This Friday night, Cincinnati's finest Americana outfit, Magnolia Mountain is set to celebrate the release of its fantastic new LP, Town and Country, easily one of the best locally-produced albums of the year. Frontman Mark Utley and his bandmates will party in Town and Country's honor by performing tomorrow at the Ballroom at the Taft Theatre. The all-ages show kicks off at 8 p.m. with guests Jeremy Pinnell and the 55's, Chuck Evanchuck and the Old Money and Chuck Cleaver and Lisa Walker from Wussy performing a duo set.
Click here to read this week's CityBeat feature on Magnolia Mountain. Below is the full interview with Utley.
CityBeat: Tell me about the new album. What was your mindset going into it — did you have a good sense of what you wanted to do right away? Did it end up as you planned?
Mark Utley: I think the goal with all the Magnolia Mountain records has been to document where we were as a band and where I was as a songwriter at those specific times. The two years since we released Redbird Green have been a real rollercoaster ride for me personally — really high highs and very low lows — and I think that shows up in the songs. I tend to write fairly literally. It was a difficult record to make but it feels great to have made it. They’re the best songs I’ve ever written and it’s the best record we’ve made yet.
We didn’t do a Magnolia Mountain album in 2011, mostly because of how long (the benefit project) Music for the Mountains took to put together. So we had a ton of songs written and I was anxious to get back in the studio. I wanted to expand on what we did on Redbird Green in almost opposing directions. The song “Hellbound Train” from that record was a huge audience favorite, but it wasn’t really like any other song on that album. So I wanted to write some more in that direction, but I was also writing songs on the banjo where it seemed like all I wanted to do was keep stripping things off until I got to the bare essence of them.
CB: What's the significance of calling the album "Town and Country"?
MU: It’s a nod to that dichotomy, the rockier stuff set right alongside the folkier songs. It’s interesting to me, because the original template for this band was something along the lines of Neil Young’s Live Rust record, where we would start out a show almost whisper-soft with folky acoustic stuff, and by the end of the night we’d be playing riff-heavy rock songs on electric guitars. But the earlier MM lineups didn’t have all of that in them. This lineup does, and I love it.
CB: You mentioned that you had at least a twinge of concern that perhaps Town and Country was almost too varied. That's something I've always loved about Magnolia Mountain, yet it annoys me sometimes when other bands do it. I think the key is you have the ability to make it still sound like Magnolia Mountain; you never lose context when you're listening. Is it fair to say you had those concerns?
MU: I don’t think I was afraid it would be too varied, but I did (and do) have concerns that the record might alienate some earlier fans by incorporating too many different styles and sounds. But I’m hoping that other people will feel like you do, that it all still feels like part of a legitimate whole. Because I don’t write in different styles as some sort of genre exercise, I write like this because all these styles of music are just part of what I love and who I am.
Patterson Hood of Drive-By Truckers made a name for himself and his band by exploring “The Southern Thing,” meaning all the contradictions and the dynamic of growing up in the modern South and how other people see that and how you see yourself. Well, it hit me a while ago that so much of the music that gets termed “Americana” or “AltCountry” or whatever, is kind of “The Midwestern Thing.”
I mean, think about it, I grew up in southern Indiana and I’ve lived here in southern Ohio for over 20 years. We’re on the border of north and south, our ears hear a mixture of Rock and Pop and Country and R&B every day growing up. We hear phrases like “world’s biggest small town” tossed out as compliments and as urban as we try to be sometimes, our backgrounds are often very blue collar, very working man, very rural, even.
I think Magnolia Mountain is very much about all that, and I couldn’t be prouder of it.
CB: This one will be on vinyl as well, correct? What's with your dedication to the vinyl release? Do you personally feel your own music sounds better on vinyl than, say, a CD or digital file?
MU: I think pretty much everything sounds better on vinyl. I’m so happy vinyl records are coming back and I’m on cloud nine that all three of our records are available in that format. There’s nothing like that sound, that feel of the album in your hands, dropping the needle in the groove and looking at the artwork and the liner notes while you listen. It’s a ritual. It’s magic.
CB: When someone asks you what your band sounds like, and it's someone who might not have a great grasp on musical styles beyond the surface ones, what do you say?
