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.
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.
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…
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.
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.
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.
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.
The Prophet Bar was hosting a very unique show this night. Free Dominguez, best known as the frontwoman of Kidneythieves, was performing this night, and this final show of an only two-show tour of Texas was more of an intimate party than just your typical concert.
This Dallas date was billed as a “private event”, with buying tickets in advance being the only way to get in, as no tickets were sold at the door, giving it an exclusive feel, to an extent.
On top of that, Free had organized the lineup, with her cousin Jordi Baizan and fellow Los Angeles based singer Sierra Swan opening for her. (Dallas locals At Night were also scheduled to perform, though their van broke down on the way back from their Houston show).
However, since this was such an early show (starting about 6PM), both openers had finished by the time I was able to get there, though I heard good things about both.
Still, everyone was most excited for Free Dominguez, who had been over at the merch table meeting people and signing stuff for most of the evening (from what I heard), only leaving shortly before her and her bands 8:40 start time in order to get ready for the show.
Much of their 67-minute long set was comprised of material from “Volcano and the Sea”, an album that at one point during the night Free said she had been wanting to make for ten years, sounding elated that it had finally happened.
They kicked things off exactly how the record does, with the beautifully serene yet roaring rock number, “Calling”. She informed the decent size crowd on the title after they finished it, chatting with everyone briefly. “This is going to be our last song.” Free joked before they launched into “Beautiful”, which was just one of many songs this night that guitarist Static was able to shred on.
Drummer Beak Wing counted them in on the mesmerizing “Line in the Sand”, which was the last song they did in order as is heard on the record, and afterwards Free again spoke with the crowd, creating a real rapport with everybody. One thing she did was point out a couple who had drove all the way from St. Louis to see this show, a feat that earned them a round of applause. “…It’s stuff like that that keeps me doing what I’m doing…” remarked Free, being genuinely humbled by that, as well as all the fans in general who had come out to show their support.
“Make me a simple life before I die…” Free crooned as they started “Simple Life”, which somewhat deals with materialism, and wound up being a highlight of their show. At least I thought so. Upon finishing it, she pointed out one of the lines from it, for those who might not have caught it, and that was, “…Things that are forever are forever changing…” She commented on how that’s more or less a mantra for her, and it is probably one of the most true lyrics from a song. Talk then led to the next song, which Free noted was the first song she and Static wrote that wound up leading to “Volcano and the Sea”. “…He was screwing around on Skype…” she said, saying she liked what he was doing on his guitar and asked him to continue.
They then slowed things down with the dark and gorgeous “Corridors”, with Free hitting some utterly beautiful notes with her voice. “That’s always a fun one to do. It’s always different.” she stated, referring to Static as “the feral one”, adding that he always keeps them on their toes while performing it. And while they had toned things down with that song, they were about to scale back even more as Beak Wing and bassist Matt McJunkins left the stage. Free told everyone that for this next segment, she let Static pick the songs they were going to play, ones she hadn’t prepared for and was going to be as surprised as the audience. “…I might even forget the lyrics, like I did last night in Houston.” she said laughing.
This portion of the show saw them doing some stripped down covers of Kidneythieves songs, and the first one was the lead track from “Zerospace”, “Before I’m Dead”. They may have sounded a little different, but it was these songs that everyone seemed to love, and much of the audience was even singing along to them, especially “Jude (Be Somebody)”, which everyone seemed ecstatic to hear, and it did even catch Free off guard. “I don’t know what it is.” she said after Static’s first riff on the guitar, reiterating that after the second, before realizing. And no, she didn’t flub the words to either of those tracks.
As the rhythm section returned, Free took a few moments to discuss another project she and Static are working on, which will be a hip-hop collaboration. She expressed her love of the genre, even saying they recently got word from the label that they will be able to get who they want to collaborate with for what I believe she said would be an EP that would most likely be released in the first half of next year. She sounded very excited about it, and it will no doubt be an interesting record to hear once it’s finished.
As they got back to her solo material, they did some revamped renditions of a couple songs from “(.Unearth.)”, the addition of Matt and Beak Wing really helping flesh out the songs from how they are on the album, helping transform “ Darkest Rivers” into a beast of a song, and one they could all really throw down on. “…Enjoy it…” said Free, urging everyone to get the most out of it, adding, “…’Cause I don’t know when we’ll be back…” Following it was “Questions + Lies”, which helped wind the evening down, but they still had a couple songs left to do.
But before playing any more, Free pointed out that a special guest was in attendance, and that was someone who had backed their Kickstarter campaign, picking the reward option of having her write a song about him. In order to get to know him she said they had talked online many times, and she also had him keep a dream journal for a while, which he then gave to her. She was excited about the song, saying how good it was sounding and that she has had to fight the urge to share even a snippet with him, because she wants him to be surprised when he hears the full song, which she said would be titled “Mr. Goodnight”.
They got back to it with “Hearts Like Parachutes”, which made them appear as if they were still getting warmed up, with the whole band really loosing up, especially Matt, who thrashed about to the beat. Then, before their final song, Free pointed out someone else who was in attendance. It was a young girl who was at her first ever concert, and Free said she was glad the child had been in the bathroom earlier when she said the “f-word”. “…I’m sensitive about that stuff…” she clarified, shortly before encouraging everyone to support their favorite band by buying their music, then bashing a streaming service with, “Fuck Spotify!”. It was “Wolf” that brought their show to a close, though even after a little more than an hour, no one was ready for it to come to an end, letting it be known when it was said that would be the last song. “Do you not want me to enjoy this shot?” Free said jokingly, having gotten one early on in the night, but only drank a portion of so it didn’t “fuck up” her voice as she put it. A respectable ting to do I might add, since so many musicians these days don’t seem to think twice about how it might affect their singing.
As the band retreated back stage, the DJ they had at the event began to spin some more music as everyone started to mingle a bit, thinking it was over. It wasn’t.
Static and Free returned to the state after a minute or so, performing over the track the DJ had going, giving everyone one little bonus track.
It was truly an incredible show, and making it all the better was the intimate feel it had. The Prophet Bar is a smaller venue, and all four members were fairly cozy on stage, having just enough room to do a little moving around. That didn’t keep them from putting on one helluva show, though.
There’s no question that Static is a phenomenal guitarist, stealing the spotlight at times as you watch in wonder at his mastery of the instrument. Beak Wing and Matt are also experts at their craft, while Free Dominguez is amazing in all aspects. Often this night she could be seem conducting her body very fluidly to the music, moving her hands and arms about in perfect time to what her band was playing. On top of that, she has a stellar voice, which was no doubt the main tool that left everyone in awe this night.
Honestly, the first time I ever heard any Kidneythieves songs was the covers they did this night, it has prompted me to listen to their records. And while it may be a departure from the group that made her famous, Free’s solo music is every bit as great, albeit in a different way, but in the end, it’s all riveting music that will pull you in and make the trip an experience.
If you haven’t yet heard her solo stuff, check it out in either iTUNES or Bandcamp.
I’m glad I wound up going to this show, as it was well worth it, and I definitely won’t miss out on the next one… Whenever that may be.
Area station KXT (91.7 FM) was celebrating their fourth anniversary this night, doing so by having organized a concert at the Granada Theater. And what a concert is was…
Johnny Marr (formerly of The Smiths) was headlining, but they had gotten a lone local band on this bill, and the Fort Worth/Dallas based Oil Boom had the pleasure of opening up this show.
