The Dammit Janets
Ellen Hilton Cook
Brother Francis & The Soultnes
Doors at 7 pm, music starts at 8 pm
Suggested donation at the door to benefit a local community group, details to follow.
Let's celebrate the good times and share a little cheer!
The Mardi Gras theme this year is BLUE, represent in your best blue ensemble. Secret ballot contest for best costume.
Fat Tuesday rocks ⚜
Come one, come all, and bring a friend.
Kicking the show off will be the ever-delightful Rovie Raccoon.
You're not gonna want to miss this.
Show at 8
cosmically put together by the organic juices of the universe.
we have the coco and we use him (Charlie Glenn, guitar).
we have deux peaux and he has the funky foot (Raphael Katchinoff, drums).
we have the biggest boy and he is still growing (Andrew Carper, bass).
we have the casual pink and he will bring his pontoon of followers (J Roddy Walston, keys &vox).
we are the undisputed big tongues of juke juke.
we are coming for your dreams babies and gentlethems!
we are tonight only!
Christopher Paul Stelling is a songwriter based in Asheville, North Carolina.
Known for incendiary performances and his own blend of fingerpicked guitar, howled laments, and southern gothic lyrics, Stelling has toured the United States and Europe extensively.
After self-releasing the albums ‘Songs of Praise and Scorn’ (2012), and ‘False Cities’ (2013), Stelling released ‘Labor Against Waste’ (2015), and ‘Itinerant Arias’ (2017) on the Anti-Records label.
He has been featured on NPR's Tiny Desk series, performed on CBS This Morning, and is a frequent performer at the Newport Folk Festival.
His next album is slated for release in February of 2020.
When not playing guitar he can be found walking his fierce hound, Ida Mae.
"The richly layered storytelling of John Prine, the croon-to-howl hybrid vocal of Tom Waits and Glen Hansard, and an intricately finger-picked guitar style that lands somewhere between Lead Belly and Lindsey Buckingham"
- Rolling Stone
"He's a singer with the spirit of Woody Guthrie both deep within and showing on his sleeve." - Bob Boilen // NPR Music
Ever-evolving artist Bob Mould—whose face belongs on the Mount Rushmore of alternative music—decided to “write to the sunshine,” as he describes it, not because he likes the current administration. It comes from a more personal place—a place found in Berlin, Germany, where he’s spent the majority of the last three years. Here Mould would draw inspiration from the new environments.
The theme, the cathartic vocals, and the strings all amount to Mould’s catchiest, grabbiest album since Copper Blue, the acclaimed 1992 debut of his trio Sugar. Back then, Mould’s work in Hüsker Dü, as a solo artist, and in Sugar helped define the sound of guitar rock in the alternative age. Sunshine Rock finds him doing it again for an era that has ostensibly eschewed rock.
Sunshine Rock follows the 2016 release of Patch the Sky, which was hailed by Rolling Stone as “conjuring the ecstatic rage of his earlier bands for a grim new era” and as “tight, sharp musings on aging, fizzled relationships and death that are melodic enough to sound like songs of victory” by the New York Times. Patch the Sky completed a trilogy including its 2014 predecessor Beauty & Ruin and 2012’s Silver Age.
Damo Suzuki's Network comes to the OB Sunday March 22nd for an 8pm show. (vocalist of seminal krautrock legends Can)
Joined by Saint Louis Sound Carriers: Dhoruba, Syna So Pro, 18andCounting, JJ Hamon, Mabel Suen, and Eric Hall
with Bug Chaser & DJ Makossa
plus live visual projections from ChizmoTV & Kevin HarrisDoors open at 7pm. Adv tickets are $20, $25 day of show.
