EdenSong, the long-running summer concert series presented by the Queen City Balladeers, kicks off this Friday in Eden Park, but not in its usual outdoor spot at the Seasongood Pavilion.
For the 2013 series, EdenSong is moving just up the hill and indoors — inside the Cincinnati Art Museum, to be exact. The series — now dubbed ArtSong — runs every Friday through Aug. 2 and, as usual, features an excellent collection of primarily local Americana/Roots music performers.
The concerts will take place in the museum’s Fath Auditorium. Seating is more limited, so organizers advise arriving earlier than the 8 p.m. start time. Attendees are asked to enter the museum’s Dewitt entrance on the side of the building, in lieu of using the front doors.
The EdenSong concerts remain free (donations are, of course, welcome) and there is free parking on the museum grounds. This Friday's opening concert features the impressive lineup of Shiny & the Spoon, Ma Crow & the Lady Slippers, Lisa Biales, Anachrorhythms and Bob Kotz.
For the July 19 show, you can catch Ricky Nye, Wild Carrot & the Roots Band, Jim’s Red Pants, Steve Bonafel & One Iota and Ellie Fabe. The lineup for July 26 features Anna & Milovan, Red Cedars, Silver Arm, Greg Schaber and Calamity Rain. And for the Aug. 2 closer, you'll be able to see/hear The Rattlesnakin' Daddies, Bromwell-Diehl Band, the Hertz Brothers, Ann & Phil Case and John Ford.
For more info, visit queencityballadeers.org.
It goes without saying that Paul McCartney flat out slayed 'em on Bonnaroo's What Stage last night. Snagging Sir Paul as a main stage headliner is possibly the biggest coup in Bonnaroo's 12-year history. To no one's great surprise, McCartney dished out sheer unfettered joy to the thousands via a masterful marathon performance that featured onw heart-warming soul-sending classic after another. You can be sure that his eyes have beheld many wonders over the course of a 50+ year career that is unrivaled and unparalleled in every way imaginable. But even McCartney himself could not disguise his expression of awe and disbelief at the size and deafening enthusiasm of the Bonnaroo crowd.
Today and tomorrow, I'll focus on the smaller stages to catch up close and personal performances by JEFF The Brotherhood, The Revivalists, and Alex Ebert of Edward Sharpe and the Magnetic Zeros. Already today I've seen the Futurebirds destroy the Sonic Stage with their peculiar powerhouse hybrid of Indie Country.
Sir Paul's son James McCartney drew a respectful and curious crowd to the On Tap Lounge for his early afternoon solo acoustic performance. Sadly, the booming bass reverberating from the larger stages all but drowned out his gentle folk pop purr. If you could huddle up close enough to the stage, he sounded pretty good. But the son of a Beatle deserves better accommodations.
Incredibly impressive young AltRock trio PUBLIC is celebrating the one-year anniversary of its first release, the four-track EP Red, today. In honor of the occasion, the band — one of the “Best New Artist” nominees at the most recent Cincinnati Entertainment Awards — is offering Red as a free download.
Those interested in grabbing all four tracks without paying the usual $5 will have today only to nab it at publictheband.com.
PUBLIC is currently readying a new single, “Honeybee,” which will drop in conjunction with the group’s appearance at the Bunbury Music Festival on the fest’s opening night, July 12.
Give the EP a listen below then go grab your very own copy.
Louis Langrée is well aware of the Cincinnati Symphony Orchestra's rich history. The CSO's freshly minted music director also knows part of that history includes the nurturing of contemporary composers and their often unconventional works.
Enter MusicNOW, Bryce Dessner's 9-year-old festival of adventurous sounds. (Read our conversation with Dessner here.) This year's sonic extravaganza includes the CSO's take on new pieces by such esteemed composers as Nico Muhly and David Lang, as well as the title work from Dessner's new Classical album, St. Carolyn by the Sea.
CityBeat recently connected with the genial Langrée — who spoke in self-described "primitive" English by phone from Paris — to discuss the CSO's collaboration with MusicNOW.
CityBeat: Before we get into MusicNOW, I'm curious about your initial impressions of the Cincinnati Symphony Orchestra. Why were you interested in coming on as music director?
Louis Langrée: The fame the orchestra is really big. Everybody knows it's a major orchestra. But then making music with them was a completely different experience because, yes, they have the qualities of all major American orchestras — precision, clarity of the attack of the situation. But they have also from their heritage, in their DNA, this German conception of sound, that you build the sound from the base of the harmony. That means the density of the sound is something absolutely remarkable, and that's rare in the United States. I think it has to do with the tradition, the roots, of this orchestra and also, of course, about the quality and the spirit of the musicians, which is really wonderful.
CB: Why were you interested in collaborating with MusicNOW and taking on a festival of contemporary music?
LL: One of the strengths of the orchestra is to have supported and commissioned and performed contemporary music from their very early age. Having given the American premiere Mahler Third, Mahler Fifth, Stravinsky coming to Cincinnati before he was considered a giant, having premiered (Aaron Copland's ) "Lincoln Portrait," having commissioned (Copland's) "Fanfare for a Common Man" and many other pieces and many more recent pieces. That's why I wanted to open my tenure as music director with eighth blackbird and Jennifer Higdon concerto piece. It shows that we should support, play, commission and perform contemporary music — and, of course, contemporary American music.
