Given his raspy delivery, spare acoustic
guitar accompaniment, erudite wordplay and numerous Tom Waits videos
posted on his Tumblr page, it’s easy to draw a line between Seattle
singer/songwriter Noah Gundersen and the world’s most famous boho
troubadour. Too easy, perhaps.
On the final night of last year’s
MidPoint Music Festival extravaganza, an old man dropped into The
Drinkery to grab a beer, catch his breath and absorb a few minutes of
Sol Cat’s soulful Psych/Dance/Pop, which had reminded him at least a
little of Walk the Moon’s similarly adrenalized output. He’d expected an
out-of-town show to be sparsely attended, which would theoretically
allow him a seat at the bar and a chance to recharge for the remainder
of the night.
There’s an interesting paradigm in
Folk/Americana singer/songwriter Arlo McKinley’s career. McKinley has only been on the
scene since 2012; his alter ego, Tim Carr, was a back-of-the-stage
fixture for many years. But when Carr moved into the spotlight to front his Arlo McKinley and the Lonesome Sound, he found
it necessary to adopt a new persona to handle the increased attention.
One Pilots’ fervent fan base radiates outward from their Columbus
headquarters, so it’s no surprise that the faithful showed up in full force for 2012 Bunbury Music Festival in Cincinnati like a mellow Mongol hoard.
Metallers Bobaflex's most recent recording is last fall’s self-released and short but
shredding Charlatan’s Web, featuring the leering Kiss-meets-Van
Halen “School for Young Ladies” and the my-fist-your-cold-face
dirge/anthem “I’m Glad You’re Dead.”