Wednesday, April 02, 2014

Okkervil River: Austin, cities and limits



“You’re not the first to ask me this question, like, ‘Are you trying to grab for some brass ring?’ or ‘trying to be more respectable?’” says Okkervil River frontman Will Sheff. “The truth is, the record was finished before we signed with ATO. It was a pretty organic process.”

ATO is the RCA-affiliated label started by Dave Matthews. For most of their decade-plus career, Okkervil River’s records have been released by the Bloomington, Ind., label Jagjaguwar. The band’s latest record, The Silver Gymnasium, is a concept album inspired by Sheff’s memories of growing up in the 1980s.

The setting finds the band adding more mainstream instrumentation, including synthesizers and an unironic saxophone. The album has a more lush sound than 2011’s I Am Very Far, which Sheff calls “confrontationally big and spiky and angry … I kind of designed it to push people away.” He was ready to do something different this time.

“I had this idea to write about childhood, and it was a really important idea to me, and a really interesting idea to me, so I didn’t rush into doing it,” Sheff says, clarifying that he initially had the idea several years ago. “I was working on it in the back of my brain, and it was … just time.”

The question about reaching for a more mainstream crowd also tied in to the fact that, on the day of our interview, Okkervil River was playing at the North Carolina club Cat’s Cradle, for the “I don’t know — fifth time? Sixth time?” Sheff says. Their Louisville show finds them breaking newer ground, as the first to play Louisville’s newest club, the Mercury Ballroom. The band wasn’t picked intentionally for the opening, and Sheff wasn’t aware of the significance of this date until our interview — but it is something new for a band that’s now a veteran act, yet still not a mainstream entity.

Sheff, 37, has lived in Austin, Texas, for almost 15 years now, and remembers when its SXSW music festival was smaller. A question about the fest provoked an epic rant:

“I hate it. I think it’s horrible. I think it’s a cancer on rock ’n’ roll. I think it’s deeply, deeply evil … Once upon a time, it was good. Once upon a time, it was this wonderful way to get exposure for these little bands that were really special; it was also very embracing of the Austin community. Any Austinite who had $5 in his pocket could go out to a local club and see five really cool bands you wouldn’t have known about otherwise. Now it’s this whole corporate gangbang where that same little band SXSW was created to help — they pool all their money, they try to travel down there, they have to buy plane tickets or rent a van, and it costs $4,000, and the festival gives them no money at all. Then they put them on Wednesday night at some weird non-venue, and nobody comes, and the people who come are just staring at the goddamn telephones, or drunk on free booze from some fucking corporation.

“Then you have the megastars, like the Lady Gagas of the world, who turn it into this staging where they try to keep their own megabrand current, and every fucking corporation — they’re all trying to get their piece of it. And there’s a very small group of very wealthy people in Austin who are just raking in so much fucking money, and the way they’re raking in money is by pimping out the spirit of Austin to all these fucking out-of-towners who feed their egos: ‘Oh, I love Austin! Have you had the migas at this place?’ It’s disgusting. It’s everything I think is bad about the music business.”

He laughs and apologizes for venting, but the depths of his feelings about his work have been revealed. In a follow-up question about The Silver Gymnasium, Sheff discussed why he doesn’t have children.

“I don’t know if it’s feasible for an artist like myself to have kids. I have a really low overhead, and that’s part of the reason why I’m able to do as much work as I do. My most important thing is my work.

“The world doesn’t need more of them, anyway. There’s a fuck-ton of them,” he laughs. “I think we need to work on making fewer people who are better.”

Okkervil River with Hundred Visions
Friday, April 4
Mercury Ballroom
611 S. Fourth St.
mercuryballroom.com
$25; 8 p.m.


photo by Alexandra Valenti

Here
c. 2014 LEO Weekly

Riding out tonight to case the Promised Land: Poet finds inspiration on Thunder Road



Confession:
I did not love Bruce Springsteen until
I turned thirty and set my own home on fire,

walked away from the ashes and looked
my declining self in the face. Like love,

Bruce is wasted on the young.


— Erin Keane, “The Dream and What Follows”

Erin Keane loves a project. The WFPL arts reporter knows how to tell the stories of others, but that’s not what her three books have been about. “Demolition of the Promised Land,” her latest, is her newest collection of poems (some, but not all, of which feature Bruce Springsteen). Like Springsteen’s most recent album, it’s a new release, but not her most recent writing.

“I started writing this after my second book was written, before my first book was published,” Keane says. “And I don’t have another one waiting — this is it.”

Her first, “The Gravity Soundtrack,” was published in 2007; her second, “Death-Defying Acts” (about life in a circus), hit stores in 2010. The new book took so long because “it didn’t really have a coherent theme for a very long time. It didn’t have anything to tie it together,” she says. “When the Bruce Springsteen poems started happening ... that started to really shape how the book was going to come together.”

That was in 2011. She had begun working on the other poems in 2007 with a Lent-inspired daily writing exercise. “I had finished this other project, the circus book, and I wanted to get back to writing in my own voice. I didn’t really know what that was at that point — I’d spent a couple years writing in the voices of these other characters.”

She wrote around 40; of those, maybe 10 made it, she says. “They were the ones worth sticking with.” Over the last few years, the rest started to take shape. “I’m slow, because I work a lot,” she laughs. “This book was a mess, a total mess, when my editor (Lindsey Alexander) got her hands on it. It was really an intense collaborative process.”

The most important way her editor helped was by challenging Keane to clarify who was speaking — or being spoken to. She pushed Keane away from “using the second person instead of the first person: ‘You do this’ and ‘you do that,’ which you think is a way of generalizing your poem,” says Keane. Writing in persona, as she did for her circus tale, “You’re either a fictional character or fictionalizing a real character. It’s still the way you dream that this character would interact, which has some percentage of me, the writer.”

The edits gave her poems “a strong sense of authority,” she says. “Except for the Bruce Springsteen poems — well, some of them are weirdly autobiographical, also. The poem ‘Decomposition Studies’ is about my mom.”


“The Springsteen poems were never going to be in the voice of Bruce Springsteen, because I find that to be the most presumptuous thing,” she laughs. “So instead, it’s my narrative voice that’s moving him around in fictionalized situations … like a superhero or an action figure. It’s all my version of the truth. This is a very personal book, and that’s entirely frightening to put out there.”

Erin Keane
Wednesday, April 9
Carmichael’s Bookstore

2720 Frankfort Ave.
carmichaelsbookstore.com
Free; 7 p.m.


photo by Drew Zipp

Here
c. 2014 LEO Weekly

Wednesday, March 19, 2014

Joan Rivers — Comedy’s all-time good time gal



Joan Rivers needs no introduction. Our interview took place in mid-February, in the midst of Hollywood’s award season. She didn’t give up any inside gossip — especially the fact that, after being banned from “The Tonight Show” since 1986, she would return for Jimmy Fallon’s first night, one week later. We were just happy that she was warm, friendly and funny.

Joan Rivers: I love Louisville.
LEO: What do you love about Louisville?
JR: I love Louisville because my first college crush was in Louisville. He’s probably dead by now, but at the time, he was very, very cute.

LEO: Have you been dating lately?
JR: No, I closed the hotel about three years ago … I lived with a man for nine years, and he died. You reach a point that you go, “OK, that’s it, I’m really not interested.” If you say to somebody, “Tell me about yourself,” you’ll be dead before they even get to college.

LEO: So, who are you wearing?
JR: I’m always wearing — even though I hate them — Chanel shoes. They’re the most comfortable shoes in the world. Around the house, I wear very much what I wear on “Fashion Police,” but just simpler.

LEO: Do you shop for yourself or use a stylist?
JR: I love to shop for myself. I never get a chance to do it … I buy a lot when I buy. But I have a stylist that brings the things I wear on “Fashion Police,” and it’s usually pretty well sorted out. He’s been doing it for 15 years, so I trust him totally. And he doesn’t laugh when you get undressed.

LEO: What if you’re telling a joke at the time?
JR: Oh, that’s very funny.

LEO: Jennifer Lawrence is from Louisville — everybody loves her everywhere except you. Why is that?
JR: No, no, no, I think — let’s start from the beginning. Jennifer Lawrence is a terrific actress. I saw her in “Winter’s Bone” — we’re not discussing acting. We are discussing that when we said she looked good on “Fashion Police,” she said she loved “Fashion Police.” And the minute we dared to say we didn’t like one of her dresses, she began to knock us and tell us how terrible we were. So that’s why I’m not a fan of Jennifer Lawrence, even though I’m a tremendous fan — I think she has amazing talent.

LEO: Jay Leno has finally left, Jimmy Fallon’s coming in next week — how do you feel about that transition?
JR: I think Jimmy Fallon is so smart and so good. I think he’s going to be amazing, and he represents a whole different generation, and I think you need that. I never found Leno funny. I found him very, very goyish. And I truly never watched the show. I would either watch Letterman or Kimmel. So, for me, that he’s left — I didn’t know he was there.

LEO: How much material do you get from other people? How much do you come up with on your own these days?
JR: The majority is my own because it just has to be. It’s truly how you look at things. But especially “Fashion Police,” you cannot … you’ve got to have other people and other eyes looking with you. “Fashion Police,” I would certainly say 60 percent is me, 40 percent is them. But the act is certainly 80 percent, 90 percent me. But if you’ve got a good joke and you said it to me, I’ll say, “Thank you, god!” I’m going to use it.

LEO: Have you found any other controversial topics lately that have inspired you?
JR: Thank god for Woody Allen! You wait for these things; otherwise, what is there to talk about? Nothing.

LEO: What happens when it’s somebody who’s actually a close friend of yours?
JR: When somebody is a really close friend, you try to keep it out of the act. But, again, the act comes first for me. If somebody is paying to see me, my allegiance is always to my audience … They made plans, they bought tickets, they hired a babysitter, or they cut classes. Nobody has come not to like it, not to have a good time, and so I always make sure they have a good time.

Joan Rivers
Friday, March 21
Brown Theatre
315 W. Broadway
kentuckycenter.org
$35; 8 p.m.


Here
c. 2014 LEO Weekly

Wednesday, March 12, 2014

Spreading the Gospel: From South Africa to the Oscars to Louisville



On another sadly cold day in early March, Shimmy Jiyane is in Fayettville, Arkansas. The tenor singer is the choir director of the Soweto Gospel Choir, and the group is in the midst of their fifth North American tour since forming in late 2002. “I’m getting used to it,” he says in his melodic accent, about the below-freezing temperatures. Back home, it usually only gets cold in June and July — “but not like here! Here, it’s crazy,” he laughs.

The group initially formed for a tribute concert held in honor of Nelson Mandela. “He is the man who inspired the choir,” Jiyane says, “so I would definitely say Nelson Mandela kept us going. He taught us to be humble and to forgive and — not to forget, but to be humble.” After shaking the revolutionary leader’s hand, Jiyane says, “I never washed it for, like, five days.”

The Soweto Gospel Choir live show is made up of dozens of singers, musicians and dancers. He says the choir itself has two-dozen members now. “You have to audition first. You stand in a queue, then go in there and give us a good voice, give us some character, be a good dancer — if you’re a good dancer.”

Most stay on full time. Occasionally, every couple years or so, they audition 200 more and pick replacements. “When you’re in the show, you’re here forever,” he laughs. “The people who love the choir love the choir.”

