Dynamic, Maryland-based Rock band Clutch has been grinding across the world for over 20 years. In that time, the band has seen great success across 10 studio albums and has had songs featured across different forms of media, from television to movies to video games.
Clutch is performing at Columbus, Ohio's Rock on the Range fest as the final act on the Jagermeister Stage this Saturday at 5:45 p.m. CityBeat was able to get some time with Dan Maines, the band’s bass player, to preview the show and talk about the longevity and progression of an independent Rock band. Click here for full info on this weekend's Rock on the Range.
CityBeat: What has been the highlight or best touring moment of the last year?
Dan Maines: Highlight? We had a really good show in London last European run. We did a good show at the Coco. London is one of those cities for us that has grown quite a bit. Just within the last year the clubs we have played have doubled in size. The last show we had there was probably around 1,500 people, but that was by far the biggest headlining London show that we have had. We are getting ready to go back there next month and we are going to be playing a different club that has a capacity of about 2,300 people and it looks like that show may sell out. We have been having some really good luck and some great shows all over the place. It has been a really, really good year for us touring.
CB: Do you feel the Rock scene is bigger in Europe than it is here in the U.S.? Do you feel like the fans are more engaged with Rock music today?
DM: I do feel like just your straight-ahead Rock & Roll band is doing better nowadays than 10 years ago. I don’t really have an explanation for it. We have been doing this for 20 years now and we really haven’t changed the formula much, but, for whatever reason, the past few years things have picked up for us and I think people are tired of going to see a band they have heard on the radio and they like a song and then they go to a show and the band never delivers. People are tired of that mentality. They want to see good music. They want to see a band that can pull off on stage what they put down on tape in a studio.
CB: It’s tough when you show up and it doesn’t sound the same. It is fantastic when bands deliver live and I think that is what really grows the audience over time.
CB: Your band has been together with same lineup for over 20 years. It is like a marriage. What is the secret to keeping the band together?
DM: I think we all have the same personalities.
There is not an ego with any band members and we all have similar goals (for) what this band is all about. We are not one of these bands that is
ever going to cater to other people’s expectations. We just do what we
want to do. We just write songs we want to write. We are a band that
really enjoys playing shows. We really enjoy going on the road and
touring. That is one thing that breaks down a lot of bands for the most
Touring is not an easy thing to do. You have to go for it. I have seen a lot of good bands who just couldn’t stick together because of the stresses of touring, which are overwhelming for one person or another. We have always been eager to play as many shows as we can. Without that mentality, we probably wouldn’t have lasted as long as we have. We aren’t the kind of band that is surviving on a particular song we wrote that gets played on the radio. We are a traveling band. I don’t really have a secret recipe for keeping the band together. We are just very fortunate to have been able to do it and we will continue to do what we do.
CB: Is it still fun for you to be on the road?
DM: It is still fun. Playing shows is easily more enjoyable to us than being in a studio. Even when we are at home and writing the material, that is always a good time, but you are eager to play the material for an audience and that is what we exist to do.
CB: What makes you laugh the hardest when you are on the road?
DM: I don’t know, maybe seeing people who might be seeing us for the first time and get caught up in the moment and try to sing along with Neil without actually knowing the words. Sometimes it can be as simple as what snacks our road manager decides to get for the dressing room.
CB: Where do you think you will be in 15 more years?
DM: Hopefully doing the same thing and not really paying attention to how many years have passed. Doing what we are doing but on a larger scale and going to places we haven’t gone yet.
CB: Who knows where you will be going by then, maybe outer space.
DM: Hopefully it will be something more local, like South America.
CB: What is the name of the first band you were in?
DM: Oh, that’s embarrassing.
CB: Oh, I want to hear.
DM: I guess the first band was called Moral Minority and that was myself with a couple other members of what became Clutch, but that was the high school incarnation of my first band and it was probably six or eight months later when Clutch was formed.
CB: Were your parents supportive?
DM: Always. They never really gave me a hard time about it. They never really laid down a lot of expectations to whether they wanted me to go in one direction or another, and they have always been very supportive of the band. Obviously now, but even way back in the beginning when we were traveling in a van getting stranded in cities on the other side of the country and figuring out ways to get back home. They never once said, “Maybe you should consider doing something else,” and I really appreciated that.
CB: What bands are currently influencing you?
DM: I have been listening to a lot of Galactic lately. You know what I have been listening to, I don’t know how recent it is, but Public Enemy still makes records and it came as a surprise to me that they are still doing it. What is more surprising is they are still making great records.
CB: I photographed Public Enemy last Sunday. Flavor Flav still jumped six feet in the air across the stage. It was unbelievable. Not only are they making records, they are touring and killing it. It was crazy. That is what everybody should aspire to do. You guys have your own record label. What are the challenges of releasing your own music?
DM: We have tried to keep the challenges down to a
minimum from the very beginning and just try to make it strictly an
outlet for Clutch music. Nowadays, it is not that difficult to take this
DIY approach to putting out music. Recording costs have come down a lot
and the overall costs of promoting and marketing a record have gone down
a lot because you have tools like the internet, where you can do so many
things for such a low amount of money that the actual costs of
producing a record, manufacturing and distributing it is not that high.
It is just being in a position that we are luckily in where we have relationships with people who kind of help fill in the blanks in areas where we are not experts. It has worked out well for us over the last five years, putting out a couple live CDs and two studio CDs. Who knows what could happen in the future? It could come to a point where it goes beyond the scope of Clutch. Right now it is just putting out Clutch related material. We have also put out side projects for various members of the band. We have John-Paul, who has been working with a band from Sweden called King Hobo, and hopefully those guys will have something that we can put out on the label. We have tried not to get overambitious with the releases and taking it very slowly.
