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Poi Dog Pondering | 11.21 | Chicago

December 11th, 2009 | No Comments

Words by: Deidra Trout | Images by: Norman Sands

Poi Dog Pondering :: 11.21.09 :: The Vic Theatre :: Chicago, IL

Frank Orrall – Poi Dog Pondering :: 11.21 :: Chicago

Poi Dog Pondering brought diverse and enthralling entertainment to the Chicago scene with colorful music and unclassifiable melodies. This band, which has drawn inspiration and influence from around the world, now calls this town its home base. At the start of the night, The Vic Theatre was awakened with the feel of France during the 1930′s; chandelier hanging down on center stage, as “Maitre de Ceremonie” Earl ‘Alphonse’ Talbot stepped onstage in a top hat and long red jacket, speaking French to introduce the two opening acts and bringing an artistic vibe to the show. Bailiff, a local progressive trio, stepped out first and was followed by Mistress Stephanie and her Melodic Cat, who fit perfectly with the evening’s atmosphere; an artsy band, alternative with intense lyrical humor. Speaking once again in French, the announcer stepped back onstage after an intriguing start to the concert to introduce Poi Dog.

As the band slowly wandered out filling the empty spaces next to the variety of instruments scattered onstage, anticipation was in the air. The first song, “Had I Known,” came from the array of instruments all contributing to great harmony. Each instrument built up the appearance of leader Frank Orrall, who received a howl of applause. The set continued with a selection of prevailing tunes all related to everyday beliefs and experiences. Playing a combination of old favorites and new songs from their latest album released last year, “Young and Wilde,” “Butterflies,” and “From This Moment On” all reminded the audience what this band represents, which was projected as naturalistic, peaceful, and, with Orrall’s hand over his heart, almost hymn-like.

Though Orrall is known to take lead in this band, he shares the spotlight well, letting the talented musicians onstage stretch their skills. Orrall pranced around, hyping up his band and the audience as they performed songs like “Thanksgiving,” “Watermelon Song,” and a variety of other enticing numbers. Robert Cornelius, a jazz and soul musician, surprised the crowd during “Shu Zula,” mixing in an R&B soul effect. “Lemon Drop Man,” an emotional song for the band about former stage manager Matthew Morrison, put forth the personal relations through which this band connects to audiences lyrically. Through musical expression, in unison with visual effects by artists Luke Savisky and Marco Ferrari, the band continued to engross attendees.

Poi Dog Pondering :: 11.21 :: Chicago

Instrumental melodies created by the assortment of strings, brass, and percussion cast a pleasing display. The band’s live performance invited a multitude of artists to contribute to the music. At one point, 18 musicians, working in a strongly individual way yet still collectively, populated the stage. Some have been engaging audiences from the beginning of the band’s career, such as Susan Voelz (violin), Ted Cho (guitar), El John Nelson (drums), and Dave Max Crawford (accordion, trumpet, organ). Other members were added throughout the duration of PDP’s work, like Ron Hall (bass), Rick Gehrenbeck (keyboards), Dag Juhlin (guitar, piano, etc.), and Dan Leali (drums). Kornell Hargrove and Charlette Wortham also joined PDP, pouring out chillingly talented back-up vocals to jazz up the songs. The live crew ensemble at The Vic added stunning strings by Alison Chesley (cello) and Inger Petersen Carle (violin), as well as horns by Nate LePine and Nick Broste. All these skillful artists coordinated marvelously, though at times it was difficult to hear individual parts. The energy from all of these individuals splashed from the stage into the crowd, with Orrall doing push-ups onstage and sauntering around, busting out beats on a variety of instruments, suggesting that he also drew enthusiasm and energy from the show.

During the one extended set, the performance seemed to thrive. Looking at the diverse audience, from young to old, it seemed that they were all brought to smiles and satisfaction before the band dwindled off-stage. The set finished with “Blood and Thunder,” “Lack Luster,” “Spend My Life,” “God’s Gallipoli,” and closer, “Candy.” PDP returned for an encore with hits including “Complicated” and “That’s Love,” and the show finally ended with an engaging trumpet solo by Crawford. Stepping from the stage, a sense of unity hung in the air. Chicago had been delivered a true performance by real, down to earth, talented musicians who left the audience anxious for their next gathering.

