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.
There’s something about the written word that adds finality to a subject. Contracts are finished with a signature, newspapers are often considered bastions of truth and obituaries often put a person’s death in perspective for their loved ones. Perhaps this is why I put off writing this story for so long; I didn’t want to admit the truth: at the end of the year, two of the most important places in my life will cease to be. The Mad Hatter has already shuttered its doors and the Southgate House is closing after Saturday. And I can’t quite bring myself to accept that.
If you're a hardcore devotee of the creative Electronic Dance Music (EDM) scene exploding across the world right now, the place you'll most want to be tonight isn't your favorite dance club, but a movie theater. That's because the intriguing documentary film Re:Generation Music Project is premiering simultaneously in theaters across the country, including locally at the AMC theaters at Newport on the Levee and the Rave theaters in Florence, Ky. Showtime is 8 p.m. (Click here to buy advance tickets for tonight's screening or the encore ones Feb. 23.)
The film's premise is quite clever and not what you might expect from a documentary seemingly about the state of contemporary Electronic music. While five of today's most popular producers/DJs — Skrillex, The Crystal Method, Mark Ronson, DJ Premier and Pretty Lights — are at the heart of the movie, it really sounds like it is more about the inherent mongrel nature of music in general and how all music evolves organically through hybridization.
Acclaimed documentarian Amir Bar Lev directed the film, which follows the five featured artists as they prepare to write and record a new track with someone renowned for their work in a decidedly different field of study. Subtitled "5 DJs Turn the Table of the History of Music," Lev takes viewers along as recent Grammy winner Skrillex teams up with members of Rock band The Doors, The Crystal Method head to Detroit to collaborate with Motown legends Martha Reeves of The Vandellas and The Funk Brothers, Ronson gets down on some New Orleans Jazz with Trombone Shorty (as well as Mos Def, Erykah Badu, The Dap Kings and Zigaboo Medeliste), DJ Premier goes Classical with the Berklee Symphony Orchestra and Pretty Lights explores Bluegrass with Ralph Stanley (and LeAnn Rimes).
By exploding genre and generational barriers, Re:Generation makes a great point about the development of music in society. While Stanley and Pretty Lights' Derek Vincent Smith are a half a century apart in terms of age, they share the common ground of being artists and creators, which makes them able to "get" what the other is doing on a unique level that often only artists can access. The new generation of Electronic Dance Music artists are also perfect to focus in on, since the younger musicians of today (especially in electronic music) feed off of invention and seem willing to experiment with any source. As long as it services the song, who cares where it's placed in the iTunes store?
Here's a clip from the film featuring Skrillex and his legendary collaborators, The Doors.
On this day in 1973, Paul McCartney and Wings had their very own network TV special, James Paul McCartney. The variety/musical show was a bit cheeky and a bit sappy — in other words, pretty funny to watch now. Paul and Co. do a bunch a Beatles tunes and a bunch of Wings stuff, including the just released "Live and Let Die." Worth watching (or at least skipping through) if you were a fan of Sir Paul's kick-ass mullet, always wanted to hear a drunk Paul sing drinking songs in a crowded pub or wondered how "The Cute One" looks in a pink tuxedo and mustache.
Paul's most recent adventures in visual entertainment contains a bit more star power:
Click on for Born This Day with Dusty Springfield, Akon and Ian MacKaye.
Every year come December, the CityBeat arts and music writers get all wistful as we begin to mentally compile our "Top 10" lists of the finest moments of the past 365 days.
To warm up around the office, we just start ranking everything — "Top 10 Office Smells" ("microwave" has been No. 1 for the past decade), "Top 10 CityBeat Writers' Overused Words" (I've ruled this list for years with such classics as "dynamic," "eclectic" and "good," though Jason Gargano won this year with "myriad") or "Top 10 Ways to Anger Our Remarkably Stoic and Peaceful Editor" (this year it's a battle between "Yell 'Phillies just got lucky!'" or "How's the Missouri football team doing this year?").
A few years ago I was invited by CityBeat to share some journal entries I had been jotting down while touring over in Europe. These entries somewhat led to my current side hustle of faux-journalism with the paper. I’m on tour again and CityBeat offered me another crack at documenting our experiences up and down the interstates. This time I’m on tour with some Ohio-based friends and artists for the Ohio Takeover Tour (in Cincinnati tonight at The Drinkery, the new club in the old Jefferson Hall space on Main Street), so the shows (and adventures around the shows) have a bit more meaning.
Music Tonight: The Mad Hatter in Covington this evening hosts a full lineup showcasing the new breed of "Power Pop" — young bands evolving from so-called "Pop Punk," embracing classic Pop/Rock songwriting and developing a sound that is potentially more timeless. Georgian band Cartel headlines, as they gear up for a new EP release (due next month) that will serve as the band's first since 2009's hook-feast, Cycles, which showed clear progress in songwriting and execution. Tonight's Mad Hatter show (the kick-off date on the band's brief Midwestern tour) begins at 6 p.m. and tickets are $15. The Upset Victory, Action Item, Don't Wait Up, 21st Streamline and The Getaway warm things up.
Today is the day. No more political commercials. No more stump speeches. No more SNL appearances. No more Mike Breen clogging up his stupid music blog with stupid political shit.
On this day in 1967, The Beatles continued work on arguably their best song, "A Day in the Life." After a debate over how to end the track following the huge orchestral build-up (sustained choral vocals were considered, but scrapped), the group decided to simultaneously strike a massive E chord on three pianos and sustain the notes for as long as possible. Adding overdubs (and a contribution from producer George Martin on harmonium), the final resonating notes hang in the air for over 40 seconds on the recording. As the held chords faded on the pianos in the studio, the engineer had to crank the recording level, which picked up some incidental sounds (like a creaking chair and, certainly, something about Paul being dead) from the studio.
That E-major chord that closes the song — and the whole Sgt. Pepper's Lonely Hearts Club Band album, considered one of the best ever — is widely considered one of the most famous chords in Rock/Pop history. Which means that The Beatles are responsible for the most popular opening chord in modern music — the mysterious G7sus4-ish that kicks off "A Hard Day's Night" — and the most notable final chord with the "A Day in the Life" finale.
Below is audio of BTO guitarist Randy Bachman explaining the "Hard Day's" chord mystery (frustrated guitarists should feel better about their inability to figure it out), followed by today's biggest Pop superstar performing that famed final note from Sgt. Peppers.
Click the jump for "Born This Day" featuring live footage from one of the final Sublime concerts with Bradley Nowell.