by Mike Breen
Benefit for Making Strides Against Breast Cancer expands to three nights, two states
After taking a year off, the One More Girl on a Stage
music festival returns starting tonight, bigger and better than ever.
Founded by local musician Kelly Thomas (Kelly Thomas and the Fabulous
Pickups, The Tammy Whynots), One More Girl (OMG) is striving to raise
$10,000 for the American Cancer Society’s Making Strides Against Breast
Instead of hosting the festival at one venue, this year’s
One More Girl benefit has expanded to six local venues in two cities
over three nights. The lineup for One More Girl showcases female solo
artists and bands with a female presence (mostly) from the Greater Cincinnati
area. Many of them also happen to be some of the best acts in the
region, playing a range of styles that includes everything from Hard
Rock and Pop Rock to Bluegrass, Folk and many other variations on the
Americana theme. Below are the lineups, links to venues and performers and a few samples from the some of the acts.
One More Girl on a Stage kicks off tonight in
Over-the-Rhine, with artists featured at four venues. There are no cover
charges at any of the venues.
8:30 p.m. Good Night Noises
Blood Orange from Good Night Noises on Myspace.9:30 p.m. A Juliet Bender
10:30 p.m. Sticky Honey
11:30 p.m. Darlene
8 p.m. Charmed & Tarnished (a new project from Kelly Thomas and Randy Steffen)
9 p.m. The Missy Werner Band10 p.m. Salty Candy (a new project from The Fairmount Girls' Melissa Fairmount)
11 p.m. Magnolia Mountain Quartet
12 a.m. Heavy HingesNeons Unplugged:
7:30 p.m. Sami Riggs
8:30 p.m. Debra Randall and Chuck Keller
9:30 p.m. Carrie SampleLearn how to get your music noticed at ReverbNation.com10:30 p.m. Jenny Ward
11:30 p.m. Mia Carruthers
7:30 p.m. Holly Spears BandSell music on Amazon at ReverbNation.com8:30 p.m. Kerosene Alley
9:30 p.m. Wendy Oakley and The Posse
10:30 p.m. Stompin’ Revolvers
11:30 p.m. Buenos Crotches
Learn how to make a free Electronic Press KitTomorrow, the OMG fest takes over the three stages at the
Southgate House Revival in Newport, Ky. Tickets for Friday are available
in advance for $15 here.
Lounge:8:15 p.m. Raison D’etre
9:15 p.m. Danielle Yockey
10:15 p.m. The Stories
11:15 p.m. RuccaFree Electronic Press Kits from ReverbNation.com12:15 a.m. Sassy Molasses
(The 5 Stages) Stage One: Denial & Isolation by Sassy MolassesRevival Room:7 p.m. Boone County Catawallers
8 p.m. Heather Hamlet
9 p.m. Jetlab
10 p.m. The Newbees 11 p.m. The Perfect Children
12 a.m. Chakras
7:30 p.m. Ma Crow & The Lady Slippers
8:30 p.m. Shiny & The Spoon10 p.m. Jesse Thomas11 p.m. The Tammy WhyNots
12 a.m. Veronica Grim and The Blue Ribbon Boys
Saturday’s OMG performances will be held on two stages at Newport’s York Street Café beginning at 7 p.m. Admission
is $10 or you can purchase a Friday/Saturday pass for $20 in advance,
which will get you into both the Southgate shows and the ones at York
Street (click here to purchase).
Third Floor Art Gallery Stage:
7 p.m. Kelly Routt
8 p.m. Chelisa Bailey
9 p.m. Wonky Tonk & the Holiday RamblersBlind Date (rough) by Wonky Tonk10 p.m. Carole WalkerLearn how to get your song on itunes at ReverbNation.com11 p.m. Hickory Robot
Second Floor Stage:
7:30 p.m. The Dishes
8:30 p.m. Terminal Union
9:30 p.m. Houston & HoneyFree Electronic Press Kits from ReverbNation.com10:30 p.m. Alone at 3AMMidwest Mess by Alone At 3AM11:30 p.m. Kelly Thomas and The Fabulous Pickups
Click here or here for even more information on all things One More Girl.
Plus, Cincy Psych Fest expands for its second annual celebration of trippy Rock
0 Comments · Wednesday, October 23, 2013
After a year off, the One More Girl on a Stage music festival/benefit returns bigger than ever, taking place over three nights this week in various venues in Over-the-Rhine and Newport. The Cincy Psych Fest also marks its return this week with its second annual affair taking place Saturday at Mayday in Northside.
