WHAT SHOULD I BE DOING INSTEAD OF THIS?
 
Home - Blogs - Staff Blogs - Latest Blogs
Music
 
by Mike Breen 02.19.2013
Posted In: CEAs, Local Music, Live Music, Music News at 12:34 PM | Permalink | Comments (0)
 
 
tumblr_mgc11imqdd1rq9jjjo1_1280

Cincinnati Entertainment Awards Broadcast Gets Air Dates

The 16th annual Cincinnati music celebration begins airing locally this Saturday

The 2013 Cincinnati Entertainment Awards ceremony/party late last month at Covington’s Madison Theater was filmed on high-quality video and this Saturday, for the first time in the 16-year history of the CEAs, fans who want to relive the performances and presentations (or those who missed it altogether) will have a chance to watch the show on television.

The show includes the short but very sweet live sets from Bad Veins’ Ben Davis, The Dopamines, Gold Shoes, Ricky Nye, Jess Lamb and Culture Queer, as well as an all-star presentation of songs from the Come Play the Lost Notebooks of Hank Williams at Herzog EP put together by the Cincinnati USA Music Heritage Foundation.

Saturday at 9 p.m., thanks to the Intercommunity Cable Regulatory Commission, the full show will be aired on ICRC TV, available in select communities in the Cincinnati area via Time Warner Cable channel 4. The show will be rebroadcast on the same channel Monday at 8:30 p.m., March 1 at 10 p.m. and March 2 at noon. (Check here — in the column on the left — to see if the broadcast is available in your area.)

For those in Cincinnati proper, you can watch the CEAs on Time Warner channel 24 on Feb. 27 and on March 6 at 9 a.m. A Northern Kentucky broadcast is also in the works, as is the ability to watch the program online. Stay tuned to this here music blog for the latest updates.

If those air times don’t work for you, you can also purchase a copy on DVD. Simply email melissa@icrctv.com to inquire about delivery and prices. (Program reference number is 16534.) To relive the ceremony in photos and words, click here.

 
 
by Mike Breen 02.19.2013
Posted In: Local Music, Festivals, Music News at 07:57 AM | Permalink | Comments (1)
 
 
bunbury_music_festival_logo

Bunbury Music Festival Announces Year 2 Lineup

Second annual fest along the riverfront brings in The National, fun., MGMT and more

Bunbury Music Festival founder Bill Donabedian announced much of the festival's sophomore year's lineup this morning on Fox19. The fest returns to Sawyer Point Park July 12-14. Tickets are on sale now.

The lineup is loaded with great local talent, including a couple of returning hometown heroes — Walk the Moon (on RCA Records and touring the world) and The National (one of today's biggest Indie Rock bands, which recently sold out the huge Barclay's Center in Brooklyn, the members' current headquarters).


Here's the full lineup announced so far:

FRIDAY:

fun.

Tegan and Sara

Walk the Moon

Delta Rae

Beat Club

Red Wanting Blue

Youngblood Hawke

Billy Wallace

Pete Dressman

Josh Eagle

Jay Nash

PUBLIC

Everest

Sky Ferreira

Tokyo Police Club

Alone at 3AM

We are Snapdragon

Seabird

The Mitchells

Ohio Knife

State Song

Buffalo Killers

Those Darlins

Devotchka

The Features

The Dunwells

American Authors

SATURDAY:

MGMT

Cake

Twenty | One | Pilots

We Are Scientists

Ambassadors

Civil Twilight

Chairlift

Margaret Darling

Taylor Alexander

Tim Carr

Christopher Paul Stelling

Culture Queer

Vacationer

The Mowgli's

Oberhofer

Atlas Genius

The Ready Stance

The Bears of Blue River

Black Owls

You, You're Awesome

New Vega

Messerly & Ewing

Ben Walz Band

The Pinstripes

Bear Hands

SUNDAY:

