33 minute read
MUSIC
MUSIC MUSIC
Foxing is headed to Covington’s Madison Theater in December. Foxing is headed to Covington’s PHOTO: HAYDEN MOLINAROLO Madison Theater in December.
PHOTO: HAYDEN MOLINAROLO
‘Beacons’ of Light ‘Beacons’ of Light On its latest album Draw Down the Moon, Foxing nds positivity in turbulent times. On its latest album BY JASON GARGANO Draw Down the Moon, Foxing nds positivity in turbulent times.
BY JASON GARGANO
Foxing is an interesting case. e St. Louis-based band — which currently consists of drummer Jon Hellwig, guitarist Eric Hudson and singer Conor Murphy — has been around more than a decade, building a strong following without quite breaking through to a wider audience. e sound of their four albums has evolved over the years, moving from Sigur Ros-in uenced emo atmospherics to something close to pop, an indie rock out t with uncommon dexterity and elasticity.
But what does “indie rock” mean these days? Is it a sound? Is it doing it yourself through independent means? In Foxing’s case, it’s both. ey released their most recent record, 2021’s Draw Down the Moon, through their own label, Grand Paradise, with distribution help from long-running indie label Hopeless Records. On the sonic side, if 2018’s critical breakthrough Nearer My God was their grandiose, often ominous art-rock opus, Draw Down the Moon is their four-on-the- oor, chorus-rousing attempt at positivity. Take album centerpiece “Where the Lightning Strikes Twice,” a rafter-reaching blast of dance rock juiced by Murphy’s eruptive vocals and featuring an e ects-altered guitar solo from Hudson that sounds like Adrian Belew if raised on Jonny
Foxing is an interesting case. e St. Louis-based band — which currently consists of drummer Jon Hellwig, guitarist Eric Hudson and singer Conor Murphy — has been around more than a decade, building a strong following without quite breaking through to a wider audience. e sound of their four albums has evolved over the years, moving from Sigur Ros-in uenced emo atmospherics to something Greenwood instead of Jimi Hendrix. But both records have a unifying element: Foxing’s creative trajectory has occurred alongside one of the most contentious social and political eras in memory. And then COVID-19 hit. “I think Nearer My God was a reaction to this feeling of existential dread and impending doom, feeling like you have no control over anything that is happening, so I guess we’re going to
close to pop, an indie rock out t with uncommon dexterity and elasticity.
But what does “indie rock” mean these days? Is it a sound? Is it doing it yourself through independent means? In Foxing’s case, it’s both. ey released their most recent record, 2021’s Draw Down the Moon, through their own label, Grand Paradise, with distribution help from long-running indie label Hopeless Records. On the sonic side, if 2018’s critical breakthrough Nearer My God was their grandiose, often ominous art-rock opus, Draw Down the Moon is their four-on-the- oor, chorus-rousing attempt at positivity. Take album centerpiece “Where the Lightning Strikes Twice,” a rafter-reaching blast of dance rock juiced by Murphy’s eruptive vocals and featuring an e ects-altered guitar solo from Hudson that sounds like Adrian Belew if raised on Jonny Greenwood instead of Jimi Hendrix.
But both records have a unifying element: Foxing’s creative trajectory has occurred alongside one of the most contentious social and political eras in memory. And then COVID-19 hit.
“I think Nearer My God was a reaction to this feeling of existential dread and impending doom, feeling like you have no control over anything that is happening, so I guess we’re going to
make our silly songs as like a coping mechanism,” Hudson says by phone from his apartment in St. Louis. “With Draw Down the Moon, even though that record doesn’t have as many obvious political references like the third record does, it’s still impacted (by everything going on). It is a COVID record. We made it during quarantine.” e isolation complicated things in numerous ways, altering the band’s songwriting process. Murphy, who writes all the lyrics, took the lead, investigating themes at once cosmically grandiose and deeply personal. He came out as bisexual during the writing of the record, an admission that didn’t come easy, given his strict religious upbringing.
“It was de nitely a departure in the sense that previously it was like Conor had to nd his space around whatever the band was doing,” Hudson says. “I feel like this time around it was kind of the opposite approach where the band was like, ‘Well, why don’t we create a space for Conor and we will nd our areas of expression around him?’”
