Those Darlins' world of music

Tennessee southern rockin' darlings Those Darlins will be returning to Louisville this Saturday to perform at the 10th Annual local Lebowski Fest, sharing the Garden Party with The Seedy Seeds, How I Became the Bomb and Junk Yard Dogs. Their latest album, Screws Get Loose, is currently shakin' up turntables from here to Tokyo and back again.
LEO spoke with Jessi Darlin.



LEO: How would you describe your music to someone who hasn't heard you yet?
JD: '50s and '60s rock 'n' roll meets 70s punk plus a buncha gal group pop sensation from the South.

LEO: How challenging is it for you to channel older sounds, and make it sound modern and relevant?
JD: Not very challenging. We are modern people who listen to a lot of classic music. We just mix the two, always trying to stay true to our real life experiences.

LEO: How do your surroundings inspire your music?
JD: Well, I write songs about me and things that happen to me. So I'd say surroundings are a good portion of inspiration. I grew up in rural Kentucky and have lived in Tennessee for awhile. My rural upbringing and the musician friends in Nashville, Murfreesboro and surrounding cities like Atlanta and Memphis have influenced our music a lot. Our music can sound like a mix of that rural and urban Southern music.

LEO: How much do you feel inspired by other forms of American pop or ethnic music genres?
JD: TONS. It's all up in our sound. We love country, soul, and Chuck Berry. Lately, I have been listening to Jamaican rocksteady, Peruvian descarga, and afro high life.

LEO: In the studio, how much do you try to capture your live sound? How free do you feel to experiment with sounds you might not be able to recreate live?
JD: In the studio, we try to capture our live sound, and then when we play live we try to capture our studio sound. It's an ongoing battle to make the two work together.

LEO: Do you read your reviews? If yes, do you find that helpful?
JD: Mostly no. Occasionally, someone mentions that a particular review was written well and I read it. I don't even have Google alerts on Those Darlins. It's just too easy to get caught up in what everyone else thinks about you. I like to make music that I like and I don't want to be thinking about, "Oh, will this get a good review?" when I am writing. Thinking more about turning myself, the band and fans on.

LEO: How much popularity and fame do you want to achieve? Is there a level where it could get to be too much?
JD: Famous enough to continue playing music and doing what I love for the rest of my life, but not so famous that I need bodyguards to go the grocery store. But if for some reason we did become insanely huge sensations and got filthy stinking rich, there's a lot of causes I would love to throw ridiculous chunks of money at. There are so many people suffering in this world and there’s so many bright ideas that need funding that it would be pretty great to be able to make some dreams come true.

LEO: What do you hate most about the music business?
JD: I hate the standards of mainstream radio. I hate that turning on "rock" radio means hearing some dude sing like a dying dog with a wall of cheesy distorted guitars behind him, or that "pop" radio is just some oversexed icon with a big dose of Autotune, or when you turn on "country" radio you aren't really sure if you are still on the pop radio, or when you listen to rap and r&b radio you think, "Oh wow, I love this song! Can't believe it's on the radio," then it just turns out it's a sample. So many people have no idea there is a whole other WORLD of music out there! Music that everyday people make, not just some money-making machine!

LEO: What do you think about Louisville today?
JD: I think Louisville is a very cool place. I love playing there, there's great food, lots of great art... Enjoyable place to be. Plus, I get to see my family every time we play there, so obviously that makes it one of my most favorite stops.

Those Darlins with The Seedy Seeds, How I Became the Bomb and Junk Yard Dogs
"10th Annual Lebowski Fest Louisville: Garden Party"
Executive Lawn
911 Phillips Ln.
Saturday, July 16
4 p.m.
$12 adv. $15 DOS
www.lebowskifest.com

Gang Gang Dance move themselves

NYC'S Gang Gang Dance has earned a reputation as one of the more unique, surprising and interesting bands on the avant-garde edge of semi-underground music of the current era. Just don't be lazy and try to describe them too much. Their fifth album, Eye Contact, was recently released. LEO spoke with keyboardist Brian DeGraw.

LEO: How would you describe your music to someone who hasn't heard you yet?
Brian DeGraw: Like the sun melting sand into tinted glass... with a lot of drums.

LEO: How do you write - on a schedule, or whenever inspiration strikes?
BD: We write very sporadically, I guess. Sometimes it will happen in the span of a few weeks that we have off from traveling.... other times we will make a song in a day or two before leaving for tour, then we'll usually go back to it and refine it when we have time off.

LEO: When writing, do you think about how the music will move people to dance? Think?
BD: Rarely. It's more about moving ourselves. I guess after I know that it moves us, then maybe I will think about it from an audience perspective and try to imagine the effect it might have to outside ears and bodies. I just think that in order to truly move an audience, you have to put something very pure out there, and the most direct route to that purity is to satisfy your own soul and truly tap into your feelings. From there, you can then share it with the audience. It's very similar to the idea of "you can't be in a happy relationship if you're not happy with yourself first".

LEO: How do your surroundings inspire your music?
BD: Very much so, for me personally. I find that, as time goes by, I am more and more effected by my environments and I have a rapidly increasing desire for wide open space. It might have a lot to do with living in NYC, where your gaze is rarely focused very far from your eyes; it's so hectic that you never really let your vision breathe. It's a very near-sighted existence. We were fortunate enough to have more open space when we were making our new record... I think it made a big difference.

LEO: How much do you feel inspired by other forms of American pop or ethnic music genres?
BD: I feel inspired by music that hits me in the right places - that's all it is. I don't like to think too much in terms of regions or genres. Its all God's music.

LEO: Do you consider your group more of a pop dance band or experimental electronic project?
BD: Ah, see... here we go with the genres. I understand, though - music journalism is difficult without these terms, I guess. I'd say we are Experimental music that has been seduced by Pop. It's a naughty affair.

LEO: In the studio, how much do you try to capture your live sound? How free do you feel to experiment with sounds you might not be able to recreate live?
BD: We have always tried to capture our live sound in the studio. In the past, it hasn't worked so well, with the exception of our very first record, but I think we came very close on this new one. The new one has very good balance; there's a nice relationship between the live sound and the studio sound, I think, and some of the more studio songs, or overdubs or whatever, are now being incorporated into the live set. So the recording is informing the show, and vice-versa. I don't think we are ever too afraid to make something in the studio that we know we can't play live. It definitely is addressed when we start entering into that territory with a recording, but the deliberation never seems to go any further than just a shrug of the shoulders and a few "oh well's". The song itself is most important, I think. It gets to choose where it wants to live.

LEO: When you played in Louisville in 2004, Will Oldham was in the audience. Do you feel differently about playing for other musicians, vs. civilians?
BD: Will is a friend, so it was great to see his face shinin'. I don't differentiate between musicians and civilians. The only time I ever remember thinking about that type of thing was one time in L.A. when Morrissey was in the audience, but I knew there was no way in hell he was ever gonna like our music, so it made it easier. And indeed, I spotted him leaving two songs in...

Gang Gang Dance with Nguzunguzu and Total Freedom
Wednesday, July 13
Zanzabar
2100 S. Preston St., 40217
9 p.m., $12 adv. & $15 DOS
http://www.facebook.com/ganggangdance

The Black Lillies keep on truckin'

The Black Lillies are a band of survivors from Knoxville, TN, who are currently promoting their second album, 100 Miles of Wreckage. They will perform on Saturday at Uncle Slayton's. LEO spoke with bandleader Cruz Contreras.

CC: We haven’t played Louisville yet, this will be our first trip.

LEO: You haven’t played here before?
CC: Not with this band. The big bulk of our tour starts in the end of July; we’re going out west for 6 or 7 weeks. For the next month, we’re just gonna be regional. The week we’ll be in Louisville, we’re starting in Seaside, Florida, a couple of shows in Birmingham, Louisville and Virginia. That should be a five-day run, which is more than we’re used to doing right now. We’ve just been doing weekends since the newest record came out in January. Last year was really crazy busy, but we’ve regrouped a bit with the new record, concentrated on getting airplay; we just made a brand new video, too - the first professional video.

LEO: Did you make that for the internet, or TV?
CC: The goal was for it to be on the major video networks. There’s no guarantee that that’ll ever happen, but… We had a great director, David McKwester (sp?), one of the insider kind of guys who’s won awards and is making our video. I’ve known him - he’s originally from Knoxville. Something like that would normally not be an option for an unsigned band, but he really dug the music. We got the final edit yesterday, and I think it has potential to be on one of the major video networks.

LEO: Were you able to collaborate on the concept?
CC: No – well, we really let him roll with it. You know, I don’t know how to make a video, it’s not really my world. I write the songs, I sing the songs; with someone of his caliber – part of the deal was, he approached us, and I think part of the attraction was he wasn’t gonna have to deal with the record label, he’s gonna have complete basic freedom, so we were really lucky to work with him because of that. My bass player calls it “Thriller for rednecks” (laughs). There’s dancing skeletons, fire, murder, dancing – it’s pretty cool.

LEO: There’s not many video outlets anymore, I would think that CMT is your best bet -
CC: Yeah, CMT is the goal, I think. I’m not sure they’re aware of us yet (laughs).

LEO: Do you feel like you’re part of the country music industry?
CC: Oh, it’s strange. I don’t. Traditionally, not at all. But we have had amazing support from WSM, 650 AM, the original Grand Ole Opry, they play the heck out of our record – and they’ve played the heck out of both records – and we played the CMA convention, so it’s pretty cool. We get to go to Nashville in total style, even though we’re not on a record label, we’re not really commercial country… I don’t know, we just have some good fans who’ve really helped us out.

LEO: Do you think, with all the changes in the industry, that wall has come done?
CC: Yeah, I’ve seen - I made my first record probably in ’99, and I equate it with getting into the horse and buggy business. You’re not going to sell CDs, barely. I remember making my first CD and a person came up and said, “Hey, I love your CD! I burned it for all my friends!” And I was like, If you knew how hungry I was, you probably wouldn’t say that… Whatever, that’s just the way it goes. I was in the band Robinella and the CC String Band in my twenties, and we signed with Columbia Records and I got to see that whole world operate, and it had its time, and it still has its place, on a limited scale, I think. They’ve had to adjust. But if you know what you’re doing, you can do it on your own now. Get it out there. To me it’s, you make your music, make a product and you go direct to your fans.

