It’s happening. My absolute favorite time of year — when Mrs. YHT and I bolt out of work on Fridays; throw the kids, a stroller, and a couple of lawn chairs in the car (except when we forget the lawn chairs, which is more than 50% of the time); and zoom down to Brown’s Island as fast as we can to catch the start of Friday Cheers.
The folks at Venture Richmond are kicking off this season (Cheers’ 35th!) with a humdinger: Lukas Nelson & Promise of the Real is headlining, with an opening set from standout Richmond artist Landon Elliott. If you’re not familiar with Lukas Nelson, “Find Yourself” could be a good starting point. The band I play in covers the song regularly, and while the lyrics convey romantic dissatisfaction, there’s an infectious bounce to it that makes it a joy to play. And Nelson’s dad is the great Willie Nelson — not crucial for appreciating Lukas’ tunes, but still fun to know.
As for Landon Elliott, I had the good fortune of interviewing him for River City Magazine earlier this year and left that conversation impressed and inspired — by his story, by his strong sense of community, and by the way music is woven throughout his own family’s fabric. A quick snippet I saw as especially meaningful:
Were your parents into music when you were growing up?
My dad and his family are from Ohio, and they all love 1970s and 1980s classic rock and roll. My dad raised me on Journey, Def Leppard, AC/DC, Whitesnake, Mötley Crüe. My first concert with my dad was KISS at eight or nine years old. So there’s a ton of rock influence there… My mom loved country music. I remember [her] singing karaoke, and she’d sing at music festivals. We even moved to Nashville for two years and she pursued a music career… She recorded this really beautiful single during her time there, so that’s a gem for our family. I remember being six or seven years old, watching my mom doing the thing and thought it was so cool.
[My grandfather] was a deep-sea fisherman for 30-plus years of his life… the acoustic guitar that I play was the guitar that he took around on his boat. That guitar has been more places than I have. It’s been all the way up [and] around to Alaska and back. He would come home and people would want to see him after these long trips. We’d do these big fish fries at the house and a guitar would inevitably come out at some point and he would sing and play Elvis and Johnny Cash. That was how it all started — watching my family doing it and [thinking] “I could do that.”
Check out the rest of the interview here, and click here for ticket’s to this Friday’s Cheers show. A guaranteed good time for any music-loving family.
Heaven isn’t too far away, y’all.
Regardless of your beliefs on what awaits in the afterlife, Hopewell isn’t that far a drive for those of us who live in Richmond, and I can confirm that the Beacon Theatre is truly a heavenly place to see a concert.
I was in the area a few weeks back, on a Friday that was mostly spent exploring the past and present of Petersburg, VA. Good beer, lots of history, and evidence all over town of the film being shot there based on the story of Harriet Tubman.
That night, I got to see the results of a very different kind of historical project — the restoration of the Beacon Theatre, which originally opened in 1928 as a silent movie theater but was left vacant starting in 1981. Intentions to reopen the space turned into action in the late 1990’s, and in 2014, the Beacon reopened its doors as a music venue with beautiful bright red seats and carpets, balcony seating, and the air of grandeur you’d expect given the theater’s vintage.
And what better way to experience that grandeur for the first time than a band whose double-platinum selling debut album was called Dirty Rotten Filthy Stinking Rich? That’s right: I got to see Warrant in all of their hair-flinging, riff-spitting glory. It was quite a moment: Warrant had that room in a feverish state, with longtime fans and younger attendees alike on their feet and shouting out lyrics — especially the ones to the debut album’s title song.
If you haven’t heard it, listen below. And if you haven’t yet been to the Beacon in its current form, take a look at the schedule here and make a plan to head to Hopewell. You’ll be happy you did.
Really neat shindig happening tonight at the Hofheimer Building in Scott’s Addition. Trey Pollard will be debuting pieces from Antiphone, his soon-to-be-released album of contemporary chamber music (out Friday — preorder here). They’ll be played by a string quartet in collaboration with Classical Revolution RVA, an organization that aims to present classical music in inventive ways “by taking it into local bars, restaurants, cafes, and galleries.” Did I mention Matthew E. White will be opening? This promises to be special, y’all. Hope to see you there.
If you’re interested in learning more about Antiphone, be sure to check out the interview I did with Pollard for the Auricular. He was incredibly candid and thoughtful throughout our conversation, and I think you get an especially keen sense for the dedication he brings to his work, whether he’s composing original pieces like the ones being performed tonight or arranging songs written by others. Here’s how Pollard put it when we spoke:
Matt and I talk about it a lot. The craft of what you do is important… It’s about how you go about it — caring about the details, caring about the parts that make up the bigger thing.
