Blog — Page 269 of 282

The NINES Festival

Devens, MA  

I must admit I was anxious to attend this festival when I heard the lineup featured none other than Shuggie Otis. I have had this compelling urge to see Shuggie rip through the guitar riff in Strawberry Letter #23 for some time now and while he played a shortened version of the tune he did feature the riff and killed it.

The Nines Festival was advertised as a multi-arts, multi-stage festival held 35 miles west of Boston on Willard Field in Devens that featured a diverse lineup of amazing musicians, comedians, and showcased the works of visual artists. The festival grounds were set up beautifully with a massive main stage, smaller second stage, a full blown Comedy tent and various pieces of artwork dispersed throughout the grounds. The centerpiece of the festival was the world's longest playable xylophone that kept people playing throughout the entire day. Also included in the setup were an assortment of tents displaying various artists work for sale.

First up on the main stage were what I thought to be the surprise of the day. Walter Sickert & The Army Of Broken Toys, an eclectic group if I've ever seen one, fronted by the colorful Sickert dressed up in his finest regalia, he reminded me of Dr. John in his "Night Tripper" phase. The band has been called everything from "theatrical misfits" to "an exceptionally motley crew" and they wear it like a badge of honor. They hit the stage and being the first band on a lot of people that showed up late missed them. While the crowd was small at that time they grabbed everyone's attention and brought us all along for the ride.

Boston's Air Traffic Controller took to the smaller stage and delivered a rousing set of rootsy pop. Props go out to the festival organizers for keeping to a tight schedule, there was always live music on stage during the entire show.

Shuggie Otis was next up delivering a tasty set of rarities from his album Inspiration Information that is now part of a two album release containing newer material and the entire 1974 release. Shuggie seemed at ease with the crowd and his new band featuring two brothers Jon and Nick on percussion and drums as well as his cousin Swang Stewart on keys and killer horn section as well. Shuggie had just finished Strawberry Letter #23 and was going to start another song when, due to the tight schedule had to stop.

Matt Pond, who has been recording and touring for years as Matt Pond PA pulled off a great set of catchy pop songs and kept the crowd into it as well as great sets by Walk Off The Earth, Dr. Dog, Delta Spirit (fresh from the studio) and the closers Explosions In The Sky. Overall the festival was a success in my eyes and hopefully another is in the planning stages for next year. As I said earlier the layout was well thought out, only changes I would make would be to add another day, offer camping as well as longer sets for the bands that can support it.

It's a tray in a hotel room, fairly unremarkable when put back to basics. The tray is littered with cigarettes, beer bottles, a can of coke, a crumpled McDonald's burger wrapper and a lonely bottle of Evian. It's a curious scene: the items on the tray are in a neat kind of disarray. Underneath this black and white photograph is the legend "Graham's hotel room, Tokyo, 1995". Meanwhile the sound of "For Tomorrow" from Blur's 1993 album Modern Life is Rubbish fills the room.

The Graham in question is Blur guitarist Graham Coxon, and Blur 21: The Exhibition is another facet of the celebrations of 21 years since the band released their 1991 debut Leisure, following on from their mammoth box set also entitled Blur 21. The photos on display at the exhibition span from the band's beginning in 1990 up to 2012, featuring photos taken by acclaimed music photographers Pennie Smith and Kevin Cummins, among others.

The exhibition is housed in the Irish Museum of Modern Art in the run up to Blur's performance there on 1 August. Blur as a band have always been mindful of their artwork, perhaps more so than other bands. Guitarist Graham Coxon studied art at Goldsmiths College in London, while bassist Alex James described how much he enjoyed spending time in the Tate Modern as a student in his autobiography Bit of a Blur. All of this just goes to show that IMMA is a more fitting venue for Blur than might originally have been assumed.

The exhibition is like a Blur treasure trove. A large print of their iconic "British Image 1" photograph, which caused ructions when it was first taken for fear that it was xenophobic, sits in the grand fireplace. In the centre of the exhibition is a glass case displaying the different prototypes for the Blur logo (they unquestionably chose the best one) and just across from this is a series of photographs taken at Click Studios in London in 1993. The four photos, portraits of each band member taken against a striking blue background, stand out almost immediatly from the centre of the room. While Dave Rowntree, Damon Albarn and Alex James' portraits all look similar, Graham Coxon is looking downwards and as a result of this casts a sombre looking shadow around his face.

It's interesting, you can see the beginning of Blur: studenty, sitting on the tube, all of them wearing a uniform of Doc Martens; the middle and unravelling of the band: Coxon appearing separately from the band, looking either disinterested or unhappy in photos with the band; to the new decade of Blur: walking around backstage at Glasontonbury, posing for group photos in Manchester, and looking so into the music they're playing that you'd almost forget that they ever even broke up.

