These artists will join previously announced MPMF.13 performers like The Breeders, The Head and The Heart, Warpaint, Shuggie Otis, Youth Lagoon, Cody ChesnuTT and many others. Visit MPMF.com and follow MPMF’s social media accounts for the latest artist additions and other MPMF news.
Tickets for 2013’s MidPoint Music
Festival are available now at mpmf.cincyticket.com, where you can
purchase three-day passes for only $69, the music fest bargain of the
As Thursday began, we heard the tragic news of two people from the Tristate who were killed in an automobile accident on their way to the festival. (Five others were injured in the same crash.)
All told, Bonnaroo attendees and staff number close to 90,000 souls during peak hours. For this long weekend in June Manchester becomes the seventh largest city in Tennessee, with births and deaths on-site like one would expect in a small city over the course of any 96-hour span.
On a brighter note, this year's festival kicked off with a young couple tying the knot under the multi colored arch at Bonnaroo entrance.
In the late afternoon I wandered through Centeroo, perusing the various vendors' booths. Corporate sponsors abound, but non-profits and independent artisans dominate the Bonnaroo bazaar.
In the shadow of a Ferris wheel and psychedelic light tower a giant throng gathered in and around the area surrounding the Other Tent to greet Cincinnati's pure Pop pride and joy Walk The Moon.
Technical glitches delayed the start of their set but they had the crowd bouncing, clapping, singing along and eating out of their hands from the minute they took the stage.
WTM singer Nicholas Petricca shouted, "We're called Walk The Moon! We're from Ohio!" and the crowd roared as the band launched into their single "Tightrope." This writer has never seen a larger crowd assembled for a performance in the Other Tent and Petricca's buoyant charm and boundless energy kept the crowd pumped and jumping throughout the bands' entire performance.
Later in That Tent, Father John Misty brought the weird and the beard via his sardonic Folk Rock parables. I half-expected the depth and humor of FJM's material to sail over the heads of most Bonnaroovians but I was pleasantly surprised to hear many people singing along. A huge fan of his new Fear Fun album, I think I would have driven all the way to Tennessee just to hear Misty sing "Only Son Of The Ladiesman". He didn't make me wait long, playing it in the No. 2 slot.
(Walk the Moon hotos by Chuck Madden)
Buckcherry has been epitomizing Hard Rock since the late ’90s. The band recently started touring behind its sixth studio album, Confessions, adding to a great and energy filled set-list, alongside crowd favorites and major hits “Crazy Bitch” and “Lit Up."
CityBeat had a chance to speak with enigmatic Buckcherry singer Josh Todd in preparation for the band's set at Rock on the Range in Columbus this weekend (May 17-19). Buckcherry takes to the stage Friday night alongside Hollywood Undead, Cheap Trick and Korn. Click here for more Rock on the Range info.
CityBeat: I have seen you at Rock on the Range many years. What is your favorite Rock on the Range moment from the past?
Josh Todd: One year we were there performing “Lit Up” or “Crazy Bitch," I can’t remember, and a guy in a wheelchair started crowd surfing. That was a pretty memorable moment.
CityBeat: You guys just came off a tour with Kid Rock recently, which is a great match. What was your craziest tour story?
JT: Surprisingly, it was a pretty tame tour. We didn’t have too many backstage parties. The coolest thing we did, Bob — Kid Rock — invited Keith and I to his place in Alabama. We got to go and do some skeet shooting and eat some barbeque. I had a lot of deer meat which I hadn’t had in a long time, a lot of deer jerky. So that was a lot of fun.
CB: I was just covering the Kid Rock cruise and he was singing “Crazy Bitch.” It was a cool moment, one of my favorite songs with him singing.
JT: Yeah. I don’t know what to think of that. I’m flattered, you know, but it is kind of strange since we were on tour with him. I think it is cool because he loves the song.
CB: I want to talk about the record a little bit. I know Confessions is loosely based on the seven deadly sins. Which sin do you think is the worst?
JT: The worst or the most hard to manage?
CB: Either is fine?
JT: Probably lust, especially when you have been in a Rock band since you were 15 … it is something that comes up a lot.
