Just like at last weekend’s Bunbury Music Festival, this weekend’s inaugural Country/Folk/Americana-centric Buckle Up Music Festival (founded by the creators of Bunbury) will feature several great Cincinnati area artists. Fans planning to attend the fest (running today through Sunday at Sawyer Point/Yeatman’s Cove on the riverfront) should definitely makes time to check out some of the locals — collectively they are proof that Greater Cincinnati’s Roots scene remains one of the strongest in the region. (Click on each performer’s name for more info and song samples and click here for a map with stage locations.)
Greater Cincinnati acts performing at Buckle Up on Friday include The Dan Varner Band (2 p.m.; Amphitheater Stage), Andrew Hibbard (2:45 p.m.; Acoustic Stage), Lonesome Jared & the Heart Attacks (2:45 p.m.; Lawn Stage), Jamison Road (4:15 p.m.; Acoustic Stage), Messerly and Ewing (5:45 p.m.; Acoustic Stage), Jeremy Pinnell and the 55’s (6:30 p.m.; Amphitheater Stage) and Pistol Holler (8 p.m.; Amphitheater Stage).
On Saturday, catch local Buckle Up performers Wild Carrot (2:45 p.m.; Acoustic Stage), Shiny and the Spoon (2:45 p.m.; Lawn Stage), Kentucky Timbre (3:30 p.m.; Amphitheater Stage), Buffalo Wabs & the Price Hill Hustle (5 p.m.; Amphitheater Stage), Arlo McKinley & the Lonesome Sound (5:45 p.m.; Lawn Stage) and The Tillers (8 p.m.; Amphitheater Stage), who recently had their amazing new music video for the track “Willy Dear” world-premiered on the site for American Songwriter Magazine.
Sunday’s Buckle Up lineup features area performers Honey & Houston (2 p.m.; Lawn Stage), Alone at 3AM frontman Max Fender (2 p.m.; Acoustic Stage), The Kentucky Struts (2:45 p.m.; Amphitheater Stage), JetSet GetSet (3:30 p.m.; Lawn Stage), Straw Boss (4:15 p.m.; Amphitheater Stage), Mark Utley and Bulletville (5 p.m.; Lawn Stage), Bobby Mackey (5:45 p.m.; Amphitheater Stage) and Noah Smith (7:15 p.m.; Amphitheater Stage).
For the full Buckle Up lineup, ticket information and more, visit buckleupfestival.com. And check out our interview with founder Bill Donabedian about Buckle Up and last weekend’s Bunbury fest here and Brian Baker's Top 10 "must-sees" here.
The Commonwealth Theatre Company's production of Route 66 continues its dinner-theater run at Northern Kentucky University. It's about a band traveling from Chicago to the West Coast in the 1960s along one of America's most legendary highways. Along the way, they meet a lot of colorful characters and see a lot of America. Wes Carman, Roderick Justice, Dain Alan Paige and Joshua Steele make up "The Chicago Avenue Band," who make stops at juke joints, diners, cheap motels and curio shops in this coming of age story. Through July 27. Dinner and the show ($30): 859-572-5464.
Last Saturday evening I ended up at Highlands High School in Fort Thomas to see teacher Jason Burgess's production of The Addams Family featuring a herd of high school kids from all over Greater Cincinnati and Northern Kentucky. It's a perfect musical for the program Burgess has created (C.A.S.T, the Commonwealth Artists Summer Theatre), bringing together a ton of students who are in love with theater. Surrounding the central characters in The Addams Family, nicely portrayed by Aaron Schilling as Gomez, Lindsey Gwen Franxman as Morticia and Harrison Swayne as Uncle Fester, are 18 ghostly "ancestors." Each one is costumed (designer Laura Martin) from various periods with a clearly evident character; together they sing and dance as a coherent company. (Amy Burgess served as the production's choreographer, and Alex Gartner is the music director — in creepy makeup.) Through Sunday at 2 p.m. General admission ($10) at the door or online via www.showtix4u.com.
Monday evening at 8 p.m. brings the third installment of Serials! at Know Theatre (1120 Jackson St., Over-the-Rhine). It's a wacky summer-long set of a half-dozen episodic plays by local playwrights. So far we have seen meat falling from the sky, an NSA spook monitoring a contentious couple, a kid refusing to go to a funeral, a philosophical fetus, a suicidal pair competing over techniques and more. Each 10-15 minute episode is preceded by a clever recap to catch you up, even if it's your first time there. Rest assured there are cliffhangers — not to mention Know's well-stocked Underground Bar. Admission is $15. Tickets: 513-300-5669.
Maybe the summer heat is stifling the writers’ vocab, (or they were out having too much fun this weekend at Bunbury) but there weren’t very many vocab words this week. That being said, that’s no excuse to let your vocabulary get stagnant, we’ll go with what we have …
requisite: a thing necessary for the achievement of a specific end, n.
My college education hasn’t thus far outright taught me this word, but now I see I knew it all along. I know perfectly well “prerequisite” means “course you need to take before you take you’re smart enough to take the one you really want.” So a requisite is also something that is necessary. It seems that requisite and prerequisite are synonyms (so Google tells me), why are they both needed?
In the issue: “Don’t forget the requisite potato pancake on the side,” referring to Rascals’ NY Deli in the Doggie Day in Amberley Village picnic option. I agree, potato products are a requisite for happiness — a good picnic, I mean. Is it lunchtime yet?
sycophantic: using flattery to win favor from those with influence, adj.
Without reading the definition, finish this sentence: If a journalist can be described as sycophantic, that journalist is also … ? Got nothing? Me either. Let’s get straight to the context clues.
In the paper: “Part of the problem, Sullivan said, is the failure of sycophantic Times writers and editors to ‘challenge and vet the views of these government sources,’ ” in this week’s edition of Ben L. Kaufman’s Curmudgeon Notes. In the past three weeks, we’ve heard about mislabeled sources, shield laws and jingoistic editorials — anybody else miss Worst Week Ever?
Bonus Round: The bonus round is just as long as the regular round, folks.
nascent: a process or organization coming into existence and displaying signs of future potential, adj. Like when you read blog the first week you thought, “the nascent copy editing blog.” Scavenger Hunt! Maybe I’m crazy but I can’t seem to find this word in the issue …
Exclusive cultural lesson for the week!
So there’s a movie out now called And So It Goes, with Michael Douglas and Diane Keaton. TT-stern-enzi (in a preview that was cut for space) described Keaton’s role in the film world right now as the woman that gets the lothario male character to settle down a la As Good As It Gets with Jack Nicholson. I’m not a movie previewer but maybe the preview will get posted online today (I don’t know, I’m not the web editor or anything).
