If you happened to have checked out this past Saturday's Beats Summer Concert Series event (the popular Hip Hop/Dance/DJ night presented by Self Diploma every Saturday this summer) on Fountain Square, you probably got a taste of the skills of Cincinnati native Santino Corleon, who performed right before headliner DJ Clockwork.
This week, you have another chance to sample Corleon's goods as the head-turning MC has released his latest track and accompanying music video, "Tats."
Corleon has already become a "name to watch" around the region. Upon returning to Cincinnati after a stint studying (both at college and in the Hip Hop community) in Brooklyn, Corleon stepped up his game and has been invited to perform with artists like Big Sean, Method Man and Redman, J. Cole and Gucci Mane (among other big-timers) and performing at various music festivals around the region. He's also built his buzz up by releasing several widely distributed mixtapes, including his most recent, The Hangover, hosted by DJ E-V (who works with Machine Gun Kelly and Mike Posner) and featured on Hip Hop/mixtape sites like TheOneMic.com, Live Mixtapes and LeakJones.
You can listen and download The Hangover and its predecessor — the more freestyle-oriented Where's the Love? — right here for free through Corleon's site.
Corleon is also giving away free downloads of "Tats," which will be a part of his next full release, Keep the Change. Check the video (directed by Dan Gotti) below, then click here if you'd like your very own download. The track has a cool sparse/ambient quality, with some great, tricky beats and a bass-rumble that could wake the dead. (Note: The track is also pretty non-PC and probably NSFW for most of you reading this at your job, due to language. But if your boss is cool with it, so are we.)
MPMF news and musings: The official MPMF.12 "Kick Off Celebration" is set for Wednesday, Sept. 26, in the Hanke Building just off Main St. (215 Michael Bany Way, between 12th and Reading). The free, open-to-all (21-and-up) party starts at 6 p.m. and will feature music from DJ Ice Cold Tony (who will be laying down some mash-ups featuring MPMF artists) and great Cincy rockers 500 Miles to Memphis will blow the rest of the roof off with a set starting at 9 p.m. There will be giveaways, free Vitaminwater, free Eli's BBQ (while it lasts) and a chance to win a pair of VIP tickets to the CityBeat-sponsored New Year's Eve blow-out at Bogart's featuring music by The Afghan Whigs.
And now, with the countdown down to just 8 days, here are our daily MidPoint Music Festival 2012 picks …
Tennis (Denver, CO)
It’s been a breakthrough year for Colorado Indie trio Tennis, starting with the winter release of its stellar (and highly anticipated) sophomore full-length, Young and Old, on Fat Possum Records. After touring its comparatively lo-fi, critically-lauded debut Cape Dory (crafted by core duo Alaina Moore and Patrick Riley), the duo took its vintage Pop songs into the studio with The Black Keys’ Patrick Carney, who helped give the songs a more direct punch (resulting in the addition of a drummer to the fold). Where acts like Best Coast and Jesus and Mary Chain rewire the classic Pop of the ’60s, Tennis write songs that often recall the ballads of ’50s Pop, something more evident and effective on Young and Old, which charted well and performed exceptionally at college radio. The band’s songs have been used on TV shows like Grey’s Anatomy and are becoming favorites in the fashion world, and they’ve also made a fan out of the Republican (one of "the good ones") daughter of an almost-President, Meghan McCain, who tweeted her joy that Tennis had become the soundtrack to her summer this earlier this year.
You'll Dig It If You Dig: Lesley Gore, Dusty Springfield, the house band for Mad Men (if they had one). (Mike Breen)
Tennis performs at the Know Theatre on the Bioré Strip's Main Stage Saturday, Sept. 29, at 11:45 p.m. Here's Tennis' clip for their swoony tune "Pigeon."
The Bonesetters (Muncie, IN)
Bonesetters don’t necessarily sound like a lot of bands but they fit well in the Midwestern construct of talented groups crafting a complex sound out of relatively simple ingredients. Sparse guitar melodies, both plugged and unplugged, are appointed with spartan rhythmatism, unexpected instrumental counterpoints (mariachi trumpet, keening violin, gentle vibes, wheezing harmonium) and a quiet sense of Indie Rock urgency on Savages, Bonesetters’ full-length debut from late last year. It’s easy to understand why Muncie loves Bonesetters, it’s harder to understand why they don’t play here all the bloody time.