The trio hit the stage at eight on the dot, drummer Dugan Connors counted them into their first song. Singer and guitarist Ryan Taylor then ripped into his guitar, starting one of their latest singles, “45 Revolutions Per Minute”, and if there was anyone in the room who was skeptical about the opener, that song quickly dispelled those thoughts. It’s a rocking good time, having everything desirable in a song, and they were only just getting started, as Dugan wound them into their next song with some steadier beats, while Ryan lightly plucked away at his axe.
“Happy birthday, KXT!” Ryan quickly shouted after finishing that track, as they tore into another unrecorded number, which boasted a sensationally tight rhythm section, bassist Steve Steward and Dugan ruling the tune. Well, except for the nice little solo Ryan got.
They were making sure they had time to play everything they could in their 31-minute set, but occasionally at time to insert some dialogue, such as at this point, when Steve held up his hand, making the “devil horns” gesture. “So, Johnny Marr is cool. Right?” Getting a roaring reaction of agreeance from those who had shown up early, then he added, “I’m not sure if the devil sign is right.” He didn’t have much time to reflect on it, though, as they bolted into another fun number, following it with another track.
“…I need that Rock ‘n’ Roll, I need that Rock ‘n’ Roll…” Ryan repeatedly sang throughout their next number, after he had made a quick guitar change, with the song being probably one of the most appropriate ones of the night. “You may have heard this next one on KXT.” Ryan informed any potential listeners of the station. “It’s “Don’t Worry, be Happy” by Bobby McFerrin he cracked. “I was going to say it was The Chain by Fleetwood Mac.” Steve chimed in. It wound up being neither, and instead was what is arguably the best track off the 2012 “Gold Yeller” EP, “The Great American Shakedown”. It’s filled with some soulful rock guitar chords, and the chorus will instantly have you singing along to it.
Sadly, that brought them to their final song of the night, which wound up being their longest, too, and worked as a fitting song to end with. “…I’m slowing down…” sang Ryan at points of this bluesy and slightly soulful number, as he Dugan and Steve, eventually trailed off on their playing, giving the impression that they were done. They weren’t quite done yet, though, coming back in strong, and finishing it out.
While their time on stage was short, they packed it full of energy, and their fun songs that sound a little like classic rock, while also incorporating some blues and soul into it all.
It may not be cutting edge, but it is pretty original music, and making it all the better is how polished their musicianship and stage show is, all of which resulted in me loving them even more this time around than I did the first time I saw them.
From Ryans’ distinct voice, to the humor he and Steven throw in from time to time, and even the faster paced, infectious songs they have, which are in part thanks to the quick beats Dugan busts out, there’s surely something about Oil Boom that will appeal to you. And out of all the local bands that could have opened this show up, these guys really deserved the spot, and I can’t imagine anyone having gotten the night off to a better start.
They have another Dallas show set for November 30th at The Prophet Bar, and check out their records in iTUNES.
Following them was singer/songwriter Meredith Sheldon, who was accompanied by another electric guitarist on stage.
“…I’m very happy to be back here for only the second time in my life.” she said after taking the stage, with “here” being the great state of Texas. She also noted she was from Massachusetts, and when she finished speaking of course one guy felt the need to comment, shouting at her, “Your hot!!”, a remark she kind of laughed at before dismissing it.
That was about all the talking she did, as they launched into a 35-minute set of continuous music, as they went from one song right into the next. They were a big departure from the acts they were sandwiched in between, being more minimal in some ways, yet they still retained a very rock element in their performance, and each could really shred on their guitars when they needed to.
They were still somewhat quieter, though, and her singing was fairly soft at times, giving what I thought was a very interesting dynamic to her songs.
In the end, I was a bit indifferent to it all. Some of the songs I really liked, others I just didn’t feel. For two people, though, they manage to put on a fairly entertaining live show.
With them off stage, the crowd couldn’t wait to see Johnny Marr, anxiously waiting for the 9:50 start time to roll around…
(I reviewed Johnny Marr’s set for On Tour Monthly. It can be found HERE.)
It had been over a year and a half since I last saw the Austin based folk outfit Wild Child in Dallas (having caught them at SXSW earlier this year), and this night was going to be a big one for the band.
Two days prior to this show at the Prophet Bar, the band released their highly anticipated sophomore record, “The Runaround”, making this the Dallas CD release show for the new album, and their Dallas fans were ready to partake in the festivities.
The lone opening act on this show was Prophets and Outlaws, who played a mix of new and old songs during their 39-minutes on stage, along with some covers.
It was one of those newer songs that they opened with, before doing a song that singer and guitarist Matt Boggs said was their “ode to Elvis”. It was the shorter “Honey Child”, which certainly could have gotten a lot of hips shaking about, though there were only a handful of people up front actually dancing to the soulful, bluesy song. Next came one of their covers, and it was a well known classic, made famous by The Band.
They did a brilliant rendition of “The Weight”, utilizing every vocalist in the band, which was most of them. Drummer James Guckenheimer, bassist Matt Murrow, guitarist Stevie G and keyboard player Jamie Ringholm all sang a different verse of the song, coming together and harmonizing on the chorus, along with Matt, even doing it in rounds to add a distinctive flare to it.
“Do y’all want to hear a brand new song?” Matt asked the decently sized crowd, though most of them seemed indifferent to it. All the same, they rolled things right along into a new one, and after another track, they broke out another cover. I believe it was a version of Ray Charles’s “I Don’t Need No Doctor”, with a little more of a rock spin on it, and Matt has a certain quality to his voice that allowed them to pull it off.
“This is our best one, in my opinion.” Matt stated before they broke into the lead track from their self-titled debut EP, “Soul Shop”, a rather relaxing song. “We’re gonna need some howls on this next one.” said Matt, noting it was a newer song they were thinking about releasing around Halloween. A few of the onlookers answered his request, doing a wolf howl once or twice during the song, and once it was finished they had just enough time left for one more tune.
I’ll say that for what they do, Prophets and Outlaws pull of the style exceedingly well. However, after seeing this full band show and an acoustic one a few months back, I have to say that their music just isn’t what I care for.
It just doesn’t grab me and strike a chord in me or anything. That’s all relative, though, and if you like a mix of soul and blues, that have slightly more of a country sound, then this is definitely the band for you.
They have two EP’s you can check out and purchase in iTUNES. As for shows, they tend to keep fairly busy, and on October 31st they’ll be at the City Tavern in Dallas, with a show on November 1st at Grotto Live in McKinney. For more tour dates, check out their REVERBNATION PAGE.
They hastily cleared their gear off, while Wild Child began the process of setting up, and by the time they were ready to go, singer and baritone ukulele player Alexander Beggins asked for everyone to get a little closer. Apparently, the band has made a lot of area fans since I first saw them, as the majority of the people who were scattered around the bar and elsewhere made their way right up front.
They began with a joke, though it didn’t start out that way as singer and violinist Kelsey Wilson first mentioned how early they had to be up this morning in order to perform on one of the local morning shows on one of the TV stations. She pointed out getting up that early made her want to punch people, but she did alright, only punching one news woman. “…But she only made it through the first half inch of her makeup…” Alexander chimed in, the crowd, along with his band mates erupting in laughter.
That was a great way to break the ice, and with there being no way to top that, they promptly started the show with the title track and lead song from this new album, “The Runaround”, a very fun song that got everyone moving around at least a little. “How are you doing this fine Thursday eve?” Alexander asked the fans, which spurred a conversation between band mates as Kelsey stated she always hopes it really is Thursday when he asks that question.
