Various venues / Asheville, NC / January 19-20, 2008

PopAsheville is a young festival showcasing bands from Asheville, N.C. and the surrounding Southeast. In 2007 it squeezed into two venues — this year those same two venues were just the bedrock. The fest added an opening show at the newly opened Rocket Club and a touring bus featuring live performances. Over 30 bands performed in venues spread across Asheville, playing every style from indie rock to funk, folk to improvisational. The festival is driven by Stephanie Morgan and Chuck Lichtenberger of Stephanie’s Id and aims to showcase the variety of styles active in Asheville.

Saturday night tested the waters for attendance, with two of the venues steadily packed throughout the night. The Grey Eagle hosted the start to the weekend’s lineup with The Cheeksters, a soulful outfit with overtones of ‘60s and ‘70s pop. Lead vocalist Mark Casson was a tempered and focused ball of energy, and his wife Shannon was surely the only bass player in heels for the whole festival. The Electric Pearls followed, changing the musical direction from straight and defined pop to a more eclectic set of styles. Driven by electric guitar and violin, The Electric Pearls served up a fusion of ‘90s pop style and folk-driven songwriting. It’s a new name for a band that performed as the divineMAGgees until last year, and the group pulled the first large crowd of the night.

Over at The Rocket Club, Bandazian pulled tunes from its 2007 EP and an upcoming Spring release for a set of indie rock that sounded more polished than a number of other bands at the festival. Lead vocalist Alex Keena boasts some camera-ready looks and attention-getting stage drama, but it was the band’s tight sense of timing and creative hooks that kept Bandazian exciting.

Stephanie’s Id closed the night at The Grey Eagle, playing a set of danceable rock and pop. Stephanie Morgan’s vocals mesh together with sometimes-driving drums, always-soulful keys and melodic bass into a sound uniquely lyrical.

Sunday morning, Asheville Echo Mountain studio helped host a music business panel, complete with Bloody Marys to start the day. Locally-based business folk sat with guest panelists from across the U.S. to talk about the roles they play in the industry today as well as addressing modern challenges for music professionals.
On Sunday The Rocket Club hosted the psychedelic Atlanta rock quartet Howlies early in the night, setting up Asheville’s more indie rock-flavored If You Wannas. Over at The Grey Eagle, Charles Allison played a set of bare and pretty pop tunes with a backing trio. A few tunes were pulled from an upcoming album, some crossing the bridge toward Americana but all buoyed by Allison’s smooth tenor.

Nashville-based Heypenny performed with a set of several songs from an upcoming album, many building energy to a cacophonous climaxes. Vocal harmonies and sparkling pop melodies smoothed the quartet’s tunes into a set that steadily rose and fell in excitement. Heypenny added TVs of flickering video to its set, but King Of Prussia trumped the group with a true multi-media barrage of projector footage and lights. The thrashing experimental punk and ambient electronics that make up the sonic component of King Of Prussia came over loud and clear, but the aim was definitely a total audio-visual overload.

Throughout the whole festival, a tour bus roamed Asheville from venue to venue with a special treat of live bands playing everything from blues to mountain music to straight jazz on both nights. It was full all night, with artists like Jonathan Scales and Snake Oil Medicine Show playing on board. Most locals were excited by the major uptake in the festival’s attendance this year, with scores of attendees from all over the Southeast having invaded the creative community in Asheville, N.C.

-Review & photo by Matthew Beale

Heavy Mojo
Ponderosa
Part Bear

The Star Bar / Atlanta, GA / February 21, 2008

It was a night of kinetic performance at the monthly Performer Magazine and Pop Death Squad-presented event, Big Trouble in Little Five Points. The Athens, Ga. rock/rock/rock trio Part Bear took the stage first, kicking off the night with a lone bass riff before the other two-thirds of the band ripped in with their loud, clear, up-tempo material. The band explores influences ranging from pop rock to classic rock to blues-rock (and maybe even a touch of disco), evoking late Beatles bright guitar and vocal textures, the comparison compounded by scalar “oooh” backup singing and determined energy. Part Bear impressed with its ceaseless motion, musically and physically. Bassist Robin Cofer stepped down to play in front of the stage during two songs, breaking the line between band and audience and spreading some of the energy of Part Bear’s well-rehearsed and extremely tight rock to the crowd.

