Published author, poet, teacher and long-time CityBeat columnist Kathy Y. Wilson has been named Writer-in-Residence for the Public Library of Cincinnati and Hamilton County. Wilson is the first person to take on this new position, which she will serve through November.
As Writer-in-Residence, Wilson will conduct a writer’s workshop, speak at multiple community events and participate in library promotions throughout her residency.
Wilson should be no stranger to any habitual reader of CityBeat, whose “Your Negro Tour Guide” column was a feature in each weekly edition before she abruptly ended the column in 2005. She still remains a featured contributor, providing matter-of-fact and straight from the shoulder insight on the most pressing and important issues, from the election of Barack Obama to the current transgressions of the NFL. She’s never been one to shy away from cutting and abrasive commentary, providing insight that might otherwise remain concealed or ignored.
Wilson has extensive experience in the field of journalism and writing. She is currently a senior editor at Cincinnati Magazine and an adjunct instructor of Women’s Studies and Journalism at the University of Cincinnati, and was a contributor for “All Things Considered” on National Public Radio. Her work has been recognized on multiple occasions, and she was a finalist for a National Magazine Award for her in-depth profile of conservative talk show host Bill Cunningham, being nominated alongside writers from big name publications like Vanity Fair, The New Yorker, National Geographic and New York Magazine — an achievement in and of itself.
Wilson had always dreamed of one day being featured on the shelves of a library and with multiple books to her name, that dream has been wholly accomplished. As the new Writer-in-Residence, she can help people consummate that very same dream.
The middle of the MidPoint weekend is like the middle of a lot of things; the middle of a movie, the middle of a book, the middle of life with an equal measure of glorious accomplishments and missed opportunities behind and the potential for great things still ahead, the middle of an exquisite jelly donut where the filling drips down your chin as you lick the pastry where you just bit with a sensual need for completion.
What was I saying? Right, middle of MidPoint. So here we are in Day 2, quite possibly one of the most anticipated second days of the festival in its long and storied history.
I arrived at Washington Park just as Joseph Arthur was beginning his set. A lot of folks had been hoping that Van Hunt might be accompanying the evening's headliner, our own Afghan Whigs, since he had been touring with The Whigs recently, but Arthur is opening this next leg of the Whigs' triumphant return and so the honor fell to him. And yet the pleasure was all ours, as Arthur put on a brilliant one-man presentation with the help of loops and stomp pedals and a catalog filled with amazing songs, like the powerful "In the Sun" ("because all the best Rock & Roll happens in the middle of the day"). Clearly the most incredible moment of Arthur's set came at its conclusion, when he set up his loops and launched into "I Miss the Zoo," and began drawing an outline with a black paint marker, which almost immediately began to run, on a piece of what looked to be foamcore on an easel set up on stage. While Arthur sang verse after verse, he squirted different colors of paint on various spots around the board, and then picked up a brush and pushed the colors around and into the bleeding black. When he finished the song, he had finished the painting. It was quite astonishing, to say the least. I've been a fan of Arthur's for some time — I interviewed him many years ago — and although I knew he was renowned for his paintings, I had no idea he mixed his media in quite this fashion. It was thrilling to witness.
Next up on the bill was Wussy, quite honestly one of the most redemptive and satisfying second acts in Cincinnati music history. After the nonchalant major label dismissal of Chuck Cleaver's Ass Ponys in the '90s, he returned with a shambling vengeance with Wussy in the new millennium, partnering with Lisa Walker then adding Mark Messerly and Dawn Burman to the fold and making their studio debut with the patently amazing Funeral Dress in 2005. Wussy quickly became a critic's band, famously scoring a huge fan in renowned writer Robert Christgau, who cited both Funeral Dress and 2007's Left For Dead in his Top 10 best albums of the new millennial decade. The arrival of drummer Joe Klug in 2008 gave Wussy the powerful engine they required to hit the subsequent heights they have attained, first with 2011's magnificent Strawberry and now with this year's brilliant Attica!
This latest string of Wussy shows is proving just how powerful and confident the newly minted quintet (with the arrival of former Ass Pony/pedal steeler John Ehrhardt) has become. Klug's presence as a muscular and reliable hammer is certainly one element, Messerly's evolution as an absolutely vital, melodic bassist is another, but in many ways this also boils down to the strengthening chemistry between Cleaver and Walker. The duo's already incredible synergy has morphed into a ferocious and purposeful partnership that yields more dividends with each set and session, and Friday's performance at Washington Park was evidence of Wussy's upward/onward trajectory.
After blazing through a killer romp on "Pulverized," Walker poked the crowd with a gentle threat: "I hope you like 'The Wreck of the Edmund Fitzgerald,' because we're doing all 13 verses … Gord's Gold 2, that's what we've been listening to, exclusively."
Thankfully, no such root canal took place. Instead, Wussy ran through a selection of Attica! and catalog tracks that cemented the band's position as a formidable live entity. "Rainbows and Butterflies" was massive, dense and beautiful while "To the Lightning" howled with an anthemic power surge that accentuated its R.E.M. jangle and Yo La Tengo dissonance, and "Teenage Wasteland" was a showcase of Walker's incalculable gifts and her indispensible role in Wussy. And "Beautiful," like its studio predecessor, started out as a gentle meditation with a menacing undercurrent, but quickly built to a Crazy Horse squall that set off Cleaver and Walker's mantra-like intonation of "I'm not the monster that I once was." If all that wasn't enough, and it surely was, the fivesome finished their round with an unexpected and thoroughly engaging version of Joy Division/New Order's "Ceremony." This set was the best evidence yet that Cleaver may finally be ready to forget about the wounds inflicted by his first go-round with the industry and take his rightful place in the Rock pantheon along with his equally deserving Wussy mates.
At last it was time for the main event, the much-anticipated return of The Afghan Whigs. Each iteration of the Whigs' reclamation has been documented with a local show, but this tour in support of the Whigs' first studio album in a decade and a half, the jaw-dropping Do to the Beast, has been billed — even by some of the band's harshest critics — as the best live performances of their career. Local fans were justifiably amped up about the prospect of experiencing that rush for themselves. To say they weren't disappointed might well be an understatement on a par with "The Beatles kind of changed things."
Naturally, the majority of the set was devoted to Do to the Beast, as the band vaulted into the night air with "Parked Outside" and "Matamoros," guaranteeing that the album and live set opened with the same visceral one-two punch. But where frontman Greg Dulli sounded intense and focused in the studio, he was a coiled truck spring on stage, a spiral of wound up energy that unspooled with a nearly unhinged control.
Surprise was the watchword of the evening. Dulli had hinted to CityBeat that an unexpected guest would be making an appearance and that apparently turned out to be Greenhornes/Raconteurs drummer Patrick Keeler, who proved to be more than up to the task of beating the Whigs' tribal drums and being the percussive foil for John Curley's perpetual bass clinic. And while much of the set list was anchored by Do to the Beast and Gentlemen, about to be reissued in a 21st anniversary two-disc package, there were a number of interesting twists and fan-centric fist pumpers.
The Whigs have always loved mashing up two or more songs, and last night there were a few corkers; Gentlemen's "When We Two Parted" drifting into Drake's "Over My Dead Body,” Do to the Beast's "I Am Fire," paired with a tubthumping take on Fleetwood Mac's "Tusk" and the new album's "Lost in the Woods" bleeding into a melancholic shuffle through The Beatles' "It's
Getting Better." Elsewhere, the band partly covered Jeff Buckley's "Morning Theft" to great effect, and opener Joseph Arthur provided backing vocals on the stage front mic for "Can Rova" from Beast while Dulli took his place at the piano.
