Author Archives: Amber Patrick

Reggie Watts, who calls himself a “disinformationalist,” loves to disorientate his audience by combining a unique blend of stream-of-conscious comedy with music.

He’s unpredictable, and you probably won’t know what to expect, but you’re in good company, because he doesn’t know what’s going to happen either. Feeding off of the crowd’s energy, Watts is known for creating an improvised set using two tools: a looping machine and his voice.

Watts has received love from the nation’s big wigs—we’re talking SPIN, Rolling Stone, and Conan O’Brien, to name a few. He’s slated to perform at this year’s Bonnaroo Festival. Hell, he’s kicking off his national tour tonight in Chicago, but we think you really ought to catch him in Cleveland tomorrow night when he comes to the Grog Shop.

In fact, we believe in this endeavor so much that we’ve snagged you a pair of tickets to see him. All you’ve got to do is leave a comment and tell us why you need to be there. We’ll let one winner know by 4pm tomorrow!

Second weekend in May and you need ideas on where the music’s at, right? Cleveland’s brimming with possibilities and unlike our sports teams, our musicians always deliver. If you’re a college student you probably just wrapped up finals week and you need a little music to unwind. Don’t worry—we’ve got you covered, too.

We’re going to tip our hats to some visiting musicians from New York as our featured show for the weekend. Just a little band by the name of Pearl and the Beard.

Alright, little is an understatement. This three-piece is quickly gaining speed as they tour the United States, spilling forth soul-filled tunes that exude such brilliance and hope. Tonight they’ll be playing at The Winchester in Lakewood. Tickets are $10 in advance, $12 at the door, OR if you’re a student and you’ve got a valid ID, just $8! Don’t miss out on this band! They’re the perfect way to kick of summer vacation.

Here’s the best of the rest for the weekend:

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I’ve been itching to catch The Damn Choir and Paper Thick Walls on the same bill in their hometown of Chicago since first hearing both, and last Friday I had just that unique opportunity as the bands were billed together in celebration of the release of The Damn Choir’s sophomore album. They we joined by Boston band Kingsley Flood.

The show took place at The Hideout, a small gem of a venue that is aptly hidden amongst a bunch of buildings. I walked in the back door with the bands for soundcheck and was greeted with a ceiling full of twinkling lights and a venue that’s probably about the same size as Cleveland’s Beachland Tavern.Venues of this size allow the crowd a certain level of intimacy with the performers; they allow you to feel a part of what’s happening onstage, rather than just an onlooker sitting or standing far off into the distance.

As Boston’s six-piece barnburnin’ band Kingsley Flood took the stage, people swarmed inside as moths drawn to flame. I can’t blame them. I had taken my usual spot towards the middle of the room, but found myself inching closer as frontman Naseem Khuri drew us in with his nuanced performance.

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As many of you make the trek to SXSW or follow along diligently from your couch, I find it necessary to tell you a little bit about a band from Cleveland who is making waves as they travel to Austin.

Allow me to formally introduce you to The Lighthouse and The Whaler, a band comprising five good guys with a lot of love in their hearts, some guitars, a mandolin, a keyboard, a glockenspiel, some violins, drums, and an undeniable energy that courses through their live performance, extending far out into the crowd.

The Lighthouse and The Whaler is Michael LoPresti (lead vocals / guitar / keyboard), Matthew LoPresti (percussion), Aaron Smith (violin / guitar / keyboard), Mark Porostosky (mandolin / guitar / keyboard / glockenspiel / vocals), and Steve Diaz (percussion / guitar). Each member of this band floats effortlessly between multiple instruments, showing true musicianship and dexterity that is unmatched by any band I’ve encountered.

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It has always been important to me to find music that speaks to human emotion. When I first happened across Seattle’s The Head and The Heart last year, I remember feeling awakened. Their debut self-titled album touched me in such a profound way that it has become a daily listen.

Thankfully, I got to see them perform at the Beachland Ballroom last year. Very few music experiences have moved me as much as that one, so to me it was very important to chat with a member of the band and get to know the person behind these songs that have had such a huge impact on me.

