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Bear Creek Festival
Live Oak, FL
November 14-16, 2008
This year's annual Bear Creek Music Festival blew up with local talent as the South brought out the psychedelic funk. This year’s festival attracted talented acts from all over the globe, but the party kicked off with local favorite Brother Bean setting the pace. The first night kicked off all indoors and festival goers avoided the short rain spurts as they danced away to an epic "The Scene Before" from the Melbourne-based rockers. The bass heavy jams from Brother Bean's Russ Neidhardt set the pace for The Telepaths trance-heavy Middle Eastern flare.
Thursday the festival caught it's first taste of Zach Deputy, whose unique style carried through the entire weekend. Having an entire late night stage set up all weekend, Deputy made quite an impression on many. Athens-based Perpetual Groove wasted no time keeping the pace of the jam heavy evening with a fan favorite "Teakwood Betz" lasting more than half an hour. Being no stranger to this festival, Perpetual Groove came prepared to bring the energy fitting for the gathering so far.
As the Friday began, hundreds more gathered to embrace a truly special night of music. The chilly air did not damper the hot sounds emanating from every stage. Deputy kept things funky with another afternoon set, featuring largely improvised songs like “Tube Steak” and “Wormtown.” Deputy's twist on his music quickly won fans over.
Brother Bean stepped up to the stage and delivered another stellar performance to the almost hometown crowd. The set included a jaw dropping rendition of "If I" that left the audience craving more.
Thankfully Friday continued to deliver strong southern acts, with a tight performance from Asheville-based Strut. The band threw down a set that made the crowd get down. Next to deliver was Florida-based Fusebox Funk, who wasted no time dropping an original aggressive jam sound on the crowd. Perpetual Groove stepped back up to the stage to deliver their second set of the weekend laying on the neopsychedelic trance-rock. The group hammered home a set that included fan favorites "Speed Queen" and "Sundog.” Friday raged late into the evening with the first of two funk nasty Lettuce sets.
The rest of the festival went off without a hitch seeing double sets Lettuce and Ivan treated the crowd again with what was dubbed the The Creek Dumpstajam. There was definitely no shortage of talent this year at Bear Creek they set the bar high this year – we'll be back next year to see if they can match it!
-Review by Sean Petersen; photo by Rachel Sears
Tx/Rx / SidAeriel
Vinyl
Atlanta, GA
October 18, 2008
The Vinyl hosted a “Rock The Vote” show put on by Atlanta’s Rock Scene and Project 96.1, and what better excuse to get out and hear some rock music than psyching up for the election and encouraging people to vote! With the 2008 race very close at the time, it felt good to celebrate independent music and take a moment away from the chaos of the candidates to indulge in the freedom of rock ‘n’ roll.
Tx/Rx (Transmit & Receive) kicked off the show as the room swelled under surrounding words by the singer’s voice like secrets seeping into an audience’s mind. The phrases, “my own worst enemy” and “no excuse for who I am”, resonated off the patrons who seemed to increase as if feeling drawn in off the street outside.
Midway through the set, lead vocalist Kevin Arthur strapped on an acoustic guitar as the audience is encouraged to fill out ballots for a mock election to be counted after the third act. “Inside, Outside” gained response as fans supported the band’s initiative in getting the song played on MTV’s The Real World.
Tx/Rx played through an inspiring set, despite feeling a bit under the weather the past week. They left the stage in the capable hands of SidAeriel who took the stage announcing, “We’re not just another number and everything’s ok,” then jumped into “Another Number” and made the crowd move again. Among the attendees symptoms of societal issues seemed to spring forth from lyrics like the repetitive chorus, “Tell me you’re joking … nobody’s perfect like Jesus Christ” in “TMYJ (Tell Me You’re Joking).” The lyrics to the songs lent well to an initiate to vote and use freedom of expression to support true creative independence. Singer Jonas Lagana thanked everyone for coming out and spending their gas money, then SidAeriel closed with “Fingerprint” and many satisfied fans.
All in all, Tx/Rx and SidAeriel opened a great show with Fervor and One Atom 12 headlining. Anyone who got the chance to catch this show gained a moment away from the issues of electoral candidates and inspired the freedom of choice in one of the most cathartic, emotional expressions left to all people.
-Review & photo by Ellen E. Aldridge
Sonia Leigh
The 40 Watt
Athens, GA
October 15, 2008
It was just another Wednesday night at the 40 Watt in Athens, Ga. Sonia Leigh is a staple on the Atlanta music scene, playing venues such as Eddie’s Attic and Unplugged in the Park on a regular basis. This time she graced The Classic City with her musically infectious presence. As Sonia Leigh appeared on stage to an unusually small crowd, the pixie sized singer/songwriter, with a guitar bigger than she is and a voice to match, turned just another Wednesday night into an evening of great music. Unfortunately for the crowd, Leigh let them know upfront that she is just getting over being sick, however it didn’t make a difference as she proceeded to belt out songs from her gut like she was singing to a sold-out club.
