While waiting in line for 45 minutes for the sold-out Wavves show at The Basement in Columbus, Ohio, I begin to notice a much longer line accumulating outside the substantially bigger and more extravagant venue directly across from me, The LC Pavilion.
Then, just as I’m about to ask the stoned kid next to me who is playing at The LC tonight, an older couple with leather jackets – the woman with pink highlights in her beach blonde hair – grabs my attention.
“Excuse me, sir. Is this the line for Garbage?” she asks.
“Well, that depends on your definition of Garbage, ma'am.” I reply.
After this smartass comment, I quickly apologize and assure them that this is the line for the Wavves show and that ’90s Alt-rockers, Garbage, are playing next door. During this short conversation, I realize something.
There are only two basic differences between those fans going to see Garbage at The LC and the fans going to see Wavves at The Basement — the generational gap and the smells permeating from the separate lines (their line smelled of liquor, while most on our side reeked of weed and unwashed clothes).
It was as if the people in the Wavves line were getting a glimpse into the future (mirror, mirror, on the wall, is THAT what I’m going to look like in 2033?) while the Garbage fans were getting a taste of their younger years (mirror, mirror, on the wall, did I look THAT bad in 1993?)
After the wait, the doors finally open and as I walk inside The Basement, I notice immediately that it lives up to its name. It is dark, cold, and even has that musty smell that basements do. It was like going into my Grandma’s basement as a kid, except this one had a fully stocked bar, a small stage, and a 20-by-20 pit that was filled as soon as the doors opened. (Step up your game, Grandma!)
The show finally kicks off around 8 p.m. as the group Cheatahs takes the stage. Although they have a decent 30-minute set, their slower, Pop-infused Grunge style seems ill-fitting for both the ambiance of the venue but also the acts that follow them. During their last song, I wonder if perhaps Cheatahs would have been better received as an opener for Garbage across the corridor rather than opening for the Punk/Surf rockers Wavves.
After Cheatahs finish, the second act, FIDLAR (an acronym for “Fuck it, dawg, life’s a risk”), comes on and the intensity of the show is taken to a whole new level. Although some critics have called this band Skate Punk, for me, that term seems to coincide with terrible Pop Punk and Tony Hawk Pro Skater games (which were amazing), so I’d like to deem them “Party Punk” for the sheer fact that most their lyrics deal with the fact that they like to get high and drunk off of shitty weed, cocaine and alcohol.
Their blistering opener, “Cheap Beer”, starts the set with a burst of energy that never falters during the next 40 or so minutes. By the time they finish, vocalist/guitarist Zac Carper is crowd surfing and ending their final song dangling from the sprinkler system that hangs above the pit full of exhausted but excited fans.
As FIDLAR exited and Wavves starts setting up, most of the patrons come out of the pit looking so tired it didn’t seem like they were going to make it through to the headlining act. Some of the concertgoers leave after FIDLAR’s explosive and energetic set, partially because, as I said before, they were too debilitated to go on.
I personally believe, though, that some left because The Basement has acquired the stench of a 16-year-old boy’s room (for those of you who haven’t had the pleasure of experiencing this distinctive smell, it’s basically a combination between musk, sweat, weed and alcohol) from all the jumping, moshing and mashing going on in the crowd.
The people that pushed through, however, are treated with the opportunity to see a very special and intimate Wavves performance. Nathan Williams opens up the set with the unflinching Surf Rock anthem “Idiot”, which not only is a fan favorite of the night (along with “Green Eyes” and “Super Soaker”), but also keeps that intensity set up by FIDLAR’s performance and takes it higher.
Wavves' set-list isn’t just comprised of songs off older LPs, as they accomplish a pretty choice mix of the earlier material and new, catchy, sing-a-long tracks like “Demon to Lean On”, “Sail to the Sun” and “Afraid of Heights,” off their latest album of the same name.
A pretty flawless musical performance and Williams’ witty, in-between song banter with the crowd (my personal favorite is when he almost chipped his tooth adjusting the microphone and said he was going to look like rapper Danny Brown by the end of the show) coupled with guitarist Stephen Pope’s bedazzled, purple tights and outlandish behavior give fans more than their money’s worth.