CB: I know “Sloth” was written about your experience with your Father’s suicide. Is it ever hard to perform that live?
JT: I have never performed that live. We are working on it right now. We have six records. We have 80 some odd songs to really sift through. The songs we have performed off Confessions so far are “Wrath” “Gluttony” “Greed” “Air” and “Nothing Left but Tears.” We will get there eventually. I don’t think it will be hard for me because I just got a lot of great feedback from a lot of people who really connected to that song. That makes it a lot easier for me. It was real tough to record, but I think now it will be all right.
CB: Are there any habits you would like to break?
JT: Yeah. I struggle with sugar. So, yeah, not so much sugar.
CB: I know your songs are very autobiographical. Is there anything you have regretted writing about in any of your 80 songs?
JT: Since I write all the lyrics, it is kind of therapeutic for me to get out what is going on inside of me and somehow make it where a lot of people can relate to it. That is the challenge of the songwriter, to take a piece of your personal life and the lives around you and try to create a song where lots and lots of people can remember. That is the fun of it and also the challenge of it all.
CB: What does your perfect day look like?
JT: A perfect day would be to be home with my family. Just getting to spend time with them is a perfect day to me because I tour so much. To be home with my family is great.
CB: Is there anybody you would like to trade places with for a month?
JT: Yeah, I would like to be Kyle Busch for a day.
CB: Oh, a race car. Do you have fast cars?
JT: Yeah, I race fast go-carts. I have a race cart at home. I race that as much as I can. I did a NASCAR experience out here in Fontana and that was a lot of fun. I have always wanted to race an oval track race in a stock car. That would be amazing.
CB: Can you tell us what the fans should expect from your set at Rock on the Range?
JT: They can expect what we always deliver — their money’s worth.
CB: Are you going to be performing any of the new album?
JT: We will be performing “Gluttony” “Wrath” and “Nothing Left but Tears,” which is going to be the new single. Plus, we have to get to a lot of other songs. I don’t know how long our set is, but depending on how long our set is, we have been doing “Greed” recently and it is really great live now.
A lot of people still call it “Jazz Fest” (a hold-over from some of its early names, like the Kool Jazz Festival) and more recently (as of last year) it went by the name of Macy’s Music Festival, but Cincinnati’s popular, long-running celebration of classic and contemporary R&B and Soul is now cutting to the chase and, for its 2015 edition, will be called the “Cincinnati Music Festival.”
The name and logo may be different (and the primary sponsor is now P&G), but not much else has changed. This year’s event takes place July 24-25 at Paul Brown Stadium on the riverfront. Tickets for the fest — which began in 1962 in Carthage as the Ohio Valley Jazz Festival and has featured everyone from Miles Davis and George Benson to Stevie Wonder and Marvin Gaye — go on sale this Saturday through Ticketmaster.com.
This year’s lineup features Maxwell, Jennifer Hudson, The O’Jays, Joe and Luke James on July 24. For July 25, the event will feature longtime fest faves Maze featuring Frankie Beverly, plus Jill Scott, KEM, Avery Sunshine and Mali Music.
Click here for complete info on the 2015 Cincinnati Music Festival.
This morning, the annual Bunbury Music Festival, coming up July 11-13 and returning to Sawyer Point/Yeatman’s Cove along the Ohio River, announced the first acts for this summer’s event. Fall Out Boy, which won the People’s Choice Award for Favorite Alternative Band last night, will be joined at the fest by consistent Pop/Rock hit makers Paramore (who were up against FOB for that People’s Choice Award and are doing a co-headlining tour with the band this summer, something that leaked early, allegedly angering Paramore) and up-and-coming Danish alt-rockers New Politics (also on the FOB/Paramore jaunt).
The full lineup for the Bunbury Music Festival is scheduled to be announced next month. Tickets are on sale now; below are details:
One-day, Any-day: $55.00 (U.S.) Buy on layaway until January 31, 2014
Three-day: $130.00 (U.S.) Buy on layaway until January 31, 2014
Three-day VIP: $325 (U.S.) Buy on layaway until January 31, 2014
Hotel and Ticket Package: Buy one three-day, get one free. Book now
Please note that ticket prices will increase after February 15 and again after July 1.
