The Overbooking Problem
I recently noticed, after conferring with various club colleagues, that a number of 'established' acts, some going back nearly 30 years, idiotically persist in trying to play out as many as four times a month in the various core area venues as if Boston was some megalopolis like New York.
It is not. It is a second string city and this practice is utterly self defeating. They piss off booking agents, burn out audiences and enter into a kind of doom spiral.
It is deceitful to pull this stunt on the Booker and increasingly dumb as a booker can just glance at your myspace schedule and go..."Oh.. Numbnuts and the Rusty Trombones are playing across the river TWO DAYS before they are supposed to be at my tinsel palace.... fuckheads."
Then consider the audience. They are your friends, right? When you pull this it is like saying you're so bitchin' that they should cough up 50 bucks several times a month of their hard earned money to see you trudge through the same fawking set list they probably already know by heart. Why not just pick their pockets and be done with it?
Boston looms large in the minds of its bands. But only around a half million people live here and the vast majority are yuppies, high rollers, trust fund brats and busy students who have lives and can't be expected to give a rats ass about you.
And yet, out beyond, in the vast doughnut defined by 495 and 128 are FOUR MILLION people living dull lives in drab burbs WITH VERY LITTLE TO DO!
There are gin mills scattered throughout the doughnut and many are likely to actually be excited by bands from the 'big city'. There are cool old mill towns like Lowell that have little scenes where you can play. There is a compact 6 state region out there with fairly short drive times compared with the West Coast.
The younger 'kid' bands are a different story. You are in the early stages of your audience growth and usually get out more as opening acts piggy backed on some bigger bill and you serve a useful role. Once you get 40+ people showing up you can kick back.
Basically less is more or to reshape an old Dan Hicks lyric,'How can they miss you when you won't go away?"
Friday, November 23, 2007
Thursday, November 22, 2007
News
MFD Booking to Partner
with The Cantab Lounge
Effective immediately MFD Booking, Martin Doyle's agency, will be partnering with The Cantab Lounge in Cambridge.
Martin and company will be working with Mickey Bliss, who recently moved his long-standing weekend series Club Bohemia to the Central Square venue following the closing of The Kirkland Cafe in Somerville.
Doyle says he is hopeful that, among other positive changes, all ages matinees can be added to the 110 capacity basement room on Saturday and/or Sunday afternoons.
Latest Show Review
Americana Romantic
TT The Bears
Cambridge, MA
11/21/07
Last night I had the chance to catch Americana Romantic, the latest musical outlet from Boston area vet Paul Russo.
For those of you as unfamiliar with Russo as I was, up until about 20 minutes ago, Paul was a member of the Maine-based outfit The Pinkerton Thugs, as well as a "double-agent" so to speak, doing time in The Unseen during much of his time with the Thugs as well.
Knowing that much going in to the show, I was met with something that clashed greatly with what I was anticipating.
Russo's latest foray delves deeper into the folk styles touched upon with The Pinkerton Thugs, with a tasteful touch of the indie-style rock that has seen a surge in popularity in recent years. Other songs demonstrate a more rock 'n roll driven style that fans of the Thugs work may enjoy. A highlight of Russo's style that my brother and I both noted was his impeccable harmonies with his backup singer (AR was performing for the evening as an acoustic duo).
While not readily catered for fans of The Unseen and The Pinkerton Thugs to transition into, fans with a broad range of musical tastes looking for a fresh take on a popular trick will be pleasantly surprised with this outfit. According to his Myspace page, Paul is currently back on the east coast, and gearing up to begin playing out regularly in Boston and the surrounding area.
For more info on Americana Romantic, and the chance to sample some of this music, check the band out here.
TT The Bears
Cambridge, MA
11/21/07
Last night I had the chance to catch Americana Romantic, the latest musical outlet from Boston area vet Paul Russo.
For those of you as unfamiliar with Russo as I was, up until about 20 minutes ago, Paul was a member of the Maine-based outfit The Pinkerton Thugs, as well as a "double-agent" so to speak, doing time in The Unseen during much of his time with the Thugs as well.
Knowing that much going in to the show, I was met with something that clashed greatly with what I was anticipating.
Russo's latest foray delves deeper into the folk styles touched upon with The Pinkerton Thugs, with a tasteful touch of the indie-style rock that has seen a surge in popularity in recent years. Other songs demonstrate a more rock 'n roll driven style that fans of the Thugs work may enjoy. A highlight of Russo's style that my brother and I both noted was his impeccable harmonies with his backup singer (AR was performing for the evening as an acoustic duo).
