CityBeat Blogs - Music <![CDATA[WATCH: Alone at 3AM’s “I’m Dying” Music Video]]>

Over the past year or so, Northern Kentucky’s SofaBurn Records has risen to become one of the more notable independent record labels in the region. The imprint has helped draw national attention to locally-produced gems like singer/songwriter Jeremy Pinnell’s amazing OH/KY album, and it has also released various singles featuring area artists like Buffalo Killers and R. Ring (featuring Kelley Deal and Northern Kentucky’s Mike Montgomery). Tomorrow (Oct. 9), the label is putting out the latest from former SubPop recording artist and Kentucky native Daniel Martin Moore; you can listen to Moore’s Golden Age (produced by My Morning Jacket’s Jim James) now via the Wall Street Journal’s website

Another great local band that is part of the SofaBurn roster is Alone at 3AM, the soulful and melodic Roots Rock crew fronted by singer/songwriter Max Fender that has been kicking ass for the past decade and a half-plus with consistently excellent releases showcasing Fender’s compelling songwriting abilities. 

Alone at 3AM’s fantastic new album, Show the Bloodwas released by SofaBurn last month and it has already scored some glowing reviews, including one from Roots Rock/AltCountry bible No Depression, which called the LP “a superb album from the first to the last track.” 

This Saturday, Alone at 3AM is playing a free show at Northside’s Comet to support the new release. The 10 p.m. show also includes sets from Northern Kentucky’s A City on Fire and Joliet, Ill.’s Death and Memphis. 

Ahead of the show, the band has unveiled a new music video for Show the Blood track “I’m Dying,” a Heartland Rock ear-worm that Springsteen/Petty fans should instantly fall in love with. (The track was premiered on Guitar World’s website back in July.)  

The “I’m Dying” video is a no-nonsense clip shot in Northern Kentucky. "This video is just a little window into what life is like in Dayton, Ky., where I wrote the album,” Fender says. “(We) had lots of fun shooting it with Sarah (Davis, Alone at 3AM harmony singer and keyboardist).” 

After the show at The Comet, Fender is setting off on a European solo tour with labelmate Pinnell. Click here to keep tabs on the latest Alone at 3AM happenings. 

<![CDATA[Casino Warrior Unleashes ‘Centaur’]]>

Casino Warrior is a name that many local music fans aren’t aware of. So far, the quartet (bassist Kevin McNair, vocalist and guitarist Miguel Richards, guitarist Billy Buzek and drummer Chad Wolary) has only played two real shows, one of which was its recent EP release party. But rest assured, based on the strength of the band’s live performance and its new, riff-laden, five-track release, the name will become much more recognizable quickly.

Centaur EP follows in the same vein as other Rock/Metal hybrids that are currently dominating many a longhairs’ playlist. If the likes of Red Fang, Black Tusk, Orange Goblin or old The Sword cause your skull and brain to repeatedly high five, then the Centaur EP is right up your alley. Richards and Buzek’s guitar leads show considerable chops; there are enough riffs in these five songs to warrant several back-to-back play-throughs just to unravel the heavy layers. Guitar nerds will be overjoyed; the rest of us will just bang our heads until we get a nosebleed.

Of course, riffs are great, but unless the floor tremors and eardrums pop, the Metal equation is only halfway completed. That’s where McNair and Wolary come in. McNair’s low-end rumbles through the mix and sets up shop in your chest. Playing this record at a high volume (as if there was any other allowable setting) is liable to shake things off the wall. Beware of any loose china or pictures of grandma that you may have sitting around your sound system. Wolary’s skin work rounds out the quartet and he brings the thunder; at times, it sounds like Zildjian gave the Incredible Hulk a gear sponsorship. And Hulk definitely smashes.

Richards’ vocals walk a fine line between ’70s Rock clean singing and the current-day growls. Each chorus and verse is delivered with a ferocity that makes the lyrics even more hilarious. I cannot wait for more people to get their hands on the album, learn the words, and yell “Horse balls!” when Casino Warrior performs “Centaur” at its next gig. In fact, each song on the EP is as ridiculous as the last. When your subject matter involves chupacabras, pterodactyls and the aforementioned centaurs, things are bound to get a little weird.

Of particular note is the song that Casino Warrior closed its EP release show with — “Pig Roast.” The track starts with a tribal rhythm from Wolary that’s worthy of accompanying a Fury Road war party, along with a bassline gut-punch courtesy of McNair. Shortly thereafter, Richards and Buzek join in with an earworm of a riff and Richards’ beefiest vocal delivery on the record. His ode to our great city demands attention before the band transitions to an extended outro that allows Richards and Buzek to show off their soloing abilities. And, what do you know — they’re amazing at more than just riffing.

As a whole, “Pig Roast” exemplifies what Casino Warrior is capable of. The band has a rhythm section that lays a rock solid foundation of groove upon which the guitars build a temple to the Riff Lords of old. The songs are more than the sum of their parts — and their parts already have quite a few big numbers involved. The guys have created a rare release that is musically serious, but still fun; heavy, but still accessible. 

If you’re a Cincinnati Rock and/or Metal fan, do yourself a favor and jump on the Casino Warrior bandwagon now — it’s about to get much more crowded.

<![CDATA[Foxfire, Longstone Fests Spotlight Local Music and More]]>

With the summer music-festival season winding down and Cincinnati’s MidPoint Music Festival just two weeks away (did you pick up this week’s CityBeat for official guide, right? If not, you can find info here), you might think there’d be a music-fest lull this week. But two (very different) festivals northeast of Cincinnati are keeping the vibe alive this weekend — the Foxfire Freedom Festival in Morrow, Ohio, and the Longstone Street Festival in Milford, Ohio. 

The Foxfire fest, dubbed a “music and sustainability festival,” takes place Friday and Saturday at Morgan’s Riverside Campground & Cabins in Morrow, along the Little Miami River (you can even go canoeing if you’re up for it!). The $45 two-day ticket, available at the gate, covers camping Friday and Saturday night (one-day, non-camping tickets are $15). Foxfire will feature vendors and information related to being an environmentally-friendly citizen (the “sustainability” mention), with live music from several area Roots/Americana/Bluegrass performers, as well as acts that play other genres (or a fusion of several). 

Friday’s Foxfire lineup kicks off at 6 p.m. and features Dead Man String Band, Easy Tom Eby, Jared Schaedle, Joe Wolf, Heather Hamlet and Richard Cisneros. On Saturday, music begins at noo. The Saturday lineup features Common Center, Baoku Moses And The Image Afro-Beat Band, Lawson Family Reunion, Simply Dan String Band, Aaron Hendrick Trio, Black Mountain Throwdown, Adam Singer, Little Miami String Band, Allen Talbott, Blue Caboose and a songwriters-in-the-round session with Greg Mahan, Wolfcryer and Achilles Tenderloin. 

Click here for links to more info on all of the artists. 

More on the campground can be found here. And further info on the Foxfire Freedom Festival is available at the fest’s official site and Facebook page.

The Longstone Street Festival takes place Saturday along Main Street in Milford’s historic downtown district. The annual free event celebrates Milford with various food and arts and crafts vendors, plus a stage featuring a variety of musical acts all day long. This year, the music starts at noon with My Brother’s Keeper (featuring Andrew Hibbard). Other Longstone performers include Seabird, Harbour, Along the Shore, Taylor Shannon, Shiny and the Spoon, Daniel in Stereo, Static Wonder and a band featuring students from the School of  Rock Mason. 

For full details (including info on vendors, kids’ activities and more), visit The times the various performers are playing the Longstone Street Festival can be found at the event’s Facebook page, which also includes music and video samples of several of the artists. 

The Foxfire Freedom Festival and the Longstone Street Festival are both open to all ages and are family friendly.

<![CDATA[Cincinnati at the VMAs]]>

I tried to watch last night's Video Music Awards on MTV, but it was such an awkward and confusing clusterfuck, I couldn’t take much of it, flipping through for a few moments before moving on out of embarrassment for the people on the screen. I usually like when awards shows are a little chaotic (and the VMAs are known for their often-desperate attempts to be “not your mama’s awards show”). And I actually have always enjoyed the pop-culture pageantry of awards shows in general. But on last night’s VMAs, the annoyance factor was so high, I couldn’t even watch it on a “so bad you can’t look away” level. It made me anxious and uncomfortable, like watching someone fumbling over their words and breaking down while giving a speech in public (kind of like Kanye on last night's show). 

