Beaver Nelson/Marty Finkel; August 16, 2012; Kiki’s House of Righteous Music

I don’t think anyone knew exactly what to expect from Beaver Nelson’s Macro/Micro show, but I think it is safe to say that everyone left with their minds at least a little bit blown. It’s a record, but it’s also a movie. It’s a movie, but it’s also a show. The songs of Macro/Micro have a vision, and that vision is expressed in the movie that accompanies it. Each song has its own dream, sometimes a literal translation as in the party scenes that accompany “They’re Really Doing Funerals Right These Days,” sometimes much more figurative. After completing both these projects Nelson decided the way to tour this record was to present the whole work, so he re-recorded the soundtrack with the vocals and his guitar taken out. To each gig he brings a projector, a screen and a couple guitars. He sits in front of the screen and presses play on his computer, at which point there is no choice but to go forward.

It works for two reasons. One, because the songs on Macro/Micro are really good- catchy, instantly familiar chunks of pure pop-folk. By the end of the aforementioned “Funerals” I was singing along, even though I hadn’t heard it before. “Natural Man Does Not Exist” and “Your Subconscious Does the Dirty Work for Free” are others that stuck in my head after the show, reinforced by the video images that accompanied them, often featuring Nelson himself in starring or supporting roles. In addition to the gleeful black-clad party goers in “Funerals” (as in "they're really doing funerals right these days") Nelson appears in the background, a dirt-covered grave digger. In “Natural Man” he dons a pair of bug-eyed goggles for the expedition. Which points out the second reason why it worked, the movie is genius. The most memorable scene was an entire song’s worth of people walking. What made it remarkable is that it was their shadows that were being filmed to look as though they were the ones walking, seldom is an actual person seen. Absolutely visually stunning. It was what everyone was asking about after the show.

I always video my house concerts, I like having a record of all the amazing artists who have come through the basement, but I wasn’t sure how this one would turn out. Nelson supported the idea; he said he would love to have a way to show venues exactly what they were getting when they booked his show. What I didn’t realize was that he had never actually seen the show. It usually takes a few weeks (or months) for me to convert the tapes to DVD. This one I did that night after deciding it would be better to have it right then than to send him a copy. We ended up watching half of the show over again, and I was impressed at how good it sounded. And he was delighted to finally see what we were seeing.

It seems I have a way of bringing local musicians out of self-imposed retirement. Sleeping in the Aviary’s Michael Sienkowski hadn’t played a solo show in over two years before playing a truly excellent opening set for Walter Salas Humara earlier this summer, and the Blueheels’ Robby Schiller had been pretty quiet before debuting a whole batch of new songs at the house. Tonight it was Marty Finkel (who Nelson kept calling “young master Finkel” to my amusement) who hadn’t played a show in I don’t even know how long. The set was a mix of old songs and ones I hadn’t heard, and he sounded great. Those who hadn’t seen him before raved about him later. I can’t think him enough for playing, and for getting his whole family out for the show. Also big thanks to Trevor Hopkins for being my last minute sound guy, Nelson said it was the best sound he’d had all tour.

Hopefully if Nelson decides to bring his show back to the basement enthusiastic word-of-mouth will get more people out for it.

Marty Finkel




Beaver Nelson

Southeast Engine; August 10; The Shitty Barn, Spring Green

It’s funny all the different routes one can take to finding a band. For instance I found Southeast Engine because of a chance meeting with drummer Leo DeLuca. I was introduced to him at SXSW several years ago, based on a mutual love of the Wrens. I came to find out that he was also the man behind Moon Jaw records who had put out Theodore’s Hold You Like a Lover, and that he had his own band. I returned home and ordered their record From the Forest to the Sea. I liked it, a lot. But it didn’t prepare me for 2011’s Canary. DeLuca took over Misra Records when it looked like they were lost, inking a deal with Bloodshot to be their distributor. I got an early copy of that record from my friends at the Chicago based label and haven’t stop listening to it. The song cycle revolves around a Depression era family and songs like “Ruthie” and “Red Lake Shore” are emotionally intense and intelligent. The standout track is “Adeline of the Appalachian Mountains,” a song so beautiful it can make you cry.

They opened with it tonight, taking away any uncertainty about whether or not they would play it. I had seen them three times before. Two show at SXSW this year and a woefully under-attended show at the House Café in Dekalb. Though I should mention that every show I have seen at the House Cafe has been woefully under-attended. Those were good shows, but tonight qualified as amazing. During the break (where they didn’t really seem to know what to do, “we don’t take breaks”), bass player Jesse Remnant admitted he prefers playing loud, but quiet was what made this so good. I never really appreciated the harmony vocals between him and his brother, lead singer and guitarist Adam, before. “The Everly Brothers” DeLuca jokingly called them, but he wasn’t wrong, they sound very sweet together.

