MUSIC

MUSIC MUSIC

Kurt Vile will visit Cincinnati in October.

PHOTO: ADAM WALLACAVAGE

Philadelphia Freedom Philadelphia Freedom Kurt Vile has a Cincinnati tour date on the calendar but found a new groove in the City of Brotherly Love. Kurt Vile has a Cincinnati tour date on the calendar but found a new groove in the City of Brotherly Love. BY JASON GARGANO

BY JASON GARGANO

Kurt Vile can be hard to pin down — a long-haired, skinny-jeaned 42-year-old with melodies for miles and a mind that moves in unexpected directions. e Philadelphiabred singer, songwriter and ace guitarist is a self-described musical obsessive, the kind of guy who immerses himself in every aspect of his chosen endeavor.

Speaking to CityBeat via a fuzzy cell phone connection from a recent tour stop in Germany, Vile is an easygoing but engaging conversationalist. Within a matter of minutes, he oats from one topic to the next in a way that feels almost like free association, touching on everything from the early-aughts production techniques of Jim O’Rourke to unorthodox song ideas likely to appear on future Vile records to the merits of regional gures like Cincinnati’s own Brian Olive (whom he calls an “amazing musician and artist”).

Vile’s songs spring forth in a similarly organic manner. His ninth album, (watch my moves), dropped in April and is another expansive exploration, 15 deceptively personal songs over more than 70 minutes. It’s an evolution of the approach he’s employed since at least 2015’s B’lieve I’m Going Down — spacey, folk-forti ed jams powered less by soaring guitar leads than by hypnotic, often meditative vibrations.

Take “Like Exploding Stones,” which sounds like late-era, narcotically dosed Sonic Youth by way of Stereolab, its circular guitar and rhythmic patterns transporting listeners to an alternate universe punctuated by a sweet sax solo from James Stewart of the Sun Ra Arkestra. en there’s Vile’s distinctive drawl and evocative lyrics, which he enunciates like Stephen Malkmus doing a John Prine impression.

Work on (watch my moves) began in 2019 at veteran producer Rob Schnapf’s studio in Los Angeles where Vile made his last two records. But the COVID-19 pandemic had other ideas, halting production and forcing Vile to hunker down with his wife and two young daughters at his home in Philadelphia’s Mt. Airy neighborhood. e unexpected turn of events had an upside — it allowed him to complete a recording studio in the basement of his home.

“Rob is a friend,” Vile says when asked why he continues to collaborate with Schnapf. “He’s fun to hang around.

Kurt Vile can be hard to pin down — a long-haired, skinny-jeaned 42-year-old with melodies for He’s also passionate. He’s also into gear, like the rest of us. He’s all about staying miles and a mind that moves in unex- out of the way and having a good time pected directions. e Philadelphia- until it’s time to go in there and tweak it.bred singer, songwriter and ace guitarist “He’s been making records with is a self-described musical obsessive, people like Elliott Smith and Beck since the kind of guy who immerses himself the 1990s,” Vile continues. “He came to in every aspect of his chosen endeavor. my home studio in Philly. He said, ‘I’m

Speaking to CityBeat via a fuzzy cell going to come to you.’ Believe it or not, phone connection from a recent tour no producer actually said that to me, so stop in Germany, Vile is an easygoing that kind of sealed the deal.” but engaging conversationalist. Within Recording in his hometown for the a matter of minutes, he oats from rst time in more than a decade also one topic to the next in a way that feels couldn’t help but a ect the result. Vile almost like free association, touching woke up each day with a short walk on everything from the early-aughts from his bed to the studio, which he production techniques of Jim O’Rourke calls the “KV Zone.” Friends, family to unorthodox song ideas likely to and local avors invariably made their appear on future Vile records to the way into the record and its resulting videos, all of which he shot near his

merits of regional gures like Cincinnati’s own Brian Olive (whom he calls an “amazing musician and artist”).

Vile’s songs spring forth in a similarly organic manner. His ninth album, (watch my moves), dropped in April and is another expansive exploration, 15 deceptively personal songs over more than 70 minutes. It’s an evolution of the approach he’s employed since at least 2015’s B’lieve I’m Going Down — spacey, folk-forti ed jams powered less by soaring guitar leads than by hypnotic, often meditative vibrations.

