I did a lot of standing and walking Friday night and even with the able assistance of our Scionic friends, I decided that Saturday night would be marked by camping out at least two venues to save wear and tear on a body I have already abused ceaselessly in uncountable ways over the years. This decision led me naturally to the conclusion that I would have to make some adjustments in my hometown MidPoint experience.
To that end, I chose to check out The Host’s 8:30 p.m. slot at Below Zero, followed by Bowling Green, Ohio’s favorite sons (at least they should be), The Matt Truman Ego Trip. And I further decided that I would stick around after my beloved Sundresses’ 11 p.m. set at the Subway Bar to check out Ezra Waller’s favorite Dayton band, Captains of Industry, in the midnight slot. I rationalized that since MTET and COI are Ohio bands, they still fit within my established hometown band framework.
I feel compelled to disclose that as OCD as I seem to have become in my attempt to see all local bands at this year’s MidPoint, the larger irony here is that this isn’t even my hometown; I’m from Michigan originally. But Cincinnati has been my home for the past 26 years so what the hell? It’s my party and I’ll bend the rules if I want to.
First up was The Host at Below Zero. The band seemed pretty loose out front before the show, even with the club-imposed 15 minute delay. The Host had to back out of last year’s MidPoint extravaganza due to lead vocalist Chris Charlton’s diabetes diagnosis and subsequent treatment, but they were more than ready this year and delivered a great set showing exactly why they nabbed a CEA nomination two years after dropping their debut EP, Receive.
The Host plays loudly and proficiently enough to be considered Metal and intricately enough to be considered Prog, and yet they don’t fit neatly into either category. I likened them to Rush and Radiohead last May when I wrote them up for CityBeat and that’s a good place to start, given the Host’s melodic drama and big sound, fronted by Charlton’s incredibly expressive vocal range. He looks like a slightly built Peter Gabriel but when he sings, the muscles in his neck pop out like bridge cable (think Henry Rollins) as he amps up the power and emotion of the lyrics, and yet he can dial it back to a relative whisper just as quickly. And the band (guitarist Tim Kindberg, bassist Steven Streit, drummer Marc Sherlock) creates a similar sonic spectrum to accompany Charlton, wheeling from Metal intensity to Prog delicacy in an altered heartbeat. It’s safe to say that The Host’s long-delayed MidPoint debut was a grand success.
(find photos from the entire MidPoint weekend and much more MPMF fun here.)
Continue reading "MPMF08 Saturday Night: Home is a State, Too" »
An openness. An honest depth. A gaping soul. If it’s possible to be humble and provocative at the same time, Kim Taylor nailed it. Playing at the Inner Peace Center, Taylor smiled between songs and said, "We're gonna try and fly through as many songs as we can." This show was a treat, since Reuben Glaser (Pearlene) was sitting in on guitar. The addition of Glaser gave it an extra added kick, and Taylor was one of my top picks of the night. Her voice carried, even with the low ceilings of the Center. Part of the crowd was sitting on the floor, cross-legged. The other part, standing. It was a gentle, yet highly attentive crowd. Everywhere, eyes and ears were tuned in. Taylor was naturally pretty, dressed in a simple black tank and jeans, and yet there was a little badness to he — she moved around the stage on four-inch heels. Just as Taylor finished her set, I ran into local singer/songwriter Josh Eagle, who informed me that he’s now kickin’ it with a full band who will be playing out soon.
I hate to say it, but my time at The Lodge Bar was doomed to happen again. Despite the wild kingdom ambience, I got a chance to check out 500 Miles to Memphis in time to hear, “Sunshine in a Shot Glass.” Near the end of the song, I saw a random someone in a bear suit wandering around. Then I spied Dylan Speeg (Buckra), who was looking fine in a black and white checkered hat. Speeg wasn’t wearing a bear suit, but I bet he would. The crowd was lighter and more subdued at The Lodge at this hour, and the vocals were somewhat murky, but 500 Miles’ blend of Country and Punk was enough to get some asses shaking.
From bear suits to bull riding. Yes, The Cadillac Ranch had a mechanical bull, and I actually did see one brave lady ride the thing. She had pretty good form too. I had intended to see Toronto band The Framework, but I waited and waited and no one was playing. Huh. No frames. No work.
Instead, I bolted to The Aronoff to check out Wussy’s set. This was an electric night for Wussy. Lisa Walker was killing it on guitar and vocals. Mark Messerly was moving his ancient Dr. Martens all over the place. Dawn Burman was hitting the drums like it was her last performance. And Chuck Cleaver’s playing was making his hair stand straight up, even more than usual.
Fate sent me back to The Lodge Bar, where I happened upon a gem — Ha Ha Tonka. My top pick #2. The redhead singer, Brian Roberts, rocked out on his blue acoustic guitar, and the whole band had that kickass stage energy going on. From Springfield, Mo., their blend of “foot stompin’ Indie Rock” was just that — foot stompin’. And I must say, bassist Lucas Long was easy on the eyes.
(For photos and more from all three nights of MidPoint, go here.)
Continue reading "MPMF08 Saturday Night: Airplanes, Bulls and Bears … Oh My!" »
Running late, I was considering skipping the first band, but thank god I came to my senses. The Rosehips kicked all kinds of ass. The four gals from Columbus have no need for lipstick and tight clothes. Well, not to compensate for a lack of talent anyway. Their appeal comes from a wall of early ’90s Indie Rock punctuated by soulful guitar leads and shifting rhythms. They represent all the chicks that gave Lilith Fair the finger and went to Lollapalooza instead.
