Tonight, the Venue Formerly Known As The Southgate House hosts its first big show. The Thompson House — as it's now called after a family dispute went to court and resulted in the longtime operators getting the boot and the owners of faux-strip club the Brass Ass taking over — opens its doors tonight to the public for a 7 p.m. concert headlined by modern Ska/Reggae revivalists The Aggrolites.
A recent Enquirer story about the "new" venue drew an avalanche of comments, the vast majority of which suggested that those who were fans of the Southgate House despise the look and direction of the Thompson House, with its purple decor and Rock star murals. Check out this pic from the Thompson House's website:
But the new venue's origins and the relative abruptness of the closing of the Southgate House is angering people more than the color scheme. The wall colors are just purple icing on the cake, so to speak.
The Thompson House has been developing a schedule that seems to be attempting to mimic the eclectic nature of the old Southgate House — a little Jazz, some open mic stuff, a Hard Rock band, some Metal, some Country. Often, the Southgate House's eclectic nature harvested a following whose tastes crossed over. And as diverse as the bookings were, rarely were there shows at the old club that made you go, "Why would they bring THAT show to the Southgate." For much of its run, whoever was booking the Southgate House seemed to have good and, more importantly, consistent taste in a wide-range of music. They wouldn't just book a random Country band; they'd book an interesting, great or unusual one.
The Thompson House bookings so far seem like they will be able to attract a varied audience. But can the people who, say, go to the Blue Wisp Jazz Club every couple of weeks and will probably enjoy the local Jazz lineup at the venue feel at home going to the same club as the younger music lovers who used to hang out at The Mad Hatter (or its current occupier, Bangarang's of Covington) to watch Hardcore and Death Metal bands? We'll see.
I have clubs that I like to go to more than others, but I have never gone to a concert because of where it was being held. And I've never not gone to see a concert at a venue I don't feel as comfortable. But I would be less inclined to frequent a venue if I have a bad experience and I'd be less likely to just roll the dice and take a chance on a show at a venue in which I don't feel comfortable.
I understand the passion of the Southgate lovers who insist they'll never set foot in the Thompson House, but if a band comes to town that you'd like to see, or your favorite local artist is performing in the "Rock Star Lounge" some night, you'll be hurting those artists as much as the new owners. Over the years, I've had club owners or promoters be dicks to me and occasionally have reached the point of anger where I momentarily think, "Screw them, I'll never write about one of their shows again." But it passes quickly. I've never "blacklisted" a club or promoter, no matter how big of an a-hole their employees are, because I've always felt that it would be unfair to both the musicians that work with them and the music fans who would like to know about the concerts they're promoting.
Like I said, I can totally understand the urge to boycott — I haven't stepped inside Clifton movie theater The Esquire since they "banned" CityBeat and its film critic from the theater after we reported how the operators had censored a raunchy part of a film without permission and without informing the audience of the edit. It's just one of those "principled" stands we all take and whether they are "rational" or not is relative and personal. (I'll admit that not going to the Party Source for several years after a manager was a jerk to me there was a little silly … but it made me feel a little better.)
Perhaps the hope is that if all these people who say they'll never go to the Thompson House actually don't, the club won't survive. But, from the bookings so far, a big chunk of the Southgate House's old clientele would never have been interested in the Thompson House bookings anyway. And if the Thompson House fails, someone might just come in and turn it into a Toby Keith's I Love This Bar and Grill.
Me? I'm leaving the door open. I won't be there tonight, though I am a fan of The Aggrolites (and local openers The Ohms and The Newport Secret 6 are excellent, as well). I just have other plans. But, out of sheer curiosity alone, I will step foot in the Thompson House. And when there's music there I want to check out, I'll step foot it in it again and again. I miss the old Southgate House as much as anyone and I really appreciate the efforts of the previous owners, but I'm not going to deprive myself of a good concert experience. I mean, I never stopped going to Bogart's, even when it was the source of some of the worst concert experiences I've ever had.
