chat with Jake, Joel and Chris from Umphrey’s McGee. I told them I was from CityBeat and before I could even turn on my recorder they began to rave about Cincy’s late, great Ray’s Music Exchange, citing them as one of their biggest influences in Umphrey’s early days.
“Those guys were so bad ass and adventurous,” said guitarist Jake Cinninger, “It made us braver and made us feel like ‘Hey, maybe we can do this, too!’”
Sometimes described as Phish’s evil twin, or rabid little brother, Umphrey’s is much more than this. Performing a different setlist every night, indulging in wild flights of improvisation, often not repeating songs for many days, Umphrey’s musicianship and sense of adventure onstage is peerless and unparalleled. Bonnaroo veterans since the festival’s first year, 2014 marks Umphrey’s first appearance on the main stage. This week the band launched their own Nothing Too Fancy record label with the release of their new Similar Skin album. Touring through the summer and on into the fall, Umphrey’s makes a stop at Kettering, Ohio’s Fraze Pavilion on June 28.
Backstage press conferences today featured comedians Hannibal Buress and Taran Killam. Both held court in the press area for over an hour, good-naturedly conducting spontaneous interviews and posing for photos. I caught a glimpse of rapper Danny Brown, dressed head to toe in black leather and sporting a Guns ’N Roses T-shirt and dark sunglasses, chatting with a female reporter in the press tent. Just a few yards away, the members of J. Roddy Walston and the Business were laughing and carrying on with members of the assembled press like it was a family picnic. Just a few hours later Walston and Co. restored my faith in Rock & Roll with a blistering set on the Sonic Stage that found Walston himself repeatedly jumping up from his seat at the piano and into the arms of the adoring crowd. At one point he leapt onto the shoulders of an unsuspecting photographer in the photo pit before climbing once again over the barricade to crowd surf.
This writer spotted Wayne Coyne of The Flaming Lips walking through the crowd on Friday afternoon — but it was Toby from Dr. Dog, who I shamelessly ran after to get his autograph for my girlfriend back home. The first serious mob scene of the weekend gathered in front of Which Stage for Dr. Dog’s 2:30 p.m. performance. Unquestionably one of the most talented and promising bands of the past decade, their set was heavy on tracks from their stellar 2013 release, B-Room.
Our Friday was another typically schizophrenic zig zag around the festival grounds as Chuck and I took in sets by Neutral Milk Hotel, St. Paul and the Broken Bones, Andrew Bird and the Prog Metal thunder of Animals As Leaders. There seemed to be a lot of excitement and anticipation in the air for Kanye West’s headlining set on the main stage. But, at the same time, the most frequently spotted T-shirt at Bonnaroo yesterday said, “FUCK YOU KANYE”. I heard someone in the crowd say, “If Kanye’s such a genius, he should sell those shirts himself.”
Since being released nationally in early May, Cincinnati rockers Wussy’s amazing latest album Attica! has been scoring an insane amount of neon-glowing reviews from many high profile outlets. Pitchfork, Pop Matters and Spin, among many others, have all given the album high praise (Spin also recently named it one of the Top 50 album releases of the year so far, alongside long-players by Beck, Pharrell and The Afghan Whigs). The band’s new record was also the inspiration for a remarkable essay by Charles Taylor for The Los Angeles Review of Books.
Give a listen to the new album below, then hit “buy” to grab your own copy:
Wussy is playing its only local show until at least this fall tonight, as the group keeps busy on the road throughout the summer, crisscrossing the country in support of Attica! The band’s upward trajectory that has been kickstarted by the new album shows no signs of slowing down anytime soon.
Check out CityBeat's recent interview with Wussy here.
Wussy joins The Tigerlilies, Honey & Houston and students from the School of Rock Mason (check the clips below for samples of each) for a free show tonight on Fountain Square as part of the MidPoint Indie Summer series (grab your MidPoint Music Festival passes in person at the MPMF booth or sign up for a chance to win some). The show starts at 7 p.m.
