Indie/Psych Pop crew Elf Power will be screening Major Organ and the Adding Machine, an artsy, long-awaited film featuring numerous members of the influential Elephant 6 collective (a sort of less pretentious/glam version of Andy Warhol’s Factory, but with more of a music focus), before the band’s 12:30 a.m. performance on Sept. 25 at the Blue Wisp, part of the MidPoint Music Festival.
What a night for music and for Cincinnati last night at the MidPoint Music Festival. As expected, the Heartless Bastards packed the huge Topic Design Tent at Grammer's and played a fantastic set. Erika and the boys were clearly blown away by the quantity and quality of support from their friends and ex-neighbors.
Look for reports later today on this blog from Mike Breen, Brian Baker and C.A. MacConnell, but for now enjoy 235 photos from 12 CityBeat photographers who were prowling the streets last night, plus Cameron Knight's multimedia show set to Pomegranates music (they drew a huge crowd at Know Theatre).
Every year, a compilation featuring several of the artists performing at the MidPoint Music Festival is lovingly compiled to give an overview of some of the fest’s participants. MPMF10’s comp has been assembled and you can listen to it right here, right now. While the amount of already well-known acts performing at MPMF10 is something that makes the event exceptional this year, the comp reflects the high quality of the lesser-knowns as it’s made up of tracks by the superb up-and-comers performing at this year’s fest.
On Thursday, Feb. 7, local promotional company The Counter Rhythm Group will debut a new "trade show" event that will offer local musicians a chance to check out a wide range of "good and services" available to them in the Greater Cincinnati area.
The first "Locally Insourced: Cincinnati Music Industry Trade Show" will take place at Rohs Street Cafe's large Sanctuary room in Clifton Heights. The event is free and open to musicians of all ages.
The MidPoint Music Festival is a sponsor of the event and will be on-hand to offer early registration for those wishing to be considered for a showcase slot at 2013's MPMF, returning to the venues of Over-the-Rhine and Downtown once again in late September.
Other vendors displaying their services for local musicians will range from video production companies, designers and photographers to promotional companies, poster and t-shirt makers, CincyTicket and many, many others. Locally Insourced looks to be a great chance for artists to explore the many options available to them in their own backyard and help them steer their careers in whatever direction they'd like.
Click here for more on the event.
As is always the case, I am both mildly devastated and slightly relieved on the last night of MidPoint. I love the energy of this weekend every year, but my personal energy gets used up fairly quickly as the festival progresses. And the recharging stations that dot the landscape typically involve really delicious food that comes out of a truck window and is eaten while walking, and bars whose life-sustaining water is typically served with gin or hoppy and carbonated from the brewing process (which is, in fact, as it should be).
The beginning of the MidPoint's last night is always exciting; the end is always bittersweet.
First on the docket were the early shows at Washington Park, an almost too-good-to-be true Saturday lineup; new local (and soon global) sensation Tweens, venerable crowd teasers/pleasers Wussy (filling the slot for Foxygen, who cancelled due to either Sam France's broken leg after a stage fall in Minneapolis or a feud with bandmate Jonathan Rado or both) and The Breeders, touring on the 20th anniversary of the release of Last Splash and playing the album in its entirety and in sequence.
Tweens proved to be better than the hype surrounding them, blowing through a fast-paced set that perfectly presented their hyper-caffeinated hybrid of '60s girl-group Doo Wop Pop and blazing Punk. Vocalist/guitarist Bridget Battle attacked her instrument with an unbridled fury while finding the melodic core of every song, particularly in evidence on the band's cover of "I'm Gonna Steal Your Boyfriend" from Cincinnati girl group The Teardrops. Meanwhile, Peyton Copes was charging through his bass runs like John Entwistle on meth and Jerri Queen was doing his best Tommy Ramone impression, his drum kit seemingly jumping off the stage.
Since I interviewed the band in April, Tweens has signed with Frenchkiss Records and Bridget mentioned after their set that they're headed to New York to record their label debut with Girls Against Boys bassist and renowned producer Eli Janney. The album likely won't be out until early next year, and with more shows like their Saturday MidPoint slot, they'll have a legion of slobbering fans clamoring for it.
