The Eli Young Band brings a taste of Red Dirt music to the forefront of Country music. The band has an upbeat and distinct sound that has caught on quickly on a national scale. EYB saw mild success through the years touring on Jet Black and Jealous and hit a major stride with its most recent album, Life At Best, featuring the hits “Even If It Breaks Your Heart” and ACM "Song of the Year," “Crazy Girl.”
The Eli Young Band has now reached a new height, opening Kenny Chesney’s current tour (which is hitting mostly stadiums). CityBeat was able to catch up with band drummer Chris Thompson to get the band’s feeling on its new found success and life on tour with Kenny. The tour comes to Cincy tonight at Riverbend Music Center for a sold-out stop (the tour moves to Crew Stadium in Columbus on Saturday night). It is truly the most impressive tour in Country music.
CityBeat: How did the tour come about with Kenny Chesney?
Chris Thompson: A lot of people don’t know this but Kenny is really involved in who he picks to go on tour with him. In a lot of other tours, a record label will put someone on the bill or management will partner up with other management to find a tour that works with that kind of artist, but Kenny is super hands-on.
Two years ago at the Academy of Country Music Awards, we were nominated for "Song of the Year" and so was Kenny, and we actually beat him, we won the category. I guess shortly after, there was a text going around from Kenny to his management, “Who are these guys that beat me?” and “I want to find out more about them.” He started getting into our music and shortly after we got the phone call that we were invited to go out on tour with him.
It’s just a huge honor. Like I was saying, he hand picks the folks that are out here on the road with him. It’s the biggest tour in Country music and we are just happy to be here.
CB: I was there the night you guys won the "Song of the Year" award. I was so happy for you guys. I know you have worked very hard over the years. What was the highlight of CMA for the band this year in Nashville?
CT: We were only there for a couple hours really. We flew in that morning and did a signing for two or three hours and then had a couple meetings. Then, we were out of town.
We have been going to CMA Music Fest for seven or eight years now. Back in the day we would stay for three or four days and play a show or two and be able to hang and meet as many people as we could. It seems like more and more nowadays, especially with the tours we have been on and our headlining tours, we are only able to get in for a day and get out.
It is always fun to do the signings because you meet people from all over the country and from all over the world really who love Country music. They are so excited to meet you. They are die hard fans. They bring pictures from five years ago when we met. It’s just cool that Country music does that. We are the only genre of music that has anything like that where fans can go and interact directly with the artists and have one-on-one face time with them.
CB: Tell me a little bit about “Drunk Last Night,” the new single.
CT: I think “Drunk Last Night” is a lyric we can all relate to. When we all first heard the song, we were like, “Yes, this is a song for us."
A lot of people hear a title and automatically think it’s a drinking song. We went through some of that with “Crazy Girl.” A lot of people saw the title and went “Oh, I know what this song is about,” and I think they were wrong.
I think people will find this is not the standard drinking song. It is all about, I hate to sum it up as drunk dialing, but it is kind of like the thought of doing that and alcohol feeding that desire a little bit more than in daily life.
It is also a song that we went in the studio and recorded (and) as soon as we finished the session, we could go out and play (it) live right now because it’s a great track, it’s rocking, it’s in our wheelhouse and we actually did. We started playing it at the very beginning of the Chesney tour before it was even picked as a single. The crowd really seemed to dig it and now here it is, going to be a single. Good stuff.
CB: Do you guys know or do you have a feeling when you have a hit or when you hear a hit presented to you?
CT: Yeah. I think sometimes you hear a song, sometimes people say the song gives them chills and they know that’s the one. Sometimes you get that feeling in your gut. When you hear a song sometimes, you write a lyric and you feel that, it is almost like that feeling of falling in love. Your chest kind of swells.
When multiple people feel that way at the same spot or for the same song, then I don’t know if anybody can guarantee a hit, but you know that it is at least a lyric or a song that people can relate to and I think typically good songs are universal in that sort of way.
CB: I loved your “The Cuss Jar” video — I could buy a house if I implemented that process. I wanted to know if you had bought anything fun with the money?
CT: No, actually I think that era ended. The jar got too full and I think we used that jar for laundry money one day when we stopped somewhere on the road and had a few days off and emptied the whole thing for band and crew’s laundry. Then we got too lazy to keep up with it.