It wasn’t really even the performances that made it so unwatchable (most were pretty solid for what they were). It was all of the in-between absurdity that made it so cringe-worthy.

Speaking of performances, some Cincinnati artists did well on the big stage. Walk the Moon has become so experienced with these kinds of high-profile appearances that it wasn’t surprising the band’s umpteenth performance of “Shut Up and Dance” was flawless. Airing during the opening of the pre-show “rainbow carpet” portion, I found myself thinking (as I do whenever I hear the hit on the radio), “You know, they have other songs, including a new single?” “Shut Up” was considered a “song of the summer” contender, though it’s been on the radio for like 15 years (OK, it was released as a single in September of 2014, but still). Then the band played the new single, “Different Colors”! And MTV promptly cut them off. (Even “Shut Up” was interrupted mid-song so the pre-show hosts could introduce the program, the clumsiness of which ended up being indicative of the overall mess the VMAs turned out to be.)

The weirder Cincinnati-related appearance came during Macklemore & Ryan Lewis’ performance of their new single, “Downtown.” I was not aware of the guest artists on the song (OK, I was not aware they had a new song), so I turned it on just as Hip Hop legends Melle Mel, Kool Moe Dee and Grandmaster Caz were rapping while walking down the street, thinking it was some cool old-school tribute the awards show was presenting. Then Macklemore came on and I reached for the remote, still unable to figure out what was going on. Then Eric Nally from late Cincinnati greats Foxy Shazam joined in, singing the chorus and doing some of his trademark stage moves and I officially thought I was just having a dream. 

Nally did a great job and he caused a lot of buzz online, mostly of the “Who was that guy?” variety (when the single was released last week, a bunch of idiots rehashed the “Eric Nally is racist” stories from back in 2013 when Foxy Shazam released the single, “I Like It.”)

It’s weird mash-up of a song, parts of which I like, while other parts I find tremendously aggravating. Which is kind of what the VMAs were. Is this the present state of popular youth culture? Throw a bunch of unrelated stuff together, put it in a blender and then just stare at the blender, not caring or knowing what the end result is? 

MTV/Viacom had something called the O Music Awards for a few years recently, honoring things like “Favorite Fuck Yeah Tumblr,” “Favorite Animated Gif,” “Best Tweet” and “Best Artist With A Cameraphone.” The O Awards ceremony seemed unscripted and filmed without any director whatsoever. It doesn’t appear the O awards are still a thing; perhaps last night’s VMAs were a sign that the network is turning its long-running awards program into the Os? 

The VMAs were largely just a big WTF moment that people would talk about/complain about/make fun of online. Which is probably exactly what MTV was going for and, scarily, perhaps the shape of youth-oriented entertainment to come. 

<![CDATA[Your Weekend Playlist: August Vibes]]>

Old, new, weird or blue – I can’t get enough. 

“Thunder Clatter” – Wild Cub

This hand-clapping, shoe-tapping goodness is by far one of the best new jams I’ve came across, making it impossible to skip when it comes up in my track library. It’s upbeat, it’s joyful, and you’ll find yourself singing the final phrase, “I feel it all in the center of it all, you’re the love of my life — the love of my life” over and over again because it’s so damn catchy. (Not to mention, sweet as a peach.) Wild Club is an American Indie group that defines itself by the brand of '80s-inspired Electro-Pop, with “Thunder Clatter” becoming their most successful track. Listen for yourself and see why.

“My Wrecking Ball” – Ryan Adams

Hands down one of my favorite artists of this lifetime. I first discovered Mr. Adams when I got stranded in Arizona after Cincinnati got hit with the blizzard of the century, and I couldn’t find a flight home. (Not complaining.) I gratefully sat outside in the desert air reading Brain On Fire, in which the author talks about how her best-kept memory was hearing Ryan Adams play. And I soon learned for myself about this man — not only known as a beyond talented musician, but his approach on stage is ridiculously comedic, with a touch of thought and wisdom. “My Wrecking Ball” live at Carnegie Hall is one of my favorite tracks to play. It’s a stunning song filled with so much life, and at the very end he draws a laugh from the audience after dropping his hands onto the keyboard and saying, “I really can’t fucking play this thing at all.”

“Nocturne” – Wild Nothing

I’m starting to notice this bouncy, '80s theme in a lot of contemporary music lately, and this song is perfect example of that exact vibe. It’s a track that’s meant to fade in and out of style, with pops of a deep, deep echoing voice flowing after each verse. Not to mention, the guitar is incredible. Lead singer Jack Tatum’s unique voice and song structure creates a sound that can almost be heard in any setting. I choose Wild Nothing for drives to work, writing at my desk or even when I eat dinner on my couch. No matter what the setting, this song easily fits.

“Drag” – Day Wave

If the artist Day Wave had to go by one phrase, it would read: “I fucked up but I don’t really care.” It’s a quick beat with softly voiced lyrics, giving off the vibe where you want to dance along but also emotionally feed into what they’re saying. Day Wave’s latest track “Drag” is easily heavy on the sounds, and although the lyrics are quick, they’re so simple to catch on to. It’s repetitive without driving you crazy. And sure, it ends before you know it. But that’s all the more reason to play it over again and again and again.

“You Really Got A Hold On Me” – She & Him 

Zooey Deschanel (She) and M Ward (Him) have seen individual success within their own careers, but together they turn out to be a surprisingly perfect duo. “You Really Got A Hold On Me” is one of the best examples of how these two artists compliment one another best as Ward’s voice echoes behind Deschanel’s elegant, classic sound so delicately. This song makes it easy to get swept away into a sway with someone you care for, and them swaying you right back. It’s meant to be her unhealthy yearning for him, and the lyrics go, “You treat me badly…I love you madly.” We’ve all been there…right?

<![CDATA[Your Weekend Playlist: Bootstraps]]>

With vocals as scratchy as sandpaper and an instrumental rock sound, Bootstraps are killing it with their soundtrack — their only soundtrack, to be exact.

Bootstraps are unique while maintaining a bit of what you’ve heard before. Lead singer Jordan Beckett’s voice is similar to Ray Lamontagne, while the overall sound resembles something along the lines of Coldplay. Explosions in the Sky’s strong yet delicate instrumentals play a part in the vibe this intimate band gives to their listeners.

Based in Los Angeles, Bootstraps’ admiration for California does not go unnoticed in their tracks. “OH CA” speaks for itself, while the rest of the jams have a majestic, passionate sound that carries you away to the oceans of Cali and the scenic roads that lead you there.

Personally, I’ve found Bootstraps to be a beautiful soundtrack for writing, reading and connecting deeply with your own emotions. (That’s right. ALL the feels.) My good friend Amanda with similar music taste commented on this newly discovered band and said, “I want to drink bourbon and sit and in a dark, rich, old bar while I listen to them.”

I couldn’t agree more.

My boyfriend pointed out that “their echo sounds like they are in the room next to you,” and although he wasn’t a fan of that, I absolutely was. If a band can prove to the listener that they sound that good in a live setting, then they are one hell of an artist, filled with the kind of talent that lacks a heavy amount tweaking. 

Bootstraps made their mark in my book. Even though their songs remain at a mostly slow pace, I still find myself turning them on even at my happiest moments.

They’re just that good.

<![CDATA[Your Weekend Playlist: Volcano Choir, <i>Repave</i>]]>

If I could choose one album to listen to for a month straight (because, let’s be honest, the whole “rest of your life thing” is far too unrealistic), I would choose Repave by Volcano Choir.

A buddy of mine showed this album to be about eight months ago. He was going through some pretty tough stuff at the time, and he couldn’t get enough of this album filled with sorrow, power and beauty altogether. Repave consists of tracks that can almost make listeners feel as if it was written specifically for them, and I understood immediately why he was so drawn to it.

