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TripTix: The Sounds Of Spring & Summer Start Here

It’s awfully easy to stay local for your live music fix. Homegrown talent and national tours are so prolific between spring and fall, it’s damned near in the air. Depending on your neighborhood, you may not even need to leave the house—just open the nearest window. Summer is the season of festivals in Columbus, but [...]
J.R. McMillan

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It’s awfully easy to stay local for your live music fix. Homegrown talent and national tours are so prolific between spring and fall, it’s damned near in the air. Depending on your neighborhood, you may not even need to leave the house—just open the nearest window.

Summer is the season of festivals in Columbus, but don’t let that limit your listening. Not every act makes a stop in Central Ohio, nor is a dank bar always the best venue for bands on the verge of breaking out of grueling club tours and into the mainstream. Luckily Ohio isn’t that big, and we’re right in the middle of it, the perfect home base for a series of summer road trips to surrounding cities and towns that put on some pretty good shows of their own. Here are six months of weekend adventures to keep you humming all year.

Number Fest – Athens

4.20-21 • thenumberfest.com

Now better known as #FEST, the tiny college town with a reputation for hard partying was the obvious host for a spring break inspired soiree. After an oversized annual fraternity gathering eventually perturbed the neighbors one too many times (including the university president, whose house was right next door), Westerville native Dominic Petrozzi of Prime Social Group saw an opportunity for something more. Officially banned from campus, the event has since emerged as the launch pad for acts from Machine Gun Kelly and Mike Posner to DJ E-V, 12th Planet, and Chip Tha Ripper. Equal parts rap, beer, and mud, the name is still a bit of an inside joke. What started as a singular concert dubbed the One Fest in 2004, fans were calling for a “Two Fest” before the final keg was tapped and last bus pulled away. Number Fest was also social before the advent of social media, with concertgoers eager to sell blocks of tickets on their behalf. Rather than discourage underground ticket sales, Prime Social Group embraced them, creating an ambassador program where fans can upgrade their one-day pass to a weekend or VIP just by selling a few extra tickets to friends. This year’s lineup includes acts from Marshmello and Lil Uzi Vert to RL Grime and REZZ.

Nelsonville Music Festival

5.31 – 6.3 • nelsonvillefest.org

What started with six bands in the town square that anchors the arts district back in 2005 has evolved into a four-day festival mixing generations and genres of music that rarely share the same stage. Legends like Willie Nelson and Emmylou Harris blend seamlessly with relative newcomers like the Avett Brothers and Jason Isbell. But you’ll also find They Might Be Giants, The Flaming Lips, and Ween in the lineups, along with Columbus locals like Counterfeit Madison and The Shazzbots. Presented by Stuart’s Opera House, Nelsonville’s nonprofit theater and performing arts center, the event has moved to Robbins Crossing at nearby Hocking College and now hosts more that 60 acts annually on a variety of stages, from a converted box car to the “no-fi” cabin, a historic one-room schoolhouse featuring acoustic sets for intimate audiences of barely more than a dozen. Camping is encouraged, as is recycling, actually billed as a zero waste event. Unlike most music festivals, families are a fixture here with free kids activities all weekend long. Headliners this year include The Decemberists, Ani DiFranco, and George Clinton and the Parliament Funkadelic, but don’t let the heavyweights keep you from betting on the undercard. Little known acts from Nelsonville have a habit of becoming household names.

Bunbury Music Festival – Cincinnati
6.1-6.3 • bunburyfestival.com

Notable newcomer to the state’s music festival fray is Bunbury, named without irony after an imaginary Oscar Wilde character created as an excuse to get out of family gatherings. From Sawyer Point Park & Yeatman’s Cove on the banks of the Ohio River, their website now offers an online guide to help organize your itinerary among the hundreds of acts across several stages. It wasn’t always this big. Started in 2012 with headliners Jane’s Addiction, Weezer, and Death Cab for Cutie, Bunbury established itself as a festival for breakthrough indie bands and those that still carry a crowd. But that doesn’t mean there isn’t room for Ohio locals like Twenty One Pilots and The Black Keys—or unexpected acts like G. Love & Special Sauce, Belle and Sebastian, and Snoop Dogg. Columbus’s own PromoWest Productions took the lead in 2014 and the three-day festival remains a showcase for concert technology as much as talent. There are no on-site accommodations, so be sure to plan ahead for an overnight stay if the haul back home isn’t an option. Jack White is surely this year’s big draw, though Young the Giant, Foster the People, and Blink-182 have their own faithful followings.

