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.
Three Links was my second destination for the night, where a truly killer bill had been assembled.
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…
“If you’re lucky nuff to be at Hank’s, you’re lucky nuff.”
That was what a sign above the stage at Hank’s Texas Grill in McKinney had written on it, and I have to say, after going to the venue, that’s a fitting statement.
It’s not just a concert venue, it’s also a restaurant and bar, and a nice one at that. It’s far more spacious than I would have guessed, stretching back quite a ways. At the back is where the stage is located, and it’s comparable to many venues in Dallas, Denton or Fort Worth. It’s cozy looking on stage, but not too bad; the stage is elevated enough to allow everyone a good view of the band playing; and the room’s small enough to be conducive to an intimate feeling between the fans and the band.
It should be noted this is a country venue, and they bring a variety of acts, even big-ticket ones, up here to the suburbs (just the night before Texas legend Ray Wylie Hubbard graced the stage).
This night, Hank’s was hosting The Dirty River Boys, who had spent the last week up in Steamboat Springs, Colorado for the Steamboat MusicFest, and before returning home to Austin, these El Paso natives were going to treat their North Texas fans to a show.
At ten on the dot the Nino Cooper, Colton James, Travis Stearns and Marco Gutierrez emerged from backstage, and were greeted with a bunch of fanfare. They may not be a hugely successful band yet, by they definitely have a following, and their fans were out in full force this night.
“How’s it going Hank’s?” Marco asked the crowd while he and his band mates settled into their spots. A few songs in they mentioned it had been about three years since the last time they were here, and noted they were happy to be back.
They cut right to the chase, however, starting their epic show with the lead and title track from their 2011 EP, “Train Station”. Nino added some subtle backing vocals to Marco’s singing, as the two softly plucked the strings of their respective acoustic guitars. It had a little more kick to it than even what comes across on the record, with the highlight moment being when Marco belted out the line, “…My heart’s a broken record, the needle’s singing out here name.”
The crowd loved it, and made it known with some deafening cheers and applause, while they marched on with their next song, which found Nino taking over the lead singing responsibilities, amidst the amazing four-part harmonies they all contributed to. He changed part of the chorus of “My Son”, from “How you gonna find your way back home? The maps you drew and burned and gone…” to, “…The roads you knew are paved and gone…” It was a nice artistic change, and on another note, Travis absolutely owned his cajon during this track. For those unfamiliar with the instrument, it’s a boxlike percussion instrument, and for him it also serves as his stool. He went to town on it, slapping it wildly and forcefully, and it was really something else to watch.
They moved to some more recent material, doing the outlaw country sounding song, “Lungs”. Now that they had done a few that their fans were familiar with, it was time to give everyone a taste of what their forthcoming record will be like. They did plenty of other new songs during this show, and this was one of a few that found Colton doing the singing. He’s got a great voice, and the fact that neither he, Nino or Marco sound anything alike adds an incredible mix of diversity to their music, though there’s still that common thread that binds everything together.
“That was a new song. This one’s an old one.” Marco informed the audience. Most of their songs didn’t have a seamless transition, though for the most part, they smoothly rolled from one song into the next, as was the case here. Marco pulled out his harmonica for “Dried Up”, a beautiful song with some nice hints of rock thrown in, and it’s a song that really shows off what a precise band they are. For instance, there are times when Marco lays into his harmonica in perfect time with one of Travis’s drum beats. Just shows the kind of accuracy you can get when you play shows at a near constant pace.
They even added a fun little touch to it, ending with Marco tacking on a portion of Bob Dylan’s “Just Like a Woman”. “…She makes love just like a woman. She aches just like a woman.” He sang, flashing a grin at the crowd before he sang the final line, “But she breaks just like a little girl.”
It’s little touches like that, that can make a great song absolutely unforgettable, as was the case this night. They followed it with another new song they’ve cooked up, and afterwards did an old fan favorite with a new twist. They kept “Carnival Lights” pretty slow and entirely acoustic through the first chorus, with only Marco playing it. “…So she stays lonely, with her poison inside medicine bottle, filled with nothing but her own shortcomings. She leans her head back, she puts ‘em down and they taste alright. Please, just try to stay conscious tonight.” sang Marco on the chorus of this emotionally heavy song, and then asked everyone a question. “Y’all still with us, Hank’s?” The crowd hollered at him to signify they were, and that was when they kicked the song into high gear with the full band. That soft start wasn’t the only change they made to the song this night either, and at the end they all four harmonized on the line, “Please, just try to stay conscious tonight.”
They got into more of a rock mode with their next song, another new one, which required Colton to swap from his upright bass to a standard electric one, before going switching back for their next one. “Y’all feel like singing with us?!” Travis shouted at everyone, standing up from his drum kit and waving his hands in the air to pump everyone up. He led them in what to sing while Nino walked over to stage left and took the mandolin out of its stand on top of one of the amps. The song that required some audience participation was “Boomtown”, and the fans were eager to join in. “Y’all take the second round.” Marco instructed early on, as Nino did the main singing, with Colton and Marco coming in at different intervals, harmonizing with him. The fans were more than willing to help out, especially on the chorus, “Hey! Hey! Hey! Hey! There’s a boomtown on the rise.” They kept it pretty fun, too, with Colton spinning his bass around at one point, the feathers and raccoon pelt that adorn it twirling right along with it.
No sooner had the song finished, then Marco set things up for the next one. “This is what we call a Chinese fire drill.” he stated, as the lot of them switched instruments. Nino went back to his acoustic guitar, while Travis took the mandolin from him. Colton brought out a banjo, which left Marco with the upright bass. They did a brief jam, just making some noise before stopping and counting themselves in on one of their most fun tracks, “Lookin’ for the Heart”. It really was one of the most fun songs of their show this night, and not just because you could tell they were having so much fun doing it.
There was one moment when Travis, who was pacing around a bit, turned and ran into one of the support columns on the stage. What followed looked like something out of a cartoon, and was very humorous, as he looked bewildered at the column. He proceeded to flip it his middle finger, than pretended to kick it, looking like he was about to get a bar fight with the thing.
Upon finishing it, they all returned to their normal roles. “…This is a country song about punk rock…” Marco told everyone. It was another tune from their new batch of music, and it really is about punk rock, and even has some tinges of the genre mixed in with their alternative/country/rock sound. The mood was brought down a bit as Nino started playing some notes on his harmonica, getting “Union Painter”, which is another one of their songs that tells a real story, underway.
They weren’t done with the storyteller songs, either. “This song’s about life on the road.” Nino told everyone. I was expecting one of the songs off their “Science of Flight” record, which has a title that fits that description. That wasn’t it, though. Instead, it was another new one, and Colton had to bring his electric bass back out for it.
I don’t say this often about music, so there should be quite a bit of merit in the following statement; the song was absolutely mind blowing. Seriously, not only during it, but also for the duration of their set I was thinking to myself, “Holy. Shit.” It was a roaring rock number, and was not only the most intense thing The Dirty River Boys have done, it was one of the most intense songs I’ve ever heard. It was beast of a song, and these guys really made something special with this song that had Nino singing about all the experiences of a touring band, from loading in and out of clubs and all sorts of other stuff. And fitting with the pace of the song, there was a point in the song where Travis threw his drum stick in the air, as high as he could, and caught it perfectly.
“You can bet your sweet ass that’s going on next album.” said Marco, while Travis set up the beat for their next tune, another new one that Colton was able to show off his chops on. The electric bass was back out for that one, as well as the next one, which was their most recent single.
Travis pointed this, saying that some of the people in attendance may have heard it on one of the local radio stations, and if no one had, they could call and request it. Marco started in with the chord progression of the track, leading in to it, before his guitar fell silent. Attention then turned towards Nino, who was looking up with his eyes closed, presumably counting himself in for “Desert Wind”. He and his band mates all came in at the same moment, launching into the gorgeous and moving powerhouse of a song.
“We haven’t done this one in a little while.” Marco remarked when things quieted down, seeming like he was talking to himself more than the audience. The song he was referring to was “Six Riders”, which had a few people gleefully singing along to it, and even if they hadn’t done it in awhile, you sure couldn’t tell it.
Once it was over, Travis interrupted the show, going ahead and apologizing to his band mates, acknowledging that he knew what he was about to do was highly unprofessional. Apparently, he had forgotten to bring a pack of cigarettes on stage with him, and now asked if anyone had one they would be willing to spare. “I can’t breathe. I need a cigarette.” he told everyone, before one fan dug a cigarette out and tossed it to him.
“Riverbed Wildflowers” came next in the set, and for a slower song, it packs quite a punch, and it may well even strike an emotional chord in you. They livened things back up with another new song, which Nino dedicated to everyone who was drinking whiskey this night. That was what the song was about, and started with all four of them harmonizing on the first line or so, before exploding into a rowdy rock song. It got the people moving, as did the next song, which was one they co-wrote with Ray Wylie Hubbard. They explained it was written about the violence in their hometown of El Paso, as well as the border city of Juarez. If anything can give that amazing rock song from earlier in the night a run for its money, it’s this one. It boasts a vigorous music bed, and Travis did some vicious drumming on it, rocking out to the point that the trucker hat he had been wearing finally went sailing off at one point as he thrust his head back.
The next number was done almost primarily by Nino, and that was the pretty and delicate, “So Long, Elanie”. People seemed to like (I, for one, did), but after finishing it he promised they were going to bring things back up, then looked at the other three guys to make sure they were ready. They created a haunting intro for “Letter to Whoever”, with some spooky music and eerie crooning into the mics, before busting into the short, quick paced song. “Ladies and gentlemen, Mr. Travis Stearns!” Marco shouted before he got a short drum solo during the instrumental break.
A few songs back they had pointed out they only had a couple left, and now, the night was about to come to an end.
“How many of y’all have seen us before?!” Travis asked, again rising up from his kit to get a good view of everyone. Quite a few hands shot up in the air, while others shouted they had. “So, y’all know how we like to do it then!” Travis roared, continuing to rile everyone up, while Nino retrieved the mandolin. They were ending their 93-minute set with “Raise Some Hell”, which musically resembles a Irish jig, and is arguably their most fun song. It certainly got the audience in a boisterous mood, many of whom seemed to take one of the lines from the song as a command, and stomped their feet against the ground. It also became a fun sing-along for nearly everyone, as the fans shouted right along with the band, “…Boys, we’re gonna raise some hell tonight!”
If that was their mission this night, it was one they accomplished, and they left everyone in a frenzied state as they retreated to the backstage area.
No one thought it was over yet, though, and a small group of people began chanting for “one more song”.
At most a minute passed before Marco peaked his head out from the door, then walked back onto the stage.
“It’s been a long week in Colorado.” he remarked as he got back behind the mic. He began the 11-minute encore portion all on his lonesome, having a little moment where all eyes were fixated on him.
“…I let you down, well, I fell through, but by and by I’ll get through to you. Just let me in again when it feels right…” he crooned on the oh so lovely and poignant song, “Another Night”, which is about a “stupid, drunken night” and seeking forgiveness. Nino joined him fairly early on in the song, adding another guitar part to it, and shortly after that first chorus was when Colton and Travis rejoined them, kicking things up a few notches. There’s also what I think is a pretty profound line towards the end, and that is, “…Lips, they’re only lips if they have no meaning.”
That was the last original song they did for the night, and Travis wound them into their final number. I’d guess it was something they worked up for their time in Colorado, and it was a pretty awesome way to close things out with.
They covered a classic from The Rolling Stones, and that was “Honky Tonk Woman”.
