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.
The news reports all called for possible rain and low temps in the evening, but that Babylonian weather deity we blew last year apparently threw in a freebie as a tenth anniversary present because the nastiness stayed away for at least one more night. And what a night.
The newly remodeled, freshly reopened Washington Park in Over-the-Rhine is shaping up to be one of the hottest music venues in the city. Last evening, the every-Wednesday "Bandstand Bluegrass" series kicked off with Jake Speed and the Freddies; tonight is the debut of the park's every-Thursday "Jazz in the Park" series (7 p.m., with Chris Comer and Napoleon Maddox of IsWhat?!); and tomorrow marks the debut of the R&B/Soul "Friday Flow" concerts, which will take place each Friday and begin with an appearance by fantastic Neo Soul singer Dwele (Selectas Choice DJs Rare Groove, Apryl Reign and DJ Pillo, as well as Under New Orders and Darris Sneed & The Pulse also perform at the 7 p.m. event).
And today it was announced that three of the biggest acts announced for September's MidPoint Music Festival will perform at Washington Park's new MPMF stage. A total of four acts will perform each night at the Park stage. The Washington Park shows will be accessible to those with MPMF All Music Access Passes or VIP Passes, or with "a la carte" individual tickets, which are on sale now.
Andrew Bird headlines the Washington Park stage on Thursday, Sept. 27. Tickets for that show only are $25. Grizzly Bear is the main MPMF act on the stage for Friday, Sept. 28 (single tickets: $30) and Sleigh Bells headlines the stage Saturday, Sept. 29 ($30). Click here for your ticketing options. Early Bird All Music Access and Loyalty Presale tickets are sold out. A limited number of All Music Access Passes ($69) and VIP Passes presented by CVG ($169) are still available.
Bands and solo performers interested in being considered for a performance slot at this year’s MidPoint Music Festival will have a chance to do so at a discounted rate this Thursday. If you can get your entry in sometime within Thursday’s 24 hours, MidPoint and Sonicbids are offering a one-time return to the cheaper “early-bird” fees available briefly when submissions opened. Instead of the usual $25, registration will be only $15.
You take the good, you take the bad, you take them both and then you have the MidPoint Music Festival. Well, none of it was bad; I mean, if I have to bitch about something, it’d be that there weren’t enough bathrooms. Just kidding. Who do you think I am, some writer from The Enquirer or something?
It was my first trip to Cincinnati’s annual music event, so it was my MPMF deflowering, if you will. And just like every teenage girl’s dream, Midpoint popped my cherry by easing me in slowly and sweetly, but ended up giving it to me hard enough to have me worn out by the end of the night. Also, since almost all the shows were at bars, they even got me a little tipsy before they ravaged my mind with their delightful musical fuck-fest (what gentlemen!)
I started my night at Washington Park, where New Zealand’s Psychedelic Indie Pop rockers Unknown Mortal Orchestra took the stage. When they finished, I didn’t know how I felt about it. The songs were catchy and the music was very beat-driven, with intermittent fetching riffs and wailing solos from the lead man and mastermind of UMO, Ruban Nielson, but there was still something off about it. To me, it sounded like the vocals were turned down too low, almost becoming a backdrop for the Pop-induced musical acid trip blowing through the amplifiers. Then again, it also may be the fact that I didn’t know many of the lyrics. Either way, it ended up being like meeting a cute girl at a bar that ends up just having an OK personality. She sparks your interest for a while and you may even take her on a couple dates, but there’s only so much you can hear about how cute her cat is or why The Vampire Diaries is such a great show before you realize she’s just not for you.
After UMO ended, I decided to finish my brew, skip out on Grizzly Bear (mainly because someone else had to be covering it, right guys?) and headed down to The Drinkery to see Boston duo You Won’t. It may have been the best decision of the night.
On my way there, I had to force myself to walk by the Third Man Records rolling record shop (because I’m broke) and contemplated going to the free advice booth/box truck to see if somebody can tell me why my life is always falling apart, but decided to get a drink instead (maybe I just answered my own question).
