There’s lots of good coverage of Blowout here and here, so I don’t need to repeat a lot of it.
Mirror Twin is officially my favorite Lucas sisters project, beating out the Sisters Lucas. They put just enough rock into the show to qualify as a rock show and it totally worked for me.
I went quite a while without ever seeing DALE EARNHARDT JR. JR., but have now seen them twice in the past month. I’ll see them twice this month too if I get the chance.
Mister was a classic Blowout find. Wait, there’s an MC rapping over Digital Underground style beats with a style that references both De La Soul and Eminem? I would have said no there probably isn’t. But there is, and he’s sweet. His hype man (who’s name I forgot) was also pretty sweet. Plus, his myspace indicates he likes Mastodon… I can relate to that.
I liked Fawn, but to take a critical eye to the matter they do sound a little bit like a new band. Also, I can’t say why, but when Christian and Alicia switched places and instruments — I suddenly was enjoying Fawn more. Could have been the song, could have been that they are more comfortable on the other instrument, could have been that Christian is a natural stage right guy — could be coincidence, no evidence for causation. Matt is an awesome drummer and I look forward to seeing the trio again soon.
Tim Monger was really excellent. Had I anticipated he’d been playing with a band and band that was polished and fully formed out of the gate — I’d have been dragging everyone I know to that show. Tasteful trumpet, smart arrangements and rock solid performance skills — a level of sophistication I just didn’t use to associate with Blowout, but with acts like this I’m starting to take for granted.
Speaking of sophistication, Zoos of Berlin win again. The Naudstache (which apparently had to fly out to Milan for the rest of the weekend) made a brief appearance on Thursday and the band sounded fantastic per usual. I probably call too many bands the “best in Detroit,” when I say it about Zoos I really mean it.
Friday might have been my most successful Blowout night of all time.
I’ve seen the Juliets before, but enjoyed them far more this time — maybe they’re getting better, but I expect I’m just paying better attention.
This is the first time I’ve seen Lettercamp and all the obvious Gorillaz behind the screen jokes I could try to make, they sound excellent. The music is highly accessible but not simple, contemporary and straight up fun. Big Matt said, “this sounds like today” — I concur wholeheartedly.
Fidrych sounds like Blowout in the best possible way. Cranked up guitars, energy and (pardon the cliche) beer soaked lyrics that are a perfect accompaniment to beer soaked minds. I love this band, pure and simple.
I’m also a big Octopus fan and have been since seeing them at last year’s Blowout. Subtlety has no place in the Gates of Columbus main room, to succeed there you need to be aggressive, tight, confident and on top of your game. Octopus is one of the rare bands up to the task of conquering that room.
Some how I ended up seeing the end of the Hard Lessons at the New Dodge and I’ll just repeat what’s already been said. It was packed, the crowd was really into the show and the HL’s delivered. Augie climbed up on the outer edge of the balcony and dove into the crowd (or on to the stage, I couldn’t really tell) and while I’ve seen that before (Nick from MoBz last year) and done better (Evenflow video), it seemed like the exact perfect move in that moment.
Saturday is always a little tough, because it can be so easy to just give up. Big Mess made me glad I didn’t give up. They rocked through an amazing set of songs many people (including myself) were lazily describing as Wilco-y. I think what we were trying to say is that there’s a clear strength to the song-craft, strong interplay between the band (probably the best harmony singing I heard the whole weekend) and a comfortable familiarity coming from the Americana/American Rock idiom they subscribe to. Great stuff all around.
The other brother and Coldwave company on the other side of tiny town also put on a great show. I described them to someone as, “as up to Ryan’s usual standard of excellence” in front of Ryan… since 90% of what I say is sarcastic, this may have been misconstrued. But I mean it, the guy clearly gives a shit about what he does and it shows even when he’s not center stage.
What can I say about Millions of Brazilians? They came out guns blazing, clearly out to prove that there wasn’t a better choice to close out Blowout in the mainroom. As I said before, that room can be pretty brutal — but I think the met and bested the challenge. A lot can be said about the toilet paper cannons borrowed from Girl Talk or the stage mob borrowed from the Stooges and while I think that stuff worked, the band isn’t about gimmicks. They’ve taken their game to the next level and crank out their James Murphy backed by Queens of the Stone Age rock with reckless passion. It seems too limiting to call them dance rock, but at the end of the night and even at the end of the Blowout — they come on and you’re going to dance and they’re going to rock.
When’s this blog going to get going? It seems like it should write itself.
This blog will determine all things that are either True, False or both.
Even stick figures love Blowout.
we are going to party!
In 1963 Jim Bunning went 12-13 for the Detroit Tigers.
That year he also posted a .997 asshole rating, beating Tiger slugger Ty Cobb’s “unbeatable” team record of .996 set in 1918, the year he slapped a black elevator operator for “being uppity”.