I know this will be considered sacrilege by many, but their version was superior to the Stones. They sped it up more from the original version, which made it harder hitting, and even mixed some very light country sounds into what was otherwise a sensational rock song. I guess the point is they made it their own, and once they finished it, Travis stood up from his drum kit and jabbed one of the sticks into one of the drums (I believe it was the snare, though I couldn’t see too well), signifying that they were indeed done.
I do an annual Best Of list on this blog, running down my favorite albums and concerts from the past year. When putting that list together late last month, out of the 120+ concerts I saw last year, I ranked one of The Dirty River Boys shows I saw second. This night, I was reminded why they placed so high on my list.
They’re aren’t many bands like this out there, at least not that I’m aware of. I’m not just talking about all their obvious qualities, either.
Yes, the fact that they have four very capable singers, each with their own unique tone is fantastic, and it’s only made better by how they’re incorporating more of that into their new music. Not only that, but they’re just skilled musicians in general, being right at home on any of the instruments they spend time on. As for their live show, I’d say it’s one of the best I’ve ever seen from almost any band, being extremely energetic and fun. It’s not even any of that, that makes them so astounding, though.
Is what makes them so astounding is the sheer fun they so clearly have while on stage, which in turn translates to the audience, allowing you as a spectator to enjoy what you’re seeing even more. It’s the raw emotion that’s found in their music and the passion they put into singing and performing the songs that make their shows such an experience.
You just don’t often find bands that put that kind of feeling into their music, and that’s what sets these guys apart from most bands.
This quartet recently went into the studio and laid down the songs for their next record, which will be coming out sometime this year. In the meantime, they have an LP and two EP’s, as well as a single of “Desert Wind” all available in iTUNES.
As for shows, their next one will be on January 31st at Cheatham Street in San Marcos. They also have a show in Helotes at the Floore’s Country Store on February 8th and a gig at The Office Sports Bar in Lubbock on the 28th. And on February 21st, they’ll be back in North Texas, with a Fort Worth gig where they’ll headline Billy Bob’s Texas. And for those like me, who live about an hour away from Fort Worth, I promise, their show would be well worth the drive. And after that, it looks like their next North Texas show won’t be until April 25th, when they play the Granada Theater.
Thus ended a wonderful night in the suburbs. I doubt Hank’s will be a venue I frequent, mainly since I’m not a very avid listener of country music, but I look forward to hopefully seeing another show there sometime. And one of the best things about this concert was that it was over relatively early, and the drive home was a little shorter than it is coming back from Dallas.
The Suburbia Music Festival has been in the works for the better part of a year, creating both skepticism and excitement amongst music lovers in North Texas.
The festival aims to, over time, build its self up to rival all the other big festivals in the country. The possibility of this being as big as Austin’s SXSW, Lollapalooza, or any other festival remains to be seen, but it’s important to remember; everything has humble beginnings.
Some people just don’t believe that the Dallas, Texas suburb of Plano ever could or will be a destination for music lovers from across the country, or even the world. I have to admit, I myself am on the fence about it, but I’m pulling for the festival, and that it may one day become an institution here in North Texas.
Today, everyone got their first look at bands that will be performing at the Oak Point Park on May 3rd and 4th, and in the true festival spirit it’s an eclectic mix. Headliners include David Guetta, Alabama Shakes and J. Cole, who will no doubt be the names people gravitate to when seeing the full lineup. Slightly Stoopid, Tegan & Sara, NeedtoBreathe, Third Eye Blind and Blue October will probably also get music lovers salivating.
If this festival is to be a success, it will be those bands and the other heavy draws that make it so, but I promise you, they won’t be the bands that you’ll be raving about when it’s all said and done.
Here’s my list of the bands that you can’t afford to miss out on:
(Photo credit: Real Bear Media)
Twenty One Pilots
The Columbus, Ohio duo of Tyler Joseph (vocals and multi-instrumentalist) and Josh Dun (drums) are one of the most original, dynamic, and oddest bands I’ve heard. They blend together a few different genres, including rap, pop and rock, and while you might think that wouldn’t work together, it results in the most incredible music. Tyler can hold his own with any rapper out there and he’s superior to most (for the record, I’m not even a fan of rap, but what he does is awe inspiring), and then in an instant he can change gears, nailing some gorgeous falsetto notes. The substance of the songs can’t be overlooked either, and they are extremely heartfelt and honest, often detailing some painful moments from his life.
I had the pleasure of seeing Twenty One Pilots in the tail end of 2013, and their performance was one of the best live shows I’ve ever seen.
(Listen to “House of Gold” and “Semi-Automatic”.)
(Photo Credit: Daniel Zetterstorm of CanPhoto)
They’ve played Lollapalooza; They’ve played SXSW; And they have plenty of other festival dates coming up this year, as well as being the opening act for some of the Canadian dates Black Sabbath has in April. You probably haven’t heard of Reignwolf yet, but they’re a band whose quickly on the rise.
They mine a more classic vein of gritty rock, with bluesy, soulful guitar licks, and singer and guitarist Jordan Cook has a voice to match that. Another band I saw in late 2013, they performed their first Dallas (and North Texas show) after one od their dates at Austin City Limits, wowing everyone who was in attendance. Their shows are explosive and steeped in the purest essence of Rock ‘n’ Roll. This band will be big and you will be seeing them arenas one day, so catch them in a smaller setting while you have the chance.
(Listen to “Are You Satisfied?”)
Hayes Carll may be one of the most underrated Americana musicians on the national scale. This Texas treasure has broken into the national scene (his last two albums were released on the UMG or Universal Music Group record label), but since he doesn’t play the commercialized pop/country crossover, he doesn’t get the attention that so many Nashville artists do.
He’s a true poet when it comes to songwriting, though, penning songs that range from being humorous (“I Got a Gig”), to very emotional songs that convey a lot sadness (“Beaumont” or “Chances Are”). He’s a staple in Texas music, and if you appreciate true country music, he’s a must listen and a must see.
(Listen to “Drunken Poet’s Dream”.)
(Photo Credit: A+E Photography)
The Unlikely Candidates
This local Fort Worth Indie Rock outfit recently inked a deal with Atlantic Records, which in turn allowed them to finally get a new album out to fans. They just the right mix of pop and rock, adding a bit of a British flare to it, while they’re live shows are just straight up fun and enjoyable to witness.
(Listen to “Follow My Feet”.)
(John Mudd of Ishi)
The Dallas based electronic trio has become a powerhouse around these parts, selling out nearly every show they play, and have even secured a following up in Denver and New York City.
Their long awaited sophomore album, “Digital Wounds”, was one of my favorite releases from last year, and saw them further embracing the electronic style, verses their self-described “folktronic” they previously classified themselves as.
They’re solid and professional on stage, while keeping it light, too (vocalist John Mudd has been known to drop to the stage and proceed to hump it). They probably won’t get much time at Suburbia, but they’ll be a band well worth seeing.
(Listen to “Mother Prism”.)
Another Dallas local, The O’s have cemented their place as a hometown favorite (and they even do European tours fairly regularly). They’re an impressive country duo, incorporating some of the truest country instruments into their sound, from a banjo to the pedal steel guitar and both John Pedigo and Taylor Young have excellent voices. They write some catch songs to boot.
(Listen to “Outlaw”.)
(Photo Credit: Will von Bolton)
Another hometown hero on the rise, Larry G(ee) and his often large backing band, consisting of a few female backing vocalists and some brass instruments, never disappoint. They create a wonderful mix of funk and soul, while Larry G(ee) himself is a riveting frontman armed with some primo dance moves.
(Listen to “Camera Phone”.)
There you have it. Stay for the headliners, but go to the Suburbia Music Festival to see those bands I just outlined. You’ll be glad you did.
Tickets go on sale on January 25th and can be purchased HERE. Prices TBA
It will take place at Oak Point Park in Plano, TX on Saturday May 3rd and Sunday May 4th.
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.
It seemed like it had been a little while since I had caught a show at the Doublewide, but with the one the venue was hosting this night, it was impossible to pass up.
Here Holy Spain was headlining, doing their first show since releasing their latest EP at the end of July, and they had a couple of other Dallas acts opening up for them.
Dead Mockingbirds was first up (despite being listed as second on the Doublewide’s website), and this trio got the night off to an excellent start.
They crammed quite a few songs into their 41-minute long set, and their fifth one in was one of my favorites, just being a killer song that singer and guitarist Kenneth Everette Pritchard shredded on, and the bass intro that Trinidad Diaz started it off with was very enticing. Upon finishing it, Kenneth thanked the people who had made their way into the showroom. “…It’s one of the new ones…” he stated.
They weren’t all about rock music, though, throwing in some humor here and there, like after their next song when Kenneth thanked the sound guy, referring to him as their new best friend. “…He doesn’t know it yet, but we’re going to go hang out at his house after this…” he joked, before assuring the sound guy they weren’t going to do that.
They knocked out a couple more, and near the end of one Kenneth dropped to his knees at the center of the stage, fiercely and quickly plucking the strings on his ax for a knockout solo. Matthew Crain then got his turn at a solo, banging about on his kit as they fired up another song. After that one that proceeded it, Kenneth announced it was about “schizophrenia”, which made sense, since it was a pretty wild and crazy sounding number.
They then headed for the end, cranking out four more tracks, including one of the cuts from their recently released 45 record.
I was pretty impressed by these guys, who threw down with the best of them, being very forceful in their performance.
With that, the live show is definitely where it is at for this cohesive trio, who were obviously there to entertain and had fun doing it.
I did have a little trouble hearing Kenneths’ voice at times this night, though I’m not sure if that because the mic volume could have stood to be turned up or what. Still, that was far from being a strike against them.
If you go to the bands REVERBNATION PAGE, you can download some of their songs for FREE, and also keep an eye on that page for future show updates.
Sandwiched in between the opener and headliner was Plissken, and with a name like that, I was interested to hear what they were like.
Personally, they were way too heavy for my tastes, what with the throaty screaming their singer did, and because of that I zoned out on them.
It just wasn’t my cup of tea, but if that’s something you enjoy, check ‘em out.
A little after midnight Here Holy Spain was ready to go, and they had a set planned that would traverse their entire career, from old to current, and even some new material.
A sampling of that newer stuff began their show, kicking off an onslaught of songs. It was titled “Boss Level” (according to the set list), which they quickly sailed through, bleeding it seamlessly into the title track from their 2009 LP, “Manic”. Drummer Scott Brayfield and bassist Erica Guagliardi created a tight knit and quick rhythm section on that one, which eventually gave way into one of their other new ones, “Warning Signs”.
They didn’t stop there, Scott transitioning them right into the next song, before singer and guitarist Wes Todd fired up the first notes of “Drive Out West”, one of the instant classics from the newly released “Under the Undertow” EP. Now only “Division” remained untouched, and they fixed that quickly with the lead track from that full-length, “No Love”. Most of the tracks from that album are filled with a lot of bitterness and anger, which Wes harnesses well, as the raw emotions seep out into his singing. They had a couple more offerings from that record, too, continuing with “Waiting, Wearing Your Skin”.
It only took 15-minutes for them to work through those six songs, and while some of them are shorter, that still speaks to how efficient the members of Here Holy Spain are. As they paused to tune, Ben could be overheard confirming with Wes what the next song was, which was “Can’t Control”. “…They just can’t control it. They try, but they can’t…” Wes joked with his band mate, while they readied themselves. On one of the lines from the second verse, “…My beating, bruised, screaming bleeding heart…” Wes took most of the aggression out of his voice (compared to the album version), giving it a different feel, and it actually made the song sound even better.
