There is a sonic boom happening among women of all mediums and industries. Whether through art, politics or music, females are owning their truth and expressing it unapologetically without shame, guilt or insecurity. Submerge got the chance to interview one such inspirational female contributing to this era of woman power, Liz Kat, a multi-talented vocalist, keyboardist and frontwoman of Davis band, The Midnight Dip. Kat chatted with us about bringing The Midnight Dip together, their new EP and the power of turning negatives into positives.
The genres and sounds The Midnight Dip explores would be hard to put into any box. In my first interaction with their tunes, my impression of The Midnight Dip was of a gypsy-esque variety, with an array of contrasting instruments such as accordions and banjos, among others. I imagined it as the perfect music for steampunk events or hipster circuses.
But Kat describes their music style as, “A mixture of sweet and salty with a bit of everything in between.”
While my ears continued through their kaleidoscope of sound, I heard classic funk, jazz and psychedelic thrown in. Their discography offers powerful lyrics and original music written by the frontwoman herself. And above all, The Midnight Dip hopes to inspire others, give people a voice, and contribute positively through the power of noise.
For seven years, Kat had been a part of bands with people she admired and linked up with in the local music scene. However, after her last experience, she was left deeply unsatisfied. This was due to the lack of mutual respect in the band and the irritating machismo attitudes that one can experience when being the only woman in the group.
When asked about her experience Kat replied, “I’ve been in tons of bands with musicians and friends I know in the community here. But then I was with this all-men band that had a strange resistance to having a woman contribute equally creatively. They lacked the respect for me that they’d give to each other … I decided right then and there that I wanted to work for myself with my own band.”
She admits starting her first band wasn’t easy, but so far she has created a group that has gained quite a buzz in less than a year’s time.
Through musical acquaintances, friends and Craigslist, she was able to form the group. David Jacobin on guitar and banjo was her first to join. He’s been good friends with Kat for years. Then Patrick Langham from Big Sticky Mess introduced Kat to Kim Nguyen, who is also on keys.
“Patrick told me he knew someone who was awesome on keys. He said I’d really like her, so Kim and I met up and we spoke about art for hours,” Kat detailed.
With the rest of her crew, including bassist Alex Reiff and Zehrin Sims on drums, Kat’s made the same types of connections.
What is even more impressive, though, is that within a short time of playing together, The Midnight Dip has already released an EP titled, i hear voices.
i hear voices is Kat’s brainchild (with help of the band for arrangement) and covers an intense and difficult breakup in Kat’s life. The collection of songs goes through a process of love, loss and pain, and ends with redemption. The opening track, “Crazy Woman,” begins with delicate acoustic strings that pull the listener into a memory the subject is about to reflect on. Then the drums slowly roar and join in rhythm.
“Crazy Woman” specifically focuses on a moment in the abusive relationship where Kat’s ex-boyfriend chose to call her crazy while in a fight. At that particular moment, Kat felt shame and anxiety. She always assumed crazy had to only have a negative connotation.
But then she thought, “OK, I am crazy but in the best way possible. I decided to make the word positive and made this song as a way for me to accept the word as a positive thing. I wanted to put that aggression and realization into something powerful, so I put it in this song.”
The five-song EP is full of relatable gems a breakup album should consist of, especially in its honesty of how we all can act when heartbroken. Kat admitted, however, her music specifically targets a female audience on this EP.
“After going through the wave of all these stages—love, loss, pain, acceptance—by the end I’ve finally gone through the wave and I’m finally ready to move on,” Kat explained.
While envisioning the concepts for i hear voices, Kat took much inspiration from comedian Hannah Gadsby. In her standup, Gadsby uses comedy to cope with pain. Kat explained that in this way, Gadsby is owning her pain and owning her story and that inspired her.
As for the cover art, painted by Will Durkee, it hints at the contents of the album entirely. Durkee’s piece offers a beautiful female figure in purples and blues exiting a body of water. While including swirls and waves within the piece, the women has a noticeable illustration of an eye on the small of her back. Kat describes how impressed she was with Durkee after he took her description of what she wanted and made the cover art as the result.
“I wanted a woman in water but I wanted her to be a part of the water in a way. I wanted it to all flow. He did so well that he is now my go-to artist for everything,” Kat said.
While she wishes they all practiced more, for now Kat says The Midnight Dip practices at least once a week. While the bandmates individually lead their own lives, they are all dedicated to the same goal. Above all, Kat will always adhere to this goal: “I want to run a band with as much transparency and fairness as possible,” she said. “Even if I write all the songs, I want everyone to have an equal opinion and be happy with the decisions we make.”
Though the the inner workings of social media and finances can be a difficult task, Kat is up for the challenge, frequently staying up late figuring out how to more successfully promote herself and The Midnight Dip. As for what’s next, Kat said The Midnight Dip will release a full-length album in a year or two after getting their feet wet with this first EP.