After bantering (mainly) amongst themselves for a moment, they got back to the music, hitting their more tender side with the second track on the record, “Victim to Charm”. The violin and cello, which was played by Sadie Wolfe, worked together harmoniously at the start of that one, “Dear, don’t be alarmed, as I trace the freckles on your porcelain arm…” Alexander sang softly into the mic. It’s a beautiful line for an equally beautiful song, that also featured some nice harmonies from the two vocalists.
Those new ones were well received, though the fans almost turned into rabid animals when Kelsey said they were going to do some old ones, clearly eager to hear the ones they knew and loved. That collective mood of excitement shot through the roof as Alexander played the opening notes of “The Escape”, the audience singing right along with Kelsey and Alexander, whose voices layered over each other’s nicely. “Lost my breath, I’m feeling weak, my bones escape my skin…” everybody sang, the fans obviously ecstatic that this favorite of theirs was still in the setlist. They took things down a few notches with “Silly Things”, and while the rhythm section was lighter, it was still pretty powerful, Chris D’Annunzio lightly plucking the strings of his bass, which caused the floor to vibrate at times. The crowd again proved their love for Wild Child and their music, loudly singing along to the final line, “…Come get your coffee pot, ‘cause it hasn’t been used since I last used you.”
The band appeared a bit surprised by all the love they were getting, and now pointed out that this was the first crowd they had played to since “The Runaround” came out just two days prior to this. And now, having done the first two tracks from both their new and old albums, it was time to get back to some newer stuff with the first single from “The Runaround”.
Kelsey informed anyone who didn’t know that they had just released a music video for the song “Crazy Bird”, saying it was “weird”, which could be a big understatement. However, while the video is weird, the song itself is not, and both will leave a lasting impression on you. It was fun and upbeat, being an irresistible song that will immediately put you in a happy mood.
Speaking of happy mood, Kelsey said they had picked up a new motto from their friends in Prophets and Outlaws backstage. “You can only have as much fun as you want to have.” she said, Alexander adding those were “words of wisdom”. It is true, and they and the crowd were prepared to have as much fun as possible this night, and not much could be more fun than a “butt grabbing song”, which was exactly what Kelsey said t he next one was. Not much of that was going on as they busted out another slow one, “This Place”, though, Evan Magers adding some soft, subtle notes from his keyboard at parts, while Carey McGraw kept a slow and steady beat going on the drums.
That slow tune transitioned well into “Stitches”, which at first didn’t come across as what Kelsey said was their “new favorite party song”, but once it got going, it clearly was a fitting party tune. As soon as it concluded they seamlessly launched into another old one, “Bridges Burning”, the audience echoing along with Kelsey, “…Wait for me, I want you to wait for me…” “Y’all are tripping me out!” she exclaimed after finishing the song, still seeming a bit baffled by all the love. The audience was then presented with a choice of either getting a new fast one or an old fast one, which was “Cocaine Hurricane”. It was unanimous, and the choice was that old fan favorite, which is still a highlight of their shows.
Their 53-minute long set was nearing its end, and they still had a couple more new ones to do, one of which was the instant classic, “Living Tree”. “You guys are my favorite people in the whole wide world.” remarked Kelsey after they finished the song, still overwhelmed by it all, and they began to wind things down with the final track on the new album, “Left Behind”.
There was only one fitting way to close to the show, though, and that was with the final number from 2011’s “Pillow Talk”, the haunting, “Tale of You & Me”. “Sleep good and hold tight. Just know that’ll make it right.” the whole band shouted repeatedly at the end, creating the greatest sing along moment of the night, the entire crowd joining them, making for the best possible end to what was surely Wild Child’s best Dallas show yet.
This was quite the night, and Wild Child is quite the band. The duel vocalists and the way they constantly change things up, from both Kelsey and Alexander singing lead, to incorporating some dynamic harmonies and even singing in time with one another are what make them standout so much. And while those two do tend to be the main focus of the show, the rest of the group is of course just as vital a part, and contribute a lot to the energy they have.
On that note, it was their older songs that they did that were the most cohesive and flawless. That’s nothing against their new material, but you could tell those oldies had been performed hundreds of times over and they’d developed such chemistry for them, while some of the newer ones they still haven’t worked out all the movements.
In the end, though, it’s easy to see why the band just performed at Austin City Limits (doing a gig at the festival a couple days after this Dallas date), and why they’re creating such buzz. And the way folk music is becoming such a big thing currently in mainstream music, and given the unique and fresh spin Wild Child puts on their tunes, it’s believable that they have a shot at making it.
Wild Child will be on the road until the end of the year, doing shows from the East Coast to the West Coast and several states in between, and for all those dates go HERE. And do check out both of their albums in iTUNES, and if you dig ‘em, definitely buy them.
The Seattle based band Reignwolf has been working hard to get onto more of a national stage, and seeing as they have played festivals like Lollapalooza and Austin City Limits, they’re well on their way.
Speaking of Austin City Limits, it, like SXSW and other Austin based festivals, usually work out well for us folks in North Texas, who get some of the spillover with some of the touring acts stopping by for shows. And this night, thanks in part to Parade of Flesh, Reignwolf was stopping by Club Dada, to make their Dallas debut before week two of ACL.
The 1969’s were the first of two local acts on the bill, and after more than two years since the only other time I had seen the group, I was looking forward to catching them again.
I was outside for the first couple songs of their 33-minute long set, but made it in as they got going on song number three.
“…There’s gonna be some good music tonight. Including us, I hope.” Singer and guitarist Scott Lindsey said after finishing that song, addressing the dozen or so people who were scattered about the room. They eagerly applauded the trio, definitely loving what they were doing so far, and it only got better as Scott led them into “And I Will”. Like their other stuff, it was great blend of of soulful blues and loud rock, bassist Troy Thibodeaux occasionally adding some backing vocals into the mix.
That was one of the songs they did from their “I Am the Road” album, which Scott mentioned afterwards, saying he had forgot to bring them to sell. “…Just use Spotify or iTUNES…” he said, noting their music was available on those sites, too. He went on to say this show had a few firsts for them, most notably how they were standing, something I knew they didn’t do the only time I saw them. He mentioned their stools they usually have, which make them look like more of a relaxed bar band, as well as the light that Chris Mancini had inside his kick drum, which was making its debut at this show.
They cranked out another one, before doing a song about “dear ol’ Texas” as Scott put it. “It’s a good ol’ foot stomper.” he added before they busted into the lead track from their full-length, “Where the Stars Are Alone”. It was a definite foot stomper, and they kept things going with a song I believe was titled “Blues Box”, before Scott let everyone in on a secret before their final song.
“…Every song we just played was in the key of G…” he stated, as he and Troy tuned to a different key for their final track.
The 1969’s were an excellent way to get this party going, their bluesy rock seeming to be just what the crowd wanted. Their stuff is pretty original sounding and very well crafted. Also, considering this was the first show they had done without their stools and looking like a juke joint band, you wouldn’t have known it.
They looked like they had done it hundreds of times over, packing a good deal of energy into their set, particularly Scott, who moved all over the stage, he, Troy and Chris displaying a great deal of chemistry with one another.
After seeing them this night, I found myself wondering why it took me two and a half years to see The 1969’s again. They easily belong in the cream of the crop of acts that this town has to offer, and their probably one of the more underrated ones as well.