CB: What has been your craziest tour story recently?
CT: I think playing Cowboys Stadium in Dallas on the Chesney tour was probably the craziest thing because we are from Dallas and we have played every tiny bar around the stadium. To just get up on stage at the biggest stadium in America was totally wild. All of our families were there; it was craziness.
CB: That’s such a special moment, I am sure you have plenty of those all the time. Do you do anything special yourself to keep the tour memories? Do you take photos or journals? Some bands blog or journal and do things to keep it fresh.
CT: Yeah, we have been fortunate on this tour, since the beginning of this year, we have had a guy out on the road with us that has started doing social media. Mainly he is taking pictures. Since January, this whole thing has been documented and we really appreciate that.
It is definitely hard for us to get good photos when we are on stage playing, when we are really in the moment, because we are playing, so he is out there doing that. This is the biggest tour we have ever done and just the momentum that this year is building, we are just happy about that.
CB: What does a typical day look like for you?
CT: On the Chesney tour when we are doing stadiums like we are doing today, we will go out and do a tailgating event, at 1 or so in the afternoon, we will all get into some golf carts and we will go out to where all the fans are tailgating and they will bombard us with jello shots and beer bongs and the local foods they have.
We hang out with them for an hour or two then we will start doing radio events where we will play a couple songs acoustic, sitting on our bus or backstage for various winners. Then we will do a meet and greet for about 60-100 people. Then, we will grab a bite to eat around then. Then we hit the stage and rock out for about an hour.
After that, we will go hang out with some radio folks or some friend that are in town and wind down about the time Kenny hits the stage so we can watch him. It’s pretty cool. It’s pretty unreal.
CB: If you could trade places for anyone for about a month, who would it be?
CT: Right now it feels like we are living the dream. I think the four of us are really happy with what is going on in our careers right now. We have had some national success. It feels like we have broken out of being a regional band and it feels like we are on the cusp of something more than that. It’s a great time for Eli Young Band and it is important for us to enjoy this. I probably wouldn’t want to trade places with anyone right now.
CB: What can the fans look for from you guys tonight in Cincinnati?
CT: We try to always bring a high-energy show. We were playing a show last night and there was this older gentleman almost in front row sitting in his chair arms crossed and it looked like he wasn’t really enjoying himself. About halfway through our set he leaned over to his wife and he points at us and he goes, “Those guys are workin’ up there.” Then he smiled real big.
We want to bring that energy. We want to get on stage and have a good time and fire up the crowd. We go on right after Kacey Musgraves. Kacey is real cool and laidback and all that when she does her thing and it’s great. Then we get to come in and kick the audience in the butt a little bit.
During our set we have some new music in there and some cover songs I think gets the crowd up and clapping. After that Eric (Church) comes up and burns it down. Then Kenny Chesney comes out and the place goes nuts.
Last night, Cincinnati's Walk the Moon hosted an album release show at New York City's Mercury Lounge in honor of their full-length debut for RCA Records. To promote the record on a bit of a wider scale, the quartet also performed on The Late Show with David Letterman. The band played its signature tune, "Anna Sun," which has been named "song of the summer" two years running and, therefore, deserves a ranking on the list of all-time songs of summer.
WtM's appearance on The Late Show also elicited some nostalgia from the host. Letterman introduced the band as "from the Queen City, Cincinnati, Ohio … home of Oscar Robertson and your Cincinnati Royals." Lettterman grew up in Indiana and has talked about his affinity for Cincinnati (and, particularly, its sports teams, including our one-time NBA franchise) frequently.
After the tune, Letterman seemed to enjoy the group so much, he joked with them, "Now wait a minute — during your song, we made some calls and we've arranged for you guys to move from Cincinnati and live here at the YMCA."
Walk the Moon killed it. Look ma — no face paint?! Here's the video:
Tonight, the Venue Formerly Known As The Southgate House hosts its first big show. The Thompson House — as it's now called after a family dispute went to court and resulted in the longtime operators getting the boot and the owners of faux-strip club the Brass Ass taking over — opens its doors tonight to the public for a 7 p.m. concert headlined by modern Ska/Reggae revivalists The Aggrolites.