As previously stated, for those fans that stuck around for Wavves (which was most of the people there), we witnessed a truly special night. Not because this will be the last opportunity to ever see this band perform live again, but more because, with Wavves' new album, Afraid of Heights, getting the accolades it deserves and the band's following growing greater everyday, we will most likely never see them in this small of a setting again. In fact, I’d bet good money (if I had any) that the next time Wavves visits Columbus, they won’t be headlining The Basement but the venue across corridor, The LC Pavilion — even if Garbage is in town that night.
On Sunday night, hundreds of local musicians — as well as the many of the fans who love them — had Covington's Madison Theater packed to capacity to celebrate the 16th annual Cincinnati Entertainment Awards.
It was another love fest, as the music, laughs, camaraderie and drinks flowed throughout the tight three-hour ceremony/party CityBeat founded over a decade and a half ago as a means of honoring Greater Cincinnati's music makers (and, originally, local theater artists and productions).
Though it has lessened over the years as more people have grown to understand the CEAs better, there is still plenty of griping about the awards every year. The vast majority of complaints are about who gets nominated. It's understandable in light of the talent that is overlooked annually. Having so many talented and deserving artists in our city making quality music is a good problem to have. But if every worthy musical act in the Tri-State area were to be nominated for a CEA each year, the categories would include dozens of nominees and the show itself would have to be a sleepover affair. You think the Oscars are too long? Sit through one 16-hour CEA show and you'll be begging for a witty Billy Crystal musical number.
Like every year, the sport of CEA bashing is quickly forgotten once inside the venue for the ceremony. The awards celebration is the one time of the year where fellow musicians from every genre — some friends already, some friends-to-be, others perhaps only known via social media messages — gather in one place. There doesn't seem to be a ton of competitive spite within our music scene and the musicians I've talked and worked with, for the most part, are always pretty down to earth. (As if on cue, the griping returned right after the show — a comment on Sunday night's blog post featuring the winners of this year's awards deemed the whole program an embarrassment. Sixteen years of my life, wasted! Oh, anonymous trolls, where would you be without the internet?)
The CEAs can't help but become a communal love fest. (Yes, the drinking probably helps this quite a bit, as well.) In general, there seems to be a lot of internal support amongst local musicians, and it feels like external support and appreciation (outside of jerky, anonymous comments) is on an upswing. The CEAs are always a great reflection of that community spirit.
Ben Davis of Indie Pop duo Bad Veins kicked off the CEAs with his trademark taped accompaniment, but without bandmate, drummer Sebastien Schultz. Davis' performance was still compelling, capped off by that timeless ode to magic and mystery, The Muppets' chestnut, "Rainbow Connection." The singer/multi-instrumentalist set the tone (and the bar) for the night's performances, which included plenty of revelations and some fun, novel surprises.
Those unexpected moments are always the performance highlights of any awards show and this year's CEA lineup and production provided loads of highlights. Local Boogie Woogie torchbearer Ricky Nye rumbled through a great set of rollicking Blues, building up to a cool collaborative climax as Blake Taylor and Jonathan Reynolds of fellow CEA "Blues" category nominees 46 Long joined the pianist/singer. Nye and 46 Long had been embroiled in a mock online feud leading up to the show. Music heals! (Nye ended up winning the category.)
International Punk sensations The Dopamines gave the show a jolt with their explosive performance, launching into Guided By Voices' "A Salty Salute," but only after bassist Jon Weiner managed to insult nerds and "old fucks" in his introduction (they're "Punk," he reminded everyone later). From there, the trio launched into a mini-set of their own adrenalized anthems with fiery swagger. Fans were made.
The same can be said for singer Jess Lamb, the soulful vocalist who wowed the crowd with a few hypnotic songs, joined by her guitarist and bassist (who doubled on throbbing kick-drum). The sparse set-up belied the soaring sounds conjured, guided by Lamb's remarkable voice. Lamb was nominated for a CEA in the R&B/Funk/Soul category, a testament to her unique sound, which comes closer to resembling Florence and the Machine than, say, Usher. We may need to create an "Alternative/Soul/Rock" category to accommodate Lamb next year.