The band has been running through stellar versions of "Debonair," Black Love's "My Enemy," and 1965's "John the Baptist" and did again, but the end of the Whigs' hometown set provided the greatest fireworks, starting with the almost never performed "Son of the South" from their Sub Pop debut and sophomore album Up In It, and eventually finished with an abbreviated encore, a blazing march through 1965's "Somethin' Hot" and Black Love's "Going to Town." With the 10 p.m. curfew bearing down, Dulli introduced the band and departed with a resounding, "We are the motherfucking Afghan Whigs! We'll see you next time."
The Afghan Whigs have clearly grown to accommodate some of the massive stages they've inhabited as of late. Longtime Whigs fans may lament the loss of the band's less seasoned version, where every club show seemed to be played with the ferocity of rats fighting their way out of a corner. The Afghan Whigs of now feature the cumulative growth that Dulli and Curley have experienced over the past 15 years since the band's demise and that experience is considerable and fairly amazing. Songs that were once acid-etched screeds are now heart-pounding anthems, and that evolution seems neither contrived nor insincere in any way. Dulli still sings them with visceral conviction, but now he possesses a new understanding of himself and his long established mythology and Curley still underpins every song with eye of the storm calm and outer band intensity but now he invests every note with the unrestrained glee of the best second chance ever. It all makes sense to me.
One last observation; the red gels on the stage lights gave the curtain behind the band the blood red appearance of the velvet backdrop on the cover of Congregation. If you carry that metaphor to its logical conclusion, the Whigs were a beautiful naked ebony mother and we were her beautiful naked pale baby and we were all together on a beautiful night under a beautiful sky having a beautiful time. The Whigs' official return to us could not have been more appropriate or better appointed. And then there was Dulli's hopeful parting, “We'll see you next time.” God, I do hope so.
With the adrenalized rush of the Whigs still ringing in my ears, I headed over to The Drinkery to catch the last two songs from Across Tundras. The Denver-to-Nashville trio works a Doom/Stoner/Psych/Metal angle with a Southern twist that has appeal and volume in equal measures. I realized that I had some wiggle room built into my schedule so I decided to stick around and check out some of All Them Witches, also from Nashville and also working a similar corner as Across Tundras. Although at face value, the two bands seem identical, I'd give the slight advantage to ATW, simply by virtue of their incredible sense of melodicism through the crystal clear volume. There were moments of black hole heaviness that referenced contemporary purveyors like Dead Meadow and Mastodon, but in a Stoner Metal heartbeat they'd crank out a run steeped in the pot/incense smokehouse of early Black Sabbath and Uriah Heep. Amazingly, as loud as it was in The Drinkery's long, narrow space — and I'm quite certain ATW was burying the needles on sound equipment down the street, registering the volume like a Richter monitor — it was never distorted or sludgy or painful, just sheets of pure, beautiful volume and emotion.
I ducked out of the end of All Them Witches to hit the Know Theatre for Rubblebucket. I had picked them to preview based on a couple of spins through their recently released fourth album Survival Sounds and its live presentation did not disappoint. This was clearly a much-anticipated show in the area; the Know staff was counting wristbands by the time I arrived to ensure they didn't go over room capacity on the second floor, and it filled up quickly. Rubblebucket's dancetronic Art Pop/Ska/Soul comes across well in recordings with plenty of nuance and subtlety, but on stage the band is unadulterated fun, downplaying some of the studio filigree while amplifying their core sound. Former boss/friend-for-life John Fox noted the band's resemblance to our own Walk the Moon, and they certainly offer that same brand of infectious Dance Pop, but there is a complexity in Rubblebucket's sonic recipe that pushes them into a singular and perfectly erratic orbit, a place where Bjork and The B-52s and Fishbone and Talking Heads form an orchestra and fashion Play Doh instruments, Bjork whips out some Icelandic volcano magic and transforms them into playable utensils and they translate signals from Voyager into universal Dance Pop.
Rubblebucket's complexity and oddballitry may never find favor in the mainstream, but it hardly matters. They have found the answer to any number of unasked questions and created a sound that everyone should hear at least once and that too many never will. The packed house at the Know on Friday night can revel in the secret knowledge that we have heard Rubblebucket, we get it and, like so many things in life, that will have to do.
I once again beat a reluctant retreat, leaving Rubblebucket before set's end to make my way down to Arnold's for the Jam/Roots splendor of Holy Ghost Tent Revival. When I turned the corner on 8th Street, I spied a small crowd bunched up at Arnold's front door and heard the most feared word in the MidPoint vocabulary: Capacity. In a rare moment of "fuck it," I strolled into Arnold's anyway (OK, it's not all that rare; I am my father's son, after all, and I suspect that I learned those two words first), and found that "capacity" was a malleable term. As I was chatting with the ubiquitous and ever welcome Wes Pence of The Ready Stance in Arnold's middle room, The Sundresses' Jeremy Springer, doing a typically bang up job in his role as server in the bar, inquired if my presence in the middle room and absence from the patio was a result of the capacity announcement. "Follow me," he said without hesitation, and planted me at the rear of the room as the band kicked off the last slot of the evening.
It was obvious that a good many people remembered the Revival's rambunctious appearance at MidPoint two years ago, or heard about it and wanted to experience it for themselves (I was in the latter camp). I get The Band/Flying Burrito Brothers references to HGTR's tangy, twangy sound, but there's so much more to it than simple Country revivalism. The horn driven sextet swings with the bristling energy of Squirrel Nut Zippers without the desire for that level of authenticity, while ratcheting up the Rock quotient to Phish-like levels of volume and instrumental proficiency. With those twin engines in place, Holy Ghost Tent Revival is aptly named; the band is passionately inspired and their songs are energetically executed with the soaring joy of the event in their name without any problematic or messy religious connotations. Allow the Revival into your consciousness for just a couple of songs and you'll be converted to their immaculate perception of Roots Rock, Stax Soul, horn-peppered Pop and adrenalized Indie Rock. The band, squeezed onto the narrow confines of Arnold's porch-like stage, blew through selections from their estimable catalog, concentrating on 2012's Sweat Like the Old Days and the just released and consistently excellent Right State of Mind, with both a sense of and a disregard for precision, making sure the feeling came across more than the chart. Come back to us soon, Holy Ghost Tent Revival, MidPoint or not; we are in need of slightly more regular baptisms.
• Washington Park was absolutely jammed with humanity for Wussy and the Afghan Whigs. Pike 27's Sean Rhiney and Dave Purcell, along with Dave's wife Amy, were there early for the Joseph Arthur experience, the Black Owls' Kip Roe was wandering the grounds with son Kip Jr. at about the same time and scene vet Jay Metz was working the Whigs' merch booth with typical entrepreneurial flair. Wes Pence was in attendance with his son Wyatt, who got an invitation from one of John Curley's daughters to sit on the stage and witness the Whigs' splendor up close. To be 11 and cute again. Well, to be 11 again … I just looked at my sixth grade picture.
• Local singer/songwriter Josh Eagle strolled in to witness the Wussy set; Josh is just one more reason why Cincinnati's music scene is unmatched for its talent and its sense of community. Also ran into my old CityBeat boss and mentor John Fox, to whom I literally owe, at least in part, my career and current life. It is an unpayable debt and I try to acknowledge it every time I see him so he understands his importance in my history. He was hanging for the night with his buddy Don; we had a nice chat on the lawn and he was kind enough to buy me the one early beer that I had allotted for myself each night of the festival. That story may unfold in this forum at some point; I've related it 50 times already this weekend to friends, acquaintances and complete strangers. Keep an ear out, you'll probably hear it secondhand before I tell it again.
