Texas Music News aka Music News aka Houston Music News

Vol. 39 - No.5 • FEBRUARY 2021 • www.houstonmusicnews.net • FREE

& ENTERTAINMENT

Evelyn Rubio Also In This Issue The Evolution Of Live Streaming Junior Brown • Audic Empire • N•I•T•E• Tab Benoit • Hates • Al Staehely Aurelio Voltaire • Jack Ingram Kill Devil Hill

GRILL & SPORTS BAR 202 Sawdust Rd. (The Woodlands) • 281-363-2574 • www.19th.cc Every Thursday Night

Live Jam Session! @ 8:00 PM

All Musicians Welcome!

AV8 February Live Music Schedule 5 - Entertainment TBA 6 - Peccatorum with Incarnate Dystopia 12 - Bryan Scott 13 - AV8 19 - Drunk Ned with Shotgun Sally 20 - State Of Mind with Kollective MIndz 26 - Scott Barrett of Saving Abel with Mark Brown of Primrose Hollow 27 - Sound Breaking Ground

Everyday 3.50 Wells @ 11am - 5pm Sunday, Monday, Tuesday, Wednesday $7.75 Pitchers 9 - 11pm Monday $3 Jager 8-11pm • $4 Long Island Ice Teas or Long Beaches All Day Tuesday - Karaoke hosted by Mary Ellis (Lead Singer from Natives Are Restless) $2.75 Wells 11-5pm • $3 Wells 8-10pm • $3.75 Cuervo All Day & Night Wednesday - Bingo 9pm - 12am $3.24 Wells ll-5pm • $4 Wells & Starfuckers • Washington Apples 9-11pm Thursday - Open Mic Jam 50¢ Wings 7-11pm (dine in only) • $3.25 Wells 11-5pm • $1 Domestic Mugs 8-10pm Friday 10 oz. Lunch Steak Special $8.99 & 3.25 Wells 11-5pm • $3.75 Rumpleminze & All McCormick Vodkas 7-11pm • $3 Cuervos All Night Saturday $3.25 Wells 11-5pm • $3.75 Fireballs All Day & Night • $2 Kamikazees & $3 Goldschlager 7-10pm Sunday $3.25 Bloody Marys & Wells 11-5pm

The 19th Hole Grill & Bar is celebrating our 30th Year Anniversary of being a live music venue

DART TOURNAMENT EVERY MONDAY NIGHT!!

Take I-45 to the Rayford/Sawdust exit in Spring • Go west on Rayford/Sawdust • Make a right turn at the first red light We’re at the end of the strip center on your left!

February 2021 Hello Music News readers. We’re pretty much at the same state of affairs as last month and I’d like everybody to take whatever steps you need to protect yourself. I went out and got the Covid shot and I urge all of you out there to do so as well. One of our main concerns is the Music Business here in our little area of Texas. We’d like to see everybody get out and support a local music business, be it club or music store, but please be safe.

Be sure to wear your mask. You might even consider some sort of temporary gloves, as this virus is spread through touch as well as being airborne. Avoid crowds... just stand a little further away from the person near you, and keep your hands to yourself. You can just as easily catch this virus by shaking hands with someone who doesn’t even know they have it. The virus doesn’t care, it just likes to travel... Please be safe.

Music News would also like to invite all of you out there to start submitting pictures to us. If you’re at a club and the band is really good, take a picture and forward it to us at Music News with a caption and a heads up on who is in the picture. If the picture turns out great, then we plan on running it, along with your name as the person who took it. Here’s a chance to get your name in print. Who knows, it might even lead to a job with us in the future. We want to see what you’re favorite bands are, so please let us know. Email your photo to musicnew@airmail.net. Thanks and we hope you will all participate.

Now, on to the new issue. In this issue, as usual, we have some great stories and information to pass on to you.

Check out stories on Evelyn Rubio, Junior Brown, Audic Empire, Tab Benoit, Jack Ingram, Kill Devil Hill, Aurelio Voltaire, Al Staehely, N•I•T•E, and The Hates, as well a great story on The History Of Livestreaming.