The National

Belle & Sebastian

Camera Obscura

Yo La Tengo

Joe Purdy

Gregory Alan Isakov

A Silent Film

Night Terrors of 1927

Jake Kolesar

Mark Utley

Channing & Quinn

Gringo Star

Benjamin Francis Leftwich

Savoir Adore

Black Joe Lewis & The Honeybears

Mia Carruthers

Bethesda

The Harlequins

DAAP Girls

The Upset Victory

CincyMusic.com Battle for Bunbury

The Hiders

Daniel Martin Moore
 
 
by Steven Rosen 02.18.2013
Posted In: Music News, Music History, Local Music, Live Music at 01:13 PM | Permalink | Comments (0)
 
 
patti_smith_1_edward_mapplethorpe

CAC to Bring Patti Smith and 'The Coral Sea' to Cincy

Legendary musician/poet/artist schedules May 17 stop in Cincinnati

Contemporary Arts Center has officially announced that Patti Smith will perform The Coral Sea with daughter/pianist Jesse Smith on May 17, in connection with her CAC exhibit, also called The Coral Sea, that opens the next day and features work not previously seen in the U.S.

At the concert, Smith will also play selected material from throughout her career.

The CAC website says that "The Coral Sea performance work found its beginnings from Smith’s 1997 book of the same name, her requiem to her dear friend Robert Mapplethorpe (who took the cover photo of Smith’s debut album, Horses, among his many other accomplishments). With music arranged and performed live by Kevin Shields — of heralded British shoegaze band My Bloody Valentine — two separate performances were held at London’s Queen Elizabeth Hall in June 2005 and September 2006. In 2008 those performances were released as a live album."

Mapplethorpe's own posthumous photography retrospective at CAC, 1990's The Perfect Moment, became a major controversy when cultural conservatives led by now-retired Sheriff Simon Leis tried to shut it down for obscenity. In a famous trial, a jury sided with the CAC. The concert venue and ticket information will be announced soon at www.contemporaryartscenter.org.  

I first wrote about Smith's art show coming to the CAC in
CityBeat last year here.

 
 
by Mike Breen 02.18.2013
Posted In: Live Music, Reviews at 08:42 AM | Permalink | Comments (1)
 
 
who

REVIEW: The Who Does 'Quadrophenia' in Louisville

Rock legends perform Rock Opera in full at KFC "Yum!" Center Saturday night

For a  couple of decades, I've resisted going to concerts by legendary Rock bands and icons I've loved who keep touring without much in the way of new material. I'd rather remember The Rolling Stones via video footage of their ’60 and early ’70s peak. I'd rather see The Who when there was an element of chaos and danger, when Keith Moon might pass out and have to be replaced by an eager fan pulled from the audience at the last minute. I'd rather remember The Beatles circa their post-touring years, via footage from their post-"Fab Four" days, working on arty videos and even artier music.

I've seen a lot of footage from The Rolling Stones live in the past nearly 30 years ago and it really set this resistant tone for me. Even back on the tours behind Tattoo You, the Stones largely just seemed to be chugging along for the cash. The most infuriating thing to me has always been their double-speed rendition of classics like "Satisfaction," as if they're just trying to get them out of the way. (To their credit, they seem to be fond of dragging out some "deeper cuts" at more recent shows, which adds at least a little freshness to their stale cavalcade of hits.)

It has to be a bit of a dilemma for some aging legends. The majority of fans want just the hits; they're the ones who complain of Facebook that a certain show was "OK, but they didn't play ___________! So it sucked." The Rolling Stones have a little bit of new material every few years that they'll drop into the set to keep things interesting for the members (or they'll dig out those deeper cuts). Paul McCartney does a total crowd-pleaser concert, basically performing the same exact stage show for seemingly 20 years and running through those classic Beatles/Wings tunes that are guaranteed to bring any house down. McCartney seems more a "give the people what they want" showman, and his performance is note perfect and flawless. I've always respected British Punkish-Pop-turned-Classical-Pop singer/songwriter Joe Jackson for the way he found to keep things interesting — never play every song the same way on every tour. His great live album,
Live 1980/86, featuring four concerts from different eras is a brilliant example of this — there are four totally different versions of "Is She Really Going Out With Him?" It's interesting to the players and the die-hard fans. (Casual fans would rather hear the version on the original recording without variation).

