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.”
Seven hundred acres of Manchester farmland is transformed into Tennessee’s sixth-largest city every June when 80,000 people invade the area for the annual Bonnaroo Music & Arts Festival. With live music from over a hundred bands on twelve stages from noon ‘til dawn for four days, Bonnaroo presents attendees with an experience that is almost overwhelming.
Unquestionably the most diverse music festival of its kind, this year’s top dog headliners include Elton John, Jack White, Kanye West, Vampire Weekend, Lionel Richie, The Flaming Lips, Wiz Khalifa, Arctic Monkeys, The Avett Brothers and dozens more.
Often described as “James Brown singing with Led Zeppelin”, Vintage Trouble is an L.A.-based band that has built a worldwide following after three years of non-stop touring in support of their 2010 debut album, including a much-coveted slot as the opening act for The Who on their 2013 tour. As the summer festival season is ramping up, Vintage Trouble continues their grueling tour schedule with a stop this weekend at Bonnaroo. I recently spoke to the band’s bassist Rick Barrio Dill. Calling from Los Angeles, where he is recovering from recent surgery after a retinal detachment scare, Dill was upbeat and eager to discuss the band’s history, philosophy and enthusiasm for the road ahead. I asked him if the band changes their approach when preparing for a festival stage, as opposed to theaters and arenas.
“Not really,” he said. “We might tweak the edges differently, but overall our approach to a festival gig is the same kind of sweaty, sexy late night vibe as the clubs of Los Angeles where we kind of honed our thing. We’d only been a band about nine months before we got the gig opening for Brian May that immediately put us in front of the theater crowds that were sitting down. Then we got the Bon Jovi tour where we were playing in stadiums to 40, 50, sometimes 70,000 people.
“It taught us that we like setting up really tight, really close together, so we can literally touch each other no matter what kind of stage we’re on. And everything is contained in that sort of mentality. So, no matter if it’s a giant stadium or a 150, 200-seat room, we want it to get sweaty and we want it to be as intimate feeling as we can make it on the stage and within ourselves and what we can throw out and I think everybody connects. So even when we’re opening up for The Who, it still sort of feels that same 200-seater room.”
Dill said that translates to the way Vintage Trouble records, as well.
“We recorded our whole record in two and a half days, all in one room, doing all full takes,” he said. “We sort of fell into this method and later saw similarities in the footage of The Beatles at Shea Stadium, where they’re set up real tight in the middle of this giant stadium. We don’t wanna spread out. We set up in a tight circle where we can touch each other and then everything’s gonna come out from there.”
I mentioned to Dill how refreshing and somewhat ironic it is in this modern age of technological advances in the way music is generated and delivered to the listener that the old method of just coming out onstage and kicking people in the ass still works.
Chuckling a bit, he replied, “Well, it works for us! You know, we’ve played in front of hardcore Death Metal audiences, Hip Hop audiences, Country audiences and we always seem to land on our feet. I think it’s kind of a testament to how somewhere in our DNA it always traces back to old Soul, Rhythm & Blues, old, early Jazz, and early Rock & Roll.
“One of the things we try to do is we try to pull everybody into it. And it’s funny because even if you aren’t familiar with music from 50 or 60 years ago or they way they performed back then, people seem to understand. People can sort of hear some trace of that sort of thumbprint in their DNA even if they don’t necessarily have those records or haven’t been privy to what those performances were like. People get it. And that’s what’s so great about music, especially the kind of music that we do. It just seems to kind of transcend a lot of genre-making that has gone on over the last 30-40 years.”
Editor’s Note: Cincinnati musician and longtime CityBeat contributor Ric Hickey and photographer Chuck Madden are once again covering the Bonnaroo Music and Arts Festival for us in Manchester, Tenn., this week. We’ll be posting their dispatches from the fest as they come in throughout the weekend. You can pretend you're there with them (minus the bugs and camping and stuff) by watching the live stream at Bonnaroo.com.
Insects crawl across my keyboard as I type this in the Bonnaroo parking lot. A vast expanse of several hundred acres of rolling green countryside blanketed with cars, tents, campers, tarps, trailers and people ready to party down, these Tennessee hills are alive with the sound of music.
Returning once again with my old friend and photographer Chuck Madden for our No. 1 favorite assignment, we dig in for the long haul. After all, four days of car-camping and toughing it out in the summer sun is no easy feat. But every year, with several heavy bags of electronic gear, cameras, lenses, recording equipment and laptops slung over our shoulders, we embrace the madness with big silly grins on our sunburned faces.
A couple years in a row we were able to camp in a “guest” area just behind the main stage compound. But this year it was not to be, as we were directed to join the long line of cars by the highway that were waiting to pass through the main entrance. After an hour of waiting and a cursory search of our vehicle, we drove into the massive parking lot and began setting up camp.
Kicking off the 2014 Bonnaroo festivities on the Other Tent stage was Nashville’s own Wild Feathers. The band has been all over the world since I saw them perform an acoustic showcase in the Bonnaroo press compound last summer. With three singing songsmiths fronting the band and complimenting each other’s close harmonies, The Wild Feathers put across some of the most pristine Country Rock vocal performances since CSN’s heyday. But plug ‘em in and crank it up and it becomes a different beast altogether.
Opening with “American” from their stellar 2013 debut album, The Wild Feathers fell confidently into the warm embrace of a hometown crowd that was singing along with every word. Still a young band, a year of non-stop touring has instilled in them a simmering confidence beyond their years. Their scorching “Backwoods Company” was taken at an accelerated clip that challenged the afternoon sun for heat and intensity. More than just a band to watch, I think I’d buy stock in The Wild Feathers if I could.
