Alabama-born Hip Hop artist Yelawolf plays Newport’s Thompson House tonight at 7 p.m. Tickets are $25.
Yelawolf began making waves in 2005 after self-releasing his debut album, Creek Water. The gifted MC landed a major-label deal with Columbia within two years, but the deal fizzled out and Yelawolf returned to working the underground. By the start of this decade, Yelawolf’s signed with Eminem’s Shady Records.
His debut for the label, 2011’s Radioactive, featured guests like Killer Mike, Lil Jon and Kid Rock and was a chart and critical success. More track releases, mixtapes and collaborations kept fans occupied after the 2012 announcement of his second Shady Records album, Love Story, which will materialize next year. Yelawolf has been selling out shows all over the country, so you might want to call ahead or show up early.
Vibe recently posted an interview with the MC about his latest goings-on. Check it out here.
• Fantastic modern Americana trio The Lone Bellow plays the 20th Century Theater in Oakley tonight. Showtime is 8 p.m. and tickets are $20 at the door.
The Lone Bellow broke through with last year’s self-titled debut album and the trio’s forthcoming LP, Then Came the Morning — due January 27 and produced by Cincinnati native/The National guitarist Aaron Dessner — is drawing a lot of buzz already thanks to the release of a pair of singles. Here’s the video for the most recent one, “Fake Roses”:
Read Brian Baker’s full preview of tonight’s show from the most recent CityBeat here.
Louisville Electro Pop artists The Pass, who’ve become popular with local audiences thanks to repeated visits to the Cincinnati area (providing highlight sets for more than a couple MidPoint Music Festivals), performs a free show tonight at Over-the-Rhine’s MOTR Pub. Local trio JetLab (which just released its self-titled debut last week) opens things up around 10 p.m.
The Pass’ show tonight is the start of a tour in support of the band’s new EP release, High Road, which follows the release of four 7-inch singles at the start of 2014 and comes out this Tuesday. “Take You Out,” a track from the new release, was debuted on the website We All Want Someone to Shout For yesterday. The site says the track "deliver(s) a world of glossy synths, love-sick vocals, and a feel-good atmosphere that you can’t shake anywhere else but the dance floor. With so many electronic groups relying heavily on computers and other effects these days, it’s great to see The Pass deliver such groovy tunes as a full live band. It truly separates them from the rest of the pack."
• Nashville-based Americana artist Nora Jane Struthers and her band The Party Line play Newport’s Southgate House Revival tonight. Mike Oberst of local Folk faves The Tillers opens the show at 8:30 p.m. Tickets are $10.
Struthers was born in Virginia and raised in New Jersey, getting her first taste of the musician’s life as a tween fiddler and traveling to festivals and conventions with her father (a banjoist). Struthers decided to pursue a career in teaching, but after a few years she switched her focus back to music, inspired by watching Tim O’Brien perform at the Telluride Bluegrass Festival. Her 2010 debut solo album showcased her stellar lyrical abilities and mastery of traditional Americana and Bluegrass sounds. She hit her stride with last year’s Carnival, bolstered by her full-time band, The Party Line.
Struthers is gearing up for the release of her new album with The Party Line, Wake, which is due in February of next year. The album is said to be more eclectic and nods in a more Rock direction, inspired by her love of recent albums by Hayes Carll and Jason Isbell.
NPR’s Ann Powers recently interviewed Struthers about the new album (read it here) and unveiled the new album track, “The Same Road.”
• According to B-105 FM’s website, tonight’s Toys for Tots benefit show at Toby Keith’s I Love this Bar and Grill is sold out (the bar’s website says there may be “limited tickets” available at the door tonight). The 8 p.m. concert features headliner Easton Corbin, plus up-and-comers Maddie & Tae and RaeLynn.
Veteran metallers Every Time I Die play Bogart's in Corryville tonight. The Ghost Inside, Hundredth, Architects and Backtrack are also on the bill. Doors open at 6 p.m. and tickets are $26.27.
ETID's creative approach has earned them fans outside of just the Metal world (though they don't seem to have suffered the wrath of purists like Deafheaven or other act that dare to stray from the imaginary blueprint). Here's what Brian Baker had to say about the band's most recent album in his preview for this week's CityBeat.
Every Time I Die's latest album, From Parts Unknown, is the band's third album for Epitaph and seventh overall, and stands as a stylistic scrapbook of their best qualities — full bore Metalcore anthemics, songs both howled and sung, scathingly focused lyrics and guest appearances from Coalesce's Sean Ingram and the Gaslight Anthem's Brian Fallon. From Parts Unknown may also be the most lavishly praised album in Every Time I Die’s estimable catalog. The title of a song from the new album may provide the best description of the Every Time I Die live experience: “If there is room to move, things move.”