So Lothario is the name of the male character in The Impertinent Curiosity, a metastory in Don Quixote. Lothario is a seducer of woman, giving his name use as a noun meaning, “a man who behaves selfishly and irresponsibly in his sexual relationships with women.”
Sideways rain and swamp-ass, but it wasn't so bad. The storms were intermittent, the day was clearly not a total washout and, out of the nine days of Bunbury over the past three years, this one might just have ended on the highest note of them all.
Upon arrival, I was greeted by above-and-beyond volunteer Jacob Heintz, who advised serious attention to hydration, as several people had already passed out from the heat. In order to accommodate more fluids, I needed to make a deposit at the Yeatman's Cove First National Bank of Evacuation.
You know what's great about the Porta-Kleens in the summer? Heated seats. You know what's not great about Porta-Kleens in the summer? Heated everything else. I felt like I was microwaved to about medium rare by the time I was done with business. But I was treated to a bit of pithy wisdom in the form of a neatly scrawled line of graffiti in the unit — "No one is free. Even the birds are chained to the sky." Of course, the trade-off is that birds can shit anywhere they like, which somehow seems to involve my windshield an inordinate number of times a week.
At any rate, a spotty rain began within minutes of my arrival, so I headed down to the Main Stage to see if things were continuing on schedule. On the way, I passed Daniel in Stereo on the Acoustic Stage, where he seemed to be offering an evocative Jeff Buckley vibe. Very nice. When I got to the Main Stage, the Brick + Mortar set had just begun. The politically conscious World Rock guitar/drum duo from Toms River, N.J., was cooking along nicely, but about three songs in, the lightning flashed, the thunder cracked and the staff shut them down.
"That sucks," noted guitarist/vocalist Brandon Asraf. "I had just tricked you into liking me for a minute." Then he launched into a stand-up comedy bit, quoting Half Baked and bemoaning his lack of life compared to his engaged drummer, John Tacon. "I'm single and chubby. What's up?" he said, canvassing the crowd.
The crew finally had to shut off the power so that was the end of Brick + Mortar. (The band will return to Cincy on Aug. 15 for a free show on Fountain Square.)
Shortly after that, the flaming finger of God erupted from multiple clouds and the rain, gentle at first, ultimately came pissing down from the heavens. I had taken refuge in the Yeatman's Cove tunnels and thought I'd gotten way lucky to avoid the torrential downpour, but that proved ineffective as well when a tornadic wind blew the rain horizontally straight through the passageway. Everyone was drenched from cowlick to ass-crack and beyond.
Luckily, the storm didn't last long and the only issue at that point was how long the clean up and reset would take. I wandered down to the Main Stage to see if Red Wanting Blue was going to happen, but it appeared as though it would take a considerable amount of time, so I motored back down to the Warsteiner Stage to see what progress had been made there.
To my unending delight, Kim Taylor was just getting started about the time she should have been wrapping up. I've been completely smitten with Kim's work since a friend at my long since defunct graphic design day job lived in the same apartment building with her. She had just begun her music career and had given my friend a copy of her self-released EP, which he passed along to me. Her gently compelling voice, her introspective and intelligent lyrics and her melancholic mastery of melody certainly gave me a chill similar to the one I felt after my first experience with Suzanne Vega, but Kim was most assuredly following a unique path, and so it has remained for the past decade and a half.
I've seen Kim numerous times over the years and written at least three features and a few MidPoint previews ahead of her releases and appearances, and she never disappoints, as an interview or as an artist. The power of her presentation at Bunbury was obvious; with no more than her acoustic guitar and drummer Devon Ashley, Kim Taylor turned the vast expanse in front of the Warsteiner Stage into an intimate performance space that crackled with a quiet intensity. It is powerful testimony to Kim's ability to hold an audience that, with dark clouds roiling overhead and thunder rumbling ominously in the distance, there was even greater drama brewing on the Warsteiner Stage.
After a quick stop to use the Big Mac Bridge as an umbrella, it was down to the Lawn Stage to witness the mind-bending energy of The Yugos. The relatively new and insanely young four-piece channel the absolute best elements of '70s Punk and New Wave with a dash of Surf and a couple hundred thousand volts of charisma. Spend any appreciable time with The Yugos and you'll detect distinct flashes of the jerky time signatures of XTC and Talking Heads, the Pop verve of Flock of Seagulls and the dark intensity of Echo and the Bunnymen. Drummer Jordin Gough jumps around the stage as though fire ants have been ceremonially sewn into his black jeans; he stands on his drum stool and beats on his kit from above, he takes the floor tom into the audience and thumps on it like a brave calling his tribe to action, while bassist Jeremy Graham provides an equally schizophrenic bottom and guitarists Christian Gough and Jackson Deal are peeling off punky New Wave riffs and licks that are as nerve-rattlingly appealing as The Cure on speed or Devo on hallucinogenics laced with antipsychotics.
At their Lawn Stage set, The Yugos rolled out their latest track, "Follow You," did the song about a dream where a robot chased Christian down a hill, constantly called out a guy in the audience that looked like James Franco, dedicated a song to Seth Rogen and implored the assembled multitude to shake their asses. Comedy, Surf/Punk and a heart needle full of adrenaline combine to make the perpetual motion music machine known as The Yugos; with five years under their belts already, they're bound to last a hell of a lot longer than their namesakes.
After a delicious burger from Dutch's in the Craft Beer Village and an equally delicious Puma Pilsner, courtesy of Black Owls hammer Brian Kitzmiller, it was a stroll over to the Main Stage to see ZZ Ward crank up her last couple of songs for a large and enthusiastic crowd and then down to the River Stage to catch a few songs from hot DJ/multi-instrumentalist Robert Delong, who filled the Serpentine Wall with Electronic music devotees who were digging his live-looped vibe with an almost religious fervor. Back on the Main Stage, Young the Giant blasted the swelling multitudes with the sticky/sweet Indie Rock hard candy that put them on a lot of attendees' must-see lists.
I took my leave of the growing crowd in front of the Main Stage — a combination of devoted Young the Giant fans and Flaming Lips aficionados staking out their space for the imminent start time — to catch The Orwells at the Warsteiner Stage. The Orwells made my personal don't-miss list after a little due diligence in checking out their history and sound online for a preview in last week's CityBeat and they didn't disappoint.
