January 19th, 2016 by Greg Etter
On January 15 and 16 we headed to the Parish to see the New Mastersounds perform two nights of music. They never repeated a single song through each of the 2+ hour sets. It was a funky night of music including a few songs with George Porter. I was surprised at the beginning of the two night stint when they stepped on stage and I found out that these guys were from England. It was fascinating to me considering that they played American funk jams really really well, better than most Americans. It was a great night of people watching. With some of the friendliest staff in Austin, the Parish is always a great place to see a show.
January 18th, 2016 by Greg Etter
On January 9, Russ and I headed over to the Moody Theater to check out Alejandro Escovedo’s Leonard Cohen Experience. It was also Alejandro’s birthday. He shared the stage with many really great musicians, a couple of them including Elias Haslanger on the sax and Julie Christensen on back up (sometimes lead) vocals. They were singing the music of Leonard Cohen and Leonard Cohen influenced songs of his own. It was a terrific night of tribute to the great songwriter. After the show, we headed backstage to sing Happy Birthday to Alejandro. Leonard Cohen’s songs hold a pretty sacred place in the world of songwriting and to see a tribute like this and to get to hear his words reworked by various musicians and actors (Robert Patrick even did a few songs/readings) was pretty awesome.
January 8th, 2016 by Greg Etter
Stubb’s was where we headed on November 12th to see a SOLD OUT show put on by Israel Nash and his band. It was my first time at Stubb’s indoor venue. I’ve been outdoors, but this had a much more intimate feel to it. It was like he was playing in a living room. I’d heard Israel Nash on a few KEXP sessions a few months prior and thought he was great, but until I saw him live at Stubb’s I never knew just how much of a badass this guy really is. His songwriting is some of my favorite at moment. His psychedelic brand of Americana is mind bending. He stepped on stage with a 5 piece band and totally rocked the show from beginning to end. It was Israel with a guitarist, a bassist, a drummer, and a pedal steel player. They set a great setting for his songs. He made you feel like you were at his ranch in Dripping Springs with each song that he played. I always have a lot of respect for artists who can completely give themselves to a performance, leaving the underlying emotion to drip from the stage at the end of the set. Israel Nash definitely didn’t disappoint me in that respect. You felt his words, you felt each riff, you felt the band playing off of each other throughout each song. He played his new album, Israel Nash’s Silver Season from front to back along with a few songs from previous albums. The show really hit me pretty hard and I was not expecting it at all. It actually prompted me to go out and get a copy of the album. (I recommend you do the same, especially if you’ve never heard these guys before.) The album is still in really heavy rotation on my drives to and from work.
The dynamic range of sound in his set was amazing. The band would go from a full-on, heavy instrumental part of a song, all the way down to just Israel Nash and his acoustic guitar. His lyrics were the aspect of his music that stood out the most to me. They’re simple, straightforward and cut deep when they have to. They’re poetic, completely multifaceted and abstract at other times. Above all they’re really honest, and raw. The psychedelic americana sound behind it all really made the songs either shine or rust (in a great way), whichever passion he was looking for at the moment. His show made me a definite fan of him and his band. Some standout songs from the set that night were “LA Lately”, “Strangers”, “Rain Plans”, and “Mansions”. I highly recommend you check these guys out the next time they play in Austin.
November 11th, 2015 by Greg Etter
Last Saturday night, we headed over to the Moody Theater for another taping of Austin City Limits. This time Ms. Lauryn Hill graced the stage with one of the biggest band’s that I’ve seen on that stage. This review may seem a little late, but I thought it was only fitting given that she showed up to her own taping a good 45 minutes late. I’ve been reading people’s takes on the show and have seen pretty mixed reviews of her taping. She started thing off letting her DJ warm up the crowd. DJ Rampage took us on a musical journey spanning everything from old school R&B, to Bob Marley, to an auditory trip down memory lane and through the evolution of hip-hop music. One of his last songs in the DJ set was Nas’ Lauryn Hill feature, “If I Ruled The World”. After the DJ had sufficiently hyped up the crowd Lauryn Hill graced the stage and approached the microphone while sitting a couch with a table of candles next to her. This was a unique setup compared to other tapings that I’ve been to, but I didn’t really care what kind of setup was up there. Some of the best gigs that I’ve been seen featured just a musician just sitting on a stool with an acoustic guitar. I’ve never been a real critic of showmanship or stage presence. People choose different ways to come across on stage, but it’s the music produced that really matters. An artist with great showmanship only does so much for my enjoyment at a live show. That being said, I think she was going for a bit of intimacy in the first part of her show, but didn’t quite get things to the level that she anticipated.
She started off singing with her guitar and the backing of the band. Her voice is still amazingly powerful and stunning in a live setting like the Moody Theater and her backing band was really amazing. Just to name a few standouts, in my opinion, the guitarist was incredible and the drummer was amazing. She was up there directing them the entire time, giving them cues of when to come in and out of her songs. At times it may have looking a bit like micromanagement, but I saw it as Ms. Hill knowing exactly the sound that she wanted and relaying that vision and coaching her band throughout the entire set. These ultimately are her songs; she can conduct if she chooses to do so. A perfectionist? Some might say yes, but either way the sound from that band was pretty incredible. Her performance suffered a little in the beginning from some slight uneasiness and a bit of a disconnect that seemed to be present, but all-in-all she still sounded pretty amazing.
For the second part of the set she was up and moving around. She ditched the guitar and the couch to focused on her vocals and getting the crowd more involved. She was still conducting her band throughout the show, but this part became very energetic. She started to rap and even through in a few Fugee’s songs including “Ready or Not” and “Killing Me Softly”. Her rapping is so heavy hitting and dense and she continually comes with more of it line after line. She’s one of the more vicious rappers that I’ve seen (that’s saying a lot coming off of the Kendrick Lamar taping a week before). The thing that stung even more than all of the bombastic hip-hop beats, the flows, and production that was the message in the lyricism in her music. Hearing these live brings a whole different level of meaning to the words. Her sound was pretty great in my opinion. Beyond, the sitting on a couch, the band conducting throughout, and the lighting problems is a veteran artist trying to portray her personal work in the best conditions possible. I can respect someone who sacrifices a little showmanship (show-woman-ship?) and audience interaction to try and play her songs in the best possible conditions. The problem wasn’t the lighting, the band, or the couch (although the candles could’ve been a problem). The sense of uneasiness in some of the songs along with the abundance of Bob Marley covers was the only part that wasn’t the most enjoyable, in my opinion. She’s a great artist with a fantastic back catalogue of music. She showed the crowd a great time. All in all, it was a great show by an extremely talented individual and extremely talented band. I really enjoyed this show and I’m very grateful to have experienced it in person.
November 11th, 2015 by Greg Etter
Austin Film Festival 2015 was a great one. We saw three very highly recommended films over the course of the week stint at the historic Paramount Theater. The paramount is definitely the premiere spot to catch a screening from. We didn’t really know what the week had in store for us, but every one of the films turned out to be interesting in their own right and very well written.
We started things off on opening night at a packed Paramount Theater to view a screening of Brian Helgeland’s “Legend”. Tom Hardy was the star of this one and he did an amazing job portraying both lead characters, Ronald and Reggie Kray, two distinctly different gangster brothers from London. This movie really brought to life the horror of the Kray brothers and how they ruled London in the 60’s. I was pretty baffled by the fact that this film incorporated so much interaction between the both of Tom Hardy’s characters in a lot of the same scenes. Another badass Tom Hardy movie. Playing one role and interacting with another actor is difficult enough, but this was Tom Hardy acting and shooting scenes with himself. The plot kept me glued to my seat, it was riddled with action, and even had a bit of a love story undercurrent showcasing the relationship between Reggie and his wife Frances, played by Emily Browning. It was a very well written and well acted movie, and above all, a great way to start the festival.