CB: What can the fans expect at Rock on the Range next weekend?
DM: Four bearded men playing Rock music. We will be playing a lot of material off The Earth Rocker. I think on this tour we have been playing, on average, six songs out of 16 off the new record. We probably won’t be playing 16 songs at Rock on the Range. We will probably have a shorter set, so it is harder to predict what we will be playing. We are definitely going to be playing. It will be a heavily Earth Rocker loaded set for sure, and some of the classics thrown in as well.
CB: You guys change your set list every show, right?
DM: We try to. We have this system. We actually take turns writing the set list. Last night was Neil’s night, so tonight would be Tim’s night. It is something we can do that keeps things less monotonous and kind of keeps us on our toes and makes the sets more enjoyable for us, which is going to be more enjoyable for everybody else watching.
CB: If you could trade places with anybody for a month who would it be and why?
DM: That’s a tough one. Maybe George Porter Jr., the bass player (from New Orleans Funk legends, The Meters). He is a huge influence on me and just definitely a hero. It would be nice to spend some time in his brain and steal something.
CB: Do you play any other instruments?
DM: No, I barely play bass.
Halestorm shows everybody out there that a female can rock with the guys. Lzzy Hale, Revolver Magazine’s reining “Hottest Chick in Hard Rock,” along with her brother Arejay, started the band back in 1999 and they have been on an upward trajectory ever since. This past February, the band received its first Grammy for Best Hard Rock Performance for the song “Love Bites… (And So Do I),” which made history as the first song by a female-fronted group to top the Active Rock radio airplay chart.
Halestorm has been headlining shows across the country in support of The Strange Case Of…, the band's second studio album. The group will be performing at this weekend’s Rock on the Range in Columbus on Saturday, playing the Main Stage alongside Papa Roach, Bullet For My Valentine, Three Days Grace, Stone Sour and The Smashing Pumpkins. Click here for full Rock on the Range info.
CityBeat: A lot has happened since I saw you guys in the fall. My first question is … where are you keeping your Grammy?
Lzzy Hale: You know what is funny — we actually don’t have them yet. It’s not quite real. We have been on the road so they have not been delivered yet. We have to sign a contract to make sure we aren’t going to do anything stupid with it. I have no idea where I am going to put it. My mom thinks it should be at her house. I’m like, “No, Mom, it comes with me.”
CB: You could put in your bunk (on the bus). That’s where you live anyway.
LH: Yeah. Very true.
CB: I know you just collaborated with David Draiman (of Disturbed) on the classic Ozzy and Lita song “Close Your Eyes.” What was the best part of doing that for you?
LH: It is such a cool thing. David Draiman has been such a champion of our band for the last couple years. He has been holding the Halestorm flag high. What a nice dude and always there for advice. He has sort of become this pseudo-big brother of mine the last couple years.
It is kind of surreal, a little bit, because I know this guy, but after singing with him and doing this duet, I find myself talking to my little brother and saying, “Remember when The Sickness came out and we went out and got that record, and we knew every word on that record.” We were huge Disturbed fans when we were kids. We still are, I should say. It is such an amazing honor to be asked to do that and what an incredible lineup on the entire record. Being the new kid on the block as far as the guest vocals are concerned is quite humbling, honestly.
CB: Were you nervous about re-recording that song?
LH: A little bit. There is always something in the back of your mind when you are recording a classic like that. You don’t want to ruin it. I am such fan for Lita Ford and Ozzy Osbourne and that whole era of music is really close to my heart. I was only hoping that we could do it justice. It was really David who put my mind at ease with that because as soon as I heard what he was doing with (it), I realized it was special, really special.
It is so weird, but when we were listening to the final mix of it, both David and I got goosebumps in the exact same spot of the song. We were like “Whoa! There is something about this song. We did something right.” I am happy we did it. I just sang it live with him for the first time at Carolina Rebellion. We are going to be doing it together again live. It’s truly magical. Not to sound cheesy, but it does hold a special place in my heart.
CB: Can we look forward to that at Rock on the Range?
LH: Oh, yes. Hell yes.
CB: I have seen you guys many times at ROTR over the years. What is your favorite Rock on the Range moment?
LH: Oh my God. The people that put that on are such nice people. We have been asked back for many years. The first time we were ever playing at Rock on the Range we were at the Jager Stage, then we were on the second stage, then last year we were first or second on the main stage.
I am telling you this, to be a part of this event, I am speaking for myself and all of my peers, we look forward to this festival. Not only is it a hell of a lot fun to play, but we get to see each other. I get to see all of my friends perform that I never get to see because we are all out on the road. It is this huge family reunion and this party from like 9 a.m. to whenever people decide to go home. It’s so wonderful and it keeps getting better every year, like last year was the best ever for me, but then the year before that was the best. I look forward to this time because maybe it will top last year. It is such a well-run event and the highlight of festival season.
CB: Are you going to be able to keep track of Arejay during the event?
LH: Nobody can ever keep track of Arejay. Are you kidding me? The phrase “Where’s Arejay?” is the phrase of the millennium. It’s awesome. He is the most incredible human being because he will be standing next you and you will be talking to him, you (turn) around and you’re talking to somebody else and you turn back to where Arejay was once standing and, poof, he is gone. He is a little Houdini. I love him. He is legendary. I am sure there will be many stories about Arejay at Rock on the Range.
