Live Show Review: Pinback and Ghetto Blaster

Pinback and Ghetto Blaster Live Show Review

By My Nguyen Dec 19th 2011

Not even quarter to eight and there was a crowd already filing into the underbelly of The Belly Up Tavern, one of San Diego’s premiere destinations for music.  Dimly lit with Christmas décor interspersed inside the popular venue, Monday night, Dec. 19th, just happened to be a sold out show.  And this was mostly due to the fact that Pinback was headlining, but that didn’t stop the San Diego-natives, Ghetto Blaster, from trying to steal the spotlight.  Formed back in 2009, and comprising of the group members Greg Sudor (drums), Ryan Foxe (vocals), Cole Mears (bass), John Cota (guitar), Ghetto Blaster played their first live performance at Bar Pink on May 2010, but since then have gone on to dissuade members in the audience to pay attention to their one-of-a-kind rock/metal dirges that is like a shrieking train coming to a complete halt mere inches away from spectators at the last possible second.  It’s with this abrupt, in your face cringe-factor that the opening act of the night pivoted off their message from across the stage and into the audience – a sound that was, at times, relentless and resembled a combustible force that will at any moment annihilate your previous misconceptions of the group.

Right off the bat, frontman Ryan Foxe, made it clear that he had no pretensions of that night.  Launching straight into the set without so much as an introduction, it was clear that the crowd surrounding the stage was in for a surprise.   After a mind-blowing intro, where Ryan self-deprecatingly said that Ghetto Blaster was warming up the stage for Pinback, his ability to maneuver with swift agility within the proxy of the stage from karate kicks to hawking jokes from the crowd when the band crossed a technical difficulty saved the Ghetto Blaster from being called anything but ordinary.

No one had really heard of the experimental 4-piece mega-group until that night.  But the San Diego-based band, with their mesmerizing and vaudeville-ish vocals, drowning backbeat, and the rage that drips with absolute ease from the lead-singer’s auditor-like vocals, will forever alter people’s minds and incite them with a pulsating energy that was previously missing from their lives before.  Shrieking everything into his mouthpiece, which he then proceeds to swing like a pendulum into the audience, making them mildly concerned for their, as well as everyone else’s well-being, Ryan’s schizophrenic showmanship and anecdotal lyrics made for a pretty unpredictable show.

The film being shown onto the screen behind the band meshed very well with the themes that Ryan was spewing out and kept right with the hypnotic pacing of the music.  Absolute anarchy was being projected and voiced onstage.  While on the screen exhibited violence, hunger, and ugliness, Ryan upped it a notch when he unexpectedly smashed a beer bottle onto his head.  Then proceeding to finish the song, with a shard of glass still stuck to his forehead, he had unbeknownst to some in the crowd that night completed the freak show reference that was only on display before but now was fully embodied.  Yet the damage was already done, and though the audience was definitely taken aback, they suddenly had a newfound respect for the guy.

The paranoia that Ghetto Blaster’s frontman unleashed into the crowd that night dissipated once Pinback hit the stage.  The dynamic duo comprises of Armistead Burwell Smith (Zach), and Rob Crow, and their beautiful harmonies and interwoven melodies contrasted greatly with Ghetto Blaster’s harsh and bitter sound.  Nonetheless, it was obvious that Pinback’s music, though mellower and more introspective, struck a chord within the musical landscape of each member of the audience that night.  It is interesting to point out that though Pinback’s sound has a personalized touch to it that is meant for a more intimate setting – but because of Pinback’s huge following this makes ‘intimate’ impossible – their music translated very well live at the sold out show inside the Belly Up Tavern.  Monday night exemplified that paradise is a state of mind and that music could be that possible conduit to reach to that state of being.

Throughout the rest of the night, Pinback, due to the insistence of the audience (someone near the stage had a bottle opener on him, and continued to open beer bottles one after the other for the band) continued to showcase their wide catalog of songs.  The tracks each carried a melancholy essence to them, like a dream that was realized and then was lost.  Perhaps it’s with this not-of-this-world stance that, for some of us, lead guitarist and vocalist, Rob Crow, seems to be searching for something, and he is utilizing this platform and the stage to find that missing piece.  Though the audience, too, is avidly searching for that intersection in music and life, unlike Rob we have found it, and those who were present that night were rejoicing in its discovery.

It seemed like all the components worked very well in the set: from the coalescing of the music, the film being shown on the backdrop behind the band to the enigmatic presence of Rob and Zach, who did not speak one word to the audience that night, all inspired and moved those in the audience that Monday night.  Live, dynamic, and badass – a Pinback show is not to be missed.

