Dead in the center of the Rumba Cafe stage, surrounded by guitars resting on amps in a sea of wires and cables, stood Shondra. The well-worn upright piano’s wood frame is tattooed with travel character and bears scars from years of delightful punishment under the hands and heels of Low Cut Connie‘s frontman, Adam Weiner. This esteemed partner in musical crime played host as the crowd slowly filled the front of the room. It was clear to see that everyone was excited to catch the infectious energy of a Low Cut Connie stage show. This Philadelphia five-piece is known to pull off some serious antics on stage. Several fans in the crowd pointed to the large steel structural beam running overhead, extending over the center of the stage’s very low ceiling. Would they be able to rock out to maximum effect without causing serious cranial damage?
Will Donnelly (rhythm guitar), Luke Rinz (bass), Larry Scotton (drums), and Jimmy Everhart (lead guitar) filed onto the stage, limbered up, and settled into their instruments. Adam Weiner strode to center stage and straddled Shondra’s bench. After tuning up, he immediately climbed the face of Shondra and stood as tall as he could on her top, cautiously testing his head clearance.
“People of Columbus,” he shouted as he pointed to the steel rafting above him, “If I die here tonight, you’ll know why!” Then a few moments later, to cheers in the affirmative, “Are you ready to get weird tonight?!”
Everyone in the crowd was getting down as soon as Adam, Jimmy, and Will laid into their first chords. Their bluesy garage boogie sound distills the best elements of rock ‘n’ roll’s finest roots and delivers with a blast of frantic heavy soul. The entire band kept the energy high from the start and didn’t let up the duration of the set.
Low Cut Connie’s blistering set featured a solid selection of songs from Dirty Pictures, Part 1, their new album due out May 19, including Dirty Water, Am I Wrong, and the album’s first single Revolution Rock n Roll. Mixed between this tour-de-force were fan favorites from their past three albums, including Shake It Little Tina, Me N Annie, Boozophilia, and Rio.
Adam Weiner commanded the stage as he pounded, stood upon, leaned across, and backbended over Shondra’s sturdy frame. His daring keyboard acrobatics recall the showmanship of Jerry Lee Lewis combined with the glitter blues style of David Bowie, Marc Bolan, and Elton John. Adam conquered the crowd with the same outrageous intensity of Mick Jagger mixed with the soulful sex appeal of Prince. He didn’t hesitate to join the party on the floor and get down with those in attendance. The whole crowd was totally into the whole vibe for the entire night. They grooved and danced with smiling partners, sang along to nearly every song in the set, and lifted their glasses in cheer and praise.
It was hard to believe that this was Low Cut Connie’s first time in Columbus. Based on the incredible reaction from everyone in the room, it was easy to see that their music knows no bounds. The band took a moment to thank the welcoming support from long-standing and new fans alike, and the local radio station for their continued support to “help us little guys.”
“Without you,” said Adam, “we can’t compete with Bieber and Twenty One Pilots.” He reached his hands out to the crowd and shared some gospel truth: “Columbus, I swear to you, I swear to everyone here, if you stick together, if you stick with LCC, you’ll never lose!”
The night drew to a close, but Low Cut Connie showed no signs of letting up. “We’re gonna do something kinda fucked up,” Adam said, with a wry smile. “Something from my favorite band in New Jersey, who got together for like five seconds.” And with that, they launched into a ferocious rendition of “Where Eagles Dare” by The Misfits, chanting the chorus, “I ain’t no God damned son of a bitch,” at the top of their lungs. Following that surprise, they laid into the staccato, funky rhythm of the classic Prince hit, “Controversy.” The rest of LCC continued to jam out as Adam jumped down to spread his sexy mojo into crowd, giving hugs and high-fives in every corner of the floor.
Low Cut Connie once again made a new congregation of freaky believers to spread their lively message far and wide. With their upbeat groove and electrifying stage presence, don’t miss an opportunity to see this band live. You won’t regret it.
If you ask anyone in Goldmines how they’re doing, chances are they’ll say that they’re really busy. Cleveland’s femme foursome of Mandy Look, Jeanna Lax, Heather Gmucs, and Roseanna Safos are ready to keep their momentum going into 2017. After spending the end of last year supporting their self-titled EP release, Mandy and Roseanna took a moment from their relentless schedules to speak with Blown Speakers, before their recent performance with R.Ring and Split Single at the Happy Dog in Cleveland.