CB: I saw recently you did an interview for a Playboy series online. Would you ever consider posing for the magazine if they asked you?
LH: I haven’t really been asked that a lot. I was thinking about it the other day. I guess I would have to cross that bridge when I come to it. It depends what it is and what it is for and how tasteful it would be. I am not going to say no, but I would have to cross that bridge when I came to it.
CB: I know you guys are recording a second Covers EP. Why did you guys decide to record a second covers record?
LH: We just recorded a few months ago and are starting to get mixes back now. We love doing that stuff, just being able to re-create your favorite songs, break them down and build them up as your own. Regardless of how fun it is, you learn a lot as a musician, about how you work and you’re learning your favorite songs and how to rebuild them from the ground up in your own way and try to find a new way to approach the songs which is kind of a challenge. We had a lot of fun doing it.
I don’t know when it is going to be released yet. It is probably going to be a couple months. When you see the final list of what we chose for this one, there will be probably some that you could predict and there are a few tracks you are going to look at the title of the song and the artist it’s by and you are going to go, “What? Why did they choose that song?” Then you can judge for yourself whether you like what we did. Either way it is going to be fun to see what everybody thinks about it.
CB: Are there any habits you would like to break?
LH: Yes, daily. My procrastination; I should practice more; I shouldn’t have had that cake at Josh’s birthday. I’m one of those people that does not care what everybody else thinks, but I do care a lot about how I feel about myself. I go through phases where I will have tunnel-vision and be determined and then I will be in the middle of tour and be like, “Screw it, I am going to finish this bottle of wine.” I think this time in my life I am starting to get my shit together and have more control over my vices. I am starting to exercise more and starting to be a little more responsible in my life, which is a battle, because I think I am perpetually 14 years old inside. I’m trying to be a grown up but still hold onto that fire.
CB: I love the story you have behind the “Rock Show” song and how you got inspired by it. Could you talk about that a little bit?
LH: Of course. To start that off, we got a lot of physical letters from fans, not the tweets and Facebook posts but a lot of handwritten letters — who does that anymore? — with a pencil. We get a lot of letters every day and it has increased in the past couple years. They are so incredibly inspiring. You get to see how you affect these people. You get to see and hear their stories. It is really, really humbling and really exciting for me because those stories start seeping their way into my subconscious.
A lot of the new songs I have written have been for a specific fan or another because it is interesting to see what these people go through in daily life and relate it to your own. It makes me feel less alone to be a part of their lives and they have welcomed us with open arms into their private life. I respect the hell out of that because it takes a lot of guts to do that.
Specifically for “Rock Show,” we received this letter. I don’t know how this little girl got the address to our studio, but she did. She wrote me this beautiful letter about her first Rock show, which happened to be Halestorm, and it was because of that show she picked up guitar and, long story short, she really shreds. She can play Eddie Van Halen’s “Eruption.” It is really cool to see. She was like 13 years old at the time. It is beautiful, almost like that show was a religious experience. It changed the course of her life and she finally knows what she wants to do and is starting a band.
I remember taking this letter into the studio and telling the guys we have to write a song for her. The title was called “Rock Show,” and we literally built this song around this letter we received and then we ended up thanking her in the notes as the next surprise so she will forever be in the artwork of our record because of that. It is wonderful to do that for those people, to give back, because it is a give and take. We wouldn’t be able to do what we love without these little girls and little boys and everybody that comes to our show. It is wonderful to be able to do small things like write a song for them or thank them.
CB: What are the characteristics that make a great Halestorm song?
LH: Lately, it has been more about honesty. What I never thought I would accomplish in this band, we kind of have in the last couple years. Halestorm is becoming the identity for some of these kids. It is something to stand for. It is something to look up to. I’ve been much more free to let more people into my life and trying to be a good example and be that shining beacon of empowerment for some of these people. I needed that when I was a kid. I looked up to a lot of my parent’s music because it was tough not to find anybody that wasn’t singing about death or “I hate my parents” when I was a kid. I remember needing that. I needed somebody that I could say, “I am going to be like that. If they can do it, so can I.”
I think there definitely always has to be an element of empowerment in what we do, in the music we write, but then you have to pair that with the honesty that you are human and that we are all the same. You are encouraging people to take the risk and to carve out their own path and be themselves. It is all we have learned about diving right into this business. We have learned so much about ourselves and how to be comfortable in our own skin. If we can pass that along, that’s something we strive for.
Buckcherry has been epitomizing Hard Rock since the late ’90s. The band recently started touring behind its sixth studio album, Confessions, adding to a great and energy filled set-list, alongside crowd favorites and major hits “Crazy Bitch” and “Lit Up."
CityBeat had a chance to speak with enigmatic Buckcherry singer Josh Todd in preparation for the band's set at Rock on the Range in Columbus this weekend (May 17-19). Buckcherry takes to the stage Friday night alongside Hollywood Undead, Cheap Trick and Korn. Click here for more Rock on the Range info.
CityBeat: I have seen you at Rock on the Range many years. What is your favorite Rock on the Range moment from the past?
Josh Todd: One year we were there performing “Lit Up” or “Crazy Bitch," I can’t remember, and a guy in a wheelchair started crowd surfing. That was a pretty memorable moment.
CityBeat: You guys just came off a tour with Kid Rock recently, which is a great match. What was your craziest tour story?