Sonia Leigh creates musically ambiguous tunes that get caught in the crossfire of blues, country, folk and rock. She caught the crowd’s attention immediately with a few upbeat songs, hypnotizing them with her extreme talent. At certain times, Leigh created the feeling of being in a dirty backwoods country bar where the musician sings behind chicken wire, just hoping a bottle of Bud doesn’t come flying their way. At other points in the show, you can imagine having an intimate dinner with a lover at a place where the china isn’t fine, but the steaks are big and the wine is sweet.
With the perfect amount of slight twang, raspy voice, and fiddle playing the band invented a harmony that makes it all seem like one instrument that you are dying to learn. Songs like “Black Rubber Band” from her debut album Run or Surrender used such short, sharp guitar strums that the chords thumped inside your chest and made you physically feel the notes instead of just hearing them. She kept the same tangible experience with the powerful guitar and hard lyrics of “Frozen Bed”. With songs like “I Love You”, Leigh created a softer, more reflective tone to make you want grab the hand of the person next to you and recite the lyrics “And if you don’t see it shining in my eyes / I love you.”
By the end of the show, the crowd left with three things from Sonia Leigh; her recipe for a sore throat (water, lemon and Jameson), a beautifully recorded live CD taped at Eddie’s Attic (the singers gift to her fans for being sick), and a smile on their face. Whether or not Leigh’s music can be categorized as blues, country, rock or folk, one thing is for certain; her music and talent is truly exceptional. She is a hidden gem that the Atlanta area is lucky to have found and she is sure to shine in the future.
-Review by Lisa Perron
SHOW of the MONTH
Atlantis
Atlanta, GA
September 18-20, 2008
Pop Death Squad kicked the festival into high rock ‘n’ roll gear Thursday night with a showcase of some of Atlanta’s finest and loudest. The Redcoats proved that there is life – and plenty of it – after being a part of one of Atlanta’s best local acts, Second Shift. Charleston band All Get Out brought a heavier yet more melodic rock to the stage, with an undeniable musical resemblance to Manchester Orchestra, but the band has enough talent and original material to hold its own. The camaraderie in sound between the two bands may be the reason All Get Out has been signed to Manchester Orchestra’s Favorite Gentlemen imprint, giving the group a seal of approval for many Atlanta music fans.
Death On Two Wheels has its sound boosted with accompaniment from the lovely ladies of The Bridges. Led by Trae Vedder, who has worked for Atlantis in the past and managed bands like The Bridges, Death On Two Wheels is no stranger to music festivals, especially Atlantis. The band owned the stage, with Vedder growling out the lyrics from the group’s recently-released debut album (CD release party sponsored by Southeast Performer November 1 – come join us!) with rollicking guitars and honking keys backing him.
Atlanta’s Masquerade opened its doors to Heaven Friday night during the Atlantis Music Conference for Green Eyed Stare, who started the evening with an eager yet short set. The band had only two weeks’ prior notice to promote for their Atlantis show, but by the time “I Don’t Want To Believe” cut into its first solo, the band had the spirit to get the crowd going. Green Eyed Stare played Atlantis for the first time this year and hopes to return next year to take part in panels and the chance to play for larger and more diverse crowds.
High-energy ska-punk poured forth from JACKMOVE’s set midway through Friday night at The Masquerade and showed off the true nature of a horn section to an audience of skanking fans. The sweat from the brows off band members did not spoil the sight and vision of JACKMOVE. This is one show to catch, and since JACKMOVE hails from Virginia Beach, Atlantis attendees caught a glimpse of something to look out for on future horizons.
April Cover made use of Atlantis this year as the band attended panels and networked its demo with singles “That Girl Will Bring You Down” and “Heartbreaker,” both of which they played opening up at Smith’s Olde Bar Saturday night. The opening act always has the most difficult time rousing the crowd and attracting attention, but April Cover played strong and amused the audience with quips about networking at Atlantis though the band knew its fans almost completely by name. The melodic yet passionate vocals will take this band to larger venues if the band maintains its sense of spirit.
An impressive showcase of gothic-industrial rock ‘n’ roll shined down through fog machines as The Julia Dream brought a different style of music to a night filled with singer-songwriter and hair metal acts. Opening with “Transistor” and transitioning into more Bauhaus-sounding vocals in songs like “Clean Today,” the band kept up an entertaining and almost-haunting set. A definite fan presence called for “Ultrahigh,” and The Julia Dream acquiesced, always willing to please.