Springsfest – Yellow Springs

6.7 • springsfestival.com

Between Red White & Boom and Jamboree in the Hills, it might be easy to overlook a one-day gig in this sleepy little satellite of Dayton. But Springsfest isn’t trying to compete with all that noise. If laid back bands and local craft beer are more your scene, head west for some of the best of both Ohio has to offer. Entering its third year, this progressive-yet-folksy music festival is decidedly a community affair with area artisans and eateries eager to introduce their definition of summer to visiting audiences. Guided by Voices tops the bill, but Columbus favorites like The Cordial Sins, Counterfeit Madison, and CAAMP are among those performing before an improvised and informal arena of lawn chairs. Despite its reputation as a haunt for aging hippies, the clever collection of restaurants and shops is a less bustling ’burb or conservative enclave than you’d expect so close to a former factory city in the Midwest. In fact, Springsfest might just be the perfect, low-key, summer escape you didn’t know you needed in a village you are remiss to miss. You might even run into Dave Chappelle, who also calls Yellow Springs home. (No joke.)

The Werk Out Music & Arts Festival – Thornville

8.2-8.4 • thewerkoutfestival.com

Imagine if Burning Man and Woodstock had a love child—and that child lived in a small town in Southwest Ohio. It would probably look a lot like The Werk Out Music & Arts Festival. Unlike the trend toward monotony among music-only festivals, this weird mix of bands, painters, sculptors, and performance artists come together to create an entirely unexpected experience. It’s not good enough to show up and nod your head and tap your feet to the beat here. The weekend tent city feels more like a Grateful Dead caravan than a concert campground, and that same vibe permeates the air from sunrise long past sunset. The namesake group The Werks grew to national prominence as a “jam band” but didn’t forget their roots, rolling those early influences and industry connections into an annual ensemble of fellow outsider artists and attendees who struggle to color inside the lines. Maybe that’s why the event serves as a fundraiser for the local school district, gathering art supply donations from festival-goers. There’s also a series of “werkshops” for those so artistically inclined. Nine years strong, the lineup in August also features Umphrey’s McGee, Lettuce, Papadosio, Pigeons Playing Ping Pong, among additional artists yet to be announced.

Ohiolina Music Festival – Mount Vernon

9.15–9.16 • ohiolina.com

Just because school buses are back on the road and Labor Day is in the rearview mirror doesn’t mean there aren’t any lingering summer songs left on the schedule. Ohiolina may be the best undiscovered music festival in the state, merging the Southern soul and Midwest sensibility of folk, country, bluegrass, and every married and muddled genre in-between that defies the traditional labels under the larger mantle of Americana. Festival fare features distinctive Ohio and North Carolina dishes, but less expected are the morning yoga, chalk art exhibition, and a traveling clothing boutique squeezed into a stepvan. Nikki Lane’s convergence of country and pop, the horn-heavy Holy Ghost Tent Revival, and bluesy troubadour Woody Pines are among the more familiar voices, but Ohio groups like Buffalo Wabs and Price Hill Hustle, Honey and Houston, Fox Valley Harvest, and Wayfarers add locally-grown credibility. Organizers also encourage musicians to bring an instrument and find your jam under a tree or around the campfire. There’s even a “string off” competition for fiddle and guitar players.

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Music

Dig. Shuffle. Click.

Dig: Brujas del Sol, II You could certainly make the case that this column makes overuse of the term “psychedelia,” if only because many of the bands that fortify the Columbus underground dabble with elements that, as much as “punk,” deem them psychedelic. But few of those same bands wear it as their tried and [...]
Kevin J. Elliott

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Dig: Brujas del Sol, II

You could certainly make the case that this column makes overuse of the term “psychedelia,” if only because many of the bands that fortify the Columbus underground dabble with elements that, as much as “punk,” deem them psychedelic. But few of those same bands wear it as their tried and true emblem (EYE is the only other I can imagine)—trying to conjure transcendence in wide swaths of cinematic atmosphere, endlessly entangled guitars, liberal use of reverb and flange, and a sonic propensity to paint deserts, oceans, space, with infinite horizons. Contrary to the ethos that music must be instantly inspired, or captured as lightning in a bottle, the psychedelic warriors of Brujas del Sol have been surgical in the creation of their sophomore album, the five years in the making II. The record is an object of monolithic heft, each song a journey unto itself, even when the quartet has chosen to reel in some of their unyielding tendencies to focus on actual pop songs, wherein “Fringe of Senility” could pass as Boy-era U2 and “White Lights” might confuse a Muse fan or two.