Next up was Wussy, coming in to save the day for (or perhaps from) the Foxygen situation. There were the requisite number of Wussy moments; after soundcheck, where Chuck Cleaver instructed veteran soundman Steve Girton to go heavy on the vocal reverb ("Make us sound like we're in a cave …"), the set's launch was delayed while Mark Messerly left for what seemed like an epic Tom Hanks League-of-Their-Own piss and Lisa Walker entertained the waiting crowd with an Afternoon Special story about Skinny and Fatty on rope day in gym class. With Messerly sufficiently drained, Wussy offered an amped-up set of favorites — Walker introduced a slinky version of "Airborne" as "an old Curtis Mayfield song," and a stretched out "Yellow Cotton Dress" as their "new Bossa Nova song … you can also do the Pony."
There were a couple of new songs sprinkled in the mix, presumably from the album the band is currently working on, and all of it was accompanied by former Ass Ponys guitarist John Erhardt on pedal steel. What wasn't typical was the absolute brilliant noise emanating from the stage; Wussy has played shows both monumental and desultory that have either been short-circuited or made worse by shitty sound. On Saturday, Wussy sounded like the world-class Rock band we all know them to be.
Finally, it was time for Washington Park's main event for the evening, The Breeders' 20th anniversary presentation of Last Splash. After a soundcheck that included a blistering version of Guided By Voices' "Scalding Creek," which Kelley Deal and the Buffalo Killers had done for the Sing For Your Meat tribute album, The Breeders took a breath before ripping into "New Year," the opening volley on the album that Pitchfork Media cited as the 64th best album of the '90s.
The assembled multitude, and there was a multitude of them, roared their ecstatic approval after each song, particularly the album's avowed hits, "Cannonball" and "Divine Hammer." After finishing up "Flipside," Kim Deal noted, "That was the last song on the first side," to which everyone under 30 in the audience must have noted, "The first side of what?," and after a blazing take on the album's longest song, "Mad Lucas," Kim shouted, "Take that, Symphony!," likely a reference to the fact that the band had to be done by exactly 8 p.m. for the start of the CSO at Music Hall to avoid incurring a hefty fine for MidPoint organizers.
The band was sharp and tight, Carrie Bradley was on hand to provide necessary violin and keyboard accompaniment, Josephine Wiggs laid down her massive bass groove and even switched places with master basher Jim MacPherson to reprise her turn as drummer on "Roi." Wiggs may have provided the sweetest moment of the night; after Kim noted that coming to Cincinnati was like coming home for the band — the Deals and MacPherson both had family contingents in the crowd —U.K. native Wiggs told the faithful that the amount of time she’s spent in Ohio was minimal, but the love she felt for and from it made it feel like home for her as well, which resulted in a rousing response from the audience. With the last strains of "Drivin' on 9/Roi (Reprise)" hanging in the air, the call for one more had to go unfulfilled because of the Music Hall start time. But given that this was the second Breeders show here this year, it won't be too long before they'll be back with a complete set and — dare we think it? — maybe some new songs.
After a bit of hanging around, I headed down to Grammer’s for the screaming punkmeisters from the Great White North, ETZ. Sweet holy mother — one minute it's three soft-spoken Canadian boys thanking the crowd for their support, the next they're suddenly thrashing out a triple-digit-decibel explosion that buries the needle so far into the red you'd think the meters were broken. If they weren't, they are now. Guitarist/vocalist Alex Edkins plays like he's wearing jeans made of fire ants and sings like Henry Rollins in a bathtub with a live toaster, bassist Chris Slorach does his best impression of a rhythmic jet approaching the sound barrier and drummer Hayden Menzies attacks his kit with samurai ferocity and precision. METZ is Punk reborn, and it's a kicking and screaming breech birth.
