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by Mike Breen 07.22.2015 129 days ago
Posted In: Local Music, Music History at 10:23 AM | Permalink | Comments (0)

Growing Up with Bogart’s

How my musical obsession coincided with the rise of the now 40-year-old Corryville concert venue

Though it hasn’t always been a loving relationship, Bogart’s has been a part of my musical life since the ’80s. I’m slightly older than the venue. I was 5 when it opened. But in less than 10 years, as my music fanaticism truly took hold, Bogart’s would become a place of awe to me.

It began when I entered junior high. I went to a school just a few blocks up Vine Street. It was commonly known as Schiel, but I attended during a brief period when it focused on foreign languages and was called the Cincinnati Bilingual Academy.

My fellow musically-obsessive friends at the time loved to hang out on Short Vine. The record stores were a big draw, as was the arcade, Jupiter and Beyond. So we spent as much time as we could in the area after school and on weekends. Bogart’s sat right in the middle of it all, but it was this magical, mysterious entity to us. Because the venue was yet to have “all ages” shows, we’d never seen a concert there. But we would stand out front and marvel at the posters in the window, wishing we could go see some of these very bands with which we were becoming deeply obsessed.

At some point, we discovered the alleyway that ran behind the club and realized that was where the artists entered and loaded in. So we began a ritual that lasted through high school. A few friends and I would linger around the backstage door before shows by artists we loved, hoping to see our heroes and maybe get an autograph. We would also sometimes be able to hear the musicians doing soundcheck, and every so often during our early high school years we’d be there late enough that we could actually hear some of the concert through those back doors.

There I got to meet some artists who were favorites of mine then and remain important to me to this day. Guitarist Andy Summers of The Police stopped at Bogart’s on a solo tour. The Police were by far my favorite band at the time, so it was incredibly exciting to say hello to Summers (who is a tiny, tiny man) and have him sign the pickguard  I yanked off of my cheap acoustic guitar. I also got to meet the members of L.A. Punk legends X. Billy Zoom, the band’s blonde-pompadoured guitarist, was hilarious. He chatted with us briefly and then when we asked for autographs, he happily obliged, pulling a silver paint pen from his leather jacket. It must’ve been a new acquisition because he couldn’t get the cap off, so he handed it to me for help. Nervously, I got it off, but also broke the pen in the process somehow. Zoom started giving me shit and I was horribly embarrassed, but later realized he was likely just busting my chops and having fun with me.

When I was just starting junior high, British Ska/Pop band The English Beat played Bogart’s on its 1980 tour. The Beat were second only to The Police to me, but the show was during a time where we could only longingly look at the gig posters in the front windows. Later, while in high school, with our back door ritual in full swing, General Public — which featured the Beat’s frontmen Dave Wakeling and Ranking Roger — were booked to play Bogart’s, so we made plans to try and meet Dave and Roger. We arrived a few hours before the show and noticed that a few upperclassmen from our high school were there hanging out as well. It was a cold day and Roger and Dave came hurriedly around the corner towards us, huddled up in coats and trying to stay warm. Dave saw the five or six of us hanging around and instantly invited us in out of the cold. This was my first time inside of Bogart’s and it felt like I’d just entered a sacred temple. I had to leave (Mom was waiting for me), but we got to make that climb up the stairs from the backstage, walk across the stage (where the band members were messing with equipment), then through the big hall and out the front doors. It was a highlight of my life up to that point.

I also camped out around back when Adrian Belew and The Bears (featuring local musicians Rob Fetters, Bob Nyswonger and Chris Arduser of The Raisins) were making their Bogart’s debut in 1985 (it was the start of the band’s very first U.S. tour). I was a huge fan of Belew’s solo albums and work with King Crimson and The Raisins were one of my favorite bands. The Raisins were the first “local band” I truly fell in love with and anytime the group played an outdoor, non-club, all-ages show (in a park usually), I was there.

Belew finally was making his way into the club as we approached, accompanied by a man we didn’t recognize. It was Arduser, who was actually the drummer during an earlier period of The Raisins, not during the time when I’d go to see them constantly. As Belew jotted down autographs for me and my friends, he introduced Chris with a silly joke I’ll probably never forget: “This is Chris Arduser, also known as Chris Our Drummer.”

Years later, when I started my writing career, several of these moments connected and came full circle. While living in New York City, I had the chance to interview X’s frontpeople Exene Cervenka and John Doe in their record label offices (I didn’t bring up the Zoom/exploding-pen incident). I did an extensive phone interview with Belew. And through writing about and interviewing Arduser and Fetters over the past 20 years, I think if they saw me on the street they’d recognize me and say, “Hello.” Just being able to talk to those guys (and Nyswonger), considering my fanaticism over their bands from a young age, was and is pretty amazing.

A few years ago, I got to sit backstage at Riverbend with Dave Wakeling when The English Beat opened for 311. He was the kindest “Rock Star” I’d ever met and he actually hung out with me and a few other people I was with before and after the show. (When he let us into Bogart’s, I was convinced it was because one of the older high school girls was very cute, but I’m now more convinced he was just being a cool guy.) At one point, I was standing next to Wakeling at the side of Riverbend’s stage watching 311 play. At one point, he leaned over and said in my ear, “I think me and Roger (who no longer performs with The Beat; Wakeling is the only original member) will get back together at some point.”

If my 13-year-old self would have been told that any of those moments would happen several decades later, he would’ve fainted.

At some point in the ’80s, Bogart’s began experimenting with having all-ages show. My very first show at the club was to see Violent Femmes (I believe in 1986), but, in the early stages of this experiment, Bogart’s herded us under-agers up into the balcony. I remember loving the show and being in the club, but I more vividly recall looking down on the club’s floor and noticing what a small audience there was. While the balcony had hundreds of kids smushed together and barely able to breathe, it seemed like there were only a couple hundred people below us. Still, I’d made it into Bogart’s! Not long after, I made it to the floor-level when the club was hosting high school cover bands for all-ages shows. The Complaints (who also did some originals I really liked) were the big band at my high school at the time and I remember the club being packed with teens for their show. (Fun fact: The Complaints’ drummer was Michael Meisel, who later became a big-time music manager for several popular artists, including Nirvana.)

The club kept expanding its all-ages policy over the next few years. Punk Rock matinee shows were very popular; I fondly remember seeing some of my favorite local Punk acts, like SS-20, The Edge and Human Zoo, thrashing around on the Bogart’s stage. It seems like a weird dream now, but there were also Punk shows that featured wrestling — an actual ring was installed in the middle of the floor and local Punk icon/radio host/Bogart’s employee Handsome Clem Carpenter not only MCed (I believe), but also wrestled.

Another early show I saw was True Believers, Alejandro Escovedo’s early punk-ish band. I remember this show because it was the first time I actually was served beer at the club. My teenage friends and I were sitting at a long table and a waitress came up to take our order; she didn’t flinch when we ordered a pitcher of beer. So, of course, we ended up ordering about 20 pitchers of beer throughout the night.

