I fell behind. It happens. But in the interests of catching up, I am just going to share these shots and offer little to no commentary on these shows. Magnolia Sons were at The Drinkery, and The Church was at The Woodward Theater. Both shows were really spectacular in different ways.
Magnolia Sons
Magnolia Sons
Magnolia Sons
Magnolia Sons
The Church
The Church
The Church
Last night was crazy at MOTR. I don’t know if spring fever made everyone hungry for a bender. I don’t know if Final Friday attendees finally succumbed to all their complementary wine tastings throughout the night. Maybe the agressive drunken crowd fell victim to a frothy mix of both of these things. I do know that last Saturday at MOTR wasn’t off the rails like last night was.
Now then, the music. I heard Automagic for the first time. Essentially, any band that brings melodic synth sounds is going to win my heart, and win my heart, they did. I got the sense that they are still figuring out their stage presence, but I am happy to watch their evolution.
Although The Ridges were struggling with sound issues for too many moments for the impatient crowd to endure, they opened their act with a fire in their bellies. This effervescent energy is what keeps me coming back to their shows. Of course it helps that they are well rehearsed and have rumbling Americana songs that resonate with any Midwesterner. Here’s what I saw.
Automagic at MOTR Pub
Automagic laying down their pop goodness.
The drummer from Automagic is killing it.
The Ridges at MOTR
Who doesn't love banjo?
Sound check blues.
MOTR is packed!
This was my third time seeing Low Cut Connie. They tore through MOTR pub on Friday the 21st in a style that Jerry Lee Lewis would appreciate. They’ve revived a retro rock and roll sound with all the stage energy to deliver it in a brain sizzling wallop. The best way for me to convey the energy of this show would be to describe one of the audience members behavior there. A middle aged man took a shot, mysteriously lost his coat, equally mysteriously gained a Domo toque, and then held the toque aloft as though enticing the audience to engage in battle on behalf of Domo. Here’s a few shots.
The piano was really well tuned. I don’t know how your roll a piano over the Midwest’s pothole riddled highways and keep a piano in tune.
Low Cut Connie’s drink of choice seemed to be Old Style tall boys.
His very shiny jacket said nads on the back.
This piano seems to be equipped for rough treatment.
That’s probably not ergonomically correct.
The only problem with Low Cut Connie’s show was that it was a little short. More! More indie rock!
Chuck Cleaver is a compelling person to watch on stage. So, when I saw that he was opening for my friends’ band at The Drinkery it felt like ice cream on pie. Pie is super, and there’s little than can improve upon it aside from ice cream.
This was Day Camp’s last show, so if you missed them you’re officially screwed. But I snagged some photo evidence. They sounded great, so here’s to going out on a high note. Pun intended.
Chuck Cleaver, of Wussy. Also, Grammy detractor, but he’s got a point.
Chuck played Grand Champion Steer, which basically made my night.
The Ready Stance at The Drinkery
Day Camp with guitars at the ready… stance. I’m sorry, I had to.
Um, in another blog I am going to take a picture of the Day Camp cassette that I purchased. It has a cat on it. That’s all you need to know to understand the full awesomeness of this purchase.
The Drinkery is a really cool venue. I keep forgetting about how much I like the lighted window as a back drop for the band. Plus, the band sort of advertises for themselves in the window. I like it when two problems get solved at once.
Day Camp was great. They coupled dissonant guitars with melodic bass lines.
I checked out Automagik on Saturday night at MOTR. I didn’t know much about the band, so I didn’t have expectations. They have a bombastic sound and stage presence. Their high energy reminded me a bit of Cincinnati’s own Foxy Shazam. The vocalist enjoyed the show so much that he stripped down to his boxers for the last half of the show. Everyone deserves some privacy, so I decided to keep the pictures of that to myself. One could argue that all the fans with cell phones have already posted pictures. I’m sure they have. But that’s on them.
Automagik working out out.
Grand pronouncements!
The Woodward and MOTR were booked with great bands on Saturday. They staggered the set times such that listeners could take a couple strolls across the street and catch all the bands with ease. Local bands the Yugos and The Harlequins were booked at The Woodward, and with tickets at 5 bucks a great value. The Ready Stance and The Locals, ironically the only band that isn’t local to Cincinnati, played MOTR Pub. MOTR is always free. Net, for 5 bucks you could get 4 hours of indie rock goodness.
All the bands sounded great, but the primal energy of The Harlequins popped out for me. I stumbled upon Iggy Pop’s “Lust for Life” on Sunday; it struck me that The Harlequins energy reminds me of Iggy. I also enjoyed their approach to audience participation. In preparation for their last song, they inquired fast or slow, fast or slow. This simple decision was in harmony with the band’s raw sound and understated stage presence. I loved it.
The Yugos filling The Woodward with their atmospheric rock goodness.
The Yugos and, apparently, specks of dust. It’s probably historic dust from The Woodward.
The Yugos on stage at The Woodward Theater.
The Ready Stance at MOTR
The Harlequins on stage at The Woodward Theater
The Harlequins delivering a rock and roll punch in the gut.
The Harlequins on stage at The Woodward Theater
The Locals are tearing up MOTR.
All horns all the time, that’s what I want in many live music situations. Sidewalk Chalk and Eclipse Movement nail that requirement. If there’s rapping that isn’t disparaging to women, that’s also a big plus.
I like hip hop. I like the beats. I like rapping. I don’t mind trite lyrics. But as a bearer of lady parts, I can’t put my dollars into something that’s disparaging to women. Sidewalk Chalk’s and Eclipse Movement’s cerebral, positive lyrics are an oasis in a desert of lady objectification.
Eclipse Movement driving the beats.