Take “Like Exploding Stones,” which sounds like late-era, narcotically dosed Sonic Youth by way of Stereolab, its circular guitar and rhythmic patterns transporting listeners to an alternate universe punctuated by a sweet sax solo from James Stewart of the Sun Ra Arkestra. en there’s Vile’s distinctive drawl and evocative lyrics, which he enunciates like Stephen Malkmus doing a John Prine impression.

Work on (watch my moves) began in 2019 at veteran producer Rob Schnapf’s studio in Los Angeles where Vile made his last two records. But the COVID-19 pandemic had other ideas, halting production and forcing Vile to hunker down with his wife and two young daughters at his home in Philadelphia’s Mt. Airy neighborhood. e unexpected turn of events had an upside — it allowed him to complete a recording studio in the basement of his home.

“Rob is a friend,” Vile says when asked why he continues to collaborate with Schnapf. “He’s fun to hang around. He’s also passionate. He’s also into gear, like the rest of us. He’s all about staying out of the way and having a good time until it’s time to go in there and tweak it.

“He’s been making records with people like Elliott Smith and Beck since the 1990s,” Vile continues. “He came to my home studio in Philly. He said, ‘I’m going to come to you.’ Believe it or not, no producer actually said that to me, so that kind of sealed the deal.”

Recording in his hometown for the rst time in more than a decade also couldn’t help but a ect the result. Vile woke up each day with a short walk from his bed to the studio, which he calls the “KV Zone.” Friends, family and local avors invariably made their way into the record and its resulting videos, all of which he shot near his

house in Mt. Airy.

“I was obsessively thinking about the record anyway before the shutdown,” Vile says of the pandemic curveball. “I wasn’t just working from my home — I had to think about getting the studio nished and obsessively thinking about how I’m going to make this record stand out compared to the others, which I always do. Because I’m obsessive, whatever my latest in uences are, combined with whatever epiphanies I have about my own music, I want to get them into the record. You never know what’s going to happen.”

Vile says the solitude of his studio speaks to him.

“I like when I go down in the studio when nobody’s around and I don’t turn anything on. It’s like my temple. at was what was missing in Philly, and that’s what I have now,” he says.

Another change, Vile says, was switching record labels from his longtime home at indie staple Matador to Verve, founded in 1956 and known as a

backer of Bill Evans, Billie Holiday, the Velvet Underground, Frank Zappa and more. “I did it because the opportunity arose. Verve was interested, and I was attered. My contract was up with Matador, and I was intrigued by the fact that a non-indie rock, somewhat major label with a cool history and connected with Universal Records was interested. I wanted to see what happened,” Vile says. “It wasn’t a decision I took lightly. I’m grateful to Matador; they’re my family. ey were very supportive and we’re still friends, but I’m 42 years old now, and all the signs were pointing to, ‘Try this new opportunity out.’” Likewise, there’s a curiously opportunistic vibe to (watch my moves) that belies the cultural darkness of recent years. It’s as if Vile’s Philly cocoon shields him from outside turbulence, which is akin to the way he approaches music — he creates the universe he wants to inhabit. “I like the idea of music that puts you in a positive zone and just makes you want to dance,” Vile says. “Ideally, it could be like two minutes and feel like an eternity in a good way. Or it could go on forever and you’re going to keep dancing and in that positive zone until you either get distracted and lose interest or the song ends.” Vile says that “Wakin on a Pretty Day” from the 2013 album Wakin on a Pretty house in Mt. Airy. Daze used a similar concept.