LEO: What about downloads?
CC: Yeah, we sell a fair amount of downloads. It’s funny – I actually don’t do that myself, I don’t really have a computer, but that’s very comfortable. People will be like, “How do I get your CD?” When you say “download,” they’re like, “Oh, OK.”

LEO: Do you find it ironic to be a band that’s very traditional in some ways and have people downloading your music?
CC: Yeah (laughs), but, like I said, that’s kind of where it is now. I don’t know… Also, there’s a foot in tradition, but we are by no means a traditional band. I have no desire to be a throwback. I spent years learning to play music in all different styles, in a traditional way; that was training to do what I want to do now. You know? Sometimes I see musicians and I’m like, “I don’t know, I just don’t think you should get comfortable – never get too comfortable.” What am I trying to say? There’s nothing more rewarding than creating your own sound, your own material, a fresh sound at that. If somebody’s already played something in the past, I’ll learn from that but I want to take it in a new direction, too.

LEO: How challenging is that, to create something fresh?
CC: A lot of it has to do with timing, as an artist. You have to know when the fire’s hot. I don’t write daily. If I wrote one song a month, I would be thrilled. When I write a song, I want it to be a keeper. To me, that’s something cool about not being part of the industry. I know there’s writers who do that, they go to work and write. Woah! A lot of times, they come in groups, two or three songs at a time.

LEO: You don’t have to panic that they’ll stop coming.
CC I don’t know…! Sometimes I do panic. It hasn’t happened yet, though.

LEO: Do you envision writing and playing for as long as possible?
CC: Yeah, definitely. I’m looking at it as a lifelong pursuit.

LEO: All of the changes you’ve been through – big time, do it yourself – at what level are you happiest?
CC: That’s a good question. I think, ultimately, definitely, the artistic integrity will keep me satisfied. I’d like to make a living at it, to make a good living at it. This band, right now, is riding a wave, so it’s time to get this out there and take a stab, see who we can appeal to, so I’d like to take this band as far as we can take it. Have as much success as we can - it's kind of like creating a job for yourself, is what it is. If you can have enough fans that you can travel around and play, everybody wins. We get to play, people get to hear music they like, everyone goes home happy.

The Black Lillies with Dust Radio
Saturday, July 9
Uncle Slayon's
1017 E. Broadway / 657-9555
$10, 9 p.m.
http://www.theblacklillies.com/

c. 2011 LEO Weekly

Leavenworth, Indiana

Plenty of room at the inn — plus your own bathroom



My favorite character on “Fraggle Rock” has always been Uncle Traveling Matt. In addition to slightly resembling the Indiana Jones-inspired Muppet creation, I also share his love of exploring unknown territories, having adventures and sending postcards to loved ones. This yearning to discover more about the human world, some place scary but exhilarating and far away from my cave, has at times gotten me in trouble. It has been lonely, expensive and dirty at times. But mostly it has been rewarding.



And that’s how I wound up surrounded by a gang of bikers in a small town in Southern Indiana last month.



OK, so this wasn’t exactly Pee-Wee’s big adventure, and even less like Hunter Thompson running with the Hell’s Angels. No, this adventure was lovely and peaceful, almost downright bourgeois in its execution.



I’d seen the Leavenworth Inn’s Living Social Escapes deal months before and hoped it could work as a potential wedding anniversary destination. It was our second anniversary, which left us with a near-impossible dilemma: What could we possibly do to top last year — or the year before that? It seemed inevitable that nothing would be fantastic enough, so why not settle for a B&B somewhere in Indiana, near nothing in particular?



I am no expert on the land and culture of Indiana west of New Albany. Is anyone? (If so, why, exactly?) I didn’t come here to insult — I like driving around small towns, quiet places filled with dilapidated barns; perhaps not 24/7, but they fulfill a piece of me that needs tending to, too. The map told me Leavenworth is a town only about 40 minutes from my big city home, which sounded like an ideal distance for some unseen location that might be wonderful or horrible.



My wife seems to like it when I plan mystery trips, surprising her upon arrival (or as close to our destination) as possible. Being a slicker, I didn’t know that Leavenworth is conveniently located near the town of Marengo. As an adventurer, I love caves, and my wife loves me, so she knows this about me. Therefore, she assumed I had something cave-centric planned as we exited the highway. But no, not yet at least. We turned off and I went left when the road to Marengo went right.



After 10 minutes of rural Americana, we approached “downtown” Leavenworth. I’d expected an adorable block of antique shops run by stout ladies named Margie, but that’s not what we found. Just before we reached the Inn, we passed by the restaurant I’d read about — the Overlook. The menu seemed good enough, full of homemade comfort food. But I hadn’t expected to see a dozen bikers milling about (if bikers can be said to “mill”). I started to wonder whether this was going to be another one of my bad ideas.

Turning into the Inn, though, helped — what a beaut. I’m generally not a fan of B&Bs, because I’m too old and cranky to share a bathroom with Larry from Tulsa. I also never need to make pleasantries over morning cereal with Larry from Tulsa.



I did my research this time, though; I did not go foolheartedly into another situation without assurances that my basic needs would be met: Will there be modern air conditioning? Of course. Is there a private bathroom? Sure. TV? Yes, with cable and a stocked DVD library. OK, great. But wait — there’s more: fresh cookies baked daily, a walking path, tennis courts, shuffleboard, even Wi-Fi, so I can catch up with your feelings about today’s lunch and/or weather when I check Facebook.

 Then there’s the view. A lot of the value of this particular property and the Overlook restaurant across the street is that they both overlook the Ohio River Scenic Byway. It’s a pretty sweet view. After settling into our room, my wife soon declared, “I feel really relaxed here.” I did, too. We had most of our basic needs met, and there were very few distractions.



Oh, and don’t worry. There’s also a fantastic bar.



Walter’s Pub can be found under the Overlook. Not only do they have a few craft beers mixed in with the regular swill, they also have a deck with the best view of the river. BBC in hand, I sat calmly, gazing out at the peaceful water while the trashed and trashy lady at the next table instructed her companion not to mess with her.

Really, though, we didn’t mind her much. It was part of the experience — this wasn’t the Hamptons, after all — and nothing that we don’t see six times a week in Schnitzelburg.



We took a quick detour into “downtown” (a few buildings within shouting distance of the Inn) and discovered Stephenson’s General Store, a legitimately old-timey trading post (100 years old) full of homemade candies, an ice cream parlor, gag gifts, random groceries and hardware. We left 20 minutes later with a bunch of desserts, a “Beware of Dog” sign, Chicken Poop brand lip balm and a tiny glass boot made for drinkin’.

We did have to share a quick breakfast the next morning with some guy who seemed sad, but fresh fruit and another gooey cookie diverted my attention. We had to leave way too soon. On the way home, I got to see the cave, and accidentally discovered a record store in Corydon, of all places.

And so we managed to have fun, see sights and get away from it all — and we arrived in less time than it takes to watch an episode of that Jim Belushi TV show about the fat lawyer who shouts a lot.

c. 2011 LEO Weekly

Mucca Pazza: The Greatest Show on Earth

It’s safe to say you haven’t seen many bands like Chicago’s Mucca Pazza. Their two-dozen or so members play a circus-like mix of marching band, jazz, modern classical and avant-garde music with a punky attitude and an every-night-is-New-Year’s-Eve mission. LEO spoke with members Jeff Thomas (guitar) and Gary Kalar (mandolin).

LEO: How did this evolve from an idea to reality?
Jeff Thomas: Well, we thought That was a really good idea, and it turned out to be a GREAT idea. So, we tried That, and This became a reality. Thus the idea of That is how This became a reality. That made us happy, but This makes us really, really happy. So we stopped thinking about That, and decided to start doing This.
Gary Kalar: Alcohol.

LEO: How do you describe the Mucca Pazza experience to those who haven’t witnessed it yet?
JT: I think the news anchor on Louisville’s WLKY broadcast of the 2008 Pegasus Parade described us best with: “And ... here is Chicago’s own circus punk marching band Mucca ... um ... uh ... I don’t think we have seen anything like this before.” If you can’t trust a local news anchor for an honest description, then who can you trust? Incidentally, we haven’t been able to find a copy of this broadcast. Can you find a copy for us? I’ll buy you some ice cream.
GK: A marching band that doesn’t play marches. An audio-visual explosion of wacky joy, silly fear and odor. Yes, that is audio-visual odor.

LEO: How challenging is it for you to blend marching band, circus, rock, classical and other music cohesively?
JT: Not as challenging as getting an audience to dance to a car alarm.
GK: As long as you don’t think about it much, it’s easy. It helps to listen to really good DJs.

LEO: You’ve played some successful shows in Louisville — a set at the Forecastle Festival, a Derby Eve show with Wax Fang. What’s your impressions of Louisville overall, and of our music here?
JT: Inspiring.
GK: For every reason we find Brooklyn disgusting, we find Louisville delightful. Open, down-to-earth, ready to have fun for no reason. And the food is awesome.

LEO: How many members can we expect in Louisville (including cheerleaders)?
JT: Too many for the stage. Unfortunately, some of us will have to play in the audience. Important safety information: Wear protective eyeglasses, earplugs and, most importantly, nose plugs. Mucca Pazza is not responsible for broken or damaged senses.
GK: Anywhere from 20 to 25.

LEO: How many members actually have a marching band background? Where did you find the other members?
JT: About two-thirds come from a marching band background. Half are from a rock background. Five-sixteenths are from a circus background; half of these are also from the third of us from theater backgrounds. And, I’d say only 10 percent are from classical backgrounds; the other 30 percent have backgrounds in Afropop/hardcore and 1960s post-fluxus/1980s No Wave, respectfully. See previous answer to question about music blending.
GK: One. The Chicago music scene is incestuous.