Although when the Thompson House starts hosting the "Thompson House-produced country (music) revue show, 'Through the Years,' " as the Enquirer reported, I'll probably pass. I'm loyal to Kings Island when it comes to cheesy musical revue numbers.
Tickets for tonight's show are $13. You can buy them here and pick them up at Will Call (or buy them at the door). Click here to see who else is performing at the Thompson House, as well as some of the specialty nights.
The Bunbury Music Festival in Cincinnati falls on the same weekend as two other big regional music fests, one 100 miles to our south and the other about 300 miles northwest of the Queen City. Like Bunbury, the Pitchfork Music Festival in Chicago and the 10th annual Forecastle fest are happening July 13-15.
In theory, the proximity (geographically and time-wise) should lead to some crossover, as artists from one event might run their tour route to the other cities to score some of those big festival performance fees. (MidPoint's 2011 fest in Cincy, for example, shared some acts with the somewhat nearby Pygmalion Music Festival in Urbana-Champaign, Ill.) But so far that hasn't happened with Bunbury, which seems to be focusing on more mainstream "Alternative" artists, as opposed to Pitchfork's more esoteric lineup and Forecastle's endearing mishmash of styles.
Louisville's Forecastle previously announced that hometown heroes My Morning Jacket would be curating the event and performing. This morning organizers announced that joining them will be Dubstep superstar Bassnectar and Dad Rock champs Wilco, plus Andrew Bird, Girl Talk, Atmosphere, Neko Case, Sleigh Bells, A-Trak, Dean Wareham (playing Galaxie 500 songs), Galactic, Clutch, Flying Lotus, Preservation Hall Jazz Band, Mike Doughty, Real Estate, Deer Tick, Charles Bradley, JEFF the Brotherhood and Cincinnati's Walk the Moon, among others. Click here for ticket info and the the full lineup so far.
Meanwhile, here is who Pitchfork announced yesterday for this year's event in Chicago's Union Park: Vampire Weekend, Feist, Godspeed You! Black Emperor, Hot Chip, AraabMUZIK, A$AP Rocky, The Field, Liturgy, Kendrick Lamar, Grimes, Cloud Nothings, Tim Hecker and Willis Earl Beal. Thirty more artists will be announced later.
Pitchfork tickets go on sale next Friday, March 9, at noon via the Pitchfork fest's site here.
So if you could go to any of the three festivals, based on the info available so far (and not counting travel costs and lodging arrangements) which one would you attend — Cincinnati's, Louisville's or Chicago's?
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.
In discussions on Hard Rock and Heavy Metal, the phrase “veteran rockers” basically means “old dudes with electric guitars” (or “badasses turned corporate vacuoles turned money-hungry corpses in makeup writhing around on a stage” if we’re talking about Aerosmith), but as long as they’re playin’ it loud and proud, age ain’t nothin’ but a number, right?
Kinda like Thruster, The Mighty Swine never fully grew out of those leather-clad and poodle-headed ‘80s Metal days of yore, a time when the guitars ran wild and so did the groupies and the V.D.
Now in it tenth year, one of Cincinnati’s most celebrated bands, Wussy (led by former Ass Pony Chuck Cleaver and his equally skilled songwriting partner/co-frontperson Lisa Walker), has amassed an amazing discography so far. Beginning with 2005’s Funeral Dress, the group quickly developed a reputation for the “ragged glory” of its performances, both live and on record. That sense of recklessness worked impossibly well with the band’s fractured, soul-burrowing love songs and the unbridled tense, passionate energy between its co-leaders. Early on, Wussy often sounded on the verge of falling apart, but there was always something magical about the group that assured you that, even if by Scotch tape and rubber bands, the band would hold it together.
