Thursday • Southgate House Revival (Lounge)
0 Comments · Wednesday, April 1, 2015
If it’s possible to get drunk on sound
alone, The Whiskey Charmers’ intoxicating self-titled debut album will
do it. And it’s utterly unfathomable for me to comprehend how something
that sounds like a soundtrack to a spaghetti western’s most sexy boudoir
scene could possibly come from Detroit. And yet …
Friday • Southgate House Revival
0 Comments · Wednesday, April 1, 2015
It’s hard to stand out in the crowded
Blues/Roots Rock field but Dallas-based Somebody’s Darling is a stacked
deck of secret weapons.
by Mike Breen
125 days ago
Cincinnati-spawned band to release fifth album, play Woodward Theater in June
Former Cincinnati-based (now Austin, Texas headquartered) band Heartless Bastards have announced the release of its fifth album, Restless Ones, on the Partisan Records imprint on June 16. It’s the band’s first new full-length since 2012’s acclaimed Arrow, the group’s debut for Partisan. (The band took local group Wussy on tour after Arrow's release.)The Bastards, who recently opened some arena concert dates for Rock music legend Bob Seger, also announced a string of tour dates beginning in June that will bring them back to Cincinnati for a two-night stand at Woodward Theater. The band plays the newly remodeled/reopened Over-the-Rhine venue June 25-26 with opener Craig Finn (frontman for The Hold Steady).
A limited number of tickets for the Woodward shows are available starting today at noon through a special songkick.com presale. Click here for details.
Saturday • MOTR Pub
0 Comments · Wednesday, March 25, 2015
When a band’s sound gets tagged as “Death Country,” you know something special is afoot. And Canadian trio Elliott Brood lives up to its advance billing in every conceivable way.
Thursday • Southgate House Revival (Lounge)
0 Comments · Wednesday, March 25, 2015
Many will remember Edward David Anderson
from the rootsy Rock band Backyard Tire Fire, in which he
wrote virtually every song the band performed and recorded. When the
group opened for Los Lobos a few years ago, Steve Berlin was listening backstage and was instantly impressed. That led to Berlin producing Anderson’s excellent new
album, Lies & Wishes.
Thursday • Southgate House Revival
0 Comments · Wednesday, March 25, 2015
If, as the old saying goes, success is
the best revenge, whoever Carbon Leaf had a beef with has been served
with a righteous vengeance beatdown.
Friday • MOTR Pub
0 Comments · Wednesday, March 25, 2015
Ben Miller Band would be a perfect fit for a public goat ropin’.
Along with some more traditional instrumentation, like a drum kit or
acoustic guitar, the Ben Miller Band members will play a harmonica
through a 1960s home phone receiver with its cord still attached. Or
flush a washboard through a wah-wah pedal.
by Amy Harris
Up-and-coming Canadian rockers play Newport this Sunday
The Glorious Sons are a strong up-and-coming act out of Canada (Kingston, Ontario, to be exact) with a Rock sound that’s a little rough around the edges, just the way they want it.
The band isn’t trying to fit into a cookie cutter world of the music industry but deliver an authentic sound that connects with audiences. The Glorious Sons are currently on a U.S. club tour, but one listen to their new EP shows big things are on the horizon. They are currently touring with 10 Years, Otherwise and Luminoth. The tour comes to the Thompson House in Newport this Sunday (tickets/more info here). Get on the bandwagon early and come out to enjoy a night of great Rock music.
CityBeat spoke with frontman Brett Emmons to discuss the grind to get to where the band is today.
CityBeat: I know you are on this tour with 10 Years and Otherwise. How did this tour come together?
Brett Emmons: Our agent put the offer on the table for us back when we were on tour with Airborne in Canada. I am not really sure how it all came together but we knew if we went on tour with (10 Years) in the States, they wanted to come on tour with us in Canada. We have a pretty big draw in Canada whereas nobody really knew us in the States before we started this tour. So we sat down for breakfast and started talking with each other and we decided we were going to do the tour. We looked forward to it and two months later we were on the road with 10 Years.
CB: I recently listened to the album this week and I have to be honest, I think it is one of the best things I have heard in a long time and I have specific questions about some songs on the album.
BE: Thank you.
CB: One of my favorite songs on the album was “Amigo.” Could you tell me a little bit of the backstory behind that song and how it came about?
BE: One thing when you are writing tunes, at least for us, it follows like every other song, a loose story with a lot of feelings. When I start writing, I never know what the ending is going to be like or what the song is going to completely look like. I know what the song’s direction is going to be but I never start the story at the end. It is about my time in Halifax when I was there a couple years and there was a particular person that I was hanging around with a lot and writing a lot of music with. It’s about his fall from grace during the time I was hanging out with him and my fall from grace as well. It is about watching someone with so much potential self-doubt themselves and losing it all because they were scared.