Cincinnati’s King Records and its various subsidiary labels have been widely celebrated for its vital contribution to the development of popular music in the 20th Century. The legendary label’s groundbreaking, integrated roster of Roots, Bluegrass, R&B and Funk artists gave the world recordings that were integral to the development of Rock & Roll, Pop, Country and, though perhaps less obvious to some, Hip Hop.
Musical icon James Brown was King’s most well-known artist and without Brown’s Funk genius, it’s likely that Hip Hop wouldn’t sound the same today. Brown’s work is some of the most widely sampled in Hip Hop and one song in particular provided the backbeats for innumerable Rap songs over the years. That song, “Funky Drummer,” was recorded at King’s studios 45 years ago in Cincinnati’s Evanston neighborhood.
Samples of Clyde Stubblefield’s drum break on “Funky Drummer” have powered classic Hip Hop tracks by the likes of N.W.A. (“Fuck the Police”), Boogie Down Productions (“South Bronx”), Public Enemy (“Bring the Noise,” “Fight the Power”), LL Cool J (“Mama Said Knock You Out”), De La Soul (“The Magic Number”), Ice-T (“O.G. Original Gangster”), Dr. Dre (“Let Me Ride”) and countless others. That break’s influence has never waned, as Nicki Minaj, Lupe Fiasco, Mos Def and many more producers and artists continue to find inspiration from the funkiest of funky beats. (And its influence extends beyond Hip Hop, having been featured on The Stone Roses’ classic “Fool’s Gold,” and tracks by everyone from Sinead O’Connor and George Michael to Aphex Twin and Korn.)
Tomorrow (June 7), some ’80s/’90s Hip Hop greats will honor the 45th anniversary of Stubblefield’s recording of that beat with an outdoor concert/block party near the site where it was recorded (in the 1500 block of Brewster Ave. in Evanston). The Cincinnati USA Music Heritage Foundation, along with Eastwood Entertainment, Lando Chapman, City of Cincinnati and the Bootsy Collins Foundation, have joined forces to bring “The Alumni Tour,” featuring a variety of old-school Hip Hop greats, to town for the special event, dubbed “Lando’s Old School Block Party.”
The concert will feature performances by Kwame, Dana Dane, Special Ed and Chubb Rock, each of whom understand the power and influence of “Funky Drummer.”
Saturday’s celebration will also feature appearances by the JB-approved “Young James Brown,” King artists Phillip Paul and Otis Williams and the Funkmaster General himself, Bootsy Collins.
Showtime is 7 p.m. (gates open at 5 p.m.). Tickets are $25 and can purchased in advance here. (Only those 21-and-up are permited.)
Proceeds from the event will benefit the Cincinnati USA Music Heritage Foundation’s ongoing efforts to draw attention to and preserve the legacies of Cincinnati’s rich musical past. The organization continues to do great things to honor downtown’s former Herzog Studios (where Hank Williams and many others recorded iconic tracks) and the group is currently supporting efforts to save and preserve the original site of King Records’ facilities and also attempts to have a permanent marker placed at the site of the old Riverfront Coliseum (now U.S. Bank Arena) in memory of the 11 fans who lost their lives in 1979 trying to get in to see The Who perform (a tragic event that led to the betterment of concert safety procedures throughout the industry).
Hugely popular Canadian Electro Funk duo Chromeo is bringing its groovy sound and stage show to this year’s MidPoint Music Festival. Chromeo’s tour in support of its recently-released fourth album, White Women, will include a headlining turn at MPMF.14 as the twosome heads up the bill on the Washington Park stage on Thursday, Sept. 25.
Chromeo performed the single “Jealous (I Ain’t With It)” on The Late Show with David Letterman a few weeks ago (to the apparent delight of the soon-to-be-retired host):
And the duo worked the crowd into a lather from the main stage at this year’s Coachella festival, drawing acclaim from outlets like The Hollywood Reporter, who declared Chromeo’s appearance one of the Top 10 sets of the entire Californian fest.
Chromeo’s White Women single “Come Alive” features MPMF alum Toro Y Moi:
Three-day passes for MPMF.14 (running Sept. 25-27 in various venues across Over-the-Rhine and Downtown) are on sale now for just $69 at mpmf.cincyticket.com (there are also a few early-bird-priced VIP tickets available). Single-show tickets for Chromeo’s Washington Park appearance go on sale this Friday. (Single-show tickets to Washington Park’s Friday night performances on Sept. 26 — which include headliners The Afghan Whigs — are on sale now at the CincyTicket link.)
