Concert review: Quintron and Miss Pussycat (with Britches) bring low fidelity and high energy to the Firebird, Friday, May 18

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Many artists embrace the raw side of rock ‘n’ roll, but few can translate it into an unstoppable force hell-bent on creating a party that will not end until the last bit of sweat is wrung from your brow. Quintron is one of those translators.

The evening’s openers, experimental noise/art rock trio Britches, hit the Firebird stage hidden behind plush animal masks, which added an off-putting visual to go along with the slasher flick vibe they created with the dim stage lighting and cacophonous pile of sounds they created as a background to their set. It was difficult to tell when songs began or ended since the layers of looped samples pulled everything together. It made for a great listening experience, coming across more like a soundtrack than a set of individual songs.

Describing the Britches sound isn’t an easy thing to do. There’s a lot going on, almost creating confusion among the listeners who weren’t paying attention. One second they sound like grindcore gone wrong and the next second they sound like they’re trying to play a selection from Mike Patton’s “Adult Themes for Voice” on instruments. There was plenty to see, and most of the people in attendance were paying close attention.

After a short set-up period, Miss Pussycat kicked off the Quintron set with one of her famous puppet shows. This one was a nine-minute-long tale of a bear who wanted to go into outer space that was filled with laughter, tears and the brutal deaths of Mother Nature and Dracula. Immediately following the puppet show, Quintron took his spot on the throne behind the organ and launched into a fantastic cover of the Larry Weiss tune “Rhinestone Cowboy” before launching into his own material.

Quintron’s stage setup is part of the experience in seeing him live. He’s seated behind a car-shaped cabinet that contains a Fender Rhodes electric piano for bass and a Hammond organ for rhythm and solo runs. To his right is the Drum Buddy, a five oscillator rotating light-activated synthesizer that pulses out rhythms or gets played as a solo instrument. Running all of this equipment himself along with singing, he’s also joined by Miss Pussycat who plays the maracas and sings backup.

Quintron’s music is heavily groove-oriented and high energy, creating a storm of sound to get everyone moving. Even I was up and bouncing around, and I have three left feet when it comes to anything rhythmic. He ripped through an hour and a half of material that seemed to fly by, including crowd favorites like “Ring the Alarm,” “Freedom,” “Waterfall” and the ever popular “Swamp Buggy Badass.”

There wasn’t a single person in the Firebird that wasn’t on their feet and having one hell of a time. Anyone with a love of the snotty sound of an overdriven Hammond blaring out of a Leslie rotating speaker cabinet should check him out, along with anyone who loves to get down and dirty with an infectious groove and plenty of power to get you through the night.

Video of Miss Pussycat’s puppet show from the Firebird by Matt Champion.

Posted by | May 19, 2012 | Concerts | Comment 

Concert review: Gregory Alan Isakov (with Geoff Koch) satisfies hearts, minds and ears at the Old Rock House, Thursday, May 17

flickr.com/photos/encosion/5828764236 / Tim Ferguson

On Thursday night, Gregory Alan Isakov performed a well-attended show at the Old Rock House. Behind him stood a projected, sepia-tinged, photo depicting a rural youth listening intently to a large, conical, medieval-looking, horn-shaped hearing device.

The image struck me. It seemed an apt metaphor for Isakov and his music. He is the youth, or rather, his art is, and like the image, representative of life’s constant search, of its hunt for that elusive melodic force that haunts us as it flits between the trees, lost to wind and distance.

Like a sound adrift on the wind, Isakov’s music never settles, never sits contentedly while life chugs on by. No, Isakov’s catalog warms the soul with rustic literary intimations steeped in American melancholia.

Geoff Koch opened the evening with a set of tunes that reminded me of a subdued version of Two Gallants, perhaps because of Koch’s propensity for stacking phrases and melodies. The crowd enjoyed Koch’s sometimes brazen and folky but always deeply introspective ramblers.

Soon after, Isakov took the stage along with cellist Phillip Parker and violinist Jeb Bows. The trio slipped into the quiet, but happy “Virginia May,” from 2009′s “This Empty Northern Hemisphere.” While the female backing vocals and brushed drums of the studio version were missing, the warm starkness the violin and cello afforded the songbed made it feel full nonetheless.

