MidPoint Music Festival headliners Cut Copy yesterday dropped a new video, "Blink and You'll Miss a Revolution," from the band's recently released full-length Zonoscope. The clip uses Planet of the Apes-esque dudes in a way that's both amusing and crafty — way better than most of the videos MTV used to play back when it was a music channel. And it's a nice primer for the Aussies stop here next week.
Oh, and here's what I wrote when Zonoscope was released back in March — notice the bit about them not touring here:
"Not as dancey as the the first two CC records, Zonoscope is a spacier, more laid-back grower that reveals frontguy Dan Whitford's lyrical acumen (the big beats and thick synths used to push his words to the background). I'm curious to hear how this sounds live. Unfortunately, CC's current tour does not feature a Cincy stop — though the band is slated to play the Pitchfork Music Festival July 17 in Chicago. Road trip!"
If you're craving some solid live music, it's a surprisingly busy Monday night in the area clubs. Besides the always entertaining Insane Clown Posse's return to Bogart's tonight, here are a few other offerings:
• Los Angeles-based The Lonely Wild plays a free show tonight at MOTR Pub in Over-the-Rhine. Showtime is 10 p.m.
The Indie Folk ensemble formed just three short years ago, quickly becoming a favorite on the L.A. club circuit. The group's momentum has only increased since; the Wild's recently released debut full-length, The Sun As It Comes, has been garnering strong reviews and national radio's embrace of it gets stronger by the day. The band is also known for its entertaining, energized live show, which is helping The Lonely Wild grow its fan base rapidly on its current cross-country headlining tour. Read CityBeat's preview of tonight's show here.
Have a listen to The Sun As It Comes in full:
And here is The Lonely Wild performing live in L.A. late last year:
• It's an "Up-and-coming Indie Folk band" kind of night in Cincy this evening, as The Comet in Northside welcomes Denver crew Paper Bird. Austin, Texas-based Indie folkers Dana Falconberry open at 10 p.m.
With an exuberant, modern mesh of Roots and Americana, Paper Bird recently released its fourth LP, Rooms, the follow-up to its 2011 score for a collaboration with the Ballet Nouveau Colorado called Carry On. The seven-piece band's compelling sound has gotten Paper Bird featured on NPR's All Things Considered and in a New York Times piece earlier this year about Denver's blossoming music scene (which includes breakthrough, Grammy-nominated Folk Pop act The Lumineers, a tour mate of Paper Bird's).
Here's the music video for "As I Am," the first single off of Paper Bird's Rooms:
• Justin Furstenfeld, known for his emotional, honest songwriting in the band Blue October, brings his solo tour — dubbed "Open Book: An Evening with Justin Furstenfeld" — to Oakley's 20th Century Theatre tonight for an 8 p.m. show. Tickets are $25 at the door. Texas Indie Pop singer/songwriter Ashleigh Stone opens.
Furstenfeld's bipolar disorder has resulted in some highly open-hearted, sometimes excruciatingly bleak songs, something documented in his book, Crazy Making, detailing the origins of each Blue October song in words and music. The Open Book tour features Furstenfeld performing acoustically and talking about his songs (don't fear a total gloom fest; the singer/songwriter also has a sharp sense of humor). Check out CityBeat's preview of tonight's show here.
Here is Furstenfeld performing live at the Open Book tour's stop in Santa Ana, Calif., from early April:
Click here for even more live show in Greater Cincinnati tonight.
The first night of MidPoint is like a lot of firsts; first date, first kiss, first sex, first beer, first rectal exam by a hot proctologist. Hey, you have your firsts, I have mine. Anyway, MidPoint Thursday is always a magical time of reconnecting with old friends, making a few new ones along the way and experiencing an almost breathtaking amount of incredible music of every conceivable variety. 2014's version of that particular passion play lived up to and exceeded every expectation.
First up was a trip to the MidPoint Midway to witness the return of the mighty Pike 27. The band's late '90s/early '00s run included at least one EP and a great full-length in Falling Down Hard, but frontman Dave Purcell's shift into academia on the teaching side signaled the band's demise. Although Purcell's professorship at Kent State precluded him from actual band activities, he never stopped writing songs, and when he fortuitously returned to Cincinnati last year, he had an ass-pocket full of new material that suggested new horizons and possibilities. Purcell and original bassist Sean Rhiney (veteran and current member of any number of high profile bands and the co-founder of our MidPoint feast) resurrected Pike 27 with guitarist/local hero Mike Fair and drummer-and-more Dave Killen.
