• Tonight at Covington’s Madison Theater you can catch two of the the best and most influential Roots Rock bands of the past 20 years. Drive-By Truckers and Old 97’s might not have had the expansive, obvious influence of, say, Wilco or My Morning Jacket (who also joined forces to tour this year, joined by some guy named Bob Dylan on the summertime Americanarama tour), but it would be foolish to overlook the impact these two bands have had on aspiring artists.
While both groups recently announced the completion of new albums, their current tour together finds each act promoting some refurbished older material. The Old 97’s released the Old 97’s & Waylon Jennings EP in October. The release includes a pair of tracks recorded in 1996 with the Country legend (they were some of Jennings’ final recordings before he died), plus a few unreleased demos. Drive-By Truckers also did some vault-digging, reissuing a remastered version of the band’s third album, the long out-of-print 2000 live effort, Alabama Ass Whuppin’. (Read CityBeat’s Truckers preview here.)
Tonight’s show at the Madison starts at 8 p.m. and is open to all ages. Tickets are $27 at the door.
Here’s one of the Old 97’s’ collaborations with Jennings, “The Other Shoe”:
• A pair of Detroit-area MidPoint Music Festival veterans — Jeecy and the Jungle (which played the Cincy fest this year) and Jessica Hernandez and the Deltas (who played in 2012) — return to the city tonight for a great double-bill at MOTR Pub in Over-the-Rhine. Showtime is 10 p.m. and there is no admission fee.
Both bands have varying elements of R&B, Funk and Soul, which they spin with their own distinct magic. Jeecy and the Jungle go for a gritty, spiky take on R&B reflecting the Garage and Soul spirits of Detroit’s rich musical history, while the Deltas make uniquely broad, evocative Alt/Indie Pop/Rock driven by Hernandez’s phenomenal vocals, which show a fantastic Soul influence.
Hernandez & the Deltas have a new EP called Demons that is officially released next week, though you’ll be able to pick up the CD version at MOTR tonight. Paste magazine recently debuted the material; check out a track below:
• Seems like the Cincinnati area has become a favorite stop for touring artists from the exploding “live Electronica” scene. Arpetrio is a Knoxville, Tenn.-based, improv-happy guitar/bass/drums trio (with each member adding Electro ornamentation) that has been lauded for its trippy, Jazz-like take of live EDM, which touches on Trip Hop, Trap, Trance, Dubstep and other modern Electronic music elements. The group’s This Side Up EP is available as a free download here; get a sample below:
Arpetrio performs tonight at Corryville’s The Mad Frog. Showtime is 9 p.m. Also on the bill is Ethosine, a Cincinnati quartet featuring members of Skeetones, Bubble Life and The Jive Turkeys. The group also has a free EP you can download — click here or on the player below.
• Nashville Indie Pop Rock crew The Features, which has built up a nice following in Cincy (and appeared at this past summer’s Bunbury Music Festival), returns to the area tonight for an 8:30 p.m. show at the Taft Theatre’s Ballroom. Locals Justin WW and the Even Tiles open the show. Tickets are $15.
The Features’ danceable, highly melodic sound is on glorious display on their most recent album, a self-titled affair released through Kings of Leon’s Serpents and Snakes Records this past spring. Here’s the music video for the album’s “This Disorder,” a clever song about the effect of modern technologies (i.e. smartphones) on our society:
• Classic Country Rock band Poco was formed in 1968 by Richie Furay after his band with Stephen Stills and Neil Young, Buffalo Springfield, called it a day. Despite a lineup that has revolved pretty much since the band began, Poco experienced great success in the ’70s and beyond; its debut, 1969’s Pickin’ Up the Pieces, is considered one of the greatest Country Rock releases of all time. This summer, Poco — now led by co-founder Rusty Young — released All Fired Up, its first album in over a decade.
The current edition of Poco performs tonight in Northern Kentucky at the Newport Syndicate. The pre-show dinner buffet (included in the ticket price) begins at 6 p.m., with openers Kinsey Rose and Laurel Kincaid beginning at 7:30 p.m. Admission ranges from $35-$70. Click here for details.