For more info on Pinback and Ghetto Blaster visit:

www.pinback.com

Ghetto Blaster Facebook

By My Nguyen Dec 17th 2011

Presented by the Feeding the Soul Foundation, the KFTS Radio Variety Show on Saturday, December 17th, paid tribute to the old days of radio as well as went on to highlight the top acts in today’s music scene.  This intersection of ideas and the meeting of like-minded music-loving individuals were very much akin to last year’s successful FTSF Benefit Concert and CD Release at The Auditorium at the Neurosciences Institute in La Jolla.  With a list of performers that included Bushwalla, Dawn Mitschele, Alex Woodard, Raining Jane, MC Flow, and a surprise guest-appearance by Jason Mraz, the star-studded event, which promised to be a riotously happening affair, ended up exceeding expectations and went on to pave the way for further innovative projects to help benefit great causes like The Indigenous Education Foundation of Tanzanzia at FTSF’s Benefit Concert with Luc & the Lovingtons and The Makepeace Brothers last November.

The second annual event at the beautiful auditorium at the Neurosciences Institute as a part of Feeding the Soul Foundation’s performing arts series was a multi-faceted event.   The brightly lit stage, itself, with its inner sanctum aglow in green and orange hues and diamond-cut walls exemplified the intricate forms and colorful spectrums of a prism.  Designed to create a uniform sound regardless of seating arrangements, the acoustics behind the 352-seat hall is exacting in its sound precision.  That night revelers all had the equal opportunity to share in this community of genuine giving and to hear some great music being performed live onstage.

The charismatic television-host, Justin Willman (“Cupcake Wars” and “Hubworld”), who also recently performed for Barack and Michelle Obama at the White House, filled the night with many a magical moment, and contributed to the already happening program with many a jaw-dropping magical illusion and comedic gesture.  As host to the KFTS Variety Show, his presence also added a cohesive-quality to the program while going on to wow-audiences throughout the night with his power of enchantment.

One of the best magic tricks of the night happened to be the magical incantation that Justin presented to audiences after introducing why he became a magician (Hogwarts) and if he went to magician school (Michigan-state).  The illusion required two relative strangers to set foot onstage, and a deep trust that would enable what appeared to be a Coke-Cola filled cup to be poured on top of both these relative strangers’ heads.  Throughout the night would continue to unravel these deep-felt connections that perhaps would never have occurred at any other time or place.

The first act of the night was the Broadway West kids.  Created by Britta “Skoom” Ellis, Buswalla, and David Geist, Broadway West is a musical arts camp for young kids between the ages 8-15 that support a fun, safe, and inspiring environment where kids can explore the love of the arts.

Opening with their rendition of “Hard Knock Life”, and “Tomorrow” from the Broadway Show Annie! – The Broadway West is a talented group of kids.  Their entertaining renditions of Christmas songs provided great sing-along’s and holiday cheer for the yuletide crowd.

Right on cue, Bushwalla joins the gang onstage.  Pouncing straight into Bushwalla’s popular hit, “Ghetto Blaster” with The Broadway West singing backup, the collaborative effort resembled a bit like the Yeah Yeah Yeahs’ frontwoman, Karen O’s project with Karen O and the Kids for the movie soundtrack, Where the Wild Things Are.  

Segueing into the next song, Bushwalla informs the audience that as part of the Broadway West’s ‘boot camp’ for the arts initiative, the vocal coaches require the kids to welcome the start of a brand new day with the uplifting statement, “Best Day Ever!!!”  According to Bushwalla, one guy who isn’t having the best day ever is – and breaks right into a great bluesy rendition of “How the Grinch Stole Christmas”.

The group of female singers from San Diego, Voices of Prayze, who performed with Jason Mraz and appeared on The Conan O’Brian Show as well as performed the national anthem live for the San Diego Padres, also, had many a stand-alone number Saturday night.  Accompanying the talented group of ladies’ Motown/gospel grooves on stage that evening was cellist and vocalist to Raining Jane, Mai Bloomfield, who had collaborated on Voices of Prayze’s album and, also, happened to be present at that night’s show for her scheduled appearance with Raining Jane.  Mai’s appearance was unprecedented for the ladies of Voices of Prayze, but as it was mentioned before, the KFTS Radio Variety Show at the Neuroscience Institute had many a coincidental moment that did not fail to astound.