The second film that we saw was titled, “Youth”. I was really looking forward to seeing this after we decided to screen it during this festival. I remember listening to Sun Kil Moon’s album, “Universal Themes” and hearing Mark Kozelek sing about shooting a film in Switzerland. It turned out to be Paolo Sorrentino’s film, “Youth”. I didn’t know much else about this film, aside from seeing the trailer a few months before the Austin Film Festival. I was really blown away by this movie. Everything about it was perfection to me. I loved the sense of inspiration felt from inside a place of uneasiness and mystery. The film felt like you were watching an old wise man, but instead of just listening to him speak his wisdom, you were experiencing the wisdom along with him. Paulo left a lot up to interpretation and that space within the film made it so great. It wanders down different hallways that we all experience in our lives, ducking in and out of different emotions that and fears that we all face in one way or another relating to what it’s all worth. At times, I literally had no clue what was going on in a superficial sense, but the underlying feeling within the movie made everything clear. The acting and dialogue by Michael Caine, Harvey Kietel, and the rest of the star-studded cast was remarkable. The soundtrack (featuring Mark Kozelek and Bill Callahan) and the film score were phenomenal and complimented the rest of the movie very well. The setting of this film was probably the best part of it all. Those shots of the Swiss countryside were unbelievable. I definitely recommend sitting down and giving this movie a watch or two. I know I’m going to have to go back and watch it again.
The final film that we saw was Steven Frears’ “The Program”. It was the story of Lance Armstrong and the lie that he created out of his cycling career. I was, at one time, a huge Lance Armstrong fan. His underdog story of fighting back to 7 Tour de France victories really inspired me. Once it was reveled to the world that he cheated and the process behind it all, I lost all respect. This film was the first time that I actually sat down to listen to the entire story behind it all and it was pretty sickening. I never realized how disgusting the whole scandal actually was. This movie did a great job telling the story from start to present. It was a very entertaining film that really sheds a lot of light onto the severity of Lance’s doping ring and all that went into “the program”. The film hit home how much deeper it all was, more than just defaming the sport of cycling. Well casted and well written film.
I’m very grateful to have been given the opportunity to see such great movies and cover this festival. We ended satisfied with great films under our belts. All in all, a great experience. As if that wasn’t enough, we got to hang out at the Paramount Theater for all three films, which was awesome in and of itself.
November 2nd, 2015 by Greg Etter
Photo Credit to Scott Newton
Russ and I headed to see Kendrick Lamar do his Austin City Limits taping live at the Moody Theatre downtown. I was looking forward to seeing this taping because 1.) I’ve never seen a rapper on Austin City Limits and 2.) To Pimp A Butterfly was one of the best albums I’ve heard this year. Kendrick’s performance did not disappoint in the least. Rap, and particularly conscious rap, has always been a very personal thing for me and something that I usually listen to in a relaxed environment. I enjoy the fact that I can sit down with a pair of headphones and dissect the lyricism, and listen back again only to pick up a new reference or new perspective each time. I wasn’t sure how this all would translate in a live setting. Also, I’d only been to one other live rap show, so I didn’t really have a clue what to expect. The energy created during this show was a totally different feeling from the perspective of sitting down and listening to his records alone. It was much more powerful. The depth of the words is still there, but you are in a room with thousands of other people that are also massive fans. Kendrick Lamar walks a line that most can’t toe, by uniting pure lyricism with a mainstream audience appeal.
His band was very impressive. He had a keyboard player, a guitarist, a bassist and a phenomenal drummer backing him. They were all amazing and laid down a nice foundation for Kendrick to rap over. The band came out first and started playing. Then Kendrick walked on stage and started things off with “For Free?”. K Dot’s ability to spit such lyricism while traversing all genres of music left me in state of stare for most of this live taping. Some other notable songs from the set were “These Walls”, “Maad City”, “Swimming Pools” and my personal favorite “The Blacker The Berry”. There were too many memorable moments to list them all; it was a fantastic set. The positive vibes and energy that was given off during the show were quite an experience. The people-watching during this show was the best that I’ve encountered at an ACL taping. Everyone was very much into his music and the demographic spanned from end to end. During the set, he performed his song, “Complexion” which really spoke to the depth of his message and being able to reach such a diverse group of people. It’s really cool to me how such a seemingly personal project, like To Pimp A Butterfly, can reach and ring true with so many people.
Another fascinating aspect of the performance was his crowd interaction and his ability to control the crowd, getting everyone involved. The crowd favorite and final song of the set “Alright” had the crowd chanting the chorus before K Dot even had a chance to leave the stage and come back out to perform it as an encore. He brought the volume from a whisper to roar, and up and down again in a matter of seconds. A true artist graced the stage on Friday. He’s a master of his work and a voice for a generation. All in all, it was unforgettable. I’m very grateful to have been able to attend such a memorable gig. I didn’t think I could have any more respect for him, but seeing Kendrick Lamar do his thing live and in person was pretty unbelievable.
November 2nd, 2015 by Russ
This week I am immersed in the Austin Film Festival, which is a screenwriting conference and film festival. This is my fifteenth year in the audience. There have been some amazing films at this fest over the years. Primarily this is a festival that focuses on screenplays and screen writers. That being said the best screen play I’ve seen so far this year was at Fantastic fest 2015. The film that I was attached to is called “Follow.” It was written and directed by Owen Egerton . Yep, that guy. The ref from the fantastic debates! This film was the best thing I saw at fantastic fest,( besides that kill in “Tale of Tales”). I’d even go as far to say it’s the best thing I’ve seen all year! The reason why this film stands out to me is that it was translated to the screen so well. It was dark and twisted in all the right ways. Almost as if it was made in the golden age of film, the 1970’s. I say that because they seem to have pushed the boundaries and gotten away with some super creepy stuff. The film took you in directions that are unexpected and makes you feel the confusion the main character feels. Owen Egerton is a Masterful writer and his story (I think he said it came from a few stories in the Q&A) made its way to the screen. Usually films lose so much when they are transferred from stories. This is his first time at bat too. I purposely did not talk about plot. The only way to see this is blankly. Know nothing, watch no trailers. Trust me.
How I first met Owen is kind of a mystery to me, but I think he was a guy that got in touch with me over email an wanted to write for the Austin Daze, when we were in print form. He wrote for a few issues, we became friends and then I found who he really was. Owen is also a comedian. He is a guy who is bursting with a lot of creative talents. Reading through this article, I think I figured out why Owen is such a good filmmaker. In his his comedy routine, he studies and takes apart films so he knows what works and what does not. He understands the medium. I look forward to seeing what he does next.
October 21st, 2015 by Russ
+On a recent intergalactic mission, I crossed paths with my friend ZAPOT, GDA has been landing and taking over many cities in the southwest. While at the station on star 27, awaiting fuel, I asked him a few questions..
Daze: where are yall heàded next?
Zapot:(ART OUTSIDE) We head to the magical hills of Apache Pass where the creative entities and the wandering gypsy revelers meld into one giant ball of ecstatic energy.
Daze: I will be there too. Tell Me about it? Î think this is a return trip for yall right?
Zapot: Correct. I believe we played last year although it may have been 10,000 moons ago. It is quite a blur for I remember not knowing what era or space time continuum I had entered.
Daze: what can we expect from your show.?
Zapot: We promise to transport you beyond the digital constrictions of your daily life and free you from the narrow confines of the glowing screen you perpetually bow before and worship. We promise to introduce you to the true source of all life on your Earthship, the great provider Ra-Horakhty.