Here’s the title track from Poco’s most recent LP:
• Mega Monster Metal superstars GWAR return to Bogart’s in Corryville tonight for a 7:30 p.m., all-ages show. “Earth’s only openly extra-terrestrial rock band” formed in the mid-’80s, developed an over-the-top live show that makes a KISS concert look like a children’s Halloween party (with B-movie horror film theatrics that look straight outta Troma) and have become one of America’s great cult bands.
The group continues to churn out albums that unveil the mythology behind GWAR, the latest being this year’s Battle Maximus. What’s it about? Oh, you know, usual GWAR stuff:
“GWAR's Battle Maximus features twelve brand new tracks that not only honor their departed ally, but tells the story of GWAR's latest struggle against what may be their greatest enemy yet — the insidious "Mr. Perfect", who has travelled through time itself to steal the power of GWAR — the power of immortality, and use this power to mutate the human race into his twisted vision of what the "perfect" human should be. Once again GWAR finds themselves as the only thing standing between the human race and the latest super-powered shithead bent on the destruction of GWAR and the enslavement of their worshippers.”
GWAR front-alien Oderus Urungus recently showed that he does have a softer(ish) side. Here he is reading Goodnight Moon for the children of the galaxy. In his own way, of course (i.e. it’s NSFW):
• On the other end of the sonic spectrum, Over-the-Rhine’s MOTR Pub welcomes Chicago’s lilting, folksy ensemble The Horse’s Ha to the club for a free show tonight. The band was formed in 2002 by Janet Bean, member of great Chicago acts Freakwater and Eleventh Dream Day, and James Elkington, guitarist (and drummer) for various acts, including Jon Langford’s band Skull Orchard. The group’s gorgeous slant on American and British Folk, laced with pointed harmonies and exquisite cello, has been showcased on just a pair of albums, including this summer’s Waterdrawn.
Fans of talented acoustic guitarists will appreciate Elkington’s playing; he recorded a duo album of acoustic fingerstyle guitar pieces with Nathan Salsburg called Avos in 2011. Salsburg is opening tonight free MOTR show at around 10 p.m.
Here’s a taste of the Ha’s most recent album:
• Brooklyn Indie Folk quartet Jus Post Bellum comes to Over-the-Rhine's MOTR Pub tonight for a free, 10 p.m. show with local headliners Young Heirlooms. Inspired by traditional American Roots, Blues and Country music, as well as modern Folk, the Civil War and American history in general, Jus Post Bellum (latin for "justice after war") features the captivating dual vocal approach of guitarist/keyboardist Geoffrey Wilson and Hannah Jensen and is fleshed out by the bass and cello of Daniel Dieber and drumming of Zach Dunham. The group's live shows are said to be quiet, mesmerizing affairs, so maybe keep your loudmouth drunkard friends at home for the night.
Jus Post Bellum's second album, Oh July, is set for a Nov. 12 release. Here is the new album track "Gimme That Gun":
• For Dar Williams' latest album, last year's In the Time of Gods, the veteran Folk singer/songwriter looked to the past to address modern challenges. The songs on the album, featuring guests Shawn Colvin and Larry Campbell, use characters and tales from Greek mythology to poetically examine today's personal, social and political issues. Always noted for her fantastic lyric writing (which often showcases her sharp wit), In the Time of Gods and its interesting device find Williams really challenging herself and, ultimately, succeeding on levels she hadn't reached before.
Williams brings her Gods tour to Oakley's 20th Century Theater tonight. Showtime is 8 p.m. and tickets are $25-$30. The show is not general admission; seats are reserved by section.