“Big Black Car” was bursting with dulcet care and dark whimsey. The parts book-ending the chorus were pure delicious harmony coupled with Isakov’s trademark “Mmmhmm’s.” The unreleased “The Universe” found Isakov singing into a second microphone with an AM radio-style, treble effect, which lent the track a gothic, M. Ward-esque feel.

Everyone stood stone still for “The Stable Song” from 2007′s “The Sea, The Gambler.” Isakov leaned hard on the vocals, squeezing every ounce of the emotion available from the melody. Bows flipped his violin sideways and plucked the strings to imitate the sound of a mandolin crossed with a banjo. Parker pulled his bow across his cello strings, encouraging thick thrums of sonic energy to loll forth like a lion’s tongue.

Isakov performed “3 AM” solo. Under dimmed house lights, it was as if the artist was speaking personally to each of us, while simultaneously somehow addressing everyone. The multi-gamut aspect sent satisfied tingles coursing up and down my spine as Isakov fell into the craw of another cyclically melodic choruses.

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Posted by | May 18, 2012 | Concerts | Comment 

Concert review: The Polyphonic Spree (with New Fumes and Sweet Lee Morrow) raise all voices at the Duck Room, Friday, May 11

The Polyphonic Spree at the Duck Room in St. Louis. May 11, 2012

The Polyphonic Spree. Photo by Kate McDaniel.

Down the stairs and past the bar, a screen on the Duck Room stage displayed a jerky psychedelic image resembling a collage of contorted faces.

The disco ball spun slowly in the foreground as the stage was prepared for New Fumes to perform. Leaving his position behind the merchandise table, a tall, thin, man humbly approached the stage and looped a guitar over his shoulder as he crouched behind. He carried the unassuming air of a roadie, but this was the sole member of New Fumes, a psychedelic rock and dance act on Tim DeLaughter’s Good Records label from Dallas.

“Hi, I’m Daniel,” he began, placing a goat mask atop his head. “I have a pretty brief set so if you don’t like my music don’t worry, it will be over soon.” As he began with a trippy swirl of electronic chaos he smoothly launched into a psychedelic rendition of the Star Wars theme. With equally trippy video playing on the background screen the crowd roared with approval. Continuing to paint his tapestry of electronic psychedelia, New Fumes gained the respect of many attendees who applauded as he left the stage just as humbly as he had entered.

The second performer, Sweet Lee Morrow, took the stage also as a lone member act. However, the shy and quiet nature of the previous performer was contrasted by a much more vocal and confident display of folk and pop-rock piano and guitar tunes. Moving from behind his keyboard, he kneeled as he took hold of his guitar. Placing the headstock on his finger, he offered the crowd a bonus balancing act before submitting a final set of gracious jams.

As the crowd prepared for what they hoped would be an extraordinarily uplifting time with the Polyphonic Spree a red curtain was stretched across the front of the stage. A Vaudeville-sounding tune sprinkled out from the speakers as the spotlighted disco ball spun and sent sparkled light squares across the room.

Scissors punctured the curtain from behind. The shape of a heart was cut out as the piano began to play softly. Blasting into a full-band chorus, lead singer, Tim DeLaughter, cut the curtain in half, revealing a crew of 13 people playing and singing in white robes. A single red heart adorned each robe as a symbol of the group’s message.

Horns blared over dual percussion. Keys and a cello added to the mix with four females lending vocal support to DeLaughter. By the end of the first song the band was conducting an audience-aided sing-along. Throughout the evening some sang the lyrics like gospel while others simply stood and smiled. And of course, Beatle Bob was there rocking away in the front row.

The band set included the hits “Hold Me Now” and “Light and Day,” but also offered up a smoothly transitioned set of lesser-known crowd pleasers like “Soldier Girl.” One of the major highlights of the evening was the band’s rousing cover of the Who’s “Pinball Wizard.” The band danced and grooved as DeLaughter led the show, grabbing the rafters as he leaned toward the crowd.

Following a triumphant, horn-focused finale the band took a short break before returning to gracious cheers. Playing another three songs, the Spree’s symphony entertained the packed house as they true their hands to the ceiling in celebration. As the end of the last song approached, the crowd chanted with the harmonies of the band, “All in good time, raise our voices.”