The Who has done greatest hits runs and has only released a handful of new recordings in the past 30 years. But they have enough ambitious, grand projects in their impeccable discography that they can pull out, they're capable of doing special shows like the one on their current tour which finds the surviving members (and friends) performing the Quadrophenia album in full.

The Who's sporadic tours of late have often had some special "hook" that, presumably, keeps things interesting for the members who have played "My Generation" approximately 4 billion times. Townshend often makes some comment after a tour that it might be the last. He doesn't seem interested in the greatest hits revue. At Louisville's concert and sports palace, the KFC Yum! Center, The Who — well, original living members Roger Daltrey and Pete Townshend, plus a cast of backing musicians that included Ringo Starr's overachieving bad-ass drummer son Zak Starkey on the skins and Pete's brother Simon Townshend becoming more of a presence on guitar and occasional vocals — played Quadrophenia in full (as they've done with Tommy) and I couldn't help but think that the artistic challenge of performing the group's second notable Rock Opera in full was enough to get Townshend to sign on. And enough to keep The Who on the road.

The Quadorphenia performance was excellent. The band played through without talking or really pausing for a breath, playing the double album from start to finish. This seemed to cause some uneasiness for some in attendance who didn't get the memo about the Quadrophenia-heavy performance and seemed just ready to hear "Teenage Wasteland" and "Squeeze Box." But the crowd, en masse, eventually warmed to the presentation, particularly the "hits" like "5:15," "The Real Me" and a jaw-dropping performance of "Love Reign O'er Me," the story-cycle's emotional climax and finale.

Part of making the medicine go down smoother was the barrage of video clips and photographs of, well, everything. There was plenty of old Who footage and lots of clips of late members Keith Moon and John Entwistle, plus some interesting visual effects involving rain and ocean waves during interludes (like on the album, but visualized). They also included a pair of lengthy montages from the entire history of Western Civilization since WWII. We were treated to images of the Berlin Wall falling, Winston Churchill, Ronald Reagan and other U.S. presidents, war footage. It was a history class presented quick-cut style.

While these video gimmicks were attention-grabbing — everyone likes to watch historical/pop cultural montages — it didn't make much sense in the context of the story. I mean, I suppose EVERY contemporary story told has SOME connection to the entire history of the modern world. But the band was playing a thematic piece of work that told a real, actual story. Why not advance that story? It's a good one, weaving a tale about a common 1960s young man trying to find his way in the world and eventually becoming disillusioned and losing his mind. Maybe they wanted the words to do the talking … in which case, the footage (while visually compelling) was pointless wallpaper.

But most importantly, the band played the album well. It was in essentially the same arrangement as the original album, but with a few interesting added elements. The group's tribute to Keith Moon on "Bell Boy" — during which Moon's vocal part was stitched in seamlessly, with him floundering about in concert with his headphones and sticks to grab the mic and sing (via video) — was touching (and also not spoiler-alerted during the group's performance of it during the Sandy Hook benefit concert). The vocals were laid in over top of the band, so they were basically doing the Elvis-via-film "concerts" where "he" plays with his old bandmates. But it was touching (Daltrey gazed at his old friend lovingly) and an emotional high point of the show.

As was the tribute to the group's stunning bassist John Entwistle. The band gave The Ox a "solo" mid-song and it was disorienting in its brilliance, as Entwistle performed a spine-tingling barrage of bass acrobatics — of course with his trademark deadpan stare making it looking even more effortless. The footage was shot on cameras at an old show placed at the head of his bass and in front of him. Watching his fingers move across the frets was like watching a ballet of finger-work. Greatest Rock & Roll bassist of all time — no contest.

I developed a new appreciation for how hard Roger Daltrey works singing a two-hour plus concert. Unlike Entwistle, he made it look hard … but it was valiant and he hit almost ever note. A few lines would be "jazzily" redirected to avoid a few of the harder notes … but he nailed most of the important ones. By the time they got to love "Reign o'er Me," one of Rock's best, more underrated vocal performances ever, I had to tip my hat. You can tell he's doing everything he can to keep that voice in the best shape possible — there was a warning posted on the screens before the show announcing Roger's allergies, which, it said, would have a detrimental effect on his singing (the notice playfully suggested sticking to brownies). He had some sort of humidifier looking device behind him pumping steam the whole show and, though he played it off like a pro, he seemed a little lost when his in-ear monitors broke down twice during the performance. During the second-to-last song, "Won't Get Fooled Again," Daltrey stopped singing at one point and the band seemed thrown, but quickly recovered. Roger didn't look happy but he eventually came back to better spirits.