Make sure to catch The Midnight Dip at these upcoming shows: They’ll be playing the free Rock the Vote event in Davis on Oct. 20 (at Davis Commons, 500 First St., from 11 a.m.–7 p.m.) and at The Torch Club (904 15th St., Sacramento) with The Dirty Chops Brass Band on Oct. 24. This 21-and-over show is $6 and starts at 9 p.m. For more info, go to Torchclub.net. You can listen to i hear voices at Themidnightdip.bandcamp.com.
**This piece first appeared in print on pages 12 – 13 of issue #276 (Oct. 10 – 24, 2018)**
Touring the United States in promotion of the release of his new album, Immortal Americans, Austin Lucas is bringing his introspective and sometimes dark brand of Americana to Sacramento. Following a battle with alcoholism and helping his partner fight cancer, this album explores those struggles through honest and vulnerable lyricism, set to stripped-down twang that at times gets heavy and raucous. Influenced by punk and mountain music, Lucas grew up in Bloomington, Indiana, and has risen to fame. Immortal Americans is his 14th release and by far the most meaningful record he’s put out. Catch him while you can at the Torch Club (904 15th St., Sacramento) on Wednesday, Oct. 10. Tickets are only $8 and three opening acts will support Lucas: The Brangs, Chad Price and Michael Dean Damron. Get your tickets at the door or on Eventbrite. Swing by Torchclub.net for more info.
**This write-up fist appeared in print on page 11 of issue #275 (Sept. 26 – Oct. 11, 2018)**
Since the recent release of Tatiana McPhee’s debut album, Mean Mama, the singer-songwriter has been trucking around Northern California from honky-tonk to honky-tonk, sharing her songs of real life heartache and heartbreak. Before going solo, McPhee cut her teeth in cover bands that played everything from Alan Jackson to Tom Petty, but once in front of the mic she quickly became antsy to sing her own songs.
“I sang a couple Miranda Lambert songs while in cover bands, but I never wanted to just sing other people’s songs,” said McPhee. “The way I like to get my emotions out is through songwriting. I’ve always wanted to sing about the way I’m feeling.”
Tatiana can be seen playing frequently around Northern California with American roots artist JonEmery, who she almost didn’t meet.
“Actually it was an open mic night. About two or three years ago around Halloween. Jon had a murder ballads themed open mic night at the Country Club Saloon in Loomis. I told [boyfriend and band mate] Dan that I really wanted to go to the open mic night and play one of my songs. I almost chickened out at the last minute because it was going to be scary since I was going to be performing by myself, but I ended up going and Jon really liked the song I sang, and we became good friends after that,” McPhee recalled.
McPhee was born and raised in the Bay Area, but currently resides in Lincoln. When asked if she has ever thought about moving to Nashville, McPhee replied, “I’ve never really been out of California other than to Nevada, so I don’t really know how it’s like in other places.”
McPhee continued, “I hear Texas is really nice, and Nashville seems to be kind of more corporate and it seems like everyone is going there. I really like the quiet countryside.”
From raiding her father’s music collection as a child to discussing the life lessons she learned from getting married at a young age, McPhee’s experiences flow naturally into the lyrics of a good old-fashioned country singer.
Where in the Bay Area did you grow up?
I was born in San Pablo, but I lived in Richmond, El Cerrito, San Pablo, Pinole. I lived in every one of those cities [laughs].
How did someone who grew up in the East Bay discover country music?
My dad was a big influence when it came to music. He listened to a lot of different things from Irish folk music to classic country. He really liked Hank Williams Sr., Jimmie Rodgers and Marty Robbins. So that’s the kind of music I grew up with and I love that stuff. I used to always steal his tapes. I’d see the Clancy Brothers or the Dubliners and I’d take those. So I started listening to that kind of music at a very young age.
How about your mom?
My mom is from Panama. She listened to a lot of salsa and stuff like that. I just did not go that way. My sisters all love that sort of thing, but I ended up sticking with country music.
I hear a bit of an edge to your music as well.
Yeah, I listen to a lot of stuff, I listen to punk rock, I love rockabilly and old soul. Sam Cooke was another big one that my dad always had around. I love that kind of stuff. It was very strange for me when I was younger because I didn’t listen to current music. I actually really hated it.
How did you start singing and playing music?
Well I’ve always loved music and when I was little I wanted to play the guitar really bad, I wanted guitar lessons and my mom was like, “I know somebody who gives piano lessons if you want to play piano.” I did try it once, but after that I was like, “No! I want to play guitar! I’m not playing anything now.”
How long was it until you picked up a guitar and started singing on a stage?
I started playing guitar when I came up here, when I was about 19 or 20. My friends had a band and I would go see them play. I loved watching them play and every once in a while they would let me up on stage and sing. It just struck something inside of me that said, “I really want to do this!”
I noticed your singing style is very diverse on Mean Mama. Who are some of your influences?
I’ve always loved Patsy Cline, I’ve always loved that she could belt it out, but Dolly Parton is my number one now. I can’t even listen to her music without crying. Dolly’s an inspiration not only in the way she sings, but in the music that she writes. I also love people like Ann Wilson, and Linda Ronstadt. I really like those big, powerhouse singers.
How did you select the songs that are on the album?