JT: Surprisingly, it was a pretty tame tour. We didn’t have too many backstage parties. The coolest thing we did, Bob — Kid Rock — invited Keith and I to his place in Alabama. We got to go and do some skeet shooting and eat some barbeque. I had a lot of deer meat which I hadn’t had in a long time, a lot of deer jerky. So that was a lot of fun.
CB: I was just covering the Kid Rock cruise and he was singing “Crazy Bitch.” It was a cool moment, one of my favorite songs with him singing.
JT: Yeah. I don’t know what to think of that. I’m flattered, you know, but it is kind of strange since we were on tour with him. I think it is cool because he loves the song.
CB: I want to talk about the record a little bit. I know Confessions is loosely based on the seven deadly sins. Which sin do you think is the worst?
JT: The worst or the most hard to manage?
CB: Either is fine?
JT: Probably lust, especially when you have been in a Rock band since you were 15 … it is something that comes up a lot.
CB: I know “Sloth” was written about your experience with your Father’s suicide. Is it ever hard to perform that live?
JT: I have never performed that live. We are working on it right now. We have six records. We have 80 some odd songs to really sift through. The songs we have performed off Confessions so far are “Wrath” “Gluttony” “Greed” “Air” and “Nothing Left but Tears.” We will get there eventually. I don’t think it will be hard for me because I just got a lot of great feedback from a lot of people who really connected to that song. That makes it a lot easier for me. It was real tough to record, but I think now it will be all right.
CB: Are there any habits you would like to break?
JT: Yeah. I struggle with sugar. So, yeah, not so much sugar.
CB: I know your songs are very autobiographical. Is there anything you have regretted writing about in any of your 80 songs?
JT: Since I write all the lyrics, it is kind of therapeutic for me to get out what is going on inside of me and somehow make it where a lot of people can relate to it. That is the challenge of the songwriter, to take a piece of your personal life and the lives around you and try to create a song where lots and lots of people can remember. That is the fun of it and also the challenge of it all.
CB: What does your perfect day look like?
JT: A perfect day would be to be home with my family. Just getting to spend time with them is a perfect day to me because I tour so much. To be home with my family is great.
CB: Is there anybody you would like to trade places with for a month?
JT: Yeah, I would like to be Kyle Busch for a day.
CB: Oh, a race car. Do you have fast cars?
JT: Yeah, I race fast go-carts. I have a race cart at home. I race that as much as I can. I did a NASCAR experience out here in Fontana and that was a lot of fun. I have always wanted to race an oval track race in a stock car. That would be amazing.
CB: Can you tell us what the fans should expect from your set at Rock on the Range?
JT: They can expect what we always deliver — their money’s worth.
CB: Are you going to be performing any of the new album?
JT: We will be performing “Gluttony” “Wrath” and “Nothing Left but Tears,” which is going to be the new single. Plus, we have to get to a lot of other songs. I don’t know how long our set is, but depending on how long our set is, we have been doing “Greed” recently and it is really great live now.
We told you a few weeks back about the lineup for the MidPoint Indie Summer concert series on Fountain Square, featuring numerous (primarily local) Indie and Rock acts every Friday this summer from 7-11 p.m. Click here for the full rundown.
But there are many other popular themed nights returning this summer to both Fountain Square and Washington Park, which re-opened after a major makeover in time to introduce live music nights last summer for the first time. (Both spots are managed by the Cincinnati Center City Development Corporation (3CDC).
Fountain Square's PNC Summer Music Series will have live music five days a week, while Washington Park will host three themed music nights this summer. All events are free and a great way to enjoy our city's central districts. The concerts begin at the end of May/start of June and run through the end of August/start of September. Be sure to check the official websites of both venues for any updates, additions or cancellations.
• Every Tuesday from 7-9 p.m., the Square presents "American Roots" night. This year, the lineup is the strongest its been, showcasing the best of Greater Cincinnati's rich Roots/Americana scene (as well as a few regional faves).
• Reggae Wednesdays return to the Square this summer, with wider-net bookings that include numerous regional and touring Reggae acts. Music runs every night from 6-10 p.m. and acts are teamed up with a DJ or DJ squad for each event.
Summer Splash Happy Hour with I Vibez
Summer Splash Happy Hour with I Vibez
Summer Splash Happy Hour with I Vibez
• Salsa dancers and music lovers will be happy to know that Salsa on the Square is returning this summer on Thursdays, running 7-10 p.m. As always, dance instructors will be on hand to give you pointers (if you need 'em). Music is provided primarily by some of Greater Cincinnati's finest Salsa/Latin music groups.
May 30: Son Del Caribe
June 6: Kandela
June 13: Zumba
June 20: Tropicoso
June 27: Grupo Tumbao
July 4: Clave’ Son
July 11: Kandela
July 18: Tropiscoso
uly 25: Grupo Tumbao
August 1: Zumba
August 8: Azucar Tumbao
August 15: Clave’ Son
August 22: Brian Andres & the Afro-Cuban Jazz Cartel
August 29: Son Del Caribe
• Before MidPoint Indie Summer on Fridays, local club/bar conglomerate 4EG (which operates several nightclubs in the area) will present 4EG Happy Hour from 5-7 p.m. Local DJs will spin every Friday (except for Aug. 2, when local cover band Snidely Whiplash performs).
DJ Ice Cold Tony
DJ Jake the Ripper
DJ Jesse the Ripper
DJ Tina T
DJ Will Kill
• One of the most popular nights on the Square during the summer is Saturdays' "Beats" night, booked by local promoter Self Diploma. The concerts run 7-10 p.m. and again feature an impressive mix of local and touring Hip Hop, Electronic and DJ acts. Among the national act highlights this year are Mod Sun, Hoodie Allen, Watch the Duck and DJ Jazzy Jeff.
