The Grotto makes the first venue I double up on as it’s the only place I’ve found thus far that has live music before 9pm on a Monday.
I caught the tail end of JJ and the Lobsterdogs’ set, and after a brief stage change, Songwriter Showcase began. First up was Kilane (I’m not sure how she spells her name), introduced as her first time performing. She could sing and play the guitar, reminiscent of Tracy Chapman with a velvet voice and bluesy vocals.
After she finished a song, she admitted she flubbed her lyrics. A regular yelled, “we don’t know that!” And another advised, “just say I nailed that shit!”
The Grotto’s crowd is definitely supportive, to say the least.
I like Luke Wade and The No Civilians‘ brand of country and blues. After searching, this was the Luke Wade Trio. I missed the name of the lead singer for the day (it wasn’t Wade). I give them props for playing a noon show. Outside. I feel like I should also note that I’ve seen them on a concert bill nearly every day this month, always playing somewhere.
CiCLOP stands for Cincinnatti Composers Laptop Orchestra Project. Saturday, at The Modern, five guys dressed in black played a surreal version of electronic music using laptop computers (and an iPad). Each member would perform using their keyboard, and in turn, their actions processed by software to create sound.
The first song, Clix, consisted of a percussive, snapping, click. As the song progressed, each member would join in, creating the aural equivalent of a fractal. The challenge with live music, at least to me, is to make the performance as engaging as the music. Usually, electronic music relies on lights or visuals to add to the show. CiCLOP did have visuals, however, I didn’t find them interesting after the first minute or so. One song, Tipping Point, processed sounds with the help of the computers motion sensor. The members twisted, bent and moved their arms to create a layered, droning soundscape.
The Modern’s theater is a hidden gem of a venue–perfect for intimate shows where sound matters to create a lush experience.
This was the first show where I could not get into the band. The Phuss play loud garage rock, where the lead singer screams his lyrics. When the band jammed with only their instrumentals, they grooved pretty well. And then the screaming began anew.
The Magnolia Green was packed for a 95 degree Friday evening. Several years ago, the Green would be empty with plenty of room to spread out. Now, it’s like a mini music festival, complete with beer tents, food trucks and beach balls.
Aside from the insanity that was the Central Market parking lot, with valet parking for a Container Store preview opening, seeing some R&B sould music at Button’s was enjoyable.
Bobby Dade and his band played a mix of R&B and soul music, adding hip hop and funk elements.
When it’s 102 degrees on the patio, and you’re waiting for a show to start, beer does not magically remain cold. We need the brightest minds of our generation working on this, pronto.
Kenny Upstain and his partner, David Matsler, started up 20 minutes late. Fashionably late, I suppose, given the casual set up and masochistic temperature. They play a sparse version of country, strumming hard mad adding percussion by thumping the guitar.
Today marks the first day the concert a day challenge feels like a grind. I didn’t expect the feeling this soon, but I’ll attribute the weariness to my introverted self wanting to turn off sensory input for a little while.
At Scat Jazz Lounge I found out what Bob Ross would look like if he were still alive and a jazz pianist. Christian Dozzler sat behind a piano, wearing a Hawaiian floral print shirt and a brown haired white man’s afro. Accompanied by a drummer, the duo played jazzy numbers smoothly and enjoyably. A couple, in their seventies, stood up from their table and began swing dancing in front of the stage, smiling as they twirled and hustled.
Sunday afternoons at Magnolia Motor Lounge are known as Sunday Fundays. A lineup of acts begin playing around 3pm and continue through the night. I showed up for the first act, Jake Robison, a folk-country singer who curls his lip delivering a song. He strummed his acoustic, sang songs of growing up and being a father with touching melodies. He threw out a countrified take of The Beatles’ Rocky Raccoon. “A little White Album, for ya.”
As an aside, I’m not sure I saw Jake Robison. The dude I took a picture does not look anything like the Jake Robison I found googling, but that’s who the waitress says it was… so…
What I found more interesting was the thing where people drank Miller High Life out of mason jars. I’m so not hip.
Downtown Fort Worth, on a Thursday, Friday or Saturday night allows for a little serendipity with patios, restaurants and horse drawn carriages. After two botched attempts to find live music, this combination led me to the Mercury Chophouse patio.
My first attempt to check out live music in the evening resulted in a total fail: the stage for the venue, 1919 Hemphill, was upstairs. It would be too much to ask for an elevator in the midst furniture salvaged from curbsides and graffiti covered walls. I left not at all disappointed that I’d miss 45 minutes of metal.
On the fly, I made a stop home, checked various venue calendars to figure out where to go for the evening. Also, I sought to get a feel for the next few days. Early evening shows would be hard to come by, and I wanted to take advantage of them as much as possible. Eventually, I settled to head downtown to Queen City for Luke Wade, leaving The Grotto and Magnolia Motor Lounge as future options for the week ahead.
As I strolled by Queen City at 9:45pm, the line stretched down the street to Barnes and Noble. I didn’t feel like standing in a line and then having to wait an hour for a show to start. Luckily, I heard music playing down the street at the Mercury Chophouse.
The Chophouse’s patio is nondescript, and I didn’t realize I was even at the Chophouse until I left, rolling by a chalkboard sign, “CHOPHOUSE LIVE MUSIC on PATIO –>>”.
The band playing on the patio, consisted of three guys, calling themselves River Trip. For the most part, they spirited their way through 60s and 70s era covers with an acoustic rock bent. Prior to “Heart of Gold”, they asked if there were any harmonica players in the house. No, there were not any harmonica players, thus, Neil Young’s harmonica solo would be missing for the night. At one point, they pulled out a deep track from the Beatles catalog, “Norwegian Wood”. Not too shabby.
[Note: this is part of my “concert a day” challenge]
Knowing I’d be busy early Friday evening at a scotch tasting, I needed a local show I could get to quickly. Thank goodness for living five blocks from Live Oak. I showed up still a little buzzy from sipping on 18 year old scotch for the better part of the evening. Paid my cover, received my wrist band and entered halfway into Monahans‘ set to a fairly packed house.
The main draw for this show were two indie rock legends: David Bazan and Will Johnson. Bazan made his name in the mid to late 90s as Pedro the Lion, and Will Johnson still puts out music with his Centro-Matic bandmates. The two joined with two other indie veterans to form Overseas.
Overseas‘ sound is interesting, combining what Bazan does best, downtempo ballads that fit his limited baritone range, and Johnson’s low fi rock with frenetic hooks. One song, the bass would lead a pop-like dirge, and in the next, the distorted electric would crank to 10. Early in the set, a short, honey blonde woman made her way to the front. Her eyes, facial expressions and catcall of “welcome back, Dave,” made it clear she was a Bazan fan.
I wish I had arrived earlier to catch more of Monahans’ set. Their sound of rock uses atmosphere, reverb and harmonies over a driving tempo, made for some cool arrangements.