The songs for this album came together once I started thinking about a certain section of my life. This album represents a transitional part of my life. So you’ll hear a lot of songs about leaving, heartache and heartbreak. Even though there are other types of songs I have written, I wanted to tell the story of this section of my life.
So would you say this album represents your transition from being married to becoming an independent woman?
Yeah, that relationship and the person I used to be. It’s weird for me because when I was younger I was a certain way. I was a wild type of person. Not wild in the sense of partying, but wild in the sense of, “Don’t tell me what to do. I’m going to do what I want.” All of a sudden, I became complacent. So this album is about going back to being the strong person I used to be.
It sounds like you got married when you were young.
Yeah, I was 17. I was in high school and he was a little over three years older than me. At the time I wasn’t very social and he liked me. I just thought it was cool someone liked me … but when you’re 17 you don’t think about the important things in life. I was married for almost nine years, but it got to a point where I gave a lot. I’m the type of person that gives 100 percent and if you don’t get that back it crushes you inside. I just didn’t get back what I gave.
Do you think you would be making music if you were still married?
We wouldn’t be sitting here today, because I was told that it’s only a hobby. Music is something that means a lot to me. I love singing, I love writing and playing music. I have to do it.
Do you feel the process of making Mean Mama helped you close that chapter of your life?
That’s the thing that makes me happy about the process. It was about what I went through, where I’m at now and how I feel about it. I was able to get it out of my system. It’s not sitting in me, lingering inside anymore. I’ve gotten it out. I’m good. I can move on.
What would you like to be doing in a year or two from now?
I would like to be able to tour. I love writing songs for myself, but it’s really cool when somebody else can pick up on the lyrics and say, “That one song you wrote made me feel this certain way.” Having that connection is really cool. Also, to be able to get out there and go to different places and not just be in one little place. To tour around the country and see how it goes would be nice, even if it’s just one time. I would also like to put out another album. I have a whole album’s worth of songs in my head that I would like to get out there too.
Catch Tatiana McPhee on Thursday, Sept. 14,2017, at The Torch Club, located at 905 15th St. in Sacramento. The 21-and-up show starts at 8 p.m. and will cost you $5 at the door. For more info and check out Tatianamcphee.com.
**This interview first appeared in print on pages 28 – 29 of issue #247 (Aug. 28 – Sept. 11, 2017)**
Still looking for something to do on Halloween? Just focus on getting your costume ready ‘cause we’ve got you covered with these 14 killer parties throughout the Sacramento region featuring live bands and DJs!
Don’t worry, The Nibblers won’t bite too hard, but they will bring the funky and soulful goodness that the local seven-piece powerhouse is known for to The Torch Club! 9 p.m., $10 with costume, $12 without. 21-and-over.
You’d think they’d be in some sort of post-fest hibernation right now but nope, the folks behind TBD Fest are throwing a Halloween rager. “Bleepy Hollow” will feature Com Truise {pictured}, Slow Magic, and local DJs Shaun Slaughter and Adam Jay. 18-and-over, tickets are $35 in advance. Facebook.com/tbdfest for details.
Blue Lamp and Abstract Entertainment are teaming up for a rockin’ Halloween with the legendary Tav Falco’s Panther Burns featuring Mike Watt and Toby Dammit. Tickets start at just $12.50, 21-and-over, doors open at 8 p.m.
Former Stone Temple Pilots vocalist Scott Weiland will bring his new band The Wildabouts to The Boardwalk on Halloween night! $30 in advance, $130 for a meet-and-greet with the man himself! All-ages, 7 p.m. doors.
Requiem’s “Things That Go Bump In the Night” at Midtown BarFly will satisfy your needs in the following departments: deep bass, much dancing, crazy costumes, epic light show. San Francisco’s Ardalan and Portland’s Dallas Cotton {pictured} headline with support from Young Aundee, DJ Whores and many others. $20 (21-and-over) or $30 (18-and-over) at the door.
The Hideaway will host a rock ‘n’ roll extravaganza featuring an Andrew WK cover set by members of Bastards of Young and City of Vain! Trash Rock DJs, costume contests, horror movies on the tiki patio and more! Just $5, 8 p.m., 21-and-over.
Two shows, one night! That’s how Harlow’s rolls! Seattle’s Noah Gundersen {pictured} plays the early all-ages show at 7 p.m., with tickets being just $10 in advance, $12 at the door. New York’s Matt Pond PA headlines the 21-and-over late show at 10 p.m., tickets are $13 ahead of time, $15 at the door.
Australian metalcore band Parkway Drive is currently on a North American rampage and will tear down Ace of Spades on Halloween night! All-ages, 6:30 p.m. doors, $25 in advance.
Well over a dozen local bands will descend upon Old Ironsides for their annual Dead Rockstars Show! Hear cover tunes from, well, you guessed it, dead rockstars! $5, 21-and-over, 8 p.m.
The Park Ultra Lounge will host SKAM Artist DJ Crooked {pictured} with an early set from Sacramento’s own DJ Peeti V. A whopping $1,000 is up for grabs in a costume contest! 9:30 p.m., tickets start at $15, 21-plus.