When I arrived at The Drinkery around 8 p.m., it was a ghost town. That sounds stupid and cliché but, including the bar staff and the two other people I brought with me, there were approximately 15 people in attendance.
By the time You Won’t actually started (around 8:30 p.m.) there were about eight people watching. The rest were sitting at the bar either enraptured by the masterful pitching performance Homer Bailey was putting on against the Pirates (who can blame them), off in their own conversations or at Washington Park seeing Grizzly Bear. After the end of You Won’t’s first two songs, however, I was already impressed.
Lead singer, Josh Arnoudse, who in addition to being a really cool guy (I spoke with him briefly after the show) had one of the most distinct voices I’ve heard in a long while. At first, I thought it to be like a higher pitched, better toned Bob Dylan, but as the set progressed, Arnoudse hit his falsetto with ease (on numerous occasions) and showcased a wide vocal range during the 40 minute show. The other half of You Won’t, Raky Sastri, was quite the musician, as well, manning the drums, keyboard, accordion, harmonica, tambourine, organ, xylophone, and, oh yeah, he did back-up vocals, too.
Yet, the best part of their performance was about halfway through, when Arnoudse decided that if people weren’t going to come to his show, he was going to bring his show to the people.
He then proceeded to run out into the “crowd” with his acoustic guitar and play by the pool table because "the vibing" better. Oddly enough, he was right. People started to come around, circling Arnoudse and Sastri, while Arnoudse played to their cell phone cameras as if they were on national TV (look out for those on YouTube later.)
When You Won’t ended, I basked in all my fan-boy glory, praising Arnoudse for his set and buying their LP, Skeptic Goodbye. Then, the unthinkable happened. The Dark Knight (Bailey) rose as he achieved the Red’s first no-hitter since Tom Browning did it against the Dodgers back in ’88 (I wasn’t even born yet) and celebration ensued. People were going nuts, drinks were bought and high-fives were given as the general mood of the bar had done a 180-degree turn in less than an hour.
After partying it up with those patrons, I headed down to Mr. Pitfiuls (what an awesome name) to check out old school Country band The Tammy Whynots and I was not disappointed. Although I had to leave about six songs into their set, these guys (and gal) really captured that classic Honky Tonk Nashville sound that was so revered in the ’60s and early ’70s. With their bedazzled rhinestone jackets, Kelly Thomas’ vintage Loretta Lynn-style dress and throwback hair-do, The Tammy Whynots not only hit the sound right on point, but the image, too. I don’t want this to sound like they are purely a tribute act, paying homage to Country legends like Johnny, June, Tammy and George, because if they had come along earlier (like a lot earlier) they could have easily fit right in right along side those legends.
The final band I saw Friday, were the high-octane, high-energy, in-your-face Rock & Roll band The KillTones back at The Drinkery. It was the thing I had been waiting for all night; finally, a band with some fucking attitude. This was not only the four-piece Blues-infused band’s first time at MidPoint, but also their album release party. They knocked their really tight set out of the park. No no-hitter here.
The guitarist, Josh Pilot, was like a combination between Tony Iommi and Chuck Berry if they hung around Jack White a lot. The lead singer, Clinton Vearil, was about one of the most enigmatic frontmen you'll find, contorting and gyrating all over the tiny stage at The Drinkery. My favorite part of their set was a slow, bluesy song that really let Vearil’s vocal abilities shine, as he went from a mesmerizing high-pitched scream to a really soulful and sultry sound in the verses.
Although, this was definitely the best festival experience I have ever had, I only have two regrets. The first was that I was too tired to go see F. Stokes at the end of the night at the Blue Wisp. I know, I’m an idiot, but you can blame The KillTones for that; they wore me out. The second is that I didn’t have the money to buy The KillTones CD, which is consequently all I want to listen to at this moment.