Here is the opening track from In the Time of Gods, "I Am the One Who Will Remember Everything":
• Impressive new Cincinnati band Temple plays tonight at Northside's Mayday, the launch of a mini-tour with Columbus Sludge Metal crew Bridesmaid. The band makes compelling progressive, psychedelic Metal and features members of local acts like Black Dove, Paralyzer, The Awakening and Ohio Knife. Tonight's show also features local band Crushed Velvet and kicks off at 10 p.m. There is a $5 cover charge.
Click here to check out a pair of songs from the band, or just hit the play button below:
• Tonight's show at Bogart's in Corryville featuring star rapper Yo Gotti has been cancelled. Refunds are available at the point of purchase.
• The Winery Dogs released their first album in July, but if you are a serious fan of Progressive Metal and Hard Rock, you were likely already familiar with the virtuosic instrumental prowess of the trio’s members — drummer Mike Portnoy (cofounder of modern Prog legends Dream Theater), singer/guitarist Richie Kotzen (Poison, Mr. Big) and masterful bassist Billy Sheehan, who has played with David Lee Roth, Mr. Big and many others. The Dogs sport a heavy, Classic Rock-influenced sound akin to Led Zeppelin but distinct due to the players’ flashy, progressive riffing and drumming.
The trio plays Corryville’s The Mad Frog tonight. Doors open at 8 p.m. and Sixxis is the opening act.
Here’s a nice review of the Dogs’ show in Cleveland over the weekend. Check out the band’s music video for the track “Time Machine” below:
• The instrumental quintet Lotus is one of the leading forces in the Livetronica movement, which features artists taking an Electronic and Dance music core and turning it inside out, mixing in plenty of other influences and leaving arrangements wide open for live-show improvisation. Embraced by the “Jam Band” community, groups like Lotus (which dips into Rock, Funk, Jazz, Post Rock and beyond on its musical adventures) are helping to push the boundaries of improvisational music in a modern context.
The band’s 2013 album Monks is another great example of Lotus’s creative membership pushing forward without any genre anchors around their necks. The LP is a compelling Hip Hop record featuring numerous guest MCs, including Mr. Lif, Gift of Gab, Lyrics Born and several others. The album is available for free download here.
Lotus performs at Covington’s Madision Theater tonight with exquisitely monikered (and musically like-minded) Electro trio Cosby Sweater opening things up at 8 p.m. Admission is $20 at the door.
Here’s the Monks track “Cloud 9,” featuring Philly MC Ras Arcane and Digable Planets’ Doodlebug:
• After all the reported in-fighting, hiatuses and breakups they’ve been through, it seems like rockers The Black Crowes have finally realized that, both creatively and financially, they need each other. The band have become a bit like The Rolling Stones in that way — after so many years and so much chemistry, even though Mick and Keith often seem to despise each other, they keep the Stones flag flying because it’s what they do. The Crowes are in an interesting position, where they can still go out and just play their “hits” and fan favorites, continually drawing big crowds thanks to the cultishly loyal fan base they’ve built up over years of amazing live shows.
That’s just what the Crowes will be doing tonight when they return to the Taft Theatre tonight for an 8 p.m. show. There’s no new album (the most recent Crowes release was 2010’s Croweology, a retrospective consisting of mostly acoustic versions of their finest songs), so expect a fan-friendly set of Crowes faves, a cover or two (the band has been doing Fleetwood Mac’s “Oh Well” on this tour) and lots and lots of jamming. Though the continued success of the band on the road suggests this is far from the band’s last tour, the Crowes have said this will be their last jaunt for a while as they tend to other projects outside of the band.
Here’s a big chunk of a Crowes’ performance in Virginia this past September:
• After four albums on which he played every note, David Obuchowski’s Distant Correspondent project morphed into an actual “band” this year with a self-titled debut album release and the launch of its first full U.S. tour. Obuchowski had been operating the DC project on the side, with his main band, Indie Metal powerhouse Goes Cube, taking up most of his time. Distant Correspondent started to blossom when Obuchowski began trading recordings and collaborating with Michael Lengel over the internet. The collaboration grew to include other members, including Emily Gray from the U.K.’s Meanwhile Back in Communist Russia and acclaimed solo artist Edith Frost.