That story is a must-read for all musicians.

I sincerely hope that everybody reading this new publication finds something here that they like and I would like to encourage you to let your friends and colleagues know about us. Just look for us every month at http:// www.houstonmusicnews.net. I would also like to encourage you to email us for a free subscription to Rock And Blues International as well. Just email us at musicnew@airmail.net and in the subject line simply put “Sign Me Up” and we’ll email you a copy each month when it is published.

Kevin Wildman Kevin Wildman Editor and Publisher

Kevin Wildman Editor and Publisher Web Address http://www.houstonmusicnews.net Mailing Address Box 1162, League City, TX 77573 Phone 281-650-1953

For Advertising email us at musicnew@airmail.net or call 281-650-1953 For A Free Subscription email us at musicnew@airmail.net and in the subject line put “Sign Me Up Now” February 2021 • Music News

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Contents

VOL. 39 NO. 5

FEBRUARY 2021

8

8

ISSUE NO. 497

EVELYN RUBIO This Woman’s Got It Working

10 JUNIOR BROWN

10

Junior Brown Performs At The Heights Theater February 26

12

AUDIC EMPIRE Audic Empire Perform at The Scout Bar February 25

12 TAB BENOIT

14

Tab Benoit Performs At Dosey Doe Big Barn Feb. 13 & 14

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22 22

JACK INGRAM Performs at Main Street Crossing February 22, 23, & 24

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Music News • February 2021

Contents

VOL. 39 NO. 5

FEBRUARY 2021

26 26 26

KILL DEVIL HILL Kill Devil Hill Performs at Warehouse Live February 27

ISSUE NO. 497

Also In This Issue 1 THE EVOLUTION OF LIVE STREAMING 16 AURELIO VOLTAIRE 18 AL STAEHELY 20 N•I•T•E 32 THE HATES 35 - 40 RANDOM NOTES featuring Double Vision, Escape, Big City Nights, Hold On Hollywood, The Dirty Reckless, Kendall Mason Band, Kiss Alike, Planet Gears, Girl To The Fourth Power, Sparetime Murray, Ever Glaze, The Hunger,Mindcrime, Sparky Parker, Winter’s End, Powerslave, Jay Hooks, Texas TNt, Ricky Jackson, Sol Flair, City Nights, Tusk

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February 2021 • Music News

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The Evolution of Live Streaming For Independent Artists & Recording Studios The return to income for studios and artists

By John in Houston The music industry has always evolved from one delivery mechanism to another and of late its distribution path is morphing once again. Until recently one of the newer components of change had been the introduction of digital delivery of music via online distribution channels. This introduction would eventually spawn the growth of subscription radio and bring about in depth data collection even within a number terrestrial stations.

Digital delivery embraces the collection of demographic information about subscribers upon sign up. Information that may prove to be of value to a station’s or network’s sales team as well as their supporting ad agencies.

Prior to the digital collection of information many radio stations could only verify the number of pings they were receiving hourly.

However, with the advent of listener information collection digital stations can now provide a more exacting description of their listenership. The bottom line is that a newer path, subscription radio, did not end terrestrial distribution however on the other hand it has encouraged a morphing of sorts within the existing path. The same is occurring within the television industry. Over the air broadcasting entities have also added digital distribution which for them provides enhanced resolution and sound to their viewers. Stations and networks are currently announcing the availability of their programming on multiple stream capturing digital devices. The early days of television were considered its wild west days. Early variety shows were being established and some would become weekly standards inside millions of homes. Today a new distribution path within the music industry which includes a path to profits is occurring, it is known around the world as live streaming.

This article examines the state of live streaming for independent artists and the monetary opportunities associated with its inception.

Current income strategies for both studios and artists. The generation of income within the music industry for both studios and artists has evolved across the board.

Generating income in recent days has moved from weak to almost nonexistent. Whereas in the past album sales had fueled the independent’s income today with the advent of

6 Music MusicNews News •• November February December2021 2020

subscription radio physical sales have tanked to an all time low.