Justin Vernon (best known as Bon Iver) took a different turn with the Volcano Choir project, breaking away from the sound of his album For Emma, Forever Ago, and the more tranquil sound Bon Iver brings to the table. According to a Pitchfork interview, Volcano Choir is supposed to be “fun.” This concept immediately causes me to smile, because as deep and emotional a man Vernon is in comparison to his previous work, it just makes sense.  

Although I said I would choose to listen to this album for an entire month straight, that doesn’t necessarily mean you have to be going through a tough time in your life to enjoy it. It’s beautiful in an elegant way, when the (sound) waves crashing into shots of orchestrated sounds that rise up as the track time elapses. Their album cover of a rocky ocean simply speaks for itself. Although it isn’t clear whether or not the dark skies symbolize before or after a storm, I personally imagine it as both. These songs begin with slow rhythms, delicate strummed guitars and a light tapping on the drums. Some even begin with a voice alone. But at some point, it escalates. It kicks your ass, emotionally. And just like the worst things we may face in life, the storm ends. And it slowly, but gracefully, falls.

Whether you’re a Bon Iver fan or not, this album is nothing like what you’d expect, yet, everything you’d expect. Play it over and over again. Face your storm. And rock the fuck out when you do.

<![CDATA[MidPoint Music Festival Adds More Acts, Venues]]>

The 2015 edition of the MidPoint Music Festival (owned and operated by CityBeat) is less than two months away, returning to various venues in Over-the-Rhine and Downtown Sept. 25-27, and this morning organizers announced the release of the schedule and a few additional performers. 

New artists added to this year’s 14th annual event include The Besnard Lakes, Heaters, The Moth & The Flame, Alberta Cross, The Glazzies and Left & Right. A few more local acts — Mad Anthony, Bulletville and Culture Queer — were also added to the roster. Widely-acclaimed Cincy-area rockers Buffalo Killers will also perform at this year’s MidPoint. You can catch a preview when the group headlines a free show tonight on Fountain Square, part of the MidPoint Indie Summer series. The band is joined by Ohio Knife, Pop Goes the Evil and Go Go Buffalo for tonight’s 7 p.m. concert. 

The festival also announced new venues for this year’s fest. Woodward Theater and Maudie’s, plus an outdoor stage at the corner of 14th and Sycamore streets, join previous venues Washington Park, Taft Theatre’s Ballroom, The Drinkery, Mr. Pitiful’s, MOTR Pub, Christian Moerlein Brewery and Arnold’s to host this year’s 120-act lineup. 

Get a look at the schedule so far right here. Tickets are available here. And more info on today’s announcement can be found here. All details can be found at

<![CDATA[Your Weekend Playlist: Throwing it Back]]>

Even if you weren’t around for Mick Jagger when he became a Rock & Roll legend, or to hear Jimi Hendrix’s “All Along the Watchtower” at Woodstock Music Festival, you still most likely know about it. The '60s and '70s were two of the most influential music decades of all time — a time we still appreciate this many years later, and will continue to during the years to come.

Much of my appreciation for music today comes from what I’ve heard from the past. (Thank you, Mom and Dad.) Knowing where you are often relies on knowing where you came from — a totally cheesy saying that is completely relevant to the development of music as much as your own life.

But seriously.

John Mayer’s biggest influence was Blues guitarist Stevie Ray Vaughan. Kings of Leon was inspired by Neil Young, CCR and The Allman Brothers Band. Justin Vernon (Bon Iver) was fascinated with the lyrics of Bob Dylan, believing his voice paired as a good sound with his words.

Almost every great artist can root back to what inspires them, and sometimes we overlook that little detail which makes them our favorite contemporary musician.

This playlist is filled with just a handful of my favorite artists I wish I could travel back in time to see with my own eyeballs. But cranking up the volume extra loud and dancing in my kitchen will have to do for now.

Led Zeppelin because Robert Plant is the man. And for crying out loud, why NOT?

Pink Floyd because everyone needs a little dose of psychedelic. Or a lot of it.

The Rolling Stones because Mick Jagger has been kicking ass since he was 15 years old. 

Creedence Clearwater Revival because you may have seen the rain, but who will stop it?

Elton John because he’s my favorite human being that ever lived. “Tiny Dancer” makes me want to be Penny Lane from Almost Famous, singing my heart out on a bus with a band and their groupies. (But that’s just me).

Tom Petty And The Heartbreakers because they’re the perfect blend of driving in the summer and smoking weed in your basement.

*Notice there are no Beatles on here. Sure, they began the “British Invasion” after breaking into the U.S. music scene in 1963, causing one of the wildest movements in music history. However, they get enough credit almost everywhere else and don’t necessarily fit into the Rock & Roll I’ve chosen for this playlist.


<![CDATA[Your Weekend Playlist: July]]>

Everyone gets hooked on a handful of songs they can’t seem to skip over during a period of time. Well, these are mine from the month of July.

“Crystals” – Of Monsters and Men

This song kicks complete butt. The heavy drum intro leads into the crashing of symbol waves throughout the entire track, while lead singer Nanna Bryndis Hilmarsdottir’s voice carries the powerful lyrics along the melody. This entire album is unique to their previous style, developing lyrics on a more honest and open level. Seriously, listen for yourself.

“Red Eyes” – The War On Drugs

This retro Indie Rock band from Philly wraps their beat around modern-meets-’80s music, especially their on this, their most popular jam. The impeccable beat is bob-your-head worthy, in addition to the powerful voice of the longhaired lead singer Adam Granduciel. Such a cool dude.

If you’re taking a long drive through the night with flickering highway lights passing your cracked windows and a chill in the air blowing through ever so slightly, you’ll easily feel like you’re racing back through time. It rocks so hard you’ll find it hard to skip.

“Soul Is Fire” – Elliot Root

I dare you to play this at your desk and try not to tap your foot (I tried, and it’s pretty impossible).  Scott Krueger’s upbeat and unique voice is enough to turn any song into a party, especially this particular jam. It’s catchy, it builds and it’s just plain fun. Elliot Root got their own roots in the heart of Nashville, Tenn., but they’re not what you’d expect from the South. Give them a listen and dance around with your shoes off. It won’t be hard.

“Delilah” – Florence + The Machine

Delilah” is one of Florence + The Machine’s many singles sung by the beyond-badass Florence Welch and those incredible pipes of hers. This single, and two others that were released prior, are now featured on their latest album How Big, How Blue, How Beautiful. The entire album just continues to follow up with Welch’s tough-as-nails attitude and lyrics, giving women the sense of ability and power they should all possess. Not to mention it makes you want to dance.

“Wolves” – Phosphorescent

We all remember 2013’s “Song for Zula,” right? Turns out Phosphorescent has other hidden gems, and I choose to listen to this gentle tune before I close my eyes for the night. It’s simple, genuine and repetitive in a way that doesn’t feel that way. The unique use of a ukulele as a long introduction pieced together with a soft, electric guitar and the thick sounds of an accordion subtly enter into the center of the song. Matthew Houck’s sad and sincere voice has that “cabin in the woods” vibe to it, similar to Bon Iver’s For Emma, Forever Ago. It’s overall a beautiful piece, even if it took me this long to discover it.

<![CDATA[Growing Up with Bogart’s]]>

Though it hasn’t always been a loving relationship, Bogart’s has been a part of my musical life since the ’80s. I’m slightly older than the venue. I was 5 when it opened. But in less than 10 years, as my music fanaticism truly took hold, Bogart’s would become a place of awe to me.

It began when I entered junior high. I went to a school just a few blocks up Vine Street. It was commonly known as Schiel, but I attended during a brief period when it focused on foreign languages and was called the Cincinnati Bilingual Academy.

My fellow musically-obsessive friends at the time loved to hang out on Short Vine. The record stores were a big draw, as was the arcade, Jupiter and Beyond. So we spent as much time as we could in the area after school and on weekends. Bogart’s sat right in the middle of it all, but it was this magical, mysterious entity to us. Because the venue was yet to have “all ages” shows, we’d never seen a concert there. But we would stand out front and marvel at the posters in the window, wishing we could go see some of these very bands with which we were becoming deeply obsessed.