The intimate setting also allowed them some liberties, like playing a few songs unplugged. Jesse traded his bass for an acoustic guitar and DeLuca brought his snare up front, leaving keyboardist Billy Matheny the only one tethered to electricity. The attentive crowd loved it, though I wasn’t sure DeLuca would be able to get up again after crouching awkwardly with his drum for that long. Matheny grabbed the attention later that night when DeLuca popped the snaps on his pearl snap shirt to reveal a black marker tattoo of Spring Green inside an arrow pierced heart on his skinny chest (see photo).

Remarkably, this was my first trip to the Shitty Barn, which of course isn’t shitty at all. It’s a great listening room, as well as a cozy space that sounds great. They usually do shows on Wednesdays and even though such awesome folk as the Pines play there regularly, I won’t miss volleyball. I am jealous that they got Southeast Engine before I did. The band did seem to enjoy their first visit to Wisconsin(“I’m gay for your state” DeLuca told me), so hopefully they will play the basement soon. I won’t quit pestering them until they do. I am pretty sure it will be magical.

Robbie Fulks with guest Jason Ringenberg; August 6, 2012; The Hideout

We were a little surprised when we arrived at 7:30 to find Jason Ringenberg already playing. Not necessarily because he had started at 7:15; the posted time is 7, but these residency shows rarely start before half past. No it was surprising because Ringenberg’s host, Robbie Fulks, was nowhere to be seen. Usually these shows follow the same format, Fulks and his guest trade songs, often playing a couple of the other’s songs, and playing together on others. Start at 7:30, done before 9. Ringenberg didn’t seem to want to do it that way. Instead he played he played a set first because he claimed he didn’t ever want to follow Fulks. He played a selection of songs from his massive catalog before ceding the stage to Fulks. Who clearly did not want to play some songs by himself. Instead he spent a lot of time telling stories, reluctantly playing a couple of songs before announcing they would take a break before finishing the show together.

The break definitely messed up my schedule. I rely on these shows finishing early so I can catch the 10:15 bus back to Madison. Still, the songs they played together made it worth it. Ringenberg’s voice is not what you would call a pretty voice, however it is perfect for the Honky Tonk that both he and Fulks do so well. Hearing them sing “Golden Ball and Chain” (likely the Scorchers biggest hit) together and Ringenberg taking on Fulks’ “The Buck Starts Here” made me forget how disappointed I had been with the bowling alley show. I got worried I was going to miss my bus so I left before the encore, but I feel like I got my ten bucks worth. It wasn’t a usual residency show but it was still a good show.

The Afghan Whigs; August 4, 2012; The Metro

I had only just gotten into the Afghan Whigs as they were ending. Gentlemen may have been their most popular record, but I didn’t hear them until their swan song 1965 (the record not the year). I probably ordered it from the record club, which was a cheap way to hear new music back then, and it was a revelation. It’s a very sexy record due to the bumping bass and Greg Dulli’s gorgeous growl. It’s the way he sings “if you’re waiting for my move, well, I’m making it” that gets me every time. It’s a record I can listen to over and over. I ordered Black Love and Gentlemen hoping for more of the same, but I was disappointed. They were heavier and not as addictive. So when a friend asked if I wanted to go to the after show they were playing in conjunction with their reunion show at Lollapalooza, I wanted to know how many songs they were going to play from 1965. She was pretty sure they wouldn’t play the whole record (which I was hoping for), but she did send me a recent set list. “Crazy” and “66” (which contains the aforementioned line) were on it, and since those are my two favorite songs I was in.

Turns out it was my lucky night and they played a lot more than that, in fact they played the bulk of the album, eight of eleven songs. And even if they hadn’t played more than half the record I still would have been happy, because it was a pretty amazing show. It started good and kept getting better. Much of that had to do with Dulli himself, he was intense and charming at the same time. The rest of the credit goes to the band, especially all of the extra players along for the ride. The big-voiced backing vocalists are the key to 1965’s soul sound, and if these weren’t the people who sang on the original recording, they certainly did a good job of filling those shoes. My favorite part of the show had some local flavor, and I’m not talking about the somnambulistic opening band. Nope, I’m talking about the horn section consisting of Nate Lepine, Nick Broste and Dave Max Crawford. The saxophone, trombone and trumpet players who jazzed up tonight’s set are better known to me backing Chris Mills as his City That Works. Pretty awesome. I’m not sure if the Whigs are recruiting local musicians to play these parts in every city they visit, but I’m glad they did here.

In addition to all the hits, they played a surprising amount of covers, Radiohead, Frank Ocean and crowd favorite Thin Lizzy, and Dulli seemed to enjoy these songs more than his own. Too bad their October return show is sold out already, I would definitely go again.

Sugar Maple Traditional Music Fest; August 3, 2012; Lake Farm CountyPark

Now in its seventh year the Sugar Maple Festival is still going strong, and it continues to expand beyond the main stage. In addition to the workshops, dances and jams that go on around the park, a second stage features local and touring acts both days. This year the nice people at Sugar Maple turned one of the second stage time slots over to me for a sort of “Kiki’s House of Righteous Music presents” outside the basement. It only made sense that I would use it to book the performer who has probably played the most sets there.