Labels and artists teamed in regard to the deficit and the 360 was born. Then as CD sales began to slump even further all that was remaining was performance and merchandise revenues as the mainstay. Exasperating the problem would be the introduction of a world wide pandemic which would end the vast majority of live income opportunities for the artists and their labels. These conditions formed a vacuum within the music industry. On the consumer / fan side the pandemic spawned a new normal for the music lover.

Millions of workers in multiple industries around the world have been laid off due to the virus. These otherwise busy workers found themselves with plenty of free time on their hands. Many of them decided to access music videos on platforms such as You Tube and Vimeo. They began to access entertainment for hours at a time as they were and are still confined to their homes. Then something interesting occurred, leading edge listening rooms (restaurants with a stage) decided to try and save their businesses without an in house audience. They announced that live events would be streamed from their establishments. This innovation opened a pathway to their consumers who would receive invitations to live streaming events while their meal could be delivered to their home. The new marketing approach: don’t worry about getting the virus all you need to do is sit back enjoy the show, place your order, and your meal will arrive piping hot right to your front door. Even more interesting to note beyond listening rooms this new reach would subsequently turn out to be valuable to more than just listening rooms. Overall, having an approachable live market, which artists do, is now fueling the new normal. Live entertainment streamed to a digital device anywhere in the world by any size event by any aspiring artist could work.

The music industry reacts to the switch from physical

distribution to the new normal.

Physical distribution, CD sales, were further hampered when car manufacturers no longer delivered new cars and trucks with built in CD players. It can also be noted that whereas digital downloads had come into vogue through massive online libraries such as iTunes the amount of gross revenue that CDs had been providing eroded even further with the advent of subscription radio. On top of that the volume of downloads which had been the primary revenue resource for track sales would give way to the new subscription radio pay out methodology. Basically, income from physical sales and digital downloads for most independents would reduce to an all time low. Recording studios soon realized that their business was experiencing a reduction as well. The artist needs to be profitable so that they can continue to invest into professional recording services. Some of the studios who were tracking the acceptance of live streaming by the new normal decided to make a design change at their studios. They would add live streaming suites, live streaming availability. Today, still in the experimentation phase, both listening rooms and studios alike realized that tip jar participation might actually generate a nice return for all involved through live streaming. However, further income eexpansion via live streaming will require access to additional viewers beyond the artist’s immediate fan list. The allure of the live streaming pathway remains constant but it should be noted that it is in its infancy. Currently live streaming is in its early adopter phase and will definitely expand into the early majority market phase and then on to a majority phase. However, it needs a bit of assistance. Primarily, the slight hiccup is due to a nontechnical requirement. The further success of live streaming in regard to income requires informing additional, potential, new normal audience members that they can access the event. Companies such as Stage It and others are available. They offer the new normal live entertainment seeker a list, a schedule, of “today’s” events. Reaching beyond an artist’s direct social media list would be the icing on the cake as it would allow not only existing fan engagement but the introduction of the artist/band to literally thousands of first time viewers. For the more enthusiastic artist or studio massive database companies exist that rent entries that are sorted by demographics of all sorts. So the potential is there. Attending real live events is never going to go out of style but being able to take in an online event that is not in your backyard is cool too. Add to that the pandemic situation at the moment and this new marketing segment has great potential.

The segmentation of the new pathway in regard to income.

Currently the vast majority of live streaming events hosted by independent artists are comprised of a living room, a camera, a forty five to ninety minute performance with the artist/band armed with great hopes for a somewhat quality show. As live streaming continues to attract independent artists the desire for professional streaming studios (services) will continue to grow among funded artists. Market eexpansion is already revealing a segmentation between home spun shows versus professional level high quality presentations on multiple levels. Some recording studios have added, while others are now adding, the availability of streaming suites for the funded artist. Additionally, professional remote audio capturing

services are investigating the possibility of delivering live streams of both digital audio and visual content from mini-festivals and club venues. Whereas prior to the introduction of live streaming through these size venues would be cost prohibitive as live streaming events increase in numbers this may be a new path for them as well. Live streaming from major events is occurring today and this segment of the live streaming market will continue to grow as well. It is the introduction of cost effective mechanisms to the smaller independent artist/band and record label that is attracting increased speculation within remote services companies.