The band members slowly left the stage in pairs until all that remained was DeLaughter with his hand on the rafters extending his microphone to the choir in the crowd. Bowing in appreciation DeLaughter waved as he followed his crew exiting the stage.

Posted by | May 13, 2012 | Concerts | 1 Comment 

Event review: KDHX fans and DJs share love, music and chaos at Midwest Mayhem at the City Museum, Thursday, May 10

Funky Butt Brass Band outside the City Museum at Midwest Mayhem 2012

Funky Butt Brass Band outside the City Museum. Photo by Sara Finke.

St. Louis music fans of all stripes gathered at the City Museum for Midwest Mayhem on Thursday evening to celebrate with the city’s independent radio station, 88.1 KDHX.

While walking towards the entrance one could glimpse the familiar school bus extending over the street as the mantis praying from above seemed to bless the mayhem ahead.

The night began with the sounds of Bob Reuter’s Alley Ghost welcoming patrons at the first floor Whale Stage (Reuter is host of Bob’s Scratchy Records on Friday afternoons on 88.1 KDHX). The crowd continued to grow throughout the evening as attendees wandered and climbed through four floors of entertainment including an excellent variety of live music, indoor and outdoor playgrounds, spin sessions by DJs, burlesque performers and even an in-house vintage clothing shop featuring its own side stage.

Like KDHX, the City Museum is ever evolving. Areas under construction at last year’s event were now open to exploration as renovations were being done on new sections. The evening was highlighted by musical acts ranging from traditional folk and country to modern rock and electronica.

Opening on the second floor, synth-pop group Née provided dance tunes beneath white icicle lights hanging from the ceiling. Meanwhile, the third floor was washed over by the folk and country blend of the Five and Dimers. On the other side of the building, burlesque performers entertained a packed house with three sets that included a grand finale male performer.

As the night continued, featured drinks by New Belgium and Sailor Jerry ensured a well-lubricated evening. Javier Mendoza was second to take the Whale Stage; the St. Louis veteran offered up a selection of singer-songwriter rock tunes attracting familiar fans and passers by who were simply following their ears.

Up again on the third floor, the Lawn Chair Brigade was present and in full effect as they marched around, snap-folding their chairs and providing a welcomed pre-show for the KDHX Blues Band (which included long-time 88.1 KDHX DJs Papa Ray, Art Dwyer, Ron Edwards and Michael McHenry). The crowd continued to expand as the band wielded wildly entertaining harmonica solos over lively and tight blues jams, attracting a wide variety of listeners.

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Posted by | May 11, 2012 | Concerts, KDHX, Music | Comment 

Festival review: Rockin’ and rollin’ on the river at the Beale Street Music Festival, May 5 and 6

Buddy Guy at Beale Street Music Festival. Photo by Joanna Kleine.

Thousands of music fans made their way to the “land of the delta blues” last weekend for the annual Beale Street Music Festival. This was my fifth time attending the long-running fest, part of the city’s month-long Memphis in May celebration in Tom Lee Park on the banks of the Mississippi River.

The violent storms and flooding of the past two years were replaced this year with sweltering heat and humidity, having fans wallowing in sweat instead of mud. The temperatures weren’t the only thing that was hot, however — the lineup was pretty amazing too. Unfortunately, we had to miss the opening night of the festival, which included heavy-hitters like guitar legend Johnny Winter, jam kings My Morning Jacket and indie diva Florence Welch of Florence + the Machine.

Arriving Saturday afternoon, we made it to the Bud Light Stage just in time to see our own hometown heroes Son Volt bring a little slice of the ‘Lou to Memphis. A decent crowd of Farrar loyalists gathered up close as the band took the stage — Jay looking a bit like Johnny Cash, clad all in black with thick sideburns. The band fought some loud feedback as they began, but it was quickly rectified as they eased into “Down to the Wire” from the band’s most recent album, “American Central Dust,” the twang of Mark Spencer’s pedal steel guitar cutting through the thick, humid air.