Around this time, I played my first shows at Bogart’s, something almost any young musician will tell you is a pretty special feeling. My Punk band was added to a few bills by a gracious promoter or fellow local band. I remember being so nervous at those first shows that I could barely play my instrument, partly because I was thinking about all of the famous musicians (U2, Prince, R.E.M.) who had stood right where I was standing. I ended up playing there many times over the years with various bands (opening for bands like New Model Army, Prong, Matthew Sweet and Fugazi), but the early shows were the most memorable. When my first band opened for 7 Seconds, we started to get heckled by a gaggle of skinheads in the crowd (we mixed Rap, Funk and Post Punk into our sound, which offended their purist tastes apparently). Our singer started taunting them so they approached the stage; as one started to climb up, I punched my combat boot directly into his face at the lip of the stage. After our set, the club provided us with a couple of security guards so that we could walk back up and watch 7 Seconds. We were told some skinheads were waiting for us outside, but by the time we got out, they were gone.

By the time I reached college, I was a regular at Bogart’s. I even started befriending some of the staff, dating a couple of bartenders and even marrying one. These were the days when I saw certain bands right before they graduated to “arena rock”-levels of success, like The Smashing Pumpkins, Beastie Boys and Marilyn Manson. One of the more memorable shows was a weird 1995 package tour headlined by Mike Watt and featuring Hovercraft (which included Eddie Vedder on drums, right as he was at his Grunge God peak with Pearl Jam) and a new band fronted by Nirvana’s Dave Grohl on guitar and vocals. Grohl was road-testing his new group, which you may have heard of (rhymes with Doo Righters). Watt headlined the show and was backed by Vedder, Growl and Germs/Foo Fighters/Nirvana guitarist Pat Smear for his set.

As mentioned above, I haven’t always loved Bogart’s. The sound has ALWAYS been hit or miss, often frustratingly. I can only imagine it’s best explained by the set-up of the club (basically a big, long brick shed). There was period when the staff was almost universally rude, with harsh pat-downs at the door (at one point, if you tried to bring in anything that could remotely be considered dangerous — a lighter! A pack of cigarettes! A chain necklace! — it was often just tossed in the trash) and overly-aggressive bouncers roughing up kids who were perhaps dancing a little too hard. About 10 years ago, I got an assignment from U.K. weekly music paper NME to review an Insane Clown Posse concert at Bogart’s. During the pat-down, the door person grabbed the pen I needed to take notes and he tossed it into the garbage. I know ICP crowds can be rowdy, but, even after explaining the pen’s purpose, the doorman just blank-stared me, seemingly convinced that I was just the type to go on a serial pen-stabbing spree during the show.

I loved the ICP show, by the way. The band is a Bogart’s staple and that was my first time seeing them. The music isn’t really up my alley, but the duo’s ridiculous showmanship is truly something everyone should experience at least once. I’m convinced the two ICP dudes know they’re more a comedy act than anything — and probably chuckle at the fans who take them way too seriously —  and that makes me appreciate what they do. It was like a surreal circus show gone awry and I had a smile on my face the entire time. Though afterwards, I felt really bad for the Bogart’s clean-up crew — SO. MUCH. FAYGO. I wonder which show was more dreaded by the janitors — ICP or GWAR?

The Bogart’s of today is strikingly different and in the best shape it’s been since I started going there. I remember several years ago writing a rant about the club (probably after the ICP incident) and pointing out that, in the decades I’d been going to concerts there, the venue had made absolutely zero notable improvements. Sure, they’d upgrade the sound system from time to time (usually without much noticeable improvement to the sound), but the club never seemed to improve conditions for the customers (good Lord, those bathrooms approached CBGB levels at times). Maybe it was a money issue or maybe management felt there was no reason to upgrade, since people were coming anyway. And, besides, where else would they go to see these particular acts?

But the days when going to Bogart’s felt like entering a prison yard are long gone. A few years ago, I remember going to a show and being stunned at how different it was. It was right after some upgrades and, while nothing drastic, it changed the whole vibe of the club and the experience. The staff was friendly. The front-door inspections were respectful. The bathrooms were clean. It was suddenly customer-friendly in a way I never remember it being.

There is no way I can remember every show I saw at Bogart’s, memorable or not. There have been several hundred. But a few stick out. There was the 1990 show when on-the-rise bands Faith No More and Soundgarden opened for cult Metal group Voivod; by the time the tour got to Bogart’s, the openers were blowing up on MTV and radio, which meant that less than half the large crowd stuck around to watch the headliners. Another time, when I started my writing career, I had a pre-show interview with the guitarist for Blind Melon at a restaurant next door to the club. As we chatted, late singer Shannon Hoon (who’d later put on a great show) and the other band members threw food at each other and acted (endearingly) like 12-year-olds.

Another favorite memory was a weird Red Hot Chili Peppers/Faith No More show in 1987. This was when Hillel Slovak (who later died from a heroin overdose) was still playing guitar with the Peppers (a favorite band of mine at the time), and Faith No More featured Chuck Mosley on lead vocals (well before Mike Patton took over the mic). Faith No More opened and ran through most of the material from the We Care a Lot and Introduce Yourself albums, its only releases at the time. Then things got weird and Mosley started telling the sizable crowd that the Chili Peppers weren’t going to show. Then the band started doing jams and weird covers, playing for well over an hour. Mosley did an acoustic version of Suzanne Vega’s “Luka.” By the time guitarist Jim Martin began to do a solo Hendrix-esque rendition of “The Star-Spangled Banner,” it felt as if Mosley may not have been kidding.

Faith No More was clearly vamping and trying to fill time. Then, in the middle of a song, four heads started weaving towards the stage from the back of the room. The Chili Peppers hopped onto the stage with Faith No More and jumped up and down for a few minutes, then headed backstage. They put on a great, incredibly energetic show (they said their tour van — a VW Beetle Bus with bullhorns on the front that my friends and I saw in the parking lot afterwards — broke down on the highway, but we all suspected something drug-related caused the delay). For their encore, the Peppers came out naked except for the tube socks on their dicks (part of their schtick at the time) and looked nervous as hell, glancing over their shoulders constantly. Apparently they’d been informed about Cincinnati’s low-tolerance for anything sexual in public (remember, this was the ultra-conservative ’80s, when Cincinnati was most associated with shutting down “obscene” art exhibits and hassling Larry Flynt) and were fearful of being arrested. The band played one or two short, fast songs and then booked it off stage. (It’s just a rumor, but I’d heard the police were indeed there and going to arrest them, but the band escaped in a fan’s car and stayed at their house playing video games all night.)