CB: You brought up writing the lyrics. Can you talk about the band’s process and how you put the songs together and write together?
BE: We all do help with lyrics, too. If there is a lyric that is not covered right, everybody has their input; there are five guys and five guys who think they are songwriters and so you are never really short on ideas.
Usually somebody will bring something to the jam room and we will either be jiving with it or not jiving with it. What happens, someone will start playing something or singing something and somebody else will join in and a third person will join in and you will have five guys trying to whittle this broad thing into a song. Other times it may start with a bass riff or playing. We don’t have an equation for it and I don’t think we should. It is basically about spontaneity and just people working together doing their thing. Everybody has their job and everybody likes to do it. It comes pretty easy right now. Who knows? I imagine when we are 40 we will be dead tired.
CB: The thing I felt was interesting about the album was all the songs sound different. Sometimes I get albums and every song sounds the same, basically. I thought it was unique that, song to song, there was a different flavor you would get while listening.
BE: Yeah. That is what we thought, too. A lot of bands tend to use digital songs now and try to find what their sound is. We just rock and roll. We didn’t know what we wanted to sound like or what we wanted to be. We are just five guys playing instruments trying to write songs and whatever way they come out is the way we want people to hear them.
When you listen to the Stones, not every song on a Stones album sounds the same. If you think about that, nowadays, I feel like too many people are trying to fit themselves into a genre rather than finding out what happens.
CB: When did you know that this is what you wanted to do for your career?
BE: In high school I was asked to sing for a band and I didn’t know how to sing. I couldn’t sing worth a shit and I started singing with that band. They kicked me out of the band because they wanted a real singer. I bought an acoustic guitar and I took one of my favorite songs and I practiced it for months. I practiced singing it and I practiced playing it until my voice sounded good enough. Then I put a band together and we beat (the band I was kicked out of) in the Battle of the Bands and I won best singer at the show. For the first time I put together a song and started singing and realized how fun it was and I could be myself. When I started writing songs, I could put myself on paper and give myself a sound and words. That’s when I realized I wanted to do it.
Growing up my brother (Glorious Sons guitarist Jay Emmons) was in a band, a guitarist in a band. I grew up watching him play my entire life. When I really started playing, we started jamming together. It was always a dream of ours to throw a band together and play music together for a living. We didn’t know it would be this good but we just wanted to pay our bills with music and write songs. That has ended up happening and we are pretty happy.
CB: I have been talking to several bands that have siblings that play together. Are there any issues with that, being with your brother all the time?
BE: No. We argue a little bit because we are brothers and the most open with each other. He has always been my best friend and my rock. I grew up with him, taking advice from him, basically worshipping the ground he walked on. We are best friends. Playing in a band with your brother can go one of two ways — you can be assholes to each other or be real and good to each other, which is what we do, even though we are assholes sometimes.
CB: You said earlier you played one song over and over, what was that song?
BE: It’s a song called “Wheat Kings” by Tragically Hip, it’s a Canadian band. I’m not sure you would know them but they are Rock royalty, maybe Canada’s favorite band of all time within country. They come down here and play but in Canada every show they play is in a sold-out stadium.
CB: One of the songs on the album is “The Union,” which is also the title of the album. It seems to have a social and political message. Was that on purpose?
BE: No, not really. I’d like to clear this up, so I’m glad you asked. A few people get a bad taste in their mouth about the chorus: “I’ll never join the union because I never wanted it easy.” When you listen to the song it is just a metaphor for life and growing up and wanting to be different and still wanting to question things and question society and be the dirty little kid that you were when you were young and not caring about what people thought. There are some ties to the subject a little bit. My father’s shop was almost shut down when we were younger by a union. It was kind of an ode to him because he was able to maintain his shop without the union. He went from having 10 employees to having one employee. We went through some hard times but he was able to keep the family together and keep the shop up and running and to this day provide a comfortable life for us.
It is not a political stand against any union in any way. It is about growing up and not doing what everyone wants you to do.
CB: A lot of bands are collaborating now and playing together. I know you guys are just starting out but is there anybody you’d like to do a dream collaboration with?
BE: I’d love to pick Bruce Springsteen’s brain a little bit. Words, mostly. He is one of my favorites of all time. That is a huge dream though. In Canada, we collaborate with people like The Trews and heroes from that country and it would be cool to see what it would be like to write with Kings of Leon or bands like that. Mainly, we are more focused on collaborating with each other. Everyone in our band knows what we want. We work well together. I guess it would be fun to collaborate with (KoL’s) Caleb Followill or The Tallest Man on Earth or someone like that but, again, these are big, big pipe dreams.