Two great local punk/rock bands, Garble and The Rollin’ Blackouts, will play a costume party at Fox and Goose. 9 p.m., $5 at the door, 21-and-over.
Starlite Lounge wants you to celebrate darkness and horror with them as they host two awesome bands, Children of the Grave (a “zombie tribute” to Black Sabbath) {pictured} and Archangel (a badass Misfits tribute group). 9 p.m., 21-plus.
Country Club Lanes will house Lite Brite Productions’ 9th Annual Beetlejuice Party with 35 DJs, five dance areas, free bowling, zombie laser tag, video games, two bars, an outdoor movie theater and more! 8 p.m.–4 a.m., $40, all-ages welcome, costume required.
The night before Halloween (Friday, Oct. 30) the Sacramento Convention Center gets invaded by KSFM 102.5’s Gravedigger’s Ball featuring a DJ set by Lil Jon, live performances from Natalie La Rose and Charlie Puth, a $5,000 costume contest and more. 21-plus, $35 in advance.
Given five words to describe Dad’s LPs, lead vocalist John Morales doesn’t hesitate before responding: “Not the same old thing.” Morales is wise to steer away from concrete musical genres, because Dad’s LPs defies simple descriptors like “alternative rock” or “pop rock.” Their sound spans from airy and upbeat pop to multi-vocalist harmonies to angst-y, grunge-like ballads, with a little something for everyone.
The band started in 2011 as a side project between John Morales (lead vocals and drums) and Jay Seals (guitar and harmony vocals). The duo quickly realized that this partnership was evolving into something bigger and more meaningful than a side project. They teamed up with Chris Twomey (lead vocals, guitar, bass) and Andrew Harris (lead guitar) and settled on the name Dad’s LPs, dreamed up by Morales.
“I had the name Dad’s LPs floating around in the back of my head because that’s where I discovered music—in my parents’ album collection,” Morales explains. The band discovered a common thread in their histories with their dads. Morales’ father had passed away when he was 21, Chris’s dad had passed away several years ago, and Seals’ dad was going through cancer at the time they started writing music together. “We all connected around the idea of giving a nod to the influence that our dads had on our musical growth.”
Dad’s LPs released their self-titled debut album in October 2011 and played their first-ever live show at Placerville’s Hangtown Halloween ball. It was a memorable event, despite the challenging acoustics. “We were in this hangar and it was a giant echo chamber,” Morales remembers.
Since their debut, Dad’s LPs has played shows throughout Northern California, gaining a steady following as their sound evolved and matured. Coordinating times to play together has always been a challenge, as the band members are spread throughout the state—from South Lake Tahoe to Long Beach. “It takes some real logistics planning, which is why we don’t get to play very often. When we do, we want to make the most of it,” Morales says. “We work on the songs independently and bring it all together the weekend before the gig.”
Another challenge has always been that the band packs each song full of so many vocal and instrumental layers that it’s virtually impossible to replicate the sound during live performances with just four band members. The songs are more complicated than just the standard guitar, bass and drums, Morales explains. Most songs also include keyboard, additional guitar parts, random percussion and layers of harmonies. Since the beginning, they have constantly explored new ways to recreate their album sound during live performances without having to hold back on the actual album.
“We’ve never wanted to limit ourselves on the album because of what we’d be able to do live,” Morales says. “We always just wanted to make whatever music was in our heads on the album and then we’ll play them as best we can.”
Dad’s LPs took a three-year hiatus between releasing their debut album and their new follow-up album, and listeners will notice the musical growth between the two albums. “We’ve definitely matured,” Morales says. “The sound, while still varied and diverse, has gotten more cohesive. We’re starting to really find our own voice.” The album is called Lemon on Fire and will be released on CD in mid-September. The band has been releasing tracks off the album slowly over the past few months, and the 10-track album version is currently available for digital download. The official CD release will include an additional two bonus tracks that the band just finished producing.
Lemon on Fire flits between slow and soulful ballads and brighter pop-rock anthems. Songs strike a pleasing balance between vocals and instrumentals. The band has a knack for timing, with most songs wrapping up neatly at around four minutes. Lyrically, each track is a self-contained story, often told with humor, and successfully integrates a rhyme scheme that is subtle enough to not sound forced or childish. These are feel-good tunes—even those that speak to heartache. Morales explains that while there is no common thread throughout the album, the songs have common storylines: “love and heartache and money problems…all these universal themes that we touch on.”
The album opens on the track “Run Around,” an airy and upbeat sing-along tune. The playful and clever lyrics tell the story of “just an ordinary guy”:
Power lunch, back to work, before I hit the gym
I do Pilates for an hour but I don’t get slim
Shower off, powder up, have a real quick shave
Throw on my favorite pair of Levi’s and I’m on my way
The dual vocals in this song have a patchwork effect, and the layered harmonies create a blended sound that would be great to crank up while cruising the freeway.
