20 minute read
Music
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Bill Baird
Country Catalyst
When Garrett T. Capps sings about loving San Antone, best believe he means it
BY BILL BAIRD
Human culture accrues in a sedimentary fashion, each generation adding its own layer to the earlier ones. San Antonio is no exception to that rule.
Our history and cultural legacy can seem so monolithic at times that, almost as a coping mechanism, we forget what a rich history we have. Sometimes, though, a person arrives to wake us up to that history while adding a layer of their own.
Right now — at least when it comes to our music scene — that person is Garre T. Capps.
While Capps is perhaps the city’s most-visible Americana performer right now, he’s more than that: a songwriter, a bandleader, a community builder. But, more than anything, he wants to party. He’s a born entertainer.
On that note, he’s also on the verge of releasing a new album, I Love San Antone, which he’ll celebrate Friday, August 20 with a performance at the Lonesome Rose, a St. Mary’s Strip music venue he partially owns. But more on the album and the bar later.
Capps’ growing appeal lies in his ability to deconstruct the familiar Texas singer-songwriter genre. His work is rooted in the Lone Star State’s musical traditions while providing ample space for his talented backing band to fi ll in spaces with color, texture, jazz, drone, you name it. The end result is catchy and danceable to boot — pun intended.
That willingness to reconfi gure traditions stems from Capps’ origin as a genre outsider. He arrived in Singer-Songwriter Land through a long, loud journey.
“I started off as a drummer for doom metal bands, punk bands, stuff like that,” he said with a laugh over lunch at a downtown-area taqueria. “First, I drummed in a psychedelic sludge band called Old & Ill, then a progressive doom band called Antero Sleeps.”
The gulf between doom and Americana may not be as wide as some imagine. Other alt-country performers followed a similar trajectory from the rock underground. To be sure, the do-it-yourself spirit of punk is all about musicians building the world they want to inhabit.
“Me doing what I do, in the alt-country realm, everyone seems to come from a punk background,” he said. “It’s more unusual to meet someone who doesn’t come from punk.”
MGarrett T. Capps (right) and Santiago Jimenez Jr. get ready to listen to a test pressing of the conjunto legend’s latest album.
While the new album’s fi rst single, “I Like Austin, But I Love San Antonio,” extols the laid-back virtue of his hometown, Texas’ capital city also played a role in his musical story. He lived in Austin for two years and cut his teeth playing the White Horse Saloon, where he became known as “the San Antonio guy.” “Folks started contacting me about booking shows down here, and it just snowballed,” he said.
After booking acts around the Alamo City, Capps approached San Antonio club owner Danny Delgado about partnering on a venture. Mix in a few other investors, and the Lonesome Rose was born in late 2018. Since then, the club has emerged as a focal point for the city’s progressive country and Americana scenes.
While the Rose books plenty of performers who look back to the country and western days of old, Capps’ own live show is anything but a by-thenumbers recreation of Texas dance hall music.
For one thing, it’s dense with swirling sonics normally unheard in Americana. Chalk up those up to modular synth player Justin Boyd, who seems to occupy a role in Capps’ band much like Brian Eno’s in Roxy Music.
Capps’ droll stage banter also plays nicely off the uptempo music, projecting an optimistic, open and wi y assurance. He’s having a party, and everyone’s invited.
Appropriately, the wave he’s now riding arguably began at a 2018 Cinco de Mayo celebration at Paper Tiger.
“I played the show with my friend D.T. Buff kin. It was a free show. Everyone was there,” Capps he. “Augie [Meyers] got on stage with us.”
For many, the show emblemized a passing of the torch: San Antonio’s musical old guard whooping it up with the new.
Multi-generational vibe
Capps’ forthcoming I Love San Antone also encapsulates that multi-generational vibe. The record’s got guts, a danceable quality and it builds on tradition. A cover of Jethro Tull’s “Locomotive Breath” shows the performer’s willingness not just to tip his Stetson to classic country but also classic rock.