Dig: Clem Snide, My Morning Jacket and Gomez making high lonesome carnival Surf Rock for emo hodads. (Brian Baker)
The Bonesetters perform Thursday in Washington Park at 5 p.m. Here's the band's debut album, which you can sample below, then download the whole shebang for free.
LOCAL LOCK PICK
The Dukes Are Dead (Cincinnati, OH)
Rock & Roll
If you’re a local Rock fan who has yet to catch a live show from exciting Cincinnati foursome The Dukes Are Dead, you’ve missed out on some great shows … and you only have this one more before The Dukes Are Dead are dead. In just a couple of years — first as “The Dukes,” before adding “Are Dead” to avoid confusion with the 17,000 other bands with the same name — the foursome amassed a loyal following and even got into theater, becoming the house band for the local staging of “Rock musical” Bloody Bloody Andrew Jackson. Though the band’s last show (sure to be a debauched blow-out) is this one at MPMF, there is hope for fans — in their farewell note on Facebook, it was announced that the members will each continue to pursue making music in the future.
Dig: No-nonsense Rock & Roll, bands with names that turn out to be prophetic. (MB)
The Dukes Are Dead's final show is Saturday, Sept. 28, at 8:30 p.m. at The Drinkery. The kind gentlemen of The Dukes are also giving fans some final recorded music as a parting gift — sample below then click on the player to download your free copy of the five-track EP, Before We Died.
Click here for full MPMF details via the official MidPoint site.
This date in music history is a sad one, marking the "gone too soon" deaths of several young musicians with a lot ahead of them.
• Guitarist Paul Kossoff was the cofounder of British Rock band Free with singer Paul Rodgers and bassist Andy Fraser. The band's 1970 Fire and Water album spawned the band's best-known song, "All Right Now," but the band split by the end of that year. They reformed in 1972 and put out two more albums before calling it quits for good. Kossoff did solo work, played with many other artists and formed a band called Back Street Crawler. The guitarist was in poor health in the years after Free, reportedly due to drug problems and frustration over the demise of his most successful musical project. Kossoff died on a flight from L.A. to New York in 1976 from heart problems. His father spent the rest of his life campaigning against the perils of drug abuse, even doing a touring one-man show about his son. Kossoff's headstone contains the epitaph, "All Right Now."
Kossoff was 25.
Click on for Born This Day featuring Bun B, Billy Sheehan, Ricky Wilson and Terry Hall:
First let me say that I'm not what you would call a huge Olympics fan. This isn't an essay on sports. I'll tune in occasionally for things like basketball, soccer and Brazilian women's beach volleyball (LOTS of Brazilian women's beach volleyball), but it's hardly Must-See-TV for me every four years. If I had more patience, I'd probably watch more — but researching how the scoring works in water polo (and where they hide their horses) kind of takes the fun out of things.
I do love the drama of sports. I grew up the music nerd who didn't like sports because it was for jocks. My stance softened thanks to the 1999 Cincinnati Reds. Living just a few blocks away from the old Cinergy Field, I probably went to 50 home games that year — paid five bucks for a cheap "Top 6" seat (before they'd stop you from moving closer if there were open seats, which there usually were). Some of the dramatics of that season (cut short by a devastating one game playoff loss to the Mets) re-made me into the sports fan I was as a 10 year old.
The way drama in sports moved me reminded me (and still does) of the way music moves me. Though quite different experiences (sports is "thrill of victory/agony of defeat" exciting, while music moves me to my very core, caresses my heart, soothes my pain, gets me pumped up, etc.), they both give me a somewhat similar tingle in my brain.
As this year's Olympics progressed, I began to notice a lot of complaints about NBC's "tape delayed" coverage, whereby the network would hold back all the key, shining (mostly American athlete-oriented) moments for its prime-time broadcast. Of course, as pretty much every person with the ability to communicate online noted, this meant hearing that, say, Michael Phelps and Usain Bolt just made Olympic history … then turning on NBC to hear "tune in at 9 p.m. to find out how!"
Anyone with access to a radio, TV with channels other than NBC, a computer, smartphone or an excitable Olympics superfan BFF usually found out what happened up to 10 hours ahead of time. In some ways, I felt bad for the piling-on of NBC's Olympic events coverage. I mean, they did broadcast hours upon hours of live footage from London on their multiple Olympics platforms (iPad apps, Android apps, websites, additional channels, etc.).
