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Next Big Nashville Blog, Sept. 10-14 — Vincent Wynne THURSDAY Panel
Psychology and the Art of Management Wow. Four very established managers discussed what it's like to manage the biggest acts in the music business. Slash, Kings of Leon, Fleetwood Mac, Tommy Lee, Kid Rock, KISS, and a bunch more were discussed—all from the management side. So you wanna be a manager? Do you like jails, treatment centers, brawls, being threatened with your life? I didn't think so. Or how do you like dipping into your own bank account to pay for a publicist because the record label won't? Yeah, that doesn't sound like fun, does it? What we all walked away with from this amazing panel was a certainty that management is the wrong game to be in. Good luck to those of you who jump in.
Ben Folds Keynote Conversation
Amazing conversation with Ben Folds. One thing is clear, if Ben Folds hadn't landed such a fruitful career as a recording artist, he would've done just fine as a Philosophy professor or a comedian. Folds entertained the audience with trenchant analysis of the music business, and he took great care not to take himself too seriously by adding a healthy dose of humor. If you weren't a fan before seeing this remarkable interview, well, you're a fan now. Great interview. THURSDAY NIGHT, SEPT. 11, 2008
Angel Snow, Edgehill Studios
I've seen Angel Snow before, and she was impressive then. I walked in at the end of her set, and fortunately caught two full songs. Wow, phenomenal singer and phenomenal songs. I was blown away by Angel Snow. She should be on everyone's list who digs the early Indigo Girls sound.
McClain, Edgehill Studios
Next up was McClain, the reason I drove to Edgehill Studios. And this married duo did not disappoint. Travis and Lindsay McClain are writing outstanding songs, and they make them come alive with sparse accompaniment. I've seen the full band show as well, and Travis is electric. The fiddle and mandolin duo Trees Leave accompanied McClain on two songs, one of which was a slow burning rendition of "Ring of Fire." Outstanding stuff. If you really dig the early Gillian Welch, you'll dig McClain.
Altered Statesman, The Rutledge
What a night. I made it to the Rutledge a bit early for Altered Statesman, whose new record is brilliant. After seeing Steve, Joe and the gang in dives like Springwater and Betty's Grill (no offense, these are fantastic hangs), I was pretty darn excited to here a crisper sound coming from Frank's system. Oh, holy shit — I've never heard these guys sound so damn good. Poulton's vocals were right on the money and Joe McMahan's pedal steel would have made Daniel Lanois weep. I had to call my wife ( in Florida) and let her hear a sample through the cell phone. Absolutely brilliant performance guys -- play the Rutledge more often.
Cory Branan, 12th & Porter
Goddamit, I knew I should've gone straight home after seeing Altered Statesman. So I walk in 12th & Porter, and onstage is Cory Branan who's known for that song about a waitress in Memphis. I like Branan, don't get me wrong, but I was still hypnotized by the previous set from Altered Statesman, so holy shit, WAKE the Fuck up, Vince! Branan is up there just doing his best to make Jerry Lee Lewis look like a sissy, and it's sort of working but at the same time I'm wondering which guy is getting ready to knock the shit out of me. This one was difficult to get through. Give me Branan with a full band when I know what I'm getting myself into, and it'll be a different story.
Katie Herzig, 12th & Porter
Branan woke me up in the rudest way possible, and Herzig put me right back to sleep. Again, don't get me wrong, I really dig Katie Herzig. She has this amazingly sensual vibrato in her voice that is irresistable. The full band sounded great, backup vocals from Ruby were just divine. But I was yawning my ass off. Maybe the Yazoo was getting to me at that point. I almost left, thank god I didn't.
Elle Macho, 12th & Porter
Aaaawwww SNAP, David Mead is back! This time it might be right. Don't tell me it's just for fun, just a side-project, not really serious. Elle Macho ROCKS!! Butterfly Boucher continues to amaze me. I'm almost to the point of Butterfly worship. My god, she rocks a tele as hard as Joan Jett, but check her out tearin' it up on a Thunderbird bass.
