Lately, if I have made the trip across the D/FW metroplex to Fort Worth, the destination has been Billy Bob’s Texas.
It was more of the same this night, when the venue that is known for being the “world’s largest honky-tonk” was hosting one of the best bands in the state, The Dirty River Boys.
There was an opening band this night, and that was Crooks from Austin.
Admittedly, I didn’t keep up with their set as far as what songs they did, but I’ll hit the highlights of what I do remember.
They were playing the smaller Honky-tonk stage, and had already started by the time I got there.
They finished the song they were doing, at which point singer and acoustic guitarist Josh Mazour regaled the audience with a story about how it’s not a good idea to decide to pick up a stray cat and pet it. Evidently, that was something he had tried recently and learned the hard way why it’s not wise.
They had a truly authentic country sound, from the twang in his voice, to the upright bass Joey McGill played, and even had an accordion and trumpet thrown into the mix, which were played by Anthony Ortiz Jr. and Doug Day, respectively.
They did at least one cover during their time on stage (I don’t recall what famous country singer they covered, since country music is not my forte), but it was good. Their original stuff was even better, and you could tell the audience was liking by all the people that swarmed the dance floor and danced with their special someone’s.
Even the slower “Pull Up Your Boots” got some movement going, while a song that stood out to me was “My First Gun”. Granted, that was probably because of the story that accompanied it, which was Josh informing everyone that he wrote it about five years or so ago, when he was dreaming about killing his boss at the time. “…I never did anything to him or his woman, but I thought about it… A lot.” he said before they started the track.
Some of their final songs where just the core group of Josh, Joey, lead guitarist Ryan Goebel and drummer Rob Bacak, before Anthony and Doug rejoined them for their final few songs.
They were quite good. I can’t say I liked them to the point that I’d feel like I have to see them the next time they come through the North Texas area, though I am contemplating buying their record. So yeah, overall, I did enjoy Crooks.
They have plenty of shows coming up across Texas, including a return trip to Billy Bob’s on May 8th, plus a gig at Hat Tricks in Lewisville on March 28th. For their full tour schedule, go HERE. Also, you can find their LP on either iTUNES or BANDCAMP.
They were a good little warm-up act, but the real show was going to come when The Dirty River Boys took the main stage.
There was a thirty-minute break in between bands, which gave most of the people plenty of time to be shown to their seats at the sea of tables that cover the floor in front of the main stage.
By the time 10:30 rolled around and one of the staff members at Billy Bob’s came out to introduce the band, there were a surprising amount of people there. I saw surprising given the fact that The Dirty River Boys are still by all accounts a local band. They may do shows all over the country, but they’re widely known yet. However, the healthy fan base they do have is also a dedicated one, which was proved this night.
At 10:32 bassist Colton James, drummer Travis Stearns and the two singers and acoustic guitarists Marco Gutierrez and Nino Cooper stepped on stage.
“How we doing Billy Bob’s Texas?!” Marco asked, while Travis went ahead and gave the crowd some percussion by slapping his hands against the cajon he sat on.
Having seen them just barely a month before; I was expecting the same setlist, since most bands don’t switch things up that often. Then again, The Dirty River Boys aren’t most bands, and when Nino grabbed the mandolin, it became obvious that this wouldn’t be the exact same show I had seen last month, and that had me excited.
They wound up starting with “Boomtown”, and Nino jumped about at the start while he strummed the mandolin. The fans responded well to it, and it was an excellent opener, not only being one of their tracks that really gets people pumped up, but also one that shows how much talent resides in this band, as they handled some of the words in rounds, with Marco and Colton singing and harmonizing along with Nino. There was even a cool moment after the second chorus where Colton spun his upright bass around, while the feathers and raccoon pelt that hang from it twirled right along with it.
Once it was done, Marco led them right into the title track from their second EP, “Train Station”, which is another song with breathtaking harmonies. “…I fear I’m losing her again. My head’s on the horizon, my heart’s wherever the hell she sleeps!” Marco belted as the track sprang to life. It’s a song that blend beauty and heartache with some Rock ‘n’ Roll moments, and there was even a part where Colton played his bass with a bow, similar to how a violinist does.
Those were two of the older songs they did this night, and while more would come, their primary focus was on the material from their forthcoming album. They had worked in a few more new tracks than they were doing the last time I saw them, and Travis counted them in on the first new one of the night, which was sung by Colton.
“Billy Bob’s, what’s going on?!” Marco asked, seeming gleeful to even be there. The fans did their part at making some noise, while he went on to say they’d be playing a lot of new songs this night. “…This one’s an old one.” he finished, as they tackled the lead track from “Science of Flight”, “Dried Up”. Apart from doing lead vocals, Marco also played the harmonica when it was called for, but that wasn’t the only add-on this song got.
They’ve been known to throw in portions of cover songs into their music, and while I’ve heard them do one of Bob Dylan’s songs before, it hasn’t been on this specific song before. “…Everybody knows that baby’s got new clothes…” he sang during the lull that came before the final chorus, then moved along to the chorus of that Dylan hit “Just Like a Woman”. “She takes just like a woman. She makes love just like a woman. And she aches just like a woman.” Marco crooned, softening his voice as each sentence ended, before getting louder when he sang, “But she breaks just like a little girl.” The crowd was roaring at that point, as they got back to their original and finished it up, before moving directly into their next number.
“This song’s about a union painter that Nino met several years ago.” Marco informed everyone, while Travis played some soft, though sad notes on his harmonica. “…I’m surrounded by others, but I’m always alone. When the paint and time comes, I jump back on the train. Spend all my green dollars just to poison my veins…” Nino sang rather somberly on “Union Painter”, which sounded like it was even a little more low-key than the album version. That’s to say it just sounded like it was more acoustic. Nino also made a little change to one of the lines, catering to where they were this night as he sang, “…I’m still searching for freedom beneath Fort Worth skies…”
Afterwards, it was time for them to bust out another new one. They might be an Americana band, with dashes of country, but above all, The Dirty River Boys are a rock band. This song was a fine example of that, and it packed a punch; while also being one of the songs that Colton used an electric bass on. Speaking of that, his playing on it was pretty slick, particularly on the chorus, as he quickly moved his hand up and down the fretboard.
“…This is what we call a Chinese fire drill.” Marco stated before leaving his post and sitting on the cajon. Travis took up the mandolin, while Colton grabbed a banjo, as Nino began to play some soaring notes. “…The louder you get, the crazier this bad boy gets!” shouted Travis as they had some fun before their next song. Marco just added a bit of drums to the start, before taking over on the upright bass for the short sing-along that is “Lookin’ for the Heart”. “But I’m just growing old with a whole deep in my soul. Won’t you give me back that heart you took from me?” sang Nino on the track that is far more upbeat than you would guess just based on the subject matter.
They reverted to their normal positions when it was done; and Marco started setting up their next song, saying on their last album they had covered a Townes Van Zandt song. “…We don’t do it too much these days…” he said, noting they had decided to this night, though. The song they covered is “Lungs”, and it’s a favorite of mine from “The Science of Flight”. They give it a real dark, ominous quality, which in turn puts a good spin on it; and while they might not play it much anymore, I’m glad they did this night.
Another new one was due now; but first Marco mentioned how lucky they were to come across Colton James and add that fine talent to the band. He [Colton] again assumed the role of lead vocalist on this one (which was one I don’t think I had heard before), though it sounded pretty good. “Take it away, Nino!” he said at one point later on in the track, as Nino ripped into a guitar solo. I have to say, acoustic guitars were not meant to sound like that. At least I’ve never heard another band make them sound the way Nino and Marco do. The guitar solo he did was amazing, and it was more electric sounding than most electric guitars are.
The audience went to clap, but had no time to, because as the final notes rang out, Nino started singing “My Son”. “I don’t know where you’re going my son. Taught you to walk, but you learned how to run.” he sang before all of his band mates joined in, again forming some incredible harmonies. “How you gonna find your way back home? The roads you knew they’re paved and gone.” Sang Nino on the first chorus, changing it slightly before sticking with the chorus from the album version the second time around, “How you gonna find your way back home? The maps you drew they’re burned and gone.”
“…The only way that you can be found is through your footsteps in the cold, dead ground.” the four guys sang, before Nino went into another brief guitar solo, which only made the song even better.
They gave a quick shout-out to their friends in Crooks for getting the party started, before firing up an instrumental piece. It was soulful and bluesy sounding, and I highly enjoyed it. I assumed it was the intro for another one of their new tracks; and they amped it up, sounding like they were about to break into whatever it was, before pulling back on it. Then the chords for “Draw” came into being; and since that was a song that was absent from their last show I caught, I was ecstatic.
It was a bit of an alternate version, and was more toned down than what their fans have to come to know from the album. That doesn’t mean it wasn’t still a great song, though. “If you’re alive, make some noise!” roared Travis during one of the breaks, as he made sure everyone was still feeling very much a part of the show/experience.
They were still far from being done, and while Colton again swapped over to his electric bass, Nino mentioned that the next song they would be doing was one that The Ranch (95.9FM) in Fort Worth had been playing, and thanked them for it.
There’s a reason why “Desert Wind” is their newest single, and one they’ve already released for public consumption (i.e. on iTUNES), and it’s made known every time they play it. “Lately, I’ve been thinking, and I just can’t seem to get you off my mind… Lovely lady, where you are. I hear your voice and I feel your scars…” he sang on the sweet and powerful track. The drumbeats are mixed in perfectly, giving the song as much kick as possible; and he got so into his drumming on this one that – for the second time this night – he knocked his hat off.
“If you know it, sing it.” Marco told the fans as he moved things right along to their next number.
“Carnival Lights” got one of loudest reactions from the fans, as well it should. It was another song they put an alternate spin on, doing a slow version of it. Actually it was pretty much just Marco until after the first chorus. “…With her poison inside medicine bottle, filled with nothing but her own shortcomings. She leans her head back; she puts ‘em down and they taste alright…” he softly sang, before Travis interrupted the pause. “Y’all still with us?!” he asked. Of course, everyone was. Marco then continued, “Please, just try to stay conscious tonight.”
Now the full band came in, just in time for the even more emotional second verse of this spectacular tune. “Billy Bob’s, this is your time to shine.” Marco told everyone before the final chorus, making the song into a genuine sing-along. It was cool moment to say the least, but they weren’t done yet.
That Dylan cover has been tacked onto this song in the past, but with it having already been done, I was wondering what, if anything, they might add to “Carnival Lights”. They did have something planned, and Colton took his cowboy hat off and hung it on the scroll of his bass for it.
“…Now I’m so happy, no sorrow in sight. Praise the Lord, I saw the light.” Marco added, which was just one of several lines they did from Han Williams’ “I Saw the Light”.
They went right into another new song; again one that was sung by Colton, before Marco took over on the next one. In between those, they chatted with their fans, though.
“Are y’all having a good time so far?” Marco asked, before saying he couldn’t stress enough what an “honor” it was to be on this stage (this was their first ever headlining show at Billy Bob’s). Then, upon finishing that song he did, he shifted the focus to their new album, which they recorded during this past December and January. “…We can’t wait to get this new music out to you all…” he said.
They only had a couple of old songs left this night, and rather surprisingly, the balled-esque “Riverbed Wildflowers” got one of the loudest reactions from fans. I mean, it should because it’s a fantastic song, even if it deals with the heartache of having feelings for someone who doesn’t feel the same. “…Well, these riverbed wildflowers are dying now; and I’m through waiting around on you…” Nino sang towards the end, before they added a little extra something to the song, repeating part of the chorus an extra time or two at the end, adding some truly lovely harmonies to it.
“This song’s about life on the road.” Marco stated, after he had again thanked everyone for making it out to the show, during which time Colton switched back to his electric bass. This song is easily the best one from their new batch of music, and even just in general. It does depict the life of touring musicians (“…Well, we work all night just to drive all day…”) and it’s more rock sounding than most of the true rock music that you hear.
They made something special with that song, and the same can be said about their next one, which Nino dedicated to the man they co-wrote it with, Ray Wylie Hubbard. “…It’s about the violence south of border.” he said, as they began to sing about how their hometown of El Paso, as well as those towns over in Mexico, have changed.
“You cross that dirty river and you never come back.” Marco sang at the end, then Colton and finally Travis, before Nino took back the reins. His band mates harmonized with him on the last line, “If you cross that dirty river then you’ll never come back.”