Album opener “737” begins pensively with airy synths, lightly strummed guitars and Murphy repeatedly pleading “I can’t do this alone” before erupting into Deafheaven-esque chaos. e quiet, acoustic-based “At Least We Found the Floor” initially seems down and out with Murphy singing, “Well, honey, this isn’t the oor yet/It’s gonna get much worse than this,” but it’s delivered with an oddly subversive acceptance. And “Cold Blooded” is a straight-up anthem in Arcade Fire mode, but with a more versatile singer leading the way.
“Instead of leaning into the negativity, which is something we’ve always done in the past, the positive thing that we got out of making that record was nding peace without having control over everything and nding some amount of acceptance with your existence in your small place in the universe,” Hudson says. “Which in itself is a little sad. It’s bittersweet in a way because if you can accept what you can control and accept what you can’t, and come to terms with it, I think it makes it easier to appreciate the things you do have. A lot of Draw Down the Moon is based around that.”
“Beacons,” via its booming drums and electro enticements, might be the most blissfully exuberant expressions on the new record, as Murphy sings, “Beacons of that shame left behind/For the rst time I felt alive.”
Likewise, the sonic approach is glossier and more approachable than previous Foxing e orts. Hudson handled production duties for the rst time with help from Manchester Orchestra frontman/longtime buddy Andy Hull and a mixing assist from noted nob turner John Congleton, who’s worked with
make our silly songs as like a coping mechanism,” Hudson says by phone from his apartment in St. Louis. “With Draw Down the Moon, even though that record doesn’t have as many obvious political references like the third record does, it’s still impacted (by everything going on). It is a COVID record. We made it during quarantine.” e isolation complicated things in numerous ways, altering the band’s songwriting process. Murphy, who writes all the lyrics, took the lead, investigating themes at once cosmically grandiose and deeply personal. He came out as bisexual during the writing of the record, an admission that didn’t come easy, given his strict religious upbringing. “It was de nitely a departure in the sense that previously it was like Conor had to nd his space around whatever the band was doing,” Hudson says. “I feel like this time around it was kind of the opposite approach where the band was like, ‘Well, why don’t we create a space for Conor and we will nd our areas of expression around him?’” Album opener “737” begins pensively with airy synths, lightly strummed guitars and Murphy repeatedly pleading “I can’t do this alone” before erupting into Deafheaven-esque chaos. e quiet, acoustic-based “At Least We Found the Floor” initially seems down and out with Murphy singing, “Well, honey, this isn’t the oor yet/It’s gonna get much worse than this,” but it’s delivered with an oddly subversive acceptance. And “Cold Blooded” is a straight-up anthem in Arcade Fire mode, but with a more versatile singer leading the way. “Instead of leaning into the negativity, which is something we’ve always done in the past, the positive thing that we got out of making that record was nding peace without having control over everything and nding some amount of acceptance with your existence in your small place in the universe,” Hudson says. “Which in itself is a little sad. It’s bittersweet in a way because if you can accept what you can control and accept what you can’t, and come to terms with it, I think it makes it easier to appreciate the things you do have. A lot of Draw Down the Moon is based around that.” “Beacons,” via its booming drums and electro enticements, might be the most blissfully exuberant expressions on the new record, as Murphy sings, “Beacons of that shame left behind/For the rst time I felt alive.” Likewise, the sonic approach is glossier and more approachable than previous Foxing e orts. Hudson handled production duties for the rst time with everyone from St. Vincent to Swans. “We found that it gave us more control over our process and our sound,” Hudson says of the decision to oversee the production. “In addition to that I think it also allowed us more time to really gure out where we were going as opposed to being under the gun of having ‘x’ amount of studio time and a budget that is ‘x’ amount of dollars. For me, it was just a practical choice that then turned into something that I’ve become passionate about.” But that’s not to say it was all smooth sailing. Hudson was initially taken aback by some of Congleton’s choices. “When he sent the rst few mixes back, admittedly I was freaking because I was like, ‘Oh my god, this dude is radically changing these songs, and he is so much more experienced than I am and has done so much more than I have. He has a Grammy! Who am I to say that he’s wrong for doing this?’” Hudson remembers. “I had so much anxiety about it. I talked