The quartet's central Illinois lineage is pretty much all the Pop cred they require and they use it to sweeten their rough-edged Garage/Punk love, as evidenced on last year's Disgraceland and the subsequent Other Voices and Who Needs YouEPs. Given the band's ramshackle nature (they'd pair up nicely with Cincy bands Mad Anthony or The Harlequins for a local show), it seemed like The Orwells might come a little unglued in the live presentation, but they were perhaps a little more restrained than I would have imagined. That could have been the post-storm vibe. They did toss out a raw chunk of the Foundations' "Build Me Up Buttercup," so that was pretty cool. Here's hoping we can get them back for a full show in better circumstances in the very near future so we can see what happens when The Orwells really put the pedal to the floor.
I reluctantly ducked out of The Orwells a bit early to establish position for The Flaming Lips’ show, given the crush of rabid fans that were in all likelihood packing the front of the stage. For the sake of full disclosure, it should be noted at this juncture that I was looking forward to this show because I am a Flaming Lips virgin. I drank the Kool-Aid with Oh My Gawd!!! way back in 1987, but missed the local show on that tour because of my freelance production schedule.
Since then, I've totally dug the studio Lips but somehow have never found my way to experiencing the live Lips; the closest I've ever gotten was nine years ago when I was in Austin for SXSW and Wayne Coyne came rolling down Sixth Street in the bubble with some sort of boombox entourage trailing behind, offering a soundtrack to the proceedings. And I suppose I could claim a certain amount of Lips cred for my two band interviews, the first with Steven Drozd in 2003 after the release of Yoshimi Battles the Pink Robots and the second with Wayne in 2008 to talk about the DVD release ofChristmas on Mars.
But the Bunbury show represented the taking of my live Flaming Lips cherry; after a quarter century of studio foreplay, I was more than ready. And what a glorious deflowering it was.
After taking to the stage, which was appointed like a Peter Max flashback of Leary-esque proportions, the Lips launched into "The Abandoned Hospital Ship," with Wayne outfitted in a tinsel hairsuit that gave him the appearance of a glammed up Sasquatch. When it was over, he greeted the crowd warmly and promised that, should the rain begin again to the extent that the show had to be stopped, the Lips would be staying and they would finish the show, no matter what. The vast expanse of Lips fans roared their relief and the band shot headlong into "Yoshimi Battles the Pink Robots, Pt. 1," and the crowd's bliss was palpable.
After a set that was filled with brilliant Lippage ("Look...The Sun is Rising" and "A Spoonful Weighs a Ton" among them), dancing rainbows, magic mushrooms big enough to give Mario a coke boner, a gyrating sun and a video/LED presentation splashy enough to trigger a mild epileptic seizure, the clouds cried just slightly at the prospect of the end of the evening. The Lips took a short breather and then returned with the biggest one-two pay-off in Bunbury's short but potent history; the gorgeously contemplative "Do You Realize??" from Yoshimi and an absolutely epic version of the Beatles' "Lucy in the Sky with Diamonds," punctuated by several blasts from the four giant confetti cannons on stage. If I smoked cigarettes, I surely would have sparked one up after that conclusion.
And thus marked the end of Bunbury's third installment. The last day's weather difficulties notwithstanding, it was another flawlessly presented and managed music festival put on by one of the city's most knowledgeable and Zen-like business heads, Bill Donabedian, and his amazing staff, who all handle every detail from gravely major to almost subatomically minor with a combination of ninja professionalism and weaponized OCD. And, as Bill would be the first to tell you, it couldn't be done without the walking live army of volunteers who make this thing run with the precision of God's pocketwatch.
Plans are already afoot for Bunbury 4; they get harder to surpass with each subsequent summer, and somehow Bill and his festival all-stars manage to do just that. See you at the gate next July.
• A lot of notable absences in the crowd this year, particularly my brother-from-another-mother Matthew Fenton. Either he just couldn't make it down this year, or he's actually perfected his cloak of invisibility and skillfully avoided me for the entire weekend. I hope it's the former.
• Even with Sunday's threatened inclement weather, or as departing WCPO meterologist Larry Handley would characterize it, the blow job that nobody wants (no, Larry wouldn't say that, but I would and, in fact, just did), there was still a great turnout for the day's lineup. There was the inevitable run-in with Brent and Kat, and that makes every day worthwhile; they headed down to Brick + Mortar and after a swing around the grounds, I headed that way myself.
• With the advent of lightning and the first shutdowns of the day, I headed for the Yeatman's Cove tunnels before things got too crazy. Moments after entering, the sky opened up and the rain pissed down, so I thought luck was on my side. I stopped to talk with a group of photographers, one of whom I've seen numerous times at Bunbury and MidPoint, which has made us sort of nodding acquaintances. We chatted for a bit, then he introduced himself as Steve Ziegelmeyer and asked if I had attended a wedding last year for someone from Jungle Jim's. In fact, my wife and daughter and I have gotten to know one of the guys from the dairy department at the Route 4 store who goes by Squidd, and when he announced that he was engaged, he insisted that we come to the wedding, which we were honored to do. Turns out Steve's wife works with Squidd's wife at Jungle Jim's Eastgate store, and he was at the wedding. And when he said it, I totally remembered seeing him there and completely blanking on where I knew him from. He gave me his card and an idea for a feature; I'll be remembering him now.
• While I was waiting to see what would come of Kim Taylor's set, up strolled Eddy Mullet and his daughter Jess, looking none too worse the wear from Saturday's festivities. (Well, Eddy doesn't drink and Jess is 17, so the beating I take is typically incrementally worse than theirs, but I digress.) When the storm cranked up again, we headed for the shelter of the bridge and told ghost stories (they've got really good ones) until the sound of The Yugos drew us to the Lawn Stage.
• We were headed to Robert Delong's set when I was waylaid by Mr. Brian Kitzmiller, a drum beater of epic reputation and a beer buyer worthy of sainthood, or at least knighthood. When I steered over to Dutch's food booth for a burger, Brian introduced me to Jerry and Pam who run Dutch's (Brian knows at least 60% of every group of people that he finds himself in), as well as a couple of guys from the band The Easthills, who were playing the part of the Black Owls this year (their early afternoon set was rained out, like the Owls’ were in Year 1.) Over by the Delong set, the ubiquitous and always welcome King Slice appeared, as did Owls bassist Kip Roe and his sons, Kip Jr. and Ben, and we had ourselves a Rock & Roll convoy.