• CityBeat’s Mike Breen beamed in from the upper atmosphere for the Whigs extravaganza, so I'm two for two in the Breen spotting sweepstakes. I'm going for the hat trick on Saturday. The Owls' Brian Kitzmiller and Sohio's Mark Houk were also among the Whigsian throng, as were Paul, Big Jim and Stu: I learned from the shirt he was wearing that his given name is Stufest. Must be a passed-down-in-the-family thing. Great to see CityBeat theater critic Rick Pender, as well as CityBeat alum and local actor Rodger Pille and especially former Enquirer contributor and current MTV News hound Gil Kaufman. And I was introduced to a veritable platoon of additional people by some of the above, all of whom seemed like people I would like to have a picnic with anytime at all. I'm free next weekend, Brad and Amy.
• On the verge of heading back to the Main Street core, I turned just in time to see the unmistakable frame of stage manager guru Jacob Heintz strolling across the Washington Park grounds in the post-Whigs glow. Of course, Jacob's working every second of the festival, but he mentioned that things had gone so smoothly for the first two days that he was afraid to say it out loud for fear of screwing up whatever good MidPoint mojo was lingering in the atmosphere. It just ain't MidPoint until I've gotten some face time with Jacob.
• Once installed at The Drinkery, I was joined by CityBeat master blaster Dan Bockrath, who had arrived in order to soak up the sonic boom-and-doom of All Them Witches. Like everyone in the audience as near as I could tell, Dan was captivated by the concussive volume yet melodic heart of ATW, and when he returned from a trip to the bar, he handed me an unbidden yet desperately desired tonic water and lime. Although the Hall of Foam is sadly off line this MidPoint, Dan continues to be a much appreciated buyer of liquid refreshment, and that, at the end of the day, is all that truly matters. Thanks again and always, Sir Dan of MidPointdom.
• At Rubblebucket, I crossed paths once again with John Fox, his pal Don and the ever inscrutable Mike Breen. I have searched my aging brain device and not come up with a single memory of seeing Mike twice in one night, so that could stand as the record. If I don't see him Saturday night, I may consider the hat trick achieved (with an asterisk). My buddy Brad Gibson, frontman for the Saturn Batteries, was on his way down as I was coming up, so not sure if he decided to stay. Not long after the band fired up, Sir Dan strode in with purpose and took his place alongside us. And there it was, the entire history of the CityBeat braintrust. And me, of course.
• Other than Wes Pence, the unofficial mayor of MidPoint, I didn't spot anyone in the Holy Ghost Tent Revival crowd that I knew until Sir Dan came in not long after the band got cooking. If it was anyone else, I'd consider a restraining order, but I know Dan is just looking out for me, and we share similar taste in music. And when HGTR frontman Stephen Murray asked the assembled multitude how they knew about the show, Dan responded with a lusty and pride-filled "CityBeat, motherfucker!" When I suggested that might make a nice tagline for the masthead, he seemed to consider the idea, leading me to believe that maybe Dan was done for the night. As I was headed out the door, Wes was talking to a friend at that very nexus, so I hung for a second until they'd said good night, then prepared to do the same. We started to chat when a face appeared at Arnold's front door and gestured toward Wes. Apparently it was his ride home, so he handed me his double bourbon and said, "Do what you want with it, I just want it to go to a good home." And so, valiant soldier that I am, I sipped for five minutes, then drained it. It mellowed my shit out like right now. Thanks, Dr. Pence.
The first night of MidPoint is like a lot of firsts; first date, first kiss, first sex, first beer, first rectal exam by a hot proctologist. Hey, you have your firsts, I have mine. Anyway, MidPoint Thursday is always a magical time of reconnecting with old friends, making a few new ones along the way and experiencing an almost breathtaking amount of incredible music of every conceivable variety. 2014's version of that particular passion play lived up to and exceeded every expectation.
First up was a trip to the MidPoint Midway to witness the return of the mighty Pike 27. The band's late '90s/early '00s run included at least one EP and a great full-length in Falling Down Hard, but frontman Dave Purcell's shift into academia on the teaching side signaled the band's demise. Although Purcell's professorship at Kent State precluded him from actual band activities, he never stopped writing songs, and when he fortuitously returned to Cincinnati last year, he had an ass-pocket full of new material that suggested new horizons and possibilities. Purcell and original bassist Sean Rhiney (veteran and current member of any number of high profile bands and the co-founder of our MidPoint feast) resurrected Pike 27 with guitarist/local hero Mike Fair and drummer-and-more Dave Killen.
This new iteration of Pike 27 is a powerhouse of scorching guitar, earthmoving bass and jackhammer drumming, and while there are vestiges of the band's Roots Rock history, everyone's balls are definitely within the vicinity of some wall or other and medal is being pedalled with controlled abandon. Start to stop, Pike 27 careened from song to song with the visceral intensity of The Old 97s and dashes of Alejandro Escovedo and Grant Lee Buffalo at their delicately nuanced and head-kicked obvious best. This seems to be a fertile period for long dormant bands to renew themselves and that can always be a problematic situation, but Pike 27 is clear evidence that having the right motivation to return can evolve into a stunning and most welcomed result.
On the heels of Pike 27's energetic and fabulous opening set at the Midway came the return of our beloved Black Owls, a well-documented force of nature in their own right. Pre-show, frontman David Butler promised that the Owls' set would be populated with nothing but new material with very few exceptions, and he was good to his word. Other than their recently installed cover of Harry Nilsson's "Jump Into the Fire" and set closer "Glorious in Black," from their 2010 sophomore album June '71, the oldest songs in the Owls' incendiary set were "Rook" and "Gasoline," the two songs from their most recent single. Everything else that followed an invocation from the inimitable King Slice was brand new and largely untested Owls material, perhaps all of which will be taken into Ultrasuede at the end of November in anticipation of a new album. It made for a set that crackled with energy and a certain ramshackle giddiness as the band roared through material that hasn't quite solidified. Butler is quick to credit the rise of guitarist Brandon Losacker's songwriting profile as the reason for the Black Owls' straightforward Rock shift and sudden prolific streak, but I'd be just as quick to point out the gelling of new (and perpetually fabulous) bassist Kip Roe, the malleable thunder of drummer Brian Kitzmiller and the continually developing chemical bond between Butler and longtime musical cohort Ed Shuttleworth as equal parts of the Owls' new equation. The band is clearly having an absolute blast with the new songs, and their joy is translating to performances that are pegging the needle past the insane levels the Owls had already established. Cincinnati's Black Owls, as Butler likes to refer to the band, is in the midst of a fertile and potentially explosive period of evolution.
After the Owls' incendiary set, it was a quick stroll over to the Know Theatre to catch the last half of the set from Cincinnati’s Darlene. The trio was firing on all badass cylinders to be sure, blasting out sheets of guitar squall with plenty of melodic counterpoint. A tweet from someone at the show asked the musical question, "Is Darlene the new Sonic Youth?" The answer provided by perpetual smartest-guy-I-know Matthew Fenton was a logical and correct "No." Darlene is a blistering Rock band, and guitarist Janey O'Laney is always teetering on the brink of a shred-fueled fit, with bassist Cuddly D (the infinitely busy Dana Hamblen) and drummer Robby D providing the slinky yet sturdy undercarriage. But the fact is that the trio, at its heart, is a melodic Pop unit. They probably hew closer to Yo La Tengo in their ability to go from pretty to visceral in a half a heartbeat, but Darlene isn't the new anything; they are Darlene, and that's an astonishing accomplishment. Besides, as Matthew rightly pointed out, Darlene may be the best-dressed band on any given night anywhere. Sonic Youth were never known for their sartorial splendor. So there.