Benefit to spread awareness about mountaintop removal mining returns and IsWhat?! curates a night of art
0 Comments · Wednesday, October 9, 2013
The successful Music for the Mountains project, which spreads information about the practice of "mountaintop removal" coal mining, releases its second local Roots music compilation album and multi-act concert this Saturday in Newport, Ky.
by Amy Harris
Raw Blues maker plays with North Mississippi Allstars tonight at Southgate House Revival
Lightnin’ Malcolm is an emerging driving force in the genre of underground Blues as
a member of the North Mississippi All-Stars and also as a solo artist.
Alongside counterpart Carl Gentle White aka "Stud" on drums, the
dichotomy of their two styles produces a rough, soulful sound that
reminds folks of Blues legends like Lightnin' Hopkins and Howlin' Wolf.
Audiences should be prepared to dance, party and delight in Malcolm’s
deep Mississippi sounds tonight at the Southgate House Revival. Malcolm
is opening for and playing alongside the North Mississippi All-Stars.
Showtime is 8 p.m.
CityBeat: I know you have an album coming out on Sept. 10. Can you tell me a little bit about it?
Lightnin' Malcolm: Well, it is 14 original songs
and they have quite a few different styles on them. It is all based on
my style, which is based on the hard driving, raw boogie North
Mississippi Hill Country style. It is mostly (the) guitar and drums duo
but we add some horns on a few tracks. We have Luther Dickinson playing
slide on a few songs. So it is a pretty good mix of stuff.
CB: I was listening to some of it this week. I love “My Life is a Wreck.” Can you tell me the story behind that song?
LM: Well, that is a semi-autobiographical piece.
One of my greatest influences was T Model Ford and he recently passed
and that song was based on a style he had on the guitar. His grandson
Stud is playing drums with me now. That was the first song we did in the
studio. That was his first song recording and I thought it was a great
way to feature it. My music depends on a great drummer. Drums are so
important to the music and he is one of the best. I have known Stud
since he was like 1 years old. He grew up watching me play drums with
his granddad. He knows the style of drums that I like, the raw, four on
the floor, predator style, no messing around. Just raw and making people
dance. By us knowing each other so long, he is like my little baby
brother. We have this chemistry together that works so well.
CB: I watched some videos of you two playing together. It is super high energy and looks like a lot of fun.
LM: Yeah, that is the key to it all. We don’t have
to hit a note exactly right or (do flashy) guitar solos. We just try to
create as much … fun for the people as we can. We just want to see
people party and have fun.
CB: How old were you when you picked up your first guitar?
LM: I was about 10 or 12. Before that, I really
wanted to be a drummer. I used to beat on buckets and pots and pans, put
the radio on and play along with them. I didn’t have any actual drums
and I finally got a hold of a little piece of guitar. I didn’t know how
to tune it or nothing, but I fell in love with the strings in my hand.
It took a while to learn how to tune it because I didn’t have anybody
around me to show me at that time. Once I learned how to tune it, I
started learning pretty fast. It just became everything to me. I look at
the guitar like some people look at The Bible. It is like a
vehicle for something later. I leave Earth. I can go on a vacation in my
backyard with a guitar. I can escape to a whole other world with it.
CB: I know you eventually moved to
Mississippi after growing up in Missouri. How did you hook up with some
of these great guitar and Blues players in Mississippi?
LM: I just made friends with them. They saw
something special in me, I think. I wasn’t trying to blow them off
stage. I didn’t ask them many questions, like how to do things. They
noticed whatever they played, I could play back. They hadn’t seen too
many white guys, or any guys, that could do that. So we just made
friends. It was pretty easy. Those were the kind of guys I wanted to be
around. They really took me in. They were really nice to me. They never
said I wouldn’t be able to do it. There was everybody else saying, “You
won’t be able to do it.” They were the guys saying, “You got it. Stick
CB: Alive or dead, what one person would you want to collaborate with if you could?
LM: That’s a good question. I think, you know
what’s funny, there are a lot of people outside of the Blues I’d like to
collaborate with nowadays. Of course, like, John Lee Hooker is one of
my all time favorites, Howlin' Wolf, there are so many Blues guys. Out
of living artists, I’ll tell you a guy I love right now, two guys I
love, they are more like R&B. (One is an) artist named Lyfe
Jennings, I don’t know if you’ve ever heard of him, he’s fucking
awesome, he’s so sincere. Another guy is Anthony Hamilton who is a Soul
singer. To me, even though their style is way different than mine, those
are guys I really hear singing where I’m like, "Wow, they really hit
the ceiling." You don’t hear it that much anymore. Everybody is using
effects. You really don’t hear that wail in that voice. Otis Redding had
that, you heard his voice and you just had to see him. You don’t hear
anybody like that anymore. I know people wouldn’t expect that from me,
but when I am riding down the highway listening to music, those are two
guys I really listen to, that I look up to and would be great to
CB: That leads me into another question.