CB: You mentioned The Trews. I know you worked with (Trews guitarist) John-Angus MacDonald on your first and second EP. What was that process like and why did you choose him? I recently talked to Godsmack and they were talking about the role of their producer and that he keeps the peace and how they really trust and listen to him. Why did you choose MacDonald and how did you work together?
BE: When we chose him … he chose us actually. We were playing a competition and we won it. He was one of the judges and came up to me after the show and said he wanted to see what it would be like to produce one of our albums. My brother grew up going to Trews shows and we were all fans of The Trews. Basically, that was the most excited I have ever been in my entire life. It felt like our shot and it really was. He took a chance on us. We got into the studio and we started playing our tunes and listening to him and fighting with him a bit too on things.
We didn’t really look for a producer. At the time, I don’t think I even knew what a producer did. I had never had a producer on any of my albums before and I never really made an album that had cost any amount of real money. We got in there and he showed us the ropes of what it was like to work in a real studio. We let him go off when he had a good idea or a good pass. When I felt like what he was doing was against my vision, I’d take a hard stance and he’d have to prove me wrong or he’d listen to me. He was really the guy who found our band and took a chance on us. He is the reason we are doing this for a living right now. We love the guy and he has been so good to us. He is one of our best friends. He took us on tour. It has been such a great experience with him.
CB: It sounds like you guys are excited to be on the road. What is your craziest tour story so far?
BE: It was on our first tour in Canada. It was in late November, just before December. The snow was falling and it was starting to get really cold. The bus we were on broke down on the highway and was unfixable. We had to rent a U-Haul truck because it was the only thing that had a hitch on it and we weren’t going to leave our trailer that had all our gear in it. For two weeks, we slept in the back of a U-Haul moving truck while two people drove, in the Canadian cold. It was a tough couple weeks, but then again, we knew stuff like that was going to happen, if you spend your life on the road, especially with your vehicles. But you get over things like that. When we finally got off the U-Haul, we were home in Kingston. It made being home that much better.
Cult legend Robyn Hitchcock delivers on latest “autumnal” album, The Man Upstairs
0 Comments · Wednesday, February 11, 2015
Robyn Hitchcock, the British
singer/songwriter whose intimately resonant, raspy voice and
mysteriously peculiar worldview were shaped by such skewed troubadours
of his youth as Nick Drake, Syd Barrett and the Incredible String Band,
has long been said to make “autumnal” records. As in, “songs or singing
that reflect on life with a bittersweet, melancholy wisdom coming from
age and experience.”
by Amy Harris
Posted In: Live Music
at 10:37 AM | Permalink
Long-running jam band superstars play the Taft Theatre tonight
Umphrey’s McGee is one of the most popular bands in America on the Jam Band scene. Its sound can attract an eclectic audience with hints of Rock, Jazz and R&B and the well-rounded, phenomenal musicians in the lineup. The band has been touring nationally for over 15 years and is a staple on the summer festival scene. Umphrey’s have produced eight studio records; its most recent offering, Similar Skin, was released in the middle of last year.
CityBeat caught up with keyboard player Joel Cummins and discussed the changes over the years on the road and the fun and challenge of making every show a unique experience for the audience. The band plays the big room at the Taft Theater tonight at 8 p.m.; TAUK opens.
CityBeat: Your band is so famous for having ever-changing set lists. How do you determine what you are going to play each night?
Joel Cummins: We use a lot of different ways to figure out what to play. One of the main ones we use now is a website called allthings.umphreys.com, developed by a friend that has a complete tour history and everything we have played. It is a really interesting and interactive site that the fans can use to see what they haven’t seen us play before. We use it to look back and see what we have played in certain markets or make sure we do something different and don’t repeat the same thing. It is a really useful tool.
As far as making the set list, I will compile a history of whatever it is that we have played and whoever is feeling it that day will pick songs and make a set list for that night. It’s interesting — one of the things that makes it fun for the fans is that any combination of the six of us can write a set list, we try to mix it up throughout the tour so it is staying fresh for us and the fans every day. And now that we have about 180 original tunes, we have quite a few to choose from every day. So it is nice to be able to play for five or six days in a row and not have to repeat a song.
CB: I am just amazed that you can remember that many songs over that period. It is very impressive.
JC: You get to a point where you learn a song and as you are thinking about it and connecting the thoughts to the hands … after a while it becomes muscle memory. I think the only reason we are able to do this is because we made sure we play all these songs at a minimum once every couple months so you still remember it and we know how to play them. When we do different covers, one or two every show, we may only play those once or twice a year so that is something where we will run those entire songs the day of the shows and pick what we want to do to get it back. Thank God for muscle memory or we’d be in big trouble otherwise.
CB: You guys have been together for almost 20 years now. Have you experienced multi-generational fans yet?