After a short intermission, The Makepeace Brothers were the next band to grace the stage.  Performing a number of super groovy, sexy and sometimes slower and lengthier songs, The Makepeace Brothers definitely owned their sound.  With many a gorgeous melody that was infused with lots of island-flavor, the vocals and instrumentals shined together.  The crowd that night brisk in The Makepeace Bros. warm sound.  Pitch-perfect and tonally sound, The Makepeace Brothers appealed to the audience with their charming looks, soothing vocals, and great musicianship.  Overall, all of their songs performed that night adhered to a great sense of rhythm, and there was many a moment that had members in the audience dancing in their seats.

To end the night, the entire cast of characters from the Radio Variety Show appeared together onstage to perform “The 12 Days of Christmas” together.  Comical and lively, the show’s finale was the best possible ending to what will live in many in the audience that night as a memorable evening.

For additional info on Feeding the Soul Foundation please visit feedingthesoulfoundation.org

By Christopher Skrypack Dec 21st 2011

Maine native Ricky Small and his band “The Talls” have found their home in San Diego County.  The self-titled album “Ricky Small and The Talls” demonstrates the group’s seriousness to their musicianship.

Formally educated at Berklee College of Music in Boston, Ricky’s lifelong pursuit of creativity has come to fruition.  His inspirational lyrics, soothing vocals and coastal rhythm mesh comfortably with the Ross Ma’u brother’s pacific island influences.  Small’s musical journey, swayed by such artists as Jason Miraz and Jack Johnson, has allowed him to merge his style to include a broad array of genres.  The debut album creates a conglomerate of reggae, jazz, funk, pop and folk.  Small’s charming vocals together with Nolan Greene’s professional and patient drumming exemplify the endorsement of San Diego’s young and up-and-coming talent.

The album cover’s artwork, both simple and subtle, gives a strong indication of the music within.  Recorded in El Cajon’s Room 16 Recording Studio, the polished tracks solidify the group’s localized nature.  Tracks such as “Irish Girl” illuminate Small’s poetic folklore while “The Cling” presents the band an opportunity to incorporate backing vocals demonstrating their completeness. Many of the remaining reggae tracks settle doubts as to whether Ricky Small and The Talls will be able to reach those fans looking for a stronger southern California sound.

However, the band may at times be too polished for their own good.  Although there are plenty of shifting rhythms to get a concert goer’s feet moving, the band may struggle with those fans looking for something a little more raw.  There are likely to be critics that will see the formal education as a limitation to Small’s ability to venture outside the box.  Regardless, youth and persistence are certainly on this lifelong musician’s side.  “Ricky Small and The Talls” is a strong foundational step towards their future.  The debut album will undoubtedly give listeners an indication of the band’s earnestness towards their craft, which is a pivotal element to perennial success.

www.rickysmall.com

Free Download MP3:

“Same Old Story”

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Interview: Josh Damigo

By Caitlin Varner Dec 20th 2011

Josh Damigo is one of San Diego’s most talented up-and-coming musicians. He has been honored with several awards like the 2009 San Diego Music Award for Best Local Recording for his first album, “Raw”. With talent like his there is no question he will be earning at least a few more in his future endeavors. I recently had the opportunity to sit down with Josh after his performance at the Belly Up Tavern and get to know this witty California native. From the past to the future and everything in between, he is honest, whimsical, and charming while he shares with us just who Josh Damigo really is.

How would you describe yourself musically?

“It’s a combination of Shawn Mullins, Jason Mraz, and John Mayer. I think that for me it’s like story telling. Its story telling put to song, and that’s how I usually describe myself. I say with a little bit of Spencer and Heidi Pratt.”

So, all the drama?

“Yea exactly.”

How would you describe your everyday self?

“Bored. Moody. I don’t know. I sit around at home and think of different ways to write music. I just made the switch over to full time music and so, I guess right now my regular self is – I wake up in the morning and I go to Snooze, then I go home and listen to a record, write a song, and go to the gym. I think I’m just a prankster who just got lucky enough to sing. If it wasn’t for music I would be on stage goofing off or telling comedy or something. I like performing but music just happens to be it.”

So comedy would be the other career choice?

“Oh, man. Well, I have a master’s degree and I taught high school. So I was a high school teacher for drama and speech and I guess that I’m just a fan of making people smile. So, if it wasn’t that I would probably be a greeter at Walmart.”

Tonight you performed the song “Never Going to Let You Go”. You brought tears to not only my eyes, but several others in the audience. How do you manage to put so much raw emotion into your music and present yourself on stage in a similar way? 