LEO: Have you thought about starting other chapters of Mucca Pazza in other cities, especially as touring is difficult?
JT: See previous answer to question of ideas and realities: This is That.
GK: We hope every city has lots of their own freak marching bands. It used to be normal. Marching bands, I mean. If your city doesn’t have a marching band, start one today! You don’t need horns or drums either, just find a way to make what you play mobile. Bolt some speakers to football shoulder pads and start shredding. Find everyone you know who plays the flute and start an all-flute marching band. Ok, don’t do that. But things like that.

LEO: Your name means “crazy cow” in Italian. We have an ice cream parlor here called The Comfy Cow. I don’t really have a question for that.
JT: See previous parenthetical statement in answer to Mucca Pazza experiential description: I will take you there, just give us what we want!
GK: I have a question.

Mucca Pazza with Schwinntonation and OKDeejays
Thursday, July 7
Headliners Music Hall
1386 Lexington Road • 584-8088
www.mucca-pazza.org
$10; 9 p.m.

c. 2011 LEO Weekly

Hidden Ritual

Hidden Ritual is a three-piece R'nR band from Austin, TX. They are currently on the road opening for Bill (Smog) Callahan, and will play tomorrow at "a secret location" in Louisville, one which has been described to me as either a bunker or a cave. So...
LEO spoke with Jaime Zuverza.



LEO: How would you describe your music to someone who hasn't heard you yet?
Jamie Zuverza: Well, I always describe the tunes in a different way; today I'll say it would be the secret soundtrack of Shaggy and Daphne's tumultuous times in the early '80s "Scooby Doo" cartoons. Shaggy and Daphne's secret love was like the slowly blooming flower of the bittersweet nightshade.

LEO: How do your surroundings inspire your music?
JZ: Half of our songs were written in Chicago's winter. I grew up in the desert, so the Chicago weather was awesome but also unstoppable. I felt trapped in my basement apartment and I had no control over the radiator heaters. I was either a frozen corpse or a rotisserie chicken rotating slowly on a diabolical spit. Some songs written during that time are "Dusty Dagger," "In a Room," "In a Daze," and "Loner Stays Healthy/Loner Dies".

LEO: In the studio, how much do you try to capture your live sound? How free do you feel to experiment with sounds you might not be able to recreate live?
JZ: Our most recent recording has very minimal overdubs, so it's pretty live sounding. The previous recordings were about creating lush environments that we couldn't duplicate live. Sometimes the recording artist and the performing artist don't match up, but I think that's cool. I can't imagine trying to get a 6-member band together to play all the neat noodles on a recording.

LEO: Do you read your reviews? If yes, do you find that helpful?
JZ: Sometimes, yes. Sometimes, yes.

LEO: What is your favorite song to perform? What do you think is your worst song?
JZ: We have a song called "To the Cave" that's my favorite to play. We love all of our children, and to disown one in print would release a curse into the wind that we are not prepared to deal with. Very similar to a fart.

LEO: Do you get a lot of groupies?
JZ: Only body-less ghost groupies.

LEO: Does your music ever make you horny?
JZ: Well, we do use bongo drums.

Bill Callahan with Hidden Ritual
- a secret location -
Wednesday, July 6
http://hiddenritual.tumblr.com/



c. 2011 LEO Weekly

Abigail Washburn makes friends

Abigail Washburn is a highly gifted clawhammer banjo player and singer who has lived a full life already. LEO spoke with her after she returned from a 30-hour drive back from the Telluride Festival home to Nashville. She performs tonight at Waterfront Wednesday at 7:30 p.m. Here are some highlights from a detailed and delightful conversation:



AW: We’re going to be up in Louisville next week, I’m really excited!

LEO: You’ve got some Louisville connections: Tucker Martine, who produced your latest record, also produced My Morning Jacket’s latest, and their guitarist Carol Broemel plays on your record, and Ben Sollee, of course, was a bandmate of yours.
AW: Absolutely! Of course. Ben’s like a brother – he’s not on the record, but we grew up a lot together musically over the last seven years.
When I took the time to write the record, I wasn’t going anywhere very much. So there was a period of about a year where I was kind of insular. I feel like it has been a while since I’ve really been to Louisville and spent good time there. Ben and I used to spend a ton of time there; we’d play little shows at 21C and we had that cool show at the theater on the campus… And I always love doing in-stores. We did an in-store release at ear X-tacy in January, which was awesome. I wish I was there more often. We’ve considered, from time to time, doing a residency, where I would be in Nashville and Louisville. I was just not quite sure where the right place to play would be in Louisville. I’ve missed it, and I can’t wait to get back.
I also want to say that every time we’re driving through Louisville, we always want to stop at – I’m not even sure how you say it, I always forget – Sunergos Coffee? Always! I’m on their email list and everything. Anyway, obviously, I feel a really very strong connection to Louisville, it’s just been a while since I’ve gotten a sleepover.
Also, Kyle Meredith from WFPK, I’m looking forward to seeing him. He and I tweeted recently, which is nice.

LEO: Do you use Twitter often to keep in touch with music friends around the country?
AW: Yeah, it actually has become kind of fun. At first, I was like, “Oh, this is so weird,” y’know? But then I started doing it, and it’s kind of a neat little system for getting tidbits of information about friends – notes about their shows, where they are, if something special’s happened – I’m just glad to keep abreast of the happenings of the people I care about. And then some that I’m just intrigued by – Bill Cosby, I watch his tweet feed (laughs).

LEO: This time of year, so many talented artists are criss-crossing our region, playing festivals and making friends.
AW: Bonnaroo and Telluride were just incredibly awesome. I know it’s an awesome place to be as an audience member, ‘cause I’ve done that a bunch, it’s an amazing place to be as an artist, and they’re both so different. When I was at Bonnaroo, I learned about new music, like most people do when they go there, I got to see stuff that I’d always wanted to see. Telluride is this incredible family experience in the mountains, with jamming every night after the shows; there’s one big scene of music that’s derived from roots music idioms that are, essentially, pop music – Mumford and Sons, The Head and the Heart, people like that, and it’s been so fun to get to know all these people. We did shows recently with both, and with Mumford and Sons, I sat in on their main stage set, and got to know everybody so well, and it’s such a joy to watch this community that’s connected to roots music, Americana music, grow. It’s growing so much. It’s really exciting, and everybody’s putting their own take on it.
Unfortunately, I had to miss My Morning Jacket’s set, ‘cause it was the only time I had to spend with my husband before we wouldn’t see each other for a week. So, I had to choose… even though I had a little part of me regretting it (laughs). I’ve become good friends with Carl, and Ben sat in with them, so I wanted to be there, but oh well. I’ll see them next time. I heard it was absolutely amazing. I heard there were, like, firecrackers in the sky, it was so amazing.

"Waterfront Wednesday" with Nicole Atkins, Abigail Washburn and Scars on 45
Waterfront Park
6 p.m., free
http://www.wfpk.org/

c. 2011 LEO Weekly

The Funky Meters know how to strut their stuff

“The Fourth of July, it’s gonna be a great situation. I don’t like to be cold, I really like the heat.” At 73, Art Neville should know what he likes. As one of the famed New Orleans Neville family of musicians, he has long since stamped his sound all over American music.

The keyboardist has worked as a musician since the early 1950s. He helped form the legendary Meters group in the mid-’60s, which drove crowds wild with their mix of second-line funk, blues and intoxicating dance grooves. After laying down a series of records that are highly prized and still mighty influential today, the group ended in the late ’70s. Art and kin began performing as the Neville Brothers, who would go on to have numerous hits of their own.

Today, Neville performs with fellow ex-Meter George Porter Jr., still on bass, along with drummer Russell Batiste Jr. and guitarist Brian Stoltz, as the Funky Meters. They headline the Fourth of July concert at Waterfront Park. LEO spoke with Neville last week, and he made some surprising revelations about his take on modern music.

“Some of the new stuff is real, real great. I been watching these people on ... what is it? … on TV ... Man, that stuff is real, real nice. I mean, most of it is. I like a lot of the new stuff with Lady Gaga. I’m getting the video, so that makes it a little different than just listening to it. My favorite used to be Michael Jackson. I would listen to him a lot. Michael Jackson was supreme.”

In his hometown, Neville said, “They got bands doin’ jazz, doin’ ... what do you call that? (Hip-hop?) Yeah, the hip-hop stuff. I listen to the radio a lot; I like to mix my stations up where I can get jazz, I can get funk, I can get rock — I listen to all of it. (Like a big gumbo stew of music?) Yeah, definitely.”

When I asked if he likes the hip-hop stuff, he replied, “We’re working on some things. I don’t know when it’s going to be out, and I’m not gonna say when — the way the business goes, you don’t know.”

While Meters fans can expect to hear some classics, this Funky bunch isn’t just coasting on past triumphs. “We use some of those songs that we did, and we have some new stuff, too. It’s good stuff.”

Asked to pick favorites, Neville deferred. “All of ’em are good songs to me, so I don’t want to pick out one or another. I don’t see any discrepancy, one way or another. People still like what we do, it’s enjoyable. I don’t think that it’s any different.”

Neville especially enjoys outdoor concerts as opposed to dark bars or seated theaters. “We want people to have a good time. They’re gonna enjoy what we’re doing, that’s for sure.” I asked if he thought a drunk crowd was better than a sober crowd. “Nah,“ he began, before thinking it through more. “I don’t really know. Maybe it’s better for some people.”

Neville hopes to keep playing, “As long as I can, man. While I’ve got the energy, and I’ve got the drive to want to do it, I’d like to be able to be playing. I like to play. I don’t know nothing else — so that’s my best bet. As long as people still like to hear it, I want to play.”

*Sunday’s Waterfront Independence Festival lineup includes The Band Perry, Kip Moore and Systems Go.