It’s notable, that the 3rd highest season rating of only .896 is held by Kirk Gibson, who took a pre-game dump in Bobby Higgenson’s batting helmet while shouting “1988 bitches,” before every game of the 1995 season.
Bunning went on to great success with the Phillies, was inducted to the baseball hall of fame and can be seen today “taking this douchebag stuff to a whole other level” in the US Senate.
You probably don’t know Eve Doster Knepp, but in all likelihood that hasn’t stopped you from talking shit about her on one of the local music blogs. As proprietor of Norwegian Blue Public Relations she helps many local bands, artists and events with promotion. But, I’m guessing you probably never complained about the work she’s done for the Hamtrack Labor Day Festival or Ghetto Recorders. What gets most people’s attention is the work Eve does for the Metro Times Blowout.
Through the magic of Internet 2.0 social media technology, Eve and I recently discussed her role with Blowout and the best job in Detroit that everybody thinks they could do better, but nobody else really wants.
DG: Describe for my reader a little bit about your history with Blowout and your current role with the event.
EDK: Well, I worked for the Metro Times for six years as the listings editor. That’s how I got to know the folks over there. I left in 2006 to start my own PR Company, Norwegian Blue (named from my all-time favorite Monty Python sketch). [ed note: Naming your company after a bird that has “ceased to be” is a bold PR move]
This is my third year with Blowout.
Basically, the MT was going through some staffing changes so the then publisher, Lisa Rudy, hired me as a contractor to produce the 2008 Blowout. That first year, I worked with then Publisher’s Assistant Maria Stella on all aspects of the event. Stella was so adept at her job, she was actually promoted to Promotions Manager and went on to produce many more MT events (she still does, in fact!)
For the last two years, I have basically been in charge of the music end of things — booking, sound, venues. Maria and the MT does all the PR, planning, advertising, etc.
DG: Intuitively, the size the event makes you job complicated — but could you put that in perspective with some of the facts about booking bands and working with venues?
EDK: I mean, logistically, it is pretty complicated, as I am dealing with so many bands but what I have learned to do is book the Blowout in waves.
First, starting in October, I personally contact the artists who I know I’d like to see play the event. For context, these are usually bands I believe have proved themselves to be, I dunno, the “tastemakers” in town. Also, these folks tend to be known to have a following and/or something interesting going on.
Next, I begin poring over all the submissions and email requests — this can be well over 1500 inquiries to sift through. My rule is to listen to at least 3 songs (when available), try to catch a live set and…watch any footage available. From that, a wish list is made.
There’s a ton of variables involved, including bar owner’s band requests, booking agent negotiations, availability, etc — so after that, it’s just a matter of filling in the holes.
As far as why a bands gets picked goes — that too is rife with variables. Sometimes I don’t know what to tell the bands who sound like Daughtry regarding why they didn’t make the cut. I’m not here to judge Top 40-influenced music, but that type of music just isn’t what the Blowout is about. While I have booked some pop music-influenced acts, in my opinion, Blowout represents some of the best in soulful, smart, daring and interesting Detroit music. Sometimes we even flirt with the avantgarde.
It’s *extremely* important to me to represent as many facets of the Detroit “rock ‘n’ roll” music scene as possible. Since I was a kid in the scene (way back in the early 90s), I have always seen this town’s music scene a sort of buffet of the best of the best. Our roots music is authentic as hell, we INVENTED techno, Detroit garage rock took over the world, we have amazingly awesome metal, electronic music is at an all-time high, popularity-wise. And then there’s bands like Zoos of Berlin who defy every cliche in town.
I am always surprised by how myopic people can be about what kind of music they will listen to. Blowout is one of those rare opportunities to see bands you never would have before. I hope more people challenge themselves to do that this year — it makes for some pretty happy accidents!
DG: A lot of the negative reaction and hurt feelings that I read out there seem to believe that the first stage you describe is somehow insidious or otherwise anti-American. Out of the 200+ bands at the event, how many are booked out of that first phase?
EDK: I’d say, like 30.
DG: So you have to find another 170 bands by going through the 1500 submissions. I mean it’s no wonder there’s a lot of sour people out there; 90% of the bands that submit aren’t going to be able to play. Honestly, I’m always a little shocked there are 200 bands available to play — the idea that there are 1500 active bands that would like to be at Blowout is kind of shocking.
I’d like to go back to something you said earlier about the “many facets of the Detroit ‘rock n roll” music. Is it fair to characterize that viewpoint as fundamentally opposed to those posited by Sammy Hagar?1
EDK: HAHAHAHA. Exactly.
Remember also…these bands crop up from EVERYWHERE. Lots of Macomb County, which has a very strong emo/Christian/screamo scene and Downriver which has a lot of metal and rock. Also, we get tons of submissions from college towns, the Ann Arbor scene, the UP (Sisu Kid is from the U.P.), Grand Rapids, etc. It seems like the regional bands have a better shot, but when somethings cool from far away, I want to get it in.