Pete Townshend has long been my ultimate Rock & Roll hero — he embodied Rock & Roll to me growing up and I've never grown tired of his songwriting. Pete has a rep for being a grump, but he was downright jolly in Louisville, windmills flying regularly. He joked towards the end about how he could now "jump up and land at the same time," promising to go nuts and act like he was 16 again for the next tune. He never quite managed lift-off — a trademark of his old days, when he'd tuck his knees and jump a good five feet straight up, landing on a big chord or final note. He's technically a senior citizen – the fact that he could roam around the stage and show some intensity is impressive enough. (And, as the man who has written Tommy and "Substitute" and "A Quick One," I'd give him a total pass if he'd decided to play laying down on a bed in the center of the stage.)

After the group finished Quadrophenia, they didn't even leave the stage. Pete, like an orchestra conductor might, spoke to the audience about their performance and introduced the great back-up players (which included a horn section and a pair of keyboard wizards). The group then ran through a stream of hits that, at least in terms of intensity, fed into my old fears that seeing my idols past-prime might replace a good memory with bad ones. The versions of "Who Are You," "Pinball Wizard," "Baba O'Reilly" and "Won't Get Fooled Again," weren't "bad," but, miraculously, had a couple of sloppy moments. I actually liked that — I'd stay home and listen to the albums if I wanted perfection — but it seemed like the band was ready to go back to the hotel. The power chords more often than not lacked the "power" element. They just weren't stepping into it — they were lightly breezing through.

The full band left and Roger and Pete did one of their few newer songs, an acoustic number about growing older, friendship, tea … and theatre (apparently), called "
Tea & Theatre." As on the Hurricane Sandy benefit show, it seemed an odd closer, though it was sweet. These two old friends who have hated each other at times over the years seem at peace with The Who's legacy and their own partnership.

Townshend announced that Roger had arranged the whole Quadrophenia performance, which immediately made me believe Daltrey brought the idea to Townshend, knowing he'd have a better chance presenting something his old mate would find challenging if he wanted to go on a "Who tour" again. Daltrey could've staged it himself, but I envision him going to Pete and saying, "I do this one my own, I'm doing casinos and theaters; you come with and it's a lucrative arena tour."

Like all bands with longevity, The Who have found a dynamic that seems to work. It's something every enduring band has to come to peace with – from The Stones to The Black Crowes to Pearl Jam, all bands that seem to have realized they need each other to do their job most effectively (and profitably). Once they find that peace, they seem much happier. The Crowes have split or taken long breaks numerous times, but they know their future is like Keith and Mick's — they need to tour together because that's what their fans (and customers) desire. And Pearl Jam fairly early on seemed to come to an understanding that their place is on the road and together. They seem happy these days and you rarely hear them complain about "fame" anymore (as Mr. Vedder had been known to do at one time). They even play songs they've played millions of times — like "Alive" and "Even Flow" and "Jeremy" and "Black" — with passion, fire and smiles on their faces. They have inherited a bit of "Uncle Paul's" crowd-pleaser genes.

All of these artists seem in a good place in terms of tending to their legacy, finding what works best for them. The Who seemed that way as well Saturday night in Louisville, but I left wondering "What's next?" Might this really be a farewell tour. They've been doing them since the early ’80s, but if Pete and Roger don't come up with an approach that satisfies their artistic/performance needs, I wouldn't be shocked to hear that they've decided to call it quits after this round of travel.

While my personal concerns about seeing some of my favorite artists before they are no longer able to perform have been both confirmed and assuaged at shows by The Who and McCartney, I'm still happy I've seen those artists play in my lifetime. I've now decided to look at it like those fans who wanted to see early musical icons like Muddy Waters or Howlin' Wolf or Charles Mingus or any legendary player play one more time before he or she passed away — I'm sure they might not have been spellbinding, but I'm also sure it gave great joy to those fans who saw them.