CB: What was it like collaborating with Bryce?
LL: Meeting Bryce was a wonderful. His French is perfect. Especially compared to my primitive English. (Laughs). I like his attitude in making music and experimentation. And any strong institution should be also a place of experimentation. Music is not something you put in a museum. It's alive. And then we should perform contemporary music like Classical music and perform Beethoven music, not forgetting that he only composed contemporary music. All the composers — Mozart, Brahms, Tchaikovsky, Bartok — composed contemporary music, so we have to continue it. He's very focused and concentrated, but on the other hand the spectrum was quite bright. I think we have arrived on wonderful programs — very challenging, but very exciting.
CB: What makes him unique as a composer?
LL: He knows how to make an orchestra sound. It's a very clear and precise writing but at the same time there is so much flexibility in the variations of colors written and the flow of the music. It's always quite exciting to study a piece and hear it. Having the privilege of working with the composer is something wonderful because there are so many questions I would like to ask of Beethoven and Tchaikovsky, and of course it's impossible. So being able to ask the composer and to hear his answers is just wonderful.
Bryce is someone who has great harmonic taste, and I think for the orchestra it's wonderful because you can express yourself much easier. I think he's very much like his music — a very welcoming man, a very open, very luminous person. I see that in his music, which is not always the case with composers. With him, I get the feeling he's one with his music.
CB: How has the orchestra responded to playing these new, sometimes challenging pieces?
LL: Any new piece you don't know what to expect. What I've found is that these musicians are very open-minded, they are very generous and positive in their attitude and are eager to try any new experience. It's a privilege to perform these two concerts of new music, but it's also very challenging, so you have to be very practical.
CB: And what's the experience been like for you?
LL: It's a great responsibility when you conduct a piece, but it's also a great privilege that today's major American composers are willing to write for us. To be sharing this experiment and experience in concert, to be a part of MusicNOW, is really something beautiful.
MusicNOW's 2014 festival begins tonight and continues tomorrow. Visit musicnowfestival.org for tickets and full programming details.
The inaugural Bunbury Music Festival — three days of top-shelf Alternative music at Cincinnati's riverfront Sawyer Point Park — is just three days away. All this week, CityBeat's music blog will be featuring samples from some of our "sleeper picks" for the fest, artists who some may not be as familiar with as they are Weezer or Death Cab for Cutie or Jane's Addiction.
Our next "sleeper" is Ume, performing Sunday at 4:30 p.m. on the AliveOne Stage
The appearance of Austin AltRock trio Ume (pronounced “oo-may”) at Bunbury makes for a mini-label showcase for the Modern Outsider label. The band’s set is sandwiched between labelmates (and two of Cincinnati’s finest) Pomegranates and Bad Veins, both also on the Texas label.
Anchored by a relentless, muscular rhythm section, Lauren Larson guides Ume’s charismatic sound with her uniquely compelling guitar work, knack for good but not pandering hooks and animated, sensual vocals. Ume’s most recent release, last year’s Phantoms, sounds like a 21st century update of ’90s Brit band Lush.
Here's a clip for Ume's song "Captive."
Impressive Cincinnati AltRock trio Public is all set to performing at Cincinnati's huge Bunbury Music Festival this weekend, essentially opening the fest Friday at 2 p.m. with a performance on the Bud Light Stage.
The band — nominated at the most recent Cincinnati Entertainment Awards for "Best New Artist" — released its four-track EP, Red, last summer and is now offering fans a brand-new recording, just in time to learn all the words and sing along at tomorrow's fest appearance.
The new track is "Honeybee," a spacious, groove-driven Indie Pop gem which is slated for Public's forthcoming second EP.
If you're download phobic, you can also grab
a physical copy of the single. Fifty are being pressed, featuring
hand-drawn artwork and a bonus acoustic B-side, "I Need You," and made
available at Bunbury.
Both songs will be available for download on July 16. The stream and eventual download will be available at publictheband.com.
The Big Pig Music & Arts Festival kicks off today in Ripley, Ohio (about an hour southeast of Cincinnati) at the Pisgah Hill Farm. The event runs from this afternoon until about sunrise Sunday morning (great local Electronica group Skeetones play a fest-closing set from 2-4 a.m. Saturday night/Sunday morn). Billed as "3 days and 2 nights of music, camping, fire pits and barbecue spits," Big Pig features a mix of national, regional and top-notch local acts, as well as a late-night DJ tent, food from Habanero, Buzz Thru Coffee and other area establishments and "fire performances" by the folks from Nocturnal Arts. Pre-sale ticketing is over; admission is $40 at the gate. The fest website emphasizes that there is a $10 fee per car for camping (car pool if you can) and there is no on-site ATM machines, so be sure to bring cash. Click below for the full lineup and videos from several of the acts. And click here for complete details.