At some point, we discovered the alleyway that ran behind the club and realized that was where the artists entered and loaded in. So we began a ritual that lasted through high school. A few friends and I would linger around the backstage door before shows by artists we loved, hoping to see our heroes and maybe get an autograph. We would also sometimes be able to hear the musicians doing soundcheck, and every so often during our early high school years we’d be there late enough that we could actually hear some of the concert through those back doors.

There I got to meet some artists who were favorites of mine then and remain important to me to this day. Guitarist Andy Summers of The Police stopped at Bogart’s on a solo tour. The Police were by far my favorite band at the time, so it was incredibly exciting to say hello to Summers (who is a tiny, tiny man) and have him sign the pickguard  I yanked off of my cheap acoustic guitar. I also got to meet the members of L.A. Punk legends X. Billy Zoom, the band’s blonde-pompadoured guitarist, was hilarious. He chatted with us briefly and then when we asked for autographs, he happily obliged, pulling a silver paint pen from his leather jacket. It must’ve been a new acquisition because he couldn’t get the cap off, so he handed it to me for help. Nervously, I got it off, but also broke the pen in the process somehow. Zoom started giving me shit and I was horribly embarrassed, but later realized he was likely just busting my chops and having fun with me.

When I was just starting junior high, British Ska/Pop band The English Beat played Bogart’s on its 1980 tour. The Beat were second only to The Police to me, but the show was during a time where we could only longingly look at the gig posters in the front windows. Later, while in high school, with our back door ritual in full swing, General Public — which featured the Beat’s frontmen Dave Wakeling and Ranking Roger — were booked to play Bogart’s, so we made plans to try and meet Dave and Roger. We arrived a few hours before the show and noticed that a few upperclassmen from our high school were there hanging out as well. It was a cold day and Roger and Dave came hurriedly around the corner towards us, huddled up in coats and trying to stay warm. Dave saw the five or six of us hanging around and instantly invited us in out of the cold. This was my first time inside of Bogart’s and it felt like I’d just entered a sacred temple. I had to leave (Mom was waiting for me), but we got to make that climb up the stairs from the backstage, walk across the stage (where the band members were messing with equipment), then through the big hall and out the front doors. It was a highlight of my life up to that point.

I also camped out around back when Adrian Belew and The Bears (featuring local musicians Rob Fetters, Bob Nyswonger and Chris Arduser of The Raisins) were making their Bogart’s debut in 1985 (it was the start of the band’s very first U.S. tour). I was a huge fan of Belew’s solo albums and work with King Crimson and The Raisins were one of my favorite bands. The Raisins were the first “local band” I truly fell in love with and anytime the group played an outdoor, non-club, all-ages show (in a park usually), I was there.

Belew finally was making his way into the club as we approached, accompanied by a man we didn’t recognize. It was Arduser, who was actually the drummer during an earlier period of The Raisins, not during the time when I’d go to see them constantly. As Belew jotted down autographs for me and my friends, he introduced Chris with a silly joke I’ll probably never forget: “This is Chris Arduser, also known as Chris Our Drummer.”

Years later, when I started my writing career, several of these moments connected and came full circle. While living in New York City, I had the chance to interview X’s frontpeople Exene Cervenka and John Doe in their record label offices (I didn’t bring up the Zoom/exploding-pen incident). I did an extensive phone interview with Belew. And through writing about and interviewing Arduser and Fetters over the past 20 years, I think if they saw me on the street they’d recognize me and say, “Hello.” Just being able to talk to those guys (and Nyswonger), considering my fanaticism over their bands from a young age, was and is pretty amazing.

A few years ago, I got to sit backstage at Riverbend with Dave Wakeling when The English Beat opened for 311. He was the kindest “Rock Star” I’d ever met and he actually hung out with me and a few other people I was with before and after the show. (When he let us into Bogart’s, I was convinced it was because one of the older high school girls was very cute, but I’m now more convinced he was just being a cool guy.) At one point, I was standing next to Wakeling at the side of Riverbend’s stage watching 311 play. At one point, he leaned over and said in my ear, “I think me and Roger (who no longer performs with The Beat; Wakeling is the only original member) will get back together at some point.”

If my 13-year-old self would have been told that any of those moments would happen several decades later, he would’ve fainted.

At some point in the ’80s, Bogart’s began experimenting with having all-ages show. My very first show at the club was to see Violent Femmes (I believe in 1986), but, in the early stages of this experiment, Bogart’s herded us under-agers up into the balcony. I remember loving the show and being in the club, but I more vividly recall looking down on the club’s floor and noticing what a small audience there was. While the balcony had hundreds of kids smushed together and barely able to breathe, it seemed like there were only a couple hundred people below us. Still, I’d made it into Bogart’s! Not long after, I made it to the floor-level when the club was hosting high school cover bands for all-ages shows. The Complaints (who also did some originals I really liked) were the big band at my high school at the time and I remember the club being packed with teens for their show. (Fun fact: The Complaints’ drummer was Michael Meisel, who later became a big-time music manager for several popular artists, including Nirvana.)

The club kept expanding its all-ages policy over the next few years. Punk Rock matinee shows were very popular; I fondly remember seeing some of my favorite local Punk acts, like SS-20, The Edge and Human Zoo, thrashing around on the Bogart’s stage. It seems like a weird dream now, but there were also Punk shows that featured wrestling — an actual ring was installed in the middle of the floor and local Punk icon/radio host/Bogart’s employee Handsome Clem Carpenter not only MCed (I believe), but also wrestled.

Another early show I saw was True Believers, Alejandro Escovedo’s early punk-ish band. I remember this show because it was the first time I actually was served beer at the club. My teenage friends and I were sitting at a long table and a waitress came up to take our order; she didn’t flinch when we ordered a pitcher of beer. So, of course, we ended up ordering about 20 pitchers of beer throughout the night.

Around this time, I played my first shows at Bogart’s, something almost any young musician will tell you is a pretty special feeling. My Punk band was added to a few bills by a gracious promoter or fellow local band. I remember being so nervous at those first shows that I could barely play my instrument, partly because I was thinking about all of the famous musicians (U2, Prince, R.E.M.) who had stood right where I was standing. I ended up playing there many times over the years with various bands (opening for bands like New Model Army, Prong, Matthew Sweet and Fugazi), but the early shows were the most memorable. When my first band opened for 7 Seconds, we started to get heckled by a gaggle of skinheads in the crowd (we mixed Rap, Funk and Post Punk into our sound, which offended their purist tastes apparently). Our singer started taunting them so they approached the stage; as one started to climb up, I punched my combat boot directly into his face at the lip of the stage. After our set, the club provided us with a couple of security guards so that we could walk back up and watch 7 Seconds. We were told some skinheads were waiting for us outside, but by the time we got out, they were gone.

By the time I reached college, I was a regular at Bogart’s. I even started befriending some of the staff, dating a couple of bartenders and even marrying one. These were the days when I saw certain bands right before they graduated to “arena rock”-levels of success, like The Smashing Pumpkins, Beastie Boys and Marilyn Manson. One of the more memorable shows was a weird 1995 package tour headlined by Mike Watt and featuring Hovercraft (which included Eddie Vedder on drums, right as he was at his Grunge God peak with Pearl Jam) and a new band fronted by Nirvana’s Dave Grohl on guitar and vocals. Grohl was road-testing his new group, which you may have heard of (rhymes with Doo Righters). Watt headlined the show and was backed by Vedder, Growl and Germs/Foo Fighters/Nirvana guitarist Pat Smear for his set.

As mentioned above, I haven’t always loved Bogart’s. The sound has ALWAYS been hit or miss, often frustratingly. I can only imagine it’s best explained by the set-up of the club (basically a big, long brick shed). There was period when the staff was almost universally rude, with harsh pat-downs at the door (at one point, if you tried to bring in anything that could remotely be considered dangerous — a lighter! A pack of cigarettes! A chain necklace! — it was often just tossed in the trash) and overly-aggressive bouncers roughing up kids who were perhaps dancing a little too hard. About 10 years ago, I got an assignment from U.K. weekly music paper NME to review an Insane Clown Posse concert at Bogart’s. During the pat-down, the door person grabbed the pen I needed to take notes and he tossed it into the garbage. I know ICP crowds can be rowdy, but, even after explaining the pen’s purpose, the doorman just blank-stared me, seemingly convinced that I was just the type to go on a serial pen-stabbing spree during the show.