After Darlene, it was time to cruise on down to Mr. Pitiful's to check out Steelism, an instrumental quartet from Nashville. If guitar, bass, drums, pedal steel and no vocals sounds like a crashing bore, you'd be half right. There was plenty of crashing; cymbals, sounds and gates, as a human stampede of MidPoint patrons made their way into Mr. Pitiful's to sample Steelism's wares. I know from experience that if a relative unknown doesn't grab a festival crowd in the first couple of songs, the crowd in question will leave fast enough to create a head-exploding vacuum in the area. If anyone left during Steelism's mind-melting set, they were more than offset by the several dozen who drifted in after the start.
Steelism is comprised of British pedal steeler Spencer Cullum Jr., Ohio guitarist Jeremy Fetzer, and a bassist and drummer whose introductions were lost in a crowd frenzy and a muffled mic (well, they weren't mixing for vocals, now were they?), who threw down a mighty and wordless racket, unless you count Cullum's talkbox vocals on the band's spin through The Beatles' "Something." You could call Steelism Surfabilly/Soulicana/Spaghetti Southern or you could just call it bloody good music; after running through a handful of originals from their new full length, 615 to Fame, and their cracking good 7-inch, The Intoxicating Sounds of Pedal Steel and Guitar, and covers of classics by The Ventures and Booker T. and the MGs, Steelism had the packed house at Mr. Pitiful's in the palm of their sweaty hands. At one point, Cullum indicated that the band was going to slow things down, and then offered the crowd a choice between a gentler vibe or "plowing on through." The overwhelming vote was for the latter, with Cullum noting, "No sensitive people here tonight." He certainly got a taste of what plowing through will get you in Cincinnati. Steelism finished up with a roaring take on the James Bond theme, which nearly pushed the frenzied multitude into religious conversion. I don't know what that church would be called, but they wouldn't have a choir; no words necessary when Steelism kicks open the doors of the sanctuary.
Then it was a quick jaunt down to The Drinkery to witness the Motor City madness of Flint Eastwood, a quartet of musical insaniacs from my home state to the north. In the studio, Flint Eastwood exhibits a certain heavy fisted subtlety that is charming and dancable in a visceral way. All of the relative nuance that is present on the band's EP, Late Nights in Bolo Ties, is tossed onto a bed of nails and jumped on until it experiences head-to-toe acupuncture in its live presentation. On stage, Flint Eastwood buries every needle in the red, thrashes about like lunatics after a napalm shower and entertains their audience at metaphorical knife point. Frontwoman Jax Anderson cajoled the crowd at The Drinkery to get involved in the show and when she got what she felt was a half-hearted response, she shrieked, "Nobody's too cool to have fun!" and put us through our paces like a Marine drill instructor on meth. She had us shouting then whispering "na na na"s, got us kneeling on The Drinkery's dance floor and then lifted us up like a demented preacher speaking in Rock & Roll tongues. All the while, the band was grinding out a gritty groove that sounded (and resembled) a full arena assault by the Red Hot Chili Peppers. It was draining and glorious and probably just another full-throttle 20-mile Rock & Roll hike for Flint Eastwood; it's pretty obvious these guys have one gear and it's "hellbent for bent hell." That's the Detroit method, bitches. Get used to it, get over it, get on it.
I reluctantly ducked out of Flint Eastwood's last two songs to hotfoot it down to MOTR for the remainder of Nikki Lane's set. Lane is a Country shitkicker with a decidedly different take on the genre, opting for a certain songwriting traditionalism while soundtracking it with a band that sparks and smokes with Roots Rock intensity and abandon and adopting a persona that suggests Wanda Jackson's pot-smoking, foul-mouthed twat of a granddaughter. Lane and the Thunder (she admitted the jury was still out on the name) roared through their MOTR set with equal parts ferocity and humor, as Lane used the space between songs to candidly muse about the intention of each one. "This is a love song," she noted appropriately prior to "Want My Heart Back," extending the title to, "I want my fucking heart back," and later opened "Sleep with a Stranger" with "This is a song about tonight, when you'll sleep with someone you don't know." Later, she dropped this indelicate observation: "This one's about my best friend. Sometimes she's a cunt, and I don't like that word, but she is. And when you're a cunt and your best friend is a songwriter, well, you get the short end of the stick."
Taylor Swift has written a lot of songs about the people in her life and I'm guessing she hasn't gotten around to any of her cunt friends yet.
Towards the end of her blistering and profanely hilarious set, Lane said, "We've got a couple more, then we'll pretend to go away, and come back for a couple more." She loves her covers as well; she hauled out a great take on The Byrds' "You Ain't Goin' Nowhere," a loping yet intense version of Waylon Jennings' "Waymore Blues," and finished her encore with a blazing spin through a Tom Petty cover, not an old catalog chestnut but "Saving Grace" from the new album, a song that blends Petty's classicism with his well-earned experience. Lane clearly identifies with that stance, as she channels all of her Country influences through a blazing Rock filter, creating a sound that identifies with the past but erupts with white hot emotion in the here and now.
• To begin, a clarification for anyone who may attempt to buy me a brewski during MidPoint: For largely legal reasons, the Beer Buying Hall of Foam has been forced into a strike shortened year in 2014. I salute all who have so generously provided the nectar of the gods to a poverty stricken scribe on an annual basis and I promise that the commissioner will reinstate all practices and records next year, but for now, the Hall is strangely dark and quiet.
• In stark contrast to the Midway, which was lit up like a Kansas City whorehouse. Not that there were whores, but lots of lights. Boy, writing was easier with the Hall of Foam open. At any rate, within moments of arrival, I crossed paths with singer/songwriter par excellence Mark Utley and pianist to the stars Ricky Nye, who is in the throes of planning the upcoming Blues & Boogie Piano Summit, coming to the Southgate House Revival on November 7 and 8. After a quick chat, I headed to Mr. Hanton's for a heartstopping dog (not for health reasons but because it's so good … man, 2015 can't get here fast enough), choosing the Smokin' Hot Chick; my bill was cheerfully picked up by the always incredible Wes Pence of The Ready Stance, who joined me with a Smokehouse of his own. Can a Hot Dog Buying Hall of Fame be far behind?
• From there, the Midway was a blur of humanity. CityBeat photographer and local music denizen Jesse Fox took a shot of me and Class X Radio host/local music aficionado/empresario Eddy Mullet, which apparently didn't damage her equipment in any significant way. In sort order, I was greeted by King Slice, his pal Justin, the always ebullient and sometimes menacing Venomous Valdez, the entire Broadway cast of the Black Owls, Paul Roberts, Big Jim and Stu (sans his I'm Stu hat, apparently confident in my recognition skills at this juncture), and Jet Lab guitarist Nick Barrows and his wife Robin. At some point in the Midway proceedings, I spotted the elusive and long-absent Matthew Fenton, along with Eric Appleby and Tricia Suit, motoring out of the Midway zone. They were gone before I could track them down (they must have see me coming, damn them), but when I mentioned the sighting to Nick, he said they were headed to the Chromeo set and would be back for the Black Owls.
• In the meantime, Owls guitarist Brandon Losacker took a mob of us (Owls frontman David Butler, Venomous, Slice, Justin and myself) to see his new conversion van, a behemoth from a bygone era. Cooler in the console, heated/cooled cupholders, TV, retractable bed, wood grain dash panel and a hundred other crazy features that makes it essentially a Swiss Army van. Incredible doesn't begin to describe it.
• Back at the Midway — a brilliant set up that, as the astute and ever fabulous Venomous Valdez noted, will have to undergo some changes next year with the advent of the rapidly progressing streetcar system — Sean Rhiney, Dave Purcell and Dave's wife Amy were hanging around to watch the Black Owls tear shit up. My Class X compatriot Eddy was back to witness the Owls' splendor, and at some point in the proceedings, my boss Mike Breen appeared like a magician's assistant. Breen sightings at MidPoint are like spotting nearly extinct species in the wild, so it's always great to know that he's an actual warm human being and not some weird holographic editorbot. (Editor’s note: I am both.)