I’m not a big fan of huge crowds, so sold-out Bogart’s show always put me in panic attack mode. But I’ve braved several and I’m glad I did. When Bob Dylan decided to play some smaller clubs in 1999 and chose Bogart’s as one of them, I proudly took my dad to see him. I’ve seen Dylan numerous times over the years and more often than not I’ve left disappointed. But at Bogart’s, he sounded amazing and played inspiringly. I also took the love of my life to an over-stuffed Bogart’s in 2003 see her favorite band of the time — The White Stripes — when she was several months pregnant with our child (if she’d given birth, the baby would have had to have been passed to the exit, crowd-surf style, because it was so packed).

Bogart’s has admirably supported local and regional artists since as long as I can remember. Locals were given opening slots for big-time bands often. After my first band played a crazy set at one of the club’s battle of the bands (competing mostly with straight-forward Hair Metal bands), Dan Reed, manager at the time, came up and asked if we wanted to open for Jane’s Addiction. We very much did, but Jane’s took off and ended up playing Hara Arena in Dayton instead. The aforementioned local Punk shows were always a blast. And I have fond memories of 97X’s old 97Xposure band contests. The club’s “battle of the bands” events (which I mostly attended as a guest judge after my competitive years were over) could sometimes be painful, but I always enjoyed watching the younger bands exhibiting that same awe that I felt the first time I played there (and it was fun to play “Spot the Parents”). The club also hosted a couple of benefits for local community radio station WAIF that were a lot of fun, one featuring a ton of local bands playing Christmas songs (my band decided to perform in just Christmas underwear — briefs! — which must’ve been horrifying) and one with local groups playing David Bowie songs. And I spent many great New Year’s Eves at Bogart’s when the great Columbus, Ohio band Royal Crescent Mob played there every year. I seem to remember The Afghan Whigs taking the slot a few times, too. (The many Whigs shows I’ve seen at Bogart’s, including their most recent one a couple of NYEs ago, have been some of my all-time favorites.) In recent years, CityBeat has hosted a new band showcase at Bogart’s — the staff has always been great and I’ve thoroughly enjoyed the shows.

I wouldn’t say Bogart’s is my favorite club — I prefer smaller venues, in general. But I’m very thankful it exists. It has been the one constant, reliable place to check out live music of every sort in Cincinnati ever since I was a teen, and its mid-size has made it possible for mid-level acts to play the Queen City instead of skipping it altogether. More or less, my musical life has revolved around Bogart’s, and it’s hard to imagine what it (or Cincinnati’s concert scene, in general) would have been like without it. Thankfully, we don’t have to.

CityBeat celebrates the 40th anniversary of Bogart's with this week's issue. Check out Brian Baker's overview Cover Story on the club's rich history and promising future, plus sidebars on Brian's favorite moments, the view from John James' nearby record stores, Prince's surprise visit in 1984 and the infamous Heavy Metal Wheel of Sex.

by Mike Breen 07.17.2015 134 days ago
Posted In: Live Music, Local Music, New Releases at 10:18 AM | Permalink | Comments (0)

‘American Originals’ Pops Concert Recording Due in September

Recording from January celebration of American Roots music featuring the Pops and national/local Americana performers gets a release date

Back in January at Music Hall, the Cincinnati Pops Orchestra, under the direction of conductor John Morris Russell, presented its unique “American Originals” concerts. During the performances, the orchestra collaborated with several local and national Folk/Americana artists to perform and celebrate the music of Stephen Foster and other early songs that are the foundation of the “Great American Songbook.” 

Read CityBeat’s cover story on the project here.

Rosanne Cash, Aoife O’Donovan (who recently returned to join the Pops for its Fourth of July concert at Riverbend; read our interview with her here), Dom Flemons (formerly of the Carolina Chocolate Drops) and Joe Henry joined Cincinnati area artists Over the Rhine's Karin Bergquist and Linford Detweiler, members of the Comet Bluegrass All-Stars and others to perform specially arranged versions of Foster compositions like “O! Susannah,” “My Old Kentucky Home,” “Camptown Races” and “Beautiful Dreamer,” as well as traditional numbers like “Red River Valley,” “Kumbaya” and “Amazing Grace.” 

A live recording of the concert featuring 17 songs will be released on Friday, Sept. 11. (You can pre-order it now here from Amazon.)

Here is the detailed track listing for the American Originals release (via cincinnatisymphony.org):

1) “O’ Susannah” (written by Foster, arranged by Chris Walden and with Joe Henry on vocals)

2) “Jeanie With The Light Brown Hair” (written by Foster, arranged by Rob Mounsey and with Aoife O’Donovan and Karin Bergquist of Over the Rhine on vocals)

3) “My Old Kentucky Home” (written by Stephen Foster, arranged by Rebecca Pellett and featuring Rosanne Cash on vocals)

4) “Amazing Grace” (traditional, arranged by Pellett and featuring Aoife O’Donovan and the Comet Bluegrass All-Stars)

5) “Rolling River: Sketches On Shenandoah” (composed by Peter Boyer) 

6) “Why, No One To Love?” (written by Foster, arranged by Pellett and featuring Over the Rhine’s Bergquist on vocals and her OTR partner Linford Detweiler on Rhodes keyboard)

7) “Old Folks At Home” (by Foster, arranged by Timothy Berens and featuring Dom Flemons on vocals and harmonica, Timothy Berens on banjo and Paul Patterson on fiddle)

8) “Kumbaya” (traditional, arranged by Berens and featuring Timothy Lees, Kathryn Woolley, Gabriel Pegis and Scott Mozlin on violins and Richard Jensen on djembe

9) “Slumber My Darling” (by Foster, arranged by Chris Walden and featuring O’Donovan on vocals and guitar)

10) “Aura Lee” (by Foster, arranged by Pellett and with Henry and Ed Cunningham on vocals)

11) “Foster's Folly” (by Foster, arranged by Berens)

12) “Ring, Ring The Banjo” (by Foster, arranged by Walden and featuring Flemons on banjo and bones
 and Cunningham on fiddle)

13) “Red River Valley” (traditional, arranged by Berens and featuring the Comet Bluegrass All-Stars)

14) “The Battle Cry Of Freedom” (composed by George Frederick Root and arranged by Berens)

15) “Beautiful Dreamer” (by Foster, arranged by Mounsey with Cash on vocals)

16) “Hard Times Come Again No More” (by Foster, arranged by Berens and featuring Over the Rhine, with Bergquist on vocals and Detweiler on guitar)

17) “Camptown Races” (by Foster, arranged by Mounsey and featuring the Comet Bluegrass All-Stars, as well as Cash, Flemons, Henry, O’Donovan and Over the Rhine on vocals)

by Mike Breen 06.26.2015
Posted In: Live Music, Festivals, Local Music at 10:45 AM | Permalink | Comments (0)
crowd shot

Summer Music Fests in the Great Indoors

Direct sunlight or potential rain will not be a problem for three local music festivals this weekend

When you think summer music festivals, you probably think about things like high-powered sunscreen, hydration and the chance that you might get drenched if a storm rolls through. But this weekend in Greater Cincinnati, there are three festival that spotlight our great music scene, and you won’t need an umbrella, SPF 500 or $8 bottles of water for any of them. (Two of them feature “patio stages” that are outside, but schedules will be adjusted if harsh weather strikes.) Click on the artists' names for more on each of the acts.