After one of their earlier songs (“Draw”), Marco mentioned it was just one of a few songs they had about whiskey. Well, now they got to another, which was yet another new track. “…There’s nothing like a whiskey drunk on a Friday…” he sang on the cheery tune, which will surely become a sing-along once they get their new album released.
The end was in sight now, and while Nino went over to stage left and grabbed the mandolin, Travis spoke to the crowd.
“After four and a half to five years of being a band, our van finally hit two hundred and fifty-thousand miles!” he exclaimed (a moment that was documented with the footage being posted on the bands Facebook page).
He then asked how many people had seen them before. Most everyone in attendance had, though there were still plenty of first timers. “Y’all know how we like to do it!” yelled Travis, speaking to those who were familiar with them. “…So, are y’all ready to raise some hell?!” he bellowed.
Moments after that, he got everyone to stand up. I have to say, the seats were detrimental to the energy out in the crowd. Not that everyone wasn’t enjoying the show, but you just can’t really get into the music (or at least I can’t) when you’re sitting.
With that said: once everyone rose out of their seats and began clapping, singing and stomping their feet along to “Raise Some Hell”, the mood changed immensely. In that moment every fan was one, as they were completely immersed in the song and were having the time of their lives.
That was how their 88-minute long set ended, but the celebration wasn’t done yet.
They never left the stage. Instead, Travis mentioned that they’ll celebrate fans birthdays every time they can, but there are only, at most, four chances a year that they can do shows and celebrate the birthday of one of their own. Tonight was one of those nights.
Nino Cooper was genuinely surprised when a birthday cake was brought out and handed to him, and everyone in Billy Bob’s helped in singing “Happy Birthday” to him.
“Are y’all ready to rock out another one or what?!” Travis asked after a few minutes went by.
“Crooks, we need ya.” Marco said, calling on their friends, who soon joined them on stage. Then Nino appeared, having traded his cake in for an electric guitar.
It was very appropriate for their final song, which was a cover of The Rolling Stones “Honky Tonk Woman”. I stand by what I said about their rendition of the song the last time I saw them; they do it better than The Stones; at least in comparison to the recorded version.
Think what you will of that statement, but it’s the truth, and once the song came to an end, Travis stood up from the cajon, tossed one of his drumsticks in the air, caught it and then struck right through the skin of one of his drums. Because if you’re going to end a show, you might as well end it in style, right?
This may have been their first ever headlining show at Billy Bob’s, but I don’t think it will be their last.
Okay, the place wasn’t sold out like some of the other acts that come through are capable of doing; but there were a lot of people out, and they were loving every second of the show.
Then again, how could you not? There are so many layers to The Dirty River Boys, from the harmonies, to the emotion-filled lyrics, to the awesome rock numbers, of which there are plenty.
I absolutely love this band. I may be a new fan, but they won me over from the start, and each time I see one of their shows (this was the fourth one I’ve caught), that love I feel grows.
They are, without question, one of the best bands that resides in Texas, and it’s not going to be long before the world takes notice.
They have plenty of tour dates scheduled up through July, and they can all be found HERE. That includes show in Texas, Oklahoma and even Louisiana. As far as North Texas shows go, they’ll be up in Denton on March 27th at Dan’s Silver Leaf. They’ll be at the Iron Horse Pub in Wichita Falls on March 29th, and then April 25th will find them at the Granada Theater in Dallas. They’ll also be back in Fort Worth on July 24th.
Go see ‘em if you can, and if you can’t, check out their music in iTUNES.
It was a great night of music here in Fort Worth; and while the drive there and back were both long, The Dirty River Boys were more than worth it.
Lately, if I have made the trip across the D/FW metroplex to Fort Worth, the destination has been Billy Bob’s Texas.
You may not have heard of the San Antonio based rock outfit Nothing More, but there’s really no valid excuse for having not.
The band has been around for about a decade now, and has gone through a few different incarnations before finally arriving at their current – and strongest – one.
After the departure of their current singer at that time (say late ’07 to ‘08), the band was left at an impasse. They were starting to gain some pretty good momentum around Texas and now had to search for a new vocalist.
They wound up not having to search far though, as Jonny Hawkins decided to try his hand at singing. The result was something they all approved of, so he made the transition from their drummer to frontman.
Those like myself, who were skeptical about this, weren’t for long; and 2009 saw the release of their first record with that lineup, “The Few Not Fleeting”.
Turns out, Jonny had been hiding a monstrous voice for all those years, but it wasn’t just that. They had also stepped up their songwriting, making raw and emotional rock songs, like “Gone”, which chronicled the fight Jonnys’ mother was having with cancer at the time, while he was at times out on the road touring with his band mates.
It would be four long years before they would release another album, but just because they weren’t releasing any new material didn’t mean things weren’t going to happen for them.
They toured various parts of the country many times over, and just in the past year played a leg of Adrenaline Mob’s tour. I saw the Dallas stop of that one, and I can say honestly in just thirty minutes Nothing More upstaged those famous musicians (which included Mike Portnoy, Mike Orlando and more).
They also played the inaugural Aftershock Festival in Sacramento, CA last fall, where they were so well received they were invited back the next day to play the main stage.
While on the subject of their touring accomplishments, they are also gearing up for a run with Chevelle, and will be a part of pretty much all of the bands currently listed shows, and they’ll also be one of the bands playing Rocklahoma in May. All of that’s just barely scratching the surface.
Armed with a new collection of songs from their self-titled album, songs that span a variety of social and political issues, from religion (“Christ Copyright”) to infidelity (that song, “Sex & Lies”, boasts what may be one of the most clever lines ever, “I want to hear it from the whore, horse’s mouth.”). They even discuss consumerism and society’s obsession with, well, just about everything (“Mr. MTV”) and even tackle drug addiction and the struggle of helplessly watching a friend battle their demons (“Jenny”). There’s even a track that continues the story “Gone” started, as Jonny sings about his mother’s final days in “God Went North”. (They actually do have some fun songs, too, like “Fat Kid”.)
Maybe you won’t agree with some of the content in a few of those songs, but it’s things that need to be said, and Nothing More is bringing a substance back to music that has been severally lacking in recent years.
They’re not just great songwriters, though. They put on the best live show of any band that’s ever walked this earth and they have an overwhelming stage presence. Seriously, they are unparallelled when compared to just about everyone, and personally, I’ve only seen one other band who elicits such excitement from me at a live show.
They get everyone moving and singing along during their heavy rock anthems, and make sure the crowd is as involved with the show as they can be, so it becomes a real experience for everyone.
“Nothing More doesn’t take the stage, they storm it.” That’s a line from their current bio, and it’s worth quoting. Oh, they also do a sweet little bass solo that is pretty atypical and unlike any bass solo you’ve ever witnessed before. Actually, it’s one of the highlights of their show.
So, come out to Trees for NoMo’s first Dallas show since their CD release gig here last June, and witness a great local rock lineup. All of the opening bands will rock your socks off, and then it will culminate with a band who is right on the cusp of stardom; and if it doesn’t work out for them, then there’s not a chance of any independent band ever striking it big.
Friday, March 7th at Trees
Doors @ 7 / In Memory of Man @ 9 / Werewolf Therewolf @ 10 / The Raven Charter @ 11 / Nothing More @ 12AM
21+ $10 / 21- $15?
Three Links was my second destination for the night, where a truly killer bill had been assembled.
I hated that I had missed my friends in Vinyl (who are spectacular), and Mothership was just starting their final song when I arrived (it had been awhile time since I had seen them, but they sounded better than ever). A band called Crypt Trip also got the night started, but all three of them were nothing more than appetizers.
Not that the place wasn’t already packed for Mothership (and assumingly the other bands); but the most exciting thing about this show was that The Virgin Wolves were coming out of their hibernation. They hadn’t played a show since last summer; and they had been greatly missed.
Of course, it took a bit for them to get set up, though the sound check was swift. “It’s been eight months since we’ve been on stage!” declared rhythm guitarist Carson Coldiron. The guitar and bass chords swelled as he spoke, pumping up the crowd, leaving everyone wondering what their opening number would be.
I’m not gonna lie, I was hoping for “Slick Shoes”, and for a few moments it seemed like that classic from the “Bad Blood” EP might be what they burst into, but it was not.
Instead, they broke into “Black Sheep”, which was equally as good. It may have been eight months since they shared a stage together, but it didn’t even take a second to reignite their energy and chemistry on stage, as Carson, lead guitarist Chase Ryan and bassist Kristin Leigh began throwing down. “I bet you look good, I bet you look good, I bet you look good in the morning light…” sang Jaimeson Toon; Chase backing her up on most of the verses, giving the song a nice one-two punch.
I’ll go ahead and say this: if they had accumulated any dust over those eight months, they made sure they shook it all off during their rehearsals.
Drummer Steve Phillips quickly led them into another gritty rock number, “Crawl”, as they started making their way down the tracklist of their “Pretty Evil Thing” LP. “…Gave you just one hour to show me how bad you can be. I gave myself three cigarettes and whistled just like a bird.” Jaimeson sang in a more sultry voice on the second verse; grabbing her hair and pulling it down over her face as she did so.
As usually, they had little transition pieces worked up between most of their songs this night, stretching it out here as Carson took a moment to thank all the bands who had opened for them. He also pointed out that this Jaimesons’ place of employment. Chase then semi-slowly plucked the strings of his guitar, bringing them to my personal favorite track, “End Of The Line”. It’s arguably their catchiest song, and shows off a little different side of The Virgin Wolves, while still retaining that raw rock vibe that makes them standout. There were some issues with the microphone towards the end, which led to Jaimeson and Chase sharing his mic, while Kristin used hers as they all sang, “I can’t sleep, I can’t breathe, I can’t find the door…”.
Steve kept on delivering the beats until they were ready for one of their slightly blues infused numbers, “What You Want To Hear”. Some banter with the crowd took place afterwards, while Chase also took time to thank everyone for coming out this night. Surprisingly, the show wasn’t sold out, though there were a lot of people there, and they were all transfixed on the band.
They kept running thorough “Pretty Evil Thing”, though they did skip track five and moved on to “Lies” when they got back to business. That (at times) showed off the bands softer side, which is something that doesn’t even really exist, and they kicked things back up with their next song.
However, they first took a moment to wish one of their fans a happy birthday. “…She’s good looking. I’m just saying. Get ya some.” Jaimeson said of the birthday girl. It was after that, that they did the darker sounding “Crooked Smile”. It’s another one of their best songs, and tonight it was a highlight of their show, as Chase and Kristin stood facing one another near the end of the song, tearing it up on their guitar and bass, respectively. Then, as it drew to a close, Jaimeson approached Chase, as the two grinded against each other.
“The amount of people in here makes me happy.” Jaimeson stated after that one. They marched on with “Oh, Sugar”, before again skipping over a track on the album, because, well, you’ve got to save the best for last.
“I like it when you don’t leave.” Jaimeson said, before encouraging everyone who might want to, to buy their merch. “…We have stuff you can wear. Stuff you can listen to. Stuff you can smell in your house.” she said, then added, “That’s right, I said smell…”
“ Vagabonds” was the final, somewhat slow song they did, and from it, they jumped right into “Bad”, which was an electrifying way to end what felt like an all too short 36-minute set.
“Surely that’s not it?” I thought. Though the band did a legit job at making it appear that they were done. Then the cries for an encore started, and eventually Chase and Carson retook the stage, saying they thought they might could do one more.
“Carson, how’s my hair look?” Chase asked. “Shitty.” Carson replied. They had a friend join them on stage for this next song, and that was Chris Breland. He sings in the band Black Habits – whom I’ve seen once before – and evidently has something else going on, because Carson mentioned he was in a band. “…I don’t know if I can say what band or not, yet…” he said, seeming to catch himself before he let it slip.
Their little encore segment started with a cover of Danzig’s “Mother”, and stylistically speaking, it fits The Virgin Wolves perfectly.
Jaimeson and Chris were a force to be reckoned with as they shared the vocal responsibilities. They killed it on the song, and as it came to an end, some guy suddenly began to crowd surf, and soon took a fall that looked like it could have been way worse for him than what it wound up being.
That wasn’t it, though. Remember, I said they skipped over one of their songs so they could save the best for last, and, without question, their best is “Virtue And Vice”.
