The Year of 100

IMG_5210Since 2004, I’ve been keeping track of all the concerts I’ve attended. To be honest, those early years, there are probably some gaps, because I wasn’t so serious about it. But in the last 5 years or so, I’ve been mildly obsessed with tracking who I’ve seen and where I’ve seen them, and what my “show count” is for the year. The number has always landed somewhere between 50 and 80 – not too shabby for someone who holds down a full-time job that has nothing to do with music.

In August or so of last year, I was doing my monthly update and realized that there was a distinct possibility that I could set a record for myself if I stepped up my concert game a little. The number? 100 live shows. Could I do it? I was pretty sure I could.

Now, there are rules to my madness. For example, festivals only count as one show, no matter how many sets I see during the event. If I did that, I’d be halfway to 100 by the time the Rock Boat was over in January! Plus, at festivals, you end up moving around too much, seeing only part of a set, etc. I only count something as a show if I specifically went there with the purpose of seeing the artist play – so, if I’m hanging out at a bar and there’s a band playing, that doesn’t get counted. You get the idea. Hey, we all have our rules. NPR’s Bob Boilen keeps count, of his shows, too. But he counts every band he sees as a show. So if a show has 3 acts, that’s 3 shows. (For the record, he saw “506 shows” in 2015.)

What this new “goal” did for me was it forced me to broaden my horizons: go see new artists, acts that I didn’t know at all, and others that aren’t typically the type of music that’s up my “power alley.” Some of those new acts I enjoyed, others I didn’t love quite so much, but I listened with an open mind.

And I did hit 100 shows. 101, officially. (You can see my full list here.)  I’m kind of proud of that number. I realize there are people that go to a lot more than I do, but for someone who doesn’t work in the music industry, I think 101 is pretty solid.

There are definitely highlights worth noting. Like that time I flew to Indianapolis to see the OPENING band because it was the only chance I had to see Mighty Oaks on a short U.S. tour (they’re from Berlin). Or that time I forced Rodric to drive to Atlanta and back with me on a weeknight so I could see Alpha Rev. Or going to see The Brothers Landreth on a whim because Stu Larsen had talked about them, not knowing a single note…and falling weak-in-the-knees in love with them. Or driving to Jacksonville to spend a day at the CleanWater Music Festival, put on by Flagship Romance, and being blown away by Israel Nash. The Dirty Guv’nahs farewell shows. There are literally dozens more that I could talk about.

Who did I see the most in 2015? SUSTO takes that title. Saw Justin and his band of compadres 8 times this year. Watching them come into their own and start to get recognized for their incredible talent has been one of the highlights of my year. Furthest traveled? The Rock Boat wins that contest almost every year. But that Mighty Oaks show in Indianapolis was a close second. Most visited venue? The Evening Muse, hands down.

But the most common question I’ve gotten is… What was your favorite? Normally, I have a pretty cut and dry answer to that, but this year, I have a hard time choosing. I mean, any Quiet Hounds show always sits at the top of the list. But that first Brothers Landreth show was pretty phenomenal. Then there was Rainbow Kitten Surprise, who shattered my expectations and made me feel so alive. That Butch Walker show was pretty darn powerful. Then there was the Counting Crows concert…and we all know what they mean to me. My biggest victory was getting Christopher Jak to play a show this year, and my…that man singing could never be short of breathtaking for me. Oh, and Great Peacock…who I barely knew, but went to see to support a friend…completely rocked my world. I think, though, if I had to choose, it would be a tie between The Mighty Oaks at The Deluxe in Indianapolis and be Noah Gundersen at The Visulite Theater in Charlotte. Both of these artists’ music has come to mean so very much to me personally…and seeing both of them was really emotional for very different reasons.

Of course, because I’m an overachiever, I am ready to do it all again in 2016. In fact, I’m going to try to exceed it. So, 2016 is the year of 125. Who wants to join me on my crazy adventure? Keep up and keep me accountable…

Here’s to more live music in 2016!

 

 

New Year, New Mix

Hello, friends.

I know it’s been months since I’ve written. No excuses. I just haven’t felt like writing much lately. Work is kicking my butt and the last thing I want to do at night is come home and fire up the old computer. My company – where I have been for nearly 18 years – got sold and the merging of the two new companies isn’t the smoothest transition ever. It’s been stressful. And my Mom had to have some more treatment – cancer sucks, by the way – so I made a quick trip home to Jersey to be with her for awhile. (She’s doing okay…strongest person I know, my Mom.)