And I've also realized that there's nothing wrong with indulging your nostalgic instincts in these situations. There's room in most of our minds for multiple memories about the same people. I will remember Pete and Roger killing it on The Smothers Brothers show and I can remember them keeping the spirit live almost 50 years later in Louisville … and neither memory has to cancel the other out.

I'm saving my pennies now to see The Stones.

 
 
by Mike Breen 02.11.2013
 
 
art23417widea

Ohio Against the World at The Grammys

Akron's Dan Auerbach cleans up at ceremony, including winning for an album featuring one of Cincy's best

Despite Frank Ocean's deft leg-syncing and Taylor Swift's torture-porn-disguised-as-wholesome-circus, Akron, Ohio's Dan Auerbach and The Black Keys were The Grammys' big story last night, winning five trophies, the most of any artist.

While the Keys won the Grammys for Best Rock Album, Best Rock Song and Best Rock Performance, Auerbach scored two solo Grammys for his production work, winning the trophy for Producer of the Year (Non-Classical) and also winning one for producing Dr. John's Locked Down, the Blues Album winner.

While Grammys for album winners are usually given to the producers, engineers, mastering engineers and artists, hopefully Cincinnati's Brian Olive will also score one for his work on the LP. Auerbach — who has produced albums by both Olive and Cincinnati's Buffalo Killers — enlisted Olive (an original member of Cincinnati's Greenhornes) to work on the Dr. John album. Olive has songwriting credits on every track on Locked Down, and he's also credited with playing guitar, percussion and woodwinds, as well as providing background vocals. (Check out CityBeat's profile of Olive from 2011, about his Auerbach-produced Two of Everything album, here.)

Kudos to Mr. Olive! That's him — the handsome feller with big side-burns playing sax (and a little guitar) in this video for the album's "Revolution."


Check out all the winners from last night's Grammys here, and click here or here for some extra musings about the show.

 
 
by Mike Breen 02.08.2013
Posted In: Music Video, Music News at 11:31 AM | Permalink | Comments (1)
 
 
muppets

Battle of the Bohemian Rhapsodies

Two AltRock greats tackle Queen's operatic anthem … but can they top The Muppets?

"Bohemian Rhapsody," one of the trademark songs by legendary rockers Queen, was fittingly released on Halloween in 1975 and its strange, epic Rock operatics were an instant success across the globe (it only reached No. 9 on the U.S. singles charts initially, but a re-released version on the heels of its appearance in Wayne's World made it to No. 2 in 1992). Though a bit silly, history has treated the tune well — it's regularly included in innumerable "Best Rock Songs Ever" lists and polls and was inducted into the Grammy Hall of Fame in 2004.

Here's the beginning of BBC's The Story of Bohemian Rhapsody for some background (the rest of the parts of the program are in the right column if you click the "Watch it on YouTube" link).



The song has been covered numerous times over the years (though mostly not until the ’80s/’90s, likely due to its "untouchable" status in the minds of some; how many "Stairway to Heaven" covers are there?). Sometimes the versions are cheeky parodies (of COURSE Weird Al recorded "Bohemian Polka"), while other times it is presented fairly straight up (like P!nk's live version).

This young month has already seen the issuance of two new(-ish) covers of the song. The Flaming Lips tackled the track in 2005, recording it for the Killer Queen: A Tribute to Queen compilation. But yesterday, a new video of the song was posted to the group's YouTube site. It's fairly faithful, with just a little of the Lips' freaky glaze sprinkled on top. The new video is a bit more glazed — and decidedly NSFW (due to female nudity).



Puscifer, one the side-project bands from Tool frontman Maynard James Kennan, has recorded the song as well, set for release on a new EP, Donkey Punch the Night, due Feb. 19. It's a strong version, but even more faithful to the original.



Who does it better?

Personally, I don't think it gets better than this — The Muppets version of "Bohemian Rhapsody," released in 2009 (and currently boasting over 30 million views on YouTube). Animal steals the show.