Click here to check out some of the other previously announced performers.
The gods of Rock must have known that Alice In Chains was in town on Saturday, May 17 as the area around the Horseshoe Casino was dreary, cloudy and cold. It’s as if they transplanted a little bit of Seattle into downtown Cincinnati for much of the day. Luckily the rain held off for the show, allowing the sold-out crowd to bear witness to a classic Grunge act proving just how energetic and relevant they still are.
Canadian quartet Monster Truck kicked off the show before the advertised 8 p.m. show time, meaning a large number of fans missed out on much of the band’s set. But the fans that did get to catch Monster Truck’s Southern-fried Rock were in for a treat. These denim-clad and bearded boys sound like they’re from Georgia more than Ontario, playing rippers that would make Lynyrd Skynyrd raise their beers to the sky. Monster Truck’s shirts read in big, block letters: “Don’t Fuck With The Truck.” After their set, I doubt anybody considered doing so.
Monster Truck’s set was a great warm up for the main attraction, but the crowd was really there for one reason and one reason only. At 8 p.m. sharp, as the opening lines to “Them Bones” rumbled through the stacks, Alice In Chains stormed the stage to prove exactly why they can still sell out venues almost 30 years after their formation. Vocalist/guitarist William DuVall (who joined the group after original frontman Layne Staley’s death in 2002) brings a constant energy and dynamic stage presence that revitalizes not only the crowd but his own bandmates. Bassist Mike Inez and guitarist/vocalist Jerry Cantrell became visibly more active and engaged whenever DuVall entered their stage space.
This isn’t to say that the old school members were slacking. Inez and drummer Sean Kinney still banged out rhythms that probably made the Horseshoe’s windows quake a bit. And Cantrell plays the hell out of his guitar, playing through Alice In Chains’ iconic riffs with such power and intensity, it’s obvious that his newfangled haircut didn’t cause a Metallica-esque loss in Metal credibility.
The set featured a mix of classics like “Man in the Box” and “Rooster,” deep cuts and hits from the DuVall albums like “Check My Brain,” insuring that fans of all eras happy. Even casual fans such as myself (my set list notes have more question marks than actual song titles) had plenty to latch on and sing along to. The trio banged out each song so powerfully that even unfamiliar tracks came across as timeless classics.
The band’s interaction with fans is particularly notable as well. DuVall made efforts to point out fans who were truly enjoying the show, Cantrell invited a father and son up on stage because of the child’s enthusiasm in the front row and Kinney had the crowd call a lawyer’s office whose billboard was in his sight line for the entire performance. Judging by all the screens floating in the air, I feel bad for their receptionist.
As the show wound down and Alice In Chains played their encore, consisting of “Don’t Follow,” “No Excuses,” and “Would?” the crowd slowly filed out and were greeted by a group of religious protesters touting the dangers of gambling and Rock & Roll (sex and drugs were noticeably absent from their complaints). They were largely ignored but after the hour and a half concert experience that I’d just been a part of, all I felt was a bit of pity for them. They missed one hell of a show.
The air may have been Seattle cold but after almost three decades and five albums, Alice In Chains are still white hot.
When the lineups for the every-Friday MidPoint Indie Summer concerts on Fountain Square were announced, showcasing a solid lineup of local and touring Indie Rock acts, a colleague in Charlotte, N.C., Jeff Hahne, bemoaned his own city’s lackluster “outdoor free music” offerings. Writing on the blog of the city’s Creative Loafing weekly, he said he was increasingly disappointed by the cover bands and “’90s alt-rock” acts that populate two of Charlotte’s free outdoor music series.
“Charlotte may have twice the population and enjoy warmer weather,” Hahne wrote, “but as far as a summer music series goes, Cincinnati clearly wins.”