So R. Ring, are you excited to play with them? Mandy Look: Yeah. Roseanna’s like, “What, one of my main idols is stopping through?” Roseanna Safos: My only main, I mean, her, and the other one is Kim. You know what I mean? ML: Yeah. And she’s like, up there for me. RS: If I really explained how happy I am, it’d sound scary. We’ve played with Kelley. We’ve played with The Breeders before, and then we played with R. Ring, too. And then I’ve played with R. Ring too, with other bands. So we kind of know each other. My friend plays drums for her, so they asked us to do the show together, and I was really, really happy. ML: Yeah, it was awesome! RS: We were all just like “!” — Also Kelley Deal shared a Goldmines video, and that was pretty cool. So we’re excited for the show. I can’t wait. ML: I do appreciate how political Kelley Deal has gotten, too. Not incredibly political, but for the right reasons. Speaking for musicians, and about how we need healthcare, and how we need things like the ACA. We’re going to try to work different angles to be friends with her. So I may talk to her a lot. RS: Yeah. You do that. ML: Yeah, I’ll do that, and be like, “If you ever need a guitar player or a drummer, we’ll drive down and practice!”
Do you feel the same kind of commitment to those kind of issues? You know, being a band from Cleveland and experiencing everything that’s been going on lately? ML: Definitely. One thing that’s happening now is that you can’t do just one thing. It’s like the gig economy. You play in a band, but you also have to work a day job, and if you wanna be able to pursue any kind of art, you’re gonna be poor. Unless you’re born rich, you know? For the most part, like 99% of people. So I think those things are very important, to continue the arts and affect the community. Because, I mean, communities will just die out if you don’t have the artists, and they’re not really making money. I mean, not like they used to. Being in a band, I think a lot people don’t realize how much playing live music brings to the community. When you come see a band, you’re going to the restaurant next door to eat dinner, or you’re going to a nearby store to pick something up, you’re tipping the bartenders, you’re helping a small local business. RS: And you’re gonna spread happiness.
Ready for the split
The Thursday night dinner crowd at the Happy Dog comfortably occupied the back tables and choice spots along the bar. While most folks were enjoying a tall draft or a tricked-out hot dog, Roseanna and Mandy were both sipping coffee and fueling up for practice later that night.
ML: We’ve all been so busy lately! We can’t get together and speak! RS: But we’ve all been the busiest we’ve ever been, I feel. But we still do it. ML: Yeah, sort of. Yeah. We make it work. RS: We gotta get back on a regular schedule. We all want it. ML: I’m sure, as you know, everyone’s lives just get in the way. And it seems like we’ve got the most attention this year when we’ve been the least active, in a way. Which is cool. I guess it’s cause we released a record, so that helps push out things. RS: And it took forever for the split to come out. ML: Yeah, but it’s coming out at a good time. RS: Our split’s coming out with Shitbox Jimmy. Well, our record just came out, but our split with Shitbox Jimmy is coming out. Do you know where I booked the show for the release? You don’t know. But I booked it at The Phantasy Theater, just to be fun. I used to play there in the ’90s and had a ton of fun, and I know what it’s become. So I got a hold of them, and I’m like, “We’re gonna do it my way.” They were so excited to do it! We’re going to do it with my cover, one of my door people, no pre-sale, no credit charge. It should be a really fun show. A good excuse to go to the Phantasy before it turns into condos probably.
That’s a shame. It’s good that you got something going on with it, though. RS: I know! Actually the guy who books there, he was in my very first band in high school. So he was like, whatever you want. You can book it or play it, you can do whatever you want. That’s cool.
RS: The songs, that record, our split, Heather made like how many? Like, Heather does the Wax Mage thing. And I think they’re all sold out, the ones that she made. How many did she make? ML: I think 50? RS: OK, so that’s just her own thing, like she’ll make like 50 cool albums. When do we get them? ML: I think she said she was putting them into production. RS: It’s exciting! It’s gonna be really good. Shitbox Jimmy side is awesome, too.
So Wax Mage is Heather’s project? ML: Yeah, she and Sarah Barker, and they kinda just run it out of Gotta Groove. Gotta Groove lets them do what they want, and they just pay Gotta Groove for it in their time, which is awesome. For Gotta Groove, too, because they’re not taking ownership of them. It opened up a whole new world for Heather where she was kinda running a label. It’s just something she always wanted to do. Even though it’s not officially a label, but I think with Quality Time, they partnered up in a way, where Quality Time, they’re doing the work to do the distribution and stuff, and Heather does pre-sales to help pay for the record production. It seems to work. RS: And they do cool compilations. ML: And it’s cool for Cleveland, because people around the world are following them. With the Goldmines record, people have bought them across the country just because they’re more interested in the record art, in a way. But then they get the music and Heather’s like, “I’ve been getting a lot of feedback on the record.” And that’s cool. It’s good they’re not disappointed in the record they’re buying. So it’s very symbiotic.