DG: What about the venues. Year to year the list of venues is largely the same, but every year it seems like there are a few that drop out out or come aboard. Do you have to actively seek out participation from the owners every year?
EDK: No, bars are very glad to participate. Times are tough and there’s not a lot of weekends (except for Paczki Day) that bars are full like they are at Blowout. Basically, when there were bars in the past that were too far off the beaten path, they suffered attendance-wise — we have decided to keep it more streamlined, and to keep the quality of music as good as it could be. There’s no reason to book a band just to fill a showcase. Also, despite what other might think, we do this event on a shoestring. The more streamlined, the better we can pay artists. It’s kind of like a quality control thing.
DG: Wait, bands get paid? Is that just bands at the larger venues or headliners or something like that?
EDK: The only folks eligible are headliners and direct support. A few exceptions will crop up, depending on booking agents, slots changes, etc…but that’s the basic concept.
In case you didn’t know, every headliner and direct support has been paid for several years now. Like I said, the MT does this on a shoestring. It’s really an event for engagement with readers — not humongous profit.
DG: Do you have a favorite Blowout memory, maybe from the care free days where you weren’t in charge?
EDK: I wish I could remember this night in it’s entirety, but, I do remember seeing the Doornails at Roadruner’s Raft (now Atlas) in 4-inch heels (after running in said heels through the snow all the way from Paycheck’s) and thinking to myself “This is the greatest!” But…my all-time favorite Blowout moment took place a few years back at Kelly’s Bar. On that bill was a relatively newly formed Human Eye and the spoken word weirdness of City Chicken Orchestra, which was led by my hilariously acerbic friend, Dan DeMaggio. There was not — I’m not kidding — even a few inches of room in that joint. Human Eye blew my mind with their atonal awesomeness. I fell in love with that band that night. Also, I remember I was so effing hot I got nauseous. Whatevs. Dan DeMaggio — as always — disturbed and slayed me. Not a bad way for a hedonistic twenty-something to spend an evening.
DG: Do you have any recommendations for bands you personally are looking forward to seeing this year?
EDK: I’m super excited to see Invincible with a full band. I’m pretty sure the band is all or mostly ladies.
Also, Hi Speed Dubbing and Chapstik at the Pre-Party (it’ll be nice to see some super powerful rock that night…I can’t think of a better way to kick it all off!).
For the rest of the weekend:
Fur
WTCM Gold!
Pigeon (Leslie Hardy is the greatest, ever.)
Legendary Creatures
Bloodbird
The Sundresses
Bill Bondsmen — that whole showcase, actually.
Browtown & the Beefcaves (new thing from Audra Kubat include ukuleles and concertina)
Secret Twins
The Party Stompers
Child Bite (they are planning on throwing a crazy show)
Matt Jones
DG: That’s quite an ambitious list — do you think you’ll really get to see all those bands?
EDK: I can do it! I know it….
DG: Thanks again for putting up with my half assed interview technique and I’ll see YOU at the 2010 Metro Times Blowout.
EDK: I’ll see you there, sir!
The Blowout is an event sponsored by Metro Times in Hamtramck, MI. in case you just skipped to the bottom to read the footnotes.
Blowout goers should note that on March 4-6, Blowout Bracelets are only available at Detroit Threads and The Gates of Columbus Hall (formerly the Knights of Columbus).
1In his 1981 song, “There’s Only One Way to Rock,” Samuel Roy Hager issues three primary theories.
1.When it comes to rocking, there is but one correct method.
2.Drugs are a form of mental masturbation.
2a.Everyone should try every drug at least once.
3.The time to commence rocking is 8:05, no earlier, no later.
3a.It is unclear if Hager means AM or PM or is operating on military time.
3a1. The collected works of Michael Anthony, “THE harmony vocals of Van Halen,” would suggest PM.
DUHVS!
15th pick in the 1977 NBA Draft. No. 14? Yep, Tree Rollins.
You don’t think you know who that is, but in fact you totally know who that is.
As you’ve already figured out from the picture, T-Bone was the tall lanky bass player on SNL in the GE Smith and the Saturday Night Live band era that spanned most of the 90’s.
T-Bone is an all time classic “That Guy!” The kind of guy that is always in the background, but because of his presence, draws your attention to the background and sooner or later, makes the background the foreground.
Episode after episode, always at GE’s side at the breaks, digging deep, getting funky and dressed like some kind late 19th century pimp — T-Bone was a guy you’d remember.
He also was a long time session musician and member of Hall and Oates band… but to me, he’ll always be a TV classic. Someday, down the road I’ll be watching an SNL rerun with Farley, Sandler and the crew and when they go to commercial, someone will say, “Dude, did you see that guy?”
I’ll be happy, after all these years of not knowing his name, to be able to respond, “Dude, that’s T-Bone.”