• Just before the Lips' extravaganza got underway, I ran into 500 Miles to Memphis frontman Ryan Malott, another prince of the local music realm, who was on his way down to the Warsteiner Stage to catch The Orwells. We had talked about the show when Ryan came into Class X to do Eddy's Kindred Sanction program for a Bunbury preview and a chat about the new 500MTM album, Stand There and Bleed, and I'm glad he reminded me. As I hit the Craft Beer Village on my way to The Orwells, I was absolutely floored to see my old friend Ric Hickey, one of the best guitarists this scene has ever produced, escorting his ladyfriend Michelle down to the Lips show. We caught up for a hot minute, then went our ways. Once at the Warsteiner Stage, as The Orwells were winding up, I spotted Mark Messerly near the back of the crowd, clearly contemplating how he would approach his Messerly & Ewing gig at next week's Buckle Up. No he was not; he was drinking a beer and imploring The Orwells to ramp it up. You know Mark. Venomous Valdez was right behind him, a vision in yellow on her birthday eve. Many happy returns, double V. And I finally caught up with Ryan, who introduced me to his lovely and relatively new wife Gina (I had to ask for her name twice because I'm old, I've got 40+ years of Rock & Roll ears and The Orwells had, in fact, ramped it up). As NRBQ once noted, you're good people, you are.
• We all wound up hanging together for a good portion of the Lips' set, but one of my favorite moments was the Roe boys' faces when I confessed that this was my first live Lips lock. They couldn't have looked more astonished if I'd told them I'd just eaten a half pound of heroin-soaked grapes. Kip and his boys have seen the Lips on numerous occasions and, as a result, once we got camped near the stage, Kip Jr. tapped me on the shoulder and very politely began pointing out the elements of the Lips' set design and what everything was for. It was a very good tutorial, a sweet gesture for a teenager to connect with an old duffer such as myself, and proof positive that childrearing is a high art and Kip Roe should teach the whole bloody world exactly how to do it.
• Finally, for the third consecutive year, the unofficial and extremely subjective results of my annual “Best T-Shirts at Bunbury” competition, selected and judged by me alone. This year was interesting for a couple of reasons, primarily because of Saturday's headliners, Paramore and Fall Out Boy. Their numerous fans were displaying their band love loud and proud, but I was struck by a rather odd observation; I'm fairly certain I didn't see two Fall Out Boy T-shirts featuring the same design (at least until the day after the show, when people who didn't have shirts likely bought them at the merch booths). Someone is accruing Donald Trump-like wealth from marketing an almost endless variety of FOB tees, that's for bloody sure. The other constant on Saturday was a steady parade of people in Ramones tees, in honor of Tommy Erdelyi, the last surviving original member of the legendary Punk band who succumbed to cancer on Friday. Bogart's owner Al Porkolab used to say that the best seat for a Ramones show was across the street at Dollar Bill's, where you could hear every note perfectly. I got his point, but I preferred my Ramones straight from the pipe. At any rate, R.I.P., Tommy.
And so, as always, in no particular order, until the winner at the end:
I (graphic of Kurt Russell as Snake Pliskin) NY
Bad Decisions Make Great Stories
I Had Fun Once. It Was Awful.
Y'All (in the Yale typeface)
G-Dub (with George Washington in Raybans)
Nope (with Shepard Faireyesque cat illustration); followed by
Dope (with Shepard Faireyesque Questlove illustration)
There were many Foxy Shazam tees as well, including a vintage Flamingo Trigger design but my favorite was “Foxy Shazam. White Music for Black People”
Got B3? (I'm assuming they mean the keyboard and not the vitamin)
I Eat Glitter for Breakfast
Rock is Dead. Long Live Paper.
I May Be Your Best Option
I Ain't Even Mad
And my favorite T-shirt from this year's Bunbury crowd:
T-Rex hates push-ups (with a silhouette graphic depicting exactly why)
Another pretty good day overall. The temperature was a little higher, as was the humidity, and even when the clouds moved in and things seemed perhaps a little iffy, the good weather prevailed and all was right for the second day of Bunbury, v.3.
The day began as it ended the previous evening, with some quick face time with volunteer excelsior and one of the scene's most gifted guitarists, Jacob Heintz. A Bunbury blessing from Jacob is the first step in a great day. And before I'd even gotten to the gate, I was called out by Brandon Weaver, owner/operator of Iron Wing Studio in Covington, who hosted my interview with Seabird last year; he's got a great facility and he's a really nice guy, so if you're looking for a place to paint your sonic masterpiece, give him a call.
I wasn't really committed to seeing anything until relatively late in the schedule, so I decided to just float around the stages for the first few slots and maybe do a little sampling from each. It was a pretty successful plan, as it turned out.
My first stop was the Warsteiner Stage to check out Miner, but the guy at the mic introduced the group as the Family Band, so apparently there was a Miner adjustment. Hahahahahahaha. I'm laughing because I know you're not. At any rate, the rather large band sounded a lot like our own Josh Eagle and the Harvest City, if they'd been juiced up on My Morning Jacket. They were quite good.
Next it was a quick jaunt down to the Amphitheater Stage to see Brent James & the Vintage Youth. What started out as super tight bar boogie a la Aerosmith evolved into a super smart Rock show that drew on any number of potent influences, all of which were on full display when James and the Youth rolled out an absolutely jaw-dropping cover of Johnny Cash's "Folsom Prison Blues," a blazing blend of Bon Jovi dramatics and Georgia Satellites off-the-rails jamarama. Equally impressive was James' soulful swagger on "Needle to the Groove," and imagine my surprise when James called out his band, which includes regional wunderkind Ricky Veeneman, who won the 1999 Jimi Hendrix National Guitar Competition (when he was 15, by the way) and bassist Matt Gandenberger, who provided four-string assistance on a couple of tracks on Ricky's 2003 album, Change. James noted that the band would be opening for ZZ Top at the Horseshoe Casino in the near future, so here's a note to ticketholders — don't skip the opener.
After the Vintage Youth, I wandered down to the Main Stage to take in a little of Crass Mammoth's set. After a handful of songs, they struck me as gritter, punkier Modest Mouse with a Classic Rock vein and melodic Pop undercurrent that guitarist/vocalist Joseph Crowe characterized as "the cute part of the show." And once that was concluded, the north Georgia trio went right back to raw and ripping mode. There's a good chance that Crass Mammoth made as many new fans today as they drew from their fervent existing fan base.
From there, it was back to the Warsteiner Stage for an uplifting and raucous set from the pride of Hartford, Connecticut, Bronze Radio Return. Although there was more than a hint of Mumford and Sons/Lumineers Folk/Pop to BRR's presentation, there were also Rock elements ranging from The Black Crowes to Tom Petty to shades of Crash Test Dummies. The band drew a relatively big crowd and a good many of them were already fans, as evidenced by the large number of people singing along with nearly every song. Bronze Radio Return's frontman, Chris Henderson, was engaging and very much the band's ringmaster, their material was anthemic and joyful and I would love to see what the band would do with a long form set.