Also this morning, it was announced that The Afghan Whigs, one of the best musical exports to ever come out of Cincinnati, are returning to the road in 2014 to play (at least) the Coachella festival in California this summer. (The full Coachella lineup, which was released this morning and includes Arcade Fire, OutKast and The Replacements, can be found here.) Sounds like a good fit for this year’s Bunbury lineup, too.
When it was announced that Cincinnati native Bryce Dessner would be one of the curators of the huge Big Ears festival in Knoxville, Tenn., at the end of March, some wondered if his annual hometown avant/Indie/Chamber MusicNOW festival would happen in 2010, considering the similarities in programming and timing. So it was good news to hear that MusicNOW is on schedule for March 30-April 1 at Memorial Hall (next to Music Hall), just after Big Ears and featuring some of the same artists.
By Saturday, you better have developed enough Bonnaroo survival tactics to make it through the day. The key is to keep pounding water and let the music fuel your body.
Saturday’s schedule was like NOS octane pumped into my bloodstream. The day was kicked off at 11:30 a.m. on Which Stage with Rebelution, a Reggae/Rock group from Santa Barbara. The 100-something degree weather didn’t keep a crowd from showing up and grooving out to Rebelution’s soaring, heavily reverberated jams that echo with uplifting, worry free vibes — exactly what we needed as the hottest part of the day was upon us.
I drifted off Thursday night and had my wonderfully fitful sleep punctuated by the strangest dream. Like most dreams, it was disjointed and surreal, but it made an odd sort of sense. It’s never easy to describe these nocturnal apparitions but it was so vivid, I shall give it a try.
Friday, July 13
I was walking downtown. I knew exactly where I needed to go but I didn’t know exactly how to get there. A ridiculously convoluted route got me to the desired entrance, I received my press credentials and a map of a fascinating kingdom which I entered through the back gate, popping up in the midst of a Craft Beer Village, a place I would revisit many times.
Because of family obligations, I had arrived late, and the celebration, which had been dubbed Bunbury, was already in full swing. I headed for what I perceived to be the main concentration of activity and there ran into Brent and his wife Kat, who I frequently cross paths with at these sorts of soirees and who are always a welcome sight and great companions. Almost immediately, I encountered my nephew Jim, who proceeded to buy me a multitude of beers, a welcome refreshment on a steamy afternoon.
We made our way to the Globilli stage to see The Crash Kings, a keyboard/bass/drum trio that made sounds like Led Zeppelin and Black Sabbath with a twist of Styx (when they were a decent Rock band) refracted through an Indie Rock prism. Keyboardist Tony Beliveau was improbably wearing a long sleeve flannel shirt in 90-degree heat, but he said they were from L.A., so he may have legitimately been cold. They played songs from their eponymous debut and a few from their as-yet unreleased new album, there was an epic bass solo at one point, and Beliveau made other worldly sounds with the use of a whammy bar on his rig, which I had never seen before. The Crash Kings were incredible, and they would have kicked 1975 square in the balls.
At the Landor Stage, Ponderosa were cranking out some sweet Indie Rock/Soul from their first album, Moonlight Revival and their new album Pool Party, which ultimately led to a cover of Prince’s “I Would Die 4 U.” Kalen Nash, clad in a much cooler serape and stalking the stage in Hobbit-like bare feet, bemoaned the loss of the Southgate House and said to the crowd, “Let’s bring that back.” We couldn’t have agreed more.
Back at Globilli, O.A.R. were giving a sizable audience a fair dose of heartland Indie Rock and getting an enthusiastic response in turn. The band started in Maryland but rose to prominence as students at Ohio State, and became something of a regional phenomenon. Much like the Dave Matthews Band, O.A.R.’s reputation grew by grassroots methodology and hard work. Marc Roberge acknowledged their local ties and thanked fans for their loyalty with a rousing set. Jim’s pals Andre and Kevin arrived at some point, more beers were acquired and all was well.