While Antiphone certainly represents a moment of cultivation, it’s also a window into how Pollard approaches music on a daily basis. In that sense, his story and Spacebomb’s are one and the same: When you do things the right way, it shows. And Antiphone is nothing short of an achievement. What a gift it’ll be to see these pieces in the live setting.
Get your ticket here, check out my interview with Pollard here, and listen below to a piece from the album entitled “8 Pairs: Fugue VI. Very Slowly.”
The Richmond Folk Festival is rapidly approaching, and I’m beyond excited to share that I had an opportunity to chat with one of the three-day event’s most accomplished and anticipated performers, uilleann piper Jarlath Henderson.
Henderson hails from Northern Ireland, and he occupies a crucial creative space: the sacred middle ground between giving voice to tradition and forging a new path forward. Around the time we talked, I was immersing myself daily in the wonderful “new” John Coltrane album, Both Directions at Once, which is a dispatch from that same creative space. I ended up mentioning Coltrane to Henderson, and we talked a little about that idea of moving forward and backward at the same time.
Here’s what he said:
As a musician, I think you move from either being very sure of yourself to very unsure of yourself constantly, and it’s very hard to be sure of yourself. But within the traditional music world, in general, just like in any niche market, like bluegrass, there are the hardcore fans who really want things to be the way they were. But after a certain amount of time, it becomes more of a historical representation of a time gone by rather than an accurate representation of now. At the end of the day, it’s just a form of folk music, and it has to be for the people. It’s an interesting place to be.
Click here to read the rest of the interview, which appears in the current print edition of River City Magazine, and click here for more information on the Folk Festival.
I love seeing shows at Maymont. I was just there a few weeks ago for Shovels & Rope, and it was outstanding. The surroundings are gorgeous — just inside the main Maymont gates, with rolling hills in the background and trees here, there, and everywhere. It’s a breath of fresh air — literally and figuratively — compared to many indoor (and outdoor) venues.
A few nights stand out in my memory as especially meaningful. Béla Fleck is one. Gillian Welch is way up there — seeing her pay tribute to Guy Clark by playing “Dublin Blues” was otherworldly. Another highlight was seeing Old Crow Medicine Show there in 2012, and I’m thrilled they’ll be returning to Maymont this Friday. (Tickets here.)
They’re touring behind a strong batch of new tunes in Volunteer, which was released in April of this year. Though the album features a characteristic mix of upbeat romps and slower, sweeter songs, things feel elevated on this album. “Whirlwind” tugs especially hard at nostalgic heartstrings, and “Flicker And Shine” pushes a truly frenetic pace, showing off the adrenaline-addled fifth gear that’s always set the band apart from many of its peers.
I’m especially stuck on “Shout Mountain Music,” though. While it too picks up the pace, it’s an example of how Old Crow can reach back to the roots of old time country and reveal something that feels wild and organic. And it capitalizes on one of my favorite techniques of theirs — grounding lyrics in specific geography, so they feel more real, and more connected to the places that have played a role in the living history of country and folk music. And I have to admit: Whether it’s “James River Blues” or “Shout Mountain Music,” it’s always fun to hear Richmond called out in an Old Crow tune.
Hope to see y’all there on Friday.
A quick Friday recommendation for you:
This deep-dive on Warren Zevon by Steven Hyden via the Ringer. I have a few of Zevon’s records — two handed down from my father-in-law, one I found at Goodwill — but I knew very little of what Hyden shares about the singer-songwriter. I found the piece to be incredibly moving, especially on the topic of how to reckon with a complicated legacy like Zevon’s. As Hyden admits, it’s more than a little uncomfortable seeing yourself reflected in Zevon’s story. But I think it’s a good discomfort — the kind that lets you know there’s an important lesson to be learned by feeling and following it.
Hyden also taught me something about the Drive-By Truckers, whose headlining set I’m hoping to catch tomorrow night on Brown’s Island at Stone’s Throw Drown. I’ve heard the Truckers encore with “Play It All Night Long” at least a couple of times, but I had no idea it was a Zevon tune. (Tunes, if you’re counting the incorporation of “Ain’t That Pretty at All.”) It sounds so much like them. Now I’m tempted to draw all sorts of parallels, like how the immense weight of the Truckers’ sound when they’re at their sludgiest could have a slightly cleaner forebear in “Detox Mansion.”
Here’s hoping they play “All Night Long” tomorrow night.