Jiyane doesn’t dismiss a suggestion that “Gospel Choir Idol” might be an idea for a TV program. “I’d get to be a judge! That’s fantastic, yeah.” He says he wouldn’t be a mean judge, but “sometimes people come with high expectations and can be disappointed. It really takes guts. Some are bad, some are the worst, some are good.”

“You’ve got to have heart to be an artist,” he continues. “You’ve got to have patience to be an artist. It’s about the craft that you do … it’s about you, who you are, how you express yourself.”

He describes their show this way: “We’re going to be on stage, and it’s going to be fireworks. It is a high-energy show … People can expect beautiful, beautiful South African music.”

The current tour promotes their recent live album, Divine Decade: Celebrating 10 Years. The set includes performances with Ladysmith Black Mambazo, Robert Plant and U2, and an introduction by Archbishop Desmond Tutu. Their first decade has been amazing in many ways — the choir has performed at parties for former President Clinton and Oprah Winfrey, and backed up Peter Gabriel on his Oscar-nominated song from “Wall-E.” They have sung with everyone from Jimmy Cliff to Josh Groban, and toured with Celine Dion and, even more oddly, through Germany with the Red Hot Chili Peppers.

“It’s a very beautiful album,” Jiyane says, sounding more appreciative than boastful. “We did feature many artists from South Africa, from Africa also, from the States, playing. A very nice mixture on the album. We’re celebrating our 10th anniversary in the choir. Celebrating our success, sharing our recordings with our friends on an album — including everything, (the sounds of) our fans and our choir.”

Though they have traveled around the world and made many friends, Jiyane says they are always glad to get on the computers in their bus and Skype with family and friends back home. They come to places like this “… to be here for our fans, to be here for the people.” Though it must be tough to keep track of dozens of people, he says they get time in each city to get out and explore. On stage, they don’t notice when they’re tired because they’re having so much fun. He stays fit “by playing good music!”

So, what’s next for Jiyane and his many friends? “The choir. We’re just looking at doing more music for the people.”

They have won two Grammy awards and been nominated for others. One goal remaining, says Jiyane: “We already performed at the Oscars, so we want to perform at the Grammys. We want people to see our work.”

But mostly, “We want people to get up and dance. We want to see people happy.”

The Soweto Gospel Choir
Sunday, March 16
Brown Theatre
315 W. Broadway
kentuckycenter.org
$15; 7 p.m.

photo by Brett Schewitz

Here
c. 2014 LEO Weekly

Her mind is not for rent



Sweatermeat is a performance art pop band whose first album, Bad Boobs, is out this month. They play at the Rudyard Kipling Thursday (just don’t tell them they sound like the B-52s). Here are excerpts from a lively conversation.

Yoko Molotov: I started making these weird recordings in the kitchen of my house with my best friend, John. They’re kind of weird, ’cause we just used this broken organ we got at a thrift store and a ukulele. So they all sound kind of depraved. I was, like, “I want to print these and implant them in music stores around Louisville,” ’cause I couldn’t foresee anyone really wanting to listen to this. We didn’t end up doing that, but we kept making these songs and giving them away. Then I learned how to play a real instrument. One day, I woke up and I had a drummer (laughs). … Did you listen to it?

LEO: Of course.

YM: Did you have to go to a doctor?

LEO: Actually, I hear echoes of stuff like The Cramps or the B-52s —

YM: You know what? That is one of our most loathed bands! Them and Rush. They make noises that make me feel like I’m going to get pulled down to hell. When someone says that to me, it doesn’t make me mad — I’m just happy they listened to it. But, man, somebody’s laughing somewhere.

LEO: You play shows for people who usually enjoy what you do. Have you tried to go to the suburbs and assault a crowd?

YM: Yes! Actually, we played Phoenix Hill. My favorite part of that was seeing these old men, these dads that were there — I heard them go, “We paid $10 for this?” The band tried to play on a table. They haven’t asked us back. I don’t know why (laughs).

LEO: The name of the band and the record — do you just like boobs, or is it a comment on American consumerism and using sexuality to sell products?

YM: (pause) I love you, because you’re so smart. No, we’re just really childish.

Here
c. 2014 LEO Weekly

Wednesday, March 05, 2014

Work hard, play hard: Arcade Fire puts together their world tour in Louisville



Being a member of Arcade Fire has its perks. When LEO spoke with multi-instrumentalists Will Butler and Richard Reed Parry recently, it was in a week that also included their performance on the new “Tonight Show” and another trip to play at Carnival in Jacmel, Haiti. Oh, and they had just been nominated for an Oscar for scoring the movie “Her.”

It’s all leading up to their latest tour, kicking off Thursday in Louisville, in support of their latest No. 1 album, Reflektor. “Yeah, it’s feeling pretty good,” Butler says. “It’s the start of the tour, so we’re feeling really excited to play the music live, and we’re still really excited to be meeting people and doing stuff.”

It’s been a “very natural” progression for the decade-old band, he says. “You notice it at the start of each record campaign a little more. With time off, you’re just in your artistic zone and you’re making the art. Then you come out of that and people are buying your record and talking about your record, and you’re going places. For that first couple months, it fries your brain. Then, it makes sense again, and you get back in the rhythm of it.”

The Canadian band famously confused mainstream listeners by winning the Best Album Grammy in 2011, turning “Who Is Arcade Fire?” into a funny meme. Now they’re playing places where pop singers like Justin Bieber and Taylor Swift rule, like the KFC Yum! Center. “That is our favorite joke, in terms of the title (of the venue),” Parry laughs.

“Part of it is just playing in places where everyone can buy tickets,” says Butler. “For a number of years, we played smaller than we could have. Tickets sold out so fast — which is great, it ended up being really excited fans, but you wanted to give a chance to everyone to buy a ticket. So we’ve been experimenting with larger venues, just because — in a way — it’s a little more democratic.”

Parry has had a long relationship with Louisville. “I love that place. It’s super interesting and it’s a really soulful town. I’ve had a couple of really good friends in that place.” One of his friends was Jason Noble, the late musician whose work with Rachel’s was a major influence — Parry’s first album of chamber music, due out in June, is dedicated to Noble. “It was a sad loss. He was really good to me, that guy.”

The band arrived earlier this week to rehearse. Two new horn players have been added for this tour, and Parry notes, “We’re just trying to weave together the new show … incorporating new visuals and new ideas that we’re trying to figure out. We’re doing our best to make it look special, hoping you guys engage in it and not just have a boring night in the arena.”

To be an Arcade Fire member is to be closely involved with every detail of the experience, from the sounds to the visuals. This collaboration extended to the “Her” score; the band worked with director Spike Jonze from early drafts of the script to the editing room. “It blew his mind, how intense and collaborative the whole process was,” says Butler.

The sextet was also making Reflektor, their fourth full-length album, at the same time. “We’re all getting better at (collaborating), but it’s hard. Sometimes, it’s really hard to figure out when you’re being useful or when you’re just shutting someone down creatively.”

“I enjoyed working on the film,” Butler adds. “It definitely used a different set of skills from this band, which to me was refreshing and exhausting.”

The band upset some fans last fall when they asked concertgoers to consider dressing in formal attire or in a costume for their show. They have since clarified that it is not a formal request, just a suggestion. Butler feels optimistic about how the Louisville crowd will take the suggestion. “Kentuckians are a good-looking bunch. Definitely not their race-day outfits, right? I think it’ll be pretty good, I think we’ll have a pretty good showing.”

“We’re definitely people that have all seen really amazing shows in our lifetime and have been impacted by them,” Parry says. “We are just trying to do something interesting and hopefully beautiful and striking and memorable.”

Arcade Fire with Dan Deacon and Kid Koala
Thursday, March 6
KFC Yum! Center
1 Arena Plaza
kfcyumcenter.com
$30.50-$60.50; 7:30 p.m.


photo by JF Lalonde

Here
c. 2014 LEO Weekly

Wednesday, February 19, 2014

Full circle and full steam ahead with the Watson Twins



When sisters Chandra Watson and Leigh Watson released their third full-length album, Pioneer Lane, in September, casual fans of their folk/country-inflected group would not have realized it marked the first chapter in their new lives. But for the Louisville born-and-bred twins, it was the first album they recorded in their new home city of Nashville after 15 years in Los Angeles. This time, they literally recorded at home.

“We had been trying to come back to the South for the last several years,” Chandra says. “We just wanted to be closer to family and missed a lot of the cultural aspects of the pace and the people.”

As they tried to figure out what their next step would look like, they knew they would need more space — for living, as well as recording — and that they needed to have something else to work on in between music projects.

When their mother was looking in downtown Nashville for a wedding space a couple of years ago, she couldn’t find a venue she loved. “My mom jokingly was, like, ‘Why don’t you just buy something and make it an event space?’ We were, like, ‘Haha, you’re funny, Mom.’ And it got my wheels turning, and I thought, ‘Maybe we should do this.’”

Now the sisters and a partner run The Cordelle, an events space in Rutledge Hill, near the river. The name is “a reference to steamboat culture,” she says. “It’s a rope that’s on the front of the boat that brings it to shore and brings it through the water.” The building’s origins go back to the late 19th century. Now updated and added on to create a 5,000-square-foot space, the building hosts weddings, conferences and other events, while the sisters’ music career continues, both in their own band and singing back-up for others. While they first caught national attention singing with Jenny Lewis in Los Angeles, the sisters toured last year with Nashville’s Jesse Baylin. From Jenny to Jesse, not much has changed while everything has changed.

Chandra says they have been very happy in Nashville. “It’s in such a great spot right now. There’s so many creative people moving here from other cities and bringing these great little treasures from all these other cultures, and coming here and implementing that into what Nashville is — and it’s good because nobody is trying to change the old-school Nashville … whether it’s the honky-tonks or the sort of laid-back nature, no one’s saying, ‘Hurry up, hurry up, let’s get this thing moving’; everyone’s still embracing the culture as it is and just adding to it.

“The creative community here is really awesome, and it really has opened us up to a lot of new things, and it’s a different kind of scene here … I feel like people are more collaborative because (music) really is just part of life here (as opposed to in L.A.) … I met somebody the other day who is an event planner, and she used to manage Crystal Gayle,” Chandra laughs. “Everybody here at one point or other has done something in the music industry.”

She laughs, noting her jealousy that Louisville, too, has so much more to offer now than it did for the sisters and Chandra’s husband, multi-instrumentalist Russ Pollard, years ago. “Growing up there, the only thing we had were punk rock shows. That was the extent of our going out and our culture, which was super fun and awesome, and we met tons of great people through that — but I’m, like, ‘It’s not fair! We had to suffer through hanging out in the Valvoline parking lot …’ All these amazing things are happening and I’m, like, ‘Man, if I was a kid growing up there now, I would be so stoked!’”

WFPK Winter Wednesday with The Watson Twins and Bob Schneider
Wednesday, Feb. 19
Clifton Center
2117 Payne St.
cliftoncenter.org
Free; 7:30 p.m.