The more recent photos, taken when the band were onstage shortly after they reunited, take on a different resonance when you can see where it all began and the points where the band didn't seem to be as connected as they used to be. Fundamentally you can see that they are still the same band that got the tube home after rehearsing all night, in the recording studio that Damon worked in as a tea boy, because that was the only time they could get studio time cheaply, and that they are still comprised of the same bassist and guitarist who lived in a squat in New Cross because they couldn't afford to pay rent. The band look happiest in the photos where they're playing live, and it's the capturing of these changes in the life of Blur as band that make these images so significant.

Die Kruezen, Hepa/Titus, Mudhoney, Gay Witch Abortion, Negative Approach, Honky, Melvins

Grumpys Downtown

Minneapolis, MN

July 20, 2013

It’s a shame that Amphetamine Reptile Records quit putting out new records. The label is responsible for a lot of the noisier independent rock of the late ‘80s-‘90s. On the plus side for Minneapolis, though, the inactivity of the label has been led to an annual bash featuring some amazing alumni. 2013, aka Bash 13 was no different. With the Melvins celebrating 30 years by opening the show, here’s how it went down on a perfect sunny afternoon in the Grumpys Downtown parking lot.

Melvins

The best introduction here would be the personal. I like the Melvins. They can cut a fine noisy jam among the best of them. That said, I don’t own any of their records and had never seen them, so don’t expect talk of discography and diatribes about stylistic changes here. Playing with substitute bass player Jeff Pinkus (Honky, ex-Butthole Surfers), the four-piece line-up took the stage in the some of the brightest sun of the day. Whatever that thing Buzzo was wearing didn’t look too comfortable in the mid-day sun, but it didn’t affect the dedication and he and the rest of the band sweated out fierce and LOUD rock. They don’t move around much onstage, and the interaction between them was likely reduced a bit by the member substitution—still the highlight was definitely in watching the dual drumming spectacle of Dale Crover and Coady Willis. As they wrapped up a full set, Honky took stage with a smooth handoff of instruments and Pinkus jumped right into his other band’s catalog sans downtime. It got an awkwardly ahead-of-schedule afternoon moving. Verdict: I’ll see the Melvins again (hopefully later in the day).

Honky

These guys have a fitting name. It’s warped, punky rock, but it definitely comes from the Southern rock side of the fence. Enjoyable enough, but with a line-up this stacked, the second band of the day was the time to move around, check out the merch, and grab my first beer (Surly Overrated, if you’re curious).

Negative Approach

I saw Negative Approach in Gainesville last year at Fest 11, but this time it packed more punch. Being up close and personal, John Brannon has the best angry face going in rock, and the rest of the band slays as if it’s still the early ‘80s. While I haven’t confirmed the rumor, I hear this was their first Minneapolis appearance, and the crowd of all ages was active and feeling it. They were something of a stylistic outlier on the bill, but it was clear there was a universal appeal in the crowd and they helped to steal the show…well, for the time being. It’s not the kind of line-up that warrants headliners, per say. Simply put: this is no cash grab reunion here.

Gay Witch Abortion

Nothing against GWA, but they play in town often and it was time to get out of the sun for a bit. I can catch them anytime, and the noise-duo sounded alright from afar for the first couple of songs before I ran down the street for some eats.

Mudhoney

If I was here for one band it was Mudhoney. That’s why, when I left the restaurant with 20 minutes to spare (according to set times), it was disappointing to hear them playing from a block away. Anyway, I only missed 1-2 songs and when I got there and moved up front in the adjacent parking lot (which curiously offered better sightlines than much of the area for people who paid), I was rewarded with a set straight out of the early-to-mid ‘90s. Well, for the first half.

The band played with an intensity that wasn’t expected for such old songs. Sure, the whole show is something of a tribute to old friends at AmRep, which basically means everybody is on their A-game anyway, but it was impressive to see so many older rockers delivering with force that it puts a lot of their younger kin to shame. The first half of the set harkened to the Sub Pop and Reprise days, and the latter half was mostly off 2013’s Vanishing Point. The old songs definitely had a stronger pull with the crowd, but the new set material didn’t turn anybody away either, showing that the night wasn’t just a nostalgia act.

Hepa/Titus

Two former Cows are at the heart of this band (and ex-Heroine Sheiks too). Here, I was losing energy and fell to the back. The set wasn’t bad by any means, but they never really pulled me in. Two-thirds into it, Shannon Selberg (also ex-Cows) joined for a few songs and the old Minneapolitans had a veritable reunion on their hands. Personally, he was more showman than vocalist, as my vantage point near the back didn’t allow much to reach me—but I’m not sure if the band is to blame or I am, as outdoor shows are notoriously better in sound up front.