Stanley’s Reggae Fest returns for its fifth year to Stanley’s Pub Saturday, showcasing some perfect summertime music with vendors, Jamaican food (from Ena's Jerkmania) and an outdoor patio stage (weather permitting; see above). 

Cincinnati faves The Cliftones head up the lineup, which also features fellow locals Know Prisoners, Nashville, Tenn.’s Roots of a Rebellion and Columbus, Ohio Reggae/Rap/Rock crew Shrub. 

Music starts at 6 p.m. Get a ticket today for $12 here, or pay $15 at the door. 

• The eclectic Folk/Americana scene in Greater Cincinnati is one of local music’s most thriving, and Saturday at Newport, Ky.’s Southgate House Revival, you’ll be able to catch some of its guiding lights (as well as a few touring acts). The inaugural Cincy Folk Festival is being presented by the local music website cincygroove.com and proceeds benefit local Northern Kentucky radio station WNKU. 

The fest will utilize all three stages at the Southgate. Tickets $20 (get yours in advance here). There are also VIP tickets available for $30 (VIPs will be treated to catered food and music from The Young Heirlooms and Honey and Houston at 5 p.m.).

Here is the full schedule (visit cincyfolkfestival.com for updates and full info). 

Sanctuary stage

7:30 p.m. Bulletville

8:30 p.m. David Gans

9:30 p.m. Kim Taylor

10:30 p.m. AJ Ghent Band

12 a.m. Chicago Farmer

Revival Room

8 p.m.Daniel Wayne and The Silver Lines

9 p.m. Mamadrones

10 p.m. Hickory Robot

11:15 p.m. Souse

12:30 a.m. Gabbard Brothers

Lounge stage

8 p.m. Carole Walker

9 p.m. Tracy Walker

10 p.m. Ma Crow & The Lady Slippers

11 p.m. My Brother The Bear

12:30 a.m. Wilder

• Tonight and tomorrow (Friday/Saturday), the Northside Tavern hosts the return of the Northside Music Festival on three stages, including one on its outdoor patio. The fest, now in its eighth year, features some of the city’s finest Indie and Rock acts of various shades and styles. And it’s all FREE. Visit the NMF’s Facebook event page here for the “in case of rain” schedule.


Back Room stage 

10:45 p.m. Skeleton Hands

11:45 p.m. Artisan

12:45 a.m. Dream Tiger

Front Bar stage

10 p.m. Smut

11 p.m. Everyday Objects

Patio stage

7:30 p.m. The Slippery Lips

9 p.m. Subsets

10:30 p.m. Tweens


Back Room stage 

10:45 p.m. The Harlequins

11:45 p.m. Temple

12:45 a.m. Soledad Brothers

Front Bar stage

10 p.m. New Strange

11 p.m. The Sundresses

Patio stage

7:30 p.m. Leggy

9 p.m. The Tigerlilies 

10:30 p.m. Fairmount Girls

by Mike Breen 06.10.2015
Posted In: MidPoint Music Festival, Local Music at 07:00 AM | Permalink | Comments (0)

MidPoint Music Fest Announces More Bookings

September fest to feature Iron & Wine, Patrick Waston, Lydia Loveless and more

The second round of acts booked for this year's MidPoint Music Festival have been announced. The popular Indie Folk fave Iron & Wine heads up the announcement, adding to a lineup that includes previous-released names like Purity Ring, Ride and Sylvan Esso.

Here is the full list of artists announced so far:

Aero Flynn

All Them Witches
American Wrestlers
Beach Slang

Betty Who



Diet Cig

The Donkeys


Iron & Wine


Low Cut Connie
Lydia Loveless
Matthew E. White
Mikhael Paskalev
Mild High Club

Moon Duo


Patrick Watson
Pokey LaFarge

Pure Bathing Culture
Purity Ring


Ryley Walker

Sarah Jaffe

Strand Of Oaks
Sylvan Esso



Vinyl Williams

White Reaper
Yumi Zouma

Zola Jesus

The 2015 MidPoint Music Festival returns to venues around Over-the-Rhine and Downtown Sept. 25-27 (the festival is now running Friday through Sunday, instead of Thursday through Saturday). The first-round weekend passes for $69 have sold out, but if you attend this Friday's MidPoint Indie Summer show on Fountain Square (featuring Kopecky, Broncho, Coconut Milk and Near Earth Objects) you can still purchase them at that price. Otherwise, weekend passes are now $79. (Prices increase again after Labor Day.)

Visit mpmf.com for the latest info and ticket links.
by Mike Breen 05.11.2015
Posted In: Live Music, Local Music, Music Video at 10:18 AM | Permalink | Comments (0)

Walk the Moon to Play ‘The Voice’ Tuesday

As Cincinnati band’s “Shut Up and Dance” continues to climb the charts, the group gets set for primetime TV appearance

If you have access to a radio or television set, then you’re likely well aware that “Shut Up and Dance” by Cincinnati Dance Pop crew Walk the Moon has become a bona fide Pop hit. The single has been certified platinum, meaning it has sold more than one millions copies. The catchy, danceable track is currently at No. 5 on Billboard’s singles chart and has also performed very well on various other charts. “Shut Up” reached No. 2 on iTunes Top Songs chart and Billboard’s digital charts. On Spotify, the song has been streamed more than 78 million times, while “Shut Up”’s video has held a steady presence in the Top 10 of VH1’s Top 20 video countdown. Talking is Hard, Walk the Moon’s second album for RCA Records, continues to benefit from the single’s success, moving as high as No. 14 on Billboard’s overall album chart.

The Cincinnati band has worked hard to push “Shut Up and Dance” to the upper reaches of the Pop charts. Along with the usual late-night talk show circuit, Walk the Moon has also appeared on network morning shows like The Today Show (which used various WtM tunes as bumper music throughout the day the band appeared) and The Ellen DeGeneres Show

When DeGeneres introduced the group on her show, she called “Shut Up” the band’s “No. 1 hit,” which it wasn’t at the time but could end up there as Walk the Moon keeps up its relentless promotional push. WtM’s is also becoming a bigger and bigger concert draw, selling out many of its shows across the country (the band just recently completely another successful U.S. jaunt).

And WtM has also been making it onto prime time TV lately. Last month, Riker Lynch and Allison Holker danced to “Shut Up” for a routine on ABC’s Dancing with the Stars. Tuesday night (May 12), the band will play “Shut Up” as special guests on NBC’s popular singing competition, The Voice. Tune in to catch the performance at 8 p.m. 