Anyways, I couldn’t have asked for a better night. Good bands, good beer, my first Reds no-no and a new-found respect for the Cincinnati music scene. Thanks, Midpoint for taking it easy on me for my first time; you really know how to treat a girl right.
Musical acts interested in being considered for a showcase slot at the 14th annual MidPoint Music Festival (scheduled for Sept. 24-26 in various venues around Downtown and Over-the-Rhine) can begin submitting today.
The festival — owned and operated by CityBeat — has announced a new partner for facilitating submissions, switching from Sonicbids to the locally-based CloudPressKit. The move will save artists some money — the submission fee for MPMF 2015 is $15 (through Sonicbids, it was $25, plus a Sonicbids membership) — and CloudPressKit is described as more “artist friendly.”
Click here for MPMF submission details. MPMF.com has a Q&A with the fest's head honcho, Dan McCabe, about the application process that answers a lot of questions submitters may have (other questions can be directed to email@example.com). Applications are being accepted through May 17.
The old saying goes that everyone complains about the weather but no one ever does anything about it. Well, MidPoint is doing something about the crummy weather: They're having the music festival anyway.
Come down to Fountain Square at 5-7 p.m. for two performances by MPMF.09 acts: Shanya Zaid & the Catch from New York City (5:00), followed by The Young Republic from Nashville (6:15). Grab a beer and food and plot your MPMF itinerary for the rest of the evening.
Ahhhh, MidPoint! I look forward to it every year. September, for this lady, holds promise, romance, intrigue and MPMF. I started my MPMF.13 off right: grabbed a baller parking spot right after work in front of Coffee Emporium, grabbed a baller iced Americano and grabbed my (you thought I was going to say baller? How presumptuous) press pass. I think I did say out loud to myself: Let's GOOOO.
The first band I wanted to see was my pal Molly Sullivan at 8:15 p.m. at Japp's Annex. I had some time to kill, so I hung out on the Midway. Sidewalk Chalk was still grooving; they've got a rocking brass section, shimmery drums and soulful singers. I previously saw them on Fountain Square last year as part of the Indie Summer Series, and really enjoyed everything they had to offer. Great fun way to kick off MPMF.
I wandered around the Midway for a bit, checking out the numerous box trucks that comprise the Box Truck Carnival presented by ArtWorks. The Midway itself is pretty awesome, easily accessible and kind of reminds me of a corral for progressively more intoxicated adults. I don't mean that in a derogatory way; I, too, enjoy consuming beer freely in the open on 12th Street. The Box Trucks this year held a lot of potential — I wrote about the Midway for the MPMF Guide in CityBeat a few weeks back, so I was well-briefed on what to expect. Well, kind of.
The first truck I checked out was the Glam Rock Box Truck. Anyone who knows me is aware of the siren call the word "karaoke" holds, so of course I went in.The premise was great (for karaoke nerds like me), but box trucks just don't do karaoke justice, honestly. There are a number of songs to pick from, but not as many karaoke staples as one might expect. And for being called the Glam Rock truck, I didn't really see any Glam Rock hits on the list. The ladies running the truck seemed to be having a good time, though, so I did my best version of "Semi-Charmed Life" and went off to continue leading mine.
I wandered around the Midway some more, stopping in the Short Order Poetry Box Truck, which was 19 kinds of adorable. You step inside the truck, get paired with a stranger who asks you random questions (hi Adam!) and then they'll create a poem, on a typewriter no less, just for you, ready in just about 10 minutes. Mine had a lot of death and blood and dream imagery, just how I like 'em.
I listened to a few minutes of stand-up in the comedy Box Truck before heading to Lucy Blue's. I notoriously put off eating until I'm ravenous, so I decided to carb-up on pizza in preparation for the long night ahead. I met up with friends at Japp's and we ordered drinks and chatted before wandering to the Annex to hear Molly Sullivan.