Give this party blues band a listen. You can download two EP’s on BANDCAMP for free, and if you like that, check out “I Am the Road” in iTUNES.
They were rock, sure. But things were about to get a lot heavier and louder, thanks to Descender.
The band was doing their first gig in a little over two months, when they released their latest record, and I was excited to get yet another live fix of my favorite local band.
The main focus of their 35-minute long set was on their newest EP, though they did do one song apiece from their first two efforts, and opened with a cut from “Dark Water”, the series of drum beats Duncan Black knocked out giving it away as “Hats Off To Your Reflection”. That pulse pounding number isn’t often used to open shows, though it packs a serious punch, offering anyone unfamiliar with Descender a good taste of what lay ahead.
Soon, singer and rhythm guitarist Casey Hess started them in on “I Will Help You Find The Darkness”, the rest of the band gradually joining in on it. By the time that rip-roaring song had come to an end, Duncan had broken one of his drum sticks, hurling the now useless one out at the onlookers, somehow managing to not hit anyone. They marched on with the title track of the new EP, “Slow And Gold”, Zack Busby creating the songs eerie intro with some thick, pulsating notes. It was easy to miss that Jeff was using a slide on that song (or at least for part of it), and as it neared the end, he swiftly slid it off his finger and into his other hand, tapping a sting with it to create a captivating sound.
“This song’s about summer, dying and getting laid.” declared Casey, setting up “Spinning On The Surface”, which was followed by the longest song the record has to offer, “The Language”. “…We’re on the wall, we’re on your skin, we’re on the floor. Oblivion…” Casey sang before ripping into his guitar solo, which is damn near breathtaking, and when the rest of the band joined back in, Zack did so by viciously slapping at his bass, giving it a thundering effect. Perhaps, he was a little too fierce with it, or maybe it was just time for one of the strings to meet its end, snapping soon after. Once they finished the song, he pulled it off, but only after pointing it out to Casey who couldn’t help but laugh.
He even called it a “good omen”, basically saying that some bad luck can have a silver lining. “…It’s like if your car breaks down, but you’re like, “It’s okay, ‘cause I’m gonna get laid.” was an example he used, before asking what string it was. “Oh, it’s okay. You don’t really need that…” he joked before looking back at Duncan and continuing, “It’s like your hi-hat. Do you really need that?”
They made do with the now broken bass, doing a song that Zack wrote the music for, the fast paced and short “Silver Lightning”. It’s a beast of a song, and set them up for their final number. Before that, though, Casey stated how glad they were to be on this bill, and what a cool band name Reignwolf was. “…That one if the top three band names ever.” he said, spit balling that perhaps “Red Reignwolf” would perhaps be the only way to improve upon it.
To close out their show, they did none other than the title track from their 2010 EP, a song Casey routinely mentions is about the heart, “Army Of Elephants”.
I have to say, it was great seeing these guys back on stage again, playing the awesome stuff they’ve written, and even the broken bass string didn’t have any real negative effect on things. And you wouldn’t have guesses it had been so long since they had last done a show, as they’ve built some tight chemistry over the years, noticeable from the moment they get on stage.
I still say they’re one of the best bands currently in the North Texas music scene, and though it might be a while before they do another show, keep tabs on their FACEBOOK so you’ll know when they do. Also, check out their records in iTUNES (& HERE), and if you like vinyl, you can find their spilt record with Here Holy Spain on the Idol Records STORE.
The size of the crowd had grown quite large by the time Reignwolf was set to take the stage. Just guessing (and I am horrible at doing rough estimates of people), but I’d say there were around fifty people in attendance, give or take a few. An impressive number for a Monday night, plus the fact that the band had no real fan base in the area, sans some family and friends of two of the members who had called the Dallas area home for awhile.
Reignwolf may be a full band, but at its core, it’s singer and guitarist Jordan Cook, and at 10:49, just a little past their scheduled start time, he and he alone walked onto the stage.
As soon he picked his guitar up the aura changed, and he wasted no time in showing the audience what he was capable of, shredding on his guitar, strumming it so fast his hand literally was a blur. That alone was enough to leave everyone awestruck, but Jordan was just warming up, and soon began violently hitting the strings on the body of his guitar with such force it looked like they all should have snapped. He looked like he may have even been convulsing at times as he shook himself around the stage, clearly possessed by the rock gods, who were certainly on his side this night.
He was also a percussionist for this and many other songs, using a kick drum that bore the Reignwolf name and logo (a wolfs head), which he started to play as he launched into the fiery, blues guitar rock song, “Electric Love”. The only people who could have been prepared for what transpired were the few who had seen the band before, and with that one song, my mind was nearly blown, and in the end, it was just something to whet everyone’s apatite.
As Jordan finished it, guitarist “Stitch” and drummer Joseph Braley made their way on stage, with the first full band song of the night being “Come On, Come On”, a glorious mix of blues and rock, with Jordan cranking out some soulful notes at times. The stage show only grew more intense, too, and at one point during that track Jordan jumped atop his kick drum, shredding while standing on it.
“Let’s go!” shouted Jordan as they rolled that song directly into the next, which I believe was “Dead of Night”. It was pure, uncut Rock ‘n’ Roll in its finest form, and it enveloped and consumed everyone, fans and members of the band alike. Perhaps the best part of the song came at the end, when Jordan removed the microphone from the stand, and, with it hand, plucked away at his guitar, before raising it up to sing into, then played a few more notes, repeating that process a few times over. It was just a very cool moment.
Upon finishing that one, Jordan bantered with the crowd for a moment, thanking everyone for, “coming out on a school night.”, though I think work was more of a priority for the people than school. He then spoke about the next song. “This one’s for the girls. The boys can listen, too.” “Are you satisfied? There’s nowhere to go…” he sang, the opening line of the only song the band has released, “Are You Satisfied?”. In hearing it, it was clear why it’s a single, easily being one of if not the best song they did this night.
Jordan struck up another conversation with everybody after that, though this one went horribly awry. “Only in Aus-…” he said, before catching himself, though it was already too late. Having been in Austin for ACL, it’s an understandable mistake, but no one was going to let it slide, playfully booing him. “…I’m really sorry. I’ll make sure I never to that again.” he said, sounding somewhat meek, a far cry from the voice that spewed out of him while singing. Jordan was able to take it all, though, even joking himself. “I’m very lucky no one had a gun on them…” he cracked.
Once things were smoothed over they cranked out another song, before Jordan traded his guitar in for a mandolin that resembled a guitar, though it appeared even smaller than most mandolins. Perhaps that was just me, but either way, while it looked comical, that impression was a fleeting one. He set the song up by saying that it was a Mothers Anger song (the band that Stitch and Joseph were in before Reignwolf). “…But we did this to it.” Jordan said with a grin, before starting the aptly titled “Mandolin Song”. It sounded quite good, and was definitely set apart by that mandolin, which added an interesting vibe to the song that none of their other music had.
They marched on, but first Jordan pointed out his other guitar, which sit in a stand to the right of him. “The reason that’s sitting all the way over there is because your hometown hero Joseph has broken that guitar many times…” he laughed, though Joseph acted like there was a bit of truth to what he said. They then busted out “Neighbors”, a very powerful number, during which the strap on Jordans’ guitar came loose. He acted as though it was a non-issue, though, propping his leg up on the kick drum before resting the guitar on his leg, all the while tearing it up.