MU: It kind of depends on if they have any grasp at all. I usually start with words like “rootsy” or “Americana” and if their eyes gloss over I’ll default to “Folk” or “Country." Or change the subject. I accepted long ago that the vast majority of the population doesn’t live or die by music the way I always have, so I don’t hold it against people for not catching obscure musical references or being well-versed in sub-genres. I’m just trying to find words or chords that people respond to no matter what their musical pedigree.
CB: Do you often say you play Country music, or is it just not worth the hassle of explaining that it's not THAT kind of Country music?
MU: I do use the term, although sparingly, and usually with a lot of hyphens. A lot of people associate Country music with a laundry list of negative connotations, and sometimes you can’t overcome that. But that’s kind of their problem and I try not to make it mine.
As far as the curse of “New Country,” yeah, I hate most of it as much as the next guy, but I also know that a lot of people listen to it because they don’t really have the time or the inclination to dig any deeper. But I also think that most people, no matter what their background or their musical preconceptions, tend to recognize honesty, real emotion, and lack of bullshit when it’s presented to them and that’s what I want to present to an audience.
CB: So how many musicians are currently in Magnolia Mountain? It seems you have had a fairly steady revolving door of co-players in the group with you, though, again, there's never a huge difference from lineup to lineup. Tell me a bit about who you’re playing with now?
MU: We’re still at eight, where we’ve been for a long time, but there are four new faces joining four original members in the Town and Country line-up: Renee Frye on vocals, Jeff Vanover on guitar, Todd Drake on drums, and Kathy Woods on fiddle, joining me, vocalist Melissa English, bassist Bob Donisi, and Bob Lese on mandolin and harmonica. All four of the new folks came in at roughly the same time, and fortuitously enough, right at the beginning of the Town and Country recording sessions, so they all had the opportunity to put their stamp on the record, and boy, did they ever.
I couldn’t be happier with how they’ve all worked out. They’re such incredible players and singers and great people to know and spend time with. For whatever reason, this version of the band feels the most comfortable in its own skin and I love that. The audiences seem to sense it, too. The new stuff is going over great live.
CB: How do rehearsals work? How frequently do you all get together? it would seem to be a logistical headache, at the very least.
MU: We rehearse once a week at my palatial Price Hill estate. We move the dining room table out of the room and set up in a circle. Some of us amplified, some of us not. It’s pretty low key, kids and dogs and cats coming and going. Usually everybody’s there every week. That’s how we learn so many new songs all the time, originals and covers. The process never really stops.
CB: The video for “The Hand of Man” and the Music For the Mountains benefit compilation have gotten the band and the cause of stopping mountaintop removal mining a lot of attention. Do you have more plans related to that or another cause in the works?
MM: Assuming the new location of the Southgate House is up and running by then, I’d like to do another multi-artist “Music for the Mountains” benefit concert in the fall. I don’t have the energy for another compilation album right now, but maybe down the road. The bad guys don’t sleep, you know, and neither can we. It’s just my little thing that I feel like I can do to help the folks that fight it day in, day out.
CB: Why was it important to you to become involved with the mountaintop mining campaign? Did the success the music had on getting the cause more attention give you a new perspective of the power of music?
MM: It just hit me as wrong on every conceivable level. It’s environmentally wrong, horribly short-sighted, and what it’s done to the residents of those areas is nothing short of criminal. It amazes me how well the coal companies have been able to use their corporate, political and financial muscle to hide it or dance around it for so long.
I do generally find, though, that once people become aware of what’s happening, either through a book or a speaker or a song, that they want it to stop, and that’s encouraging.
CB: The way people make and share and listen to music has changed a ton since your days with (Utley's late ’80s AltRock band) Stop the Car. Do you think Stop the Car would have been able to take things further if they had the resources you have now?
MU: Yeah, I do. For a couple of years there, at least, I would’ve put (Stop the Car) up against anybody, but we were so isolated back then, living in southern Indiana. It felt like we were playing in a vacuum. The kind of connections that the internet made possible were unheard of back then. I’m very thankful to have them now.
CB: When did you start listening to roots and Americana music, and start becoming a serious fan?
It was incremental. My dad listened to what you’d now call classic Country when I was growing up, but I couldn’t change the station quick enough. I’ve always been one to seek out the heroes of my heroes, though, and through bands like X, I started digging through older American Country and folk music. Hank Williams hooked me immediately. Woody Guthrie. Lead Belly. The Carter Family. You go deeper and deeper and deeper. It just never stops.