There has been so much publicity recently around Pop music with Miley
Cyrus and the VMAs. To me it shows how much more important it is to keep
really authentic Blues music in front of people. What are your thoughts
LM: I agree with that. I’m out here fighting the
good fight doing what I can. It’s not always easy. People have to
support what is going on. If people start throwing their money at
garbage, you’re going to end up with a lot of garbage. I can’t speak for
the next person but I can say this — there isn’t enough hours in the
day to listen to great music. There is all the great music you can
listen to. There is definitely no time for nonsense. I don’t waste time
listening to stuff that sounds like garbage. That’s just me.
My drummer, Stud, he’s young. He was watching the awards
the other night and I was laying on the couch trying to sleep. I didn’t
miss much. The hours in the day are precious. I would use them wisely.
You don’t have to listen to garbage. That’s about the best I can do. If
anybody can make some money doing something, good for you, I don’t mean
it the wrong way. If you ask me about serious music, there is great
music out there being made. It is just underground. Maybe it is too real
for people. I am not the expert on this type of thing, I just know what
I like, I listen to what I like. Even when I was a kid in school, I was
listening to way different music. I was listening to Lightnin' Hopkins
and John Lee Hooker and would tell the other kids, “You have got to hear
this. Check it out.” They just said, “Whatever.” I thought maybe when
they grew up they would understand.
CB: What can the fans expect from you guys at the Southgate House Revival show?
LM: We are coming to rock y’all. We want y’all to
come and have fun and dance and boogie. We want you to get in the groove
and forget about everything in the outside world for a couple hours and
get in the zone. We want to have a party for y’all. Being on stage can
be the funnest thing in the world when it is going right. When it is
going wrong, you just want to disappear. It is a funny thing. When it is
right, it is right as a motherfucker.
Cincinnati’s Shiny and the Spoon go from spare duo to full quartet on sophomore album
0 Comments · Wednesday, August 28, 2013
Box of Bullets, the new full-length album from Cincinnati Folk/Americana/Pop crew Shiny and the Spoon, is given “more bite and edge" thanks to the act's completed evolution into a full-time quartet.
by Brian Baker
Cincinnati's The Sundresses expand to a quartet with impressive results
There is an old homily which quite wisely states that if something is operating properly, it might be considered imprudent to attempt a repair. Or, in a slightly less circuitous manner of speaking, if it ain't broke, don't fix it.For well over a decade, the Sundresses have been anything but broken. Brad Schnittger, Jeremy Springer and Makenzie Place have been churning out a visceral pretzel logic version of the Blues with elements of manic Swing, hot foot Jazz, brutal Punk and blistering Indie Rock, heated to the temperature of molten rock and detonated over unsuspecting audiences with an animalistic ferocity. A formula like that is both tremulously volatile and erratically perfect. Why would anyone feel the need to take a wrench to it?Needed or not, a-wrenching they have gone; for the first time in The Sundresses' long history, the tight-knit trio has added a new full fledged member with the hiring of former Dukes Are Dead drummer Dave Reid. The new lineup was unveiled on July 19 for the band's appearance at the MidPoint Indie Summer Series on Fountain Square, and then again a week later when The Sundresses tore through a set at the Mad Love for Mad Anthony benefit at the Southgate House Revival.Rabid fans and casual observers may have differing opinions on how Reid's addition will impact the Sundresses going forward, but one thing is certain; this was anything but a routine lineup decision. Bringing in a permanent drummer changes the group dynamic, eliminates one of the band's most popular and unique live features and may actually set the stage for broader success.After 13 hard fought calendars, the Sundresses have recorded sporadically — a few EPs, a split with Dylan Ewing's 4192, a pair of brilliant studio documents (2003's The Only Tourist in Town, 2008's Barkinghaus) and Off, their scalding and ingeniously marketed 2010 live album — and toured relentlessly, without a great deal of forward progress being notched. The trio has always generated a good deal of extremely positive press, and their string of five trips to Austin for South by Southwest has to stand as some kind of local record.My personal obsession with the Sundresses began at their first SXSW appearance in 2004, which coincided with my first trip to Austin for the festival. As it turned out, the band's gig at the Blender Balcony was only the ninth out-of-town show in their two-year history, and I felt as though I had just witnessed the cosmic birth of a great musical