Honestly, you guys, I’ve been pretty blue. And tired.

But it’s not all gloom and doom. I haven’t been sitting around doing nothing. I closed out 2015 with a big milestone…seeing more than 100 live shows in a year (101, to be precise). Kind of a big deal for me – I’ve never done it before, and I’ve been keeping track of all the shows I’ve gone to since 2004. It was such a big deal that one of my sweet friends made me a trophy. I’m really proud of myself…I got outside of my box and saw a LOT of new music this year. Artists and bands I didn’t know. I found new loves. Oh, and Christopher Jak is BACK. Played a show in Charlotte. And is making a new record. So there’s that.

And of course, the Panthers are making history here in Charlotte. So that’s super exciting, especially for those of us who have cheered them on through a couple of really tough seasons.

In between all of this, I made the Winter Mix. But the notes, which are usually my favorite part, just weren’t coming easy to me. I guess the whole not feeling like writing thing has been sort of infecting all of my life. So I’ve been sitting on it for awhile. But it’s a new year, and I’m trying to get re-inspired about writing.

So here it is. The Winter Mix. Winter’s definitely not my favorite season, but I like this mix a lot. Hope you will, too.

Grab the notes and the label here.

Lots of love,

Krissie

Cover Me: Happy Birthday, Boss, the 2015 Edition

I often joke and say I came out of the womb loving Bruce Springsteen, but it’s somewhat true. I don’t really remember when I started loving him…I just know that I always have. In every phase of my life since I was 10 years old, Bruce has been there. I’ve come a long way since playing The River on a tiny little tape recorder in the backyard with a guitar that I assembled out of a shoebox and rubber bands. His songs have changed meanings for me as I’ve grown up, gotten out of my slowly-dying little hometown, and chased my own dreams – they became personal anthems. His music has been the soundtrack to some of the very best moments (and some of the strangest!) moments of my life, and been a solace for me when everything was falling apart. Next to my Mom, his music has been the one unwavering constant in my life. It is everything.

It is now 12:03 PM on September 23rd, and officially Bruce’s 66th birthday. As has become a tradition, I honor him in some way…usually with a blog post, sometimes with birthday parties, and once with a cake adorned with his butt from the Born in the U.S.A. cover.

This year, I decided to go with something a little different. Because I still get googly-eyed when I go to a show and I hear an artist bust out with a Springsteen song, I thought it would be fun to pay tribute to my favorite singer and songwriter of all time with six of my favorite Bruce covers. It’s nearly impossible to pick just six – for crying out loud, I’m leaving out Brian Fallon’s cover of “Backstreets” and Matthew Mayfield’s version of “Dancing in the Dark” (which is downright spooky and wonderful). But I tried, anyway.

Happy birthday, Boss. Thanks for everything.

Ari Hest, “I’m On Fire”
Ari, quite simply, has one of the purest voices around. He’s been covering “I’m on Fire” for years, and he stays pretty true to the original. However, it’s Ari’s crystalline voice that makes this, without a doubt, my favorite Bruce cover by anyone, ever.  I picked this video because it is so bare bones, you can hear just how incredible he is without any amplification at all.

Matthew Ryan, “Something In the Night”
Darkness on the Edge of Town is probably my third favorite Springsteen record, behind Born to Run and Nebraska. It’s an incredibly bombastic record, and this song is about as close to a “power ballad” as Bruce gets. So when the Light of Day tribute album came out in 2003, I was mesmerized by a haunting version of the song that stripped it down to almost nothing. A few years later, I would go to a show at The Evening Muse and see this fellow, the incredibly wonderful Mr. Matthew Ryan, play a show with Mieka Pauley, and come to discover his music was just as fabulous in its own right. (Really, you should check him out.)

https://www.youtube.com/watch?v=P4HfdKS072M

Tim Brantley, “Spirit In the Night”
I could tell two dozen stories about Tim Brantley and Bruce Springsteen. The first time I saw him, he wore this wool hat that was kind of slung back low on his head, and he looked so much like Bruce in the legendary Hammersmith-Odeon concert, and there was just all this Bruce in his voice…I think it might have sealed the deal for me falling in love with Tim Brantley on the spot. One night, a year or two later, he was playing a show here in Charlotte, and he walked in to the venue wearing skin tight black jeans, and a mechanic’s shirt, with his hair slicked back. I looked at him and said, “Well, aren’t you duded up for Saturday night,” a reference to this song. He grinned at me and said, “I think you’re the only girl I know who knows what that means.” From that point forward, he’d play this one for me whenever I came out to see him. I am a lucky gal.