A small mosh pit even broke out during the song (something I haven’t personally seen at one of their shows before), while both Chase and Kristin shouted the line on the second verse that they’ve revamped for live shows, “I rode all night through the motherfucking rain!” “And I wound up standing at his grave.” Jaimeson chimed in.
Towards the end, Carson even grabbed a beer can from one of the fans up front, sliding it across the neck of his guitar a bit before handing it back.
That, was the perfect way to end this show, and that song allows all five of them to unleash any energy they have left, ensuring everything gets left on the stage.
I had missed seeing The Virgin Wolves more than I knew I had, and I’m glad I at least caught them a few times close together leading up to their little hiatus.
Hopefully it won’t be another eight months before they grace a stage somewhere in the metroplex, ‘cause they’re just too damn good.
They play rock music the way it was meant to be played, and they’re live show is a must-see, especially if you haven’t seen them before.
Pick up “Pretty Evil Thing” in iTUNES (it’ll be $9.99 well spent), and throw ‘em a like on FACEBOOK so you’ll know when they have another gig.
Well, I managed to catch not one, but two fantastic shows this Saturday night. I’d call that a win.
Wednesday, March 5th
13th Floor Music presents The Birds of Night and Texas Gentlemen at the Gas Monkey Bar & Grill this night. FREE
-Dallas (Deep Ellum)
Ultimate Local Music presents Lord of the Lost, Murder FM, Designed In Kaos and Vannah Red at The Curtain Club. AGES 17+
Doors @ 7:30
21+ $10 / 21- $15
Friday, March 7th
- Waking Alice will be headlining Arlingtons’ newest music venue, The Chuggin’ Monk, with Chastity and The Confounded opening.
-Dallas (Deep Ellum)
- Nothing More will return to Trees for the first time since their epic CD release show last June. The Raven Charter, Wherewolf Therewolf and In Memory of Man will open.
Music @ 9
- The Orange will headline The Curtain Club for this month’s edition of Deep Friday. Memory Shivers, Party Static, Slumber Buzz and The Pillars will open. The Orange is also said to be doing an epicly long set at this one, so it will probably be one not to miss.
Doors @ 8
21+ $10 / 21- $15
- The West Windows will be rocking the Double Wide for their first show since releasing their debut album back in January. Things of Earth and Dumb Waiter will open.
Doors @ 10
- Three Links is celebrating their 1-year anniversary with a killer show featuring The Black Dotz, The American Fuse and The Phuss.
Doors @ 9 / Music @ 10
-Dallas (Lower Greenville Avenue)
- The Wheeler Brothers will headline the Granada Theater with Bravo, Max! and Telegraph Canyon serving as the support acts.
Doors @ 7 / Music @ 8
$15 to $29
- The Spring Standards will stop by Dan’s Silver Leaf on their way down to SXSW. Kaela Sinclair will open.
Music @ 9
Saturday, March 8th
- Revolver Magazine’s Hottest Chicks in Hard Rock Tour will be making a Dallas stop at the Gas Monkey Bar & Grill. Sick Puppies will be the main act of the night, on a bill that will also feature Lacuna Coil, Eyes Set to Kill and Cilver.
Doors @ 6 / Music @ 7
-Dallas (Deep Ellum)
- 26 Locks will be celebrating the release of their debut EP with a show at The Curtain Club. Alterflesh, Daylight Industries, Shapes and Faces and Charge will be playing alongside them.
Doors @ 8
21+ $10 / 21- $15
Doors @ 10
- Three Links 1-year anniversary will continue with a daylong show. Off With Their Heads, Pinata Protest, Svetlanes and Sealion will be some of the bigger drawing acts, though bands will start mid-afternoon.
Doors @ 4 / Music @ 5
Music @ 10
-Dallas (Lower Greenville Avenue)
- Street Arabs will be celebrating the release of their new album with a show at the Crown and Harp. Dead Mockingbirds, Jack Thunder & The Road Soda and International Bitterness Unit will also be playing.
-Dallas (Oak Cliff)
Doors @ 7 / Music @ 8
- Abacu5 will not only be debuting some new music at The Rail this night, but also their new singer. Be sure to check it out. Idler, The Forgeries, Zativah Kid and others are also on the bill.
- The Circle will make their return to Tomcats West, with Awake in Theory, Generation Wasted and Red Angel Theory also playing on this stellar local rock bill.
Sunday, March 9th
- The Giving Tree Band will be doing a free show at the Gas Monkey Bar & Grill. The Spring Standards will open.
Doors @ 8 / Music @ 9
- The Royal Savages, Neptune Locals and King and Nation will all be taking the stage at Queen City Music Hall for a show put on by Green Audio Productions.
Music @ 9
I must confess, until just a few weeks prior to their show at the Granada Theater, I had never heard of White Lies.
That’s probably a good thing, because that meant that I haven’t spent the past few years anxiously awaiting the British band to tour through Dallas. Instead, I became a fan rather last minute and only had to wait a couple weeks.
That’s not to say I wasn’t excited, though. In fact, I was probably every bit as excited as any die-hard, longtime fan of the six-year old rock outfit.
The only opening act on this was the Brooklyn, NY singer/songwriter Frankie Rose.
I’ll preface this by saying I had trouble figuring out what songs she did, and by trouble I mean even after spending time listening to her music I couldn’t pinpoint the specific songs, which is a personal fail in my book.
But I digress. She and her band (which consisted of a drummer, lead guitarist and bassist) delivered a great 31-minute set.
I didn’t know what to expect, but I wound up liking her music far more than I thought I would.
The first song had a nice build to it, before the drummer suddenly broke into the song, which had me quickly trying to figure out where he was. See, the kit was on far stage left – out of my line of sight – and until that first beat I had overlooked it. They carried on with several more songs, and periodically Frankie would chat with the crowd in the already packed Granada Theater.
“…This is a Saturday night. Is it a late night town?” she asked, following it with another question, “Are you going to go out after the show?” You could tell she was just looked at as the opening act, because the response was almost nonexistent, and I know full well the party was continuing for more than a few people after this show (and I was one of them).
They ran through a few more songs, including a “romantico one” as Frankie put it. In my opinion, it wound up being one of their best songs of the night. The rhythm section was in full effect on it, and even though I was standing near the back of the venue, I could still feel the floor shaking beneath me; and really, that’s always a fantastic feeling.
With only one song left, Frankie mentioned that they were heading to Houston the next night, unknowingly committing one of the biggest faux pas you can make in Dallas.
To say I hate or even dislike Houston would be inaccurate, but most Dallasites do and they were vocal about it this night. She appeared baffled by the reaction, and just moved on and concluded their set.
Their time on stage flew by, and I mean that as a compliment, because that’s how much I enjoyed it.
The music was great, with some nice electronic and synthesizer touches thrown in, but more to the point to accentuate the guitars, bass and drums rather than overpower them. Frankie has quite a set of pipes on her too, fitting both the more rock sounding songs as well as the dreamier landscapes they had going on others.
If you’d like to check out her music, she has two records available that you can find in iTUNES.
As ten o’clock neared, the patrons began filling back in from their trips to the bar, or to go outside and smoke or whatever else, as they settled in for White Lies.
Five minutes before they hit the stage I got offered to go up to the balcony (which is typically reserved for staff of either the venue or the bands crew) and of course took it.
I mention that simply because it transformed this entire concert experience.
The sound up there was superb, far exceeding that down at the lower levels. As expected, a roar of fanfare filled the venue when the three core members; singer and guitarist Harry McVeigh; bassist Charles Cave; and drummer Jack Brown took the stage, along with Tommy Bowen and Rob Lee, who add the keys/synthesizers and an extra guitar to the mix.
They quickly launched into the title track from their 2009 debut album, “To Lose My Life”, and the sound—at least up in the balcony—was ten times better than even their albums sound.
It was pure ecstasy from the start, as Harry sang the lovely chorus in his strong, unique tone of voice, “Let’s grow old together and die at the same time…” That was a stellar song to open with, and for part of it I was glued to Charles, who was an exceptional bass player from right out of the gate, and was crushing it as he quickly plucked the strings of his bass.
With that old classic out of the way, they turned their attention to the barely six-month-old album “Big TV”, getting the first single off it, “There Goes Our Love Again”, out of the way early. It seemed to be just as much of a crowd pleaser as their first song had, and afterwards Harry addressed the crowd.
“Dallas, how’s it going?” he asked; the clamorous applause and cheers continuing once he spoke. He noted that this was the first time they had been to this “beautiful city”, and that they had enjoyed walking around and seeing part of it earlier in the day.
Overall, that was one of the few times they talked with the crowd which I liked. Even though it was kept at the bare minimum, it was still more than enough to form a connection with the fans, though the main focus was on the music. It suited them. Another I liked was that despite having a new album to promote, they also drew heavily from their past two albums; resulting in a great mix of old favorites and new classics.
As good as those two songs were, it was their next one where things really exploded. They pushed themselves to new heights on “A Place to Hide”, which was completely irresistible, and even though I was seated I felt a pretty strong urge to get up and start moving around. It was just intoxicating. But then again, that could be said of much of White Lies’ music.
They were continuously switching between albums, never doing two consecutive tracks off one album, and now got back to the new material with “Mother Tongue”. Whether they had been wanting (or waiting) to or not, the crowd got a chance to participate on this one. After the second chorus, the band got a clap along going. It was merely the first of a few this night, and I have to say it was pretty cool to see a sea of people throw their hands up in the air, clapping in unison. Especially since I had such a unique perspective of it.
“This is one of our favorite tracks from our second album…” Harry told everyone in advance of their next number. “It’s called Streetlights.” he finished, as they finally got around to doing a track from “Ritual”. I can’t say that it’s also a favorite of mine from that record, though it is a good tune, and there was something entrancing about the steady drumbeats and keys of the verses.
“This is a beautiful venue. The kind you dream of playing…” Harry remarked after that song. Strong words from a band who has headlined the historic Wembley Arena in London. He piled on the very genuine praise about the Granada (it’s more than deserving of it), before Jack eventually led them into their next song, another oldie, “Farewell to the Fairground”. Harry worked the crowd over during the slow part after the second chorus; just motioning at everyone, encouraging them to make some noise. He had complete control over everyone as he did so.
“I wish no harm to come of you; split bottles in shopping aisles…” he sang after the applause subsided, as they went right into another one of their love songs, “Be Your Man”. It was their next song, another from their first album, that really got the spectators excited, though.
From the first note on the keyboard the crowd was screaming with glee, having already deduced the song was “E.S.T”. Most were giddy when it too turned into a clap along; and personally, I thought it really was one of their highlight songs of the night, as there was a type of magic aura in the air while they played it.
However, “The Power and the Glory”—which is one I’m partial to—outmatched it. “…I was empty handed leaving as I was when I came…” crooned Harry while the audience clapped along to the steady drumming. Live it was everything I hoped it would be, and was extremely infectious; and during it, they continued to expand upon their stride, which they had hit long ago.
With their show in its final stretch, it was time to bust out a couple more singles, the first of which was “Getting Even”. “This is the first single we ever released…” Harry informed everyone, setting up the next song. “We hope you like it.” he added. To say everyone simply liked “Unfinished Business” would be an understatement, and that leads me to one point I’ll go ahead and make.
It’s really remarkable that these guys were able to make their first album as high caliber as it is. From start to finish it’s a completely solid album, the likes of which every band hopes to release one day, though most will never even come close. Then, they managed to (at the very least) maintain that same level of skill and craftsmanship over the course of their next two albums, again coming up with products that are superior to most out on the market.
It just comes down to that solid consistency, and it’s a shame more bands don’t have that.
But I digress.
They were still far from done with the “Big TV” album, but now did one more gem from it, “Goldmine”, before changing gears a bit.
Rob and Tommy exited the stage, leaving just the founding members of White Lies, as Harry ditched his guitar for their next song. Instead, he used a little synthesizer, while Jack got up from his kit, manning a keyboard as well as a xylophone (yeah, you read that right). Charles was the only one who didn’t switch instruments, and Harry took just a moment to talk about the song, which happened to be a cover.
It was a very different take on Prince’s “I Would Die 4 U”, being a pretty stripped down rendition from how Prince did it. That was good though, because they made the song completely their own with a very unique spin put on it. Harry got to show a gorgeous falsetto tone on it, and lyrically, it was a perfect fit with the bands original stuff. “You’re just a sinner I am told. Be your fire when you’re cold, make you happy when you’re sad, make you good when you are bad…” he sang; making it sound like this song had been written just for them.