“I think I’ve just always been very open. Ever since I was a little kid I just talked and spoke my mind. On my Facebook and Twitter I piss off a lot of people because I’m just straight up every time. You will pretty much never find someone who is more honest than me. If you go, ‘Hey, what’s your opinion of this?’, I go, eh, it sucks. That’s why it’s really funny that I get along with some of the critics in town because I go, ‘Oh, is that your opinion? Let me tell you mine. Jerk.’ The honest thing is that I just think sometimes the story is more important than what people think about you in the end. I don’t want everyone to feel bad for me because my brother is going through all this because we are getting through it, but, at the same time, his story is more important. It’s more important than any song I’ll ever sing. So being able to tell about our troops coming back is way more important than singing about a girl or whatever song I’m singing.”

You’ve had the opportunity to open for some really big names. If you could pick any band or artist to go on tour with whom would you choose?

“Sean Mullins! He was my absolute favorite. “Lullaby” was his song, and that was what got me into music. I was just like, ‘oh, I want to do that!’ I got to open for him in February and he took us out to dinner afterwards – this is a really good story – he took us out to dinner and we are sitting there and we’re eating this steak, or whatever, and he goes ‘Hey Josh, I want to let you know that you got everything you need to make it in this music industry, now you just gotta be lucky.’ And I was like, ‘well, how do I do that?’ So he signed my poster “Be Lucky”. That was like my Elvis. That was the best feeling and then afterwards he says ‘hey, just another thing you should know. Never bring your wallet to a show.’ And I go, ‘why is that?’ and he’s like, ‘cause you’ll lose it. And by that I mean I didn’t bring my wallet so can you pay for dinner?’ And so I had to pay for dinner for all of us. It was pretty funny. That is one of my favorite stories and he’s super awesome. I’d definitely like to go on tour with him and I think him and I would get along really well.”

You’ve been writing songs and making music for quite a while. Do you have a song of yours that means the most to you?

“Um, I’ve got a couple on this new album that I’m really attached to. The one you heard tonight, “If I Had a Dollar”, that one, I was literally like overdrafting for overdrafting. It was overdraft fee for overdraft fee. I was just looking at it, so I called my friend up to hang out and she goes, ‘You only call me at night and yada yada yada….’ And I was like, ‘Woh, hold up. I would hang out with you all day if I had any money. If I had a dollar I would spend it all….on….you…’ And then I hung up the phone and I didn’t talk to her again after that, but I wrote the song right then. There was a song on my last album called “Pocket Change” which is literally the story of me moving to San Diego and so that means a lot too. I would say those two songs are the most closely related to my life and I hold really close to me.”

Other than tonight, have you ever had any funny live show bloopers?

“Oh, man. Well I’ve been playing for five years so I’ve done it all. I mean I’ve gotten to shows where the sound guy left the room and it was just me, the soundboard and seats. I’ve played empty shows where I’ve just goofed off. I was in Nashville, it was the only show I’ve played in Nashville, and the sound guy’s name was like Jeffrey. Well, I called him Sol, or something really off the wall, the entire night like fifty times. He was so mad at me for forgetting his name he wouldn’t talk to me at the end of the night.  That was probably the worst blooper I’ve had.”

When can we expect your new album?

“Within the next six months. We haven’t picked a release date. We’ve recorded like 28 songs because I’ve been writing and writing and writing. It looks like we’ve got two albums kind of forming. One is kind of like a 60’s retro and the other one is kind of like a country rock. Ryan Adams did the sound and I think right now we are at the stage where we are putting in strings in the next two weeks. So, I would say within the next three, four months my new album will be out. I’m so excited! It will be my first full length studio album. My other one was acoustic and that’s fun, but the next step in my career is to bring in the whole band. I play with a band sometimes and it’s just a whole different vibe. I’m really excited.”

Imagine yourself in 5 years, where would you be?

“If I’m still doing music that would be nice.  I would love to be on tour full time. I would love to have a manager and have the whole thing, you know. Maybe get invited to the Grammy’s at least once. I don’t need to be nominated. I would just love to go. For me, it would be nice to find a nice girl who wasn’t going to cheat on me. You know, the truth is I’m so happy right now. I live in the most beautiful city in the world. I get to wake up when I want and go to bed when I want, and if I’m doing that I don’t have to be rich or famous, I just want to be able to make a living off music. So, if I’m in this exact same place where I am in five years I’ll be ok. It’s one of those things, if you find happiness you don’t want to mess with it. Sometimes we find happiness and we want to poke it will a stick and make it grow or change, but once you find that spot you just let it be. If things happen than that’s great.  So I guess that my five year plan is to keep pushing. I’m a pretty business minded guy, but, at the same time, laugh the whole way and when I stop laughing it’s time to do something else. Then I’ll start doing comedy.”

