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JD & The Straight Shot May 20, 2018 Salt Lake City Vivint Smart Home Arena

 

What is the responsibility of a support band?  Open the show? Warm up the crowd? Gain exposure by performing a most established band? Win over some new fans?  The answer to all of these questions is, Yes!  I think JD & The Straight Shot were successful with all of these.

My concern for openers is that no one will be at the venue yet when they go on, and if they are, no one will pay attention.  I’m hopeful that the band is well received whether they are my type of music or not. In this case, I quite enjoyed what I had heard from JD & The Straight Shot so I had high hopes for them here in Salt Lake City.  

When they took the stage I looked around and the venue was already at about 60% full with more people filing into their seats.  I’d say that’s a pretty solid turn out. The all acoustic band consisting of a couple guitarists, drums, stand up bass, fiddle, and “JD” Jim Dolan on lead vocals, broke into their set and I noticed heads actually turning toward the stage.   Those same heads then began bobbing throughout the 45 minute set. I could tell that many members of the audience really liked the American Roots style music. I read the lips of someone saying to the person with them, “I really like this”, pointing to the band.  I could see some clapping along and head bobbing particularly on “Run For Me” and “The Ballad of Jacob Marley”.  

I thought Jim Dolan was solid on lead vocals.  I found him engaging when he shared stories behind the meaning of songs.  He also reassured the crowd that if they hadn’t seen the current line up of The Eagles, that they were in for something special.  I found it humorous that the style of music didn’t quite fit Jim’s speaking accent. From what I understand Jim is from New York City, and his speaking accent very much represents that region of the country.  It surprised me at first because it’s undetectable when he’s singing. It didn’t ruin anything for me. Just a funny observation.

I thought the band was fantastic.  Each one of them coming into this band with an impressive professional resume’.  Carolyn Dawn Johnson, guitarist, had amazing backing vocals and a really fun stage presence. The rhythm section was so good.  Shawn Pelton on drums really kept the band really tight. Everyone was really in sync and connected and I felt like it had a lot to do with Pelton.  I love the stand up bass. When I see a band walk on stage and watch a bassist pick up a stand up, I know I’m in for a good show. And of course, I wasn’t wrong.  Byron House was really enjoyable to watch. His highlight was when he played the banjo for a song. It was obvious from the first cord just how talented Marc Copley is. He sang backing vocals and from my vantage point lead guitar.  His vocals were excellent to the point that with no disrespect for JD, I was kinda hoping to get a song with him on lead vocals. He was that good. And finally, Erin Slaver, (who I had the opportunity to interview) on fiddle was the most fun to watch.  You can’t have a great American Roots band without a good fiddler. And Erin was excellent on Fiddle. Her vocals were excellent as well. She dueted beautifully with JD a couple of times. Erin simply looked like she was having a really good time up there.  She waved to audience members, and graciously bowed  whenever they cheered. I could tell she enjoyed the performance.  The vocals as a whole in this band were what impressed me most.  I could see any of them singing lead in a band.  That’s what made the sound of this band so good.  They blended together really well with their harmonies. They were a pleasure to listen to.  

From what I could tell, the volume of the applause increasingly grew between each song.  With about three songs to go, the audience was now about 80% full. I feel like Utah crowds are generally encouraging to support bands.  This was no exception. I think JD & The Straight Shot gained some fans here in Salt Lake City.

JD & The Straight Shot finished with a beautifully arranged cover of the Three Dog Night hit song “Shambala”.  When they were done they walked off the stage to a rousing applause. I don’t know if this band has received a reception quite like this before.  I sure hope so because they certainly work hard up there. They did their job as an opener.  The crowd was warmed up for The Eagles, and JD & The Straight Shot most certainly gained some great exposure.  

Watch this video to learn more about JD & The Straight Shot’s newest album Good Luck and Good Night.  Or click here to purchase the album.  

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UCR Interview Bobby Dall of Poison

By: Kevin Rolfe

                                                                                              Photo Credit: Mark Weiss

 

For as long as I can remember Poison has had a really strong fanbase here in Utah.  On May 22,  they bring their Nothin’ But a Good Time 2018 Tour to USANA Amphitheater with Cheap Trick and Pop Evil.  I had the opportunity to have a really entertaining and informative conversation with bassist Bobby Dall.  Enjoy! 

Utah Concert Review:  Your last couple times playing here in Utah I believe you opened for Def Leppard at USANA Amphitheater.  This time you’re headlining the show. Which means a longer setlist, your staging, etc. Was there a determining factor to tour as headliners again?  Or did things just play out that way?

Bobby Dall:  It was definitely a mixture of things.  We have headlined USANA before, several times.  We’ve played there with Def Leppard, and I think Motley as well.  This time around we’re headlining with Cheap Trick and Pop Evil. Lovely guys in Cheap Trick.  The guys in Pop Evil, great music, I don’t know them personally, but soon we’ll get to know them very well.  I don’t know, I guess it’s just the natural correlation of the next step in our career. We’ve spent several years not headlining, although we had a few headlining dates last year.  But this year we’re headlining the whole tour. It’s always more fun when you have a little more control. You get to play longer and controlling the show and the environment. But you also have more responsibility as well.  

UCR:  I’m sure one of the nice things about headlining out at USANA Amphitheater is you won’t have to perform while the sun is setting.  It’s a great venue but I always feel bad with the openers at that venue because the sun is right in their eyes!

BD:  Yeah with the amphitheaters it’s always better to play when the sun goes down! (Laughing) But you know, in different situations you have to deal with it.  

UCR: So it seems like the thing to do these days is package a few bands together and send them out on tour?  As a fan, I love it. But I have wondered what that was like for the bands.

BD: Well since the beginning of Rock and Roll bands have been packaged up.  In fact, in the 70’s, my first concert was Aerosmith, Cheap Trick, Ted Nugent, Rush, and about ten bands.  It was the Florida Jam. That was the first time I saw Cheap Trick, who’s with us on this tour, and I fell in love with them.  I think I was 15 or 16. You are right that bands are packaging up. But they always have. I believe in value for the fans. And the more bang for the buck is the best way to describe it.  Having three bands on a package and going out and playing, give the fans more value for their money. And what I think is great about our tour this year is you’re getting a band from the 70’s, 80’s, and 90’s.  So we really are covering three decades of fans. And our band itself, we’re always getting new fans each tour.