Back in the van
On top of all of these preparations for their new release, Goldmines embarked on a tour of the Midwest through the month of April in support of acclaimed songwriter and Cleveland music legend, Craig Bell, formerly of Rocket From The Tombs, The Down-fi, and Mirrors.
RS: When I played with Bim in Obnox, he was just like everywhere. And The Gizmos. He saw Goldmines play at Studio-A-Rama. Mirrors played there, and he remembered when he saw me play with Obnox in Indianapolis. And then, when Goldmines played in Indy, he would go see us. So we know each other pretty well, but he just loves Goldmines. So he asked us to do it. He actually wanted to do more shows, but Mandy’s been super busy with her work. Craig Bell is the nicest man on Earth. He’s so active in so many projects like all the time. ML: I wish we could’ve done more. We were supposed to do a couple more. RS: Indiana would’ve been fun, but Mandy’s just busy. I mean, we’re all pretty busy. Very busy. But, that Columbus show we’re playing with DANA, too. Have you ever heard of DANA? Columbus band, DANA. They’re really cool. ML: Did you tell me about them? Or have I heard about them? RS: Uh, they’ve been playing a few times, they’re on Instagram and stuff. But they’re cool. They’re kinda harder. The lady plays like a Theremin. ML: Oh! Heather was showing me a video, she saw them playing on a thing. She said it sounds amazing. Oh she’s going to be so happy. RS: Well, I told her. And I’m like, “Yeah, I’ve known that band for a long time.”
RS: I got a new van. Well, I got a 2015 Dodge Minivan. Pretty new. It’s the nicest thing I’ve ever had. I’ve had, this is like my seventh one. Transmission issues. Always transmission. But that’s why I built my credit up like crazy. Because I never had credit. For this reason, for this van. So I got the van, saved up money. It’s pretty cool. We’re gonna hit the road and not be fearful. ML: Which is really exciting for our band. RS: So we don’t have to rent. ML: That stopped us. Actually, you wouldn’t think a van would stop you, like not having a vehicle to travel in. We used to travel so much because in HotChaCha we had a van, and going out of town was not a huge ordeal. You don’t take two or three cars. It’s like, now we can just hop into her minivan like a family. RS: One of the other things we did, we rented. And it sucked. And it’s so expensive! And then, before there, we borrowed a van, and then we had some trouble. And it wasn’t our van. We were responsible but felt kinda shitty and we kinda felt like, “What? Why are we..?” So I got a van.
Riding the next wave
While Goldmines continue to promote their latest releases, they’ve also focused on crafting new songs and sharpening their musical ideas. Their signature sound of sixties-style vocal harmonies doused in reverb-driven guitars and supercharged with hard garage rhythm comes from a wide range of influences.
ML: I think when Goldmines started I had this idea of us being ’60s influenced, kinda like the girl-group thing, but more like ’60s garage rock, you know? I just love it. Now, I’m like really into this idea of us being more like a Heart-esqe, glammy band. RS: Yeah, that would be cool. ML: Our new single on the split is really rockin’. It’s probably my favorite song I’ve ever written. It’s really tough and cool and rock ‘n’ roll. It’s cool, very cool. So that’s kinda where I’m drawing from. I mean, of course, I like everything. The ’90s is probably my prime time of growing up music. I’m trying to get back into that. I don’t really go on my iTunes. I don’t know, it sucks with technology. You get rid of all your CDs and you have all your iTunes. I don’t really even look at my iTunes anymore. But I need to get into it. Like, there’s too much Sebadoah I haven’t listened to, and I’m like, “I used to love that album.” Then I always think of all these other albums that I want to listen to, or these weird bands. RS: I gotta force myself to go buy a record this week. There are some new artists that really, really grab me, and I just have to have it, but not so much like I used to. ML: (to Roseanna) Are you drawing from anything? RS: Like in, us, in Goldmines? ML: I don’t know. I guess. RS: I’ve been trying to get into like a post-punk kind of thing. Well, because I heard some old HotChaCha stuff, that split we did with We Are Hex. And we were just fucking around, and it technically wasn’t that great, but what you did on your part was so good, well because you’re so good at that style, too. ML: I felt that kinda in Goldmines. Now I can play chords. RS: Well, yeah, because we’re not that band. You know what I mean? ML: In HotChaCha, I didn’t play one chord ever. I was just playing notes. RS: But you’re so good. You’re creative. ML: I don’t think I knew how to play chords. No, I did, yeah, I did! I just liked technology.
RS: (Notices song playing in the background.) Oh, I love this song. ML: We’re looking for a song to cover. RS: Oh my God! I would love to cover this! ML: I think we could cover this. RS: We’ll do it our way. ML: You know, we’ve had a lot of ideas. And then we try and do it, and like if it just doesn’t fit into how we are, you know, we don’t push it. Usually, honestly, I think everything I’ve covered we’ve been at a bar together and was like, “We should cover it!” We’ll probably end up covering this, because it’s just gonna — It’s like always a magical happenstampede.