Passenger, “The River”
In 1985, the “box set” came out…and it was a big deal at the time. Three tapes of live Bruce performances over the course of 10 years. I was 11, and I remember playing the cut of “The River” over and over again, because Bruce told this long story before it about his relationship with his dad, and I wanted to memorize it. So when Passenger released this cover last year, I lost my bloody mind. One of my favorite present day singers covering the ultimate singer. Yes, please.

Ben Harper, “My Father’s House”
If you’re a Springsteen fan, I don’t know how this couldn’t be on the list of best covers of a Springsteen song ever done. Ben Harper is just perfect in this absolutely gorgeous version of a very under-discussed, underrated Bruce song. Thanks, Ben, for raising its profile. (And seriously, how smoking hot is Ben in this video?)

The Hold Steady, “Atlantic City”
My favorite Bruce song of all time is “Jungleland,” followed closely by a dead tie between “Dancing in the Dark” and “Atlantic City.” Loads and loads of people have covered Atlantic City, but none ever nailed it for me until I heard The Hold Steady do it. It’s raspy, and filled with a modern-day desperation that matches the original. I love it.

A Cure for the End of Summer Blues: The 2015 Fall Mix

I don’t know about you guys, but even though we have the day off, Labor Day is always a big bummer for me. Not only do I have a case of the Sunday-night blues on Monday, also the unofficial end to summer… and we all know that I’m a summer girl. So, this year, I decided to make sure that I finished the Fall Mix in time to brighten up Labor Day. Because I can’t possibly the only one not looking forward to fall and time changes and cold weather. Right?

If you’re one of the folks that likes to read my ramblings about the songs or wants to burn everything to a CD and listen, you can pick up the liner notes and the label here (and perhaps a bonus track that wasn’t on Spotify).

Happy listening, friends. Hope you’ve had a tremendous three-day weekend.

Shake, Don’t Shatter

Quiet Hounds new record, Shake, Don't Shatter, is a conversation between musical brothers that you can't stop listening to.

Quiet Hounds new record, Shake, Don’t Shatter, is a conversation between musical brothers that I can’t stop listening to.

Every once in awhile, life throws you a huge curve ball. Yesterday, I found out that the company where I have worked for 17 years – the better part of my adult life – is being sold. The future, for right now, is up in the air. I’d be lying if I said I wasn’t scared and apprehensive about what comes next.

So it seems almost cosmically divined that one of my favorite bands, Quiet Hounds, released their new record, Shake, Don’t Shatter, on the day all of this craziness in my life went down. Hollywood couldn’t have scored a soundtrack better. Why? Because this album is a journey of self-discovery. A collection of songs about realizing what those unbreakable threads are that tether you to the people you love most. It’s a record about learning the strength you have to keep it together when everything around you seems to be crumbling.

There’s no doubt that this record is personal. For the first time in the band’s four-year history, the relatively mysterious quartet has given listeners a peek behind the literal masks. For a month leading up to the album release, they teased the story behind these songs. When life circumstances relocated the band’s lead singer to California in 2013, leaving behind the rest of the band in Atlanta, the future of Quiet Hounds was uncertain. But, they persevered, recording melodies and vocals and sending them back and forth via Dropbox to one another, finding creative solutions for problems that might stymie other bands (like recording vocals in a Toyota Prius when no other alternatives were available). In a series of emotional videos and blog posts, individual band members told their pieces of the story, sharing their thoughts behind the separation, intimate glimpses into their songwriting process, and more.

“These songs mean more to me than any others we’ve created. They’re about us. About struggling in the dirt and the mud. About being afraid, but never doubting. About what it means to be an artist, one that can’t live without the songs and the people that you create them with,” M Hound says in one of the videos, a simple yet intensely powerful statement about the deep bonds of friendship and camaraderie that develop in making music together.

