Tickets for the 11th annual MidPoint Music Festival went on sale this morning. Click here to get yours before everyone else.
Here's what MPMF producer Dan McCabe has to say about this year's event: "This is the fifth year CityBeat has operated Cincinnati's 11-year old MidPoint Music Festival. In each year we have pushed to expand the event with the help of our sponsors, the Over The Rhine neighborhood and music fans. MPMF is now a regional cultural event that shows off our city like no other. This September all eyes and ears will be on you Cincinnati! Now is your opportunity to participate. Get your pass while they last."
Perhaps the biggest news announced today was the addition of a new venue — a stage in the freshly remodeled Washington Park. The park venue is being called "MPMF.12's main stage," so expect many of the biggest acts to perform there. Fans can purchase advanced single-concert tickets for that main stage for the first time this year. The stage is open to fans of all ages.
The fest is also offering "Loyalty Presale All Music Access Passes" at a discount. Supplies are limited.
On June 6, the first lineup announcement will be issued. A "minimum of 20" of the 170 or so acts booked for the fest will be announced. (I've heard "rumors" about a couple; my only hint: "animals.")
Keep an eye on MPMF.com for the latest developments.
"The Bubblegum Masquerade," you say? Indeed. A local gentleman named Paul O'Moore has put together the Saturday show under the banner of his Vibrant Fringe Productions group, an essentially pro bono, one-man promotions organization founded to "exclusively support local and regional music" and to be "a partner in rebuilding Greater Cincinnati's music scene," according to the Vibrant Fringe Web site.
And looking at the generous lineup of local acts that O'Moore's ambitious two-stage, twelve-hour, multi-genre Masquerade plans to offer, he's clearly living up to his own mission statement.
Straight Line Stitch is pure Metal with a strong sound behind lead vocalist Alexis Brown. The band has released seven studio offerings; the most recent, The Fight For Our Lives, came out earlier this year. The album soared up the charts, reaching the Top 5 on Billboard’s Heatseekers and cracking the Top 40 on the Independent Albums chart. CityBeat spoke with Alexis to preview the Mayhem Festival, which comes to Cincinnati's Riverbend this Wednesday.
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.
One could argue that New Orleans is one of the most fun places on the planet. You cannot beat the food, laidback attitudes and genuine hospitality. Combine all of that with some of the most talented musicians in the world and you have the New Orleans Jazz & Heritage Festival.
The New Orleans Jazz Fest kicked off in full swing last Friday, April 26, with thousands flocking to the New Orleans Fairgrounds to hear their favorite musical acts, see one-of-a-kind pieces from local artists and taste the flavors of New Orleans.
Local musical acts kicked off each morning on the 11 different stages around the fairgrounds, leading up to the first weekend's main acts, which included include John Mayer, Billy Joel and Dave Matthews Band, which closed out each night on the Acura Stage.
One of the most enjoyable parts of Jazz Fest for me each year is seeing “the bands before the main stage bands.” I always walk away with new music to listen to from legends and discover exciting new stage acts. This year I fell in love in the Blues tents with guitar legends like Sonny Landreth, Guitar Slim Jr., Lil Buck Senegal, Deacon John and Little Freddie King.
Dr. John, who is always a Jazz Fest highlight performed on Friday and had an Ohio native backing him. Dr. John recently restructured his band before Jazz Fest and kept only one former member, trombonist Sarah Morrow who grew up near Pickerington, Ohio, just outside of Ohio.
The New Orleans Fairgrounds filled to the brim Saturday with attendees showing up early to get the best seats to hear Bill Joel belt out his hits. Joel closed out his set by playing with New Orleans' own Preservation Hall Jazz Band.
Sunday morning brought cloudy skies that soon turned into torrential downpours. But that didn't stop Jazz Fest goers from staking out spots for Dave Mathews Band. The skies cleared enough to dry off before the second wave of rain, soaking DMB as they played through the rain for thousands of diehard Jazz Fest fans. The dancing in the mud surely created lifelong memories for some attendees.
If seeing the Dave Matthews Band play an epic set in the rain was not good enough, you could make your way over the Blues tent and see the King play the Blues like it is the end of the world. BB King electrified as he took the stage in the Blues Tent to close out the first weekend of the festival. The legendary Allen Toussaint joined King on stage and, as BB began his set, belted out an a cappella Blues tribute to the King himself. King ended the set with a toast to the audience: "If I can't be with you next week, think about me some time."