Oh, did I fail to mention that I woke up? Not the Yazoo at all, friends. Elle Macho had everyone in the crowd stunned. All I'm saying is lookout, there's a new trio in town and they're called Elle fucking Macho. Great harmonies between Mead and Boucher, great guitar playing from Mead, and everything there is to love about rock and roll from Butterfly Boucher. Elle Macho. FRIDAY NIGHT, SEPT. 12, 2008
What Bird, Edgehill Studio
What Bird is Julia Harrison (photo) and Winston Harrison. Some of you may know Winston as The Gabe Dixon Band's bassist. So, accompanying Julia this night were Winston on the electric mandotar (an electric guitar that Winston re-fashioned into an electric mandolin, basically), Jano Rix on percussion, and Matt Glassmeyer on bass—indeed, an outstanding way to kick off the night. This was 30 minutes of upscale mood rock comparable to Imogen Heap and Sarah McLachlan. Julia's vocals are outstanding, and the live performance was stellar. Winston and Jano split fast after the set to go play with Gabe down at the Belcourt Theatre—the Gabe Dixon Band is off on a 6 week tour, but look for more shows from What Bird in the coming months.
Jennifer Niceley, The Basement
Ahh. A bittersweet night for fans of Jennifer Niceley. She recently announced her official move away from Nashville to some place in North Carolina. It makes sense. Jennifer had been gravitating away from the hardscapes of the city for some time now. The move also involves a split with longtime collaborator and guitarist Joe McMahan. So, Joe was not by her side playing his amazing jazz infused guitar riffs that so eloquently mimicked the suffering of nature. Jennifer's voice was still amazing, the songs were still moving. But there is a hole in the songs now—unfortunately, without Joe's guitar pushing and pulling each song's unique personality, the songs could almost be viewed as one long song—not a good thing. Good luck Jennifer and we're rooting for you.
Sarah Siskind, The Basement
Well, I'm a huge fan of Ian Fitchuk; I'm a huge fan of Lex Price; I'm a huge fan of Joe McMahan; and imagine this, I'm a huge fan of Sarah Siskind. So when I heard that Sarah had rounded up all of the above to record her latest record, I was just a tad excited. This was my first opportunity to catch the live show. Yeah man. This is some amazing music. If Joni Mitchell had grown up in the South, she'd sound something like Sarah Siskind. Sarah infuses the hills in her singing, but leaps and bounds through the scales in a way not unlike Joni. With Joe on guitar, the sound takes on the ambient depth of something like Bill Frisell, and Ian's drumming is some of the best I've heard in Nashville in recent years. Just outstanding music, plain and simple. Great set!!
The Champion and His Burning Flame, The Basement
Dave Arnold's newest project called The Champion and His Burning Flame is a quirky full-band effort that has a happy indie pop veneer. The core, however, is Dave Arnold's signature brand of melancholy which, once discovered, adds a heavy dose of irony to the songs. Arnold's previous project was called Quiet, KY—an acoustic based Iron and Wine-esque folk project that was open-book melancholy reminiscent of the late Elliot Smith. But with The Champion, Arnold has delivered a more complex, perhaps more nuanced approach to the melancholy mood. I love this band. And these guys were recently tapped to play Kyle Andrews' CD release afterparty down at the 5 Spot—so I'm not alone. Although much of the irony may be lost on some who focus on the irrestible hooks and quirky harmonies, there's plenty of longevity in Arnold's songs, plenty here to think about, and plenty to enjoy time and again. The Champion and His Burning Flame is recommended to all who have suffered a little, yet continue to dig in and turn life into something worth living.
Ricky Young, Mercy Lounge
Ricky's live show is getting better, his voice is getting better, his songs are always fucking amazing—outstanding set from Ricky Young who had a bunch of killer musicians onstage with him. The future's bright.
Paper Route, Cannery Ballroom
I beg to differ with my blogging colleague Michael Campbell. Looks like we both landed at this show, and without seeing each other, came to different conclusions. Go read his review. I think Paper Route is getting stronger and stronger with every show I've seen. This set was tight, the vocals were on the money, the music is made for stadiums; the light show could have been synced up better—but I'm convinced that Paper Route is going to be the next breakout band from Nashville.
Jeremy Lister, Mercy Lounge
Lister has been using the same formula now for over two years, to no avail. One year ago he was ready to get a label push. But the label didn't do shit with him, so he's fizzling fast. Lister's set has been the same fucking set for over two years, and now I'm completely bored and a little pissed that Warner Brothers squashed his career. I heard two songs, knew what I was in for, and ran into Cannery to see a band that continues to blow it up every time—AutoVaughn.