Son Volt played for just over an hour, turning out a comprehensive set spanning its catalog of material, including a suite of songs from the acclaimed debut album “Trace” to the delight of old school fans. A set highlight was the gorgeous “Highways and Cigarettes” from 2007′s “The Search,” featuring Spencer’s pedal steel married with Gary Hunt’s mandolin and Farrar’s haunting vocals. Farrar humored Uncle Tupelo fans by closing out with the classic “Chickamauga.”

In Memphis, music and BBQ go hand in hand, and the festival offers many options for local fare. We opted to singe our taste buds with some of Uncle Lou’s Famous Sweet and Spicy fried chicken, licking the fiery sauce from our fingers as blues legend Buddy Guy tore up the Orion Stage behind us. At 76 years old, Guy can still shred on the guitar and work the stage like the pro he is — even coming down into the crowd to play for a bit to the delight of fans. In addition to his own classics, he played inspired covers of “Fever” (appropriate considering the heat) and Cream’s “Strange Brew.”

Next we headed back to the Bud Light stage to check out ’80s Brit rockers the Cult. Lead singer Ian Astbury looked out of place in the sweltering Memphis sun in a thick black jacket and jeans, two fluffy foxtails dangling from his belt. His voice sounded relatively unchanged and guitarist Billy Duffy proved he is still worthy as well on classics like “Fire Woman,” “Wild Flower,” “She Sells Sanctuary” and “Love Removal Machine.” A few tunes from the band’s brand new album, “Choice of Weapon,” seemed to fall flat with the audience, however, including the dark “Lucifer.” Having grown up on the Cult, it was fun to hear some of these songs played live again, but overall, they seemed to be trying a bit too hard to at times to relive their glory days.

With the sun finally setting and the full “super moon” rising above the trees, Grace Potter and the Nocturnals took to the stage. I admit, I’d never seen Potter before, though many have told me how great she is live. She indeed lived up to the hype. Alternating on the guitar and keys, tossing her long, blonde hair around as she belted out songs like her hit “Paris (Ooh La La),” Potter and her band proved they can hold down a festival crowd of thousands in addition to the smaller venues they play more frequently.

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Posted by | May 9, 2012 | Concerts | 1 Comment 

Concert review: The Fray (with Dia Frampton) jump into the Pageant, Tuesday, May 8

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On Tuesday night, the Fray sold out the Pageant with ease. The fans struck out from every borough of St. Louis to see the spectacle and feel pop-rock piano music splash over them. Did someone order a Rolling Rock? No? Damn, wrong band.

Dia Frampton, former contestant and runner-up on the first season of “The Voice,” took the stage promptly with her sister, Meg, on bass. The six-piece band offered a touching version of Kanye West’s “Heartless.” Dia’s oddly southern lilt (she’s from Utah) helmed the chorus with power and created new insight into the song as she danced about in her bare feet and white, diaphanous dress. The starlet didn’t fair as well during a cover of Tom Petty’s “American Girl,” where she faltered over the “make it last all night!” part during the chorus, her vocals awash in the muddy mix.

The Fray began its headlining set with “The Fighter,” from 2012′s “Scars & Stories.” Isaac Slade’s shaved, bald head glistened under the lights. The wail of Ben Wysocki’s trebly, electric guitar bled into the warmth of Jeremy McCoy’s bass. The audience could be heard under every word of the chorus that Slade carefully uttered.

Slade adjusted his unblemished, Elton-John-on-a-yacht jacket, hopped on his piano positioned stage center and belted out “Syndicate,” from the band’s 2009 self-titled record. On “You Found Me,” the singer ventured into the audience and up to the second level of the Pageant. Camera phones appeared in every hand as he passed by delivering lines in falsetto.

Soon, Slade returned to the stage wearing a dark jacket. “The Wind” featured Slade on a Korg synthesizer and the band supporting him with velvety vocals. During “Happiness,” the singer wrapped the song’s heart-breaking lyrics over a quiet bed of instrumentation: “Happiness feels a lot like sorrow.”

Before “Turn Me On,” Slade confessed that when the band toured with U2 they played the song much too fast, “like a Foo Fighters tune.” Slade chuckled and broke into the radio-friendly jangler, which, to me, played more like a Maroon 5 track than anything by the Foo Fighters.

