Sunday, August 10th, 2014 - A Sunday Night Rock Show with The Circle

The Saving Abel show wasn’t originally supposed to be held at The Curtain Club, but that was where it wound up. I was okay with that, given my immense love for the venue; and actually, it made me all the more excited to see the stacked bill of local talent that had been assembled to open the show.

Talent like The Circle: who was fourth out of the six bands on the bill (and the final local DFW band of the night).

“It’s a Sunday night at the Curtain Club!” roared frontman Don Mills, while his band mates began their 27-minute long set by launching into “Break This”. The song had been debuted when they played here at the end of June, and it sounded even better this night than what I remembered. “Five, six, now your voice is making me sick… Nine, ten, now you’re never seeing me again…” went one of the lines, copying off the old kids rhyme.

“This place is fucking full on a Sunday night!” exclaimed Don once they finished. Indeed, it was; and The Circle had more eyes on them then any band this night. That includes the headliner, who he then gave a shout-out to, asking if anyone had heard of Saving Abel. Drummer Marc Berry, bassist Kenneth Henrichs and guitarists Craig Nelson and Alan Sauls were already beginning “Save Me”, which seemed to build on the energy and excitement they had established with that opener. At one point, all the instruments pretty much cut out for a second, and it was then that Kenneth pointed and looked out at the crowd, making a very metal face as he gritted his teeth together.

It was hard not to notice that strapped to Alans’ chest was a GoPro camera, because with the cramped conditions on stage (since Saving Abels’ gear was all backlined), Alan had been spending plenty of time on their boxes that have their logo painted on them, so the camera had been pointing out towards everyone. “…I want to see some of the stupidest shit I’ve ever seen…” Don told everyone, mentioning they planned to make a little video out of all the footage they got. “Who cares about work tomorrow morning?!” he then asked, making a toast to the audience. It’s worth noting said toast was made with a bottle of water on Don’s part.

The intro for the “The Other Side” had already begun, and now they started touching on the stuff from their Who I Am EP. They came out swinging, but it was with that song — one they’ve been playing for much longer — that they hit their stride. Some fans sang along; and in the back half on the track, Don proceeded to slap one of the cymbals on Marcs’ kit.

“We’re three songs in, so you know what that means…” he said as soon as they had finished. He asked everyone to get their drinks up, toasting all the local musicians. “Local music is by far the best music that’s never been heard,” he declared. Sad, but true. “I want to have your babies!” someone in the crowd shouted, causing a look of surprise to come across Dons’ face, as he said to Craig that, that was a first.

“Failure” followed it up; and as they hit the second chorus, Craig raised his axe into the air for a moment, while aggressively plucking the strings. Their abbreviated set contained one more newer tune, and that was “What Do You Say?” Craig got goofy on it, and when Alan approached him, he started to make all sorts of faces for the GoPro, looking right into it, and even dropping to his knee as he continued to stare at it. They had a solid flow going by this point, as they weaved each song into the next, and the transition to “I Am” was seamless.

Marc stood up behind his kit at the start, beaming at everyone for a moment; and after that heavy rock number, they were ready to close it out with “Sleep On it”. Don motioned and called to Kenneths’ nephew, Tyler, to join them on stage. He handed off the reins to Tyler on each chorus; and at the last one, he [Tyler] sang in a deep, throaty manner. It was fitting for the song. “Get ‘em up one last time!” Don bellowed as the song neared the end. It looked like a sea of drinks for a moment; and then they finished, with enough time left they probably could have done one more. If they hadn’t already done their routine closer that is.

It was a very solid performance, and I swear these guys just get better each time I see them. The crowd helped out a lot, because not only was the room packed for them, but they also had plenty of people as close as they could possible get, which helped create an excellent atmosphere.

Even with little space to work with, they still found plenty of room to move around, still delivering the type of show you’ve come to expect from them, and I think it earned them a few new fans this night. Also, I know I’ve said this the last few shows of theirs I’ve caught, but I’ll say it again: I love how fluid they’re making their shows. Diving headfirst from one song to the next really adds a sense of professionalism.

They’ll be back here at the Curtain on September 20th, but before that, they have a gig at Andy’s in Denton on August 28th. They’ll also be up in Greenville on October 11th at The Hanger. Lastly, if you don’t have Who I Am, go get a copy in iTUNES.

Shows You Know You Wanna See: August 20 - 24

Wednesday, August 20th
-Fort Worth

_____
Thursday, August 21st
-Dallas

Music @ 8
FREE

-Dallas (Deep Ellum)

ALL AGES
$10

AGES 18+
Doors @ 8 / Music @ 9
$5

-Fort Worth

_____
Friday, August 22nd
-Dallas (Deep Ellum)

Music @ 10
FREE

AGES 21+
Doors @ 9
$5

-Dallas (Downtown)

  • King Camel presents The Well at City Tavern with Bludded Head. This will be a benefit show for Trey Alfaro of The Phuss who was recently injured in a hit and run.

$10

-Dallas (Lower Greenville Avenue)

Music @ 11
FREE


-Dallas (South Side On Lamar)

ALL AGES
Music @ 8
$10 suggested donation

-Fort Worth

______
Saturday, August 23rd
-Arlington


-Dallas (Deep Ellum)

ALL AGES
Doors @ 7 / Music @ 8
$12

AGES 17+
Doors @ 8
21+ $10 / 21- $15

-Dallas (South Side On Lamar)

ALL AGES
Music @ 8
FREE ($5 suggested donation)
_____
Sunday, August 24th
-Dallas

ALL AGES
Doors @ 8
21+ $8 / 21- $10
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Sunday, August 10th, 2014 - Dialogue May be Rehearsed, but Saving Abels’ Show is Full of Heart

The Saving Abel show wasn’t originally supposed to be held at The Curtain Club, but that was where it wound up. I was okay with that, given my immense love for the venue; and actually, it made me all the more excited to see the stacked bill of local talent that had been assembled to open the show.

Of course, Saving Abel was who a lot of people were there to see, and they were ecstatic when the band finally hit the stage at 11:10.

“We! Are! Saving Abel!” Scotty Austin roared as they began the title track from the “Bringing Down the Giant” record. The four of them who were at the forefront of the stage all thrashed about in synch at the heaviest parts; and it didn’t take long before Austin pulled his shirt off and cast it aside.

“I’m gonna handle this a little differently…” he said to the crowd, saying he had played to more people than this in his living room. “This is like your own private Saving Abel show!” he told fans, mentioning he was holding them all accountable this night. “Now, how about a little Love Like Suicide?” he said while he stared out at the audience and tilted his head around. With that, guitarists Jason Null and Scott Bartlett, bassist Eric Taylor and drummer Steven Pulley opened up what is the newest single they have released. It kept the lively, hard-hitting pace up, and while new, their fans seemed to be loving it as much as they did the classics that were coming up.

“You guys are a lot of fun! For real!” Austin said with a smile on his face. He added they wanted to meet everyone after they got off stage and wouldn’t be going anywhere except their merch table. “…That shouldn’t take long. What, there’s like, fifty of us?” he joked. There were probably at least eighty people still hanging around, probably a little more.

They then worked their way back to their debut, self-titled album with “New Tattoo”. The high-octane number really got the crowd going, and when he wasn’t singing, Austin was speaking to the crowd. “This is a small room. I can see the whites of your eyes!” he spoke, with the point of that being he needed to see everyone getting into this. “I want to hear some hell raising!!” he shouted at another point. Taylor and Pulley gave the song a strong finish, as Taylor was facing him while dominating his bass; and as they wound it into the next song, a fan climbed on stage. The band didn’t seem to care much, though eventually one of the staff members at the venue led the guy off stage, but only after he had grabbed a pair of drumsticks and started lightly tapping on one of the drums. The song they had gone into was “Contagious”, and it was followed with a nice transition into “Stupid Girl (Only in Hollywood)”, which had most everyone singing along.

“We came here for one reason: to have a mother fucking party with you!” shouted Austin, as he proceeded to banter more with the crowd. There were younger kids in attendance, and he noted that if any parents were offended by that, then they just needed to remember they brought their kids to a rock show. Speaking of young kids, it was at this point a little girl who was just a few years old put her horns up. “…That’s the cutest shit I’ve seen.” Austin remarked, adding that if you didn’t think that was adorable, then there was something wrong with you; and he also joked that it was ruining his mojo.

He talked a lot of how small the crowd was this night, and now declared everyone here to be a member of Saving Abel. “You don’t get off that easy. That comes with stipulations!” he stressed, while shaking his finger at everyone. The stipulation was everyone had to sing, and for anyone who didn’t know the words, well, they were told to just make shit up. “That’s what I do every night!” Austin laughed. “…Because rock ‘n’ roll ain’t about being perfect. It’s about having fun.” Tis true. Now, not everyone did know the lyrics for what came next, but a vast majority of the crowd did, and at times they overpowered the band on “The Sex is Good”.

Afterwards, Austin gave it up for all the talented local acts that opened up the show, stating they were music fans first and musicians second. He outright said there are a lot of “shitty” bands out there and that Dallas was lucky to have so many talented ones; then, speaking to the musicians, told them not to let that (the “shitty” ones) jade them. He switched topics to how much touring they have done this year, and with shows in forty-seven states just since January 1st, they have been busy. That has led them to miss their home state of Mississippi. “…So we’re bringing Mississippi with us!” Austin shouted before “Hell of a Ride”. Bartlett showed off his chops as a guitarist on the killer solo, earning him some praise from the crowd.