• Another monster of the Metal world, pioneering Bay Area Thrash crew Exodus, is also in the area tonight. The band plays Covington's Madison Theater at 6:10 p.m. Tickets are $25 and the show is open to all ages.
Emerging from the same scene that produced Thrash kings like Testament and Metallica (Kirk Hammett was an original member of Exodus), the band has been tearing shit up for the past 34 years (with a break-up, reunion and then full-time reformation sandwiched in the middle). This past October, Exodus released its 10th album (and first in four years), Blood In, Blood Out.
• If brutal Metal is not your thing, Newport's Southgate House Revival has Texas-born/Georgia-raised/Nashville-based singer/songwriter Lera Lynn tonight in the Revival Room. Locals Wilder open the show at 8 p.m. Tickets are $15 at the door.
Lynn is usually found in the Folk/Americana section of record stores, but she also sprinkles her endearing sound with a variety of other influences (Jazz, Rock, Pop, Country and beyond). Here's Lynn's soulful, rootsy take on TV on the Radio's "Wolf Like Me," for example:
Lynn's 2014 album The Avenues has been drawing favorable reviews. Here's what NPR's Meredith Ochs had to say:
Long before you figure out exactly what lyrics Lera Lynn is singing, you'll feel the melancholy and mystery in her music. Wistful melodies and the cry of a steel guitar are set to gentle, meditative rhythms. Even the song's sonic spaces suggest loneliness. With the music alone, Lynn creates a tone poem of romantic uncertainty.
Tomorrow (Dec. 3) marks the 35th anniversary of the concert tragedy at Riverfront Coliseum (now US Bank Arena) where 11 music fans were crushed and killed after fans pushed their way into the arena to see British Rock legends The Who perform. Tomorrow at 7 p.m., a vigil will be held on the plaza between U.S. Bank Arena and Great American Ballpark, where 11 lanterns will be lit in the memory of the victims.
There have been ongoing efforts to erect a memorial marker at the site of the tragedy. The Cincinnati Music Heritage Foundation got involved in 2009 to work with family members, survivors and city officials to establish the marker, help organize vigils and assist in spreading awareness of the cause.
The organization, with help from local journalist Rick Bird (who was covering The Who concert in 1979) and input from family members, survivors and others, have drafted text to be placed on the marker, which still needs final approval before it is put in place at the site of the tragedy.
The Music Heritage Foundation says Cincinnati Mayor John Cranley is “putting his full support behind this effort,” so the marker may be closer to becoming a reality.
From the Music Heritage Foundation’s press release, here is the proposed text for the marker:
Walter Adams Jr. 22 Trotwood OH
Peter Bowes 18 Wyoming OH
Connie Sue Burns 21 Miamisburg OH
Jacqueline Eckerle 15 Finneytown OH
David Heck 19 Highland Heights KY
Teva Rae Ladd 27 Newtown OH
Karen Morrison 15 Finneytown OH
Stephan Preston 19 Finneytown OH
Phillip Snyder 20 Franklin OH
Bryan Wagner 17 Fort Thomas KY
James Warmoth 21 Franklin OH
Deepest respects to the families,
friends and many survivors.
Eleven concertgoers, trapped
in a crush of people, died
at the southwest plaza
entrance to Riverfront Coliseum
waiting to see The Who.
Many others were injured in
what was the deadliest concert
tragedy in United States history.
The tragedy spurred passage of a
crowd safety ordinance, which
became a model for the world.
Pennsylvanian Folk/Americana trio The Stray Birds perform tonight at Newport’s Southgate House Revival. Australian Indie Folk singer/songwriter Jordie Lane opens the show at 8 p.m. Tickets are $10.
After self-releasing their debut album in 2012, The Stray Birds scored wide-spread acclaim (NPR put it in its Top 10 of Folk/Americana albums released that year) and began to build a following on the road. The hard work (and engaging music) paid off in the form of contract with the esteemed Yep Roc label (home to artists from Nick Lowe, Robyn Hitchcock and Paul Weller to Fountains of Wayne, The Rev. Horton Heat and The Apples in Stereo), which released the band’s Best Medicine album in October.
Click here to read Brian Baker’s full preview of the show from this week’s CityBeat.
Here is the title track from The Stray Birds most recent LP:
Masterful Cincinnati Funk musician Freekbass and his band The Bump Assembly debuted their new music video for the track “Never Enough” this past weekend during a show at Newport’s Southgate House Revival (which also featured a reunion of Freekbass’ old crew, SHAG). This morning, the clip made its public debut.
The groovy video is the third one released from the most recent Freekbass album, Everybody’s Feelin’ Real (which you can stream/purchase here). The video was directed by Gary Templeton and features a cameo from Jennifer Hartswick, the singer/trumpeter for the Trey Anastasio Band, who provided vocals on “Never Enough.”