Next up was perhaps the weekend's highlight for me, the appearance of Black Rebel Motorcycle Club. Every moment of a BRMC show is an exultant tribute to the power of Rock, a pulsing prayer giving thanks to the heavens for electricity, wood, wires, skins and tubs and the ability to turn those raw elements into some of the most bone-rattling music on the planet. Deftly switching from electric to acoustic guitars without losing a decibel of impact, BRMC varied the pace of the show only slightly, replacing quick tempos with slow, surging power. As Peter Hayes and Robert Levon Been orchestrated the guitar ballet up front, Leah Shapiro offered up a tribal drum clinic at the rear of the stage, pounding out a throbbing beat so primal and palpable that airport traffic should have been rerouted around it.
The band didn't concentrate too much on their excellent new album, Specter at the Feast; less than a third of their set was devoted to it. Certainly one of the high points of the set was the inclusion of The Call's "Let the Day Begin," done up in classic BRMC style as a tribute to Been's late father Michael, The Call's powerful frontman and a producer/live sound engineer/mentor for BRMC until his tragic fatal heart attack in Belgium at the band's 2010 Pukkelpop Festival appearance. Much of Specter at the Feast is melancholy, but the band's live shows now stand as a loud and triumphant affirmation that BRMC is committed to going forward with a vengeance. That stance was more than cemented when the band followed their soaring take on "Let the Day Begin" with a blistering spin on "Rival" from the new album and a razor sharp run through Howl's "Ain't No Easy Way." Black Rebel Motorcycle Club left it all on Grammer’s stage Saturday night, and we were only too glad to soak it all up.
In retrospect, it might have been a better course of action to stay with BRMC until the end, but I'd really wanted to hit the end of Cincinnati band The Ready Stance’s set and wish Wes Pence a happy birthday, but Randy Cheek's blown bass amp fuse cut their set short by one song. After wishing Wes many happy returns, I drifted up to the MOTR to catch Wild Cub, but the club was absolutely packed and seemed populated with a higher than normally allowable per capita percentage of asshats. I'm clearly getting too old for push-your-way-in-regardless-of-who's-already-there crowds, and I got the fast fuck out of there.
After that, I wandered. I checked out a couple songs by Cincy’s Sun Country, who seemed like they were on the way to an exceptional set, but I suddenly found myself a bit on the light-headed side, so I figured a run over to Mr. Hanton's would do me some good. Proof that I was nearing the tipping point came when Mr. Hanton's dog didn't make me week with joy. It wasn't any different than the Smokehouse I'd had the night before, it was just my body starting to rebel.
I ran over to The Drinkery to catch a bit of Nashville’s Sol Cat, which was joyfully boistrous and plenty loud to chase away any end-of-MidPoint blues. Their sound mixes groovy Psych Rock with amped up Nashville Soul and it's a powerful and smooth cocktail on a hot Saturday night, and the packed audience they drew howled their appreciation.
I bailed as Sol Cat's last song was ringing in The Drinkery's rafters and headed down to the Know Theater to catch Johnathan Rice's set. I thought it would be a chill way to finish up the evening, thinking that he would be doing a solo acoustic thing. But Rice came loaded with a full band and they proceeded to crank out a sound that seemed reminiscent of Tom Petty and the Heartbreakers and The Jayhawks in spots, very much in keeping with the vibe of his quite excellent new album, Good Graces. He also cranked out a track from his 2012 Jenny and Johnny release, I'm Having Fun Now (a collaboration with his girlfriend, ex-Rilo Kiley spark plug/successful solo artist Jenny Lewis), and touching on his previous solo albums, 2005's Trouble is Good and 2007's Further North. My personal favorite part of the show was when a woman was desperately trying to drag her guy closer to the stage, presumably to dance, which he was having none of, apparently. Rice noticed the situation and said, "Let the man be. He's fine." Well done, Mr. Rice, just like your all too brief set, which happened to be a perfect end to a perfect weekend.
SATURDAY NOTES:• Washington Park was a crazy scene on Saturday. First up was the not-very-ubiquitous Mike Breen (who was suffering from some mutant military flu, so no Iron John hugs for him), who happens to be my immediate superior (and probably my superior in many other ways) and writer Gil Kaufman; we were quickly joined by former CityBeat mahout John Fox. After a bit of a chat, I offered to buy John one of the several dozen beers I owe him, but he deferred until later.