Next came a fan request, the innuendo laced “Bicycle”, which saw Jordan sit down on the kick drum, playing both it and his guitar, killing it on both instruments. It was another one of those moments that left your mouth agape by the time the song was over, and as he stood up for their next number, he left the mic stand at the same level he had lowered it to. That said, he sang most of the next song by standing on the kick drum and leaning down towards the microphone, making it look effortless. Eventually he moved it back by his amp and raised it back up, though as they got to the instrumental outro, he roughly kicked the mic stand over, shredding on his axe, and even laying it on the floor as he swiftly picked at it.
That was how their 51-minute long set ended, and what an explosive end it was. Everyone’s heads were no doubt still spinning from the massive assault of rock they had just witnessed, yet they knew they didn’t want it to be over quite yet, and no sooner had the trio ventured back stage the chants for an encore began.
A few minutes passed, and it seemed as if it would go answered, and that was when Jordan made his way back out.
“We were just talking about this back there, and we were not expecting Dallas to be like this.” he remarked, clearly pleasantly surprised at how well they were being received. “…You can go to all the festivals you want, but right here right now feels pretty damn good.” he said, a sentiment the audience readily agreed with.
Jordan than rearranged the full drum kit and took a seat behind it, his guitar still in hand. I never would have guessed that “Palms To The Sky” was a song he did solo, because it has such a rich, full sound, yet it was, and was one of the highlights from this night.
As it trailed off, Joseph and Stitch climbed back on stage, having been watching the show with everyone else, doing one last song for this 12-minute long encore, which had long instrumental outro, and there was one point where both Jordan and Stitch were standing on the kick drums.
First off, I have to say thanks to a friend (Brendan Williams) for making me aware of Reignwolf, and hyping them to me for the last several months. The point of saying that is because after you hear any type of continuous hype about a band, it can sometime lead to disappointing results when you finally see them live. That’s happened to me on numerous occasions over the years, but this night was not one of them.
Reignwolf delivered one of the best performances I think any band could ever do, and they seemed so natural in doing it. That’s to say it was all so organic, not like they were trying to be over the top or anything, but rather just doing what came naturally to them and letting it flow.
And the thing was, while all eyes gravitated to Jordan Cook, Stitch and Joseph were every bit the performer he was, Stitch thrashing around, while Joseph had a very dynamic style to his drumming.
In the end, it was Jordan who was the main show, though, his voice, which had an impressive range and quality to it, along with the songs he’s written having an older Rock ‘n’ Roll essence to them, somewhat in the vein of say, 70’s era rock.
They were nothing short of phenomenal, and even that may be an understatement.
The crowd left having witnessed history, Reignwolf’s first ever Dallas show, and I have to wonder if the next time they play this city it won’t be in even a bigger venue than what Club Dada is. With all these festivals the band has been playing, they’re clearly making a name for themselves, and even one guy I briefly talked with at this show had just seen them down at Austin City Limits, and had to see them again this night.
I’d be shocked if they’re not the next big thing within a few years or so, having one of those “overnight success” stories where no one has heard of them to all of a sudden everyone is dying to see them life. But in the meantime, it’s all about laying a strong foundation, a slow process, but one they are having no trouble doing.
Check out their single, “Are You Satisfied?” in iTUNES, and for all their tour dates, visit their OFFICIAL WEBSITE. They have dates coming up in Alabama, Georgia, Tennessee, North Carolina, South Carolina, as well as a date at Voodoo fest in New Orleans on November 2nd.
You have to respect the touring bands, and no, I don’t mean the big time touring acts that are guaranteed to make money. I mean the bands who dream of being a full-time touring act, making a living doing what they love, and actively pursue it.
That said, what is perhaps my favorite Canadian based band, Lauren Mann and the Fairly Odd Folk were back on tour, their Here We Go Again tour, and this night they were returning to what has become their Dallas home, the Prophet Bar.
Opening up this show was singer/songwriter Ashley Brooks, who played an electric guitar and was accompanied by band mate and fellow guitarist Andrew Lyon.
Their 22-minute long set got off to a somber start, as Ashley said Andrew wanted to say something. He wasn’t near a mic, so she ended up speaking for him, saying he wanted to dedicate the show to a friend who had recently died. “…This show’s also for my sister…” she said, adding she had passed away just a few weeks prior from suicide. She then set up her first song, “Simple Living”, saying it was about a guy she was with for three years. “…He was on drugs and just… a hot mess…” she said, noting she thought she could “fix” him.
That storyteller vibe continued for their next song, as well as most of their show, as Ashley said the next one was, “…Hard to sing.” She went on to tell a story of how she was diagnosed with a brain tumor at fifteen, and went she went in for surgery, there was nothing there. It was called “Miracles”, and it was a great tune, clearly being a testament to her faith. She gave her voice a rest afterwards, while Andrew played an instrumental piece. As I’ve said before, I’m not a fan of instrumental music, but this song had a good sound, and I really enjoyed it.
They then resumed their originals, first with “Maybe” and then another. “That’s my favorite song we’ve done…” Ashley remarked after the other song, which also happened to be my favorite tune of theirs this night, and both her voice and the music bed for it just had a great sound. Since starting, Ashley had promised a mix of originals and covers, and now they delivered their first and only cover of this night. “Does anyone know who Alison Krauss is?” she asked the handful of people who were there so early on, most of whom were either staff or other band members. The duo did a pretty rendition of “When You Say Nothing at All”, before ending with a track I believe was titled “Breathe”, which was a little more minimalist compared to her other songs, as Andrew lightly plucked the strings of his guitar, while Ashley just sang.
Before exiting the stage, though, she addressed the crowd, saying they had planned to do some more covers, “…But we’ll save those for next time…” she said. She went on mention she’s finishing up recording some tracks that will be released in the near future, saying all she wanted to do was help other people through music, just in the way it had helped her.
Though it was a short show, it was good one. Ashley had good voice, sounding delicate at times, though she was also capable of hitting some big notes. The songs were well written, and I enjoyed the connection she made with the onlookers by talking about her songs and getting more personal.
You can listen to some demos she has recorded over on her REVERBNATION PAGE, and those studio recordings she mentioned should be available soon. In fact, she said one would be coming out this month.
The first full band of the night was the main one I was there to see, and that was Lauren Mann and the Fairly Odd Folk.
This was the band’s second Dallas show this year, having hit The Prophet Bar back in May, and they had changed things around since then.
They opened with a very cool intro, led by Jay and Jessica Christman, the latter plucking some of the strings on her bass before he joined in with some light drum beats. Josh Akin soon came in on the guitar, though it was Zoltan Szoges who really set the piece off, using the numerous keyboards and synthesizer around him. All together, it sounded slightly heavenly, and it ceased suddenly once Lauren Mann grabbed a ukulele and approached the microphone.
I said they had changed things around, and much to my Lauren began whistling, signifying the start of the lead single from their “Over Land and Sea” album, “I Lost Myself”, a song that has previously been reserved as the show closer.
It worked quite well as an opener, Laurens’ rich, vibrant voice piercing the near silence as she eased everyone into the show, before the rest of the band soon joined in. A little over a minute in was when things sprang to life, though, as Zoltan began banging on a floor tom with one hand, while using the other on his array of keyboards. As it drew to a close, Lauren even acted as a percussionist, grabbing the drumsticks and pounding on the extra tom, before taking a seat at her piano at center stage.