“I was obsessively thinking about the “Well, I like the kind of songs that are record anyway before the shutdown,” two minutes, a blissful pop song that Vile says of the pandemic curveball. “I you want to play over and over again, wasn’t just working from my home — I except with ‘Wakin on a Pretty Day’ you had to think about getting the studio don’t have to hit play as much,” he says. nished and obsessively thinking about “You have to wait 10 minutes before you how I’m going to make this record start it over again instead of two.”stand out compared to the others, And, of course, Vile is grateful to be which I always do. Because I’m obses- playing live shows again.sive, whatever my latest in uences are, “It’s awesome,” Vile says. “I connect to combined with whatever epiphanies I the fans. I feel like even on the last record have about my own music, I want to get I was connecting more with the audithem into the record. You never know ence, but now that I’ve had some time to what’s going to happen.” re ect on things, you don’t take anything

Vile says the solitude of his studio for granted. If people are coming out speaks to him. to see me, chances are they’re like me,

“I like when I go down in the studio which is obsessed with music. And now when nobody’s around and I don’t turn I’m not shy to look out at the audience anything on. It’s like my temple. at and know that everybody’s into it.”was what was missing in Philly, and that’s what I have now,” he says.

Another change, Vile says, was switching record labels from his longtime home at indie staple Matador to Verve, founded in 1956 and known as a backer of Bill Evans, Billie Holiday, the Velvet Underground, Frank Zappa and more. “I did it because the opportunity arose. Verve was interested, and I was attered. My contract was up with Matador, and I was intrigued by the fact that a non-indie rock, somewhat major label with a cool history and connected with Universal Records was interested. I wanted to see what happened,” Vile says. “It wasn’t a decision I took lightly. I’m grateful to Matador; they’re my family. ey were very supportive and we’re still friends, but I’m 42 years old now, and all the signs were pointing to, ‘Try this new opportunity out.’” Likewise, there’s a curiously opportunistic vibe to (watch my moves) that belies the cultural darkness of recent years. It’s as if Vile’s Philly cocoon shields him from outside turbulence, which is akin to the way he approaches music — he creates the universe he wants to inhabit. “I like the idea of music that puts you in a positive zone and just makes you want to dance,” Vile says. “Ideally, it could be like two minutes and feel like an eternity in a good way. Or it could go on forever and you’re going to keep dancing and in that positive zone until you either get distracted and lose interest or the song ends.” Vile says that “Wakin on a Pretty Day” from the 2013 album Wakin on a Pretty Daze used a similar concept. “Well, I like the kind of songs that are two minutes, a blissful pop song that you want to play over and over again, except with ‘Wakin on a Pretty Day’ you don’t have to hit play as much,” he says. “You have to wait 10 minutes before you start it over again instead of two.” And, of course, Vile is grateful to be playing live shows again. “It’s awesome,” Vile says. “I connect to the fans. I feel like even on the last record I was connecting more with the audience, but now that I’ve had some time to re ect on things, you don’t take anything for granted. If people are coming out to see me, chances are they’re like me, which is obsessed with music. And now I’m not shy to look out at the audience and know that everybody’s into it.”

“I like when I go “I like when I go down in the studio down in the studio when nobody’s when nobody’s around and I don’t around and I don’t turn anything on. turn anything on. It’s like my temple.” It’s like my temple.” Kurt Vile and the Violators

Kurt Vile and the Violators will perform at 8 p.m. Oct. 16 at the will perform at 8 p.m. Oct. 16 at the Andrew J Brady Music Center.

Andrew J Brady Music Center. Doors open at 6:30 p.m. Julia Shapiro

Doors open at 6:30 p.m. Julia Shapiro of Chastity Belt will open the show. of Chastity Belt will open the show. Info: bradymusiccenter.com. Info: bradymusiccenter.com.

MUSIC MUSIC Artists Curate Music, Dance, Visual Art and Trusted Space Artists Curate Music, Dance, Visual Art and Trusted Space in Warmth

in Warmth BY KATRINA ERESMAN BY KATRINA ERESMAN

In early 2022, Cincinnati artists Alex Stallings and Cj Wooten brought a new music exploration series to the Queen City. WARMTH Culture is led by queer individuals and people of color and is named for the safe and welcoming energy each event strives to create. With a focus on hip hop, R&B, and house music, Warmth has thus far succeeded in bringing the good vibes to spaces like the Mockbee and 21c’s Gano Alley.

Warmth’s next activation again will ll Gano Alley with a live DJ showcase and dance performances during BLINK on Oct. 14.

Both Wooten and Stallings have backgrounds in the arts outside of the Midwest. Stallings — also known Stallitix and one half of Cincinnati rap duo Patterns of Chaos — was born here but raised in Sacramento. He was there during the Hyphy movement, a hip-hop culture that originated in Oakland in the late 1990s. Stallings describes it as “carefree music” and “carefree energy.”