• Then it was Paul Roberts, Big Jim and Paul's sister, whose name continually escapes me. It's Paul's fault; he constantly refers to her as "my sister." It was the same problem with his buddies; "You know the guys." I'm old and I require constant reinforcement and I'm too embarrassed to ask and I'm usually drunk. That's not true; I'm always stupid and I'm occasionally drunk. Anyway, she's a wonderful person and bought me a beer, so she's in the Hall of Fame on the first ballot, no questions asked. Except the obvious one.
• Then I happened into one of my absolute favorite guys on the planet, Mr. Kip Roe, bassist extraordinaire and truly one of the best human beings you can hope to encounter (at least as far as musicians hanging around Rock shows are concerned). He was squiring his young sons around Washington Park; not surprisingly, Kip's sons are every bit as smart and personable as their dad. We had a good long talk about a whole lot of life, and I can tell you this without hesitation or doubt — my personal existence and the world as a whole is better because Kip Roe is in it.
• John came around for the Wussy show so I fetched him the first down payment on the buckets of brewski that constitute my longstanding debt to him. Of course, if he'd paid me better, I could have gotten a start on this a lot sooner. I'm just saying.
• At some point during The Breeders' set, a woman came up to me and said, "You look like a music writer." Then she smiled really broadly. And I stood there exactly like the enormous dope that I am. First, she had black rimmed glasses and her hair pinned up and she looked like Lisa Loeb, who I did not see on the schedule this year. Second, I have actually gotten that "You look like a music writer" thing from people in the past (typically when I'm listening to music and writing), so I was processing that response. Third, I had only had one beer, so clearly I was not nearly intoxicated enough. It turned out be Amy Firis, boss Breen's super nice squeeze, who is always incredibly lovely to me but who looked nothing like I remembered her in that moment. Maybe it was the glasses (no, I think she had those last time), the hair (hairstyle changes confuse me; I once had carnal thoughts about a woman walking down Clifton Avenue when I realized it was my girlfriend in her newly tinted and shortened do, which was great because I figured I had a slightly better chance with her than with the hot stranger I thought she was) or the question. At any rate, forgive an old dufus, Amy. You disappeared before I could formally extract my hoof from my piehole.
• After Josephine Wiggs' admission that Ohio felt like home for her, the next most Hallmark-y moment came when Breeders guitar tech and uberbooked local producer Mike Montgomery (who performs as R. Ring with Kelley Deal and was nearly unrecognizable in his newly shaven look) gave Kip Roe's son Ben the band's set list from the stage, which Ben and his older brother Kip took backstage and got signed by the whole band. When Ben caught up with Wiggs and violinist Carrie Bradley, he told Bradley that he wanted to play the violin too and that seeing her play with the band was the best part of the show for him. Bradley looked like she was on the verge of tears. Me too.
• Jay Metz was at the METZ show and was trying to scrounge up the scratch to buy a METZ T-shirt, because who wouldn't do that? If a band is ever desperate enough to name themselves Baker, I'm getting that shirt, bet your ass.
• There were a whole lot of humans at the BRMC set. It was asshole-to-elbow under the tent. Almost immediately, I ran into Mark Houk and his lovely girl Jesi and they immediately set about the business of getting a beer in my hand. How do I love thee? Let me count the beers … I mean ways. You're in the Hall, dude. Brian Kitzmiller showed up about the time I was ready to make my move into the tent, and who should I run into but that gauge of all things cool, King Slice, who was clearly digging BRMC. A few songs in, I noticed a rather tall guy in a rather dapper vest trying to navigate his way into the Grammer's sauna tent who turned out to be tall, dapper local singer/songwriter Josh Eagle. See above description of Kip Roe; copy and paste here.
• I ducked out of BRMC to head down to The Ready Stance gig, since it was the effervescent and superlative-worthy Wes Pence's birthday. We had crossed paths at the end of The Breeders' set, but were headed in different directions so I figured to catch up with Wes (copy, paste again) in his less ephemeral state at The Drinkery. I got there in time to see their next to last song, which turned out to be their last song when Randy Cheek blew a fuse in his bass amp. If you've got to blow a fuse, it should be like that, I suppose. Here's a question; can a band of guys as nice as The Ready Stance make it in the cutthroat music business? God, I hope so.