To eliminate anymore downtime, Scott tapped on some of his cymbals while the rest of the group tuned, getting things ready for one last song from their new batch. It was called “Physics”, and Ben seemed to be the one that stole the show on that one, having some killer and catchy parts on both the verses and choruses, simply killing it. That one was definitely my favorite from this new set of tunes, and it was followed by my favorite from that new EP they put out in July.
While simple, the opening chords of “Golden Gun” are mesmerizing, and lyrically it’s easily one of the best, deepest things Wes has written. “…How long ‘til the dawn is coming? how long ‘til I drop? I never knew you better than I never knew my god…” he sang before the rest of the outfit joined in as it roared to life.
After one last timeout to get prepped for their final songs, they pulled out the emotional “Even The Bright Ones Burn Out”, before segueing it right into the turbulent “Way Out One In Five”, which concluded their 36-minute long set.
As usual, they knocked it out of the park, and I (and I’m sure other fans) enjoyed hearing the assortment of songs from their previous, current and coming albums. Speaking of that, their new, new material is fantastic, and even though their new EP is barely two months old, it has me looking forward to what their next release will be like, even though that’s probably at least a year away at this point.
If you want to hear some good rock music with a flare of punk, you’ll be hard-pressed to find a group better than Here Holy Spain, especially in the live setting. On that note, they do have a show at Club Dada on October 12th. And don’t forget to pick up their music in iTUNES, and if you collect vinyl, you can get a hard copy of their split vinyl release from IDOL RECORDS online store.
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.
It took six years, but the Toadies finally brought their roving music festival known as Dia de los Toadies to their hometown of Fort Worth.
Actually, with the festival having been stationed in New Braunfels for the last three consecutive years, it was easy to forget the festival was meant to roam about the Lone Star State in the first place.
I must admit, it felt a little strange to me, though, being only the third time I attended the festival it was also the first time I (or rather my dad and I) didn’t have to trek south to Central Texas for the event. Instead, it was just a short(er) little jaunt over to Fort Worth and the Panther Island Pavilion, which was the spot for this year’s event.
It wasn’t a little slice of heaven like the setting of the past few years, but it was a nice space. Still, it could benefit from some shade trees, and while it was fairly removed from Downtown, leaving the attendees unable to see or hear any traffic or anything, the buildings of downtown Fort Worth still served as a reminder that you were in the city.
Being in North Texas this year, the lineup drew almost exclusively from the areas talent, and getting the day long festival going was some students at the School of Rock, but not just any students, they were students from the dean’s list.
Their nearly 30-minute long set consisted entirely of covers, including some Fleetwood Mac and Janis Joplin, among others.
The group consisted of a large collection of musicians, who often played musical chairs, with five of them beginning with an instrumental piece, before a girl who looked like she was perhaps ten joined them on stage for their first song with lyrics, and surprised me by having a more powerful voice then I was expecting.
It was a good glimpse of what could perhaps be a future crop of local area musicians, and while all of them were already good at their craft, there were two that really got my eye. One was the first bass player who was on stage with them, and played most of the set. He killed it, having an awesome style of playing while slapping the bass. The other was one of the other vocalists, and before their final song, an instructor or someone with the School of Rock walked up to the mic, informing everyone that Zoe (the singer) would soon be graduating from the school after something like four years, and this would be her last time performing as a student.
She had a wicked voice, often conjuring more of a sharp growl, and as a front women had a great presence, getting into the music and moving accordingly to it, and just had an aura about her that ensured they had your undivided attention.
Kudos to the School of Rock for doing what they do, and to all the kids for putting complete dedication into their set and best of luck to them as they continue to improve.
Over on the smaller stage, the Play.Rock.Music. stage (of course named after the Toadies most recent release) was the Fort Worth based, The Cush.
Their 28-minute long set featured a hefty bit of new material from the album they are currently working on, and I believe their opening song was one from it. They did throw some more rock stuff into their performance to better fit with all the other acts, however this song was a little softer, and featured some truly gorgeous harmonies and textures from the husband and wife duo of Burette and Gabrielle Douglas, the former playing a guitar, while she rocked the bass.
She did most of the singing on it, and afterwards they did another new one, which if I heard correctly was titled “Orange Like Water”. Afterwards, drummer Todd Harwell led them into a song from 2010’s “Between the Leaves” with a mighty drum roll, launching them into the explosive “I Shout Love at the Heart of the Atom”. They might be more of a low-key outfit that does more indie like songs, but that doesn’t mean they can’t throw down when they need to, and that song served as a prime example of that, and really allowed guitarist Josh Daugherty to cut loose.
“This song’s called The Drone.” Burette said to the small crowd of onlookers, before they did the more soupy, dreamy sounding song which was drenched with some sounds courtesy of a synthesizer. They were almost done, now, doing two more newer ones, and “Cover Your Eyes” kicked things back up into high gear. It was easily the most intense thing they played this afternoon, and Todd knocked out some strong beats on the song’s outro, which all but belonged to him, before they did their closing track.
In fairness, I haven’t see The Cush much, with this being only the third time I’d caught them, but they grow on me each time around.
In fact, Gabrielles’ voice sounded better than I’ve ever heard before, being absolutely beautiful. Part of may have also had to do with the new songs, which I found to be some of their best stuff to date, particularly the more rock oriented songs. They pull of both styles exceedingly well, though, and the duel vocalists adds an interesting component to their whole dynamic.
Check out their records in iTUNES, and stay tuned to their FACEBOOK PAGE for future show updates and news about their forthcoming record.
Back over on the main stage (which was the Panther Island Pavilion stage I should add) a newer Dallas group was getting ready to perform, and that was These Machines are Winning.
The band has earned praise since their debut, and especially after releasing their first record earlier in the year, but I had yet to see them, and in fact, had never even listened to their music, so I was clueless on what to expect.
However, I did not expect to see three guys (they did not have a drummer by the way) dressed in solid black, which included hoodies, and yes, they did have the hood drawn over their heads. Probably one of the crazier things I’ve seen a band do in in heat that was pushing 100 degrees, but that also earns them some serious props for sticking with their signature look regardless of how hot it was.
“It’s Been So Long” kicked off their set, and I was a bit surprised to find out how electronic based their music was, with the percussion also being thrown in on the sample tracks. I don’t mean that as a bad things in any way, it just wasn’t quite what I was expecting. It was a striking sound right from the start, and I mean that about just the tracks themselves, let alone with the slick guitar parts that lead guitarist Dave Christensen and singer and guitarist Dylan Silvers, were adding on, as well as the rhythmic bass lines Hightower was cranking out. It completely enveloped me, and they had me mesmerized throughout the duration of their 26-minute set.
With a little bit of feedback they brought it right into the following song from “Defender 1”, “Get a Little Closer”, which was eventually bridged into “Brains Inside Our Head”. Dylan ditched his guitar for “Just One More (Monolith)”, taking up more of a front man role and proving he was just as comfortable on stage without a guitar as he was playing it, walking around a bit while delivering the lyrics. “This song’s called Beat S.” he announced after placing his guitar back around him. “…You’ve been looking at me like I was somebody else. You’ve been looking at me like I could fix this whole god damn mess…” he sang on the second verse of the song which somewhat breaks the mold of traditional songwriting by lacking a true chorus, something it really doesn’t need.
Upon finishing it, Dylan then named their next song, “Fornication”, which I thought was probably their most rocking number, even though it still had a real electronic element to it. It eventually gave way to “You Have Been Talking to a Ghost”, as they continued to power through their set as quick as they could to fit everything in, and once it was done they took a pause. Dylan spoke more to the ever growing crowd, rather than thank the people for coming out and the Toadies for having as he had done at other points in their set. “It’s fucking hot. It’s gonna cool down. It’s gonna rain.” he said.
The first part of that was very true, but sadly the other two sentences never did happen this day. With that said, the trio tackled their final song of the day, “If This City Won’t Sleep”, capping things off nicely.
Sometimes, when it comes to electronic samplings, I think they can sound fairly cold and sterile, but that was far from the case with These Machines are Winning. It was very vibrant, and while I’d hesitate to say they are breaking new ground, their music is highly original and very different from most of the stuff currently out there.
It is very creative music, and the synth sounds work in perfect combination with the rock flare Dylan, Dave and Hightower bring with their live instruments.
Since seeing them, I’ve listened to “Defender 1” a few times, and the songs do translate well on the record, and they do pull them off live exactly how you hear them, though it is the live show where things are really at for them. They put on a pretty energetic show, as well as a fun one, and one I hope to see again soon.
To keep up to date on their shows, just stay tuned to their FACEBOOK PAGE, and do be sure to preview and even buy “Defender 1” in iTUNES.
Over on the other stage, an old iconic Denton band was about to be doing one of their occasional reunion shows.
That band was Baboon, who was part of the “Fraternity of Noise” (a title that was collectively given to three bands back in the early 90’s), and while that may have been well before my time, I was still somewhat familiar with Baboon, and have been for a little while now. (side note: this was the second year that Dia de los Toadies has featured one of the bands from the “Fraternity of Noise”.)
Baboon has been in business for over two decades now, and semi-retired would probably be the best word to use for them. They’ve never actually hung it up and called it quits, though their reunion shows are few and far between, and because of that they had quite the audience.
They traversed much of their lengthy career, at least as much as they could, the fiery “Rise” was how they began things. It definitely piqued my interest as they jumped into action, and each member of this quintet was pretty spry, and certainly didn’t let their age show on them.
“Lush Life” wasn’t quite as aggressive as that first track, but still packed a good punch, and they quickly followed it with “Breaking Glass”, which I thought had some sweet guitar lines, which in turn made it a catchy little tune. Before the next song, vocalist Andrew Huffstetler noted they were doing it because it was a request, pointing out that is something they don’t always take. They named the evidently longtime fans, who I assume were in a relationship of some type, since they said the guy had requested it for the lady, and fittingly so, because “Nation of Twos” was somewhat of a tender love song.
The mood changed when they fired up “I’m Okay if You’re Okay”, which I found to be the most interesting song of their set. There was an eerie atmosphere to it at times, with some haunting riffs from guitarists Mike Rudnicki and James Henderson, while Andrew forced his voice into a falsetto tone, letting loose a violent scream shortly after, while the rhythm section of drummer Steven Barnett and bassist Bart Rogers was off the wall. At times, parts of the song seemed so opposite one another it was almost contradictory, yet it worked.
With some beats on his kit, Steven wound them into “Dracula Eyes”, which wound up being one of my favorite songs they did. It may not have been an all-out onslaught of rock like some of their other material, but it was an all around brilliant song. They continued busting out the classics with “Closer”, then eased into “California Dreaming” with some light guitar chords, at least until the song took off. By the time it was done, they only had one song left, and it was “Evil”.
It was a great 32-minute set in my opinion, but for the longtime fans, it evidently was not long enough, with the chants for an encore starting no sooner had the final notes been played, making them the only band (aside from the Toadies) to get demands for an encore. It was a request Baboon really seemed to want to grant, but with the time constraints of the festival, they were unable to do so.
Obviously, I can’t attest to what a Baboon show was like back in the day, but from the looks of it this afternoon, I’m going to guess that they haven’t lost much of their edge.
In terms of a high-strung, energetic show, Baboon was the best there was on the festival, constantly moving about, and in Andrew’s case even jumping, proving they could run circles around the fresher bands they were sharing the stages with.
There were times when Andrews’ voice would crack a little, but that was only on some of the high notes he hit, and that’s the only compliant I can make about their show.