UCR:  So when you look at the bands of your era, they’ve become really fragmented.  Sometimes there is only one original member of a band touring as the band. Or in the case of RATT, I think there are two versions of the band circling the globe.  And while we don’t need to get into the history of it all, Poison has had their drama, but the original guys are still together. How have you done that? Do you just have to turn off the relationship aspect and make it about business?  Or have you just figured out how to make it work?

BD:  Truly the secret is, we have a saying in the band “If you can get all four of us in the same room or on the stage we get a free pass.”  It really does seem to work out that way. There are bands like you said that aren’t all the original members and there’s nothing wrong with that.  It just is what it is. But I believe it’s important for us to be together. So hopefully the four members of this band will keep going for another ten, twenty, thirty years together.  But as you get older it gets harder and harder.

UCR:  Now you’ve played thousands of shows over the years.  But is there a song that no matter how many times you’ve played it, you’re still excited, and still enjoy playing it every time?

BD: I love playing them all.  But “Ride the Wind” is one of my favorites.  Every night it’s always based on the audience reaction on any given evening.  It isn’t about me, it’s about the fans. That’s the best way to answer it. But I do particularly love every time we play “Ride the Wind”.  It never gets boring. None of the songs get boring playing them again and again. It’s great to have a such a deep catalog as we have. It’s one of the reasons we’ve been around so long.  And I think it’s important to play those songs for the fans. But that’s just me. You can vary a little, but if you don’t give the fans the hits they won’t be happy.

UCR:  Are there certain cities in particular that you go to where you know without fail it’s going to be an awesome Poison show?

BD:  I love every city we play.  And I won’t diss any city we pay.  But you surprisingly get the most audience reaction from the cities that the least shows.  We’ve never not been well received though. I’ve never had an experience where I haven’t been happy with the audience.  

UCR:  Do you remember the first time you performed live?

BD:  I do.  It was in Pennsylvania, and it was in a fire hall near Mechanicsburg.  It was the first show we played as a band. It was Poison, but we weren’t called that yet.  We were called Paris.

UCR:  What was that experience like?

BD:  It was incredible.  Frightening, terrifying, amazing, wonderful, and the rest is history.  Rock and Roll history. But before going on absolutely terrified anxiety.  Mortified might be the best word. (Laughing)

UCR: Does that feeling still exist?  Or have you performed so much that you’re just excited to get out there now?

BD:  The first show of every tour, my anxieties are a little high.  But that’s typical and just the way I’m built. But once I hit the stage it all goes away.  The second we’re in front of the audience I’m just part of this energy between the fans and the band.  And if that initial anxiety goes away, that’s probably the time to stop doing this.

UCR:  Is there a band you make a point of seeing whenever they tour?

BD:  As far as a show that I’m not working on, I’ve seen the Rolling Stones about 7 or 8 times. Now I’ve seen other bands a lot more than that, but that’s usually a band we’re touring with.  But as far as a band that I’ve gone to see, the Rolling Stones are my favorite band and the band who I’ve seen the most.

UCR:  Again, I know you’ve played a ton of shows, but is there a particular show, or maybe tour that you would say stood out as the best?

BD:  It’s so hard.  Paul Stanley (of KISS) coming up and playing with us, all the bands we played with.  I grew up on Aerosmith, I grew up on Cheap Trick, I grew up on Van Halen, so any interaction with any of those bands has always been exciting.  I don’t have a particular favorite though. There’s just too many.

UCR: Well let me ask you this in closing. Do you remember that feeling where you realized this was happening for you?  

BD:  I think in the very beginning, it was us, RATT, and Cheap Trick on tour in 1987.  And we were originally scheduled to tour for three weeks. It was when Talk Dirty To Me took off.  We ended up staying, and Cheap Trick ended up leaving.  And that particular stretch playing with RATT of all the times was one of the most exciting times.  But it’s a hard question to answer. It’s like answering “If you could have anything in the world what would you want right now?”  

UCR:  Thank you so much, Bobby!  See you at USANA!

 

Poison will be at USANA Amphitheater on Tuesday, May 22.  Click here to purchase tickets!

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Peter Hook & The Light May 15, 2018 Salt Lake City Metro Music Hall

Peter Hook is the founding bassist for the bands Joy Division and New Order.  His innovative playing style is one of the key factors in giving these bands their distinctive sound, making them both legendary and majorly influential bands in alternative music. Joy Division evolved into New Order following the death of Ian Curtis, Joy Division frontman. New Order went on to have mega-hits like “Blue Monday”, “Bizarre Love Triangle” and “Regret”. In 2007 New Order and Peter Hook parted ways.  Eventually, Hook formed his solo band Peter Hook and the Light. With this band, Peter tours the world performing songs from both Joy Division and New Order. While Peter does play many of the most recognizable songs from each band, his purpose is to play songs that were rarely if ever played when he was with New Order.  He will usually cover entire albums from the catalogs he’s played a huge part in creating. Songs from last night’s gig at The Metro Music Hall came from Joy Division and New Order compilation albums both titled Substance.

I have never seen New Order live so I was really excited to hear these songs live from one of its original members.  The first half of the show was their New Order set. They opened with “Too Late” and “Dreams Never End” the latter Peter mentioned was only played during their visit to the “Peel Sessions” a radio show in England, but never actually recorded by the band.  Stating he wasn’t sure why they never recorded it. Then they went right into playing the album Substance in exact order.  This works out perfectly because the two final songs on the album are two of New Order’s biggest its “Bizarre Love Triangle” and “True Faith”.  The almost capacity crowd were in full voice, singing along, and taking a trip back to their 80’s dance club days. For me, this was the highlight of the entire show.  