This new iteration of Pike 27 is a powerhouse of scorching guitar, earthmoving bass and jackhammer drumming, and while there are vestiges of the band's Roots Rock history, everyone's balls are definitely within the vicinity of some wall or other and medal is being pedalled with controlled abandon. Start to stop, Pike 27 careened from song to song with the visceral intensity of The Old 97s and dashes of Alejandro Escovedo and Grant Lee Buffalo at their delicately nuanced and head-kicked obvious best. This seems to be a fertile period for long dormant bands to renew themselves and that can always be a problematic situation, but Pike 27 is clear evidence that having the right motivation to return can evolve into a stunning and most welcomed result.
On the heels of Pike 27's energetic and fabulous opening set at the Midway came the return of our beloved Black Owls, a well-documented force of nature in their own right. Pre-show, frontman David Butler promised that the Owls' set would be populated with nothing but new material with very few exceptions, and he was good to his word. Other than their recently installed cover of Harry Nilsson's "Jump Into the Fire" and set closer "Glorious in Black," from their 2010 sophomore album June '71, the oldest songs in the Owls' incendiary set were "Rook" and "Gasoline," the two songs from their most recent single. Everything else that followed an invocation from the inimitable King Slice was brand new and largely untested Owls material, perhaps all of which will be taken into Ultrasuede at the end of November in anticipation of a new album. It made for a set that crackled with energy and a certain ramshackle giddiness as the band roared through material that hasn't quite solidified. Butler is quick to credit the rise of guitarist Brandon Losacker's songwriting profile as the reason for the Black Owls' straightforward Rock shift and sudden prolific streak, but I'd be just as quick to point out the gelling of new (and perpetually fabulous) bassist Kip Roe, the malleable thunder of drummer Brian Kitzmiller and the continually developing chemical bond between Butler and longtime musical cohort Ed Shuttleworth as equal parts of the Owls' new equation. The band is clearly having an absolute blast with the new songs, and their joy is translating to performances that are pegging the needle past the insane levels the Owls had already established. Cincinnati's Black Owls, as Butler likes to refer to the band, is in the midst of a fertile and potentially explosive period of evolution.
After the Owls' incendiary set, it was a quick stroll over to the Know Theatre to catch the last half of the set from Cincinnati’s Darlene. The trio was firing on all badass cylinders to be sure, blasting out sheets of guitar squall with plenty of melodic counterpoint. A tweet from someone at the show asked the musical question, "Is Darlene the new Sonic Youth?" The answer provided by perpetual smartest-guy-I-know Matthew Fenton was a logical and correct "No." Darlene is a blistering Rock band, and guitarist Janey O'Laney is always teetering on the brink of a shred-fueled fit, with bassist Cuddly D (the infinitely busy Dana Hamblen) and drummer Robby D providing the slinky yet sturdy undercarriage. But the fact is that the trio, at its heart, is a melodic Pop unit. They probably hew closer to Yo La Tengo in their ability to go from pretty to visceral in a half a heartbeat, but Darlene isn't the new anything; they are Darlene, and that's an astonishing accomplishment. Besides, as Matthew rightly pointed out, Darlene may be the best-dressed band on any given night anywhere. Sonic Youth were never known for their sartorial splendor. So there.
After Darlene, it was time to cruise on down to Mr. Pitiful's to check out Steelism, an instrumental quartet from Nashville. If guitar, bass, drums, pedal steel and no vocals sounds like a crashing bore, you'd be half right. There was plenty of crashing; cymbals, sounds and gates, as a human stampede of MidPoint patrons made their way into Mr. Pitiful's to sample Steelism's wares. I know from experience that if a relative unknown doesn't grab a festival crowd in the first couple of songs, the crowd in question will leave fast enough to create a head-exploding vacuum in the area. If anyone left during Steelism's mind-melting set, they were more than offset by the several dozen who drifted in after the start.