Beyond quality segmentation the live show’s format, the format of the presentation itself, is now revealing various shapes. One example of a typical format would be a band’s live performance stage show while a new format that may come into vogue is the combination talk show slash performance format. The talk show combination performance presentation will itself segment even further with some such shows hosting guests while others will not. Ultimately online audiences will determine which format is more popular. Any noticeable discernment will drive a response from the live streamers who will adopt to the favored format. Currently the vast majority of live stream shows are almost identical as they present the customary standard show performance format. This is to be expected as 98% of the industry may well follow the early adopters, the other 2%. These are leading edge innovators that take risks early on. Currently live streaming as an industry is in its infancy. However a tsunami may well be approaching and segmentation by type of event matched with dependable transmission quality along with a healthy scheduling partner may deliver new fans and profitability to the independent artist/band.

There are four phases of existence within a growth pie chart.

The early adopter phase, which is the most expensive and it contains the early adopters of new innovation. The second slice of the pie is a larger slice, the early majority phase. The growth of this segment is fueled by additional innovators that typically harbor a wait and see business mentality and then move forward. The early majority participant typically watches the early adopter’s moves and when they feel somewhat secure they enter into the opportunity as well.

The next slice is the majority phase, the home of the tsunami of visibility and income. Later on the market moves from the majority phase into the late majority phase as it shrinks back in volume. Right now it appears that the live streaming opportunity for aspiring independents is in its early adopter phase but given the income climate for artists the move into the early majority phase may happen faster than normal. If audience reach through database access and scheduling companies do not become cost prohibitive and the acceptance level of one show format over another reveals itself soon enough this income strategy could work and take off fast.

Editors Note: If you’re interested in streaming your show in a professional spot here in the Houston area, we’d like to recommend “Across The Road” Studios. Be sure to check out their ad on page 12 of this issue.

February 2021 • Music News

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From Las Vegas to Turin to Mexico City to London This Woman’s Got It Working!

It’s Christmastime in the entertain- not been expecting this but welcomed ment capital of the world, Las Vegas the opportunity to perform her new Nevada and the gorgeous multi-talented album in front of this vibrant Las Vegas woman wearing a colorful sequin dress, a woman with marvelous vocal range, shares the stage with the Las Vegas jazz favorite, The Uli Geissendoerfer Trio.

The audience is comprised of show talent, casino workers, and visiting musicians. To perform with such an esteemed trio is a delight and this night Evelyn and the trio would set the room on fire. Prior to her debut, the maestro, Uli Geissendoerfer, armed with her song charts had worked through the charts meticulously. Upon Evelyn’s arrival they rehearsed prior to the show and arranged the playlist for the upcoming Saturday night event. However, on show night the maestro surprised Evelyn by moving away from their rehearsed plan by saying, “Evelyn this night I would like you to perform your complete “Hombres” album from the beginning all the way through to the end.” Evelyn had 68 Music Rock and Blues International October 2020 November 2020 2020 News • February 2021 • December

holiday crowd. As one might expect in Las Vegas the trio’s music was spot on, in fact, when it came time for Uli to