But some people are busy, work strenuous jobs (without access to the aforementioned fancy devices) and want to come home, have some dinner, maybe smoke a doobie and THEN see what happened earlier at the Olympics. I'd be curious if anyone was actually able to avoid all spoilers — every time someone won a medal, I received a "news update" alert on my smartphone or would find out instantly on a British news website or within my Twitter or Facebook feed.
So I cut NBC the slightest of slack for fouling up some of the tape-delayed broadcast decisions (but there was no excuse for promoting Today show interviews with "new gold medalists" right before viewers actually saw said gold medalist win the top prize, something NBC did multiple times). If you really wanted to see an event live, you could do so.
The same can be said for the Closing Ceremonies, which streamed live on the Olympics many media platforms. But when it came time for editing it all down to a tight two-and-a-half hour or so prime-time broadcast, NBC had to cut some material out of the Closing Ceremony to make it fit and leave room for McDonald's and Coke commercials.
During the Opening Ceremonies, NBC shamefully cut away to show Ryan Seacrest interview Michael Phelps instead of airing the ceremony's tribute to the 52 victims of the July 7, 2005, terrorist attacks in London.
There's editing for time and then there's just rude ethnocentrism. If New York City hosted the Olympics and the BBC cut away from the broadcast to show Simon Cowell interview legendary British track cyclist Chris Hoy, I wouldn't be shocked if the U.S. immediately began discussions about when to start the bombing of London.
Thankfully, nothing quite that insensitive occurred during the Closing Ceremonies.
The Closing Ceremonies piqued my interest the most of all of the Olympic happenings, mostly because I'm a proud Anglophile when it comes to music. Of my favorite artists ever, I'd be shocked if half weren't from the U.K. (if not more).
So I was fairly excited when I heard that the Closing Ceremonies would be titled "A Symphony of British Music" (look, you can already buy a CD) and focus primarily on England's greatest export, alongside comedy (which was spotlighted cleverly in both the opening and closing events) and Cadbury Creme Eggs. (I was only "fairly" excited because these things can often be cheesier than a Super Bowl halftime show with Up With People)
I had a slightly busy Sunday (well, busy enough that I couldn't watch stuff on TV or online all day), so I checked a handful of performances from the Olympics live stream, figuring I'd be able to catch the whole thing later.
There were some great moments. The John Lennon/"Imagine" salute was touching in a pure, unforced and restrained manner (not much else was, but that's not what ceremonial, once-in-the-lifetime, music-driven ragers should be about, especially in London).
It was interesting to see athletes from other countries singing along to Oasis' biggest hit, "Wonderwall," in seemingly their own languages (not sure how Noel Gallagher felt about his little bro's band Beady Eye playing it, though; Noel did turn down a chance to participate).
The unfussy cover of Pink Floyd's "Wish You Were Here" was serviceable, but gets bonus points for bridging a generational gap by bringing together hot new singer/songwriter Ed Sheeran and RIchard Jones from young Brit band The Feeling with PInk Floyd drummer Nick Mason and Genesis guitarist Mike Rutherford.
Meanwhile, the only thing missing from Eric Idle's perfectly nonsensical performance of "Always Look on the Bright Side of Life" was a chorus line of singers nailed to crucifixes (a la Monty Python's Life of Brian, the film in which it first appeared).
And, cheesy as it may have been, Freddie Mercury (in video projection/hologram-ish form) leading the stadium through a chant proved he is STILL the best frontman in Rock, even in death.
There were also, as is to be excepted, several cringe worthy moments.
The Spice Girls were a big deal for a few minutes, but did they deserve to perform more than one song at a global event like the Olympics? What exactly did they give the world besides a lady-friend for one of the planet's (former) greatest soccer players? I know, I know — it was a "rare" reunion (though it feels like they have "rare reunions" ever six months or so). I kept hoping for a five-olde-timey-taxi pile-up as they zoomed around the performance area at seemingly dangerous speeds.
Singer Jessie J must now be bigger than Princess Diana in the U.K., because she was able to perform multiple songs as well, like her big hit "Price Tag," showing the U.K.'s contribution to crappy Pop music, and "We Will Rock You" with Roger Taylor and Brian May, presumably because Paul Rodgers either wasn't available, passed away recently or refused to wear a nude, bedazzled unitard.