JC: We have. It is a pretty cool thing. There are a lot of things I never expected to hear when we were talking to fans. Certainly one of those things is finding parents and their kids who are both fans, finding all these people that have said they make great friends at the shows and (travel) around the country to see each other, maybe somebody met their husband or their wife at a show. Those personal connections and stories that have happened with the band because of our music I think are one of the main things that keep me looking forward to the shows because I know that there are a lot of people out there that this means a lot to. It’s an engaging thing musically, but it has become a really cool social event bringing people together. Our fans, more than most bands, like to have a good time but they are there for the music. You go to our shows, you are going to meet some friendly, hopefully intelligent people. Our fans aren’t starting fights or getting crazy. It is cool to see the community develop as it has. It is something I never imagined that would happen.
CB: I (photograph) a lot of different genres of music and talk to a lot of different people. The Jam Band music scene seems to be a little more collaborative and supportive group with each other. You have collaborated with a ton of artists over the years. Do you have any favorite collaborations you have done? How do you go about choosing who you are going to work with next?
JC: I think some of that sense of community emanated from the festival scene. It is interesting because it is a shared thing with the bands as well as the fans. One of the things I do is Jam Cruise; I have done 11 of the 12 of them. I know all the artists like family. It’s cool to have these bonds develop and I think because of the style of music we play, because it is more collaborative and there are a lot of good musicians on the scene, it encourages the idea of collaboration.
If I had to name one as my favorite, we actually just got to play three concerts in New York with Joshua Redman, who is this really talented, really adventurous sax player. He has won Grammys and played with the best of the best, and the fact that he still wants to come back and play with us every once in a while is a really great challenge for us and really engaging to do. I think we have one of the most extreme varieties of styles in our music. As a result, we either play with people like Josh, who are in the Jazz scene, or someone like Mavis Staples, who is obviously a legendary R&B singer. We are friends with Huey Lewis, who is one of the most amazing guys out there in the music business, (and we’ve played more) current things like something Electronic with STS9 or something acoustic with Yonder Mountain String Band. I think we are lucky that we are in the time we are because bands used to be more closed off and competitive with other acts out there. It is a lot more fun when you can be friends with people and make music together.
CB: You lost your original drummer, Mike Mirro, last year.
JC: Yeah, inevitably things come up (about him) all the time. Most of the time it’s funny things that he said or jokes that have carried on. Most recently, we did a holiday show with some members of the band in Chicago. He actually has a charity now in his name, the Michael A. Mirro fund for Neuroscience Studies. We were able to give a pretty sizable chunk of money to that. It is good to have his presence pop up in daily conversations, but even more than that, the charitable aspect of trying to contribute to studies that help people who have the challenges like Mike had. We miss him dearly and he was a close personal friend, so even though he wasn’t with us in the band anymore (when he passed away), we had collaborated a bunch of times since he left the band. It was a really horrible, tragic loss.
CB: The festival lineups are being announced really early this year. Can you tell me what you look most forward to with the festival performances? What do you think is one of your greatest festival moments?
JC: I think the artist camaraderie is a really exciting thing with festivals. We have been lucky to play so many great festivals. One of our favorite annual ones we always do is Summer Camp in Illinois and that is something we co-headline with moe. and they always have other great headlining artists. Steve Miller Band is going to play this year. Widespread Panic is going to come back. There are a lot of great artist always at that one.
As far as career defining festivals for us, I’d have to go with Bonnaroo. We played the first one. Up to that point we had been playing at clubs in Cincinnati like Ripley’s, and maybe the Southgate House. We got asked to be a part of that first Bonnaroo. We were nervous because we got like a 5 p.m. Friday slot. We were wondering if anyone was even going to be there yet. We ended up playing in front of 10,000 people that day, a completely jam-packed tent. It was in 2002, and that was our first moment where maybe people knew who we were on a national scene. That is something I will always remember.
CB: You mentioned some bars you played in Cincinnati over the years. Do you have any favorite Cincinnati moments or memories?
JC: There are lots, to be honest. One of the early ones I’ll never forget. We played the last night at Ripley’s before it closed with our buddies Ray’s Music Exchange, a great Cincinnati band. That was kind of an emotional and cool night. That was the first night of us going out on a tour on the East Coast and Ray’s was headed out to the West Coast. I also remember probably just three or four years ago, one of my favorite things we did (was when) we played at Moonlite Gardens and Mad Dog, who is Ray’s former trumpet player, put together a horn section for us. We did a little back and forth competition, playing songs back and forth, and we had the horns up in the balcony and we were on stage and it was just one of those cool unique moments that hasn’t happened before. People are always trying to come up with fun things like that to do. You never know with Cincinnati because there are guys looking to get some kicks out once in a while and do something interesting and out of the box.
The Taft is one of our favorite rooms to play. I think we have only played there twice before. It is exciting to come into one of your favorite rooms and play for a sold-out crowd.