“I’m not ready to leave Mississippi just yet!” said Austin, more speaking to Null. Null treated it as if Austin was his drill sergeant. “No, sir! I am not, sir!” he quickly spoke while standing at attention. He and Bartlett then stood side by side with one another and shredded as they opened up “You Make Me Sick”. “For real, we’re having a great ass time. This feels like a private party. Usually we have a barricade here…” Austin told the crowd upon finishing the track. They then took several minutes to allow him to introduce the entire band, and each member got their moment when they were named. Taylors’ bass was said to be the thing that made the ladies “shake their ass”; and when he stopped at the request of Austin, then so, too, did the fans stop moving. Austin himself admitted he can be long-winded, and told a story, with the moral being “you can do whatever you want to,” encouraging worlds for everyone there. “…All these songs came out of this guy’s head!” Austin said, pointing at Null. “He’s crazy as shit!” he added; and during Nulls’ piece on the guitar, he managed to break a string.

He played “Mississippi Moonshine” like that, with one of the strings dangling in the air. Before moving on, their manager joined them on stage, and he had bought drink tickets for everyone, causing the crowd to swarm the stage to try to get one before immediately going to redeem it. Once they had been passed out, their manager mentioned Saving Abel was working on a new record, calling it “their best stuff yet”, and now they did a song from it.

It was the following song that was the most emotional one. Austin mentioned he had a brother who had just finished a tour in Iraq, “…It’s the people in suits tell us who to fight. They tell us where to fight. They tell us when to fight, but it’s never them fighting. It’s our brothers and sisters,” he said solemnly. “18 Days” seemed to hit home for a lot of people, and there were a few who shed some tears, including Austin, who wiped his eyes once they had finished it. He stressed that the message was serious, but he did try to cheer people up after that poignant moment. “I tried to join the military. They told me I was “mentally unstable”, whatever that means,” he quipped.

With their 92-minute long set winding down, they had some fun, and Null and Austin switched places. “In my mind I’m a badass guitar player,” said Austin as he placed the strap around him. Null took on the lead vocals, but first, they brought nearly every audience member up on the stage with them. You couldn’t see Pulley from all the people, who sang and danced along to their rendition of AC/DC’s “Highway to Hell”.

They were about ready to end it, but first, Austin shared his thoughts on musicians who took things too seriously, pointing out that’s not how Saving Abel does it. “…Life is shitty, and rock n roll mother fucking rules!” he declared, prompting the loudest response all night. That led them to “Drowning (Face Down)”; and after expressing that they truly would be nothing if it weren’t for their fans (as well as mentioning what a great venue Curtain Club was, and we needed to ensure it sticks around), they wrapped it up with “Addicted”.

Usually, that’s where the curtain closes and the band (whoever it may be) goes on their way. Not these guys. The urged everyone to buy every other bands merch. Not theirs, but those who opened. Their tour partners in Story of a Ghost, and while the locals weren’t mentioned by name, they were included in that, too, because if people didn’t, then “music will die” which would subsequently mean that “rock will die”. “Have a good ass time. We! Are! Saving Abel!” Austin again belted, bringing things to a close.

To me, much of the dialogue, at least that around this being like a “private show” or there being “stipulations” and such seemed overly rehearsed/scripted. Now, I know that’s something any touring band does. After all, if you’re playing a different city nearly almost every night, you can’t be expected to come up with new banter. On the other hand, you can make it sound spontaneous. It’s all in the tone of which you say it. Basically, parts of that just felt like they were going through the motions.

I want to stress, their love for the crowd, the support of the other musicians and anything along those lines was definitely legitimate and came from the heart. As for their show, in terms of performance, it was unrelenting; and I think they delivered everything everyone wanted to hear during their time on stage and did it in a memorable fashion.

They really do care about their fans, and that’s cool to see.

They have plenty of dates scheduled through this fall, and they can all be found HERE. Don’t forget they have a few albums in iTUNES, too, with another one apparently in the works.

Saturday, August 9th, 2014 – The Collective Crushes it at Their CD Release Show

This was a monumental night for me. Why? Well, it marked the 700th concert I’ve seen. Not too bad. How fitting, too, that it would just so happen to take place at my favorite venue: The Curtain Club.

As usual, the night consisted of four bands, a couple of whom I had seen many times before, while the others were either little known and even unknown to me.

The third band of the night was The Collective, and it was a big night for them, as they were celebrating the release of their debut album.

I had heard the name before, but knew nothing about them; and as I usually do with bands I’m not familiar with, I watched from afar.

“Happy birthday, Chad! Happy birthday, Kris! Happy birthday, me!” said frontman Derek, getting all those well wishes to the sound guy; the singer of Krash Rover (who played before them); and himself out of the way early. After all, this night was also about the birth of Inherent — their debut album — and they cut right to the chase with “Blessed Ex”.

They had a strong fan base of at least a couple dozen people who were already getting rowdy and singing along to the chorus, “Swallow this down now, it must be contained… Remember the target and take back my aim. No need to ever remember your name.” Each time he sang it, Derek pulled one arm back and took a stance as if he were preparing to fire a bow. He asked everyone to give it up for Scott, who tore it up on a guitar solo; and as the track neared the end, Derek, who had been moving all over the place, jumped atop their light box, causing a bright light to illuminate his face as they closed it out.

Their fans, old and new, applauded the chops and showmanship they had demonstrated on that song, and then Grego launched them into “Aspasia” with some rapid-fire drumbeats. They were part of the way through that one when I decided I had to get a closer view. For bands I’m a fan of, I’ll be front and center; but it has been some time since a band actually compelled me to go up to the front of the stage.

Derek made sure everyone knew Chad Lovell, and when asking those who did to raise their hands, the sound guy himself put his hand in the air. Derek found that to be hilarious; and he also mentioned they had achieved a hat trick on the birthdays, before stating that this next song was “about destroying your own fucking self”. It was titled “I, Saboteur”, and once it was done, Derek informed everyone they were just going to play “straight through the new album”. He added this next one was one he wrote about his father when he passed away in the previous year. It created a somber moment, though it was short-lived, because this was a band who didn’t want to nor know how to slow things down. Scot and bassist Jake were going full throttle on “All Tucked In”; and at one point, Derek made his way off the stage and out into the crowd, where he continued to thrash his body around as he engaged with some of their friends/fans. There was also a cool moment when Grego stood up from his kit during a quick lull in the song.

“Prioritease” came next, and the energetic frontman continued to demonstrate his prowess as he flipped the microphone in a tight spin on the second chorus, catching it without even glancing at it. “You ready?! Bob your heads!” Derek instructed at one point, while he knelt down on the light box. Bobbing your head was again required on “Calloused”, which was different from anything else they had done, as it was partly rapped. They’re certainly a diverse band; and it was pretty impressive how Derek could go from spitting out the words to singing at the drop of a hat. “When you bring me your disdain you’ll soon discover there ain’t nothing here but pain…” went the chorus, which was sung in a smooth, though mighty tone.

Derek now had an idea. “Let’s fuck Chad up!” he said, before adding they should at least wait until their set was over. “This song’s called The Torch,” he then announced, as they did a song that was equal parts reserved and hard hitting. They amped things back up with “Inward”, which saw Derek starting to crouch of the light box, singing while surveying the audience. He even lightly slapped his face after finishing one line; and when the song seemed to end, Grego ran out from behind the drums, rushing to the front of the stage where he beginning high-fiving people. Then, when he sat back behind his kit, they picked the track up where they had left off. It was a fun moment, and very cool.

More stellar guitar solos came flying during “The Charlatan”; and then came a sing along, which was made up of three simple words that no one had trouble shouting along, “Just say the word!” Derek continued interacting with the fans, kneeling down at front of the stage, but then he took it to the next level when he again jumped off the stage, headed to the back by the bar, and then went out the doors to the patio. A small handful of fans then got a mosh pit going as things came to an end.

“Here’s to being twenty-seven forever!” declared Derek as they downed some shots that had appeared on stage, and then busted out a non-album track called “Repair”. He shared a joke with everyone once it was done, asking if anyone liked Wendy’s. Of course, people did, and the joke he had recently heard went, “You gonna like it when des nuts get dragged cross yo face.” “I was, like, did I just get Puked or something?!” he finished, speaking of his reaction when someone pulled that on him. They did one more, possibly “Manumitter”, since it was the only track they hadn’t done from the ten-song release. Their fans weren’t satisfied with just one more, though, and immediately began demanding one more.

I’ve seen a few shows where the crowd wants to hear an encore from a band, but due to time constraints, they are seldom done. Actually, while I’m sure I have seen a few bands (who weren’t the headliner) do an encore, none come to mind at the moment. “You want one more?!” Derek said to the crowd, before speaking to his band mates, “They want one more,” and as he moved the mic away from his mouth you could hear him ask Scott, “What are we doing?!” “You don’t even have one more song!” one fan shouted.

He then looked at Chad. “When you were doing this,” he said, holding his hands out as if he were measuring something, “I thought you meant something else. I didn’t know you were telling us we had a really long set,” he laughed. Luckily, they did have something left in their catalog, and “T Gondii” was honestly my favorite song of their set. “Slow this down before I come unbound; you’ve got to turn it around and put your…” Derek and Scott harmonized on the first line of each chorus, doing it completely a cappella. The instruments came back in then, while the repeated the line a couple of times, finishing it with, “Put your trust in me,” which Derek sang in a growly voice.

And so ended their 57-minute long set, which made for a show I don’t think anyone will be forgetting anytime soon.

Part of me hates that it took me so long to actually see and hear The Collective. Another part is glad it did, ‘cause I didn’t have to anxiously wait for them to get an album done and out. And I do know I’ll be seeing them many times to come.