Though several Cincinnati-based acts have done well on a national level, crossing over to the top of the Pop charts is pretty rare, particularly for artists who choose to remain in their hometown while pursuing their career. Walk the Moon comes home to play Cincinnati’s Bunbury Music Festival on June 5 along the Ohio’s riverfront. Click here for tickets/details

by Mike Breen 05.07.2015
Posted In: Live Stream, Local Music at 09:15 AM | Permalink | Comments (0)

Free Summer Music in the Parks

This summer brings another wealth of free musical events to Downtown and Over-the-Rhine

Just a couple of decades or so ago, downtown Cincinnati resembled a ghost town in the evenings. Once 5 p.m. rolled around, most downtown workers hopped in their cars and headed home, rarely staying in or visiting the city’s core for any other reason (maybe a concert or sporting event, but that was largely a “parking garage/game/home” process). It’s hard to explain to some younger locals just how much the city has changed since then, with the life and energy brought back to Downtown and nearby Over-the-Rhine over recent years becoming the norm. 

There are, of course, numerous reasons for the resurrection of the city’s center, much of which is covered weekly in CityBeat (new restaurants, bars, events and other additions, plus the influx of people deciding to live in the area). Every summer I’m particularly struck by the huge shift the city has made when I attend some of the many free live, outdoor concert options available to the public most days of the week. Seeing hundreds of people from all backgrounds enjoying free music in a variety of genres is yet another thing that should make our city proud of how far we’ve come. 

Lineups for this summer’s music series on Fountain Square and Washington Park, as well as the relative newcomer, Smale Riverfront Park, have gradually been unveiled over the past few weeks. Below is a list of scheduled events so far. All of the series do a great job of spotlight the enormous local talent in the city, and there are also several concerts featuring national touring acts that would otherwise cost you several dollars for tickets (or at least a cover charge of some sort). 

Print this out, grab a highlighter and mark your favorites (or, heck, take a chance on something new) and then get ready for another great summer for music lovers in the Queen City. (These are only the weekly music-related happenings; visit myfountainsquare.com, washingtonpark.org and mysmaleriverfrontpark.org for all kinds of other events happening this summer in the spaces.)


Salsa on the Square

The long-running Salsa on the Square series gets a jumpstart on the other music series on Fountain Square, kicking off today (and continuing through mid-September, which is also later than the other series). Running 7 p.m. to 10 p.m., the concerts feature numerous area Salsa bands, lots of dancing and even some instructors on hand to help you out if you need some tips. 

May 7: Son Del Caribe

May 14: Tropicoso

May 21: Kandela

May 28: Clave Son

June 4: Stacie Sandoval & Grupo Tumbao

June 11: Kentucky Salsa All-Stars

June 18: Son Del Caribe

June 25: Zumba

July 2: Kandela

July 9: Clave Son

July 16: Stacie Sandoval & Grupo Tumbao

July 23: Kentucky Salsa All-Stars

July 30: Tropicoso

Aug. 6: Stacie Sandoval & Grupo Tumbao

Aug. 13: Monk River

Aug. 20: Clave Son

Aug. 27: Son Del Caribe

Sept. 3: Afro-Cuban Cartel

Sept. 10: Tropicoso

Sept. 17: Latin Beat Project

American Roots

The American Roots series features a variety of acts that cover the wide spectrum that is Americana music today. Most of the top local Roots acts are performing, while touring artists like American Aquarium, Chuck Mead & His Grassy Knoll Boys, Dale Watson and more will also make appearances. Each night features two performers. Music runs 7 p.m. to 10 p.m.

May 26: American Aquarium and Ben Knight and the Welldiggers 

June 2: Buffalo Wabs & the Price Hill Hustle and Wild Carrot 

June 9: Chicago Farmer and Shiny and the Spoon

June 16: Chuck Mead & His Grassy Knoll Boys and Jeremy Pinnell

June 23: The Shook Twins and G. Burton

June 30: The Quebe Sisters and Howlin’ Brothers

July 7: Dale Watson and Straw Boss

July 14: TBA

July 21: Quiet Life and Crow Moses

July 28: The Brothers Landreth and Josh Eagle and Harvest City

Aug. 4: Arlo Mckinley and Wilder

Aug. 11: Young Heirlooms and The Hiders

Aug. 18: Bulletville and Noah Smith

Aug. 25: Elk Creek and Frontier Folk Nebraska

Sept. 1: Dallas Moore and Pure Grain

Reggae Wednesday 

Joining the usual array of some of the finest Reggae bands in the city and region this year for Reggae Wednesday are numerous touring bands, including St. Louis’ Taj Weekes & Adowa, Jamaican natives Yabba Griffiths and Jah Messengers Reggae Bnad and Brooklyn’s New Kingston. Reggae Wednesdays run 6 p.m. to 10 p.m.

May 27: Areesaa Iyah & The Eastwind Band

June 3:  Taj Weekes & Adowa

June 10: Yabba Griffiths & the Traxx Band

June 17: Ras Bonghi Reggae All-Stars

June 24: Positive Mental Attitude

July 1: The Flex Crew

July 8: The Ark Band

July 15: The Cliftones

July 22: Gizzae

July 29: Oriel Barry and the Revoluters

Aug. 5: New Kingston

Aug. 12: Ukombozi 

Aug. 19: All Star Jammerz

Aug. 26: Jah Messengers Reggae Band

Sept. 2: Anthem Reggae Band

MidPoint Indie Summer

Sponsored by the popular late September MidPoint Music Festival (which, full disclosure, CityBeat runs), this year’s Indie Summer concerts (held each Friday) feature some of the biggest acts in the series’ history, alongside some of the best Rock/Indie/Alt/Electronic bands in Cincy. The Indie Summer shows showcase four acts and begin at 7 p.m. each week. (More artists are to be added to certain dates.)

May 29: Surfer Blood; The Yugos; Automagik; Harbour
Jun 5: The Mowgli's; One Day Steady; Nevele; Beloved Youth
Jun 12: Kopecky; Broncho; Coconut Milk; Near Earth Objects
Jun 19: Buffalo Killers; Ohio Knife; Mad Anthony; Go Go Buffalo
Jun 26: Sloan; Mother Mother; Old City
Jul 3: Red Wanting Blue; Young Heirlooms; Motherfolk; Chris Salyer
Jul 10: Saint Motel
Jul 17: The Ting Tings; Brick + Mortar; Black Signal
Jul 24: Givers; Prim; Even Titles
Jul 31: The Whigs; Multimagic; Pop Goes the Evil; The Never Setting Suns
Aug 7: Tweens; Leggy; Smut; Shark Week
Aug 14: Judah & The Lion; Seabird; Matt Hires; Along the Shore
Aug 21: San Fermin; Lemon Sky
Aug 28: Wussy; Pike 27; The Perfect Children; JetLab
Sep 4:The World is a Beautiful Place & I am No Longer Afraid to Die; Injecting Strangers; Moonbeau: Edison

Beats by Self Diploma 

Local production/promotion crew Self Diploma has always done a fantastic job of bringing in some of the hottest acts on the EDM and Hip Hop circuits, making its Saturday night showcases some of the biggest of all the series. Last year, the group opened things up to other genres and offered audition opportunities to artists of all sort. Though still heavy on DJs, Electronic/Dance music and Hip Hop, this year’s lineup also includes things like Country Pop and live R&B and Funk. Music starts each Saturday at 7 p.m., with the last act going on at 10 p.m.