Continue reading for more pics of Poi Dog Pondering in Chicago…

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Cornmeal | 11.28 | Chicago

December 10th, 2009 | No Comments

Words by: Herschel Concepcion | Images by: Norman Sands

Cornmeal :: 11.28.09 :: Vic Theatre :: Chicago, IL

Allie Kral – Cornmeal :: 11.28

If there’s one thing to be said about Cornmeal it’s that they are consistent. They give their all every time they play, which, when combined with their equally tenacious approach to the art of creating live music, continues to make them an act to watch out for. If the Jammy Award they won last year (for New Groove of the Year) is any indication, then this is a group that is just starting to heat up.

In the midst of a cross-country tour that’s taken them everywhere from New York to Colorado, the guys and gal of Cornmeal returned home to Chicago for their annual Thanksgiving show at The Vic Theatre. The night was cool and calm, but inside The Vic – a 1,400-person venue in Chicago’s Lakeview neighborhood – the vibe was a mixture of anticipation and excitement, a wave of youthful energy that hovered over the dense crowd. The beer, flowing freely, worked its magic on the motley horde that filled the theatre. Drunken shouts and wild laughter rang out over the pre-show chaos. A glance around the room revealed a sea of bright faces wearing genuine smiles. It was a warm welcome for Cornmeal, who are known for having some of the most dedicated and passionate fans around.

Trampled by Turtles opened up the show, and the boys from Duluth, Minnesota wasted no time in getting the throng of people moving and dancing to their high-energy brand of bluegrass. I’ve seen the group only a handful of times and the more I watch them, the more I find myself getting hooked. Their vocal harmonies are good and their instrumental work is top-notch and precise – these cats know how to pick their instruments. They played a fiery set that was well-received by the lively Chicago crowd.

After TBT there was a short break before Cornmeal took the stage. The intermission, however, did little to settle the wild hippies that had filled The Vic. Momentum had been established, and even in that long moment between bands it continued to build. People were laughing, slapping each other on the back, and drinking whiskey. It was quite a scene, and when Cornmeal finally appeared there was an eruption of hoots and hollers from the crowd.

Dave Simonett of TBT (middle) with Cornmeal :: 11.28

The band launched into “Long Hard Road,” an appropriate opening tune for these seasoned road warriors. “Oh, pack my bags, I’m coming home,” sang lead guitarist Kris Nowak, “leavin’ tomorrow at the crack of dawn.” Taking the first solo of the evening, banjoist Wavy Dave Burlingame stepped up and ripped into his instrument, plucking up a storm of notes in rapid-fire fashion. One verse later Kris was tearing into his six-string – as only someone with his flatpicking prowess could – before handing the spotlight over to Allie Kral, whose singing fiddle quickly lit up The Vic.

The great thing about Cornmeal is their versatility as a band. Although bluegrass-based, the quintet is keen on using the form as a springboard for forays into a number of styles ranging from rock and roll, funk and dance to folk and psychedelia. It’s a gutsy blend designed to do whatever it takes to create something new that people can dance to.

The set proved to be a nice balance of original, traditional, and covered material. “Feather,” a song about riding the winds of destiny, was, in its execution, as uplifting as ever and a fine counterpoint to the hard-driving bluegrass that had preceded it. “Dirty Black Nag” featured skillful instrumentation from the band before they jumped into the classic “Old Crow.” The night would also bring some interesting covers. The audience was treated to a rendition of the traditional “Shenandoah” before Cornmeal did up their version of Bob Dylan’s “Tonight I’ll Be Staying Here With You.”