After a successful inaugural summer of events last year, Washington Park brings back three music nights, Wednesday, Thursday and Friday, plus several other entertainment offerings, including "Dancing Under the Stars," an every-Tuesday dance night, with lessons that focus on different types of dancing each week. (Click below for the concert lineups.)
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.
This afternoon, the Facebook page of crucial, longtime MidPoint Music Festival supporters, Dewey's Pizza, announced the first handful of artists book to play this fall's MidPoint Music Festival. And, after early-bird discount tickets quickly sold out several weeks ago, the rest of the tickets are on sale now at mpmf.cincyticket.com.
The first batch of MPMF.13 performers is very representative of the bookings for MidPoint the past few years. You've got a Modern Rock legend, a few established acts, several current "buzz bands" and a few acts that, if past years' MPMFs are any indication, will be "buzz-worthy" by the time the festival rolls around, Sept. 26-28.
Here are the first 17 acts booked for MPMF.13, the 12th installment of the ever-growing music fest that utilizes various venues in Over-the-Rhine/Downtown. Below the list, you can check out a song by each artist on our first MPMF.13 playlist.
The Breeders (Dayton, Ohio)
One of the seminal bands of the "Alternative Revolution" in the ’90s, The Breeders are currently promoting the 20th anniversary, expanded reissue of their classic Last Splash album. Though the Dayton-based Deal sisters (Kelley of R. Ring and Kim of Pixies) have kept musically active since Last Splash, with outside projects and The Breeders, the world tour for the reissue is special because it reunites the Deals with the album's lineup — bassist Josephine Wiggs and veteran Dayton drummer Jim MacPherson, who also spent time with Guided By Voices. The Breeders are playing Last Splash in its entirety on the whole tour.
The Head and The Heart (Seattle, Wash.)
One of the top acts of the "Indie Folk" movement, The Head and the Heart formed in Seattle in 2009. An early, self-made recording the band sold at initial shows ended up becoming so popular, local record stores began stocking it and trying to keep up with the surprising demand. The recording began making the music industry rounds, leading to a bidding war for the band. They ended up signing to hometown label Sub Pop within about a year of forming. The group's self-titled album was released to critical acclaim in 2011. The band's warm, ear-grabbing sound has been used a lot on TV spots; you might recognize their "Lost in My Mind," which was the background music for the trailer for the big hit film, Silver Linings Playbook.
Warpaint (Los Angeles)
With an airy, mesmerizing take on Psych Pop, L.A. quartet Warpaint caught the attention of mad guitar genius John Frusciante, who offered to mix the band's Exquisite Corpse EP. That release and a successful CMJ festival appearance led to Warpaint's signing to the legendary Rough Trade imprint. The label released the album The Fool in October 2010 and the band went back to their relentless touring schedule, which included dates with the likes of The xx, Yeasayer and The Walkmen. The band is currently prepping a new LP.
Foxygen (New York, NY/Olympia, Wash.)
Foxygen is the engagingly adventurous duo of Sam France and Jonathan Rado, who formed the group as 15-year-olds in 2005 and self-released a dozen or so albums while learning to play as many instruments as possible. The band's skewered Art Pop (akin to that of MGMT) with retro-underpinnings has been drawing attention since the release of the Foxygen full-length debut for the respected Jagjaguwar Records, the Richard Swift-produced We Are the 21st Century Ambassadors of Peace & Magic, at the start of this year.
Cody ChesnuTT (Atlanta, Ga.)
Singer/songwriter Cody ChesnuTT first came to a lot of people's attention as the lead vocalist on "The Seed (2.0)," a fairly big single off of The Roots' Phrenology album in 2002. That drove a lot of Roots fans to ChesnuTT's full-length from the same year, The Headphone Masterpiece, though what they heard on that album — an underproduced, ambling collection of demo-sounding tunes that surfed a wide range of genres with ADD-like abandon. A decade later, ChesnuTT has returned with a new focus, showcasing a balanced approach based in vintage Soul (vocally, he's quite similar to Marvin Gaye) and Rock & Roll, on the full-length, Landing on a Hundred.
Daughter (London, UK)
Originating as the "one-woman-band" recording project of singer/guitarist Elena Tonra, Daughter — now a trio, which Tonra's husband on guitar and drummer Remi Aguilella — mixes an Indie Folk base with subtle electronics, creating an emotive sound that can be whisper-quiet one moment and epically lush another. After a self-titled EP, Mumford & Son's Communion label released The Wild Youth EP. Often compared to Cat Power due to Tonra's vocals, last year, the band signed to the 4AD label, a fitting choice given the legendarily ambient sound that defined the label's artists in its early years. The label released the trio's debut, If You Leave, in March of this year.
METZ (Toronto, Canada)
Relentless in its sonic attack, Canadian three-piece METZ recalls a lot of the punchier Post Punk bands of the ’80s/’90s, drawing comparisons to Big Black, The Jesus Lizard and any number of acts on the (early) Sub Pop and Dischord labels. After a few years of heavy touring, opening for like-minded bands Death from Above 1979, Mudhoney and NoMeansNo, the band signed with indie label legend Sub Pop, which released METZ's powerhouse self-titled debut last year.
Kishi Bashi (Norfolk, Va.)