Every time I see Molly perform, I'm more and more impressed. She's really fleshed her sound out (the addition of friends on the drums and bass is the perfect complement to her singer/guitarist combo), and lots of people are noticing — she recently won the Last Soloist Standing contest at FBs, grand prize being a large cash sum. Molly's a charming vocalist; her voice is flexible and searching, and she's always been good at melancholy intonation. I heard a fresh version of "So It Goes" from the No No Knots days, and some of her newer material had an almost Jewel-when-she-still-had-a-snaggle-tooth quality to it. I really, really dug it. So did a number of other people — quite a dedicated following was there. I'd say Molly Sullivan's first solo show at MPMF was a great success.
I had been planning all week to see Kurt Vile at Grammer's, but there was about half an hour before he was supposed to go on and I ran into my pal Caitlin, who told me the mythical history of Shuggie Otis. I was intrigued, so I walked with her to Washington Park. I still don't know how I feel about the fact that they've moved the stage to the permanent pavilion instead of in front of Music Hall; there's such a grandiosity to playing in front of that gorgeous building that just isn't matched by the pavilion — and I know there are lots of sad Instagram accounts crying right now — but I understand the convenience. We'll see how I feel about it tonight.
Anyway. Shuggie Otis. Skyrocketed to fame by age 21 and receded into the abyss of obscurity? And then he joins David Byrne's label and comes back? Tell me more. Shuggie had a groovy Soul/Funk sound brought to life by a huge backing band, complete with a stellar saxophonist. Glad I caught a few minutes, but I was on a Kurt Vile MISSION, so I started the trek to Liberty Street and Grammer's.
Well, by way of my car. I grabbed a jacket and was headed north, but as I walked by Below Zero Lounge, I heard a voice too great not to stop. If Ryan Adams and Adam Levine and the bearded lead singer from Maps & Atlases had an Asian baby, it would be St. Lenox. He was just plain awesome. I wanted to hang out with him, I wanted him to sing an album of lullabies, I wanted to stay for his whole set, but I'll be damned if I wasn't going to see Kurt Vile.
I didn't see Kurt Vile. Whoever guessed that two paragraphs ago knows that my ominous overtone was poorly done. I got stopped again walking by MOTR, this time by Fort Shame from Columbus, Ohio. I feel like so many times when a woman is a lead singer of a rock outfit, the instinct is to compare her to another female vocalist, but it has to be one who's personality is somehow perceived as similar, or stylistically akin (and I do mean clothes, not just shredding), so I'm not going to compare Fort Shame's Sue Harshe to anyone, because I don't think that's fair and, honestly, it's a little reductive. I'm just going to say that she does credit to anyone singing Rock. And the band had a star saxophonist, which was super fun.
I did hear via Twitter that Kurt Vile sang the word "yeah" for like fifteen minutes at the beginning of his set, so I said it a bunch to myself as I walked back to the Midway to hear Ha Ha Tonka and didn't feel too bad about it.
The first time I saw Ha Ha Tonka was two (or three? who knows) Midpoints ago at The Drinkery. These guys have all gotten hair cuts since then, but they sound even better. They sound like what folky Rock cut with a raucous night of varying emotions that ends with hanging out with friends and beer staring at the river would sound like. You know the kind of night I'm talking about. They're just the tops. Tight and talented musicality and great stage presence is only topped by their impeccable four-part harmony. Just magnetic. Second or third time's the charm, gentlemen.
I finished my night seeing Bleached at the Know Theatre, which last year held all the buzz bands I wished I'd been able to get inside and see (something about being "at capacity"), and I wasn't disappointed. Punk Rock girls with a guy drummer. Ramones cover. Misfits cover. I thoroughly enjoyed my attempt at head-banging AND the fact that these girls didn't try too hard. I feel like a lot of Punk-esque bands nowadays are all like "I AM PUNK! LOOK, SEE, I AM!" but Bleached was more like, "Fuck Punk. We're just Bleached." Own it, dudes.
And then I walked back to my car and went home and passed right the heck out. I'll see ya at MPMF for round two tonight.