I took my leave of Jim and his friends to check out Ra Ra Riot at the Bud Light Stage. I love their studio brand of visceral Chamber Pop/Indie Rock and they most certainly do not disappoint in the live arena as they tore shit up good and proper. Ra Ra Riot make compelling feel-good music but I always feel a touch of melancholy when I listen to them, remembering their courage and loyalty when they remained together as a band in the aftermath of losing their original drummer John Pike, a drowning victim five years ago. Their biggest successes have come in the wake of that tragedy, but they remain in contact with Pike’s family who have in turn remained fully in Ra Ra Riot’s corner. That is truly inspirational, and that depth of feeling is translated into every note that RRR puts out into the universe. The real headline from RRR’s set was Wes Miles’ announcement that Bunbury was “the best run festival we’ve ever played,” high praise from a band that’s attended SXSW, CMJ, Seaport Music Festival and a good many others.
Somewhere between O.A.R. and Ra Ra Riot, I ran into Sean Rhiney (Messerly & Ewing) and Brian Kitzmiller (Black Owls), and was introduced to a flock of people (between them, Sean and Brian know every human in the Tri-State area) whose names are lost in a haze of previous beers but who were constant friendly faces in a sea of humanity over the next three days. I raise a perpetual glass to your continued well being and camaraderie.
It was back to the Globilli stage for The Airborne Toxic Event (named for a phrase in Don DeLillo’s 1985 chemical spill thriller, White Noise), which I’ve found to be one of the better muscular Indie Rock outfits. On the surface, they might seem like one of many innocuous radio-friendly ciphers but they’ve got a fascinating back-story, a fairly intricate sound and impressive songwriting talent. Frontman Mikel Jollett and his TATE cohorts played with a calculated frenzy to a rapturous response, and Jollett even injected a few serious moments into the festival’s spirited atmosphere to plug the Wounded Warrior Project and to offer some bi-partisan criticism (“Don‘t tell us you’re with us if you’re for cutting veterans’ benefits, don’t tell us you’re with us if you’re for raising taxes on returning veterans...”). A show with a message and a blazing soundtrack … not too shabby.
Then it was back to Landor for the most anticipated show of the night, and quite possibly the best show of the festival; the triumphant return of Cincy's Foxy Shazam. Eric Nally was in rare form, in both gymnastic stage behavior, microphone stand ballet and crowd interaction. A sampling of his repartee: (facing GABP) “Hey Votto, if you can hear me, hit the motherfucker out of the park..."; “I did an interview and when I read the story, the writer said we were unique, and I said, ‘Yeah, we‘re unique, just like everybody else..."; “Spill a little wine over here, spill a little wine over there, eventually everything’s red, spill a little blood over here, spill a little blood over there, eventually everything’s dead.”
During “Unstoppable,” someone winged a bottle of Gatorade at Nally, who flung it straight back and took issue by singing “Whoever threw that Gatorade is going to pay” at the close of the song. He then chastised the offender, saying, “Don’t make me explain to my kids why I have a bottle of Gatorade stuck up my ass,” and noting that he would let security allow the thrower backstage if he wanted to fight. Classic Nally.
Later, Schuyler White danced on his keyboard then tossed it onto the front row of the audience and dove into the crowd, playing while the audience held him in place. Classic Foxy. The crowd went batshit crazy when Foxy launched into “I Like It” from their latest and best album, The Church of Rock and Roll. At the breathless conclusion of Foxy’s set, the bar was officially set for the next two days.
With a fairly elaborate stage set complete with women on trapezes and giant video monitors displaying some sort of acid freak-out movie from the ’60s, Jane’s Addiction clearly trumped Foxy in terms of spectacle but fell short in terms of raw energy. Dave Navarro peeled off plenty of scorching riffery, his patented classic combination of ’80s Hard Rock and ’90s AltRock with his guitar set to stun, Stephen Perkins bashed his kit like a man possessed and new bassist Chris Chaney supplied a thunderous heartbeat, while Perry Farrell stalked the Globilli Stage like an earthbound raptor, howling his way through a set comprised of songs from their latest album, last year’s The Great Escape Artist, and heavy on the classics from their other three discs.