Photo by Dan Monick

Here
c. 2014 LEO Weekly

License to mature



Initially formed by Lou Barlow and Eric Gaffney in 1986, Sebadoh began as a bridge between harsher ’80s post-punk and the kinder, gentler ’90s. The group — which added Jason Loewenstein in 1989 — became an indie rock pioneer, known early on for their “lo-fi” home-recording style. Gaffney left in 1993, and the band’s momentum began to slow in the late ’90s.

After a 13-year break between recordings, Barlow, Loewenstein and drummer Bob D’Amico released a new Sebadoh EP, Secret, in 2012, followed by the full-length Defend Yourself last fall. They play Zanzabar on Thursday, Feb. 20.

Co-leader Loewenstein lived in Louisville for most of the decade between 1995 and 2005. Artist Doug Miller was his friend and colleague at ear X-tacy Records during that time.

“Sebadoh’s new album is their most mature work to date,” Miller says. “I don’t know if that is from the actual length of time that has elapsed, or the truly heartbreaking lyrics that are sad in those gloomy memories of a broken relationship but wise in the knowledge as to why it failed. Isn’t that maturity at its core? There is also a clean and vivid sound … that I think has come from the years of work and the honing of their craft that the band has done in their various side projects.”

He continues, “Songs like ‘Listen,’ as the title implies, offer the listener a space that is layered and gorgeous. The resonance of ‘Let It Out’ also is such a melodic and careful song that I can’t imagine ’90s Sebadoh making it … this record is a blaring, crooked and wild rock ’n’ roll venture with country-patina songs like ‘Inquiries’ that stand out and require repeated listens.”

“The Kentucky connection — Loewenstein — I think is more apparent in the EP; some of the grinding, country-laced songs are all, in some way, soaking in bourbon (or something stronger: see ‘My Drugs’). Songs like ‘I Don’t Mind,’ from the EP, have been danced to many times at my house.”

Photo by Bryan Zimmerman

Here
c. 2014 LEO Weekly

Wednesday, February 12, 2014

Respect: Lucero’s past, present and future

Older, wiser Memphis band benefits others



Lucero is so popular in Louisville, you’d be forgiven for not knowing they call Memphis home. The soul-country-rock band, currently an octet, returns Monday for what will be a packed heat wave of a winter show benefiting Big Brothers Big Sisters of Kentuckiana.

The BBBS idea came together when Lucero, about to hit the road with the Boston-based Dropkick Murphys, saw an opportunity to stop in Louisville for a show on their way up north. “It wasn’t too long ago that we’ve been in Louisville, and we usually play at Headliners up there,” says singer/guitarist Ben Nichols. “This time, we wanted to do something different, and we wanted to play some place a little smaller and more intimate.”

Once the band decided to make the show a benefit, their booker set it up with BBBS. “I’m looking forward to it,” says Nichols. “Louisville’s always a good time.”

It’s another step toward maturity for the veteran band, which has stepped up their live game in recent years with the additions of horn men Jim Spake and Scott Thompson, players whose credits range from Jerry Lee Lewis to Al Green and Cat Power. “They just know so much about Memphis musical history, and they’ve actually been a part of so much of it,” Nichols says. “Having a couple of guys like that in the band, it’s a big compliment that they’re in the band in the first place — and then just getting to hear their stories is super cool.”

In a roundabout way, their presence has also helped Nichols get healthier and start a new chapter in his own career. “Getting to play with guys that are this good, I don’t want to fuck it up,” he continues. “I’d rather play a more sober show and play better and have more fun, rather than just getting too drunk and screwing it all up. We did that for the bulk of our career, and so now I’m having fun really playing the music.” It’s still a process, he says, “but the more well behaved I am, then the more fun I have.”

Lucero has always been aware and inspired by Memphis’ insanely rich musical history, and Nichols has recently been reading “Respect Yourself,” the legendary music writer Robert Gordon’s latest love letter to that tale. “There’s plenty of history and plenty of stuff to get you excited about playing music and writing songs and being in a band,” says Nichols. “There’s plenty of Memphis history. It definitely keeps the band going and inspires us, for sure.”

Another reminder of their place in history came with the 2010 passing of former Big Star singer Alex Chilton, who had employed saxophonist Spake in his band. Members of Lucero paid tribute to Chilton at SXSW, and the older band’s documentary, “Big Star: Nothing Can Hurt Me,” was made available for home viewing so recently that Nichols had not seen it when we spoke. “I just added it to my (Netflix) list. I’ll watch it soon.”

Nichols is less certain people would want to see such a film about his band, noting that some footage was filmed in 2000 and ’05. “There’s plenty of old live footage of us out there. There’s a couple of documentaries that have been put together. We’ll see, maybe one day in the distant future there will be a more comprehensive film, but I don’t know … I don’t know if anybody would want to watch that,” he laughs. “We’ll see how the next 10 years go.”

While they work on that decade’s new songs, next is a live album, recorded last fall in Atlanta, providing a document of where the band is at today. A good intro for newcomers, it also offers longtime fans souvenirs of how some of their older songs sound now with horns and keyboards added to the arrangements. “It’s just kind of ingrained in what Lucero has become … hearing what (the newer members) bring to the old stuff has always been really fun, and they definitely do bring a new life to some of the old material.”

“It has just started to feel really natural with them,” Nichols says, “and it wasn’t something that was just kind of pasted on top of Lucero.”

Lucero
Monday, Feb. 17
Zanzabar
2100 S. Preston St.
Sold out; 8 p.m.

Here
c. 2014 LEO Weekly

Wednesday, February 05, 2014

Like The Sands through the hourglass



When is a supergroup not a supergroup? In the case of The Sands, it’s when the band’s members have all played in bands who are mostly famous in Bloomington, Ind., and the most famous member of the band is known, if at all, for a reason that has nothing to do with music.

Going on tour for a week now is a treat for The Sands, 30-ish guys who have more obligations than ever these days. They tried it once before but “… everyone was so busy, so (on) what was supposed to be a five-day tour, we ended up having to come home every night (across Indiana and Illinois),” says Mike Bridavsky, the band’s bassist, a recording engineer and the aforementioned most famous member.

This tour will be different, if for no other reason than they’re going farther, all the way to places like Raleigh, N.C., where guitarist/vocalist Jason Evans Groth (ex-Magnolia Electric Co., The Coke Dares) has started a new career as a librarian. It’s a long way from Bloomington, and a long way from how the band started.

"We were actually a Wipers cover band,” Bridavsky says. While that Northwestern melodic punk band has been a favorite of numerous musicians and critics through the years, it wouldn’t have been an obvious start for The Sands’ members, whose collective band identities had been harder-edged. But “we all shared a love for the Wipers, and we all thought it would be cool to form a power-pop group.”

The official reason for the tour is to promote the band’s new album, Hotel and Casino, recorded last year at the studio Bridavsky owns in Bloomington, Russian Recording (where Louisvillians such as Natives and Lucky Pineapple have also made records). The album is out this week through California’s Burger Records on cassette, vinyl through the Bloomington labels Houseplant and Let’s Pretend Records, and on CD by the Japanese label Waterslide. Despite the cross-label release, each format will be limited to 200 copies each.

“We’re not a very functional band, now that Jason’s moved,” Bridavsky acknowledges. “We only do it because we like each other’s company. We like playing music, and that’s really what we’re in it for.”

Bridavsky and drummer Josh Moore previously played together in the band Memory Map, and guitarist/singer Jeff Grant played in Pink Razors and Fat Shadow. Supergroup? “I think we’re just a group,” says Bridavsky, “a rock group of guys who are friends … I know people like Magnolia Electric Co., but aside from that, I’m not sure what bands people actually know.”

More people know Bridavsky’s cat, who was recently involved in a headline-making music story when she participated in WFPK DJ Sean Cannon’s charity-driven remake of “The Super Bowl Shuffle,” which also featured a handful of indie rockers and comedians. Bridavsky’s role came through supplying sound clips of his cat, Lil Bub, who has become an Internet celebrity, starring in a web series, a documentary, a book and, this Saturday, in her own Animal Planet special.

Cannon had interviewed Bridavsky not long ago about his odd new double life. “Especially for charity, something that’s fun and cool like that, we’re always happy to do it,” the musician and cat dad says. “I just have a collection of Bub sounds we use all the time for our shows, and I was, like, ‘Oh yeah, I can send you that if you want.’ I was really pleased with how it came out. I thought it was pretty funny.”

Bridavsky has mostly tried to keep Bub’s business separate from his normal music world, but, “At this point, I don’t think it’s possible anymore,” he says. “It’s fine, you know, people just yell my cat’s name all the time. Honestly, I just mostly feel bad for my bandmates … it’s my cat that’s famous. I’m just famous by association.”

Tours like this provide an opportunity for the members of The Sands to get away from everything else, spending time together as friends and making music — “fart a lot, make some jokes, get drunk, play the show,” he clarifies. “I don’t think anyone’s trying to make money or become famous or anything,” Bridavsky says. “Yeah, I think we all treat it like it’s some vacation.”

The Sands with Natives and Mote
Sunday, Feb. 9
The New Vintage
2126 S. Preston St.
newvintagelouisville.com
$5; 9 p.m.

Here
c. 2014 LEO Weekly

Berea Is For Lovers



One of the most prolific contributors to the local music scene hasn’t even been local lately, but he’s still pumping out product like he never left. John King’s resume is varied and unique — he has created and produced visual art and music, curated the long-running record series (and label) Louisville is for Lovers, and co-founded the Louisville Zombie Attack.

Now 36, King is a student at Berea College and working in their Sound Archives program. This month, King’s long-running hip-hop project Team Totoro is officially releasing a new album, Laser Beats, filled with 19 tracks of old school (or “tru skool,” in their parlance) fun. But that’s as close as he’s getting to a Valentine’s-related project this year.

“After putting out three records in under two months, I’m taking a break,” he says. His other band, The Gallery Singers, released a new EP in November, one King worked on while also assembling a full-length local tribute to Will Oldham.

“It’s funny,” says King, “Valentine’s Day was the biggest part of my life for over a third of my life, and now the past couple years, I have a bit of empty nest syndrome — and some guilt — every time February rolls around.”

He laughs as he acknowledges that he has become known as “The VD guy” to some for his Valentine’s Day-themed projects. It started in 1999 at Sparks, the nightclub he started working at the week he graduated from high school. “I might have hidden my true age a little bit,” he says. “I really miss Steve Ann Irwin, the owner of Sparks. He was like a father to me. He always had faith in me; whatever ideas I had, he always let me run with it.”

King has been talking to a few people about possible projects, but his current focus is on graduating early. “Louisville is my home. This is the longest I have lived away, and as much as Berea College has given me, I can’t wait to get back and start more projects!”

Here
Find more projects at louisvilleisforlovers.com.

Wednesday, January 29, 2014

Dr. Feelgood



It would be incorrect, and unfair, to say that Alex Wright leads a charmed life. But he’s had some good breaks, and made some good choices, and in some ways, could be called one of the lucky ones.

First, there’s the choice. Wright grew up poor in eastern Kentucky; he knew that, as an adult, he didn’t want to continue that struggle, so he became a doctor. He had also loved playing music, but knew his long-term odds were better in the healing arts.

“Art doesn’t always pay the bills,” he says, “so I went in a different direction.” But he never felt whole being a doctor without also playing music.