Southeast Performer’s own showcase at Star Bar closed out the festival Saturday night. Though problems in communication led to the absence of DJ Le Castle Vania, the crowd was happily tired out from the previous six acts that rocked the stage of Star Bar. The Sammies played first, before making a quick getaway to play a late-night gig in Birmingham. The band’s bright indie pop was happily unrushed and made for a strong start to the evening. Athens’ Gift Horse followed with a more introverted style, veering towards an eerie grunge with atmospheric guitars and heavy drums.
Making an interesting change, Pistolero had its singer playing double duty on the drums, as the band’s usual drummer was in Europe on family matters. The switch didn’t hurt the band, instead creating a fresh spark that kept the performance interesting and upbeat. The driving force of the evening carried on with It’s Elephant’s and the eclectic sounds the band brings with it. From dirty rock vocals to soulful horns, It’s Elephant’s is not afraid to mix up genres from one song to the next or even within one track.
The Judies brought a more playful vibe to the party, with their usual matching outfits and indie popping, keyboard-led sing-a-long tracks. And, of course, the playfulness was brought to a fever pitch with the glitter-loving Casper and the Cookies, who ended up rounding off the night in their cheery Athens style.
-Review by Ellen Aldridge and Leila Regan; photos by Ellen Aldridge and Kate Eldridge
Liz Durrett
Georgia Theatre
Athens, GA
September 12, 2008
On any given Friday night in the college town of Athens, Ga., you can walk the downtown streets and hear Tom Petty being played by a random cover band, the newest hip-hop beats echoing onto the street from a nearby bar or a fist pumping old favorite by a 1980s hair band streaming from the closest frat house. The CD release party for Liz Durrett’s third studio album Outside Our Gates was a welcome change of pace for a seemingly increasing youthful town. The legendary Georgia Theater, which has seen the likes of R.E.M., John Mayer, and countless other acts, hosted the event and made Durrett look as comfortable as she hopefully felt in the city she calls home.
Durrett’s trademark sound makes you feel as if you have entered a sort of underground coffee house where the Columbian roast is always served black and, instead of candles on the table, you’d be lucky if all the lights were working. Her music doesn’t use fancy studio sampling or dubbing but instead relies on the singer/songwriters’ incredible talent and emotion to make her point. The soft-spoken musician began the show with the eerie sounding “In the Eaves,” which was a smart choice to wow the audience with her achingly hollow and gripping voice. There are aspects of the show, aside from the singer’s intensity, that allow it to stand out from many other indie folk concerts. The instruments being played onstage to compliment Durrett’s guitar (both electric and acoustic) consisted of a cello, violin, and the rarely seen but always appreciated xylophone. These additions to what could be simple songwriting bring Liz Durrett’s show to new levels of musical enjoyment, almost like a bag of Pop Rocks for your ears.
Working her way through the set, the tiny singer continued to play her usual interesting melancholy tunes with the occasional upbeat surprise thrown in. “Wild as Them,” while better placed in the beginning of the set, was a welcome interruption from the almost-entrancing lullabies that constituted most of the show. Towards the end of the evening, Durrett sang “We Build Bridges,” which skillfully shows off her vocals that sound almost like a loud whisper and are in perfect harmony with the haunting backdrop of strings. The show as a whole had a tantric quality throughout the 90 minutes inside the Georgia Theater. Durrett’s songwriting and vocals are a force to be reckoned with and, while enjoyable throughout, never leave you completely satisfied. Each song individually is pleasing, but 10 songs played in sequence fall just short of making a cohesive statement. Outside Our Gates is an album to be owned, but just one more tune to tap your toes to would supply the last piece of the perfect album puzzle.
-Review & photo by Lisa Perron
The Swear
10 High Club
Atlanta, GA
September 12, 2008
Right from the start, The Swear got bodies swaying. The entirety of the bands newest release, Hotel Rooms and Heart Attacks, was played out track by track on the stage in living color. This album is quite an accomplishment and is very much anticipated by Swear fans everywhere. It is the perfect follow up to Every Trick’s a Good One, which left the listener wanting more after an exhausting six tracks. The new full-length satisfies that hunger.
The performance tonight has the wrenching vocals, screaming guitar riffs, and uncontrolled energy that makes The Swear one of the most exciting bands in Atlanta. There is not a lot of stage banter, but Singer Elizabeth Elkins does urge everyone to enjoy a drink as she takes a break (which takes all of 2.5 seconds) to have a shot herself. Tonight is all about business and Elkins is getting it done.
It is a treat to hear “Last Breath,” which is always super- charged live, and Elkins is haunting as her voice fades out, “Every trick’s a good one / Every trick’s a good one / Every trick’s a good one.” After a few more songs, the show wraps up and Metalsome karaoke madness ensues. For a CD release, and especially for The Swear, more people should have been present. The band performed as though it were packed out, and what a shame for those who missed out.