Best known for his work with the pioneering German group Can, Damo Suzuki is a vocalist and improvisational musician whose creative wanderlust has taken him around the world, performing with a dizzying variety of collaborators. Suzuki had little experience as a musical performer before joining Can in 1970, but his bold, theatrical
style and abstract lyrical sensibility put its stamp on three of the group's most memorable albums Tago Mago, 1972's Ege Bamyasi, and 1973's Future Days) before he left the group in 1973. After a decade away from music, Suzuki returned in 1983, shunning the recording studio in favor of improvised live performances, a number of which
have been recorded and released, among them 2000's Seattle, 2002's P.R.O.M.I.S.E., and 2007's The Fire of Heaven at the End of the Universe. Working with established groups as well as sound carriers; he often has never met before walking on-stage, Suzuki's music in the 21st century has found him relentlessly exploring the boundaries of spontaneous creativity.
"No matter what he does, everything he puts out is better than anything else being put out by anyone else." - Unnamed Subjugate.
Romano's new effort "Finally Free" could stand alone as being pivotal if it were only its profound and breathtaking prose on paper. Writing now like an agnostic Whitman in his prime, Romano explores and uncovers new language and meaning for old sentiments grown tired, stating, "these poems are most certainly my finest and most principled efforts to date." Finally Free sings like a radical revelation, exploring the concepts of music as a celestial being, flora as a consequential ancestor and singing, no matter its quality or sound, as the endmost important output of our species. This record contains a vivid religious articulation despite its clear condemnation of a god as a singular ruling white male. New words have replaced old words for new meaning and the definitions have been left up to interpretation. It seems safe to say that Romano has broken the literary soil hard and ferociously to find the remaining repose in our current "danse macabre."
This masterful record could easily transfix listeners if it were merely a collection of beautifully arranged and recorded instrumentals. Romano told me this record was recorded with one single microphone in "sitting vocal position". He went on to say "I wrote the songs as I recorded them and I had a guitar amplifier to my right and a bass amplifier to my left. The drums were behind me and my chair in the middle. The microphone never moved no matter what instrument I was recording and the preamp settings never changed. I basically mixed the room instead of the individual tracks." Finally Free was recorded on a 4 track Tascam cassette recorder. This means Romano was making constant stream of consciousness commitments to everything that was being recorded in order to bounce them down to stereo and free up tracks for additional elements. A method virtually unused by his peers. "On every record I make strict limitations for myself. This was by far the most extreme, but I also believe it has rendered the most honest and liberating results." Romano, no matter how many times I asked, wouldnât disclose what microphone was used.
Overall, this record harks back to Romano's early studies and obsessions in traditional folk music while simultaneously conveying a surprisingly modern and engaging aesthetic. Dense with new wisdom and blissfully encouraging in these end times.
"FINALLY FREE" is available everywhere worth going NOV, 30th, 2018 on You've Changed Records in Canada and New West Records everywhere else.
Coming to Off Broadway Music Venue on 3/24/2020, this event is sure to get you off your feet and in a dancing mood. Come see for yourselves!!
Doors open at 7pm for this FREE event sponsored by the great Urban Chestnut Brewing Company
Local Acts are as follows:
Brother Francis and the Soultones is a 4 piece blend of soul, funk, and rock music. Full of passionate multi-instrumentalists, Brother Francis is sure to surprise and delight you with their hypnotic, infectious, romantic vibrations.
Frankie DoWop combines elements of soul, pop, R&B, and funk to deliver show stopping performances. The woman is a multi-talented powerhouse. Backed by a band of likewise talented individuals, her songs harness strength, sadness, and all other emotions into raw power. Let her energize you with the songs of her soul.
Bounce House is a 4 piece escapist pop quartet. Blending rock and pop into irresistible ear candy, this band features booming bass, dual vocals, and synth melodies that waiver from sparkly and sparse to grand and sweeping. Their songs' groovy, adventurous undertones are sure to hook you in for the long haul.
COME AND SEE FOR YOURSELF FOR FREE
3/24 @ OFF BROADWAY -- MUSIC at 8PM
The Sadies return to Off Broadway on 3/31!
