August Teens; June 14, 2008; The Frequency

There had been a good buzz surrounding the opening of Madison’s newest small club. Owner Darwin Sampson, as a member of the God Damns, Helliphant and formerly of the Skintones, knows his way around a club not only as part of a band but also as a booker, having booked the less appealing Annex for the past year. “Reminds me of O’Cayz,” was a comment I had heard more than once. Sure, it is a small, dark, loud club, but really the similarities end there. So far the Frequency has been booking almost exclusively local and regional bands, whereas O’Cayz hosted its fair share of touring bands. And while O’Cayz was a charming jumble of posters, western themed items and other paraphernalia, at this point the Frequency is still relatively sterile. The paint still seems fresh on most walls. Not that there is anything wrong with any of that of course, it is already light years improved from its former incarnation. The Slipper Club with its awkwardly located stage was one of my least favorite places to see a show, especially if there were more than ten people there. Darwin has moved the stage to the back of the room where it belongs.

Admittedly, there are other less tangible things that bear out the O’Cayz comparisons, my whiskey/coke (cheap at $3) had only a splash of coke (yum!) and the shows start and run late. Like really late. I was hoping to catch the Alarmists on the Terrace before making my way over to see the August Teens at the Frequency, but was worried I would miss part of their set. “We probably won’t go on till 12:30 at the earliest,” Teens’ lead singer Dan Hardgrove reassured me. He was right, I didn’t need to worry, when I arrived at 12:15 second band Tangy was still on stage, but I’m glad I got there when I did. Tangy called Teens’ bass player, the ubiquitous Kyle Motor, to the stage for some help on vocals. He looked worried until they started the song, and then just smiled. I did too once I realized it was the classic Kiss tune “Strutter.”

For their set, the Teens did what they do best, play catchy power pop loud and fast. Songs that I had heard for the first time in my basement a couple months ago were slightly more familiar tonight, “Pizza in my Heart” the foremost among those of course. Tonight Josh Motor was back behind the drums which meant they had their whole catalog to draw from, though occasionally there was a moment after they would introduce a song before he would say, ”oh yeah, I know that one.” I kinda felt like that too, never quite sure if what I was hearing was an original or a track from one of my Nuggets CDs. I can’t wait to see them again. Play more shows boys.

The Low Czars/The Midwest Beat/The Nice Outfit; June 13, 2008; High Noon Saloon

I’ve been to CD release shows where the CDs just arrived that day, I’ve been to ones where they are due in the day after, but this is the first time I have been to a CD release show where the CD doesn’t even exist. Apparently the show had been booked back when the Midwest Beat thought they would have their debut full length ready in time, instead they weren’t much closer than they had been when they booked the show. Not that it mattered, I would have come to this show either way. It is hard to deny the Beat’s swirling pop-rock, and the rest of the line-up was just as solid.

Back in the 90’s I was a fan of the Milwaukee band Trolley. They played power pop that occasionally drifted off into surf guitar land, and they were a fixture on Milwaukee’s fest stages every summer. A combination of fewer trips to Milwaukee on my end and fewer shows played on their end meant that I hadn’t seen them in years, but their name would pop up every once in awhile, and I would see their guitarist Terry Hackbarth with his distinctive long graying hair at shows (identifying him as “that Trolley guy”). Turns out the Nice Outfit is the front half of that band- Terry and vocalist/guitarist Paul Wall, who was wearing what was indeed a nice outfit (and yes, in this case it is OK to call what you’re wearing an outfit). As far as I can tell, they have carried over Trolley’s rock sensibilities with fewer instrumentals, win-win, and they were a good fit for this bill.