“ ere’s always been something in the water in the Bay Area, especially in Oakland,” Stallings tells CityBeat. “Seeing how people moved and how things were done, it was dope. When I came here I wanted to bring that here, that carefreeness.”

Stallings, who used to host a monthly hip-hop night at Revel OTR called “No Cool Kids Allowed,” says he has always valued spaces where people can let loose and be real.

“It’s a movement [of Hyphy]. People were dancing, just going to these functions, parties,” Stallings says. “Girls dancing, guys dancing. At parks, in the parking lot of [grocery stores] from 12 in the morning until 3 o’clock in the morning…”

“You really embody that,” Wooten tells Stallings. “Take your cool o and just have fun. at’s so distinctly special, and you embody that 100%.”

Wooten also is an Ohio native who has spent her share of time outside of the area, including years living abroad, with stints in Turkey and Eastern Europe. For her, living in di erent cities has been integral in developing a vision for Warmth.

“It’s given us a lot of di erent perspectives on what we don’t have here, what we want to cultivate and what still remains,” Wooten says.

Wooten and Stallings say that when they started developing Warmth, they wanted to create spaces that could feel like home, regardless of who you know or where you’re from. Part of that vision meant designing spaces where people can let their guard down. Both agree that such spaces are too hard to come by.

“[I heard] of friends going places and being attacked because of their color of skin, being harassed because they’re a woman, being, you know, attacked because they’re queer,” Stallings says. “I wanted to cry with them, [and] in that moment I wanted them to feel safe.”

For Wooten and Stallings, one of the most important things about Warmth is that it is a safe space — beyond a safe space, actually, because as Wooten and Stallings say, almost in unison, “Safe for who?” e duo prefers to label their events as “trusted spaces.”

“[When we] create spaces that are trusted, where people can feel like they trust that environment and have accountability to everyone there, then something really magical happens and people connect in levels and ways that you wouldn’t necessarily anticipate,” Wooten says. e Warmth tagline reads “Bring Your Best Self,” and Wooten and Stallings hope that this simple statement helps set the tone for their events.

“Drop the ulterior motives, drop the drama,” Wooten says. “Just leave all the bags at the door.”

Another major priority within Warmth is supporting the artists. e duo say they work hard to nd the funding to pay them competitively and do what they can to develop support and respect from the audience. With so many shows happening at bar venues, Stallings says, it’s common for artists to play to noisy crowds just out for a drink.

“For the artists, we want something more,” Stallings says.

Wooten also emphasizes the importance of giving artists a welcoming space and nancial support.

“When they have resources they need, the possibilities for innovation and what it does for the community, what it does for the economy, what it does for culture in a city, is just exponential,” Wooten says.

For their BLINK activation, Warmth will highlight Black women artists in particular. e activation is titled “YEMAYÁ SISTA TO THE DISTANT YET RISING STAR,” which was taken from the 1997 lm Love Jones. In the movie, the character played by Larenz Tate reads a poem dedicated to the woman he’s in love with.

“Now do they call you daughter to the spinnin post,

Or maybe Queen of 2,000 moons Sista to the distant, yet rising star…”

“It’s an homage to Black women in a romantic sense, but also I think in a motherly, sister sense,” Stallings says. “Make them be seen, be heard and be respected. For this project, I want that to be resonating.” e BLINK activation takes place from 7-11 p.m. on Oct. 14 in Gano Alley, where Michael Coppage’s “Black Box Women” mural will line the walls. e mural both inspires and elevates the activation’s mission, which is led by a lineup of Black creative women based in Cincinnati. e showcase includes DJ Queen Celine and DJ Rah D, who will focus their sets on music created by Black women. e (CA)^2 dance crew will jump in with intervals of hip-hop choreography inspired by the mythology of Yemayá and created to engage the audience with the dance oor. All of this is scheduled to happen beneath a light show by Louisville-based Lapis Laser Display.