The show couldn’t be characterized as lackluster or phoned in, as it was a feast for the senses; plenty of engaging trappings and a propulsive soundtrack that tapped into memories of a visceral and compelling band on the edge of the alternative frontier two and a half decades ago. It was all incredibly entertaining, but it was a far cry from the scalp-tingling urgency of JA’s hungrier days, which is why this tour was designed with so much visual overload; few if any bands are able to recreate their earliest chemistry 25 years after the fact. My favorite JA memory will always be their opening set for Iggy Pop in 1988; seeing Jane’s at Bogart‘s that night was the aural equivalent of licking an electric outlet. I was certainly not disappointed with what transpired during JA’s Bunbury set, but neither was I spellbound by it. And Farrell’s humorously profane diatribe (“Let the pussies hear you!”) linking Pete Rose’s absence in the Baseball Hall of Fame to Jane’s Addiction’s lack of nominations two years after their eligibility was a bit awkward; he seemed to think steroids were somehow involved in Rose’s case, and as far as JA is concerned, well, four albums over a quarter century span, regardless of the influence of the first two, does not a Hall of Fame career comprise. I was glad to have experienced Jane‘s Addiction in the 21st century and I like the bombast they’ve created to present their old and new material but, as Blue Oyster Cult once noted, this ain’t the summer of love.
At some point during the JA set, I spied my most excellent zen editor Mike Breen, so I sidled over for some quick face time (being freelance I don‘t get into the office as much as I probably should), and he seemed to be digging the show greatly. I look forward to his thoughts on it because I greatly respect his musical opinions in a completely non-ass nuzzling way. (Editor's Note: You're hired! Fireworks rock! And "Free Pete Rose"!)
And Jim’s wife, my niece Robin, came late to the festival but somehow spotted me in the twilight and gave me a nudge in the back. Even though she is only five years my junior, I have been married to her aunt for almost three decades, and so I am and will forever be Uncle Brian, which is both touching and charming. A good number of the nieces and nephews I inherited when I started dating my wife have kids of their own now. Time and the generations march on.
I left Mike to his JA reverie when I spotted revered music connoisseur and branding legend Matthew Fenton (once an occasional CityBeat music contributor), who came down from his lair in Chicago to experience Bunbury’s inaugural year. I had e-mailed him to ask if he and his most excellent girlfriend Kelly would be in attendance, but never heard back. Turns out he’d quit his job after last year’s MidPoint and has taken up the study of improv comedy at Second City, a program from which he will graduate next month. I am both astonished and completely unsurprised because Matthew is a genius that makes geniuses insecure. Matthew assured me that Kelly would be around for Saturday’s festivities and introduced me to his older brother John, an equally princely guy by all indications.
Now we have a festival.
Saturday, July 14
I made my way back to the media entrance, this time being tended by old friend Jacob Heintz (Buckra) and the lovely and talented Sara Beiting (a former CityBeat all-star). The cloud cover was heavier, and it had already rained relatively hard north of the city but it didn’t seem to have impacted the downtown area too badly. I grabbed a beer and made my way through the throng … or did I make my way through the throng and grab a beer? The skies were not the only things that were partly cloudy.
At the Globilli stage, I was just in time for the start of Alberta Cross, a British duo now getting their mail in Brooklyn and fleshing out their live sound with a full fledged band. They sported an expansive vibe that had an appealing Verve quality, or Oasis without the contentious brothers problem screwing everything up.
Howdy folks! It’s your loyal, intrepid Bonnaroo correspondent Ric Hickey. Once again I am pleased and honored to be covering the big festival for CityBeat. We’ve been on-site for barely four hours and already this is shaping up to be one of the best Bonnaroo experiences that I have ever enjoyed.
Halestorm shows everybody out there that a female can rock with the guys. Lzzy Hale, Revolver Magazine’s reining “Hottest Chick in Hard Rock,” along with her brother Arejay, started the band back in 1999 and they have been on an upward trajectory ever since. This past February, the band received its first Grammy for Best Hard Rock Performance for the song “Love Bites… (And So Do I),” which made history as the first song by a female-fronted group to top the Active Rock radio airplay chart.