They impressed the hell out of me this night, with their incredibly dynamic performance that captivated everyone, and the songs were often catchy, while still retaining the ballsy sound rock music is supposed to have.

Perhaps this was all the culmination of a surge of emotions over the release of their new album, but I don’t think so. These guys have nailed down what a performance should be like, and it’s pretty clear it’s what they’re meant to be doing.

They have a couple Dallas shows coming up next month, one on September 18th at The Boiler Room, and the other will be at O’Riley’s on the 20th.

Saturday, August 9th, 2014 – Dead Beat Poetry Dishes Out the Rock at Curtain Club

This was a monumental night for me. Why? Well, it marked the 700th concert I’ve seen. Not too bad. How fitting, too, that it would just so happen to take place at my favorite venue: The Curtain Club.

As usual, the night consisted of four bands, a couple of whom I had seen many times before, while the others were either little known and even unknown to me.

I was unsure how this night was going to turn out when I first arrived, because I was practically the only non-band member there. Granted, it was only 8:40 or so; and the show started around 9:30, instead of nine, which was when I had assumed things would get underway.

The duo of Lulio Guevara and Brandon Keebler, better known as Dead Beat Poetry, was starting off the night. Their 38-minute set consisted of some new songs, as well as material from both their records, like the opener, “Redbone”. They traversed a myriad of styles, and that one was a little blues inspired rock. “This next song’s entitled Golf Clap.” Lulio informed the handful of people who were there. On the plus side, everyone did seem to be paying attention.

Their best moment of the night came with “La Revolucion”, which spanned nearly seven-minutes and featured a fiery guitar solo; while Brandon kept up a pulse-pounding pace on the drums. It embodied the rebel spirit, too, and the cry of “I got a taste for revolution!” on the chorus was catchy, while one of the lines from the verses, “I look out my window, I don’t like what I see.” seemed all too appropriate for the times we’re living end.

“Obnoxious” was another good song; and after it, Lulio showed off a different side of his voice as they did an intense number that found him screaming more than anything. It was good. He then mentioned this was Chad Lovell’s birthday, and pointed out the man who was busy working the sound for them. “He’s thirty today.” said Lulio, which led one of the bartenders to reply with, “That’s an ugly thirty.”

With that out of the way, they embarked on their final song, one that boasted a drum solo from Brandon, and Lulio stepped over to the stairwell on the side of the stage, allowing all attention to go to him. There was also a lengthy instrumental break they threw in; and Lulio rocked out another, albeit brief, solo at the end.

If I’m remembering right, I think I did see a part of a Dead Beat Poetry show a few years back. However, I think I was feeling tired that night and left shortly after they started.

They gave a solid performance this night. Every song has rock roots, though you got to see how deep Lulio’s well of inspiration is, because they all drew on a vast array of other genres and musicians. In that respect, it was even impressive.

You should check them out, and go see them if you get a chance. Keep an eye on their FACEBOOK for word on future shows; and you can find their music on BANDCAMP.

Ishi will End West Coast Run with a Pair of North Texas Shows

After an eleven-date run that has lasted about three weeks, Ishi is finally coming home.

The electronic outfit played a string of shows around California, before making their way to Washington State, Oregon as well as making other stops along the way. The tour won’t end, however, until they give their hometown fans one last party, before undoubtedly taking a little time off to recoup from their adventures.

Their tour sendoff show a month ago was something else. Easily the best Ishi show I’ve seen, and one that saw the return of an old favorite or two (even if it was just a one-off thing), plus the debut of some new material.

They have two gigs planned for North Texas fans. The first will take place on Friday, August 15th at Lola’s Saloon in Fort Worth, while the other will be a rarer intimate Dallas show, as they grace the smaller stage of The Prophet Bar on August 16th.

They’ll surely be a little spent from their time on the road, and these will be the third and fourth night of consecutive shows for them, but don’t expect any tiredness to show on J.T. Mudd or his band mates. This is a band that goes all out. Always. Just come ready to dance and party.

Show info:
Friday, August 15th at Lola’s Saloon
All ages
Doors at 9
$13

Saturday, August 16th at The Prophet Bar
All ages
Doors at 8
$12
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Saturday, August 9th, 2014 – New Magnetic North Comes Out from Their Hibernation

This was a monumental night for me. Why? Well, it marked the 700th concert I’ve seen. Not too bad. How fitting, too, that it would just so happen to take place at my favorite venue: The Curtain Club.

As usual, the night consisted of four bands, a couple of whom I had seen many times before, while the others were either little known and even unknown to me.

The “deadliner” slot went to New Magnetic North, who took the stage a little after one in the morning. The show was last minute for them. In fact, I didn’t even know they were playing until just a few days before, which gave me more incentive to come out to the Curtain.

It had been too long since I had last seen them. In fact, Tim Ziegler was still the vocalist, and due to his busy schedule, he stepped down as their singer about a year-and-a-half ago or so. That left guitarist and founding member Jacob Aaron to step up and take on the lead vocals.

The band wasn’t complete this night, however. Bryan Ziegler was out of town, meaning they didn’t have their second guitarist and had to perform as a trio.

Before beginning, Jacob mentioned that this was Chad’s birthday (Chad Lovell, who runs the sound at Curtain). The dozen or so people who were still there made little noise, prompting Jacob to tell them that “was some pussy ass shit”. Everyone did better the next time around. With that, they opened with the old standby, “Eleven”. Despite being just a three-piece with Jacob, bassist Bobby McCrary and drummer James Guajardo, the song still sounded spot on. That’s not to say the second guitar wasn’t missed, but they did a fine job without it this night. Having never heard Jacob sing (apart from backing vocals), I was even surprised at how similar his voice sounded to that of Tims’. Even the tone sounded alike.

“Sorry about the delay in getting this kicked off…” Jacob told the crowd while he tuned his guitar. Someone in the crowd mentioned it was Old Greg’s fault. “Yeah, Old Greg was giving us some problems.” Jacob said laughing (that’s a cover band some of them play in, who originally was supposed to play this night instead of them.)

The progressive rock act dished out quite a few songs this night; and after the second one, Jacob mentioned they had “come up from the basement”, saying it had been a year or so since they had done anything on a stage. They have been hard at work on their debut album, though; and after thanking the ten to twenty people who had stuck around for being there, they did another song that will no doubt be on it: “Dedicated to: The Machines”. Jacob began it by creating a bit of feedback as he held his guitar up to his amp, and just crushed it later on with the sheer amount of energy he packed into the performance, while Bob stole the spotlight for a time with a semi-solo. That was perhaps one upside to having such a basic band: the bass prevailed over everything else.

“You’re our test crowd, in case you didn’t know by this point.” joked Jacob, showing he at least had a sense of humor about it all; and Chad had personally thanked them for jumping on this bill with such short notice. “Can we make this look like a show?!” Jacob then asked everyone, adding they were going to “fucking smash your face in,” with this next one. “Is what our hope is.” he then soon added, not wanting to be presumptuous. It was titled “The Watchers”, and like so much of their music, it was very technical and intricate. They got probably thirty seconds into it, and then suddenly stopped. Jacob approached the mic. “That’s the version where we don’t know how to play the fucking song, so imagine what it’ll sound like when we actually do.” Was it a fuck up? Yeah, of course. Still, I loved the way they played it off. They didn’t have any flubs the next time around, and the song was monstrous. I haven’t heard them do anything like this before.

For their next song, they welcomed Deric to the stage. For the first time, they were having some keys/midi added to some of the songs, and that was his job. “If anyone needs any legal representation on the way home, this is the mother fucker…” Jacob informed the people, pointing at Deric, before they unleashed another intense number that probably got some eardrums close to bleeding.

What came next took up a huge chuck of their time on stage, and Derics’ keys were most prominent at the start of the tune. It sounded like something you would hear in some movie set in space, say Alien. It was calm, yet there was something eerie about it. It went on for a while, before Jacob mentioned they were hoping to get Chad behind the drums for the following song, and wanted to give him plenty of time to prepare. The newest song in their “catalog of bull shit” lasted probably twelve to fifteen minutes easy. The first portion was brutal (once the full band came in), while the second was more tranquil, again highlighting the keys. It started to come to an end, or so it seemed, before they ripped back into it. Man, they’ve cooked up some impressive songs since I last saw them.

“…We get so tired of those two to three-minute long pop songs…” remarked Jacob, before Bob chimed in, saying their remedy for that was to just do fourteen minutes of one note. Now they got Chad Lovell up there, and the old Course of Empire drummer (for those who don’t know, they were around from the late 80’s through late 90’s. Well before my time in the local music scene) helped them in doing something Jacob pointed out they had not rehearsed, though they did all love the song. “…I know they’re a little old for some of you young fucks…” Jacob told the audience, speaking of Jane’s Addiction, whom they were covering. They tried their hand at “Mountain Song”, and it sounded perfect.

They weren’t done yet, though, and Chad enjoyed his time behind the kit a little longer, helping them in finishing out their 51-minute long set with one last original number that again required some keys. Finally, at the urging of the crowd, he did a drum solo once everyone had left the stage, and while just a handful of people still remained, he captivated everyone’s attention.

This probably wasn’t the best show New Magnetic North has done. In talking to them, I know they were a little apprehensive about doing this show without the other guitar. That’s understandable; and they did experience a bump or two along the way. Still, I thought they did great.

For any loyal readers, you know I’ve been a fan of Tim Ziegler for a while now (since ’06); and I was just curious as to how they would sound without him. That’s not to insinuate that he made the band, but changing singers can also be risky regardless of who you are.