The Funky Meters with De La Soul and Fitz and the Tantrums

Waterfront Independence Festival*
Monday, July 4
Waterfront Park, Great Lawn
www.waterfrontindependencefestival.com
Free; 5 p.m.

c. 2011 LEO Weekly

album review: JP Wright

“I’m from Kentucky, not Tennessee,” declares JP Wright on “Nashville Star,” a rant against modern country pop defiantly performed in a classic country style. Louisvillian Wright isn’t just a union man in theory; he’s a member of Railroad Workers United and actually spends his days working on the rails between Louisville and Nashville, the old L&N. His songs about classic values in a mixed-up modern world gain a specificity and credibility from his real world experiences, but none of that would matter a lick if he wasn’t also a strong singer accompanied by some lovely, mournful fiddle, banjo, bass and guitar, and not much more. More of a throwback to a Roosevelt-era Okie folkie than a so-called Obama socialist (the cover photo is of Eugene V. Debs), Wright is a modern Pete Seeger, a campfire Springsteen for folks who don’t have $100 to spend on a concert ticket.

c. 2011 LEO Weekly

Brontosaurus: All Killer, No Filler

Brontosaurus are a couple of dudes who have a band. They play Zanzabar on Thursday.



LEO: How would you describe your music to someone who hasn't heard you yet?
Weird, pretty, thoughtfully structured rock music. Awesome?

LEO: If you had to reduce what you want to express musically into one sentence, what would you say?
I'd say we're trying to express passion, honesty, play-fullness while trying to stay thought provoking.

LEO: Do you also have a day job, or does music pay all your bills?
We both have day jobs. NK works at Busy Beaver Buttons where he makes hundreds of buttons a day. NP runs a recording studio where he records hundreds of noises a day.

LEO: Do you write on a schedule, or whenever inspiration strikes? How do your surroundings inspire your music?
Probably a little of both. We both tend to write in spurts when inspiration strikes, but our collaborations tend to be a bit more structured.

LEO: What is your favorite song to perform? What do you think is your worst song?
If a song is brand new it tends to be a bit more exciting, however I don't think we have a worst song otherwise we wouldn't play it. All killer no filler brah!

LEO: What is the most rewarding part and the most difficult part about your work?
I can't say for sure what's the most rewarding, but I did get a pretty great feeling the first time I held our finished record in my hands for the first time. The most difficult part is probably everything that doesn't pertain directly to writing or performing music. The stuff that can potentially distract you from the fact that being in a band and playing music is a awesome.

LEO: How much popularity and fame do you want to achieve? Is there a level where it could get to be too much?
I really just want as many people hear our music as possible. As long as we can continue to make records and people wanna listen to our music we'll be a very happy band.

LEO: What do fans do for you in different cities? Do they bring you gifts, make things for you, or just want to hang out?
Mostly people just like to talk and have a good time. We get drinks bought for us from time to time and just last night someone just made us an origami crane... so there's that.

LEO: Which one of you gets more action and/or respect?
Given that there's just two of us, we're very diplomatic. We share everything in this band...

Haley Bonar's happy accidents

Haley Bonar is about to leave for a tour promoting her recent album, Golder, and isn't quite ready to leave home yet:
“I'm in Minneapolis, checking my list 80 times, making sure I have everything I need for tour (laughs). I'm a little out of practice, so I'm, like, 'Oh God, what do I need for two weeks?'”

LEO: You're touring with some cool folks, including one from Kentucky... Do you know them already? Have you toured with them before?
Haley Bonar: I met Holcombe in Portland, when I was living there for a year. Daniel and I met in L.A. a few years ago. Our bands have randomly crossed paths across the country, and we've remained friends ever since! They're so sweet, and I'm really excited to tour with those guys, they're just really good people and great musicians.

LEO: You've played with some great people before, like Low and Andrew Bird. Have you seen that directly helping get your music heard?
HB: Yeah, I imagine whenever you get to open for somebody that has a big draw, it's always beneficial. It's definitely been both good for my career and we've remained friends ever since. I haven't seen Andrew for probably two years, so I'm looking forward to that.

LEO: How do you feel about living that kind of life?
HB: I think that's just of the way it goes. Everyone lives in different places, so you see each other when you can. It doesn't really bum me out or anything (laughs).

LEO: You're playing a kids' show at Lollapalooza.
HB: Yeah! I have a kids' CD that I made called Sing With Me that came out about two years ago. It's just a little EP. I've been doing that once in a while; with the Lollapalooza thing, it just didn't work out to do the regular stage but we're gonna do a short set at the kids' stage. Which is great, and very appropriate, as I'm going to be, at that time, I'll be like 7 and a half months pregnant (laughs) so that'll be kind of perfect. It's shady there, and it's fun. I don't consider myself at all “a kids' artist”. It's one of those things I just did – it's fun and easy – and the shows I have done have been really great. So, I'm looking forward to that.

LEO: Is there any kind of strategy that you have, to diversify your audience?
HB: I don't know if there's any kind of strategy at all. I always wanted to do that. I've always nannied to supplement my music habit, so it just made sense to do some kid songs that weren't annoying, like, about the alphabet, y'know? I wanted to make something parent-friendly. It just sort of happened.

LEO: Speaking of kids, you've had songs used on MTV's "Teen Mom". I have to confess, I haven't see that show.
HB: Oh, you're not missing much, buddy. The show's not that good (laughs). It's very depressing. Yeah, it's really weird. I still don't know what to think about it. It's just like, “Oh, well, I get a royalty check from that, and that's nice...” I don't have TV - I don't have any channels on mine. I watched one a year ago at a friend's house and I was like, “Oh, there's my song.” They used, like, seven of my songs. In my mind, that's sort of odd. It's a heartbreaking show – I don't think that's the intent of it but it's... yeah. It's weird that that's my music (on it).

LEO: You also have a side band, Gramma's Boyfriend, which is more punkish.
HB: We started that a year ago. I'd always wanted to have a punk band. I love seeing my music, obviously, but I've always wanted to do something completely different, and fun. I get to spazz out, and let my freak flag fly a little bit more in that band.

LEO: Can you see that leading to more spazzing out in your solo work?
HB: It sort of has. I write the songs in both bands. I feel like some of the Gramma's Boyfriend songs are not much of a far cry from my songs. Definitely, on Golder, it's a bit more rock-y; it's not by any means a punk rock record, but it's got a little bit of that in there. I think everything you do affects what you're gonna do next in some way.

LEO: How much impact do yo think your little one will have on your songwriting?
HB: I don't know what's gonna happen with that. A lot of my friends have said, “Oh, it's your most creative time when you're pregnant.” I've been really consumed with this record and the tour and all this work, that I really haven't had a lot of time to be super creative. I have no idea what the next batch of songs is gonna be.
It's definitely weird. I didn't plan on this – having a kid and releasing a record is like having two children, in a way. I don't think it's taking away at all; if anything, it makes me want to sing better. I like the fact that this unborn child is gonna be exposed to all this music through the entire pregnancy. I think it's awesome that I can tell her some day, “When this record came out, I was pregnant with you... You were on that tour! You're in this video!”

Daniel Martin Moore with Holcombe Waller and Haley Bonar
The Rudyard Kipling
Thursday, June 30
7:30 p.m., $10

c. 2011 LEO Weekly

Radical Dads need electric guitars

Radical Dads are a ’90’s-inspired, “120 Minutes”-lovin’ pop-rock band that happens to feature Clap Your Hands Say Yeah’s Robbie Guertin on drums. They make their Louisville live debut on Wednesday at Zanzabar. LEO spoke with Christopher Diken.



LEO: Radical Dads, your mama is…
Christopher Diken: So incredibly intelligent, caring, and supportive, it’s no wonder you’ve all become so wildly successful and good-looking.

LEO: Are you a pop band? Rock? Experimental?
CD: We are a rock band.

LEO: The cover of your album is very striking. What is going on there? Was that the band’s idea or the artist’s?
CD: Thanks! We like to think of it as a creature emerging from the Gowanus Canal, although there’s a good chance it could be something else entirely. It was the artist’s idea. His name is Michael Deforge.

LEO: What’s it like, having men in the band? That must be weird!
CD: It’s sort of like having more than one fly in your soup.

LEO: Favorite ’90s bands?
CD: Pixies, Superchunk, Sleater-Kinney, The Clean, Dinosaur Jr., Pavement, Built to Spill, Modest Mouse, Yo La Tengo, The Lilys, Don Caballero, The 3Ds.

LEO: What is your favorite non-musical work about music?
CD: “The Loser” by Thomas Bernhard.

LEO: Instead of rehashing how you got together – How will you break up, eventually?
CD: We’ll break up when humans deplete all the world’s natural resources, thus making electricity impossible and electric guitars obsolete.

LEO: Know any good jokes?
CD: How many lead guitarists does it take to change a lightbulb? None — they just steal someone else’s light.

Radical Dads with Nerves Junior
Wednesday, June 29
Zanzabar
8 p.m., $5

c. 2011 LEO Weekly

East Cackalacky Ascetic Marching Death Band: Buskers on Acid

East Cackalacky Ascetic Marching Death Band is a duo of buskers who like to hitch and ride the rails around the ol' U.S. of A., having adventures and making music. As you can probably already imagine, they're kind of weird and very funny. LEO spoke with Tom Senkus in advance of their performance next Tuesday at Highlands Tap Room.

LEO: How would you describe your music to someone who hasn't heard you yet?
TS: Buskers on acid, or vengeful musical theatre people who always got the shitty part with two lines.

LEO: What does your music smell like?
TS: Polycarbonate with a touch of that grease from underneath your chin. You know what I'm talking about.

LEO: How do your surroundings inspire your music?
TS: Oh, this is a good one. So, we lived in Klamath Falls, OR in the winter for cheap rent - bad idea. The music scene in December is nil, so we were left to make our own songs in an ex-crack house with no insulation. Our songs became excuses to play more furiously in a cheap attempt to save money on our gas bill.