The next band, Atlanta’s own Ponderosa, came across like a souped-up version of Part Bear, also sticking to the all-rock concept, but using its five very active (and very bearded) members and heavier Southern rock flavor to fill the room. While they likewise boasted heavy classic rock influence, their references were more in the Elvis/Allman Brothers/Lynyrd Skynyrd direction, featuring biting, bubbling organ-effect keys and two guitars riding atop spirited drumming and almost manic tambourine shaking. Bassist Jonathan Hall literally leapt into the air at one point next to Kalen Nash and his confident command of the microphone, Nash’s voice a high tenor that moves much more than one usually finds in bands sharing Ponderosa’s influences. The set included new tracks the group recently recorded for a forthcoming release, notably “Got No Time To Waste,” a quick, growling number with honky-tonk guitars that certainly deserves attention.

Finally, Atlanta hybrid group Heavy Mojo hit the stage to a slightly dwindling crowd. The six-piece band mashes pop, hip-hop, soul and R&B with hard rock guitar, funky drumming and low synth tones. The three vocalists lined the front of the stage, standing up with their mics but never standing still. They danced, the crowd danced, everyone danced until the room started to empty nearing 2 a.m. The standout number of the set was “Later” off this year’s Blow Out The Sound on SRC/Universal Motown Records.

-Review & photo by Julia Reidy

Collective Efforts
Arrested Development
DJ Klever

The Loft / Atlanta, GA / January 24, 2008

Collective Efforts opened the show with their laid back brand of hip-hop. MCs J-Mil, Bambu and Ben Hameen, with DJ Creashun and musicians Matt Weiss (guitar), Jay Murphy (drums), Stanley Walker (keys), Alfredo Lopez (keys) and Richard Jones (percussion) easily channeled classic hip-hop by spinning rhymes and stories of everyday life while the musicians played a groove made for leaning back and contemplating. J-Mil, Bambu and Hameen exuded love for hip-hop — they eased into the beat and relaxed into hooks that seemed to get more soulful as the show went on, featuring performances by MCs Dillon Maurer and Gripplyas.
In between acts, DJ Klever took advantage of his time to shine and spun a mix from all over the place that included Das EFX, Journey, The Pharcyde and Bahamadia. His DJing distracted from the typical bide-your-time conversation one would have during an intermission. There was no time for talking amidst this unpredictable set that engaged the whole crowd like no small talk could hope for.

With red, yellow and green fabric draping from each mic, Arrested Development hit the stage for what felt like a reunion to an audience full of fans. The industry has changed since the group’s 1992 debut 3 Years, 5 Months & 2 Days in the Life Of..., but the message and down-to-earth cool is still the same. When Rasa Don (drums), Za (bass), jjboogie (guitar) and Kevin Spears (kalimba) played “Give a Man a Fish,” the room lit up with hands up and mouths chanting along with the verses.

Speech took center stage with his characteristic short locks and contagious energy. Baba Oje (“spiritual advisor”) strode across the stage with palm leaves in hand and took a seat on stage in his chair. Eshe performed a beautiful dance to African rhythms, Tasha LaRae sang the hooks until souls shook, and One Love (MC) kept the crowd hyped from the first song to the finale. The group performed hits such as “Mr. Wendel,” “Tennessee,” “Mama’s Always On Stage,” “Ease My Mind” and “Revolution,” closing the show with “Everyday People.” They also performed “Sao Paolo” and “I Believe in Miracles” from new album Since the Last Time.

Arrested Development has a way of channeling the audience’s inner revolutionary and Collective Efforts conjures a positivity not often seen in mainstream hip-hop. This opener of the Georgia Music Concert Series demonstrated that hip-hop is as diverse as the stories and lives of the MCs, musicians, DJs, dancers and singers who live it.

-Review by Amena Brown; photo by Brent Martin

Through the Sparks

The Bottletree Cafe / Birmingham, AL / January 24, 2008

If you’ve had any exposure to Birmingham’s local music scene by now you’ve heard of Through the Sparks. Combining members of former bands such as Stateside and Cutgrass, Through the Sparks and its tumbledown indie alt-Southern rock echoes the likes of critical sweethearts Wilco and Spoon in all the right ways.
Touring in support of its latest release and first full-length album, Lazarus Beach, the Birmingham quintet presented a set heavy with tracks from the album and a few new tunes to boot. Through the Sparks kept the modest stage of the Bottletree crowded with a plethora of instruments and expanded the lineup up to seven members with a trombone and tenor sax player to assist on some of the later songs in the night. The trading of instruments seamlessly between band members — switching basses, guitars and keyboards after nearly every song — gave an insight to the versatility of the members and perhaps a glimpse into their writing process.
The guys maintained an even mix of peppy pop and moody ballads, keeping the energy in the crowd just right for their mellow style. As a testament to their craftsmanship, many of the tracks they played from Lazarus Beach were retooled and in some cases seemed to be completely new. The ukulele-laden “Action Figure Graveyard” was reborn with a sound resembling the soft zydeco swoon of a New Orleans funeral. The live versions were almost invariably better than their recorded counterparts, proving Through the Sparks as one of those rare bands that is truly better live.