“I think it’s going to be a beautiful thing,” Wooten says. “All those di erent

In early 2022, Cincinnati artists Alex Stallings and Cj Wooten brought a new music exploration series to meant designing spaces where people can let their guard down. Both agree that such spaces are too hard to come the Queen City. WARMTH Culture is led by queer individuals and people of color and is named for the safe and welcoming energy each event strives to create. With a focus on hip hop, R&B, and house music, Warmth has thus far succeeded in bringing the good vibes to spaces like the Mockbee and 21c’s Gano Alley.

Warmth’s next activation again will ll Gano Alley with a live DJ showcase and dance performances during BLINK on Oct. 14.

Both Wooten and Stallings have backgrounds in the arts outside of the Midwest. Stallings — also known Stallitix and one half of Cincinnati rap duo Patterns of Chaos — was born here but raised in Sacramento. He was there during the Hyphy movement, a hip-hop culture that originated in Oakland in the late 1990s. Stallings describes it as “carefree music” and “carefree energy.”

“ ere’s always been something in the water in the Bay Area, especially in Oakland,” Stallings tells CityBeat. “Seeing how people moved and how things were done, it was dope. When I came here I wanted to bring that here, that carefreeness.”

Stallings, who used to host a monthly hip-hop night at Revel OTR called “No Cool Kids Allowed,” says he has always valued spaces where people can let loose and be real.

“It’s a movement [of Hyphy]. People components coming into it, but really were dancing, just going to these func- anchoring it into having that respect tions, parties,” Stallings says. “Girls and love and representation for Black dancing, guys dancing. At parks, in the women.” parking lot of [grocery stores] from 12 “YEMAYÁ SISTA TO THE DISTANT in the morning until 3 o’clock in the YET RISING STAR” is one of Warmth’s morning…” nal events for the year, but the series

“You really embody that,” Wooten is just getting started. Stallings and tells Stallings. “Take your cool o and Wooten say they believe in the power just have fun. at’s so distinctly spe- of these settings to build bridges cial, and you embody that 100%.” between di erent cultures and regions.

Wooten also is an Ohio native who With each new activation, there’s an has spent her share of time outside of opportunity for warm connection and the area, including years living abroad, carefree fun. with stints in Turkey and Eastern “Black people are not a monolith. Europe. For her, living in di erent cities White people are not a monolith,” has been integral in developing a vision Wooten says. “Finding those bridges for Warmth. through music or through art is super

“It’s given us a lot of di erent per- powerful because I think it demysti es spectives on what we don’t have here, a lot of it. It really breaks [it] down, and I what we want to cultivate and what still feel like people are actually able to con-remains,” Wooten says. nect as humans in those spaces.”