Widespread Panic closed out my last day at NOLA Jazz Fest with a rainy two and a half hour set for their loyal legion of fans, all of whom seemed perfectly happy to dance in the mud at the Acura Stage.
Yesterday kicked off the second weekend of the famous festival and will feature performances by New Orleans native Mia Borders and Patti Smith.
I will miss New Orleans' music and food dearly when I go and will start the countdown to Essence Festival in July, when I return to the Big Easy for more music and fun times.
A lot of people still call it “Jazz Fest” (a hold-over from some of its early names, like the Kool Jazz Festival) and more recently (as of last year) it went by the name of Macy’s Music Festival, but Cincinnati’s popular, long-running celebration of classic and contemporary R&B and Soul is now cutting to the chase and, for its 2015 edition, will be called the “Cincinnati Music Festival.”
The name and logo may be different (and the primary sponsor is now P&G), but not much else has changed. This year’s event takes place July 24-25 at Paul Brown Stadium on the riverfront. Tickets for the fest — which began in 1962 in Carthage as the Ohio Valley Jazz Festival and has featured everyone from Miles Davis and George Benson to Stevie Wonder and Marvin Gaye — go on sale this Saturday through Ticketmaster.com.
This year’s lineup features Maxwell, Jennifer Hudson, The O’Jays, Joe and Luke James on July 24. For July 25, the event will feature longtime fest faves Maze featuring Frankie Beverly, plus Jill Scott, KEM, Avery Sunshine and Mali Music.
Click here for complete info on the 2015 Cincinnati Music Festival.
The eerie humming sound that kicked off The Afghan Whigs' 1993 major label debut, Gentlemen (considered by many to be one of the best albums of the ’90s), sounded mysterious to those who’ve never visited Greater Cincinnati. But those in Northern Kentucky and Cincy knew that rhythmic buzzing wasn’t a swarm of bees or a loop of some old man snoring. To anyone who frequently traveled across the Roebling Suspension Bridge over the Ohio River, the sound was instantly recognizable as the sound created by the cars, buses and trucks driving across the bridge’s distinctive blue grating. So in some ways, it makes perfect sense that this year’s RoeblingFest, Saturday’s daylong celebration of the 155-year-old structure, is showcasing some high quality musical acts to enhance the festivities.
Locally based independent label Grasshopper Juice Records has been presenting the Adjust Your Eyes Music & Art Festival, an annual showcase of local visual art and some of the label’s artists (plus other Grasshopper-friendly acts from Cincy and around the region), since 2006. Along with showcasing some of the city’s most creative original music makers, the event has raised thousands of dollars for organizations like American Cancer Society, Susan G. Komen For The Cure and Friends for Chris Walker (in support of the beloved late local bassist).
After a 2011 festival at Newport’s Southgate House (now Thompson House), the AYE fest (presented in conjunction with Far-I-Rome Productions and sponsor Soap Floats Recording) moves to downtown’s Mainstay Rock Bar for this weekend’s two-day blowout, once again spotlighting a diverse cross-section of musical styles and approaches.
The event runs tonight and tomorrow from 7 p.m.-2 a.m. and will feature more than 30 acts on both of the venue’s stages throughout both nights, as well as art installations prepared by BUNK News. Admission each night is $7.
Here's the full schedule for tonight and tomorrow's AYE merriment. Click on each act's name for a link to more info and music samples.
When the sun rises at 6 in the morning and temperatures climb to 95 degrees by 9 a.m., it’s impossible to sleep in while camping at Bonnaroo, which means your buzz never really wears off after the first night. If you have any hopes of surviving Bonnaroo, this is a critical time to hydrate with a morning brew and lots of water.
Lines for portalets stretch painfully far in the morning, but the graffiti inside each one accurately captures the essence of Bonnaroo spirit and almost makes the wait worthwhile. Graffiti common in every portalet includes crudely drawn pot leaves and bold assertions like “Smoke Weed” and “Get Laid,” both of which are high on the priority list for most Bonnaroo patrons.
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.