Ms. J also jammed with the artists during the segment where the London Olympics showed the world that there are indeed black people in the U.K., though Taio Cruz and Tinie Tempah are essentially carbon-copies of crappy American R&B/Pop singer/rappers. They did do a fun, mercifully short cover of the Bee Gees's "You Should Be Dancing," which probably pumped up views of the Bee Gees' Wikipedia page thanks to all of us who could have sworn the trio was from Australia (they were born in the U.K., moved to Australia, then back to the England where their career kicked off in earnest … in case you don't get Wikipedia).
There were a few glaring omissions from the parade of British Music stars, but the ceremony director gets a pass for that. How do you fit a century of music into three hours? Still, I could have done with seeing The Cure play (anything but "Killing an Arab") or New Order do a Joy Division/New Order mini-set or even Def Leppard (at least!) representing the influential New Wave of British Heavy Metal movement in lieu of Russell Brand singing a Willy Wonka tune and miming "I Am the Walrus."
And, hey, remember how Britain co-invented Punk Rock? Beside awkwardly copping "London Calling" as a sort of unofficial anthem (before people apparently listened to the lyrics) and a mention of designer Vivienne Westwood, Punk Rock wasn't very big in the U.K., I guess. And Fatboy Slim apparently invented the British rave scene and U.K. dance music (while living inside a giant inflatable octopus).
Finally, in the spirit of mixing British humor and music, it would have been hilarious if George Michael would have appeared with former Wham! mate Andrew Ridgeley clasped around his leg ("I let go once — never again!").
The Rolling Stones, David Bowie, Sex Pistols, Kate Bush and others reportedly turned down invites to be involved in the ceremony, though at least most were given props during the ceremony (Bowie's "Fashion" soundtracked the tribute to British fashion through the years, while a remix of Kate Bush's "Running Up That Hill" was used as the music for a dazzling dance number spotlighting the tune).
The biggest blunder of the Closing Ceremonies, though, came once again courtesy of NBC's prime time broadcast.
I'm an editor and I understand that sometimes you can't fit every single thing you want into the tiny box given to you; tough calls must be made sometimes.
But what network exec's 14-year-old niece was given control over the U.S. broadcast's final cut on NBC? Whoever made the tough decisions made a few seriously bad ones and the internet has been screaming about how much it SUCKED ever since.
The Kate Bush-soundtracked performance was cut, but I get that. Kate's not a household name in the States. I caught rockers Muse — who wrote and recorded the official song of this year's Olympics, "Survival" — and can forgive that one too — their performance was a bit lackluster and the song has an oddly ominous tone, like something Mussolini would have commissioned had the Olympics ever come to Italy during his reign.
Ray Davies' performance might have been spared if he'd playing "You Really Got Me" or some other U.S. FM radio staple. But Davies could play nothing but his gorgeous ode to London, "Waterloo Sunset," because it was the perfect time and place for the beloved British hit to be performed.
(Click ahead to the 1:35 mark to see it, until NBC removes it)
When I realized NBC cut "Waterloo Sunset," that's when my head-cocked bemusement turned to "WTF!" annoyance. A peek at the internet revealed I was not alone (I think the Davies cut was the hardest for most true Rock fans to take).
That is, until the end of the broadcast.
The absolute worst cut from NBC's primetime broadcast was the deletion of The Who, the perfect British band to provide a grand finale. If you were watching live, you saw the extinguishing of the Olympic flame and then, while Bob Costas was allowed to blather on about nothing over the allotted air time a day or two earlier, causing the show to "run over," Costas signed off with a very quick, "We'll be back from Olympic Stadium in about an hour for the London closing party featuring The Who. But stay tuned now for a full episode of Animal Practice, the new NBC comedy presented commercial free."
The network switched over to Monkey Doctor (or whatever it's called) and then followed it with local news.
THEN The Who's impressive eight-minute medley — touching on proudly anthemic and quite British tunes like "My Generation" — was allegedly aired, an hour after prime-time programming had ended. Pete, Roger and their ringers kicked things off with "Baba O'Reily," with its perfectly dramatic, almost always spine-tingling opening keyboard riff, which would have made a perfect segue way from the flame being put out. Instead — Hospitals for Monkeys (or whatever it was called), commercial free!
I left NBC as soon as Marcus Monkeypants MD started and ultimately fell asleep, mumbling to myself about how I'll never watch another episode of America's Got Talent or something like that. Then I spent today looking up what I missed on YouTube and other sites … when available. There was some good footage posted for a few minutes, but NBC and the Olympics yanked them faster than Fred Willard in a movie theater.