• Ran into CityBeat/MPMF chief Dan Bockrath and his girlfriend Martha on my way down from the Wild Cub debacle. Dan actually apologized for not being in a position to buy me a beer. Apologized. Yet another princely move from a guy who's already seriously Hall of Famed. You don't have to buy me a beer every single time we meet, Dan. Every other time will do just fine.
• Moments later, it was Kelly Thomas on the sidewalk. Is there anyone in the scene right now who cares about it all as much as Kelly? I think not.
• By the end of Johnathan Rice's excellent set, it was 12:30 a.m. and there were a handful of bands I could have stuck around for, but I was done it at that point. My back and knees were screaming at me like Adrienne Barbeau in Swamp Thing so I knew it was time to go. I ran into Big Jim on the sidewalk, who had taken time out from MidPoint to see Sarah Jarosz in Hamilton, and he was headed to Below Zero to catch a shot with Paul. For a fleeting moment, I considered joining him but my brain sent me a message through the normal channels that if I deviated in any direction away from walking straight to the car, I'd drop like Michael Cera in a bar fight with Floyd Mayweather. I bid him well and headed for the car and home.
• Rewind: I crossed paths any number of times with the always incredible local band/event manager Venomous Valdez, and somehow she managed to skate right across my frontal lobe in the previous two postings. There are a handful of people who do some fairly impressive things for the local music scene and bring an almost single-minded passion and drive to the pursuit of exposing local artists to this community and to the world at large. And they'll have to work a hell of a lot harder just to see Venomous disappearing on the horizon ahead of them. Like McCabe, we are lucky to have her in our midst.
• Rewind again: Ran into Jeremy Springer of Cincinnati’s The Sundresses at Arnold's on Friday night, doing the Lord's work of making sure that food and drink multiplied onto every table in the courtyard. e noted that The Sundresses were headed to Detroit for a recording session and that the resultant album would be imminent shortly thereafter. It can't come soon enough.
• Once again, apologies to anyone who feels slighted if they didn't see our MidPoint interaction detailed here. The constraints of writing this thing in a timely fashion for posting on the CityBeat website necessarily means some things go in, most things are left out. The better part of my life is on the cutting room floor, so don't feel bad. Maybe next year you'll do something even more outrageous and quotable and you'll wind up in the embarrassing position of my providing written evidence that you actually hung out with me for a proscribed period of time. Then you'll be sorry.
• Another fabulous MidPoint in the books, and while we were without the essential presence of my pal Matthew Fenton, there plenty of absolutely brilliant folk to take his estimable place. First and foremost, as always, A huge tip of an oversized cap to Dan McCabe, the spark plug that fires up this engine year after year. We cannot thank you enough for the superhuman dedication you put into booking this amazing event (you would look smashing in a cape). And to whoever posted the tweet about turning MidPoint into a semi-annual deal, March would probably be a good time. Dan will still be hibernating then, so the author of said tweet should probably get started now on putting that together for all of us. Let us know how your breakdown turns out.
• Endless thanks also to the tireless (but probably extremely tired) volunteers who carry this thing on their capable but seriously overtaxed backs for three days every September. You are the true heroes of MidPoint. And of course, thanks to the venues who host the music, to the bands who make a supreme effort to get here (especially the ones who are already here) and to the mostly cool people who come to support them. See you all in some form or fashion in 2014.
If you are a musician interested in performing at the upcoming MidPoint Music Festival (Sept. 23-25), today is the last day to get your submissions in. If you're not a musician but know any that might be interested, be sure to spread the word. Submissions are due by 11:59 p.m. tonight.
I haven't done LSD in at least a decade, but Thursday's MidPoint Music Festival sure felt like a psychedelic flashback. My long-ish, strange-ish trip began at 9 a.m., as I drove into downtown and found Central Parkway colorfully dressed up as if an army of elderly women had sneaked in overnight and turned the strip into a Dr. Seussian wonderland. The colorful crocheting that hugged the trees, lampposts and practically everything else sticking out of the ground was actually the work of The BombShells' Yarn, who've dropped similar "yard bombs" on statues downtown (like the William Henry Harrison one in Garfield Park).