But with each successive release, Wussy’s edge-of-cliff nature gradually dissipated. By the time of the rockers’ third album, an eponymous affair in 2009, Wussy had become a more confident, cohesive unit. But not in the way, say, Paul Westerberg went from alcoholic Punk poet to “mature” singer/songwriter. As the band’s fourth full-length, Strawberry, shows, Wussy isn’t getting boring. They’re just getting better. Which, considering how powerful albums like 2007’s Left for Dead were, is almost scary.
The nominees for the 17th annual Cincinnati Entertainment Awards were announced Wednesday and now the polls have opened and it’s time for you to vote for your favorite Cincinnati area musicians.
The public is invited to vote (once per email address) in 16 categories ranging from Blues, Jazz and Folk/Americana to Electronic, Hip Hop and Metal/Hard Rock. You can also vote for the “Best Live Act” and in a brand new category — “Best Music Video.” Links to each of the videos are included with the online ballot, so you can watch them all before you vote. (If you’d like to check out all of the acts in each category, CincyMusic.com, the staff of which was a great help on the nominating committee, has provided a page with links to their CincyMusic sites.)
The “Album of the Year,” “New Artist of the Year” and “Artist of the Year” categories are decided by the CEA nominating committee.
With the annual slew of complaints about which artists were or weren’t nominated, the CEAs are also, for the first time ever, allowing music fans to vote for whomever they want, nominated or not. The “Best Band/Musician That Wasn’t Nominated” category is open to any active band/performer who has played shows locally in the past year and does primarily original material, regardless of genre. Or talent. Write in those artists we’ve so tragically wronged by not being able to nominate every single act in Greater Cincinnati; once an artist receives enough write-ins, they’ll be added to the drop-down menu. (We are vigilant about ballot stuffing and tampering, including in this new category. So don’t be an a-hole.)
Another annual tradition is people contacting us to ask about the nominating process and how someone goes about receiving a nomination. Here is the still (and forever) applicable response we gave last year.
Click here to start voting for the 2014 CEAs now. The deadline for voting is Tuesday, Jan. 14 at midnight.
On Jan. 26, the awards will be presented at our annual CEA ceremony/party, which is returning to Covington’s Madison Theater and will feature numerous live performances. Stay tuned for ticket and other info updates, including details on our “Best New Bands” showcase at Corryville club Bogart’s on Jan. 18. Happy voting!
One of the bands on my MPMF.11 itinerary is The Ridges, a Chamber/Folk/Indie/Pop ensemble from Athens, Ohio. They have interesting instrumentation (cello, trumpet, accordion, etc.) and their songs are remarkably infectious. Read what I wrote about them in the MidPoint guide here. The group just sent us an MPMF promo video in advance of their performance Thursday at the Cincinnati Club (9 p.m., followed by The Sundresses and Those Darlins) and have graciously allowed us to "world premiere" it right here. The clip features The Ridges — who played the MidPoint Indie Summer Series in August on Fountain Square — performing acoustically outside of its MPMF venue. You can check out some more music by The Ridges here. Enjoy!
Music Tonight: If you're up for a night of slinky, sexy R&B this Valentine's Day, you lucked out, because New Edition's 30th anniversary tour hits the U.S. Bank Arena tonight with equally bumpy/grindy K-Ci & JoJo and El DeBarge. Many more locals than usual are aware of tonight's New Edition performance, unfortunately due to the coverage of the death of Pop superstar Whitney Houston, ex-wife of Bobby Brown, New Edition's biggest success story outside of the group. The New Edition tour was a rarity, primarily due to the participation of Brown, who left the band at the height of their success to launch an even more successful solo career.
Many of you have likely seen the teary, heart-breaking footage of Brown performing with NE the night he found out his ex-wife and the mother of his child had died. Once it was clear that his daughter was having a very tough time dealing with the tragedy (hospitalized twice since Saturday), he left the tour to be with her. Today, people reported that Brown and Houston's 18-year-old child was released from the hospital and the AP has reported that Houston's funeral is set for Saturday in Newark, NJ.