• Over at the Darlene show, I caught up with the always effusive and entertaining Mr. Fenton, along with Eric and Tricia. They were planning a trip down to the Taft to catch the Ghost Wolves and Barrence Whitfield and the Savages, both of which I dearly wanted to see but my recently bum left leg, the long walk and the chance that the St. Paul and the Broken Bones show would sell out the venue kept me from tagging along. On the way to Steelism, three guys on the sidewalk ahead of me confirmed that the show had gone clean and there was little chance of entry. The gimp makes a good decision every now and again.
• Also at the Darlene show was Leyla Shokoohe, former CityBeat intern, current CityBeat freelancer and now Marketing Manager for the Cincinnati Symphony & Pops Orchestra. You couldn't script a lovelier or more personable human being than Leyla, and yet she is savvy beyond her lack of calendars. She's a marvel and the CSO should count themselves lucky to be the recipient of her passion and skill.
• Over at Steelism, I ran into fellow scribes Steve Rosen and Chris Varias. I've known Steve for quite awhile through CityBeat and we've talked music at many a holiday party/CityBeat event, and I've read Chris' excellent work in The Enquirer for many years but had never had the pleasure of meeting him until Steve's introduction at Mr. Pitiful's. I had interviewed Matthew and Eleanor Freidberger for a Fiery Furnaces story several years back and when they found out I was in Cincinnati, they asked if I knew Chris, which I did simply by reputation. It turned out that they had grown up together in a Chicago suburb. An unpaintable small world, indeed.
• Paul Roberts was digging the confrontational magnificence and sonic head blast of Flint Eastwood; he stuck around for the end, while I headed to the Nikki Lane gig, where Big Jim and Stu were ensconced at the bar. Paul was right behind as soon as Flint Eastwood dismissed him for the evening. Head CityBeat honcho and perpetual suds buyer Dan Bockrath had bought me an invisible beer at Steelism, which I downed with dry gusto, but he showed up at Nikki Lane and put a real tonic water and lime in my hand, which was much appreciated. I could pretend there was gin in there, and that somehow made everything okay.
• As we left MOTR, Sir Bockrath and squire Dan McCabe, the architect of our annual MidPoint joy, were out front and the boss upbraided me with a casual, "You'll have your blog copy in by 7 a.m., right?" Yeah, let's say that, I answered, muttering to Paul and Stu, it'll be 7 a.m. somewhere. The lateness of this posting will tell you that deadline came and went and came and went again. I have a theory that I'm better at writing when I'm slightly hungover because I just want to get it done so I can take an aspirin and lay down. Not happening this year. I guess I could still take the aspirin, for old times sake.
Human grumpy cat Aubrey Plaza will provide the voice for actual Grumpy Cat (real name: Tardar Sauce) in a Lifetime Christmas special! Who knew people still cared about Grumpy Cat? Moreover, who knew Lifetime made intentionally funny programs?
John Malkovich has portrayed a plethora of characters over the years and now he’s taken on the stars of famous photographs in some cool recreated shots by Sandro Miller:
See them all here.
As “fannibals” of the artfully demented Bryan Fuller spectacle await the next course of NBC’s Hannibal, we get a taste of what’s to come. Whereas the first season focused on French cuisine, pulling episode titles from traditional French courses, and the second did the same with Japanese fare, it appears Season Three will be Italian, judging by Fuller’s tweet of the first episode’s script, titled “Antipasto.” We last saw Hannibal (in one of the most insane episodes of any show ever) on a plane to France — perhaps this season finds him in Italy? With the possibility that nearly every character on the show is dead, maybe this season will totally flip the script and just become the creepiest cooking show of all time. I can see it now: “Today on Eating Hannibal, we have a special guest joining Chef Lecter. Please welcome Bobby Flay! Well, parts of Bobby Flay…”
If you like miniature things, animal videos and eating, you are one of billions of people who use the Internet. Also, you may be familiar with the tiny hamster that eats tiny versions of human treats, like in this video, where he enjoys an authentic Mexican feast of tiny burritos.
Well, Tiny Hamster is back, this time taking on competitive eater Takeru Kobayashi:
You may also be familiar with Jasmine Tridevil.
In a shocking turn of events, it seems that Total Recall prostitute
wannabe claiming to have a third breast added to her body is a FRAUD. Doctors
agree the surgery would be nearly impossible to pull off and my eyeballs agree
that the shit looks fake. Drag queens have been using prosthetic breast plates
Jasmine clearly will go to any lengths to get a TV show — besides actually
getting a third boob, I guess. And she appears to have a past of creating stunts
for media attention. Ya been Snopes’d, girl!
And speaking of Total Recall, the star of the movie’s 2012 remake Colin Farrell has been confirmed as one of the many speculated-about leads for the second season of HBO's True Detective. Vince Vaughn was also confirmed as another star in an HBO press release yesterday. Farrell will play Ray Velcoro, "a compromised detective whose allegiances are torn between his masters in a corrupt police department and the mobster who owns him,” according to the release. Vaughn will portray Frank Semyon, “a career criminal in danger of losing his empire when his move into legitimate enterprise is upended by the murder of a business partner.” Both actors had been rumored to star in the show for a while now, so if they’re confirmed we can probably expect Taylor Kitsch to formally come aboard soon. The show will also feature a female lead, after getting some kickback for the lack of leading ladies in Season One. Mad Men’s Elizabeth Moss and Michelle Forbes (aka Maryanne the maenad from True Blood) are two possibilities from the rumor mill — they’re also listed on the show’s IMDB page, along with Kitsch, but that’s not offish — and supposedly Rosario Dawson, Jessica Biel, Abigail Spencer, Malin Akerman, Oona Chaplin, Jaimie Alexander and Brit Marling have all read for a part. Fast & Furious director Justin Lin will direct the first two episodes, which should make us all nervous. Awesome director of Season One Cary Joji Fukunaga won an Emmy for his work; this season will feature several different directors.
Kirsten Dunst stars in a lovely “short film” that actually more of a PSA about how not to be a weird dick to celebrities and other humans in general.
Love this but seriously, do celebrities really use Uber?
If Axl Rose announced he was planning the next Guns 'N Roses album as a tribute to Tony Orlando and Dawn, that would be only slightly more surprising than Matt Baumann's left turn from his Ambient Jazz saxophone tone poetry to the sparsely appointed Americana released under his reimagined guise as WolfCryer.
Oddly enough, when Baumann defected from saxophone to banjo, the quality that linked his two disparate musical directions was a spartan sense of atmospherics and an expansively moody palette; while the outcomes couldn't have been more different, there was a fascinatingly similar philosophical link between his two sonic identities.
As WolfCryer, Baumann has been slightly more in tune with the singer/songwriters to which he swore fandom back in his tone/drone Jazz days (Warren Zevon, Tom Waits and Jason Molina were particular favorites), and over the past three years of his newly established Folk/Roots persona, he has managed to amass a catalog of songs that more than amply proves the wisdom of his career shift. His 2012 self-titled WolfCryer debut turned a lot of heads in the local Folk community, and Baumann spent the subsequent year working on his chops and making a new name for himself in a crowded scene that always seems to make room for quality purveyors.
Earlier this year, Baumann released the fruits of his most recent labor, the four song EP Wild Spaces, which came on the heels of a pair of EPs in late 2013, The Long Ride Home and Hell's Coming Down. The three brief but potent releases showed Baumann expanding his sonic possibilities as he incorporated more acoustic guitar and harmonica into his songs and left the banjo as an infrequent but still welcome guest. Baumann's proposed full-length debut, originally slated for this past summer, hasn't yet materialized but in the meantime, he's whetted our appetites with a new eight-song WolfCryer EP, The Prospect of Wind.