Do ÿall have a new album coming out?
Yes February 12th!’
Téll me how yàll found art outside?
A few of our members had collaborated on this beautiful experiment of audio visual transformation in the past.
October 10th, 2015 by Greg Etter
The final day of ACL Fest Weekend One had come. It was definitely the most anticipated day of the festival for me after seeing the stellar lineup. It was a big day for the UK and Philadelphia artists. I started things off at the Miller Lite stage seeing Daughter, an atmospheric folk trio from the UK. Lead singer Elena Tonra has one of the most hauntingly beautiful voices I’ve ever heard. Her lyrics are so poetic and have so much depth to them. The atmospheric elements added by Igor Haefeli on his electric guitar brings so much intensity to Elena’s songwriting. When you add in the drums on top of everything by Remi Aguilella, you get masterfully done music. This band is definitely one that I don’t think I could ever tire of. Although it’s pretty dark and there is a lot of tension in the music, the rawness and passion that comes across in the songs is pretty powerful to see live in person.
The next band of the day was Philadelphia songwriter Timothy Showalter’s project, Strand of Oaks. The set consisted of mostly cuts off of his newest album, HEAL. He snuck in “Sterling”, off of his album, Pope Killdragon, but other than that he played songs from HEAL. HEAL is like a cathartic byproduct of Timothy Showalter going into the studio with his life story and a guitar. My favorites of the set were, “Shut In”, “Plymouth”, and his final song and Jason Molina tribute, “JM”. Showalter and the genuine nature of his song shined brightly on the middle stage of ACL.
Next I headed over to the Samsung Galaxy Stage to catch my most anticipated act of the day, Ben Howard. Ben is a special performer and artist in my opinion because he puts absolutely everything into his music. Though not as prolific as fans may want him to be in his career thus far, you can tell that he really spends an incredible amount of time crafting his songs until he gets them exactly how he wants them to sound. In a live setting, he is absolutely the most amazing performer that I’ve ever seen. The emotion that comes across through his music is unparalleled in my opinion. He played all new songs off of his 2014 album, “I Forget Where We Were”. He started off with the 7+ minute single, “End of the Affair”. The thing I like best about Ben in a live setting is that the dissonance and sometimes pure tension in his music is amplified tenfold. He gets really into the music and it comes across as if he’s putting everything that he has into each song. Where there’s space, there’s meant to be space. Where there’s delayed guitar on top of delayed cello, it was meant to be there. Every minor detail seems to be crafted. Every word sung during the set felt as if it was genuinely meant, as if he was speaking directly to each person in the audience. My favorite song of the set would have to be “Rivers in Your Mouth”. When he starts to yell the latter half of the lyrics, it hits you really hard and gives me chills every time I hear it. Then he finished off the song with some epic instrumental ending incorporating the entire band playing their parts symphonically. Ben and his band are extremely talented and seem to have serious command over the instruments that they play. Having said that, they all stay within their roles so well. They do what they do in service to the song as a whole not just their specific part of the song. There’s no real point when one person is soloing really long or stepping out of the song. It’s well crafted, no need for showboating. Everyone is almost holding back a bit, adding to the tension as it leaves a bit up to the listener’s imagination. This also leaves a nice platform for the lyrics wander around and linger. Though the soundscapey set was short and he seemed to have left the stage a bit early, he played one of the most memorable sets that I saw at the festival.
From the headline stage, I went back to the middle stage of Zilker Park to see another Philadelphia songwriter, Kurt Vile play with his band The Violators. Kurt Vile’s newest record, “B’lieve I’m Goin Down” is pretty amazing and I was anxious to be among one of the first crowds to hear that material in a live setting. He started off the set with a new one, “Dust Bunnies”. He played songs from all time periods of his career thus far. From songs like “Freak Train” to “Jesus Fever” to “Pretty Pimpin”. His stage banter is hilarious. He’s extremely dry and deadpan in his delivery of jokes in between songs. My favorite song of the set was “Wild Imagination” which he played on his acoustic guitar with the backing of his band. He ended things with “Walkin’ On A Pretty Daze”. I may be biased because he’s from Philadelphia, but I think he’s one of the best songwriters out there right now. His ability to take serious subject matter and inject humor into it, is amazing. Some people don’t see Kurt’s sense of humor and mistake it for extreme egoism, but he’s really going for the complete opposite in most cases. All in all, a great set by the Philadelphia native. Definitely check him out live if you haven’t already.
From Kurt Vile, I went to the Honda Stage to check out UK indie rockers, Alt-J. Although I was pretty far back, I could hear their set and it was pretty incredible. They played songs from both albums, “An Awesome Wave” and “This Is All Yours”. The lead singer of Alt-J has one of the most unique voices I’ve heard. It almost sounds as if he’s putting through an effect pedal, but it’s his genuine voice. Among my favorites in this set were, “Left Hand Free”, “Tessellate”, and “Hunger of the Pine”. I’ve wanted to see them live for some time now and they were pretty awesome. They are so much better live than their records portray them.
From Alt-J, I went across the park to catch Hozier play. Hozier is an Irish songwriter with a voice that could knock you off your feet. He has such a powerful presence on stage using mostly his vocal chords for that power. He did have a band with him, but he is such a strong singer that most times it felt like it could have been just him up there. His music is really given life in a live setting. The crowd at the Homeaway stage was very receptive and chanting and cheering long before he even took the stage. He included a cover of the Beatles’ “Blackbird”. He ended with his mega-hit “Take Me To Church”. An incredible live performer.
ACL was quite an experience. It was a great three days of music and I’m glad that I had the opportunity of attending and writing about the experience. Although it is a crazy and a heavily populated atmosphere, I thoroughly enjoyed my time at Zilker Park for Austin City Limits Music Festival – Weekend One.
October 7th, 2015 by Greg Etter
Austin City Limits Day 2. The madness ensued around a vibrant Zilker Park this past Saturday. The day had the all of the fixings to be a great one. The weather was pretty much perfect and there was an excellent lineup in store for festival goers of all tastes in music.
I started my day by wandering over to the opposite end of the park as yesterday’s start for my first show at the Honda Stage. There I saw Father John Misty, Josh Tillman’s solo moniker that he took on while making the the transformation from the former Fleet Foxes drummer and solo artist J. Tillman to a satirical, catchy, well written solo songsmith. His newest album “I Love You Honeybear” is also very high on my “albums of the year” list (If I were to actually keep such a list). His newest material is so refreshing in a pop music world that’s so oversaturated with some serious garbage. He plays really heavily on what most songwriters take too seriously, the subject of love. He explains it in the most real, straight forward, and of course, satirical manner. The great debate is at certain moments when you can’t tell for sure if he’s being serious or being ironic. He walks the fine line very well. I think that he’s pretty obviously being sarcastic most of the time. A great example was when he came out to the crowd during his song, “Bored in the USA”, took a fan’s smartphone from someone who was filming the song and pretended to take a selfie of himself singing the last chorus of the song. He stopped the song and says, “Shit, I didn’t get it. Can we try it again?” To me, it was a blatant shot at everyone who was on their cell phones the entire gig shooting videos and photos rather than actually taking in the full experience of a live show. But who really knows? He could just that tacky. A couple more of my favorites from the set would have to include, “Chateau Lobby #4”, and the finale, “Ideal Husband”. All in all, it was a very sardonic atmosphere surrounding the entire set, but through the heavy dose of sarcasm and irony he was able to create a refreshing take on subjects that are usually taken with almost too much sincerity.