A recent Enquirer story about the "new" venue drew an avalanche of comments, the vast majority of which suggested that those who were fans of the Southgate House despise the look and direction of the Thompson House, with its purple decor and Rock star murals. Check out this pic from the Thompson House's website:
But the new venue's origins and the relative abruptness of the closing of the Southgate House is angering people more than the color scheme. The wall colors are just purple icing on the cake, so to speak.
The Thompson House has been developing a schedule that seems to be attempting to mimic the eclectic nature of the old Southgate House — a little Jazz, some open mic stuff, a Hard Rock band, some Metal, some Country. Often, the Southgate House's eclectic nature harvested a following whose tastes crossed over. And as diverse as the bookings were, rarely were there shows at the old club that made you go, "Why would they bring THAT show to the Southgate." For much of its run, whoever was booking the Southgate House seemed to have good and, more importantly, consistent taste in a wide-range of music. They wouldn't just book a random Country band; they'd book an interesting, great or unusual one.
The Thompson House bookings so far seem like they will be able to attract a varied audience. But can the people who, say, go to the Blue Wisp Jazz Club every couple of weeks and will probably enjoy the local Jazz lineup at the venue feel at home going to the same club as the younger music lovers who used to hang out at The Mad Hatter (or its current occupier, Bangarang's of Covington) to watch Hardcore and Death Metal bands? We'll see.
I have clubs that I like to go to more than others, but I have never gone to a concert because of where it was being held. And I've never not gone to see a concert at a venue I don't feel as comfortable. But I would be less inclined to frequent a venue if I have a bad experience and I'd be less likely to just roll the dice and take a chance on a show at a venue in which I don't feel comfortable.
I understand the passion of the Southgate lovers who insist they'll never set foot in the Thompson House, but if a band comes to town that you'd like to see, or your favorite local artist is performing in the "Rock Star Lounge" some night, you'll be hurting those artists as much as the new owners. Over the years, I've had club owners or promoters be dicks to me and occasionally have reached the point of anger where I momentarily think, "Screw them, I'll never write about one of their shows again." But it passes quickly. I've never "blacklisted" a club or promoter, no matter how big of an a-hole their employees are, because I've always felt that it would be unfair to both the musicians that work with them and the music fans who would like to know about the concerts they're promoting.
Like I said, I can totally understand the urge to boycott — I haven't stepped inside Clifton movie theater The Esquire since they "banned" CityBeat and its film critic from the theater after we reported how the operators had censored a raunchy part of a film without permission and without informing the audience of the edit. It's just one of those "principled" stands we all take and whether they are "rational" or not is relative and personal. (I'll admit that not going to the Party Source for several years after a manager was a jerk to me there was a little silly … but it made me feel a little better.)
Perhaps the hope is that if all these people who say they'll never go to the Thompson House actually don't, the club won't survive. But, from the bookings so far, a big chunk of the Southgate House's old clientele would never have been interested in the Thompson House bookings anyway. And if the Thompson House fails, someone might just come in and turn it into a Toby Keith's I Love This Bar and Grill.
Me? I'm leaving the door open. I won't be there tonight, though I am a fan of The Aggrolites (and local openers The Ohms and The Newport Secret 6 are excellent, as well). I just have other plans. But, out of sheer curiosity alone, I will step foot in the Thompson House. And when there's music there I want to check out, I'll step foot it in it again and again. I miss the old Southgate House as much as anyone and I really appreciate the efforts of the previous owners, but I'm not going to deprive myself of a good concert experience. I mean, I never stopped going to Bogart's, even when it was the source of some of the worst concert experiences I've ever had.
Although when the Thompson House starts hosting the "Thompson House-produced country (music) revue show, 'Through the Years,' " as the Enquirer reported, I'll probably pass. I'm loyal to Kings Island when it comes to cheesy musical revue numbers.
Tickets for tonight's show are $13. You can buy them here and pick them up at Will Call (or buy them at the door). Click here to see who else is performing at the Thompson House, as well as some of the specialty nights.
The air seems sweeter here in the front of the website, the sun a little brighter and the deadlines a little more immediate, but as Uncle Ben once reminded Peter Parker, with great power comes great responsibility. So here we are in relatively short order with a batch of new reviews and a few more older titles in my continuing quest to revisit the deserving releases from the not-so-waning months of 2011. We’re getting there, slowly but surely. Read them while they’re hot; there’s more where they came from.