May 30: Alex Angelo; Ezzy; Aprina; Justin Stone

June 6: Ja Rule; Trademark Aaron; Diamond Star Russell; Mayo

June 13: King Chip; Cameron Grey; Razook; Sarob

June 20: Nappy Roots; Packy; Ajax Stacks & Nate Paulson; Alexa Lusader

June 27: OnCue; Cato; Rhett Wellington

July 4: Ground Up; DJ Kev the Goon; Swah; David Zup

July 18: Milk N Cookies; Panzer; Reaux; Button Mashers

July 25: Futuristic; Marc Goone; Puck; The Media

August 1: No Sleep; DJ Drowsy; CopyCats; Gold Dash

August 8: Huey Mack; Kid Quil; Lauren Vanatsky; Kid Slim

August 15: Kap Slap; Saranate; RandiFloss

August 22: Academy; TJ Hickey; Sh3llz; Benji

August 29: JMSN; Oregonia; Tana Matz

September 5: The Jane Doze; Gateway; Halogen


Washington Park has stripped back to two weekly music series this year, but both offer plenty of exciting performers. 

Bandstand Bluegrass

The Bluegrass shows return this year to the centralized gazebo/bandstand stage every Thursday (except Aug. 6, which sees the return of the popular Lumenocity multi-media extravaganza). The “Bluegrass” part of the name is a bit of a misnomer; Bluegrass bands are on the schedule, but so are plenty of other Americana/Country/Roots/Folk acts. I guess alliteration is more fun than bad puns (or maybe Dick Clark’s production company would sue if they went with “Americana Bandstand”). Music starts at 7 p.m. and there are usually two acts per night. This year’s lineup includes an appearance by Country Blues favorite Charlie Parr, diverse Michigan ensemble The Appleseed Collective and a few other national acts.

May 28: The Mamadrones

June 4: Mustered Courage and Blair Crimmins

June 11: Willow Tree Carolers

June 18: Jake Book and New Country Rehab

June 25: Woody Pines and Barefoot Movement

July 2: Casey Campbell and Charlie Parr

July 9: Mipso and Railsplitters

July 16: The Appleseed Collective and The Tillers

July 23: Buffalo Wabs & The Price Hill Hustle

July 30: Red Cedars and Blue Rock Boys

August 13: Hu Town Holler and Town Mountain

August 20: Mike Oberst and My Brother’s Keepers

August 27: Comet Bluegrass All-Stars

September 3: Al Scorch & Friends

Friday Fusion

Fridays at Washington Park, R&B and Jazz acts from all over the country (there are some real legends in this bunch) will provide the sounds for Friday Fusion. The concerts rotate between the Bandstand stage and the Main Stage (across from Music Hall). Music begins at 7 p.m.

May 29: Midnight Star (Main Stage)

June 5: Dixie Karas Group (Bandstand)

June 12: Michel’le (Main Stage)

June 19: Eddie Brookshire Quintet (Bandstand)

June 26: Hot Magnolias (Bandstand)

July 3: Delfeayo & Jason Marsalis (Main Stage)

July 10: Zapp Band (Main Stage)

July 17: Straight Ahead All-Female Jazz Band (Main Stage)

July 24: Tim Warfield Quartet (Main Stage)

July 31: Marc Fields Quintet (Main Stage)

August 14: Soul Pocket (Main Stage)

August 21: Vernon Hairston Trio (Bandstand)

August 28: Kathy Wade with the Cincinnati Contemporary Jazz Orchestra (Main Stage)


Cocktails and Crown Jewels 

Washington Park previously hosted the weekly Crown Jewels of Jazz concerts, but this year the series moves to one of the city’s newer green-space gems, Smale Riverfront Park (near the river and The Banks). Now called Cocktails and Crown Jewels, the concerts are heavy on Jazz acts but also include some R&B, Salsa and the melange of styles crafted by funky party crew The Cincy Brass. Music starts at 7:30 p.m. The concerts take place on the park’s Schmidlapp Event Lawn & Stage most Thursdays throughout the summer. The shows are free but attendees can also pay $25 to enjoy the music from the special VSP Area (with some food and drink included). 

May 28: Alex Bugnon

June 4: The Cincy Brass

June 11: Urban Jazz Coalition 

June 25: WOW featuring Tim Warfield and Bobby Floyd

July 2: FrenchAxe

July 16: Craig Bailey and the Cincy Jazz All-Stars

July 23: Orquesta Kandela

Aug. 6: Ingrid Woode & the Woode Tribe Orchestra

Aug. 13: fo/mo/deep

Aug. 27: Sound Body Jazz Orchestra

by Mike Breen 05.06.2015
Posted In: Music Video, Music News, Local Music at 03:43 PM | Permalink | Comments (0)

WATCH: Freekbass’ “Everybody's Feelin' Real” Music Video

Cincinnati Modern Funk musician enlists Mike Gordon, Bernie Worrell, Pete Rose and others for new clip

The new music video from veteran Cincinnati funkateer (and relentless road dog) Freekbass recently appeared online. The clip for “Everybody’s Feelin’ Real” — the slinky, head-boppin’ Pop/Funk title track from Freekbass’ most recent full-length release — shows a variety of scenes and special guests to the viewer through a smartphone screen (fitting, as more and more people seem to be viewing life in that manner anyway). 

Though endearingly short on special effects, the clip is still wildly engaging, particularly as you play “spot the cameo.” The video features some big-name special guests from the world of music, including Mike Gordon of Phish, Ryan Stasik of Umphrey's McGee, George Porter Jr. of The Meters, Stefan Lessard of Dave Matthews Band, Bernie  Worrell from P-Funk and Talking Heads, Steve Molitz from Particle, Zion Godchaux of BoomBox, Cincinnati native Alan Light (music journalist and former editor of Vibe and Spin magazines) and Bigg Robb from Zapp. Cincinnatians and baseball fans will also notice a very familiar face — the Hit King himself, Pete Rose, pops up to sing/lip sync part of a chorus. 

Click here to stream/purchase Everybody's Feelin' Real. It should be Freekbass’ last self-released effort for a while; earlier this year he announced that the respected indie label Ropeadope will release his next album

by Mike Breen 04.24.2015

Early-Bird MidPoint Music Festival Tickets Now On Sale

Weekend passes for MPMF 2015 go on sale and new dates announced

A limited amount of early-bird passes to the 2015 MidPoint Music Festival are on sale now. Tickets good for all three days of the fest are available for $69, while V.I.P. passes are only $149. Once this first batch of passes is gone, weekend passes will be $79 (and $179 for V.I.P.s) through Labor Day, when another $10 price increase kicks in. The tickets are available for purchase at mpmf.cincyticket.com

MPMF has also announced a new date shift. After 14 years of running Thursday-Saturday, MidPoint 2015 will take place Friday, Sept. 25-Sunday, Sept. 27. Organizers say the move was to make things easier for out-of-town guests (who previously might not have been able to make the Thursday shows) and also allow for more daytime programming opportunities, including in Washington Park, which is expected to see an increase in attractions and music showcases. 