The Hip Hop/Rock band Gold Shoes are also keen hybridizers, and their CEA performance was a great display of the group's unique spin on Hip Hop fusion. The band provides a dynamic backdrop that's spiced with elements of Funk, Rock, Pop, Jazz and beyond. But the group isn't just providing a playground for frontman Buggs Tha Rocka to unleash his tight, captivating flow. The group writes melodic songs with strong, unique chorus hooks. Their CEA performance was a clinic on how to combine Hip Hop with other types of music without sounding like a cheap Pop grab (" … featuring Adam Lavine!"), Gym Class Heroes or, God help us all, Limp Bizkit.
The Cincinnati USA Music Heritage Foundation, which provided a great experience for VIP ticket buyers in the balcony, reminded everyone of the Queen City's place in shaping popular music with a segment presented by the group's president, musician Marvin Hawkins. After talking a bit about the organization's plans to continue honoring the area's rich musical past in 2013 (expect a lot of King Records-related events in honor of the locally-based groundbreaking label's 70th anniversary), Hawkins joined a host of local Roots musicians for a spin through a pair of songs from the recent collection, The Lost Notebooks of Hank Williams, a project spearhead by Bob Dylan that involved writing songs from a cache of unearthed lyrics written by the American music icon. The all-star band assembled — including Magnolia Mountain's Mark Utley and Renee Frye, David Rhodes Brown and Sylvia Mitchell — expertly played songs they had recorded at the Music Heritage Foundation's downtown headquarters, in the same space once occupied by Herzog studios, the site where Williams recorded "Lovesick Blues" and other classics.
The CEA show itself ran smoothly and first-time host Ted Clark proved to be a great fit for the show. Clark's deadpan, sardonic humor — familiar to those who flock to his "live talk shows" at MOTR Pub — was reminiscent of Zach Galifianakis and sometimes he had great lines that were maybe to subtle for the CEA's "party atmosphere." But from those of us paying attention — bravo, Mr. Clark.
There was an array of entertaining acceptance styles from the winners, ranging from choked-up and sincere to pumped-up and enthusiastic to more matter-of-fact. Wussy had a huge night, taking home the Album of the Year (for Strawberry) and Artist of the Year CEAs, capped by some funny lines while accepting. Drummer Joe Klug joked that, for anyone doubting they deserved the Artist award, Wussy "played Little Rock, Ark., four times in the past year."
The award presenters — a collection of local music supporters and personalities, mostly from radio and press outlets, as well as sponsor reps — did a great job hammering home the "support local music" message of the CEAs' mission. But presenter and CityBeat Arts and Culture Editor Jac Kern provided one of the funniest bits in CEA history with her tribute to Beyonce — via a soon-cut-off lip-synced performance of the National Anthem.
Culture Queer capped off the show (or warmed up the after party?) with a set that captured the fun of the night, rocking out a trio of quirky, animated Electro Indie Art Pop gems with their trademark film backdrop. The sprightly CEA trophy hostesses came out for some dancing on finale "Born Again," their funky get-ups matching CQ's twitchy, offbeat anthem — and the jubilant, colorful energy of the entire night — perfectly.
Holidays are especially exciting times for children and, given the recent tragedy in Newtown, Conn., kids all over will likely be going to be getting a little extra love this season.
Zak Morgan knows kids. The Cincinnati-based singer/songwriter has already had an amazing career in children’s music, with his second self-financed album, When Bullfrogs Croak, earning numerous awards and acclaim, including a 2004 Grammy nomination for Best Musical Album for Children, a remarkable feat for an independent artist.
Morgan’s accomplishments and hard work (he notches over 200 shows a year for kids across the country) paid off with a contract with Universal Music’s kids’ music imprint, myKaZoo Music. His debut for the label, The Barber of the Beasts, came out in late October and would make a fantastic stocking-stuffer for the little ones this Christmas.
Like his previous releases, The Barber of the Beasts features artwork by famed local illustrator C.F. Payne and contains an extensive booklet of lyrics and drawings. The album also features some notable guests, from local musicians like Dan Dorff, Paul Patterson and Josh Seurkamp to nationally acclaimed artists like Robbie Fulks and locals Karin Bergquist (Over the Rhine) and the iconic Bootsy Collins.