From there I moved onto the Miller Lite Stage to catch Shakey Graves’ afternoon set. He performed one of the most energetic sets I’ve ever seen from him. He started things off with a solo version of “Bully’s Lament” which was one of the first songs that I ever heard by him. He went on to covered all facets of his material, going straight into “Roll the Bones”. From there he moved into a few songs off of his newest album including “The Perfect Parts”, “Family and Genus”, “If Not For You”, “Dearly Departed”. He even snuck in a live favorite of mine “Where A Boy Once Stood”. The troubadour finished off the electrifying set with a solo version of one of my favorite cuts of his “Late July” with just a guitar and his signature suitcase drum. He played with a guitarist/bassist, and drummer, “Boo”, for most of the set. Shakey Graves is one of those performers who really seems to always put everything he’s got into his music when up there performing. He’s not just making a bunch of noise either. His use of dynamics is pretty incredible and I would even dare to say unparalleled in performances that I’ve seen. At one point he was wailing on his guitar, stopped and hushed the crowd, went back to wailing, then would hush them again. This was a glimpse at how overall he was able to have great control over the audience and his music throughout the entire set. He was very humble up there upon entering and exiting the stage and seemed extremely grateful to be granted the opportunity to play to such a large audience at ACL.
From there I had a bit of a break in the acts that I had planned to check out, so I hung out toward the back of the Samsung Stage area, at the other end of the park, to see Twenty-One Pilots. They played a really incredible live show. I’ve never seen or heard of this band and was really impressed with their stage presence. They kept the crowd extremely involved throughout the whole show. The best way for me to describe their music is as an indie pop, with a dash of alternative hip-hop thrown in the mix. It was entertaining in a live setting, for sure. At one point the lead singer climbed to the top of the rafters of the Main Stage and continued singing his song. It looked pretty sketchy and I have to admit, I couldn’t see too well from afar, but it left everyone sitting there in awe. At another point in the final song, he and his bandmate went out into the audience and stood on platforms held up in the crowd and played a final drum solo. It was a really cool show to see, especially since it was so unexpected for me.
From there I saw glimpses of Unknown Mortal Orchestra, who’s latest album is amazing. The indie rock outfit signed to Jagjaguwar was definitely a highlight for me. They really killed it in a live setting especially since they were on a stage that was so prone to getting drowned out by the larger ones. Highlight from them was “Multi-Love”.
Next up was Jose Gonzalez who played a crazy intimate set with a chaotic and loud atmosphere. He had a band to back him playing mostly acoustic instruments. He was playing his solo material and snuck in some material from his band, Junip. My favorite song of the set was “Line of Fire” which was done solo and completely acoustic without bandmates. It was pretty amazing. He included his cover of Massive Attack’s “Teardrop” and ended with the popular “Heartbeats” acoustic cover. It was a really incredible set and great to see that such quiet music with so much depth could be played in a festival setting like that.
From there I saw TV On The Radio, who had one of the biggest side stage crowds that I’ve ever seen. They were really amazing to see in such a large atmosphere like Zilker Park. Although the sound wasn’t as good as the ACL taping that we saw earlier this year, the energy being given off by them and reciprocated by the crowd was really cool. They played music from all ends of their career from “Happy Idiot” to “DLZ” to “Wolf Like Me” to their finale and crowd favorite, “Staring At The Sun”. TVOTR has had two amazing shows that I’ve had the privilege of bearing witness to and they were both amazing. They’re a really great live band.
From TV on the Radio, I had to pick a headline show. Both artists are not artists that I would normally be inclined to see, so it was a tough choice. It was between deadmau5 and Drake. Since I saw most of Disclosure (UK electronic band) the night before, I decided to go with Drake. Let me start off by saying that Drake is an immensely talented individual who has the potential to make great rap music. Coming from a bit of a hip hop head, I can even admit that he has good cadence and flow, he can sing, he writes extremely catchy melodies. The beef that I have with Drake is that he doesn’t use all of that to create music that has substance. He seems to sell out, in my opinion, to “pop-rap” that you can hear all over every turn of a radio dial. He’s definitely better than some other mainstream rappers, but he doesn’t seem to say something anything that’s really insightful in a non-dramatic. His music (for the most part) doesn’t appeal to me or say anything worth listening back to. Sure, he has a line here and there that will stick with me and that I can get behind, but for the most part it’s just fluff. He did give off some seriously hype and energy though. He fired up the crowd with what they wanted to hear. How much more could the music industry ask for? I really do wish that I had counted the number of times that he mentioned that he loved Austin. End rant. All in all though, for the portion of the set that I stayed for, he did give the festival an entertaining headlining set, key word entertaining.
Lastly, I have to make sure that I comment on all of the great food at ACL. This festival has one of the best food selections of any music festival that I’ve ever been to. It’s all local eats from great restaurants around town. Where else can you get a Freebird burrito for lunch and East Side King for dinner at a music festival?
A review of my final day at ACL is on the way…
October 5th, 2015 by Greg Etter
Austin City Limits. I was warned about how crazy, gigantic, and insanely packed this festival is, but I still underestimated it. I got to the festival entrance and all I could hear was the thud of bass clashing with a bombardment of synths and keyboards coming from the Samsung Stage at the far end of the park. It was Tame Impala playing a new song off of their newest album Currents. Tame Impala’s show was quite a spectacle and consisted of a mix of newer and older material. His older psych-rock leaning, Pink-Floyd-reminiscent material was fantastic live. Most of the highlights for me though were off of Currents, which is definitely ranking highly on my “albums of the year” list so far. His soulful falsetto was extremely on point even in the noisy live setting of Zilker Park.
After Tame Impala, I went to grab a spot at the Gary Clark Jr. show across the field. He walked out on stage and you could tell that he had home field advantage over the rest of the acts. He started things off with “Bright Lights”. He was backed by fellow Austinite and guitar legend, Eric Zapata, his drummer, Johnny Radelat, and his bassist, Johnny Bradley. Some other highlight songs for me were “Grinder” off of the new record, and my personal favorite “When My Train Pulls In”. Toward the latter half of the set, Gary brought out his two sisters to sing his incredible new song, “Church” which he played without the band, but with the help of his two sisters for background vocals. He ended everything with his new hit, “The Healing”. Very impressive night by the guitar hero. The entire crowd busted into a “Gary” chant in the middle of song change and he stopped to take it all in. At first when listening to the new album through headphones, I wasn’t sure what to think of it. It wasn’t him purely showing off his god-like guitar skills. He seemed to be taking a step back from just wailing all up and down the guitar neck, but after seeing this live set at ACL Fest you can consider me a massive fan of the new material. He’s proving himself to be not just one of the greatest guitarists ever, but he’s also an amazing songwriter. His songs are so well put together. It seems like he’s put serious time into making the songs whole and bigger than just a series of great guitar solos. There’s still plenty of that in his new songs, but he’s seemed to really be developing his writing ability and other aspects of song production around the jaw-dropping guitar moves.
I finished up the night by first catching the beginning of the Foo Fighters headline set. Dave Grohl is such a badass. He was in a cast from a broken leg he got during a set earlier this year and sat through the entire set, but still played a really badass show. I caught a bit of that set and wandered over to the other big stage to see UK electronic duo, Disclosure, play. I hadn’t heard their newest record, but was a huge fan of their last album. I always find it weird to see an electronic band play live, but they did it well. They definitely didn’t just press play on a laptop and dance around. They were playing instruments, and mixing things themselves on stage live, which was really awesome to see. They played an extremely energetic set and had the whole crowd dancing. The lights and visual aspect of the set was show in and of itself. During the encore they announced that their new album had just reached #1 on the UK charts that day, after getting the news at the end of the set. They celebrated and ended with their hit featuring Sam Smith, “Latch”. It was a great first start to a great weekend at ACL.