The tone alters dramatically on the second track, “Ain’t Over Yet,” which boasts a faster pace and a more powerful and in-your-face rock sound. This short track has an addictive build-up:
I can feel the embers burning in the earth below my feet
I’m a sinner in your gallows; this floor is bound to drop
And common sense would tell me to stop
This build-up crashes to a satisfying chorus: “But don’t you tell me to stop!”
“Torn Apart,” the third track, is a melodic break-up ballad that speaks on a universal level to anybody who has experienced heartache, without coming across as whiny or juvenile. The slower pace and poignant vocals are characteristic of several of the tracks on this album, including “A Whisper in the Background,” which showcases the band’s powerful vocals and harmonizing.
“Turn on a Dime” explores a particular indie folk/Americana sound that sets the perfect backdrop for the song’s message of hope and promise.
‘Cause one of these days you’re gonna pull out of the rut
You’re gonna be fine, just fine, just fine
And you and me, babe, we’re gonna live after the cut
Because love can turn on a dime
Other noteworthy sounds you’ll find in this album include the powerful ‘90s grunge sound of the track “Blown Away” and the ska sound of “SOHO.” The album closes on “Cut and Run,” which has a slower pace and a country-like twang that builds up to a triumphant finish.
On the whole, this is an album that embraces inconsistency and isn’t afraid to pay homage to the artists along the years that have made an impact on the band’s musical roots, making it worth a listen.
Dad’s LPs will play at The Torch Club for the first time on Thursday, Sept. 11, 2014. Cover charge is $6 and the show begins at 9:00 p.m. The Lemon on Fire CD will also be released in September, and will include the 10 tracks currently available for digital download as well as two bonus tracks. Check out Facebook.com/DadsLPs for details.
Whereas Christmas only lasts one day, Sacramento Beer Week lasts 10 whole days! That’s a week-plus of beer, food, beer, entertainment and beer (glorious beer). This year’s Beer Week will see local bars and restaurants hosting a variety of events—way too many to list here—but here are a few that we think you’d be crazy not to check out. For a full listing, go to Sacramentobeerweek.com!
Touch: Home Brewing Demo with Track 7 Brewing and Brew Ferment Distill at Bows and Arrows • Feb. 24, 2013
Have you ever tasted a finely crafted beer and thought to yourself, “I could totally do that?” Well now you totally can! Sacramento Beer Week will get its DIY on at Bows and Arrows on Feb. 24 from 11 a.m. to 3 p.m., during Bows and Arrows’ Sunday brunch, you will learn the ins and outs of home brewing and make your own IPA. Track 7 will provide the grains and hops and Brew Ferment Distill (located at 3527 Broadway, Sacramento) will bring the supplies. Bows and Arrows will also offer Track 7 beers on tap, including the brewing company’s much ballyhooed double IPA collaboration with Knee Deep of Lincoln, Calif. Best of all, this event is free and open to the public! Your attendance is guaranteed to quadruple your beer nerd cred points instantaneously. Check out Bowscollective.com for more information.
Photo by Scott Bellisario {Social Stitcher/Instagram @ufallome}
See: Sacramento’s Newest Brewery, New Helvetia Brewing Company • Feb. 25, 2013
New Helvetia Brewing Company just celebrated its grand opening this past week, but its roots in Sacramento’s beer scene actually delve much deeper. The company’s mission is to create craft beer inspired by the Buffalo Brewing Company, which was established in Sacramento in 1890. On Feb. 25, New Helvetia will host a casual gathering with Dr. Charlie Bamforth, U.C. Davis’ Chair of the Department of Food Science and Technology and Anheuser-Busch Endowed Professor of Malting and Brewing Sciences. Tickets to this event will be $25 in advance and $30 at the door. The ticket price will include up to six 10-ounce pours of New Helvetia’s brews. New Helvetia Brewing Company is located at 1730 Broadway, Sacramento. For more info on the brewery, go to http://newhelvetiabrew.com/.
Hear: Lagunitas’ Brewmaster Tony Magee Talk Shop at The Torch Club • March 1, 2013
Not only can Lagunitas’ brewmaster Tony Magee make a great beer, he’s also really good at playing American roots music. Magee will be making the trip up from Petaluma, Calif., to meet with all of you and perform a few songs at The Torch Club (904 15th Street) from 5 to 9 p.m. As an added bonus, he’ll be bringing Lagunitas’ Wilco Tango Foxtrot Brown Ale in tow. The Torch Club will offer an $8 beer and brat combo and $4 refills on your frosty beverage. You even get to keep the glass! Lagunitas may not be a Sacramento beer, but it is a local favorite, so expect this event to be especially lively.