Fans of Goes Cube should know that Distant Correspondent’s music is a different beast entirely, emitting evocative, hypnotic soundscapes that have landed them the “Dream Pop” tag. For the band’s first full American tour, Cincinnati’s Margaret Darling, whose popular local band The Seedy Seeds announced an indefinite hiatus this past summer, joined the group, taking the place of Frost, who was unable to tour. (Read Brian Baker's DC preview for CityBeat here.)
Here is Distant Correspondent’s music video for the new album track “Shatter.”
• This past September at Cincinnati’s MidPoint Music Festival, South Korean rockers Love X Stereo were one of the more anticipated international acts in the lineup. But due to some travel issues, the band was unable to get out of Korea in time to make the festival. The group, which plays highly danceable Electro Rock music heavily influenced by ’90s American Alternative music and Punk, promised to make it back to Cincinnati as soon as possible and, tonight, Love X Stereo makes good on that promise.
The band performs a free show tonight at MOTR Pub in Over-the-Rhine. Eclectic Bloomington, Ind., Indie/Psych Pop/Rock trio Fluffer — which did perform at this year’s MPMF — opens the show at 10 p.m.
Here is the audio for Love X Stereo’s “Lose to Win,” the lead-off track on the band’s new EP, Glow, which was put together for the group’s first U.S. tour.
Greater Cincinnati Rock band Pike 27 was a staple on the local club circuit in the early-to-mid-’00s, playing sweaty, raucous live shows to a dedicated following (headlining and opening for the likes of Dave Alvin and Chuck Prophet) and releasing the acclaimed full-length, Falling Down Hard, in 2001. But in 2007, frontman/guitarist/singer/songwriter Dave Purcell left Cincinnati for Northern Ohio, taking a job as a sociology professor at Kent State.
This past summer, Purcell returned to Cincinnati and resurrected Pike 27 with a new lineup. Returning to his role as Pike 27's bassist is Sean Rhiney, formerly of Clabbergirl (in which Purcell played rhythm guitar) and co-founder of the MidPoint Music Festival. New to Pike are guitarist Mike Fair (Wojo, Mike Fair & the Adventure Seekers) and drummer/multi-instrumentalist Dave Killen, a professor at Cincinnati State.
The “new” Pike 27 has moved away from the Americana/Roots Rock style it was known for, a reflection of the new songs Purcell has written for the band. (The group is also reviving some older material for its upcoming live shows.) Purcell says that while working on the new songs, the members have remarked that the material is more in line with artists like Robyn Hitchcock, The Kinks, Graham Parker and Grant Lee Buffalo — still smart, catchy and rockin’, but with the twang dialed back.
"How do you pin down REM, Elvis Costello or Glen Hansard?" Purcell says of Pike 27’s less easily categorizable style. "We hope to land in there somewhere — jangly, smart, sometimes noisy, joyful. Good to raise a pint to."
I was a few months shy of 16
when I first heard the lucidly stark voice of Lou Reed stream over the
airwaves. I was just another suburban weirdo, looking for a justified rebellion
to call his own. I had spent those “formative years” sleeping around with any
album loud enough to drown out my inner white noise, moving through a steady
stream of Hardcore, Punk, Metal — if
they were screaming it, I was buying it. As it turns out, though, what I was
really looking for was a quieter sort of revolution, and at the helm was Mr.
Lou Reed, telling me with a frank honesty that there was freedom in the
composition. It was, like any great lesson, one I’d come to learn in time.
To say I enjoyed those first striking chords of “Heroin” would be an
understatement. It was on a snowy night in 2007, crammed in the back of a
friend's Yaris Liftback, when I first heard it. I can’t remember exactly where
we were previous to that moment, when that raw melody first came in. All I can
remember is how I suddenly became more aware of myself than ever before.