After about a 15 minute intermission, the band returned to play their Joy Division set.  Now don’t get me wrong, I love Joy Division. But maybe it’s my age or just my preference, but I know more New Order songs.  Therefore I wished that the Joy Division set would have been first followed by the New Order set. I think I would have enjoyed the chronology of that set.  Plus, Joy Division had two excellent albums, but New Order has had over three decades where Peter Hook was part of the band. So the New Order Substance compilation was full of amazing songs.  If you like these bands and you look at the setlist you might see what I mean.  I can accept those who feel opposite of me. I’m sure there were many there who feel the opposite of me and were really into all of the Joy Division songs over the New Order songs and liked the way the show was laid out.  I don’t really have a Joy Division vs. New Order stance. Just the way I would have preferred to have heard these songs. However, the Joy Division set was excellent. I never thought I’d hear “She’s Lost Control” or “Love Will Tear Us Apart” performed this way.  I’ve heard New Order cover Joy Division songs, but they truly sound like a New Order version of a Joy Division track. Peter Hook & The Light played these songs very reminiscent of Joy Division.

Regardless of the order of the setlist, I was really impressed with the band.  It was awesome to see Peter Hook playing the bass. I enjoyed that while these were technically covers from his time with previous bands, he was really able to make these songs his own.  There was a rawness to the songs that gave them new life.  It gave me a glimpse of what it might have been like to have seen Joy Division. 

I’m always a little sad when bands split with an original member.  I’m sure these parties are happier, healthier, and altogether better off going down the paths they are now on. But as a fan of their music, I’ll always wish they were together when I see them live or releasing new music.  So while I did love this show, there was a part of me that as wishing I was seeing Hook with his old mates in New Order. But I think it’s understandable to feel that way.  It’s also understandable that it’s really hard to maintain a well balanced relationship for 40 years when art, money, personality, and control are involved.  It’s easy to judge when we haven’t been through that. So I’ll leave it at I wish they could have worked it out, but since they haven’t, we’ve been blessed here in Salt Lake City to get to see Peter Hook & the Light play the songs of Substance at The Metro Music Hall, a venue I very much enjoyed. It was my first time at The Metro and it’s a great place to see a show.  

This was a great night out listening to the songs of my youth with a bassist whose playing style is clearly heard in much of today’s Indie or Alternative music.  To see an icon like Peter Hook take center stage in an intimate setting such as this truly made for a special night. I’m excited to see what albums they present to us next time they pass through town.  

Setlist

New Order

Too Late
Dreams Never End
Ceremony
Everything’s Gone Green
Temptation
Blue Monday
Confusion
Thieves Like Us
The Perfect Kiss
Subculture
Shellshock
State of the Nation
Bizarre Love Triangle
True Faith

Joy Division

A Means to an End
Disorder
Warsaw
Leaders of Men
Digital
Autosuggestion
Transmission
She’s Lost Control
Incubation
Dead Souls
Atmosphere
Love Will Tear Us Apart

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UCR Interview- Erin Slaver of JD & The Straight Shot

 

(Photo Credit: Kristin Barlowe)

 
JD & The Straight Shot are an Americana band that is hitting the road to promote their new album “Good Luck and Good Night”.  They will be the special guests of the Eagles when they play at Vivint Smart Home Arena on Thursday, May 3.  I had the opportunity to interview violinist/ fiddler, Erin Slaver.   
 
Hi Erin, I’m really interested what your background in music is.  How did you decide you wanted to perform? 
 
Hi! My parents actually began my musical journey by enrolling me in a Suzuki violin program when I was three years old. I never stopped playing, and when I was old enough I began to play and perform in public with my father (who played guitar). By the time I was going to college, I was so deeply immersed in the performing/musical lifestyle I never questioned my path. 
 
Do you remember the first time you performed live?
 
It was a 3rd grade talent show at my school and my father had learned the chords to accompany me while playing one of my Suzuki violin songs. I think the song was ‘Humoresque’ by Dvorak. 
 
Do you remember the first concert you attended?
 
 Honestly, it was the 20th anniversary of Woodstock (I would’ve been a 1 year old).   My family lived near Bethel NY, (and my parents actually attended the real deal!)
 
That’s amazing! What are some of your influences both in music or otherwise that have brought you to the style of music you play?
 
The Eagles
Carole King
Stephane Grappelli 
Patti Griffin
The Beatles 
Bach, Beethoven, Brahms
 
That’s a solid list.  So, how did you get involved with JD and the Straight Shot? 
 
I met Marc Copley, the musical director, in Nashville (where we both now reside) and he recruited me for the band. It was perfect timing! 
 
What do you think those in attendance should expect from a JD and The Straight Shot performance?
 
Lots of good energy, charisma and a unique sound that blends rock, country, folk, Irish, and roots music. (Oh and lots of fiddles…from yours truly 😉  
 
There’s nothing like a good fiddle! I’m looking forward to hearing that. What JD and The Straight Shot song do you always look forward to playing live?
 
I love “Ballad of Jacob Marley”. I look around on stage while we’re playing it and I can literally SEE how much fun everyone is having. Plus there’s banjo 🙂 
 

 

Banjo, Yes! Is there an artist out there today that you always make a point of seeing live?
 
I think Jason Isabell is incredible and I’d watch every show he plays if I could!
 
What was the best concert you’ve ever been to?  
 
Robert Plant. I didn’t know the meaning of rock star till I saw him perform…. And then  I said, “Oh, now I get it”.
 
I have never seen Robert Plant.  I really need to make that happen. 
Finally, what has been your best/favorite concert experience as a performer?
 
It’s always about having a great audience.  As a musician/performer, the energy and attitude of the audience are reflected in our performance no matter what.  A great energy from the audience changes the whole experience.  SO my favorite experiences as a performer have taken place when that magical balance between the audience and the performer is just right. It’s special.
 
Thank you so much, Erin.  I’m looking forward to the show!  
 
If you’re coming to see The Eagles, make a point of arriving early to see JD & The Straight Shot.  They’re sure to start off a great night of music.  
 
JD & The Straight Shot will be The Eagles special guests at Vivint Smart Home Arena on May 3, 2018.  For more info on the band, click here. 
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UCR Interview- KOLARS

I had the opportunity last week to spend some time with L.A. based band Kolars. In preparation for my interview I with them I downloaded their 2017 self-titled album and their new single “King of Carrot Flowers”.  I immediately fell in love with this band. Their music has been on constant repeat ever since. I was a little nervous that I would be overly praising upon meeting them. No one likes a kiss up! But I think any artist would like to hear if someone likes their music.  I really enjoyed spending time with Rob and Lauren. They were really laid back and gave some really insightful information on the interworking of Kolars. Enjoy!