“This is a traveler’s song.” she remarked as they launched into what is perhaps one of their most fun songs, “A Traveler’s Anthem”. It’s so upbeat it’s simply irresistible, and they followed it with another amazing sounding song, which I’m guessing was a cover. Zoltan broke out his keytar for some of that latter one, but the best part came at the end, when they broke into an unexpected percussion outro. Josh clapped along to Jay’s beats, while Jessica beat on the massive bass drum that sit beside the drum kit and Lauren shook a tambourine, while Zoltan again put the tom to use.
The briefly paused after that, taking a few moments to chat with the handful of people, and eventually Zoltan got to a joke. “I think I say this every time we play here…” he started out, saying he just ruined the joke, but laughed that since almost none of the people were familiar with them it would still be funny. “…Alberta is Canada’s Texas.” he said of their home province, “Or Texas is the U.S.’s Alberta.” he cracked, saying Alberta also had oil and cattle, as well as other things Texas as known for. He went on to make the very nice compliment of, “That’s why we always feel at home here in Texas.”
With that connection made, they got back to the music, and now did one of their new songs from their forthcoming third record. It was titled “You Don’t Look the Same”, and in comparison to the rest of their material, it sounded totally different. It just had a whole new vibe, though it still meshed with the rest of their cheerful tracks, and was all it took to get me really intrigued about what they’ll soon be working on. No sooner had they finished it then Lauren segued them into an older song from “Stories From Home”, “Stow Me Away”.
They’ve tweaked it from the album version, incorporating all of the band, though it’s still largely driven by Lauren and her piano, allowing for a nice lull in the show. Said lull was continued in the form of “Of Life And Of Death”, which ended with some very subtle sounds, though it was more than enough to propel to the song to another level. As it concluded, Zoltan picked up a bow, like you would play a cello with for example, and proceeded to pull it across the xylophone. He was very precise about it all, doing it in perfect synch to the music and Lauren’s singing, accenting it extraordinarily well.
They weren’t going to slow down from that, either, the sample track for “Love, I Lost” bleeding into the end of the previous song as the sounds finished resonating. With that, they were back on the upswing, and upon finishing it, Zoltan offered up some more banter.
He mentioned that it had been a weird tour so far, doing a show one day then having a day off, and that this was only the third show they had done in the U.S. on this tour. Talk also turned to impending hurricane that was headed for the other states on the Gulf Coast, and how they were going to be headed right for it. “…We’ll be going through our first hurricane…” Lauren said laughing, like it was going to be more of an adventure than anything. They also spoke of their new record, which they’ll be recording at the start of the new year, and how they’ll be launching a campaign to raise money for it. “We asked the bank for money to make it, and they said no. We asked our personal accounts for the money, and they said no. So then we asked our parents, and they said no.” Zoltan informed everyone, then clarified, “I’m kidding, we didn’t ask our parents. We’re in our late twenties and that would be awkward.”
When they got back to the show, they did “When I Feel Lost”, a more fleshed out rendition than what you hear on “Stories From Home”, giving the bass, drums and guitar more of a role, while Zoltan even dabbled on his keytar at times. The group then got a cool intro going for their next number, Josh standing by his guitar amp to create a bit of feedback, with things soon giving way to the ukulele intro of the ethereal, “Fragile”. Jessica and Zoltan briefly swapped spots at one point, as she struck the xylophone, and since Lauren had left her piano, he even put his keytar aside to play it at one point.
“We have one more…” said Lauren as they rolled it right into their final song, and she urged everyone to get a little closer to the stage. “We might have a little surprise for you.” she said with a smile on her face. Since the start I had been curious as to what they were going to end with, “How It Goes” seemed like it would be an excellent note to end on.
Jessica took over keyboard duty while Zoltan opened a suitcase and started throwing instruments out to everyone, from little shakers to tambourines and such. He then started clearing things out of the way, giving him room to eventually pick up that giant bass drum and roll it out into the crowd. They might not have had much of an audience, but those who were there were loving this, with at least half a dozen people picking up a drum stick or two and banging on the drum. And as the song and their 42-minute long set came to an end, Zoltan climbed on top of the floor tom, shaking a tambourine to the beat, before leaping backwards off it.
There are so many layers to the show Lauren Mann and the Fairly Odd Folk do, for starters, the performance itself. Zoltan mentioned they would be performing their five hundredth show on this tour, and while the members have changed since they first started, they’ve definitely broken in this new lineup. The five of them have incredible chemistry together and are nothing short of being a well-oiled machine.
They make the show much more intense than you would expect just from listening to their music, conducting themselves so fluidly with the music, and each member of the quartet packs in a ton of energy into their performance.
Aside from that, their just great musicians in general, writing some nice, catchy and fun indie/pop sounding music with a folk spin on it, and it’s music that is progressively getting better. “Over Land and Sea” is an exceptional record, but that one new song they did this night was even a bit above that, which is saying a lot.
In the end, though, it’s how fun and joyful they make their shows that will really stick with you. You’ll likely have smile on your face the whole time LM&TFOF are on stage, and the lightened mood their show puts you in is one that will stick with you for awhile.
They’ll be on the road in both the States and Canada through early December, so check out their TOUR PAGE for all the show dates. After that they’ll be in the studio working on their next record, with plans to get back out on the road next summer. So, stay tuned, help them fund their next record, and go see them if they come to a town near you, you’ll be glad you did. Also, check out their first two records in iTUNES. (Also, depending on when you see this, you can snag a FREE download of “Over Land & Sea” HERE.)
The mood of the night shifted drastically with the next band, Desert Noises, who were a serious rock band hailing from Provo, Utah.
The four piece delivered 38-minutes worth of rock on the crowd, the majority of which I believe came from a new album they mentioned they had just finished recording.
Is what made them stand out at the start was the harmonies their singer and rhythm guitarist and bass player created. He [the bassist] appeared to have a knockout voice as well, and they intertwined to make something outstanding.
After the first couple of songs, they did one from 2011’s “Mountain Sea” album, “Oak Tree”, another track that really utilized the harmonies, while also boasting some, at times, haunting guitar notes. They continued on with another new one, their singer announcing they had recently wrapped up the recording process, and that the next song would be on it. “What’s it called?” one person asked, speaking of the new album. “We don’t know yet.” the singer smiled and said.
They carried on with several more songs, eventually having a discussion amongst themselves to make sure that this was their first ever show in Dallas. By then they were almost done, and they closed out their show with a very interesting song that only featured the lead guitar and some beats from the drummer, while the other two musicians just sang. It was very different from their other stuff, but sounded oh so good.
Their rock sounds, which were some of the more original that I’ve heard, were also laced with some Americana undertones, and even Southern Rock to a smaller degree.
That, coupled with the killer voice their singer had and the nice mixture he and the bass player created, as well as the well written songs, they ensured they’d be a band you wouldn’t soon forget. Well, that and dynamic stage show they put on, really throwing down and rocking out.
Do yourself a favor and check these guys out. They have a few records in iTUNES, and I’m guessing this new record, whenever it drops, will be the best thing they’ve done yet. They also have a few shows left on their tour, which you can find HERE.
After those two touring bands, it was time for one last Dallas act to close out the night, and that was singer/songwriter, Steve Atkins.
They were a bit different, too, at least in comparison to the other acts. Steve was accompanied by two other musicians, one playing a ukulele and the other an electric guitar, without an amp, while he used an acoustic. The electric guitarist also had a computer in front of him, which had all the sample tracks for the other instruments they were lacking.