Cornmeal :: 11.28 :: Chicago

Other highlights from set two include the tasteful little diddy “Dirty Rag,” which was followed by two heavy hitters from the band’s catalogue, “Shelter” and “Not At Home Anymore,” the latter of which showcased some furious precision drum work from J.P. Nowak. “When the Music’s Over” was a psychedelic rocker, a great tribute to Jim Morrison and The Doors. Chris Gangi laid down some heavy bass lines for set two closer “White Freightliner Blues,” with Kral on vocals and more quick pickin’ from Kris and Wavy Dave. After much applause and foot-stomping, the band returned for an encore of The Grateful Dead’s “Ripple” for a Thanksgiving performance that showed the band’s understanding of the power of music and the importance of giving thanks for life, with all its ups and downs.

It was a mighty fine time inside The Vic, especially for the Cornmeal hometown crowd, who are finding fewer opportunities to see their favorite local pickers these days. Which, in a sense, is a good thing for the band, whose increased touring schedule corresponds with their rising popularity. And who knows how far it will go? The road is long and paved with uncertainty. For the members of Cornmeal, however, uncertainty is part of the game, and they are certainly well-equipped for wherever that road goes.

11.28.09 :: Vic Theatre :: Chicago, IL

Set I: Long Hard Road, Feather, Dirty Black Nag, Old Crow, Oh Leah Lee, Time Wasting Time, Jenny In The Middle

Set II: When The World’s Got You Down, Better Off This Way, Shenandoah, Tonight I’ll Be Staying Here With You, Dirty Rag, Shelter, Not At Home Anymore, I’ll Be Looking At You, When The Music’s Over, White Freightliner Blues

E: Ripple

Cornmeal tour dates available here.

Continue reading for more images of Cornmeal in Chicago…


Dave Simonett of Trampled By Turtles







with Dave Simonett of Trampled By Turtles
with Dave Simonett of Trampled By Turtles

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Vic Chesnutt | 11.30 | San Francisco

December 7th, 2009 | No Comments

Words by: Justin Gillett | Images by: Eric Lawson

Vic Chesnutt :: 11.30.09 :: Great American Music Hall :: San Francisco, CA

Vic Chesnutt :: 11.30 :: San Francisco

If there’s one thing people know about Vic Chesnutt, it’s probably that he’s a paraplegic. Losing the use of his legs to a car accident when he was 18-years-old was an experience that has shaped Chesnutt’s life and the music he has come to make. While this drastic loss could inhibit some musicians, Chesnutt has used the ordeal as somewhat of a launching pad for his eclectic brand of Southern gothic folk rock. Chesnutt really knows how it feels to be dealt a shit hand and his music is evidence of that. Rolling through life and performing onstage in a wheel chair almost seems to give the guy’s music added credibility and resignation.

But, his music rarely panders for sympathy or pity. Despite the simple instrumentation of most Chesnutt songs, his laconic style of singer-songwriter tunes are humble yet striking and wholly engulfing. Chesnutt’s woeful music is depressing, at times, but not without humor and always offers fans an unfiltered view into the his life.

During Chesnutt’s recent performance at the Great American Music Hall, the Athens, Georgia-based musician was joined by a backing band to provide accompaniments to his solitary music. The band, featuring Guy Picciotto of Fugazi and members of Godspeed You! Black Emperor and Silver Mt. Zion, was able to latch onto a sound that successfully complimented Chesnutt’s haunting tunes.

Despite being confined to a wheelchair, Chesnutt ran the show with an impressive stage presence as he strummed his nylon stringed acoustic guitar and crooned into a mic. Although there were six other musicians onstage, Chesnutt was able to capture the crowd’s admiration easily with his distinctive vocals and simple guitar playing. Occasionally employing a blues style distortion pedal, Chesnutt’s guitar tone was well suited for his gruff vocal inflections and dark lyrics.

Vic Chesnutt :: 11.30 :: San Francisco

While Chesnutt was keen to overindulge himself with his powerful voice, the other musicians rarely seemed to slip out and partake in any extended instrumental forays. The drumming was predicable and little more than subtle rhythmic timing that went along with the dreary music. Picciotto’s guitar work, though, was commanding and his playing helped round out the overall sound being created.