AutoVaughn, Cannery Ballroom
Goddamm these guys are killer. Probably one of the hardest working bands in Nashville, always put on a stellar rock show, always impressive, always deliver. They deserve much more attention then they are getting in the States.
Just go see AutoVaughn if you want a great indie rock show. That's all I'm going to say. SATURDAY NIGHT, SEPT. 13, 2008
Cary Ann Hearst, Mercy Lounge
Gibson Guitars picked Cary Ann Hearst as one of three artists to see at this year's NBN. The 8pm time slot at Mercy Lounge is not the best—but by the time Cary Ann Hearst and partner Michael Trent finished their 30 minute set, the room was half full. For those who don't know, Cary Ann Hearst is an alt-country firecracker who can sing her ass off. I've seen her several times with The Gun Street Girls and she can fire up an audience like no other. The new record is called Shovels and Rope, it's more of Cary Ann's brilliant snapshots of the dark side of love—the jealousy, rage, anger, and eventually sadness, guilt, and yeah, some forgiveness too. She's got more blue in her collar than Lucinda ever had. Michael Trent can hold his own with her vocally, and his presence is all over the new record. If you like Steve Earle, Lucinda, and Gillian, be sure to buy the new record. This duo had the opening slot this night at Mercy, but their performance may have been the strongest. Look for Cary Ann Hearst to become a household name in the coming years.
Brooke Waggoner, Cannery Ballroom
It's been about a year since I've seen Brooke Waggoner. After watching her career closely two years ago, and finally writing a full article on her prior to the release of her first record, I've been focusing on other local bands. So it was with great anticipation that I came out to Cannery to hear her perform. Waggoner's writing skills are phenomenal, her piano playing is top-notch, but her weakness was always her vocals. Waggoner has been touring almost non-stop the past year, however, and I expected the vocals would improve with all the touring. Indeed, Waggoner's vocals this night sounded strong, angelic, and she seemed more comfortable with herself onstage than she ever did one year ago. Outstanding performance from Brooke Waggoner, and her hard work is paying off tremendously. All bands who are against touring for some crazy reason should take a lesson from Brooke. Touring makes you better. Oh, and it might also help build a fan base....
Erin McCarley, Mercy Lounge
Several months back, I saw Erin McCarley at the Basement for a solo acoustic show. Her vocals were solid, the songs were generic. She's a confident performer onstage, very sure of herself, hitting the vocals doesn't seem to be a problem for her. She's got a pretty face too—and her myspace page looks like it could just as easily be a model's portfolio. So Universal Republic jumped at the chance to promote the look. The new songs are fully produced, and not annoying—exactly what radio wants today. If Erin McCarley's music is playing, you won't change the station, you won't care who it is singing either—until you see her. So Universal seems to be promoting her look as heavily as possible—it's smart, and shallow—but it will make money. KS Rhoads accompanied Erin on piano. Everybody's gotta eat. So after a few songs, I literally ran into Cannery to hear something more authentic.
Thad Cockrell, Cannery Ballroom
Ahhhhh, I can breathe again. Thank you Thad Cockrell for singing your heart out about the things you think are important in this world. What a great fucking band, Ian Fitchuk on drums, Lex Price on guitar—two of Nashville's best producers on the same stage (see photo below).
As you can see from the photo of Thad, he was electric this night. He performed several from his recent EP, and he seemed to have his heart set on higher things. Thad was beaming during this entire set, the band was tight, Thad sang great and the nearly full house at The Cannery was equally lit up. Great set guys!! Off to the 5 Spot.
David Condos, The 5 Spot
I walked in the 5 Spot just as David Condos was beginning his set. Condos looks like the younger Bob Dylan but carries himself more like the elder Bob Dylan. Every time I see Condos live, I'm reminded of Joseph Arthur—there's just something about Condos. I really think Joseph Arthur is a musical genius, and I see and hear a similar creative brilliance in Condos' music. This night's set was a full-band performance. The live show was raw and gritty—think Joseph Arthur meets the elder Bob Dylan, with maybe a touch of Josh Rouse. Condos is one of Nashville's most underrated indie talents, and tonight's sparse crowd knew they were watching the best NBN show happening in Nashville at this 11 o'clock hour. I decided to close my NBN 2008 experience with this show. Homeward bound. |
