Perhaps I'm of a sort of generation. Perhaps I love a good underdog story. Perhaps it's just the way I was raised.
I like the little guys.
The cinderella stories every year at the NCAA tournament. The shake up in politics. The low budget indie films.
Which is why this summer, especially this summer, I find the mid-major festivals, as I call them to be much more enticing. The bigger festivals what seems to be interchangeable if not regionally interchangeable.
Maybe it's just the kind of music I like, but there are a handful of festivals that are rolling the way I would. As follows (Firefly already happened): TBD Fest, LouFest, Music Midtown
I'm writing this post today after reading the most recent release of Rolling Stone, the
first ever issue dedicated to country music, a physical representation
of their recently debuted country specific portion of their website. I'm
interwoven my thoughts with today's country music on this blog
in multiple instances but not as through as I hope to get here. I don't
know what country music is and I think its fair to say I never have.
As
a young man whose father raised him on songwriters like Neil Young,
Bruce Springsteen, Tom Petty, and John Mellancamp, I should be shocked
that country eventually became a part of my life. Many today who write
on Nashville's Music Row (as pointed out in the Rolling Stone county issue) were also played these guys by their fathers.
But
while my original taste in music hinged more on classic rock (Bon Jovi
was one of the first bands on my first iPod), once a started hanging out
with a specific group of friends, country music was thrusted into my
face with some hesitance at first, but later at least a respect for the
craft. Still struggling...
Back to the magazine. I
thought they did a really good job with the issue. Biggest profiles were
given to Miranda Lambert and Eric Church. Other short pieces were given
to Brad Paisley, The Band Perry, Ashley Monroe, Brandy Clark, Kip
Moore, Keith Urban, and Florida Georgia Line. They also wrote on
segments like The New Stetsons (country stars ditching the cowboy hat),
the 25 greatest country songs of all time (Johnny Cash "I Walk The Line"
#1), The Rock Transplants, and New Adventures in Country (genre mixing)
and finally How To Write A Country Song.
I repeat, I do not know what country music is. I don't think Rolling Stone knows
either, but to give them credit I don't think they care. They know what their audience considers as country music. And while a broader and less
interesting question is does the industry or the people define the
genre...I'll propose a further question: does it matter?
Country music has recently been granting different kind of musicians entrance into their crazy Nashville family for many years now and I think that frustrates people.
When popular music began and genres flared up, people want to pinpoint and corner the sound. And yet today, with genres formats like pop and rock, music of all different kinds can fit any label. Even hip hop could vary its sound and be accepted because it has had various epicenters from Brooklyn to Miami or Compton.
But culturally, country music was supposed to be something--drinking, fighting, cowboys, all that stuff: music for rednecks. But in what way is that the case now? 12 of the top 50 spots on the iTunes charts. Remixes with Jason DeRulo and Nelly. Getting love from Katy Perry, Metallica, and countless other stars from other genres.
Country music is no longer defined by sound, lyrics, or appearance. It is defined by attitude. The country music family never has the guard up, never telling people what can and cannot happened within their genre.
That seems to be the definition of country music now. Anything goes. They should be given credit because this mentality have grown their popularity and opened their music to different groups of people. But does that lend them to enter into their territory of pop and rock where much of anything can fit into the label? Perhaps, but is that a bad thing?
Just like pop, rock, hip hop (I have only been usually they can blanket most of popular music perhaps with the inclusion of folk), country has many sub genres now. You could reference the throwback stripped down country singers like Kacey Musgraves, the rockers like Eric Church and Zac Brown Band, the pop heartthrobs like Luke Bryan and Florida Georgia Line, the leading ladies like Miranda Lambert and Carrie Underwood.
What I guess I am trying to say, and maybe its just me, is that country music is one of the few genres where some people felt like they had to stick to something--one sound, one lyrical attitude. That time seems to have passed. That's why their audience is bigger than ever now. That's why "country" artists have made their way to stages like Bonnaroo, Outside Lands, and some of the biggest arenas in the world.
At this juncture, I respect it but do not like some of it. For example, as I watch the CMT Awards and ZZ Top and Jason Derulo are on stage with Luke Bryan and Florida Georgia Line, I just kind of think "Huh?" You can make the case that ZZ Top is a band just outside the country genre that many country fans like, but Jason Derulo? C'mon. That sounds like a stretch. Same goes for Nelly when he performs a remix with Florida Georgia Line.
Do what you want, sure, but that just doesn't seem authentic. That seems to be the conflict now (at least in my mind). What is authentic country music? Country music is breaking down barriers left and right but where is the line between evolution of a sound and lack of authenticity? While the answer to that question is wholly subjective, I propose authenticity, not sound determines what is or is not good country music today.
One disclaimer: This is not authentic is the sense of style choice or anything petty like that. I do not judge the authenticity of the person, but of the music. Like I said earlier, is Jason Derulo authentic at a country music awards show? I am not judging the authenticity of the people on stage, but of the sound of the music they are playing.
Now would also be a great time to post another inspiration for this post:
Also, here's the lineup of a music festival who shows a good mix or the country/folk genre: http://www.buckleupfestival.com/lineup-2014
For an actual representation here are a few artists/songs that I would characterize as authentic:
Moontower Music Festival launched their new official website today. Moontower is in Lexington on July 26 in Equus Run Vineyards. Moon Taxi and Sundy Best headline an 8 band, multi-genre festival. You can check out the website here. General admission tickets are $45.