Utah Concert Review: How did you to come together as a band?

Rob Kolar:  Well we’ve been doing music and arts and theater for Lauren for a long time.  This thing kind of came out of the ashes of heartbreak with other projects. So we were in another group that toured for a long time and people just sort of wanted to go their different ways.  People didn’t want to tour anymore. And we were kind of like man, maybe this is over. So I was thinking ok well maybe I’ll do a solo album or something and Lauren was focusing on other things and directing some plays and then it was like well, we can still have a band with the two of us.  What if we just…

 

Lauren Brown:  But it was a scary prospect too because it was like, ‘Is two people enough?  Is it interesting enough? how do we fill out the other sounds? We still want to have a bass.  We still want to have all these other things. And I was always drumming and tapping in the background with this other band and with this I would be in the front and everyone could see what I was doing.  In a positive way, but also in a negative way where I felt exposed. So that was scary.

RK: And before I was co-fronting, and now I’m the only singer.  So there’s these of like, ok all these things are going to be a challenge, but it’s what we want to do.  

LB: (Laughing) Now we just have to get better at it.

RK: Yeah, so we got lucky because our first tour was with this band called The Revivalists.  They have a single that’s become a hit. But at the time they were just breaking. So we got on the road with them and we were just honing in on what we do…

LB: Our first show was a sold out 600 person show.  And I remember being petrified because our first show was in front of all that instead of being a small show in front of Mom and Dad and our friends.  So that moment was Sink or Swim. I always felt like look, if I could do that first show in front of all those people and be that scared and get through it and then think I did well at it, you feel like you can do, well not anything, but you’re definitely more confident.  

UCR: I really enjoyed listening to this album.  Each time I listened to it, I would notice something new in each song.  There were a lot of layers in this album.

LB:  That’s this guy right here!

UCR: I can tell that you put a lot of work into making this album.  Some people love getting in the studio and making the album, others want to make the album simply to get out on the road and perform because performing live is their preference.  Which do you prefer, the studio or the stage?

LB: That’s a good question man!  We’ll probably totally different on that!

RK:  That is a good question.  I think I’m right in the middle where it’s both.  I don’t think I’d be satisfied if it were leaning one way or the other.  But there is something I really adore about being in the studio like a scientist tweaking things.  I love exploring and making the song come to life in the studio. There’s something really special about that.  But I love being on stage. Especially with Lauren because she really gives it and pushes me to go even further with my performance.  

LB: I’m not somebody who likes the studio. I like the performance.  I feel like I learn the most from the performance. And not even because people are watching.  I escape in what I’m doing in that format. It’s my meditation. I’ve been a dancer since I was a little kid so that’s what I’m drawn to.  I hate rehearsals. I like talking about ideas. I like directing shows. But no, the studio is not really where I’m at.

RK: That’s accurate.

LB:  But I’m still there!

UCR:  So how did your part tap, part percussion come about?  Was is born out of necessity? Or did you think “Well, I dance, and I play rhythm so…”?

LB:  No, I didn’t play any rhythm.  I was a dancer and I was tapping with one of Rob’s earlier bands along with the drummer and then the drummer quit so Rob’s idea for me was to learn all the drums and keep up with the tap.  So I created this whole thing based on necessity. Based on we didn’t have a drummer. We didn’t want to hire a new drummer. Ok, I’m going to figure this out. So I started with one drum, and Rob would play the kick drum.  And I would just split a kit with him. And he’s already playing rhythm guitar so we were really splitting the rhythm section. And then I took the kick. So now I play the kick, the tom, and the snare, and I do the tap at the same time.  

RK:  It was definitely an evolution.  Even the tap box itself started with just an old plank of wood with a mic.  Then we nailed apple boxes together. And now we’ve converted a kick drum into a platform.  So it just keeps evolving every couple of years. She either enters a new phase with her ability as a drummer.  And the kit evolves with new elements and new drums.

LB:  I just want to keep getting better.  

UCR:  Isn’t that cool though?  How long has rock n roll or popular music been around?  Seventy years? You start to feel like everything has been figured out or done.  And then this comes around. I don’t know if anyone else is doing anything like this.  

LB: I think it’s just me.  

RK:  It’s really exciting.  Also as a songwriter, because she doesn’t have a lot of cymbal use, and the beats and rhythms are simple and kind of guttural but still have a pulse, as a songwriter that’s what you want underneath your songs.  Because that’s what’s propelling it. Because a lot of times you’ll see bands and you’ll see drummers who are using different elements and cymbals and sometimes that’s competing with the vocals and other things.  But in this case it just kind of fits right.

LB:  And we’re creating rhythms for dancers because I’m a dancer.  So I want to create a rhythm that I want to dance to because I’m actually dancing to it.  So I can only go so fast or do it so slow because I’m actually dancing.

UCR:  Well and as you already know, with dance, it’s all timing, so while the transition to percussion might not be easy, it does make sense.

LB:  And I was keeping time with my feet and doing fills with my feet.  So it’s just trying to figure out what to do with my hands.

RK:  It’s inverting the kit.  Because she plays the kick drum with a mallet with her hand, where usually a drummer would play it with their foot. And her feet are doing what a drummer would usually do with their hands.  

When I first heard of how Lauren does percussion I have to admit I was extremely skeptical.  A tap dancing drummer? I don’t know, sounds kind of gimmicky. But I was wrong to be so cynical because it was awesome!  Not only is it a huge part of the visual aspect of the show, but the driving style of her rhythm removes any thought of it being a gimmick.  As you read, it was born out of necessity, but now it’s essential to their sound and live performance. Click here to get an idea of what tapping and drumming looks like.  Ok back to the interview!   

UCR: I want to preface this by saying that you definitely have your sound. There is definitely a Kolars sound.  But as was listening to the album I heard “Turn Out the Lights” and thought ‘Oh, I can hear elements of Joy Division or early New Order.’  

LB: I love that. Thank you!

UCR: But then I’d hear “Bullet on the Run” and I recall thinking, ‘I wish Johnny Cash was still alive because I could totally hear him covering this song.’ So it caused me to wonder, who are your musical influences?

RK: Amazing. Those are some of our biggest influences.  