To find out more on Josh Damigo please visit: joshdamigo.wordpress.com

By Caitlin Varner Dec 20th 2011

We all have those songs that bring us back to a certain cherished memory. One cord of the melody and we flashback to a particular moment in time or imagine a familiar face. They are the soundtracks to our lives, fitting in to the scenes of our pasts so perfectly and wiping contagious smiles across our faces. You know what I’m talking about. Well, past and future managed to come together on Sunday, December 18th at the Belly Up Tavern with performances by Josh Damigo and Shawn Colvin. Colvin delighted us with her songs that take us back to those wonderful moments years ago, while up-and-coming Damigo set the stage for a soundtrack that will bring us back to these days we are creating now.

Local artist, and all around humble San Diegan, Josh Damigo took the stage Sunday night with a performance that could only be described as flawless. Damigo had the entire audience captivated with his great personality and witty stories that accompanied each song and somehow managed to have the audience laughing one minute and wiping tears the next, especially during his performance of “Never Going to Let You Go” (a song he wrote for his brother, Nathan, who is now in prison after an unfortunate PTSD episode). In all of the many concerts and intimate performances I’ve attended, I’ve never once had a show stand out like this one. With traces of Jason Mraz and Trevor Hall, he has what I like to call “couldn’t have said it better myself lyrics”. Relying more on vocals than on his guitar, he consumed the audience with his voice that cut through the air with such precision and tenderness you suddenly forgot to breath. At one point, he even stepped away from the mic and sang organically to a crowd gasping in amazement. At that point it was not only easy to see how and why Damigo has already received so many local music awards but to also ask the question, why is this guy not signed?! His performance was captivating and inspiring, and there is no question in my mind that he earned many new fans that night.

After an incredible opening act, Shawn Colvin, in all of her elegance, took to the stage and presented us with a show that no one will forget. She opened with a song by the Bee Gees and did incredible covers of “Not a Drop of Rain” by Robert Earl Keen, “Just My Imagination” by the Temptations, “California Girls” by Katy Perry and several more. She had the audience roaring with laughter when she reenacted a recent performance with America’s sweetheart Taylor Swift which involved a riser and some very sore quads, and when she sang for us a song she wrote for her 13-year-old daughter which went something along the lines of, “I’m the only person in the world. I’m the only person in the world. You’d think that I’d be sick of myself but nope, I’m still the only person in the world.” Excited applause went through the crowd when she began to sing her Grammy winning hit, “Sunny Came Home”. This being a song that highlights wonderful memories in my life, I shared the excitement of everyone in the room. As the perfect follower and closing, she sang her popular song “Diamond in the Rough” and took a bow to her fans. Walking off stage with a standing ovation, she delighted us with an encore and sang a cover of “Crazy” by Gnarls Barkley and her song “These Old Walls”. Even after more than 25 years in the music scene, Colvin is still able to draw in fans, new and old, and put on a performance that keeps you engaged, laughing, and begging for no end.

For me and all the others who had the privilege of being in the audience that night, Sunday was a show for the soul. Josh Damigo brought more to the stage than I ever expected, and without doubt he will be a part of my life’s current soundtrack. Shawn Colvin’s heartwarming and impeccable performance left us all with beautiful memories, gleaming smiles across our faces and feelings of content, ease and awe. I could only think of one way to end this already gushing review and that is to share with you a few words of advice. First, if you ever have the opportunity to see Shawn Colvin live, do so. And second, clear  your schedule for Friday December 30th and head to Lestat’s to witness a truly amazing performance by Josh Damigo. You will not be disappointed!

 

Shawn Colvin www.shawncolvin.com

Josh Damigo joshdamigo.wordpress.com

 

 

 

 

Emma Lee is an up-and-coming singer/songwriter based in San Diego. The self-taught, guitar-strumming songstress is a natural stage performer driven by her personal experiences. With each lyric, the audience gets a glimpse into the artist’s past and present. Be it relationships or feelings about life, it all seems more enticing when delivered from Lee’s gentle, sultry voice. Listeners are easily lost in her world, yet comfortable in that new territory. At her live shows, it’s clear that Lee pours everything she has into each song, reliving the moments they represent.

Emma Lee on her music:

“Music has always been a very personal thing for me. I’m not one of those people who was always out jamming or collaborating with friends. It is definitely my emotional outlet. When I first picked up a guitar, I was in desperate need of one. I was at a turning point in my life at that time and was doing a lot of soul searching. I picked up a guitar on a whim just looking for a hobby really. It ended up completely changing my life for the better. I think I actually got to know myself through my writing. Being that my songs were so personal, it took me a long time to be able to sing them confidently in front of others. But when I did, I fell in love with that feeling. Being such an introvert, for me to say everything I want in a room full of people felt very freeing. I think I’m more comfortable singing about my feelings than I am talking about them.”