CB: What do you make of the (for lack of a better word) "trend" of a lot of musicians who would have fronted Punk Rock or Metal bands 10 years ago turning instead to Folk and Roots music these days? What do you think the draw is, particular to our times? Or do you think it's because kids are exposed to so many different styles nowadays?
MU: Well, they say that religion is the last refuge of a scoundrel, but perhaps it’s really Country music.
I don’t know, really, other than the fact that people can sense the authenticity of some of this music and perhaps they want to discover it more deeply, or co-opt it to their own ends, or try it on like a new suit of clothes. Whatever it is, and however the trends cycle in and out, I think people can tell who plays these kinds of music because it’s part of them and who’s just trying on the suit.
CB: Along those same lines, what do you think it is about American roots music that has given it such a fervent fan base overseas?That cult following for Americana in Europe and elsewhere seems to have been going strong for a long time now. I'm sure you've probably had more than a few nice reviews from the "foreign press."
MU: Europeans have always had an insatiable appetite for American musical forms. The British Invasion was nothing but them taking our music, making it their own and shooting it back at us.
Again, there’s the attraction of a sense of an authenticity, of something foreign and exotic, of times and places and people either long gone or vanishing inexorably. Our world is getting more and more controlled, more homogenized, more corporate, soulless and these Roots music forms are the antithesis of that.
CB: What's next up for the group? Is touring a possibility? Have you done radio campaigns and things like that in the past? Shopped music for licensing?
MU: We recently signed with a digital label from down south called This is American Music (TIAM). They’ll be handling the digital sales for all three of our records and we’ve contracted them to do promotion for Town and Country, as well. So we’ll finally have someone to take what we do and try and get it in front of people, which we’ve never had before.
We’re also working with a booking agent out of Nashville who’s setting up some tour dates for us, and we’ll be doing some trade off gigs with some of the other TIAM bands. It’s difficult with the size of our group, but we’re going to go out on the road as much as we can. I’m also doing more stripped-down gigs with Renee and Jeff as a trio, and we’re looking at touring with that configuration as well.
Music Tonight: The Mad Hatter in Covington this evening hosts a full lineup showcasing the new breed of "Power Pop" — young bands evolving from so-called "Pop Punk," embracing classic Pop/Rock songwriting and developing a sound that is potentially more timeless. Georgian band Cartel headlines, as they gear up for a new EP release (due next month) that will serve as the band's first since 2009's hook-feast, Cycles, which showed clear progress in songwriting and execution. Tonight's Mad Hatter show (the kick-off date on the band's brief Midwestern tour) begins at 6 p.m. and tickets are $15. The Upset Victory, Action Item, Don't Wait Up, 21st Streamline and The Getaway warm things up.
When the phrase “guitar hero” gets tossed around, it’s naturally in reference to some of the greatest six string figures in Rock history. But if there is a subset of that hallowed group — guitar heroes in waiting, as it were — then Natalie Wells surely deserves to be included on that hopefully short waitlist.
The Independence, Ky., native is quickly becoming one of the Greater Cincinnati area’s most powerful live forces with a guitar presence that stands shoulder to shoulder with some of the giants of Rock. A teenage student of the Blues, Wells felt an affinity for first generation masters like Skip James and Mississippi John Hurt and next gen ’60s acolytes like Johnny Winter, Big Brother’s Sam Andrews and James Gurley, Jimmy Page, Jimi Hendrix, Rory Gallagher and a host of others. Wells’ brilliance in her own guitar pursuits has been in her supernatural ability to absorb a rainbow of Blues and Rock influences and translate them through her own unique interpretive gifts. As she showed on her largely original debut, Mind the Gap, she may have learned from the greats but she’s much more interested in running the guitar flag a little farther up Rock & Roll Hill.
On her new mini-album, Live from Earth, Wells and her chugging rhythm section (bassist Curt Hall and drummer/vocalist Michael Hodges) offer up an all-cover set that simultaneously proves how much she loves her influences and demonstrates her translational power.
Live From Earth’s seven tracks represent just four factions of Wells’ estimable influences and they’re more than tangentially connected; Buddy Guy is one of the primary links between the old acoustic and new electric school of Blues, while Led Zeppelin, Jimi Hendrix and Robin Trower represent those who most effectively reimagined the Blues in a Rock context. Wells injects swinging new life into Led Zep chestnuts “Heartbreaker/Living Loving Maid” and “What Is and What Should Never Be” while distilling Hendrix’s complex chemistry to a simpler but still impressive formula with her takes on “Stone Free/Third Stone From the Sun” and his avowed classic “Voodoo Chile.”