We've written a bit in the past about the new film-meets-music "One Shot Music Video" series, beautifully shot, black-and-white short films of various local musical acts shot at the historic Emery Theatre (which is back in action as a functional venue this weekend). Shot by world renowned photographer Michael Wilson with audio help from the musical duo Pop Empire, the clips are filmed in one continuous take (thus the name).
The project has started to take shape and is on a roll now. Pop Empire's Cameron Cochran reports that the series is now named for the venue — "The Emery Sessions" — and will be comprised of footage from 10 artists, all shot at the theater. It's a great way to not only spotlight local music, but also show off the theater in a great light.
Wilson and Pop Empire have completed a couple of videos for Daniel Martin Moore for the first of the series. The second in the series is Over the Rhine (longtime compadres of Wilson's, who has shot OTR album covers and promo shots — including the one above — since the band's very beginning). OTR is familiar with the surroundings; the band played the "preview party" hosted by The Requiem Project which re-introduced the 100-year-old theater to locals late last year.
Here's a clip of Over the Rhine's Linford Detweiler and Karin Bergquist performing "The Laugh of Recognition" from the twosome's latest album, The Long Surrender. (Click over to local blog Each Note Secure to check out another clip from the project.)
Cochran also runs the all-free, all-digital "record label" The Recording Label, which has issued stellar recordings by The Kickaways, Vacation, Sacred Spirits and Pop Empire. He says working on "The Emery Sessions" inspired him to give the label a more local-specific name. The Recording Label is now called Cincinnati Recording Service. Click here for the new site.
And here are a few words from Cochran on the Sessions and the label:
If we are consuming light then sound is accompanied by sight. Many musical performers understand this concept and will incorporate a visual component to their audio performance. The idea behind the "One Shot Music Video" is to approach music from the opposite direction. The audience approaches the music from a visual perspective first because whether they know it or not the first performance they see is the photographer's. It is the photographer's eye that navigates them through the musical performance. The hidden live performance is the one done with the camera.
The Emery Theatre was the perfect place to begin our exploration of this relationship between listening and watching live musical performances. Each musician we have recorded and that we are going to record have a love for this amazing space and understands what the Emery Theatre means to our great city of Cincinnati. It is perhaps our own experiences working in this theatre and the pride that has developed for our hometown of Cincinnati that inspired us to change the name of The Recording Label to Cincinnati Recording Service. This name change is also a tip of the hat to another person who loved his city as well as the power that American music has to bring people together, Memphis' very own Sam Philips.
Today is the 15th anniversary of the murder of celebrated rapper Christopher Wallace, aka the Notorious B.I.G. (aka Biggie Smalls, aka Big Poppa, etc., etc.). Since his death, Wallace's status has risen considerably and he's widely considered one of the best MCs to ever hold a mic, for both his smooth, laid-back flow and lyrical prowess.
Caught in the middle of the East Coast/West Coast feuding of the time, Wallace (a NYC native) was killed while in California promoting his soon to be released sophomore album, eerily titled (in hindsight, as was his debut's title, Ready to Die) Life After Death. On March 9, Smalls attended the Soul Train awards show in L.A., where he presented Toni Braxton with one of two awards she would win that night (and was booed by the West-leaning coastal feuders in the audience). Wallace left an afterparty at 12:30 a.m. later that night and, about 50 yards from the party entrance, a black Chevy Impala reportedly pulled up next to the vehicle the MC was in and someone in the Impala shot Wallace four times in the chest. He was rushed to the hospital and pronounced dead March 9 at 1:15 a.m.
Despite various theories, confessions and extensive investigations, the case, like that of West Coast star rapper Tupac Shakur (killed about six months prior in similar fashion), remains unsolved.