 
 
by Mike Breen 02.07.2013
 
 
locally insourced

Cincinnati Music Industry Trade Show TONIGHT

Trade show host also unveils Kickstarter campaign for 'Musicians' Desk Reference' e-book

Tonight at Rohs Street Café in Clifton Heights, local musicians get an industry trade show of their very own. The “Locally Insourced: Cincinnati Music Industry Trade Show” is being presented at the venue at 6 p.m., organized by the Counter Rhythm Group and presented in conjunction with the MidPoint Music Festival.

Along with being able to register for showcase consideration at this year’s MPMF (you can also do so now via Sonicbids; click here for details), Locally Insourced is designed specifically with Greater Cincinnati musicians in mind and features booths representing various music entities in the area, from recording studios and merch makers to local labels, radio outlets and much more. Among the vendors participating: Modern Misfit Classic Genius, Southpaw Prints, Bearcast Radio, The SoundWorkshop Recording Studio, El Rey Effects, Moonbeam Studios, Moonlight Studios, CincyMusic.com, Play It Forward, Phratry Records, DMark Video Productions, Cincyticket, Coda Photography, QCA and Sebastian Illustration.

The event is free and open to all ages. Visit locallyinsourced.com for more details.

Counter Rhythm Group main-man Brian Penick has just launched a Kickstarter project for his forthcoming interactive and customizable e-book, Musicians’ Desk Reference. Here is the pitch video that explains the project very well; click here to visit the Kickstarter page and check out the various perks your donation can earn for you.

For even more on the book, attend tonight's trade show and be sure to keep an eye on this here blog, where Penick recently began guest blogging monthly updates about the project.

 
 
by Mike Breen 02.05.2013
Posted In: Live Music, Local Music, Music Video at 12:20 PM | Permalink | Comments (0)
 
 
donny-white-shirt-couch-nick-chao

Music Tonight: Donny McCaslin and Shovels & Rope

California native and acclaimed Jazz composer/saxophonist Donny McCaslin got a fairly big jump on his music career, performing with an ensemble of experienced musicians by the time he was 12. If there was any nepotism involved (the group was McCaslin’s father’s, a vibraphonist), the criticisms probably faded quickly as McCaslin started his own group in high school and managed to get them booked multiple years at the Monterey Jazz Festival.

The saxophonist studied intently and performed in youth orchestras that traveled the globe, all before earning a full scholarship to the Berklee College of Music in Boston. He moved to New York City in the early ’90s and found work quickly, replacing Michael Brecker (a huge influence on the young musician) in the group Steps Ahead and going on to play with the Gil Evans Orchestra and many others.

By the mid-’90s, McCaslin — who had deeply explored the various aspects and possibilities of traditional Jazz — began to collaborate on more experimental Jazz projects, including the group Lan Xang and Ken Schaphorst’s big band (alongside John Medeski and other unique top players). McCaslin’s creative curiosity set the tone for his diverse solo albums, which have been widely acclaimed for the composer’s successful risk-taking.

When McCaslin plays the Blue Wisp Jazz Club tonight (with shows at 7:30 and 9:30 p.m.), he’ll be supporting on of his most compelling releases yet, 2012’s Casting for Gravity. The album was inspired by McCaslin’s interest in Electronic music, an uncommon ingredient in most forms of Fusion. The album roams from textural, ambient explorations (particularly on a cover of Scottish electronica duo Boards of Canada’s “Alpha and Omega”) to quirky, funky meditations like the glitchy “Tension.” 

It’s a recipe that shouldn’t work, but Casting for Gravity is a fascinating listen that makes one wonder if visionaries like John Coltrane or Ornette Coleman might not have pursued this direction if they were born 60 years later. It’s primarily a progressive Jazz album, with tasteful electronic flourishes. Instead of aping Electronic music nakedly, McCaslin seamlessly incorporates the arrangement spirit of Electro masters like Aphex Twin or more contemporary EDM artists into his own compositions. 

Tickets for tonight's shows are $20 (students can get into the 9:30 p.m. show for $15). Here is a clip of the band performing the latest album's track, "Stadium Jazz."

• The husband and wife duo of Michael Trent and Cary Ann Hearst, better known as Shovels & Rope, were slated for an appearance at MidPoint Music Festival here in Cincinnati last fall, but an offer to open for Jack White convinced them to bow out of the fest.