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The stage was set for an interesting night last Sunday as people milled about, filling the dark corners of Cleveland’s Grog Shop in anticipation of Atlas Sound.

Who’s to say if these people were there because they love Deerhunter or if they were there to witness Deerhunter’s frontman, Bradford Cox, as he performed under his solo moniker of Atlas Sound. It doesn’t matter either way. What matters is that as soon the gaunt, towering form of Cox took the stage, all chatter stopped, and the crowd stood in awe as one man changed our lives with a few guitars, a bass, a drumset, and a smattering of pedals.

The first thing I’ll tell you about Atlas Sound is that his records cannot do his sound justice. You cannot capture his essence and truly experience it without a live performance. To hear it live is to hear it with a new set of ears. In live performance, you will be swirled around within the sound, carried on the air, and delivered to some plane of existence where the world is calm and people can just be. It’s a transcendental experience, the kind that stirs change within your soul and makes you reach towards a life you had discarded as frivolous. In summation, it’s awe-inspiring.

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There’s this certain feel to a sold out-show. A nervous energy, if you will. You can feel all the bodies sardined together rustling with kinetic energy, ready to explode when the bands take the stage. Last Sunday’s Young the Giant/Walk the Moon show at the Beachland Ballroom was no exception. 

The stage goes pitch black, and the room gets quiet. We wait together in anticipation, our breaths aligning. The lights slowly rise, and the five gentleman of Young the Giant take the stage. Our ears meet the opening chords of the tune “I Got,” and vocalist Sameer Gadhia takes the mic as the lights rise and nearly blind the crowd.

Young the Giant has that laid-back feel you’d expect from a band from California. Theirs is a sound fueled by beachy guitars, steady bass, and set work that is laced in delicious cymbals. Vocalist Gadhia is a tour de force, shifting easily through his vocal range. His veins pop on the side of his neck, and he spins into an explosive dance frenzy; I was left waiting for that tambourine to explode like a dandelion head, tiny gold circles chiming to the ground.

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There’s a shift going on in music. An undercurrent of bands that are fueled by a passion for what they are doing coupled with a cathartic quality in their writing that embraces the listener and pulls them in. Kent’s Bethesda is no exception.

This band draws you in with the angelic vocals of Shanna Delaney and wraps you in its delicate folk rock instrumentation by fellow band members Eric Ling (guitar/vocals), Jesse Scaggs (banjo/guitar), Chris Black (violin/viola), Dan Corby (bass) and Justin Rife (drums). The result is an uplifting sound that breathes a breath of fresh air into the mundanity of life.

We had the opportunity to meet up with Shanna Delaney and Eric Ling—the couple that fronts the band—prior to their performance at Cleveland’s Brite Winter Fest. Get to know a band that is trying to build a community of musicians who can inspire one another to create together.

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Upon first listen, perhaps you could find a correlation to Animal Collective or Dirty Projectors in the delivery or composition of Point Reyes’ music. Forget the thought as immediately as it entered your head. This band is an entity unto itself, enveloping its listeners in orchestrations comprising expansive vibraphone, thick bass, luscious cello, guitar, and eerie vocals that weave stories filled with whimsy. 

Point Reyes‘ music is a perfect representation of quality musicianship; they shift effortlessly from moments of delicate composition into something that is chaotic, free. In these freer moments, their music exposes the world, like peeling the rind from an orange, releasing beneath a freshness that will revitalize your tired soul.

In performance, they exhibit a passive intensity. Delicate moments are attacked by intense eruptions. Members Kyle Farrell (vibraphone/drumset), Dan Bindschedler (cello/bass) and Jack Randall (bass/drumset) float around the stage, switching instruments with an organic ease. Asa Horvitz delivers lyrics in a haunting voice that has remained in mind long after their set ended.

We chatted with Horvitz to give you some insight into the band’s roots, their time spent in Poland, and the importance of musical growth.

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