By Saturday, you better have developed enough Bonnaroo survival tactics to make it through the day. The key is to keep pounding water and let the music fuel your body.
Saturday’s schedule was like NOS octane pumped into my bloodstream. The day was kicked off at 11:30 a.m. on Which Stage with Rebelution, a Reggae/Rock group from Santa Barbara. The 100-something degree weather didn’t keep a crowd from showing up and grooving out to Rebelution’s soaring, heavily reverberated jams that echo with uplifting, worry free vibes — exactly what we needed as the hottest part of the day was upon us.
John 5 has seen almost everything in Rock music. He's toured with David Lee Roth, Marilyn Manson and Rob Zombie (with whom he's currently rockin') and been credited on songs from a wide range of artists — from Saliva to Salt n Pepa to k.d. lang to an upcoming collaboration with Rod Stewart. The guitarist has gained the reputation as a musical genius and one of the most action-packed guitarists in the world. He has just released his sixth solo album, God Told Me To, which mixes acoustic Spanish guitar along with Metal riffs.
CityBeat caught up with the guitar player to talk about the new album and some of the darker aspects of what goes into his writing, as well as the lighter aspects help put him to sleep every night. John 5 will take the stage with headliner Rob Zombie this Sunday at Rock on the Range in Columbus.
CityBeat: Can you tell us about the name of your album, God Told Me To?
John 5: The name, it is funny because … I am from Michigan, I am from Grosse Pointe. I was upper class growing up there. I was brought up in a really nice environment and home and I remember the night before I was leaving for California to really give it my shot saying, “I am going to try this. I am going to try to be this musician type of thing.” I remember I was saying my little prayer. I never wished to be a “rock star.” I just wanted to be a working musician. My dreams didn’t even go past a session player or a working musician. It was too far beyond my dreams. That’s kind of what the title means, that kind of thing, but also you can look at in the negative way, like when someone does a horrific murder, they always say, “Oh, God told me to.”
CB: I have read a lot of discussion in your recent interviews about serial killers and even the song “Night Stalker” being written about Richard Ramirez. Do you have an interest in serial killers and the history and stories behind them?
J5: I think it is interesting to me about how the mind works and how someone is wired, how their mind works, how it is completely OK to do these things, which I could never even think of doing something like that. It was always so interesting to read about this or watch documentaries. It is so odd for something like that to happen, so I have always had this little fascination with it — not that I am pro-for that kind of thing or anything but it is just very interesting to see something like that.
CB: I got a copy of the album and have been listening to it today. I love the acoustic Spanish-style versions on some of the songs. I know you are a lifelong learner. Did you take specific lessons around Flamenco or Spanish-style guitar lessons?
J5: Yes, I have always tried to learn, it is what keeps me sane. I love to learn and I started doing a lot of studying of Spanish-style music and really started getting into it and how it is just a completely different form of guitar playing. It is just like if you started speaking in a different language like Japanese or something. It is something that you have to study and work at a lot. That is what I enjoy because I love the guitar so much. Yes, I did a lot of studying and research on that.
CB: What current music is inspiring me right now?
J5: What current music is inspiring? You know what, and this will be a surprise, but I usually am very honest. I have had a little epiphany and this is very shocking. I was watching some movie or something like that and a N.W.A. song was on and I am no fan of Rap music, I really am not because I like the guitar. So I heard this N.W.A. song, I think it was “Gangsta Gangsta,” and I was like, “This is really, really, really good.” It was eye-opening to me and I appreciate it now. I was pretty taken back by it. I would have to say N.W.A. (is a current inspiration), which I can’t believe I am saying but it is the truth.
CB: There are a lot of bands right now collaborating outside their genres. Korn has collaborated with Skrillex and trying to create a lot of different sounds which would traditionally maybe not be in Metal music.
J5: Sure, and I think it is very important for that to happen because of the fact music has to always evolve and if it doesn’t, it has failed. It is good that it is evolving.