Then, there’s the luck. Jim White’s hardly a superstar, except to small pockets of music nerds, but the man has had a solid career making records, touring the world and collaborating with artists from Bill Frisell to Barenaked Ladies. White heard Wright when the latter opened for him at Uncle Slayton’s, and the established act fell hard for Wright’s songs. Now, White has produced Wright’s second album, Starlight Navigator.

Wright credits White with pushing him to keep trying harder, resulting in a richer album than his first. With resources at hand, Wright assembled a large band of Louisville sidemen to assist with the album’s creation. For the release show, Friday at the New Vintage, Wright’s band will be eight-strong — large if it were a touring band, but appropriately special for one day only (the band also plays WFPK at noon).

Wright says he has heard the comparisons to Lyle Lovett, and he’s aware that Lovett also employs a “large band” at times. But “I never would’ve thought, in a million years,” that people would hear him that way. Could he have had — might he still have — a career like Lovett’s?

“I’m a tenacious person, by nature … Some days I wonder, if I had put 100 percent into it, what would have happened,” Wright says. “But I’m also aware that there are incredibly talented people I see every day who haven’t been able to break through.”

Here
c. 2014 LEO Weekly

Wednesday, January 22, 2014

Kiran Ahluwalia’s world of music

Jet-setting from India to Toronto to New York to the Sahara



Kiran Ahluwalia’s life probably could not have played out this way if she had lived in an earlier generation. Born in India, raised in Toronto and now residing in New York City, she has spent much of the past decade adding her passion for West African music to her border-crossing sounds.

Her husband and musical director, guitarist Rez Abbasi, was born in Pakistan and raised in California — but when his family first landed in the U.S., it was Louisville that welcomed them. “He’s a pure American,” says the Canadian, “a totally California surfin’ dude,” but he spent his pre-kindergarten year here.

Ahluwalia has not been here before. “I was surprised by the invitation” to play at the Clifton Center, she says. “‘They’re interested in hearing my music?’ That was very interesting … I thought, ‘How are people going to view me?’ I’m Indian, definitely, but I’m also North American. ‘Are they going to view me as an immigrant?’”

She was unsure, but thanks to Facebook, she heard from a fan asking if she would ever come to Louisville, and then more joined in, proving her music could find an audience even in places off her radar. “None of these people are South Asians,” she adds.

Finding common ground is what she does best. In fact, Ahluwalia and band’s latest album, Aam Zameen: Common Ground, released in 2011, broke new ground, heading away from traditional ghazals and adding her recent influences. The opening song, “Mustt Mustt,” finds the Malian band Tinariwen collaborating with her musicians.

On tour now, her band is playing some songs from that record, and she says they will also play some of her newest compositions, which are still inspired by music from Sahara Desert countries like Mali and Morocco. Those are places she has traveled as well as sources of music she has studied “with quite a passion.”

“I usually call myself ‘Indo-Canadian,’ but I’m adding ‘Indo-Saharan,’” she laughs. Her next album is due in the fall of 2014.

Ahluwalia’s visit to Louisville also includes a stop at Field Elementary, where she is scheduled to perform and chat with students. It’s something she does on a regular basis, speaking with everyone from little ones to college ethnomusicology majors. But “kindergartners ask the most interesting questions,” she notes. “They talk like adults!” Once, a child who “seemed like a 1-foot-tall person” asked her over-6-foot tall husband, “‘Hey, Rez, do you have any CDs out?’ It was so adorable.”

Ahluwalia remembers similar visitors when she was a schoolgirl. “You don’t really know what you’re getting, as a child. You don’t understand what knowledge, what interpretation of the world you’re receiving, when they take you out of class and put you in an assembly, and someone else, apart from your teacher, comes to talk to you about something. But we remember those things, right? You remember everyone who came and talked to you.”

She got her first education in the music of the Sahara 10 years ago in Toronto. She returned home from a tour and soon headed out for a concert, only to be bored by the band playing. Having friends all over town, she decided to sneak in and check out the African tuareg band she had heard something about, who were playing across town. It was Tinariwen.

“It started as a deep love right from the get-go,” says Ahluwalia. As she began work on her fourth album, Wanderlust, she started fusing their influence into her own compositions, “but of course I didn’t think I could work with them. I didn’t even try. Like, ‘don’t dream that high.’”

She was happy with what her own band did with the material, and soon she met Tinariwen’s producer, Justin Adams, while working in Copenhagen. He asked to hear her record, and she sent it with a note, saying she had expanded her knowledge and was consuming other tuareg bands’ sounds, as well. He said, “Well, why don’t you do something with that?”

The night she first saw Tinariwen, in 2004, she knew she would get there with only enough time left to catch a couple of songs. “And that’s exactly what I heard, only a couple of songs. But, by God, they changed my life — those couple of songs, that 10 minutes.”

Kiran Ahluwalia
Friday, Jan. 24
Clifton Center
2117 Payne St.
cliftoncenter.org
$6-$12; 8 p.m.

Here
c. 2014 LEO Weekly

Wednesday, January 15, 2014

Mike Birbiglia — Closing in for the kill



Comedian and storyteller Mike Birbiglia has mastered a fusion of the two forms, turning jokes into stories that become radio, one-man theater, books and movies. His newest stage show finds him going back to his first love, jokes, while still uniting them in a larger story. LEO caught up with him by phone last week.

LEO: You worked over and over to hone (your last show) “My Girlfriend’s Boyfriend.” How have you learned to finesse your show while you’re on stage?
Mike Birbiglia: I edit a lot of stuff based on audience response. That helps. There’s a bar near where I live in Brooklyn, called Union Hall, which is actually where I shot a lot of (the movie) “Sleepwalk With Me.” I do this show called “Working It Out” there every Monday night, and I go and put a ton of writing on stage. Lots of times, I’ll bring notes up with me, and I’ll see what sticks, what does well with the audience. I’ll put them up the next night, cut the things that didn’t work and add new stuff.

I used to work a lot more joke to joke, when I was starting out. When I wrote my (2006) album, Two Drink Mike, it was very much, “Here’s my 50 jokes.” Now it’s, “Here’s my 10 stories.” I’m just trying to figure out how to squeeze the most jokes into those 10 stories. I’ll go on stage and I’ll know what the beginnings and the ends of a story are, but I’ll improvise the middle until I find what’s the best middle of the story.

LEO: So you’re not a comic who keeps trying to make his favorite joke work even when it’s not?
MB: Not really. I do my shows now all over the world — I did the last one in London, Australia, Canada and 70 cities in America — and I really want everything to work everywhere. I want to find the most human version of the joke that I’m writing. And I actually find traveling to be the best thing for that. It’s good to do shows in the South, in the Northeast, in the Pacific Northwest — it helps you understand what’s human about what you’re writing.

LEO: You have a love for the films of Woody Allen and James L. Brooks —
MB: Sure!

LEO: They are more interested in exploring emotions, even if it means losing a joke here and there. Since you’re starting out from that place, and it took Woody a while to get to, how do you think you can continue to grow when you’ve already got the right idea?
MB: Yeah, yeah, I know what you’re saying, yeah. I think the key is to continue to go places that are uncomfortable for you. Like, in my new show, I really try to dive into “Why are jokes uncomfortable?” Why can’t you tell jokes at work? Why can you only tell jokes with your close friends? Which are the types of jokes that are taboo, and why? That’s what’s exciting about the show for me right now.

LEO: And you’re still doing stories?
MB: Yeah, 10 stories, exactly, at this point. But it’s a little less single-narrative than “Girlfriend’s Boyfriend” and “Sleepwalk With Me” were; I wanted to get back to a show that … I was itching to do something that was the funniest bunch of bits I can possibly think of. And what I found while I was creating that, over the last couple of years, was the through line of that had to do with jokes; jokes themselves and mistakes that have to do with jokes. That’s why I called it “Thank God for Jokes.”

LEO: But people shouldn’t assume it’s about religion, correct?
MB: No — at one point I was going to call it “Religion, Sex and Politics,” because those are the three topics you’re not allowed to talk about at parties. And those happened to be the three topics I wanted — all I wanted to talk about at parties (laughs). I dip my toe in religion, I dip my toe in sex and politics, but more than anything, I try to dig into “What is it about humor that alienates us from people?” But then, ultimately, for me, it makes me feel closer to people.

Mike Birbiglia’s ‘Thank God for Jokes’
Saturday, Jan. 18
Brown Theatre
315 W. Broadway
kentuckycenter.org
$25; 7:30 p.m.

Here
c. 2014 LEO Weekly

Man Man’s business plan

The deconstructionist band has been popping up in unexpected places



Man Man ended 2013 with CNN’s Anderson Cooper mangling their name. It was the perfect capper for a band that has spent a decade baffling both fans and critics, a band led by a man named Ryan Kattner, who also calls himself Honus Honus.

The CNN shout-out, following up on a story Cooper reported in September, was for the band’s song “End Boss,” which imagines Cooper’s colleague Wolf Blitzer as a “vodka-swilling baby eater.” “He’s very sweet — I love that man,” Kattner says about Cooper. “I’d love to meet him someday. And if he could grace me with a kiss, I’d be so happy … That whole experience was ridiculous. I don’t know, out of the millions of people watching, if that even registers as anything, but it’s still fucking amazing.”

The song is on Man Man’s most recent album, On Oni Pond, arguably their most accessible and mature album to date. But accessible is relative here; the band still sounds like a swirling circus, though their chaos has coalesced into something relatively easier to digest.

Kattner, now 35, calls diehard fans of their early material “those pony-tail guys clinging to me writing the kind of songs I wrote when I was 22.”

“I can’t keep writing the songs I wrote 10 years ago,” says the singer/keyboardist. “I’d rather swallow a bullet than do that.”

Kattner says he didn’t intend to write any songs for the pop charts this time, but recognizes that one song, “Head First (Hold On To Your Heart),” could be a hit, if presented more straightforwardly. The right woman, he says, could sing that song pretty well.

“That’s a song — I wish I could have written that 10 years ago. But I don’t think I could have done it sincerely … I just don’t think I had enough life experience to actually feel the feelings to write that kind of song.

“I’m proud of the song,” he adds. “I’m happy that it’s been able to have some legs. It’s pretty surreal for us that that song has been able to get on Modern (rock) radio. That’s as surreal as the CNN stuff, to have the song on rotation with Korn and stuff.”

He acknowledges that “we didn’t make things easy for ourselves” by naming the band Man Man, “or even, in the case of this single, by calling it ‘Head On’ instead of ‘Hold On To Your Heart’ — I don’t know what I was thinking.”

The band has flirted with mainstream success before, with their songs popping up in commercials and on TV shows, but find themselves now in a more difficult phase of their career — doing some of their best work, but no longer being the hot new thing. It’s a dilemma others have faced before, like the Flaming Lips in the mid-’90s, and Man Man’s most popular days may be coming soon. That is, if Kattner and drummer cohort Chris Powell (aka Pow Pow) can keep the band together.

Asked how many members have passed through Man Man, Kattner sighs and laughs simultaneously. “Eh, it doesn’t matter … All that matters is that Chris and I are sticking around.”

Kattner summarizes their plan as: “Hopefully, we can keep percolating up through the cracks of the mainstream.”

This time around, the band has, like a wolf, acquired some new, younger blood that has kept its leaders alert. “These are their after-school activities,” Kattner jokes. “It counts toward college credit.”