“In my more recent writing I’ve been trying to tap into my lighter side. Being in San Diego definitely makes that easier. Before, I never felt connected enough to my happier songs. Living here, though, at the risk of sounding cheesy, I’ve found that there really is just something about this place. I’ve been able to write more light-hearted songs and really feel that way at the same time, which is new and exciting for me.”

Emma Lee is currently working on her debut EP that is due out in the spring of 2012. The EP is slated to feature a variety of her older and new music.

Free Downloads

MP3: ”Made for Me”

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MP3: “Quick and Painless”

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For additional downloads visit www.reverbnation.com/emmaleemusic

By Caitlin Varner Dec 16th 2011

Are you frequently trying to forget the dreaded word “Monday”? Do you Photoshop Mondays off your calendar or manually change the date on your computer? Do people often accuse you of suffering from a case of the Mondays? Well suffer no longer! The Belly Up Tavern has a solution for you that will turn the once cringe-worthy day into the brightest highlight on your schedule. This Monday, December 19th, Belly Up will be opening its doors at 8:00pm and inviting you in to experience the captivating melodies of Pinback.

Pinback is a local San Diego band which formed in 1998 and has since been enthralling listeners with their indie rock sounds. This strong duo, Armistead Burwell Smith IV (Zach) and Rob Crow, have had rolling success with several EPs and record releases, including their latest album Autumn of the Seraphs which features their popular song “Good To Sea” . Ever evolving, they manage to expel unique layers of instrumentals and vocals which seem to fit like precisely matched puzzle pieces. Better yet, Pinback delivers a full spectrum of songs from lively and energetic to mellow and intensely subtle. Zack and Crow are going stronger than ever producing sounds that ensure themselves that spot in your head where any silence is filled with the song you just can’t stop humming along to.

Fed up with the dread of Mondays? Then the Belly Up Tavern and the musical stylings of Pinback are just what the doctor ordered. Doors open at 8pm, show starts at 9pm, and the resent of a mundane Monday is gone for good… or at least for this week.

Monday Dec 19th 9:00 pm

www.pinback.com

Purchase Tickets here www.bellyup.com

By Caitlin Varner Dec 16th 2011

I don’t know about you, but when it comes to Sundays one of two things is on my agenda: throwing back a few beers while cheering on my favorite football team or trying to get in as much simplistic entertainment and relaxation before the upcoming hectic week. If option number two is sounding more your style head to the Belly Up Tavern to check out live performances by Shawn Colvin and local artist Josh Damigo this Sunday, December 18th. Doors open at 8:00pm.

Grammy winner Shawn Colvin is an inspiring singer-songwriter who, for years, has been warming hearts with her tender lyrics and tantalizing ears with her mesmerizing acoustic folk sounds. Her first album, Steady On, was released in 1989 and has been followed by an additional nine albums, including her most successful, A few Small Repairs in 1996, which featured her hit song “Sunny Came Home” and put her name on the US Top Ten. Her most recent album, Shawn Colvin Live, gives us a taste of her nearly flawless voice and draws us in to imagine ourselves sitting just a few feet away while she strums her guitar and effortlessly belts out lyrical stories that seem to tug on the soul’s every emotion. Combined with Colvin’s poise, empathetic ballads, and enduring talent it’s easy to predict this will be a show to remember.

California native Josh Damigo not only plays enticing acoustic melodies but also has the voice that makes you wish each song would never end. With inspiration drawing from older and more lyrically driven bands such as The Beatles and The Beach Boys, his songs take it one step further than just great sounds, but heartfelt words that seem to pull you into his exact emotions. Damigo has won numerous San Diego music awards and with a new release coming soon, it wouldn’t be a surprise that he will be adding a few more to his already impressive resume.

Whether you are looking to experience something new this weekend, searching for a romantic date idea or just need a little musical therapy, Shawn Colvin and Josh Damigo are sure to put on a performance that will satisfy anyone. Can you say, “Sunday Funday”?

Sunday Dec 18th 8:00 PM Doors at 7:00 PM

www.shawncolvin.com

joshdamigo.wordpress.com

Purchase Tickets here www.bellyup.com

By My Nguyen Dec 8th 2011 
 
 
 
 
  
One of the up-and-coming bands in San Diego’s local music scene, The Maul Shoppe consists of Heidi Arcilla (vocals), Chris Penaflor (guitar), Randy Phomsavanh (Bass), and Ian Jimeno (drums).  In this case, the male outnumbers, but not outshines.  So when front-woman, Heidi Arcilla, encouraged the crowd outside Inga Bezio Salon, one of Downtown San Diego’s premiere destinations for style, to ‘come back inside and drink some wine’, I had the strong sense that The Maul Shoppe was a group filled with irony.  Their band moniker alone with its underlying girly themes (shopping) and masculine connotations (the homonyms ‘mall’ and ‘maul’) exemplifies The Maul Shoppe’s virtuosity in making clever statements.  But whether the intrigue is in fashion, style, or music, The Maul Shoppe happens to know just what to deliver.  
 