Those highlights, led by guitarist Adrian Zambrano’s faithful charge, actually make the headier, indulgent tracks more enjoyable. It’s a balance that Zambrano and bassist Derrick White—the group’s founders—discovered in their recruitment of drummer Josh Oswald and multi-instrumentalist Phillip Reed. Along with the studio wizardry of Relay’s Jon Fintel, the Sun Witches get both brutally and beautifully epic on the lead “Teenage Hitchhiker” and especially in “Sisterlace,” which switches quite magnificently between Pink Floydian dream-sequences and pure desert rock scrums. Zambrano makes use of most every edge and corner the battery provides, sometimes even bouncing his melodies around as if it were a smooth jazz station in some alternate universe. For those who like their post-rock instrumental albums, embellished with Sabbathy tones and the occasional spectral vocals, II is a engrossing trip few Columbus bands would have the patience to make.

Brujas del Sol will celebrate the release of II with a show 11.9 at Rumba Cafe. Visit brujasdelsol.bandcamp.com for music and more info.

Shuffle: Matt Umland, Blind Portrait

It might be cheating to include Matt Umland’s latest trio of songs in this column, as Umland, a member of our Class of 2017, has since moved to Baltimore to further his career as a one-man soul machine, and Blind Portrait, his finest work to date, was recorded in his new Charm City studio. For one last hurray though, we will claim him as our own, as the uniquely crafted synth workouts and layered harmonies of the once Tin Armor co-frontman, was the product of a void Umland found in Columbus music—namely, honest-to-goodness, R&B pop. Fitting then Glenn Davis, the genius mind of Way Yes, was responsible for mixing the release, and lending all production talents to the standout, “Small Senses.”

For those familiar with the sonic flora and fauna that encapsulates the wildly colorful Way Yes, “Small Senses” is a pop revelation, accented with breezy arpeggios, Muzak-inspired presets, and the Umland’s angelic voice (imagine a space between the twee of Ben Gibbard and the ’70s earnestness of Kenny Loggins). Umland’s appreciation of those yacht rock heroes and the glitchy lushness of intelligent dance music combine for an effect that shuns irony, or even hipness, but does so unashamedly. Instead, he’s making tunes that  “explore the grandeur of love in its simplest forms,” whether that’s caffeinated bedroom jams like “Hold Me,” or the lilting near-Josh Groban balladry of “Time Beyond Me.” For Columbus it’s farewell for now, but for the rest of the world it will be hard not to smile.

Visit mattumland.bandcamp.com to hear the Blind Portrait EP and for more information.

Click: Brat Curse , “Coloured by Paranoia”

I made sure to run it past the CEO of Brat Curse, Brian Baker, before referring to his band as the real-life version of a Hanna Barbera outfit animated for a Scooby Doo episode. Brat Curse’s latest video for “Coloured By Paranoia,” the first single from their long-gestating second album (released early next year on Anyway Records), is entirely inspired by the goofy, non-sequitur, hijinks of the Monkees or Banana Splits. A green-screen smorgasboard, of your above-average,  hard-working, blue-collar (Baker pleasantly reeks of Dayton, Ohio) American band, touring in the van, synchronizing jazz-hands, boofing for the camera, the clip revamps the ideals of ’80s public-access vids. The song itself is definitely an evolution from Brat Curse’s 2015 self-titled debut. The recent addition of Joe Camerlengo, who himself has been called a human Pikachu, rubs some of his own Van Dale musk over the proceedings, and some of the fuzz is removed to make way for a punchier, catchier, romp.

Visit bratcurse.bandcamp.com to hear the new single and a for a link to the outrageous video.

 

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Craft Beer’s New Groove

Why would anyone in their right mind open another neighborhood bar or record joint in a city already brimming with both? Ask Troy Stacy, the owner of Craft & Vinyl, an endeavor that is deliberately neither, nor does it pretend to be. Yet it combines the essential elements of each into an entirely new experience [...]
J.R. McMillan

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Why would anyone in their right mind open another neighborhood bar or record joint in a city already brimming with both?

Ask Troy Stacy, the owner of Craft & Vinyl, an endeavor that is deliberately neither, nor does it pretend to be. Yet it combines the essential elements of each into an entirely new experience fine-tuned for local beer aficionados and audiophiles alike.