But it’s Morgan’s magical stories and songs that are the focal point. There is a perfect formula for children’s music; like with kids’ films these days, many artists try to hard to make their albums “parent friendly” and tend to go overboard, while those who “dumb things down” tend to be the most annoying. Morgan’s gift is finding the perfect balance.
The Barber of the Beasts is for smart and imaginative kids and parents, seeming designed to be enjoyed together. Morgan is great with clever word play and he isn't afraid to drop a few “big words” (or at least unfamiliar words). That’s where the booklet’s excellent vocabulary guide comes in handy. Parents can go over words with their children, who will have not only been entertained by Zak’s fantastical storytelling, but will also learn something in the process.
Many of the tracks on Barber feature gorgeous chamber string arrangements, but there are also tunes like “Snow Day,” on which Morgan channels his inner Tom Waits (vocally), the shuffling, jazzy Pop cut “Swinging On A Star,” the Country-esque “Nancy Jane” and the great Bootsy collaboration, “The Case of the Dry Markers,” a swingin’, “spooky” Jazz struttin’ mystery with a Halloween vibe.
Here is the debut music video from the album for "The Case of the Dry Markers":
The songs and music are elegant and often downright majestic (particularly the ones with the spine-tingling string arrangements), while Morgan’s clever stories are loaded with a silliness that the young listeners will gleefully embrace.
I believe The Barber of the Beasts (which will specifically appeal to kids between around the ages of 1-8, but certainly fits the "fun for kids of all ages" bill) was released in time to make next year’s Grammy nominations. It will be a crime if it doesn’t make the cut. When it comes to children’s music, Zak is like the Bob Dylan of the genre — minus the curmudgeonly grumpiness, of course.
This Saturday at 1 p.m., Morgan and a host
of special guests will present the local release party for the album at
The Monastery recording studio (2601 Stanton Ave., Walnut Hills), the
performance/recording space owned and operated by producer/guitarist Ric
Hordinski (who also performed on, produced and co-wrote material on the album).
Tickets are available through brownpapertickets.com for $10 (or $20 for families of two-five people). Remaining tickets will be available at the door the day of the show for $15 (or $25 per family). Your ticket also includes food and admission to the post-show pizza party.
Over the summer, a video turned up on YouTube of Canadian chanteuse LIGHTS doing an acoustic cover of U2’s “I Still Haven’t Found What I’m Looking For” for Britain’s Secret TV. While her bubbly personality was evident, she did look tired and her voice was not at its usual strength. Fans wondered if the rigors of touring were taking their toll.
But there were no such concerns Wednesday (Nov. 14) night when LIGHTS played at the 20th Century Theatre in Oakley. Winding down her Siberia tour, the Toronto native sounded absolutely amazing.
Two things are sometimes forgotten in the electronic swirl of LIGHTS’s music — she can sing and she can write. Vocally she was at the top of her game Wednesday. Parts that were sung in a more wispy tone on her two albums were belted out with force, topped with high notes that hadn’t come out in the studio versions.
And, oh yes, the writing. Proving she has both vocal and songwriting skills, LIGHTS excused her band mid-show to deliver a piano-and-voice-only version of “Saviour.” Showing it’s not all done with machines (as she did on her 2010 acoustic EP), LIGHTS delivered a tune that, like her others, can stand apart from the technological wizardry. In between scaling her vocal range, she invited the audience to sing along, which they did enthusiastically (the track was an Alternative radio hit in 2009).
LIGHTS has always toured with a band, pulling a page out the the Thompson Twins’ playbook from back in the day. Chief Twin Tom Bailey always reasoned that it was just more visually pleasing to see musicians on stage and not just three band members bopping around to sequencers and backing tapes. Sonically it helps, too, of course, as the players can improvise and add new dimensions and dynamics to familiar songs. Indeed, one of LIGHTS’s keyboardists even broke out a guitar for one song, playing the keyboard lines on that instead of his synth.
The Arkells from Hamilton, Ontario, opened the show with their brand of Canadian Alt Rock. Lead singer Max Kerman told the crowd that his hometown was the best Hamilton in the world, not the Ohio city just up I-75. The crowd got the joke, which sort of surprised and bemused Kerman.