They returned to their standard lineup, doing what’s really the only song of theirs I’m indifferent to, “First Time Caller”. I will admit though, that live it got me a little more engaged than the recording does. Afterwards, came the final song of their set, “Death”, which had another clap along moment, and ended an astounding 69-minute set.
No one (well, almost no one) moved after the band retreated to the green room, though, as they anxiously awaited the encore.
The cheering was perhaps even more loud when the five guys returned to the stage than it had been when they first started.
They talked with the crowd for a moment, mainly expressing their gratitude, before finally getting to the title track from their 2013 release, “Big TV”. Again, the crowd was encouraged to clap along on it; and as they hit the brief instrumental bridge, Harry strode to center stage, throwing his arms up in the air, silently egging the audience on, and they again erupted with cheering and applause.
“…We have one more…” Harry stated, again thanking everyone who was there for coming out to see them. The urgent sounding and electrifying “Bigger Than Us”. “Thank you so much!” Harry shouted in the final seconds of the song, which concluded their 10-minute encore.
The applause started while the final notes were still being played, and only grew stronger once the five guys stood next to one another at the forefront of the stage; bowing to everyone for the love they had been shown, as well as basking in it. I’ve got to say, seeing the kind of reception they got was a cool moment.
As it stands, I’ve seen several hundred concerts at this point, and this White Lies show is one of the most spectacular I’ve witnessed.
I’ll be the first to admit the seats had a lot to do with that, because the whole atmosphere changed up in that balcony. But that wasn’t the only reason.
I feel like I already used a lot of my praise earlier when talking about their albums, but they also put on a splendid show.
From stage presence to musicianship, Harry McVeigh, Jack Brown and Charles Cave were to full package. Not only that, but they have a very distinctive sound, with mixes of 80’s era British acts thrown in to their more modern rock style, which results in a sound that is completely theirs.
It was easy to see why they’ve opened for bands like Coldplay and Snow Patrol, because the talent is definitely there. I’d even go as far as saying that there’s no reason why White Lies couldn’t be as popular as Muse is here in the U.S.
Okay, White Lies doesn’t use any theatrics at all; while that’s a key element to Muse’s shows. In the other aspects though, it’s a dead heat; and if the American audience latches on to these guys, there really is no reason why they couldn’t be playing arena’s over here in a few years time.
They have plenty of dates booked around the world, including several more in North America. Check out their full schedule HERE; and also be sure to add their music to your iTUNES library.
This was a fantastic way to spend the night. Many thanks again to the Granada and certain people who work there for all the hospitality. It made a great night truly unforgettable.
However, the night was still young. It wasn’t even 11:30 when they finished, and with several other shows going on this night that I would have liked to have seen (counting this one there were seven total), I could at least make one other…
The only good thing that comes from the demise of one beloved band is the prospect that a new project(s) will hopefully follow, and that was precisely what was on my mind last May when Vinyl Pilot announced they were disbanding.
It didn’t long for a couple of members from the band (Jeff Lowe and Patrick Hunter) to get to work on a new project, calling it Pseudo Future. And while those two guys may have come from the same band, they didn’t bring any remnants from their previous sound along with them.
The short, 13-minute long EP gets going with a bang, in the form of the song “Loss Of Light”. It’s dynamic and even alluring, and I enjoy how prominent the bass is in comparison to other songs (by any band), when it tends to get drowned out by the other instruments. It’s a very nicely mixed song, and even features a killer, ever so slightly soupy sounding guitar solo towards the end.
“Drawing Board” is easily the heaviest song on this sampling from Pseudo Future, with some pulsating drum beats on the chorus, matched by some blaring guitar and bass lines, as singer and guitarist Jeff Lowe fiercely sings/shouts on the chorus, “We take all that we make and throw it all away!” There’s a certain tinge of venom to it, too, found primarily in the frustration and anger Jeff packs into the lyrics.
A short piece, “Remnant (Interlude)”, acts as both a way to break up the album, as well as a transition into the next song, bleeding flawlessly into “All My Friends”. At a little over four and half minutes in length, it’s nearly twice as long as most other songs on the record. They gave it an excellent rise and fall, and best of all; it’s all done very fluidly and with relative ease, roaring to life on each chorus, before tapering back off.
The final song is the customary, slow, soft love song that nearly ever album from any band has to have. In Pseudo Future’s case, that song is “Love Of My Life”, a more acoustic based song done solely by Jeff. It’s a gentle and sweet song, as he croons about having found “the one”, and is more about him professing his love than being overly sappy. All in all, it makes for a great closing note for this EP.
It’s quite a solid EP, and I like the fact that this trio cut to the chase on all of these songs, not adding anything that seems unnecessary, while still having all the parts that are key to a song and managing to convey a message in a (very) timely manner.
And as a bonus for anyone who was a fan of Jeff and Patricks’ previous project; you get to hear a whole different side to their abilities.
Jeff taps into a previously unheard part of his voice, and like I said, does some fiery screams that are quite rock sounding, while his tone still has that certain pop/rock tone to it, resulting in a forceful mix. As for Patrick, he demonstrates complete mastery over the bass. His skills ooze out of the speakers and make it noticeable by simply listening to this EP, and he and drummer Justyn Gomez combine to make an exceptional rhythm section.
Pseudo Future is:
Jeff Lowe - Guitar & Vocals
Patrick Hunter - Bass & Vocals
Justyn Gomez - Drums
Get the album for FREE at BANDCAMP
Visit Pseudo Futures’ websites: Official Website / Facebook / Twitter / Youtube
February 22nd @ Liquid Lounge in Dallas
(Photo credit: Wettengel Photography)
Darrin Kobetich has been active in the music scene for awhile; a few decades to be exact.
While he’s always been a solo instrumentalist; much of his time in real bands was spent playing hard rock and thrash metal music.
However, in more recent years his focus has shifted back to his solo material; and he’s gotten truly creative with it.
His most recent album is “Sidetracked - A Soundtrack For An Imaginary Motion Picture”, which plays out exactly like the title suggests; as if it’s an accompanying soundtrack for a film. A film that doesn’t even exist.
The nearly eight and a half minute long track “The Order Within Chaos” starts you on this journey. It’s a semi-ambient sounding track; gradually intensifying the deeper you get into it, though there’s a certain level of serenity maintained throughout it. Some subtle yet thunderous percussion can also be heard in the latter half of the track; reminiscent of war drums from far off in the distance, before they die completely as the song recedes into “When the Rain Finally Came”.
A full-blown feeling of calmness washes over you while listening to the song, which is complete with the soothing sounds of raindrops mixed in, in the background. The tranquil guitar chords only accentuate the mood the song sets. It gets traded in for a banjo on the short “Banjer in the Bayou”. And while you would think that track would sound completely out of place given the previous songs; it doesn’t. In fact they go together quite well, and the transition into it is rather fluid.
The vast array of sounds continues with the low-key “Creeper”. It’s another song that’s worthy of the title it was given; and while it’s far from being ominous, it does just creep along, winding itself to an interesting end; an end that features good use of a theremin, which gives it a cool sci-fi like vibe.
Those first few songs manage to work together in ways you wouldn’t think possible until you actually hear it for yourself. However, they are but the calm before the storm.
With the acoustic intro, you might be thinking that “Giant Behemoth” isn’t going to live up to its name. Then you hear the shrill feedback, and Darrin brings forth the thrash metal sound of his earlier bands. It’s as heavy as the album gets, with some mighty drumbeats joining the roaring and intense guitar lines. Then, it suddenly dies out: the song ending about as calmly as it began.
“Winging It” brings things into a more rock pace, still using the drums from the previous song. Gradually though, those are pulled back; setting the album up for a completely different sound.
“Counter Cultural Tribal Dance Theme” and “Percussion Concussion” go together perfectly. The former incorporates a nice use of some type of woodwind instrument at various moments, and it executes the tribal sound excellently. In fact, there’s some Indian flare to it; and while I’ve never watched a Bollywood film, it sounds like something that would fit in one of those style movies.
The latter of the two is more toned down, yet still aggressive and possess a certain hypnotic quality to it. That’s actually appropriate, seeing as “A Trance Harp Beach Party” is utterly mesmerizing. It may be somewhat simplistic in some regards, but it’s great.
The remaining five tracks on the album all play out as another segment of the story; a story that has reached the climax at this point and is now headed for the resolve.
“The Gift That Came Here” starts the still lengthy journey to the records close; and as uplifting as it is, you can’t help but feel good and know that the most tumultuous times (“The Giant Behemoth”) are far behind.
“An Air of Pall” takes that mellow mood to new heights, while “The August Moon” continues it; at least until a sharp rise pierces the tranquility. It’s by no means on the scale of previous songs and instead serves to show that there’s still some surprises to come on this album.
“In the Misty Forest On the Edge of Time” is more of an interlude than anything, and the 48-second track gives way to “The Man Who Came From Wales”, which is the ideal last song for this record. It oozes joy, creating one of those picture perfect endings in your head before the credits proceed to scroll by.
For those who frequent my blog at all, then you probably know I often mention that I’m not a fan of instrumental music. Yet that’s all “Sidetracked…” is.
I liked it the first listen through, and I must confess; subsequent listens made me downright love it.
This isn’t just instrumental music, though. It’s more like a composition and it plays out in an epic fashion.
It’s even more remarkable that just one person was able to put all this together, doing all the instruments – and of course, everything else - entirely on his own.
It was a big undertaking, no doubt; but in the end, it all came together perfectly. You can tell Darrin has a lot of natural talent as a musician, and that talent seeps out of the speakers, clearly noticeable.
In the end, “Sidetracked…” is an impressive piece of work, and even without any lyrics whatsoever, it still manages to make more of a connection with the listener than a lot of records these days do.
Purchase the album on: iTUNES / Bandcamp / CDBaby
Visit Darrin Kobetichs’ websites: Official Website / Facebook / Reverbnation
February 28th @ Abbey Underground in Denton / March 3rd @ Benbrook Public Library in Benbrook / March 7th @ Bath House Cultural Center in Dallas
(Photo credit: Scott Carson Ausburn)
Three Links was my second destination of the night, for another show I had put a fair amount of consideration going to.
Sealion was headlining the place this night, and while I won’t recount the whole story, I didn’t start out as a fan of theirs.
Actually, even now I wouldn’t consider myself a true fan, but after trying to give them more of a chance, I found myself slowly warming up to their 2010 debut album. Then, after seeing a small portion of their set where they opened for the Toadies in Denton almost a couple years back, I found myself enjoying their music a bit more.
That said, I hadn’t seen them since April of 2012, and this seemed as good an opportunity as any to see them again and give them another shot.
They were setting their gear up when I arrived, preparing for a show that was a mix of material from last year’s “Kenneth” album, along with some new songs.
The punk sounding quartet raced through their 49-minute set, beginning with what I believe was a couple of newer songs (admittedly, I didn’t recognize everything they played this night.)
And since I am honest, their first couple of songs, which were segued from one into the next, were ones I didn’t care for. Singer and rhythm guitarist Hunter Moehring screamed more than sang on those tracks, using a throaty sound I hadn’t heard him utilize before, and that’s just not something I care for from any band.
Drummer Alex Poulos then rolled them right into a song from their latest release, “Spruce Moose”. I did enjoy that one much more, as it was more along the lines of the bands almost surf-rock infused brand of punk, which is an interesting blend to say the least. Their eager fans were happy to hear it, too, shouting along while Hunter sang, “…I don’t to be like you…” That quick little tune started the process of reeling me in, and I have to say, it was a fun track.
They followed it with another (presumably new) song, after which Hunter informed everyone that they would soon start recording on album number three.
“Dudes, grab a dude. Ladies, grab a lady…” he instructed after saying they were going to slow things down with their next song. It was different from anything else I’ve ever heard them do, simply because bassist Samantha Villavert sang it. She’s a new addition to the outfit since I last saw them, and aside from being a good bass player, she brings a great voice to the table, and while this one did have a different sound for a Sealion song, it was still Sealion.
Samantha later acknowledged that her parents had come out to this, their first ever Sealion show, and she thanked them for staying up late to be there. They kept things going with a couple more songs, one of which was called “A Good Dream”, and, as Hunter said, was about “lying in bed all day”.