very frankly with him about that. I was like, ‘Hey, I don’t know how I feel about this.’” Congleton assured Hudson that the process ultimately was theirs. “His response was essentially, ‘Look, I understand why you would feel that way. You’ve spent all this time writing and recording these songs, so anything that is a radical change is going to seem crazy to you, but I’m asking you to trust my creative voice and sit with these mixes for a while, and if you still feel that way then we can backtrack,’” Hudson says. “And so I listened to that, and I think he was fully right. I think he made the songs truly a lot better.” Hudson says he and the band learned a lot from the process, and the cherry on top was the chance to work with longtime creative inspiration Yoni Wolf, leader of Cincinnati’s own indie rock out t WHY?. Wolf contributes some ethereal vocal elements to album closer “Speak With e Dead,” a moody, musically adventurous tune about someday connecting with someone no longer with us. Following the collaboration, Wolf sent Foxing a message explaining “how much the song resonated with him and how emotional it made him while he was working on it,” Hudson says. “Hearing someone you truly look up to talk to you like a peer and validate the art that you’ve made and also collaborated with, that’s a special feeling,” Hudson says. “Regardless of what happens with our music moving forward, that’s something that I will always remember and cherish.” help from Manchester Orchestra frontman/longtime buddy Andy Hull and a mixing assist from noted nob turner John Congleton, who’s worked with everyone from St. Vincent to Swans. “We found that it gave us more control over our process and our sound,” Hudson says of the decision to oversee the production. “In addition to that I think it also allowed us more time to really gure out where we were going as opposed to being under the gun of having ‘x’ amount of studio time and a budget that is ‘x’ amount of dollars. For me, it was just a practical choice that then turned into something that I’ve become passionate about.” But that’s not to say it was all smooth sailing. Hudson was initially taken aback by some of Congleton’s choices. “When he sent the rst few mixes back, admittedly I was freaking because I was like, ‘Oh my god, this dude is radically changing these songs, and he is so much more experienced than I am and has done so much more than I have. He has a Grammy! Who am I to say that he’s wrong for doing this?’” Hudson remembers. “I had so much anxiety about it. I talked very frankly with him about that. I was like, ‘Hey, I don’t know how I feel about this.’” Congleton assured Hudson that the process ultimately was theirs. “His response was essentially, ‘Look, I understand why you would feel that way. You’ve spent all this time writing and recording these songs, so anything that is a radical change is going to seem crazy to you, but I’m asking you to trust my creative voice and sit with these mixes for a while, and if you still feel that way then we can backtrack,’” Hudson says. “And so I listened to that, and I think he was fully right. I think he made the songs truly a lot better.” Hudson says he and the band learned a lot from the process, and the cherry on top was the chance to work with longtime creative inspiration Yoni Wolf, leader of Cincinnati’s own indie rock out t WHY?. Wolf contributes some ethereal vocal elements to album closer “Speak With e Dead,” a moody, musically adventurous tune about someday connecting with someone no longer with us. Following the collaboration, Wolf sent Foxing a message explaining “how much the song resonated with him and how emotional it made him while he was working on it,” Hudson says. “Hearing someone you truly look up to talk to you like a peer and validate the art that you’ve made and also collaborated with, that’s a special feeling,” Hudson says. “Regardless of what happens with our music moving forward, that’s something that I will always remember and cherish.”
Foxing performs on Dec. 4 at Madison Foxing performs on Dec. 4 at Madison eater, 730 Madison Ave., Covington. Doors open at 7 p.m. and the show starts at 8 p.m. Shinra Knives opens the show. eater, 730 Madison Ave., Covington. Doors open at 7 p.m. and the show starts at 8 p.m. Shinra Knives opens the show. Info: madisontheater.com. Info: madisontheater.com.
MUSIC MUSIC Ohio-Based Royal Crescent Mob to Break Nearly Ohio-Based Royal Crescent Mob to Break Nearly Three-Decade Hiatus for Covington Reunion Show
BY KATRINA ERESMAN
Royal Crescent Mob found national notoriety as an opening act for bands like the Red Hot Chili Peppers in the late ‘80s and early ‘90s.
PHOTO: PROVIDED BY DETOUR MGMT Royal Crescent Mob found national notoriety as an opening act for bands like the Red Hot Chili Peppers in the late ‘80s and early ‘90s.
PHOTO: PROVIDED BY DETOUR MGMT
It’s been almost 30 years since Royal Crescent Mob played together. e Columbus-based funk rock fourpiece—also known as e R.C. Mob— was active between 1985 and 1994.