Life After Death came out 15 days after Wallace's murder. It went to No. 1 on Billboard's album chart instantly. Two more posthumous B.I.G. records were cobbled together — 1999's Born Again, featuring tracks culled from unfinished ones on which Wallace had been working, and the similar Duets: The Final Chapter from 2005, which was widely criticized due to the posthumous pairings with artists many felt Wallace would never have worked with in his lifetime. The album's guests included Eminem, Twista, The Game, Nas, Nelly, Scarface, Missy Elliott, R. Kelly, Bob Marley (?!), Korn (?!?!) and West Coast MCs Snoop Dogg and 2Pac. Amazingly, unlike the posthumously prolific 2Pac, the album really was "The Final Chapter"; the only other Biggie releases to come out after that were a 2007 greatest hits collection and the 2009 soundtrack to the film Notorious, based on Wallace's life and death.
Time magazine's website posted a music video playlist tribute today here. And below is "Living In Pain" from the Duets release, which featured Big and Pac, plus still-alive performers Nas and singer Mary J. Blige:
Click on for Born This Day, featuring Bow Wow, John Cale and Ornette Coleman.
Were it not for the Grim Reaper, two celebrated musical couples would be celebrating wedding anniversaries today. Country music superstars Johnny Cash and June Carter (soon-to-be Carter Cash) tied the knot on this date in 1968 in a Franklin, Ky., church. The bride wore light blue; the groom wore (duh!) black. Their relationship was the basis for the celebrated biopic Walk the Line, which showed the couple's rocky patches in all their glory, as well as their dedication to each other. The couple had just one child together, John Carter Cash (born in 1970). The couple managed to put their problems behind them and remained married until June's death in May of 2003. Cash passed away five months later.
June co-wrote (with Merle Kilgore) one of Johnny's biggest songs, 1963's "Ring of Fire," which is said to have been inspired by her conflicted feelings for Johnny.
Music Tonight: Tonight’s the last time you’ll be able to catch Cincinnati-based trio The Rubber Knife Gang in town for a while. But it’s not for any kind of hiatus — no rehab or plastic surgery or whatever it is bands do on such breaks. Quite the opposite. It’s because the band is jumping on a plane in a few weeks and heading overseas to spread RKG’s soulful Americana/Roots/Bluegrass sound. Tonight, the Gang joins Nashville’s Grace Adele and the Grand Band for a free, 10 p.m. show at MOTR Pub. The two acts reteam for a Columbus show this weekend, then RKG hops on a plane for Belgium, where the threesome will play two weeks’ worth of dates through mid-September (with a few shows in Germany and the Netherlands sprinkled in).
Those Guys have emerged as one of the more impressive up-and-comers in Cincinnati Hip Hop, both via their digital/CD releases (a handful of singles and a trio of excellent mixtapes) and their live show, which incorporates a three-piece live band. Those Guys features MC's J.Al and Jova, who met as high school freshmen and started the group upon graduation in 2008. Citing influences like Kanye, The Clipse and Kid Cudi, the duo issued Greater Than the Mixtape Volume 1 in 2009.
The most recent in their Greater Than the Mixtape series (Volume 3) was released late last year, kicking off with the monster track "You Ain't Know," which showcases the duo's telepathic back-and-forth, superb lyricism and a fat and funky musical approach.
The duo has been garnering extra attention with their just-released video (Those Guys' first) for "You Ain't Know," which was filmed in Monroe just prior to Halloween and features some spectacular scenes of the crew blowing up a car. Who says you need a big budget for action-movie-like special effects? (The group thanks the City of Monroe's parks, fire and police department as well as the Butler County Bomb Squad in the video description on YouTube, so the fiery shoot was on the up-and-up.)
The video has been creating major buzz on social media, even drawing praise from Hip Hop legend Redman, who tweeted "Dope ass video … thats wut Im talkn bout … sumtn different … hard shit."
Check the clip below, then visit the duo's Bandcamp site to download the latest mixtape and other Those Guys material for free. You can find more about Those Guys at their official site, Facebook page and on Twitter here.
• Downtown at Arnold's tonight (Friday), catch influential cult hero Paleface, a man who has been on the cutting edge of contemporary music's continual fascination with traditional Folk music and an influence on some of the more adventurous musicians who seek to translate that vintage spirit into their own voice. Over the past 20-plus years, the singer/songwriter has been an Anti Folk torchbearer and an Indie Folk mentor, first learning songwriting and lo-fi recordings from underground legend Daniel Johnston in the late ’80s. From there he went on to teach a few tricks to roommate Beck (pre-fame), help the so-called "Freak Folk" scene grow freakier and folkier and collaborate frequently with pals The Avett Brothers. Whether directly or indirectly, if you dig today's "Indie Folk" — or any brand of slanted or subversive Americana — you've likely heard the results of Paleface's unique influence. Click here to read more.