“If you wanna dance, we’ll dance with you.” he told the decent size crowd-, before he, lead guitarist Cole Denton and the rest knocked out “Finks”, which started another string of songs (three to be exact, back-to-back-to-back.) What came next I found to be their best track of the night, and there was one point during it where Hunter knelt beside his amp, tearing it up on his guitar, before creating some excellent feedback.
They brought it into their next song, one that was so new Hunter couldn’t even remember when they wrote it, first saying Wednesday before correcting himself, “No, Thursday.” By the time it was over, the fans who were gathered in front of the stage were feeling it enough they decided to start a small mosh pit while the quartet cranked out another track.
Their set was almost done by this point, and the fans were vocal about their displeasure for this, just not wanting the night to end, as they did what I believe was “T.V. Land”, another song off “Kenneth”.
Hunter then announced they were going to close with a cover, and though I didn’t understand who he said originally did the song, it was one they put on their album, and that was “All We Know”. It was as if everyone knew this would be their last chance to let it all hang out until the next weekend, with plenty of the fans getting into a semi-frenzied state as they got another mosh pit going.
Hunter even jumped out in it closer to the end, and just because he was part of the band didn’t make him impervious to getting caught up in the body slamming, and he held his, even bashing in to a few people, while never missing a note on his guitar.
That was quite a way to end the show; a show that made me a little more of a Sealion fan.
Like I said, there were a few songs I just flat-out didn’t like, but overall, from the music aspect, I enjoyed it.
The main qualm I had a few years ago was with Hunters’ voice, a voice that has both grown on me and gotten better with time. And though it’s not the best voice ever, it fits with what they do, and by no means does he come anywhere even close to being the worst singer I’ve ever come across.
As for their show, these talented musicians put on a good performance, while also keeping it light and fun. Actually, that was what I enjoyed most about them this night; it was all about having fun and just enjoying yourself.
No, they won’t be one of those bands I go see every chance I get, but I’ll try to see them again sometime, and probably much sooner than another almost two years.
They’ll be at the Double Wide in Dallas on Thursday 27th, as part of a show that is being presented by King Camel. You can also find all of their music on their BANDCAMP PAGE, either for free, or very cheap.
Overall, I was glad I decided to come over to Three Links for Sealion’s set, as they made it worth it.
Out of all the things and trends that have changed in music over the decades, one thing has remained the same; Britain has consistently been an exporter of fantastic bands.
It may not be on the scale of the “British Invasion” of the 60’s, but it is still there. And this weekend, White Lies – who could arguably be one of the best current British bands – will hit The States for a 20-city North American Tour in support of the “Big TV” album.
They have drawn comparisons to bands from Joy Division to The Killers. Admittedly, I think even some qualities of their music are reminiscent of The Smiths. However, you can’t deny that White Lies have manufactured a sound that is entirely their own.
The way the trio of Harry McVeigh, Charles Cave and Jack Brown blend rock and indie rock stylings is breathtaking, intertwining the genres so gorgeously. While the electronic undertones given to all their songs are really what sets them apart.
It’s their newest album, the six-month old “Big TV”, that is the crowning achievement of the bands career thus far, though. It’s a collection of ten brilliant songs (plus two instrumental interludes) that are a perfect combination of uplifting yet dark, moody and atmospheric tracks. They’re songs that don’t just make you feel−and will possible even strike a nerve−, but they also make you think.
So, when White Lies stops at the historic Granada Theater in Dallas for the second date of their North American tour (a tour that includes dates at Coachella); expect to be taken on a journey through the highs and lows of life. And when it’s all said and done, I’d imagine you’ll be in a better place because of it.
(Listen to “There Goes Our Love Again” and “Getting Even”.)
Saturday, February 15th at the Granada Theater
Doors @ 8 / Frankie Rose @ 9 / White Lies @ 10
$29 cover (buy advanced tickets HERE.)
This night was going to be a busy one, and it was starting at my favorite venue, The Curtain Club, for the second night of the venue’s 16th anniversary weekend.
Like the night before, a couple of younger bands with teenage members were playing first, beginning with a band called The Neverending.
I walked in at not the best time, as they were having some technical issues.
“It’s usually our drummer who breaks everything.” joked their frontwoman, as it was now one of the bands guitarist who was having some trouble and had broken a string.
It seemed almost like a curse, seeing as the first band from the night before also suffered from a broken guitar string, and this guy in The Neverending just made the best of it and played through.
Getting back on track, that made for some long silence as they figured things out, and I never really thought they got any momentum going after that.
It’s not that I disliked them or anything, I just simply never got into it.
The same could be said about the next band, The Bombs.
I just never got into their darker brand of punkish sounding rock, though for what they did, these three girls (plus their fill-in drummer), did it well.
On another note, about both of those bands, not only was it good to see a younger generation of musicians down here, but it was especially nice to see they had brought out there friends/fans, who, for a short time, outnumbered the twenty-one and older crowd.
After them, was the band I was there for, seeing as they had requested my presence and given me a ticket to the show, and that was Alterflesh.
“In the incomprehensible vastness of the universe, how strange we’re even here…” singer Dayvoh could be heard saying, as the curtain began to open and reveal them. It goes along with spiritual, otherworldly aura the band strives so hard to create at their live shows, and like all the little speeches Dayvoh makes like that, it sets up the next song, which in this case was “Megahub”.
Once Kevin Mills came in on the track, Dayvoh, bassist Paul Kubajak and even guitarist Ben Schelin began jumping around, before Dayvoh entered frontman mode and started working over the audience as he began singing the song. “Most will go their entire lives without even understanding it. I recommend a much closer view of practical experience…” goes the bridge of the song, which, like all their other tracks, is supposed to make you stop and think about life.
“Welcome to the Curtain Clubs’ sweet sixteenth, take two…” Dayvoh said to the audience once the song had ended, and, like in that song, he continued delivering his words at a lightening pace to minimize the time spent talking. He went on to say how good it was to see some “young blood” down here and named the two opening bands, before also pointing out some of the other bands who were out supporting them, just a few of whom were The Circle (who had played the night before), Solice, 26 Locks and New Voodoo. Speaking of New Voodoo, Andrew Lewthwaite was lending his guitar skills to Alterflesh this night, serving as the bands second guitarist. Dayvoh finished with, “Support your scene.”, before hopping down on one of the steps in front of the stage while Paul started their next song, “So Much More”, with some sweet bass licks.
It features some knockout drumming from Kevin, and once it was done, Dayvoh continued to reel the crowd in and get them engaged. “Are you awake, Curtain Club?! Let me hear you!” he shouted, before doing another transition for their next song. “Mystics all around the world say we all slowly burn in time… This one’s called Embers.” he declared, as they went into one of their newest numbers.
“Brothers and sisters, everyday is a gift. Live it to the fullest.” were the encouraging words that preceded their next song, “Start Over”. As the name suggests, it’s a song about beginning anew, specifically without someone who used to be a part of your life, and as Dayvoh repeated the first line of the track, “Light a fire, burn it all away…”, Xtina, the singer in Solice, made her way on stage.
At their last show they had gotten her to join them on that one, and lightening struck this night as she again lent her voice to it, making a great song sound exceptional. As they hit the second chorus, both Paul and Dayvoh leapt in the air, in time with the drumbeat, then, as the song wound down, Dayvoh knelt down on the stage, as did Xtina, their voices sounding incredible as they intertwined with one another on “…Light a fire, burn it all away. Start over again without you.”
She and her band got some props thrown their way as she exited the stage, before Dayvoh turned his attention to the Wall of Fame. “…On these walls, you can see the marks of all who have come before…” he said, pointing at the dozens and dozens of plaques, ranging from those who were never more than local legends to those who went on to achieve national fame. “This next one’s a fun one. It’s a political rant. ” stated Dayvoh as they got ready for “Watch Rome Burn”. In short, this “rant” focuses on how this “Information Age” isn’t all it’s cracked up to be, and after the second chorus of the track, Andrew, who had already brought a lot to the table, went off on a several seconds long guitar solo, which sounded killer.
I’m going to get off topic for a minute, now. Since Alterflesh had started, there was a great energy from out in the crowd. You could feel it and tell that everyone was enjoying what they were watching. At one point a small mosh pit of three or so people started, which was no big deal, until one guy accidentally slammed into a woman, knocking her to the floor and causing her to lose her drink.
That was a couple songs prior to the one they had just done, and that changed the whole mood of the crowd. For starters, the tension was palpable. The only reason a fight didn’t break out between that guy and the woman’s boyfriend/husband was because other people stepped in between them to make sure nothing happened. I won’t get much more into to it, but basically, the guy who hit the woman didn’t feel he owed her a replacement beer, while the other guy believed she was owed at least that.
Getting more on topic, this still persisted even now, and after that song, Dayvoh said something about he knew this was a rock show and he wanted everyone to have as much fun as they possible could. After all, that is the point of a concert. “…But the next girl I see fall, ‘cause some guy hits her and doesn’t help her up. I’m gonna jump down there.” he said firmly, earning raving applause from pretty much everyone in there.
That still didn’t quite settle it, though, and it only ended before the guy removed himself from the situation. But before that happened, one of the guys from The Circle went and grabbed an Alterflesh poster off of one of the walls here in the club and hung it on the monitor, right in front of the guy. They had used a quote on this poster, and it read, “Kindness… It doesn’t cost a damn thing. Sprinkle that shit everywhere.”
That’s what made this so ironic. Dayvoh is all about being a peaceful, kind individual, as really everyone should, and Alterflesh more or less preaches that exact message in their music.
The downside from all that, is all that energy that was going in the audience was no dead. Don’t get me wrong, the band themselves hadn’t lost any momentum, but with all that negativity leaving people wondering if they might have to jump in and break up a fight, it killed the carefree atmosphere, as everyone just stayed almost perfectly still and watched.
They were almost done at this point, and in regards to the next track, “Into the Sun”, Dayvoh said something about how we (collectively) are “…Like every other element, forged in the heart of a supernova…” It’s another newer one, and a great one at that, and it was also their final original track of the night.
“…If you’ve listened to the radio at all in the last ten years, then you’ve heard this song…” Dayvoh told everyone in preparation of the first ever cover song Alterflesh would do. It would a rendition of Staind’s “For You”, though of course they put their own unique spin on it. Ben and Andrew had been feeding off one another all night long, facing each other as they picked away on their guitars, and such, and the two again rocked out on this one, while towards the end Paul dropped to his knees and flat-out tore it up on his bass.
It was fun way to end their 39-minute long set, and this was one of the best shows I’ve seen these guys do.
Where to start…
How about back to Andrew and Ben. Yes, Dayvoh does play guitar on some songs, but he still has to focus on being a frontman even then, so he can’t interact as much with Ben. But like I said, he and Andrew had some real chemistry going.
That also freed Dayvoh up to really work the crowd for the entire show, and you could really feel the rapport he had going with everyone.
And for those who may not know, he spent many years as a spoken word poet, and brings that flare to his singing in Alterflesh, creating something that is purely original and different from anything you have ever heard before.
Then you had Kevin and Paul, both of whom were in the zone this night.
They’re one of those bands who doesn’t play too often (every few months), yet they’re tighter than a lot of bands out there, and they brought their A+ game to the stage of the Curtain Club this night.
They don’t have any music to buy at the moment, but you can sample several songs over on REVERBNATION. You can also see them right back here at the Curtain Club on March 8th as part of 26 Locks CD release show. They also have a show booked at O’Rileys in Dallas on April 4th.
I didn’t stick around long after they finished. It’s not that I didn’t want to see some of the other bands on the bill, but I had already committed to go cover another show, and headed out for the other venue.
“If you’re lucky nuff to be at Hank’s, you’re lucky nuff.”
That was what a sign above the stage at Hank’s Texas Grill in McKinney had written on it, and I have to say, after going to the venue, that’s a fitting statement.
It’s not just a concert venue, it’s also a restaurant and bar, and a nice one at that. It’s far more spacious than I would have guessed, stretching back quite a ways. At the back is where the stage is located, and it’s comparable to many venues in Dallas, Denton or Fort Worth. It’s cozy looking on stage, but not too bad; the stage is elevated enough to allow everyone a good view of the band playing; and the room’s small enough to be conducive to an intimate feeling between the fans and the band.
It should be noted this is a country venue, and they bring a variety of acts, even big-ticket ones, up here to the suburbs (just the night before Texas legend Ray Wylie Hubbard graced the stage).