Steelism is comprised of British pedal steeler Spencer Cullum Jr., Ohio guitarist Jeremy Fetzer, and a bassist and drummer whose introductions were lost in a crowd frenzy and a muffled mic (well, they weren't mixing for vocals, now were they?), who threw down a mighty and wordless racket, unless you count Cullum's talkbox vocals on the band's spin through The Beatles' "Something." You could call Steelism Surfabilly/Soulicana/Spaghetti Southern or you could just call it bloody good music; after running through a handful of originals from their new full length, 615 to Fame, and their cracking good 7-inch, The Intoxicating Sounds of Pedal Steel and Guitar, and covers of classics by The Ventures and Booker T. and the MGs, Steelism had the packed house at Mr. Pitiful's in the palm of their sweaty hands. At one point, Cullum indicated that the band was going to slow things down, and then offered the crowd a choice between a gentler vibe or "plowing on through." The overwhelming vote was for the latter, with Cullum noting, "No sensitive people here tonight." He certainly got a taste of what plowing through will get you in Cincinnati. Steelism finished up with a roaring take on the James Bond theme, which nearly pushed the frenzied multitude into religious conversion. I don't know what that church would be called, but they wouldn't have a choir; no words necessary when Steelism kicks open the doors of the sanctuary.
Then it was a quick jaunt down to The Drinkery to witness the Motor City madness of Flint Eastwood, a quartet of musical insaniacs from my home state to the north. In the studio, Flint Eastwood exhibits a certain heavy fisted subtlety that is charming and dancable in a visceral way. All of the relative nuance that is present on the band's EP, Late Nights in Bolo Ties, is tossed onto a bed of nails and jumped on until it experiences head-to-toe acupuncture in its live presentation. On stage, Flint Eastwood buries every needle in the red, thrashes about like lunatics after a napalm shower and entertains their audience at metaphorical knife point. Frontwoman Jax Anderson cajoled the crowd at The Drinkery to get involved in the show and when she got what she felt was a half-hearted response, she shrieked, "Nobody's too cool to have fun!" and put us through our paces like a Marine drill instructor on meth. She had us shouting then whispering "na na na"s, got us kneeling on The Drinkery's dance floor and then lifted us up like a demented preacher speaking in Rock & Roll tongues. All the while, the band was grinding out a gritty groove that sounded (and resembled) a full arena assault by the Red Hot Chili Peppers. It was draining and glorious and probably just another full-throttle 20-mile Rock & Roll hike for Flint Eastwood; it's pretty obvious these guys have one gear and it's "hellbent for bent hell." That's the Detroit method, bitches. Get used to it, get over it, get on it.
I reluctantly ducked out of Flint Eastwood's last two songs to hotfoot it down to MOTR for the remainder of Nikki Lane's set. Lane is a Country shitkicker with a decidedly different take on the genre, opting for a certain songwriting traditionalism while soundtracking it with a band that sparks and smokes with Roots Rock intensity and abandon and adopting a persona that suggests Wanda Jackson's pot-smoking, foul-mouthed twat of a granddaughter. Lane and the Thunder (she admitted the jury was still out on the name) roared through their MOTR set with equal parts ferocity and humor, as Lane used the space between songs to candidly muse about the intention of each one. "This is a love song," she noted appropriately prior to "Want My Heart Back," extending the title to, "I want my fucking heart back," and later opened "Sleep with a Stranger" with "This is a song about tonight, when you'll sleep with someone you don't know." Later, she dropped this indelicate observation: "This one's about my best friend. Sometimes she's a cunt, and I don't like that word, but she is. And when you're a cunt and your best friend is a songwriter, well, you get the short end of the stick."
Taylor Swift has written a lot of songs about the people in her life and I'm guessing she hasn't gotten around to any of her cunt friends yet.
Towards the end of her blistering and profanely hilarious set, Lane said, "We've got a couple more, then we'll pretend to go away, and come back for a couple more." She loves her covers as well; she hauled out a great take on The Byrds' "You Ain't Goin' Nowhere," a loping yet intense version of Waylon Jennings' "Waymore Blues," and finished her encore with a blazing spin through a Tom Petty cover, not an old catalog chestnut but "Saving Grace" from the new album, a song that blends Petty's classicism with his well-earned experience. Lane clearly identifies with that stance, as she channels all of her Country influences through a blazing Rock filter, creating a sound that identifies with the past but erupts with white hot emotion in the here and now.
• To begin, a clarification for anyone who may attempt to buy me a brewski during MidPoint: For largely legal reasons, the Beer Buying Hall of Foam has been forced into a strike shortened year in 2014. I salute all who have so generously provided the nectar of the gods to a poverty stricken scribe on an annual basis and I promise that the commissioner will reinstate all practices and records next year, but for now, the Hall is strangely dark and quiet.