The next event at the new Tim Faulkner Gallery was announced. Its called More Dance. Less Hate. Tour Louisville. Here's the info:
Join us June 21st for a city-wide event where you’ll
experience live b-boy dance battles, an opportunity to meet the b-boys
from the movie BBOY for LIFE, a performance by Jalin Roze, dj’s, free dance lessons and a host of organizations offering family friendly activities! For those b-boy/b-girls wanting to compete for a $1,000.00 prize, please contact us: info@nadusfilms.com to let us know. There are limited slots for 2 on 2 battles. Here's the judges for the battle: 1.) Jarius "MOG" King 2.) Keegan
"Seoul" Loye & 3.) Drew "Elusive" Simmons. The DJ will be Desmon
Saxton. Great line-up of talent! Tim Faulkner Gallery is located at: 1512 Portland Ave, Louisville, KY 40203.
Abbey Road on the River will be taking advantage of a little schedule shuffling. They will be pouncing on Paul McCartney's new date at the KFC Yum! Center on 10/28. The festival will add a three day festival that they are calling a tribute to Paul McCartney. Here's more info at Insider Louisville: http://insiderlouisville.com/uncategorized/abbey-road-river-add-october-event-pair-mccartney-concert/
The Hart Strings, a young pop/folk band from New Albany, will be embarking on their first trip out on the road. 3 states in 11 days for these young musicians. First they will be playing at Driftwood Fest tomorrow at Turner's on the river. Other notable bands on this bill include The Formalities and Bowling Green's Buffalo Rodeo. 6 pm - 12 am.
Small note: Toy Tiger, the name local pop songwriter Alex Clark is going by currently, will be having their first full band performance this Friday at The New Vintage. Clark will be playing with his other band Adventure after Toy Tiger. 9 pm start time.
Bruno Mars is headed back to Louisville but this time in a different capacity. He will be playing. He will be performing as a part of CONGO14, a festival that takes place simultaneously in America and Africa. Here's more from The Courier-Journal: http://www.courier-journal.com/story/entertainment/people/2014/06/10/bruno-mars-will-headline-congo-celebration-th-anniversary-rumble-jungle/10283599/
Don't let this show slip by you: The Pass will be playing at Baxter's this Friday for FREE with Nightbeast (Dayton, Ohio). Doors at 9 pm. watch out for some freaky Friday the 13th fun.
Some days I am just so pumped about the Louisville music scene. (There's hopefully a louisville.com article to document that coming soon) Today is a a simple microcosm of that. From various sources, we get concert announcements of all kinds. Today, for example, we got great news:
The Wild Feathers is joining Shovels and Rope at WFPK Waterfront Wednesday on August 27.
Headliner's, who seem to not go a day without announcing a new show, is bringing OK Go to town on September 23.
Madison Theater in Covington, Kentucky (close enough) will host Chvrches on September 29.
Louisville Palace announced Chevelle will play their venue on August 13.
Social Distortion will play Mercury Ballroom on September 16 and Fitz & the Tantrums will play here on November 3.
And that's just what was announced today. Here's what is happening this week:
Band of Skulls, Phosphorescent at Headliner's
Kaiser Chiefs, Sleigh Bells at Mercury Ballroom
The Revivalists, JEFF The Brotherhood, and Vintage Trouble at Zanzabar
Arctic Monkeys at Iroquois Amphitheater
As with many days in Louisville now, there were a great load of concert announcements today that should should really get you to start filling up your summer and fall calendar.
Haymarket Whiskey Bar
7/19 The Pass w/ "Special Guests & Amazing Secret DJ set// Late Night Party" $10 https://www.facebook.com/events/719463161449984/
Also Forecastle said today that there will be another late night show announcement tomorrow at 11 am. From their tease last week, it is likely Moon Taxi (who has played the last two Forecastles). So the public will get to know the venue, day, support, and cost tomorrow. Stay tuned.
Louisville
band The Pass has been producing great electro pop/rock since 2010, and earlier
this year they began venturing into vinyl. Over the first four months of 2014,
The Pass released a single and corresponding B-side each month. Vinyl was a bit
more of a bear than they thought it would be, as their last record did not show
up until mid-May, but nonetheless the music is getting bigger and better.
Because all eight
of the songs are now available both digitally and on vinyl, now it is a good
time to review them all in preparation for the release of The Pass’s third
album, release date TBA.
Single 1: “Sunny Day”
Ironically
released in January, “Sunny Day” begins the series with a loopy guitar hook and
layered synths that made for a great teaser for some great new material.
B-side: “Don’t Take It”
Like many The
Pass songs, this one would be great for a movie montage. The slick, fast guitar
riff and catchy melody get your feet thumping and head swaying.
Single 2: “Without Warning”
For this tune,
they sound like Phoenix went disco. Synths get a little bouncier. Chorus is
very singable.
B-side: “Never Compromise”
The synths
become more of a siren and singer Kyle Peters’s vocals are especially luscious.
The addition of a bass guitar gives “Never Compromise” a bit more funky.
Single 3: “The Same”
Guitar on “The
Same” should remind you of Two Door Cinema Club with fast, high riffs. Both
songs on this single stretch the vocals to places they have never been before.
B-side: “Be Easy”
Speaking of
vocals, “Be Easy” is an absolutely fantastic display of vocal harmony. Combine
that will a slow riff that rings like bells and synths popping in and out, “Be
Easy” is one of the best in this series.
Single 4: “Only For You”
This last
single has the best intro of the bunch with fifty second of spacey synths with
an ‘80s African tinge. It’s an overall fun song with a singable chorus.
B-side: Layers
Synths makes
you jump. Drums hit you and you’re dancing. It’s a great ending to a solid
series.
The summer
continues for The Pass with a show June 13 at Baxter’s and another on July 12
at Bunbury Festival in Cincinnati. The Pass will also be performing at Best of
Louisville on July 31.
Let’s get that pesky release out for everyone.
Things will get big.
For those that
don’t have a record player, these songs can also be found on iTunes, Spotify, and
Bandcamp.