Starting his career as a violinist for artists like Regina Spektor and of Montreal, Seattle-born multi-instrumentalist and singer/songwriter K Ishibashi went solo — under the less-confusing moniker Kishi Bashi — and began touring. Making engaging Indie Pop touched by Classical/Chamber influence, the Joyful Noise imprint released his first full-length album, 151A, last spring. There's a pretty good chance you've hear Kishi Bashi before, even if you didn't know it — his jaunty, Shins-ish single "Bright Whites" was used in a wide-running commercial for Windows 8.
Julianne Barwick (Brooklyn, NY)
Julianne Barwick makes angelic Ambient music based entirely on loops. The Southern-born experimental artist — signed to Asthmatic Kitty Records — creates her compositions by using a loop station and crafting elegant layers of sonic haze, using mostly piano, her voice, some percussion and guitar. Barwick — who recently announced her signing to Dead Oceans and a new album set for August — is an up-and-comer in the Avant Garde/New Music world, recently scoring an invite recently to Yoko Ono's Meltdown Festival in the U.K.
Spectrals (Yorkshire, U.K.)
Spectrals was originally the work of one dude, British singer/songwriter Louis Jones (with just a little help from his brother on drums). Spectrals' wandering sound touches on everything from Nuggets-esque Garage to swaying, elegant Pop (threaded with reverbed-out, Surf-ish guitar). Jones signed to the Slumberland label in the States, which released his first album, Bad Penny, in 2011. For Spectrals' latest, the Sob Story album, Jones, for the first time, had some help from other musicians (who aren't related to him).The album is due June 18.
Dent May (Oxford, Miss.)
Singer/songwriter Dent May makes unabashed Pop music, the kind that forces a smile on your face regardless of your troubles. The Mississippi resident singed with Animal Collective's Paw Tracks label in 2008 and released The Good Feeling Music of Dent May & His Magnificent Ukulele, which drew comparisons to the likes of The Beach Boys, The Turtles and Prefab Sprout. For last year's self-titled album, May put away the uke and decided it was time to dance. The album is a cooly eclectic collection of dynamic electronic Pop, retaining those classic Pop/Rock influences, but adding elements of Disco, Funk, R&B Electro.
Grandfather Child (Houston, Texas)
Grandfather Child was formed in Houston in 2009 by members of various other local bands. The group hit upon a compelling "formula," creating a kitchen-sink sound that is loaded with influence from R&B, Soul, early Rock & Roll and Gospel music, resulting in a pretty psychedelic vibe. The band is signed to New West Records, which released Grandfather Child's eponymous 9-track album last summer.
The Ghost Wolves (Austin, Texas)
With a blistering sound created by just two people — guitarist Carley and drummer Jonny Wolf (both sing) — The Ghost Wolves traveled many miles across the country to build a fan base one explosive show at a time. The group's debut was the raw and rugged In Ya Neck! EP, which showcased the Wolves' fuzzy take on stompin' Blues Rock expertly, like a two-piece version of The Cramps. The band is getting set to release its debut full-length, Man, Woman, Beast.
Jeecy and The Jungle (Detroit)
Known for their reportedly incredible like show, Detroit's Soul rockers Jeecy and the Jungle represent two sides of Detroit's music heritage, blending a modern-day Garage Rock energy with influence from classic Soul artists. Last summer, the band released its impressive five-track EP, Twist and Scream.
Caveman (New York, NY)
Caveman is an NYC quintet that makes atmospheric Indie Rock with the kind of soft-breeze effervescence found in everything from the best vintage "AM Gold" songs to Fleet Foxes. The band released its debut in 2010, CoCo Beware, built a following and signed to notable label, Fat Possum Records, which re-released the debut and also the recent self-titled full-length, which has been garnering great reviews.
Perfume Genius (Seattle, Wash.)
Perfume Genius is Mike Hadreas, a Seattle singer/songwriter and visual artist whose 2010 debut caught the attention of the Indie music press corps. Quickly signed to the esteemed Matador Records, Perfume Genius' latest is Put Your Back N 2 It, a gentle, intimate collection of spectral, folksy songs.
PHOX (Madison, Wisc.)
Slanted, sparse yet broad Indie/Folk/Pop band PHOX started turning heads this year with consistent touring and a knock-out appearance at South By Southwest. The band recently released its latest EP, Confetti, which also has a companion "video EP," featuring short films for every track that the group members made simultaneously with the musical recording.
The lineups for 2013's PNC Summer Music Series on Fountain Square — featuring live music from different genres for free throughout the summer — have been coming out gradually. We're happy to announce the lineup so far for the Friday night "Indie Summer" shows (presented by CityBeat and the MidPoint Music Festival).
Look for the rest of the finalized lineups — for American Roots Tuesdays, Reggae Wednesdays, Salsa Thursdays, Saturday's popular Beats night (with Hip Hop, Dance and Electronica) and the acoustic-music-meets-wine-tastings "Sunday in the Grove" — later this week. Washington Park in Over-the-Rhine is also again presenting regular music programming this year, with Jazz on Wednesday, Bluegrass and Roots music on Thursday and R&B/Soul/Hip Hop on Fridays, plus a new Tuesday night feature, Dance Under the Stars, featuring dance lessons in a variety of styles.
The bad news? The Indie Summer shows kick-off on May 31 with the final show by fantastic Cincinnati Indie Pop band Pomegranates. The good news? It will also be the first show by Healing Power, Pomegranates' new name. The opener will also serve as a "release party" for great local Indie crew The Yugos. Christian altrockers Seabird will also use their Indie Summer show to celebrate the release of a new album, the band's first independent release after a couple of albums on Credential Recordings/Universal Music Group. Northern Kentucky rockers Dept. Store Alligators will also put out their new release in conjunction with their Aug. 16 appearance with Belle Histoire.