It was a good reminder of how good things are for live music fans in Cincinnati. And Hahne wrote this about only one small part of the overall free, outdoor, live music offerings the city provides. There are events for fans of cover bands, too, like the every-Wednesday Party in the Park shows at Yeatman’s Cove on the riverfront, but, besides Indie Summer, downtown’s Fountain Square and Over-the-Rhine’s Washington Park present a wide variety of styles of music every year once the warmer weather rolls around. And every series draws respectable-to-blockbuster crowds, showing that our city has more than enough music lovers to support the multitude of musical events each summer. (Even these two spaces’ series only represent a portion of the overall outdoor, live music action downtown; there are also events like next weekend’s Taste of Cincinnati that have a wide variety of local musicians performing.)
The lineups for the musical performances at Washington Park and Fountain Square (officially known as the PNC Summer Music Series and presented by 3CDC and a wide range of different sponsors) have leaked out gradually over the past few weeks. Now that most of the artists booked for the various series have been announced, we’ve collected them below for you to marvel at the quantity and quality of what our city core has in store this summer for music fans. (Visit Fountain Square’s site here and Washington Park’s site here for more info and some links to check out some of the artists ahead of time.)
Washington Park (SHOWS 7-10 P.M. WEEKLY UNLESS NOTED)
WEDNESDAYS: CROWN JEWELS OF JAZZ
May 28: Rashon Murph & Randy Villars
June 4: Marc Fields
June 11: Tropicoso
June 18: Patricia & Chris Berg
June 25: Siobhan and the Situation
July 2: Rick Van Matre
July 9: NKU Faculty Band
July 16: Anne Stephens
July 23: Art Gore featuring Delfeayo Marsalis
July 30: No concert
Aug. 6: Sylvain Archer
Aug. 13: Fo/Mo/Deep
Aug. 20: Dick Sisto
Aug. 27: Mike Wade
THURSDAYS: BANDSTAND BLUEGRASS
May 29: Jake Speed & The Freddies andThe Red Cedars
June 5: The Comet Bluegrass Allstars
June 12: Wild Carrot & the Roots Band
June 19: Ma Crow & The Lady Slippers
June 26: The Downtown County Band
July 3: Northern Kentucky Bluegrass Band and Woody Pines
July 10: Steve Bonafel & One Iota
July 17: Buffalo Wabs & The Price Hill Hustle
July 24: The Rattlesnakin’ Daddies
July 31: No concert
Aug. 7: The Tillers
Aug. 14: Hickory Robot
Aug. 21: Bulletville
Aug. 28th: Whiskey Bent Valley and Al Scorch
FRIDAYS: FRIDAY FLOW
(Note: Local DJ crew Selectas Choice spins between sets)
May 30: EU, Jameze and performers from Elementz
June 6: Natural Progression and Collective Peace
June 13: Hotsauce, Tyshawn Colquitt and more TBA
June 20: Carpe Diem, Ron C and more TBA
June 27: Bobby Valentino, L’ Renee and performers from Elementz
July 4: Playa (featuring Smoke & Black), Deuces and more TBA
July 11: Carl Moore, Marwan (Soul Flow)
July 18: 2nd Wind, The Ingrid Rachel Project
July 25: (3 p.m. start) Sei High, 432, performers from Elementz and more TBA
Aug. 1: No Friday Flow; LumenoCity returns
Aug. 8: Flawless and Keenan West
Aug. 15: Big Jim and Erica P
Aug. 22: Gregory Porter and Mandy Gaines
Aug. 29: Tiara Purifoy (American Idol), performers from Elementz and more TBA
Fountain Square (SHOWS 7-10 P.M. WEEKLY UNLESS NOTED)
TUESDAYS: AMERICAN ROOTS
May 27: Jeremy Pinnell & the 55s and Ben Knight & the Welldiggers
June 3: Kim Taylor and Peter Mulvey