-Review & photo by Wesleigh Reaves
Win Win Winter
The Soapbox
Wilmington, NC
September 21, 2008
Sundays may be the wrong part of the weekend to have a rock ‘n’ roll show but that doesn’t mean Sunday night is wrong for a blistering set of music. Just a few weeks after hurricanes threatened the eastern coastline, Florida’s Win Win Winter landed in Wilmington, N.C. to perform their version of southern rock and jubilant soul.
The front doors of The Soapbox were open due to a sudden, cool change of weather, and it lent an appropriate vibe to the sometimes boisterous, yet easy going nature of the band’s music. Launching into the set, the band dealt with sound problems by laying things on thick with the first song, “We Came from Stereos.”
The band played material from current release A Brief History of… but kept the set list loose, playing new and older material. Lead singer Tommy Simms stood close to the microphone, his jet-black hair looked as if it were bleeding down his face. He deftly straddled the fence between soulful harmonies and pained vocals, scorching his lyrics with earnest intensity. Bassist Brian Schanck bounded around, espousing energy on the small stage in between Simms and guitarist Nate Oliver, who added much with his lead playing notably on slide guitar.
The band interplayed like brothers on a school-yard – smiling and leaning in on one another. Schanck sang along, though devoid of a microphone. He was focused -- a furrowed brow constantly outshined by a wicked smile bursting from under a black beard. It was a joyous set of music, like a family band at a town square performance. Simms poured on his large voice, like a raspier Kevin Kinney or throatier John Bell. When Simms let loose, his vocals were powerful and achingly meaningful.
The night was additionally eventful; it was drummer Matt Bennett’s birthday and Simms announced mid-way into the set, as the hour crept past midnight. But it was on the finale, a new song called “Horseshoes and Hand Grenades” that the band really shined, taking a lengthy song and making it a sonic experience for the ear and soul. It was given extra life by Josh Greenburg’s carnival-esque keyboard playing.
Most noteworthy about the night’s performance was that songs took on a new life compared to how they resonate on the album. It was more ambitious and energetic, like a new shade of a familiar color. Some songs built to a blistering climax and others ended in exquisite collapse. It was a welcome surprise, like getting two desserts instead of one.
-Review & photo by Brian Tucker
Paul Collins/Gentleman Jesse and His Men/Beat Beat Beat
The EARL
Atlanta, GA
August 27
Josh Martin, lead singer for Beat Beat Beat, said the band hadn’t played in about a year before launching into a harsh-but-fun version of the Gary Glitter song “Hello Hello I’m Back Again,” the Atlanta garage punks’ first number opening for Paul Collins Beat in a show presented by Rob’s House Records. Beat Beat Beat sightings have been rare. The band isn’t broken up, exactly, but Martin lives in New York now where he fronts the Ex Humans.
Up next, Gentleman Jesse and His Men flew through a set of tightly wound pop songs. Their manic-but-purist power-pop might be more obviously indebted to Collins (one of the genre’s heroes) but both opening bands made it clear they felt honored to be playing with him. Someone in Gentleman Jesse’s band went so far as to threaten anyone who wasn’t there to see The Beat .
Members of both Beat Beat Beat and Gentleman Jesse’s Men are extraordinarily skilled at smoking while playing. They are pallid and surly-looking, and (like much of the crowd) they wore snappy, mostly black outfits. But the openers, and the guys in Beat Beat Beat especially, grinned like little kids and sang along, arms around each other’s shoulders (like much of the crowd), when Collins and his band started pumping out sweet, simple rock songs about girls and stuff.
When Collins took the stage he thanked Beat Beat Beat guitar player Warren Baily and Warren’s girlfriend Jayda Abello for helping to set up the show¾Collins’ first in Atlanta.
“These are the moments we live for,” he said, basking in the rowdy appreciation of the young crowd. Some of Collins’ loudest admirers that night were unborn when he formed The Beat in 1979, following the break up of his revered first band The Nerves. However, some in the audience were closer to Collins’ own middle age and seemed just as glad to see him.
In return for the warm reception, Collins (and his grandstanding sidemen) didn’t hold back despite his slight hoarseness. Collins called the mustachioed “Gentleman” Jesse Smith up to sing a song, though he’d only recently heard the Atlanta’s music on Myspace, and shared the mic again during the all-girl, onstage dance party that accompanied the modish song “Look But Don’t Touch.”
Collins built suspense by saving the Nerves song “Hanging On the Telephone” (made famous by Blondie) until late in the set. Then, he teasingly walked off stage without playing “Walking Out On Love.” He waited until the final encore to play it and the audience¾whipped into a joyous, beer-flinging dog pile at the foot of the stage¾lost its collective mind.
-Review by Beverly Bryan; photo by Jason Reed
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