He of course mined a different genre than the other acts, his music being more of an acoustic pop style, which become readily clear just with their first song. After “Animal”, one of the tracks off his “Locals” record, he and the ukulele player donned some hats. “Now we’re settled in.” Steve remarked as they dished out another song.
“The Tide” continued their string of love based songs, as Steve repeatedly sang, “I would never let you down.” on the chorus. They had also worked a cover into their show, doing a rendition of Rihannas’ “We Found Love”, albeit a very different version from hers. It lacked all the electronics, a little more bare bones, which made the lyrics and Steve’s singing more of the main focal point, and they pulled it off nicely
They continued rushing through their 33-minute set, seeming to want to get it over as soon as they could. Probably because, as Steve mentioned, he knew just about everyone had to work the next day. They got back to tackling the EP with “New Beginnings”, then “Coming Around” before ending with “Stick & Stone”.
Personally, Steves’ stuff wasn’t quite up my alley, It was just too mushy and lovey dovey for my tastes, but at the same time, I can respect it for what it is. That’s simply his style of songwriting and singing, and it suits him well, being something he, and his band mates, pulled off with ease.
If that’s something that would appeal to you, give his stuff a listen. You can find “Locals” in iTUNES, and if you keep an eye on his FACEBOOK PAGE, he’ll no doubt announce another show sometime soon.
This fun got off to an early start and ended relatively early, too, which was a nice change of pace from one to two in the morning. Kudos to the Prophet Bar for continuing to give touring bands a chance, and if you weren’t here (which you probably weren’t), you missed out on one spectacular show
If you’ve been in Deep Ellum at all over the past years (and probably further back than that), you’ve no doubt seen Anthony Streeter, who often worked security at the Curtain Club. Hell, out of the nearly six and a half years I’ve been going there I remember seeing him at almost every show I caught there.
Recently, he was diagnosed with MS, and to help him out with the bills he incurred, a couple of benefit shows were put together, one of them being this night at, where else, the Curtain Club. And for the first time in a long time (or ever?), I went to concert not because I wanted to see the bands playing, but for the cause, despite having never known the man personally.
Enamored was the first band I caught this night, getting their short 25-minute set going the same way their “Requiem” EP does, with “Empty”. The turnout may have been small so early on, but those who were there should have been hooked immediately by that one, and a handful of people gravitated towards the stage. They then brought things into a little more of a raw rock mode, Thomas Stewart pounding out the drumbeats of “Release” with a fury, while Aaron Heles and Robert Albritton walked about the stage, picking at their guitar and bass, respectively.
Soon, Aaron led them into the next track and one of my favorites, “Bring Down”. “I’m never coming back now, I’m leaving this all behind. My life is moving forward…” belted out front women Jules at the start of the track, her deep, powerful voice gripping the listeners. One of their non-album tracks, “Better Off Alone”, came next, before kicking it back into overdrive with “Escape”.
A little break followed as Aaron had to tune his guitar, while Jules (somewhat) joked that it was “beer thirty”, before laughing that they needed a new guitarist who could tune faster. Once he got it ready, they showed off their softer side with “Free”, which has a great ebb and flow to it. “…This one’s called Slaves and Toys.” announced Jules before their next song, and before one of those songs she informed everyone they would soon be going back into the studio to record some of those, which will definitely be something to look forward to.
With that, they had reached the end of their performance, having time for only one more, which was “Never Again”.
Enamored keeps getting better, and even in just the few months since their CD release show (when I last saw them) I’d say they had stepped it up a bit.
Robert and Aaron seemed to have a little more presence, at times being very meticulous and calculated with what they were doing, and at others simply attacking their instruments. As for Thomas, he’s a machine on the drums and is a good fit with the group, while Jules has an amazing vocal range capable of hitting all sorts of notes.
Go see ‘em if you can, they won’t disappoint you, and you can check out their EP in iTUNES.
Eaglesnake was the next band up, and personally, I wasn’t a huge fan… At least not of some of their stuff.
Along with the typical band lineup, they had a singer who also played a keytar, and then a hip-hop vocalist. Now, I’m just not a real fan of hip-hop, which made it impossible for me to get into some of their stuff. On the other hand, the songs the other guy song, which were more rock based, were quite good and very enjoyable.
They did end their show in a killer way, though, as the keytar player used the instrument to play the Star Spangled Banner in its entirety, delivering a stellar version of it.
Next up was Fantasma, whom I was looking very forward to seeing, not just because they’re a great band, but also because it had been around a year since I had last caught one of their shows.
In that year’s time the band has been working on some new music for their sophomore release, material that filled their show this night, including their opener. It was great tune, featuring some killer bass lines from Daniel Castaneda. Only one track from “Stories of Earth Women” found its way into their set list this night (at least only one they played), and that was “Panda”, drummer Michael Kudlicki cutting loose on each chorus when the song exploded, truly getting wild on his kit.
A string of new songs followed, beginning with “Fire and Blood”, and after another one this loud rock band who has electronic elements laced into their music slowed things down. Dale “DJ” Wilkerson Jr. started singing, mostly a cappella, knocking out the first few lines of the song before his band mates eased into the song. It was (at least to start with) very different from most of their other stuff, which allowed it to stand out even more.
That different pace was continued as they pulled out a cover I had forgotten they had even done, and one you certainly wouldn’t expect from them. “I had a way then, losing it all on my own…” DJ crooned over the sample track for “Lights”, of course originally done by Ellie Goulding. It’s a far cry from the same song you’ve heard blanket the radio, though, as Fantasma puts much more of a rock spin on it.
While gearing up for the next song, DJ passed the time by cracking a joke. “I think the band before us made up half the crowd.” he said, before looking at guitarist Chad Abbott. “Was that a bad joke? I’m sorry, that was a bad joke.” he added, however, I found some humor in it. They were then informed they had enough time for one more, and with another new one already queued up, they went with it to close out their 29-minute long set.
I thoroughly enjoyed it all. First off, this was the first time I had seen them since Chad (best known as rhythm guitarist for SouthFM and in slightly more recent years Social Jab), and his slick, precise style of playing meshes well with the band. And while on the subject of new things, those songs seem to be a grade above what was on their first album, which is saying a lot.
As for the rest of the group, Dan, Michael and DJ all turned the heat up a bit, too, and put on a fierce live show.
Do check out their record in iTUNES, and keep an eye on their FACEBOOK PAGE, as they do have a few more shows before the years end.
Closing out the night was local heavyweight Adakain. I had seen the band a few years ago (at least) at a show here at the Curtain, but that was well before they went through a lineup change, adding Ryan Ray on as the lead singer. Needless to say, I was looking forward to this.
They proved themselves a force to be reckoned with right from the start, with their high-octane show, guitarist Taylor Walding, bassist Jason Schauer and singer and guitarist Ryan Ray all thrashing about to Ryan Carroll’s drumbeats. That energy never ceased as they tore through their first couple of songs, before getting to one that was a staple of Ryan’s past project… Sort of. Assuming the title is still the same it was “How Could You?”, albeit a reworked version from what I was used to, which in the end seemed to bring the song new life.
Upon finishing it they took a breather. “…The music scene is badass…” Ryan stated, talking about how we take care of our own, and all came together this night for such a worthy cause. He then ditched his guitar for their next song, allowing him to be even more mobile than before, even doing a bit of jumping around the stage.