Goldmines will perform next at the release show for their upcoming 12″ vinyl split release with Shitbox Jimmy on Friday, May 5th at the Phantasy Theater in Lakewood, Ohio. The “Cinco De Mayo” celebration is presented by Panza Foundation, Wax Mage, and Quality Time Records, and will include Goldmines, Shitbox Jimmy, Dime Disguise, and The Safeties.
It’s surreal to think that last year’s tenth anniversary celebration of the Nelsonville Music Festival could have been the festival’s swan song. In April, two buildings caught fire next to Stuart’s Opera House in Nelsonville’s historic public square. Luckily, Stuart’s was spared, but not without taking damage, and placing the festival’s viability in doubt. Thanks to the perseverance of Stuart’s staff and sponsors, and the support of the Athens County business and music community, the festival survived. Their efforts helped make this year’s festival one of the finest to date.
Before Howard took their positions on stage, the host confessed to the growing crowd that they were about to be spiritualized, and he wasn’t lying. Their complex sound featured an amazing orchestration of live musicianship, effects looping, and triggered electronics. Singer Howard Feibusch’s cycling crystalline guitar and sweeping atmospheric vocals seeped through the evening audience. Combined with drummer Chris Holdridge’s jazz-inspired polyrhythmic beats and bassist Myles Heff’s melodic overdriven lines, their folktronica sermon turned many listeners into true believers.
Earlier on the porch stage, we walked into the pleasant vibe of Speaking Suns. Hailing from Yellow Springs Ohio, their mid-tempo indie jam rock tinged with 70s danceable soul managed to get the festival crowd moving and shaking in the setting sunlight.
We were lucky enough to catch a very personal encounter with Ezra Furman as soon as we arrived on the festival grounds. As part of the Gladden House Sessions, he was perched on the porch of a Robbin’s Crossing cabin, decked in beach sunglasses and a tight red striped shirt and strapped with an acoustic guitar. He talked about the creative approach behind his new album and the surprising recognition of his music after years of obscurity. The generous folk influence on his songwriting burst through during his intimate solo performance.
Dead Hand of Man
Starting off on the porch stage was Dead Hand of Man. This trio of Athens Music Scene journeymen laid down fast and upbeat power chords with a punch. Their straight-ahead, classic punk-influenced songs got the early crowd’s attention and started the night with good energy.
Stay tuned for coverage from the rest of the weekend.
It’s hard to argue against the fact that Joshua Jesty has built a reputation as one of the best songwriters to grace the Cleveland music scene in the past decade. Between the proto-supergroup This Is Exploding, the snarky These Violet Young Lovers, and his extensive solo material, he’s a proven artist that produces songs faster than his trademark cartoon rabbits. It’s Your Fault Everything’s Alright is the fourth and final release in his Like Rabbits EP series and marks a defining resolution to his two-year long musical autobiography.
Collectively, this quadrilogy is Jesty’s strongest musical effort since his 2009 release Girl, with each album providing a snapshot into the twists and turns of Jesty’s progress in life and love. His pop song craftsmanship is graced with humor and wit, and allows him to create sentimental stories that can combine the tragedy and elation of everyday relationship moments into fantastic power-pop gems. His heartbroken lyrics swell with nice-guy frustration and can feel distraught at some points, but Jesty’s gentle style always seems to emphasize the underlying optimism of a true romantic. His combination of pop songcraft and incredible musical talent remind me of Matthew Sweet, especially since he played nearly every instrument on each song and recorded the entire effort from his personal studio.
The album’s introduction, I’m On High, captures the classic spirit of Joshua’s musical approach, with an anthemic gritty rhythm and soft vocal melody that hooks like it was from Guided By Voices’ Bee Thousand. The twangy off-note bends and driving guitars of Bad For Me keep the energy of the “first side” alive and provide a nice contrast to the touching delivery of one of album’s strongest songs, You’re The Worst. The last half of the album continues on a high note, from the upbeat modern sound of Time Gives Me The Screw to the quirky, new wave riffs (and awesome bass lines) of When It’s Gone. The acoustic guitar and delicate brass and string orchestration of Here closes the curtain with an emotional and impactful finale. Overall, It’s Your Fault Everything’s Alright is the perfect playlist fodder for both the secretly admired and the prospective breakup.
You can catch Joshua perform the entire album (and get a free copy at the door) on Friday June 26th at Mahall’s 20 Lanes, with Jason Patrick Meyers and The Quickening. The album is also available for purchase (along with the rest of the Like Rabbits series) on his Bandcamp page.