Everything I knew about music, about artistry, about writing — all of it would
change with that first overlap of beautiful melody. I was mesmerized, shaken
from a stupor of conditioned knowledge and thrown into a concoction of John
Cale’s haunting strings with Lou Reed’s candid crooning. By the time Maureen
Tucker’s drumming kicked in, sparse in its reverberation, my resolve would be
just as stripped, replaced by a wily knot that would take years to untie.
Though, right then, the song was just “fucking awesome.”
It would only be years later, waking up to a chilled October morning in 2013,
that this memory would even begin to matter. As the headlines would come to
read, “Lou Reed Dead at 71,” so, too, would the horizon appear most clearly.
I’ve always been a firm believer in the crossover of influences, the
collaboration of mediums in shaping any sort of artistry. As a writer, I can
proudly say that the recorded sound has had just as much influence on me as the
written word. And when I heard the Velvet Underground for the first time, it
became clear that they believed in a similar marriage, affirmed on the morning
of Oct. 27. With the news of the passing of a legend came an onslaught of
anecdotes from around the arts world, plastered against my computer screen. Amidst
the mass of legends, one story stood out in particular.
As according to
Rolling Stone, it was
1965, and the first few months of the Velvet Underground playing under their
iconic moniker. They had began a residency playing in New York’s Café Bizarre
and in the beginning stages of developing their distorted and chaotically
composed sound. Management was set on having performers play more contemporary
numbers, and warned the band not to play their original composition “Black
Angel Death Song.” They went on to perform the number anyway, fit with all the
chilling accidentals in its string arrangements, and were fired immediately.
Though they would emerge from that loss victorious (it led to their
introduction to Andy Warhol, the man who would come to produce their record and
put them on the map of the underground art scene of ‘60s New York), there was
something bigger about that moment, something more pressing in my association
Incidentally, “Black Angel Death Song” was the first thing I clicked on Sunday
morning when I heard the news of its writer’s passing. The strings were
suddenly more haunting, and the story seemed all the more important. It was yet
another quintessential moment in the life of Lou Reed, a man who sang with
unbridled frankness, who played with unencumbered passion, and who inspired me
with the tirelessness of his dedication to honest expression. It transported me
back, seven years and a lifetime ago, to that night in December 2007, when I
first pricked my ears with another of his songs, that found, all at once, both
comfort and chaos within itself. Though I’d spend the lapsed time between 2007
and 2013 finding appreciation for the 40-plus years of Reed’s prolific career —
from “Black Angel Death Song” and “All Tomorrow’s Parties,” through “Satellite
of Love” and “Pale Blue Eyes” and even up until his
Hudson River Wind Meditations — it would always be that
compositions that would stay, forever imprinted in my mind.
“Heroin” became, for me, a love song to the in between — it was everything I’d
been listening to up until that point and nothing I’d ever heard before; it was
the sentimentality of Indie Rock, the calm before the double bass in hardcore,
the simplistic, chord interplay of Punk and its cleaner cut cousin Pop. And, at
the same time, it was also the recklessness of avant-garde, the soundtrack to
the colors of an underground New York I’d only experience in preserved murals
and snapshots. It was everything I’d known, and everything I would come to know
about music, about art, about sound and about writing.
There are moments that comprise your past, songs that take you to a memory you
thought you’d left. And then there are moments that define your future, songs
that propel you forward into infinity.
Lou Reed, and what he accomplished before, with and after the Velvet
Underground, stood as a symbol for finding freedom in ones composition, and
pushing the statements made to work in a fashion of success.
It was a lesson I would learn time and time again in my own work, as I moved
through the progression of my writing and my own performance techniques. I
would come to face my own obstacles, fight my own battles against normative
expectations. And it would be in those times I fell the deepest, my resolve
threatening to falter, that this education would come back to me, mysterious in
its origins, all the while growing, like a backbone that stood rigid for honest
experimentation and freedom in the composition.
Even now, as this mystery’s been unearthed, its inductor put to rest, ahead of
me remains miles and miles of still shrouded possibility. But against that wall
of lessons I’ll stand, riveted, staring towards the looming unknown. And I’ll
try for a different kind of kingdom, if I can.