Regardless of whence it came, it set the trippy tone for my first day at MPMF.11. And things only got trippier. I'm a big fan of the surreal and bizarre, so it wasn't a bad trip, by any means. And the soundtrack was pretty kick-ass.
When the lineups for the every-Friday MidPoint Indie Summer concerts on Fountain Square were announced, showcasing a solid lineup of local and touring Indie Rock acts, a colleague in Charlotte, N.C., Jeff Hahne, bemoaned his own city’s lackluster “outdoor free music” offerings. Writing on the blog of the city’s Creative Loafing weekly, he said he was increasingly disappointed by the cover bands and “’90s alt-rock” acts that populate two of Charlotte’s free outdoor music series.
“Charlotte may have twice the population and enjoy warmer weather,” Hahne wrote, “but as far as a summer music series goes, Cincinnati clearly wins.”
It was a good reminder of how good things are for live music fans in Cincinnati. And Hahne wrote this about only one small part of the overall free, outdoor, live music offerings the city provides. There are events for fans of cover bands, too, like the every-Wednesday Party in the Park shows at Yeatman’s Cove on the riverfront, but, besides Indie Summer, downtown’s Fountain Square and Over-the-Rhine’s Washington Park present a wide variety of styles of music every year once the warmer weather rolls around. And every series draws respectable-to-blockbuster crowds, showing that our city has more than enough music lovers to support the multitude of musical events each summer. (Even these two spaces’ series only represent a portion of the overall outdoor, live music action downtown; there are also events like next weekend’s Taste of Cincinnati that have a wide variety of local musicians performing.)
The lineups for the musical performances at Washington Park and Fountain Square (officially known as the PNC Summer Music Series and presented by 3CDC and a wide range of different sponsors) have leaked out gradually over the past few weeks. Now that most of the artists booked for the various series have been announced, we’ve collected them below for you to marvel at the quantity and quality of what our city core has in store this summer for music fans. (Visit Fountain Square’s site here and Washington Park’s site here for more info and some links to check out some of the artists ahead of time.)
Washington Park (SHOWS 7-10 P.M. WEEKLY UNLESS NOTED)
WEDNESDAYS: CROWN JEWELS OF JAZZ
May 28: Rashon Murph & Randy Villars
June 4: Marc Fields
June 11: Tropicoso
June 18: Patricia & Chris Berg
June 25: Siobhan and the Situation
July 2: Rick Van Matre
July 9: NKU Faculty Band
July 16: Anne Stephens
July 23: Art Gore featuring Delfeayo Marsalis
July 30: No concert
Aug. 6: Sylvain Archer
Aug. 13: Fo/Mo/Deep
Aug. 20: Dick Sisto
Aug. 27: Mike Wade
THURSDAYS: BANDSTAND BLUEGRASS
May 29: Jake Speed & The Freddies andThe Red Cedars
June 5: The Comet Bluegrass Allstars
June 12: Wild Carrot & the Roots Band
June 19: Ma Crow & The Lady Slippers
June 26: The Downtown County Band
July 3: Northern Kentucky Bluegrass Band and Woody Pines
July 10: Steve Bonafel & One Iota
July 17: Buffalo Wabs & The Price Hill Hustle
July 24: The Rattlesnakin’ Daddies
July 31: No concert
Aug. 7: The Tillers
Aug. 14: Hickory Robot
Aug. 21: Bulletville