The Midwest Beat was up next, even though they were hypothetically the headliner. The logic being that the Low Czars were playing a wedding that day and they would need time to get there (or perhaps sober up). The Beat plays an infectious cotton candy rock, so delicious while they are playing but disappearing at the end of their set. I have seen them a couple times before and my reaction is always the same, “wow, that was good, but why can’t I remember any of their songs?” The band is fronted by Ryan Adams, as unassuming a leader as the other Adams is ridiculous. Next to Matt Joyce, the band’s more gregarious and impressively facial-haired singer, he tends to go unnoticed. Still, I suspect that he is the soul of this band, and I have no doubt that once I have a disc in hand, whenever that is, those songs will solidify in my head rather than drifting away.

Even after what must have already been a long day the Low Czars went on well after midnight and played a great sounding set. Tonight featured more of the multi-talented Ropin’ Rodeo Nate than usual, giving him several songs to show off his sax skills on. I was actually looking forward to a drunken Czars set, bassist James in particular is even more hilarious after a few drinks (especially Tito’s vodka), but it seems they had drank in moderation during the day and had no problem closing out the night with their delightful blend of obscure and unknown songs. In fact, only Bob’s graceful memory lapse on one tune, which found him singing “I don’t remember the words,” indicated anything out of the ordinary. Thanks guys for again proving to me exactly how little I know.

Teddy Thompson/The Grey Race; June 12, 2008; The Rathskellar

It isn’t easy being the offspring of a famous musician, let alone having both of your parents in the business. With parents like Richard and Linda Thompson, famous for everything from being half of Fairport Convention to “retiring” for something like twenty years (Linda) to being one of the best guitar players of his generation (Richard) to having a voice that makes me swoon every time I hear it (Richard again), it isn’t easy to make your own name. Teddy has taken his time building his career, in addition to touring with his parents as opener and band member, he’s also hit the road with Rufus Wainwright. During those years, he released just one full length, an EP and a covers record. He arrived in Madison one week before the release of his next CD without any copies of A Piece of What You Want to sell.

Even though none of the new tunes were familiar, they seemed more so on first listen than the songs from his previous disc of originals Separate Ways. While that disc had its winners, “I Wish It Were Over” was one of the highlights of tonight’s set, it isn’t as consistent overall as the new material. Of course, that could have nothing to do with the songs and everything to do with his mood. The last time I saw him he seemed vaguely annoyed with a smallish crowd at a subdued Orpheum Stage Door Theater. Even though the show was forced inside tonight by the thunderstorms and tornado warnings, resulting in an audience much smaller than the average Terrace crowd, he didn’t seem the least bit disappointed. In fact, though he didn’t talk much he seemed genuinely pleased to be there. He didn’t inherit his father’s shiver-inducing baritone, but it is probably better that he got his own voice, one equally as gorgeous and pure but not the least bit similar. And in fact, just as likely to give me shivers.

His backing band tonight was also his opening band. The Grey Race from Brooklyn played pretty, soothing pop, which served mostly to encourage conversation in the audience. It was lovely, but came off more as background music than as something we should pay attention to. I can’t even imagine what would have happened to them on the Terrace, likely they would have been swallowed whole by the notoriously inattentive audiences there. That all changed when Teddy joined them for his set, somehow convincing the audience to pay attention without ever raising his voice.

The Kissers (last show); June 7, 2008; High Noon Saloon

Ah, there are so many things we take for granted, but perhaps none that are taken more for granted than the Kissers. A Madison institution for over a decade, I’ve taken them for granted at every turn. First it was the “every Damn Monday” shows at O’Cayz Corral. It was hard to find a Monday that seemed like a good time to stay out late (don’t laugh, that was a long time ago when I had more sense). I just kept thinking I would catch the band, who were really just a Pogues cover band at the time, the next week. Then O’Cayz burned down and there weren’t any more damn Monday nights. Then I took their random gigs around town for granted, there always seemed to be a new band I wanted to see, and I ended up not seeing them as much as I would like. Then they moved to Boston and that was the end of that. Then they moved back, but still I hadn’t been to a Kissers show since their CD release two years ago. That CD featured original tunes and significant contributions from two members who had never even played a Monday at O’Cayz.