September 20th, 2015 by Russ
Two bluegrass bands on the bill! It was packed and the only folks I knew were in the bands. This is awesome because a whole new crowd digs bluegrass. I hope old settlers is paying attention.
For weeks, I wanted to be at this show. I did not know Wood & Wire by name and was looking forward to checking out someone new to me. By this point, I know most of the music that I see. I rolled in as they were picking. I looked up to see my favorite mandolin player, Billy Bright. Sure Grisman is a god, but Billy tears it up and down. Some of the best music experiences I’ve had have been with the two high string band and the Texas trio. I know someone you can agree… so I loved this band right away. A guitar, bass and banjo shared the stage. They traded off solos and vocals. I dug this band… next up was the whiskey shivers. Pure fun. I has seen them a few times at the Continental Club. Like the opener, they also owned the crowd. The violin guy had the meanest mullet I have ever seen. He is actually a nice guy . The percussionist who also looked mean, came down to ask me how I liked the show on his way to play an encore in the middle of the crowd. I had a great time. I even bought a poster. Both groups were solid and have a new fan.
September 16th, 2015 by Russ
I love this place. I feel like I am in France as soon as I enter. That sounds cliché or made up. Trust me, that is no bs. The place is authentic. Back in the day I did an exchange program in middle school and spent some time in Paris. Though I was too young to hang in cool clubs. I knew they existed. Years later, I became a student of Henry miller’s literature. I read everything he wrote. The whole ex-patriate thing was just cool to me. Justines Brasserie is a place they would’ve frequented. The food there is other worldly. I’ve only eaten there a few times but each time was beyond good. I have some good old friends involved with the establishment. I do not get over there as much as I’d like, so when I heard about this gig, I just had to be there.
Blues with gumbo and cornbread. Straight up blues at that! The Everreadies ft. Pamela Allen opened and they just killed it. I have never heard ” wang dang doodle” performèd that wày. Pamela’s voice was smooth and sultry. It really just fit in with the room. Next up, Sonny Rhodes. The attention of the packed room was mostly his before he played a note. He played his slide and sang which caused the audience to sway and shake. Such a good night. They don’t host music that often,
but when they do it is an awesome time…
September 9th, 2015 by Russ
Photos: Matt Beard, Costumes: Marie-Chantale Vaillancourt ©2012 Cirque du Soleil
Photos: Matt Beard, Costumes: Marie-Chantale Vaillancourt ©2012 Cirque du Soleil
This is a great location for this tent show. For the past number ôf years, I have avoided the performances because of location. I don’t care to much for Çedar Park. I loved this show.
This was my second trip out to the Cirquit of the Americas. We could see the over sized and modern designed, many pointed circus tent as soon as we made the turn towards the racetrack. It was awesome, like some old-school, trippy cartoon. My imagination was on fire. I could not wait to go inside. Let me just say to those who have been asking about the venue, it is their traveling tent. It is on the parking lot of the racetrack. The tent was made for the experience. I felt like I was in a Terry Gilliam film as I rolled into the first set of tents. We found our seats and watched as performers moved through the audience. They were clowns. Seriously. Not the scary kind, they were comically transfôrming all of us into children. There were some kids there but I think this is an experience geared towards making adults feel like children again, I know it worked on me. The sèt designs and the costumes are amazing . The acrobatics are jaw dropping incredible. Actually, I was impressed by every performance. Awe inspiring IS an understatement.
i recommend this experience …
August 29th, 2015 by Russ
Photo by Gary Miller
This is one I had to be at . It is always great to see him take this stage. The KLRU tapings are always the best. I am on a first name basis with most of the volunteers and staff. It is a homecoming at every visit. To the point that I have declared many times ” I love it here, I don’t care who is playing. Îf they sucked I’d still enjoy it!” I have alwaze liked the musîc, so I wonder why I have said that. Its the old Austin frièndly vibe and KLRU keeps it alive and well.
This show was all about Gary’s new album, “… Sonny Boy Slim.” He played most of it. The band was rocking hard and loud. Two backup singers joined them on stage. My favorite new addition to the band, besides Mr. Zapata’s new hat, is The Hardproof Horns. They grooved in perfectly as alwaze. More friends on that stage. Gary is in a position now that he could’ve brought in anyone tô play horns, but he kept it local. I have mad respect for that. The best sound is the local sound. So glad, he still knows that.Who is gonna break out next?
Count me in for the nlbum.…it is gonna be awesome.
August 19th, 2015 by Russ
A concert of some of Austin’s finest musicians benefitting HAAM and future nonprofit ALL ATX Music Factory at ACL Live, to air on KLRU-TV, Austin PBS. As well as the annual “Austin Music Legends Auction” with all proceeds benefiting HAAM.
Special guest TODD RUNDGREN
THE BLACK ANGELS
THE BRIGHT LIGHT SOCIAL HOUR WITH SPECIAL GUEST RAY WYLIE HUBBARD
DAVID GRISSOM AND MIKE CROSS
BIG CAT (ft. Malford Milligan and Dave Sebree)
WATER AND RUST
And many more!
In 1966, the Austin American-Statesman first coined the term “psychedelic rock” in an article covering the sound waves generated by Austin’s own The 13th Floor Elevators—giving an official name to a style that has since threaded its influence over generations of Austin rockers.
In recognition of our psychedelic roots, ALL ATX is proud to bring together some of this city’s finest musicians, including The Black Angels, Ian Moore and Gina Chavez on stage with special guest Todd Rundgren, in support of our local music scene.
Proceeds from this event, which will be taped by KLRU for national distribut3n later this fall, will go to HAAM as well as the future nonprofit ALL ATX Music Factory.
The mission of Health Alliance for Austin Musicians (HAAM) is to provide access to affordable health care for Austin’s low income, uninsured working musicians, with a focus on prevention and wellness. https://www.myhaam.org
Doors: 6:00 PM · Show: 7:00 PM
June 21st, 2015 by Greg Etter
Thursday night was the 2nd Annual Austin City Limits Hall of Fame Induction Ceremony at the Moody Theater. It was a fantastic night of music honoring some amazing musicians who were and will always be legends of the ACL stage. The night consisted of some amazing singers and songwriters each paying homage to the inductees and covering their most impressionable songs (some inductees even came out to play a few songs themselves).
Vince Gill and Patty Loveless. Photo Credit to Scott Newton
The night was hosted by Dwight Yoakam and things started off with Patty Loveless singing Loretta Lynn’s “Coalminer’s Daughter” backed by the ACL all-star house band. Patty sang a few Lynn covers Vince Gill came out to join Patty Loveless for duet, “After the Fire is Gone”. After, Lyle Lovett came out to take the stage to say some words and accept on behalf of Guy Clark. After Lyle played a Guy Clark song, Jason Isbell came out to do a few solo acoustic covers of Guy’s songs, one of which was “Desperados Waiting For A Train”. After honoring the songwriting legend and reminiscing his connection to ACL and Texas songwriting, the mood switched completely, turning to a Tex-Mex affair while honoring the great Flaco Jimenez. Flaco accepted his induction and said some very kind words about ACL and what an honor is was to be inducted. Los Texmaniacs took the stage with guitarist David Hildago of Los Lobos to honor Flaco. Flaco even stuck around and played some accordion and sang a few songs with the band. It was high energy and was really inspiring to see him still able to tear it up on the accordion.