Presented by Soheila of Mona Lisa Boutique, the Winter Fashion Show 12.8.2011 located inside the Inga Bezio Salon, offered a smorgasbord of art offerings, including a fashion show from local designers, wine tastings, and a belly dancing performance.  Although The Shoppers definitely had a lot to compete with, not only did they proceed to sonically enhance the aesthetic sensibilities of the fashion crowd that Thursday night, The Maul Shoppers also managed to revive a few in the audience enough to start showing off their dance moves.
 
The music, itself, was sexy and sassy.  Heidi’s Mick Jaggerish showmanship emphasized her smoky vocals that captivated the audience from start to finish.  While The Maul Shoppe’s sound were loud and clear, evident also during their set was a great sense of style.  Once finished with her swaggering motions and heel grinding-movements, Heidi dons a pair of glittery shades later on in her performance.  The lead singer’s smoky eye shadow and the other band members’ synchronized outfits (ties, cardigans, and white shirts), went on to demonstrate that the band was not only in-sync musically but stylistically as well.  
 
The Winter Fashion Show was an event that encouraged locals to buy localized goods this holiday season.  Set up around the reception area were local vendors, who had on display some eclectic art pieces, beautiful jewelry, and some fashionable pieces of clothing, all of which were up for grabs at a reasonable price.  Appropriately enough, The Maul Shoppe’s wry taste in fashion and their born-to-rock style made them the perfect choice for that night’s event.  Having played at a wide circuit throughout San Diego-county, including at the House of Blues San Diego, The Casbah, The Brick by Brick, and The Ruby Room in Hillcrest, among others, The Maul Shoppe’s conclusive performance for 2011 at Mona Lisa Boutique’s Winter Fashion Show last Thursday night had to be the perfect closer to what was, in hindsight, a happening year. 
 
 
 
 
 
For more info, please visit:
https://www.facebook.com/TheMaulShoppe or http://monalisaboutiquesd.com/
 

BY FC EXPERT BLOGGER JIM MCCARTHY Thu Nov 10, 2011

Everybody has a concert story. Whether it’s lifting Wayne Coyne aloft in his human-sized gerbil ball at a Flaming Lips show, camping out all night for Springsteen tickets, or being hypnotized by Skrillex’s beats, you’ve probably got a story, too.

Though individuals’ narratives about their concert experiences remain in many ways unchanged, the concert industry itself has evolved over the past 10 or 15 years, because now, it’s overtaking album and record sales (digital or otherwise) as the primary source of revenue for big names in the music industry.

In the past, concerts were little more than promotional appearances for record, tape, or CD sales. Popular artists blew into town, played one underpriced show, which guaranteed a sellout, and created a vacuum of envy among those who couldn’t go. That, in turn, made the unfortunate masses go out and buy those little pieces of plastic or vinyl that enabled them to at least hear their heroes, since they hadn’t been lucky enough to see them in the flesh.

But it’s not like that anymore. Which makes marketing and pricing concerts right critical to the health of the music business overall.

In the early 2000s, people stopped buying those previously lucrative little pieces of plastic and vinyl, or at least, much less than they used to. From 1999 to 2009, sales of recordings in the United States dropped from a little more than $14 billion to just over $6 billion.

Meanwhile, the concert business grew, according to this Live Nation investor presentation and Pollstar data, from about $1.5 billion in 1999 to almost $5 billion in 2009. Numbers on this vary from source to source, but the general trend of the 2000′s is clear: recordings plummeted and concerts soared.

This is what I’ve been telling people for years, and it’s attributable to two different but related things: recordings are so cheap to make now that they’re hardly worth paying for, and people place a higher and higher value on authentic live interaction than ever before. I’ve often told the story of how I paid the same amount of money for a Bruce Springsteen album as I did for a Bruce Springsteen concert ticket in 1985. Today, the concert ticket would cost many times more than the recording, if I chose (as a good citizen) not to steal it.

Long term, concerts along with all other forms of live entertainment have a bright future–but the concert business as it’s currently done isn’t going to cut it.