I loved the ICP show, by the way. The band is a Bogart’s staple and that was my first time seeing them. The music isn’t really up my alley, but the duo’s ridiculous showmanship is truly something everyone should experience at least once. I’m convinced the two ICP dudes know they’re more a comedy act than anything — and probably chuckle at the fans who take them way too seriously —  and that makes me appreciate what they do. It was like a surreal circus show gone awry and I had a smile on my face the entire time. Though afterwards, I felt really bad for the Bogart’s clean-up crew — SO. MUCH. FAYGO. I wonder which show was more dreaded by the janitors — ICP or GWAR?

The Bogart’s of today is strikingly different and in the best shape it’s been since I started going there. I remember several years ago writing a rant about the club (probably after the ICP incident) and pointing out that, in the decades I’d been going to concerts there, the venue had made absolutely zero notable improvements. Sure, they’d upgrade the sound system from time to time (usually without much noticeable improvement to the sound), but the club never seemed to improve conditions for the customers (good Lord, those bathrooms approached CBGB levels at times). Maybe it was a money issue or maybe management felt there was no reason to upgrade, since people were coming anyway. And, besides, where else would they go to see these particular acts?

But the days when going to Bogart’s felt like entering a prison yard are long gone. A few years ago, I remember going to a show and being stunned at how different it was. It was right after some upgrades and, while nothing drastic, it changed the whole vibe of the club and the experience. The staff was friendly. The front-door inspections were respectful. The bathrooms were clean. It was suddenly customer-friendly in a way I never remember it being.

There is no way I can remember every show I saw at Bogart’s, memorable or not. There have been several hundred. But a few stick out. There was the 1990 show when on-the-rise bands Faith No More and Soundgarden opened for cult Metal group Voivod; by the time the tour got to Bogart’s, the openers were blowing up on MTV and radio, which meant that less than half the large crowd stuck around to watch the headliners. Another time, when I started my writing career, I had a pre-show interview with the guitarist for Blind Melon at a restaurant next door to the club. As we chatted, late singer Shannon Hoon (who’d later put on a great show) and the other band members threw food at each other and acted (endearingly) like 12-year-olds.

Another favorite memory was a weird Red Hot Chili Peppers/Faith No More show in 1987. This was when Hillel Slovak (who later died from a heroin overdose) was still playing guitar with the Peppers (a favorite band of mine at the time), and Faith No More featured Chuck Mosley on lead vocals (well before Mike Patton took over the mic). Faith No More opened and ran through most of the material from the We Care a Lot and Introduce Yourself albums, its only releases at the time. Then things got weird and Mosley started telling the sizable crowd that the Chili Peppers weren’t going to show. Then the band started doing jams and weird covers, playing for well over an hour. Mosley did an acoustic version of Suzanne Vega’s “Luka.” By the time guitarist Jim Martin began to do a solo Hendrix-esque rendition of “The Star-Spangled Banner,” it felt as if Mosley may not have been kidding.

Faith No More was clearly vamping and trying to fill time. Then, in the middle of a song, four heads started weaving towards the stage from the back of the room. The Chili Peppers hopped onto the stage with Faith No More and jumped up and down for a few minutes, then headed backstage. They put on a great, incredibly energetic show (they said their tour van — a VW Beetle Bus with bullhorns on the front that my friends and I saw in the parking lot afterwards — broke down on the highway, but we all suspected something drug-related caused the delay). For their encore, the Peppers came out naked except for the tube socks on their dicks (part of their schtick at the time) and looked nervous as hell, glancing over their shoulders constantly. Apparently they’d been informed about Cincinnati’s low-tolerance for anything sexual in public (remember, this was the ultra-conservative ’80s, when Cincinnati was most associated with shutting down “obscene” art exhibits and hassling Larry Flynt) and were fearful of being arrested. The band played one or two short, fast songs and then booked it off stage. (It’s just a rumor, but I’d heard the police were indeed there and going to arrest them, but the band escaped in a fan’s car and stayed at their house playing video games all night.)

I’m not a big fan of huge crowds, so sold-out Bogart’s show always put me in panic attack mode. But I’ve braved several and I’m glad I did. When Bob Dylan decided to play some smaller clubs in 1999 and chose Bogart’s as one of them, I proudly took my dad to see him. I’ve seen Dylan numerous times over the years and more often than not I’ve left disappointed. But at Bogart’s, he sounded amazing and played inspiringly. I also took the love of my life to an over-stuffed Bogart’s in 2003 see her favorite band of the time — The White Stripes — when she was several months pregnant with our child (if she’d given birth, the baby would have had to have been passed to the exit, crowd-surf style, because it was so packed).

Bogart’s has admirably supported local and regional artists since as long as I can remember. Locals were given opening slots for big-time bands often. After my first band played a crazy set at one of the club’s battle of the bands (competing mostly with straight-forward Hair Metal bands), Dan Reed, manager at the time, came up and asked if we wanted to open for Jane’s Addiction. We very much did, but Jane’s took off and ended up playing Hara Arena in Dayton instead. The aforementioned local Punk shows were always a blast. And I have fond memories of 97X’s old 97Xposure band contests. The club’s “battle of the bands” events (which I mostly attended as a guest judge after my competitive years were over) could sometimes be painful, but I always enjoyed watching the younger bands exhibiting that same awe that I felt the first time I played there (and it was fun to play “Spot the Parents”). The club also hosted a couple of benefits for local community radio station WAIF that were a lot of fun, one featuring a ton of local bands playing Christmas songs (my band decided to perform in just Christmas underwear — briefs! — which must’ve been horrifying) and one with local groups playing David Bowie songs. And I spent many great New Year’s Eves at Bogart’s when the great Columbus, Ohio band Royal Crescent Mob played there every year. I seem to remember The Afghan Whigs taking the slot a few times, too. (The many Whigs shows I’ve seen at Bogart’s, including their most recent one a couple of NYEs ago, have been some of my all-time favorites.) In recent years, CityBeat has hosted a new band showcase at Bogart’s — the staff has always been great and I’ve thoroughly enjoyed the shows.

I wouldn’t say Bogart’s is my favorite club — I prefer smaller venues, in general. But I’m very thankful it exists. It has been the one constant, reliable place to check out live music of every sort in Cincinnati ever since I was a teen, and its mid-size has made it possible for mid-level acts to play the Queen City instead of skipping it altogether. More or less, my musical life has revolved around Bogart’s, and it’s hard to imagine what it (or Cincinnati’s concert scene, in general) would have been like without it. Thankfully, we don’t have to.

CityBeat celebrates the 40th anniversary of Bogart's with this week's issue. Check out Brian Baker's overview Cover Story on the club's rich history and promising future, plus sidebars on Brian's favorite moments, the view from John James' nearby record stores, Prince's surprise visit in 1984 and the infamous Heavy Metal Wheel of Sex.

<![CDATA[‘American Originals’ Pops Concert Recording Due in September]]>

Back in January at Music Hall, the Cincinnati Pops Orchestra, under the direction of conductor John Morris Russell, presented its unique “American Originals” concerts. During the performances, the orchestra collaborated with several local and national Folk/Americana artists to perform and celebrate the music of Stephen Foster and other early songs that are the foundation of the “Great American Songbook.” 

Read CityBeat’s cover story on the project here.

Rosanne Cash, Aoife O’Donovan (who recently returned to join the Pops for its Fourth of July concert at Riverbend; read our interview with her here), Dom Flemons (formerly of the Carolina Chocolate Drops) and Joe Henry joined Cincinnati area artists Over the Rhine's Karin Bergquist and Linford Detweiler, members of the Comet Bluegrass All-Stars and others to perform specially arranged versions of Foster compositions like “O! Susannah,” “My Old Kentucky Home,” “Camptown Races” and “Beautiful Dreamer,” as well as traditional numbers like “Red River Valley,” “Kumbaya” and “Amazing Grace.” 