Kattner’s mostly joking advice to younger musicians who want to start a band? Maybe go to business school instead. “Don’t start a band ’cause you want to have a livelihood, ’cause there isn’t one. Maybe there is for, like, 1 percent of people that do it, but it’s no way to live,” he says.

But you’ve made it this far, I argue. “Have I?” he laughs. “I think (I have) just out of sheer determination and maniacal fortitude. It’s also borderline delusional. I think that’s why I’ve made it this far. If you’re willing to sacrifice relationships, creature comforts, stability, the prospect of ending up on the street someday — if these are all things that you can turn a blind eye to past your 20s, then you’re good to go. But, you know, do it while you’re young.”

Man Man with Xenia Rubinos
Friday, Jan. 17
Zanzabar
2100 S. Preston St.
zanzabarlouisville.ticketfly.com
$16-$18; 9 p.m.

Here
c. 2014 LEO Weekly

No strings attached



“I’ve been traveling (to Santa Fe, N.M.) because my girlfriend is going to grad school,” Evan Patterson says. “She had this old parlor guitar that didn’t have any strings on it. You really couldn’t play past the fifth fret and make anything that was in tune. So I worked with what I had and starting writing songs.”

Jaye Jayle wasn’t planned. Patterson already had two bands, Young Widows and Old Baby. Young Widows is the oldest, and heaviest, of his bands. Old Baby takes more of a classic rock/psych approach, driven by Patterson and co-leader Jonathan Wood. Jaye Jayle is Patterson with a rotating group of players jumping in as needed. While all three sound distinct from each other, Patterson’s intense approach to his instrument unites them with the lonesome, brutal cries he coaxes.

He wrote five Jaye Jayle songs on his first visit to Santa Fe, then three or four more the next time, and then a couple more. He sent them to friends and realized, “Oh shit, I’ve got a record here!”

Even the recording circumstances were different for him this time. The album, ... It's Jayle Time, was put together over two weekends by sound recordist Warren Christopher Gray in his home. Friends were invited to show up and improvise parts to add.

Patterson says recording in a welcoming family setting was “a really positive experience.” The setting made him feel safer to try new approaches than he would in a conventional studio, and the minimalist songs, too, left extra room for experimenting.

He’s also trying something different with the release of the songs. The whole piece can be purchased now on the site Bandcamp, and limited edition 7” singles will be released on vinyl each month, on different labels.

Having different outlets has made his original love, Young Widows, “easier” in some ways. They have recorded a new album, which Patterson says is “the heaviest thing I think I’ve done.”

“I really don’t know what I would do if I wasn’t being productive in music in some way.”

Here
Jaye Jayle plays Zanzabar on Wednesday, Jan. 22, at 9 p.m.

Tuesday, December 31, 2013

More of some of the best of 2013

Here



Last week, we looked back at some of the best music Louisville offered up in 2013 — a number that is now mere history, as otherwise meaningless as 2003 or 1973. Unless, of course, you’re talking about Bruce Springsteen, who will always be filled with meaning and never get a gray hair or die.

In the first part of our look back, we relayed responses to our survey of the year past, confirming local love for the Debauchees, Old Baby, Cheyenne Mize, White Reaper and Anwar Sadat. Missing out on the top five were some of our globally recognized talents — Jim James, who released his first solo album while also playing some dates with My Morning Jacket (including a tour with Bob Dylan); Houndmouth, who released their debut full-length album on London’s Rough Trade label and celebrated “Houndmouth Day” in Louisville with a show at Iroquois Amphitheater; and Bonnie “Prince” Billy, who continued to keep fans on their toes by making a new album in his house and then driving it around to local stores as his means of distribution, favoring neighbors and frustrating his thousands of additional worldwide fans.

Houndmouth did earn several mentions from their local scene mates, earning a solid sixth place. Next came heavier sounds from a pair of bands who earned the same number of mentions, but have only volume in common otherwise. Julie of the Wolves, an all-star quartet who have consistently rocked out in a variety of bands over the past 10-15 years and are now united in a catchy punk format, won acclaim with their album Create/Destroy (on Noise Pollution).

Black metal heroes Anagnorisis earned far-flung accolades for their self-released album Beyond All Light (the band plays the album live Thursday night at Haymarket Whiskey Bar); the Canadian magazine Exclaim! wrote, “… filled with thunderous drumming and pierced by moments of unexpected illumination, Anagnorisis have crafted a black metal album worthy of their name.”

Some other local acts praised by their peers included Tropical Trash, Nerves Junior, Wax Fang, Kaleidico, The Revenants, The Tunesmiths, Whistle Peak, Small Time Napoleon, Sapat, Ultra Pulverize, and the aforementioned Jim James and Bonnie “Prince” Billy.

Outside these bluegrass borders, LEO’s music writers also, somehow, found even more music to enjoy this year. Running away with the top honors in 2013 was one of the very first albums to be released, way back on Jan. 22: No Beginning No End (on Blue Note) was neither the first nor the last we’re hearing from hip-hop-inflected soul/jazz singer José James, but dang, it’s a great one.

In his LEO review, Damien McPherson wrote, “I’ll be damned if this isn’t in my top five 335 days from now. The jazzy singer from Minneapolis finally gets a proper U.S. introduction after two incredible records on DJ Gilles Peterson’s Brownswood label and a quiet-as-a-whisper standards album on Verve. Those in the know have wielded his songs as secret weapons for several years, but now is the time the rest of the world gets familiar.”

Also taking up space in our ears was the modern country of Kacey Musgraves, the Central American grooves of the Garifuna Collective, Gregory Porter’s theatrical jazz vocals, Laura Mvula’s British soul power, the retro Cumbia of Maguaré, the revived concept hip-hop of Deltron 3030, Setenta’s Latin soul, the haunting indie folk of Spirits of the Red City, the electro chills of Jon Hopkins, anthemic indie rock from Thao & the Get Down Stay Down, Bombino’s African guitar trance, and the pop/R&B of the Tennessee kid, Justin Timberlake. Oh, and we can’t forget Kanye (he won’t let us).

In a year that saw Brooklyn’s Red Baraat visit Louisville twice and release two new titles, some of us got deeper into the blending of brass bands with modern funk and hip-hop rhythms that continued everywhere from England to India to Wisconsin — plus, of course, New Orleans, where the Hot 8 Brass Band and Brass-a-Holics dropped solid collections, and Jim James produced a modern classic for the Preservation Hall Jazz Band.

None of us were sad when Mumford & Sons announced a lengthy hiatus.

We hope you had as much fun as we did in 2013, but we also hope for an even better 2014. (Fingers crossed for a Springsteen-led Forecastle Festival … hey, why not?) #possibilitycity

c. 2013 LEO Weekly

Working for the union

Here



Many people make music on the side, as a form of expression, never expecting to become part of the mainstream music industry. Many of those people work behind a desk or in front of customers. John Paul Wright is one of the very tiny handful of songwriters who’s working on the railroad.

Wright doesn’t just work for the company — he’s a timeless union man, an organizer and an agitator. He’s a locomotive engineer and a labor singer. Take a moment out of your day and imagine a contestant on “The Voice” singing a song like “War on the Workers,” or “Casey Jones the Union Scab,” and consider the hard lives many lead.

But also consider the joy Wright gets from singing his songs, paying tribute to his fellow travelers.

Wright’s latest album, Singing to the Choir, was released this fall. On Saturday, Wright and fellow local folkie John Gage play at the Rudyard Kipling with fiddler Kate MacLeod and singer/guitarist Duncan Phillips. The latter is the son of the late Utah Phillips, the iconic labor organizer, train-hopper and storytelling folk singer, and has carried on his father’s work.

Wright met Phillips last year at a hobo convention in northern California, learning that the son didn’t like his father’s music because it took him away from home. Wright’s job takes him to Nashville and back, but he spends as much time as he can with his son, Jonah, schooling him in many ways.

Jonah and wife Donna are Wright’s priorities, but nights like Saturday are special occasions to celebrate his world outside of their home. The family lives in a nice house in Middletown, but Wright has also known fellow workers who have been laid off, or even killed on the job. He sings their songs, and rails against a corporate culture that has taken over our nation, threatening democracy and poisoning children’s minds.

Wright knows he’s not alone in his fight, though. Like-minded members of his community will join together in song on Saturday, share stories and wish for a 2014 filled with solidarity and a more perfect union.

c. 2013 LEO Weekly

Tuesday, December 24, 2013

Soul junk

Here



Black Diamond Heavies drummer Van Campbell was at the Air Devils Inn, sitting with bassist/vocalist Eric Makowski, formerly of Austin’s garage rock/soul band the Bloody Tears. They had just met and began talking about starting a new band, “something just for fun,” Campbell says. “Soul music was a part of the conversation, because we thought it would be accessible from a playing standpoint,” the drummer adds. “There are plenty of bands out there that are doing this ‘soul revival’ kind of thing, which is great. I’m glad that, though that was our starting point, we have kind of turned into something that is unique.”

Their seven-piece band, Junk Yard Dogs, has since made a name for themselves through their potent live show over the past couple of years, and now have a record available. The band plays WFPK’s New Year’s Eve show at Headliners, though Campbell clarifies, “There will be guests joining us along the way, and we will be more of a house band than a featured act.”

As a warm-up, they will play on WFPK’s “Live Lunch” Friday at noon. “Normally when we play, it is at various dives around town that are dimly lit and where the patrons are impaired by alcohol. If you like your dirty soul music with a bit more clarity and a sandwich, then you should come on down to ‘Live Lunch,’” says Campbell.

Their record evolved from contemplating covers to writing originals, both together and in smaller groups. They rode up to Detroit to capture their sound with engineer Jim Diamond, who had previously worked with both Campbell and Makowski. “It took a lot of planning ahead to figure out how to make it all work with seven people and a very short window of time, which I was worried about because trying to plan any aspect of a recording session can be ambitious. It turned out to be an amazing experience.”

Asked to name some favorite local bands that don’t include Dogs members, Campbell replies, “It is hard to mention ones we don’t share members with!”

c. 2013 LEO Weekly

People Issue: Franey Miller - The Photographer

Here



“I’m not really average,” acknowledges Franey Miller, the 18-year-old photographer. “I’m always working — whether it be planning shoots, getting up at 5 a.m. to call magazines in London, or doing all the bookings for every single shoot I produce.”

The recent high-school grad began shooting “with a fashion eye” at 15. She describes her work as “feminine, whimsical and soft but powerful.” Miller began by taking pictures of female friends. As she developed her skills, she found girls easier to use as subjects. “With male models, there’s this constant ‘manly’ vibe going on,” she says. “I’m not opposed to shooting guys, but I just feel more comfortable around girls.”

Some of her female subjects are shown wearing only lingerie; what might seem sketchy coming from a male perspective feels more loving and respectable coming from a young woman. Miller denies having an overt agenda.

“I find it pretty,” she shrugs. “I’m not really trying to subvert anything or make a statement — I just really like the visual of cute undergarments.”

Miller is not in school now, using her time to work on her budding career. “It is a lot of work,” she says, adding that her roommate, boyfriend and supportive mother are all “constant inspiration,” though it is her cats, Prudence and Tupac, who especially “work hard to make models feel at home during hair and makeup when I’m shooting in Louisville.”