Wells finds the heart of Guy’s gentle “My Love is Real” and the soul of Trower’s blistering “Day of the Eagle,” all delivered with her fluidly original guitar stylings and a voice that is part husky Blues shouter, part Cher Pop powerhouse. Wells may still has a few minor vocal timing issues to fine tune, but Live on Earth is solid evidence that her guitar chops are cooked to perfection and ready to serve to a wider audience.
At this point, Natalie Wells’ guitar does not gently weep; it cries a bucket of tears, screams with passionate abandon, howls like a steroid-amped wolf and demands to be heard.
Music Tonight: When CityBeat contributing writer Gregory Gaston was in New Orleans earlier this summer, while roaming around the city, he happened to overhear some people talking about how AltCountry/Roots Rock forefather and current Americana music adventurer and Renaissance man Steve Earle had been murdered. Greg was stunned — not only is he a fan of Earle’s music, he was also due to interview the singer/songwriter in advance of his concert tonight at Oakley’s 20th Century Theater. As Greg writes in his article on Earle for last week’s CityBeat, he was so taken aback that he approached the people who’d “reported” Earle’s unfortunate passing. Suffice to say, Earle’s not dead yet and will be performing in Cincy tonight with his band, The Dukes (and Duchesses). (The concert recently sold out, so good luck finding a spare ticket.) Earle’s character on the HBO series Treme won’t be making any public appearances anytime soon, though.
The summer music festival season is winding down, but area fans of Americana/Folk/Roots music of varying stripes have a big one to look forward to this weekend, as the fifth annual Whispering Beard Folk Festival returns to the Old Mill Campground in nearby Friendship, Ind., starting in just a few hours.
Founded in 2008, Whispering Beard has showcased both the old and new guard of Americana, mixing legends, contemporary favorites and lots of Greater Cincinnati area artists. This year is no exception; in fact, it may be the best lineup yet. Check the full rundown of performers below, as well as video clips from each day's headliners.
11:30 a.m. Easy Tom Eby
12:20 p.m. Red Cedards
1:10 p.m. Ben Knight
2 p.m. Arlo McKinley and the Lonesome Sound
2:50 p.m. Rattlesnakin' Daddies
3:45 Kentucky Struts
4:40 p.m. Sassy Molasses
5:35 p.m. Al Scorch
6:30 p.m. Frontier Folk Nebraska
7:30 p.m. Charlie Parr
8:30 p.m. Pokey LaFarge and the South City 3
9:30 p.m. Whiskey Bent Valley Boys
10:30 p.m. Langhorne Slim
11:30 a.m. Jive Creek Ramblers
12:20 p.m. Billy Catfish
1:10 p.m. Terminal Union
2 p.m. My Brother the Bear
2:50 p.m. Shiny & the Spoon
3:45 p.m. Jeremy Pinnell & the 55s
4:40 p.m. Josh Eagle and the Harvest City
5:35 p.m. Henhouse Prowlers
6:30 p.m. Bloodroots Barter
7:25 p.m. Chicago Farmer
8:20 p.m. Caitlin Rose
9:20 p.m. The Tillers
10:20 p.m. Justin Townes Earle
11 a.m. Rabbit Hash String Band
11:50 a.m. The Blue Rock Boys
12:40 p.m. Mt. Pleasant String Band
1:30 p.m. Ma Crow and the Lady Slippers
2:25 p.m. Uncle Mike Carr
3:20 p.m. Magnolia Mountain
4:20 p.m. Ramblin' Jack Elliott (check out CityBeat's interview with the Folk legend here)
Weekend passes are $70 (it’s $40 for just Friday and Saturday and $20 for just Sunday). All-weekend on-site camping costs $40 or you can camp off-site for free (while spaces last).
Old Mill Campground is about an hour west of downtown Cincinnati. Here's a map from Fountain Square to Friendship.
View Larger Map
For complete info on this year’s Whispering Beard Folk Festival, visit www.whisperingbeard.com.
Music Tonight: Swedish producer/DJ Avicii comes to Covington for a show at the Madison Theater. Avicii (born Tim Bergling and also known as Tim Berg) took the modern-age promo route, earning widespread praise on dance music blogs with his crafty House sound. He broke through initially with the track "Bromance"; a version with vocals called "Seek Bromance" became a huge international dance smash, particularly across Europe. DJ Tony Desaro opens tonight's 9 p.m. show. Tickets are $40 at the door. Below check out "Seek Bromance" and the more recent "Fade into Darkness."