It's always embarrassing to "discover" bands at Midpoint that were in your own back yard. Cincinnati's own Artists & Authors have a shimmering sound that I'll definitely be checking out post-fest. They are the perfect example of how to take a solo artist (Andrea Summer) with a gorgeous voice and captivating piano and amp it up without making the sound too heavy or too folksy. Everybody in the room needed a comfy couch to melt into while their music rolled over us.
Around the corner at Coffee Emporium, Miami's Xela Zaid (a.k.a. Alex Diaz) was delivering a decent solo set with his cascading guitar style and easy voice, but it did't satisfy the hunger for his "full band" creations. If you're going to have multiple stage names, at least use them descriptively!
The Scion streetcars were still saving my life, although at this point in the evening, I was abducted by a driver who is also in a local act (no names mentioned, but he rocked the theremin Thursday night) and forced to listen to his band's new disc while we circled the festival. OK, OK, it was my idea, and my only regret is that I had only one lap to give.
(Find photos and more MidPoint fun stuff here.)
Continue reading "MPMF08 Friday Night: Guess That's Why It's a "Lonely" China Day" »
Hey, Friday night it was harder to find a place to park. Which was a good sign. I was bummed that there was no one to greet me in the parking lot this time and I had a long walk to the Aronoff, where I checked out Seattle’s The Purrs. No tricks here. Just a bass, two guitars and drums. The shit was dark. Jima, the bassist/vocalist started it off by singing, “I know you’re suffering. I don’t really give a damn.” And it sounded like he didn’t give a damn. Everything was dark, even the band’s clothes. Moody and airy at times, Jima had a good voice, definitely worth a listen, but the music itself wasn’t as negative sounding as the lyrics, which made it oddly curious in places. Anti-climactic. Hmm. Still, they managed to propel me back into the days when I lived in Seattle and said “Right on” in every sentence and slept in a hostel bunk bed for six months. Ah, reminiscing. Then I snapped back quickly. I mean, hand me a five-star hotel these days, and that beats a stinky hostel every time. Moving on then.
I took a ride in a Scion streetcar. Blond-headed Cody was my driver, and he was a talkative, energetic fellow. Cody actually took me to the wrong spot, and it ended up taking longer to drive than it would have if I’d walked it, but it was all right, because it gave me some more time in the cozy car, and Cody had the new Kings of Leon playing, which was cool.
Finally I made it to The Blue Wisp, jaywalking all the way. Florida band The Dark Romantics was playing. They were a treat, to put it mildly. Wearing a fedora and glasses, the singer had a kickass voice. I know, everyone compares brooding vocals to Radiohead, but this really was very Radioheadish, full of heartbreaking rising and falling. And yes, romantic, but not in a cheesy way. Instead, chesthurters. Right on, rich, full of complexity. The singer had a gorgeous range. The band was composed of three women (bass, drums, keys) and two men (guitars, vocals). They were all talented, and the whole band gelled well together. And I swear, they must’ve found the women on “America’s Next Top Model” — they were all beautiful lookers. No wonder the guys were feeling romantic.
Outside of The Blue Wisp, I talked with Ed Felson, part-owner of the bar. We chatted about the problem of having no foot traffic downtown when MidPoint or other festivals were not around. Felson said, “We can’t get people to walk from the Fifth Street hotels. We’ve been trying all kinds of ideas, but we have to bring in more people to this venue.” He was right. Downtown needs, craves this energy. We would’ve brooded more about the subject, but at this moment, the band Look Mexico rolled in from Florida, staring out the bus windows, smiling open-mouthed, unpacking their space age tour bus, a bus beyond buses.
(For more MPMF photos and fun, go here now.)
Earlier in the week, Mike Breen had shared his MidPoint strategy, which in its boiled down essence was “all unsigned bands not from around here.”
Subconsciously (or perhaps semi-consciously), I suppose I decided to take the opposite tack and be a relative homer by seeing primarily all local acts. Once I finished my tentative itinerary, I realized I’d only included a pair of out of town outfits. By Friday evening’s end, my schedule had shifted and included only one non-native act, and their frontman is a Cincinnati expatriate. I guess I was destined to sing the praises of the local contingent in ’08.
In all honesty, this isn’t a problem for me. I mean, for three years running I went to South by Southwest to cover Cincinnati bands playing in Austin. The irony of traveling nearly a thousand miles to see groups that I could drive 20 minutes in any direction on any given day of the week was not lost on me. Now some of those same bands — and a few new ones — were within walking distance of each other. Time to start walking.
First up was Goose, the latest project featuring the Arbenz brothers, along with drummer Paul Cavins and Emeralds bassist Sammy Wulfeck. I love everything the Arbenz boys have put out into the universe, starting with the cacaphonous beauty of Liquid Hippos back in the late ’80s and continuing on into Throneberry. Goose has that loose-limbed, incendiary Rock-and-Soul vibe that made the Afghan Whigs so appealing back in the day, with a Blues-tinged foundation underpinning the whole thing. Representative of Goose’s best was a new song, “Explaining,” that pounded as though they’d cribbed the riffs from a forgotten Led Zeppelin album, circa “Kashmir.”
I bailed on the rest of Goose’s slot in order to catch a few songs from Artists & Authors’ set at Below Zero. This local five piece may draw a few comparisons to Over the Rhine, but there’s something more visceral and less delicate happening with A&A, from Tye VonAllmen’s crunchy guitar textures to Andrea Summer’s soaring vocals and powerfully delicate keyboarding. A&A is a lot closer to Innocence Mission or Suddenly Tammy! in sonic presentation and impact with their amalgamation of Indie Rock and Folk/Pop and they should be huge here. Make it so.
(For photos and more MPMF fun, go here.)
Continue reading "MPMF08 Friday Night: This Little Piggy Stayed Home (For the Most Part)" »