She has published photos everywhere from the local zine Tobacco to the highly coveted Vogue Italia. Miller primarily uses social media and phones to make connections, and has recently spent time in the big city. “I have a serious love/hate relationship with New York,” she says. “I love it when I’m not in it.”

Miller feels lonely there now — after traveling alone, she tries to occupy herself with shoots and meetings, but unless a friend is available, she eats, gets around and then goes to sleep alone. Skype calls can only do so much. The city adds its own inspiration and, as one of the fashion and media capitals, it can’t be ignored, but it’s either too busy or too quiet. It’s not home yet.

“The last time I was in New York, I had 16 shoots in 14 days. It’s a lot of hard work, but I know it’s going to be so worth it one day,” says Miller. “I plan to relocate to New York sometime soon. It’s where everything happens, and it’s naturally where I need to be.”

Photo by Serene Conaway

c. 2013 LEO Weekly

People Issue: Daniel Cole - The Promoter



It all started with a “Boogie Nights”-themed birthday party. Daniel Cole enjoyed a night out, and throwing a big party sounded like fun. But Cole quickly realized he was also filling a need in Louisville’s social scene.

“I think it’s fair to say it was fairly risqué for the Fourth Street Live crowd at the time,” says Cole. “Male go-go dancers and dance music DJs were not really commonplace in that circle, especially not in 2007.”

The party was a success, and Cole credits veteran promoter Joey Wagner, then marketing director for Lucky Strike and Felt, for encouraging him. It led Cole to the Fourth Street Live club Hotel, where he was hired as their marketing and events director. “It was a great deal of work, changing the perception of Louisville nightlife,” says Cole, “but that was a great vehicle to do so.” Working with attractions from DJ Steve Aoki to fashion labels to curiosities like Paris Hilton, it was on trend with the MySpace/celeb culture of the time and taught Cole many valuable lessons.

“Of course, not every weekend was a giant event,” he acknowledges. “Many times, it was $100 of decorations from Caulfield’s and a motivated staff who liked throwing a theme party.”

After an LGBT networking group hosted a party there, Cole saw a window to expand the club, and the city’s options. “Hard Candy” was born this way there. When Hotel closed, Cole went out on his own as a freelance promoter. “It was quite an adjustment,” he says, as every dollar spent on an event was now coming from his own bank account.

Wagner offered to re-launch “Hard Candy” at the club he now runs, Prime Lounge. It took time to rebuild, but Cole says 2013 was one of his best years. Today “Hard Candy” is again on trend, bringing in many stars of the groundbreaking “RuPaul’s Drag Race” reality series as headliners. The event also expanded to Cincinnati and Lexington this year, with more planned.

Cole will also produce his first large-scale Derby event soon, a dream come true for him. He plans a party catered toward an audience wanting something other than a Maxim/Playboy-esque event at Derbytime.

Meanwhile, he still works part-time in retail management. “One month could be terrific and the next could be underwhelming. You plan and promote as best as you possibly can, but there are always factors you can’t predict.

Photo by Marty Pearl

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c. 2013 LEO Weekly

Some of the best music of 2013 — Part 1

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LEO’s music department asked dozens involved in this city’s scene to share lists of their favorite local music of 2013. Our selection committee was, admittedly, intentionally random — but each is a trusted member of our community. We didn’t exactly stop people on the street (even though many of them are probably in bands, too) for their two cents.

As it shook out, we got many great responses back. Two things we had already suspected were confirmed beyond a reasonable doubt: Louisville loves music, and this year, everyone loved the Debauchees.

Among the people who contributed, almost half put the Debauchees and their debut album, Big Machines and Peculiar Beings (on sonaBLAST! Records), on their list. Whistle Peak singer Billy Petot said, “The Debauchees! Duh! These guys are so much fun. Usually young folks tend to exude a bit too much rage for me, but these young ’uns are just plain f-u-n.” WFPK disc jockey Marion Dries mentioned their song “I’ve Got Energy” as one of her favorite individual songs of this year, noting, “Love the primitive punk ethic in their work.” Bryce Gill, guitarist for the Tunesmiths, called them “great, young talent and sincerely sweet kids. They will make Louisville proud.”

While this might be a surprise to some in a year that also included new albums from Jim James, Bonnie “Prince” Billy and Houndmouth, it shows how our community continues to develop new talent and support it, never sitting still even though there’s a deep bench to rely on.

It’s not a popularity contest, in the literal sense. We here at LEO like to take each song, each record, each show as its own thing; all have unique strengths and weaknesses. We don’t believe there can be a “best” or “worst” when it comes to artistic expression. In this case, we’re just sharing some recommendations.

The name dropped second-most by a jury of their peers was Old Baby. After putting their first record together after only a few months of existence, the all-star rock quintet took longer to make their second album, Love Hangover (on Karate Body Records), achieving a leap up from an already stellar debut and clarifying that this band is for real, not a mere side project (members also play solo and in Young Widows, Jaye Jayle, Sapat and Second Story Man). In his review for LEO, Syd Bishop wrote, “Given Old Baby’s penchant for dark, Americana-tinged songwriting, this is a surprisingly spry album, maintaining an unexpected momentum (given both the subject matter and material) … this Hangover succeeds as a well-crafted testament to the skill of its constituency.”

Following closely behind was a pair of artists who take a different approach to pop and rock, though less differently than it might look on the surface. Cheyenne Mize’s second solo album, Among the Grey (on the North Carolina label Yep Roc) also saw her step up her game. In this week’s music section, WFPK and LEO’s Kyle Meredith shares his thoughts on her achievement.

The young garage-rockers White Reaper received as many mentions as Mize, with “Night Visions Radio” DJ Sam Sneed raving, “My favorite local release of the year is White Reaper’s Conspirator (a 7-inch on Earthbound Records). I am just stoked people in Louisville are making this kind of music!” McKinley Moore, guitarist for Natives, said, “I’m sure someone else has said it already, but White Reaper is awesome.”

Also beloved locally lately was Anwar Sadat. The young punk trio’s first full-length, Gold (on Sophomore Lounge), had singer/guitarist Mark Kramer of Tender Mercy saying about it, “Loud, abrasive and catchy. Who else can do this?” Zach Hart, from the blog We Listen For You, called it, “A thunderous record that doesn’t pocket creativity for the sake of being ‘just another loud band,’” and added, “It’s a perfect artistic document to get the listener ready for Anwar Sadat’s live show ... one of the best live bands going in town today.”

Join us again next week for more of the best of 2013, locally and internationally.

c. 2013 LEO Weekly

Wednesday, December 11, 2013

Over the Rhine and through the woods

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Based around the married couple of Karin Bergquist and Linford Detweiler, the folk-pop band Over the Rhine has been together long enough to build a fan base strong enough to support their own label, Great Speckled Dog, enabling them to survive and thrive outside of the system. While they have released two Christmas albums, the band’s current tour supports their new double album, Meet Me at the End of the World, which is their second album produced by Joe Henry (who recruited Bergquist to act with him in the Louisville-shot movie “Pleased to Meet Me”).

LEO: You’ve had 20 years of making songs together. How do you still have so many songs on one record?

Linford Detweiler: We both write. Karin likes to say it was easier just to put all the songs on the project, rather than arguing over whose got left off. Maybe there’s some truth to that. But actually, we knew we had a good number of songs that loosely revolved around the little hideaway farm in southern Ohio that we’ve called home for the last nine years. We wanted to collect this particular song cycle onto one project, if possible, and we needed a little extra musical real estate for that to happen. We weren’t married to the idea of a double album, but it sort of fell into place in real time.

LEO: How does the environment around your home influence your songs? Do you see a squirrel and get inspired, or is it more abstract?

LD:We haven’t written a song called “Squirrel!!” yet. But it’s a song that definitely seems to play in our dogs’ jukebox …

When we moved out here to this pre-Civil War farmhouse and this particular piece of land, we realized we didn’t know the names of much of anything — the trees, the songbirds, the weeds, the wildflowers. My father helped us fill in a few gaps before he died — he was always a bit of a birdwatcher and knew his trees. He said he heard birds out here he hadn’t heard since he was a boy growing up on his family farm in the 1930s — bobwhite quail, indigo buntings, bluebirds, killdeer … After he was no longer around to do the naming for us, we began to do the work of calling things by name, and they began to appear in our songs.

Naming is an act of respect, and love, and I think when we began affording our surroundings our careful attention, this place became our home. We had never written an album about home before. As we were fixing this place up, my father also encouraged us to “leave the edges wild,” and that became an important metaphor for us. That line found its way into several of the songs on the project.

LEO: What’s your relationship with Cincinnati like these days, especially now that you’ve moved farther out?

LD: We still do all our business in Cincinnati and have lots of friends who live there. Our three godchildren live in Cincinnati. And we still feel drawn to the neighborhood of Over the Rhine. Maybe someday we’ll have a little crash pad back in the neighborhood. It’s still the old Ohio River town that very much feels like the birthplace of the band.

LEO: Now that you — we — are all older than we were 20 years ago, does “maturity” sound more like a compliment if someone describes you or your music that way? Do you feel any older inside? Do you still get excited about making the next record or setting out on the next tour?

LD: We’ve been having more fun on this recent “Meet Me at the Edge of the World Tour” than we’ve probably had ever. I think we’re probably a little less conflicted at this point in our lives. We’ve embraced a calling. We know we’ll probably never be famous in a pop-culture sense, and that’s probably a really good thing. Hopefully, the work will speak for itself and continue to find a growing audience that’s real. And we’re crazy enough to believe that we’re still growing as writers. If we didn’t believe a record contained our best work, we wouldn’t put it out.

We’d like to think that some things get better with a little age. Good wine, good songs, good friendships … We’re in it for the long haul.

Over the Rhine with Matt the Electrician
Friday, Dec. 13
Kentucky Center for the Arts
501 W. Main St.
kentuckycenter.org
$25; 8 p.m.


Photo by Darrin Ballman.

c. 2013 LEO Weekly

Wednesday, December 04, 2013

You’re a good pianist, David Benoit

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He knows, OK? David Benoit’s been around for a while. He’s been doing all kinds of stuff since 1977, and he knows you’re coming to this show to hear the Christmas music you love from the “Peanuts” TV specials. He knows his real music — what some call smooth jazz — isn’t the hippest trip, but it’s what he loves, so if you don’t love it, that’s OK. He’s not especially rich or famous, but you know what? He’s done pretty good for himself. And if it takes playing “Peanuts” music every December, or having his music used by the Weather Channel to make sure the mortgage gets paid, well, whatever. It’s all music, and if it makes you happy, it can’t be that bad, right?

This week’s show “is a happy show,” Benoit agrees with a laugh. “If you don’t feel good after this show, then something’s wrong.”

His involvement in the “Peanuts” world goes back to his childhood. He was a fan of the daily comic strip, but when the first special aired on CBS in 1965, he fell in love with composer/pianist Vince Guaraldi’s score. “One of the reasons I became a jazz pianist is because I wanted to play like Vince,” he says now, the influence still looming almost a half-century later.