Elsewhere today Chuck and I took in sets by Cass McCombs, ZZ Ward, MS MR and The Preatures. Among the late night sets that I’m excited about tonight are a pair of my favorite new bands. J. Roddy Walston and The Business perform in This Tent, while White Denim takes the stage in That Tent at midnight. Their sets starting just 30 minutes apart, I’ll face my first serious schedule conflict of the weekend.
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).
Local MC Puck has unleashed a great new track, “Weekend Warrior,” along with a solid accompanying music video (which includes a guest appearance from Cincy Hip Hop duo Those Guys). The young Hip Hop artist shows the positive effect and influence of Kanye West’s recent experimental work (and there’s even a Kanye nod in the background during the video). It’s a powerful listen/look:
Click here for more on Puck and below to download the new track for free:
You can catch Puck live on June 21 for free on Fountain Square as part of the "Beats by Self Diploma" concert series.
Steven Kemple, who was featured last year in CityBeat’s Cool Issue for his innovative programming as the Main Library’s music librarian, runs a monthly Listen to This! session there at which the group (it’s open to anyone) hears in new ways selections from the Public Library of Cincinnati and Hamilton County’s vast collection of recordings.
The sessions have been inspired, sometimes wittily so — North Korean music when Dennis Rodman visited that country, for instance. Or timely — when all of the underappreciated singer Harry Nilsson’s albums were reissued a while back, Kemple scheduled a Nilsson marathon.
But even by his high standards, the most recent Listen to This! was brilliant. Using a computer program, Kemple randomly selected 14 LPs — vinyl albums — from the collection. Then, on a portable record player, he played selections/excerpts from each — accompanied by group discussion. The informal name for the presentation was “Record Roulette.”
Those present consistently found unexpected connections in the different recordings, and also made serious and insightful observations. Even when you might think they would treat something like a joke — during an excerpt from The Speechphone Method, for instance, on which speech specialist Hazel P. Brown read pronunciations of words.
One person noticed how the way we say certain words has changed since this record’s 1959 release. And careful listening to Brown’s list-reading of words began a long conversation, not quite an argument, about whether she had a slight New England accent that softened some "R"s.
The evening started with the album Ballads by Niles, from the traditionalist balladic Folk singer and Kentucky native John Jacob Niles (who studied at the Cincinnati Conservatory of Music — now University of Cincinnati College-Conservatory of Music). The late Niles, popular in the 1950s, doesn’t get much airplay these days and several in the group weren’t familiar with him. Especially jarring, at first, was the high voice — it made some think of Tiny Tim — as he started singing “Mattie Groves.” But as it became clearer that Niles was using different voices to portray different characters, and that he had an operatic, storytelling approach to folk music, he impressed all present. This was a real find.
The other records from which we heard excerpts were:
·Songs of Corsica featuring Martha Angelia (It prompted a discussion about the Corsican language.)
·The Trial of the Cantonsville Nine by Daniel Berrigan, S.J. (This was a play based on an act of disobedience in 1968 — the burning of Selective Service-related files — by Catholic activists to protest to Vietnam War. Berrigan, a Jesuit priest, was one of the nine. That was a long time — the younger members of the listening group weren’t familiar with it.)
·“March from the River Kwai” by Mitch Miller & His Orchestra, from The 50’s Greatest Hits (The whistling prompted a suggestion for a night of whistling songs.)
·Africa: Ceremonial & Folk Music (We discovered the wrong record had been in the jacket for who-knows-how-many-years — we heard the jazzy track “Americanization of Ooga Booga” by South African trumpeter Hugh Masekela.)
·Classical Russian Poetry read in Russian by Yevgeny Yevtushenko and English by Morris Carnovsky
·“April Come She Will” from Collected Works of Simon & Garfunkel, the closest to rock ‘n’ roll the night got.
·From the seventh realm, a Modernist classical work from the 1920s by Arthur Fickenscher for piano and string quartet (This unfamiliar work, from an unfamiliar composer who pioneered microtonal music, was moving – and had us wondering how many other 20th century composers are out there waiting for rediscovery.)
·Pianist Ronald Smith on a 1977 recording of Twelve Studies in All the Minor Keys, Opus 39, by 19th century French pianist and composer Charles Alkan
·The Best of John Williams (Hoping to hear Star Wars, we discovered this John Williams is the classical guitarist, not the film composer. Entertaining nonetheless.)
·In the Matter of J. Robert Oppenheimer, performed by the Repertory Theater of Lincoln Center under the direction of Jules Irving (Interestingly, the computer picked two plays about political trials of post-war American leftists. Oppenheimer, one of the chief architects of the A-bomb, was persecuted in the 1950s during the height of McCarthyism for wanting international control of the bomb. From what we heard, the 1964 play had interesting and unusual multimedia aspects, possibly a precursor to the John Adams opera Doctor Atomic.
We were ready to end with some silly pop by now, maybe the Chipmunks or Weird Al Yankovic, but instead the computer chose for us Three Short Operas by Bizet and Romberg’s The Student Prince from a Readers Digest collection, Treasury of Great Operettas.
Afterwards, we discussed it’d be great to have these “Record Roulette” vinyl sessions on a regularly scheduled basis, maybe every other month, so they could build the larger following they deserve.
Kemple posts information on a Facebook event page.
Meanwhile, his remaining June events at the Main Library — at 7 p.m. — are a lecture next Wednesday, June 11, by noted Cincinnati musicologist David Lewis on Mamie Smith, the famed Cincinnati-born singer of early 20th century Blues and Jazz; a multi-act Experimental Music at the Library session on June 18 with headliner Wrest, a free jazz trio with percussionist Ben Bennett , saxophonist Jack Wright and bassist Evan Lipson; and on June 25 another Listen to This! session.
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