This night, Hank’s was hosting The Dirty River Boys, who had spent the last week up in Steamboat Springs, Colorado for the Steamboat MusicFest, and before returning home to Austin, these El Paso natives were going to treat their North Texas fans to a show.
At ten on the dot the Nino Cooper, Colton James, Travis Stearns and Marco Gutierrez emerged from backstage, and were greeted with a bunch of fanfare. They may not be a hugely successful band yet, by they definitely have a following, and their fans were out in full force this night.
“How’s it going Hank’s?” Marco asked the crowd while he and his band mates settled into their spots. A few songs in they mentioned it had been about three years since the last time they were here, and noted they were happy to be back.
They cut right to the chase, however, starting their epic show with the lead and title track from their 2011 EP, “Train Station”. Nino added some subtle backing vocals to Marco’s singing, as the two softly plucked the strings of their respective acoustic guitars. It had a little more kick to it than even what comes across on the record, with the highlight moment being when Marco belted out the line, “…My heart’s a broken record, the needle’s singing out here name.”
The crowd loved it, and made it known with some deafening cheers and applause, while they marched on with their next song, which found Nino taking over the lead singing responsibilities, amidst the amazing four-part harmonies they all contributed to. He changed part of the chorus of “My Son”, from “How you gonna find your way back home? The maps you drew and burned and gone…” to, “…The roads you knew are paved and gone…” It was a nice artistic change, and on another note, Travis absolutely owned his cajon during this track. For those unfamiliar with the instrument, it’s a boxlike percussion instrument, and for him it also serves as his stool. He went to town on it, slapping it wildly and forcefully, and it was really something else to watch.
They moved to some more recent material, doing the outlaw country sounding song, “Lungs”. Now that they had done a few that their fans were familiar with, it was time to give everyone a taste of what their forthcoming record will be like. They did plenty of other new songs during this show, and this was one of a few that found Colton doing the singing. He’s got a great voice, and the fact that neither he, Nino or Marco sound anything alike adds an incredible mix of diversity to their music, though there’s still that common thread that binds everything together.
“That was a new song. This one’s an old one.” Marco informed the audience. Most of their songs didn’t have a seamless transition, though for the most part, they smoothly rolled from one song into the next, as was the case here. Marco pulled out his harmonica for “Dried Up”, a beautiful song with some nice hints of rock thrown in, and it’s a song that really shows off what a precise band they are. For instance, there are times when Marco lays into his harmonica in perfect time with one of Travis’s drum beats. Just shows the kind of accuracy you can get when you play shows at a near constant pace.
They even added a fun little touch to it, ending with Marco tacking on a portion of Bob Dylan’s “Just Like a Woman”. “…She makes love just like a woman. She aches just like a woman.” He sang, flashing a grin at the crowd before he sang the final line, “But she breaks just like a little girl.”
It’s little touches like that, that can make a great song absolutely unforgettable, as was the case this night. They followed it with another new song they’ve cooked up, and afterwards did an old fan favorite with a new twist. They kept “Carnival Lights” pretty slow and entirely acoustic through the first chorus, with only Marco playing it. “…So she stays lonely, with her poison inside medicine bottle, filled with nothing but her own shortcomings. She leans her head back, she puts ‘em down and they taste alright. Please, just try to stay conscious tonight.” sang Marco on the chorus of this emotionally heavy song, and then asked everyone a question. “Y’all still with us, Hank’s?” The crowd hollered at him to signify they were, and that was when they kicked the song into high gear with the full band. That soft start wasn’t the only change they made to the song this night either, and at the end they all four harmonized on the line, “Please, just try to stay conscious tonight.”
They got into more of a rock mode with their next song, another new one, which required Colton to swap from his upright bass to a standard electric one, before going switching back for their next one. “Y’all feel like singing with us?!” Travis shouted at everyone, standing up from his drum kit and waving his hands in the air to pump everyone up. He led them in what to sing while Nino walked over to stage left and took the mandolin out of its stand on top of one of the amps. The song that required some audience participation was “Boomtown”, and the fans were eager to join in. “Y’all take the second round.” Marco instructed early on, as Nino did the main singing, with Colton and Marco coming in at different intervals, harmonizing with him. The fans were more than willing to help out, especially on the chorus, “Hey! Hey! Hey! Hey! There’s a boomtown on the rise.” They kept it pretty fun, too, with Colton spinning his bass around at one point, the feathers and raccoon pelt that adorn it twirling right along with it.
No sooner had the song finished, then Marco set things up for the next one. “This is what we call a Chinese fire drill.” he stated, as the lot of them switched instruments. Nino went back to his acoustic guitar, while Travis took the mandolin from him. Colton brought out a banjo, which left Marco with the upright bass. They did a brief jam, just making some noise before stopping and counting themselves in on one of their most fun tracks, “Lookin’ for the Heart”. It really was one of the most fun songs of their show this night, and not just because you could tell they were having so much fun doing it.
There was one moment when Travis, who was pacing around a bit, turned and ran into one of the support columns on the stage. What followed looked like something out of a cartoon, and was very humorous, as he looked bewildered at the column. He proceeded to flip it his middle finger, than pretended to kick it, looking like he was about to get a bar fight with the thing.
Upon finishing it, they all returned to their normal roles. “…This is a country song about punk rock…” Marco told everyone. It was another tune from their new batch of music, and it really is about punk rock, and even has some tinges of the genre mixed in with their alternative/country/rock sound. The mood was brought down a bit as Nino started playing some notes on his harmonica, getting “Union Painter”, which is another one of their songs that tells a real story, underway.
They weren’t done with the storyteller songs, either. “This song’s about life on the road.” Nino told everyone. I was expecting one of the songs off their “Science of Flight” record, which has a title that fits that description. That wasn’t it, though. Instead, it was another new one, and Colton had to bring his electric bass back out for it.
I don’t say this often about music, so there should be quite a bit of merit in the following statement; the song was absolutely mind blowing. Seriously, not only during it, but also for the duration of their set I was thinking to myself, “Holy. Shit.” It was a roaring rock number, and was not only the most intense thing The Dirty River Boys have done, it was one of the most intense songs I’ve ever heard. It was beast of a song, and these guys really made something special with this song that had Nino singing about all the experiences of a touring band, from loading in and out of clubs and all sorts of other stuff. And fitting with the pace of the song, there was a point in the song where Travis threw his drum stick in the air, as high as he could, and caught it perfectly.
“You can bet your sweet ass that’s going on next album.” said Marco, while Travis set up the beat for their next tune, another new one that Colton was able to show off his chops on. The electric bass was back out for that one, as well as the next one, which was their most recent single.
Travis pointed this, saying that some of the people in attendance may have heard it on one of the local radio stations, and if no one had, they could call and request it. Marco started in with the chord progression of the track, leading in to it, before his guitar fell silent. Attention then turned towards Nino, who was looking up with his eyes closed, presumably counting himself in for “Desert Wind”. He and his band mates all came in at the same moment, launching into the gorgeous and moving powerhouse of a song.
“We haven’t done this one in a little while.” Marco remarked when things quieted down, seeming like he was talking to himself more than the audience. The song he was referring to was “Six Riders”, which had a few people gleefully singing along to it, and even if they hadn’t done it in awhile, you sure couldn’t tell it.
Once it was over, Travis interrupted the show, going ahead and apologizing to his band mates, acknowledging that he knew what he was about to do was highly unprofessional. Apparently, he had forgotten to bring a pack of cigarettes on stage with him, and now asked if anyone had one they would be willing to spare. “I can’t breathe. I need a cigarette.” he told everyone, before one fan dug a cigarette out and tossed it to him.
“Riverbed Wildflowers” came next in the set, and for a slower song, it packs quite a punch, and it may well even strike an emotional chord in you. They livened things back up with another new song, which Nino dedicated to everyone who was drinking whiskey this night. That was what the song was about, and started with all four of them harmonizing on the first line or so, before exploding into a rowdy rock song. It got the people moving, as did the next song, which was one they co-wrote with Ray Wylie Hubbard. They explained it was written about the violence in their hometown of El Paso, as well as the border city of Juarez. If anything can give that amazing rock song from earlier in the night a run for its money, it’s this one. It boasts a vigorous music bed, and Travis did some vicious drumming on it, rocking out to the point that the trucker hat he had been wearing finally went sailing off at one point as he thrust his head back.
The next number was done almost primarily by Nino, and that was the pretty and delicate, “So Long, Elanie”. People seemed to like (I, for one, did), but after finishing it he promised they were going to bring things back up, then looked at the other three guys to make sure they were ready. They created a haunting intro for “Letter to Whoever”, with some spooky music and eerie crooning into the mics, before busting into the short, quick paced song. “Ladies and gentlemen, Mr. Travis Stearns!” Marco shouted before he got a short drum solo during the instrumental break.
A few songs back they had pointed out they only had a couple left, and now, the night was about to come to an end.
“How many of y’all have seen us before?!” Travis asked, again rising up from his kit to get a good view of everyone. Quite a few hands shot up in the air, while others shouted they had. “So, y’all know how we like to do it then!” Travis roared, continuing to rile everyone up, while Nino retrieved the mandolin. They were ending their 93-minute set with “Raise Some Hell”, which musically resembles a Irish jig, and is arguably their most fun song. It certainly got the audience in a boisterous mood, many of whom seemed to take one of the lines from the song as a command, and stomped their feet against the ground. It also became a fun sing-along for nearly everyone, as the fans shouted right along with the band, “…Boys, we’re gonna raise some hell tonight!”
If that was their mission this night, it was one they accomplished, and they left everyone in a frenzied state as they retreated to the backstage area.
No one thought it was over yet, though, and a small group of people began chanting for “one more song”.
At most a minute passed before Marco peaked his head out from the door, then walked back onto the stage.
“It’s been a long week in Colorado.” he remarked as he got back behind the mic. He began the 11-minute encore portion all on his lonesome, having a little moment where all eyes were fixated on him.
“…I let you down, well, I fell through, but by and by I’ll get through to you. Just let me in again when it feels right…” he crooned on the oh so lovely and poignant song, “Another Night”, which is about a “stupid, drunken night” and seeking forgiveness. Nino joined him fairly early on in the song, adding another guitar part to it, and shortly after that first chorus was when Colton and Travis rejoined them, kicking things up a few notches. There’s also what I think is a pretty profound line towards the end, and that is, “…Lips, they’re only lips if they have no meaning.”
That was the last original song they did for the night, and Travis wound them into their final number. I’d guess it was something they worked up for their time in Colorado, and it was a pretty awesome way to close things out with.
They covered a classic from The Rolling Stones, and that was “Honky Tonk Woman”.
I know this will be considered sacrilege by many, but their version was superior to the Stones. They sped it up more from the original version, which made it harder hitting, and even mixed some very light country sounds into what was otherwise a sensational rock song. I guess the point is they made it their own, and once they finished it, Travis stood up from his drum kit and jabbed one of the sticks into one of the drums (I believe it was the snare, though I couldn’t see too well), signifying that they were indeed done.
I do an annual Best Of list on this blog, running down my favorite albums and concerts from the past year. When putting that list together late last month, out of the 120+ concerts I saw last year, I ranked one of The Dirty River Boys shows I saw second. This night, I was reminded why they placed so high on my list.
They’re aren’t many bands like this out there, at least not that I’m aware of. I’m not just talking about all their obvious qualities, either.
Yes, the fact that they have four very capable singers, each with their own unique tone is fantastic, and it’s only made better by how they’re incorporating more of that into their new music. Not only that, but they’re just skilled musicians in general, being right at home on any of the instruments they spend time on. As for their live show, I’d say it’s one of the best I’ve ever seen from almost any band, being extremely energetic and fun. It’s not even any of that, that makes them so astounding, though.
Is what makes them so astounding is the sheer fun they so clearly have while on stage, which in turn translates to the audience, allowing you as a spectator to enjoy what you’re seeing even more. It’s the raw emotion that’s found in their music and the passion they put into singing and performing the songs that make their shows such an experience.
You just don’t often find bands that put that kind of feeling into their music, and that’s what sets these guys apart from most bands.
This quartet recently went into the studio and laid down the songs for their next record, which will be coming out sometime this year. In the meantime, they have an LP and two EP’s, as well as a single of “Desert Wind” all available in iTUNES.