“…This song’s about never giving up on your dreams…” Ryan told everyone in setting up their next track, elaborating that so long as you have that drive you need to keep at it, because your dreams can’t come true if you’re not pursuing them. “This one’s called That Feeling.” he finished as the ripped through it. The following song also got a little explanation, and it was about letting people change you to please them, and how you shouldn’t. “…Fuck that, am I right?” Ryan said before they launched into one song that really stood out to me.
They wound it right into the next one, and in the little lull that connected the two Ryan again thanked everyone for coming out, acknowledging that everyone had to probably be up early for work the next day and how they appreciated the audience staying late. Not much noise was made when he asked who all did have to go to work the next day. “What, are you all drug dealers?!” he joked.
Now, in the final stretch of their 43-minute show, they pulled out some of the songs they’ve recently written, even working on them with Jeff Blue out in LA. One was the heavy hitter that is “Honey”, a vicious song that has some mainstream rock elements to it, and it’s my personal favorite from this new batch.
Longtime Adakain fans cheered as the band then pulled out the lead track from the “Silhouette of Lies” EP, “Sky is Falling”, which was proof to the adage, “save the best for last”, ‘cause it was without question one of their best songs this night. “Bleach it Out” came next, giving it a run for its money, and then they wrapped up the night with “Hello World”.
I’m going to have to try to make it to some Adakain shows a little more often…
The incredibly high-energy show they put on was more than enough to completely captivate you, and mixed with their great songs, they’re a pretty powerful force.
Adakain has been around for a little while now, making waves in the D/FW area and even across the country when they’ve toured, and maybe now, with this newest lineup, they can finally break through. The potential is definitely there.
You can buy the bands older stuff in iTUNES, while they have their three newest tracks up to listen to on their REVERBNATION PAGE, and stay tuned to it for future show updates the band will have.
It was a great night, and it was nice to see so many people come together to help a guy out. The turnout could have been better in my opinion, but still, for a Sunday night, it wasn’t bad at all.
Kudos to the bands who played and the fans who came out, whose sheer attendance proved how much they care not just about the local music scene, but the community, and the people who are a part of it.
Trees had put together a rather last minute local rock show for this night, with it coming together only about two weeks before. I knew nothing about it, aside from that Paco Estrada was playing it, doing his first full band Dallas show in three months, and it had been even longer than that since I saw him last, so there was no way I could miss this one.
There were only two opening bands, and I never caught the name of the first, probably because they had so many friends/fans out they didn’t think to drop their name, assuming everyone already knew who they were.
They didn’t do a lot for me, and part of that was due to their singers’ voice. In fairness, he did note he had been sick, even saying himself, “…My voice sounds like a bag of dicks…”, but all the same, there was only one song they did where I thought he sounded good and it was enjoyable. Aside from that, their music seemed a bit generic, very of pop/rock, and in a tiresome way.
A trio took the stage next, known as Nine Left Dead who had made the trek from Oklahoma City.
They opened with an instrumental song, which made me curious if that was going to be all they were, but starting with their next song, one of the members began singing (I believe it was the bass player).
The further they got into their show the more I enjoyed it, and some of their songs I thought were pretty well crafted, having some excellent music beds that were even catchy at times.
The only bad thing was they never really got any momentum going, often taking lengthy pauses in between songs, and at one point near the end the singer apologized to everyone, citing they were currently in the studio working on some stuff and they didn’t have much planned.
They could definitely stand to polish and tighten things up, but they are on the right track.
Last minute like this, you can’t expect to get an all-star lineup, but at least they were able to get one all-star act, and Paco Estrada and his band were about to take the stage.
When it came time for Paco and his band to start, pianist Scotty Isaacs began, softly striking the keys as he created a heavenly intro to “American Girls”. That was just one of several songs they did from the upcoming “Bedtime Stories” record, and Paco led them in winding it into their next song with some licks on his acoustic guitar.
Afterwards was when Paco formally introduced himself to everyone, though most of the meager crowd was probably already familiar with him. After another one of their new jams, they launched into one of the true gems from Paco’s recent years, and one that is just starting to find a life in the live set, “The Girl with the Heart of Steel”. “…The love you gave that could never be returned. So you took the knife and you cut your hand. You swore by your blood they could never break your heart again…” Paco belted out before they reached the chorus, “And that’s when you became the girl who could never feel…”.
He has penned a number of excellent songs over the years, and that one is close to the top of my list for being one of his best, especially in terms of lyrics. The new stuff kept coming with another catchy song, after which Paco slightly joked about one of the cities he frequents. “…Austin’s a good place for music, Dallas is of course great… But there’s just something about Tyler…” he said, not meaning any disrespect to the town at all, rather just saying it had a different vibe to it.
Things got more lively when they busted out “She”, whose more rock sound allowed Joel Bailey and Ryan Thomas Holley to cut loose a little more on their bass and guitar, respectively. Still, no one seemed to take more advantage of that song than drummer AJ “Irish” Blackleaf. He went ballistic on his kit, having almost a robotic style of playing by keeping his arms fairly rigid, but he tore it up, all the while wearing a smile, quite obviously having the time of his life.
As they wound up most of the upcoming music, they started to tap some of Paco’s (more recent) back catalog, with the fan favorite “Whiskey Kisses”, which sounds so much better when fleshed out by the full band. It was followed by another song all about love, which Paco explained was about a fairytalesque love, where you’re more or less caught up in the moment. It was a beautiful track, with the line (which I think I got right), “…These are the moments that make the hard times worth it…” being one that really stuck out to me.
That flow kept going with “When We Were Made”, Ryan adding some excellent notes to the end of it, which, while somewhat subtle, were enough to take the song to a whole other level. “Breaking Down” then brought the night to a close, the song springing to life towards the end when Paco crooned parts of the chorus. I really don’t think I’ve ever heard that song sound so intense before, as they embarked on more of an instrumental portion. As it drug on, I started to wonder if they were going to tack a cover song onto the end of it, as is tradition, or if they had switched it up in their time off. Eventually, it was met with the one response I was hoping for, the music subsiding as Paco sang, “Did I disappoint you, or leave a bad taste in your mouth?” I still say the addition of U2’s “One” is the best cover they’ve mixed with that song yet, and it seemed to sound extra amazing this night.
Paco had stated that would be their final song of the night, so as soon as it was over, the house music started coming back up, while a handful of fans begged for an encore. Their request was met when Paco stepped back up to the mic and said they did have one more for everyone. That last song was “Haunting Me”, and it was a nice end to their 59-minute long set.
It was an excellent show, and after again hearing some of those new songs, it got me all the more excited for “Bedtime Stories”, which will no doubt be a great collection of songs.
Also, the full band serves Paco, well, and after years of having a rotating cast of musicians accompanying him, it’s good to finally see some starting to became mainstays, like Joel and Scotty. Hopefully Ryan will be able to make this permanent, too, because his voice and slick playing added some nice elements to things this night.
Next up, Paco will be doing a couple of Austin shows, one on September 26th at 219 West Rooftop on 6th Street. The following night he’ll also be playing Darwin’s Pub, with Ryan Holley helping him out on both shows. Also, check out his records, including the very new “How I Spent My Summer Vacation” EP on his BANDCAMP PAGE. (Also, check out this interview Paco did with DFW Undercover.)
Despite the low turnout (which was expected for a last minute show), it was good night, and Paco and his band were more than worth the cover price.