Now, for the rst time in decades, Royal Crescent Mob has two live shows on the horizon. e band will play e Athenaeum eatre in Columbus on Dec. 16 and Madison eater in Covington on Dec. 17.
Until recently, Royal Crescent Mob had zero plans for a reunion show. But in the last year, the four friends and bandmates have been confronted with some heavy life circumstances. In May, guitarist Brian Emch — known a ectionately as “Mr. B” — lost his wife to pancreatic cancer. en drummer Carlton Smith was diagnosed with glioblastoma, a type of cancer. Just weeks ago, singer David Ellison received treatment for prostate cancer.
“Carlton came to all of us after he had his diagnosis,” Ellison tells CityBeat from his home in California. “He really wanted to do [the reunion]. at was just, that was enough. I mean, there was no debate after that. Put everything aside.”
All proceeds from both shows will go to the Tri-State Area Cancer Research Fund. Ellison says that the band also provide literature at each venue about cancer screenings.
“ e men that saw the ‘Mob 30 years ago are the men that should be getting prostate screenings, and the women should be getting mammograms,” says Ellison, who says his busy work schedule almost caused him to skip the screening that caught his prostate cancer. e band is using these shows as an opportunity to raise awareness, but Ellison and his bandmates also view them as a celebration of life.
“I’m seeing these, like, healing aspects of getting back together and playing music,” Ellison says. “I feel each member of the band, it’s helping them in di erent ways.”
Royal Crescent Mob achieved a lot in the nine years they were together. ey signed with Sire Records, and toured nationally with acts like the Red Hot Chilli Peppers and the B-52s, building a devoted fan base in the process. Many of those fans are still reliving their favorite Royal Crescent Mob sets on YouTube, where the comment sections are lled with fond memories of the band’s high-energy performances.
When the group disbanded, all four members stayed connected to music and to each other. All but Ellison still live in the region, and all but Ellison have performed in one context or another in the last 28 years.
Bassist Harold “Happy” Chichester played in projects like Howlin’ Maggie and e Twilight Singers. Smith also was in Howlin’ Maggie and currently plays with Columbus Soul and Salvage. “Mr. B” has played guitar with a local church in Northern Kentucky and volunteers with Melodic Connections, a Cincinnati-based music therapy program.
After Royal Crescent Mob ended, Ellison switched over to the management side of the music industry, ultimately relocating to California. Most recently, he’s served as touring manager for Miley Cyrus, Camila Cabello and Kesha. Ellison says that whenever work brings him through Cincinnati, he makes an e ort to get the band together for dinner.
With Ellison on the other side of the country, rehearsing ahead of the reunion show has required some hightech intervention. e band has been working with a JackTrip Virtual Studio from JackTrip Labs to play together virtually, and the three Ohio-based members are getting in some extra inperson rehearsal time.
“B [Emch] just went up to Columbus to do some jamming with Carlton and Harold at Carlton’s place, and they sent me the videos of it,” Ellison says. “ ey all had big smiles on their faces. I think they were really enjoying [themselves].”
Meanwhile, Ellison is doing his own prep work out West.
“I’m starting vocal lessons, believe it or not,” Ellison says. “I was downtown in my town and saw this ier for vocal lessons, and I thought, well that might be a good idea. Because I just never
It’s been almost 30 years since Royal Crescent Mob played together. e Columbus-based funk rock four- really… You know, I used to warm up with Jim Beam.” piece—also known as e R.C. Mob— Ellison admits that the thought of was active between 1985 and 1994. playing for the rst time in so long is a
Now, for the rst time in decades, little “nerve-racking,” to the point where Royal Crescent Mob has two live shows he’s had a recurring dream about the on the horizon. e band will play e show opping. As front person to the Athenaeum eatre in Columbus on band, he’s wondered whether he can Dec. 16 and Madison eater in Cov- still bring the energy that fans loved ington on Dec. 17. during Royal Crescent Mob’s heyday.