But the most impressive part of the show was the clarity versus the sheer size of the band’s sound. The band sonically filled every inch of The Bottletree Cafe, with no hint of muddiness or distortion. The credit for the phenomenal acoustics lies with the soundman Rolland Ryan who, according to guitarist Nikolaus Mimikakis, has previously worked with such notable performers as Brian Wilson and Lucinda Williams.

-Review & photo by David Feltman

Suburban Camoflauge
Colossick
Like Satellites

The Metro / Melbourne, FL / January 26, 2008

Atlanta-based Suburban Camoflauge took the stage first with some serious metal throwbacks. The group played several songs from its debut full-length CD As Quiet As Your Thoughts including “Holding On and Letting Go,” “Seeing Blind” and the impressive “Nothing.” Elliott Griffiths’ throbbing drums and Mike Ely’s somber bass lines were skillfully balanced by the guitar playing of Isaac Fletcher and lead vocalist Jacob Lehman. The group also included some covers by Alice In Chains and Rage Against the Machine to try and make their case.

Another Atlanta based band, Colossick, took the stage next with its high energy, hardcore metal assault. Before starting, lead vocalist/guitarist Tom Blair cleared the couches and tables from in front of the stage saying, “Trust me, you don’t want to be up here when I sing.”

He was right. At various times throughout the set small clusters of zealous fans (sometimes only numbering one) would do their best to get a mosh pit going. In only his third show with the band, Rory Kelly (guitarist) fit in well with the rest of the band, Tom Blair, Justin Whitley (bass) and Jeremy Kidd (drums).

The last band of the night was Orlando-based Like Satellites, performing its debut show. The band’s music is sometimes wistful, sometimes bold, but always fresh, lively rock ‘n’ roll. Band members Jeffrey Billman (vocals/guitar), Derek Cole (bass), David Oakley (guitar/violin/keys) and Vic Seminora (drums) were joined by Brad Floyd on guitar for this special show.

The set included many songs from Like Satellites’ forthcoming CD, which the band’s just finished recording with Brett Hestla (Dark New Day). The violin adds just the right touch to the tender, thoughtful “Innocent,” also from the CD. The band also included a song from Billman’s former band Greater Grey “Amazing” and a cover of U2’s “With or Without You.”

Several factors came into play to try and thwart the band’s first show, most notably Billman’s battle with the flu. Seminora’s snare broke right before the show, too, but Sub Cam offered a loander to finish out the set, much to the delight of the fans that came out to experience this live debut.

-Review by Kat Coffin

Ted Hafer Rock Show

The 40 Watt Club / Athens, GA / February 2, 2008

Rock ‘n’ roll drew Grit co-owner Ted Hafer to Athens, and during Hafer’s two decades here he played in a variety of rock bands. They ranged from straight up (Porn Orchard, the Germans) to schtick (cock-rock cover bands Canadian Invasion and Knight Seeker). Therefore, when honoring him, his loved ones put together a rock show hosted at sister-in-law Barrie Buck’s club, The 40 Watt, with performances by an assortment of friends.
Over 400 guests attended the show, a benefit for Nuçi’s Space, a resource support center for Athens’ musicians. Dave Barbe and the Quick Hooks opened the evening with “Black Tidal Wave,” a Porn Orchard cover, closing with “The Envictor,” a song from Barbe band Buzz Hungry.

Vic Chesnutt next assumed the stage, supported by Porn Orchard alums Curtiss Pernice on bass and Sam Mixon on drums. They opened with a simple, driving, unreleased original — “Shit.” “Oh yes, you said you’re going to the rapture / But in this world you treat everyone like shit.” Former Germans drummer Ballard Lesseman joined the group onstage for the closer, Porn Orchard cover “D.C.R.W.,” saying “It’s been an honor to play with the original members of Porn Orchard, and it’s an honor to play Ted’s bass,” before he left the stage.