$15 ADV | $20 DOS
Doors at 7, show at 8
The essence of The Sadies’ story is in many summed up with the powerful image of the aurora borealis adorning the cover of their latest album, Northern Passages. Ever since the quartet comprised of singer/guitarists Dallas and Travis Good, bassist Sean Dean and drummer Mike Belitsky first arrived on the North American scene 20 years ago, their music has never been less than awe-inspiring, with no further embellishment necessary.
As the light swirled with each album The Sadies have made, the overall picture took on more defined colours. On top of that was the incredible list of collaborations—Neko Case, R&B legend Andre Williams, The Mekons’ Jon Langford, Jon Spencer, Robyn Hitchcock, John Doe, Buffy Sainte-Marie, Gord Downie, Neil Young for fuck’s sake!—each one pushing The Sadies’ own sound into new, unmapped territory. Eventually, more time was taken in between albums as focus shifted to their original songwriting, and what was once the best live band in Canada became the best band in Canada, period.
Is it fair then to call Northern Passages their masterpiece? Yes, at least until the next album comes along. Recorded in the basement of Dallas and Travis’ parents’ home north of Toronto over the winter of 2015, the familiar surroundings and lack of distractions resulted in a consistent feel, despite the eclecticism at the heart of The Sadies’ sound. The psych-folk flourishes on tracks such as “Riverview Fog” are no mere homage; this is the sound of our inscrutable world, and how we manage to survive in it.
The Sadies are a band that fans cling to like a closely guarded secret, with each new release fulfilling the promise to reach further, for all of our sakes, not just their own. With Northern Passages, the time has come to make room for more on this wild acid-folk-country-punk trip, and trust me, we’ll be better off because of it.
Matt F. Basler
Electric Six has often used The Devil as subject matter for its songs because of that last bit, the part about corruption and adulteration. That’s what Electric Six has been trying to do with its music now for quite some time!!!! We want to corrupt young women….just like The Devil!!! There’s nothing more rewarding than the seduction of a young innocent maiden, forcing her to wear demonic dresses, levitating her towards the great fiery skull and watching her eyes turn black as she gives into evil and becomes the bride of The Devil!!!! That….is why we started this band….to help women realize their potential as sexy evil maidens with eyes reflecting the utter darkness of a corrupted soul.
With its fourteenth studio album Bride of the Devil, Electric Six examines the concepts of evil and corruption, humanity’s various falls from grace, the nine circles of purgatory and of course, the internet itself. Bride of the Devil opens with the thunderous opener “The Opener”, a bombastic celebration of the arena rock Electric Six never got to play. The next two numbers are textbook ear worm guitar pop numbers that deal with debilitating income inequality and nepotism (“Daddy’s Boy”) and the horrors of being forced into a pool of toxic waste by an a rabid Doberman trained to kill (“(It Gets) (A Little) Jumpy”).
And then we get to the title track, a radio anthem, where it all becomes clear that The Devil is a metaphor for Russia and the United States is the young girl who is seduced, corrupted and wedded into a Satanic covenant with the beast. It’s all there in black and white. The Carrie Underwood-esque lyrics alongside a backdrop of vodka and caviar and backchannels and Seychllian bank accounts. That’s how they did it. They went after our country performers and got the rubes to feel good about being Russian assets. And still, it is the feel-good anthem of the summer.
Finally, the haunting album closer “Worm In the Wood” is Electric Six at its most serious, most tender and emotional. Haunting. Effervescent. Corrupt. Jaundiced. Tired.
So there you have it. Electric Six is back with its fourteenth record and it’s poppy and feel-good, as well as heavy, both sonically and lyrically. Our sound will corrupt you and enslave you as the beautiful demonic bride you know you truly are. Fraulein, take this severed hand with it’s creepy long nails from the beginning of time. To do so is truly thine destiny.
Come see Electric Six on the “Russia, If You’re Listening” tour this fall and into 2019. Bride of the Devil will be released on Metropolis Records on October 5, 2018 world-wide.