Then, there's Easton, PA, another place we holed up in. Within the first week, we had three of our tires slashed. This lent a certain desperation and paranoia to our music. We even wrote a song about our neighbor who turned up her television in retaliation to our music practices. She was the inadvertent third member of our band for a while. We love you, Helen.

LEO: Do you prefer playing in bars, senior centers or outdoors?
TS: Nice try! I actually played in senior centers when I was a young lad and they were a hoot. Bars are nice, and it's nice to feed off of an appreciative, nice audience. Did I say nice a bunch? Nice... Sometimes it's fun to be a musical accomplice to some mutual date rape. Since we love to busk, outdoors is a fun method. It's like sticking music into a person-gumball machine and money and laughter comes out. Sometimes dancing.

LEO: What else do you do for money and/or fun?
TS: Jobs? Here's a list for Tom's jobs to make dough for this tour: mover, landscaper, temp agent, short-order cook, scrap metal returner, Craigslist hustler.

Sharmini worked as a tutor, also a Craigslist dealmaker, an Ebay/Amazon queen and a telemarketer for a car dealership. And an Indian restaurant waitress for a day, but they wouldn't let her keep her tips. Here's a tip: SCREW YOU!

As for fun, I like fixing things - the tour van named The Bumblebeast, old radios, laptops, old instruments. Music itself is consuming in all its facets that it leaves little need to work on that part of me that just wants to decoupage.

Sharmini says: Traveling, taking photographs, talking with crazy people and figuring out how to keep all that going. She does a lot of photography (http://visualpilgrimage.tumblr.com/) She's part Sri Lankan, so she thinks it's exciting to put Sriracha on everything. It's not.

LEO: Does your music ever make you horny?
TS: Indirectly, we've become more attractive to our friends with the erroneous mystique of being a "touring musician". Therefore, they find us unattainable by playing places like Pascagoula, Mississippi; and that terrible, terrible lie that all musicians have drugs. I'd like to state for the record that we are VERY attainable.

LEO: What is your favorite song to perform? What do you think is your worst song?
TS: My favorite song is usually the ones that feel like riding on a rollercoaster, like "I Should've Been Aborted". My least favorite is whatever is like the teacups... maybe the dead air between songs when we have to tune up. For those cumulative sections, we label them our punk rock version of John Cage's "4:33". Those especially suck.

LEO: What crimes have you committed in the name of music?
TS: In light of Tupac's murderer supposedly confessing, I'd like to ALSO state for the record that I didn't kill The Notorious B.I.G, no matter how notoriously B.I.G he was. Probably shoplifting from overpriced supermarkets, but really $2.99 for a loaf of french bread? C'mon, Pennsylvania.

LEO: Do you have any favorite trains?
TS: My least favorite is the Northern Pacific line in Kansas City, Missouri. This bull - the railroad policeman handcuffed me and then gave me the "Come to Jesus" speech. He had a very well-groomed mustache and aviators. I had to pay $100 in bribe money to some lawyer after riding a Greyhound for two days.

Tom's favorite was a 20+ hour hopout from Denver to someplace outside of Topeka. He had the opportunity to ride in an empty engine compartment with a bathroom, copious amounts of bottled water, and a jar of peanut butter. Heaven...

LEO: What do you know, or think, about Louisville? Any impressions of us?
TS: Isn't Slint from Louisville? Tom recalls hitchhiking through Louisville last year and this pregnant girl gave him her number to meet up with her by the on-ramp of this McDon-no, wait, that was Lexington. So, no, we're excited to learn how to pronounce "Louisville" all over again.

Tuesday, June 28
Highlands Tap Room
1279 Bardstown Rd.
10 p.m.

c. 2011 LEO Weekly

Sarah Jarosz comes of age

Sarah Jarosz just might be the Alison Krauss of her generation. The multi-talented multi-instrumentalist is signed to influential roots music label Sugar Hill, who saw her first album earn several major award nominations at the young age of 18. Now 20 and a student at the New England Conservatory of Music in Boston during the school year, Jarosz is spending this summer touring around the country. When LEO spoke with her earlier this week, she had just played at the Telluride Bluegrass Festival. She will perform at ear X-tacy Records, at 5:30 p.m. Friday, for free, in her only scheduled local appearance.



LEO: Do you prefer playing outdoor shows or in clubs and theaters?
Sarah Jarosz: I like 'em both, honestly. There are different settings sometimes that I prefer – vlubs and theaters because it's a little more of a listening vibe, but when it comes to really being inspired and being reminded why I was so inspired by music in the first place, I think festivals really help with that vibe.

LEO: Now that you're getting a little older, are you starting to get younger players coming up to you, wanting to jam, like you did when you were younger?
SJ: I guess... I'm still just 20, so I think maybe it might be a few years before its more in number. There was a little girl, Bella, who came up to me at Telluride, who just started playing mandolin – she's, like, 11. I've definitely met a few young people along the way; it's always really inspiring to see other people coming up and doing it, reminding me of when I was that age and falling in love with this.

LEO: Does that make you feel more like a veteran?
SJ: (laughing) I wouldn't say “veteran,” but it makes me feel time a little more, and where I'm at in my life.

LEO: You're 20 now. Are you looking forward to having your first beer next year?
SJ: (laughing) It will be a monumental occasion.

LEO: You've been nominated for a Grammy, and AMAs, and other awards.
SJ: Yep, yep, it's all quite an honor, for sure. I'm still very encouraged by all the support.

LEO: Does that make you feel like the Grammys sometimes actually get it right?
SJ: (laughing) Yeah, definitely. I have a lot of respect for them, and it was such an exciting thing to get to go and experience. But, y'know, what I say often is that, as much as all of that support means, even if none of it existed, I would still be doing this. I'm not doing this for all that. It's just a nice extra thing that I feel honored by.

LEO: Do you see it helping to raise awareness, to get people out to see you or listen to your albums?
SJ: I think so. People obviously pay attention to that, so it definitely helps. I'm very thankful and fortunate to have that at a young age.

LEO: How many different instruments do you play?
SJ: Well, usually on the road, I travel with four instruments: mandolin, octave mandolin, clawhammer banjo and guitar. So, those are my main things. When it comes to being in the studio, it always opens itself up to experimentation. On the record, I was playing wurlitzer, electric guitar and a lot of different things.

LEO: Do they all come easily to you? Or are some harder to master?
SJ: I don't know, I just feel a different connection to each instrument. I know my way best around mandolin, but when it comes to songwriting, it's nice to be able to play all of them, because if you're looking for a different sort of sound, or have a lack of inspiration, then switching over to a different instrument, at times, helps give ideas.

LEO: Is there a style that you're really feeling right now?
SJ: Being at Telluride, I saw Tim O'Brien play; it's interesting, he's one of the reasons I even started playing music, I grew up listening to him... just revisiting the stuff I grew up listening to a long time ago. Like, the Punch Brothers – they're sounding so amazing right now.

LEO: Do you prefer playing versus singing or writing?
SJ: I like it all. I do go through phases of things that I really feel I need to work on – and, a lot of times, it's all three. But I think that they all feed into each other. A lot of the people that I've really respected growing up have been singers and instrumentalists and writers, and so that's something I strive to get better at.

LEO: Are there other artists outside of what people might think you'd be into that inspire you?
SJ: Oh, yeah, totally. That's one thing I feel fortunate enough to have had were parents that listened to a bunch of different stuff, all around the house. They're big music lovers – my mom plays a little guitar and writes songs, and my dad just loves it. A band like Radiohead, or the Decemberists, or Wilco – and then, now that I'm at the New England Conservatory up in Boston, getting into more jazz things that I'd never listened to before. It's just all really inspiring.

LEO: How much longer do you have at the Conservatory?
SJ: I just finished my second year, and I have two more years left.

LEO: I'm curious if you have any regrets yet?
SJ: I feel fortunate to say that I don't. Yet (laughing). I think for me, so far, that has to do with feeling really fortunate to be surrounded by a great team of people that have been helping me; the whole Sugar Hill Records team, my management- there's so many crazy things in this music business, and I feel really lucky to be with people that I can trust. They're supportive of me going to school and supportive of the music that I try to make. Also, having the opportunity to be surrounded by so many musicians that I feel inspired by on a daily basis, it's really special.

photo by Scott Simontacchi

Small Sur — where the country meets the city

Small Sur is a folk-based band from Baltimore that plays slower than most. Their confident approach has earned solid reviews from fans all over, like the NPR staffer who wrote they create “strikingly peaceful folk that feels as if it’s sprung from the Pacific coasts of California rather than East Coast clubs.” Their label, Portland, Ore.’s Tender Loving Empire, describes their music as “Songs about trees, kelp.”

LEO spoke with singer/songwriter/guitarist Bob Keal before they left for a tour promoting their new album, Tones, which will be released on Tuesday.
“I write slow songs, because faster songs don’t come out of me,” Keal says. “For those who hang their hats on faster ones, that’s all well and good, but for me, there’s no such thing as ‘too slow.’”

Small Sur is a bit of an outcast in Baltimore, whose scene today is dominated by loud and art-damaged rock bands and experimental musicians. Keal, who was raised in South Dakota as “a pretty normal Midwestern kid,” has always followed his internal compass, moving as he pleases. His songwriting doesn’t always reflect his surroundings.

“I can’t really say that Baltimore itself has influenced my songwriting in any direct way since moving here almost six years ago. One song on Tones, ‘Prettyboy,’ was written about a reservoir that’s 30 minutes or so from the city, but beyond that, I’d say that I find much stronger inspiration from more rural environments, my youth in South Dakota, traveling in California or the Northeast, and spending time with friends.”

Keal, a man possessing a giant lumberjack beard, spends most of the year teaching elementary school. “I teach English to Students of Other Languages (ESOL). All my kids are amazing and interesting, and while they haven’t slipped into my songs just yet, I’m sure they will soon.”