Given the hardscrabble road the pair has traveled over the past five years, it’s hard to argue with their choice. Denver native Trent and Nashville-raised Hearst had been in several bands before crossing paths in Charleston, S.C. (they’d met on tour over a decade ago), eventually playing in each other’s bar bands and becoming friends.

In 2008, the pair formalized their friendship by writing and recording the album Shovels & Rope and releasing it under their own names.

The duo ultimately decided to name its group after the title of that debut album and released O’ Be Joyful last summer to ecstatic press notice, with frequent references to Johnny Cash and June Carter and John Doe and Exene Cervenka (although they’re just as quick to namecheck The Cramps and the visceral pairing of Lucinda Williams and Elvis Costello). (Preview by Brian Baker)

Shovels & Rope's success continues to rise, as evidenced just last week by their network TV debut on David Letterman's show (see below). But even on a local level, their ascent was obvious — tonight's appearance at the Southgate House Revival was moved from one of the smaller rooms in the venue to the larger "Sanctuary" room after it was clear that they could fill it. Showtime is 8:30 p.m. and tickets are $12 at the door (while they last).



 
 
by Mike Breen 02.01.2013
Posted In: Local Music, Live Music, Music News at 02:23 PM | Permalink | Comments (0)
 
 
studio piano & cello

WNKU Announces 'Studio 89' Season Lineup

In-studio concert series to include local faves and national acts from a variety of genres

Yesterday, Northern Kentucky independent radio outlet WNKU celebrated two years of expanding its broadcast to 105.9 and 104.1 FM (as well as the standard 89.7 FM). Today, the station announced the upcoming season of its great in-studio concert series, Studio 89. As usual, the lineup is a great, eclectic mix of local acts and national artists. Studio 89 begins airing Monday, live at 7 p.m., starting Feb. 18.

Feb. 18:  Kelly Richey Band (with new bassist Freekbass)
 
Feb. 25:  Noah Hunt (former Uncle Six frontman and current singer for Kenny Wayne Shepherd Band)
 
March 4:  Bonnie Bishop (Nashville, TN)
 
March 18:  Little Ed & the Imperials (Chicago, IL)
 
March 25:  Frightened Rabbit (Selkirk, Scotland)
 
April 1:  Kim Taylor (local singer/songwriter whose film acting debut was featured in Sundance fave, I Used To Be Darker)
 
April 8:  Ana Popovic (Belgrade, Serbia)
 
April 15:  Nick Moss (Chicago, IL)
 
April 22:  Oxford's Lisa Biales, joined by CEA-winning Ricky Nye and their French pals The Parisians
 
May 6: Hadden Sayers (Bexley, OH)

Studio 89 welcomes fans to watch performances, held at Northern Kentucky University's Digitorium at Griffin Hall, for free (a $5 donation is suggested). There is limited seating; fans can sign up Tuesday-Thursday before each Monday performance for a chance at seats. Click here for full details.

Besides your FM dial options, you may also listen to WNKU at wnku.org.

UPDATE: As always, WNKU also will have numerous guests in the studio to chat in the coming months. Here's a run-down: Ellis Paul (tomorrow, 3 p.m.); Shovels & Rope (Feb. 5; 2 p.m.), Matisyahu (Feb. 7, 2:30 p.m.); Trixie Whitley (Feb. 10; 3 p.m.); Red Wanting Blue (Feb. 16; 2 p.m.); Chicago Farmer (Feb. 22; 4 p.m.); Paul Bromwell (Feb. 23; 11 a.m.); Tom Kiefer (Feb. 27; 12:30 p.m.); Wake Owl (Feb. 27; 2 p.m.); Buddy Miller and Jim Lauderdale (Feb. 28; time TBA); They Might Be Giants (March 3; 3 p.m.); Papa Chubby (March 4; 4 p.m.); Kopecky Family Band (March 18; 2 p.m.); and Will Kimbrough (April 5; 2 p.m.).
 
 
by Brian Penick 02.01.2013
Posted In: Local Music, Music News at 01:06 PM | Permalink | Comments (0)
 
 
counter

Guest Blog: Building the 'Musicians' Desk Reference'

A thousand words. That’s what I have to tell you everything about what I am doing, why I am doing it and how it may affect musicians and the music industry. At the end of it, you get to form an overlying judgment on both who I am and my reasoning. So here we go.