The hard-touring Freekbass and The Bump Assembly (who play Brooklyn tomorrow night and a special unplugged session for Relix Magazine in New York City tomorrow afternoon) don’t currently have any local shows scheduled (though they will be in Louisville and Lexington right after Christmas), but keep an eye here for the latest show announcements.
Veteran Cincinnati band Wussy saw a huge boost of its national profile (and sales) over the weekend when the band was featured on CBS This Morning on Nov. 29. The band’s network TV debut included an entertaining and funny interview segment, spliced with live footage (including shots filmed at this year’s MidPoint Music Festival, where the band opened for The Afghan Whigs in Washington Park). The featurette also showed band members Chuck Cleaver, Mark Messerly and Lisa Walker at their day jobs in Cincinnati and Shake It Records (the Northside record shop whose label branch releases Wussy’s albums) also makes an appearance.
The band’s appearance also included a performance of “Teenage Wasteland” from Wussy’s latest album, Attica! A bonus performance of another song from the album, “Beautiful,” was also filmed. Watch everything below.
The appearance had an immediate impact on Wussy’s sales. CBS’s Anthony Mason (who conducted the interview) tweeted that Attica! entered the iTunes album chart at No. 89 after the airing. Amazon sold out of its stock of Attica! CDs.
Wussy’s next local show in on New Year’s Eve at the Woodward Theater in Over-the-Rhine. Find out more about Wussy here. And check out CityBeat's most recent profile of the band here (and our very first feature on the band, in 2002, here).
For the 2015 edition of CityBeat's Cincinnati Entertainment Awards (to be held in late January), the public now has a chance to be involved in the process of choosing the nominations from Greater Cincinnati’s amazing music scene. Previously, nominations came directly from the nominating committee, which consists of a variety of local music aficionados (writers, bloggers, club owners, etc.). The nominating committee members still have final say in who gets nominated, but for the first time ever they will be presented with your feedback before making their final decisions.
The ballot will close on Dec. 5. Here are some basic guidelines from the nominations ballot:
For the first time ever, fans will have input into the nomination process for the Cincinnati Entertainment Awards. For each genre category, please enter the name of the performer you feel is deserved of a CEA for their work in 2014. Recordings released publicly between November 2013 and November 2014 are eligible for Album of the Year nominations. The New Artist of the Year category is for artists who have emerged in that same time span (they don’t have to have formed in that date range, just broken through for the first time).
Nominations are reserved for artists from Greater Cincinnati making original music. Please, no straight-up cover bands. You may only fill out one ballot per email address; additional ballots will be discarded.
A list of the top vote getters in each category will be presented to the nominating committee members. The members will not be restricted to voting only for artists nominated by the public, because some deserved acts may not actively campaign for nominations and the CEAs honor output and accomplishments and not just who has the biggest Facebook friends list or the most followers on Twitter. But the “long list” compiled from public votes will get more artists’ names in front of the nominating committee and help their chances for making the final “short list” of nominees.
Once the nominations are compiled, the final ballot will be placed online for public voting.
Be fair. Be nice. And happy voting!
Stepping into the decorated light cast from the looming ceilings of the Taft Theatre, it’s immediately apparent the space holds memory far outreaching your own. That is, of course, unless you’re about 100 years old and happened to be around Cincinnati in your early teens.
If that were the case, you’d probably remember the other awe-inspiring theaters that entertained the Queen City in those days: the Albee, Shubert and Capitol, to name a few — all astounding architectural representations of the heyday of local theaters. Sadly, the Taft is the only of those grand structures that still remains today, likely because it stands just far enough away from the heart of downtown, just missing out on the urban redevelopment that has defined the city for the past half-century or so.
Taft Theatre was opened in January 1928, inaugurated by lines of suited men and flower-hatted women who were willing to brace the 40-degree weather of the new year for the warm spectacle of the Cincinnati Symphony Orchestra in a shining new entertainment venue.
The theater is part of the Cincinnati Masonic Center, then called a temple rather than center, and is currently owned by the Scottish Rite of Freemasonry. In its early days it would host Broadway shows, ballets and traveling performers and artists, among other entertainment.
The name, contrary to what some might think, is not a nod to the former United States president William Howard Taft, although many likely know of the street we have to honor him. Rather, the theater was a tip of the hat to William’s older brother, Charles Phelps Taft, a major figure in the Cincinnati newspaper business and a high-ranking Mason who lived just down the street from where the theater now stands.
While it was very popular during its early days and became popular again in the new millennium, the theatre went through a largely dormant period in the second half of the 20th century. In fact, the Scottish Rite applied for demolition rights twice in the 1960s — although they were rejected both times — because they thought the theater would be too expensive to renovate and wanted to replace it with a parking garage.