As the band played on, it was clear that the music was having a resounding effect on the audience. Despite the social atmosphere that was created for the evening’s performance, with tables and chairs set up on the floor, no one in the crowd seemed to be partaking in any congenial talking. The woebegone music kept the audiences’ eyes fixed on the stage – forcing the crowd to stew on Chesnutt’s words instead of interacting with others at the venue.

With the melancholy tone that permeated the performance, it was only fitting that the doleful music was made by someone who has had to deal with a difficult life that’s almost unfathomable to the average person. The accident that befell Chesnutt during his early years has undoubtedly given the musician weathered character and a disconcerting outlook on life. But as Chesnutt performed, his crippled stature seemed to work to his advantage and bolster his abilities. His visceral lyrics about the downtrodden were extremely heartfelt and appeared self-confessional. It’s almost as if Chesnutt uses his music as a form of therapy, and in turn, those lucky enough to connect are healed as well.

Continue reading for more pics of Vic Chesnutt in San Francisco…

JamBase | Bay Area
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President awards standards to 47 SQN, TACDE

November 10th, 2009 | No Comments

The President of India and the Supreme Commander of the Armed Forces, Pratibha Devi Singh Patil, today conferred the Presidential Standards to two premiere combat units of the IAF – No. 47 Squadron and Tactics and Air Combat Development Establishment (TACDE) at an impressive presentation parade held at the Gwalior airbase.
“It gives me immense pleasure [...]

Posh â€˜offers to pay Â£50k for little sisterâ€™s weddingâ€™

October 23rd, 2009 | No Comments

Former Spice Girls member Victoria Beckham is said to have offered to pay for her little sisterâ€™s wedding.
Posh, 35, who is willing to dole out 50,000 pounds when her sis Louise, 31, weds stockbroker Darren Flood on December 27, also wants the bash to be held at her â€œBeckingham Palaceâ€ pad.
She is even said to [...]

James Denselow: Crossing into the Red Zone

July 27th, 2009 | No Comments

Living for a few days as an Afghan villager or international soldier would show Western civilians the realities of war. The paradox of Afghanistan, columnist…

Mike Ragogna: Monday Music Quarterback: Robert Francis, Gossip, Vic Chesnutt, Soulsavers, MUTEMATH, Matt Hires, Taking Woodstock soundtrack, and Sufjan Stevens’ The BQE

July 27th, 2009 | No Comments

As you’re recovering from the joyful overkill that was this year’s Comic-Con (by the way, Iron Man II will rock very hard, Battlestar Galactica’s The…

Vic Chesnutt Album: w/ Fugazi & Godspeed Guys

July 22nd, 2009 | No Comments

Vic Chesnutt’s At The Cut Out September 22

Vic Chessnutt

At the Cut, the latest effort from Athens, GA-based singer-songwriter Vic Chesnutt, is due September 22 on Constellation Records. A collaboration with Fugazi‘s Guy Picciotto and members of Godspeed You! Black Emperor and Silver Mt. Zion, At the Cut is the follow-up to Chesnutt’s 2007 collaborative recording, North Star Deserter.

Recorded by former Arcade Fire member Howard Bilerman at Montreal’s Hotel2Tango studio, At the Cut focuses on themes of cowardice, courage, mortality, tenacity, defiance, mourning and memory. The opening track, “Coward,” reflects the broad stylistic range of contributors on the album, the songs spans the musical spectrum from classic Vic Chesnutt solo acoustic tracks to the sweeping walls of noise and snarling, angular guitars trademarked by his many collaborators.

In the 19 years since Chesnutt’s debut album, he has made his mark by collaborating with a wide range of artists including Michael Stipe, Bill Frisell, Elf Power, Widespread Panic and the Cowboy Junkies. Hailing from rural Georgia and confined to a wheelchair since an automobile accident at the age of 18, Chesnutt has released 15 critically acclaimed records; been covered by a number of artists on the tribute album Sweet Relief II: Gravity of the Situation including R.E.M., Smashing Pumpkins, Madonna and Sparklehorse.