He acknowledges that he thinks sometimes about moving to a different environment. “Baltimore has many different faces, and not all of them are pretty, but my music is just one part of my life. So, while I’m sure I’ll leave Baltimore sometime in the not-so-distant future, the move will likely have more to do with an overall change of lifestyle than anything to do with the band.

“In a way, too, it’s pretty inspiring to play music in a city that doesn’t traditionally embrace our brand of music, because we get to play and collaborate with tons of bands that we wouldn’t probably hook up with if we didn’t live here.”

Small Sur with Elephant Micah and Joe Manning
Sunday, June 26
Zanzabar
2100 S. Preston St.
www.smallsur.com
$6; 9 p.m.

c. 2011 LEO Weekly

Grupo Fantasma want to make you dance

Austin, Texas-based Grupo Fantasma might be best known for frequently backing super-fan Prince, who called them “real musicians making real music.” Their 2010 album, El Existential, won a Grammy for Best Latin Rock, Alternative or Urban Album. They will perform at the Clifton Center for guests at the 19th annual Taste of Frankfort Avenue food fest. LEO spoke with guitarist Adrian Quesada.



LEO: How do you feel playing in parts of the United States where Latin culture isn’t nearly as prominent as it is in Texas? Is it harder — or easier — to find excited crowds wanting to listen?
Adrian Quesada: There’s really no formula to who enjoys our music. Sometimes we get better reception in Canada or Europe where people don’t understand a word we’re singing about, and sometimes there’s nothing like playing for some “raza.” As far as the U.S. goes, some people are just more open-minded than others and don’t box music and culture into little packages; we tend to do well in those situations.

LEO: What’s more important — the Latin part or the funk part of the music?
AQ: Both parts of it are just as important, but I’d say the Latin part may be the harder one to master ... We’re working constantly to get better as a band, and with funk and Latin music, the idea is: Less is more. It’s about being a part of a greater whole and not overplaying. The instruments are supposed to be having a conversation with each other.

LEO: When writing, do you think about how the music will move people to dance?
AQ: We don’t think about the dancing until we actually try out a new tune at a show. When writing, we’ve been trying to write a good song for the sake of writing a new song, instead of to make people dance. But to be totally honest, if a non-danceable song kills the energy at a show, sometimes it gets weeded out of our set.

LEO: How much are things like Grammys worth to you?
AQ: It’s more of a reward for all our hard work over 11 years.

LEO: You’ve done a lot by yourselves. Have you had discussions with major labels or others who might be able to offer you money or access that you can’t do yourselves?
AQ: In the early days, we had some major label interest. None of it panned out for one reason or another, and it’s probably a good thing at this point in our career. There was a lot of people telling us what they thought we should be doing, and it usually involved telling us we were doing the wrong thing. We chose the long road, but it’s one that we’ve built along the way, and won’t crumble as it has a steady foundation. We haven’t done everything independently and have worked with some great distributors, labels, publishing companies, etc.

LEO: How much do you feel inspired by other forms of American pop or ethnic music genres?
AQ: We get inspiration from all over the place. We’re not above listening to pop music, either. With 10 members, there’s so many influences as everyone has their own taste in music. There’s a common thread, of course, and that’s Latin and funk music. You may not hear the influence of many genres outside of that, it’s very subtle, and we’ve never been about forcing the music in any direction just for the sake of doing so.

LEO: Are you the best live band out there? If not, who’s better?
AQ: No, we’re always striving to be better. But I do think, pound for pound, we can hold our own with the best of them, and we’re one of the most versatile bands around.

‘Taste of Frankfort Avenue’ with Grupo Fantasma
Sunday, June 26
Clifton Center • 2117 Payne St.
www.cliftoncenter.org
$40 ($20 concert only); 5 p.m. (food), 8 p.m. (concert)

c. 2011 LEO Weekly

Sound & Shape get inspired

Sound & Shape is a passionate rock band from Nashville with a lot of soul. They're road warriors who have earned their spots. Their new ep, Now Comes the Mystery, was released on May 10. LEO spoke with singer/guitarist Ryan Caudle.

LEO: How would you describe your music to someone who hasn't heard you yet?
RC: Without knowing what their exact frame of reference is, I'd normally just say rock 'n roll. I think when you start breaking things down into sub-genres and sub-sub-genres, the magic of the self discovery aspect of music can get taken away. It's a super hard thing to be objective about one's music and not immediately say, "It sounds like the greatest thing you've ever heard in your life!"

LEO: Do you write on a schedule, or whenever inspiration strikes?
RC: I have certain open times in my schedule where I know I'll be able to sit down with my guitar and notebook, but usually, throughout the week, I'll be collecting little ideas as the inspiration hits me: lyric fragments, overall song ideas, a riff or a chord progression and then, when I have the free time, I'll sit down and assemble all the pieces. Sometimes the whole thing just comes at once though, and I'll just kind of stop what I'm doing and push through it.

LEO: Where do you find ideas for your songs?
RC: A song idea can literally come from anywhere. Sometimes, when I'm in a public place, I'll hear snippets of conversation and, after those people move out of earshot, my brain will just automatically pick up the storyline of their conversation and continue it internally, which will then sometimes turn into an idea or into an actual lyric. Other times, movies, books, television shows, etc. can kind of give a spark of inspiration as well. Not in a directly literal way, but more of a "that's cool... but what if THIS happened instead?" kind of way.

LEO: How do your surroundings inspire your music?
RC: I think your surroundings have a major subconscious impact on your writing. If you're comfortable in the place where a song is written, I think that comes through; just like if you're in an unfamiliar place or somewhere where you might not feel so secure, artistically or otherwise, that, too, will be evident in the finished product.

LEO: What is your favorite song to perform? What do you think is your worst song?
RC: Right now there are two, and they are actually both brand new. One is called "Wheels To Babylon" and the other is called "Everybody Leaves." They are both kind of on opposite ends of the spectrum, musically, but I think I managed to say what I wanted to say with each pretty completely.
As far as worst song goes, there are actually a few clunkers I'll take responsibility for, ha ha. Luckily, most of those are and will remain unreleased. Of all the released stuff, I'd have to say probably a song called "Feed Me to the Spiders" from our first record. It just doesn't go anywhere interesting or say anything.

LEO: What is the most rewarding part and the most difficult part about your work?
RC: The most rewarding part is definitely all the handshakes and hugs and the "you're my new favorite band"s. More than anything, I want to be great at what we do, so when people are into it, it's pretty much the best feeling you can imagine.
The most difficult by far is being away from home. Even if we're just gone for a few days, the second I get in the van I miss my girlfriend and our two cats and our apartment. Having someone at home makes being away kind of bittersweet sometimes.

LEO: Have you spent much time in Louisville? Any impressions of us?
HC: We've played Louisville off and on for a few years now and, with the exception of one time, we've always had great shows and a great time. Louisville is a lot like Nashville to me. It's a pretty forward thinking and "hip" town, in a state kind of known for being neither of those things.

Sound & Shape with BEHM
Thursday, June 23
10:30 p.m., $5
Hideaway Saloon
1607 Bardstown Road
http://www.facebook.com/soundandshape

c. 2011 LEO Weekly

Sallie Ford gets a-rockin'

Portland, OR's Sallie Ford and the Sound Outside recently made a splash at the 2011 Bonnaroo festival, and are now headed up to Louisville. Their album, Dirty Radio, a modern mix of rock, boogie and honky tonky blues, was released last month to acclaim, alerting music fans to a favorite of the Avett Brothers and Jolie Holland.



LEO: How challenging is it for you to channel older sounds, from rockabilly to jazz and blues, and make it sound modern and relevant?
SF: I usually only let that type of music inspire me and try not to copy anything to much. I just see what comes out, and it's usually something vintage sounding mixed with modern.

LEO: What modern music gets you excited? How do you feel about rock music these days?
SF: I really like a lot of modern music. Sharon Van Etten and Deer Tick are some of my favorites right now. I think there could be more rockin' music out there, but then again, we wouldn't want too much competition. Haha, just kiddin'. Deer Tick can be pretty rock 'n roll and seem like bad asses.

LEO: Just how cute is your band? Do you get a lot of groupies?
SF: I think of them more as nerds, but I'm sure the day will come when there are groupies. As for now, we got our minds set out for doin' a heck of a job being a busy touring band.

LEO: You're father is a puppeteer, which, of course, is awesome. Coming from that family, was doing anything other than music or performing ever a consideration?
SF: I did think about being a film maker for a while. I liked the idea of creating something behind the scenes and making an art that is group based. Being in a band is a lot like that. I just let my alter ego take over and don't overthink the whole "performing" thing.

LEO: You worked in a Vietnamese restaurant before achieving musical success. Can you eat Vietnamese food now, or does it bring up too many memories?
SF: Haha, I never was much of a fan of "Pho", but I still do enjoy a good "Bun" noodle bowl, or a yummy Vietnamese crepe. I'm just happy to not have those waitress nightmares anymore, where I screw up everyones order.

LEO: You've lived in Asheville and now Portland, OR, and you've played Bonnaroo. How many hip hippies can one person be surrounded by?
SF: Just glad to be in Portland, as I have yet to witness a drum circle.

LEO: Have you been to Louisville before? Any impressions of us?
SF: I have not been there, but I have a good friend that just moved there and has great things to say! Also, we briefly drove through Kentucky last week, and they had the nicest rest stop/welcome center we have ever seen. Go Kentucky!

Sallie Ford & the Sound Outside with Tamara Dearing
Thursday, June 23
8 p.m., $10
Uncle Slayton's
1017 E. Broadway
http://www.sallieford.com/

c. 2011 LEO Weekly

Junior Boys get smart

Junior Boys are a duo from Ontario, Canada, who have impressed both dance and indie music fans over the past decade. Their fourth and latest album, It's All True, was released this week by Domino Records. LEO spoke with Jeremy Greenspan, who was on a bus "somewhere between New York and D.C."

LEO: Do you enjoy traveling around the States?
JG: I do, yeah. I wouldn't say I enjoy this particular stretch of highway... (laughs). I wouldn't say that the Roy Rogers we went to was my favorite place in America (laughs), but yeah.