• In stark contrast to the Midway, which was lit up like a Kansas City whorehouse. Not that there were whores, but lots of lights. Boy, writing was easier with the Hall of Foam open. At any rate, within moments of arrival, I crossed paths with singer/songwriter par excellence Mark Utley and pianist to the stars Ricky Nye, who is in the throes of planning the upcoming Blues & Boogie Piano Summit, coming to the Southgate House Revival on November 7 and 8. After a quick chat, I headed to Mr. Hanton's for a heartstopping dog (not for health reasons but because it's so good … man, 2015 can't get here fast enough), choosing the Smokin' Hot Chick; my bill was cheerfully picked up by the always incredible Wes Pence of The Ready Stance, who joined me with a Smokehouse of his own. Can a Hot Dog Buying Hall of Fame be far behind?
• From there, the Midway was a blur of humanity. CityBeat photographer and local music denizen Jesse Fox took a shot of me and Class X Radio host/local music aficionado/empresario Eddy Mullet, which apparently didn't damage her equipment in any significant way. In sort order, I was greeted by King Slice, his pal Justin, the always ebullient and sometimes menacing Venomous Valdez, the entire Broadway cast of the Black Owls, Paul Roberts, Big Jim and Stu (sans his I'm Stu hat, apparently confident in my recognition skills at this juncture), and Jet Lab guitarist Nick Barrows and his wife Robin. At some point in the Midway proceedings, I spotted the elusive and long-absent Matthew Fenton, along with Eric Appleby and Tricia Suit, motoring out of the Midway zone. They were gone before I could track them down (they must have see me coming, damn them), but when I mentioned the sighting to Nick, he said they were headed to the Chromeo set and would be back for the Black Owls.
• In the meantime, Owls guitarist Brandon Losacker took a mob of us (Owls frontman David Butler, Venomous, Slice, Justin and myself) to see his new conversion van, a behemoth from a bygone era. Cooler in the console, heated/cooled cupholders, TV, retractable bed, wood grain dash panel and a hundred other crazy features that makes it essentially a Swiss Army van. Incredible doesn't begin to describe it.
• Back at the Midway — a brilliant set up that, as the astute and ever fabulous Venomous Valdez noted, will have to undergo some changes next year with the advent of the rapidly progressing streetcar system — Sean Rhiney, Dave Purcell and Dave's wife Amy were hanging around to watch the Black Owls tear shit up. My Class X compatriot Eddy was back to witness the Owls' splendor, and at some point in the proceedings, my boss Mike Breen appeared like a magician's assistant. Breen sightings at MidPoint are like spotting nearly extinct species in the wild, so it's always great to know that he's an actual warm human being and not some weird holographic editorbot. (Editor’s note: I am both.)
• Over at the Darlene show, I caught up with the always effusive and entertaining Mr. Fenton, along with Eric and Tricia. They were planning a trip down to the Taft to catch the Ghost Wolves and Barrence Whitfield and the Savages, both of which I dearly wanted to see but my recently bum left leg, the long walk and the chance that the St. Paul and the Broken Bones show would sell out the venue kept me from tagging along. On the way to Steelism, three guys on the sidewalk ahead of me confirmed that the show had gone clean and there was little chance of entry. The gimp makes a good decision every now and again.
• Also at the Darlene show was Leyla Shokoohe, former CityBeat intern, current CityBeat freelancer and now Marketing Manager for the Cincinnati Symphony & Pops Orchestra. You couldn't script a lovelier or more personable human being than Leyla, and yet she is savvy beyond her lack of calendars. She's a marvel and the CSO should count themselves lucky to be the recipient of her passion and skill.
• Over at Steelism, I ran into fellow scribes Steve Rosen and Chris Varias. I've known Steve for quite awhile through CityBeat and we've talked music at many a holiday party/CityBeat event, and I've read Chris' excellent work in The Enquirer for many years but had never had the pleasure of meeting him until Steve's introduction at Mr. Pitiful's. I had interviewed Matthew and Eleanor Freidberger for a Fiery Furnaces story several years back and when they found out I was in Cincinnati, they asked if I knew Chris, which I did simply by reputation. It turned out that they had grown up together in a Chicago suburb. An unpaintable small world, indeed.
• Paul Roberts was digging the confrontational magnificence and sonic head blast of Flint Eastwood; he stuck around for the end, while I headed to the Nikki Lane gig, where Big Jim and Stu were ensconced at the bar. Paul was right behind as soon as Flint Eastwood dismissed him for the evening. Head CityBeat honcho and perpetual suds buyer Dan Bockrath had bought me an invisible beer at Steelism, which I downed with dry gusto, but he showed up at Nikki Lane and put a real tonic water and lime in my hand, which was much appreciated. I could pretend there was gin in there, and that somehow made everything okay.