Photo by Jeff Fasano

perform his piano solos the embellishments were over the top, absolutely magnificent. The multi-talented sexy Hispanic lady from Mexico City rose to the occasion and performed flawlessly for the next sixty minutes. Prior to the event Evelyn had performed in northern Italy with The Black City Band starting in Turin. While performing at The Mattorosso the sexy Latin sweetheart broke into her chart climbing number “He Did Me Wrong But He Did It Right” presenting the song in two languages, English and Spanish. At the end of the song the women in the audience rose up in unison and acknowledged Evelyn with a standing ovation shouting Bravo, Bravo. These type of acknowledgements are not rare even if Evelyn is performing in the states, Europe, or her beloved Mexico. When it comes to studio participation Mr. Andy Bradley, the author of “House Of Hits” and recording engineer extraordinaire shares the following, “Not only does Evelyn know her craft but when I hire her for studio work she arrives fully prepared. I have told her what I wish to create and she comes in and nails it every time.” In 2020 Evelyn recorded in the studio with four professionals: Rock icon Al Staehely, Americana recording artist Chris Gardner, outlaw country artist Steve Griggs, and of pop fame Mr. Vincent Powell. Not only did she record duets but also completed and released

her latest album “Crossing Borders”.

Evelyn would go on to team with Relaxing Blues Productions who crafted a story telling music video out of Evelyn’s “I’m Gonna Love You Tonight” track from the new album. The video immediately shot up to 30,000 views on You Tube.

Most recently Evelyn recorded her new combination dance, sax, and vocal music video titled “Cruel”. The sexy, steamy video is almost too hot for You Tube and continues to gain attention to this day.

Evelyn Rubio was born in Mexico City and at a very young age her Mother realized that young Evelyn had that sparkle, that very special gift that some people are born with but yet they need polish. suggested that Evelyn look PhotoShe

by Gary Bedford closer at sharing her gift with the world.

Evelyn took her Mother’s advice and It wasn’t long afterward that she would be chosen to perform on multiple municipal stages around the area for children. She was so good at it that soon she began to manage the events. The area wide exposure found the attention of a Canadian producer who had been looking to cast the role of Mary Magnalene in Jesus Christ Superstar.

Evelyn, it would turn out, would be perfect for the part. Next she began to teach herself how to play the saxophone and caught on so well that she began touring throughout Mexico in a rock

band. The next major step in her developing career occurred as she made her move toward citizenship in the United States. A world famous entertainment lawyer learned of Evelyn and introduced her to Calvin Owens, the famous bandleader. Mr. Owens was successful as a music producer plus he had his own orchestra, The Calvin Owens Band. Upon hearing Evelyn’s voice and vocal range Mr. Owens presented the young naturalized American with a multiple album contract.

Evelyn agreed and the two of them teamed to produce the Billboard topping album “Hombres”. In March of 2016 the album came in at number one, three, and six respectively on Billboard’s charts.

Worldwide radio had picked up the release and DJs around the world were spinning “Hombres” big time. Today with the pandemic at hand Evelyn is still performing but now across the internet in live streaming performances. Her return to the stage at The Mucky Duck in Houston for her live stream event will occur on February 5th. Currently the sexy, sassy, singer, sax player is in talks with a Texas streaming studio regarding hosting The Evelyn Rubio Show.

Additionally she has entered into talks with a top jazz pianist regarding recording together. To stay in touch check out Evelyn’s official website, facebook account, as well as her latest postings on Instagram and Twitter.

Evelyn’s official website www.evelynrubio.com February 2021 • Music News

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much yet; not until the late fifties.”

Discovering a guitar in his grandparent’s attic, he spent the next several years woodshedding with records and the radio.

Junior was also able to tap into music he couldn’t hear at home which older, college aged kids were listening to. This was possible due to his father’s employment at small campuses throughout the next decade as the family moved twice again. As a young boy he was able to experience the thrill of performing before live audiences, at parties, school functions even singing and playing guitar for five thousand Boy Scouts at an Andrews Air Force Base jamboree; then while still a teenager, getting the chance to sit in with Rock and Roll pioneer, Bo Diddley. Armed with this broad spectrum of influences, he began to develop a storehouse of musical chops.

Junior Brown Performs At The Heights Theater February 26 With his unique voice, more unique song writing, and even more unique double necked “Guit-Steel” guitar, there has absolutely never been ANYONE like Junior Brown. He’s an American Original.