LEO: Do you prefer Tim Hortons?
JG: (laughs) No, I think that particular guy has worn out his welcome with me, actually.

LEO: I'd say your music has more of a European sound than a North American sound. Do you agree?
JG: Maybe... I don't know. To be perfectly honest, we probably have more success in North America than in Europe. In terms of the amount of people who come out to shows and all that kind of stuff. The Midwest, it's always kind of a crapshoot. We have lots of fans in Atlanta and on the East Coast.

LEO: Do you read your reviews?
JG: Oh, yeah, sure.

LEO: Do you find that helpful?
JG: If they're good (laughs). Yeah, if they're good, we feel real good about 'em. I have a friend who always says it takes 10 good reviews to get over one bad one. Our reviews on this record so far have been quite good, so we're feeling pretty good about it.

LEO: How has Domino Records been helpful to getting your music out? Have you ever thought about putting out your own records?
JG: They do a lot. Only recently have we taken much of a role in getting our music out by ourselves – running our Facebook, starting a Twitter page, all that stuff. That's pretty new for us. Most of the time, we've relied on our label to get our stuff out there.

LEO: Do you think social media has helped you?
JG: I think it does. It's hard to tell. I think so.

LEO: Do you consider your group more of a pop dance band or experimental electronic project?
JG: I think of us more as a pop group, but our roots are in dance music, electronic music, stuff like that. We don't necessarily make pop songs, but we don't want to alienate anyone. We make pop music that makes you think.

Junior Boys with Miracle Fortress and OK Deejays
Wednesday, June 22
9 p.m., $12 adv., $15 DOS
Headliners Music Hall
1386 Lexington Rd.
http://juniorboys.net/

c. 2011 LEO Weekly

JEFF the Brotherhood look for art

JEFF the Brotherhood is two brothers, rockin' Nashville natives who also spent time in Be Your Own Pet before heading off on their own adventure. Their new album, We Are the Champions, will be released on June 21. LEO caught up with drummer Jamin Orrall.



LEO: How much of your life have you spent on the road during the past decade? What do you do to keep it interesting?
JO: I've been on the road over half of the last ten years. It doesn't get boring, you are in a different place everyday, you meet people and good and bad stuff happens all the time.

LEO: You have a blog with lots of great photography of your travels. Who's the photographer? Is that another artistic outlet, or just a way to connect with fans?
JO: I take the pictures on our weblog. I just do it for fun and to keep people updated. It's a good way to remember where we were, too. I like to take pictures of snacks and dreadlocks.

LEO: How do you explain your music to people who haven't heard you? Do you say different things for older people?
JO: I just say that we are a rock band, to everyone. Party rock.

LEO: How much popularity and fame do you want to achieve? Is there a level where it could get to be too much?
JO: We just want to keep playing and touring and not have to work normal jobs. It's nice when lots of people like our music, but being really famous would probably be horrible.

LEO: What do fans do for you in different cities? Do they bring you gifts, make things for you, or just want to hang out?
JO: Sometimes they bring us snacks; normally they just want to hang. I wish they would make us drawings.

LEO: What do you hate about the music business? Like most?
JO: Hate rules, like playing music.

LEO: Brothers often fight, especially brothers in long-running rock bands. How do you guys do together?
JO: We fight every 5 minutes about everything, but we get over it really quick. We are just brutally honest with each other. We have to take someone on tour with us or we go crazy. We have never had a fist fight.

LEO: Louisville's not far from Nashville. Have you spent any time here? Do you have any observations or stories about being here?
JO: I haven't spent a lot of time there, but I like Kentucky, it's pretty.

JEFF the Brotherhood
with Cy Barkley, K Tranza, State Champion
Magnolia Bar & Grill
1398 S. 2nd St.
Sunday,June 19
8 p.m., $7 adv. / $10 DOS
www.facebook.com/JEFFtheBrotherhood

c. 2011 LEO Weekly

album review: Danny Flanigan

Hope Is a Word...
Danny Flanigan
SELF-RELEASED



Nick Hornby wrote once about how he never understood Jackson Browne’s music before he turned 40. Even at a much younger age, I understood the sentiment: Rock is for the young, it’s supposed to be edgy, blah blah blah ... However, most popular music today doesn’t express what life is like for 40-something-and-up parents, and most songwriters aren’t Bob Dylan. Louisville vet Danny Flanigan’s new album is a solid entry into the middle-aged domestic music genre: part Lyle Lovett (clever), part James Taylor (sentimental) and part John Hiatt (both). He’s a skilled lyricist, a natural storyteller backed by solid musicians like Steve Cooley and Todd Hildreth, and the album benefits from crystal clear production by Danny Kiely. Some songs are full of life, though others are a bit too ready for public radio picnics. You’ll laugh, you’ll cry ... but if you’re under 40, this might not be your thing. Yet.

c. 2011 LEO Weekly

White Denim hang on to rock 'n roll

Texas-based rockers White Denim are a modern throwback, a classic rock band who have achieved success through both hard work and Internet-based buzz. Their new album, D, was given four stars by Rolling Stone, which said their “sublime attack often recalls late-Sixties Grateful Dead, when their songs still had garage-rock drive but were exploding every which way.” LEO spoke with singer/guitarist James Petralli.



LEO: You seem to have had an easier time in England than here. From Hendrix to Kings of Leon, why do you think they respond more quickly to American rock ’n’ roll than some Americans do?
James Petralli: I think the main reason is that the U.K. is a much smaller and more densely populated country than America is. We were fortunate enough to work with an amazing group of people that understood our music and where we wanted to take the band on the first two records. The right combination of industry support and social climate made it easy for us to reach the entire country. Also, it could be the school systems. Generally, the people residing in Europe have a deeper inherent appreciation for artistic gestures across the board.

LEO: In the studio, how much do you try to capture your live sound? How free do you feel to experiment with sounds you might not be able to recreate live?
JP: This is a song-by-song situation. On the first two records, our studio space prevented us from capturing the full band live. We spent time trying to capture live individual takes, but were never able to track the trio together. Now that we are in a larger space, we are consistently going to the live band approach to recording basic tracks. Both ways have yielded successful results. We view the studio and stage as two completely independent mediums that may or may not inform one another from song to song. We try not to limit ourselves in either realm.

LEO: How much affect have blogs had on people knowing who you are? Do people tell you how they first heard your music?
JP: Most people that read music blogs have at least heard of us, though many have probably forgotten about us on account of the height of our “blog buzz” occurring in 2008. I really appreciate the support we have received from a few music sites. I do, however, feel that music blogs have had a tremendous impact on the way certain groups of people process music. I am not by any means saying that it is the fault of music blogs, but I think there is something disturbing about how disposable music can feel when you acquire it digitally and how that affects our culture. People generally do not tell me how they first heard our music, though I am interested in that. Maybe they will begin to when they read this.

LEO: Do cool dudes in rock bands still get as much action as they did in the ’70s and ’80s? Or is it more of a business-like atmosphere that you encounter today?
JP: I am not sure, really. I think as long as there are bros and babes in the world, there will always be action. We are a pretty serious bunch, though. Hanging on is much more important to us than hanging out.

White Denim
Sunday, June 19
Uncle Slayton’s
1017 E. Broadway
$10; 8 p.m.

c. 2011 LEO Weekly

Ben Sollee strolls all over the map

Ben Sollee is one of the most popular, acclaimed and surprising acts to emerge from Kentucky onto the national stage in recent years. The singer/cellist from Lexington recently released his second solo album, Inclusions, which Paste magazine said “... is as eclectic as Sollee, exploring post-modern jazz one minute and simple folk the next, with gospel themes running up the spine.” Sollee celebrates with a concert in the park this Saturday, which is preceded by a 5K walk and bicycle ride.



LEO: You’re making a video for each song on this album. What is the value of that medium for you?
Ben Sollee: Well, we’re trying. It’s a rich opportunity these days to explore all the other creative reflections of music through other mediums, like dance and visual art in video. Plus, it’s another chance to include pieces and parts of community in this project. Hopefully, we’ll be able to get all the videos done.

LEO: The intro piece on the album was inspired by the Basque country music of Spain. How did you encounter that, and how did it affect you?
BS: I came across a collection of Spanish folk music at a record shop in Ann Arbor, Mich., that Alan Lomax collected. The recordings from the Basque country were captivating. Many of the dances had elaborate, brash, cadenza-like openings that embodied a certain spirit. So (Louisville saxophonist) Jacob Duncan and I teamed up to create something unique from the idea of those recordings. On the album, it serves as a grand, stumbling entrance that adds to the drama of the heavy groove in “Close to You.”

LEO: You’ve worked recently with an Atlanta DJ and a North Carolina dance troupe. How do you choose your collaborators? How did these and other collaborations work out?
BS: Oh, I just try to work with good folks doing good things these days. Time is too short to do otherwise. I love collaborations because they always test my ideas, keep me honest and on my toes. My work with DJ 2nd Nature and Detroit-based DL Jones was seminal for this record, and I hope we can put out those tracks in the future as well.

LEO: NPR and USA Today have been full of praise for you. How famous can a cellist become in the pop world?
BS: Ha, a fun question ... as famous as any other musician, I suppose. In the pop world, there’s certainly a stigma attached to the idea of a “star,” but, at the same time, the mold is broken often enough. Just trying to play some good music for the time being, though.

LEO: What do you do on the road when something happens to your cello?
BS: You mean other than me? ... Well, we have an official shaman that can heal it from afar. Usually takes two to three days. In all honesty, though, we have had great fortune with people helping out from Twitter and Facebook when we’ve had serious breakdowns in the instrument department.

LEO: Who are some of your favorite Louisville musicians today?
BS: I think violinist Scott Moore is quietly making some really neat things happen with the 23 String Band and some of his own solo stuff. Obviously, I’m a fan of Cheyenne Marie Mize’s work, and I think Justin Lewis is building a nice story. I wish I could be there in the scene more ... busy times these are, friends.