June 10: The Black Lillies and The Kentucky Struts
June 17: Buffalo Wabs and the Price Hill Shuffle and Arlo McKinley
June 24: Dallas Moore Band
July 1: The Tillers and Red Cedars
July 8: Pure Grain and Shoot Out the Lights
July 15: Chuck Mead and Straw Boss
July 22: The Wheeler Brothers and Shiny & the Spoon
July 29: Bulletville and Bucktown Kickback
Aug. 5: Josh Eagle and The Hiders
Aug. 12: The Ragbirds and The Happy Maladies
Aug. 19: Tony Furtado and Rumpke Mountain Boys
Aug. 26: Birds of Chicago
WEDNESDAYS: REGGAE WEDNESDAY
May 28: Super-Massive (Summer Splash Happy Hour DJ: Frankie D)
June 4: Driftaways (Summer Splash Happy Hour DJ group: Avalanche Sound)
June 11: Peach Freedom and Connect (Summer Splash Happy Hour DJ: Frankie D)
June 18: Aaron Kamm and the One Drops (Summer Splash Happy Hour DJ group: Queen City Imperial Sound System)
June 25: Milele Roots (Summer Splash Happy Hour DJ: Frankie D)
July 2: Jah Messengers (Summer Splash Happy Hour DJ group: Avalanche Sound)
July 9: Zvuloon Dub System (Summer Splash Happy Hour DJ: Frankie D)
July 16: Gato’s Gullah Gumbo (Summer Splash Happy Hour DJ: DJ Mowgli)
July 23: Ark Band (Summer Splash Happy Hour DJ: Frankie D)
July 30: 77 Jefferson (Summer Splash Happy Hour DJ group: Avalanche Sound)
Aug. 6: Rashita Astemari (Summer Splash Happy Hour DJ: Frankie D)
Aug. 13: The Drastics (Summer Splash Happy Hour DJ group: Queen City Imperial Sound System)
Aug. 20: Big Wig Mechanics (Summer Splash Happy Hour DJ: Frankie D)
Aug. 27: The Cliftones (Summer Splash Happy Hour DJ: DJ Mowgli)
THURSDAYS: SALSA ON THE SQUARE
(Note: Salsa on the Square kicked off May 1)
May 22: Grupo Tumbao
May 29: Mambo Diablo
June 5: Son Del Caribe
June 12: Tropicoso
June 19: Kandela
June 26: Grupo Tumbao
July 3: Zumba
July 10: Mambo Diablo
July 17: Kandela
July 24: Son Del Caribe
July 31: Tropicoso
Aug. 7: Clave Son
Aug. 14: Grupo Tumbao
Aug. 2: Son Del Caribe
Aug. 28: Kandela
Sept. 4: Clave Son
Sept. 11: Tropicoso
Sept. 18: Latin Beat Project
FRIDAYS: MIDPOINT INDIE SUMMER (7-11 P.M. WEEKLY)
May 30: WHY?, Yip Deceiver, Badboxes, Dark Colour
June 6: Wussy, The Tigerlilies, Honey & Houston, Mason School of Rock
June 13: Betty Who, Vito Emmanuel, Captain Kidd, Pluto Revolts
June 20: Those Darlins, The Harlequins, The Frankl Project, Those Crosstown Rivals
June 27: Moon Taxi, Peridoni, Nevele, Acarya
July 4: Local H, Mad Anthony, New Strange, One Day Steady
July 11: Soledad Brothers, Electric Citizen, Pop Goes the Evil, Grotesque Brooms
July 18: Wesley Bright & the Hi-Lites, DAAP Girls, Mardou, Young Colt
July 25: Clap Your Hands Say Yeah, Public, Dream Tiger, Danny & His Fantasy
Aug. 1: The Spiders (A tribute to David Bowie), The Honey Spiders, Bad People, To No End
Aug. 8: Man Man, Injecting Strangers, Ohio Knife, Skeleton Hands
Aug. 15: The Nightbeast, more TBA
Aug. 22: psychodots, Lemon Sky, Tonefarmer, Heavy Hinges
Aug. 29: Islands, The Pass, The Yugos, Joey Cook & The Keepers of the Secret
SATURDAYS: BEATS BY SELF-DIPLOMA (7-11 P.M. WEEKLY)
May 31: Cal Scruby, Matt Persin, NJ + drummer, Nuk, Federal & Company, TJC with DJ Vizion, Beatboxer Nav & Jake
June 7: Chingy, DJ Diamond, Sleep, Planet Venus, Chestah T & Snowball, Razook, Alexander the Bear
June 14: DJ Clockwork, DJ Etrayn, Buggs Tha Rocka, Jon Schuyler, Ingrid Rachel Project, SSE, DJ RiQ The Professor, Miles Mulligan
June 21: OCD: Moosh & Twist, Puck, Hafrican, Jayme Shaye, Eazy El Loco, A1 & Juice Jones, DJ iGrind