They sounded even better than what I was expecting; and they didn’t lose any ground in the transition between drummers and lead singers. Actually, I think they gained some.

All I know is I’m looking forward to seeing another NMN show; and hopefully within the next year or so they’ll have an album done. It has been a long time coming, but after hearing the selection of songs this night, it will be well worth the year’s long wait.

The Dear Hunters’ Tour Will Wrap Up in Texas this Weekend

imageThe Dear Hunter is quite easily one of the best rock acts around.

The band is so versatile, blending and transitioning between indie and progressive rock without difficulty. Casey Crescenzos’ voice is striking and capable of pulling of the wide variety of genres, from raw screams of anger on the heavier rock stuff, to tranquil ballads that heavily incorporate the use of the piano.

In an age where it’s best to write about a three-minute long pop song that tells and wraps up a story all in that time, it’s also nice to see an artist who focuses so heavily on conceptual songs, from his first three releases, Act I:…, Act II:… and Act III:… (which only completes half of the story, with three more to come sometime in the future), to the massive undertaking of The Color Spectrum EP’s. That collection not only explored a massive story arc (nine EP’s with four tracks on each), but also played out according to the color they represented (i.e. Black was angry and very intense, while Blue is more tranquil, etc.)

Let’s not forget 2013’s Migrant, which is a first in the fact that each song stands alone, though it’s arguably the best work Crescenzo and his band mates have done to date.

They’ve been on the road for a little over a month now; and this weekend will see their tour with RX Bandits coming to an end as they make their way across the Lone Star State. Their Saturday, August 16th show at Gas Monkey in Dallas will be a can’t miss event.

Show info:
Saturday, August 16th at Gas Monkey Bar & Grill in Dallas.
RX Bandits will headline, with The Dear Hunter on before them. From Indian Lakes will open.
Ages 16+
Doors open at 7 / Music begins at 8
$19. Advanced tickets can be purchased HERE for $16
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Saturday, August 9th, 2014 – Krash Rover Returns to the Curtain Club for a Birthday Bash

This was a monumental night for me. Why? Well, it marked the 700th concert I’ve seen. Not too bad. How fitting, too, that it would just so happen to take place at my favorite venue: The Curtain Club.

As usual, the night consisted of four bands, a couple of whom I had seen many times before, while the others were either little known and even unknown to me.

One act I was there for was Krash Rover. These days (with guitarist Ashton Quincey being away at college), you can count the number of shows they do each year on one hand; and it had been probably a year or a little longer since I had last seen them. Basically, I was long overdue for a fix.

They began the opener of their 54-minute long set long before the curtain opened, and once it did reveal them, the quartet exploded into “Russian Roulette (Part II)”. Their group of fans was small at first, but they all swarmed the stage, many singing right along with singer and rhythm guitarist Kris Newman on the chorus of, “It’s so hard to hold on, but I can’t do this on my own. I need you within me; bring life into my empty soul…” Given their extended time away from the stage, it didn’t take them anytime to find their legs for it; and Kris owned his solo.

“How you guys doing tonight?” he asked once they finished, thanking everyone for coming out. It was a few days early, but this show was his birthday show, and he joked that since he would be twenty-three, then according to Blink-182, no would like him. They continued with “In My Mind”, which ended with Ashton striking a good pose as he stood with one foot on the drum riser and the other on his amp, while he showed off his skills. There was just enough of a break for applause before Kris started them off on “Feel Good On The Inside”. Even though it’s one of their newest songs, it has been around for a few years already, and I’ve heard it a good number of times now, but there was something about it this night that made it sound better than ever. Zach Fuentes proved himself a force to be reckoned with as he laid into the drums; and the blistering notes from the guitars ensure this is a song that will appeal to every rock fan.

“Alright, aright.” said Kris upon finishing. “Who has a drink in their hand?!” he shouted, asking for everyone to put it up. The audience than began cheering, but it wasn’t for the reason Kris thought. He finally turned around to see his mother who had walked up behind him with a bottle of Jack Daniels in hand and sparklers tied to the top, one of which was a “2”, the other a “3”. The sparklers soon burned out, and after a few festive minutes, they got back to it, doing what I believe was a cover of ZZ Tops’ “Just Got Paid”. It went along the lines of Krash Rover’s music, making it a fitting choice; and during it, they stopped, seeming to be done. Kris thanked the Curtain and the other bands on the bill, mentioning The Collective was doing their CD release show, and he thought it was for their first CD. “Don’t quote me on that.” Kris stressed, adding he had looked them up and they “seemed cool”. Then, they jumped back into the song, getting some fan participation as he led everyone in singing along, “More, more we want more!”

The crowd was enjoying it, though they didn’t seem as vocal as they usually are. Perhaps it was because everyone’s used to seeing Krash Rover go on an hour or two later than this. That said, Kris mentioned that he knew it was an early show, but he still thought people would have had plenty of time to get some alcohol in their systems. To counteract that, they decided to do a slower song, “to make you all jittery and stuff.” as Kris put it. “Release Me” may begin slow, but it doesn’t end that way; and with some mangled chords, they bled it right into their old hit: “She Gets Around”. They tried something new (at least from the last time I saw them), with Kris and Ashton both singing on some of the lines, such as “I think she’d rather see her pimp.”, and combined like that, even though it was just in short bursts, their harmonies sounded incredible. Each of them even stood back-to-back during a duel guitar solo; and then Zach hopped up from his stool to pump everyone up, before they closed it out.

They had another cover planned, one Kris noted was something everyone seemed to like. Indeed, they have turned “Simple Man” by Lynyrd Skynyrd into a staple of theirs; and Kris sat his guitar down for it, taking on the frontman role. It’s a role he fits quite well; and during the guitar solo, he gripped the cord and spun the mic around. “You having a good time yet?!” he roared afterwards, being met with an equally loud response. With that, he set them off on “SAS”, egging the crowd on at the beginning to make some noise for them, while he and Ashton again blended their voices, and the result was awesome.

“I think I’m just now starting to wake up!” exclaimed Kris once they were done. That was no exaggeration, and their next song was the best thing they had done so far. They hit their stride with it; and for most of the track Ashton and bassist Miguel Fair swapped sides on stage, before racing back to where they had began.

Kris again leaned out to the crowd, putting his ear forward, but few were paying attention. Ashton was already onto the next song, but Kris stopped him. “It’s my fucking birthday. Make some goddamn noise!!” he yelled. The fans were happy to; and he confessed he didn’t want to be a “dick” and handle it that way, though it did prove effective. They got back to it, and while Miguel had been very forceful this entire night, he reached a new level now, jumping around the stage at the start of the tune and slapping his bass. As I said earlier, they found their stride with that previous song, and as they neared the end, they just become more of a beast.

It looked like that may have been their final song, because before they could go any further the guys were told they had gone over their time. The fans’ cries for one more made it clear no one would tolerate an early ending, and thankfully the venue let them go ahead. “Do we got any Texans in the house?!” asked Kris. No sooner had he uttered that sentence and then Zach started in on the drums for “I’m From Texas”; while everyone showed off their state pride by chanting “Texas!” There were a few different sing along moments, along with a drum solo that Zach owned and Kris dropped to his knees during it as he picked away at his axe.

“Thanks for coming out and celebrating with us.” Kris told the crowd right at the tail end.

After missing the last few shows, I had forgotten how much I missed Krash Rover. This show reminded me, though.

Kris’s voice sounds better than it ever has, and they still have all the chemistry they need for a dynamic live show, even if said shows are kept few and far between. And I tell ya, watching the band they were for these last three songs was not the same band that first took the stage. Part of that was probably because the spectators got more into it, too, giving the band more energy to feed off of. Still, they transcended right before everyone’s eyes.

Pick up their album in iTUNES if you don’t have it; and keep an eye on their FACEBOOK for future show updates.

Saturday, August 2nd, 2014 – Local Brews, Local Grooves Becomes the Newest Festival on the Dallas Circuit

At four-thirty in the afternoon all three windows at the House of Blues box office had no less than fifty people in line. That was the first shock; the second was the throng of young teen girls who were lined up all along the wall that leads from the front of the venue to its entrance on the side, all of whom seemed giddy over whoever they were there to see.

There was a separate line, one for those going to the Local Brews, Local Grooves Festival that was taking over much of the venue this day. The couple in front of me asked a staff member about the young girls, who assured them they [the girls] would not be going to the beer festival. Besides, this was a rare time when the HoB was doing a 21+ only show.

The Music Hall, Crossroads (the restaurant) and The Foundation Room (which is usually VIP only) were each being used for this inaugural event that was highlighting several different local breweries. Dallas breweries were set up in the Music Hall; ones from Fort Worth in the restaurant; and The Foundation Room housed the suburbs.

This wasn’t just a beer festival, though, and upwards of a dozen local acts had been tapped to play the event, with different ones spread out across the three sections. That was why I was here; after all, I’m not much of a drinker. Plus, some bands offered free tickets to the event, so it was hard to turn down at that price.

Bethan had the first spot on the main stage, starting right around five-thirty. Compared to how I’m used to seeing this place during sold-out shows, it was nearly empty, and you could get all the way up to the guardrail that creates the photo pit if you wanted.

Some people ventured closer to the stage, while others hung back on the small tables that were scattered about, planning to enjoy it from afar, and still others just meandered about, going to get their fill of beer and food.