LB: Totally! You nailed it, dude!

RK: We love 80’s New Wave whether it’s New Order or Echo and the Bunnymen, or The Cars.  But we also love Eddie Cochran, Elvis, and Johnny Cash. We love that early country, rockabilly blues style.  But we also love glam rock like T Rex and stuff like that.

LB: I always want drums to sound like Gary Glitter.  Fat, Dead, Big.

RK: So we kind of pull from every era.  That’s what we always wanted to do. And how do we do that without making it sound like a weird collage?  Like how do we do it to where we honor it and it gels. That’s what we’re hoping to do, but you kind of roll the dice a little bit.  

UCR:  That’s not easy to do but I think you’ve done a great job blending elements of different styles with your own sound.  

UCR: Do you remember the first concert you went to?

RK: Yes.  Definitely!  Mine was Rancid at the Palladium in Hollywood.  And it was mind-blowing! I was like 12, and my mom just dropped me off with my friends for my birthday present.  So I get dropped off, and of course, I was still growing and I wasn’t super tall and I just remember looking around and seeing all these mohawks and chains and leather jackets and these real authentic punk rockers.  I was thinking “I think I need to change my hairstyle”. Because I had that 90’s parted in the middle cut. So got into the show and I had never seen a mosh pit and I’m watching this spiral of people and looking to my friends saying “I just gotta do it.”  So ran in and I was like a sock in a washing machine. I was just thrust around all over but it was thrilling! I mean, I’m a young adult, and there are my idols at the time on stage rocking out.

UCR:  The floor at the Palladium is huge.  That must have been an enormous mosh pit.  

RK:  There were actually three separate mosh pits!

LB: I’m going to go a different direction.  My grandma took me to see Gregory Hines (tap dancing legend).  He was alone and did all these solos. And if we were tap dancers we were told to bring our shoes.  Then we were invited to go on stage and dance with him. My grandma was very much like “Get up there.  Get on up there.” I was so scared and so embarrassed, but I went up. He has since passed but he was brilliant.  So yeah, that’s what I remember. Polar opposite of Rob’s.

RK: But it’s sort of formed where we are now to a degree.  Like we’re somewhere in the middle of that.

UCR: What was your best live experience as a band?

LB: That’s so hard.  

RK:  We did this festival in Germany.  We didn’t know what to expect. It was wild, there was this line down the block.  It’s this festival put on by Rolling Stone. Spoon and some other cool bands were there.  They put us in this smallish club where you can fit a few hundred people.

LB:  We had never played there before! We had never even been to that part of Germany.  

RK:  Yeah, never played there, very little publicity there, but the crowd went wild.  And on the last song, we have this section where we try to get the crowd to clap along with and literally everybody in the crowd was clapping along to the point where the claps were louder than our playing.  So there was this feeling of everyone being united in this moment and experiencing it with the band to where they were almost as much of the band as we are.

LB:  I think I started crying a little.  It was just kind of mind-blowing.

RK:  Yeah I think I did afterward off stage.  You just felt the emotion in the room.

LB:  And I think we just felt like, if there were just twenty people in there we would have been excited.  But then you see a line to get in and you’re like “What? Is this a dream coming true?”

RK: And we’ve had some rough shows along the way.  Then you have a show like that it makes everything feel like “Ok, keep going. There’s more of these in front of you.”  

 

I sincerely believe the best is yet to come from this band.  As I mentioned, I fell in love with this band right when I heard their first song “One More Thrill” on their self-titled debut album.  However, there is nothing I love more than when I see what a band can do on stage.  It’s just the two of them up there.  They have a little help with some pre-programmed baselines and synth, but that’s it. Rob’s voice sounds great live. And he has all the charisma and stage presence necessary to be a frontman all on his own.  His signature guitar style meshed with Lauren’s one of a kind percussions, they’re a band you will see on the rise from here on out. I told them it wouldn’t be long before they’d be moving from 200 person Kilby Court to selling out The Complex which holds about 3,000.  Not only do I believe they’re that good, but they clearly have the work ethic to make it happen.  Click here for more information on Kolar’s music and tour dates.  

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Audra McDonald March 23, 2018 Salt Lake City Abravanell Hall

I first had the privilege of seeing Audra McDonald about twenty years ago when she originated the role of “Sarah” in the musical Ragtime. And while she was brilliant in the role it wasn’t until four years later that I understood her true brilliance, when I saw her sing the songs of Gershwin at the legendary Hollywood Bowl in Southern California.  It was there that I realized that not only is her voice fantastic, but there is just so much more to her concert than just that amazing range. So when I discovered that she would be playing two nights with the Utah Symphony at Abravanel Hall, I knew I had to be there.  

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OMD March 21, 2018 Salt Lake City The Complex

Orchestral Manoeuvres in the Dark, or OMD, is a band my oldest sister introduced me to back in the 80’s.  I knew within the first minute of their first hit “Electricity” that I was a big fan. So, of course, I was excited when I heard they were going to play The Depot on March 21.  I was even more happy for them when I learned that Utah fans were so excited about this tour stop that the show was moved around the corner to the larger venue, The Complex in order to accommodate the ticket demand.  

The last time OMD played Utah was as a support act for Barenaked Ladies in the summer of 2016 at Red Butte Gardens.  They were great, but being a support act, they took the stage while the sun was still out, and it of course not everyone had arrived yet.  So I couldn’t wait to see them back in the headlining slot.

One of the best things about seeing a band that you have loved for 30 years is all the memories you’ve had with these songs. The downside tends to be having to forgive a band that’s been doing it that long for having lost a step or two.  How many times have you gone to see one of the favorite bands of your youth, and their songs seem slower, or they don’t move around the stage like they used to, or the lead singer just can’t hit the high notes like they did in days gone by. In the moment we’re usually just happy to hear the songs we love but usually, we’ll notice the decline and it becomes a quick reminder of how old we now are.  And who wants to remember that?!