At this point, I decided to get my wander on and just roam the Bunbury grounds getting a taste of the musical talent that had been assembled for Day 2. First, there was New Politics down at the Main Stage, which reminded me of Neon Trees with a considerably heavier bottom and a Hip Hop heart. Next up was Bonesetters, a great Americana/Indie Rock band from Indianapolis that shimmered in the heat of the Lawn Stage with a palpable Jim James/Ryan Adams/Eef Barzelay vibe. Then it was back over to the Warsteiner Stage to catch a few songs from Nashville's Fly Golden Eagle, an atmospheric Roots/Soul/Psych Rock aggregation that grooves and jangles and totally lives up to the title of their 2011 album, Swagger. They've toured with Alabama Shakesm Dr. Dog and Arctic Monkeys and garnered comparisons to Lips both Black and Flaming, Beck and the Black Crowes, and that adds up to a band that needs to come on back.
After digging a few FGE songs, I drifted down to the Amphitheater Stage to enjoy local-girl-made-good Jesse Thomas, who's gotten her songs placed on Shameless and Hart of Dixie. The L.A. resident/Covington native has a tang and twang that suggests Patty Griffin, Kathleen Edwards and Shawn Colvin, and that ain't bad company no matter how you slice it. Jesse drew a pretty healthy hometown crowd and she made the most of her first festival appearance, Bunbury or otherwise.
After Jesse Thomas' spirited set, it was a short stroll over to the Lawn Stage to experience the full frontal assault of Nashville's Modoc, who I got into by way of a story I did earlier in the year on Melvin Dillon and his vinyl-only label Soul Step Records. Modoc was one of Melvin's early signings when he approached the band about pressing vinyl on their excellent debut full-length. In the studio, Modoc make a mighty racket that crashes happily at the intersection of Led Zeppelin and Southern Rock, but everything that the band does so well in the sterile confines of the recording booth are amplified a dozen times and set ablaze like Jimi Hendrix's Stratocaster. Thunderous riffs, razor wire slide leads, pummeling bass lines and a drum sound heavy enough to drill through solid bedrock, Modoc does it all with a wink/nod sense of humor and a joyful passion that comes through with every note. They've played a couple of MidPoints (they’ll be back for this year’s MPMF) and they're building a pretty sizable following, if their Bunbury turnout was any indication. And as frontman Garry Crisp so eloquently put it, "We love Cincinnati. It's got sin in it twice!" Right back atcha, G-Dawg.
I managed to see at least some of Jane Decker's set. I'd talked to Jane and bassist Mitch Winsett two years ago when Belle Histoire was still a viable concern, but the band has since scattered to the wind and Jane has stepped away from a band configuration to make her mark as a solo artist. Her Bunbury set was supposed to be a full band gig, but something happened in the days before the festival and she wound up on the Lawn Stage singing to the acoustic guitar accompaniment of Sean (just Sean, apparently), her songwriting partner on a good deal of the album that is currently being mastered for an imminent release. Jane auditioned for The Voice last season and was bounced because the judges didn't know what to do with her. As I sat listening to her acoustic set at Bunbury, her incredibly poppy songs stripped to the essentials of Jane's beautiful Dolores O'Riordon-tinted voice and the simple counterpoint of Sean's tasteful acoustic soundtrack, I cannot imagine what Adam Levine wasn't hearing. Any of the songs Jane presented in her acoustic set could be produced up to megahit proportions and go toe-to-toe with Lorde, Arianna Grande, or whoever is the flavor of the moment. It certainly seems like Jane's moved beyond The Voice incident (the failure being theirs and not hers), and is ready to pursue her dream and make a skadillion dollars without Blake Shelton's help.
Molly Sullivan won the Singer/Songwriter CEA back in January and every time she puts herself in front of an audience, she offers a little more evidence to support that honor. She has an amazing vocal range, from midnight howl to 3 a.m. hush and she has the uncanny ability to shift from melodic Folk/Pop beauty to dissonant Jazz artfulness while retaining the thread of her creative identity. Molly's set at the Acoustic Stage was simply fantastic, further proof that her CEA win was no fluke and is likely to be followed by a few more similar triumphs down the line.
Over at the Main Stage, it wasn't too hard to see why Paramore is the current darling of high-octane Pop Rock. The band was physically moving air during their powerful and obviously well received set; their drums pounded their way into your rib cage and altered your heartbeat to a different time signature. I stuck around for a handful of songs but ultimately opted for an early exit in order to find some prime real estate on the Serpentine Wall.
Tonight would be Foxy Shazam's second appearance at Bunbury, and they had their work cut out for themselves. No one who witnessed their gig at the inaugural Bunbury two years ago will ever forget it; frontman Eric Nally imploring the Reds' Joey Votto to "hit the motherfucker out of the park," and Sky White tossing his keyboard into the crowd and then leaping in after it, continuing to play while the audience held it and him aloft. Oh, and they played a lot of great music. And therein lies a common misperception, that the band's onstage antics are somehow going to detract from their musical performance. This notion is typically floated by people who have never seen Foxy Shazam work an audience like a skilled pickpocket while simultaneously putting on a dazzling Rock show.
As advertised, Foxy presented their new album Gonzo in its entirety for the first 30 minutes of the set, with bassist Daisy Kaplan on guitar and guitarist Loren Turner on bass (it was a device they used to jump start the writing process and they decided to maintain the set up for the live translation). Where The Church of Rock and Roll was more of an immediate album, Gonzo is a work that reveals its gifts slowly, and those albums always seem to wind up being fan favorites. The packed Wall showed their appreciation for Gonzo with a fevered response to each of the album's nine songs.
Of course, it wouldn't be a Foxy show without Nally's brilliant non sequitur patter — like "The only difference between me and a scholar is how much we paid for what we know," and "If it was legal to shoot people, I'd be dead." The real showstopper came in the second half of the set, when Foxy hauled out the back catalog and Kaplan and Turner returned to their regular roles. By this time, trumpeter/vocalist Alex Nauth had tossed his horn into the light rigging a half dozen times, White had played his keys with his ass and Nally had somersaulted, vaulted, balanced and slid all over the stage.