‘I want to give pleasure’

July 22nd, 2009 | No Comments

Great drama is all about constructing an argument and giving maximum pleasure, says the actor, currently juggling Chekhov and Shakespeare at the Old Vic

When did you first know you wanted to act?

That’s quite a difficult question to answer because I’ve acted all my life, really â€“ well, from the age of eight. I did a huge amount at school and a bit at university. But I went to the Guildhall as a singer, and I also toyed with various other options. The acting sort of crept up on me. It was simultaneous; it was both the only thing I’d ever really wanted to do, and also something I’d never even considered.

Breakthrough production?

Professionally, it was when we went to the Royal Court with Women Beware Women, my first serious play in London. In terms of my perception of myself, it was The Seagull, which I did at the RSC in 1991. That was my first ever really very serious role. Up until then I’d been doing lots of comic parts.

Favourite venue?

I have loads, actually. When I was at the RSC, I loved the Swan, but you can’t complain about the Other Place. And I’m rather fond of the Olivier. I suppose those are the obvious ones.

Least favourite?

I think the Barbican â€“ not the theatre, but the centre â€“ because you have to spend so many hours a day there, and all the dressing rooms are underground. The theatre itself is rather beautiful, but the actual backstage area … Actors need air!

Most challenging experience?

I’ve done lots of performances I’ve not been happy with. I don’t think I was a very good Edgar [in King Lear]. In terms of challenges, the two Pinter plays I did last year [A Slight Ache and Landscape] were a departure for me. Whenever there’s a shift in repertoire, it can be challenging â€“ Spamalot as much as the Pinters. One of the most demanding was Hamlet, for obvious reasons. But I’ve not had many unhappy experiences. Touch wood.

Favourite part of the job?

I love the construction of an argument. I love studying a great play with unquestionably great writing, like a Shakespeare play, and trying to make my mind respond in an interesting way to this extraordinary piece. So I suppose the process of rehearsal is what I most enjoy. Of course, we all love to be praised, but actually the least exciting thing is the curtain call.

How do people react at parties when you say what you do?

They’re embarrassed, usually, because if they haven’t seen you on stage, they assume you’re out of work. You always want to say, “I’m an actor, but don’t worry about it â€“ I’m fine, honestly!”

What would most surprise an outsider about your day-to-day work?

I think people would be surprised by how much care goes into decisions, that we discuss things as thoroughly as we can, try and take arguments right down to the end of the line before we make decisions. And I think people are always surprised by the amount of time that we need in order to get anywhere near what we think the playwright means.

What advice would you give someone wanting to do what you do?

I used to be quite careful about what I said to people who asked â€“ all that shit about “It’s very difficult, 90% of actors are out of work” â€“ and then someone said, “Yes, but 10% are in work!” And that’s the way to look at it, really. There’s no advice I can give, except just to do it, and don’t feel ashamed if it’s what you want to do. I think to hedge your ambitions with lots of caveats about how difficult it is is unnecessary. It’s a passion. It’s a calling.

Can you put what you do into five words?

I want to give pleasure.

Is it glamorous?

No. It’s very exciting, and you meet the most extraordinary people, but it’s not really glamorous.

â€¢ Simon Russell Beale is currently appearing in The Winter’s Tale and The Cherry Orchard at the Old Vic.

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Michael Sigman: The Reading of Wonders

July 20th, 2009 | No Comments

My fascination with the act of reading soon turned into a thirst for the pleasure and meaning only reading can provide

Victoria Beckham Facelift

July 13th, 2009 | No Comments

Victoria Beckham is considering having a mini facelift to restore the youth look of her celebrity heyday, according to spywitnesses close to the former Spice Girl.
Vic – now a 35-year-old mother of 3 — recently underwent surgery to remove her 10-year-old D-cup breast implants and is reportedly considering having a procedure to tighten her [...]