Luckily, it hung on and didn’t fall into serious disrepair long enough for Music and Event Management, a subsidiary of the Cincinnati Symphony Orchestra, to take over in 2010. The company headlined a $3.2 million renovation, less than a third of the value the Masons had been quoted for renovations decades earlier.
The revamp, finished in 2011, increased the size of the seats, lowering the original capacity of 2,500 to about 2,300, as well as the size of the bathrooms — fewer venue seats, but more toilet seats (does this say something about the needs of folks in the new millennium?). They also took great consideration of modern concerns, spending a heavy load on hooking the building up with eco-friendly air conditioning.
Thanks to the restoration and rejuvenation of the old theater, it now holds about 140 shows a year compared to roughly 90 before renovations, and the annual attendance has also almost doubled. The theater is again one of Cincinnati’s hot spots for entertainment, hosting all kinds of musical concerts as well as theatre, being home to the Children’s Theatre of Cincinnati. With the upsurge in activity at the beautiful old Masonic Amphitheatre, the tall walls can keep holding and building memories of entertainment that life would be oh-so boring without.
Cincinnati is host to a great number of music festivals and it feels like every season adds another one. Midpoint is becoming nationally recognized for its ability to draw in heavy hitters, Bunbury has exploded in popularity in just a few years and Buckle Up had a great inaugural year this past summer, just to name a few obvious examples. It’s a great time to be a music lover and music journalist in this city.
But for this music journalist, there’s only one festival that gets my money, year in and year out: Ironfest.
Whereas most of Cincinnati’s festivals focus on the city’s vast assortment of Folk and Pop influenced artists, Ironfest is awash in the loud, angry and just plain aggressive side of local music. John “Black Arm” Gerhardt, the organizer of Ironfest, puts in a massive amount of time and effort to assemble a legion of acts that are all a little left of center, but still eclectic enough to bring in all types of fans. There’s only one place in town that you can see the darkened Electronic soundscapes of Black Signal alongside 500 Miles to Memphis’ Country Punk and Moonbow’s raucous brand of Heavy Metal, all under one roof, and that’s at Ironfest.
Nov. 14 and 15 marked Ironfest’s fifth year. It was founded as a celebration of the life of “Iron” Mike Davidson, a mainstay in Cincinnati’s music scene before his untimely passing. While this is still the case, Ironfest has grown beyond a simple memorial. In fact, many of the attendees nowadays didn’t even know “Iron” Mike — myself included. But if Davidson had so many talented friends in so many awesome bands, I’m sad that I didn’t.
Gerhardt has a knack for getting a great mix of bands together to take over Southgate House Revival’s three stages and this year’s iteration was no different. At any time, you could check out the bands listed above, along with the likes of Valley of the Sun, Smoke Signals, Martin Luther and the Kings, The Dopamines, Honeyspiders or out-of-towners like OC45 and Punching Moses (featuring ex-Banderas guitarist Jesse Ramsey), among many more.
While each year’s lineup is undeniably star-studded, Gerhardt also always seems to have one band on the bill that stands out above the rest and this year’s edition was no different. Closing out Saturday night was the reunion of Oxboard Drain, Iron Mike’s old band, with Valley of the Sun’s Ryan Ferrier filling in for the late bassist. I had never heard Oxboard Drain before that night but I got the distinct feeling that I missed something special. When a band still draws fans out that sing along to every word years after their dissolution, you know they made an impact during their tenure. Seeing Ferrier, Gerhardt and the rest of the band honor their friend by ripping through a powerhouse set was something to behold.
While the music at Ironfest is amazing and honoring Iron Mike’s memory is important, neither is the real reason I have attended the past three years. I go for the community that Ironfest celebrates and all of the people it brings together. My roommate attended this year’s festival for the first time this year; at the end of the show he commented that I seemed to know half of the attendees that night. While estimate may have been a bit of an exaggeration, the point is valid. For fans of the scene such as myself, Ironfest is almost like a high school reunion that you’d actually want to attend. New bands mingle with established acts, old bandmates and friends reconnect with each other, and the past and present of Cincinnati’s alternative music scene is celebrated over a weekend.
That’s what makes Ironfest so special. All of the other festivals that Cincinnati hosts every year celebrate the music and musicians contained within them. Ironfest celebrates the community itself that spawns around the music and musicians. It’s a two-day period where we can fondly recall the good memories of days gone by while still creating new memories for the next time we all converge at that old church.
It’s only been just over a week since Ironfest V wrapped up and I already feel like I’m in withdrawal. That much music, that many friends, that much fun in the photo booth (and, yes, that much booze) all adds up to a weekend that’s talked about until the next one rolls around. For many, “Iron” Mike’s passing was a horrible loss but his passing spawned an event that has kept people coming back for five years straight. And for that, I have to say, “Thanks ‘Iron’ Mike, and I’ll see you all next year.”