New York City Ska legends The Toasters were the bridge from the late ’70s 2 Tone Records-fueled Ska revival in the U.K. to the one that brought Ska into the American mainstream in the ’90s. Easily one of the most influential Ska acts of all time, The Toasters were formed in 1981 by Robert “Bucket” Hingley, a U.K. native (and the group’s lone constant member) who had just moved to The States, taking inspiration from the 2 Tone Ska being created in his homeland (The Beat, The Specials, The Selecter, etc.).
The Toasters, in turn, helped inspire multitudes of Ska bands to form, something that ultimately led to the development of so-called Ska Punk. Having a hard time finding a label, Hingley formed his own, Moon Ska Records, which grew to become the major American Ska indie imprint, releasing music (via albums or the label’s popular compilations) by The Slackers, Dance Hall Crashers, Mustard Plug, Less Than Jake and No Doubt, among many others. The Moon label was a road-map to quality American Ska when the music was more underground; the imprint, which was artist- and consumer-friendly (like Punk label Dischord, Moon always kept prices low), experienced its greatest success during the ’90s Ska boom, but when the music fell out of mainstream favor, the label faded away. Hingley moved to Spain, where he formed another label, Megalith, to continue releasing Toasters albums.
The Toasters were the cool elder statesmen of the Ska scene and they’ve survived the fickleness of musical trends and an ever-changing music industry for over 30 years now by doing things on their own terms and keeping true to their vision.
• Nashville’s Escondido came together quickly but very naturally. The project of Jessica Maros and Tyler James (a solo artist who has also toured as pianist for Edward Sharpe and the Magnetic Zeros) got its start in James’ home studio when he was recording an artist with whom both were friends. During a recording break, Maros, a Vancouver native and successful clothing/jewelry designer, was casually playing a song in the studio, James hit “record,” added some light ornamentation and, essentially, Escondido was born. That night, the two decided to make an album. Fittingly, the album — Esondido’s debut, titled The Ghost of Escondido — was recorded live in just one day with a handful of talented Nashville friends/musicians, even though it sounds incredibly cohesive, full-bodied and organic.
The making of the full-length, released at the start of this year, was driven by the spirit of Ennio Morricone, the legendary spaghetti western soundtrack genius, and that desert-sunset atmosphere meshes beautifully with the band’s mix of Indie Rock, Pop and Country. The end result is mesmerizing, a hazy, dreamy collection of haunted, mysterious soundscapery and spine-tingling harmonies and vocals, making the band reminiscent of a slightly twangier, more dynamic and grounded Mazzy Star. Along with garnering a wide-range of supporters, from the tastemakers at KCRW to the writers at Vogue, The Ghost of Escondido also made a fan out of eccentric filmmaker/artist/writer/musician David Lynch, who wrote about his love for the band in Mojo magazine.
Here’s the music video for Escondido’s “Black Roses.”
The duo (fleshed out by a full touring band) performs a free show tonight at MOTR Pub in Over-the-Rhine. New York City’s Indie Pop/Garage Rock group Unicycle Loves You opens the show at 10 p.m.
• Tonight at Covington’s Madison Theater is a good chance to hear what a “Jam Band” sounds like in 2013, as several groups join forces for an all-ages, 8 p.m. show. Or, rather, you’ll hear how almost no two “Jam Bands” sound alike anymore, making the Grateful Dead-mimicking cliches about the scene completely outdated. Today, the “Jam” tag has less real meaning than ever, with the groups earning the descriptor exploring a huge range of styles. Jam Bands now often share little more than a tendency to improvise.
Headliners Dopapod epitomize the diversity of the modern Jam scene with their progressive blend of Electronic music, Jazz, Rock, Soul, Funk and various other styles. The Brooklyn, N.Y., group released its third studio album, Redivider, late last year, introducing fans to a Dopapod first — vocals (previously, the band was all instrumental). Read Brian Baker’s preview of the show for CityBeat here.