With their debut EP now two-years-old, Bethan focused more on newer material this night (at least the little portion I saw of them), and drummer Daniel Hall began the first song by reaching for his guitar and using it for a bit. His focus soon shifted back to the drums, as the rest of the band gradually joined in on the atmospheric indie sounds that are self-described as being Alternative Noir.

I liked it, however the second song was downright enchanting. Becki Howards’ violin sounded beautiful on the track, working well with the voice of frontwoman Jessi Hall, and each seemed to accent the other. “How about we raise a toast.” Jessi stated once they finished. One of the audience members then piped up, saying they should raise a toast to her friend, Amanda, who was apparently celebrating her birthday. So, Jessi made the toast partly for her, wishing her a happy birthday, and then told everyone the next song was called “I Have Nothing To Say”. It’s the final song off the Chapter 1 EP. It perfectly captures the more minimalist vibe they have, with the keys Kevin Howard was playing often being the most prominent instrument, while bassist Jesse Hopkins and Daniel made a forceful, though low-key rhythm section. “I’m the sand running through your fingertips…” Jessi sang at the end, holding her right arm up in the air and rubbing her fingers together, as if she did have a handful of sand she was slowly letting fall from her hand.

Daniel again used a guitar at the start of the next two songs, one of which was “Our Paris”, and the other began with just that guitar and Jessi singing over it, and it sounded gorgeous. “Is everyone having a good time at the beer fest?” she asked after they finished; and I used that break to duck out.

While I haven’t seen them much, I’ve liked Bethan since they began, but they just seemed different this night over how they were the last time. It’s like they’ve fully figured out who they are as a band, and it’s made them all the stronger. Really, they were even better than I remembered them being, and came across as a completely new band this afternoon.

You can find their EP in either iTUNES or BANDCAMP, and they’ll have a new release in the next few months.

If I could have, I would’ve stuck around for the whole set, but I had gotten a ticket from Nicholas Altobelli who was playing at six in the Foundation Room.

First, I had to find the Foundation Room, which required climbing to the balcony level of the Music Hall, where another door was that led there. That was the easy part, though. The hard part was navigating my way around in there. The food and beer tables had lines that wound so it appeared to be one massive line; and you could hear at least a dozen or more conversations all going on at once. I also heard something else, and that was the voice of Nicholas Altobelli, and apparently he and his musical companion Heather Kitzman had gotten off to a slightly earlier start. They were also kind enough to provide some background noise to all the chitchat that was going on.

They were a little ways into “Blackout” when I finally squeezed myself into a spot directly in front of the patch of floor they had. Heather added quite a bit of backing vocals on that one, while she gently played her pedal steel guitar. She turned to Nicholas when it was done. “Did you just fuck that up?!” she asked him in a shocked voice, and he confessed he had messed up some chords on the acoustic guitar. No one else knew, though, let alone actually cared he had flubbed it.

That was one song off 2013’s Without a Home, and they focused heavily on that LP, next doing “27 Stories”. “I don’t want to become something I’m running from…” sang Nicholas at the start of dreary, though personal and emotional song. “So, load in was interesting.” he remarked afterwards, while Heather nodded her head, silently confirming it was. “But it’s all good.” he added, putting a positive spin on it, while he placed a capo on his guitar. They moved on to the single from that record, and I had forgotten how catchy “The Lucky Ones” was. Even just in the two-piece setting like this, it was impossible not to sing along to it (if you knew it, that is), and I found myself mouthing the words to the chorus. “Thank you, fine folks in the front.” Nicholas told the crowd once they were done. Those up front were the only ones truly paying attention after all. He asked the woman working sound if he could get some more in the monitors (he later asked it to be turned up to eleven), and now sang, “Sounding in the monitor.” a few times as he performed a sound check. “This song goes out to us.” he said quite seriously. Heather left her pedal steel and stood up to sing the backing vocals on the chorus of “I Don’t Think Tonight is Going to be a Good Night”. She also provided some percussion by clapping her hands, and perhaps the best part of their set came when Nicholas told her to do a clapping solo, so she proceeded to it, moving her hands behind her back and all around the air, just having fun with it.

“She has no food in her system. She’s angry with the world right now.” said Nicholas, speaking of Heather, who was sitting back behind the pedal steel. You could tell it, too, what with the smile she was flashing. “…They gave me a pretzel…” she told him. With a new album only three days away from dropping, I was a little surprised they hadn’t done anything off it so far, but that was about to change. “This song’s about being mentally healthy…” Nicholas informed everyone, as they did “Memories” off the Mesocyclone EP.

It was during that song I felt the floor beneath me shaking something horrible, and thought to myself, “It’d be just my luck if the floor gave way right where I’m standing.” Well, apparently Nicholas was thinking the same thing, ‘cause afterwards he remarked that it sounded like the floor “was about to cave.” “Or a Wilco B-side.” he then quipped. They had done some slightly older stuff, and now they had a new song down, so it was time to look ahead to some songs he mentioned would be on an album out sometime next year. He told those who were paying attention that one was about his high school crush. “Whose name is not Sarah, but she had too many syllables in her name to fit the measure.”

Each was great and fit the mold Nicholas has cast for himself. It’s just a shame we fans will have to wait awhile before being able to listen to them whenever we want. He then welcomed a friend up to the “stage”, asking everyone to give it up for the “beautiful and talented Kim Nall.” She took over the secondary mic, while Nicholas mentioned this was one he had written “back in 1970 something, after a heavy night of drinking.” They did a rendition of Lionel Richies’ “Stuck On You”, and the difference between the original and the more folk style they gave it was as drastic as night and day. Don’t get me wrong, it was a stellar version, but sounded nothing like what Richie made famous. Kim just added some soft backing vocals at times, though it helped the tune immensely.

She then left, while Nicholas mentioned this next one was about Los Angeles. “Alright! L.A. Rain!” exclaimed one fan who was there. “It’s not a contest, but yeah, sure.” Nicholas joked with the guy; and he was almost ready to start it, before having to take a moment to tune for what he said was “another upbeat number”. Spoiler, it wasn’t. Though it was hilarious. The floor had continued to shake, and now he changed some of the lyrics at the end of the first verse. “I really hope I’m singing in key, ‘cause it’s like a Sonic Youth B-side downstairs.” It was brilliant, yet few people were paying enough attention to even get a laugh out of that.

“Here’s another uplifting song about feeling good.” stated Nicholas; while Heather left her pedal steel once more. They co-sang “Bluebonnet” — a track off 2011’s Radio Waves & Telephone Wire. “Where has my bluebonnet gone?” he pined at the start, proving it was not the “uplifting” song he jokingly made it out to be. “Heather Kitzman. The myth, the legend.” he announced as she took a seat, giving her a formal introduction.

“I’ve never played this one before.” Nicholas admitted, adding, “This seemed like a good place to do it.” It was, ‘cause all of these songs were probably new to most of the people in the first place, so there was at least no reason to worry if it didn’t go over well. It did seem well received by those who were paying attention, though, as was the next one, which was another new tune that Nicholas threw in just to fill time. He mentioned he had written it just a couple days before, and said he’d do it only if he could remember it. He did, and Heather continued to just watch her band mate and enjoyed the song in the same way the small audience was.

She didn’t stay silent much longer, though, and lent her talents on “Thunderstorms”, which was the final song of this 51-minute set.

It had been way too long since I had last seen Nicholas Altobelli. In fairness, he hasn’t been playing a ton of gigs of late anyway, but even when he has I wasn’t able to make it. So, it was great catching another show after so long.

They may have had problems hearing one another, but out in the crowd the levels were fine, even if they were almost outmatched by all the conversations. Still, I heard every note and every line quite clearly. The fact that humor was employed so much also made it quite entertaining. In fact, partly because of that, I’d say this was one of the best shows I’ve seen Nicholas do.

Whether it’s with his full-band or just he and Heather, he has no trouble entertaining. I’d even say Nicholas’ voice sounded stronger this night than I’ve ever heard it. He really is one of the best singer/songwriters in the area, and he’s apparently just getting better.

Mesocyclone is out now and it, as well as some of his past records, can be found on either iTUNES or BANDCAMP. Check out the official CD release show for Mesocyclone at All Good Café in Dallas on Friday, August 8th, too.

I then headed back to the Music Hall to wait out Jessie Frye and her bands 7:30 start time.

It was a totally different setting from where I had seen them just a few weeks before, at one of the venues in Deep Ellum where they had a backline on the stage (since it was a national show), giving Jessie and her band little room to move about. She made use of the ample space right from the start of their 34-minute long set this night, though, banging her head to some of heavier beats Chad Ford dished out on “Like a Light”. “How you doing?” she asked after the first chorus, getting a strong reaction from not just her section of fans, but also some of the other onlookers.

She was already proving herself to be a dynamo on stage, and actually, it reminded me of their set at Edgefest back in April, just in the energy and excitement they were putting into it; and now guitarist Jordan Martin rolled them into one of their most bewitching songs, “Fortune Teller”. “How are you enjoying your beer?” Jessie asked everyone once they were finished, getting a nice rise from the crowd. She mentioned how happy they were to be here before letting everyone know exactly who they were, and then she informed the crowd this next one was “White Heat” off the Obsidian album. They really started hitting their stride then; and Jessie was bouncing about at the start of the track, and at another point dropped to her knees when she belted out a line. The audience was getting more into it now, too, and there were a few couples who decided this was a good one to dance along to. You can’t often do that at the House of Blues, but there was plenty of floor space for it this night, and even from the audience perspective it was fun seeing. I should also point out Jessie didn’t hit the chorus “…Forget all of the roles you thought you should have played…” in as high a voice as what’s done on the recording. It was a relatively subtle difference, yet it made all the difference to the song. I actually liked it better with her keeping it all in the same tone, as it made it more fluid sounding.