Taste: The Rainbow of Beers at the Third Annual Capital Beerfest • March 2, 2013
Dude. Bro. OK. So all these Sacramento Beer Week events (and the multitude we didn’t have space to list) are awesome, but if there was one that you’d have to consider the pièce de résistance, it’s this. From noon to 5 p.m., Cal Expo will fill up with the sweet, sweet aroma of fermented barley and hops. The air will permeate with an alluring maltiness (which isn’t a word, but you see what we’re going for here). As of press time, 84 breweries have signed on to appear at the Capital Beerfest, 21 of which are from the Sacramento area. We’d normally consider namedropping as beneath us, but in this case we’re just going to let it roll: River City Brewing, Sudwerk, Ruhstaller, Roseville Brewing Company and Lockdown are just a few that will be representing our region; meanwhile, Alaskan Brewing (Anchorage), Goose Island Beer Company (Chicago), Hop City (Brampton, Ontario, Canada), Oskar Blues (Longmont, Colo.) and Rogue Brewery (Newport, Ore.) are some of the out-of-towners. You’ll also be able to sample food from restaurants participating in Sacramento Beer Week. Clearly, this event is going to be epic. All that it’s missing is you. Tickets range from $40 to $75 (and $5 to $20 for designated drivers). For more info on where to get tickets, go to http://capitalbeerfest.com/.
Daniel Ellsworth and the Great Lakes’ old school approach yields new school success
For better or worse, the digital music age has leveled the playing field. Independent, more or less unknown bands and artists have just as much opportunity to be heard as major label acts. One band that has taken advantage of this is Daniel Ellsworth and the Great Lakes from Nashville, Tenn.
In May 2011, the band released its first full-length album, Civilized Man. Fan-funded, Ellsworth and company used money from a Kickstarter campaign they started at the end of 2010 to self-produce and self-release the album and hire notable Nashville sound engineer Mark Nevers, who has worked with Yo La Tengo, Andrew Bird and Bonnie Prince Billy. Despite being 100 percent DIY, according to the band’s singer/songwriter and namesake Daniel Ellsworth, he and his Great Lakes’ labor of love didn’t go unnoticed. Civilized Man cracked Amazon’s Top 100 albums of 2011 (landing at No. 76; including No. 66 on the site’s Outstanding 2011 Albums You Might Have Missed list), and the song “Shoe Fits” climbed all the way up to No. 7 on Amazon’s The Best Songs of 2011 list. Not bad for a band you most likely haven’t heard of–yet.
“For some [artists] like Jay-Z or people like that, they probably don’t think about the Amazon Top 100, but for us that’s huge,” Ellsworth says. Coincidentally, Ellsworth and the Great Lakes edged past the megastar rapper on The Best Songs of 2011 list. Jay-Z’s “Niggas in Paris” (from Watch the Throne) landed at No. 8 on the list.
“Amazon and iTunes are becoming tastemakers for people,” Ellsworth continues. “In the past it was record stores, but now it’s online record stores.”
Ironically, Civilized Man is more of a throwback album, not at all exemplary of the single-driven releases of the digital age. At 12 tracks and over an hour in length, the album feels like the grand pop/rock long players of old. Imbued with a solid groove and a warm sound, Civilized Man begs you to shut off the shuffle play for once and to be ingested en masse.
“I think that our favorite bands, and the bands that are making the most interesting music, are still focusing on making a really solid album,” Ellsworth says. “People tell us that you could listen to 1, 5, 12, in that order, and it feels like they could come from different albums, but if you listen to it all the way through from start to finish, it feels like an intentional album, and it feels like it was meant to be listened to in that order. That’s how my favorite albums are, and I think that’s what we strive for.”
Submerge spoke with Ellsworth while he and the band had a couple days off in Nashville before heading out on a jam-packed string of dates that would take them to the Pacific coast and back. In the following interview, we discuss working with Nevers, Ellsworth’s appearance on the NBC reality television show The Sing Off and how the singer/songwriter found his voice in the band dynamic.
Did Mark Nevers contribute a lot of ideas when it came to recording?
A little bit. We sort of came in wanting to produce it more ourselves and call the shots as to what would end up on the record. What he contributed, and what I most love and know about him, is the sounds he captures on albums. The way he’s able to capture a warm, organic sound. What we do is a little bit different than who he usually works with, but we wanted to take that sound, that warm, organic vibe, and apply it to our more rock/pop material.
Listening to the album, I was thinking that it really feels like a live album. It seems very spontaneous. Were a lot of things done in one take?
That was something that we tried for. We tried to do as much of it live as we could. It’s interesting. I like when people listen to that and take that from the album, because we get a lot of people–and maybe that’s to our drummer’s credit–that say we use tracks, or electronic stuff, but 90 percent of what you hear on the album was tracked live.
Do you feel with the first album released that things are falling into place? Do you feel like you know where you want to go with the next record?
Yeah, I guess the last year and a half with making the album and working on these songs as a band has been a whole new process. I left for a few months to do a television show and to come back from that and have a new guitar player and come back to these songs and take them on the road, the songs have taken on a new life and a new energy. It’s never felt more like a band than it does now. It’s exciting every time we play, we get more excited about the next time we’re going to play.
Is this kind of touring schedule new for you guys?
It’s definitely new from a band standpoint. We’ve done some small-scale stuff while we were working on this material. Prior to that, I was doing more of a solo artist thing, which is completely different. It just wasn’t the right thing… It took me doing that to get to this point. This is what I’m supposed to be doing. This is how I always imagined it.
What is it about being a part of a band that works for you more than being a solo artist?