After blowing through high voltage turns on "Holy Touch" and "I Like It" (where Nally adlibbed, "Let me see your butthole, baby," something I'm fairly certain I never heard Barry White utter), among others, Nally introduced the band's last song of the evening thusly: "This next song, this last song, is about time travel. I wrote it next week." And with that, Foxy Shazam roared headlong into "Unstoppable," the anthemic 2010 hit from their self-titled album. As the band neared the end of the song, Nally called for cigarettes from the crowd; grabbing one from a pack, he lit it with a lighter thrown on the stage and called for the lights to be killed. As "Unstoppable" faded to its squalling conclusion, Nally blew sparks out of the end of the cigarette into the darkness on the stage, and then shrieked, "You're all pregnant!" He dropped the mic, the lights came up and that was the end. As unlikely as it seemed less than an hour before, Foxy Shazam had indeed cleared the bar they'd set two years ago. As the late Jack Palance used to intone on a weekly basis, "Believe it … or not."
I hung around after Foxy to chat with ClassX Radio’s Eddy Mullet whose daughter had a little trouble with rude doofuses, but he handled it with aggressive diplomacy. We were talking about our plans for the end of the evening, and I was tempted to bail on Fall Out Boy to get home and get started on these reviews, while Eddy seemed ready to call it a day as well. But at the last moment I decided to catch at least a few songs from the last band of the day, and announced it with the unfortunate phraseology, "I think I'll go check out a little Boy." Eddy's daughter Jess went, "Uhhh. …" Point taken.
So we all headed off toward the Main Stage area, me to find a good viewing position and them to see if the exit next to the stage was open (it wasn't). Having come this far, Eddy decided to stick around as well, and so we all lingered for a bit to witness the Pop/Punk majesty of Fall Out Boy. I've always liked the Wentz/Stump dynamic, perhaps not enough to passionately explore their output, but more than enough to appreciate the fact that they've elevated the conversation in the genre. But as Shakespeare noted, the play's the thing, and Fall Out Boy do the thing pretty well.
Bookended by festival closers that were and would be visual orgasms of color and light (Empire of the Sun on Friday, Flaming Lips on Sunday), FOB chose to make their presentation the spectacle, playing their hits and beyond with an expansive flair without forgetting that they were compact and energetic Punk-tinted Pop songs. About midway through the set, an already adrenalized crowd went ballistic when Paramore's Hayley Williams stepped out to duet with the band on "Sugar, We're Goin Down," and the frenzy just continued from there. Patrick Stump played to the hometown crowd by giving a shout out to "our friends in Foxy Shazam," which was nice, and later Stump asked how many parents were in the audience, and reminisced how his father would take him to Punk shows in Chicago when he was a teenager, and as a tribute to all the DNA-linked chaperones in attendance, peeled off a sweet version of "We Are the Champions," followed with an incendiary spin through "Save Rock and Roll."
At that point, we took our leave to beat the rush; as I was headed toward my car, I could hear the strains of "My Songs Know What You Did in the Dark," and I was really glad I'd stuck around to experience Fall Out Boy in this perfect setting.
• On Bunbury Day 2, I began the day by filling the gastank with a carton of Island Noodles (with the teriyaki chicken, thank you), an amazing repast that lasted well into the evening, when I had a slightly less amazing but incredibly delicious Kobe Dog from Dutch's booth. Both are highly recommended (but the noodles are less likely to stop your heart; on the other hand, we're walking it off, are we not?)
• Saturday had a much different crowd vibe than Friday, due to the headliners for the evening, Paramore and Fall Out Boy. Usually I run into a half dozen friends and acquaintances before I've decided on which lunch and what beer to chase it. But it wasn't too long before I ran into Brent and Kat, the scene's most visible couple. They mentioned they were going to catch an unannounced set by Billy Catfish, and Kat said that she had noticed a distinct similarity between Billy's eyes and Brent's eyes. To that end, she noted that if Brent kicks it, she's going to ask Billy out. To which Brent replied, "If Kat dies, I'll ask Billy out, too." Together in everything, as it should be. Not long after, I crossed paths once again with another prince of the realm, The Ready Stance's Wes Pence and his son Wyatt, on the lookout for action of every imaginable variation. If you don't know Wes, there is a great gaping void in your life. And if you don't know The Ready Stance, same thing. As Dr. Steven Brule says, “Check it out.”
• I had seen photographer extraordinaire (and CityBeat alum) Sean Hughes having a little difficulty getting into the photo pit at the Warsteiner Stage with his pass on Friday (for the love of Annie Leibowitz, do you people know who he is?), and I told him that I was about to come over and throw my weight around. Not influence — I have none of that anywhere — but my actual weight. I can create a fatass distraction like nobody's business. On Saturday, Sean noted that he could have used my help later the day before, but I reminded him, "I can't be where you are, you have to be where I am, that's how my fatassery works." Then he saw girls in the misting station and said, "People getting wet … that's my thing," and off he went. Another prince? Most assuredly.
• At the Modoc show, I caught up with Soul Step Records owner/operator Melvin Dillon and his lovely sister Wendy. I figured I'd see Melvin there; he's a big fan of Modoc, having sought them out specifically to press the vinyl version of their self-titled debut LP. Melvin mentioned that he's currently working with a big name local band (I won't jinx the deal by announcing anything … yet) to do the vinyl version of their new album. Stay tuned. It will be epic.
• Once again, ran into Eddy Mullet, only this time with two daughters in his entourage; his youngest daughter Cassie was along for the ride on Saturday. Not quite the music fan that her sister Jess has become, Cassie did have a full-bore good time at the Foxy Shazam extravaganza, so she may be making some forays into the local music world with dear old dad in the near future. Or maybe not. Kids will always find their own way.
Here it is: Everything (well, probably) that you need to know today.
The struggle to pay for renovations for Union Terminal and Music Hall continues to make news, with articles out this morning exploring the details of the buildings’ ownership and why a tax hike to fix them up won’t be like the much-loathed 1996 stadium deal. The Enquirer delves into the reasons why the city isn’t responsible for upkeep of the buildings even though it technically owns them. Basically, non-profits that lease the spaces are contractually obligated to pay for their maintenance, though the city also pitches in some funds to help. Meanwhile, the Business Courier has a look at the way a tax hike would be structured. The piece points out that the increase doesn’t make the same assumptions about economic growth that the stadium deal did, and is therefore unlikely to balloon out of control.
• P&G left the game, but it turns out the game needs it. That game is adult diapers. The Cincinnati company is considering jumping back into adult incontinence products after leaving a decade ago. P&G already makes diapers for babies, and with the market for adult diapers growing by 8 percent a year, it’s an easy and attractive step that could net P&G $500 million annually. That’s great, but I find it a little depressing that as a nation we’re having a harder and harder time not peeing ourselves. But hey, the market is getting bigger because we’re all getting older because we’re living longer, right? That’s a good thing.