Local restaurant/club chain 4EG will host "Happy Hour" parties on Fridays as well, featuring various local DJs and drink specials from 5-8 p.m. Indie Summer concerts are open to fans of all ages and run from 8-11 p.m. all summer on the Square. Click here for details.
July 12: Plumb; more TBA
Aug. 9: Archers Paradox; (headliner to be announced on June 2)
Get ready, MidPoint Music Festival fans. This Friday, the first 10 or so artists booked for 2013's MPMF — returning to the streets and venues of Over-the-Rhine and Downtown Sept. 26-28 — will be announced. And longtime MPMF sponsor Dewey's Pizza will have the scoop.
Friday, those wanting the info first should head to facebook.com/DeweysPizza ("like" their page, not just for the yummy grub they serve but for the support they've given MPMF and local music over the years). Then, of course, check this here music blog for a recap and more details.
Also of interest to MPMF fanatics are the lineups for this year's "Indie Summer" concerts, every Friday on Fountain Square from May 31-Aug. 30. The performers for the MidPoint- and CityBeat-sponsored shows are expected within the week. Keep an eye on this blog for the full announcement as soon as we get the green light to post it. (The lineups for the other themed Fountain Square music nights — six per week — are due very soon as well.)
For artists wanting to be considered for a performance slot at MPMF.13, the time to submit is now, as the deadline is quickly approaching. Submissions will be accepted (visit mpmf.com for directions) until May 11 at 11:59 p.m.
Several weeks ago, two pricing tiers of "early bird" and "loyalty" MPMF tickets sold out almost immediately. Tickets for MPMF.13 go back on sale this Friday through cincyticket.com ($69 for a three-day pass or $169 for "VIP Experience" tickets).
Cincinnati has a wealth of music festivals, from MidPoint Music Festival, Cincy Blues Fest, Macy's Music Festival, Bunbury to new additions like the expanded One More Girl on a Stage event this fall, the recently announced MOXY Music Fest, scheduled for June, and numerous others. But for those who like to get a fresh sampling of some of the newest artists from Greater Cincinnati representing a wide range of genres, The Heights Music Festival has been your best option.
This weekend, The Heights Music Festival returns to venues in the Clifton Heights neighborhood for its eighth edition. Usually, The Heights fest is biannual, with an event in both the fall and the spring. But this weekend's HMF will be the only one in 2013. Organizer Rome Ntukogu of Far-I-Rome Productions says The Heights will definitely be back in 2014, bigger and better. He's simply taking a break to work on some new ideas for the event; understandable, considering large chunks of the Clifton Heights neighborhood (near the University of Cincinnati) are under heavy reconstruction now, part of a revitalization effort that should put HMF in a good position when it returns. The area will be almost like a new (and nicer) neighborhood by then.
The first Heights Music Fest (originally called the Clifton Heights Music Festival) was held in 2009 and was considerably smaller, with four venues and about 20 performers. Last year, The Heights featured over 75 bands in five venues and included a "Day Fest" on Saturday.
So Friday and Saturday's pre-hiatus is something of a return to the HMF roots, with four venues and around 30 acts. But it's the same eclectic mix of newcomers and up-and-comers from the local scene. And $5 gets you admission to all four venues — Rohs Street Café (the only all-ages venue), Baba Budan’s, Mac’s Pizza Pub and Christy’s Biergarten, a historic building that has been at the center of a battle over whether it should be demolished or sold off in the name of progress or preserved in the name of history (as many residents would like). You can purchase an all-venue pass at any of the four venues.
This year's Heights lineup once again runs a vast gamut of styles, from Reggae, World music, Roots/Americana and Hip Hop to Punk, Jazz, Synth Pop, Funk and various spins on Rock (from Indie to Hard).
Below is the rundown of performers. (Note: There have been some shifts in the lineup since CityBeat's Spill It column about the fest ran on Wednesday; check it out here for a playlist featuring several of the participating artists.)
• Rohs Street Café: The Freebies (8 p.m.); MC Forty (9 p.m.); Young Colt (10 p.m.); The Yugos (11 p.m.).
• Baba Budan’s: One Day Steady (9 p.m.); Wonky Tonk (10 p.m.); Brazilian Jazz (11 p.m.).
• Mac’s Pizza: Rachel Mousie (9 p.m.); Common Center (10 p.m.); Big Rock Club (11 p.m.); Olu, Crack Sauce (midnight).
• Christy’s: Zach Starkie & Guest (9 p.m.); The Newt (9:45 p.m.); AC The Entity, Citoak (10:30 p.m.); Filthy Beast (11:30 p.m.); Gold Shoes (12:15 a.m.).
• Rohs Street Café: Brent Stroud (9 p.m.); Moonbeau (10 p.m.); Little Lights (11 p.m.).
• Baba Budan’s: VanillaSake (9 p.m.); Sulla (10 p.m.); LZRPNY (11 p.m.); Horsecop (midnight).
• Mac’s: Koala Fires (9 p.m.); Emily and The Complexes (10 p.m.); Tana Matz (11 p.m.) and MJs Blues (midnight).
• Saturday at Christy’s: Jordon Schneider & Guests (9 p.m.); Baoku & The Image Afrobeat Band (10 p.m.); The Almighty Getdown (11 p.m.); The Killtones (midnight).