The support lineup for Dopapod is a varied collection of mostly local bands that reflect the same kind of sonic adventurousness as the headliners, though, of course, each bringing their own slant — Ethosine, Nevele, Us Today, Freeform Connection, Peridoni, Aliver Hall and Blue Moon Soup. Tickets are $15 at the door.
• Though they never reaped the full rewards and commercial success that some bands that came after them did, Michigan’s Mustard Plug was one of the early guiding forces behind the ’90s Punk Ska explosion. The band put out its first album, Skapocalypse Now!, on cassette in 1992 and moved up to third-wave Ska’s version of 2 Tone Records, NYC’s Moon Records, for its second full-length, kicking off two decades of hardcore international touring.
Mustard Plug later joined the roster of Hopeless Records, which would go on to become one of the top independent Punk labels in the country. While the vast majority of Ska Punk bands from the ’90s either moved on to another style of music or imploded after the “craze” died down, Mustard Plug continues to write new songs, put out new music and tour on a regular basis, its loyal cult of fans proving that, while you won’t hear it on the radio anymore, there is still an audience hungry for Ska Punk done well. Mustard Plug has been operating D.I.Y. since parting ways with Hopeless; a new album (the band’s first since 2007’s In Black and White) is reportedly finished and due soon thanks to a successful Kickstarter campaign.
Mustard Plug plays a free show tonight at Northside Tavern. Opening is Cincinnati’s Elysian Souls.
• October is coming to an end, which means Rocktober is also almost over and Rocktober on the Square, a new every-Friday concert series at downtown’s Fountain Square, is winding down as well. Today at 5 p.m., the final Rocktober on the Square show starts with a set from great, rootsy singer/songwriter Josh Eagle.
In the 6 p.m. slot is singer/songwriter Mike Oberst of popular Cincy Folk group The Tillers, who are heading overseas for their first ever U.K. tour, playing Nov. 1-16 throughout England, Scotland and Ireland as support for Pokey LaFarge.
The always fantastic 500 Miles to Memphis closes out Rocktober at 7 p.m. It’s the rowdy, rootsy rockers’ last local show of the year; the 500MTM fellas are taking a break from performing to go back into the studio to finish their next album.
Rocktober on the Square is a free event. Click here for more info.
• Don’t forget — the One More Girl on a Stage benefit concerts continue today after last night’s kickoff at various venues in Over-the-Rhine. The OMG fest takes over the Southgate House Revival in Newport for a “whole house” show tonight starting at 7 p.m. Go here for complete details.
Instead of hosting the festival at one venue, this year’s
One More Girl benefit has expanded to six local venues in two cities
over three nights. The lineup for One More Girl showcases female solo
artists and bands with a female presence (mostly) from the Greater Cincinnati
area. Many of them also happen to be some of the best acts in the
region, playing a range of styles that includes everything from Hard
Rock and Pop Rock to Bluegrass, Folk and many other variations on the
Below are the lineups, links to venues and performers and a few samples from the some of the acts.
One More Girl on a Stage kicks off tonight in
Over-the-Rhine, with artists featured at four venues. There are no cover
charges at any of the venues.
8:30 p.m. Good Night Noises
8 p.m. Charmed & Tarnished (a new project from Kelly Thomas and Randy Steffen)
9 p.m. The Missy Werner Band
7:30 p.m. Holly Spears Band
12:15 a.m. Sassy Molasses
10 p.m. Jesse Thomas
Saturday’s OMG performances will be held on two stages at Newport’s York Street Café beginning at 7 p.m. Admission is $10 or you can purchase a Friday/Saturday pass for $20 in advance, which will get you into both the Southgate shows and the ones at York Street (click here to purchase).
Third Floor Art Gallery Stage:
10 p.m. Carole Walker
11 p.m. Hickory Robot
Second Floor Stage:
10:30 p.m. Alone at 3AM
11:30 p.m. Kelly Thomas and The Fabulous Pickups