Aug. 28th: Whiskey Bent Valley and Al Scorch
FRIDAYS: FRIDAY FLOW
(Note: Local DJ crew Selectas Choice spins between sets)
May 30: EU, Jameze and performers from Elementz
June 6: Natural Progression and Collective Peace
June 13: Hotsauce, Tyshawn Colquitt and more TBA
June 20: Carpe Diem, Ron C and more TBA
June 27: Bobby Valentino, L’ Renee and performers from Elementz
July 4: Playa (featuring Smoke & Black), Deuces and more TBA
July 11: Carl Moore, Marwan (Soul Flow)
July 18: 2nd Wind, The Ingrid Rachel Project
July 25: (3 p.m. start) Sei High, 432, performers from Elementz and more TBA
Aug. 1: No Friday Flow; LumenoCity returns
Aug. 8: Flawless and Keenan West
Aug. 15: Big Jim and Erica P
Aug. 22: Gregory Porter and Mandy Gaines
Aug. 29: Tiara Purifoy (American Idol), performers from Elementz and more TBA
Fountain Square (SHOWS 7-10 P.M. WEEKLY UNLESS NOTED)
TUESDAYS: AMERICAN ROOTS
May 27: Jeremy Pinnell & the 55s and Ben Knight & the Welldiggers
June 3: Kim Taylor and Peter Mulvey
June 10: The Black Lillies and The Kentucky Struts
June 17: Buffalo Wabs and the Price Hill Shuffle and Arlo McKinley
June 24: Dallas Moore Band
July 1: The Tillers and Red Cedars
July 8: Pure Grain and Shoot Out the Lights
July 15: Chuck Mead and Straw Boss
July 22: The Wheeler Brothers and Shiny & the Spoon
July 29: Bulletville and Bucktown Kickback
Aug. 5: Josh Eagle and The Hiders
Aug. 12: The Ragbirds and The Happy Maladies
Aug. 19: Tony Furtado and Rumpke Mountain Boys
Aug. 26: Birds of Chicago
WEDNESDAYS: REGGAE WEDNESDAY
May 28: Super-Massive (Summer Splash Happy Hour DJ: Frankie D)
June 4: Driftaways (Summer Splash Happy Hour DJ group: Avalanche Sound)
June 11: Peach Freedom and Connect (Summer Splash Happy Hour DJ: Frankie D)
June 18: Aaron Kamm and the One Drops (Summer Splash Happy Hour DJ group: Queen City Imperial Sound System)
June 25: Milele Roots (Summer Splash Happy Hour DJ: Frankie D)
July 2: Jah Messengers (Summer Splash Happy Hour DJ group: Avalanche Sound)
July 9: Zvuloon Dub System (Summer Splash Happy Hour DJ: Frankie D)
July 16: Gato’s Gullah Gumbo (Summer Splash Happy Hour DJ: DJ Mowgli)
July 23: Ark Band (Summer Splash Happy Hour DJ: Frankie D)
July 30: 77 Jefferson (Summer Splash Happy Hour DJ group: Avalanche Sound)
Aug. 6: Rashita Astemari (Summer Splash Happy Hour DJ: Frankie D)
Aug. 13: The Drastics (Summer Splash Happy Hour DJ group: Queen City Imperial Sound System)
Aug. 20: Big Wig Mechanics (Summer Splash Happy Hour DJ: Frankie D)
Aug. 27: The Cliftones (Summer Splash Happy Hour DJ: DJ Mowgli)
THURSDAYS: SALSA ON THE SQUARE
(Note: Salsa on the Square kicked off May 1)
May 22: Grupo Tumbao
May 29: Mambo Diablo
June 5: Son Del Caribe
June 12: Tropicoso
June 19: Kandela
June 26: Grupo Tumbao
July 3: Zumba
July 10: Mambo Diablo
July 17: Kandela
July 24: Son Del Caribe
July 31: Tropicoso
Aug. 7: Clave Son
Aug. 14: Grupo Tumbao
Aug. 2: Son Del Caribe
Aug. 28: Kandela
Sept. 4: Clave Son
Sept. 11: Tropicoso
Sept. 18: Latin Beat Project
FRIDAYS: MIDPOINT INDIE SUMMER (7-11 P.M. WEEKLY)
May 30: WHY?, Yip Deceiver, Badboxes, Dark Colour
June 6: Wussy, The Tigerlilies, Honey & Houston, Mason School of Rock
June 13: Betty Who, Vito Emmanuel, Captain Kidd, Pluto Revolts
June 20: Those Darlins, The Harlequins, The Frankl Project, Those Crosstown Rivals