Until recently, Royal Crescent Mob “ at’s something that goes around had zero plans for a reunion show. But in my head. Like, how do I approach in the last year, the four friends and this? Because I’m not going to jump out bandmates have been confronted with and stage dive and surf the crowd…” some heavy life circumstances. In May, Ellison pauses to consider this. “Maybe guitarist Brian Emch — known a ec- I will. I don’t know – if I get caught up.”tionately as “Mr. B” — lost his wife to Even as Ellison deals with the nerves pancreatic cancer. en drummer Carl- and excitement that come with reunion ton Smith was diagnosed with glioblas- show territory, he says what really mat-toma, a type of cancer. Just weeks ago, ters to him is playing with his friends singer David Ellison received treatment again.for prostate cancer. “I got past the point of ‘How many
“Carlton came to all of us after he people will be there?’ to ‘How ever had his diagnosis,” Ellison tells CityBeat many people are there, we’re gonna just from his home in California. “He really have a really great celebration,’” Ellison wanted to do [the reunion]. at was says. “Because this isn’t about that. It’s just, that was enough. I mean, there about these people and what we’ve was no debate after that. Put everything gone through, and what hopefully we aside.” can help other people avoid or bring
All proceeds from both shows will go awareness to.” to the Tri-State Area Cancer Research Fund. Ellison says that the band also provide literature at each venue about cancer screenings.
“ e men that saw the ‘Mob 30 years ago are the men that should be getting prostate screenings, and the women should be getting mammograms,” says Ellison, who says his busy work schedule almost caused him to skip the screening that caught his prostate cancer. e band is using these shows as an opportunity to raise awareness, but Ellison and his bandmates also view them as a celebration of life. “I’m seeing these, like, healing aspects of getting back together and playing music,” Ellison says. “I feel each member of the band, it’s helping them in di erent ways.” Royal Crescent Mob achieved a lot in the nine years they were together. ey signed with Sire Records, and toured nationally with acts like the Red Hot Chilli Peppers and the B-52s, building a devoted fan base in the process. Many of those fans are still reliving their favorite Royal Crescent Mob sets on YouTube, where the comment sections are lled with fond memories of the band’s high-energy performances. When the group disbanded, all four members stayed connected to music and to each other. All but Ellison still live in the region, and all but Ellison have performed in one context or another in the last 28 years. Bassist Harold “Happy” Chichester played in projects like Howlin’ Maggie and e Twilight Singers. Smith also was in Howlin’ Maggie and currently plays with Columbus Soul and Salvage. “Mr. B” has played guitar with a local church in Northern Kentucky and volunteers with Melodic Connections, a Cincinnati-based music therapy program. After Royal Crescent Mob ended, Ellison switched over to the management side of the music industry, ultimately relocating to California. Most recently, he’s served as touring manager for Miley Cyrus, Camila Cabello and Kesha. Ellison says that whenever work brings him through Cincinnati, he makes an e ort to get the band together for dinner. With Ellison on the other side of the country, rehearsing ahead of the reunion show has required some hightech intervention. e band has been working with a JackTrip Virtual Studio from JackTrip Labs to play together virtually, and the three Ohio-based members are getting in some extra inperson rehearsal time. “B [Emch] just went up to Columbus to do some jamming with Carlton and Harold at Carlton’s place, and they sent me the videos of it,” Ellison says. “ ey all had big smiles on their faces. I think they were really enjoying [themselves].” Meanwhile, Ellison is doing his own prep work out West. “I’m starting vocal lessons, believe it or not,” Ellison says. “I was downtown in my town and saw this ier for vocal lessons, and I thought, well that might be a good idea. Because I just never really… You know, I used to warm up with Jim Beam.” Ellison admits that the thought of playing for the rst time in so long is a little “nerve-racking,” to the point where he’s had a recurring dream about the show opping. As front person to the band, he’s wondered whether he can still bring the energy that fans loved during Royal Crescent Mob’s heyday. “ at’s something that goes around in my head. Like, how do I approach this? Because I’m not going to jump out and stage dive and surf the crowd…” Ellison pauses to consider this. “Maybe I will. I don’t know – if I get caught up.” Even as Ellison deals with the nerves and excitement that come with reunion show territory, he says what really matters to him is playing with his friends again. “I got past the point of ‘How many people will be there?’ to ‘How ever many people are there, we’re gonna just have a really great celebration,’” Ellison says. “Because this isn’t about that. It’s about these people and what we’ve gone through, and what hopefully we can help other people avoid or bring awareness to.”