It’s not a bar that sells LPs, nor a record store that serves beer. It’s a kindred cultural convergence that combines a craft beer counter, new and used vinyl, and a recording studio conveniently under one roof.

“There wasn’t a place that brought all three of these ideas together,” explained Stacy, whose inspiration was well informed by a career in marketing and the music industry. “We live in a digital universe, but there is still a craving for something tactile.”

Vinyl is visceral. Even as records have emerged as the fastest growing segment of music sales, capturing the charm of a record store without the musty smell and dingy décor that are almost synonymous was no easy feat. But tip too far in the opposite direction and you end up with the vintage vibe of a deservedly defunct Sam Goody.

Stacy had the right idea. He just needed to find the right place and the right space.

“I had four or five target areas, but Grandview was always my first choice,” he recalled. “But I almost leased the space that became Brewdog in the Short North. They got it right out from under me.”

Music folklore is full of happy accidents, and losing that spot for something better could be among them. The former consignment shop that was once home to an old hardware store offered weathered floors, high ceilings, and instant credibility.

“We built it to look and feel more like an art gallery. People who collect vinyl also collect it for the cover art,” Stacy said. “It’s not just a music medium.”

The “Mosaic Wall” stretches 30 feet and five records high with classic and contemporary albums, many 180-gram pressings or “heavy vinyl,” preferred by collectors for durability and fidelity. Here you’ll find seminal releases from The Stones to The Stooges and everything in-between.

Used inventory fills the “Vinyl Salon” in oversized wooden bins complemented by a lounge with a couple of leather sofas at the end and a long, bar-height table in the middle with enough stools and space to make the experience equal parts shopping and social. Flipping through stacks searching for those hidden gems is a two-handed job. That’s why you’ll find cleverly placed cup holders spaced every few feet to park your pint.

“The idea came from a very practical place. I was stocking the bins, holding a beer, and had nowhere to put it,” he confessed. “They’re actually just RV cup holders, but everyone gets a kick out of them.” (Frank Zappa and The Mothers of Invention would surely approve.)

Despite their resurgence in popularity, selecting the right records to sell has become evermore crucial in the age of eBay and Amazon. Stacy was smart and thankful to enlist veteran vinyl proprietor Mike “Pepe” Depew as a mentor, whose experience at Ace in the Hole Music Exchange and the Record Connection dates back decades.

“I started buying records from Pep when I was 15,” Stacy revealed. “Anytime you start a business there are bumps in the road and painful learning. He took me under his wing and helped me avoid a lot of those mistakes.”

Extending the gallery metaphor are concert posters and handbills designed by prolific local artist Mike Martin, whose limited edition screen printing and illustration style echo an earlier era, and the depth and breadth of Craft & Vinyl’s selection. From folk to funk and soul to swing, add the black and yellow punches of color to the warm wooden accents, and Jack White would feel right at home. Even the pinball machines are on-brand for a place that seems like one giant analog anachronism defiant of all things digital—with one deft exception.

“Lots of musicians go to record stores and hang out. That’s often where collaborations first come together,” he explained. “I wanted to create a place where that inspiration isn’t lost by having a recording studio just steps away. There’s nothing like it in Columbus.”

In addition to hourly studio rental—including a collection of guitars, basses, vocal microphones, and a drum kit—Stacy offers monthly packages for musicians interested in more frequent access, one of several subscription options that distinguish Craft & Vinyl as a place where music is played and made.

“One of the ideas we’re working on is a ‘Flight School’ where once a month you’ll come in to try four to six beers from a specific brewer paired with a classic album listening experience and a new album listening experience,” he noted.

Though the smallest section of the store in square footage, that craft beer counter right as you walk through the door is definitely the social glue that binds the whole operation together, and the most unique draw for foot traffic and local buzz. The novel mix of stacks of wax and craft on draft was enough to intrigue distributors before they even opened.

“The relationship with Great Lakes Brewing was really interesting because they reached out to us,” Stacy recalled. “They approached us and said they wanted to serve their Turntable Pils here. That eventually turned into a conversation about doing a collaborative vinyl album together.”

Also available as event space, new ideas continue to surface now that more folks can take it in and suggest additional opportunities and potential. The concept was always considered an evolving prototype for future locations.

“People tend to tell you what they want,” Stacy explained. “I’m here to listen.•

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InnerVision

Sam Shepherd and Genene Blackwell didn’t come into this world together. But they’ve navigated much of their lives since then as an inseparable pair. Both born prematurely and with significant visual impairments, the duo were in the same NICU at the same time, began preschool together, started piano lessons together, rode the same bus, marched [...]
Aaron Wetli

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Sam Shepherd and Genene Blackwell didn’t come into this world together.