While not readily catered for fans of The Unseen and The Pinkerton Thugs to transition into, fans with a broad range of musical tastes looking for a fresh take on a popular trick will be pleasantly surprised with this outfit. According to his Myspace page, Paul is currently back on the east coast, and gearing up to begin playing out regularly in Boston and the surrounding area.
For more info on Americana Romantic, and the chance to sample some of this music, check the band out here.
Wednesday, November 21, 2007
CD Review
Mando Diao - Ode to Ochrasy (EMI/Majesty)
Mando Diao's Ode to Ochrasy (2006) is the third album release from this 5-piece Swedish band. The disc has 14 tracks of up-tempo British rock almost from another era (think Beatles, Kinks etc.) and it also has a hint of today's indie rock sound heard from The Bravery or The Hives. I was drawn to this band after seeing them in a DirectTV exclusive for the 2007 SWSX festival, and was particularly drawn to the bottom-end of the bass and drum players who held a tight danceable and cool ryhthm to the songs.
I was hoping this live taste would translate on the album as well and it does very nicely. Lyrically the album is dense in pop-culture with the opening track a humorous nod to ice-hockey great Luc Robitaille (Welcom Home Luc Robitaile). Other signs of the times include the songs Killer Kaczynski, Amsterdam, and TV & Me. The songs are crafted with tongue-in-cheek wit which sneaks up on you as the pace of the tracks and musicianship hook you in before you realize whats been said in the lyrics. Bjorn Dixgard delivers the vocals cleanly and intense when applicable, and the background harmonies are masterfully done. My only criticism of the disc is the production. It appears the singer Bjorn also produced it, and I wonder if an unbiased set of ears would have helped the album sonically. It seems a bit compressed and muddied in spots that seem should be clear and layered.
Overall I love the album though and it's been stuck in my car for the last week.
Mando Diao's Ode to Ochrasy (2006) is the third album release from this 5-piece Swedish band. The disc has 14 tracks of up-tempo British rock almost from another era (think Beatles, Kinks etc.) and it also has a hint of today's indie rock sound heard from The Bravery or The Hives. I was drawn to this band after seeing them in a DirectTV exclusive for the 2007 SWSX festival, and was particularly drawn to the bottom-end of the bass and drum players who held a tight danceable and cool ryhthm to the songs.
I was hoping this live taste would translate on the album as well and it does very nicely. Lyrically the album is dense in pop-culture with the opening track a humorous nod to ice-hockey great Luc Robitaille (Welcom Home Luc Robitaile). Other signs of the times include the songs Killer Kaczynski, Amsterdam, and TV & Me. The songs are crafted with tongue-in-cheek wit which sneaks up on you as the pace of the tracks and musicianship hook you in before you realize whats been said in the lyrics. Bjorn Dixgard delivers the vocals cleanly and intense when applicable, and the background harmonies are masterfully done. My only criticism of the disc is the production. It appears the singer Bjorn also produced it, and I wonder if an unbiased set of ears would have helped the album sonically. It seems a bit compressed and muddied in spots that seem should be clear and layered.
Overall I love the album though and it's been stuck in my car for the last week.
Monday, November 19, 2007
News
Boston Club Sacks Soundman Over White Supremacist Comments
According to the Basstown Blog a Harpers Ferry soundman was fired for white supremacist comments he made to people associated with a hip-hop show this past Tuesday at the Allston club.
From the Basstown Blog:
"I just got off the phone with Regan and his DJ, Antimc (Matt Alsberg), to get the full story. Regan left the venue after load-in to have dinner with a Boston friend over at Grasshopper, leaving Matt to deal with the sound guy and setting up on stage.
"After answering a few questions to the sound guy about their setup, 'we need two DI-boxes, two mics, etc.' the sound guy commented 'that's why you need a white guy in your crew.'
"Matt, baffled at the absurdity of the comment, asked the sound guy to repeat himself, to which he replied by not only repeating the comment, but going on to say, 'you know, we hired 6 [mumbled racist slur] in the past few months and they're all outta here!' Matt immediately ran to Harpers' green room and talked to Regan on the phone, who after hearing the story called his booking agent who in turn called the manager of the club. "
The band wound up walking, and the soundman was first suspended and then fired.
The General Manager from Harpers Ferry then posted this apology:
We as a club are completely baffled and shocked by the events that unfolded Tuesday evening. We have a zero tolerance policy for such things.
The staff member in question was suspended indefinitely on the spot and was let go the next day after we gathered all the information.