As for shows, their next one will be on January 31st at Cheatham Street in San Marcos. They also have a show in Helotes at the Floore’s Country Store on February 8th and a gig at The Office Sports Bar in Lubbock on the 28th. And on February 21st, they’ll be back in North Texas, with a Fort Worth gig where they’ll headline Billy Bob’s Texas. And for those like me, who live about an hour away from Fort Worth, I promise, their show would be well worth the drive. And after that, it looks like their next North Texas show won’t be until April 25th, when they play the Granada Theater.
Thus ended a wonderful night in the suburbs. I doubt Hank’s will be a venue I frequent, mainly since I’m not a very avid listener of country music, but I look forward to hopefully seeing another show there sometime. And one of the best things about this concert was that it was over relatively early, and the drive home was a little shorter than it is coming back from Dallas.
The Suburbia Music Festival has been in the works for the better part of a year, creating both skepticism and excitement amongst music lovers in North Texas.
The festival aims to, over time, build its self up to rival all the other big festivals in the country. The possibility of this being as big as Austin’s SXSW, Lollapalooza, or any other festival remains to be seen, but it’s important to remember; everything has humble beginnings.
Some people just don’t believe that the Dallas, Texas suburb of Plano ever could or will be a destination for music lovers from across the country, or even the world. I have to admit, I myself am on the fence about it, but I’m pulling for the festival, and that it may one day become an institution here in North Texas.
Today, everyone got their first look at bands that will be performing at the Oak Point Park on May 3rd and 4th, and in the true festival spirit it’s an eclectic mix. Headliners include David Guetta, Alabama Shakes and J. Cole, who will no doubt be the names people gravitate to when seeing the full lineup. Slightly Stoopid, Tegan & Sara, NeedtoBreathe, Third Eye Blind and Blue October will probably also get music lovers salivating.
If this festival is to be a success, it will be those bands and the other heavy draws that make it so, but I promise you, they won’t be the bands that you’ll be raving about when it’s all said and done.
Here’s my list of the bands that you can’t afford to miss out on:
(Photo credit: Real Bear Media)
Twenty One Pilots
The Columbus, Ohio duo of Tyler Joseph (vocals and multi-instrumentalist) and Josh Dun (drums) are one of the most original, dynamic, and oddest bands I’ve heard. They blend together a few different genres, including rap, pop and rock, and while you might think that wouldn’t work together, it results in the most incredible music. Tyler can hold his own with any rapper out there and he’s superior to most (for the record, I’m not even a fan of rap, but what he does is awe inspiring), and then in an instant he can change gears, nailing some gorgeous falsetto notes. The substance of the songs can’t be overlooked either, and they are extremely heartfelt and honest, often detailing some painful moments from his life.
I had the pleasure of seeing Twenty One Pilots in the tail end of 2013, and their performance was one of the best live shows I’ve ever seen.
(Listen to “House of Gold” and “Semi-Automatic”.)
(Photo Credit: Daniel Zetterstorm of CanPhoto)
They’ve played Lollapalooza; They’ve played SXSW; And they have plenty of other festival dates coming up this year, as well as being the opening act for some of the Canadian dates Black Sabbath has in April. You probably haven’t heard of Reignwolf yet, but they’re a band whose quickly on the rise.
They mine a more classic vein of gritty rock, with bluesy, soulful guitar licks, and singer and guitarist Jordan Cook has a voice to match that. Another band I saw in late 2013, they performed their first Dallas (and North Texas show) after one od their dates at Austin City Limits, wowing everyone who was in attendance. Their shows are explosive and steeped in the purest essence of Rock ‘n’ Roll. This band will be big and you will be seeing them arenas one day, so catch them in a smaller setting while you have the chance.
(Listen to “Are You Satisfied?”)
Hayes Carll may be one of the most underrated Americana musicians on the national scale. This Texas treasure has broken into the national scene (his last two albums were released on the UMG or Universal Music Group record label), but since he doesn’t play the commercialized pop/country crossover, he doesn’t get the attention that so many Nashville artists do.
He’s a true poet when it comes to songwriting, though, penning songs that range from being humorous (“I Got a Gig”), to very emotional songs that convey a lot sadness (“Beaumont” or “Chances Are”). He’s a staple in Texas music, and if you appreciate true country music, he’s a must listen and a must see.
(Listen to “Drunken Poet’s Dream”.)
(Photo Credit: A+E Photography)
The Unlikely Candidates
This local Fort Worth Indie Rock outfit recently inked a deal with Atlantic Records, which in turn allowed them to finally get a new album out to fans. They just the right mix of pop and rock, adding a bit of a British flare to it, while they’re live shows are just straight up fun and enjoyable to witness.
(Listen to “Follow My Feet”.)
(John Mudd of Ishi)
The Dallas based electronic trio has become a powerhouse around these parts, selling out nearly every show they play, and have even secured a following up in Denver and New York City.
Their long awaited sophomore album, “Digital Wounds”, was one of my favorite releases from last year, and saw them further embracing the electronic style, verses their self-described “folktronic” they previously classified themselves as.
They’re solid and professional on stage, while keeping it light, too (vocalist John Mudd has been known to drop to the stage and proceed to hump it). They probably won’t get much time at Suburbia, but they’ll be a band well worth seeing.
(Listen to “Mother Prism”.)
Another Dallas local, The O’s have cemented their place as a hometown favorite (and they even do European tours fairly regularly). They’re an impressive country duo, incorporating some of the truest country instruments into their sound, from a banjo to the pedal steel guitar and both John Pedigo and Taylor Young have excellent voices. They write some catch songs to boot.
(Listen to “Outlaw”.)
(Photo Credit: Will von Bolton)
Another hometown hero on the rise, Larry G(ee) and his often large backing band, consisting of a few female backing vocalists and some brass instruments, never disappoint. They create a wonderful mix of funk and soul, while Larry G(ee) himself is a riveting frontman armed with some primo dance moves.
(Listen to “Camera Phone”.)
There you have it. Stay for the headliners, but go to the Suburbia Music Festival to see those bands I just outlined. You’ll be glad you did.
Tickets go on sale on January 25th and can be purchased HERE. Prices TBA
It will take place at Oak Point Park in Plano, TX on Saturday May 3rd and Sunday May 4th.
Johnny Beauford may well be one of the hardest working and most diverse musicians in the North Texas music scene.
He’s probably best known for fronting the Dallas rock band Bravo, Max!, and an abundance of material (and apparently time, too) also led to the start of Johnny Beauford & the Jack Kerowax.
But aside from being a capable rock musician, Beauford is also an accomplished solo singer/songwriter, whose solo music mines a more Americana/folksy vein. And now, a few years after his first solo album was released, he’s gotten around to recording and releasing his sophomore effort, “A Pig Eating Past Love”, which is rooted deep in the lo-fi, minimalist sound of his first release, and was recorded almost entirely all on his own.
Each song on “A Pig Eating Past Love” brings something different to the table, and for “Little Dance”, it’s the way it highlights Beaufords’ voice. His soft plucking of the guitar is barely audible for parts of the song, making it at times sound as if he is singing a cappella on this ethereal track. His voice shines on every single word, and he may well have you hanging on it, as he walks a fine line of being strong, yet restrained with his vocal delivery.
“S Is For Schizophrenia” is the catchiest offering on the album, boasting a more fleshed out sound from the previous song. Though a drum kit is the only new instrument added to the mix, it gives a much fuller sound than you’d expect to this fairly rocking number.
That pace is quickly changed with “Ann Marie”, where the only percussion effect comes from some of the chords Johnny plays on his acoustic axe. Songwritingwise, Beauford’s at is best with this track, which is teeming with emotions, and despite the sad, even at times downtrodden lyrics, there are also some glimmers of hope to be found in it.
The embodiment of the lo-fi sound is, without question, “Huck Finn’s Hideout”. The short, two and a half minute long track has that grainy quality to the vocals, giving it a simple sound, like perhaps it’s a home recording. There’s beauty in simplicity like that though, you just have to be able to appreciate it. The song has grown on me with each listen, and the heavy use of the harmonica is another nice touch that sets this song apart from the others on the record.
The pinnacle song on the album hands down has to be “Fire Fly”. With only his guitar, Johnny Beauford has created a ravishing and haunting music bed. It’s simple enough you’ll be singing along with it after a few listens, and there’s an odd duality in the fact that the song is also somewhat complex in some regards. It’s one that will stick with you, and it stands as unequivocal proof for any doubters that a full band sound is not a necessity when it comes to crafting a solid, excellent song.
The title track, “A Pig Eating Past Love”, is the longest track from the album, coming in a little shy of four minutes. Some may consider it to be a brilliant song, mainly because it kind of is. It surges forth at times, then recedes back, with that ebb and flow being the best characteristic of the song. Lyrically, it’s another emotionally charged number, even raw, and you can even hear a subtle dose of contempt in Beaufords’ voice at times, like on the line, “…Look me in these eyes when you curse me with those lips…”, before it comes to a nice tranquil conclusion.
That gives an appropriate lead in to the final song, “You’re Evaporating Anyway”, which ends things on a pretty note. It’s a soothing song to listen to, and ends this listening experience in a lovely way.
Honestly, this is a perfect album for a singer/songwriter – any singer/songwriter – to release.
It’s to the point and at only 21-minutes, it’s digestible for anyone who chooses to listen to it. Fans can listen to the whole thing with ease, while any new comers this release draws in won’t have to invest much of their time in seeing what “A Pig Eating Past Love” is about (though it will surely earn subsequent spins).
In all, it’s just a well-rounded album that showcases who Johnny Beauford is as a musician, and he did a great job selecting the songs that would make the cut, as they all show a slightly different side to him, revealing what he’s capable of.
As I said at the start, he may be one of the hardest working musicians in North Texas, and after hearing this sophomore album of his, it’s clear he is one of the best.
Purchase the album on:
Visit Johnny Beaufords’ websites:
Official website / Facebook
Watch the official music video for “A Pig Eating Past Love” HERE.
3/28 @ Adobe Bar (Taos, NM) / 3/29 @ TBD (Denver, CO) / 4/11 @ Bar PM (Lubbock, TX) / 4/12 @ Bar PM (Lubbock, TX)
Photo credit: Rhombi Survivor Photo Safaris
Growth and evolution are (or at least should) be evident in any bands music, and from my experience, it’s typically there to some degree. After all, it’d get tiring and bland if a band basically just keeps recreating their past music, right?
That’s something the Dallas based Daylight Industries seems to recognize, and they’ve taken it to the next level.
Their first EP was a good representation of the bands early days, playing more progressive and even slightly industrial sounding rock tunes, which ranged from about four minutes in length to six and a half plus. But even by the time it’s saw its release (June of 2012) the band was already heading in a different direction, cutting down on how long their songs ran, as they made the jump into being more of rock band.
It’s a style that’s on full display on the recently released “Faith Healer”, a five track EP that will leave you wanting a follow up record immediately.
The vigorous “Faith Healer” begins the eighteen plus minute long jaunt through the EP, luring you in with ease and compelling you to listen to the rest of the record. It’s as raw a rock song as you have ever heard, with unbridled amounts of energy, particularly on the hellacious chorus, which they managed to make perfectly capture the energy that they put into it at live shows. Even the verses, which are slower (considering how the rest of the song is, at least) is still hard hitting, and boasts some mesmerizing guitar riffs.
The only (slight) remnant from Daylight Industries past can be heard in “Aphasia”, which at just a little over four and a half minutes is the longest track on the EP. The progressive/industrial rock style featured so prominently on their first EP can at times be heard on the well-crafted song structure of this tune. That’s actually the best part of this number, the way that the drums, bass and guitar all act to truly accentuate one another. Sure, that’s something all songs do, but it’s a little different with “Aphasia”, and instead of merely complimenting one another, it’s more as if one instrument extends the reach of the others, while vocalist Keith Allen alternates between a serene crooning of the lyrics and forcefully belting them out.
“If I’m a saint then I’m the patron saint of fools. The prison guards that run this town have made up all the rules… And I nearly lost my life, I swear I’d been confused. How I lived with what I told to be the truth.” Logan shouts on the chorus of the blistering “Sit In”. Personally, I do have other favorites I like more on this EP, but if you know nothing about Daylight Industries and you’re only going to listen to one of their songs, this would be the one I’d recommend. Lyrically it’s very real and even relatable, being one of those songs that may well make you stop and think (i.e. “…I can’t just grasp reality outside my television…”). The drum parts of the song also get your attention, often being flat-out wild and crazy, while still having structure and sounding very fluid.