Wooten and Stallings say that when they started developing Warmth, they wanted to create spaces that could feel like home, regardless of who you know or where you’re from. Part of that vision by. “[I heard] of friends going places and being attacked because of their color of skin, being harassed because they’re a woman, being, you know, attacked because they’re queer,” Stallings says. “I wanted to cry with them, [and] in that moment I wanted them to feel safe.” For Wooten and Stallings, one of the most important things about Warmth is that it is a safe space — beyond a safe space, actually, because as Wooten and Stallings say, almost in unison, “Safe for who?” e duo prefers to label their events as “trusted spaces.” “[When we] create spaces that are trusted, where people can feel like they trust that environment and have accountability to everyone there, then something really magical happens and people connect in levels and ways that you wouldn’t necessarily anticipate,” Wooten says. e Warmth tagline reads “Bring Your Best Self,” and Wooten and Stallings hope that this simple statement helps set the tone for their events. “Drop the ulterior motives, drop the drama,” Wooten says. “Just leave all the bags at the door.” Another major priority within Warmth is supporting the artists. e duo say they work hard to nd the funding to pay them competitively and do what they can to develop support and respect from the audience. With so many shows happening at bar venues, Stallings says, it’s common for artists to play to noisy crowds just out for a drink. “For the artists, we want something more,” Stallings says. Wooten also emphasizes the importance of giving artists a welcoming space and nancial support. “When they have resources they need, the possibilities for innovation and what it does for the community, what it does for the economy, what it does for culture in a city, is just exponential,” Wooten says. For their BLINK activation, Warmth will highlight Black women artists in particular. e activation is titled “YEMAYÁ SISTA TO THE DISTANT YET RISING STAR,” which was taken from the 1997 lm Love Jones. In the movie, the character played by Larenz Tate reads a poem dedicated to the woman he’s in love with. “Now do they call you daughter to the spinnin post, Or maybe Queen of 2,000 moons Sista to the distant, yet rising star…” “It’s an homage to Black women in a romantic sense, but also I think in a motherly, sister sense,” Stallings says. “Make them be seen, be heard and be respected. For this project, I want that to be resonating.” e BLINK activation takes place from 7-11 p.m. on Oct. 14 in Gano Alley, where Michael Coppage’s “Black Box Women” mural will line the walls. e mural both inspires and elevates the activation’s mission, which is led by a lineup of Black creative women based in Cincinnati. e showcase includes DJ Queen Celine and DJ Rah D, who will focus their sets on music created by Black women. e (CA)^2 dance crew will jump in with intervals of hip-hop choreography inspired by the mythology of Yemayá and created to engage the audience with the dance oor. All of this is scheduled to happen beneath a light show by Louisville-based Lapis Laser Display. “I think it’s going to be a beautiful thing,” Wooten says. “All those di erent components coming into it, but really anchoring it into having that respect and love and representation for Black women.” “YEMAYÁ SISTA TO THE DISTANT YET RISING STAR” is one of Warmth’s nal events for the year, but the series is just getting started. Stallings and Wooten say they believe in the power of these settings to build bridges between di erent cultures and regions. With each new activation, there’s an opportunity for warm connection and carefree fun. “Black people are not a monolith. White people are not a monolith,” Wooten says. “Finding those bridges through music or through art is super powerful because I think it demysti es a lot of it. It really breaks [it] down, and I feel like people are actually able to connect as humans in those spaces.”

Cj Wooten and Alex Stallings of Warmth Culture

PHOTO: PRINCE LANG Cj Wooten and Alex Stallings of Warmth Culture

PHOTO: PRINCE LANG

WARMTH Culture takes place WARMTH Culture takes place 7-11 p.m. Oct. 14, in Gano Alley at 21c Museum Hotel, 609 Walnut St., Downtown. Info and curated Spotify 7-11 p.m. Oct. 14, in Gano Alley at 21c Museum Hotel, 609 Walnut St., Downtown. Info and curated Spotify playlists: instagram.com/warmth. playlists: instagram.com/warmth.

SOUND ADVICE SOUND ADVICE

Viagra Boys

PHOTO: PROVIDED BY POWERLINE AGENCY Viagra Boys

PHOTO: PROVIDED BY POWERLINE AGENCY

VIAGRA BOYS VIAGRA BOYS Oct. 14 • Woodward eater

One of the most exciting shows to come to town this year will be at the Woodward eater in Over-the-Rhine featuring two of the most signi cant punk bands to emerge in recent years: Stockholm, Sweden’s Viagra Boys and London’s shame (stylized with a lowercase S), along with Los Angeles band Kills Birds. All three bands have received plenty of critical acclaim and come with proper intensity and inventiveness.

Viagra Boys has developed somewhat of a cult following since its 2018 debut Street Worms. e band’s style features post-punk power with catchy danceable drums and synth lines along with e Stooges’ Fun House-eluding saxophone wails, while singer Sebastian Murphy delivers lines that are simultaneously intense and nonchalant. e band has since released two more well-received records: 2021’s Welfare Jazz and this year’s alt-right lampooning Cave World. e records feature appearances from Amyl and e Sni ers’ Amy Taylor and Sleaford Mods’ Jason Williamson respectively. shame’s rst album Songs of Praise also debuted in 2018 charting across Europe. 2021’s Drunk Tank Pink, named after a color used to calm aggressive behavior, charted at No. 8 on the United Kingdom’s O cial Albums Chart. Exploding with energy and a fresh take on punk ethos, shame seems to be expanding in scope and building on their momentum.

Kills Birds will kick things o . Kim Gordon of Sonic Youth is a fan, and the band’s new album Married was recorded on the same console as

Oct. 14 • Woodward eater

One of the most exciting shows to come to town this year will be at the Woodward eater in Over-the-Rhine featuring two of the most signi cant punk bands to emerge in recent years: Stockholm, Sweden’s Viagra Boys and London’s shame (stylized with a lowercase S), along with Los Angeles band Kills Birds. All three bands have received plenty of critical acclaim and come with proper intensity and inventiveness.