The nbcolympics.com site DID have The Who segment up by this evening. But they called "Baba O'Riley" by its not-actual-title, "Teenage Wasteland."
See — 14-year-olds are running NBC!
Ultimately, it's not that big of a deal — today there was another sad, tragic, inexplicable shooting in public near Texas A&M University. We STILL have not seen what Paul Ryan's abs look like. And NBC says the Olympic games were the most watched in history; one ad exec went so far as to suggest the high ratings in the U.S. were BECAUSE of the weird tape-delay approach. It created excitement (not hair-pulling-out frustration?).
So keep it in perspective and start getting ready for the 2016 Olympic games in Brazil. I'm already plotting how to watch it all as it should be watched — on a live stream, on Brazilian TV or in person (CityBeat, I'm volunteering my services). Because you just know NBC is going to shoot 90% of it from "above the waist." Some of those amazing booties over there are definitely NSF-NBC.
Australian Dance Rock trio Art Vs. Science headlines the free MidPoint Indie Summer concert on Fountain Square tonight at 7 p.m. Also on the bill is Electro duo You, You're Awesome and unique Indie Rock group SHADOWRAPTR.
AvS keyboardist/guitarist/vocalist Dan McNamee spoke with CityBeat this week about the band's "conversion mission"/U.S. tour and how they borrow elements from various Dance music styles to create their own distinctive sound. Read Brian Baker's interview with McNamee here.
Below, check out a live video from Art Vs. Science, a recent clip from Shadowraptr and You, You're Awesome's cover of Gary Numan's "Metal."
• It's a night of Doom, Sludge and Crust as rising underground Metal locals Beneath Oblivion headline a free hometown show tonight at Baba Budan's in Clifton Heights. BO has been continuing to tour behind its latest From Man to Dust album, which was released by former local label The Mylene Sheath and has been receiving glowing reviews from outlets like Decibel Magazine and MetalSucks.com. The band will be hitting the road again in August.
Performing with Beneath Oblivion at its 8 p.m show will be Grass (Sludge band from Philadelphia), Before the Eyewall (Sludge from Columbus) and Cincy Crust Punk crew Coelacanth.
• The new group DAAP Girls makes its live debut tonight, opening for solid Detroit rockers The Sights at MOTR Pub in Over-the-Rhine.The Girls consists of members of local Rock band The Lions Rampant and NoKy Ska/Reggae crew The Newport Secret Six. Lions/DAAP Girls member Stuart MacKenzie describes the band as a “dance-oriented mix of early Stones’ guitars, Funk breakbeats, three-part harmonies and Reggae bass.” Tonight's free show kicks off at 10 p.m.
Headliners The Sights begin touring with Tenacious D tomorrow (playing Nashville's Ryman Auditorium) and are promoting their latest release, Left Over Right. Here's the Garage Pop band playing the title track at a show in Ypsilanti last month.
• Fans of Americana/Roots/Folk music can catch some of the area’s finest tonight at Paddlefest out at Coney Island, as WNKU presents the Roots on the River Music Festival. The fest (and parking) are free. Artists scheduled to appear (5-11:30 p.m.) include Jake Speed & The Freddies, Tex Schramm & the Radio King Cowboys, The Lewis Brothers, Magnolia Mountain and Brown County, Ind., Country Blues faves Reverend Peyton’s Big Damn Band. Full details on Paddlefest can be found here; click here for the music schedule.
• The Jam band kings of Phish return to Cincinnati tonight for a 7 p.m. concert at Riverbend. Tickets are $41.50-$56.50.
Perhaps because Cincinnati is becoming such a cool city to hang out in lately, like the members of the Red Hot Chili Peppers (who hung out at the Radiohead concert and took batting practice with the Reds the night before their show in Cincy recently), the Phish phellas spent an off day in the Queen City yesterday. Singer/guitarist Trey Anastasio and bassist Mike Gordon spent at least part of the day shopping for and/or playing with gear at Mike's Music in Corryville. Check out the pics below of Trey and Mike noodling about in the store (from the Mike's Music Facebook page here).
The superb, now veteran local Indie Pop group The Minor Leagues are gearing up for the release of their new album, North College Hill. The album was recorded last summer with Sean Sullivan at The Butcher Shoppe, the Nashville studio owned by legendary singer/songwriter John Prine and Grammy-winning engineer Dave Ferguson (Johnny Cash, U2, Ryan Bingham), and was recently mastered by Michael Bond from the band's label, Datawaslost. The Minor Leagues recently made the album's first single — "Ghost Maps" b/w "Please Don't Throw My Love Away" — available as a free download from their new website (www.minorleaguesmusic.com).