What’s more, Capps covers “Everybody I Know” by ’70s songwriting legend Loudon Wainwright III. And while speaking of musical legends, San Antonio boasts few bigger than Santiago Jimenez Jr., whose inimitable singing and accordion lead the way on the standout track “Margarita, Margarita.”
Capps’ respect for his musical forbears goes beyond having them make guest appearances on his recordings, though. He produced Jimenez’s forthcoming album Still Kickin.
During a recent listening session for Still Kickin held at the conjunto legend’s West Side home, it was clear he and Garre are like two peas in a pod. They both oozed good vibes.
After a prayer circle giving thanks for the album, folks downed one beer, then two, then fi ve, all while the musicians’ collaboration blasted in the background. Afterward, Capps cranked his new album for Jimenez and his neighbors, who’d joined in the listening session. They grooved along, nodding in approval.
Creating the universal
Capps’ new release doubles down on his professed love for his hometown. After all, the appearance of his song “I Was Born in San Antone” on a season premiere of Showtime’s hit series Billions helped launch his career into overdrive.
Some might argue that focusing on a specifi c place limits a musician’s perspective. But one could also argue the opposite. When artists try to be all things to all people, they become nothing. By focusing on something specifi c and personal, though, they can create the universal.
Capps is approaching that in his work.
What makes him special, beyond the tunes and good times, is the way he’s brought together a community and given back to his hometown.
That holds true with the Lonesome Rose, his podcast celebrating forgo en Texas music, his collaborations with Texas Public Radio and his work with hometown legends such as Jimenez and Meyers.
Even when Capps looks to the future, community is key.
“Selfi shly, I hope that there will be some younger-ish bands who pop up that are interested in quality country western dance music. So they can play the Rose,” he said. “Otherwise, I just hope that some ambitious musical climate develops somehow. Regardless of genre. More bands need to get out of town and rep SA!”
Capps singles out fellow San Antonians Sunjammer, Mitch Webb, D.T. Buff kin and Pinky Ring, James Steinle and Kathryn Legendre, who lives in Buda but was born here. All have created their own brand of progressive roots music, he argues, and people are taking note.
So, what are Capps’ personal goals?
“More progress. More fun. More honesty. More jams.”
Those ambitions neatly sum up his approach. They also off er a reminder of an old truism: the more love you give away, the more you receive.
Call it one of those cosmic truths.
Garre T. Capps does indeed love San Antone, and it’s good to see the city giving those vibes right back.
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Nina Diaz delved into history with a reimagining of Elvis Costello’s This Year’s Model, but she’s looking to the future
BY MIKE MCMAHAN
ASpanish language reimagining of Elvis Costello’s This Year’s Model titled Spanish Model will feature Nina Diaz, former frontwoman of San Antonio’s Girl in a Coma, kicking the entire album off by singing “No Action.”
The honor of being in the pole position on a tribute Costello’s seminal 1978 album by a lineup of Latin music stalwarts was particularly impressive for one of Diaz’s biggest fans. Especially after it landed a writeup in Rolling Stone.
“My mom was so proud,” Diaz said in a recent Zoom interview. “She showed all her friends.”
Diaz’s mom wasn’t the only one who thought she was perfect for the spot. That opinion was shared by Sebastian Krys, the collection’s producer, who’s worked with plenty of heavy hi ers in the Latin music community.
Diaz came to Krys’ a ention after he a ended one of her shows during the Los Angeles sojourn she undertook a couple of years ago. He tracked Diaz down and pitched the project. For the singer, participating was a no-brainer.
“I’ll sing in any language for Elvis Costello,” she said.
Diaz is no stranger to recording covers, having spent a chunk of quarantine time exploring her favorite tunes and turning them into a series of online releases. But Costello was a diff erent story.
“I never really dove into Elvis Costello’s music before,” she revealed. “The universe was like, ‘Bam! It’s time for Elvis Costello.’”
In addition to doing a lot of listening, she watched YouTube videos of Costello talking about This Year’s Model and what it meant to him. The research helped her inhabit the song, she said.