LEO: Anything else you’d like to mention?
BS: I just want to make sure to express my gratitude to Louisville for all of its support. This is a fun ride that would never have taken off without the warm support of the arts community and great audiences.

Ben Sollee with David Mead
Saturday, June 18
Iroquois Amphitheater
1080 Amphitheater Road
www.bensollee.com
$20 (concert), $25 (concert and 5K); 8 p.m. (5 p.m. for 5K)

c. 2011 LEO Weekly

Horse Feathers works for young and old listeners

Justin Ringle started the Portland, Ore.-based band Horse Feathers in 2004. Their three records have helped establish Ringle and his rotating cast as a new favorite to both young rockers and older folkies. Their most recent album, Thistled Spring, was released last year by the Kill Rock Stars label.



LEO: Do you enjoy being out on the road?
Justin Ringle: Yes and no. I’m just starting to work on a new record now, so it’s always bittersweet. I tour because it’s a part of my job, but sometimes it becomes a time-management issue. I’d like to be able to work on new stuff as well. It’s very difficult — there’s certain things I can do, but it’s really hard to write on the road. I need planned home-stays to act like a normal human for periods of time.

LEO: How far do you hope to go with your music?
JR: Well, that’s funny, ’cause I think about that every single time I make a record. On the one hand, I’ve already exceeded every single goal I ever had with music — I’ve got a much bigger career, in one way, than I ever thought I would have. At the same time, it’s contrasted by the fact that I still have to pay my bills and be an adult. As soon as that switches over from something purely about ambition and inspiration into dealing with the business, I’ve got to say that that changes the perspective. I’m pretty comfortable with where things are; if it got bigger, that’s great, but I just want it to happen in an organic way. That’s a complicated question.

LEO: Your music has a wintery vibe. Do you find that it plays differently in different seasons?
JR: Yeah, it does have a couple different paces, I suppose. The conception of the records is always different than how it comes off live. I started playing completely geared for listening rooms — very spare and quiet — but we’ve played from super-small, intimate rooms to thousands-plus festivals, and the music changes a lot depending on the situation. For me, the writing and recording has always responded to seasonal changes, but for the live show, it’s kind of a different experience than the records.

LEO: Do you do better in towns with lots of beards?
JR: You know what? I don’t think so! The beard crowd — that’s the Pitchfork crowd. And that’s cool, and I’ve lived in that galaxy a little bit, but honestly, the people who appreciate the music the most — maybe not surprisingly — we have a lot of 35-year-olds on up who’ve definitely gotten more into the music. We play some shows where it’s a very NPR-type crowd who really enjoy it; we play some other shows where it’s mostly 20-somethings. We’re maybe somewhat of an anomaly in that sense.

LEO: You’ve been through Louisville before. Do you have any impressions of our city?
JR: Yeah, I really liked it! Louisville is nice. We had a really great show — I think it was at, like, Skulley’s or Skull Kitchen? Skull Alley, right. You never know, when you play a market you’ve never played before, who is going to show up. We had an awesome show there — we had low expectations, ’cause we’d never been to Louisville before, and it was actually rad. Maybe you guys set your own bar.

Horse Feathers with Hello Mtn
Thursday, June 9
Uncle Slayton’s
1017 E. Broadway
horsefeatherstheband.com
$10; 8:30 p.m.

c. 2011 LEO Weekly

New music composers join forces for special night

by Peter Berkowitz & Ryan Burleson



Call it a function of our country’s collective obsession with immediate gratification, but the United States has never appreciated its contemporary composers like they do across the Atlantic. Nonetheless, a Louisville composer, Rachel Grimes, formerly of the Rachel’s band, has helped pave the way for new music poster children like Jóhann Jóhannsson, Zoe Keating and Nico Muhly.
Another name to add to that list is the California-born composer Dustin O’Halloran, who proudly declared that the Rachel’s album Music for Egon Schiele “is still one of (his) favorite records” and that it’s an “honor” to tour with Grimes.
“I spent several weeks in Europe last fall and had a wonderful experience,” Grimes says. “I met Dustin O’Halloran in Berlin, where he is now living. We had so much in common to compare notes on. There is increasing interest there in composer/performer instrumental music that is not strictly academic.”
Pianist Grimes worked with the Rachel’s between 1991 and 2005, and now works both as a soloist and with the Louisville-based rock band King’s Daughters & Sons. Her first solo album, Book of Leaves, was conceived in a holy setting.

LEO: What is the connection between your music and the spiritual/religious world? You recorded in an abbey, and you’re playing here in a church.
Rachel Grimes: Churches typically have wonderful acoustics and often really nice instruments — the case with both St. Francis of Assisi and Loretto Motherhouse. Both places welcome musicians and have frequent concerts. I am optimistic that there are others who really want to experience music in an intimate and personal environment.

LEO: What is it like playing solo, classical-type piano and more rock-type keyboards in KD&S?
RG: Well, I have always played a lot of different styles of music, because it is what I enjoy. I really enjoy playing with (KD&S members) Kyle, Todd, Michael and Joe — we seem to have this ongoing, unhurried conversation over the years that is really satisfying. I have a new piece for a piano and string trio and a few new pieces for solo piano that will be on this concert. I am working on recording those along with two new chamber pieces.

It was in film that Dustin O’Halloran began his ascent. Songs pruned from his first two albums, Piano Solos Vol. 1 and 2, effortlessly matched Sofia Coppola’s impressionistic rendering of “Marie Antoinette” in 2006. Three years later, O’Halloran was commissioned to compose his first original score, for William Olsen’s “An American Affair.” The experience of working with other players would inform the much more textured and ensemble-heavy Lumiere, his most recent studio album and first for 130701, FatCat’s orchestral imprint.
“I had always wanted to explore writing for other instruments, and in some ways I was always hearing them in my head,” O’Halloran says. “After doing a couple film scores, where I got to explore this, I really wanted to bring it back into my own work.”
Backed by the ACME Quartet, composer/violinist Peter Broderick and Stars of the Lid’s Adam Wiltzie on guitar, O’Halloran makes the transition from solo pianist tinkering away in an Italian farmhouse to full-fledged studio impresario look easy. Here, ambient and electronic music embellishments hover above plaintive string arrangements that support rather than overwhelm O’Halloran’s elegant expressions on keys.
Grimes and O’Halloran’s joint tour will hit other important U.S. cities in addition to Louisville, including Chicago and Hollywood. Grimes adds on her website, “If you know of any nice venues with a grand piano, please drop me a note.”

Rachel Grimes with Dustin O’Halloran
Friday, June 10
St. Francis of Assisi
1960 Bardstown Road
www.rachelgrimespiano.com
$12; 8 p.m.

c. 2011 LEO Weekly

Column: Old music in a new age

On Tuesday, May 31, I joined several thousand other music lovers in the Louisville Palace to enjoy local-rockers-turned-international stars My Morning Jacket performing a concert that was being filmed for YouTube, in an event sponsored by American Express. As the contrasting smells of weed and deep corporate investment wafted through the under-air-conditioned Palace, the management of another essential local group — The Louisville Orchestra — withdrew employment offers to orchestra members, leaving the 17th-largest metro area in the United States without an orchestra. (The night was less dramatic for those who stayed in and watched “NCIS” reruns.)

Much of the blame clearly lays with those managers who made an offer that would drastically slash the musicians’ pay, eliminate health insurance benefits, and make many of them part-time. However, blame should also be shared by people like me and others under, let’s say, 60, who really should be spending more time and money on things like the orchestra, the ballet and the museum. I mean, I love music, I love dance, I love art, and I earn a paycheck, so this should be easy, yes?

Yes, but ... something has misfired in our culture, where we feel we should be doing those things just like we should be flossing more often and eating fewer doughnuts. People mostly do what they want to do, not what they’re supposed to do. So, like the mother who hides vegetables to trick her child into eating better, the first place to look is at the orchestra, which maybe has not been doing enough to get my money.

Public radio station WFPK, 91.9, goes to the people with their free summer concert series Waterfront Wednesday, which attracts thousands of attendees, some of whom are as drawn to being outside for free picnicking and people watching as they are to taking in the sounds of music acts of sometimes varying quality. I bet a lot of people would be interested in hearing the orchestra for free in such a lively setting, as opposed to what some perceive as a stuffy old hall. I don’t want to have to wear a suit to go hear music; I’d like to wear something comfortable, maybe have a drink, and be able to relate to orchestra music as a modern, vibrant form without having to look like I’m an English butler. Surely some sponsors can put their corporate cash behind that?

Then there’s the problem of orchestras trying to appeal to “pop” audiences by playing the music of “Star Wars” or Motown. They can’t be all classy and dignified, pouring their hearts into beautiful works that have lasted for centuries one night, then putting a cheeky spin on “The Tears of a Clown” the next — it’s just unnatural. The orchestra should be an enjoyable night out, but with some dignity left over afterward.

I’ve been to the Speed Museum three times in the past year — for their Art After Dark series, which reaches out to a younger audience who wants something more relatable, like booze, films and rock bands — something, anything, different and fresh — to make the institution fun again. Children have Art Sparks, and we need something special, too.

Maybe this recent turmoil will prove to be a blessing disguised as a curse. The orchestra members have recently begun performing under the name Keep Louisville Symphonic. They are planning to play again in July, and it will surely be a great opportunity to see some passionate artists at their most fired-up. They’re not asking for straight-up donations, they’re merely asking to not be screwed over by a manager who receives an annual salary of $115,000 while leading a drive to drastically reduce the pay of musicians who would have to split their time between being world-class players and taking your order at Wendy’s.

Life is all about marketing. Pop singers become famous because a lot of money has been spent promoting them; politicians who spend the most often end up winning elections. Our orchestra probably needs to learn how to market themselves better to people who would value them more if it seemed fun. But first, someone needs to stand up, check in hand, willing to say that investing in the culture of our community is more important than spending millions advertising on “NCIS.”

c. 2011 LEO Weekly