After the tumultuous revolution of The White Stripes, the twisted Pop/Rock convention of The Raconteurs and the Blues/Indie Rock gene splice of Dead Weather, there was nothing left for Jack White to do but to hang his own name on the marquee and go the solo route. There is an argument to be made that every White project is an extension of his musical persona regardless of the personnel he surrounds himself with or what he calls it; even the album's he produces bear his distinctive mark. At the same time, it’s also true White uses his shifting musical guises to offer a prismatic glimpse into the unique facets of his creative psyche, each one cut from the same bolt of cloth but patterned into something subtly but noticeably different.
White’s debut solo album, Blunderbuss, follows that logic line in much the same way. He explores and expands upon many of the genre variations that have defined his catalog to date in the service of imploding love songs that, at least on the surface, would seem to point toward his recent divorce as inspiration. In fact, the lack of actual drama surrounding that event indicates that White has written a song cycle about theoretical bad love rather than using pages out of his tear-stained journal for his muse.
Musically, Blunderbuss is a mixed bag of White’s best tricks; the Who-like guitar blast of “Sixteen Saltines,” the Prince-channels-the-Stooges Soul squall of “Freedom at 21” and the bluesy sugar swing of “I’m Shakin’.” But White also pushes his work down some interesting new paths as well, from the Americanapolitan Soul of “Love Interruption" (where White and singer Ruby Amanfu duet in a manner befitting Robert Plant and Alison Krauss) and the purer Country sway of the effecting title track to the Ray Davies-tinged dancehall Pop of “Hip (Eponymous) Poor Boy” and the loungey piano Pop of “Hypocritical Kiss.”
Blunderbuss is another prime example of Jack White’s impeccable track record as one of Indie Rock’s most reliable chameleons.
(Edited to correct White's duet partner on "Love Interruption")
MidPoint News and Updates: Are you ready for some MidPoint! The MPMF.12 kick-off celebration takes place TONIGHT. The pre-party is in The Hanke Building on Main Street in Over-the-Rhine. Entrance is down Michael Bany Way, just across from the 12th and Main streets intersection. The party starts at 6 p.m. with a set of “MPMF mash-ups” by local DJ Ice Cold Tony. Always amazing local rockers 500 Miles to Memphis perform at 9 p.m. The kick-off shindig is free and open to everyone of drinking age (even if you think MPMF is “killing teh scene!”). There will also be free Vitaminwater and Eli’s BBQ; one lucky attendee will also go home with free VIP tickets to see The Afghan Whigs’ New Year’s Eve concert at Bogart’s.
Here's an early classic from 500 Miles to get your psyched:
The MidPoint Music Festival countdown is down to just one day. Yup, starts tomorrow. Here are our daily MidPoint Music Festival 2012 picks …
Chain and The Gang (Washington, DC)
Dinosaur Jr. (playing Friday on the Grammer's/Dewey's Pizza stage) isn’t the only MPMF band that was influencing today’s music-makers beginning in the ’80s. Ian Svenonius made his name with influential DC bands Nation of Ulysses and The Make-Up, wiry Punk Gospel group that he led with the possessed, wild-eyed intensity of a Southern Baptist preacher gene spliced with James Brown and Iggy Pop. His presentation of the “Gospel Yeh-Yeh” in clubs worldwide proved his reputation as one of Indie Rock’s greatest frontmen, night in and night out. Svenonius’ religious experience may never die; whenever a project ends, he simply finds new parishioners to help him spread the gospel and carry on.