A live recording of the concert featuring 17 songs will be released on Friday, Sept. 11. (You can pre-order it now here from Amazon.)

Here is the detailed track listing for the American Originals release (via

1) “O’ Susannah” (written by Foster, arranged by Chris Walden and with Joe Henry on vocals)

2) “Jeanie With The Light Brown Hair” (written by Foster, arranged by Rob Mounsey and with Aoife O’Donovan and Karin Bergquist of Over the Rhine on vocals)

3) “My Old Kentucky Home” (written by Stephen Foster, arranged by Rebecca Pellett and featuring Rosanne Cash on vocals)

4) “Amazing Grace” (traditional, arranged by Pellett and featuring Aoife O’Donovan and the Comet Bluegrass All-Stars)

5) “Rolling River: Sketches On Shenandoah” (composed by Peter Boyer) 

6) “Why, No One To Love?” (written by Foster, arranged by Pellett and featuring Over the Rhine’s Bergquist on vocals and her OTR partner Linford Detweiler on Rhodes keyboard)

7) “Old Folks At Home” (by Foster, arranged by Timothy Berens and featuring Dom Flemons on vocals and harmonica, Timothy Berens on banjo and Paul Patterson on fiddle)

8) “Kumbaya” (traditional, arranged by Berens and featuring Timothy Lees, Kathryn Woolley, Gabriel Pegis and Scott Mozlin on violins and Richard Jensen on djembe

9) “Slumber My Darling” (by Foster, arranged by Chris Walden and featuring O’Donovan on vocals and guitar)

10) “Aura Lee” (by Foster, arranged by Pellett and with Henry and Ed Cunningham on vocals)

11) “Foster's Folly” (by Foster, arranged by Berens)

12) “Ring, Ring The Banjo” (by Foster, arranged by Walden and featuring Flemons on banjo and bones
 and Cunningham on fiddle)

13) “Red River Valley” (traditional, arranged by Berens and featuring the Comet Bluegrass All-Stars)

14) “The Battle Cry Of Freedom” (composed by George Frederick Root and arranged by Berens)

15) “Beautiful Dreamer” (by Foster, arranged by Mounsey with Cash on vocals)

16) “Hard Times Come Again No More” (by Foster, arranged by Berens and featuring Over the Rhine, with Bergquist on vocals and Detweiler on guitar)

17) “Camptown Races” (by Foster, arranged by Mounsey and featuring the Comet Bluegrass All-Stars, as well as Cash, Flemons, Henry, O’Donovan and Over the Rhine on vocals)

<![CDATA[Your Weekend Playlist: Road Trippin']]>

Anyone with an adventurous bone in their body naturally loves road trips. It’s the quickest way to embrace your passion for exploration by simply hopping into your vehicle and hitting the road filled with destinations and opportunities. And what’s the ultimate source of entertainment during your long trip? Music.

I took a different approach while selecting these particular artists/songs. Playlists don’t always have a major theme to them. It’s not always necessary, and road trips are the best time for these types (or non-types) of soundtracks. As quickly as the double yellow line flickers along the street below, sometimes, so does your mood. There’s the beginning and the end of the drive when you’re nothing less than sitting out of the edge of your seat, the mid-drive mood when you need a bit of a change-up, and the nighttime (my absolute favorite part) when you’re chugging your gas station coffee, munching on beef jerky and letting the jams take you away — father than your car ever will.

This playlist meets all these moments in a road trip. Just by looking at it, it’s like I reached my hand into a pot full of weirdness and grabbed whatever I could. In reality, I selected these babies for a reason.

There were a ton of artists I considered putting on here. Candidates included Mumford & Sons, Hozier, John Mayer, and those other mainstream, super-duper talented artists we already love. Instead of giving you something you already know, I wanted to introduce you guys to some folks that may be potentially new to your music library. There’s no better time to indulge yourself in new music than driving in a car for hours, watching your view from the window change in the blink of an eye.

It’s totally OK to have it all. Ya dig? Now grab your keys and get going.

<![CDATA[MidPoint Music Festival Announces More Artists]]>

The MidPoint Music Festival today announced a third wave of artists scheduled to perform at the 14th annual event this fall.

Locals Heartless Bastards will headline Friday night's shows at the Christian Moerlein stage, touring in support of their new album, Restless One. The band will join Purity Ring and Matthew E. White on Friday night's schedule, with Saturday performers including Ride and Sylvan Esso. Iron & Wine and Tune Yards highlight Sunday's slate. 

MidPoint, which is owned and operated by CityBeat, is scheduled for Sept. 25-27 and once again will take place in and around Over-the-Rhine. The full schedule will be released in the coming weeks.

The festival expects a total of around 125 total artists to perform. So far, the following have been confirmed: Heartless Bastards, Nick Diamonds, Good Graeff, Heat, Nick D' & the Believers, Roadkill Ghost Choir, Ona, The Eagle Rock Gospel Choir, Alanna Royale, Sphynx, Charles Walker Band, EZTV, Miracles of Modern Science, Bailiff, The Ghost Wolves, Wild Ones, Big Scary, Mothers, Xoe Wise, Turbo Fruits, Young Empires, Grandchildren, Forest and The Evergreens, Great Peacock, Kinky Love, Elk Creek, Ancient Warfare, What Moon Things, Bones Jugs N Harmony, Little Racer, GGOOLLDD, No/No, Kid Runner, Chrome Pony, Dirty Fences, Rose Quartz, Jackson Scott, Eclipse Movement, MULTIMAGIC, Sweet & the Sweet Sweets, Dawg Yawp, Gran Bel Fisher, Automagik, Coconut Milk, Jane Decker, Orchards, Kate Wakefield, Little Lights, DAAP Girls, The Yugos, Marcus Alan Ward, The Harlequins, yler Childers & the Food Stamps, Young Heirlooms, Us, Today, Public, Holiday Mountain, The Almighty Get Down, Noah Smith, Leggy.

Weekend passes will be available at a discount rate ($10 off) at the MidPoint Indie Summer concert at Fountain Square this Friday. Saint Motel, The Modern Novas, Grenades!? and Jane Decker will perform. More artists will be announced in the coming weeks. More info:

<![CDATA[Your Weekend Playlist: America!]]>

There’s a lot to celebrate this year, folks. After Supreme Court officially legalized same-sex marriage nationwide, the feeling of freedom is especially felt in the LGBTQ community and the rest of those filled with joy for all the love in this ever-changing country. On June 25, history was made. And as July 4 approaches, it’s only acceptable to get a little crazy. We wouldn’t be Americans if we didn’t.

Whatever your plans are, you can’t forget your Fourth of July essentials: fireworks, beer, picnic grub and music. GOOD music. Although our speakers will mostly be filled with the classics by Bruce Springsteen and Tom Petty (nothing wrong with that), this doesn’t mean we have to sacrifice the contemporary jams we love so much for one day.

Check out and hang out to this modern, Mellencamp-free playlist for your day of kicking back and celebrating all the perks of being a damn proud American.

My Morning Jacket

My favorite band of all time. Be sure to avoid their album Circuital, though. (Too deep/spacey for the Fourth). I went with anything from Z, It Still Moves and Evil Urges, where their experimentation outside of their Rock-meets-Country roots stays at a minimum.

Ryan Adams & The Cardinals

The collaboration between these two artists seems to work in the best way possible, especially because it perks our buddy Ryan Adams up a bit. Still following through with his Alternative Country vibes, Adams’ voice we all know and love is given a more upbeat tempo to jam along to while you drink your beer in the grass.

Trampled by Turtles

Bluegrass and Folk with a crazy-ass banjo blended with that old violin sound. If Old Crow Medicine Show and Avett Brothers had a baby, this is it. They can go fast, they can go slow. Whatever your preference, it’s all Folk all the time.


As many films as “The Underdog” has been featured in, I still imagine it working in a Sandlot soundtrack. Doesn’t exist, but I can’t help but envision Smalls hitting that Babe Ruth ball when it comes on. If you can wrap your brain around that the same way I do, you’d understand why the rest of Spoon had to be on this playlist. Play ball!