That sentiment is at the very heart of this record. The separation, which continues today, resulted in six songs that, through metaphor and analogy, are a conversation among friends, a catalog of a musical brotherhood. In reading their preambles to the album, it’s clear that there’s an incredible amount of respect not just for the craft of making music, but for what each of them bring to the table in the band.

In my imagination, I see the band working out songs, sans lyrics, and sending these blank canvases of music across cyberspace, waiting for them to come back with vocal paint, messages from their friend 3,000 miles away. It’s an incredible frame for these gorgeous songs, but it should be noted that it is my singular interpretation of the album, and in no way do I know the actual meanings behind these songs.

“Gentlemen, believe we’ll do what we must, we hunt at all costs. So my friends, take heed, my hunter we trust, my hunter we trust. Don’t don’t don’t don’t stop stop stop stop stop, every time you fall, I pick you up.”

The chorus of the album’s opening track, “Hunter Gatherer,” is what lead singer E Hound called “a letter to my friends back home” to express his homesickness, expressed through the imagery of earlier times and the struggle for survival. The melancholy is palpable.  It is a call to be heard, even across the miles. It is from here that the album takes off, and we watch the Hounds struggle with their new reality.

We hear E Hound roaming the California countryside, looking at estates and sprawling hills, but mocking the overindulgence in the Beatles-esque “Mansions.” He beckons his friends to “come and join me here someday, in artificial structures we can play.”

On the first single, “Magnolia,” the Hounds are truly at their best, with an almost orchestral number that illustrates their musical prowess that oscillates between gauzy, questioning verses and an upbeat, percussion-punctuated choruses that answer back, before closing with a bevy of strings that will make you swoon.

By now, you’re fully immersed in the Hounds story, and if you aren’t prepared, “Tidal Wave” will knock you off your feet. There’s an underlying current (pun intended) of complete defiance from E Hound, wrapped in the picturesque scene of California surf, as he seems to address the very real possibility that the band might not weather the distance between them. “You keep on talking bout the end…/These things I can’t even pretend…”

And then we come to my two favorite tracks of the record. The dreamy “Bright Matter” is the source of the album name, a celestial-themed number full of buzzy melody and animated drumming that uses the stars as a metaphor for connection. Given the way that these songs came to fruition, zipping across the miles through routers and servers and wires, it’s a particularly apt one, and as E Hound sings, “Hey, bright matter, you keep me safe, you keep me moving along/Shake, don’t shatter,” you get the feeling that the foundation that this band is built on is unbreakable.

The closing track, “Still Phantoms,” is like “Weathervane,” the final track on this album’s predecessor, both a message of resilience and a portending of what’s yet to come. Although sparse, it is arguably the richest track on the album, showcasing each of the band members individual musicianship in a way none of the other tracks do. (Don’t think I missed the double entendre in some of those lyrics, either.) As the song reaches a crescendo, layered vocals overlap and bleed into one another, and the four individual voices of the band come together as one.

Selfishly, I want this record to be longer than six songs. I want it to go on forever. But even in its brevity, Shake, Don’t Shatter is perfect because of the connection it inspires between the listener and the artist. If we are lucky, we’ve all felt these things: loss, homesickness, strong bonds with our friends, a “never-give-in” moment where we know for certain what it is we want to do.  In the end, that is what it is all about, isn’t it? Music – and all art, for that matter – is a reflection of what it is to be human. It can be a celebration of our hopes and dreams, a conduit for our sadness and grief, a confessional for our fears and guilt, a way for us to express our love and gratitude for others, and a vehicle for finding our strength to hold on when the ground we know seems to be falling out from under us.

As for me… I’m more uncertain than I’ve been in a long time about my future. My job, my company, are so much a part of who I am that the idea of losing them makes me feel like I’m going to be left with a big black hole in my center. I don’t know what’s coming around the corner, and probably won’t for a little while. That’s really scary for me. So I’m going to need you all to remind me – and need to remind myself – that it’s okay to be lost for a little while, because I’m strong enough to find a new path back to solid ground.

Shake, don’t shatter.

More Quiet Hounds:  Web | Facebook | Twitter | Buy Shake, Don’t Shatter direct from the band