“I love this song!” exclaimed one fan as Chad led them into the atmospheric pop number that is “Never Been to Paris”. They followed it with something special, but first, Jessie called out the “girl in sequined skirt” saying they were “kindred spirits”. “I saw you at the Tori Amos show…” Jessie told her, prompting the girl to nod that she had indeed been there. Getting back to the new song, it had been teased to Facebook fans and Instagram followers a few days before the show, and was titled “One in a Million”. With it, the Denton-based band started going a different direction from what they’ve done thus far. It was much closer to raw rock verses the sort of pop rock sounds Jessie and her band mates have established for themselves. It was a very vibrant track that had bassist Andrew O’Hearn laying down some more forceful riffs; and there came a point where Chad began to clap his hands along to the kick drum. He looked puzzled when no one joined him, and several people picked up on that, and then put their hands in the air to clap along. It may just be one song for now, but it will be interesting to see where the band goes from here, as they write more intense rock numbers along these lines.

They really got in the groove with that song, and this was easily the best stretch of the set, which continued with “Shape of a Boy”. Jessie was absolutely alluring in the way she handled herself while she sang the first verse, sauntering around the stage. “How you doing?” she asked one member of the audience whom she had seemed to be singing to, and it took him a couple seconds to muster a response. Jordans’ killer solo definitely got some attention; and before the final chorus, Jessie, who had again fallen to her knees while singing, banged her head in perfect synch to the drumbeat. It was quite epic.

They started winding down with another favorite from the Fireworks Child EP, “Prepared”. There were a few times that Jordan used the whammy bar on that one, adding a good tone to the track. They were about to start their final number, and then a fan/friend held up a sign. “Jessie, you rock. I’m gonna punch you tomorrow.” Jessie read aloud, and then laughed. “Oh, that’s my piano student…” she informed everyone, asking her if she had practiced her scales, and then told her why wait and just come punch her now. She threatened to do the same to her, too, then quickly stated she never hits anyone in the first place.

It was another fun moment; and then they got ready to end their show with “Brave The Night”. Right before hitting the first chorus, Chad flipped his drumstick in the air, giving it a very tight spin. He has some serious chops; and this uplifting song came to a powerful finish as Jessie dropped to her knees once more, crooning, “And everywhere we go, and all the things you say, I never felt so beautiful…”, getting more involved with each second, eventually raising her hand into the air. She looked like a bona fide rock star, with the swagger to back it up.

It’s amazing what having some space to roam about can do, and this was a completely different band from the one I saw just a few weeks back. The energy was still there at that club show, but it oozed out of all of them so much more freely this night. They were better able to express themselves, especially Jessie, who was able to be the potent and impressive frontwoman she’s oh, so capable of being.

It was an awesome set, too, and I think everyone was wishing it had lasted just a bit longer. As they finished, I found myself wondering, “How long before they’re headlining this stage?” The talent’s certainly there, and with the praise they’ve received from the likes of The Wall Street Journal and The New York Times, it’s in the realm of possibility.

Their next show will be Friday, August 8th at the Cambridge Room of the House of Blues. They’ll be the main support for Exit 380, who’s doing their vinyl release show of their new album. Check out their music on either iTUNES or BANDCAMP, too.

There were some bands left in the Music Hall, while elsewhere things were winding down. Those left on the main stage were a tribute band to The Black Crowes and another cover act who tackled Dave Matthews. I’m sure they’re great at what they do, and I’ve seen a handful of cover bands, though I’ve never been a huge fan of that.

That said, I left shortly after Jessie Fryes’ set. The thought of getting home at nine sounded appealing; though it was quite strange, walking out to see the sun hadn’t set yet. Traffic going back north to the suburbs was also much heavier than it is at one or two something in the morning. I guess that early nights do have their drawbacks.

Album Review: Photomaps by Exit 380

imageFifteen-years is a long time for any band to be together in general, but especially a local band. Actually, that’s somewhere around three to four average lifetimes in local band years. That’s how long Exit 380 has been kicking, though; and they have outlived many of their DFW counterparts, some of whom flirted with major label success and toured the country.

The band that was started by friends back in their college days at UNT in Denton may not have had those encounters with big breaks, but then again, that might be exactly why they have lasted as long as they have. They were never made empty promises that they would be the next big thing. If you ever were told that, and then it didn’t pan out, it’s easy to see why you would lose faith in the music industry, and perhaps even decide to hang it up and leave the band life behind.

That’s not to imply that Exit 380 is all fun and games for the members, either, but they do have a 50/50 balance of enjoying what they do and being professional at it.

It’s also rare you find a band who has kept pretty much the same lineup for the past eight years; and after a couple year absence, Bobby Tucker returned as the band’s drummer. Aside from that brief stint away, the band has been the same since the mid-2000’s, and that chemistry and camaraderie they’ve had plenty of time to establish has led to them getting better with each album, while they explored a diverse range of genres, from edgy rock to experimenting more with folk music.

But now, with their first release in more than two-and-a-half years, they’ve found themselves going back to their rock stylings, bringing renewed life to their earliest sound, along with continuing to experiment as musicians and try out some new genres.

The bands sixth LP, Photomaps, begins with “Laid Up In the Road”. Like many of their best songs, it doesn’t focus on a personal experience, but rather tells the story of a drunk who feels more at home on his own — in the middle of a road  then being surrounded by people, be it family or friends. The nearly three-and-a-half minute track tells you enough about the fictitious character to get you interested, yet also complete his story. The music bed also really gets your attention, and lead and rhythm guitarists Aaron Borden and Jeremy Hutchison, respectively, have some soaring solos. It’s been many years since they wrote a true edgy rock song, and it’s instantly clear their time away from it gave them a clear perspective as to how they want it to sound.

Speaking of Borden, as any longtime E380 fan knows, he’s also pretty talented in the songwriting department (the now classic, “Closure”, is still one of the most beautiful songs they’ve produced in all their years together.) Well, “Love Somebody, Cold” is another song he penned, and he sticks with doing what he does best: writing songs that revolve around love. In this case, it’s about still deeply caring for someone, even though the spark is fading fast out of the other person. Surprisingly, it’s a very upbeat song, with some great piano pieces thrown in (courtesy of Andrew Tinker, who produced the record at Big Acre Sound), alongside a well defined rhythm section and some sweet guitar licks; while Blocker sings at the end, “…And you know I won’t be the one to roam.”

The coolest intro has to go to “Lonely Days”, and after Tucker establishes a solid beat, the guitars quickly fade in with some awesome, ballsy chords. It has been quite some time since Exit 380 last did a rock song of this magnitude. The band is on fire on the track, operating as collective in a way that I don’t think they ever have before. Each instrument plays off one another, and even the various notes Blocker hits help accent the other instruments, and in turn, they aid his voice. Overall, this song proves that this is a more robust Exit 380 than fans have ever seen before.

Originally, Photomaps was going to be a collection of songs that all found the band experimenting with a Spanish flare. Things changed once the actual writing process took place, as they more split their time between styles. However, while “Hearts In the Sand” is a rock song, it also has some Spanish sounding elements scattered throughout it. It’s found subtly in some of the notes and hinted at in the lyrics at times, though this is still primarily a rock tune, and they save that stuff for later. Also, I’d be remiss if I didn’t mention the synth solo towards the end. You would think it wouldn’t work well with the track, yet somehow, it does. Granted, I haven’t heard many (or any?) synth solos, either, but I would say this one is worthy of being the best.

“Take It Like a Man” concludes the rock section of the album, and it’s another one very reminiscent of old school E380. Say, circa 2006, back during the Last Monday era. It’s a hard-hitting number, and there’s a nice sense of urgency at the end, as the track comes to a slightly abrupt, but roaring finish.

For the second portion of the album (or Side B on the vinyl copies), Jeremy Hutchisons’ guitar is traded in for a mandolin, while Borden puts his lap steel guitar to use. “A Song About Us” isn’t new to most fans, as it appeared on the first Hand Drawn Records compilation album. Still, I find it nice the track actually found a home on a record, because with it becoming a staple at live shows, it’s deserving of that. It’s another one that Borden wrote, though there is not a trace of heartache to be found like in the earlier song. In fact, it’s quite upbeat, and Blockers’ skills on the harmonica help in setting it off.

Speaking of upbeat, there’s “The Love Sleeps”. It has to be one of the most infectious songs written (and I mean that in a much broader sense than just E380’s discography), or at least that I’ve ever heard; and it emits a feel good vibe for all two-minutes and thirty-nine seconds of it. It’s an ideal song to dance along to, especially with a partner; and it’s just refreshing to hear something so overwhelmingly happy. If you’re ever having a bad day, this would be the song to put on, and then just feel the smile as it slowly creeps across your face.

“La Rosa Carlina” is the final original offering on Photomaps, and it personifies that Spanish vibe they initially wanted to go with. The one-off appearance of a violin is almost hidden during it, but if you listen closely enough, you can hear it creeping in here and there. The harmonies the violinist adds at the end sounds incredible, too, creating a nice male and female vocal part. The song itself is a good story about the guitarist of a band who adoringly watches Carlina — a dancer — who moves graceful to the music they are playing. “…Each twirl brings a smile, each smile a wink…” goes part of the chorus of yet another song that shows just how much the band excels at crafting and telling unique stories.