It's looking like the historic Emery Theatre on the border of Over-the-Rhine and Downtown is back in business as a full-time functioning venue. Bands like Magnolia Mountain and Pop Empire have been using the Theatre to film music video projects and, next Saturday (April 28), the Emery hosts the "Rock This Town" benefit concert for CityLink, which helps resident "break the cycle of poverty" by providing employment training and other assistance. The event's music will be provided several groups of business people who can play instruments or sing (modeled on the "Suits That Rock" concerts that benefit the Carnegie Arts Center in Covington).
On April 27, the Emery will host a dual album release party/concert in honor of two new releases from the label Ol Kentuck, run by SubPop recording artist and Northern Kentucky native Daniel Martin Moore. One of the albums is a vinyl release of producer/guitarist/composer Ric Hordinski's Arthur's Garden (read more about the album here).
The other is the first release from a duo project consisting of Moore and singer Joan Shelley (pictured) titled Farthest Field. The event will also feature readings from authors Silas House and Marianne Worthington (who wrote one of the most engaging press releases for the album I think I've ever laid eyes on for the duo's debut; click the "Bio" pdf link on this page to read it).
It's a great time to check out the Emery circa 2012 because the concert is also free and open to the public. (Rock this Town's tickets range from $35-$100 — for a great cause, of course.)
Here are two video clips (shot by photographer Michael Wilson with help on the audio side from Pop Empire) promoting the concert, with music from Moore and Shelley's Farthest Field (officially available May 8).
The Eli Young Band brings a taste of Red Dirt music to the forefront of Country music. The band has an upbeat and distinct sound that has caught on quickly on a national scale. EYB saw mild success through the years touring on Jet Black and Jealous and hit a major stride with its most recent album, Life At Best, featuring the hits “Even If It Breaks Your Heart” and ACM "Song of the Year," “Crazy Girl.”
The Eli Young Band has now reached a new height, opening Kenny Chesney’s current tour (which is hitting mostly stadiums). CityBeat was able to catch up with band drummer Chris Thompson to get the band’s feeling on its new found success and life on tour with Kenny. The tour comes to Cincy tonight at Riverbend Music Center for a sold-out stop (the tour moves to Crew Stadium in Columbus on Saturday night). It is truly the most impressive tour in Country music.
CityBeat: How did the tour come about with Kenny Chesney?
Chris Thompson: A lot of people don’t know this but Kenny is really involved in who he picks to go on tour with him. In a lot of other tours, a record label will put someone on the bill or management will partner up with other management to find a tour that works with that kind of artist, but Kenny is super hands-on.
Two years ago at the Academy of Country Music Awards, we were nominated for "Song of the Year" and so was Kenny, and we actually beat him, we won the category. I guess shortly after, there was a text going around from Kenny to his management, “Who are these guys that beat me?” and “I want to find out more about them.” He started getting into our music and shortly after we got the phone call that we were invited to go out on tour with him.
It’s just a huge honor. Like I was saying, he hand picks the folks that are out here on the road with him. It’s the biggest tour in Country music and we are just happy to be here.
CB: I was there the night you guys won the "Song of the Year" award. I was so happy for you guys. I know you have worked very hard over the years. What was the highlight of CMA for the band this year in Nashville?
CT: We were only there for a couple hours really. We flew in that morning and did a signing for two or three hours and then had a couple meetings. Then, we were out of town.
We have been going to CMA Music Fest for seven or eight years now. Back in the day we would stay for three or four days and play a show or two and be able to hang and meet as many people as we could. It seems like more and more nowadays, especially with the tours we have been on and our headlining tours, we are only able to get in for a day and get out.
It is always fun to do the signings because you meet people from all over the country and from all over the world really who love Country music. They are so excited to meet you. They are die hard fans. They bring pictures from five years ago when we met. It’s just cool that Country music does that. We are the only genre of music that has anything like that where fans can go and interact directly with the artists and have one-on-one face time with them.
CB: Tell me a little bit about “Drunk Last Night,” the new single.
CT: I think “Drunk Last Night” is a lyric we can all relate to. When we all first heard the song, we were like, “Yes, this is a song for us."