• One of the many reasons I left my former city of residence, Washington D.C., was a whale. A pink, cartoonish whale with a smug smile. Call it a reverse Ahab situation–I tried to avoid it, but instead of being elusive, it was ubiquitous. I came back here, to landlocked Ohio, partially to escape it. But now it has followed me. I’m talking about the logo for Vineyard Vines, an up-market clothing brand that recently announced it may build its first Ohio store in Kenwood. The brand specializes in a certain kind of east coast prep look. Think boat shoes. Novelty ties. Business casual pants in salt water taffy colors, or with little whales all over them. It’s a very Washington vibe, and before now you had to drive hours to get it. But soon, you too can be covered in little pink whales. It’s great news on the development front, to be sure, but it also gives me flashbacks to my time elbowing through gaggles of Georgetown grads for a spot at many a bar in DC.
• Cincinnati Symphony Orchestra and Christian Moerlein are teaming up to create a Lumenocity-themed beer for next month’s light show. Do I really need to say anything else about that? Sounds awesome.
• Ohio’s Board of Education is investigating reports that a Dayton charter school has been the site of racism, sexual misconduct, testing irregularities, misreporting of attendance figures, and other problems. A number of former teachers have testified that Horizon Science Academy has been mismanaged. The school is run by Chicago-based Concept Schools, which operates 19 schools in Ohio. The education organization is already under investigation by the FBI.
• Finally, the Transportation Safety Administration (you know, the folks who make you wait in line forever and have a machine that can see through your clothes) is probably one of the most-hated government agencies, but they can write a good blog. Their last few, about some of the crazy things people try to take through airport security, are pretty good reads (with pics!) Highlights include loaded guns, bullet-shaped knives, throwing knives, blades stashed in Scooby Doo greeting cards, fireworks, spent artillery shells and bear repellent. Four words for Samuel L. Jackson in case he’s looking for his next project/sequel opportunity: Bears on a Plane.
Good morning all. I may be writing this news rundown from my porch at home, enjoying the amazing weather and eating Graeter’s black cherry ice cream for breakfast, but that doesn’t mean I’m not real, real serious about the news. Let’s do this.
As we reported yesterday, the Obama administration is expected to jump into the fight over early voting in Ohio. U.S. Attorney General Eric Holder made remarks, released yesterday, indicating that the Justice Department will file with the Ohio ACLU and other civil rights organizations already fighting reductions to early voting in the state. The administration has made voting rights a key issue following last year’s Supreme Court decision that rolled back certain sections of the 1965 Voting Rights Act.
• The head of Cincinnati Metro resigned yesterday, according to a press release by the Southern Ohio Regional Transit Authority. Metro’s CEO Terry Garcia Crews will step down immediately and will be temporarily replaced by Darryl Haley, who was Metro’s executive director of development. Metro will conduct a national search for her permanent replacement. In the press release, Crews says she’s leaving to focus on her family, including her parents, who live out of town, and to continue her transportation consulting business.
“I have great confidence in the leadership and the team at Metro and community leaders to carry forth the discussion and implementation of expanding public transportation in this community,” Garcia Crews said.
Metro gives about 17 million individual rides each year. Its role looks to grow as transit needs in the city expand and the streetcar comes online next year.
• There was some drama in Over-the-Rhine last night, though the actual situation was not quite as intense as initial reports made it out to be. Police entered a building at 13th and Walnut to do an inspection at the request of the building’s owner. They came upon a man who fled from them. As he fled, a gun the man was carrying went off. Multiple news outlets reported the officers had been fired upon and that a standoff situation was developing. In reality, the gun accidentally went off as the man attempted to hide it in his pants. Which, yeah, probably not a great idea, but there you have it. The man fled to another building, threw the gun out a window and hid. He was arrested a short time later and faces multiple charges today. Still a scary scenario, but, you know, not exactly a police shootout.
• A list put together by CityLab shows that Cincinnati is among the top cities in the country when it comes to design. While we all know the Queen City has some great graphic design and marketing talent, it’s surprising to see the city also ranks impressively high for industrial design. Our fair city is well-represented in nearly every category measured, which is pretty cool.
• Remember that guy who threatened to shoot down a helicopter a couple days ago? Yeah, a judge told him today to cool it with the guns for a while, and required him to turn over his firearms to authorities. I’m sure there are some hardcore gun rights activists out there fuming about how the government is infringing on his 1st Amendment right to express displeasure with helicopters and his 2nd Amendment right to bear arms, but me, I’m perfectly OK with it in this particular case. At least he didn't try hiding them in his pants.
• The race for Ohio governor is getting interesting. Democratic contender Ed FitzGerald’s campaign is citing polls that show him neck and neck with incumbent Gov. John Kasich, though, as with any poll that a campaign is excited about, it’s probably best to be wary. The poll was paid for by the Ohio Democratic Party and echoes another recent Democrat-funded poll showing FitzGerald within striking distance. However, both of these polls contradict earlier independent polling done this spring showing Kasich ahead by as many as 15 points.
FitzGerald’s campaign is getting proactive, though, dropping its first TV ad today. In the ad, FitzGerald implies that Gov. Kasich is all about the 1 percenters.
“Who is the promise of Ohio meant for?” FitzGerald asks in the 30 second spot. “Just the wealthy and well-connected?”
FitzGerald gives a shout out to “Ohioans who get up early and get it done every day,” which made me kind of feel bad about working from home while eating ice cream. He goes on to promise support for the state’s middle class, including more funding for teachers, police and firefighters. Though he never mentions Kasich by name, he hits on the idea that the current administration favors the wealthy again at the end of the ad.
Meanwhile, an attack site paid for by the Ohio Republican Party against the challenger called fitzgeraldforohio.com just sprung up. The site mostly attacks FitzGerald on his first choice of running mate, former lieutenant governor candidate Eric Kearney. Kearney quit the ticket in December last year after it was revealed he owed a large amount in back taxes. The site also features an ad linking FitzGerald to former Gov. Ted Strickland, who has endorsed FitzGerald. The ad argues that Strickland was bad for Ohio and FitzGerald would be, too.
In a kind of strange twist, however, the ad seems to blame Strickland for many ills Ohio faced due to the great recession, including spiking unemployment and budget overruns. As if those same dynamics weren’t happening in nearly every state around the country during Strickland’s term from 2007 to 2011, when the recession was at its worst. The candidates’ next filing deadline is just a couple weeks away, and it will be interesting to see if either grab more big bucks. Stay tuned.