Halestorm has been headlining shows across the country in support of The Strange Case Of…, the band's second studio album. The group will be performing at this weekend’s Rock on the Range in Columbus on Saturday, playing the Main Stage alongside Papa Roach, Bullet For My Valentine, Three Days Grace, Stone Sour and The Smashing Pumpkins. Click here for full Rock on the Range info.
CityBeat: A lot has happened since I saw you guys in the fall. My first question is … where are you keeping your Grammy?
Lzzy Hale: You know what is funny — we actually don’t have them yet. It’s not quite real. We have been on the road so they have not been delivered yet. We have to sign a contract to make sure we aren’t going to do anything stupid with it. I have no idea where I am going to put it. My mom thinks it should be at her house. I’m like, “No, Mom, it comes with me.”
CB: You could put in your bunk (on the bus). That’s where you live anyway.
LH: Yeah. Very true.
CB: I know you just collaborated with David Draiman (of Disturbed) on the classic Ozzy and Lita song “Close Your Eyes.” What was the best part of doing that for you?
LH: It is such a cool thing. David Draiman has been such a champion of our band for the last couple years. He has been holding the Halestorm flag high. What a nice dude and always there for advice. He has sort of become this pseudo-big brother of mine the last couple years.
It is kind of surreal, a little bit, because I know this guy, but after singing with him and doing this duet, I find myself talking to my little brother and saying, “Remember when The Sickness came out and we went out and got that record, and we knew every word on that record.” We were huge Disturbed fans when we were kids. We still are, I should say. It is such an amazing honor to be asked to do that and what an incredible lineup on the entire record. Being the new kid on the block as far as the guest vocals are concerned is quite humbling, honestly.
CB: Were you nervous about re-recording that song?
LH: A little bit. There is always something in the back of your mind when you are recording a classic like that. You don’t want to ruin it. I am such fan for Lita Ford and Ozzy Osbourne and that whole era of music is really close to my heart. I was only hoping that we could do it justice. It was really David who put my mind at ease with that because as soon as I heard what he was doing with (it), I realized it was special, really special.
It is so weird, but when we were listening to the final mix of it, both David and I got goosebumps in the exact same spot of the song. We were like “Whoa! There is something about this song. We did something right.” I am happy we did it. I just sang it live with him for the first time at Carolina Rebellion. We are going to be doing it together again live. It’s truly magical. Not to sound cheesy, but it does hold a special place in my heart.
CB: Can we look forward to that at Rock on the Range?
LH: Oh, yes. Hell yes.
CB: I have seen you guys many times at ROTR over the years. What is your favorite Rock on the Range moment?
LH: Oh my God. The people that put that on are such nice people. We have been asked back for many years. The first time we were ever playing at Rock on the Range we were at the Jager Stage, then we were on the second stage, then last year we were first or second on the main stage.
I am telling you this, to be a part of this event, I am speaking for myself and all of my peers, we look forward to this festival. Not only is it a hell of a lot fun to play, but we get to see each other. I get to see all of my friends perform that I never get to see because we are all out on the road. It is this huge family reunion and this party from like 9 a.m. to whenever people decide to go home. It’s so wonderful and it keeps getting better every year, like last year was the best ever for me, but then the year before that was the best. I look forward to this time because maybe it will top last year. It is such a well-run event and the highlight of festival season.
CB: Are you going to be able to keep track of Arejay during the event?
LH: Nobody can ever keep track of Arejay. Are you kidding me? The phrase “Where’s Arejay?” is the phrase of the millennium. It’s awesome. He is the most incredible human being because he will be standing next you and you will be talking to him, you (turn) around and you’re talking to somebody else and you turn back to where Arejay was once standing and, poof, he is gone. He is a little Houdini. I love him. He is legendary. I am sure there will be many stories about Arejay at Rock on the Range.
CB: I saw recently you did an interview for a Playboy series online. Would you ever consider posing for the magazine if they asked you?
LH: I haven’t really been asked that a lot. I was thinking about it the other day. I guess I would have to cross that bridge when I come to it. It depends what it is and what it is for and how tasteful it would be. I am not going to say no, but I would have to cross that bridge when I came to it.