Viagra Boys has developed somewhat of a cult following since its 2018 debut Street Worms. e band’s style features post-punk power with catchy danceable drums and synth lines along with e Stooges’ Fun House-eluding saxophone wails, while singer Sebastian Murphy delivers lines that are simultaneously intense and nonchalant. e band has since released two more well-received records: 2021’s Welfare Jazz and this year’s alt-right lampooning Cave World. e records feature appearances from Amyl and e Sni ers’ Amy Taylor and Sleaford Mods’ Jason Williamson respectively. shame’s rst album Songs of Praise Nirvana’s Nevermind at Dave Grohl’s home studio. Viagra Boys and Shame play Woodward eater at 8:30 p.m. Oct. 14. Doors open at 7:30 p.m. Kills Birds opens the show. ere are no known COVID-19 protocols in place for the event. Info: woodwardtheater.com. (Brent Stroud) also debuted in 2018 charting across Europe. 2021’s Drunk Tank Pink, named after a color used to calm aggressive behavior, charted at No. 8 on the United Kingdom’s O cial Albums Chart. Exploding with energy and a fresh take on punk ethos, shame seems to be expanding in scope and building on their momentum.

Kills Birds will kick things o . Kim Gordon of Sonic Youth is a fan, and the band’s new album Married was recorded on the same console as Nirvana’s Nevermind at Dave Grohl’s home studio. Viagra Boys and Shame play Woodward eater at 8:30 p.m. Oct. 14. Doors open at 7:30 p.m. Kills Birds opens the show. ere are no known COVID-19 protocols in place for the event. Info: woodwardtheater.com. (Brent Stroud)

Turtledoves

PHOTO: DEVIN R. GLISTA Turtledoves

PHOTO: DEVIN R. GLISTA

TURTLEDOVES TURTLEDOVES Oct. 16 • MOTR Pub

If you want to immerse yourself in songs bursting with lush harmonies and sweeping cinematic sounds, make your way to MOTR Pub. Turtledoves, a synth and guitar duo from Cincinnati comprised of Alex and Ashley McGrath, pride themselves on enveloping their live audience in musical colors and textures, taking the listener on a moody yet uplifting journey.

Drawing inspiration from artists like Radiohead, Broadcast, Angel Olsen, traditional folk music from around the world and even the physical landscapes around them – from childhood homes to the city of Cincinnati – Turtledoves creates a truly unique sound that is both intellectual and entertaining.

Turtledoves has recently completed its rst full-length album, with a release date to be determined. It will be the follow-up to the band’s six-song EP masterpiece, Pillars of the Earth, released in 2020. e duo also just wrapped up a live music video, lmed and recorded in a church in Michigan and featuring tracks from the forthcoming release. A tour supporting the record is also in the works.

Hailing from Illinois and Michigan, the McGraths, now married for more than twelve years, met while performing with the band e Soil and the Sun. Having made several stops in Cincinnati while touring with their former group, they found themselves drawn to Cincy’s people, atmosphere and local music scene, all of which eventually brought them to the decision to make Cincinnati their home.

Turtledoves play Motr Pub at 10 p.m. Oct. 16. Patzy will open the show. ere are no known COVID-19 protocols in place for the event. Info: motrpub.com. (Eric Bates)

Oct. 16 • MOTR Pub

If you want to immerse yourself in songs bursting with lush harmonies and sweeping cinematic sounds, make your way to MOTR Pub. Turtledoves, a synth and guitar duo from Cincinnati comprised of Alex and Ashley McGrath, pride themselves on enveloping their live audience in musical colors and textures, taking the listener on a moody yet uplifting journey.

Drawing inspiration from artists like Radiohead, Broadcast, Angel Olsen, traditional folk music from around the world and even the physical landscapes around them – from childhood homes to the city of Cincinnati – Turtledoves creates a truly unique sound that is both intellectual and entertaining.