Benoit made his first foray into Christmas music in 1983 with his Christmastime album, which featured some of the same pieces used by “Peanuts.” His recording of the “Peanuts” favorite, “Christmas Time Is Here,” attracted their TV producer, Lee Mendelson. The producer asked Benoit to score music for the eight-part miniseries “This Is America, Charlie Brown” in 1988. (Guaraldi died of a heart attack in 1976, after scoring the special, “It’s Arbor Day, Charlie Brown.”)

“They were looking for someone to replace Vince and had been using the more traditional film-score people, and they wanted a jazz guy,” Benoit says. “I just hit it off with Lee immediately, and pretty soon, I got to meet (strip creator) Charles Schulz. I wound up scoring at least 15 CBS specials — a lot of it (featuring) the music of Vince Guaraldi, and a lot of it my music.”

Though Schulz died in 2000, Benoit has remained close with Schulz’s family and with Mendelson. “It’s something I’m very privileged and honored to be part of.”

Benoit has read the controversial 2007 biography of Schulz and says, “With me, he was a complete gentleman, and really nice. I can see with Lee — he was probably a little tougher on Lee, but he respected my music, and I had so much respect for him. It was a mutual admiration society … My experience was always really positive.”

Benoit has had a slightly weird career, noting that its highlight might be the accidental hit he had in 1981 in the Philippines. “Take a Look Inside My Heart” touched a chord with the melodrama-loving listeners there, who greeted him like a king and gave him the ability to pursue music as a career.

Benoit acknowledges that the average person on the street who knows “Peanuts” music, as played by anyone, probably might not know some of his other music, which includes compositions for symphonies as well as straight-ahead or smooth jazz. “It would be harsh to say, ‘Well, (‘Peanuts’) just pays the bills,’ but … it does pay the bills. Also, I do love that music, so I do come by it very sincerely. It’s not like, ‘Let me jump on to this bandwagon, I can make a lot of money …’ No, I love the music truthfully. It’s sincere, and I always feel very grateful to have that association.”

And, he laughs, it’s very tough in this world to become a famous jazz musician. “So thank God for ‘Peanuts’!” If anyone leaves the show wondering what else this guy Benoit has for sale, he’ll be happy if you check that out, too.

He will play a couple of his originals during the show, but audiences will more likely remember the participation of a local children’s choir, here borrowed from Noe Middle School. It’s part of the show in every city, making what’s already fun for the whole family something those participants will remember always. “How cool is that?,” Benoit says. “That’s what makes the show really unique.”

‘A Charlie Brown Christmas’ with David Benoit
Thursday, Dec. 5
Kentucky Center for the Arts
501 W. Main St.
kentuckycenter.org
$25; 8 p.m.

c. 2013 LEO Weekly

Wednesday, November 27, 2013

Louisville’s love letter

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Called “a love letter from the Louisville music scene,” Head Cleaner: A Louisville Music Compilation is a collection of 46 new songs from local artists of all stripes. Gubbey Records head Dave Rucinski decided to invest himself in this “labor of love” to call attention to the scene and expose it to both locals and those in the world outside our bubble.

“It is my belief that the Louisville music scene is at the very best it has been since the mid-to-late ’90s,” Rucinski says. “There are so many styles and numerous bands in town making high-quality original music that it rivals even the biggest music scenes across the country.”

As a “history freak,” Rucinski wanted to showcase what he was seeing and hearing and preserve it “so it was not lost to the air, and could be easily found in one place in a high-quality document form.”

Gubbey announced an open call in May for artists to submit one song each. The 46 songs received made the process “overwhelming, yet extremely awesome,” says Rucinski. Another open call was made for visual art; Matt Humble’s painting of the Belle of Louisville won that honor. As for the music chosen, “No one was turned away,” Rucinski says. “We did not play favorites for this release.”

He issued it primarily on cassette, “based on our love for releasing on odd, dead formats. I grew up listening to cassettes, and they will always sound better than a CD to me.” The cassettes also include a card leading to a digital download. Due to cost, a vinyl release is not planned.

The most challenging aspects were first mastering audio from 46 different sources to make the collection sound consistent in quality and volume, and then to sequence everything to make it feel as coherent as possible. Rucinski estimates that 155 musicians contributed, in addition to the five others who helped him with backstage details.

Despite taking up a large part of the year, Rucinski and Gubbey plan to do it again annually.

The New Vintage hosts a two-night release party, Friday and Saturday at 9 p.m.

Wednesday, November 20, 2013

Bombino’s world-class guitar joy



Omara Moctar is also known by his nickname, Bombino, which is also the name of his band. The 33-year-old guitarist, born and mostly raised in a nomadic Tuareg tribe in Niger, has already lived a life worthy of a book or a movie, full of way too many unique details to go into in this space (the man spent a week working with Angelina Jolie in 2008, for example).

In his youth, Moctar also lived in Algeria and Libya — it was in the latter where he was introduced to the guitar playing of Jimi Hendrix and Mark Knopfler. One world, indeed. After a stunning set at this summer’s Forecastle Festival, Bombino’s band is back for a show of their own.

LEO: Do you write your songs alone and then bring them to your band, or do they evolve from the band all playing together?

Omara Moctar: Usually, I will write my songs alone, but sometimes I have just a simple idea and it will develop as we play it together as a band. Mostly, though, the songs we play are songs I have written on my own, or they are adaptations of traditional Tuareg songs.

LEO: How is your latest album different from your first album?

OM: Well, the new album has a much stronger rock ’n’ roll sound. The last album, Agadez, was more relaxed and tranquil. This new album has much more muscle than the last one. (Producer) Dan (Auerbach) wanted to make the album sound like the live show, and, of course, my live show is much more big rock ’n’ roll than my first album.

LEO: Who do you think are the best guitarists playing today?

OM: That is a tough question. There are so many great guitarists of so many styles, it is very difficult to compare them. Santana is one of my favorites of my life and he is still with us, playing, so I will mention him first. I saw a guy named Gary Clark Jr. who I also thought was incredible. Vieux Farka Toure, the son of the great Ali (Farka Toure), is also a hypnotic player. So, yes, there are three guitarists who play very different styles that are all world-class.

LEO: Does your music ever put you in a trance while you’re playing?

OM: Oh, yes yes yes! Every time I am on the stage, I go into a happy trance. It is a deep, spiritual experience for me.

LEO: Are music and religion the same experience, or different?

OM: For me, they are very different. Religion will tell you how to behave in society and how to treat other people, as well as provide guidance about the spiritual world. For me, with music, there are no rules and no judgments, no right and no wrong. It is just joy for me.

LEO: A lot of young, middle-class Americans think you’re cool. Do you know what it is about you they respond to? Do you think you will be able to make them more aware of the part of the world you come from?

OM: Well, I hope that if they think I am cool and they enjoy my music, they will be curious to learn more about where I come from and my culture and our political situation. That is an important goal of what I am doing with my career. I think they like me because I play music they can appreciate, but I am very clearly from another world for them. So this is interesting. Like, for me, if I saw an American playing an interesting new style of Tuareg music, I would find this very intriguing.

LEO: How did you like Nashville when you were there to record? What do you think about all the parts of the U.S. you’ve seen?

OM: I really liked Nashville, but honestly, we weren’t able to visit much of the city. We were going from hotel to studio to hotel to studio almost every day. It was very hot there in June (2012), like back home. So it was nice to feel the hot sun of Africa in America. I have seen many, many places in America I really like. I love Portland and Seattle, California, Austin, Boston, New Mexico, Colorado ... there are just so many cool places in America! It is really a special place.

Bombino with Jubalson
Friday, Nov. 22
The New Vintage
2126 S. Preston St.
newvintagelouisville.com
$10-$15; 8 p.m.

Photo by Ron Wyman

Here
c. 2013 LEO Weekly

Southern by the grace of food

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Damaris Phillips pairs food and love, Louisville-style, for a national audience



At 10:30 on a Sunday morning in an Irish pub, there’s nowhere left to sit. Most of Molly Malone’s capacity crowd is there for a viewing party to cheer on Damaris Phillips, whose Food Network cooking program is moments away from premiering across the country. As her TV lead-in, the polarizing but undeniably popular Guy Fieri, winds down, her friends, family and fans chatter loudly to one another in the spirit of communal togetherness Phillips often promotes. But the bar’s TVs have been muted, and as Phillips’ show, “Southern at Heart,” begins, her message is being lost on the very people who went out of their way to see it in her presence. Being one part TV-star-in-training and two parts natural ham, Phillips saves her moment by drawing the crowd’s attention toward her and narrating her show live. “So, here I am,” she begins, raising her voice above the din, “sayin’ somethin’ real clever …” A suddenly focused bartender lunges for the remote and turns the volume up so TV Damaris can be heard, and the real-life, somewhat tired chef relaxes again, as the crowd applauds.

“Southern at Heart” is the result of a pilot Phillips presented during her time competing on “Food Network Star,” a series designed not only to entertain but also, and more importantly to the bottom line, to find the cable channel’s next breakout star — like Fieri, winner of season two. But nine seasons have aired now, and he remains the only true star to emerge from the competition. Phillips stumbled early in her 11-episode season. Going in, she “didn’t do a lot of preparing — which is pretty evident in episodes one, two, three and four,” she says now.

The show she wanted to make, if she were to win “FNS,” was originally called “Eat, Date, Love.” It would show Phillips teaching men “who are not real competent in the kitchen,” as she calls it, how to “win a woman’s heart” with food. What the show became is similar, but now expanded to “not just guys that are dating, but for guys who have been married ... Or, maybe their wife is getting ready to have a baby. So it’s different stages, and different places in relationships, but still trying to connect with their partner and show their partner how much they mean to them, to make their life better, using food.”

It’s not meant just for guys. “Hopefully, I can coach everybody,” Phillips says. “Women, I can coach them in the same way. They can see these recipes and say, ‘Oh, I can cook that for my gentleman!’ Or ‘my partner,’ or whoever they love — ‘I can cook that for my mom.’”

She’s an old-fashioned gal, and especially loves hearing men talk about the women in their lives and why those men are in love with them. Nothing made her happier during “Southern at Heart”’s first season than hearing the love story of a couple who have been together for more than 30 years. “That one — whoopf! That one gets you.”

But at the same time, she’s a very modern woman. Note how, above, she mentions “my partner” after “my gentleman” — she packs a building because everyone’s invited to her party.

Her arrival on the Food Network scene, it has been noted, was well-timed. Fellow Southern TV chef Paula Deen’s reputation was famously tarnished in mid-June after a lawsuit made her look like the kind of ignorant racist many good Southerners have been ashamed of for many years; while Phillips’ run on “Food Network Star” had been mostly filmed by then, only three episodes had aired, and her warm, open-hearted approach to cooking Southern food — “the food of love,” she proclaims — became increasingly appealing. By the time fans voted for their favorite contestant to get their own show in early August, Deen’s problems were still fresh in viewers’ minds.

“I don’t know Miss Deen personally, so I don’t really have much to say about her journey,” Phillips said last month, offering a cautious and seemingly planned answer that nonetheless tried to be as kind as possible. “I hope that regardless of anybody’s success or lack of success, I am my own person and I have a place on the network regardless of anyone else. And so I look forward to showing people who I am, and hope they like the style of food I’m cooking. I hope I bring something fresh to the network, and to people’s lives.”

At the “FNS” finale, Phillips and runner-up Rodney Henry of Baltimore stood waiting for their fate. Phillips became terrified, realizing she had no idea what her life might become. When she was named the winner, “I just blanked. I had nothing to say — and, clearly, I have plenty to say!”