It is only through an understanding of the undeniable facts of history that we can even begin to consider the evil that was Josef Mengele, the Nazi doctor who conducted the most horrific experiments on Jewish subjects during the Holocaust and then was able to elude the ensuing global manhunt for him that lasted decades. But writer-director Lucía Puenzo, in approaching one of the known episodes of his long-term flight from justice, offers a glimpse into the subtle charm (with more than a touch of real menace) of the man, which allowed him to roam the civilized world so freely.
The German Doctor finds Mengele (Àlex Brendemühl) crossing paths with an Argentinian family, and slipping through their defenses by focusing his attention on their young daughter Lilith (Florencia Bado), who develops a crush on the doctor. The family, headed by the suspicious Enzo (Diego Peretti) and his beautiful and quite pregnant wife Eva (Natalia Oreiro), is on its way to takeover the small hotel where Eva was raised.
Mengele, too, is headed to the same location and joins the family’s caravan. He immediately insinuates himself into Lilith’s good graces, speaking to her in conspiratorial fashion, treating her more as an adult than a child, which entices her rebellious nature. His interest in animal genetics piques her curiosity and leads her to ask the doctor for advice about her own physical development, since she, as a premature birth, has failed to grow and mature like her peers. Mengele gently tests, probes and measures her, offering assurances, especially to Lilith’s mother, who is worried about her current pregnancy. (And it turns out that Eva is to birth twins, which certainly intrigues Mengele and his nefarious interests in human genetics.)
All at once, Mengele uses each family member’s concerns to his advantage. Even Enzo, the most distrustful from the start, gets drawn in by Mengele, who invests in Enzo’s handcrafted doll-making enterprise, shifting the exquisite individuality and precise detail of Enzo’s efforts toward a more uniform production line approach incorporating what could have been a degree of heavy-handedness in this display of the Nazi’s master race mentality. Instead, it comes across as an example of chess-like manipulation of human nature in pursuit of an overall goal.
The seductive nature of evil is all the more powerful thanks to Bredemühl’s performance, which casts a strong dark shadow that never simply devolves into mere moustache twirling. His Mengele is all cold calculation, despite the fact that he could be mistaken for having a degree of human care and concern in him. Is he, in fact, truly infatuated with Lilith, or even Eva, for that matter? Enzo reacts out of what could be understood as jealousy for the attention Mengele shows to his wife and daughter, but again, history tells us that Mengele is all business.
This puts a certain perspective on the ability of the Third Reich to sweep a nation and much of Europe up in its fevered march toward domination and genocide. Popular culture representations hint at our curious fascination with such dark figures, but what emerges from those characterizations is a desire to remove any trace of human sensitivity or connection. Evil is best and most recognizable if there’s no way for us to miss its absence of heart and/or soul.
But could that kind of portrayal do justice to men like Mengele and Adolf Eichmann (Nazi officer and a major organizer of the Holocaust), who actively participated in such inhuman practices and escaped capture for so long, walking among us? We long to believe their lives were hellacious, in some way, as they were forced to constantly look over their shoulders while putting on a show or a mask of humanity.
The German Doctor presents a dry, yet far more likely scenario that highlights the indelible stain on all of us. Mengele is all too human, truth be told, eagerly pursuing his aims with an expansive network of support at the ready. He was not some lone predator outside the scope of civilized society, just as the Nazis weren’t a philosophical fringe group in Europe, ripping clumps of hair from their heads while foaming at the mouth; that kind of crazy we could have seen and avoided.
Think of all the evil geniuses we’ve encountered onscreen over the last 20 years. The Hannibal Lectors of film and television. The diabolical Jigsaw from the Saw franchise. Col. Hans Landa (Christoph Waltz) from Inglourious Basterds. What have they taught us? Evil ain’t crazy. Just watch (and watch out for) The German Doctor. (Opens Friday at Esquire Theatre) (R) Grade: A-
Holder revealed the DOJ’s intention to join the fight in Ohio over early voting during an interview about terrorism with ABC News in London July 11. That portion of the interview was unaired. Holder’s comments were revealed when the DOJ released transcripts to the press this week.
The Ohio suit, originally brought by the Ohio American Civil Liberties Union and other civil rights groups, claims the Republican-led elimination of early voting hours is unconstitutional because it will disproportionately affect minorities.
Ohio’s General Assembly, which is controlled by Republicans, passed laws in February eliminating six early voting days and same-day voter registration. Ohio Secretary of State Jon Husted subsequently eliminated early voting the last two Sundays before elections and on weekday evenings in the days before elections.
Some of Husted’s cuts to early voting the Sunday before elections were undone by a federal district court judge, who ruled that the state must reinstitute early voting in the final three days before an election. Despite that victory, the other cuts have yet to be restored and are the grounds for the ACLU’s lawsuit.
In the interview, Holder said voting is “the most basic of our rights” and vowed that he “will use every power that I have, every ability that I have as Attorney General to defend that right to vote.”
Holder also said the DOJ will file in another voting rights case over Wisconsin’s voter ID law, which has seen a pitched battle in federal courts.
Ohio Democratic gubernatorial candidate Ed FitzGerald applauded Holder’s comments in a news release today.
“I’m pleased that the U.S. Department of Justice will be joining the fight to protect voter rights in Ohio,” FitzGerald said in the release. “Under Governor Kasich, access to the polls has significantly decreased for hardworking Ohioans across the state.”
If you were excited to catch New Jersey Indie Pop duo Brick + Mortar at last weekend’s Bunbury Music Festival, you were probably also disappointed that the twosome’s set was cut short due to bad weather. But next month you’ll have another chance to see the band. And it won’t cost you a penny.
When the MidPoint Indie Summer series on Fountain Square was announced, organizers held back unveiling the full lineup for the Aug. 15 show. Ohio party rockers The Nightbeast were the only performers announced at the time. (Below is The Nightbeast's latest music video, "Paid and Rowdy.")
Now that Bunbury is over, organizers have announced that Brick + Mortar will join The Nightbeast as co-headliners for the free Aug. 15 show. B+M is signed to Island Records and its track “Locked in a Cage,” released earlier this year, did well on the Alt music charts.
The rest of Aug. 15 lineup will be announced soon. For the full rundown of Indie Summer shows on Fountain Square, click here.
UPDATE: The other two acts for the Aug. 15 Indie Summer show have been announced: The Protomen (who will be fresh off their stint on the Warped Tour) will headline and Dayton's Dangerkids will also perform.
Another Bunbury band, Ohio Folk Rock crew Saintseneca, will also be returning to Cincinnati soon. The band is slated to perform at the MidPoint Music Festival in late September. Check out Saintseneca's recent appearance on World Cafe here.
Get tickets, check out the ever-growing lineup and find more MPMF info here.