Like many of his avowed heroes, Baumann turns his songwriting talents toward society's downtrodden on The Prospect of Wind, with a particular interest in the personally felt ravages of war. It is an age old topic of literature and song, because no matter how sophisticated mankind becomes at the destruction of life, the simple desolation of the survivors never seems to change to any great degree. To that end, Baumann channels his inner Dylan in the lyrics and the cadence of the EP's title track ("There's an ember in the kindling, from a cracked and careless hand/Just waiting for the moment to rise and scorch the land"), nimbly displays both his love for and his study of Warren Zevon on "The War" and "When I Go," and waves his Springsteen flag with pride and admiration on "Box of Bones" and "Both Hands on the Plow."
As has been the case from the start of his relatively short but extremely potent tenure as WolfCryer, Baumann has no trouble notching his songs with some of the characteristics of his favorite singer/songwriters, but he does it in the constant pursuit of his own musical identity. You may detect a glimmer of some of his monolithic predecessors in the songs that comprise The Prospect of Wind, but you'll come away knowing that you've experienced another great WolfCryer album.
WolfCryer's CD release show for The Prospect of Wind is Friday night at the Southgate House Revival in the Revival Room. Admission is $10 and the show starts at 9 p.m.
MidPoint Music Festival 2014 kicks off this Thursday and we've been showcasing some of the Critic's Picks from our official MidPoint guide (which will be available throughout the fest). While most of attendees are likely very familiar with some of the bigger headlining acts, these suggestions mostly focus on some of the lesser known gems. (If you're in doubt, any act with "Cincinnati" next to their name is a slam dunk.)
12:15 a.m. @ Arnold's
Baskery (Stockholm, Sweden)
Sweden’s Baskery formed in 2007, but the members didn’t have to go far to find each other. The group consists of sisters Greta, Stella and Sunniva Bondesson, who dub their unique spin on Roots/Country music everything from “Nordicana” to “Banjo-Punk.” But descriptions are especially difficult when it comes to Baskery; the trio’s third album, this year’s Little Wild Life, finds the sisters spinning a wide range of American Roots music styles into their own distinctive, wildly diverse sound. One second the group is showcasing its vocal harmony prowess a capella on the haunting “Northern Girl,” the next its strutting swamp boogie a la Southern Culture on the Skids on “The NoNo.” If you’re tiring of Roots music that doesn’t go off the same exact blueprints established a century ago, Baskery will show you just how far Americana can be taken.
You’ll Dig It If You Dig: The Dixie Chicks without boundaries, The Beatles reborn as a sister act fascinated by Americana. (Mike Breen)
7:15 p.m. @ Christian Moerlein Brewing Co. (Outdoor Stage)
Ancient Warfare (Lexington, Ky.)
Ancient Warfare’s dark and quiet intensity transcends the band’s tough-chick exterior. The quartet designs a sonic atmosphere the same way Saul Bass once designed logos: with elegant simplicity and ferocious creativity. The psychedelic aspect to Ancient Warfare’s presentation is more about texture than actual sound, as their languid, fuzzy melodies drift through their ethereal yet solidly constructed songs, like the heavy smoke in an opium den. The palpable weariness of Echo Wilcox’s gloomy vocals and haunted guitar, the intractable pull of Rachael Yanarella’s hypnotic violin, the subtle thunder of Reva Williams’ bass and the exquisite filigrees provided by multi-instrumentalist Emily Hagihara swirl and combine to make Ancient Warfare’s enveloping totality and assure that their imminent debut album, The Pale Horse, will be one of the fall’s most anticipated releases.
YDIIYD: Sixteen Horsepower reimagined as the Velvet Underground by P.J. Harvey, Aimee Mann and Hope Sandoval. (Brian Baker)
10 p.m. @ Christian Moerlein Brewing Company (Indoor Stage)
Apache Dropout (Bloomington, Ind.)
Like all good college towns, Bloomington, Ind., is forever dishing up awesome bands with fresh, new music. In the case of Apache Dropout, that “new” sound is perfectly and thankfully reminiscent of some of the best music of the past. Their newest album, Heavy Window, comes from Magnetic South, co-owned by band member Seth Mahern. The guys pressed 1,000 copies of Heavy Window, one of their largest printings yet. Fun fact: The first half of those records feature glowing eyes on the eerie-cool cover. It’s the ultimate tell-tale sign of the drug-addled, paranoid Rock & Roll boogie on the inside.
YDIIYD: The Who on acid, Sgt. Pepper’s Lonely Hearts Club. (Deirdre Kaye)
11 p.m. @ The Drinkery
Xoe Wise (Chicago)
At 19, Xoe Wise moved from her North Carolina home (the first song she wrote was for a sick goat on her family’s farm) to Chicago and immediately became a fixture in the city’s burgeoning scene. Wise’s debut album, 2010’s Echo, generated a pile of positive local press, while its follow-up, 2012’s Archive of Illusions, earned her a sell-out crowd at Schuba’s, a spot on WGN-TV and a feature in the Chicago Tribune. Wise’s third EP, Breakfast, hit the Top 20 on iTunes’ Singer/Songwriter chart and she’s currently at work on her third full-length, irresistibly titled Racecar Orgasm. Wise plays solo acoustic or with a full Electro Pop crew, but either way she creates a dreamy and undeniable vibe.
YDIIYD: Imogen Heap and Suzanne Vega play Twister on a musical game board. (BB)
11:15 p.m. @ Mainstay Rock Bar
The Tontons (Houston)
Big-haired Texas and its Rock & Roll-loving youngsters have eaten up and loved every second of their time with The Tontons. Now the band is out touring the nation and conquering ears and hearts across the globe. The group’s sultry Rock is just good enough to make The Tontons Cincinnati’s favorite band, too. “So Young,” off 2011’s Golden, feels like a modern, youthful, rockin’ spin on elevator music or like Henry Mancini decided to start a female-led Rock band. Asli Omar’s one-of-a-kind voice and perfect squeal makes each song on this year’s Make Out King and Other Stories stand out.
YDIIYD: Blonde Redhead, wearing leather to Tiffany & Co. (DK)
8:45 p.m. @ Mainstay Rock Bar
The Nepotist (New York, N.Y.)
Good luck trying to find a one or two word descriptor for the music made by NYC trio The Nepotist. Actually, don’t even try — the group’s uniqueness and sonic diversity is what makes them so enjoyable to listen to. The Village Voice called them “Alt Soul,” a term the band has embraced and works well enough given the soulful vocals and rewired Steve Cropper guitar riffs. But then you have a track like the recent single “Kids,” which has bubbling banjo and harmonies befitting a Folk band. It’s a delicious stew that is blissfully unpredictable. The trio (formed by brothers Chris and Hayden Frank) has only been together a couple of years but has already drawn loads of glowing press thanks to its pair of EPs and various singles released just this year alone. A full-length is due early next year.
YDIIYD: Grizzly Bear, Sufjan Stevens, Dr. Dog. (MB)
10:30 p.m. @ Memorial Hall
Saintseneca (Columbus, Ohio)
When Saintseneca canceled an appearance at the Fashion Meets Music Festival in Columbus this July, the quintet made national headlines not for its music but for its social politics, because the members were against sex offender R. Kelly performing at the fest. Met with vicious protests, Kelly eventually pulled out (no pun intended) of the fest. This is one of many ways the folksy Appalachian Pop group has become famous this year, along with releasing the new record Dark Arc (produced by Bright Eyes member Mike Mogis), recording a NPR Tiny Desk Concert and gigging across the country. From grassroots house concerts in central Ohio to performing at national fests, it won’t be long now before everyone knows their name and music.