Royal Crescent Mob plays at 8 p.m. Royal Crescent Mob plays at 8 p.m. Dec. 17 at Madison eater, 730 Madison Ave., Covington. Doors open at 7 p.m. ere are no known COVID-19 protocols in place. Dec. 17 at Madison eater, 730 Madison Ave., Covington. Doors open at 7 p.m. ere are no known COVID-19 protocols in place. Info: madisontheater.com. Info: madisontheater.com.
SOUND ADVICE SOUND ADVICE
Al Jardine
PHOTO: GLENN FRANCIS, WIKIMEDIA COMMONS Al Jardine
PHOTO: GLENN FRANCIS, WIKIMEDIA COMMONS
AL JARDINE AL JARDINE Dec. 9 • Ludlow Garage
Music legend and founding member of e Beach Boys Al Jardine will perform as a part of his “Celebrating the music of e Beach Boys” tour with his Endless Summer Band and special guests.
Born in Lima, Jardine and his family moved to California, where he and Brian Wilson met and became friends. ey later formed e Beach Boys with Wilson’s brothers Carl and Dennis along with their cousin, Mike Love.
As a founding member, guitar player and part of the vocal power of one of the most in uential and signi cant groups in the history of popular music, Jardine sings lead on the anthemic number-one hit “Help Me Rhonda.” A folk music fan, Jardine brought the would-be hit “Sloop John B” to Brian Wilson with an updated arrangement he worked out after hearing a version of the song, and he shares lead vocal on the stunning track “I Know ere’s an Answer,” both from the masterpiece Pet Sounds, which often is regarded as one of the greatest albums of all time.
Jardine also sings lead on Smile track “Vegetables” and “California Saga/ California” from Holland. He has written or co-written more in the band’s cult-favorite ‘70s era, along with several other contributions.
Jardine was a core member of the group until the death of Carl Wilson in
Dec. 9 • Ludlow Garage Music legend and founding member of e Beach Boys Al Jardine will perform as a part of his “Celebrating the music of e Beach Boys” tour with his Endless Summer Band and special guests. Born in Lima, Jardine and his family moved to California, where he and Brian Wilson met and became friends. ey later formed e Beach Boys with Wilson’s brothers Carl and Dennis along with their cousin, Mike Love. As a founding member, guitar player and part of the vocal power of one of the most in uential and signi cant groups in the history of popular music, Jardine sings lead on the anthemic number-one hit “Help Me Rhonda.” A folk music fan, Jardine brought the would-be hit “Sloop John B” to Brian Wilson with an updated arrangement he worked out after hearing a version of the song, and he shares lead vocal on 1998. He put out solo release Live from Las Vegas in 2001 and studio album A Postcard from California in 2010 , which featured guest stars like Neil Young, Steve Miller and all remaining Beach Boys. He reunited with the band for at’s Why God Made the Radio and a 50th anniversary Beach Boys tour in 2012. Jardine has since toured both solo and with Brian Wilson, with his son Matt Jardine helping with vocals and harmonies. is tour features Carnie Wilson, the daughter of Brian Wilson and a member of ‘90s pop group Wilson Phillips, along with Matt Jardine. e show will highlight Beach Boys hits with stories and rarer picks in between. Al Jardine plays Ludlow Garage at 8:30 p.m. Dec. 9. Doors open at 7 p.m. ere are no known COVID-19 protocols. Info: ludlowgaragecincinnati.com. (Brent Stroud) the stunning track “I Know ere’s an Answer,” both from the masterpiece Pet Sounds, which often is regarded as one of the greatest albums of all time.
Jardine also sings lead on Smile track “Vegetables” and “California Saga/ California” from Holland. He has written or co-written more in the band’s cult-favorite ‘70s era, along with several other contributions.
Jardine was a core member of the group until the death of Carl Wilson in 1998. He put out solo release Live from Las Vegas in 2001 and studio album A Postcard from California in 2010 , which featured guest stars like Neil Young, Steve Miller and all remaining Beach Boys. He reunited with the band for at’s Why God Made the Radio and a 50th anniversary Beach Boys tour in 2012. Jardine has since toured both solo and with Brian Wilson, with his son Matt Jardine helping with vocals and harmonies. is tour features Carnie Wilson, the daughter of Brian Wilson and a member of ‘90s pop group Wilson Phillips, along with Matt Jardine. e show will highlight Beach Boys hits with stories and rarer picks in between. Al Jardine plays Ludlow Garage at 8:30 p.m. Dec. 9. Doors open at 7 p.m. ere are no known COVID-19 protocols. Info: ludlowgaragecincinnati.com.
