Category Archives: #rva

Deau Eyes

We’ve grooved with the Budos Band. Illiterate Light lit up the night. Now it’s very nearly time to say goodbye to the 35th Friday Cheers series, but not before a finale I’ve been looking forward to since this season’s schedule was announced: Lucy Dacus. Deau Eyes. Is it tomorrow yet?

There’s a unique poetry to tomorrow’s lineup that’s worth noting before you head down to Brown’s Island. For starters, this will be Dacus’ second Cheers performance; her first came in 2016 when she opened for Kurt Vile. And while you often hear the word “triumphant” used when artists return to venues they’ve played before, it’s especially fitting here, given the rave reviews she earned last year — both for her Historian album and for the EP she released with Julien Baker and Phoebe Bridgers under the name boygenius — and given that hers is the headlining set this time around.

The lineup is made even more meaningful by the fact that Ali Thibodeau of opening act Deau Eyes was there in the crowd during Dacus’ 2016 show, standing front-and-center and celebrating her friend’s Friday Cheers debut. I recently had the good fortune of speaking with Ali Thibodeau of Deau Eyes for a River City Magazine article, and here’s how she described that moment in relation to this one:

Did you grow up going to Friday Cheers?

I love Friday Cheers. It’s really cool. It’s one of my favorite things that happens in Richmond. I’ve felt really privileged to have been able to have watched my friends up there doing their thing. I know when Lucy played with Kurt Vile, I was in the front row, and was so stoked. My face hurt from smiling the whole time. I feel kind of full circle because it’s definitely somewhere we would go and hang out, around Belle Isle and Brown’s Island and all of that during the summer and stroll into Friday Cheers. I’m thrilled to be a part of it this year. It feels like a real hometown accomplishment.

Thibodeau and I touched on a number of other topics in our conversation, from her upcoming album’s lead single “Paper Stickers” (embedded below) to running a successful Kickstarter campaign and creative control more generally. Click here to check out the full article and here to snag a ticket for the Cheers finale. This show is special, y’all.

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David Shultz & the Skyline

A lot can go wrong when a record is delivered to your house. Loose packaging. Careless handling. Somehow sun and rain are both problematic, which seems wildly unfair, given that those are, like, the two main things weather does.

By contrast, WarHen Records just raised the bar for how right a record delivery can go. A bag of crab chips. A Northern Neck ginger ale. The snazzy new pressing of David Shultz & the Skyline’s 2009 Rain in to the Sea album I preordered after playing it repeatedly via Bandcamp during a long weekend on the Jersey Shore with family. Here’s a shot of everything Mrs. YHT found on the porch in the early morning hours of June 14:

For context, Shultz’s recent show posters have featured a scene nearly identical to the one pictured above:

Just amazing. It’s hard to put into words the feeling of pure delight at seeing that poster come to life. It was a truly indelible moment — something I’ll smile about every time I spin Rain in to the Sea, and not just because I FUCKING LOVE CRAB CHIPS. (They were gone before the weekend was out.) WarHen has always overdelivered when it comes to shipping records, from thank you notes and stickers to bonus downloads. I’m proud to call myself a loyal customer of theirs, and I recommend heading here to pick up one of the last few available copies of Rain in to the Sea. And if you haven’t already, be sure to snag Butcher Brown’s AfroKuti: A Tribute To Fela — another dynamite WarHen release.

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Landon Elliott

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.

 

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Shy, Low

Some fun news for fans of post-rock and/or colored vinyl and/or flower arranging…

Shy, Low has repressed their 2015 gem Hiraeth, and they’re offering two snazzy colored-vinyl options: “Cowslip,” which is highlighter yellow with orange pinwheels, and “Forget-Me-Not” — a yellow-in-electric blue with white splatter design. Like the massive, cinematic music contained in the grooves, and like the floral cover art, they’re gorgeous. Take a look:

If I’m reading the Discogs descriptions correctly, my copy from the original run is the “Bell Heather” version — milky clear with a baby pink swirl. Is each variant representative of a flower depicted in the arrangement on the cover? Maybe? My ikebana has a long way to go.

I do know that it’s worth snagging copy over at Bandcamp before they’re all gone.

Update: The band shared the following via Facebook:

We also have some available locally and will have some for upcoming shows. Not many, so if you wait, you may lose out.

 

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2018 in Review: RVA Part 1

This year’s going to be a little different. I’ll be blurbing about more of my favorite Richmond releases from 2018 over at The Auricular, so call this 2018 in Review: RVA Part 1. Here are eight of the in-town albums I got the most enjoyment from spinning this year.

Beltway Recording Company — Outer Sounds From the Inner Loop

There’s so much to say here, but I don’t want to ruin the surprise. This album is not what it says it is — somehow it’s even more. More to come about this one (I hope) in the coming year. For now, please enjoy the seemingly well-worn groove of “River Road,” an exceptionally catchy tune with lyrics that happen to fit the River Road in Richmond suspiciously well…

Butcher Brown — Camden Session

All day, every day. In the studio, live in the studio, live at a show: Yes to Butcher Brown. Can that be a new ad campaign for Richmond music? Just “Yes to Butcher Brown”? I would wear that t-shirt. Someone please make it so I can buy two: one to wear around regularly and one for when the pits of the first one get gross.