June 27: Moon Taxi, Peridoni, Nevele, Acarya
July 4: Local H, Mad Anthony, New Strange, One Day Steady
July 11: Soledad Brothers, Electric Citizen, Pop Goes the Evil, Grotesque Brooms
July 18: Wesley Bright & the Hi-Lites, DAAP Girls, Mardou, Young Colt
July 25: Clap Your Hands Say Yeah, Public, Dream Tiger, Danny & His Fantasy
Aug. 1: The Spiders (A tribute to David Bowie), The Honey Spiders, Bad People, To No End
Aug. 8: Man Man, Injecting Strangers, Ohio Knife, Skeleton Hands
Aug. 15: The Nightbeast, more TBA
Aug. 22: psychodots, Lemon Sky, Tonefarmer, Heavy Hinges
Aug. 29: Islands, The Pass, The Yugos, Joey Cook & The Keepers of the Secret
SATURDAYS: BEATS BY SELF-DIPLOMA (7-11 P.M. WEEKLY)
May 31: Cal Scruby, Matt Persin, NJ + drummer, Nuk, Federal & Company, TJC with DJ Vizion, Beatboxer Nav & Jake
June 7: Chingy, DJ Diamond, Sleep, Planet Venus, Chestah T & Snowball, Razook, Alexander the Bear
June 14: DJ Clockwork, DJ Etrayn, Buggs Tha Rocka, Jon Schuyler, Ingrid Rachel Project, SSE, DJ RiQ The Professor, Miles Mulligan
June 21: OCD: Moosh & Twist, Puck, Hafrican, Jayme Shaye, Eazy El Loco, A1 & Juice Jones, DJ iGrind
June 28: DJ Bandcamp, Junya Be, Macho Means, Aysia Marie & Ajax Stacks, Nate Paulson, Mad Snipes, EddieO
July 5: The Knocks (DJ set), Millennium Robots, Disco Joe & Friends, Aviators, T3CCHTUNE, Mr. Fantastic, Keyyz
July 12: Mike Stud, James Dapper, The S.A.U.C.E., SkeetR V. Twinkiee, Kid Quill, Blue Society
July 19: DJ D-LO, Joseph Nevels, Oregonia, Spearpoint, Brad Redford, Banducci and the Wheels, Kyle English
July 26: DJ Kid Capri, Khimera Records (8:30 p.m. start)
Aug. 2: Hi-Tek and Friends, Jillian Faith, Suave & Under New Order, Frankly Speaking, B. Soul, Haze
Aug. 9: Dizzy Wright, Trademark Aaron, Young ILL, Jaylee, Odd Fella, MCB, Jameze Latrail
Aug. 16: Trentino, DJ Skills, Ingrid Woode & the Woode Tribe Orchestra, DJ Will Kill, Mark Moore (8 p.m. start)
Aug. 23: Sound Remedy, Bob A Dob, Panzer, Black Signal, Randi Floss, Skyelle, Button Mashers
Aug. 30: Capitol Thrill, Firecat 451, Riot Ten, DJ B-Funk, Reaux, Chris Alarcon, DJ Edge
For a limited time (while supplies last, as they say), seriously discounted tickets for the MidPoint Music Festival — which returns to the clubs and venues of Over-the-Rhine/Downtown Sept. 26-28 — will be made available starting this Friday at 10 a.m.
During this “Loyalty Presale,” three-day “All Music Access” passes can be purchased through mpmf.cincyticket.com (the site will be live for the public tomorrow) for just $49 (they’ll be $20 more come MPMF time). They are expected to sell out fast, so get ’em while you can. For those wanting a VIP MPMF experience, the popular VIP passes will also be available Friday for $129 ($40 off the normal price). The VIP tickets get you priority admission to all shows, access to catered VIP-only events and other goodies. (Last year’s VIP passes sold out before the fest.)
In other MPMF news, if you are a musician/performer interested in being considered for a showcase slot at the festival, submissions are now being accepted via Sonicbids. The submission fee is just $20 until this Friday; after that it goes up to $25. (Those without a Sonicbids account can submit to MPMF and receive a two-week free trial of the service.)
Stay tuned to MPMF.com and this blog for the latest updates on MidPoint.