It's a sad situation and one that we hope will ever happen again here at Harpers Ferry.
My fullest apologies to you and hope that you do not think of this as a mark on our reputation as we try to bring you the best entertainment possible. As a show of good faith and I would like to invite you any show we have on our calendar free of charge with a guest.
My apologies
Please respond so that I do know that you got this email.
Andrew Wolan
GM/General Manager
Harpers Ferry
According to the Basstown Blog a Harpers Ferry soundman was fired for white supremacist comments he made to people associated with a hip-hop show this past Tuesday at the Allston club.
From the Basstown Blog:
"I just got off the phone with Regan and his DJ, Antimc (Matt Alsberg), to get the full story. Regan left the venue after load-in to have dinner with a Boston friend over at Grasshopper, leaving Matt to deal with the sound guy and setting up on stage.
"After answering a few questions to the sound guy about their setup, 'we need two DI-boxes, two mics, etc.' the sound guy commented 'that's why you need a white guy in your crew.'
"Matt, baffled at the absurdity of the comment, asked the sound guy to repeat himself, to which he replied by not only repeating the comment, but going on to say, 'you know, we hired 6 [mumbled racist slur] in the past few months and they're all outta here!' Matt immediately ran to Harpers' green room and talked to Regan on the phone, who after hearing the story called his booking agent who in turn called the manager of the club. "
The band wound up walking, and the soundman was first suspended and then fired.
The General Manager from Harpers Ferry then posted this apology:
We as a club are completely baffled and shocked by the events that unfolded Tuesday evening. We have a zero tolerance policy for such things.
The staff member in question was suspended indefinitely on the spot and was let go the next day after we gathered all the information.
It's a sad situation and one that we hope will ever happen again here at Harpers Ferry.
My fullest apologies to you and hope that you do not think of this as a mark on our reputation as we try to bring you the best entertainment possible. As a show of good faith and I would like to invite you any show we have on our calendar free of charge with a guest.
My apologies
Please respond so that I do know that you got this email.
Andrew Wolan
GM/General Manager
Harpers Ferry
CD Review
Death and Taxes - Tattooed Hearts & Broken Promises (I Scream)
So I just got to sit down and listen to the entire Death and Taxes record, (while doing boring stuff with data at work). The record is just so solid it's incredible. It's 42 minutes and 31 seconds of honest, heartfelt lyrics, a solid rhythm section and my favorite guitar player playing some of the best simple catchy riffs that I've ever heard. Before I had the record I thought quite a bit about how catchy some of the riffs are on the record, the guitar line from Tattooed Hearts (and Broken Promises) for example, is something that I feel like I can't even pick up a guitar without playing cause its unusually stuck in my head. Even the solos are great and capture the feeling of the song without being boring or noodley. I think its a really rare talent to be able to play the shit out of a guitar but to also have the sense and taste to know what fits the part and not overplay it. Mike and Steve are an incredibly good rhythm section and the drums and bass are perfect on every song, again tasteful bass lines and fills that fit the song perfectly. Jeff's ability to tell a story through a song is incredible. I really feel like this record raises the bar on what bands around hear can and should be doing. There's a level of sincerity to these songs that the Boston punk scene is sorely lacking, there's no going through the motions or posturing just raw bare-bones rock and roll the way it should be.
So I just got to sit down and listen to the entire Death and Taxes record, (while doing boring stuff with data at work). The record is just so solid it's incredible. It's 42 minutes and 31 seconds of honest, heartfelt lyrics, a solid rhythm section and my favorite guitar player playing some of the best simple catchy riffs that I've ever heard. Before I had the record I thought quite a bit about how catchy some of the riffs are on the record, the guitar line from Tattooed Hearts (and Broken Promises) for example, is something that I feel like I can't even pick up a guitar without playing cause its unusually stuck in my head. Even the solos are great and capture the feeling of the song without being boring or noodley. I think its a really rare talent to be able to play the shit out of a guitar but to also have the sense and taste to know what fits the part and not overplay it. Mike and Steve are an incredibly good rhythm section and the drums and bass are perfect on every song, again tasteful bass lines and fills that fit the song perfectly. Jeff's ability to tell a story through a song is incredible. I really feel like this record raises the bar on what bands around hear can and should be doing. There's a level of sincerity to these songs that the Boston punk scene is sorely lacking, there's no going through the motions or posturing just raw bare-bones rock and roll the way it should be.