In regards to their music, I think it has withstood the tests of time, still sounding creative and fresh compared to any rock you’d hear now days, probably because they just don’t make rock bands like Baboon anymore (at least not in mainstream rock).
Who knows when these guys will be pulling out the drums, guitars, bass and microphone again, but whenever they do, I’ll definitely try to be there to witness another show.
Back over on the main stage, another trio was ready to go, and the rock continued with Oil Boom.
The band is readying a brand new record, and they squeezed in several songs from it, but also threw in some current and older stuff, like “45 Revolutions Per Minute”, a smart, fun little tune that was completely consuming. Dugan Connors kept the drum beats going, bringing them into one of those songs from their upcoming record, and it was followed by another.
Once it was done, bassist Steve Steward made a reference about how big the stage was, and it wasn’t your typical reference. “Remember that part in the Batman movie, where Batman, or Bruce Wayne and Vicki Vale are in the dining hall on opposite sides…” he said, speaking of the 1989 Batman film. “That’s what I feel like…” he said, then added, “Ryan’s Vicki Vale, obviously.” talking about his band mate, singer and guitarist Ryan Taylor.
That made for a great laugh, and served to only make them more entertaining than they already were, before they continued on with two more songs, tied together nicely with a little bit of guitar feedback. “…Here’s one you all will know, maybe.” Ryan said to the crowd. It was one from last year’s “Gold Yeller” EP, and though I didn’t know it, I quickly became a fan of “The Great American Shakedown”. “Shaking down, shaking down, shaking down, you know I’m all shook down…” Ryan sang on the chorus, the unique tone his voice has making the song all the more irresistible.
The next song they did featured a stellar guitar solo from Ryan, and while it was the most prominent instrument at the time, Steven and Dugan held it up with a tight rhythm section, then after one more new song, they reached the final song of their 37-minute long set. It was one off their first record, and even though “Bite Your Tongue” was older and had been written with the bands original singer, it still came across as a staple of their set, and was one of the highlights.
Having heard of Oil Boom for a few years prior to this, it was good to finally see them live. In fact, I had listened to their music a few years back (around the time of their first album, so circa 2011), and wasn’t really drawn in by their music, but damn, their stuff this day sure got me hook, line and sinker.
A lot of that has to do with Ryan, who, just in comparing their two EP’s, is a much better singer, in my opinion, giving their sound a whole a new style. And speaking of their sound, it is rock first and foremost, but there’s some underlying blues and soul qualities to it, some of their songs even having a revamped 50’s to 60’s era sound to it.
Now that I have seen Oil Boom, I’m wondering why it took me so long to do so, and I’ll have to make it a point to see them a little more often when I can.
They’re keeping busy, with a show in Austin on September 28th as part of the Pecan Festival. On October 4th they’ll be in Houston at the Continental Club, then Sundown at Granada in Dallas on the 5th. The 12th will see them in Fort Worth at the Flying Saucer for Beerfest, and the following weekend they’ll be back in Cow Town for Lolaspalooza at Lola’s Saloon on the 19th. On the 25th they’ll be at the Blue Note in Oklahoma City, with a Tulsa gig on the 26th at the Mercury Lounge. Lastly, on November 9th they’ll be back in Dallas at the Granada Theater, opening for Johnny Marr of The Smiths. As for their music, you can of course pick up their EP’s and some singles in iTUNES.
The pace of the day was about to take a drastic change over on the Play.Rock.Music stage, though not everyone (myself included) knew just what they were about to experience.
This San Antonio based quartet known as Piñata Protest was on their way out to California to start a tour with Guttermouth, but they were stopping here first to give the Dia attendees a taste of their self-described (according to their Facebook page) “Mojado punk” brand of music.
I was expecting the punk part, though, especially not after seeing singer Alvaro Del Norte wielding an accordion. Not the most punk rock sounding instrument, at least you wouldn’t think it would be.
The outfit recently released their new record, “El Valiente”, and they opened with the first full song on it, “Vato Perron”. It quickly became apparent they’ve carved out their own little niche for themselves, the accordion adding a real Mexican flare to their music. Actually, all of the instruments did, from the notes Matt Cazares played on his guitar, to the rapid fire beats drummer JJ Martinez was cranking out, working in perfect tune with Marcus Cazazres’s bass lines.
It was all fast paced like punk music, is though, and they lowed through their 34-minute long set, going almost straight into another number. That new album of theirs wasn’t the only source of music for them, and actually, they seemed to draw equally from it and their first release, “Plethora”, running through the short “Jackeee”, before doing the title track of album two, “El Valiente”.
They were both throwing down and making for a very fun live show, but it was about to get a little more hardcore. Alvaro took off the accordion he was using. “Are there any punk rockers out here?!” he asked, saying he meant real, true punk rock fans, not pretenders. Some of the onlookers roared back at him to signify there were. “…Prove it.” he said, “Start a fucking circle pit…” he commanded. As for the song, I don’t know exactly what it was, but I’m leaning towards “Que Pedo”. Regardless, once they tore into it, a mosh pit erupted, lasting the whole not even complete minute the song did. Actually, some of the people looked confused, surprised the song was already over, but hey, that’s a true punk rock song right there. Short, intense and to the point.
After another tune, they did an Irish song for everybody. At least that’s what Alvaro told the spectators. “…This is an Irish drinking song for all you Irish motherfuckers.” he laughed. I believe it was “Life on the Border”, and upon finishing it, they geared up for their next song by getting the audience to clap along. Alvaro asked for everyone to get their arms higher in the air, making a wisecrack once they were fully stretched upwards. “Oh, I can smell your armpits from here.” He said, waving his hand about as if he were trying to waft the smell away.
That song was “Guadalupe”, which was relatively tame by the standard Piñata Protest had so quickly set, before rolling it into “Suckcess”, kicking things back up. The full-blown punk rock side they are capable off showed itself again with their next song, another pit forming, as a handful of people slammed against one another for the duration of another song that was unknown to me.
By now it seemed like their time should be running out, but with very few songs that are even three minutes long, they kept powering on with “Volver, Volver”, which JJ wound into “Rocket”, Marcus banging his head about to the drum beats of that partially instrumental song.
A very catchy song was “Tomorrow, Today”, and once they finished it, it was time to put their spin on a couple of traditional songs. “…This song’s about a little cockroach, who likes to smoke weed…” Alvaro said to the crowd, who both laughed and cheered at that, before he went on to dedicate it to all the “officers in uniform” for keeping everyone safe this day. I promise you, you have never heard “La Cucaracha” sound like the way these guys did it, putting a very punk twist on it, even complete with a trumpet. They then wrapped up their set with Alvaro said was another traditional song, “Cantina”, another one they no doubt made much more punk sounding than it originally is.
Piñata Protest was easily the most original sounding band of the festival (and that could actually be extended to most original band I’ve ever heard in general), and they also stuck out as being one of the highlight acts of the day.
Fun and aggressive is an interesting mix, especially in the way they mixed it, but that was made them so enjoyable. It was something fun that you could cut loose and have a good time listening to, though also doubled as a fierce and tight rock show.
These guys pull off their unique style incredibly well, and their live show is one to behold, because they won’t disappoint. There’s also a good chance they might be near you on this tour they are a part of. For all their dates, click HERE, and they will be on the road through mid-October. Also, do your ears a favor and give them a taste of something different by checking out their records in iTUNES.
Back on the main stage, it was time for another drastic shift in music (compared to the band that had just finished), and everyone was about to get countrified by the duo, The O’s.
“Thunderdog”, the band’s latest LP, was the main source of their music this day, but they also drew from “Between the Two” a little bit, like with their opener, “We’ll Go Walkin’”. “Every morning, when we wake up, I brew up some lovin’ and pour you a cup…” sang John Pedigo at the second verse of that sweet love song. That overwhelmingly happy song transfers its emotions well onto the listeners, making it impossible to be in a bad mood.
“…This song’s called Dallas.” said acoustic guitars and other vocalist Taylor Young, who also adds the percussion by stomping on a pedal to hit the bass drum that sat at his feet. That tune was the only bumpy part of their set, as I had trouble hearing Taylors’ voice, and even John’s as he harmonized with him. Whatever the issue was, it resolved near the end of it, which was just in time for them to do the lead track from “Thunderdog”, “Outlaw”. It’s perfect proof that this new record features their best collection of songs yet, and this song’s at the top of the list. “…We’ve all got the right to fix things that we don’t like… Revolt, reshape and reload…” the two sing on the chorus, which I think sends the message that if you want something to change, you can and need to be the one to make it happen.
“Found the One” continued their show, and they shared a little bit of the banter they usually make, something Taylor mentioned earlier when he apologized, “…We’re trying not to talk as much today as usual…” Here, they pointed out the producer of their recent record. “…You look hot…” Taylor told, before pointing out he meant in hot in the sense of the temperature. John then chimed in, saying something to the effect that he thought his band mate meant the physical sense, because he was looking pretty good.
They then started a real gem from the new album, “Rearranged”, which was also a very captivating moment of this performance. “Well Taylor, it looks like wearing black wasn’t a good idea after all…” John said to his band mate, as they began to talk about some of the other bands, like These Machines are Winning and their outfits, while saying Baboon probably had the smartest idea by dressing in all white. “…That joke never gets old.” Taylor stated, giving the impression they used that before, which only made the joke that much finnier. They then stepped it up with the only song they have that is borderline rock, and that is “Kitty”, which sees John shredding on his banjo at the end.
There was a long build up to their next song, John doing a lengthy harmonica solo before the two started the music bed of “In Numbers We Survive”, which they segued nicely into “Pushin’ Along”, which required John to use his pedal steel guitar. It then came time to end their 42-minute long set, and what better way to conclude it than with “Everything’s Alright”.
I believe I said this the last time I saw The O’s, and I’ll say it again, they’re growing on me each time I see them. This was definitely the best show I’ve seen them do, even topping the festival I saw them play back in May, mainly because they were able to squeeze some additional songs into this one.
If you’re looking for great, quality country music, then they’re a group to check out. Both John and Taylor are fantastic singers with their own unique sounding voices that can add different tones to their music, and they can harmonize like no one’s business. They also write some topnotch music with brilliant lyrics.
You can find their three records in iTUNES. They’re also keeping busy through the rest of the year, playing Three Links in Dallas on October 4th, with a gig at the State Fair of Texas on the 11th. The 20th will find them back in Fort Worth at Lola’s Saloon, then on the 25th they’ll be up in McKinney at Hank’s Grill. For November they have shows planned in Grapevine, Dallas, Plano and Denton, and even a show in Nashville, TN come early December. For all of those dates, go HERE.
The Burning Hotels were ready to go over on the other stage, having amassed quite a crowd.
While everyone loves these guys, they’ve never won me over, but I was open to perhaps this being the time the band finally clicked with me.
Their 35-minutes on stage began with “Always”, with a couple of other songs (I suppose newer ones) coming next, none of which did much for me. As I’ve said before, I’m not a fan of Chance Morgans’ voice. However, I have enjoyed the songs that guitarist Matt Mooty sings on, and had been somewhat looking forward to “Days are Gone”. It was the first song of the night where Matt really had a part in singing, and maybe he was just having an off night, but his voice was far from good.
It really caught me off guard how incredibly pitchy he was, and the same could be said of Chance, as they continued on with “Lovely Lovely Lady” and “Sound City”. By that time, I had all but zoned out, making it seem like the perfect time to go ahead and get a place in line to buy some Toadies merch, as The Burning Hotels finished up with three more songs, including “Allison” and the closer, “Beard”.