Stay tuned here and at MPMF.com (where artists can also submit for showcase consideration through May 17) for the latest MidPoint developments. You can also follow MPMF on Twitter here and Facebook here for more up-to-date info.

by Brian Baker 04.15.2015
Posted In: Local Music, Live Music, Music History at 10:34 AM | Permalink | Comments (0)

The Falcons and the Snow, Man

David Rhodes Brown and the Warsaw Falcons prove there's no time like the present for a blast from the past.

The first time I saw the Warsaw Falcons, my Cincinnati experience was only slightly longer than the band's existence. I'd moved here in January 1982 on the heels of a failed and miserable marriage. I was working for (and living out of) a record store in North College Hill run by my friends/saviors Rick and Karen (aka Cookie, long before Empire, bitches) Kandelson, who gave me work and a safe haven.

I found full time work and a girlfriend in fairly short order, and for the most part felt I'd made the right decision in relocating to Cincinnati. But I desperately missed my 2-year-old son and my family and friends back in Michigan, so I entertained the notion of asking my new love to consider moving back to the Mitt with me.

And then a cosmic intervention took place. Within the span of a couple of weeks, I saw the raisins, who had been around for a while, and the Warsaw Falcons, who had only just formed. After those two musical epiphanies I said to myself, with unbridled joy and complete certainty, "I don't have to go home, I am home."

Beyond all doubt, I was where I was supposed to be.

The raisins were everything I loved about Pop Rock — smart and smartassed, loud, melodic, lyrically brilliant and gloriously dumb, intricate in the pursuit of simplicity. The Falcons exhibited a lot of the same characteristics, but in a totally different context. I couldn't tell you much about the original band at that point, as I was fairly riveted to the sight of David Rhodes Brown, a 6' 4" beanpole with an additional foot of roostered pompadour, snake-charming the nastiest, slinkiest, rawest, most compelling riffs from his hollow bodied Gibson that I'd ever heard in my 25 years. Brown and the earliest incarnation of the Falcons roared through a couple of sets of jumped-up Rockabilly/Boogie Woogie/Blues at an intensity level that could have microwaved a 15-pound roast to perfection in under a minute, and I stood watching in absolute wonder, as if I was attending the swaggering, staggering, yowling birth of Rock & Roll its own damn self.

There was no fundamental difference in any subsequent Falcons show I witnessed over the next seven years, give or take, and they were legion. At Dollar Bill's, Shipley's, Bogart's, Cory's, all the way out at the Townshipn Tavern and any number of places in between, the Warsaw Falcons never gave any less than their absolute all, tearing shit up with gleeful intent, putting it back together with ramshackle abandon and ultimately reducing it to smoke and ash with the zeal of blissed-out revolutionaries, confident in their cause and the destruction it inspired.

Through any number of lineup shifts, the Falcons delivered the goods night after night, set upon set upon set. There were gaps in the band's history when Brown lit out for Austin, Tex., and Nashville, Tenn., but he returned with more riffs to play, more stories to tell, more challenges to conquer. Brown shuttered the Falcons just after taking them into John Curley's Ultrasuede Studio to record their only full-length album, the righteous and red hot Right It on the Rock Wall. That incarnation of the band included legendary session saxophonist Bobby Keys. Brown dusted off the Falcons in 2001, turned out a couple of EPs and played out a bit but shelved them again when a proposed record contract fell victim to the post-9/11 downturn.

In the new millennium, things have been different. Music is ones and zeros instead of a spiraled groove or a spun tape reel, and David Rhodes Brown has reinvented himself a half dozen ways to Sunday. He had Ricky Nye teach him the rudiments of Boogie Woogie piano, he learned the Hank Williams songbook and joined Ryan Malott's 500 Miles to Memphis as a lap steel shredder and vocalist, helping transform it from cool local entity to national semi-sensation. Then he taught himself clawhammer banjo, grew a Rip Van Winkle-meets-ZZ Top beard and started playing old time music with the same dedication and intensity that marked his time in the Falcons, with less actual electricity and an improbable rise in passion and workload. He spread his attention over numerous full and part time projects, leading inevitably to his debut solo album, 2010's exquisite Browngrass & Wildflowers.

And then, as so often happens, fate intervened in the form of last November's celebration/roast of the David Rhodes Brown on the occasion of his 50th year in the entertainment racket (if you count his being paid to sing requiems at Catholic mass, which he does). The event was organized by one of the scene's greatest boosters and its unceasing heartbeat, the amazing Kelly Thomas, ably assisted by Brown's biggest supporter, fan and sugar mama, the incomparable Bobbi Kayser, who together assembled a veritable murderer's row of artists and friends in order to pay deserved tribute to DRB, if for no other reason than to thank him for his role in helping to build the solid foundation upon which the greater Cincinnati music scene has built its magnificent house over the past four decades.

And in a moment of divine inspiration, the once and future David Rhodes Brown called up the two other most recognizable components of the Warsaw Falcons — bassist John Schmidt, whose stoic demeanor on stage was always at odds with the blistering pulse he provided, and drummer Doug Waggoner, whose maniacal approach to rhythm was to beat it into submission, hammering it into new and exotic shapes with Thor's thunder and Odin's lightning. The Falcons' frenetic six-song set at the end of the evening — with Brown in the teeth of a mutant flu strain that would have coldcocked the sturdiest lumberjack or dockworker — was the stuff of local legend. And as the last chords were still ringing through the Southgate House's Sanctuary, Brown (clean-shaven for the express purpose of revisiting his youthful past) informed us that he, Schmidt and Waggoner had worked too hard and had too much fun to lock the Falcons back in their respective trophy cases and that they would be returning, badder and better than ever.

That promise was teased with the Falcons' opening slot for 500 Miles to Memphis at the Southgate House last New Year's Eve, but it was fulfilled with a righteous vengeance last Friday night when the trio headlined their first club date in nearly a decade and a half, transforming the swank surroundings of the newly refurbished Woodward Theater into an edge-of-town roadhouse, with all the danger and chicken-wire that implies.