EDITOR'S NOTE: For this year's installment of the Bonnaroo Music and Arts Festival in Manchester, Tenn., CityBeat sent the veteran ’Roo team of writer (and musician) Ric Hickey and photographer Chuck Madden down south again to report on the festivities. Keep an eye on this here music blog for updates, pics and more from Tennessee all ’Roo weekend. (If you can't make it to the fest, Cork n' Bottle in Covington is having a "Road to Roo" party that runs through tomorrow's festivities, with a live stream from the fest, drink specials and a rotating collection of visiting food trucks.)
Turkey vultures circled overhead as Chuck and I drove through the rolling green hills of central Tennessee between Murfreesboro and McMinnville, on our way to Manchester for the annual Bonnaroo Music and Arts Festival. Our circuitous route through small towns and backwoods was briefly complicated by pounding rain. But soon the skies cleared and we found our way to the media campground located behind Bonnaroo's Which Stage, happily settling into an area that's just a few minutes walk from the festival grounds.
The friendly spirit of the festival was upon us immediately as we were greeted by new friends, fellow travelers in the campground and other members of the assembled press in the backstage Media compound.
Highlights of our Thursday perambulations included Futurebirds in This Tent, a glimpse of slam-bang Country rockers Houndmouth in the On Tap Lounge and a display of first class Honky Tonk by J.D. McPherson in That Tent that stopped Chuck and me in our tracks.
McPherson had the crowd smiling and dancing to a Rockabilly hybrid that swung like a wrecking ball. Western Swing met Chicago Blues as McPherson and crew featured upright bass, B-3 organ and saxophone for a syrupy saunter through Bo Diddley's "I Wanna Try For You." McPherson himself added some tasteful Telecaster licks, bringing a warbling echo of Surf music to the mix.
Fan-shot video of McPherson swingin' through "Your Love."
A satellite event to the Cincy Blues Society’s huge outdoor, summertime Cincy Blues Fest, the Winter Blues Fest — which returns to The Phoenix (812 Race St., Downtown, thephx.com) tonight and tomorrow — has truly grown into its own. This year’s lineup features two of the fest’s biggest national headliners yet.
Celebrated Blues/Rock singer/guitarist Tinsley Ellis performs in the venue’s third floor Grand Ballroom on Friday at 9:45 p.m. Check out Ellis’ “Kiss Of Death,” from his recently released Midnight Blue album, below:
Accomplished singer/songwriter Janiva Magness performs in the Grand Ballroom on Saturday at 9:15 p.m. (For more about Magness, read Brian Baker’s preview from this week’s CityBeat). Here’s a clip of Magness and her band performing “I Won’t Cry,” which won her and co-writer Dave Darling “Song of the Year” honors at the Blues Music Awards (one of many Mangess has won over the past several years).
Below is the full lineup (subject to change). Click each artist’s name for more info.
Third Floor Grand Ballroom
6:30-8 p.m.: G. Miles & The Hitmen
8:15-9:30 p.m.: Greg Schaber Band
9:45-11:15 p.m.: Tinsley Ellis
11:30-12:45 p.m.: The Blue Birds
Second Floor Cincinnati Room
6:30-7:45 p.m.: Bob Dellaposta
8-9:15 p.m.: Jimmy D. Rogers
11 p.m.-12:45 a.m.: Dave Muskett Duo
Second Floor Archway Ballroom
7-8:15 p.m.: Blue Sacrifice
8:30-9:45 p.m.: The Juice
10:00-11:15 p.m.: Leroy Ellington Blues Band
11:30 p.m.-1 a.m.: The Blues Merchants
First Floor Presidents Room
6:15-7:45 p.m.: The Heaters With Ben Levin
10-11:15 p.m.: Ralph & The Rhythm Hounds
11:30 p.m.-1 a.m.: Ducttape & Dynamite
3rd Floor Grand Ballroom
6-7:30 p.m.: The Tempted Souls Band
7:45-9 p.m.: Doug Hart Band
9:15-11:15 p.m.: Janiva Magness
11:30 p.m.-12:45 a.m.: Johnny Fink & The Intrusion
Second Floor Cincinnati Room
6:30-7:45 p.m.: Brian Wallen
8-9:15 p.m.: Greg Schaber (Solo)
9:30-10:45 p.m.: TBA
11 p.m.-12:15 a.m.: The Twirlers
Second Floor Archway Ballroom
6:30-8 p.m.: Blues In The School Band
8:15-9:30 p.m.: Chuck Brisbin & the Tuna Project
9:45-11:15 p.m.: The SoulFixers
11:30 p.m.-12:45 a.m.: Jay Jesse Johnson
First Floor Presidents Room
6:15-7:45 p.m.: Little Red & The Rooster
8-9:15 p.m.: Ricky Nye Inc.
9:30-10:45 p.m.: Brad Hatfield Band
11 p.m.-12:45 a.m.: The Noah Wotherspoon Band
Tickets can be purchased in advance at cincybluesfest2014.brownpapertickets.com. Prices are $20 for one night or $32.85 for a weekend pass (there are smaller-than-usual service fees through the ticketing site). There will be food available and full-service bars throughout the venue.
Visit cincyblues.org for the full schedule, artist details, ticket links, deals for special room rates at the nearby Garfield Suites Hotel and more.