(Brent Stroud)
NIKKI LANE NIKKI LANE Dec. 11 • Southgate House Revival
Nikki Lane’s freshly minted fourth album Denim & Diamonds opens with this scene-setting rumination: “I got a car, and it takes unleaded/I know a place with a tab on credit/So I ll the tank and get some Cokes for my friends/Lord, it’s good to be back home again.” e 39-year-old South Carolina native delivers the lines with her signature countri ed twang, the sound of a woman nostalgic for a time in the rearview mirror.
But don’t think Lane has jettisoned her rough edges. Denim & Diamonds is her hardest rocking and most introspective e ort yet – 10 songs in 33 minutes with a sonic palate informed by Queens of the Stone Age frontdude Josh Homme, who produced the record at his Burbank, Calif. studio.
Lane wrote several of the tunes during the early COVID-19 days. “For me, it created space because, like so many artists, we don’t know how to say no to anything,” Lane said in a recent interview with Spin. “And then, suddenly, we had time. I was able to dig deeper into myself. Writing has always been therapy, but I think this record shows a lot of self-exploration that so many of us went through during that period. But I was also due for it. I kind of joked my way into this career.” e results range from the classic country Lane’s long plied (the
melancholy, reverb-drenched “Faded” recalls early Neko Case) to sassy rockers aided by a robust rhythm section and rollicking guitar interplay (the go-yourown-way anthem “Tough Girl”). Most curious of all is the closing cut “Chimayo,” a haunting acoustic number driven by Lane’s emotive vocals as she sings about a beloved object no longer in her possession. If Lane’s recent performance on CBS Saturday Morning is any indication, a Dec. 11 • Southgate House Revival Nikki Lane’s freshly minted fourth album Denim & Diamonds opens with this scene-setting rumination: “I got a car, and it takes unleaded/I know a place with a tab on credit/So I ll the tank and get some Cokes for my friends/Lord, it’s good to be back home again.” e 39-year-old South Carolina native delivers the lines with her signature countri ed twang, the sound live setting only adds a more raw dimension to songs already intimate and to the point. Sure, it was odd to see such grit-encrusted tunes presented via CBS’ glossy soundstage, but Lane and her backing dudes made like it was the dive bar at the end of the street as she belted the de ant lines of the album’s title cut, “Denim & Diamonds”: “’Cause I can do whatever I wanna all by my lonesome/ If that’s a problem, well, you can’t say shit/’Cause I’m going my own way.” Nikki Lane plays Southgate House
of a woman nostalgic for a time in the rearview mirror.
But don’t think Lane has jettisoned her rough edges. Denim & Diamonds is her hardest rocking and most introspective e ort yet – 10 songs in 33 minutes with a sonic palate informed by Queens of the Stone Age frontdude Josh Homme, who produced the record at his Burbank, Calif. studio.
Lane wrote several of the tunes during the early COVID-19 days. “For me, it created space because, like so many artists, we don’t know how to say no to anything,” Lane said in a recent interview with Spin. “And then, suddenly, we had time. I was able to dig deeper into myself. Writing has always been therapy, but I think this record shows a lot of self-exploration that so many of us went through during that period. But I was also due for it. I kind of joked my way into this career.” e results range from the classic country Lane’s long plied (the melancholy, reverb-drenched “Faded” recalls early Neko Case) to sassy rockers aided by a robust rhythm section and rollicking guitar interplay (the go-yourown-way anthem “Tough Girl”). Most curious of all is the closing cut “Chimayo,” a haunting acoustic number driven by Lane’s emotive vocals as she sings about a beloved object no longer in her possession.
If Lane’s recent performance on CBS Saturday Morning is any indication, a live setting only adds a more raw dimension to songs already intimate and to the point. Sure, it was odd to see such grit-encrusted tunes presented via CBS’ glossy soundstage, but Lane and her backing dudes made like it was the dive bar at the end of the street as she belted the de ant lines of the album’s title cut, “Denim & Diamonds”: “’Cause I can do whatever I wanna all by my lonesome/ If that’s a problem, well, you can’t say shit/’Cause I’m going my own way.”