Missouri brothers form a band saluting the music traditional to their homeland: The
Ozarks... where Old-Time Fiddle music received a quick flash fry of foot stompin’
Country Blues as it made its way across the Mississippi River. The songs are a
collection of stories, often ancient in verse but timeless in meaning, and delivered
with sunny reverence for this forgotten music bred to uplift from the tangle of
struggles in a bygone era. It’s music that prefers to draw you out, rather than draw
In 2018, the band released their Self-Titled Debut Album and a companion video for
their song, “Find Your Love,” recorded in an abandoned auto garage somewhere in
Callaway County. Joined by sisters Emma and Olivia Burney, the band boasts sibling
harmonies, upright bass, guitar, tenor banjo, fiddle, cello, ukelele, harmonica,
washboard, congas, shakers, and an array of foot percussion. The mission: to preserve
the rural music of our forefathers and mothers that used to fill the wooden barns that
once dotted countryside on Saturday night and the small family churches on Sunday
morning. That party is still going on.... it’s in your blood.
“Like a baseball player who quietly hits 30 home runs every year or a golfer who regularly finishes in the Top Ten, Josh Rouse's continued streak of excellence is easy to ignore and maybe even downplay a little” -- Tim Sendra, Allmusic.com
You don’t have to work hard to enjoy Rouse’s music. His songs present themselves to you with an open heart, an innate intelligence and an absolute lack of pretension. They are clear-eyed, empathetic and penetrating. Without pandering, they seek to satisfy both your ear and your understanding. The verses draw you in with telling detail, both musical and thematic, and the choruses lift and deliver. They resolve without seeming overly tidy or pat.
Josh Rouse was born in Nebraska, and following an itinerant upbringing he eventually landed in Nashville where he recorded his debut Dressed Like Nebraska (1998). The album’s acclaim led to tours with Aimee Mann, Mark Etzel and the late Vic Chestnut. The followup- Home (2000)—yielded the song “Directions” which Cameron Crowe used in his film Vanilla Sky.
“Every time I’ve made a record, I’ve tried to make it different from the last one,” says Rouse. “I always became fascinated by a different style of music. But at the end of the day, no matter how eclectic I try to make it, it’s my voice and melodic sensibility that tie things together.”
For his breakthrough album, 1972 (2003), which happens to be the year he was born, Rouse decided to cheer up a bit. Noting that he’d earned a reputation for melancholy, he says, with a laugh, “I figured this is my career, I might as well try to enjoy it.” While the Seventies are often identified with singer-songwriters, Rouse was primarily attracted to the warmer sound of albums back then, as well as the more communal feel of the soul music of that time. The follow up, Nashville (2005) continued the hot streak and expanded his audience further.
After relocating to Valencia, Spain with his wife Paz, Rouse has released a steady stream of high quality songs and albums. Subtitulo (2006) contained the international indie folk hit "Quiet Town". On El Turista (2010) he even experimented with writing and singing some songs in Spanish. In 2014, he won a Goya Award (the Spanish equivalent of an Oscar) for best song for "Do You Really Want To Be In Love," from the film 'La Gran Familia Española.'
His most recent release, The Embers of Time, was one of his strongest—self-described as “my surreal, ex-pat, therapy record.” Charles Pitter astutely noted in Pop Matters. “The critics may long for drama and scandal, but The Embers of Time often demonstrates that a simple life could be for the best.”
Produced and recorded by Adam Hill (Low Cut Connie, The Bo-Keys, Deer Tick, Don Bryant, Zeshan B) at American Recording Studios in Memphis, TN, the band’s third album (and first with Bloodshot) Forever is a mix of youthful and defiant punk, rugged Red Dirt country, and vibrant Tejano. The full-length’s 10 songs blend emblematic rock ‘n’ roll with bold horns, violin, and a slather of twang reflecting where the band is from, where they’ve been and, eventually, where they’ll be headed. It’s regional and universal all the same.