What we were talking about? Oh right — hell yes to Butcher Brown and their in-studio Camden Session. True story: I almost bought it from England when it was first announced, not knowing then that it would be available at stores in town around the same time it became available online.

Lucy Dacus — Historian

From the post I wrote when “Night Shift” came out late last year:

It was that exceptional coda that stood out when I saw her perform “Night Shift” at The National in 2016, but having an opportunity to sit with the quieter moments has been rewarding, as is always the case with Dacus’ music. Forgive me if I’ve said something similar in the past while singing her praises, but Dacus’ lyrics comprise some of my favorite writing anywhere, in much the same way that John Darnielle’s Mountain Goats lyrics feel like they transcend their form.

Fly Anakin & Ohbliv — Backyard Boogie

Next time you’re in the vicinity of Scott’s Addition pretending to have legitimate errands so you can tack on a brewery stop, head to the intersection of West Clay Street and Roseneath Road, park your car, walk a few paces east on Clay, and then look left. There you’ll find one of the most stunning murals in all of Richmond: a Nils Westergard work depicting the two Backyard Boogie collaborators, Fly Anakin and Ohbliv, gazing upward. It’s a fitting tribute to a thriving Richmond hip-hop community, and Backyard Boogie is among the year’s finest releases in any genre — a perfect marriage of Fly Anakin’s relentless energy and Ohbliv’s endlessly innovative approach to producing.

Michael Millions — Hard to Be King

I reconnected with Hard to be King while working on my year-end playlist for Off Your Radar. “Apologize Less” will zoom across the finish line as one of my favorite songs of 2018, with moving piano-laced production from Brandon “NameBrand” Bass and a chorus payoff that feels like a fitting resolution, New Year’s or otherwise: “What what I feel, apologize less.”

Nickelus F — Stuck

My first visit to Vinyl Conflict was long overdue. I finally stopped by in December to pick up a copy of Stuck after hearing that supplies of the yellow-vinyl version were dwindling. I had the best time chatting with Bobby Egger, who owns the store and runs the label that reissued Stuck on vinyl. His enthusiasm for his new, hip-hop focused Fantastic Damage imprint was inspiring, as was the way he talked about Nickelus F’s complete mastery of music making, from production to lyricism. Listen to “Yea Aight” below to hear a true auteur at work.

Opin – Drifters EP

Speaking of limited-run releases, Opin pressed just 50 copies of this four-song EP, which includes a wonderfully extrapolated and brightly lit version of the fabled Japanese pop song “Shinzo no Tobira.” Clear vinyl. Lathe cut. Harding Assembly Lab. I couldn’t put my order in fast enough.

Natalie Prass — The Future and the Past

I go to great lengths to keep track of the albums I listen to each year, but my concert-going is way more chaotic. I can’t seem to keep a list of the shows I go to, and I’d guess that I went to fewer shows in 2018 than any year in recent memory. That said, I know damn well what my live music moment of the year was: Watching in awe as Angelica Garcia and Kenneka Cook provided backing vocals for a stripped down version of “Lost” at the Broadberry. You know it was a powerful moment when you get goosebumps again just thinking about it. Man, was that something.

More 2018 in Review:

2018 in Review: EPs
2018 in Review: Jazz
2018 in Review: Blasts from the Past
2018 in Review: 15 Favorites

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Small Friend Records and Books

With Thanksgiving just around the corner, I’d like to share a link to an article I wrote about a place I’m truly thankful for: Small Friend Records & Books. I had an opportunity to interview the shop’s owners a little while back, and it was such a pleasure learning about how they got started, how they envision their store’s role in the Shockoe Bottom community, and how they see that space evolving in the future. They have such clear and admirable passion — not just for music, books, and zines, but also for the ideas represented in and by the items they stock.

Here’s how I started the piece:

When you walk into a house and scan the walls and shelves for the first time, you learn a lot about the people who live there. In that sense, Small Friend Records & Books, which opened its doors on 17th Street in April, feels as much like a home as a place you’d go to buy albums or novels.

I’ve written about this before, but one reason I care so deeply about — and am so thankful for — the record stores here in Richmond is the way they represent the importance of a sense of place in our lives. Places connect us to other people. They keep us engaged with those people, even when we don’t agree with them. And places connect us to our past, helping us better understand our present and future. Without a sense of place, we are diminished.

Small Friend is a wonderful place, and I hope you’ll take a few minutes to check out the interview. More importantly, head downtown to check out Small Friend for yourself. I’ve been there a number of times, and of the albums I’ve snagged there, I think I’m most in love with my copy of the Wild Wild Country original score, which was composed by Brocker Way — brother of the pair of brothers who made the Netflix docuseries. (There are three brothers total. Well, three brothers involved in the series. I guess they could have other brothers… I’m gonna stop. You get the idea.)

In many ways, the show is itself a meditation on the idea of place — on what it takes to build an organic community, and how quickly a place can grow without losing its sense of self. Here’s a favorite track of mine from the score — the elegiac “Church and State.”

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Trey Pollard

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.”

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