YDIIYD: Weird instruments like the bouzouki, the dulcimer and a bowed banjo playing lilting harmonies with a Ben Gibbard-y vocal affectation. (Garin Pirnia)
9:45 p.m. @ MidPoint Midway Stage
Low Cut Connie (Brooklyn, N.Y.)
If you think Piano Rock is all Billy Joel and Elton John, sorry will be a much easier word for you after you’ve experienced the 88-key onslaught of Low Cut Connie. Featuring the manic piano fireworks of Adam Weiner and the ambidextrous drum/guitar magic of Dan Finnemore (and a full band’s worth of mayhem on tour), Low Cut Connie entertains with a vengeance and accepts nothing less than total surrender. Their first two albums, 2011’s Get Out the Lotion and 2012’s Call Me Sylvia, are loaded with catchy numbers that feature a lot of humor but stop well short of being simple novelties and showcase the duo’s disparate influences (Jerry Lee Lewis and Iggy Pop for Weiner; British Punk and Garage Rock for Finnemore). Low Cut Connie’s latest triumph was a spectacular version of Harry Nilsson’s “Jump Into the Fire” on the Nilsson tribute This is the Town earlier this year, and rumors of a third album continue to swirl. But right now, the play’s the thing. See Low Cut Connie and marvel at the things a piano was never meant to do but should have been doing all along.
YDIIYD: Ben Folds dipped in speed and forced to play Replacements and Stooges songs in a seedy cabaret. (BB)
8 p.m. @ MOTR Pub
Wyatt Blair (Los Angeles)
Power Pop gets short shrift in any serious discussion of music because of its relative simplicity and perceived lack of gravity, but nothing could be further from the truth. Coming up with hooks and lyrics that get the job done in under three minutes and stick in the head like brain taffy may be among the most difficult musical tasks. Wyatt Blair doesn’t seem to have any problem at all, and his latest album, the confectionary Banana Cream Dream, is solid evidence of his lo-fi Power Pop ambitions (he also works with Peach Kelli Pop and Mr. Elevator & the Brain Hotel). As Andy Partridge once noted so succinctly, this is Pop.
YDIIYD: Rick Springfield channeling T. Rex, produced by Tommy Keene. (BB)
10:45 p.m. @ Ballroom at the Taft Theatre
Earth (Seattle, Wash.)
Much like the planet itself, the band Earth has been through a lot in the past 25 years. Guitarist Dylan Carson founded the primarily instrumental band in 1989, cribbing the name from one of Black Sabbath’s early monikers. The band’s 1993 debut, Earth 2, has long been considered the launching pad for what Carlson dubbed Ambient Metal, a feedback- and distortion-drenched drone that influenced a subsequent generation. In the mid-’90s, Carlson shelved the band to deal with heroin addiction; it would be nearly a decade before the release of 2005’s Hex; or Printing in the Infernal Method, which retained a Doom Metal structure but incorporated Country and Blues motifs and was also heavily influenced by Cormac McCarthy’s novel, Blood Meridian. Earth’s next albums, Angels of Darkness, Demons of Light I and II, were shaped by Carlson’s love of Pentangle and Fairport Convention, while the just released Primitive and Deadly finds Carlson moving in yet another new and different direction, incorporating straight Rock and even Pop elements into his long droning jams. With 16 lineup changes in a quarter century, it’s not unusual that Earth would shift identities, but even if the personnel had been stable throughout, Carlson would have retooled the band’s sound in any event and made a new, glorious noise to confront the world.
YDIIYD: God’s guitar, Gabriel’s amp, the Devil’s road crew. (BB)
Hello Cincy. I’m back with the news this morning for what will sadly be the last time this week. Texas beckons for a few days, and I must heed its hot, sweaty, libertarian call. I’ll be back this time next week, however, to talk about the news and make the cheesy, topical jokes even your one lame uncle wouldn’t touch, because someone has to do it.
Here’s a cool thing: The entire neighborhood of Lower Price Hill is getting free internet access courtesy of Cincinnati-area company Powernet. In addition, the company is donating a mobile computer lab to Lower Price Hill’s Oyler School and Community Learning Center. Councilman P.G. Sittenfeld helped broker the partnership. Only 20 to 40 percent of residents in the low-income neighborhood have Internet access, according to an FCC report.
• Democratic candidates for statewide office are rallying in Washington Park this morning as part of their Tour to Restore Ohio campaign. Speakers include gubernatorial candidate Ed FitzGerald, attorney general hopeful David Pepper and state auditor candidate John Carney. FitzGerald has struggled against Republican Gov. John Kasich’s big fundraising and name recognition advantages. CityBeat covered the race between Pepper and Republican AG Mike DeWine earlier this summer.
• Another rally will be happening right across the street tonight. Write-in Hamilton County commissioner candidate Jim Tarbell is holding his campaign kickoff at Memorial Hall starting at 6 p.m. According to Tarbell’s website, the event will feature food and live music. It’s called Taste of Tarbell, which makes me wonder when the Republican incumbent in the race will launch his big rally, Smell the Monzel. Tarbell and the official Democratic candidate, Sean Patrick Feeney, an IT professional from North College Hill, are both taking on current Commissioner Chris Monzel. A majority on the commission’s three-seat board hangs in the balance.
• Some local transit advocates are pushing to get daily high-speed rail service between Cincinnati and Chicago. Seems like a cool idea, though there are some big hurdles to overcome. I for one would love to be able to jump on a train any given day and be in Chi a few hours later, since half of my friends just decided to up and move there recently, so count me in.
• Speaking of transportation, but on an entirely different scale, Cincinnati’s bike share Red Bike beat its first week goals in terms of ridership, getting nearly 1,800 trips. The nonprofit was hoping for 1,000. It was a busy weekend downtown, and roughly a quarter of those trips came on Saturday when 480 people used the service.
• A new study claims that Ohio could make $123 million in tax revenue if it legalized marijuana. Interesting. That’s not counting all the sales tax revenue generated from a special tax that could be passed on the sale of snacks, which I’m officially proposing right now as a way to fund Music Hall renovations.
• Finally, young American military veterans are experiencing much higher levels of unemployment than the general population and older vets, according to a Brookings Institute study. An opinion piece on the study talks about a big possible contributor to this troubling trend: lower levels of education among younger veterans.
In honor of this week's MidPoint Music Festival we're showcasing some of the Critic's Picks from our official MidPoint guide (the print version of which will be available throughout the fest). While most attendees are likely very familiar with some of the bigger headlining acts, these options are mostly some of the lesser known on-the-rise acts. (Pro tip: Every Cincinnati band at MPMF is well worth your time should you find yourself with a hole in your schedule.)
8:30 p.m. @ Arnold's
Honey Locust (Nashville, Tenn.)
Honey Locust might hew a little closer to Nashville’s Americana traditions, but the Chamber Folk outfit still remains in the nether region between the city’s manufactured Country imagery and its Rock rebels. The band’s first EPs, 2012’s Fear is a Feeling and 2013’s Live in December, teed up its recently released The Great Southern Brood, Honey Locust’s quasi-thematic and dustily beautiful new album which uses cyclical cicada infestations to metaphorically examine the seasons of man. The Great Southern Brood cements the band’s singular position in its home scene, thrills its growing fan base and opens Honey Locust up to the wider Indie Folk world.
You'll Dig It If You Dig: An Appalachian Polyphonic Spree absorbs Bon Iver, The Lumineers and Morrissey to create a super Folk army. (Brian Baker)
12:30 a.m. @ Christian Moerlein Brewing Co. (Indoor Stage)
Watter (Louisville, Ky.)