While tracking alongside the muddy path that country-punk bands like Old 97’s, Jason and the Scorchers, and the True Believers blazed in the ‘80s and ‘90s, Vandoliers define their own style; no one else is upending the genre quite like them. There are familiar ingredients—Fleming’s raspy vocals, rousing sing-along choruses, and an infectious energy (like on the rippin’ “Sixteen Years”)—that lay down the foundation on Forever. But it’s the ancillary instrumentation that separates them from others. When they seamlessly inject punk rock with ‘60 and ‘70s country grime (“Tumbleweed”), old-timey fiddlin’ (“Miles and Miles”), Tex-Mex horn and violin (“Fallen Again”), and heartfelt balladry (“Cigarettes in the Rain”), a rich new sound emerges. References to the Texas Tornados, Social Distortion, Deer Tick, and Calexico can be made, but none fully capture the soul of the self-proclaimed “Converse cowboys.”
For a band that spends more than half the year on the road, “forever” is their credo of hope and determination—“VFFV” (Vandoliers Forever, Forever Vandoliers) is tattooed on the six members’ arms as an emblem of their solidarity and commitment to the collective, through good times and, more significantly, the tough ones. The album’s lyrics center on themes of dedication (“Sixteen Years”), being known as middle finger-throwing rabble rousers (“Troublemaker”), seizing adventure while traveling (“Nowhere Fast”), and addressing anxiety and depression (“Fallen Again”). When they return home from tour, broke and empty, they humbly look to their families for support (“Bottom Dollar Boy”), and unconditional love—despite their unconventional career paths—(“Tumbleweed”). Thus recharged, they can hit the road again, to spread the Vandoliers’ message with renewed fervor.
Ariana and the Rose
$15, All Ages, $3 Minor Surcharge
w/ Ariana and the Rose
A person whose words are so potent that they cause the people and beings around them to vibrate is said to have a “silver tongue.” It’s apt, then, that Mackenzie Scott—who has spent the 2010s making boundary-pushing pop music under her TORRES moniker—has chosen to call her fourth album, and first release on Merge, just that.
Recorded at O’Deer in Brooklyn, New York, Silver Tongue is a full-scale realization of the world Scott has created over TORRES’ last few albums. Even when singing in more subdued tones, Scott’s voice is fervent, her lyrics stirring and unyielding as she draws from both the divine and the everyday.
It’s also the first TORRES record produced solely by Scott. After having shared production duties on her first three albums, the latter two alongside PJ Harvey collaborator Rob Ellis, she found the process liberating: “I made exactly the record I want, and it feels very ‘me.’”
Silver Tongue fastidiously chronicles the impulses that make up desire—from the dreamy first blushes of infatuation through the slightly terrifying wonder that accompanies connection with another. In between, Scott wrestles with the highs and lows of what “being in love” might mean over heady guitars and swirling synths. This is immediate in album opener “Good Scare,” which details the courage one finds when chasing the person of one’s dreams: “When you said you couldn’t swing it, you gave me a good scare for a minute there / I had never seen that look from you before / You were eyeing all the exits.”
While potent vocal hooks punctuate songs like the sparkling “Dressing America,” which combines New Wave glitter with hovering frustration, and the brooding “Good Grief,” which gently pokes at the idea of fetishized sadness, the knottiness lurking underneath reflects Scott’s real-time processing of her emotions while making the record.
“I was trying to make sense of things as they were happening to me,” she says. “It’s more difficult for me to examine something clearly enough to write about it when I’m in the middle of it, and yet that’s what it demands. You’ve got to see things for what they are if you want to make truthful observations about them. When you’re writing about the past, you can manipulate it a little bit to fit a narrative, clean it up some—there’s less room for bending the present.” This desire to stick to the truth manifests in her lyrics, from the exposed longing of “Records of Your Tenderness” (“I can’t get one word in front of the other / You know my mind’s an overgrown orchard / Oh, I do not want this to be over”) to “Two of Everything,” the blistering letter to her lover’s lover (“To the one sharing my lover’s bed / Do you hold her when she sleeps / Does she also call you Baby / You should know she calls me Baby”).