Fleet Foxes

These guys immediately make me want to take off my shoes, run through the grass and jump into a creek. That’s why I can only listen to them in the summer. (Kidding, but you get the idea.) Their Folky, earthy tunes are ideal for the Fourth. Hopefully you’re near a creek!

The Flaming Lips

Ridiculously weird with the best intentions. This holiday can get weird, so embrace it and throw these guys on there. Less Folky than the other stuff, but it still works. I promise.  


People totally underestimate these guys. I saw them live last summer, dancing around stage in their fedoras and denim flannels like the happiest people on the fucking planet. Singing songs about their hometown in South Carolina and this sweet, sweet country we live it — how could you not put these songs on your list? 

Have a great weekend, folks. ‘MURICA.

<![CDATA[Summer Music Fests in the Great Indoors]]>

When you think summer music festivals, you probably think about things like high-powered sunscreen, hydration and the chance that you might get drenched if a storm rolls through. But this weekend in Greater Cincinnati, there are three festival that spotlight our great music scene, and you won’t need an umbrella, SPF 500 or $8 bottles of water for any of them. (Two of them feature “patio stages” that are outside, but schedules will be adjusted if harsh weather strikes.) Click on the artists' names for more on each of the acts.

Stanley’s Reggae Fest returns for its fifth year to Stanley’s Pub Saturday, showcasing some perfect summertime music with vendors, Jamaican food (from Ena's Jerkmania) and an outdoor patio stage (weather permitting; see above). 

Cincinnati faves The Cliftones head up the lineup, which also features fellow locals Know Prisoners, Nashville, Tenn.’s Roots of a Rebellion and Columbus, Ohio Reggae/Rap/Rock crew Shrub. 

Music starts at 6 p.m. Get a ticket today for $12 here, or pay $15 at the door. 

• The eclectic Folk/Americana scene in Greater Cincinnati is one of local music’s most thriving, and Saturday at Newport, Ky.’s Southgate House Revival, you’ll be able to catch some of its guiding lights (as well as a few touring acts). The inaugural Cincy Folk Festival is being presented by the local music website and proceeds benefit local Northern Kentucky radio station WNKU. 

The fest will utilize all three stages at the Southgate. Tickets $20 (get yours in advance here). There are also VIP tickets available for $30 (VIPs will be treated to catered food and music from The Young Heirlooms and Honey and Houston at 5 p.m.).

Here is the full schedule (visit for updates and full info). 

Sanctuary stage

7:30 p.m. Bulletville

8:30 p.m. David Gans

9:30 p.m. Kim Taylor

10:30 p.m. AJ Ghent Band

12 a.m. Chicago Farmer

Revival Room

8 p.m.Daniel Wayne and The Silver Lines

9 p.m. Mamadrones

10 p.m. Hickory Robot

11:15 p.m. Souse

12:30 a.m. Gabbard Brothers

Lounge stage

8 p.m. Carole Walker

9 p.m. Tracy Walker

10 p.m. Ma Crow & The Lady Slippers

11 p.m. My Brother The Bear

12:30 a.m. Wilder

• Tonight and tomorrow (Friday/Saturday), the Northside Tavern hosts the return of the Northside Music Festival on three stages, including one on its outdoor patio. The fest, now in its eighth year, features some of the city’s finest Indie and Rock acts of various shades and styles. And it’s all FREE. Visit the NMF’s Facebook event page here for the “in case of rain” schedule.


Back Room stage 

10:45 p.m. Skeleton Hands

11:45 p.m. Artisan

12:45 a.m. Dream Tiger

Front Bar stage

10 p.m. Smut

11 p.m. Everyday Objects

Patio stage

7:30 p.m. The Slippery Lips

9 p.m. Subsets

10:30 p.m. Tweens


Back Room stage 

10:45 p.m. The Harlequins

11:45 p.m. Temple

12:45 a.m. Soledad Brothers

Front Bar stage

10 p.m. New Strange

11 p.m. The Sundresses

Patio stage

7:30 p.m. Leggy

9 p.m. The Tigerlilies 

10:30 p.m. Fairmount Girls

<![CDATA[Your Weekend Playlist: Rainy Day Tunes]]>

Since the forecast for this upcoming weekend screams “absolutely sucky,” instead of fighting it, go ahead and embrace the rain. Whether you’re allowing yourself some “me” time to sink into your own thoughts or are keeping your favorite human close to your side, slide your ass back into bed, pour yourself some tea and put on these slower, deeper jams, old and new. (You know, when you’re done binging on Netflix). 

"Think of England" – Bear’s Den

“Do you lie back and think of England?” Maybe, maybe not. But the concept is there. Whether it’s a place or a person from your past, this song is dedicated to a memory that questions if it’s been forgotten or not. Many of us experience this “letting go of the past” feeling in our lives, and Indie Folk trio Bear’s Den’s does it well through such heartfelt poetry.

"Holocene" – Bon Iver

The immediate peace behind Justin Vernon’s voice paired with the tranquil melody that takes you out of this world and beyond is enough. It’s just enough. As much of Bon Iver’s music is based off of a pain or time of love and loss, this particular song is wrapped around the beauty given by earth and embracing the parts of life that are greater than you’ll ever be. (Little tip: I recommend watching the video. Absolutely worth it).

"Love You" – For Against

The wonderful thing about instrumentals is that they can be interpreted any way you like and let them take you wherever you want to go. It’s pretty awesome. It causes listeners to get more caught up in the title rather than the assigned lyrics, leaving an open canvas for their most creative thoughts to tell a story. For Against uses distinct rhythms and their Post-Punk/Dream Pop sound to allow you to capture a story throughout each of their tracks.

"Come Back to Bed" – John Mayer

If I’m being honest, in my wildest dreams, if John Mayer told me to come back to bed I’m sure as hell going to do it. Whether you’re embracing the emptiness or wishing your person were by your side, this song is a calling to bring you back into your sheets and leaving the bad things behind. John is a major necessity to any rainy day soundtrack, and this particular track is a strong winner.

"Jolene" – Ray Lamontagne

I don’t care who you are or what genre you prefer, everyone admires this beaut. Ray Lamontagne’s rough-meets-earthy voice is exactly what anyone needs on the slowest of days. It’s sad, yes, but a wise man once told me, “The sad ones cause you to feel the most.” Sometimes we need that, especially while the dreary rain pours outside our windows. And Ray is the king of that.

"Song For Zula" – Ronnie Fauss

This acoustic remake is simply remarkable. I first heard it in one of my music-loving friend’s cars, driving home late from a Hozier concert, and I was hooked. I wanted to crawl under the sheets and sleep the weekend off, drifting away to this sweet lullaby dedicated to a lover. If you enjoy the original, this version will tug just as strongly at your heartstrings.

"Dye" – Tycho

Another instrumental, another story. This one with a more Techno-feel and a beat you’ll feel. It reminds me of a club at 2 a.m. in complete slow motion. Weird, I know. But like I said, it’s all about where your creative mind takes you. This artist especially is creative and unique enough in itself to get the ball rolling in your mind. So while you’re lying there watching the day pass by, let your thoughts drift to this song, this artist, and this album.

"More Streets" – zpiderflower

This instrumental is a bit darker feeling than the rest with its deep, electric strings flicking one after the other and its low and steady beat remaining consistent throughout the entire track. This song was made for sleep. It was made to hide out from the nasty weather while still accepting it’s among you. These guys aren’t likely to come across often, so grab on and give them a chance while it’s still raining outside. You’ll grow for them more now than ever.

"Georgia" – Vance Joy

I LOVE this song. I love the verses more than the actual chorus, and that’s totally OK with me. It’s sweet and pretty and talks of love in such an elegant way. Vance Joy describes a woman as electric and strong, with a weight of love that’s worth it all. Sure, we all are familiar with Joy’s ever-so-popular song "Riptide," but in reality his other work is equally as incredible. You can’t help but think of the person you love most when you hear this tune.

"Comrade" – Volcano Choir

You bet your ass I put Justin Vernon on twice. As used as this phrase is, I can’t help but best describe Volcano Choir as Bon Iver “on steroids.” Its electric twist is strong, loud and powerful, while keeping its simplistic/natural style and sounds in the works. The entire Repave album is worth giving a listen, however, if you’re adding to a mellow playlist, I pick "Comrade."