I think doing the solo artist thing, and being in Nashville and being just out of music school, I was writing to mimic something… It was less original. It never felt like the right thing, and I was all over the place stylistically. I always would imagine things with a band or imagine how much better it would be to have a band to bounce ideas off of. I think that’s the thing, having these people who you trust to bounce ideas off of and really fuse everyone’s different influences into making something that takes on a life of its own as opposed to me sitting down by myself and trying to come up with something.
Nashville is a big country songwriter kind of place. Was that what you were trying to do when you were out of school?
Yeah, a little bit of that. Not so much in the country scene, but I thought maybe my place was in the pop singer/songwriter scene out of Nashville. But my songs were never singer/songwriter-y, pop-y enough. They were a little too weird for that, but not weird enough that they really felt original or truly mine in a weird sort of way.
I wanted to ask you about The Sing Off. You were there with a group called The Collective. What was that experience like?
That was kind of crazy. A friend of ours who’s an artist in Nashville named Jeremy Lister, he was on the show. He was in the group called Street Corner Symphony that got second place in season two. He sort of approached us and said, “Hey, the producers of the show thought it would be cool to get some of my favorite Nashville artists and put together a group who have never done a capella before and sort of see what happens.” We were all pretty skeptical. Some of us had sung a capella before, mostly back in high school in choir, but certainly we hadn’t sung together as a group. We all knew of each other, but most of us didn’t know each other. We did a few hours of rehearsing and singing, and it sounded really good… We made a video of it and sent it off to the producers, and the very next day they were like, “We love it. We want you guys on the show.” It was literally last minute. A few weeks after that, we were on a plane to Los Angeles like, “What the hell are we doing?”
There was another guy in the group who has a rock band similar to what we do, so far from a capella music, and everyone else were successful singer/songwriters. It was so far out of the box for everybody to take that on, but we went out there. It sounds silly to say, but episode one of The Sing Off was our first performance as an a capella group ever, aside from making our audition tape. All things considered, we all went out there and dove right into it and figured out how we worked musically and how we best arranged together. We made it to eighth place. We got six episodes into the season [season three].
Was it a positive experience?
Yeah it was. I don’t know if it’s something I’d ever do again. It was certainly never my plan to do a reality show, and definitely not an a capella at that. But it was a really great experience. There was a lot of talent on that show. You know, you have the bullshit that goes along with the TV side of things and what they’re trying to do, but the music director and the music team on that show, they were so dedicated to the music. That was cool to see.
We would never do anything like that in our personal careers, but to set that aside and just sort of do that thing together, it was a lot of fun.
It sounds like something you’d take with you into your own music.
It was cool because we’ve gotten the chance to know one of my idols growing up–and still is–Ben Folds. Since the show, we’ve gotten the chance to get to know him and spend a lot of time with him and hang out. For me, that was worth the whole thing right there.
Daniel Ellsworth and the Great Lakes’ trek around the country will take them through Sacramento on Valentine’s Day (Feb. 14) when the band plays The Torch Club (904 15th Street). The show starts at 6:30 p.m. Show them some love. You’ll be glad you did. For more about the band and to order their album, go to Danielellsworthandthegreatlakes.com.
The Nibblers
Friday, Aug. 13, 2010 – The Torch Club – Sacramento
“Thank you for showing up early. It’s going to be a long night, and we can’t think of anything better than spending it with you,” announced Hans Eberbach, The Nibblers’ frontman.
A good 75 people were in the house at The Torch Club to hear the funk and soul grooves of The Nibblers, and it was only 9 o’clock (good thing I was on time!).
Eberbach is supremely cut out for his job, with a charismatic personality that was trumped only by his outfit. Donning a huge metal belt buckle that matched his chains that hung over his black tank top and vest, he peered out from behind a pair of black sunglasses as he approached the microphone to exhale his lyrics. Behind him, an eight-piece band was bangin’, strummin’ and blowin’.
A good funk tune is something of an aphrodisiac for the older crowd, apparently, because there were some love makers on the dance floor. The 35-to-60 crowd was out in full effect, and unlike the wallflower crowds seen all-too-often at dance and indie clubs, mom and dad can cut a rug. Not to say that I’m surprised, it’s just that I’m used to seeing young whippersnappers having a hard time walking from too many shots of Jameson, not from a recent hip replacement.
But I digress. The Nibblers are a solid band with members that have musical credentials as long as my arm. Jon Wood (guitar), Mike Palmer (bass) and Reggie Marks are of Mumbo Gumbo fame, and the very talented Ryan Robertson was sitting in on trumpet. All the elements to crush a set were in place, and the boys ran through a mix of originals and covers that you could tell were picked out very carefully. Songs like “Who’s Making Love to Your Old Lady” by the late Johnnie Taylor absolutely killed. One of my favorite covers of the night was a song called “Snatching It Back” by Clarence Carter. Eberbach smoothly and soulfully sang, “How can I get your love, when you keep on snatchin’ it back?” Great question.