Like most bands, Exit 380 started off pretty humbly, doing acoustic covers back in their earliest of days. While they may have started out that way, they quickly ditched that in favor of original material; and in the seven to eight years that I’ve been seeing them, I’ve never heard them do a cover song. At least not until recently, when they tried their hand at Townes Van Zandts’ “Pancho and Lefty”. It’s the first cover they’ve ever recorded, and it perfectly fits the style of Photomaps. Like so many other tracks from the record, it tells a story; and they lifted elements from both Van Zandts’ version as well as Willie Nelson and Merle Haggards’, reusing the intro of their rendition to make for a powerhouse ending. It’s more than a cover, though, they truly leave their mark on this beloved classic, and that’s not an easy thing to do no matter what song you’re covering.

This isn’t the longest Exit 380 record ever. In fact, at just about 34-minutes, it plays out almost like a beefier EP, and passes just as quickly, because you get so wrapped up in these songs and simply lose track of time.

But if I had a choice, I’d go with quality over quantity, and that was the decision they made with Photomaps.

No, it isn’t the longest album they’ve ever released, though it is leaps and bounds ahead of anything they’ve ever released (that’s really saying something, ‘cause I still hold The Life and Death of Mr. and Mrs. Alexander Stone in high regard and consider that concept album impeccable.)

For old fans, it’s great to hear them return to those alt/rock sounds they started with, and the growth they’ve undergone individually as musicians and as a band have helped reinforce that genre, and they take it to the next level. For newer fans, you still get some of that folk stuff, with a different twist put on it, as they continue to push their musical boundaries.

In fact, I think that’s another reason why they’ve had such longevity as a band: they’ve never gotten stagnant. I can see how it could be easy to concoct a “formula” so to speak for songwriting and then just stick with what you do best, but that’s not for Exit 380. There’s always room to improve; and really, how many bands can say that fifteen-years in they’re creating their most spectacular material to date? Well, I know at least one.

Exit 380 is:
Dustin Blocker - vocals, pianos
Aaron Borden - guitars
Jon “The Hutch” Hutchison - bass
Jeremy Hutchison - guitars
Bobby “Shoes” Tucker – drums

Purchase the album on:
iTUNES / Bandcamp

Visit Exit 380’s websites:
Official Website / Facebook / Twitter / Youtube
imagePhoto credit: James Villa Photography

Indie Rockers Foxtrot Uniform Crack New Musical Code with Release of Cisco

imageFrom the minute they became a band in 2011, Foxtrot Uniform formed their own musical language, speaking through sinuous grooves, intriguing textures and nods to some unexpected historical references. On their Sept. 2, 2014, release, Cisco, the Dallas-Fort Worth band display their mastery of many dialects, fusing rootsy rock, funk and even psychedelic blues into 10 seductive originals.

Named for the location of the country house where it was recorded, Cisco follows the band’s lauded 2012 debut, Huj! Huj! Hajrah!, which ranked No. 3 on Fort Worth Weekly’s year-end top 10 list. Characterizing Cisco as bluesy, soulful, gritty and raw, the paper already has praised the album as “a sumptuous, moody, slow-burning experience.”

That experience includes soon-to-be-buzz tracks “Honey Bee,” “Grab My Gun” and “Never Get Out of California,” along with “Not Alone,” on which guitarist/vocalist/songwriter Kenny Uptain gives a loving nod to the Mickey & Sylvia hit, “Love is Strange.”

A
nd now Uptain, co-founding drummer/harmony vocalist Kelly Test and keyboardist/vocalist Katie Robertson, the band’s core trio, are ready to decode it all for fans with several special shows this fall to celebrate the new album.

Uptain and Test share a history dating back to their time together in the Mike Mancy Band. Test, no stranger to high-profile gigs, also has performed with Cooder Graw and Pat Green, and still plays percussion with the Polyphonic Spree, with whom he appeared on “The Tonight Show with Jay Leno” in 2013. He also engineered the album, and photographed the cover-art images of a burning chair — which met its demise in a father-son bonding moment years ago.

“Why put a La-Z-Boy in the dump when you can drink some whiskey with your father and burn stuff on a Friday night?” jokes Test, who says the photos remind him of his dad’s “rebellious, mischievous, witty spirit.” Test once refused a friend’s offer to buy them for use on an album cover because he was saving them for his own — never dreaming they’d wind up on an album recorded at, and named after, the very site of the chair’s sacrifice.

Talk about recycling. That’s the DIY way, and if there’s anything Foxtrot Uniform stands for, it’s getting it done — on their terms.

Current shows (please check for updates):
Aug. 28 – Golden Light Cantina, Amarillo, Texas
Aug. 29 – The Blue Light, Lubbock, Texas
Aug. 30 – Foundry Bar, Dallas
Sept. 27 – Bear Creek Park, Keller, Texas
Oct. 5 – Huey’s Midtown, Memphis, Tenn.
Oct. 7 – The Basement, Nashville
Oct. 8 – Terrapin Brewery, Athens, Ga.
Oct. 12 – Huey’s Cordova, Memphis, Tenn.
Nov. 7 – Stanley’s, Tyler, Texas

Follow the band at:
foxtrotuniformmusic.com
twitter.com/funiformmusic
facebook.com/foxtrotuniformmusic
reverbnation.com/foxtrotuniform

Album Review: Mesocyclone by Nicholas Altobelli

imageNicholas Altobelli is a singer/songwriter through and through, perfectly embodying the genre.

One reason I say that is because just last year, in the earlier part of 2013, he released Without a Home to much critical acclaim, garnering praise from the smallest to the biggest media outlets in North Texas, and even from areas elsewhere. It was a different record for him, as he enlisted the help from several friends and fellow musicians, making it into a full-band effort, and in doing so left behind the solo, almost Americana/folk sound for some more poppy tracks.

Shortly after releasing it, though, he was already talking about a follow-up, even starting on songs for it. However, the year plus it has taken to create and release said follow-up wasn’t an easy one for Altobelli. His marriage came to an end during that time, and he also found himself going back to college to pursue a degree in history.

The result of that heartache is the 6-song Mesocyclone EP. The Gigawatts (his backing band) are again utilized, though they return to what Altobelli does best: folk/Americana songs. Poignant ones at that, and even though he’s known for writing more somber songs, this collection takes it to a new level.

The title of the EP isn’t the only weather reference on this album. Take for example the title of the lead track, “Thunderstorms”. While a full-band may be used, the most prominent elements of the music are still Nicholas’ voice and acoustic guitar, though the heavy use of the drums adds a nice kick to the song, while the pedal steel guitar creates some gorgeous moments, though you can hear that even those notes have a tinge of sadness to them. Various metaphors of wind and rain are weaved in as Altobelli croons about the beginning stages of a relationships demise, trying to put a positive spin on it. “…I just want you to know, thunderstorms don’t last.”

Each song tells the next line in the story, and for “Black or Blue”, that seems to be a line about how important communication is. “If I only understood, I could have been your king. If I only understood, you would have kept this ring…” Altobelli woefully sings. This is a contender for the saddest song on the album, and it’s one filled with what ifs, forever wondering if things had been different how they might have worked out. The saddest thing is, it’s hoping they still will [work out], as the chorus, “And I know that tomorrow you will see what’s been missing you…” suggests.

“I called your bluff and I called it hard. Now I’m left with a clotted scar…” goes the second verse of “Pretty Little Daffodil”, a track that finds Altobelli going back to his roots as a solo musician, armed with only an acoustic guitar. That format is behooving of the mood the song has, which is partly about how hard it is to say goodbye to someone you’ve come to know so much about and spent so much time with.  There’s also a soft and subtle sound of rain mixed into the track, helping intensify the mood.

“Memories” is a little more about acceptance of the situation, albeit reluctant acceptance. Altobelli is one of the best lyricists in the North Texas music scene and that talent is showcased exceedingly well on this track, especially on the final verse, “…Just like the love cherished, this too will perish. The memories we had are all that we’ll ever have…” The track exudes heartache, which shines through on every word. “Memories” also sees the return of The Gigawatts, and the piano is heavily featured, and it and the acoustic often complement one another. Quite well, I might add.

In making this EP, Altobelli also looked to the past, resurrecting a song from the Dog Years EP, “Summer Rain”. The fact that this version is so much more fleshed out with the drums, pedal steel, etc. makes it all the more impressive over the original version. It may have been written years prior, yet it fits the story arc of this record surprisingly well. It sounds desolate, and even with a band, that feeling is conveyed in the music. You’ll feel broken just by simply listening to it.

The delicate sound of rain falling is again heard behind the acoustic and Altobellis’ voice on “Odd Numbers”. It’s a fitting closing number, and despite being hurt, the core message is love is always worth it. “…I wouldn’t trade it in to ease the pain that I felt.” he softly sings as the first verse ends. It’s really a simple song in certain aspects, often repeating the chorus. But as I’ve said before about other bands: there’s beauty in simplicity. “…Yes, the darkness came, but the light sure gave a try…”. That’s such  a powerful line, and my take away from it is regardless how something ends, you should just be glad it happened in the first place. Be grateful you got to experience it for some amount of time, even if you’re left not understanding everything.

It’s sad that the most ardent music has to be born out of the most anguishing of circumstances. Yet in some cruel twist of fate, there’s also beauty in that.

I’m sure there are countless numbers of examples of that in music, and I can think of a few myself, where one album a band produces ends up being superior to anything else they have or perhaps even will do, because it’s so raw. Such is the case with Nicholas Altobelli and Mesocyclone.

The life changing events that he went through led to the best music he has done to date. Yes, it’s even better than Without a Home.

It’s so personal, and he has no trouble laying it all out there for the listener; and I imagine this was somewhat of a cathartic experience for him, too.