I’ve tried to get into The Burning Hotels, I really have. There even a handful of songs that I really like the recorded versions of, but in the end, honestly, I just feel these guys are overrated.
All the same, if you want to listen to/buy their music, you can do so HERE and HERE.
Now after seeing a few acts I had caught before, I was looking forward to checking out another act that was new to me… Well, sort of.
I had heard of The Dirty Rivers Boys before, about a year ago, and loved their music, but hadn’t managed to see one of their shows when they had come through town, at least not until now.
They looked much different than any of the other bands this day, with the bass player, Colton James, wielding an upright bass, while drummer Travis Stearns sit atop a cajon, with only a partial drum kit of a snare and a tom around him.
No sooner had the MC of the event introduced them, then they got down to it, opening with the lightning quick, “Letter to Whoever”. The catchy beat reeled you in immediately, and I believe it was Nino Cooper who handled the singing on that one, while also playing a guitar, and he spit out the words just as rapidly as the song was quick. There wasn’t even really time to applaud their efforts as they continued on to their next song, “Heart Like That”. “She’s just a girl with a ramblin’ heartache, he’s grown a hard, lost man…” went the chorus of that infectious track, which wound up being my favorite of theirs and a real sing along quality to it.
Those two songs had come from their first full-length record that came out last year, but now they went back to the first two EP’s they released, playing a song from “Train Station” and “Long Cold Fall”, respectively. They switched things up slightly with “My Son”, which showcased what incredible harmonies the quartet is capable of, as Nino, fellow guitarist Marco Gutierrez (who did the majority of the singing on it), and even Travis all chimed in, their voices blending together to make a beautiful sound. Nino then took back the reigns for their next number, briefly saying it was a song he wrote about a union painter he had met, aptly called, “Union Painter”, and had a true country sound to it.
“This is what we like to call a Chinese fire drill.” Marco told the crowd, as they all took on different roles for the next song. If I got it right, it had Travis playing a banjo and singing, Marco on bass and Colton rocking the mandolin. Once they finished it, they reverted back to their typical instruments for what they said was a “drinking song”, which was “Draw”. They rolled it into another song I wasn’t able to figure out, though it was more of a heavy hitter than the previous song. “…There’s this brand new thing on the streets called punk rock…” one of them said before ripping into the song, which did have a slight punk rock feel to it.
Their 40-minute long set was nearing the end, cranking out one more softer song in the form of “Youngblood Blues”. They then prepared to go out with a bang, Nino switching out to a mandolin for their last two songs, “Boomtown” being one of those, and it got everyone pretty active. It was wound pretty fluidly into their final song “Raise Some Hell”, which at times sounded like an Irish jig, making it all the more fun.
That was actually somewhat of an abrupt end to their set, because I figured they might do a little more, and they were one of the only bands this day that had me wishing they had gotten a longer set time. And really, it’s always good to leave the crowd, even if it’s only some of them, wanting more
Everything about The Dirty River Boys was phenomenal, from the lively show to the killer music and just the attitude they seemed to have about it all. By that, I mean they were just having fun doing what they love to do, with just enough seriousness that any band needs, while still being pretty relaxed and just going with the flow.
Their show was one you could just cut loose at and have a good time, though it certainly didn’t hurt that each of them had exceptional voices, and the harmonies were to die for.
Check out all of their records in iTUNES, and even go catch a live show if you can. They’re keeping busy with shows all over Texas, Oklahoma and even a few other states, spread out through the end of November. For all those dates, go HERE. They will be back in the D/FW area on November 22nd at the Granada Theater, then the next night they’ll be in Austin at Antones for their last show of the year.
Night had finally fallen and the heat was finally more than bearable now, as the show entered the headliners portion of the night.
I had been pretty excited about the Tyler based family band, Eisley. I had missed their last stop or two through Dallas, and they were finished touring for the year, but thankfully they were doing this one-off show.
They played an assortment of songs from various points in their careers, though opened with the title track of the album they put earlier this year, “Currents”. It seemed slow at first, but by the time they hit the chorus, when guitarist Sherri DuPree-Bemis joined sister Stacy King in crooning, “Do you believe in fate, baby? Ask me, ask me…” it roared into a force to be reckoned with.
Dialogue was kept pretty minimal, simply thanking the fans for coming out and the Toadies for having them, as they worked to fit in everything they had planned, and next moved on to “Invasion”. Afterwards, Sherri took over lead vocal duties as they busted out a few from what is their best record in my opinion, “The Valley”. “Better Love” was one of those songs, and by the time they finished it, Sherris’ guitar had a broken string. “…Do we have an extra guitar? We probably don’t, do we?” she asked, before choosing to “rock it out”. “What string is that? G? Who needs the G string?” she joked, before pointing out is was another that had snapped. Drummer Weston DuPree then started them into “Sad”, he and bassist Garron DuPree creating a knockout rhythm section on that one.
“I feel like I have to hold my head on when I sing that one, ‘cause it’s so hard.” Stated Sherri while she caught her breath, Stacy joking with her that it might just fall right off if she didn’t. She didn’t have to exert herself quite as much on the next two songs, “Save My Soul” and “Mr. Moon”, the latter one finding Stacy fully focusing on her keyboard. Upon finishing it, they did chat with the crowd for a few minutes, as Sherri recalled her, Stacy, Chauntelle DuPree-D’Agostino and the rest of the group cutting their teeth at the clubs in the Deep Ellum part of Dallas. “…None of us were old enough to legally get into the clubs, but they still let us play…” she said, before cracking, “Now we’re just old moms with babies…”
Fitting along the lines of that reminiscing was their next song, and old one from 2005’s “Room Noises”, which they said they were doing just for their fans in their home area. No, it wasn’t the ever popular single from that disc, but it was one that’s every bit as good, “Golly Sandra”. It was quite nice getting to hear that more classic song of theirs, which is one of my favorite Eisley tracks, and it was balanced out by the title track of one of their newest releases, “Deep Space”.
Chauntelle added some commentary after they finished it, laughing as she said she had forgotten some of the chords near the end of that song, so she just winged it. “…We’ve been off for two months and I’ve been painting a house…” she informed everyone, noting that between that and being a mom she didn’t have much time to practice. Her sisters agreed with her, that two months in “mommy world” keeps you busy enough that you would forget some things. They followed it with another track from the EP, and considering what had just happened, it seemed apt that it was “Laugh it Off”, which eventually wound into one song that never disappoints, “I Could Be There For You”. It’s nice how it features all three of the sisters singing at least a few lines apiece, particularly Chauntelle, who doesn’t show off her voice on any other song but that one.
They had one last song to do from “Combinations”, and that was “Many Funerals”, after which they once again thanked everyone for coming out. They then wrapped up their 58-minute long set with their current single, the ethereal sounding, “Drink the Water”.
I must say, I was slightly disappointed they weren’t able to fit “The Valley” into their set, but that one stellar song missing didn’t do anything to diminish they knockout show they put on.
The rush they seemed to be in only aided them, making them appear to be even tighter than they already are as they tore through all those tracks, while simultaneously giving it a very fluid feel.
This was definitely one of the best Eisley shows I’ve seen (even though I’ve only seen a handful), and even though it was a one-off performance, the group was more than on point.
Expect to see them back out on the road sometime next year, and in the meantime, hit up iTUNES to check out the collection of albums they have put out over the years.
The main support slot for this year’s Dia de los Toadies went to the Austin based Gary Clark Jr., who is a mix of rock, blues and even some soul.
“When My Train Pulls In”, one of the singles from his debut full-length, “Blak & Blu”, kicked off their set, quickly proving they can also add jam band to their style, too. The recording of that song is close to eight minutes, but this live version lasted slightly over ten, as Gary Clark Jr. riffed and shredded on his guitar, while his band mates, a drummer, bassist and guitarist, tore it up right along with him.
They kept the jam fest going with “Don’t Owe You a Thing”, and then roared into full rock mode with “Travis County”, which was also one that could have and did have some people dancing along to its contagious, poppy vibe. It had quickly become apparent that Gary wasn’t much for chitchat, and he only occasionally offered a “Thank you.” in response to the cheers he was getting. He was all about the music and letting it consume him, and as they carried on, they switched things up from those first few songs.
The falsetto tone of voice he suddenly switched to for “Please Come Home” was enough to catch those who were unfamiliar with him off guard. It was truly impressive how well he pulled that off, though, keeping it up for the duration of the more tender song, which, like every other song, was complete with a guitar solo to demonstrate mastery of the instrument.
“I don’t believe in competition. Ain’t nobody else like me around…” he smoothly sang at the start of “Ain’t Messin’ Round”, which saw their return to the rock genre. It was followed by an instrumental song, which I’m guessing was “Third Stone from the Sun”, Gary lightly picking at the strings on his guitar, and as the time went on, he progressively picked up the pace. It eventually gave way (rather seamlessly, too) into the soulful and even somewhat funky “If You Love Me Like You Say”. The long instrumental segment of the song also featured a good little drum solo, before the full band broke back in to march the song along to its end.
Next up they did the title track itself, “Blak and Blu”, bleeding it into what was arguably the best song of their 63-minute long set, “Bright Lights”. “…You’re gonna know my name by the end of the night…” Gary crooned on various parts of the song, which, when taking out of context, was very fitting, because everyone who was getting their first taste of his music certainly wouldn’t be forgetting him anytime soon.
It was complete with a jam portion, and once they finished it, their set suddenly ended, as he again thanked everyone and he and his band left.
I was kind of mixed about them. On one hand, I’ve stated many times before my disinterest in instrumental music, yet their songs abounded with them, at times causing me to lose some interest. On the other hand, the musicianship (especially on Gary’s part) was superb, and even standing a good ways back from the stage his intricate playing was something to marvel at, making the instrumental parts more than bearable to me.
Overall, I did thoroughly enjoy their show, and it truly was a show they put on. They have a different sound about them, one you don’t hear much of these days, and the crisp, fresh sounding voice of Garys’ is what sets is all off.
Gary and his band will be out on the road from the end of September through the end of November, hitting up several parts of the country. For full details go HERE, and they will also be performing at the House of Blues in Dallas on November 27th. Also, be sure to pick up a copy of “Blak & Blu”. You’ll surely love it.
For the first time in nearly eight hours, silence fell on Panther Island Pavilion. Well, at least silence from the live music. The roadies set to work on getting their stuff off stage and setting up the Toadies gear, allowing the fans to make a beer run or do anything else without fear of missing anything.
By around 10:30, things were all set as the intro song for the Toadies began to play. It wasn’t one of their typical intro songs, though it fit well given where they were. It was George Straits’ “Big Balls in Cowtown”, and after the song had nearly played all the way through, Vaden Todd Lewis walked on stage.
Now, if you’ve seen the Toadies a few times within the last several years, you know they typical stick with the same tried and true set list, usually opening with the same song with many others falling in the same spot each time. There’s nothing wrong with that, hell, I love their traditional set list, but for this year’s Dia they decided to throw everyone for a loop, throwing a multitude of surprises in.
I’ll preface this by saying I find “Play.Rock.Music.” to be every bit as good as the iconic “Rubberneck”, with not a single track on that record being one you should skip over, and one of my personal favorites from their latest disc is “We Burned the City Down”. So, I was pleasantly surprised when Vaden began strumming on his guitar, singing, “Well, misery loves company, that’s why we’re thick as thieves. Let’s move out to the country and live just the way we please…” Soon, Clark Vogeler made his way to stage left while Mark Reznicek took a seat behind his drum kit, joining in after the first chorus, as if they had done this song a few dozen times over already. Once the song kicked into high gear, Doni Blair stepped on stage, bass in hand, as they concluded that deep cut/rarity, and it wouldn’t be the last one of those this night, either.