<![CDATA[Your Weekend Playlist: The War On Drugs, <i>Lost in the Dream</i>]]>

On Wednesday, June 10, The War On Drugs performed live at the Madison Theatre in Covington, Ky. They slowly becoming one of my favorite artists in just a few short months, and I couldn’t pass up the opportunity to catch these guys while they were in town, just minutes from my city.

This American Indie Rock band from Philly began back in 2003 after Kurt Vile and Adam Granduciel met at a party. (Alcohol really does bring people together for more than just a one-night stand). Finally calling themselves The War On Drugs in 2005, the rest became history.

The disparate crowd in the Madison Theatre grew silent as Vile stepped onto the stage of smoke with his back turned away from us. The intro music patiently slipped through the fingers of the players, giving the crowd enough time to psych themselves up before Vile slowly circled, sending his voice through the microphone. I’d like to think goosebumps were contagious in that moment.  

The show kicked off with “Burning” from their album Lost in the Dream, an album that needed and deserved an entire concert time. They dove into each song random and out of order, just the way concerts should be. They even chose to throw their most popular track “Red Eyes” into the middle of the show — something we as music-lovers are unfamiliar with, subconsciously expecting the ordinary concept of “saving the best for last” (or in some cases, the most popular). Instead, it kept the crowd on their toes. It kept us wondering … what’s next?

My personal favorite didn’t come on until sixth to last. Waiting for “In Reverse” kept my anticipation high throughout the entire show, leaving me thoughtless and speechless and I swayed and felt more than what can be felt from listening through ear-buds.

The overall energy of the room was exactly what you’d expect it to be. The drifting rhythms and synthesized sounds of the acoustics was enough to send anyone into a parallel universe — a place I found myself throughout the show as I clung tightly to my beer with one hand and my friend’s arm with the other. "Lost in the Dream" truly says it all.

Vire’s communication with the audience was scarce, but with such strong lyrics that symbolize love, isolation and depression, it became more about speaking through the music. Instead of having to explain why a particular song was written or what is was about, it is left up to the listener to decide. It was all about interpretation.

A handful of songs from various other albums were chosen and thrown in the very beginning, as well as the encore before closing out with “Suffering,” also from Lost in the Dream. It was a slow closer (also uncommon) as if it was meant to easily transition people back down from concert to reality.

As a surprise during the encore of the show, we were treated to The National drummer Bryan Devendorf stepping in and taking over. It’s safe to say the crowd went a little nuts in the best way possible.

Every inch of the album Lost in the Dream was just as beautiful live as it is right from your Spotify playlist. Whether you’re taking a drive far out in the distance or spending an hour on your bedroom floor with your feet up on the wall, this is the background sound you’re looking for. You’ll be back for seconds — I promise. 

<![CDATA[Your Weekend Playlist: Rehearsal Dinner]]>

Wedding season has officially arrived, and that means parties, dinners, showers and more parties. Yikes! It’s the perfect blend between terrifying and awesome.

This past weekend I had the opportunity to host a dear friend’s rehearsal dinner at a creative space called The Living Room. The bride and groom are in their early 20s, so the theme we chose was more of a modern, rustic feel, decorated with a collection of various plants, aged white windowpanes, flowers in vintage beer bottles and a handmade chalk drawing of the Cincinnati skyline across the blackboard wall in the café.

I created a playlist for the occasion that would fit both their personalities and the central theme of the dinner, avoiding the expected Whitney Houston or Michael Bolton tracks. This soundtrack consists of Indie, Folk and Alternative music old and new that almost everyone in the wedding party would recognize as they poured through the speakers. Hearing them sing along as they picked at the hors d'oeuvres was just the icing on the cake. (Well, the cake didn’t come until after dinner). 

Check it out and see if these (not overly-cheesy) love songs will fit well in your upcoming rehearsal dinner playlist!

“Sweet Disposition” – Temper Trap

This song is strong and delicate altogether. “…A dream, a laugh, a kiss, a cry,” are all pieces of love and what we feel when we’re in it. The rapid, spacey beat is not only gorgeous, but the lyrics are no less than short and powerful. 

“Mess Is Mine” – Vance Joy

What’s mine is yours — for better and for worse. It’s the concept that when you’re with someone, they are a part of you. Their problems become your problems, and this upbeat, warm song with an honest message truly says it best.

“Grow Old With Me” – Tom Odell

This song is so stinkin’ sweet. It’s heartwarming, dreaming about a future with the one you love the most.  Starting slow and fading into a quick tempo, Odell’s voice gradually expresses how intense it is to feel this way toward someone for the rest of your life. Oh, and how wonderful it is.

Ends of the Earth” – Lord Huron

When you’re in a car, driving off into the unknown with your favorite human by your side holding your hand so lightly, this is the song you want to have playing. “To the ends of the earth, would you follow me?” If marriage is an adventure, would you?

“Ho Hey” – The Lumineers

This lovely little song (already known by most) is the simplest way of saying you and your “sweetheart” belong together. It’s catchy, it’s happy and it’s even a sweet song to dance along to. The clapping alongside the rustic instruments will be enough to you get you on your feet with your partner, spinning around and loving how much you love them.

She (For Liz)” – Parachute

I had to throw this song on here simply because the name of the bride is — you guessed it — Elizabeth. It’s that “she, she, she, story-of-a-girl” song that describes the uniqueness of one woman that makes a man love her over anyone else. Although Parachute doesn’t exactly say the name “Liz”, it was an opportunity I couldn’t pass up.

Budapest” – George Ezra

This semi-recent song by George Ezra (whose baby face does NOT match his soothingly-deep voice) describes the passion one human has for another, so strong they would leave even the greatest things in their life. Those materialistic things have no place over that person.

“XO” – John Mayer

Almost any John Mayer on your rehearsal dinner playlist is pretty much a necessity, considering the guy’s voice practically has love embedded in it. Recreating an acoustic cover of Beyoncé’s single ‘XO’, Mayer easily gives an already beautifully written song a slower, more soothing twist for listeners looking to feed their love-struck minds. 

“Like Real People Do” – Hozier

This one is a bit different. My interpretation is that the past is in the past — and however scary the future is, they should let it be. When you’re in love with someone so deeply, sometimes it’s easier to put the pain of the past away and focus on the beauty of what’s to come. Hozier did a heavenly job of putting it, pairing it with its light and angelic melody.

“Home” – Edward Sharpe & The Magnetic Zeros

“Home is wherever I’m with you.” YES. We love this one because that Southern-Folk sound and those sweeter-than-apple-pie lyrics can make a person feel so freaking giddy inside. It’s meant to make you feel like you really are home anywhere you go, but the reality is, it’s because of whose by your side.

<![CDATA[MidPoint Music Fest Announces More Bookings]]> The second round of acts booked for this year's MidPoint Music Festival have been announced. The popular Indie Folk fave Iron & Wine heads up the announcement, adding to a lineup that includes previous-released names like Purity Ring, Ride and Sylvan Esso.

Here is the full list of artists announced so far:

Aero Flynn

All Them Witches
American Wrestlers
Beach Slang

Betty Who



Diet Cig

The Donkeys


Iron & Wine


Low Cut Connie
Lydia Loveless
Matthew E. White
Mikhael Paskalev
Mild High Club

Moon Duo


Patrick Watson
Pokey LaFarge

Pure Bathing Culture
Purity Ring


Ryley Walker

Sarah Jaffe

Strand Of Oaks
Sylvan Esso



Vinyl Williams

White Reaper
Yumi Zouma

Zola Jesus

The 2015 MidPoint Music Festival returns to venues around Over-the-Rhine and Downtown Sept. 25-27 (the festival is now running Friday through Sunday, instead of Thursday through Saturday). The first-round weekend passes for $69 have sold out, but if you attend this Friday's MidPoint Indie Summer show on Fountain Square (featuring Kopecky, Broncho, Coconut Milk and Near Earth Objects) you can still purchase them at that price. Otherwise, weekend passes are now $79. (Prices increase again after Labor Day.)

Visit for the latest info and ticket links.