Paleface's show tonight at Arnold's is free and — icing on the cake — great local Folk Pop group Shiny and the Spoon opens the show at 9 p.m. The gig will also be the first one for which Arnold's has commissioned a special concert poster. Crafted by talented local artist Keith Neltner (who has done commissioned poster art for Alice in Chains, Modest Mouse, Hank Williams III, The Avett Brothers, Cake, Black Rebel Motorcycle Club and many others), the prints (pictured above) are available for $25 while they last (only 50 were pressed).
Here's Paleface's video for his ode to NYC, fittingly titled "New York, New York."
UPDATE: Arnold's just announced this afternoon that Paleface has cancelled due to illness. A rescheduled date is in the works. Shiny and the Spoon is still performing.
• After the best summer series yet, the final MidPoint Indie Summer concert on Fountain Square goes down tonight at 7 p.m. And the every-Friday series is going out with a bang, featuring a flawless triple bill of local acts. Things get started with superb modern Soul translators The Guitars, who will be followed by the duo R. Ring, featuring Dayton, Ky.'s Mike Montgomery (longtime local engineer ad musician, currently with Ampline) and Dayton, Ohio's Kelley Deal (The Breeders). R. Ring spoke with CityBeat's Brian Baker about the project in this week's paper. Read it online here.
Headlining tonight's Fountain Square concert is Wussy, the now-veteran four-piece that is gearing up for some huge happenings on the horizon, including tour dates with The Afghan Whigs and Heartless Bastards and a trip to the U.K. by co-frontpeople/singer/guitarists Lisa Walker and Chuck Cleaver (playing as a duo) for several shows in support of the band's first U.K. release, Buckeye, a retrospective that came out to glowing reviews this summer. Read more about Wussy's many goings on here.
Here's the skate video by Kristian Svitak that R. Ring helped re-soundtrack. After DEVO's record label removed the video because it used the group's song "Mr. DNA," Svitak got together to record a new version with Deal and Montgomery. The song in the re-edited video was so popular, R. Ring released it as a limited edition single and local label Phratry Records released it digitally. (Click here to get your own copy.)
• Popular local Gypsy Jazz favorites and Django Reinhardt devotees The Faux Frenchmen celebrate the group's 10th anniversary tonight with a show at downtown's Blue Wisp Jazz Club. A decade ago this fall, the band (which features esteemed local musicians George Cunningham, Brian Lovely, Paul Patterson and Don Aren) made its debut, starting an every-Monday residency at former Clifton restaurant Tink's. Over the years, the band has only gotten more popular, drawing attention from outside of Cincinnati and performing numerous road dates (this fall they return for their sixth appearance at the annual Jazz at Chautauqua Festival in New York).
The band's anniversary show begins at 8:30 p.m. and admission is $10. Here's a clip from the Frenchmen performing on another anniversary — Reinhardt's birthday (taken from one of their annual appearances on WNKU in honor of Django).
• The performers for the weekly "Friday Flow" concerts at Washington Park are always a bit of a surprise because the lineups have been announced within only a week or two of the performances. It's also a surprise because the featured act is usually something pleasantly unexpected. Dayton Funk greats Lakeside ("Fantastic Voyage") popped up one week and Neo Soul star Dwele launched the series this summer.
Tonight's free Friday Flow concert is another cool, unanticipated treat. Just announced earlier this week, the show will feature R&B singer Chrisette Michele, a Hip Hop hook-singer extraordinaire (with Jay-Z, Nas, The Game and others) who has also had a successful career on her own, releasing a handful of acclaimed, charting albums for Def Jam.
The other headliner is Rob Base, a Hip Hop artist most know from his 1988 hit with DJ E-Z Rock, "It Takes Two."
Because of the volleyball tournament in Washington Park tonight, gates for the concert won't open until 7:30 p.m. Another change from the usual Friday Flow flow (also due to volleyball) — no food, drinks or coolers will be permitted (this weekend only). Extra food vendors will be on hand to feed the masses.
Click here for even more live music events going on tonight in Greater Cincy.