Well, that’s the amazing thing about OMD. I don’t know how they’ve done it, but they’re as good live, if not better than they’ve ever been!  Frontman Andy McCluskey pushing 60 years old, was moving and dancing the whole show! He’s known for a unique style of dancing, (Back in the 80’s dance studios actually gave lessons trying to teach people this impossible to teach dancing style.) that is almost as much a part of the show as hearing “If You Leave” or “Joan of Arc”.  Both Andy and fellow songwriter and sometimes vocalist Paul Humphreys have definitely retained their voices. Andy in particular, who sings all but four songs, somehow has the ability to sing after having danced through the entire instrumental break without any signs of being out of breath. He belts out the big notes with as much vocal power and resonance as he did in his 20s or 30s.  As I listened to the commentary around me during the show, the dominant sentiment I heard was some form of, “Wow, he still sounds so good!” or “They sound exactly the same as they did back in the 80’s!”.

I felt like OMD successfully navigated their way through their setlist playing most of their biggest hits while blending songs from their new album The Punishment of Luxury.  I think the best thing a band like OMD, where their fans are mainly there to hear the hits, can do is start the show with a new song or two.  Which is exactly what OMD did. People are just so excited that a band they love has taken the stage that they’ll live off of that euphoria for a song or two before they’ll want to hear what they came for.  OMD planned this perfectly by playing “Messages” a crowd favorite, for their third song in the set followed by Tesa Girls.

Something I was happy to see was how excited the crowd was to hear a relatively new song, at least not a song that would be positioned in the nostalgic catalog of their songs, The History of Modern.  The first note of the song was heard and people went crazy. That had to feel good to a band that is still trying and succeeding to put out quality music. And I must say that I’ve been impressed with the albums they have released since their return in 2007.  But that’s an article for others to put out. This isn’t Utah Album Review after all!

OMD played hits like “So in Love”, “Locomotion”, “Sailing on the Seven Seas” and “Dreaming”.  OMD truly loves their loyal fans because they always play their biggest hit “If You Leave”, from the classic 80’s movie Pretty in Pink.  I don’t think it’s their favorite song, but they still play it every time.  And it’s obvious that the audience is thankful for it because they are singing every single word.  

The highlight for me is always when they sing “Maid of Orleans”.  Not only is it possibly my favorite OMD song, but it fits all the elements of a great OMD live performance.  I love the lyrics, I love McCluskey’s vocals on this song, and there is a long instrumental piece to end the song so that we get to see Andy show off his dancing  without the interruption of having to walk back to the microphone.  

While Andy McCluskey is the front man, and his energy and charisma do dominate the show in a positive way, I love it when Paul Humphreys takes the mic.  Not only are the songs he sings great, but he brings a calming change of pace to a mostly high energy show. The audience roared when he stepped to the front of the stage to sing “Forever Live and Die”.  My favorite song of his is “Secret” which was played in the encore. A song that was not initially played when they made their return in 2007. Apparently, they heard the disappointment from their fans and have played the song ever since.  Which is of course to our benefit.

Many might think of them as an 80’s band or a nostalgia act.  But they’re not. They are actually a major influence in the world of popular and electronic music.  Artists like Depeche Mode, Erasure, MGMT, No Doubt, Mark Ronson, LCD Soundsystem, Sugarland, and Howard Jones have all credited OMD as an influence on their music.  

Orchestral Manoeuvres in the Dark is one of my favorite bands.  But I’ve seen a lot of my favorite bands from my youth and left feeling a little disappointed.  Sometimes they just don’t have it anymore. OMD still has it! If you ever get the chance, go see this band!

 

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UCR Interview- Cat Leavy of New Shack

Trevor Christensen

New Shack is headlining Les Femmes De Velour second night (Feb 23).  I was able to speak with lead vocalist Cat Leavy.  Here is our conversation.   

Utah Concert Review: I’m always interested in how things got started.  How did you decide you wanted to do music, and how did you New Shack form?

Cat Leavy: Eric and I have similar backstories in that we weren’t originally pursuing music full time as careers.  But it’s something that we’ve always done our whole lives.  I was raised as a classical musician doing a lot of competitions and I always thought I was going to study music and become a classical performer but that changed.  It was a really intense way to grow up.  It’s something I still love.  I practice the piano every day and I have a very deep love for classical music.  But as a teenager, it became a very negative thing for me.  I trend towards being obsessive and neurotic so it was a really negative environment for that. Just like the competition aspect.  So yeah, I decided to stop doing classical music that way and I actually didn’t really think I’d ever come back to music but I did.  And in my early twenties, I decided that I was going to use music as therapy, to write out my feelings.  And at the same time, this was before I knew Eric, he lost his job and decided to do music full time.  We met through mutual friends and began collaborating virtually because I was living in Germany.  We just started emailing tracks between us.  So Eric would come up with a cool beat, he would send it to me, then I would write a song to it, record some vocals then send it back to him.  And then we would mix it and turn it into a finished product.  What’s interesting is even now I live in L.A. and Eric lives in Utah and we still make all of our music virtually.  With that said, I think that our live shows have a lot of different exciting qualities about it.  Because when we get together and make a live version, it adds a whole different dimension to the music that is already there because we have to spend time figuring out how to really make it come together in a group setting because we don’t create it that way.  So we have to put extra effort and strategy into figuring out how to make it translate live.  I would describe our live show as our music but elevated.  It has so much more excitement and presence.  It’s been really fun to do that.  

UCR: So how did you get involved with Les Femmes?  

CL: Well Velour is our hometown venue.  I’m from Provo.  So I spent many high school nights at Velour.  We perform most of our shows there so it’s really exciting to be able to headline Friday night.  We’re basically friends with everyone we’re playing with.  It’s a really positive cozy experience.  It’s the atmosphere.  It’s not too big, it’s perfect.  We Love it.

UCR: So what can those attending Les Femmes this weekend expect.  Not only for your performance but throughout the weekend?

CL:  I think that they can expect a very wide range of musical styles.  I look at the artists performing and it’s quite diverse in musical style.  That said, I also think it’s important to bring up that this is just a very small group of women artists and specifically femme artists.  I think that there are so many underrepresented artists in Utah that won’t be playing this show.  You know this is just a three-day series.  While I definitely think it’s important to support this show, I think it’s also really important to keep in mind that there is a diverse music scene with young queer, female, like, a lot of underrepresented artists that are out there.  There’s a music scene for that and it should be supported.  I think that we can use this weekend as a reminder that this is a tiny little peek into people participating in that scene.  But the biggest takeaway is that there are a lot of different musical styles represented.  Which I think is so cool!  