Their wasn’t even time to applaud that one before some cheers erupted from everyone, excited at the start of “Backslider”. After all, it is those classics that are still the bands bread and butter, even all these years later. Afterwards, they moved on to that follow up to that album, “Hell Below/Stars Above”, Mark counting them in on the rather unexpected “Jigsaw Girl”. That’s an easy song of theirs to overlook, but in hearing it your reminded what good track it is, especially in the live setting, with its nice ebb and flow, while Doni and Mark created an impressively tight, albeit soft rhythm section on the verses. They weren’t about to stop there, and with a mix of mangled feedback they swirled things into their next song, another one I had not experienced live.
Even by their standards, “Cut Me Out” is an extremely intense song, allowing all four of them to get wild, Clark tearing it up on his axe at lightning speed. The crowd seemed to enjoy it, and in a set that was comprised so much of songs that they have seldom done in recent years, it was must play. They rock kept coming as they segued the end of it seamlessly into “I Come from the Water”, the only song that was fit to follow that other up. “Sing it!” Vaden shouted into the mic as he stepped back from it, giving the audience their routine chance at singing the chorus back at them, the shouts of “I come from the water!” flooding out of the fans mouths.
So far, this was shaping up to be what was probably the best Dia de los Toadies yet, and after a quick time out where Vaden thanked everyone for coming out, saying, “…We’ve had a blast for the last two days…”, they continued to crank out some more music.
In recent years, only a couple of songs still get played from the record that officially marked the bands comeback, “No Deliverance”, but they were looking to change that this night, and next did one I hadn’t heard in a few years, “Don’t Go My Way”. As that semi-dark and haunting song came to an end, Clark led them into the next, one of their newer cuts, and it was the best intro I’ve heard him do yet for “Animals”, really putting his whammy bar to use for it. It was just more exaggerated than what you hear on the recording, and that heavy song about the most primal human instinct fit perfectly with the one that came before it. It was then Todd’s turn to start the next one, the pulse pounding “Push the Hand”, before offering up another classic in the form of “Quitter”.
The banter resumed after that one, with Todd pointing out he recognized a few faces from the almost acoustic show the night before. “…That’s always weird and cool…” he said, referring to how it gets them out of their element. He then thought back to the early days of the Toadies. “…They would run us out of the clubs when we first started…” he said, pointing out it was nice now how they get to do this festival each year and play as late as they want to. He even stated that the best part of this night was yet to come, and that they were even going to have some surprise guests join them.
Doni then got them going on “Summer of the Strange”, a song that garnered some very audible cheers from some, seeming to signify that, while new, it’s already become a fan favorite. They then dusted off “I Am a Man of Stone”, which was were one of only two mistakes were made out of this night. Todd got a bit tangled up before the second chorus, flubbing the line, “…Now you’ve got me branded. Broken but still standing, watching you wreck everything…”, starting by uttering one of the earlier lines, before realizing his mistake, which only threw him further off as he tried to recover. Those couple sentences certainly couldn’t ruin the song, but it happened nonetheless.
However, no mistakes were made on “Away”, another song that briefly became a sing along, the crowd chanting, “When I’m away.” a few times over. What happened afterwards, though, was by far the best part of the night for me. Four and a half years is a good chunk of time to have been seeing these guys, and each time I’ve seen them I’ve hoped to hear the lead song from “Hell Below/Stars Above”, and within the last year I finally gave up hope of ever hearing it. So, I was both ecstatic and shocked when Todd began rapidly strumming his guitar, churning out the opening part of “Plane Crash”. The brief jolt of high energy Rock ‘n’ Roll that song offered was something else, and after all those years of hoping beyond hope to hear it, it was everything I hoped it would be.
They had already thrown several curve balls had their fans, and another one came next when they started into “Hell In High Water”. Sure, it has been a staple of their shows since 2008, but more recently it has been reserved for an encore. Yet here it was, in the main part of the set, begging the question, “What did they have planned for their encore?” As fans know, near the end of that one Clark has a sort of solo, knocking out a few lines while pressing his guitar against his amp. Once he finished that he returned to the front of the stage, when Todd made the remark, “I feel like we need one more.” Prompting Clark to return to his amp, letting out wicked and near deafening note.
Upon finishing it, Todd again thanked all the bands who played the festival. “…If you’re wondering how we put all this together each year, fuck, I don’t know…” he laughed, before thanking Kirtland Records and Sonar Management for helping organize it all. “…If it weren’t for you guys I’d have more gray hairs than normal…” he remarked. They then suddenly jumped back into the show, the fans hollering after quickly realizing it was “Possum Kingdom”, and shortly before making his entrance on the drums, Mark struck a pose by angling his arms towards the sky, as if he were a super hero about to take flight.
All these years later that’s still the one most fans love the most, which may not be a good thing, because shortly after they finished was when a very steady stream of people began to leave, and they kept filing out until the night came to an end. It was sad, really, but on the other hand, it showed who the true fans and diehards were.
That song was a sure sign the night was coming to an end, yet at the same time, there were still several songs I could think of they hadn’t played yet, making me wonder how much more they really were going to do. It turned out they had a lot left to give before wrapping up the main portion of the show, and next dug out “Unattractive”, before hitting another favorite of mine, “Sweetness”. “No Deliverance” changed the pace up a bit, being one of the few songs where Todd uses his bullet mic almost exclusively, and once it was over, he mentioned they only had a “couple left until the fake ending”. “…Do you know about the fake ending?” he asked the crowd, all of whom of course did.
During those last few songs a small mosh pit had broken out semi close to the stage, and Todd asked everyone to be careful, saying no one wanted to see anybody get hurt. “Well, there are some people I’d like to see beat up.” Todd said, adding, “Sorry, Doni.” Once the jokes were finished, they continued going off the beaten path by doing “Tyler”, which is normally reserved as an encore, and again begged the question, “What do they have planned for this encore section?”
“This is a good one to shake your ass to, if you brought it. I brought mine.” Said Todd before the final song of their 81-minute long set, which was none other than the high-speed “Rattler’s Revival”.
They took their leave, as did some more of the fans, obviously not concerned with the special guests the band said they had coming up.
A minute or two past before they returned, and once the four-piece reconvened on stage, Clark did the talking. He introduced the first of their series of special guests, a man he said was responsible for much of the Toadies sound, the bands original guitarist, Charles Mooney. Clark ceded his guitar to him and left, and as Charles struck a few notes, a technical issue arose. “…It can’t be a festival without an issue.” Todd said, demonstrating some quick wit by adding, “It has to do with my dad…” To pass the time he got the list of every band who had played and named them all, then bantered on, pointing out that he has been doing this for twenty-four years now, and what a nice privilege that has been.
By that time, the issue with the guitar was resolved, and for this song with Charles, they dug deep, all the way back to “Pleather”, doing “Ruth”. You couldn’t tell it had been about two decades since he had played with the band, owning it on that song, even using his teeth to pluck the strings at the end, all with a vicious stage personality. It was great moment, and he seemed to have a lot of fun doing it.
Clark took back over once it was done, and Doni welcomed their next guest on stage, his little brother, Zach Blair. Vaden pointed out he plays in Rise Against. “..I think they have some potential…” he joked, while handing his guitar over to Zach. It appeared that for one song he was going to be nothing but a front man, and that song was “Velvet”, which saw him pacing about the stage, taking advantage of the mobility he suddenly had.
Shortly after, Zach was replaced by their next guest, James Hall, who had been an opening act for them on the previous night. The thing I hated most about one song from “Play.Rock.Music.” was how nearly impossible it would be to do live, and even worse was it was another favorite of mine from that disc. So, I was quite surprised when Vaden announced the song, “Laments of a Good Man”, with James singing what, on the song, is the devilish voice heard inside the characters head. It translated pretty well live, and James had a good voice for it, sounding a bit wicked. The only hiccup came right at the very end, when he flubbed one line, which in turn made Vaden stumble over his part, laughing about it once they finished the tune.
No Dia is complete without a cover song, and this year (at least for the rock set), they did was Vaden joked was a “obscure” cover. It was a rendition of Joe Walshs’ “Rocky Mountain Way”, and while it didn’t sound like anything the Toadies would do, that was what made it so great, because it put them out of their element a bit, proving they can tone it down a bit.
After nearly twenty minutes this encore was surely close to an end, and their parting song to everyone was “I Burn”. It’s the only way a Toadies show should end in my opinion, capping off the 23-minute long encore nicely.
I’ve only seen three Dia de los Toadies, but out of those three, performance wise, this was the best one, hands down. I return to all the deep cuts they did. That’s how you make this an experience for the fans, perform songs you haven’t touched in awhile or have perhaps have even never played live to make it even more of a spectacle.
It sure worked well for the toadies this night, who were in rare form, even for them, and the banter, which can be lacking at some shows, was well above par, further making everyone feel like they were more of a part of this whole thing.
You can say what you want to about the Toadies, but there’s a reason why they were able to rise from the ashes of their seven year breakup and prove they were not only still relevant, but also a force to be reckoned with. Dia de los Toadies is a testament to that. Well, that, and how many people still love the band and the music they create.
There’s nothing on tap for the band right now, but who knows, they might do one or two more shows before the year’s end. And if you don’t already have them, go check out all their records in iTUNES.
This was a very fun Dia, even without the road trip to Central Texas, but now the question is where will the seventh installment of the festival be held? All of Texas is fair game, and while it could return here to Panther Island Pavilion or New Braunfels, it could just as easily could be held anywhere else.
This weekend was going to be spent in Fort Worth, and originally, I planned on seeing the Toadies this night as they kicked off the sixth edition of their music festival. Then I happened to check the show calendar for one Hayes Carll, only to see he was going to be playing at Billy Bob’s Texas this same night.
That show had already won out beforehand, but was only made better when I happened to score a pair of tickets via a contest Hayes did on Twitter a few hours before the show.
I had only been to Billy Bob’s once before, to see the aforementioned band, actually, and the set up this night was much different this time around. The substantial floor in front of the stage, which was completely empty on my first trip here, was now filled with seemingly endless rows of tables, stretching as far as possible from side to side and front to back. I assume this is probably how Billy Bob’s typically is, when they don’t have a rock band playing that could bring some rowdy fans.
It was a nice setup, and I was glad to find out that not only were there seats, but also what a good spot they were, being in the second row back from the stage and a little to the left of it.
It was a little after the 10:30 scheduled start time when someone there from Billy Bob’s got on stage and welcomed everyone to the show, plugging some of their other events while also noting what a big Hayes Carll fan he was, and how excited he was for the show. Once that business had been taking care of, he then welcomed the man of the hour to the stage, as Hayes Carll and his Gulf Coast Orchestra took the stage.
Hays got things going by plucking the strings of his acoustic guitar, slowly giving the first song shape, before singing the first line of “The Letter”. “I meet some wild people out here, those who are pretending and others more sincere…” he crooned on the seemingly appropriate opener that’s somewhat about his journeys on the road.