Creston Spiers (Producto, Harvey Milk) and Frank McDonnell (Producto, The Glands) next performed a brief set sans percussion, opening with Harvey Milk anthem “Old Glory.” Ham1 played several originals, closing with a rousing rendition of The Chambers Brother tune “Time Has Come Today.” Frontman Jim Willingham drew some laughs when he pulled out a set of cue cards on cardboard so that the audience could sing along the repeating refrains “Hey” and “Time.”

Star Room Boys frontman Dave Marr, backed by John Neff, Philip McArdle, Larry Tenner, Nick Bielli, Dave Gerow and Curtiss Pernice, opened with SRB’s track “Cocaine Parties.” Marr left the stage after a fired up rendition of The Who’s “The Kids Are Alright,” passing the mic on to Nick Bielli, who delivered a searing execution of the Stooges’ “T.V. Eye.” Soon the stage became a revolving cast of characters including Paul Trudeau (Harvey Milk, Canadian Invasion, Knight Seeker), The Drive-By Truckers Patterson Hood, Lona’s Clay Leverett and Dashboard Saviors frontman Todd McBride, assuming the stage to play a variety of songs, many covered previously by Hafer’s heavy metal cover bands. All in all, it was a show that Hafer would have championed. He will always be missed.

-Review Deirdre Sayre; photo by Mike White

Colour Revolt

The 40 Watt / Athens, GA / February 1, 2008

The 40 Watt was one of only a handful of shows that Colour Revolt will play before South by Southwest and the release of its full-length Plunder, Beg, and Curse, which comes out April 1. When these Oxford, Miss., boys come to town, people show up early to claim their space. A decent-sized crowd had already begun to form as the clock inched past 9.30 p.m. Atypical, to say the least.

Colour Revolt may have walked out humbly clad in grays and greens, but the brightness of the band members’ harmonies was a resonant hue juxtaposed to the powerful rock. Prime example of this was on the opener “What Will Come of Us” the last track on the new album. Next up was “Ageless Everytime” and then “Shovel to Ground,” the latter of which had the three guitar lines swelling into separate entities, each weaving between the others. They would reunite on the bridge, which was driven by splintering drums.

“Mattresses Underwater” is one of the better-known tracks from the group’s self-titled EP of 2006, and still seems to be the quintessence of Colour Revolt’s sound. The melodies are nuanced and well considered. The vocals and lyrics are equally raw and seem to belong to the melody as much as the melody belongs to the lyrics. And beneath the tension of it all, there seems to be an underlying layer of hope.
Colour Revolt did not waste too much time with words between songs — the whole show was an exercise in seamless execution. The band covered a lot of ground, mainly with new material from its forthcoming album, which did not disappoint the Revolt-hungry mob in Athens that night. New offerings included “See It,” “Naked and Red” and “Innocent and All.” The band ended with “Blood in Your Mouth,” the first song from its EP which escalated into a scream: “Is there love in your heart / Are you listening?” Sean Kirkpatrick picked up the background vocals with a haunting croon.

-Review by Nicole King; photo by Alex Gibbs

Craig Zavett
Sonic Playground

The AKA Lounge / Orlando, FL / February 6, 2008

Craig Zavett is a captivating performer. His lively one-man stage show not only features his talents as a singer/songwriter, but also showcases his campy humor and dynamic personality as he interacts with the audience. Talking about one of his songs, he says, “What the hell did I just write?” and then he answers himself, “My assumption of what it’s about is my favorite pastime. Yeah, about Scrabble.” Fibber.
The last song of his set was an improvisational instrumental. One by one he called each member of the next band out on stage to join him. When the song was done, he left Sonic Playground (in rock-jazz “space circus” format tonight) onstage to carry on with its set.

This show was the band’s chance to show off some of its own compositions as well as its musical interpretation of many well-known composers such as Chick Corea, Herbie Hancock and Rush. Usually a three-piece band with Chad Kulscar (bass), Reed Hayes (drums and percussion) and Sean Ghannam (guitar and guitar synth), the group has recently added Brian Giarraffa (keyboards and piano).

The set list was short, allowing for the extended tracks, lengthy improvisations and complex time signatures common in the all-instrumental works the band had chosen to play. The band started off with one of its better-known songs “Seahorses” from an upcoming CD. The group also played original compositions “Green Tea” and “New Frontier.” The cover of Chick Corea’s “Spain” was a highlight of the set, giving each band member an opportunity to demonstrate his technical prowess to anyone unfamiliar with the band’s own arrangements.

Sonic Playground may draw a larger audience with it’s cover shows, but Space Circus is where the band truly shows off what talented musicians they are with their own compositions.

-Review & photo by Kat Coffin