You'll Dig It If You Dig: Nation of Ulysses, The Make-Up, Weird War. (Mike Breen)
Chain and the Gang performs Saturday at midnight at MOTR Pub. Here's a video for the band's "Certain Kinds of Trash":
The Ridges (Athens, OH)
Orchestral Indie Folk
This Athens, Ohio-based Orchestral Indie Folk troupe has built a solid following in Cincinnati thanks to repeated show dates in town, including providing highlights at a few past MidPoint Music Festivals. So they're not exactly a "sleeper" (because I've seen them and they're great), not exactly a "Local Lock" (though their ties to Cincinnati run deep) and merely on the verge of being Big Shots. Regardless, you won't be disappointed should you add them to your MPMF.12 itinerary. The Ridges — who perform in different configurations, depending on which members are available (including string and horn players) — are currently prepping a full-length album (recorded here in Cincinnati), so fans may even get a few new songs
Dig: Soulful, acoustic Folk Rock that builds into emotive orchestral swells. (MB)
The Ridges perform at Know Theatre on the Biore Strip at 10:30 p.m. Thursday. Here's a special video the band made just for the occasion, shot on a rooftop in OTR:
LOCAL LOCK PICK
The Grey Academy (Cincinnati, OH)
Cincy singer/songwriter Josh Hill first came to attention with his band Ellison, which introduced the region to a songwriter with impeccable chops for someone so fresh to the local music scene. The band’s wonderfully crafted Pop/Rock started earning Hill attention both locally and beyond, but in the midst of it all, the songwriter began writing different, darker songs that reflected his changing listening habits, which veered into the still catchy yet less calculated sounds of bands like Bloc Party, Interpol and The Killers. Hill has shown that his skills weren’t limited to Ellison’s instantly hooky style; with The Grey Academy, he brings the same sensibilities to a less predictable, more moody brand of Rock.
Dig: Interpol, Smashing Pumpkins, Death Cab for Cutie. (MB)
The Grey Academy plays MidPoint Saturday, 8 p.m. at Main Event. Check out the band's "In Stride":
Click here for full MPMF details via the official MidPoint site.
The Van's Warped Tour might not be the most financially successful summer package tour of all time (the promoter and performers work together to keep an ego-free environment and low ticket prices), but it's hard to argue that it is not the most successful overall, especially in terms of longevity. Now in its 18th year, Kevin Lyman's eclectic traveling festival has outlived all of the roving music events that sprouted up around the same time (from Lollapalooza to Lilith Fair) by creating a "customer friendly" experience that's also very "artist friendly."
The tour's 2012 finale is this weekend in Portland, but before shutting things down for the summer, the fest makes its annual stop at Cincinnati's Riverbend today. Doors open at 11 a.m. and music kicks off shortly after. The show ends around 9 p.m. Tickets at the box office will cost ya $42 (about a dime a band, by my estimation).
Click here for more local show details, including info on how you can "Skip the Line" and walk right into the venue.
The set-times for each act are decided just prior to the gates opening; if you're going, look for the giant inflatable Warped logoed amp to see when your favorites are playing. I also highly recommend grabbing the official Warped Tour app.
Be sure to support our local music scene reps — The Few The Fallen, Heres To The Heroes and Let It Happen will play the Ernie Ball Stage. Check out Let It Happen's recent video for "Bridges" from the great release, It Hurts, But It's Worth It.
Here is who's playing where (via Riverbend's site). (Welsh rockers Lostprophets are also on the bill, though not listed on Riverbend's site; all info is subject to change.)
MAIN STAGE: Taking Back Sunday, All Time Low, New Found Glory, Streetlight Manifesto, Yellowcard, Piece The Veil, Four Year Strong, Of Mice and Men, We The Kings, Breathe Carolina, Miss May I, Falling In Reverse, Blood On The Dance
TBD STAGE: Every Time I Die, Mayday Parade, blessthefall, Chelsea Grin, For Today, Memphis May Fire, Motionless In White, Rise To Remain, Sleeping With Sirens, The Ghost Inside, Vampires Everywhere!, Title Fight
TILLY’S STAGE: Senses Fail, Vanna, Polar Bear Club, We Are The Crowd, Man Overboard, A Loss For Words, Funeral Party, I Fight Dragons, Machine Gun Kelly, Oh No Fiasco
TBD STAGE: Echo Movement, G-Eazy, Stepdad, The Constellations, Ballyhoo!, Champagne, T. Mills, Tomorrows Bad Seeds, Mod Sun, The Green, Amyst
ERNIE BALL STAGE: iwrestledabearonce, Born Of Osiris, Chunk! No Captain, Fireworks, Transit, Cold Forty Three, The Scissors, The Few The Fallen, Here's To The Heroes and Let It Happen.
KEVIN SAYS STAGE: Make Do And Mend, Matt Toka, Tonight Alive, Skip The Foreplay, Sick of Sarah, Mighty Mongo, Captain Capa, I Call Fives, Hostage Calm, The Silver Comet, Twin Atlantic, The Darlings, Dead Sara
ACOUSTIC BASEMENT: A Loss For Words, Koji, Brian Marquis, Rocky Votolato, Transit Owen Plant, Anthony Raneri