“I was expecting some boos for that,” he said before the band launched into “Pulling Punches.” The Arkells provided a nice counterpoint to the main act’s fine, occasionally dub-steppy Synth Pop and the group seemed to have several fans of their own in attendance.
LIGHTS returns to Canada at the end of this run of shows, where she will spend the holidays with her new husband, Blesshefall frontman Beau Bokan. The Arkells will support their countrymen The Tragically Hip throughout the winter.
I’m not going to pretend I knew what synesthesia meant before listening to former Cincinnati/current Columbus-based Hip Hop artist Ill Poetic’s latest release, Synesthesia: The Yellow Movement. But after diving into the seven-song EP (and looking up the title on dictionary.com), I discovered that synesthesia is something like a music-induced hallucination where the afflicted see music as colors, which is the perfect description the album has on its listeners.
In the short amount of time it takes to get through this EP (just under 24 minutes), Ill Po takes the listener on a funky, soulful trip through his creative process. On the first track, “Be Cool,” Po is kind of like Samuel L. Jackson in the diner scene of Pulp Fiction (without the Jheri curl), urging everyone from politicians to status rappers to just chill the fuck out and re-birth the cool like Miles Davis.
“Be Cool” then melts into a laid-back Soul cut, the highlight track “On My Way,” which features crooner CJ the Cynic. It’s probably just the producer in him, but Ill Poetic lets CJ take the reins of “On My Way” for almost the first two minutes before he brings his spoken-word lyrical styling to the production, which is reminiscent of early Kanye or Eryka Badu with, dare I say, an added dose of creativity.
The wait for Po's words is well worth it, however, when he spits that “Ghostface is my real estate agent." Again, I really don’t know what this means, but the sheer image of calling Sibcy Cline or Century 21 and getting Ghostface Killah on the other end of the receiver is pure imagery gold.
On the sixth track and first single off the EP, “Gone,” the song cleverly describes Po’s struggle to leave Cincinnati and pursue his dreams (his every body part attempting to convince his brain to dip-out), while the Jazz-style production makes the listener want to roll-up and take a road trip with this song on repeat.
The best part about this album, though, is when Ill says “You don’t have to be cool to listen to this; you don’t have to listen to this to be cool.” So for all the nerds, dorks, dweebs and losers out there looking for new music, have no fear. You don’t have to be cool to listen to this and listening to Ill Poetic won’t make you cool. But it surely couldn’t hurt.
Click below to preview and purchase Synesthesia: The Yellow Movement. For more on Ill Poetic, visit his official site here.
The National’s set was evidently well thought-out, opening with the powerful "Mistaken for Strangers," with the vocals and drums seemingly soaring through the theater. If you haven’t had a chance to catch a show at Emery Theatre (my first experience was last week), you should certainly make that a priority. The theater, coupled with a band like the National, truly makes for an unforgettable experience. The venue alone creates a sense of intimacy between audience and act, something that is usually sacrificed to see your favorite bands.
From the very start of
the set, the audience was completely engaged with the boys on stage, bursting
into cheers and applause at the every songs beginning and end (and even during
songs at times). The only drawback for me was the fact that Matt Berninger would
simply not let me forget that the show was political. It seemed as if in
between every song some sort of Democratic rhetoric (not that the other side’s
rhetorical strategies are any better) was interjected. Something about the importance of voting, or how
privileged we are, which is somewhat obnoxious at that point. It’s highly
doubtful that anybody was suddenly converted by The National, and even more so
that anyone in attendance last night was slightest bit unsure about their vote.
I suppose that’s mostly my fault, though — I should expect such from a campaign concert.
All that aside, the audience was left in a state of bliss by
the concert's end, as The National closed out their set with an unplugged
version "Vanderlyle Crybaby Geeks." Earlier in the night, I had spoken to a
friend who had said the venue was acoustically pure, meaning that even without
any sort of amplification, the sound would still resonate throughout the entire
theater — and he couldn’t be more right.
The sound was not hindered in any way (I was a few rows back) and it
carried through the historic site as if I was the only one there. The closer truly unified the entire show into
a ecstatic experience that I will certainly not forget.