• As we left MOTR, Sir Bockrath and squire Dan McCabe, the architect of our annual MidPoint joy, were out front and the boss upbraided me with a casual, "You'll have your blog copy in by 7 a.m., right?" Yeah, let's say that, I answered, muttering to Paul and Stu, it'll be 7 a.m. somewhere. The lateness of this posting will tell you that deadline came and went and came and went again. I have a theory that I'm better at writing when I'm slightly hungover because I just want to get it done so I can take an aspirin and lay down. Not happening this year. I guess I could still take the aspirin, for old times sake.
Even though MidPoint it over, I still feel like you might be able to play this on a normal OTR/Downtown night out ... with booze. Or just keep it until MPMF 2014. Or just laugh at it because this shit is entertaining.
Download a PDF of the card from her tumblr page.
On June 4, two Cincinnati-born bands were featured on two different late-night network television shows. Rock foursome Buffalo Killers, promoting their excellent new album, Heavy Reverie, appeared on NBC’s Last Call with Carson Daly in a pre-recorded interview package sprinkled with some cool performance footage. It was the band’s network television debut.
Earlier that same night, one of Cincinnati’s most renowned musical exports, The Afghan Whigs, played on The Late Show with David Letterman. The band — which is coming home to headline this year’s MidPoint Music Festival — played a great version of their tune “Matamoros” from the recent Do to the Beast album, their first new LP in 16 years.
On their most recent tour, excellent Northern Kentucky Indie Rock band The Yugos stopped by Toledo, Ohio’s SixtyTen Recording Studio to record its latest single, “Follow You,” as part of the facility’s “SixtyTen Sessions” video series.
The studio version of the single, released earlier this summer, can be streamed/downloaded here.
One week from the day, The Yugos will be opening up MidPoint Music Festival’s Friday festivities. The band plays at 5 p.m. Friday on the MidPoint Midway stage, right before another of the fest’s most anticipated acts, Real Estate, performs. The Midway stage is free and open to the public (no tickets/passes required), thanks to stage sponsor P&G. It’s also an all-ages show.
I love music festivals. Like, love. The crowds, the music, the excitement in the air. MidPoint Music Festival is special for all of these reasons, but also because it’s essentially in my backyard. I don’t have to find a hotel, or crash on a friend of a friend of a friend’s couch (see: Lollapalooza 2011) or worry about parking (see: no car) or getting lost (see: backyard). I can wander around the streets of Over the Rhine and downtown Cincinnati with lots of other like-minded people, basking in the glow emanating from each venue, where musicians and fans are creating those magical, collaborative moments I love.
All throughout MPMF.11, local promo group will be hosting several area performers for daytime "Ultrasessions" at Ultrasuede Studio. And you can watch them from the comfort of your cubicle/couch/bed as they happen! Click below for the schedule and UStream portal. Hurry — The Chocolate Horse start at 1 p.m.!
Thanks to an assist from sponsor P&G, one of the more anticipated MidPoint Music Festival performances this year will be a special free “happy hour” concert.
Brooklyn Indie Rock group Real Estate will perform on the Midway stage the Friday of the fest (Sept. 26) at 6 p.m. Cincinnati faves The Yugos will kick the special event off at 5 p.m., with Arkansas’ Knox Hamilton, Nashville’s Colony House and others playing after Real Estate.
The MidPoint Midway is the hub of various activities that runs along a blocked off portion of 12th Street in Over-the-Rhine (between Walnut and Vine streets). The strip has featured the popular “Box Truck Carnival” (the ArtWorks-helmed project will be replaced with a new project this year) and will again have lots of food and other cool/fun vendors.
The Midway’s stage is free and open to music fans of all ages. On Thursday, Sept. 25, the outdoor stage will feature excellent local acts Automagik, Black Owls and Pike 27, plus Columbus, Ohio’s Indigo Wild. On Saturday, Sept. 27, the stage will host Cincinnati’s The Ready Stance, as well as Bailiff, Alex G, Low Cut Connie and Magnolia Sons.
Music on the MidPoint Midway begins at 5 p.m. Sept. 25-26, and 6 p.m. on Sept. 27.
For those who want to catch more than just the freebies, MPMF tickets are available here. The three-day, all-music-access passes are currently just $69; the price goes up to $79 after Sept. 1.
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.