CB: I know you guys are recording a second Covers EP. Why did you guys decide to record a second covers record?
LH: We just recorded a few months ago and are starting to get mixes back now. We love doing that stuff, just being able to re-create your favorite songs, break them down and build them up as your own. Regardless of how fun it is, you learn a lot as a musician, about how you work and you’re learning your favorite songs and how to rebuild them from the ground up in your own way and try to find a new way to approach the songs which is kind of a challenge. We had a lot of fun doing it.
I don’t know when it is going to be released yet. It is probably going to be a couple months. When you see the final list of what we chose for this one, there will be probably some that you could predict and there are a few tracks you are going to look at the title of the song and the artist it’s by and you are going to go, “What? Why did they choose that song?” Then you can judge for yourself whether you like what we did. Either way it is going to be fun to see what everybody thinks about it.
CB: Are there any habits you would like to break?
LH: Yes, daily. My procrastination; I should practice more; I shouldn’t have had that cake at Josh’s birthday. I’m one of those people that does not care what everybody else thinks, but I do care a lot about how I feel about myself. I go through phases where I will have tunnel-vision and be determined and then I will be in the middle of tour and be like, “Screw it, I am going to finish this bottle of wine.” I think this time in my life I am starting to get my shit together and have more control over my vices. I am starting to exercise more and starting to be a little more responsible in my life, which is a battle, because I think I am perpetually 14 years old inside. I’m trying to be a grown up but still hold onto that fire.
CB: I love the story you have behind the “Rock Show” song and how you got inspired by it. Could you talk about that a little bit?
LH: Of course. To start that off, we got a lot of physical letters from fans, not the tweets and Facebook posts but a lot of handwritten letters — who does that anymore? — with a pencil. We get a lot of letters every day and it has increased in the past couple years. They are so incredibly inspiring. You get to see how you affect these people. You get to see and hear their stories. It is really, really humbling and really exciting for me because those stories start seeping their way into my subconscious.
A lot of the new songs I have written have been for a specific fan or another because it is interesting to see what these people go through in daily life and relate it to your own. It makes me feel less alone to be a part of their lives and they have welcomed us with open arms into their private life. I respect the hell out of that because it takes a lot of guts to do that.
Specifically for “Rock Show,” we received this letter. I don’t know how this little girl got the address to our studio, but she did. She wrote me this beautiful letter about her first Rock show, which happened to be Halestorm, and it was because of that show she picked up guitar and, long story short, she really shreds. She can play Eddie Van Halen’s “Eruption.” It is really cool to see. She was like 13 years old at the time. It is beautiful, almost like that show was a religious experience. It changed the course of her life and she finally knows what she wants to do and is starting a band.
I remember taking this letter into the studio and telling the guys we have to write a song for her. The title was called “Rock Show,” and we literally built this song around this letter we received and then we ended up thanking her in the notes as the next surprise so she will forever be in the artwork of our record because of that. It is wonderful to do that for those people, to give back, because it is a give and take. We wouldn’t be able to do what we love without these little girls and little boys and everybody that comes to our show. It is wonderful to be able to do small things like write a song for them or thank them.
CB: What are the characteristics that make a great Halestorm song?
LH: Lately, it has been more about honesty. What I never thought I would accomplish in this band, we kind of have in the last couple years. Halestorm is becoming the identity for some of these kids. It is something to stand for. It is something to look up to. I’ve been much more free to let more people into my life and trying to be a good example and be that shining beacon of empowerment for some of these people. I needed that when I was a kid. I looked up to a lot of my parent’s music because it was tough not to find anybody that wasn’t singing about death or “I hate my parents” when I was a kid. I remember needing that. I needed somebody that I could say, “I am going to be like that. If they can do it, so can I.”
I think there definitely always has to be an element of empowerment in what we do, in the music we write, but then you have to pair that with the honesty that you are human and that we are all the same. You are encouraging people to take the risk and to carve out their own path and be themselves. It is all we have learned about diving right into this business. We have learned so much about ourselves and how to be comfortable in our own skin. If we can pass that along, that’s something we strive for.