entity. I still feel that way. I drank more than a dipperful of The Sundresses' Kool-Aid that night, and I've been feverishly blathering on about them ever since to anyone who will listen.For whatever reasons, the brass ring of label offers and more tangible measures of success have eluded The Sundresses. At the same time, the trio has remained committed to the cause and continued to pursue their singular vision with an almost psychotic tenacity and zealous passion. And their focused determination may have made it difficult for those of us who love them unconditionally to admit that there was indeed a fundamental issue that may have been blocking their path.From the very start, Brad and Jeremy envisioned and executed one of their most cherished gimmicks, namely their patented guitar/drum switch; at their 2005 SXSW show, Jeremy informed the audience, "You were supposed to close your eyes..." It has long been an admittedly fabulous element of their live presentation, but it may have been so entertainingly original that it became a detriment.The basic issue may be that Brad plays drums with the subtlety and invention of a studied and seasoned beatkeeper and Jeremy plays with the brute force of a blacksmith hammering on an anvil. Both approaches to playing the drums have legitimate advantages and both clearly have a role in shaping the diverse sonic identity that the trio has been trying to define since forming The Sundresses in 2002.Although it may never have been perceived as a problem, the difficulty with rotating drummers is that Makenzie — who learned how to play bass in order to be a part of the band — has had to adjust her groove based on those two very distinct drum styles. In essence, the Sundresses' rhythm section has never really had an opportunity to build a discernible foundation. With Dave behind the kit, that opportunity becomes a reality. Based on the Sundresses' roaring set at the Mad Anthony benefit on July 26, the band's newly established rhythm section has already started paying dividends. Makenzie is now locked into a single percussionist and she and Dave collectively control the band's tempo. Dave has the latitude to incorporate Jeremy's power and Brad's nuance into his singular drum repertoire and Makenzie is learning the joy of shifting gears without changing cars.Relying on primarily new and largely unrecorded material, The Sundresses blazed through an all-too-brief ten song set with a rejuvenated energy that smacked of their early days. Opening with the swinging funky Blues of the brand new "Banker's Blues" and the loping howl of the equally fresh "Whisper Touch," the quartet bounced megawatt riffs through every body and against every conceivable surface in the Revival's sanctuary. They slowed down a shade for a spin through Hank Williams' "Ramblin' Man," and Jeremy's quick documentary on the size of MA guitarist Ringo Jones' manhood before tearing into another relatively new track, "Zap a Deux," but it was all good in the hood regardless of speed or sonic profile. Finishing up with longtime faves "Hey! Hey! Bang! Bang!" and the propulsively jumping "Larry Nixon," the Sundresses gave both a glimpse at the sound of their much-anticipated third studio outing, hopefully coming out before the end of the year, and the direction they'll be taking as a quartet.Perhaps one of the more interesting side effects from The Sundresses' expansion is the fact that Jeremy and Brad are now playing guitar together, which means their distinct stylistic differences are blending and cross-pollinating rather than occupying discernibly different spaces within the set. As they become more acclimated to this arrangement, and as Makenzie and Dave fully tune up the engine they've just rebuilt, it's bound to have an incredible impact on the songs they start writing. As it stands, the songs The Sundresses have already written sound magnificent coming from the newly minted quartet, proving once again that even the best can get better
Swans’ ringleader Michael Gira likes being a “puppet to the music”
0 Comments · Wednesday, July 17, 2013
Michael Gira has reignited his legendary Post Punk band Swans … and remains as compelling as ever.
0 Comments · Wednesday, July 3, 2013
Folk trio The Tillers, one of the more
popular and respected original groups in Greater Cincinnati, will
release their new album this Friday at
Newport’s Southgate House Revival, in the venue’s Sanctuary performance
June 26 • Southgate House Revival
0 Comments · Tuesday, June 25, 2013
When it comes to the struggles of the wandering
troubadour, Slaid Cleaves knows the perils of that life from top to
bottom. He's sung on the street for his supper in Ireland and Boston,
played in Punk and Roots Rock bands for little or no return and fixed his
own van on the road.
June 9 • Southgate House Revival
1 Comment · Tuesday, June 4, 2013
Patterson Hood, one of the most prolific and literate
rockers of the last decade, rolls into Newport next week with his
eclectic solo band, The Downtown Rumblers.