Courtesy Photo / Nina Diaz
In control now
While Diaz dug into the past to prepare for Spanish Model, she’s used to looking forward when it comes to her own career. Right now, she’s pu ing together upgrades on her home studio and aspires to produce other artists or work as an outside songwriter.
“You have to know your way around — the chords and whatever — if they’re like, ‘Hey, write a song like this,’” she said.
While Girl in a Coma — a collaboration with her sister Phanie and Jenn Alva — was her launchpad into the music business, she said she’s now happy to be in control of her own artistic destiny.
“While I was in Girl in a Coma, I was going with the fl ow,” she said. “Now, I’m in a transition to being an independent artist. I’m not on a label, I’m doing my Patreon, I’m self-managing.”
Getting out of her own way
Diaz’s recent creative output is about more than covers, though. She’s working on a new album that will refl ect her personal growth via eight years of sobriety and additional time spent in therapy.
“I want to experience things so I can explain them and write about it,” she said. “I was a functioning addict, but during that whole time, I was still able to create. You put a drug or alcohol on a pedestal, but what it does for us is help us relax, get out of our own head. As a sober person, you have to get out of your own way and you’re able to create again.”
Elephant in the room
At the time she released her 2016 solo album, The Beat Is Dead, “a lot of people were still hanging onto Girl in a Coma,” she said.
“And for me it was like, ‘Catch up. I’m going to this other world,’” she said. “When you put pressure on yourself, you’re not focusing on the now, which is just doing what comes natural to you in writing. Focusing on mental health helps me as a writer. It’s what my next album is about.”
Like most artists who go solo, an elephant lingers in the room: whether Diaz would consider reuniting with her former bandmates, themselves busy with the all-female punk quartet FEA.
“At the time my solo album was coming out, I didn’t do many interviews because I knew it would be heated. I don’t communicate with [Phanie and Jenn] as of now. I would never say anything that drags people under the bus. I was hurting myself when I was using, because I felt stuck in a lot of ways.”
In retrospect, Diaz added, it might have been be er for her mental health if Girl in a Coma had ended sooner.
“When they started FEA, I was really happy for them. They’re great musicians. Phanie is a badass rock drummer. But our time just ended,” Diaz said. “It’s not time for us to connect again. I don’t see Girl in a Coma playing again. Phanie and I would have to connect in a sister relationship fi rst, but I don’t want to force anything.”
Spanish Model will be released September 10.
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music listings
Courtesy Photo Goatwhore
GOATWHORE
Wednesday, August 11
Lousiana death-thrash veterans Goatwhore will hit San Antonio on a run of Texas shows. The band recently announced a return to the studio to follow up 2017’s Vengeful Ascension on Metalblade Records. Houston’s blackened Necrofi er and the frosty death metal grooves of Dallas newcomers Frozen Soul will round out the bill. $16, 7 p.m., Paper Tiger, 2410 N. St. Mary’s St., papertigersatx.com. — Enrique Bonilla
Thursday, August 12
Citizen Cope
In real life he’s Clarence Greenwood, but in the music world, he’s the Outkast-, John Lennon- and Bob Marley-inspired songsmith Citizen Cope. Whichever name you know him by, the man’s songs have appeared on releases by Sheryl Crow, Corey Taylor, Dido and Carlos Santana, and he got his start in the music biz as the DJ for ’90s crew Basehead. Cope’s most recent LP, The Pull of Niagara Falls, was released earlier this year. $45, 8 p.m., Gruene Hall, 1281 Gruene Road, New Braunfels, (830) 606-1281, gruenehall.com. — Mike
McMahan
Friday, August 13
Max Stalling
After working in Corporate America as a food scientist, Stalling discovered he far preferred playing Texas country. Thus began his journey as a touring vocalist, guitarist and songwriter. Stalling’s wife also puts her fi ddle skills to good use in his live band, bringing an authentic honky-tonk twang to the sound. $12, 8 p.m., John T. Floore’s Country Store, 14492 Old Bandera Road, Helotes, (210) 695-8827, liveatfl oores.com.