Nikki Lane plays Southgate House
Nikki Lane
PHOTO: JODY DOMINGUE Nikki Lane
PHOTO: JODY DOMINGUE
Peter Noone
PHOTO: CINDY FUNK, FLICKR Peter Noone
PHOTO: CINDY FUNK, FLICKR Revival at 8 p.m. Dec. 11. Doors open at Revival at 8 p.m. Dec. 11. Doors open at 7 p.m. ere are no known COVID-19 protocols. Info: southgatehouse.com. 7 p.m. ere are no known COVID-19 protocols. Info: southgatehouse.com. (Jason Gargano)
(Jason Gargano) PETER NOONE PETER NOONE Dec. 16 • Ludlow Garage
Get into ‘something good’ during a special Christmas performance with Peter Noone of Herman’s Hermits
Herman’s Hermits helped lead the British Invasion in America in the 1960s. e band had eleven songs in the top ten like “I’m Into Something Good,” “Can’t You Hear My Heartbeat,” “Silhouettes,” “No Milk Today,” “ ere’s a Kind of Hush.” e group also released novelty songs that became massive sellers, like “Mrs. Brown You Have a Lovely Daughter” and “I’m Henry VIII I Am,” along with a handful of others, even outselling e Beatles in America in 1965. eir list of beloved hits all still play on oldies radio daily and have become part of the fabric of pop culture.
Herman’s Hermits records were made under the production and guidance of star producer Mickie Most, who also produced hits by Donovan and Je Beck plus songs like e Animals’
“House of the Rising Sun” and e Nashville Teens’ “Tobacco Road,” among others. Most and Noone began using session musicians – including a pre-Led Zeppelin John Paul Jones Dec. 16 • Ludlow Garage Get into ‘something good’ during a special Christmas performance with Peter Noone of Herman’s Hermits Herman’s Hermits helped lead the British Invasion in America in the 1960s. e band had eleven songs in the top ten like “I’m Into Something Good,” “Can’t You Hear My Heartbeat,” “Silhouettes,” “No Milk Today,” “ ere’s a Kind of Hush.” e group also released novelty songs that became massive sellers, like “Mrs. Brown You Have a Lovely Daughter” and “I’m Henry VIII I Am,” along with a handful of others, even outselling e Beatles in America in 1965. eir list of beloved hits all still play on oldies radio daily and have become part of the fabric of pop culture. Herman’s Hermits records were made under the production and guidance of star producer Mickie Most, who also produced hits by Donovan and Je Beck plus songs like e Animals’ and Jimmy Page – for records, to the frustration of the rest of the band. With members gradually growing apart, the group eventually broke up. Noone has toured and made appearances over the decades, occasionally as an actor. In recent years, he has hosted shows on satellite radio, including Something Good on SiriusXM’s ‘60s Gold channel, where he tells stories about the bands and songs with his unique sensibility and good-natured English charm is tour, titled “An Olde English Christmas with Herman’s Hermits starring Peter Noone,” features Christmas songs and air alongside all the classics and hits Noone is known for. It’s sure to be a good way to spend an evening during the holiday season for lovers of classic pop or a ne gift for any oldies appreciator in your life. Peter Noone will play Ludlow Garage at 8:30 p.m. Dec. 16. Doors open at 7 p.m. ere are no known COVID-19 protocols. Info: ludlowgaragecincinnati. com. (Brent Stroud)
“House of the Rising Sun” and e Nashville Teens’ “Tobacco Road,” among others. Most and Noone began using session musicians – including a pre-Led Zeppelin John Paul Jones and Jimmy Page – for records, to the frustration of the rest of the band. With members gradually growing apart, the group eventually broke up.
Noone has toured and made appearances over the decades, occasionally as an actor. In recent years, he has hosted shows on satellite radio, including Something Good on SiriusXM’s ‘60s Gold channel, where he tells stories about the bands and songs with his unique sensibility and good-natured English charm is tour, titled “An Olde English Christmas with Herman’s Hermits starring Peter Noone,” features Christmas songs and air alongside all the classics and hits Noone is known for. It’s sure to be a good way to spend an evening during the holiday season for lovers of classic pop or a ne gift for any oldies appreciator in your life.
Peter Noone will play Ludlow Garage at 8:30 p.m. Dec. 16. Doors open at 7 p.m. ere are no known COVID-19 protocols. Info: ludlowgaragecincinnati. com. (Brent Stroud)