Celebrate the legendary sounds of Nirvana & Kurt Cobain with national traveling Nirvana tribute 'Smells Like Nirvana’ as they perform songs from Nevermind, In Utero, Bleach, and more (b sides/rare songs).
Make song requests/get tix at smellslikenirvanatribute.com
Smells Like Nirvana is based out of Chicago and is composed of seasoned pros and die-hard- fans of Nirvana fronted by Paul Wandtke (ex Trivium, Dead Original), Nick Shabatura on drums and Mike Petrasek (Bedlem). Their live tribute to Nirvana is a haunting episode of grunge filled angst playing songs from Nirvana's albums Bleach, Nevermind, In Utero and MTV Unplugged as well as rare b-sides and more; played without click tracks or backing tracks, a trait that is rare in today’s contemporary musical landscape, a trait and philosophy that Nirvana lived by.
Come one, come all hard working men and women of these United States and celebrate the music of John Mellecamp. Hits and deep cuts performed by some of the finer rock n' rollers of St. Louis. Chili Dogs will be served, come hungry. Literally and metaphorically.
Sunday May 31st @ Off Broadway
ALL AGES WELCOME! Tickets are $8 and can be purchased in advance at our School or the day of at the door.
Show #1 : 12p - 1:15p : Decades of Punk
Show #2 : 1:20p - 2:35p : Bowie
Show #3 : 2:40p - 3:55p : 90’s Mixtape
Show #4 : 4:00p - 5:30p: Classic Metal
California soul. Yet, under that shiny veneer lays a dark heart, beating with sharp wit and cynical alienation, and the music is all the more alluring for it. TV Girl, comprised of Brad Petering, Jason Wyman, and Wyatt Harmon, was formed in 2010 by Petering as an outlet to blend the love of Spector-esque girl-group pop with an emerging interest in hip-hop. Featuring shimmering vocals and sampled beats, the self-titled debut EP of the same year turned heads online immediately; the group’s lush vintage rhythms and timeless pop hooks were even making waves on the BBC. They continued to release increasingly popular EPs and mixtapes between
In 2014, TV Girl unveiled their first full-length, the critically acclaimed French Exit. The album keeps true to the TV Girl charm with a bevy of electronic samplings infused throughout light and airy guitars, whirring organs, and ethereal vocals. However, this record is not all summer
nostalgia, and there are plenty of times where French Exit reads like disaffected fiction. The moody characters in these songs are fueled by revenge as often as love, underpinned by desperation and a deep yearning to connect.
Their 2016 follow up, Who Really Cares, finds the band doubling down on their heavy use of samples. Combining the aesthetic of 90’s hip hop with modern psychedelic pop, Who Really Cares offers a glimpse into the psyche of a love scorned twenty-something.”
TV Girl’s latest album, Death Of A Party Girl, sustains the dream pop, neo-psychedelic feel of previous work. Petering delivers prosaic storytelling in third-person narration, recounting tales of wistful, romantic flings and mini-dramas starring various shades of the archetypal manic pixie dream girl. The songs are echoing and surreal, cut with samples of dialogue from movies and radio shows that convey a grainy, vintage feel. Standouts include “King of Echo Park,” its beachy vibe conjuring images of skinny palm trees, graffitied skateparks, and humming
lowriders; "Days Til Sunday" a swaying, upbeat bop where the narrator reminisces of rooftop parties and one night stands in Manhattan; and the intoxicating "Every Stupid Actress”
Ticket for 8 Shows
Festival T-Shirt and Poster
Early Bird Entrance to All Show!
July 30-August 2 and August 6-9
Full Lineup Announcement March 2020