June 28: DJ Bandcamp, Junya Be, Macho Means, Aysia Marie & Ajax Stacks, Nate Paulson, Mad Snipes, EddieO
July 5: The Knocks (DJ set), Millennium Robots, Disco Joe & Friends, Aviators, T3CCHTUNE, Mr. Fantastic, Keyyz
July 12: Mike Stud, James Dapper, The S.A.U.C.E., SkeetR V. Twinkiee, Kid Quill, Blue Society
July 19: DJ D-LO, Joseph Nevels, Oregonia, Spearpoint, Brad Redford, Banducci and the Wheels, Kyle English
July 26: DJ Kid Capri, Khimera Records (8:30 p.m. start)
Aug. 2: Hi-Tek and Friends, Jillian Faith, Suave & Under New Order, Frankly Speaking, B. Soul, Haze
Aug. 9: Dizzy Wright, Trademark Aaron, Young ILL, Jaylee, Odd Fella, MCB, Jameze Latrail
Aug. 16: Trentino, DJ Skills, Ingrid Woode & the Woode Tribe Orchestra, DJ Will Kill, Mark Moore (8 p.m. start)
Aug. 23: Sound Remedy, Bob A Dob, Panzer, Black Signal, Randi Floss, Skyelle, Button Mashers
Aug. 30: Capitol Thrill, Firecat 451, Riot Ten, DJ B-Funk, Reaux, Chris Alarcon, DJ Edge
A new batch of over 20 artists has been announced for this year’s MidPoint Music Festival, which returns to the clubs and venues of Over-the-Rhine and Downtown Sept. 25-27. The following acts join The Afghan Whigs, who were announced last week as the Washington Park headliners on Sept. 26, at 2014’s MPMF.
New Jersey Indie rockers Real Estate enhanced the buzz they’ve been building on in March when Domino Records issued the group’s latest album, Atlas. The tough critics at Pitchfork, supporters of the band since its 2009 debut, gave Atlas an 8.8 (out of 10) and said it’s “at once their most forlorn album and their most beautiful.” “It is rare, and special, for a band to be this effortlessly and completely themselves,” Pitchfork added.
Noah Lennox is a founding member of Animal Collective but also a successful solo artist under his stage name, Panda Bear. His experimental, psychedelic style will be on glorious display at MPMF as he promotes his latest solo effort, Panda Bear Meets the Grim Reaper, due sometime this year on Domino Records. (Fun fact: Panda Bear was a guest artist on Daft Punk’s Album of the Year Grammy-winning Random Access Memories.)
Ambient Electronic artist Tycho (born Scott Hansen) makes critically acclaimed music for the esteemed Ghostly International label. His latest album, Awake, came out in March and reached No. 2 on Billboard’s Dance/Electronic Albums chart (and No. 23 on the general Billboard album chart). In a review of the new album, Consequence of Sound said, “Listening to Tycho is the aural equivalent of exploring a new art museum. The overall effect is one of remarkable beauty and you still have the option of how you’ll take it in.”
Uniquely adventurous San Francisco metallers Deafheaven take a unique approach to Black Metal, which has led to wider acclaim and a more diverse audience than most other Black Metal bands … and, of course, has led to some of the genre’s fans to decry them as “not Black Metal.” Whatever. The group’s fantastic Sunbather was one of the more compelling albums of 2013 (and, subsequently, one of the best reviewed albums of last year, as well). Here’s CityBeat’s interview with the band from earlier this year.
Gardens & Villa
After spending a couple of years touring the world and becoming a tighter, better band in the process, Californian Indie Electro Pop band Gardens & Villa released its second album, Dunes, on the Secretly Canadian imprint earlier this year.