— Brianna Espinoza
Saturday, August 14
Descendents
The nerdsome foursome is returning to San Antonio with a load of pop-punk anthems fresh o its latest Epitaph Records release 9th & Walnut. On this jaunt, they’re backed up by Philadelphia-based punk outfi t the Menzingers. $36, 7 p.m., Paper Tiger, 2410 N St. Mary’s St., papertigersatx.com. — EB
Back From the Plague Death Fest
Appropriately titled given the toll the delta variant is taking on the unvaccinated and given the content of the death metal subgenre, this one-night fest will include local and regional acts bent on delivering a full evening of brutality. With names like Corpse Hole, Severed Sanity and Immortal Remains, you know the night won’t end until someone’s face
MOUNTAIN GOATS
Friday, August 13
On some level a solo project from main man and lone consistent member John Darnielle, the indie act Mountain Goats has featured some high-profi le collaborators. Among those are guitarists such as St. Vincent and Kaki King as well as Superchunk drummer Jon Wurster, who’s currently in the band. Mountain Goats are very much a songwriting-oriented project, and the output ranges from tunes with a traditional vibe all the way to “The Ultimate Jedi Who Wastes All the Other Jedi and Eats Their Bones,” a song wri en at the request of director Rian Johnson to accompany the release of his polarizing Star Wars fi lm, The Last Jedi. Why that subject ma er isn’t addressed in the fi lm, we’ll never know. $25-$28, 7 p.m., Paper Tiger, 2410 N. St. Mary’s St., papertigersatx.com. — MM is melted o by the music alone. $10-$15, 6:45 p.m., Bond’s 007 Rock bar, 450 Soledad St., (210) 225-0007, facebook. com/BondsRockBar. — BE
Pop 2000 Tour Hosted by Lance Bass
Feeling nostalgic for the heyday of TRL, are you? Well, your man Mr. Bass has something in store that may tickle your fancy. Featuring O-Town, Ryan Cabrera and LFO, the Pop 2000 tour will roll into Alamo Town, though there are no indications that Carson Daly will cameo. Bass is, of course, best known for his time in *NSYNC. Meanwhile, O-Town made a splash with “All or Nothing,” while Cabrera is known for “True” and “On the Way Down.” LFO hit the charts with the seasonally relevant “Summer Girls.” And if we can’t celebrate summer here in Tejas, what the hell’s the point? $30-$800, 4 p.m., Texas Ski Ranch, 6700 North Interstate 35, (830) 6272843, texasskiranch.com. — MM
Sunday, August 15
James Steinle + Tony Kamel
Rugged country vocals and rustic Americana come together as James Steinle performs songs about the “forgotten people.” The night will also include a set from Tony Kamel, who’s best known from his role in bluegrass act Wood & Wire. This go-round, however, he’ll be performing a folky solo show. Cover unavailable, 7 p.m., Lonesome Rose, 2114 N. St. Mary’s St., (210) 455-0233, thelonesomerose.com — BE
Tuesday, August 17
Bobby Bare Jr.