Slint, one of Louisville’s quintessential Rock bands, released two albums in the late ’80s and early ’90s and then called it quits. The band’s seminal Post Rock album Spiderland is still considered one of the best in the genre. The quartet moved on to other projects but reconvened for a brief reunion tour over the summer. Between tour dates with Slint, drummer Britt Walford formed another band this year — with Grails member Zak Riles and Holy Grale bar co-owner Tyler Trotter — and they released the instrumental This World in the spring. Even though critics classify them as Post Rock and Post Hardcore, songs like “Rustic Fog” exude ambient melodies combined with Middle Eastern-y and synth tidbits.
YDIIYD: Slow building instrumentals, Krautrock, bands from Touch and Go Records. (Garin Pirnia)
9 p.m. @ Contemporary Arts Center
Sisters of Your Sunshine Vapor (Detroit)
A decade ago, guitarist/vocalist Sean Morrow, bassist/keyboardist Eric Oppitz and drummer Richard Sawoscinski came together under the banner of SikSik Nation, but quickly morphed into Sisters of Your Sunshine Vapor, which itself evolved from a standard Garage/Blues band into a darkly scintillating Psych Rock outfit befitting of their Motor City roots. In the past 10 years, the group has only released a pair of full-length albums (2009’s SOYSV and 2011’s Spectra Spirit; a third is on the way soon) but that doesn’t mean the trio hasn’t been busy. SOYSV tours relentlessly and founded Echo Fest, which highlights the best in Michigan Psych Rock. They would know.
YDIIYD: Sherman sets the Wayback Machine for 1968, Mr. Peabody takes the Electric Kool Aid Acid Test and has a vision of Syd Barrett fronting The Doors. (BB)
11 p.m. @ The Drinkery
All Them Witches (Nashville, Tenn.)
Have you looked skyward recently and shouted to no particular deity, “Hey, is anyone doing anything remotely different in Nashville these days?” All Them Witches has heard your prayer, or whatever the hell that was. The quartet’s most recent release is Effervescent, 25 minutes of Stoner/Psych/Blues bliss contained in the EP’s epic title track, which also happens to be its only track (it’s available for free download at Bandcamp), and it’s yet another stellar example of All Them Witches’ swirling love of acid-and-feedback-drenched Rock, Blues-tinted Psychedelia and a total lack of anything resembling sonic boundaries. Drink a Tab (or drop one), count backward from a million and prepare to, as George Harrison once so elegantly noted, arrive without travelling.
YDIIYD: The Doors and The Grateful Dead have a shared hallucination at a Black Sabbath/Iron Butterfly reunion/intervention. (BB)
11:45 p.m. @ Know Theater (Main Stage)
Rubblebucket (New York)
Rubblebucket was born in Burlington, Vt., eight years ago when vocalist Kalmia Traver and trumpeter Alex Toth met in a Latin Jazz band. That sentence alone should be enough to convince you that the NYC-based quintet is destined to be one of this year’s MidPoint highlights. Rubblebucket’s first two albums (2009’s Rubblebucket and 2011’s Omega La La) and two subsequent EPs (Oversaturated and Save Charlie) showcased the band’s ultraswank Funk/Soul/Ska/Art Pop evolution, but its just released third set, Survival Sounds, is a veritable explosion of guitars, horns, loopy synths and quirky vocal gymnastics, all of it as danceable as any 40 minutes that ever ran on American Bandstand and as infectious as weaponized bird flu. Dancing will occur at a molecular level; be ready to go subatomic on your ass.
YDIIYD: Polyphonic Spree and Bjork join the Fabulous Flames and Talking Heads in a weird tribute to James Brown. (BB)
11:15 p.m @ Mainstay Rock Bar
Love X Stereo (Seoul, South Korea)
Electro Alt Rock
Of all the bands traveling to Cincinnati for MidPoint, Korea’s Love X Stereo might be coming from the farthest corner of the world. In their native country, Annie Ko, Toby Hwang and Sol Han are known for their mix of ’90s influenced Synth Rock, but the Western part of the world’s just getting to know them. Last year the band released its third EP, Glow, and just this year Love X Stereo recorded a cover of Capital Cities’ “Safe and Sound” for an Indie Goes Pop compilation. Let’s be clear: They aren’t K-Pop, like that one guy who wrote that one huge hit a couple of years ago. For an unsigned band from Korea with big dreams of conquering the world — LxS has already played SXSW and CMJ (and was supposed to play MPMF last year but canceled due to travel issues) — it’s exciting to have the band traversing to our little town.
YDIIYD: Listening to good Korean bands that have nothing to do with K-Pop, Manic Panic red-headed chicks. (GP)
12 a.m. @ MOTR Pub
Landlady (Brooklyn, N.Y.)
Originally formed in 2011 as the solo project of multi-instrumentalist Adam Schatz (member of the Man Man and Vampire Weekend touring bands), Landlady has added members since then, gradually becoming a quintet. Schatz’s was all solo when he released Landlady’s first album, 2011’s Keeping to Yourself, and with the full band in place the group released its second LP, Upright Behavior, this past summer on Portland label Hometapes.
YDIIYD: Future Islands, TV on the Radio, Dirty Projectors. (Mike Breen)
11:45 p.m. @ Mr. Pitiful's
machineheart (Los Angeles)
L.A. five-piece machineheart makes unabashedly epic Pop music with depth. The band crafts a compelling backdrop of guitars, big beats and tasteful electronic additives, but it’s singer Stevie Scott’s dazzling vocal presence and the ear-burrowing melodies that really pull the listener in. The band has only been together for a short time, first catching attention less than a year ago with a cover of The 1975’s “Chocolate,” but the limited tracks made available for public consumption (“Circles,” “Another Me,” “Snøw”) are so endearing, sophisticated and radio-ready, it won’t be long before machineheart catches fire nationally. This is one of those acts that we’ll all likely be saying, “Oh, I saw them at MidPoint in 2014,” once they breakthrough.
YDIIYD: Sia, Charli XCX, Florence + the Machine. (MB)
8 p.m. @ Mr. Pitiful's
Crystal Bright and the Silver Hands (Greensboro, N.C.)
There is a theatrical element to Crystal Bright’s songs and her performance of them, which seems natural when you learn she’s a stage director/producer and performance artist (as well as music teacher, multi-instrumentalist and holistic nutritionist … so she eats well, too). Bright’s World music experience is almost beyond belief — she’s played in Chinese, Ugandan, Brazilian and Indonesian ensembles, among others — and she brings it all to bear with the Silver Hands, which she assembled four years ago. The band’s 2010 eponymous “experimental vaudeville” album was well received, as was its follow up, 2012’s Muses & Bones, a brilliant stylistic pastiche.
YDIIYD: Jane Siberry and Danny Elfman record a Gypsy Folk soundtrack to a Slavic noir detective movie starring Tom Waits as the gumshoe and Kate Bush as the dame. (BB)
11 p.m. @ Ballroom at the Taft Theatre
Hip Hop/Spoken Word
Dessa began her musical journey as a part of Doomtree, the Minneapolis Hip Hop collective, as both versatile artist and business manager. She then established her solo identity with A Badly Broken Code and Castor, the Twin, albums that earned her the comparison of “Mos Def plus Dorothy Parker” for her flawless flow and incisive wordplay. Dessa’s latest album, the recently released and patently brilliant Parts of Speech, finds the Hip Hop chanteuse expanding in a dozen different creative directions simultaneously, incorporating diverse musical elements in her Hip Hop foundation while spitting some of her most powerful and compelling lyrics to date. You might not like Hip Hop, but it’s a safe bet that you’ll love Dessa’s intoxicating rhymes and genre alchemy.
YDIIYD: Ani DiFranco channeling Eminem. (BB)