Danish Indie Rock duo The Raveonettes have been buzzing around since 2001, when Rolling Stone editor David Fricke saw the band at a music festival and publicly raved about them. The twosome’s fuzzy Pop sound was an instant hit upon the release of Chain Gang of Love on Columbia in 2003. Over a decade later, Sune Rose Wagner and Sharin Foo are prepping their seventh full-length and continue to tour the globe.
Sun Kil Moon
Mark Kozelek first brought his emotive, slo-mo Indie Rock to the masses with the great Red House Painters. When that band dissolved around the turn of the century, the singer/songwriter and actor (he was in Cameron Crowe’s Almost Famous and Vanilla Sky) continued the vibe with Sun Kil Moon, which released its sixth album, Benji (featuring Sonic Youth’s Steve Shelley and Will Oldham, among other guests), in February of this year. In July, Kozelek will release a live Sun Kil Moon album.
Barrence Whitfield & the Savages
The Afghan Whigs aren’t the only MPMF band with international acclaim and Cincinnati ties. Vintage R&B/Rock & Roll outfit Barrence Whitfield & the Savages was formed in the ’80s by Soul shouter Whitfield and Peter Greenberg, guitarist for the pioneering Cincy Garage Rock band The Customs (and, later in Boston, DMZ and The Lyres). The twosome reformed the band (with some local musicians in the fold) and released the locally-recorded Savage Kings album in 2010. Building a bigger audience with every tour, the band’s Dig Thy Savage Soul album last year was its best received yet, leading to successful shows across Europe (and a spot of Later … with Jools Holland in the U.K.). Read CityBeat’s feature story on the band from last year when they played a two-night stand at MPMF venue MOTR Pub.
EMA is Erika M. Anderson, a South Dakota native who honed her chops in the California experimental music scene. With EMA, Anderson makes slinky Indie Pop Rock so infectious it caught the attention of indie label giants Matador Records. The label released EMA’s latest album, The Future’s Void, in April to widespread praise.
Ex Hex is the new band from Mary Timony, leader of Helium, member of Wild Flag and also a solo artist (the band name comes from the title of her 2005 Lookout! Records album). The band’s first release, the 7-inch single “Hot and Cold,” came out on Merge Records in March.
Formed by Man Man’s Adam Schatz, Brooklyn’s Landlady became a hometown favorite thanks to consistently great live shows and a 2011 self-released album. In July, the band releases its new album, Upright Behavior, on Hometapes, home to artists like Matthew E. White and Megafaun.
When Massachusetts Indie Rock band Speedy Ortiz had its first official full-length, Major Arcana, released on Carpark Records last year, the band instantly became an audience and critical favorite, landing on many scribes’ “Best of 2013” lists. The A.V. Club called the album “a markedly assured debut, one that makes Speedy Ortiz an act to watch. Like its songs, the band’s detonation is inevitable.” Earlier this year, the band released the Real Hair EP.
Low Cut Connie
After building a strong following in Cincinnati thanks to repeated visits (including a great set at last year’s MPMF), Piano Rock crew Low Cut Connie return for another rollicking show in the Queen City. Read CityBeat’s interview with LCC from March here.
Houston Indie rockers The Tontons hit the touring circuit hard over the past seven years and now, with the release of their second album, Make Out King and Other Stories of Love, earlier this year, the hard work is paying off for the band. The self-released LP received high praise from the likes of The New York Times, Paste and Rolling Stone.
Psych/Proto Punk band Ex-Cult hails from Memphis and recently released its second album, Midnight Passenger, on Goner Records. CMJ says, “This second full-length breathes with a more expansive volume and guitar churn, without resorting to every other current garage band’s habit of just dumping reverb on everything. In fact as this rec moves along, its snaky sprawl sees the band crawling out of its genre garage, like spilled oil and gas seeping into the weeds and cracks in the driveway, making everything a bit more slippery as you approach.”
Brooklyn’s Milagres make Indie Synth Rock for the Kill Rock Stars label. After the success of their 2011 album, Glowing Mouth, the band released Violent Light in early 2014.