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Posted by | May 9, 2012 | Concerts | Comment 

Festival review: MerleFest turns 25 with Americana stars small, big and massive, April 26-29

Béla Fleck at MerleFest 2012. flickr.com/photos/cpthornton/7154846982

It’s easy to underestimate the impact that MerleFest has on Americana music, and for anyone who hasn’t attended, it’s perhaps equally easy to overlook.

Initially a tribute to the late Merle Watson, Doc Watson’s son and musical partner, the festival has evolved into one of the biggest of its kind, on par only with Hardly Strictly Bluegrass in San Francisco, both of which draw between 70 and 80,000 people each year.

One of the many things that set MerleFest apart is that it is the first large-scale event of the season. Jerry Douglas has played at every festival since it began 25 years ago, and he noted from the stage this year that it’s like coming out of hibernation, a chance to see how so many musical friends have wintered. For everyone who arrives from anywhere north of Wilkesboro, N.C. — as I do each year — it’s the first time to wear shorts, sneeze at the pollen and get a good burn.

It’s also a community festival. Wilkesboro is as far from San Fran, and indeed any metropolis, as you can get. Four thousand volunteers work the grounds, take the tickets and run the shows, North Carolina’s answer to the Oberammergau.

Still, there is a kind of an industry trade show vibe, which is nice too, as it feels a bit like being in the center of something big — and, well, you are. The new names on the roster are often ones to take note of, if only because this is a venue that has brought so many artists to larger audience recognition. (This is the festival that gave first big breaks to Gillian Welch, Old Crow Medicine Show, Martha Scanlon, Tift Merritt, and indeed many others.) And the big names are also out in force, this year including Douglas, Alison Krauss, Vince Gill, Punch Brothers, Los Lobos, Dailey and Vincent, Sam Bush, Peter Rowan, Béla Fleck, Claire Lynch, Marty Stuart and Tony Rice.

Ultimately, there’s a lot going on. And while everyone has their own tastes, and bring their own perspectives, here are some thoughts on the events of this year:

Run, don’t walk, to see Blind Boy Chocolate and the Milk Sheiks.

There is a growing interest in the music of the ’20s and ’30s, though this is a band that seems to have arrived via time machine from that era. Complete with banjos, fiddle, ukes, scrub board and a singing saw, the novelty actually comes in how fun and vibrant the music is. Recordings don’t do it justice, and in any case it’s a bit of a job to get a hold of the band’s two releases. They started out busking on the streets of Asheville, though for the last two years they have rocked MerleFest.

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Posted by | May 8, 2012 | Concerts | Comment 

Concert review: Pretty Little Empire, Scarlet Tanager and Thankful Tree serve up impeccable three-course audio feast at Off Broadway, Saturday, May 5

Pretty Little Empire at Off Broadway in St. Louis. May 5, 2012

Pretty Little Empire. Photo by Ben Mudd.

The lone-man outfit Thankful Tree took the Off Broadway stage after 9 p.m. with looping swells of guitar and brash puffs of harmonica to build the sonic backbones.

On top of that sound he plucked away on guitar and laid down soft vocals. People dressed in attire from different time periods and cultures drifted in and out through his songs’ melodies.

Scarlet Tanager jumped up on stage shortly thereafter and kicked the show up two gears. For the uninitiated, Scarlet bring a brand of rock that inspire you to lift your wine glass in the air to good and missed fortunes while a dress or suit of white. The crowd shouted the refrains back at the band after the songs had finished. It would be hard to imagine a better stage warmer. Scarlet brought the intense energy but piped it through a completely different filter than the headliner.

Pretty Little Empire opened with the crisply-new “Out of Control.” The soft opening of the song gives way to torrents of guitar. There was no looking back from there. Joined by the masterful David Beeman, Pretty Little Empire proceeded to kill it. Then resurrect it. Then kill it again.

The usual St. Louis show protocol is to vacate the premises immediately following the last song. Despite this — and despite the fact that much of the crowd had earlier attended either Kentucky Derby or Cinco de Mayo festivities — people hung around until close basking in the glow of a stellar show. Outside on the yellow-lit veranda, beer cans were clinked and dropped well into Seis de Mayo.

Posted by | May 6, 2012 | Concerts | Comment 

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