Eclipse Movement opened for Sidewalk Chalk at The Woodward Theater. I haven’t seen them play in a year and a half; I was overdue to check in with them. The musicians in this band are highly skilled. It shows in the face-melting guitar solo that closed out the last song of their set. It shows in their dynamic and textural range. They tore into quoting “Immigrant Song”; it was a shockingly perfect interlude.
There’s a keytar. That equals immediate awesome.
Eclipse Movement was an excellent opener for Sidewalk Chalk.
Who doesn’t like horns? And carpets.
Sidewalk Chalk regularly brings huge energy to their shows, but last night was exceptional as I had a bird’s eye view of the crowd. Beardy white men clad in ugly sweaters shook what God gave them in each and every awkward way possible; they did so with such enthusiasm and joy that permanent grinning was the only possible response. When Sidewalk Chalk finished off “Us, Them” chanting that we must better love each other, the crowd gleefully joined. It was a joyous 60 minutes that I will cherish.
Get ready!
There might have been some hands in the air.
The plane! The plane!
Sidewalk Chalk horns at full tilt!
Can I take a moment to enthuse about The Woodward? The Woodward Theater is nailing it’s infancy. At 4 months old, they have stellar bookings coming up. Cloud Nothings and Will Butler (member of Arcade Fire) booked as part of the Music Now Festival. The Church, a band with one of my favorite early 90’s hits “Under The Milky Way”, will come all the way from Australia to play in humble Cincinnati. The Antlers were just announced for this May. Rubblebucket, one of the bands I missed at MPMF2014 due to the venue being at capacity is coming up in April. Tonight, while the Woodward hosts The Harlequins and The Yugos, a mere 20 paces away, MOTR will host The Ready Stance and The Locals. All these shows are under twenty bucks, and in a venue where there’s a view of the stage nearly everywhere. Oh, and I can walk to it from my house. Basically, this is perfect.
I have quite a bit of work to take care of around the house, so just a few pictures will have to tell the story of my NYE at the Woodward Theater with Wussy.
I checked out Bright Light Social Hour at Motr a few weeks ago. They put up a good show at Bunbury 2013. The close atmosphere of Motr suits this band. They tore through their set. When they returned for an encore, they dropped their made for radio, pop influenced rock and rolled into a blues inspired jam session. The energy shifted in the room, while the band morphed into their most true selves.
A couple of weeks later I saw San Fermin at The Woodward Theater. The venue just opened in early November. I was excited to see my first show there. The venue is significantly larger than Motr, with more stage and floor space as well as a wrap-around balcony. The space reminds me of the old Southgate House ballroom, but deeper and more narrow.
The venue is spacious and painfully clean. The stage is raised enough that at the back of the crowd, people on stage are visible. The balcony provides excellent vantage points, while still feeling intimate. I will gladly return.
I wasn’t sure what to expect with San Fermin. I caught 5 minutes of their packed MPMF 2013 show. There was barely room to move in The Know Theater. At the time, there were about 8 people in the band, complete with a bari saxophone player and a trumpet player.
But technically, San Fermin is a composer, and it isn’t clear if he tours with the same musicians. He could turn up with a drummer and a vocalist or with a full band. I didn’t see any horns on the stage at The Woodward; my anxiety grew.
When they hit the stage, I was delighted to see the full band. The stage was set with mic stands topped with retro light bulbs. The bulbs fluctuated in intensity with the music. When they would hit creshendos the stage was awash in light that contrasted beautifully with the band’s dark attire. The lighting was a simple but delightful addition to the show.
Ah, and the sound. They sounded excellent. The acoustic sound of the drums was a little promenant from my balcony position. I hope The Woodward suspends the speaker stacks in the near future. I think that would solve the problem, as the sound from the floor was balanced.
The Woodward Theater is a stellar addition to Cincinnati music venues. San Fermin performed with excellence. Bright Light Social Hour is a jam band dressed up like pop. Cincinnati has a great music scene. The end.
Post-MPMF depression. I have it. It’s a thing. Writing this up was my last task to close out the weekend, and I have procrastinated it. This reminds me of how facing January felt after Christmas when I was a kid. An occasion that I look forward to all year passes so quickly, and I’m left was wonderful memories and building anticipation for another year. This is a wonderful problem to have. Having such a wonderful experience that a little bout of depression sets in now that it’s over. On the bright side, I am seeing Chvrches tonight. I have a number of introspective things to say about the festival, but I think I need to let those simmer for a while longer. In the meantime, here’s what happened and some pictures.
Here’s what I planned to do on Saturday.
230 Modoc – Washington Park
345 Public – Washington Park
5 Empires – Washington Park
630 OK Go – Washington Park
715 Ancient Warfare – Moerlein Tap Room
830 Coves – Moerlein Tap Room
845 – The Nepotist – Mainstay Rock Bar
930 Ex Hex – The Know
930 Ravonettes Moerlein Tap Room
945 Low Cut Connie – Midpoint Midway
1030 Speedy Ortiz – The Know
1115 The Tontons – Mainstay Rock Bar
1145 EMA – The Know
1145 Gardens and Villa – Memorial Hall
1215 Milagres – The Drinkery
1230 Ex-Cult – Moerlein Tap Room
I missed Modoc, because I went to the sessions at the Herzog studio and saw Mustered Courage. I was hoping to leave there early enough to catch the end of Modoc, but no luck there. I missed Ancient Warfare, Low Cut Connie, EMA and Ex-Cult. I missed almost all of those because I enjoyed the conflicting acts too much to leave them. I was surprised by how much I liked The Ravonettes and Coves. And damn, The Tontons are now on my do-not-miss list. I will have more to say about the fest in a week or two after the post-mpmf blues leaves me.
Empires
OK Go
OK Go and Confetti!!
Ex Hex
Coves
The Tontons
Milagres
Kate's Queen City Notes 