The oldest honky tonk on the St. Mary’s Strip seems like a perfectly suited venue for singer-songwriter Bobby Bare Jr. The Nashville native grew up in the biz and has appeared on releases with indie superstars My Morning Jacket and alternative-country act Silver Jews. Fellow Nashville act the
Facebook / The Mountain Goats
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music listings
Thursday, August19
Matute
This Mexican cover sextet is bringing its love of ’80s Britpop and Latino sounds to the Aztec. Originally brought to life with the help of Latina superstar Belinda, the group has since landed its own national television show MatuTV. In recent years, it’s also topped the Mexican pop charts. $49, 8:30 p.m., Aztec Theatre, 104 N. St. Mary’s St. theaztectheatre.com — EB
Brandon Alan
Describing his music as “guitar-driven Texas country,” Alan has focused on singles in the past couple of years, releasing “I’m Going” and “Love You the Same,” as well as an instrumental cover of Willie Nelson’s “On the Road Again.” Though focused on a country sound, he cites more diverse infl uences including Dire Straits, Jimi Hendrix and vaccine fan Eric Clapton. Alan expects to release his next LP in 2022. $12-$50, 7 p.m., Sam’s Burger Joint, 330 E. Grayson St., (210) 223-2830, samsburgerjoint.com. — MM
Friday-Sunday, August 20-22
Miranda Lambert
After rising to fame after making her debut on the TV show Nashville Star and marrying Blake Shelton, Lambert has made a name for herself through hits including “Mama’s Broken Heart” and “Little Red Wagon.” Her three-day stint in New Braunfels feels like a mini-Las Vegas residency — but country style. $72, 8 p.m. Friday-Sunday, Whitewater Amphitheater 11860 FM 306, Suite 1, New Braunfels, (830) 964-3800, whitewaterrocks.com. — BE
Joan Jett + FEA
Sunday, August 22
Instagram / Joan Jett and the Blackhearts
Joan Je doesn’t give a damn about her bad reputation. In fact, we’re guessing that rep is actually a draw for folks heading out to Helotes for this very rocking show and a very country venue. Well, that and the chance to watch Je prove once again how tough she looks on stage. If Joan alone isn’t reason enough to draw out local rockers, San Antonio all-female punk outfi t Fea — mentees of Je herself — are also on the bill. $40, 7:45 p.m., John T. Floore’s Country Store, 14492 Old Bandera Road, Helotes, (210) 695-8827, liveatfl oores.com. — BE
Country Westerns will bring along their indie-rock melodies while Sid Plays Songs will provide local support. $12, 7 p.m., Lonesome Rose, 2114 N. St. Mary’s St., thelonesomerose. com. — EB
Wednesday, August 18
The Wallfl owers
Though he will likely always be known as the son of youknow-who, Wallfl owers frontman Jakob Dylan has certainly been successful in his own right. The alt-rock band’s profi le was highest with 1996’s Bringing Down the Horse album, which featured the hits “One Headlight” and “6th Avenue Heartache.” Now, the band is back with last month’s Exit Wounds, its fi rst album in a decade. Dylan recently voiced feelings that many are experiencing: relief that live music has returned, at least for now: “I think we’re all really going to appreciate being in that room, maybe more than we did before — the audience and the artists,” he told Cleveland. com last week. $55, 8 p.m., Gruene Hall, 1281 Gruene Road, New Braunfels, (830) 606-1281, gruenehall.com. — MM
Joshua Alderete and the Fellowship
Local percussion master Joshua Alderete blends the sounds of jazz’s past and present, and he’s ably assisted by local trio the Fellowship, who provide piano, bass and saxophone. The show has limited seating and the dimly lit underground venue will also have a brand-new menu of cocktails and food. $20, 7:30 p.m., Jazz, TX, 312 Pearl Parkway, Building 6, Suite 6001. Jazztx.com. — EB
Saturday, August 21
1964: The Tribute
If you know your dates in rock ’n’ roll history, you know 1964 likely means one thing: The Beatles. Tribute act 1964 toes the line between a concert and theater, creating an undeniably engaging experience. Rather than trying to tell the whole Beatles story — particularly the LPs released after the band’s touring years — 1964 transports the audience to a Beatles concert circa 1964. In the end, it succeeds in creating a “you are there” historical vibe. There’s a reason Rolling Stone called 1964 “the best Beatles tribute on Earth.” Hyperbole, perhaps, but the group does o er a compelling snapshot of rock’s Golden Age. $34-$49, 6 p.m., Majestic Theatre, 224 E. Houston St., (210) 226-5700, majesticempire.com. — MM
Strawberry Girls
With their sweeping high notes, melodic midsections and an association with Dance Gavin Dance, Strawberry Girls are every progressive-math-post-hardcore nerd’s dream delivered in instrumental form. Don’t get it twisted, though: all three band members are also record producers and avid lovers of Carly Rae Jepsen’s song “Call Me Maybe.” Fittingly, local math rockers Donella Drive are opening the show. $15, 6:30 p.m., Rockbox, 1223 E. Houston St., (210) 677-9453, therockboxsa.com. — BE