Die Kruezen

Actually, my original plan was to head home after Mudhoney, but the night was young and I had some energy left. Unfortunately, the post I took up in the rear left a ton to be desired in terms of sound. The energy was good and the crowd obviously came out satisfied, but what I heard from my perch left me unimpressed. A bit too much ‘80s wailing sing to the vocals and flashier guitar than the rest of the day’s sets. I’m glad to say I’ve seen them, but it’s nothing I’ll seek out.

The moral of the story: always stand up front. Not just to show support, but because it’s a world class difference in sound in most venues. In retrospect, all of the highlights of my day are bands I saw up-close and I doubt that’s coincidence. Mudhoney impressed with their overall performance, Negative Approach with their energy and power, and the Melvins in sheer talents and volume. Still, everyone deserves some accolades for such a line-up, showing that age has nothing to do with it, both on stage and in the crowd.

Photography: Jessie Matz

Photos (top to bottom of page): Melvins, Negative Approach, Mudhoney

The Postal Service are making their rounds again in support in the Deluxe Edition re-release of their 2003 album, Give Up. Scene Point Blank had a chance to check'em out at night 2 of their 2-night stint in L.A. at the Greek Theater with Divine Fits. Check out the gallery below!

Dave Hause @ Cabooze Plaza

Social Distortion, Cheap Time, Dave Hause
Cabooze Plaza
Minneapolis, MN
July 2, 2013

Dave Hause is a busy guy. I swear I get an email a week here at SPB about either a new tour or a new record. Heck, we just reviewed one of his 7” series last week, C’mon Kid on Sabot. Despite all that, I just knew him as the ex-Loved Ones singer.

Well, he lived up to that quickly, jumping into a Loved Ones song second in his set (and another later on). However, he proved he isn’t just a singer without a band, coasting by on his good looks and his old songs. The rest of the set was all solo material, just Hause and guitar, adding occasional percussion by banging his guitarback or through coaxing the audience into clapping along.

It was a hot night in Minneapolis, and the stage faced a bright sunset in the parking lot outside of a mid-size venue. In other words, while the audience had an excuse to be drinking beer under the tents, Hause had to work the crowd. In addition, he was act one of three, and as the aging Social Distortion fans trickled in, most were either just off work and at the bar, or just not interested. While there’s always that extra intimacy with a solo performer, Hause played it well, interacting with the crowd, namedropping a bazillion local music-related institutions from the Triple Rock to the Replacements, showing an air for showmanship. Even those who didn’t like this music should have at least left the night feeling respect for his performance.

As for the performance itself, it was the last night of a tour but he didn’t show any wear, instead being grateful for the crowd that came early and taking the direct sun without effect. It’s mostly folk singer-songwriter-styled stuff, well explained by his role on the 2013 Revival Tour a few months back. There’s a clear punk rock undertone, included not only in audience wardrobe but also through the song structures that focus on a direct simplicity and a penchant for a good anthem. Besides, he’s a well-traveled, 30-something-plus punk, and he threw some nice jibes for punk insiders too. “It’s nice to be in this parking lot, not the other one…the one with the bangs,” he noted early on, clearly a shot at the Warped Tour (often hosted at the Metrodome parking lot up the street). He alternates between electric and acoustic, but the set was probably 80% acoustic—and those songs were the better. The Loved Ones songs, while a nice touch and a throwback down memory lane, are better suited for a full band as the guitar parts were a bit repetitive. Capping it at two songs was a smart move: ties to the past, but looking forward.

Without a full knowledge of his catalog, the highlight probably being the Joe Strummer tribute, starting with a “Coma Girl” cover and morphing into an original/medley hybrid halfway in. The Strummer influence shows throughout his material, and it pulled the tone of celebration, working class, and direct and honest communication to the forefront for a big closer in which he utilized his setting, throwing out local references and working the Social Distortion crowd to his favor.

Up next came Cheap Time from Nashville. A band I’ve heard, but regrettably can’t keep straight from Cheap Girls—whom I first heard at the same time. I won’t be making that mistake again, with the three-piece imagery burned into my memory as the band played a fierce, no frills set while squinting into the crowd. It’s direct, dirty rock. The kind that’s sleazy without the entrendre, instead letting the musical tone and swagger make its impression while they just rock the fuck out. If I’d picked up a record from any of the bands, they’d have been the one.

Social Distortion headlined to close the night and the tour. It’s always a different experience seeing such a big band when I’m used to venues of 100-300 people, but they’re pros for a reason. The setlist was heavy on the classics and the group didn’t miss a note, including in Mike Ness’ delivery which, frankly, I’d expected to be raspier and more off-key, perhaps akin to catching Rancid live. Instead it was mostly straight-up performance with little talk. They acknowledged the crowd and city a few times, but kept the focus on banging out the hits. No surprises, but no letdowns either; it delivered exactly as expected.