As I said, Nicholas Altobelli isn’t known for being the cheeriest songwriter there is, but Mesocyclone takes the sadness and despair often found in his music to a whole new level, completely immersing you in the breakup. It’s so rare you get a front row seat like that.

Don’t let that somber tone keep you from listening, though. This may not be an uplifting record, but it’s one you have to listen to. Savor how fluid these six songs are. How they gradually progress the tale. A tale that takes a mere 22-minutes to tell; and once it’s over, just be grateful you were given this glimpse into the life of Altobelli.

Key players in making the record were:
Nicholas Altobelli: acoustic guitars
Heather Kitzman: pedal steel
Trey Carmichael: drums
Daniel Markham: bass
Tony Whitlock: electric guitar
Rahim Quazi: piano
Salim Nourallah: electric guitar, backing vocals


Purchase the album on:
iTUNES (you can pre-order it now. Official release date is August 5th.) / Amazon / CD / Bandcamp

Visit Nicholas Altobellis’ websites:
Official Website / Facebook / Twitter / Youtube
image(Photo credit: Sally Durrum)

Wednesday, July 16th, 2014 – Jessie Frye Warms Up the Crowd for Kitten

Tactics Productions had a great show going on at Club Dada this night. It offered a good way to get an early jump on the weekend, without being out too late; and more than a few people had opted to get a live music fix this hump day.

The only local opener on the bill was Dentons’ own Jessie Frye and her band; and I got the feeling the fates were against me seeing their set.

A traffic back-up while leaving the suburbs and another near the Good-Latimer exit on Highway 75 added ten minutes or so onto the trip, and the construction that’s going on, on Elm Street doesn’t make it too easy to maneuver through Deep Ellum, either.

All of that put me there several minutes after the scheduled eight-o’clock start time, but luckily, as most concerts do, they weren’t adhering to a strict schedule.

The four-piece took the stage at 8:16, and after they all shared a glance with one another, guitarist Jordan Martin started them off on “Like a Light”. “…Let the magic in your heart set you apart…” Jessie crooned on the chorus; and immediately after the first one, she asked how everyone was doing, getting a good reaction from the thirty-to-forty or so people who were already there. They didn’t have much room on stage, because the second bands’ gear was all setup behind them, though it was still ample space to allow Jessie to jump around, something she did more and more of the deeper they got into the track.

Chad Fords’ final drum beats resonated in the room, while the bass died down and Andrew O’Hearn stood there for a moment as Jordan made a seamless segue into another song from the “Fireworks Child” EP: “Fortune Teller”. It’s slightly steamier than that opener, and that was reflected in the way Jessie conducted herself on stage, and also in the way she somewhat shouted the word “twist” on the line, “…Wish I might find a lover to twist and turn to the heat of summer…”.

“Thank you so much for being here!” Jessie exclaimed afterwards, saying what an honor it was to be sharing the stage with Kitten — whom she happens to be a fan of. They had some slight technical difficulties now, revolving around the track they needed to use. It took a minute or two, but then it kicked on, and they got to some stuff from the Obsidian album. Keeping up with the sultry mood from the previous song, Jessie was often seen shaking her hips to the beat of “White Heat”. I still really like those older songs from the EP(s) she has released, but you can tell the difference from them and this newer batch of music. They just sound better in all regards, from more complex sounds (the guitar tones sound excellent on this number), to the lyrics, and even Jessies’ voice has grown exponentially over the few years in between records.

There wasn’t much down time between it and “Never Been To Paris”, and Andrew and Chad sounded fantastic on it, creating an impeccably tight rhythm section. “..We just released a video for this one…” Jesse mentioned, as Chad counted them into “Shape of a Boy”. I’d say it was their best song of the night, and the slick, roaring guitar solo Jordan knocked out caused all eyes to focus solely on him.

“Thank you.” Jessie said in hushed, slightly raspy tone once the song ended. “Prepared” was another oldie but goodie that found its way into the set, and Jessie personified the role of frontwoman even better on it than she had at any other time this night. There was a certain fierceness that came over her, and it resulted in an overpowering demeanor that was all too fun and engaging to watch.

“Dear Boy is up next.” she mentioned, shouting out the second band, adding that, that was one of the best band names she had ever heard of. With that, they ended with the uplifting “Brave The Night”. The rhythm section was again blasting on that one, and I could feel the bass shaking not just my feet, but also my chest cavity. Not a bad way to end.

I did catch their set at Edgefest in Frisco a few months back, but this was the first lengthy set I’ve seen from them in the better part of two years.

It was great hearing a few of the newer songs live (some for the first time), with a nice mix of older material. The rhythm section has also changed since I last saw them (excluding that April show), which has made the band even better. Like I said, both Chad and Andrew were tight, and all of them had good chemistry together.

Basically, they’re a more outstanding band then they’ve even been; and this night they had a perfect mixture of having fun but also being quite professional.

For the last few years, Jessie has been hailed as one of the best vocalists in North Texas. Probably not all of the early birds at this show knew that, but I doubt any who did catch their performance would argue that praise she’s received as a songstress.

They’ll be at the House of Blues in Dallas on August 2nd (the main room) and the 8th (the Cambridge Room, as part of Exit 380’s album release show). Catch one, or both. Be sure to check out their albums in iTUNES, too.

Wednesday, July 16th, 2014 – Dear Boy Wins Over the Crowd in Dallas

Tactics Productions had a great show going on at Club Dada this night. It offered a good way to get an early jump on the weekend, without being out too late; and more than a few people had opted to get a live music fix this hump day.

Kitten wasn’t the only Los Angeles-based band on the bill this night, and just a couple days prior to this, Dear Boy had joined them on the remainder of their tour.

“…You got a little bluer before, where’s that shit?” asked singer and rhythm guitarist Ben Grey, speaking to the sound guy, who then adjusted the lights just right. The quartet seemed to love the shade of blue that was now cast over them and the ever-growing audience, and with that, they ripped into the lead track from their debut self-titled EP: “Come Along”.

It immediately became clear they were a very pop oriented group, with some British flare thrown in; and they captured a lot of people’s attention with the intro to that song, which saw Ben aggressively strumming his axe. “Would you like me if I was young? Would you hold me if I was wrong? Would you love me if I was gone? Then come along!” he belted on final chorus.

That song established a very lively mood the band kept up for the rest of their 34-minute long set. During the subsequent track from the EP, “Green Eyes”, Nils Bue jumped on ledge that has been added around the front of the stage — giving a place for the monitors to set — and brandished his bass for all to see. Both Ben and lead guitarist Austin Hayman produced some cool tones and catchy riffs on that slightly sweeter song. Drummer Keith Cooper provided a strong backbone, as well; and if only more people had been familiar with Dear Boy, then I think the chorus of “When there’s no place else to go, I will meet you down below. And when there’s no one left to find, we won’t need this place to hide.” could have easily been a sing-along part.

Upon finishing it, Ben mentioned this was the first time they had every played Dallas. “…Thanks for letting us in your home.” he said in a sincere voice, while a smile crept across his face. He then thanked Kitten for having them on part of this tour with them. “It’s very rare that you get to play with a band you actually listen to.” he said, noting it was an great experience. He went on to say they were going to do the newest song they had, and it was with it that they really hit their stride.

There came a point where both Austin and Ben leaned against each one another’s back, fiercely shredding on their guitars; and they wound it directly into another song, which had a vibrant, fun vibe to it.

The spectators were clearly enjoying Dear Boy; and their next song was one the most well crafted they did as far as the music bed was concerned. Ben started it, and it was performed solo at first, before Austin laced in his guitar at the second verse. A minute or so later it exploded into action with the bass and drums (Nils rocked out next to the kit, creating a pulse pounding rhythm section), and during a break from singing, Ben dropped to his knees, succumbing to the music.

“…We want to meet as many of you as possible!” Ben pointed out once they finished that song, also mentioning they’d be selling their record over at their merch table afterwards. They did another song from it now, called “Oh So Quiet”, which was a little more indie from some of their other stuff. That was nice, though, ‘cause it showed diversity. The song that followed was pretty heavy; and now Nils and Ben did a little more interacting with one another, standing back to back for a few moments.

“…It’s been a pleasure…” Ben said, as their show had sadly already come to an end. They closed with what would be safe to assume is the most high-strung song in their arsenal: “Funeral Waves”. Some elements of the song were completely dance inducing, while others made it a great song to bang your head to. Regardless of your preference, everyone was captivated by it, and the band was giving it their all. They were all outstanding musicians, and their chops highlighted best on this one. Ben even orchestrated a clap along moment at one point, ensuring it was a fun one to end with.

Man, these guys were all too impressive.

You could tell they were having fun up on the stage, but you could also see their work ethic, and it was clear this wasn’t just some band to them. It was a way of life.

They had more chemistry with one another than a lot of bands do, and they music they made was really extraordinary if you ask me. It was infectious and very radio friendly, but maintained originality. The songs also have a lot of lyrical depth, which is always one quality that gets my attention.

They seemed to make a lot of new fans this night, and as I headed out the door after Kitten had finished, I ended up making a pit stop by their merch table and picked up a copy of their EP, along with having a brief conversation with Ben, who was an incredibly nice guy.

I know one thing: I can’t wait for Dear Boy to get back to Dallas. Let’s hope that happens sooner rather than later.

The have a few shows left with Kitten through the end of this month, and then will be doing a show at The Troubadour in West Hollywood on August 12th. You can find their full tour schedule HERE; and check out their EP in iTUNES while you’re at it. They will also be dropping a new single on the same day as that Troubadour show.