Upon finishing it, he officially announced who they were. “…All the way from Austin, welcome Hayes Carll and the Gulf Coast Orchestra.” Hayes said loudly as whipped into “Faulkner Street”. His Gulf Coast Orchestra got to step it more with this song, particularly Scott who no longer had to gently play his lap steel guitar, and electric guitarist Travis was able to cut loose on a brief solo or two. They moved right along to the next song, the crowd cheering after the first few chords that Hayes played. He then softened his playing, “I have two songs that start this way. I hope it’s the one y’all want to hear.” he said to the sizable audience. I believe it was the one fans were most excited to hear, and that was one of the fan favorites from the “Trouble in Mind” record, “Girl Downtown”. It had much of the crowd enthusiastically singing along, and it was also the first of a few consecutive numbers that found Travis holding the side of his guitar against him, picking at it as if it were a lap steel, while I believe Scott switched over to an electric guitar.
Even though they were only a few songs in, they had been knocking them out left and right, but now it was time for a story, as Hayes mentioned his hometown on the Texas coast, which was around Crystal Beach on the Bolivar Peninsula, and it got a roaring applause from everyone. “…That’s the loudest applause Crystal Beach has ever gotten.” He said while laughing. He talked about a variety of things down there, but the central focus was one Bob’s Grill and World Famous Sports Bar, a club he used to play, which he said had a “misleading” name. “…The whole place was probably about as big as this stage is…” he said, adding that no one who was currently in attendance would have been there. He then backtracked slightly, “Well, you two might have been, but you would have been watching a fishing tournament or something.” He stated he was a bit of a wonder down there, being the only person who could both play a guitar and sing at the same time, so he quickly made a name for himself and started picking up more and more shows. “…My show at Jeannie’s One led to my show at Jeannie’s Two, which was a bait shop located right behind Jeannie’s One…” he said, while rattling off a few other venues.
He then wound things back to Bob’s, which was owned by (of course) Bob, who, as Hayes put it, “…was a drug dealer.” He went on to say he bought some exotic animals with his profits from selling drugs, “…But the prized possession in his collection was a African Lion.” said Hayes, adding that there was a window behind the stage at Bob’s, and when Hayes played there, Bob would often bring the Lion’s cage there and place it behind the window. He continued own, mentioning that Hurricane Ike had devastated the area a few years back, but before it hit, Bob did “the Christian thing” and let all of his animals loose to give them a fighting chance. “Now, instinctually, that lion went to higher ground…” Hays told everyone, with higher ground happening to be a church, a church which some people also took refuge in, entering only to see a lion already in there. “…It was three days before the National Guard could get in there to assist everyone, so for three days those people were on one side of the church, while the lion was on the other… Like a sort of redneck Life of Pi…” he added. “Now, the reason for that long winded explanation is because this next song has a line about a lion tamer, and I didn’t want anyone to get confused.” he pointed out.
The intro alone to “I Got a Gig” had an excellent sound, with one of the guitarists starting first, while the other followed suit shortly after. Oddly enough, it gave it somewhat of a haunting sound, but was soon broken when the rhythm section, bassist Cody and drummer Mark, as well as Hayes joined in. And that explanation does indeed help the song make a little more sense, as he sings on the third verse, “There’s an old lion tamer parked behind the bar, a hundred pounds of weed in a stolen car…”.
They then slowed things down as Hayes led them directly into “Rivertown”, a personally favorite of mine from the “Little Rock” record, and one I was ecstatic to hear them do. “…And time will bring you down, time make you cold. I turned my back some time ago, and now I’m going home…” he sang on the rather somber track, before they immediately picked the mood back up with the title track from that 2005 release. Both Scott and Travis used an electric guitar for “Little Rock”, a very rocking number, and while they were doing more intense songs, it only made sense to the title track from his most recent release, but first, it was time for some more witty banter.
“This song’s about a soldier who has a morphine induced coma…” Hayes informed everyone, then outlined all the things that happen in “KMAG YOYO” as being hallucinations from the drug. The funny part came when he said he has young singer/songwriters ask him what the formula is to have a hit song in the Top 40 country charts. “…Some people write songs as a story…” he said, also giving a few other examples of writing styles, calling them “irrelevant”. “…The thing you need in your songs is keywords. See, I know this, obviously.” he said, in perfect deadpan humor. He went on to say, “…I usually teach a seminar about this…”, before telling anyone who wanted to learn a thing or two to grab a pencil and some paper. “Those keywords are…” he said, then preceded to list off “Taliban”, “IED, or any other acronym you can think of”, “Trucks” and “Spring break” were some of the words he said every song needed to have to be a hit, and once he had dropped that knowledge on everybody, they ripped into the very rhyme based “KMAG YOYO”. Scott truly got to show off his chops as a guitarist on that one, killing it on the guitar solos, even embellishing them from how they are on the record, subsequently giving it even more rip-roaring action.
There was just enough of a pause to allow the audience to applaud them, while Travis took a seat behind the pedal steel guitar, finally putting it to use on the gloomy “Chances Are”. Things got a little more uplifting after that semi depressing track when Hayes announced the next song was (and I’m sure I’m paraphrasing this) “drunks, and the women who love them.” Between that and pointing out that it was one he had co-written with Ray Wiley Hubbard, the fans knew exactly what song it was, loudly cheering for “Drunken Poet’s Dream”, which featured Travis on the mandolin. They didn’t let up, segueing it right into the next one. “I haven’t done this one in awhile, let’s see if I can remember the lyrics.” said Hayes before he started spitting out the lines of “Down the Road Tonight”. He didn’t seem to have any trouble with the words, and probably around halfway through the song they lightened up on the playing, allowing Hayes to formally introduce each of his band mates. Once he had done so, he left the stage, leaving Mark, Cody, Travis and Scott to do an instrumental jam, and quite a great job at it, at that.
After a minute or two, Hayes returned as they finished out the song, “Jukebox gypsies, mustang sally’s, don’t go walkin’ down dark alleys…”.
Most of his band left after it, leaving just he and Scott on stage, with Hayes informing everyone he was going to do a new song from his upcoming album, due out “…In the spring… Of 2017.” he joked. This was one he wrote about his son, who told him he wanted to be a magician. “Not a musician, a magician.” Hayes reiterated. He mentioned that’s a hard thing, because “…you see a life full of suffering ahead…” for your child, even saying his son wasn’t very good at first, and he would tell him when he was doing tricks for him that he could see what he was doing. “…But he didn’t listen to me or any of the other naysayers…” Hayes said, adding he had recently even become a member of the Austin Association of Magicians, an accomplishment that received some applause from the crowd. “You’ve heard of them?!” Hayes jokingly said, with surprise in his voice. He went on to say that his son is “…the youngest member, by about fifty years or so…” and they meet every other week “…At the IHOP, right by my house.” he finished.
There was an overall meaning to that story, though, as Hayes said he wished he had, had that spirit and determination his son does when he was his age, pointing out that everyone could benefit from picking what they really want to do and doing it, if only it were that simple. “…I hope he never loses that.” he said in closing. The song is called “The Magic Kid”, and it’s a sweet song with a message that everyone could take to heart, as he sings a few different times during it, “Who we are is who we are. Why is that so hard to be?”
While acoustic, it was a good change of pace from the other slower songs which dealt more with heartache, and as the Gulf Coast Orchestra filed back out on stage, Hayes again lightened up the mood by saying the next song was about license plates.
He named a few states and their slogans, like how Oklahoma is the OK state. “I like that, they’re like, “We’re not great, but we’re ok.” He said, and after mentioning North Carolina’s, he joked that that South Carolina’s was, “We wish we were North Carolina.” Talk then turned to the “Live Free or Die” state, New Hampshire, which Hayes said he felt was the best motto, eventually wrapping things up by saying how horrible it would be to be in prison in that state, having to make license plates that read, “Live Free or Die”. “…If you all listen to the third verse of this song, we might learn something tonight.” he told the audience before pulling out a track from his debut album, “Live Free or Die”. It was a humorous song, and that lesson he mentioned, well, it was, “…So if you catch your wife with another man, it’s best to hold off as long as you can. Then shoot him in another state where they got a different license plate.” That is just another example of what a brilliant writer Hayes is (and evidently always has been.)
“Bad Liver and a Broken Heart” came next, albeit a much different rendition than that which you hear on “Trouble in Mind”. Hayes used a harmonica on parts of it, doing a very scaled back acoustic version of it. Personally, I am more of a fan of the album version, probably ‘cause I’m a rock fan first and foremost, but even acoustic the song sounds really good. Fitting with that tone was “Hard Out Here”, which again saw Travis playing the pedal steel. In what I’m guessing is typical fashion, Hayes added some additional lyrics near the end of the song, drawing from experiences on the road, as recently as that day.
He spoke it more than singing, telling the audience of how they played a show in Marfa the night before, and didn’t get to bed until about five in the morning. He continued by saying the hotel room was infested with various bugs and such, like a tarantula, which happened to be in his bed. So, after (literally) a couple hours of sleep, he said he and his band mates woke up and got in the van to head to Fort Worth, only to discover their van had broke down, resulting in some of them riding in an Impala to the show, while the others drove a U-Haul with the gear loaded in it. Such is the life of a touring musician.
Soon after finishing it, they pulled out another blistering number, “Stomp and Holler”, which was a signal that they were at the tail end of their performance, and they wound it pretty fluidly into “I Don’t Wanna Grow Up”. Then, to wrap things up, they did the one song I had anxiously been waiting to hear since they first got on stage, “Beaumont”. That beautiful, straightforward love song about the feeling not being mutual was a perfect way to close things out, and that’s actually one of the few songs I’ve heard any band do that works well as both an opener and a closer (Hayes opened with it at a Dallas venue a few months back).
By the time that was all said and done, they had been on stage for an impressive 90-minutes, leaving me wondering if there even would be an encore or not.
Everyone was hoping for one, though, making sure the band knew it, too, by chanting “Hayes!” repeatedly. It had only been a minute or so since they had left when they made their way back out, Travis picking up the mandolin, while Scott was finally going to use the accordion. “I say this every night, but I would do this every night rather anyone shows up or not, but it’s sure a lot more fun when you do.” he said to everyone before embarking on a 12-minute encore portion. It was nearly impossible not to smile as they ran through the upbeat and incredibly catchy “Bottle in My Hand”, before an electric guitar and the lap steel were put back to work for “Wish I Hadn’t Stayed So Long”. They had one last song left for anyone, another one that came from “KMAG YOYO”, “The Lovin’ Cup”, offering a good, upbeat way to call it a night, and after again thanking everyone for coming out, Hayes and the Gulf Coast Orchestra retreated back stage.
It was a fantastic show with a nice selection of songs from all of his releases, hitting just about every song the fans were wanting to hear and then some.
This was only the third time I’ve seen him live, and it was definitely the best, due mostly to the song selection in this lengthy set.
Hayes is a true entertainer, in terms of a singer and songwriter in the witty and/or honest songs he writes and the almost non-stop doses of laughs he adds to the live performance. So, if you want to see a very enjoyable and memorable show, go see Hayes Carll.
For a list of his tour dates, go HERE. He’s staying pretty busy through the end of September, with a few dates in the Mid-West and the East Coast, and will n doubt be announcing some more shows throughout the rest of the year, so stay tuned. And to check out/purchase his music, head over to iTUNES.
It was a very fun night at Billy Bob’s, and at least now I can say I’ve seen a legitimate country show at the world’s largest honky tonk.
For this month’s Deep Friday, the Curtain Club was going with a specific theme, and that theme was chicks who rock. That meant only female fronted bands were gracing the stage this night, and I looked at it as a good way to see a couple acts I don’t see all that much, as well hopefully get turned onto some other bands I had previously been unfamiliar with.
By the time I got there a little before nine, the first band, The Neverending, was almost done with their show.
I caught maybe their last song and a half or so, and personally it didn’t do much for me, so I don’t think I had missed out on much.