Since moving to Minneapolis, Blake Thomas is not the familiar face around Madison he once was. He comes back every couple months, but hadn’t played here since a Tuesday night at Mickeys that was loud, crowded and seemed to have more set breaks than songs. Tonight was a different story, the crowd was small when he started his fifty minute set, but grew as people drifted over after Robbie Fulks finished his set on the main stage. Unlike a Mickey’s crowd, this group was silent during the songs and clapped appreciatively at the end. Sitting at a picnic table up front, I was surprised when I turned around to see how many people there were extending into the darkness around the park shelter that housed the stage. It was awesome to actually hear Thomas play for the first time since his Stoughton Opera House show last November, and it sounded terrific.

At first he thought he would play solo. Since he would be getting into town only a few hours before the show, he wouldn’t have time to work anything up with the players who usually accompany him. He should know by now that the usual suspects don’t need practice. In addition to Josh Harty on guitar and Chris Sasman on drums, his wife Mary Fox also played on half the tunes. The pair has been writing a musical (“Stay Tuned…” for Yellowtree Theater in Osseo, MN) and we were treated to one of the first songs from the production. In addition, they played a couple songs from the Our Town soundtrack they did last year for another play at Yellowtree they both starred in. That collection of old traditionals and Carter Family songs was perfect for the fest. Surprisingly with all the talent onstage, the show was stolen by an unexpected guest. Young Sage Ali (son of Shauncey) wandered over to the drum kit like he belonged there. Sasman scooped him up, set him on his lap and handed him a brush. He surprised no one by having perfect rhythm despite being only a year old.

Usually Saturday is the better of the two days at Sugar Maple but this year Friday had the edge. In addition to the musician of my choosing, there were also a few bands I would have chosen on the main stage. As I mentioned earlier Robbie Fulks was making his third Sugar Maple appearance. His next record is going to be a bluegrass collection and he brought along many of the players who will be on the record. A violin player friend of mine was amazed at the talent on stage, and he doesn’t even know Fulks or his frequent sideman Robbie Gjersoe. “Did you see who’s playing?” he asked me, wide-eyed, “those are some serious Nashville heavyweights up there.” And it did sound pretty amazing. Fulks has always been a man of many, in fact nearly all, styles of music, but bluegrass really gives him a chance to show off his fingerpicking skills. I only got to see half his set before heading over to the second stage. Blake urged me to head back, but I protested that I see Fulks more than I see him.

Earlier in the night the Tillers played a great set despite some pretty extreme technical difficulties. The microphones went out and they ended up doing half their songs from the middle of the dance floor. It is one thing to go completely unplugged in a small room like the Café Carpe, completely another under a big top sized tent. Even so, their strong voices carried well. All of the singing, as well as all the talking, is done by the guitar player and the fiddler while the upright bass player remains silent. If he ever did say something I expect it would be like Silent Bob or Ferb (of Disney’s Phineas and Ferb), short, profound, and to the point.

The Sugar Maple people are doing great thing out there, and I hope they have many more years of great music. Especially since the organizer said he hopes to make “Kiki’s House of Righteous Music presents” a yearly thing.

Eddie Biebel & AJ Srudas




The Tillers
























Blake Thomas & friends

Jason & the Scorchers; July 27, 2012; Schwoegler’s Valley Lanes, Belleville

I was pretty sure that tonight’s show was going to be of the “once you get past the fact that it sucks, it’s kinda cool” variety, (ie shows at the Oneida Casino in Green Bay, where the stage is behind the bar), instead it just kinda sucked. There was plenty to like of course. It was only $5, the bar had a pretty delicious fish fry, and it was Jason & the Scorchers after all. But there was no stage, so only the people in the front row ringing the band could see and honestly it just didn’t sound good.

It’s likely been said before that Jason Ringenberg can’t sing. And that’s true, but he can’t sing in a Bob Dylan sort of way, not in the way that I, for instance, can’t sing. His nasally twang is not for everyone, but I’ve always enjoyed it (unsurprising, I like Dylan too). When I say it didn’t sound good tonight, it’s not because it was in a bowling alley with a rented PA, it’s because I thought Jason’s voice just didn’t sound good. I know, blasphemy, but that’s what I heard. On a related note, the Scorchers do a pretty sweet cover of Dylan’s “Absolutely Sweet Marie” which is pretty much my favorite moment of their shows. That was true again tonight.

I stood for half the set, but it was a surprisingly tall crowd and I never got a good sightline. After awhile I retired to our table and listened to the rest of the show over the din of chatter from the girlfriends whose boyfriends were up front and other people who weren’t really sure why they were there other then there was something going on at the Bowling Alley on a Friday night and they were going be there. I guess that is maybe why I was there too.

Trapper Schoepp & the Shades; July 26, 2012; The Memorial Union Terrace