The evening began with a spirited set from JetLab, the compelling Synth Rock trio that made a serious local splash with their eponymous 2014 debut album and earned a well-deserved Best New Artist CEA nomination earlier this year. In the studio, the trio — Elle Crash (a huge fan of DRB's since way back), Nick Barrows and Dave Welsh — churn out an arty Flying Lizards/Gary Numan/Breeders/Tom Tom Club-tinged soundtrack, but in the live setting, JetLab channels their performance adrenaline into a manic Soul Coughing/Mike Doughty ethic, with brush strokes from the pallets of early Talking Heads, B-52s and our own Perfect Jewish Couple from back in the day. Barrows and Crash take their turns on the Korg, accompanying each other on electric and acoustic guitars with Crash occasionally strapping on the bass to beef up the bottom. Through it all, Welsh provides the slippery beat to hold it all together, shifting seamlessly from tough-edged shuffle to hard-hitting machinegun attack. JetLab has already amassed a sizable and suitably loyal local following, but its rapidly maturing live presence shows the trio is stocked with brains and muscle and its best days lay just ahead.

Next up on was yet another standard stellar appearance by The Tigerlilies, whose greatness has been trumpeted in our pages and on this site for a good long time. Friday's show was solid evidence to support that stance. The band's fourth and undeniably best album, last year's In the Dark, was handed out with each ticket sold and anyone who didn't already have it was the proud recipient of one of the best albums of 2014, period. In my review of In the Dark, I name-checked Cheap Trick, Husker Du, The Clash and The Beatles and I confidently stand behind those reference points. In the live context, however, The Tigerlilies' energy level rises exponentially and they shift into a sixth gear that is almost impossible to quantify. With an audience to spur them on, The Tigerlilies blenderize all of the above and throw in heaping handfuls of the Dictators and Voidoids to create a sound that is Power Pop at a blistering yet amazingly nuanced Hard Rock level. Bassist Brian Driscoll and drummer Steve Hennessy have the kind of telepathic beat mentality that is the hallmark of every great rhythm section, and Pat Hennessy and Brendan Bogosian are proving to be one of the most adaptable and multidimensional guitar tandems in the city, able to pummel with Punk passion and pacify with Pop persuasion. Pat once took guitar lessons from DRB, distinguishing himself to his instructor by bringing him a Johnny Burnette single with the intent of learning the song. That breadth of interest and experience still informs everything he does with The Tigerlilies.

Inevitably, it was time for the Warsaw Falcons to take the stage. Suited up in dapper black like Sopranos extras ready for their close-ups, Msrs. Brown, Schmidt and Waggoner opened the evening with the one-two punch of their slinky and seductive "Skinny Anklebone," the Falcons' first 7-inch from back in 1984, followed by the propulsively thunderous "Mix Your Mess," and it was a slightly mannered free-for-all from there. As always, the Falcons proved themselves to be masters of pacing, knowing exactly the right time to draft and when to accelerate, slowing things down with the swaying Rockabilly/Doo Wop intensity of "I Fall Apart," heating things up with the insistent thump and throb of "Two Cigarettes in the Dark" and "You Can't Talk to Me." And the evening's special status was cemented with a backing vocal cameo from Mark Utley, taking a break from Bulletville and Magnolia Mountain (the latter of which once claimed DRB as a member) to sing harmonies on "You Can't Talk to Me" and "Melody" and provide appropriate shouts on "Cat Daddy."

When the Falcons finally closed with a rafter-rattling spin on "Never My Lover," the understandably frenzied crowd erupted with some fireworks of their own, stomping on the Woodward's dance floor with seismic fury until the trio retook the stage to finish the night with the hypnotic rumpshake of "Bertha Lou" and the incendiary barnstorm of "Swingin' on the Way Down."

As the lights came up on the dazed but exultant attendees (which included everyone's favorite politico/city booster Jim Tarbell; as Brown noted earlier in the night, "Well, when Jim Tarbell shows up, you know you've got a thing"), it was clear that the audience was comprised of two distinct factions — old fans who were basking in the glow of memories of ancient Falcons triumphs and the unexpected prospect of new frontiers ahead and new fans who had just witnessed a scorching force of nature whose earliest gigs may have preceded their births or at least coincided with their formative elementary school years. These younger fans had never seen the trio in their heyday, and I assured them that what they had just experienced was played out in that same fashion, at least five nights a week, three sets a night, back in the ’80s. Their jaw-dropped reaction was proof positive that the Warsaw Falcons belong back together, belong on the current scene with their (much) younger contemporaries and have more than enough fuel to go wherever they bloody well want to go.

Clearly the Falcons themselves and those of us who followed them with unfailing fervor from the start bear all the marks of the passing decades. There is considerably more salt in our once peppery hair, but you know what they say about snow-covered roofs and the fire stoked furnaces beneath them. The Warsaw Falcons may well be looked at as the grandfathers of the Cincinnati scene, but they built this city on Rock and soul and the music they made is as timeless as the seasons, as immutable as the laws that govern the universe and as relevant as tomorrow's headlines.

Friday night's show at the Woodward was the first in a series of gigs where the headlining Falcons will be supported by bands whose members can claim some connection to DRB and his intrepid band of riffmongers, joined by special guests both past and present. Think the Warsaw Falcons are just the new geezer Rock? Get your mind right, kids, and talk to the virgins who got popped at the Woodward last week. They drank the Kool-Aid and they believe. You will, too … right down to your skinny anklebones.

by Mike Breen 04.15.2015

Free 2015 MidPoint Indie Summer Concert Lineup Released

Friday night concerts to include Surfer Blood, The Tings Tings, San Fermin, Sloan and much more

The lineup for this year's MidPoint Indie Summer was announced this morning. Along with a slew of solid local acts, this year's free Friday night concerts on Fountain Square will feature more well known national acts than ever before.

Shows run 7-11 p.m. from May 29-Sept. 4.

May 29: Surfer Blood; The Yugos; Automagik; Harbour
Jun 5: The Mowgli's; One Day Steady; Nevele; Beloved Youth
Jun 12: Kopecky; Broncho; Coconut Milk; Near Earth Objects
Jun 19: Buffalo Killers; Ohio Knife; Mad Anthony; Go Go Buffalo
Jun 26: Sloan; Mother Mother; Old City
Jul 3: Red Wanting Blue; Young Heirlooms; Motherfolk; Chris Salyer
Jul 10: Saint Motel
Jul 17: The Ting Tings; Brick + Mortar; Black Signal
Jul 24: Givers; Prim; Even Titles
Jul 31: The Whigs; Multimagic; Pop Goes the Evil; Never Setting Suns
Aug 7: Tweens; Leggy; Smut; Shark Week
Aug 14: Judah & The Lion; Seabird; Matt Hires; Along the Shore
Aug 21: San Fermin; Lemon Sky
Aug 28: Wussy; Pike 27; The Perfect Children; JetLab
Sep 4:The World is a Beautiful Place and I am No Longer Afraid to Die; Injecting Strangers; Moonbeau: Edison

The shows are sponsored by CityBeat's MidPoint Music Festival (MPMF does not book artists for the Fountain Square events). MidPoint returns this year Sept. 24-26. The festival is currently accepting applications from artists interested in playing MPMF 2015. Click here for details.