Over the past few years, ticket prices rose for the reasons I mentioned above–and rightfully so: the live product is the premium product and it had traditionally been underpriced. But the pendulum swung too far in the overpriced direction, especially in concerts, as the acts who were touring stayed pretty much the same.

As late as 2008, the top 10 touring acts were positively jurassic, with an average career launch year of 1986. That’s Hasselhoff in Knight Rider old, not even Hasselhoff inBayWatch old. In 2010, that led to a 15% drop in concert sales, which in turn fueled much wailing and teeth-gnashing. Although 2011 has picked up some of the losses of last year, there’s still a widespread feeling that concerts aren’t on a steady footing.

Why should things feel so shaky when the long-term trend is pointing the right way? Because the business model of the first decade of this century is dying, because it’s a lousy business model. Big bucks, big venues, big (old) acts, and high stakes is a loser. Do you really think Fleetwood Mac is going to be pulling down $150 a ticket in 2020?

Instead, the concert business needs to rethink itself to capture the favorable long-term shift of consumers wanting to see the live shows.

To do this, the business needs to do at least these three things:

First, the business needs to get better at audience development.  

Let’s say that you are the manager of a band. You’ve got at least some faithful fans, and then you’ve got people who don’t care about your band. You should run your business in a way that not only pleases the faithful, but increases the number of the faithful. Running a Super Bowl ad for an upcoming performance might sell a few tickets, but the people who buy probably won’t buy again. Likewise, if your marketing is focused only on the guys and gals who already stand in line on a cold night to see you, you’re probably not in for much growth there either. Delight and honor the faithful every day, but then look for places where you’re likely to find more people like them and then reach those people with your work.

Fans of a similar band? People who like skateboarding, are between the ages of 18 and 30 and live in the three markets where most of your fans live? Friends of your current fans? All good places to start, but the point is to look for the next ring of faithful fans who just haven’t found you yet.  Today, concert folks seem to act as though audience development happens automatically. They shouldn’t.

Second, live entertainment venues and promoters have to get much better at yield management.  

This is simply the idea that you’ve got to get productivity out of your venues. Airlines, hotels, telecommunication companies, public transportation systems all use yield management, because they have a resource that costs the same to operate (hotel room, airplane, city bus, telephone line) no matter how many people use it. The point is to get people using it as much as possible.  In live entertainment, this means getting as much out of each “seat” in a venue as possible.

It’s simple to calculate: just take the total revenue from a given show (or run of shows or tour) and then divide it by the number of “seats” that could have been sold. (It doesn’t have to be literal seats; just the number of admissions that could have been sold at maximum.)

Say there’s a show in a 1000-seat auditorium, and 600 seats were sold at $50 each. That’s $30,000 in ticket sales, divided by 1000 seats, leading to a $30 revenue per seat. Perhaps a venue could make more money on the ticket, so let’s imagine raising the price to $60 and selling 425 tickets. Is this better?

To find out, just calculate the revenue per seat: $60 x 425 is $25,500. That makes the Revenue Per Seat $25.50, so the price increase didn’t help.

The point is that you can tweak the price table to offer different prices so that you’re getting the best revenue per seat possible. Raise? Lower? Offer more varied prices? Only revenue per seat can tell you for sure if you’re getting it right–but almost no one in the industry uses this metric, though they could and should.

Third, get better at “curating.”

How sad is it that U2 is the number one touring band in 2011?

Bing Crosby wasn’t the top tour when I was in high school in the late ’80s, but that’s the equivalent. Yes, U2 is great (so was Bing, for what it’s worth), but people in the concert biz have to find a way to get people interested in a newer, fresher, more varied group of acts if they want to keep the business alive.

Venues bid for the same acts, many of whom are overpriced based on success 10, 20, or even 30 years ago. It’s not sustainable or even particularly healthy.

Venues that can choose what acts play in their buildings have an opportunity to connect directly to an audience. If they’re finding and choosing something distinctive, high-quality, and fun and wrapping it in a great concert-going experience, those venues will succeed and get people coming back just to see what’s happening next. It works for theatres, sports teams, and performing arts. It can work for concerts too, but it takes an eye for something special and a willingness to take some risks along the way.

And somebody with a genius eye for the right acts and the right customer experience stands to get rich and famous figuring it out.

If you’re in or want to be in the concert biz, there’s good news and there’s bad news. The bad news is that if you want to keep doing things the way they’ve been done for the last decade or so, you’d better hope Congress finds a way to save Social Security. The good news is that the fundamental desire of consumers to go to live events, including different and better music-driven events, is greater than ever, and ripe for change.

(Source www.fastcompany.com)

[Image: Flickr user momaraman]