A lot of people hear a title and automatically think it’s a drinking song. We went through some of that with “Crazy Girl.” A lot of people saw the title and went “Oh, I know what this song is about,” and I think they were wrong.
I think people will find this is not the standard drinking song. It is all about, I hate to sum it up as drunk dialing, but it is kind of like the thought of doing that and alcohol feeding that desire a little bit more than in daily life.
It is also a song that we went in the studio and recorded (and) as soon as we finished the session, we could go out and play (it) live right now because it’s a great track, it’s rocking, it’s in our wheelhouse and we actually did. We started playing it at the very beginning of the Chesney tour before it was even picked as a single. The crowd really seemed to dig it and now here it is, going to be a single. Good stuff.
CB: Do you guys know or do you have a feeling when you have a hit or when you hear a hit presented to you?
CT: Yeah. I think sometimes you hear a song, sometimes people say the song gives them chills and they know that’s the one. Sometimes you get that feeling in your gut. When you hear a song sometimes, you write a lyric and you feel that, it is almost like that feeling of falling in love. Your chest kind of swells.
When multiple people feel that way at the same spot or for the same song, then I don’t know if anybody can guarantee a hit, but you know that it is at least a lyric or a song that people can relate to and I think typically good songs are universal in that sort of way.
CB: I loved your “The Cuss Jar” video — I could buy a house if I implemented that process. I wanted to know if you had bought anything fun with the money?
CT: No, actually I think that era ended. The jar got too full and I think we used that jar for laundry money one day when we stopped somewhere on the road and had a few days off and emptied the whole thing for band and crew’s laundry. Then we got too lazy to keep up with it.
CB: What has been your craziest tour story recently?
CT: I think playing Cowboys Stadium in Dallas on the Chesney tour was probably the craziest thing because we are from Dallas and we have played every tiny bar around the stadium. To just get up on stage at the biggest stadium in America was totally wild. All of our families were there; it was craziness.
CB: That’s such a special moment, I am sure you have plenty of those all the time. Do you do anything special yourself to keep the tour memories? Do you take photos or journals? Some bands blog or journal and do things to keep it fresh.
CT: Yeah, we have been fortunate on this tour, since the beginning of this year, we have had a guy out on the road with us that has started doing social media. Mainly he is taking pictures. Since January, this whole thing has been documented and we really appreciate that.
It is definitely hard for us to get good photos when we are on stage playing, when we are really in the moment, because we are playing, so he is out there doing that. This is the biggest tour we have ever done and just the momentum that this year is building, we are just happy about that.
CB: What does a typical day look like for you?
CT: On the Chesney tour when we are doing stadiums like we are doing today, we will go out and do a tailgating event, at 1 or so in the afternoon, we will all get into some golf carts and we will go out to where all the fans are tailgating and they will bombard us with jello shots and beer bongs and the local foods they have.
We hang out with them for an hour or two then we will start doing radio events where we will play a couple songs acoustic, sitting on our bus or backstage for various winners. Then we will do a meet and greet for about 60-100 people. Then, we will grab a bite to eat around then. Then we hit the stage and rock out for about an hour.
After that, we will go hang out with some radio folks or some friend that are in town and wind down about the time Kenny hits the stage so we can watch him. It’s pretty cool. It’s pretty unreal.
CB: If you could trade places for anyone for about a month, who would it be?
CT: Right now it feels like we are living the dream. I think the four of us are really happy with what is going on in our careers right now. We have had some national success. It feels like we have broken out of being a regional band and it feels like we are on the cusp of something more than that. It’s a great time for Eli Young Band and it is important for us to enjoy this. I probably wouldn’t want to trade places with anyone right now.
CB: What can the fans look for from you guys tonight in Cincinnati?
CT: We try to always bring a high-energy show. We were playing a show last night and there was this older gentleman almost in front row sitting in his chair arms crossed and it looked like he wasn’t really enjoying himself. About halfway through our set he leaned over to his wife and he points at us and he goes, “Those guys are workin’ up there.” Then he smiled real big.
We want to bring that energy. We want to get on stage and have a good time and fire up the crowd. We go on right after Kacey Musgraves. Kacey is real cool and laidback and all that when she does her thing and it’s great. Then we get to come in and kick the audience in the butt a little bit.
During our set we have some new music in there and some cover songs I think gets the crowd up and clapping. After that Eric (Church) comes up and burns it down. Then Kenny Chesney comes out and the place goes nuts.