But they’ve navigated much of their lives since then as an inseparable pair.

Both born prematurely and with significant visual impairments, the duo were in the same NICU at the same time, began preschool together, started piano lessons together, rode the same bus, marched together in the world’s only blind marching band, graduated together, and would eventually collaborate with their band InnerVision. They are as intertwined as two individuals can be, and like Adams and Jefferson or Bird and Magic, it is impossible to tell one of their stories without telling the other.

For those unfamiliar, Innervisions (1973) is also the name of arguably the most famous and critically-acclaimed album of Stevie Wonder’s career. Naming their band in the vein of this album makes sense as Sam and Genene share their love of funk, soul, rock, and jazz with Wonder, along with their visual impairments.

Trying to make a living in Columbus as a musician has enough hurdles, but try adding being blind to the mix. It’s not like Sam or Genene can drive, and public transportation in this city —especially pertaining to those with disabilities—is sorely lacking. With the help of grandparents and parents, who double as managers, the duo have been playing the summer festival circuit. They’ve been making appearances in Columbus and beyond at Plum Run Winery (Grove City), Buckeye Lake Winery (Thornville), Tucci’s (Dublin). Mudflats (Galena), and Notes (Downtown).

Their long-term goals are humble. Sam stands firmly in practicality. He wants to build a life upon his craft.

“I want to make enough to pay the bills and make a living,” he said.

Genene’s response is closer to the heart. She wants to “bring joy to people’s hearts through my music,” she said. Those may be the least pretentious statements made by any musician. In the history of the world. Ever.

I was lucky enough to recently watch an InnerVision show at Oliver’s, a hidden gem of a downtown restaurant, where live blues is performed on Friday and Saturday nights. I asked the duo if they get butterflies before live performances. But Sam takes it in stride.

”Sometimes not being able to see the crowd is good for stage fright,” he said.

Well played, sir. Well played.

The dimly lit and intimate venue and motif was perfect for the duo as they seamlessly transitioned between blues, jazz, soul, rock, and pop covers. They touched on all the standards: “Sweet Home Chicago,” “Unchain My Heart,” “Hound Dog,” and “Summertime.” The crowd, along with the waitstaff and bartenders, were bewitched with InnerVision’s musical chops and entertained by Sam’s witty banter with audience members.

To put it bluntly, InnerVision is a well-oiled machine. Genene rocks the keys and Sam, who handles most of the vocals, jumps between guitar, bongos, trombone, and harmonica. InnerVision isn’t a couple of acoustic frat bros fumbling through a local open mic night; they are musical prodigies who take no prisoners and kill the audience with kindness.

And I don’t think the term prodigy is hyperbolic as both musicians can hear a piece of music once or twice and have it mastered (instrument, lyrics, vocals) within 30 minutes. Their only assistance is the occasional YouTube tutorial or bouncing ideas off each other.

When asked to name their favorite artists, Genene is decisive:

“Adele and Alicia Keys. Those two are the best.”

Sam is a little more traditional with favorites such as Rush, Pink Floyd, Sam Cooke, and Aaron Neville. The influence of classics come from his dad; his soul comes from inside.

However, in true InnerVision fashion, the duo put their own touches on contemporary hits. When you catch them live, ask them to perform their stripped-down, bluesy version of the Taylor Swift’s “Shake it Off.” This cover alone is worth the price of admission.

Despite their visual impairments, Sam and Genene are like many other 27 year-olds and enjoy going to the gym, checking social media, listening to music and watching superhero movies. Unlike other 27 year-olds, their lives are significantly impacted by their disabilities, but not so much that they are giving up their dream of playing live music for a living.

What exactly can be attributed to InnerVision’s seamless on stage chemistry? Maybe it is their cosmic connection and the fact that they have known each other for the entirety of their 27 years? Maybe it’s the fact that they are brother and sister in every way except biologically? Maybe they share a bond that only persons with disabilities can share?

What I do know is that you should go see them live. Sam and Genene don’t need your pity or charity. They, like all Columbus musicians, need your attention, social media likes and cover charges. Actually, just go ahead and book them for the next event you are hosting. You will get three hours of world class musicianship from two people who are making their way by letting their inner lights shine. •

You can catch multiple InnerVision shows this month, from Worthington to Gahanna to Lewis Center. For more, visit innervisionmusic.com.

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