Second up was the band who was responsible for getting me out here in the first place, and that was Drayter.
A lot of things had changed with the band since I last saw, such as half the lineup being replaced, as they worked in a new singer and drummer, and just the previous week they had, had their CD release show for their second EP.
I had at least heard the record before this, which only gave me more of a desire to see them live, and what better place to see them play then my favorite Dallas venue.
The three instrumentalists, guitarist Cole Schwartz, bassist Trajan Acquista and drummer Brandon Pertzborn kicked off their rather short 27-minute long set by jamming briefly, offering a prelude of what was to come.
“You’re not the only one with a loaded gun.” sang vocalist Nyssa Garcia, who took the stage once the music subsided, singing that line a cappella. It was the calm before the storm, as Brandon pounded out some rapid fire beats on his kit before they ripped into one of only two older songs they did this night, “Mouth Like a Weapon”. It’s still one of their best songs in my opinion, working especially well as an opener, and the two new members seemed to help flesh it out even better than before, intensifying it a lot.
They rarely ceased playing this night, instead doing some type of instrumental bridge between songs (something I love to see bands do, because it gives the show a much better flow), and upon finishing that song, Trajan had a short bass solo, with Brandon soon joining in on the drums. Coles’ guitar than sprang to life as he played the opening notes of one of their new songs, the instant classic, “Scream”. “…I wanna hear you scream, I need to hear you scream for me. Young hearts were meant to bleed, so bleed all over me…” Nyssa belted out on the second chorus, her voice sounding even more remarkable live then it comes across on the record.
They didn’t take much pause before Cole started softly plucking the strings of his ax, bringing the mood down just a bit for “Inside Out”, which was still a pretty rocking number. Afterwards, Cole and Trajan had to tune their instruments, charging Brandon with filling what would have been silence, and he did so by embarking on a drum solo. It seemed like it was going to be a short one at first, kind of tapering off maybe around a minute or so into it, before coming back in strong and with a vengeance, simply destroying it.
That solo eventually became the intro for “Follow Me”, a song that’s been reinvigorated with the new lineup, and another, albeit shorter drum solo proceed it, before the group continued working their way backwards through their latest EP, now tackling the second track from it, “Dangerous Games”. Upon finishing it, silence fell in the Curtain Club for the first time during their show. It didn’t last long though, as the audience (they had the place packed, commanding the largest crowd of any act this night) let Drayter know how much they were enjoying it with a roaring applause. Nyssa thanked them all, and when it quieted down, she did some more singing a cappella style. “Sweet lies.” she crooned three different times, accentuating the word “sweet” by stretching out the “e” sound. They then launched into the song of the same name, which is at time fairly heavy, and “Sweet Lies” brought their show to a slightly abrupt end, with Cole stating, “That’s it.” after they finished it, as the curtain closed on them.
I enjoyed Drayter the first time I saw them a couple of years or so ago, when they were mainly a cover band, and the last time I saw them, earlier this year, I thought they were great. That said, I don’t mean to undercut either of those shows nor the previous members who were in the band at that time, but what they did this night they certainly wouldn’t have been capable of seven months ago.
Nyssa is a powerhouse singer, and like I said, she somehow sounds even better live than what you get on the record. Not only that, but she was a pretty energetic front woman, too. Both she and Brandon add whole new elements to the band, and in turn I thought that made it easier for Cole and Trajan to step up their game. Both seemed more dynamic than even before, moving around the stage some of the time, and other times they stayed more on their respective sides of the stage, shredding on their instruments.
They were undeniably the best act this night, wowing me, and no doubt many other fans as well. The band accomplished a lot before the lineup change, and after seeing them this night, they will no doubt achieve a lot more in the future.
Do head over to iTUNES and pick up a copy of the “Drayter” EP, as well as the single “Mouth Like a Weapon”, which will only be a little over $5 with tax. So, very affordable. As for shows, they have a few lined up in October. One will be at the Tobian Auditorium in Dallas on the 12th, the next on the 20th in Mansfield for a music and arts festival, then they’ll be performing at another festival on the 26th, that one will be the Downtown Plano Arts Festival in (of course) Plano.
Things briefly deviated from the rock sounds when the next act, a female rap duo by the name of LTC, took the stage.
I’ll preface this by saying I do not care for rap/hip-hop music, yet on the flipside, there are two local acts that fall into those categories that come to mind, both whom I love.
As for LTC, I gave them a shot, sticking around for all three of their tracks they did at this debut show, something not every patron did.
“…Kicking ass and taking names…” and “…Girls just wanna have fun, too. With you or without you…” where just two of the liens that were often repeated on some of their songs, getting a little repetitive for my tastes.
To me, it seemed like your typical rap stuff, just from a woman’s perspective, at one point talking about Gucci handbags (or something from that label) and the next they were saying something about lighting one up. That’s all good, I guess, but is what draws me in about the two rap/hip-hop acts I do like (whose names I won’t mention, because I’m not big on the cross promotion idea when they are completely irrelevant) is the fact that one is incredibly inspirational. The lyrics are deep and will strike a chord with anyone, while the other group seems to embrace the fact that they are, in my opinion, a novelty act, but they own it and write good songs that will also have you laughing hysterically.
I didn’t get any of that in this little sampling of LTC, rather it just seemed like cliché rap. As for their rapping abilities, one was kind of decent, while the other could use some work.
They do have sex appeal, I’ll give them that, but I’ve never believed that, that’s a just compensation for lagging in the talent department, and that goes for any act.
There’s that saying that it takes ten thousand hours of practice to become a master at what you do, in which case these ladies have a lot more time to put into honing their craft.
The next band had already setup beforehand, so there wasn’t much downtime in between the acts, and before you knew, Madwak was on stage.
They were a new one to me, and while I was debating taking advantage of the Deep Friday deal of getting into multiple venues for the one cover price and going and seeing another band, I decided to stick around for them. Their opener, “Daisy Queen”, was quite good, and despite the title, it was fairly dark sounding and very heavy, two qualities that bound all of their songs together.
Thomas Driver started them off on their next song, “Storm Crow”, with some ominous bass lines, the slower pace of the song aiding in making it sound pretty bleak, though it did really come to life for just a bit, with drummer Sunny Sustaita picking things up, while guitarist Tony Powell got to get more into it. I believe they followed it with “My Way”, but regardless of whatever it was, it had an extremely catchy music bed, with the guitar, bass and drums all working together and complimenting one another very nicely.
They then unleashed a new song on the audience. “…I hope I remember words… If not I’ll just make ‘em up…” joked singer Patty Wak, who also thought back and noted that it had been quite awhile since they had played something brand new. It went off without a hitch from my perspective, with Patty remembering the words just fine (or doing a great job at making them up), with the only thing being Sunny dropping one of his drum sticks, though he quickly recovered from it.
“…We like songs that are dark and creepy…” stated Patty, after she had announced their next number, “Into Darkness”. Those are two great adjectives for the band’s music, and they pull it off perfectly. “Give Me Money” fit that mold to a lesser extent, though still sounded just as kickass as everything else they had done, and they brought their 43-minute long set to a close with a few other tracks, even segueing that last two into one another.
They were a really good band, and for anyone who wants to typecast females as only being good at pop music (let’s face it, there are people like that out there), then Madwak was good proof that, that is not the case.
Eerie and haunting music seems to be their specialty, and one they pull off well, with Patty having a huskier singing voice that fit the sounds perfectly. They also created an interesting vibe on stage„ having mannequin heads placed here and there on the stage with brightly colored wigs on their heads.
All in all, they made me a fan, and hopefully I’ll catch them around every now and again.
If you go to their REVERBNATION PAGE, you can find several of their songs up for free download, so take advantage of that. Also keep an eye on the page for future show updates.
Silver Loves Mercury was up next, and about if not over a year since the first and only time I had seen them, and I was looking forward to finally seeing them again.
“We are Silver Loves Mercury, and we like it dirty.” Said front woman Roxi in a rather seductive voice before they ripped into the first song of their 40-minute long set, “Switchblade Vodka”. They didn’t seem to need any time to warm up, instead going full throttle right from the get go, Kitty shredding on his guitar, and during the guitar solo, the drummer stood up from his kit, twirling one of the drum sticks, before slamming back down on the drums.
They wound it right into another quick, catchy number, “D.M.T.U. Girl”, with Roxi taking a momentary break from racing around the stage, as she drooped to the floor, laying on her back while still snarling out the lyrics.”We have something a little new for you…” she said once that song came to an end, as they offered a taste of what new stuff they’ve cooked up. It fit the mold of other Silver Loves Mercury tracks, having some sweet guitar riffs, also boasting a nice rhythm section, which is rounded out by bassist Von Schultz, as well as having a dirty, sexy sound to it all.
“…And now that bitch is about to get sucker punched.” Roxi yelled as soon as the song ended, leading them into “Suckerpunch”, where the drummer repeated the twirling of the drum stick he had done earlier in the night, while Roxi spun the microphone in the air during the instrumental breaks.
They weren’t about to slow down, and Kitty transitioned them into their next tune, playing the hypnotic notes that begin “Owell”. They continued playing some stuff from their debut record, “Treasures of Gomorrah”, like “My Own Armageddon”, which allowed them to slow things down further with “Nothin’”. They picked things back up after that one, though, doing another intense song, which found Kitty laying down on the floor, still picking at his guitar, then Roxi set on top of him, straddling him for a few moments.
They continued knocking out song after song, next doing “Up”, with their drummer driving them into the next, then stopping after one more. Roxi took the time to thank everyone for coming out (they, too, had a very sizable crowd of onlookers). “…We’re not a one night stand, we’ll love you every time you come out.” she said when talking about how much they appreciated the support. They then got to the song that every fan of theirs had no doubt been waiting to hear, “Burn”, and once they finished the beast of a song, Kitty took a flying leap onto the drum kit, almost completely clearing the bass drum, knocking several pieces of the drum set to the floor, along with the drummer himself.
It was one hell of an end to what had been a very raw display rock, all of which reminded me why I was so drawn to band the first time I saw them.
One thing I mean by “raw” is that they don’t come across as being over rehearsed, instead just going with the flow of things. The of course you have another meaning, which is both their music and performance is brutal in the best possible, also oozing with just the right amount of sex to further reel you in, without coming across as classless or anything.
I’m definitely going to have to try to see them more often, because overall, this was a very fun show. Their next gigs will be on September 13th at Wit’s End in Dallas, with another Dallas show on the 26th at the Bryan Street Tavern. Then, on October 26th, they’ll be up in Wichita Falls at Fat Albert’s. And do go into iTUNES to preview/purchase their two records, one of which is an EP, with the other being a LP.
Koppur Thief was closing things out, doing their second show of the night, having played another venue a few hours earlier.
They had a great light show to accompany their performance, with a few multi-colored lights scattered about the stage, including one mounted on the bass drum that spun in circles, creating a sort of rainbow.
I stuck around for a couple of their songs, but they just didn’t mesh with me, so I decided to go ahead and call it a night.
It’s not that they weren’t good or anything, they definitely were, it just wasn’t up my alley.
If you head over to their REVERBNATION PAGE, you can find some free downloads of several of their songs. As for shows, they have one a month through the rest of the year (and I imagine more may pop up, too), all of which are at O’Riley’s in Dallas, with the next one being September 13th, then they have one on October 11th.
Kudos to the Curtain Club for going with the theme they did for this night. You may see a female fronted band on a bill here and there, but you seldom see a whole concert of nothing but that, and it was a nice reminder of just how many talented female fronted rock outfits reside in the North Texas area.