Flaco Jimenez plays accordion with the Los Texmaniacs. Photo Credit to Scott Newton
After Flaco’s induction there was a short intermission. Then, Gillian Welch came out to induct the Texas legend, Townes Van Zant. It was pretty moving to hear about all of the great memories that Townes created and what an impression he made on so many people. His son, JT, came out to accept the award on his father’s behalf and gave a powerful speech honoring him. The performances that followed honoring Townes Van Zant created the most haunting atmosphere of the night. The gently fingerpicked guitar was enough to silence the crowd and left everyone in their seat reminiscing the Texas Troubadour. Gillian Welch sang a few songs with her partner Dave Rawlings. Laura Marling came out and played a stunning cover of “Colorado Girl” and JT even came out and played one of his Dad’s songs.
Gillian Welch presents JT Van Zant with ACL HOF award for his father Townes Van Zant. Photo credit to Scott Newton
Laura Marling sings “Colorado Girl”. Photo Credit to Scott Newton
Last, but not least, Ray Benson was inducted into the ACL Hall of Fame with his band, Asleep at the Wheel. Vince Gill gave the induction speech and passed the award off to Benson. Ray Benson brought out the most current members of Asleep at the Wheel to play a few songs along side him for the crowd. The evening ended with all of the performers, Dwight Yoakam, the all-star house band, and the inductees all playing Townes Van Zant’s, “White Freightliner Blues”. It was an incredible night of music and I am glad that we got the opportunity to be apart of this once in a lifetime experience with so many acclaimed musicians sharing the same stage.
Ray Benson and Asleep at the Wheel perform. Photo Credit to Scott Newton
Everyone performs “White Freightliner Blues” to end the night. Photo Credit to Scott Newton
The final song of the evening. Photo Credit to Scott Newton
May 20th, 2015 by Russ
Get to know Willie Pipkin with us. Willie has more residencies going on that anyone I know and somehow he seems to add more. This guy is all about the music. When he isn’t playing, he is out watching. It’s really cool that if I’m not seeing an act with Mr. Pipkin playing, chances are he is in the crowd. In fact, a few years ago when I was getting this paper started, I used to often be at Blue Monday at Antone’s. Week in, week out, there were like 5-10 regulars, the Kung Fu Dancers were my favorites, but Willie, dreadlocks and all, was usually there. So is Willie Pipkin my favorite local guitar player? I can’t answer that because I have so many and I am out there digging them every night. I can say that my Sundaze ritual has been to see him play at Sinner’s Brunch. He is also a side gun for Toni. If you haven’t seen this guy, please change that. He’ll be a name that everyone will know soon. Thank you Willie for the time and the words. Thanks to Greg Etter, John Grubbs and CC Bonney for making this happen.
AustinDaze: Why do you do what you do? What kind of drives you to be a musician?
Willie: Lately, it is just who I am now. I play almost every night of the week, and I just fall in love with it more and more every day. I love playing guitar. More today than I did yesterday. That’s just what drives me. It’s just become who I am. What used to drive me really was all the players here in town, like Derek O’Brien, Jimmy, Johnny Moller. Guys like that, I just dug their sound. I always strived to get to that level. I’m still trying to get to that level. But now, I just relax and play. It has become what I do.
AustinDaze: When and how did you start to play guitar?
Willie: I started at 15 years old. My father owned a baseball card shop with Clifford Antone of Antone’s. I used to go up there and hang out with my dad, and I met Clifford through him, and other musicians that used to hang out at the card shop. One night Clifford took me into the club, which was right next to the card shop, and I heard some blues. I knew that night that that’s what I was going to do for the rest of my life. I fell in love with it immediately. So I threw away all of my hip hop records and bought a guitar. I actually got my first guitar lesson from Kim Wilson from the Fabulous Thunderbirds, even though I didn’t really know who he was at the time. That’s who taught me my first Jimmy Reed turnaround and everything. That’s when I first started playing.
AustinDaze: When you first started, were you just interested in blues, or country, or what first?
Willie: When I first started, it was nothing but blues music. There is so much great music happening in Austin, that’s what I got into. I really got into Derek O’Brien. I would buy records that he produced or played on, and would just go home and play along with him trying to figure out how he did what he did. So it was always blues for me at first. And I always loved country music. Since I got out of high school, I fell in love with country music. I play it a little bit, but blues is my main thing. All the other stuff kinda came later. When I first started playing in bands, I had a punk rock band called One Trick Pony. We would play just punk rock music, because friends my age they didn’t care for blues, it wasn’t their thing. So I would just adapt to them. Out of that punk rock band turned into a country band, backing up a guy named James Hyland. Then that country band turned into a bluegrass band that became South Austin Jug Band. So I spent most of my 20’s trying to play bluegrass music and acoustic music. Which gave me good acoustic chops to where I could play blues and folk music, and country and bluegrass. Kinda like what I do with Toni Price now. That whole Jug Band thing got me there. But it’s always started with blues, and will always end with blues.
AustinDaze: There are some obvious gigs that you have: Little Elmore Reed on Mondays that you do weekly, you do Sinner’s Brunch at Jo’s almost every Sunday, Toni Price every Tuesday, Warren doesn’t do it all that often any more, but you do the Brew Birds on Sunday night, Tameca on Thursday. What are the ones we don’t know about? Here’s a good question: There are a lot of Austin musicians that have day jobs, which is just the reality of some situations. But I don’t know that you do, do you just play?
Willie: Yeah, I’m just a musician.
AustinDaze: How many gigs do you have to do a day for this to work? Do you try to do two or three daily, or does it just work out that way?
Willie: It just works out that way. Right now, I have 5 and a half weekly gigs, or is it six? Five and a half I think right now, because Warren is only doing the Brew Birds once or twice a month. But it just happened naturally. I know so many people here now. People just call me, you know?
AustinDaze: What are the ones we’re missing? There’s Peacemakers on Wednesday.
Willie: So, it’s every Sunday here at Jo’s, Monday with Little Elmore Reed Blues Band, Tuesday night with Toni Price, Wednesday night with the Peacemakers at Evangeline’s, Thursday night with Tameca Jones. Then the weekends are wide open for me to play with Warren or Tameca. Both of them always have something going on the weekends. But I also get calls from guys to play pick up gigs, like Travis Green, who is a singer here in town. He’ll just call me randomly wanting me to play with him. Or Paul Minor calls me up to play with the Texas Tycoons. Just random stuff like that. And then guys will come in from out of town looking for a guitar player. A lot of times I get to back up guys like harmonica players coming to town looking for a guitar player. I’m on a list of guys.
AustinDaze: One obvious one is Lazy Lester. You got to record with him?
Willie: Yeah, I did a little bit of recording with Lazy Lester. He’s making a country music record here in town. He came to town a couple of times. I got in on one of the sessions, so hopefully I’ll make the record. We pulled in Warren Hood as well.
AustinDaze: Tell us the story of how you met Lazy Lester.
Willie: I got lucky. Every time Lazy comes to town, he stays with Grady Pinkerton, who is a great guitar player here in town. One night Grady came out to one of my gigs, and we were talking about Lester and I was just telling him how I love Lester so much. And he said, “Well next time Lester comes to town, why don’t you come and be in the band?” That just floored me. I was like, “I would love to do that. If it doesn’t work out, that’s cool, and thanks for the offer.” And so we left it like that. Then a couple of months later, Grady called me and said, “Hey, Lester was in town. I think you’d be great. Come out and play with us.” So I went out and played with them. Then it turned out that Lester wanted to do some recording. So I just happened to be there and played some with him. Like I said, I just got lucky, thanks to Grady Pinkerton for that. It was just a great honor to be able to do those gigs with him.