What really does it for me when I’m watching a funk/soul band like The Nibblers is the presence of the keys player. I don’t want to play favorites here, but damn, a solid keys player like Jeremy Spinger takes a good song, turns it upside down, shakes out all the contents of its pockets and leaves it red hot like an iron in the coals. I just want to shout like James Brown!
At the 11 o’clock hour it was standing room only with the head count up to a hefty 125. The boys took a well deserved break and then returned shortly after for a second set that they dared to have rival the first. James Brown covers set the tone and their list of originals was standout rather than filler. It’s clear these guys are real students of the genre and really take the time to weed through what seems like an endless pool of music that dominated the charts of the ‘60s and ‘70s. Their sets just feel good. It’s too much work at times to come to a show and have to be seriously concentrated on what’s going on. There’s a time and a place for that, but it feels nice to see a band like The Nibblers and the only thing to worry about is spilling your drink on the dance floor.
Midtown Cocktail Week will raise your drink awareness
Words & Photos Anthony Giannotti
What is your favorite alcohol? Whiskey? Vodka? Tequila? How do you like to drink said favorite libation? Sip it? Shoot it? Mix it? Well no matter what your drink of choice is or how you prefer to get it down your throat, Midtown Cocktail Week will have an event for you. This week of cocktail enlightenment will be held Aug. 9—15, 2010 at various locations around Midtown Sacramento. It isn’t a week for just getting trashed and throwing up on your neighbor’s lawn–being a little tipsy may be a by-product of the festivities–but this week’s focus is cocktail education and appreciation. “Our goal is to educate people,” says Joe Anthony Savala, one of the event organizers and founder of the drink program at Zocalo. “We want people to drink better. People in Sacramento are eating better than ever, so why not drink better? We want them to know what fresh ingredients taste like. We also want people to get out and try new stuff!”
Education is an apparent theme in the week’s list of activities. Starting off the festivities on Monday will be L Wine Lounge, where the theme will be the art of drinking well, and timely drinks. They will be showing how you should be drinking through an entire meal, from aperitif to digestif. “We are excited to be involved again this year,” says Chris Tucker, lead mixologist of L. “We are trying to raise people’s expectations of their local bars.”
Tuesday’s events will give some of the local bartenders a chance to show off their chops with a mixology competition. This cocktail creation competition has a similar format to Iron Chef. The battle for cocktail king will take place at Lounge on 20.
For all you whiskey enthusiasts out there, De Veer’s Irish Pub will be showing off their impressive whiskey selection with their Whiskey Around the World tasting on Wednesday. The whiskey experts at De Veer’s will be sharing some pretty intense knowledge while helping you find a whiskey that suits your palate. So come with a thirst and an open mind. Shady Lady Saloon will be handling Wednesday’s after party, as well as hosting a number of their own events throughout the week. “We are really excited about this event,” says Shady Lady bartender Travis Kavanaugh. “We have different events going every night of the week.” Just a few of the special attractions at the Shady Lady during Midtown Cocktail Week will include a Don Julio presentation, a tiki-themed night, live hand-rolled cigars and visiting guest bartenders from San Francisco’s prohibition-themed saloon Bourbon and Branch.
“We really want people to know how much better fresh hand crafted cocktails taste,” Kavanaugh says.
Tequila guru Joe Anthony Savala breaks down Thursday’s activities at Zocalo. “I love Latin spirits–mezcal, pisco and tequila,” he says. “We want people to enjoy them as much as we do, that is why we are doing a mezcal tasting and education.” Zocalo will be sampling different mezcals from different regions of Mexico. They will also be demonstrating how you can make simple, fresh drinks from south of the border at home. As if a smorgasbord of tequila and regional Mexican food isn’t enough, notable fine dining restaurant and bar Ella will be dispensing late-night drinks and tastings to finish off the evening.
The new dim sum restaurant Red Lotus will be starting off Friday with specialty block ice cocktails. If you have not had a chance to indulge at Red Lotus, this would be a great time to sample from its diverse menu and try an Asian fusion cocktail. Grange will be closing out Friday with some local spirits and food pairing. To say that Sacramento is proud of its local produce is an understatement; we like to see it in our local restaurants. The staff at Grange Restaurant are also very strong believers in the slow food movement. “We have some really neat local alcohols and fresh local ingredients, as well as some very high profile bartenders guest spotting,” said Ryan Seng, mixologist at Grange.
We all know that The Golden Bear is known for their enticing front patio, tacos and $2 Miller High-Life, but on Saturday afternoon, be sure to investigate their newly remodeled back patio and freshly devised cocktail list. Sunday will kick off at Hot Italian for some unique Italian cocktails. I don’t know exactly what Italian cocktails consist of, but I’m sure my fellow I-tie’s will bring more flavor than Steve Zissou’s campari and grapefruit juice concoction. Sunday night the wrap party will be held at The Torch Club. The Torch Club was founded the year Prohibition ended, so come dressed in your best suspenders and flapper dresses. It will be a Prohibition-themed party featuring five classic drink recipes.
Remember these are just a few of the events at a few of the locations. Check Midtowncocktailweek.org or ask your favorite local bartender for a full list of events.