UCR:  Why do you think Provo thrives as a local music scene?

CL:  You know, I think there are a few reasons, but I think one is very much the presence of Velour.  You know, a cool venue, and Corey who’s doing a lot to support local music and connect local bands with opportunities and exposure. I think that he and also Kaneischa foster that music scene.  But also, I think if you go to a small town where there isn’t really a nightlife and there’s also a bunch of high school and university students and it’s just something really fun to do.  There aren’t any nightclubs or bars, and a lot of people don’t drink.  So the music scene is where it’s at.  It’s what you look forward to doing on the weekend.  When I was in high school that was what we did.  It almost didn’t even matter who was playing at Velour, it was where to go.  It was where you meet people, hang out with your friends, it’s exciting, it can be loud, it can feel like a party.  So I think between the fact that there is this really cool venue and there are a lot of young people looking for thing to do, I think it encourages people who are prone to creating and writing music, I think it gives them a space to do that.  So I think it between all those factors it snowballs into something really cool.

UCR:  Do you remember the first concert you ever attended?  

CL: I remember when I was 14 I went to a smoothie cafe that was really cool for teenagers at the time.  At night they would let local bands play and I remember going to see this local screamo band with these cool 16 year old boys.  I remember feeling really cool.  I have no idea who that band was, but I was definitely a really young teen.  But the first real concert I remember was, I think I was 15 or 16 and it was Death Cab.  And I was obsessed with Death Cab when I was a teenager when I started to feel feelings and realize there was more than pop music.  And it was just a little more alternative than Jimmy Eat World.  I just remember listening to that music in a dark room being like “Oh, so many emotions!”

UCR:  Do you remember the first time you performed live?  What was that experience like?  

CL:  Oh my gosh.  So the very first show I ever played was at Velour with New Shack. AndI had never performed a show in my life ever.  I had maybe sung in a microphone twice.  I was writing and kind of recording songs, but I wasn’t ever viewing myself as a vocalist.  The very first show I played I was headlining at Velour, the crowd was huge and I actually was so nervous that I can’t even remember it.  I like, blacked out! I don’t even remember performing the show.  It was so awful, I think my voice was just so shaky.  Someone had taken some cellphone footage of it, so the next day I watched it and it was so traumatic!  Hearing my voice so shaky and so off, I couldn’t hear myself because I sing so quietly, and it was just traumatic.  Eric just laughs it off, he is just able to look at things objectively.  And objectively people had a great time, but I remember the next day he could not get out of bed the next day.  I would be like “Well, that was my debut! All these people came to see me and I just really flopped.”  It was rough.  But it’s also motivated me practice really hard and invest in my voice as an instrument.  I definitely identify myself as a vocalist.  I’m comfortable singing a wide variety of things and I’m comfortable on stage.  So yeah, I’ve come a long way from that first show.  

UCR: What would you say has been your best experience as a performer.  

CL:  I’m not sure if this is my best performance, but my best experience would be last summer, New Shack got to open for Glass Animals at the Complex.  The crowd was huge!  Three Thousand people I think!  I really like to dance when I perform.  Every time I pulled a dance move the whole crowd just freaked out!  So I was like wait, hold on a second you like that?  You want me to keep doing that?  It was incredibly validating, incredibly fun, and just exciting to play with a big successful band!  So yeah that’s probably been my favorite experience.  

I want to thank Cat for chatting with me.  I really enjoyed it. Be sure to catch New Shack’s headlining performance this Friday night (Feb 23) at Velour!  

Get New Shack’s single Cherry!  Just released today!  Available everywhere.  You can take a look at the video below.  

Cat has a solo project called Madge with an excellent single titled “Fight or Fight Club” available everywhere.

Eric has a music subscription service called Pleasant Pictures Music Club. There is a wide variety of music that you can license.  

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UCR Interview- Trevor Free of Sister Adolescent

Sister Adolescent will be performing at this weekend’s Les Femmes de Velour on Friday night.  I had the opportunity to speak with Trevor Free, the brother of the brother sister duo.  Here’s our conversation. 

Utah Concert Review: How did you get into music and then form a band with your sister?

Trevor Free:  So this particular band Sister Adolescent started almost three years ago.  It was just me and my sister. It was just an acoustic type thing, but I started to realize that, just how the songs were, it just didn’t feel right.  That style didn’t fit my vision with the songs.  So we changed things up and added guitars, keyboards, and beats.  Then it turned into what it is today.  So originally it was just my sister and me making the music and performing. Like, we did a show where it was her singing and just me on my laptop.  Which doesn’t make for a great live show we found out.  So we added our drummer Seth Ringger, who we literally just met by happenstance.  We posted on Facebook that we needed a drummer and a friend referred him to us.  So I sent him a message and he came to my house and he didn’t know any of us.  So I was just like ‘Hey if you hate this you can go.’  But he was actually like, “No I actually think this is ok.”  So he stuck around and he’s in our band now.  For a while, it was just a three piece but we all realized that we needed more for it to feel, and look, and sound like what we wanted to sound like.  Because we had a lot coming through backtracks and it just wasn’t a compelling live experience.  So we added Dave Reynolds who was playing bass with us for a while.  He’s currently away studying abroad in Greece.  This last year we added Matt on the Bass, Dave switched to guitar and when he left we brought Ethan on.  So a lot of musical chairs so to speak with our band members.  

UCR:  How did you get involved with Les Femmes De Velour?

TF:  I’ve known Corey Fox (Owner of Velour) for a while now.  I grew up in this area, so even in high school, I was in bands that were playing Velour.  So recently we played there at the “Battle of the Bands”.  And we won our night and ended up playing in the finals.  I think the judges were kind of impressed with our set, and I think Corey liked it too.  So we had pretty good feedback and we were talking to Corey about playing other shows.  We’re actually going to play a release show for our album that comes out next month. So he just reached out to me and asked if we wanted to play the event.  I’ve always followed Les Femmes over the years and have felt that it was an amazing an important event, so when he reached out I was obviously excited.  