The final two songs the EP has to offer are the shortest ones both clocking in at a little under three minutes, which may be part of the reason they have even more kick to them. “Lesson Learned” is hands down the heaviest song on the record, with a slight hard rock edge to it. It still sounds very much like Daylight Industries, though, and it adds a nice diversity to the album.
Then you have “Junkie Logic”, which is quick and to the point, and it packs a fierce punch. It captures the band in their element (as well as in their prime), going full throttle as they deliver a smack down of Rock ‘n’ Roll on the ears of the listeners. It’s so easy to get lost in this track, that it doesn’t even seem like two minutes and fifty-one seconds pass by, and then it’s suddenly over, and that’s a quality few songs possess.
While “Faith Healer” is a departure from Daylight Industries roots, it’s a necessary one that has revealed a whole new layer and depth to the band, who already didn’t have much trouble standing out.
Keith Allen has one of the most unique voices I’ve come across, and it’s one that’s instantly recognizable, but that’s not the only trait the band has that makes them so prominent. The textures of the guitar notes and the solid, dominating rhythm section that is found on each track are full of character, to the point there’s no mistaken them for any other band than Daylight Industries.
The point is, they’ve somehow managed to set themselves apart from the rest of the pack, and in time, I think it’s safe to assume they’ll do even more than that.
Daylight Industries is:
Barry Townsend - Bass
Brandon Tyner - Lead Guitar
Keith Allen - Vocals
Stephen Smith - Drums
Ruvayne Weber – Guitar
Purchase the album on: iTUNES
Visit Daylight Industries websites: Official Website / Facebook / Reverbnation / Twitter / Youtube
March 8th @ The Curtain Club in Dallas
When you think of musical duos, the first thing that probably comes to mind is artists who mine more of the singer/songwriter genre, and certainly not a rock band. Sure, there are rock duos, but how many do you really know of? Just a small handful most likely.
There’s so much more on the line when it comes to duos, like wondering if they’ll be able to entertain and command the stage in the same way a four or five-piece band would.
That thought was at the forefront of my mind this night, when the Columbus, Ohio based Twenty One Pilots rolled through town, performing at the House of Blues.
Fans of this highly original act had packed the House of Blues to near capacity, seeming rabid with excitement, cheering and hollering once the lights finally dimmed, leaving the stage shrouded in darkness.
Unseen was Tyler Joseph and Josh Dun’s entrance to the stage, the latter taking a seat behind his massive drum kit, which sit on a platform, elevating it enough to ensure everyone had a good view.
Both were wearing their signature ski masks, while Tyler rocked out on a keytar as they got this monumental show going with “Fake You Out”. “Let’s dance!” he shouted out after one of the earlier lines, “…And I’ll fake. All I wanna”, the audience doing just that. They continued to amp up the intensity, with one of the most memorable moments of the show coming at one point when Tyler jumped on top of and then off his piano.
Already they were demonstrating complete control and dominance over not just the crowd, but the stage as well, their presence and energy filling the sizable area, to the point you had to wonder that if they were just getting warmed up, what was yet to come?
They took things in the opposite direction with their next song, Tyler taking a seat at the piano for “Migraine”, showing of his stellar rapping ability on most of the track, though it was the chorus of that emotion-filled song that had everyone singing along with him. “Am I the only I know, waging my wars behind my face and above my throat? Shadows will scream that I’m alone…” the audience echoed along with him. “Tonight, there are only two places in the world.” Tyler said at one point during “Fall Away”. “Dallas, and everywhere else!” he roared, before going back to busting out the song’s lyrics.
Thus far, there had been just enough time in between songs for the crowd to applaud, and while they showed how much they had enjoyed that tune, Tyler pointed at Josh, using his index finger and thumb to make a gun. They both pretended to shoot one another in the head, the stage lights again going completely out, leaving the fans wondering what was going to happen next.
When they were seen again, the two had exchanged their ski masks for skeleton masks, also sporting some body suits that had rips on them. Tyler dabbled on both the piano and keys at various points on “Ode to Sleep”, but it was the beginning that was utterly breathtaking. I’m not a real fan of rap, but had been enjoying the moderate amounts of it so far, and then he let loose on the first verse of that song. The precision he put into it was something else, and the further he got into it, the more he raised his voice, and also sped up the pacing. Like I said, I’m not a fan of the rap genre, but as a rapper, Tyler earned my utmost respect with that song, and the more poppy elements of the song were quite fun and enjoyable, too, meshing surprisingly well with the par parts.
They continued with the songs off their most recent album, “Vessel”, slowing things down now as Tyler used a ukulele for the more tender, “Screen”. It earned another sing along moment, the fans crooning, “We’re broken… we’re broken people…”, though it paled in comparison to sing along in the next number. Josh left is drum kit to add some notes from the keyboard to the start of “House of Gold”, a song everybody seemed eager to hear. I believe it was the second chorus, that, when they reached it, Tyler quit singing, the audience picking up the slack, very audibly singing, “I will make you queen of everything you see, I’ll put you on the map. I’ll cure you of disease.” It was a beautiful moment on what is one of the most beautifully written songs I’ve ever heard, and making the live version even better was the addition of Van Morrisons’ “Brown Eyed Girl”, or at least a snippet of the lyrics which were thrown in.
It was immediately followed by another cover song… Well, sort of. The song was Andrea Bocellas’ “Time to Say Goodbye”, and while the backing track of that song played over Twenty One Pilots version, giving it an operatic feel, the song was totally different. The words were rapped, and the mash up of two polar opposite genres (opera and rap), somehow blended together gorgeously.
“…I could not wait to stop and say hi to you all…” Tyler said when they finally took a break. By this time he and Josh had ditched their skeleton attire and ski masks, looking like normal people now, as Tyler chatted with the audience at length, commenting on how they started things off a little more mysterious with the lighting and such, working their way up to this point in the show.
He also mentioned that they also had some old stuff planned for everybody, having already done a couple of their classics, and adding to it with a song off the “Regional at Best” record, “Forest”. He played the piano at times on it, while also acting as a frontman at times, pacing around the stage and engaging the crowd on that gem of a song. He kept up the same behavior on their next song, but first mentioned what a “weird concert” this was. “…It feels like you all trapped us here and want to kill us, but before you do you said, “Play some music.” Tyler joked, soon adding, “We’re going to give you everything we have.”, a statement that earned them some uproarious cheering.
The honest song writing that acts as a window into Tyler’s life continued with “Addict with a Pen”, which was followed by “Holding On to You”. As they started it, Tyler left the stage and hopped onto the guard rail, standing up on it as he struggled for a moment to get his balance, before spitting out the words. That was just one of a few sweet concert moments that took place during that song, with another being when the first opening act, Sirah, joined them on stage, singing a few lines of the song. The one that took the cake though would have to be when Josh suddenly left his drum kit, calmly walking over to the piano on stage left, and climbing up on it. He then walked to the edge, turned around, and did a back flip off it, before returning to his drum duties.
Another unforgettable moment came towards the end of the at times more electronic sounding “Semi-Automatic”, when some of the stage hands brought out a small platform that had a partial drum kit on it, just a bass drum and a snare, plus a cymbal. They carried it to the edge of the stage, shoving it into a part of the audience, as the people who were there grabbed and held it as they moved it further back to ensure enough people had a hold on it. Josh then left his kit for this one, walking out onto the platform and sitting down, as he proceeded to wildly bang about this extra kit for several moments, until the song came to an end.
It was nothing but a sea of phones for that, as everyone attempted to capture that moment in one format or another, as well it should have. Honestly, how many bands have you seen do a stunt like that? I doubt many, and personally, that was a first for me.
The audience was still all worked up over that, as Josh returned to his full kit, eventually laying down a steady bass drum beat as they knocked the more cheerful sounding “The Run and Go”. “Why do you do what you do?” Tyler said, taking a pause during that song, though he kept striking the keys of the piano. He said that was a question his mother asked him. “…To put it in context, it was the first time she had ever seen me perform.” He again got personal with the fans, spending a few minutes talking about that, and how is mother, who had brought some of her friends to that show where she first saw him perform, said they were worried about him and how he acted like he did on stage. Tyler then gave a passionate little speech, saying he responded by saying that was just how the music affected and impacted him, earning him a deafening applause from the crowd who agreed with him. “…This is also my mom’s favorite song.” he added as they went back into the song and finished it up
Afterwards, he continued bantering with everyone, while Josh briefly left the stage. “…When I wrote these songs in my basement, I didn’t know there were rules…” he remarked, elaborating that he wasn’t aware that they needed a certain type of structure, or you should or shouldn’t do certain things with the chorus and such. “…I was just writing these weird songs…” he said, adding he was glad so many other people liked hearing his “weird” songs.
He continued, talking about how moving and changing music is, and in his speaking, you got the idea of what a deep and wise individual Tyler is. Characteristics that are evident in his songwriting itself, but they run much deeper than just that.
They soon got back to business with “Car Radio”, Tyler sounding more like a poet as he spoke/rapped the lyrics, again leaping off the piano at one point in the song.
With that, their 84-minute long set was nearly over, but first he connected with the audience one last time. “…This show is something I won’t soon forget…”, seeming genuine about the remark. Talk then turned to Twitter, when he said he doesn’t use social media to thank each town they play in, saying he feels like that ruins, if you post about how much fun each city was. He was more concerned with the people who were here now. “…I don’t live anywhere near here…” he said, going on to say how special it was that everyone was out here with the sole purpose of wanting to see them live and hear their songs.
He soon started speaking to one particular fan, asking him what his name was. “…There’s a moment in this next song, where I take my shirt off. And then I’m going to look at you, and we’re going to have a moment…” Tyler joked, before saying he wanted this fan to take his shirt off along with him, ensuring that no one would laugh or anything, because people would see him doing it, and then take their own shirts off.
It didn’t quite work like that, and while some people did remove their shirts during “Guns for Hands”, more were singing along to it, their enthusiasm turning to amazement as the song neared the end. Two floor toms were brought out and placed near the center of the stage, both Josh and Tyler taking a spot in front of them. They both acted as percussionists, forcefully beating on them as they stood back to back, before doing a 180°as they continued beating on them, ending their show in spectacular fashion, and leaving the fans feeling even more pumped up than they had all night.
No one wanted it to be over just yet, though, and after some shouting and clapping for one more, Tyler returned to the stage, playing the final track from “Vessel”, “Truce”. He segued it perfectly into “Trees”, where he was joined by Josh. The way they had ended the main set seemed hard to top, but they had devised a way to do just that, and again some stage hands rushed out towards the end of the song, this time with two smaller platforms they handed to the fans.
One was for Tyler and the other belonged to Josh, as they carried those toms from earlier out with them, concluding the night with a fiery drum solo that you just had to marvel at.
By the time it was all over, they had played their newest full-length in its entirety, plus a nice array of older stuff, and had put on one of the best live shows I’ve ever seen any band do.
I’ve caught a decent amount of shows here at the House of Blues, and there are some four and five-piece rock bands I’ve seen take this stage and fail to put the energy in to the show or have the presence it takes to fill this stage, two things that did not befall Twenty One Pilots.
They commanded the audience’s full attention without ever having to ask for it, relying completely on their explosive live show to capture and captivate them, and they did so with relative ease.
Personally, I find it easy, especially with larger bands, to overlook drummers, since they’re usually pushed towards the back of the stage. That’s far from the case with Josh Dun, who had a certain charisma about him, and was a fierce drummer. And Tyler is pretty much the ultimate frontman, having an amazing, and even beautiful singing voice, while doubling as a very skilled rapper, and as he roamed and ran about the stage, you really had no idea what he might do next.
It was that spontaneity that made their show so fun and engaging, allowing you to look on in wonder, and the diversity of their music didn’t hurt either, and the fact that no two songs of theirs even sound remotely the same kept things fresh throughout the night.
Tyler may be right that he writes weird songs, but they’re real, honest and relatable songs, something that’s hard to find in music these days. It didn’t hurt that he was so humble about everything, either, coming across as being truly privileged to be on this stage in front of so many people. But I digress. For me, it’s substance like that, that will always be the most important quality music can have, and if you’re lucky enough to see them live and get the joint experience of their music and their action packed live show, well, it’ll be a time you won’t soon forget.