AustinDaze: You tour all over the country and all over the world, what makes playing in Austin so special?
Willie: You know it’s just the other musicians I get to play with. Everybody brings their own unique thing to the music. That’s my favorite thing. Last year, I did a lot of touring with Warren Hood and Hayes Carll and Emily Gimble. That was fun and all, but right now I’m so busy in Austin. And I just love it, because I get to play with all these amazing people. Like today, we had Greg Izor fronting the band. Greg Izor is a world class harmonica player, blues player. It’s such a great pleasure to play with him. Sometimes it’s Emily Gimble, who is one of the best singers you’ll ever hear. I get to play with her, I get to play with Tameca Jones. The list goes on and on. So that’s my favorite thing, it’s just the community we have here in Austin. And all the world class musicians I get to play with every week, it’s just amazing.
AustinDaze: What is going on when you and Eric are playing with Tameca? Sometimes it’s like, not really a competition, but sort of throwing things back and forth with each other.
Willie: Yeah, me and Eric Zapata get to play together on the Tameca Jones gig. It’s just a pleasure playing with him. He’s just another type of guitar player that when I play with him, I have to step up. He’s another world class musician. We both have fun, because we’re both guitar dorks. We spend all day every day, me and Zapata, searching out old gear, old guitar effects pedals and everything. So when we get to play together, we have so much fun.
AustinDaze: So Austin’s been growing, obviously, over the years. How has that affected the life of a local musician?
Willie: The unfortunate part about it is that rent has gone up so really high, and property values have gone up. I don’t see me ever being able to buy a house here any time soon. That’s unfortunate. And rent, you gotta live on the outskirts of town now. All that’s unfortunate. Maybe the positive thing is that there’s more people, hopefully they’ll start coming out to the gigs. Friends of mine that play on 6th Street say the bars are starting to pick up again. A lot of people are starting to come out. Maybe that’s a positive thing. The main thing I notice is that the cost of living has gone up and gigs are still paying the same.
AustinDaze: You are always working, and have so many residencies in town. Do you have a favorite that you like to play?
Willie: Like what’s my favorite residency? Oh boy, that’s a slippery one. Like I said, I wake up every day and I’m excited about the night to come. Every night I’m excited to play. My newest gig is with Tameca Jones. And it’s such a different thing than I’m used to playing. That one’s fresh for me. I’ll say that. I look forward to that because that gig pushes me in a different direction than I’m used to playing. I’ve definitely been having a lot of fun playing with Tameca.
AustinDaze: Do you still play with Little Elmore Reed Band at the…? What’s up with that?
Willie: Yeah, Little Elmore Reed Band is still playing. The building is now called the King Bee Lounge. It’s actually a really cool spot. A lot of people are starting to show up to that. They got a full bar now. And pizza. They make a great pizza over there. That’s on 12th and Chicon. We play there Mondays from 10 – 1am and it’s really been picking up. It’s a great new venue.
AustinDaze: So you play a lot of different types of music?
Willie: I do. Like I said, I’m based on blues, but I get away with playing bluegrass and swing music. I’ve played a lot of swing in my day. I’ve dabbled a little bit in jazz, but I can’t say I’m a jazz guitar player by any means. Rock n’ roll, I really like playing rock n’ roll. I just love so many kinds of rooted music, you know, so I’ll give anything a shot.
AustinDaze: You’ve done a little songwriting. Are you doing any now? Is that something that just comes and goes?
Willie: It does for me. I don’t call myself a songwriter by any means. I’ve co-wrote a handful of songs with Warren Hood, and it really worked out. And I’ve got a couple more songs I’ve written recently. But I don’t consider myself a songwriter. They just come to me. I can’t just sit down and say, “OK, go!” I’ll just sit there all day. But every once in a while just a line will hit me, or a melody will hit me, or I’ll just be noodling around on the guitar and all of a sudden go, “Wait, that’s kind of a cool hook.” So I’ll start there.
AustinDaze: Can you tell us more about what is special about the people you play with here in Austin?
Willie: There is just a beautiful community of people and musicians in Austin. The cool thing is like people elsewhere, they get real competitive with each other. You go to Nashville, or LA or New York, it’s a competitive thing. People want to put other people down. You can tell when a musician is not from here. They come here and kinda like put everybody down. They soon learn that its not that way, you don’t have to be that way. People here, they just support each other. We all want each other to do well. Genuinely. When we see Gary blow up, everybody’s so excited about seeing that. Because we think he represents us. He came from the same soil as all of us. That’s how we look at it.
AustinDaze: You certainly see a lot of collaboration in all genres of music in Austin, but the blues community is especially tight it seems. I don’t know if that’s because I see more of y’all because of my particular focus on Austin music. But it seems like the way that group is a circle of people that play in all sorts of combinations of gigs. Not only that, but are out supporting the same people. Like if you were to go see Jimmie Vaughn at the Gallery, you would know certain people would be there. Because it’s like a community center.
Willie: It is. After Clifford died, and Antone’s is, well I don’t really know what Antone’s is right now, the rumor is its coming back, there was kind of a lull in the blues scene and people didn’t know where to go. It kinda got weird for a while. But now its great, there are so many players, of all ages, but young guys especially, coming up in their 30’s. It’s great. There’s a lot of us now. I think the Austin blues scene has really had a resurgence. You’ve got the Keller brothers here. You got the Muller brothers here. All that came from Antone’s. Once that club kinda stopped existing for a while, things got scattered for a little bit. But now I feel its really coming back strong. Especially with guys like Gary doing really well.
AustinDaze: What kind of wisdom can you offer to other musicians out there?
Willie: Just remember that the music itself is the reward, not necessarily making a bunch of money and “making it”. I don’t even know what “making it” is. I’m just so grateful just to get to play. At the end of the day, it’s like, wow, I spent my whole day making music. That, in itself, is the reward. Not being on The Voice, or whatever’s popular now, I don’t even know what that is.
AustinDaze: How do you stay healthy when you are on the road?
Willie: That’s hard. Actually, when I’m on the road, that’s when I’m not healthy. Because you are stuck with gas station food and fast food a lot of the time. Warren always tries to find a good salad bar somewhere when I’m out with him. But I guess the answer to how I stay healthy on the road is staying healthy at home. That’s really the only way to do it. And try to get a lot of exercise.
AustinDaze: What is a favorite gig or venue that you’ve played?
Willie: This year, playing with Lazy Lester at C-Boys is definitely on the top of my list. We had so much fun with that. I’ve played a lot of gigs in my day, but as far as cool factor, that’s the one.
AustinDaze: Steve is really holding it together a lot for musicians. A lot of y’all really get to play a lot at Steve’s clubs, like the Gallery, the Continental and C-Boys.
Willie: Yeah, I really think that Steve has really held Austin together with all this change going on, all these clubs closing. Steve is really the main guy here in Austin that’s really keeping it alive. Once he opened C-Boys, it was like “Finally, score one for the good guys.” Because all these things were shutting down left and right. He’s really done a lot for the Austin music scene. He’s Number One. It’s like the Continental Club, all those guys are like a family. It’s a beautiful thing.
AustinDaze: Can you tell us about your most epic gig?
Willie: Let me think. I’ve done a handful of Austin City Limits music festivals. I think I’ve played that three times. And that’s always fun. Last year, I played Blues on the Green with Tamika Jones. And that’s a lot of fun, because you are the only stage playing. And you’re playing for I guess 10,000 people. That was a lot of fun. I’ve played the Moody Theater with Hayes Carll last year. That was a lot of fun.
AustinDaze: And the Brew Birds are playing tonight, right?