UCR: See that’s the thing I love about Velour.  Not only is it one of my favorite venues to see a show, but it’s in a place where people who grew up here, like you, can see shows, then be in shows, then win your night at “Battle of the Bands”, then be asked to be part of this event.  It seems like a great place to receive a musical education in that way.  

TF:  Yeah!  As far as winning that night, yeah we actually won!  I never thought anything like that would actually happen.  It’s been really cool growing up in this area.  Really admiring the people that are playing in these shows, and then getting to actually play in them, it’s kind of a dream come true really.  And the support Velour provides local artists, to how great Corey and Kaneischa are, it’s just really encouraging to grow up in a place like Utah, to have a place where you can go and connect, and be in shows that have been curated, where you can play with other like-minded artists and grow as a collective community.  Velour is a great place!  

UCR:  Do you remember the first concert you ever attended?

TF:  So my cousin.  Well, I don’t know if he’s directly my cousin, but he’s in No Doubt, so when I was 6 or 7 my parents took me to see No Doubt.  I just remember thinking it was the coolest thing.  And also, just bragging to my friends that I got to go to some concert, and the fact that I got to stay up past my bedtime.  That was pretty cool.  

UCR: Now do you remember your first time performing live?  

TF:  Yeah, I think so. It was this one show.  I don’t know if you could really call them shows.  But we got to play in the commons area of the school.  It was kinda cool because the commons area had all these step platforms.  So all of us were standing on different steps and playing like we were The Beatles or something.  So yeah that was the first time I played live.  I’m sure it was terrible.  But it was fun.  

UCR:  I have to say though, that’s pretty innovative for first time performers to decide to be on different steps like that.  

TF:  Oh yeah, so, we weren’t any good I don’t think, but we had choreographed guitar moves.  Yeah, it was pretty good.  We were all in the performance.  Not in the actual music.  But we were very interesting performers for sure.  

UCR:  Do you have a concert that you performed in that you would say was your very best?

TF:  I don’t have a particular experience.  But I will say that there is something amazing about, especially at Velour, about playing at these live shows.  There are a ton of people there, and because they’re curated, there are artists there that are similar to you, and playing a song that you’ve written and produced, and hearing people be receptive to that and actually really like it, and being into it, that’s really cool.  I think the moment where you get people to like your music and it’s not just your mom telling you, you know, sweet lies, and identifying with it, is just really nice and what I think it’s all about.  You hope to make art that people want to be connected to and to say something to that person.  Seeing that translate from the initial thought to performing in a live setting and hearing people be receptive to it is kind of a magical thing.  

See Sister Adolescent tonight (February 23) at Velour in Provo.    And be sure to be at Velour for their album release on March 17th!

 

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UCR Interview- Mia Grace

Michael Hansen

Mia Grace is a up and coming musician from Utah.  She will be headlining night one of Les Femmes De Velour, a three-night event that will showcase some of Utah’s finest female musicians.  Here is the interview we had leading up to the show.  

Utah Concert Review: What is your background in music and how did you decide you wanted to perform?

Mia Grace:  Music is something that has changed my life in so many ways. Since I can remember I have been writing songs. Writing songs is relaxing to me. I don’t get distracted easily with music and instead it gives me energy and I’m so passionate about it. It is something that is refreshing and stimulating and when I have finished a song or am working on it I feel like I face other things in my life feeling inspired. It also has given me so much power in my life when I felt like I had none. I am a very quiet person and incredibly shy but when I sing I feel like I have a voice. It has given me the power to heal and cope.

UCR: Do you remember the first time you performed live?

MG:  Oooooh, I try not to. Just kidding. I was maybe 13 and I cried. Not a good cry. Like a nervous, I am so scared cry.  So If you come tonight you will see that I have come a long way.

UCR:  Do you remember the first concert you attended?

MG:  The first concert I went to was The Allman Brothers Band. I was six and couldn’t see over anyone in front of me and was covered in spilled beer by the end of the night. Even so, it was a great concert and I still love that band today.

UCR: So how did you get involved with Les Femmes?  

MG:  I have been to every Les Femmes weekend the past eight years as a fan of course because there are so many talented female musicians around here.  I think I have performed at all apart from maybe two or three years as a solo act.  Corey and Kaneischa (Cory Fox and Kaneischa Johnson owner and booker of Velour) have always been really supportive and encouraging and it’s actually Les Femmes that kind of pushed me to finally start a band. They told me I could headline last year if I got a full band and so I did and I feel like the luckiest person ever to kinda have had that push because the evolution from last year until now is black and white.  Les Femmes De Velour provided that platform for me to get that started.

UCR: What do you think those attending Les Femmes should expect?

MG:  Each night is well curated by Corey Fox. If you are going to hear one performer you are likely to leave a fan of someone you just heard there for the first time. All of the ladies performing this weekend and the men who support them are really talented and great songwriters so I would expect to be moved in some way.

UCR: In your opinion, what is the message a show like Les Femmes is trying to convey?

MG: With music, you are conveying messages.  Sometimes it can invoke feelings of happiness, sorrow, patriotism, inspiration, loneliness, and camaraderie.  All of these emotions bring about change because music is inspiring and empowering. Right now the culture is shifting. If women are given more opportunities in any field or industry it could only help them feel empowered and I think with female songwriters and musicians to see them perform and hear their perspective I don’t know about everyone else but that inspires me and makes me feel like I can be and do more.

Justin Hackworth

UCR: What was the best concert you’ve ever been to?

MG: Black Keys in Mesa. for their “Brothers” tour. My neck was so sore for about a week from the headbanging! HAHA!

UCR: What was your best concert experience as a performer?  

MG:  All my favorite memories of performing are because of my band. I played as a solo act for a decade before last year when I started a band. My band includes Scott Wiley, Marcus Bently, Nate Pyfer, and Aaron Anderson. The confidence I have gained from playing with those guys is black and white from last year until now. They don’t want me to fail and even more than that they are supporting me and are my friends. I am so lucky to have them.  When we first played together I think I clapped after every song was finished because I wanted to celebrate them after every song.  They are so funny and are always making it fun and making me laugh.

Mia Grace headlines night 1 of Les Femmes De Velour on February 22. Doors open at 8, with music starting at 8:30.  Tickets available at the door for $8 or at  24tix.com

Mia’s music can be found on both Spotify, iTunes, and Apple Music.