Sunday, November 18, 2007
2 CD Reviews
Bryan McPherson - "Fourteen Stories" (Indecent Music)
I saw this guy play at the Abbey Lounge on a Wednesday night. It was your standard acoustic show: people getting up there and hacking through poorly constructed songs with moments of potential but nothing much more than what you'd expect for a Wednesday night. Until this kid, Bryan McPherson, got up to play. His set was like nothing I've seen in ages. There were moments when I literally got a little misty eyed over the song topics and the honest energy being dumped into them. The only thing that kept popping into my head was the line from Bill Joel's Piano Man that says "man, what are you doing here?". It appeared that every person in the capacity crowd of 15 to 20 bought a CD that night. And while the CD doesn't capture everything you need to know about McPherson's music and the identity/personality that comes across so easily and honestly in the music, it will more than satisfy whatever itch you have now for some sort of new brilliance in town. The high points of the album are "Angel in the Snow" and "Don't Terrorize Me". One listen might classify this CD as being of the singer/songwriter genre but I wouldn't quite call that summary fair. It walks the line between something that everyone might like and something that fans of early Against Me or Two Gallants would die for. McPherson is in a really good position; the world is his oyster and all he really needs to do it play his cards right and he'll have whatever following he wants. And the best news about this record is that some of the highlights of his live set aren't even on this A+ disc so its clear he hasn't blown his musical wad in his first shot like so many bands do. (M. Lind)
Angels & Airwaves - "I Empire" (Suretone/Geffen)
This is the band that the punk rock kids love to hate. And its also the band that this 30 year old man loves. It picks up where the last album left off with songs that sound like some sort of slightly scaled down version of U2's arena rock mixed with lyrics that are too far over the heads of their target audience. It still baffles me that this guy came from Blink 182 and was able to release either this record or their debut. Lyrically he is writing from the point of view of someone in the 28 - 32 age bracket and it doesn't surprise me that the teenagers would find Delonge's lyrics to be pompous and foolish. But I think its more that they don't get it than that he's the fool they'd make him out to be. Sure.... maybe at times it gets a little too bombastic and too big for its britches but no guts, no glory and I think this guy is onto something a hell of a lot bigger than what people are foreseeing. On the local level, their new bass player is former Bostonian, Matt Wachter, who used to play guitar in Strangle Me and even did a few stints sitting in with me and my brother in Sinners & Saints. (M.Lind)
I saw this guy play at the Abbey Lounge on a Wednesday night. It was your standard acoustic show: people getting up there and hacking through poorly constructed songs with moments of potential but nothing much more than what you'd expect for a Wednesday night. Until this kid, Bryan McPherson, got up to play. His set was like nothing I've seen in ages. There were moments when I literally got a little misty eyed over the song topics and the honest energy being dumped into them. The only thing that kept popping into my head was the line from Bill Joel's Piano Man that says "man, what are you doing here?". It appeared that every person in the capacity crowd of 15 to 20 bought a CD that night. And while the CD doesn't capture everything you need to know about McPherson's music and the identity/personality that comes across so easily and honestly in the music, it will more than satisfy whatever itch you have now for some sort of new brilliance in town. The high points of the album are "Angel in the Snow" and "Don't Terrorize Me". One listen might classify this CD as being of the singer/songwriter genre but I wouldn't quite call that summary fair. It walks the line between something that everyone might like and something that fans of early Against Me or Two Gallants would die for. McPherson is in a really good position; the world is his oyster and all he really needs to do it play his cards right and he'll have whatever following he wants. And the best news about this record is that some of the highlights of his live set aren't even on this A+ disc so its clear he hasn't blown his musical wad in his first shot like so many bands do. (M. Lind)
Angels & Airwaves - "I Empire" (Suretone/Geffen)
This is the band that the punk rock kids love to hate. And its also the band that this 30 year old man loves. It picks up where the last album left off with songs that sound like some sort of slightly scaled down version of U2's arena rock mixed with lyrics that are too far over the heads of their target audience. It still baffles me that this guy came from Blink 182 and was able to release either this record or their debut. Lyrically he is writing from the point of view of someone in the 28 - 32 age bracket and it doesn't surprise me that the teenagers would find Delonge's lyrics to be pompous and foolish. But I think its more that they don't get it than that he's the fool they'd make him out to be. Sure.... maybe at times it gets a little too bombastic and too big for its britches but no guts, no glory and I think this guy is onto something a hell of a lot bigger than what people are foreseeing. On the local level, their new bass player is former Bostonian, Matt Wachter, who used to play guitar in Strangle Me and even did a few stints sitting in with me and my brother in Sinners & Saints. (M.Lind)
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