At the Louisville viewing party, most of the people who had supported her along her surprising journey got to vicariously share the moment. “I don’t know how, in your life, you can have a better moment than hundreds of people you love cheering for you. I cannot imagine how it can get better than that moment, for me,” Phillips says. “And I have that! Everything else is just gravy … Sometimes I’ll re-watch it — it makes me get choked up, just seein’ how excited everybody was.”

Go back a year — there’s hardly a single foodie in Louisville who could have told you who Damaris Phillips was, as a chef. So how did she become the one dancing around the question of whether she’s next in line to be your favorite food TV personality?

Home Style
As a true Southern lady, Phillips might not want you knowing her precise age, but she’s got another birthday coming up on Dec. 8. In tribute to her lack of pretension — and because she gleefully notes that someone has created a skimpy Wikipedia page for her, uncertain of basic facts like year of birth (“1980/1981 {age 32–33},” it suggests), surely she won’t mind a clarification that she was born in 1980. Her father, Maury, was a funeral home director. Her mother, Mary, ran a career-counseling agency for people with disabilities. Maury and Mary had five children, with Damaris in the middle.

“I do not think I could have been raised by two better people,” she says. “They did a really good job of preparing us to be adults. Every time I look at my siblings, I think they are the most remarkable people. They’re funny and they’re kind and they’re able to figure stuff out. I think it’s because my parents were so good at raising (us to be) adults, not just kids.”

All alpha types, they do bicker, because “Everybody’s so bossy. All of us.”

“My dad was a really loud, really funny, very strange man. I know, you can’t see the connection,” she laughs. “And my mother, she is an alpha woman. She is a brilliant woman — smart and hard-working and tough, and really reasonable.”

When it comes to cooking, Phillips’ favorite holiday is tied to both flavors and memories. “My mom made cinnamon rolls for Christmas when I was growin’ up — like, her whole week: healthy, delicious ... tons of raisins and dates cinnamon rolls. I always think of that and quiche. It always felt so fancy.”

Father Maury passed away a few years ago, having suffered from a heart condition. His life has informed his daughter’s approach to cooking.

“I try to keep fit, I try to eat healthful — you see that in my cooking,” she says. “You can see the influence that my dad having a heart condition had on my cooking. I don’t cook ‘healthy food’ — I cook delicious food ... that sometimes happens to be healthy. I never want to go at it from that (“healthy food”) angle, but it is an influence in what I eat. I never want food to be harmful to people.”

She stresses moderation, noting there are many ways to add flavor and elevate food to make it “less bad” for you, like adding spices. “Not fat, heavy cream, not butter. I mean, I use butter, but it’s not …” she pauses, perhaps thinking about how much butter has become associated with Paula Deen in recent years. “I don’t think food has to be bad for you.”

Her show promotes modern Southern cooking techniques, highlighting healthier approaches without dwelling on health as a subject of discussion. “I’m always gonna be using whole wheat flour. I’m always gonna use lots of vegetables. You’re gonna see lots of seasoning ... I don’t fry a lot of stuff. I put oil on it and roast it in the oven. It can be argued that it’s not the most healthful food ever, but it is food you can eat for your whole life.”

Her healthy-living plan includes working out three times a week — at least on paper. “To be perfectly honest, I haven’t been in about six weeks,” she laughed during an October interview. “I used to be super-chubby. I used to not use my muscles. I used to not be able to run.

“Somebody told me one time to ‘be gentle with yourself.’ Be gentle when you’re trying to do something different or to change your habits … We’re always so encouraging with other people: ‘You’re doing so great, I’m so proud of you!’” she adds. “We don’t often take the time to be, like, ‘You got up this morning and walked those five miles; I’m proud of you.’ That helps.”

“Now, I can run! It feels good.”

The only thing more important to Phillips than doing something good for herself is doing something good for someone else. It’s a philosophy that informs her TV show, and it can be traced back to Christmas at home. “Everybody in my family is always more excited about giving presents to each other than opening presents ourselves. Half the time, you’re so excited that you got the perfect gift for somebody, and you’re so excited to give it to them the next day — hooo, I love that!”

Making her own TV show, she has been given her a unique opportunity to film in her hometown. Adding to her comfort is that she’s not the first of her siblings to break into TV. Brother Donald has worked on the production teams of “American Idol” and “So You Think You Can Dance,” and had also worked previously with the company producing “Southern at Heart”; he was hired to film supplemental shots around town.

“When you see it,” sister Damaris boasts, “you can tell that the person who filmed it loves this place.”

It worked out really well for her, once again — she’s the most comfortable at home, surrounded by family and friends, in the city she loves.

The Food Network executives approved this plan in part because Phillips still works as a culinary instructor in Louisville on Tuesdays and Thursdays, but probably also because they learned how best to use her during her “FNS” challenges. “I was worried early on that I was trying to show my personality more than my skill,” she says. Intimidated about standing out against 11 other somewhat qualified chefs, her goofy side took over briefly. “I felt like a little child — ‘Oh, I just look like I’m trying to get attention.’”

“It was a tough road. We hit some bumps.” As she stopped trying so hard to be different and focused on her cooking, “It became much easier for me. I also became something I was more proud of.

“The second I started to let people see who I am — not just a caricature, but myself — people have been in. They like it. They’re encouraging. I’m a little quirky. I’m a slightly strange woman. But nobody’s trying to mess with that (at Food Network).”

Only two minutes into her first “Southern” episode, Phillips is explaining sorghum to her national viewers. By the end of three episodes, she’s also spread the word about beer cheese and chow-chow. The show mixes her Southern pride and skills in both cooking and teaching with her own unique mixture of heartfelt sentiment, bossiness and occasionally vulgar, wacky humor. The show, and her long-term success, depends on her personality. Other “FNS” vets, like Jeff “Sandwich King” Mauro, whose show now follows “Southern at Heart,” are blandly likable and unlikely to become any more beloved than they already are. Phillips, however, is currently living on the border of anonymity and possible Rachael Ray-level fame. It depends on, among other things, if you think descriptions like the following are funny or not:

“This is called chow-chow, which you don’t think is gonna be impressive — but then you taste it, and you’re, like, ‘Wow-wow, chow-chow!’” Now add a surprisingly flirtatious and knowing edge to the delivery, and watch what happens.

Career Vision
Becoming a TV cooking star was not part of younger Damaris Phillips’ plans. That’s because she didn’t have a plan. She worked at Highland Coffee for a decade, leaving for Seattle with a boyfriend who was preparing to become a doctor. “I realized I could do coffee for the rest of my life,” she says. “But I wanted something that I woke up in the morning excited about, that was just mine.”

Across the country, isolated from family and friends, Phillips spent time in a library reading about food. After work, she would prepare elaborate meals, leaving Food Network on whenever she was alone, in part to keep her company. Watching “Food Network Star,” she thought, “Those people are so lucky that they get to do that.” Her then-boyfriend (or “gentleman,” in her parlance) encouraged her, suggesting she make a five-year plan to get on the show. “I kind of thought that if I got on, I could win,” she says. “I thought that if I worked hard, I could do it.”

As she struggled to work up the nerve to change her life’s course, her gentleman bought her a book for Christmas called “The Sharper Your Knife, The Less You Cry,” about a 30-something woman who went to culinary school. Phillips began her culinary studies two weeks later, back home at Jefferson Community & Technical College (JCTC). Her gentleman had to stay behind in Seattle for his work. After briefly maintaining their relationship long-distance, “It just worked out that it wasn’t ... the right time,” she says. “I wasn’t the person I wanted to be.”

As her studies began, she knew she loved cooking but was afraid to become a chef because she knew how hard restaurant work was. She didn’t know that becoming a culinary instructor was an option — yet by the time she graduated, that had become her calling. “That was just a lucky, wonderful surprise ... that happened because I decided to go for my goal. Since then, all the things I’ve been able to do, work-wise, have been amazing. Better than you could have imagined. Having the goal of ‘Food Network Star’ before all the steps that got me there — it made me forget that that was even the goal. Because I was having so much fun!”

She’s worked at Harvest, Wiltshire Pantry and 610 Magnolia, so her concerns about restaurant work come from experience — not that many could accuse the TV host, who still teaches at JCTC, of being afraid of work.

Additionally, she needs time to spend with her boyfriend, Darrick Wood, who she met four months before her Food Network adventure began. Single for a few years, she had been dating casually, always picking the wrong men. “I think, somewhere along the line, I believed that guys didn’t fall in love the way girls did.” But at a wedding, witnessing the union of “these two people who had absolutely found a partner for life,” Phillips was struck. “I was watching it and (moans) — literally, in my head, I was, like, ‘Damaris, you’re gonna have to start picking a different type of man if you want real love.’”

The way she tells it, she turned around and saw Wood across the room. “I saw him, laughing. He had the most beautiful laugh. And he had his head tilted back and he was laughing, and I said, ‘Oh! I know him!’ Then I was like, ‘Oh, wait. No, I don’t. But I will!’”

“So I strategically placed myself so he could hear how witty I was, and we started talking.”

During her time in New York filming “FNS,” they exchanged letters, hypothetical love stories for the Seven Dwarfs (her idea). Wood used a special pen that hid secret messages in his letters — Phillips could hold them up to the light, and they would sparkle.

Their relationship has been atypical in many ways. “The place we were at from where we started dating — (that was) completely different than where we are now. For me, with so many changes going on in my life, every single day, it is nice to have met someone that I’m excited to see what our future would look like, but I’m not in a rush to make that happen today … we’re navigating this big, huge thing together as a team. That is important, if we’re going to be a team together for the long haul.”

The End of the Beginning
Everyone asks her when they can go to her restaurant — surely that’s her goal, yes? “I do not foresee myself opening a restaurant any time in the near future,” she says. At some point, she would prefer to open an event space. “I love throwin’ parties, and so I think having a space where you could be in charge of the food but then also the entire venue — I think that would be a lovely way to make a living. But right now, I haven’t figured out that space yet.”

Whatever happens, Phillips intends to continue teaching, whether in a community college class or in front of millions. “I really, really love teaching people to cook. I really like bringing that back to peoples’ lives,” she says. “I think lives are greatly improved when you can cook in the kitchen together, when you spend time eating together.”

At Molly Malone’s on premiere day, Wood is by her side as she watches herself through the eyes of her most dedicated audience. After a typically goofy on-camera joke, the real person behind the TV star is shaking her head at her own lack of self-control. “I’m an idiot,” she mutters to herself, but she doesn’t seem upset.

A couple of days earlier, Phillips had said, “Generally, I wake up pretty happy. And I think I take that for granted. I wake up usually pretty excited, and I think that’s a gift. I have been really, really fortunate to have a job that I love, and to have a family who are remarkable, and to have friends who are the most fun ever.”

A family friend approaches, crying happily. Phillips embraces her and exchanges hugs with other well-wishers, from children to seniors. She’s accomplished her goal, giving of herself and bringing people together to celebrate over food. The crowd has dispersed and she’s once again just a Louisville lady out with her gentleman and a few close friends. There’s just one more thing she wants, so she heads to the bar to get it for herself.

“All right, now let me drink.”

c. 2013 LEO Weekly