Formed by two former members of Reggae group John Brown’s Body, trippy Dance Rock band Rubblebucket self-released its debut, Rose’s Dream, in 2008. Since then, the band has had its cover of The Beatles’ “Michelle” declared on the 50 greatest Fab Four covers of all time by Paste, appeared on Jimmy Kimmel Live and recorded with LCD Soundsystem’s Eric Broucek. The band’s most recent release is the EP Save Charlie.
NYC-based Mutual Benefit is the dreamy project of singer/songwriter Jordan Lee, who grew up in suburban Columbus, Ohio. Last year’s debut full-length, Love’s Crushing Diamond, drew comparisons to the likes of Sufjan Stevens and Grizzly Bear.
The Cave Singers
Seattle Indie Folk group The Cave Singers formed in 2007 out of the ashes of the great Pretty Girls Make Graves. The band’s latest album, Naomi, came out last year on Jagjaguwar.
Canadian Indie rockers July Talk formed just a couple of years ago, but already they have an international profile, touring with artists like Billy Talent and Besnard Lakes and catching audiences attention with a great live show. The group recently premiered a new music video for “Summer Dress,” a song slated for a forthcoming EP.
St. Paul & the Broken Bones
Alabama Soul ensemble St. Paul & the Broken Bones’ great sound and live show have made them a favorite on the international touring circuit. The band’s debut album, Half the City, came out earlier this year, leading to the group’s appearance on CBS’s The Late Late Show and, more recently, a nomination for Emerging Act of the Year from the Americana Music Association.
Three-day tickets (and VIP tickets) are on sale now at mpmf.cincyticket.com. Today at noon, single-show tickets for The Afghan Whigs’ all-ages (kids under 10 can get in free with a paying adult) concert in Washington Park on Sept. 26 go on sale at the same site.
Ellie Goulding killed it Wednesday night at Horseshoe Casino Cincinnati’s outdoor venue The Shoe. By noon the next day, I was still recovering. I’d feel old, but it’s a sentiment I heard echoed from others who have seen Goulding live.
She sucks all the energy out of you in the absolute best way possible. If her driving, pounding music isn’t enough to propel you to dance, Goulding herself will. From rolls and swishes (oh, to have those abs) to doing the Running Man, for a girl who claimed she’s awkward about dancing, her moves were on full display. She was basically a blonde ball of energy and emotion, ping-ponging across the stage. The crowd fed off that energy and unleashed their own. My feet were trampled, my boobs were elbowed and some very skinny dude almost dropped his girlfriend on my head (twice). And it was awesome!
I’ve often sulked about the lack of enthusiasm at shows from Cincinnatians, but I cannot make that complaint about the Goulding concert. Whether it was the exact right mix of younger people or the fact that Goulding just happens to have cool fans, something made the gathering last night much livelier than your average show. People danced, flailed and jumped with abandon. Even during “Your Song,” kids who were surely not around when Elton John’s original version was released sang along with abandon while drunk guys tried light-heartedly to woo the closest girl.
I must give props where they are due, too, and I’d be remiss if I didn’t mention the sheer perfection of The Shoe. Upon hearing that such a madly loved and wildly popular performer was playing The Shoe (with a capacity slightly smaller than my former high school’s enrollment), it seemed not quite right. In retrospect, I couldn’t think of a more fitting venue. A larger venue would have sucked. For instance, the seating angle at Riverbend may be optimal for viewing the stage, but it quickly creates a lot of perceived distance for the performers. The Shoe, sunk down in an impeccably landscaped hole on the edge of downtown and sandwiched between two taller buildings, felt infinitely more intimate. Even when I couldn’t see the actual bouncing blonde head on stage and had to watch the Jumbotron instead, it just felt right.
Whatever your excuse for not being there, I’m judging you. I’m guessing it’s for the best, though. You probably would’ve stood around nodding and not dancing. But, you missed out. Goulding is a cold-blooded killer on-stage. She kicks asses into dancing mode, leans way, way, way back and pulls in all the energy from the audience to get her through the night. Nearly 4,000 people happily offered up their life source for her reaping. Hopefully most of them were lucky enough to sleep in the next day.