That's a fair but lacking description of the festival, but
only because the programming isn't bounded by much other than the
desire to explore. MusicNOW has showcased numerous flavors of World
music, often new avant Chamber/Classical works, a "who's who" of the top
names in "Indie" music (Sufjan Stevens, St. Vincent, The National, Bon
Iver, Andrew Bird, Grizzly Bear), a few legends (Philip Glass, Kronos
Quartet) and newer and/or more obscure artists, meshing together to
offer Cincinnati music fans (and the many who come in from out of town) a
truly unique musical experience. Sold out audiences have seen
one-off performances and collaborations, including commissioned
works and world premieres.
Below is a sampling of some of the artists featured this weekend — though with MusicNOW's encouragement of experimentalism, take it as merely a surface introduction. The artists will more likely go beyond any pigeonhole you can come up with, which is the best thing about MusicNOW.
• Tonight's kick-off is headlined by Anti- recording artists Tinariwen, a Malian ensemble whose creative North African sounds resulted in a Grammy in 2012 for its fifth album, Tassili. Read CityBeat's interview with Tinariwen founder Ibrahim Ag Alhabib (via translated email exchange) here.
Here's the official video for Tassili track "Iswegh Attay" (with translation!):
• Arcade Fire member Richard Reed Parry has been a part of several MusicNOW festivals, composing commissioned works and playing with bands like Little Scream and Bell Orchestre. This year, Reed Parry will perform the songs of his Indie Folk project, Quiet River of Dust. The project made it's live debut at the National-curated All Tomorrow's Parties fest in the U.K. late last year (where Reed Parry performed three very different sets) and a recording is presently in the works. A review from the music blog Let's Get Cynical described it as "a quirky and engaging performance – the first song I hear is about a boy who gets lost at sea and turns into a fish, if you want some sort of indication of what we’re working with. The fact that this is the trio’s first ever show also highlights ATP as the kind of festival where you get to see things you don’t get anywhere else." Kinda like MusicNOW.
• Rounding out tonight's opener is Buse and Gase, the Brooklyn duo of Arone Dyer and Aron Sanchez, who make trippy avant grade music on various handmade instruments. The group name actually comes from two of those instruments — the "buke" is described as a "six-string baritone ukulele" and the "gase" is a guitar/bass guitar combo.
Here's Buse and Gase's official clip for the tune "General Dome."
• Saturday's headliner is MusicNOW 2013's most known performer, Glen Hansard. The Irish singer/songwriter began catching attention as a member of the group The Frames, then broke out on his own and won an Academy Award for "Best Original Song" in 2008 for "Falling Slowly" from the film Once, in which he also starred. Hansard's first solo album, Rhythm and Repose, was released last summer on the Anti- label (album bonus track "Come Away to the Water" was, oddly enough, covered by Maroon 5 and Rozzi Crane on the soundtrack to the blockbuster film The Hunger Games).
Here's the video for "High Hope" off of Hansard's solo debut.
• Saturday will also feature the performance of new works composed by Dessner, Reed Parry and Serbian composer Aleksanda Vreblov. The new pieces will be performed by the Brooklyn Youth Chorus, which has collaborated with everyone from the New York Philharmonic and Cincinnati native (and Jazz piano master) Fred Hersch to Lou Reed, Barbara Streisand and Talib Kweli. The organization works often with composers on new pieces.
Here's a clip of Dessner working with the Chorus on the piece "Tell the Way" in 2011.
The Chorus will be joined by young string ensemble The Ariel Quartet, which formed in Israel and moved to the States in 2004. Last year, the group was named "quartet-in-residence" at the University of Cincinnati’s College-Conservatory of Music. The quartet has won numerous international awards for its work and has performed all over the world. Also lending a hand with the new works is Shara Worden of MusicNOW vets My Brightest Diamond.
Below is a clip of the Ariel Quartet performing Mozart.
• Last year, music now featured pioneering composer Philip Glass. This year, Steve Reich plays the role of "legend" on the bill. The Guardian's Andrew Clements once wrote that "There's just a handful of living composers who can legitimately claim to have altered the direction of musical history. Steve Reich is one of them," while many others consider Reich one of the world's greatest living composers. Reich's experiments have been fearless and creatively fruitful and influential, be it his early work with tape loops or his interactive "Clapping Music," a 1972 piece performed entirely with handclaps.
Reich will join Sō Percussion for a performance of that piece and more, including a new commission from Daníel Bjarnason (the annual Esme Kenney Commission, named for a young student from School for Creative and Performing Arts student who was murdered in 2009). The Brooklyn-based modern percussion group (featuring Eric Beach, Josh Quillen, Adam Sliwinski and Jason Treuting) formed about a decade ago around the collective influence of pioneering NeoClassical experimentalists like Reich, John Cage, Kronos Quartet and others. Sō has commissioned works from numerous composers and has also been acclaimed for its own compositions. Outside of the modern Classical world, the ensemble has collaborated with artists like Medeski, Martin and Wood, Matmos and Dan Deacon.
Here's a cool mini-documentary from PitchforkTV about Reich and featuring Sō Percussion.
The three days of music are held at Memorial Hall, next to Music Hall, but this year there will also be an art exhibition at another great, vintage Over-the-Rhine venue, The Emery Theatre. An exhibit of works by Nathlie Provosty and Jessie Henson will be up at the Theatre Friday, 4-7 p.m., Saturday, 12-4 p.m. and Sunday, 1-7 p.m. Bryce Dessner will perform at a "gallery party" on Sunday 4-6 p.m. The Emery happenings are free and open to the public.