My name is Brian Penick and I am the founder of an artist development company called The Counter Rhythm Group and the author of the upcoming eBook, Musicians’ Desk Reference, an interactive and customizable eBook that establishes a protocol for progression through the modern music industry. Yes, that’s a lot — I’ll explain below.

But first I’d like to thank the kind folks at Cincinnati's CityBeat for giving me an amazing opportunity to guest blog about my world for the next couple months, raising nationwide awareness (and funding) for an eBook that will be released in October. We are very fortunate to have an entity such as CB here in Cincinnati that is willing to take a chance at promoting a startup project this early on, something that fewer individuals have every year with the closing of “altweekly” newspapers across the land. While I could go on for many paragraphs ranting about how important these outlets are to the worlds of the arts, small businesses and independent thinking in general, I simply implore you, if you have not done so in a while, to go pick one up and start reading. You won’t realize what you’re missing until its gone.

This book is a project that I am putting together out of both passion and necessity. I have been a touring musician for well over a decade now, having a large part of the business end in each of my projects, always trying to learn the ins and outs of the beast known as the music industry. I love giving advice to other musicians on whatever I can, and while I might not have the answer, I often have an answer, which is (usually) better than nothing. I enjoy seeing independent musicians thrive or “make it,” and I always hope that people who find success are willing to share their knowledge and experiences with those who have not … a utopian dream I have where the music industry becomes more of a community, eliminating the competitive edge that unfortunately drives musicians to greedy and selfish attitudes about helping others.

Throughout my personal experiences as a musician and running The Counter Rhythm Group I have found some parallels to the questions musicians are asking, most of which seem to have a natural progression to them.

For many, the music industry seems to be a labyrinth you have to face in the dark. Why does it need to be this way? I believe it doesn’t.

Musicians’ Desk Reference sheds light on the complexities. You’re still going to have to navigate your own path, but this eBook will give you some tools in your belt to have as good of a chance as ever. The inner workings of the book display information on several topics of the music industry, offering insight as to WHY, WHEN and HOW you can accomplish important tasks, all leading towards progression. But it doesn’t stop there, as the book gives you customized scenarios in chronological order that offer clarity on what exactly you need to do. In addition to all of this, there is an extensive collection of documents that are included — everything from templates and instructional guides to examples and video tutorials.

Again, I don’t have ALL the answers, but I do have some, which, combined with my desire to help more musicians than I presently can, is why I am in the position that I’m in. I would have loved to have a resource like this when I was coming up as an independent musician and I really hope this is a game changer for the music industry.

We’re about to launch a Kickstarter campaign for the project, something that makes me queasy just thinking about it. I have been on the fence about KS from the start; while I think it’s actually a great platform to help projects that extend the bounds of creativity come to fruition, you’re still begging for money, which I am not a fan of. I started The Counter Rhythm Group out of pocket and, while I would love to do the same for this, the costs are astronomical to produce a good (like this) vs. a service, and there is no way I can handle that at the moment.

But then I started to realize that how important crowd funding is to something like this. Getting people to support this extends beyond the monetary value (more backing = cheaper book costs to users), because when someone backs this project it means that they believe in what we are doing and that it’s necessary. That is a very humbling thought to someone who has essentially shut himself away from the masses since starting this project and it makes this knot in my stomach start to slightly ease up.

Here I am about to enter the most important month of my life, one that will dictate at least the rest of the year, with the amount of sleep dwindling with each approaching night. I encourage you to read the story and watch the video at my Kickstarter page and if you feel compelled to, contribute and/or share.

Again, I am grateful for what I do and the fact that I get to do it every day, even if it means I get to help only a few. I love music more than most things in this world and I know many of you share that same sentiment. Thank you for reading. Here we go.

Brian Penick will be guest blogging for CityBeat monthly, leading up to the fall release of Musicians' Desk Reference. For more on the project, visit the official site here.

 
 

 

 

 
Close
Close
Close