Willie: I don’t think we’re on for tonight. But yeah, the Brew Birds is a really cool band. We’re backing up Warren Hood. You got Warren Hood and his cousin Marshall, so you got that cool family thing going on, myself, Nate Rowe, and Baby Elvis aka Jordan Cook on the snare drum. That’s a cool thing. We play Strange Brew once a month. It’s a really cool acoustic band. I definitely recommend. We have a lot of fun. And it’s really nice to be able to listen to Warren. He gets to play a little bit more fiddle and gets to sing a little more because it’s not a loud rock n’ roll band. So I highly recommend that show to anybody.
AustinDaze: How did you meet Warren?
Willie: We were just talking about that the other day. I met Warren when we were in a band I mentioned earlier, I think it was the James Hyland band at that point. We were in our early 20’s. A friend of mine’s mother knew Champ Hood and was a big fan of Champ Hood and the Threadgill Troubadors. We were playing country music, trying to. And he mentioned that there was this kid named Warren who was looking to play fiddle. So I met Warren at the Music Lab on Krebbs Street on South Congress. The funny thing is we were in there drinking beer and smoking weed, and here walks in this 15 year old, scrawny, dorky kid, with his shirt way too big for him, walks in with his fiddle, and we didn’t know what to think about him. He looked like he was 12 years old. We’re like, “OK, plug in, let’s play.” And he started playing, and he was really into classical music at that time, so he had a really interesting approach at first to the music. We all did, it was cool, because I had never played in a country band at that point before either. We all learned together. We all came up together. Me playing music with Warren, it’s just like talking, because we learned together. We both influence each other still to this day. It’s just an amazing thing. I’ve traveled all over the country with Warren with different bands, with the South Austin Jug Band and later on with his own band. It was probably like 1999 or 1998, something like that if I remember, when I first met him.
AustinDaze: Were you going to Antone’s and watch the Keller brothers when you first started going to Antone’s?
Willie: I was yeah. I used to go and watch the Keller Brothers all the time. I used to be scared of those guys. Because I was shy when I was like 16 or 17. I would watch Mike Keller burn the guitar in half every night.
AustinDaze: How were all those high school kids getting into Antone’s?
Willie: I don’t know. You’d have to ask those guys. Those guys are from Fargo. Right out of high school they came down. They just moved to Austin to play at Antone’s.
AustinDaze: They must have had some special nose for talent. Or maybe it was an attraction?
Willie: It was an attraction. That was a serious place to play. Everybody in the world wanted to play. It was #1 at that time. The #1 club in the country for blues. I was just grateful. I would just drive down there by myself. Right when I got my driver’s license, I would drive to go to Blue Monday at Antone’s by myself. And they would let you in because it was all ages. So I would do that. It was like going to school for me. Every Monday I would go see Derek O’Brien. I remember one time it was me, my brother and one table behind us watching the Blue Monday Band. And that table behind us was Willie Nelson and his family. And he got up and played a whole entire set with the band, just for me and my brother. That was unbelievable.
AustinDaze: That’s a good place to end there. There’s your epic story. Which brother?
Willie: My older brother, Eric. I used to live with him right out of high school. I would drag him. He loved it. He’s not a musician, but he loved it. He would come up there a lot with me. That one particular night, we’ll never forget that.
AustinDaze: One of the sponsors of Sundaze Conversations is the author of this book, The Rockstar Remedy and Gabrielle Francis wanted to give you a copy.
Willie: Wow, thanks.
AustinDaze: Thank you.
Willie: Thank you.
May 16th, 2015 by Greg Etter
On Thursday, Corey Henry and the Funk Apostles and The Nth Power played at The Parish on 6th Street. Both bands were really cool. Corey Henry and the Funk Apostles opened up the night. They were very keyboard-heavy band which was a good change of pace from what we have been seeing live. The effects that he used were pretty awesome as well. Frontman, Corey, the Snarky Puppy keyboarist, had two drummers who were the foundation for the genre defying music that he, a second keyboard player and a guitar player were making. The music had elements of a lot of different styles of music ranging from electronic to funk and soul. It was a very high energy set and a great opener for The Nth Power.
The Nth Power took the stage shortly after and completely killed it. This band gave off great vibes from the very beginning. They played powerful soul fueled, jazzy, funk infused set featuring some top notch percussion. The two drummers, one playing the skins and other percussive instruments, the other a full kit, were both taking turns sharing incredible drum fills and seemingly improvised percussion breaks. The keyboardist, Nigel Hall, was also pretty amazing and added some great vocals to the mix. For one song, Corey Henry came out and the two of them played together. Toward the end of the set, one of the percussionists, Weedie Braimah went on this epic djembe solo, silencing the crowd and the rest of the band. I’ve never seen anything like this man’s percussive abilities on all of his instruments, especially on his djembe. Just when you thought he might end his solo, it picked back up again. The only person who was just as good was his fellow drummer in the band and ex-Dumpstaphunk drummer, Nikki Glaspie. She was amazing, a true heavy hitter on her kit who really showed us her chops throughout the entire set. The two of them together were the backbone of the entire set. She even sang on a few songs. The bassist, Nate Edgar, was also very on point and laid down some unbelievably funky riffs. During the set, special guest and Dave Matthews Band saxophonist, Jeff Coffin, came out to play a few songs with the band. He had some really cool horn solos that he added. H e sounded great. The front man, Nick Cassarino seemed to bring it all together on guitar and vocals. Overall it was a very funky and soulful night at the Parish with two amazingly talented bands.
May 14th, 2015 by Greg Etter
Last Wednesday, Russ and I ventured to the Moody Theater for the Austin City Limits taping of Shakey Graves. I saw the advertisement for this show on the ACL website a few months ago and was excited for it even that far back. I had seen him live a few times before and his live performances have always been incredible. This taping was no exception. It was a bit of a homecoming for Alejandro Rose-Garcia (Shakey Graves), who was born and raised right here in Austin, TX.
He jumped right into his set after taking a second to soak it all in and feel the good vibes from the hometown crowd. He kicked off the show with one of my favorites, Roll The Bones. With his suitcase-turned-kick-drum, tambourine pedal and electric guitar he set a precedence for the rest of the show, ensuring that it was going to be a special night. The powerful thud of that kick drum was enough to make you feel like getting out of your seat. He then jumped into some newer stuff and brought out his drummer, “Boo”, and guitarist, Pat O’Connor, for a few songs to add to his sound up there on stage. Some of the notable new songs, for me, played during the set were, “If Not For You”, “The Perfect Parts”, and “Family and Genus”. The dynamic range of within his songs, especially live, is something that I don’t see many musicians even come close to pulling off. He was constantly going from super dirty, overdrive ridden, distortion drenched electric guitar to near silent palm muted fingerpicking. He seemed in control of every aspect of the songs and would let it all go and bring the ruckus and then harness it all back together seconds later. The chemistry between the drummer, Boo, and guitarist, Pat was very impressive considering the amount of tempo shifts that went on during each song.
There was an acoustic portion of the night where Shakey Graves played solo with just his guitar and his voice. He even played a request from his mother, Chinatown (with a bit of kazoo added). Some material from previous albums was also played, including “Built to Roam” and “Proper Fence”. Again, the dynamic range even between the songs chosen for the set was very cool to hear. His stage presence was great and banter between songs really added to the fun during of the show. He ended with “Dearly Departed” and brought out local songwriter, Carson McHone. They were a fantastic duo and ended the set very nicely. An inevitable encore happened and Shakey Graves took the stage solo again playing two songs, Hard Wired and Late July. The entire show exceeded my already high expectations. I would definitely recommend catching one of his shows the next time he comes back to town. This guy is the real deal.