Now those two, guitarist/vocalist Nate Palan and the Jimmy Hendrix of the violin Kari Bethke, are moving to New York where I hear Kari has gotten a sweet new job. Wisely, the Kissers decided to call this “a farewell for now” show, it just couldn’t be the same without them, but you hate to say never. Nate’s contributions have increased over the years, his vocals, banjo and original songs (not to mention his hair) have become an intrinsic part of the identity of the band. It is hard to imagine that the Kissers even existed before the lovely and ridiculously talented Bethke joined the band. Every time I see them I am totally amazed by her skill.

For this special farewell show seven former members were in attendance (only two former Kissers were missing), and after the first set and a half they spent the rest of the night on stage. While the first half of the show was dedicated to their most recent record The Good Fight and new songs, the second half turned into a thirteen person sing-along free-for-all that sounded surprisingly good. Many of them had never played together, and many hadn’t played much at all since they left the band. While some like Lorenzo’s Music sax man Bryan Elliot, who plays penny whistle with the Kissers, are in other bands, I have no idea what bassist Kaitlyn has been up to. Still, she was belting out the words to “South Australia” like she’d never left.

With a keg of Capital Amber on stage and rounds of shots appearing like clockwork, it was amazing the band was able to stay on their feet for the whole night (though I did notice Kari had shed her super cool, but very high heels for the last set). From 9:30 till well after two (nearly five hours!) the band relived past and present glories and for the most part the audience was right there with them. It wasn’t until the third set that the near capacity crowd started to thin, unable to keep up with the band. I’ll miss the Kissers, but I’m already taking it for granted that they will be back, at least every St Patrick’s Day.

Icarus Himself/Vid Libert; June 7, 2008; Mother Fool’s Coffeehouse

The severe thunderstorm warnings and the tornado watches had mercifully subsided by the time I made my way back towards downtown for an early show at Mother Fool’s. I’ve seldom seen large crowds at the cozy coffeehouse, but the biggest ones I’ve seen tend to be for local bands rather than for the touring acts that stop here. Tonight’s well-attended show featured two of Madison’s most intriguing songwriters. Icarus Himself is the stage name The National Beekeeper’s Society leader Nick Whetro has taken for his solo project, while “Vid” is just a shortened version of David Libert’s real name.

Nick mixes the occasional NBS song into his set (notably the excellent “Scars”), as well as a Sleeping in the Aviary cover, along with material exclusively for the solo project. His five song EP is a pleasant diversion, even as it suffers from the EP curse, just too damn short. I look forward to his full length release due out this fall. For a portion of his set he was joined by NBS member/Cribshitter leader Karl who added electric guitar as well as some backing vocals. How a guy who played in Jimmy’s Comet, as safe a pop band as you can imagine, ended up in several of Madison’s most interesting and experimental groups is beyond me, but it is definitely a good thing. Mother Fool’s intimate setting and the feeling that most of the folks there were friends encouraged the duo to try new stuff, including a song that they had only played together once. Nick’s intriguing songs and voice unadorned by a band make his solo project the more interesting of his two musical outlets.

It used to be that a Vid Libert solo sighting was rare indeed, it was much more common to see him as part of his rock combo the Nervous System, but it has become less unusual in recent months. In addition to being selected by Tag for several high profile opening gigs (including a sold-out Why? show and a less-well attended but superior Jim White show), he’s been playing more local showcases. The completion of his second unassuming, but terrific CD seems to have motivated him to play out more. The first time I heard many of the songs from the new Return to Mayaquez they were played solo or with minimal accompaniment from guitarist Mike, but recent gigs have found him bringing along his pedal steel, as well as a drummer being added to the mix. No matter what combination of musicians is onstage, ultimately it is the naïve charm of the songs and Vid’s Daniel Johnston-esque voice proclaiming them that make him worth seeing every time.

This was a perfect combination on a rainy night inside Mother Fool’s cozy space. It isn’t often I prefer a coffeehouse to a bar as a place to see a show, but I didn’t want to be anywhere else but here tonight.