Turtledoves has recently completed its rst full-length album, with a release date to be determined. It will be the follow-up to the band’s six-song EP masterpiece, Pillars of the Earth, released in 2020. e duo also just wrapped up a live music video, lmed and recorded in a church in Michigan and featuring tracks from the forthcoming release. A tour supporting the record is also in the works.

Hailing from Illinois and Michigan, the McGraths, now married for more than twelve years, met while performing with the band e Soil and the Sun. Having made several stops in Cincinnati while touring with their former group, they found themselves drawn to Cincy’s people, atmosphere and local music scene, all of which eventually brought them to the decision to make Cincinnati their home.

Turtledoves play Motr Pub at 10 p.m. Oct. 16. Patzy will open the show. ere are no known COVID-19 protocols in place for the event. Info: motrpub.com. (Eric Bates)

JAROBI

JAROBI Oct. 21 • Woodward eater

Oct. 21 • Woodward eater Jarobi, a founding member of the legendary and in uential hip-hip group A Tribe Called Quest, is set to make an appearance at the Woodward eater. e group came out of the Native Tongues collective of the late ‘80s and early ‘90s that also included hip-hop luminaries De La Soul. Jarobi is featured and acts as host on A Tribe Called Quest’s 1990 debut record People’s Instinctive Travels and the Paths of Rhythm. He left the group during recording for 1991’s e Low End eory to go to culinary school and pursue a career in culinary arts. Jarobi [born Jarobi White] built a career as an executive chef and restaurant manager while making a handful of appearances with Tribe over the years and was honored alongside the group at 2007’s VH1 Hip Hop Honors. He rejoined the group for its nal album, the critically acclaimed We Got It from Here... ank You 4 Your Service in 2016 before fellow founding member Phife Dawg’s passing that year. He made appearances promoting the record, including a powerful and memorable performance on Saturday Night Live paying tribute to Phife Dawg. Jarobi will bring a DJ set delivering “upbeat sounds and grooves — according to Woodward eater’s show description — from the ‘70’s though today and guiding the night much like he did on Tribe’s rst record. e event is presented by the Underworld Black Arts Festival in connection with visual and light art festival BLINK. e show will also feature visuals from celebrated London artist Vince Fraser. A handful of local hip-hop and R&B artists including P.o.C. (Patterns of Chaos), DJ Apryl Reign, Fortune the Queen and Brizzy the Activist plus dancers Camille Jones and Basko also will be part of the party. Jarobi plays Woodward eater at 7 p.m. Oct. 21. ere are no known COVID-19 protocols in place for the Jarobi, a founding member of the legendary and in uential hip-hip group A Tribe Called Quest, is set to make an appearance at the Woodward eater. e group came out of the Native Tongues collective of the late ‘80s and early ‘90s that also included hip-hop luminaries De La Soul. Jarobi is featured and acts as host on A Tribe Called Quest’s 1990 debut record People’s Instinctive Travels and the Paths of Rhythm. He left the group during recording for 1991’s e Low End eory to go to culinary school and pursue a career in culinary arts. Jarobi [born Jarobi White] built a career as an executive chef and restaurant manager while making a handful of appearances with Tribe over the years and was honored alongside the group at 2007’s VH1 Hip Hop Honors. He rejoined the group for its nal album, the critically acclaimed We Got It from Here... ank You 4 Your Service in 2016 before fellow founding member Phife Dawg’s passing that year. He made appearances promoting the record, including a powerful and memorable performance on Saturday Night Live paying tribute to Phife Dawg. Jarobi will bring a DJ set delivering “upbeat sounds and grooves — according to Woodward eater’s show description — from the ‘70’s though today and guiding the night much like he did on Tribe’s rst record. e event is presented by the Underworld Black Arts Festival in connection with visual and light art festival BLINK. e show will also feature visuals from celebrated London artist Vince Fraser. A handful of local hip-hop and R&B artists including P.o.C. (Patterns of Chaos), DJ Apryl Reign, Fortune the Queen and Brizzy the Activist plus dancers Camille Jones and Basko also will be part of the party. Jarobi plays Woodward eater at 7 p.m. Oct. 21. ere are no known COVID-19 protocols in place for the event. Info: woodwardtheater.com. (BS) event. Info: woodwardtheater.com. (BS)