Born in 1952 in Cottonwood, Arizona, Junior Brown showed an affinity for music at an early age when the family moved to a

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Music News • February 2021

rural area of Indiana near Kirksville. In the following years, Junior began to experience Country music and remembers it as “growing up out of the ground like the crops – it was everywhere; coming out of cars, houses, gas stations and stores like the soundtrack of a story, but Country music programs on TV hadn’t really come along

Early on, Junior realized he had to keep his interest in Country music a secret; “it was like a secret friend I carried around, being careful not to tell anyone (especially girls) about my love for it because I thought they would laugh at me.” It wasn’t until the late 1960’s that Junior Brown would proudly explore the passion for the music he had loved since his early childhood in Indiana. With many prominent figures as his inspiration (Country legends, some who he would work with years later), he spent his nights in small clubs across the southwest. “I played more nights in honkytonks during the Seventies and Eighties than most musicians will see in a lifetime… I did so many years of that, night after night, four sets a night, fifteen minute breaks; I mean after that, you’ve gotta get good or you gotta get out. The early 1970’s California Country dance club scene was particularly competitive, but I learned professionalism and stage demeanor which has served me well to this day.” More recently however, Junior has shown himself to be equally adept at a wide variety of American music styles beyond Country. These include Rock and Roll, Blues, Hawaiian, Bluegrass and Western Swing.

There is a dependable consistency in Junior’s writing style (he writes nearly all his material) yet he’s always full of pleasant surprises. Though Junior always knew he could sing and play what he wanted, he had yet to explore his potential as a songwriter. “I realized no one was going to walk into a club and discover me…so I started hanging out with some songwriters who I’d played some jobs continued on page 22

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February 2021 News January 2021• •Music Music News 119

album, ‘Indica Nights‘ released in October of 2018. A magical journey that pairs a psychedelic feel with reggae, adding in some slick guitar solos, southern rock and topping it all off with a touch of hip-hop. This needs to be added to your collection.

Their first album ‘Sativa SunRise‘ was released on iTunes and Google Play on June 2nd, 2015, they have also released their Sativa Sunrise EP which became available on Bandcamp in September of 2013. You can listen and download Audic Empire from Spotify, iTunes, reverbnation, bandcamp, YouTube and Soundcloud.

Audic Empire Perform at The Scout Bar February 25 Audic Empire first started out as an idea between Ronnie Bowen and James Tobias in late 2010, the idea and dreams of a Reggae-Rock band started becoming a reality in late 2012 when they began recording their EP in the spare bedroom of their home. Since then they have been turning heads in the Austin music scene with their psychedelic,

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Music News • February 2021

Reggae-Rock and feel good tunes. They have a high-intensity performance and an astonishing sound with the contrast of two singers (Ronnie Bowen & James Tobias), their Red Hot solo Guitarist (Travis Brown), and rock solid rhythm section (Jess Leonard) that includes feel-good psychedelic keys (Carver Ripley). Audic is on the rise with their latest

A five-piece band that features impeccable vocals, phenomenal lead guitar riffs, a rocking rhythm Section with a psychedelic new age twist. This band’s booming sound is laced with sharp lyrics thanks to song writers Ronnie Bowen and James Tobias. Their name is only getting bigger as they have collaborated with some of the largest names in the reggae-rock industry.

With new music on the way, their catalog can be found on all major platforms. As proof of their reach, their music has been featured on regional radio stations, internet radio, magazines, music websites, newspapers, and podcasts. These boys have been nominated for album of the Year from Electric magazine, band of the year in Austin Texas, band of the year in Houston Texas.

With the rapid growth of their reggaerock sound, Audic Empire is on the rise with their journey to produce a unifying sound wave of love and music.

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March 17 Grand Opening with Adrenaline March 18 - Latin Night with Shekere March 19 - Breakfast at Tiffany’s March 20 - Turning Point March 22 - Industry Night wih Beggars Inc. March 25 - Latin Night with Rapture March 26 - Mr. Wonderful February 2021 • Music News 13 March 27 - Soundcastle March 29 - Industry Night with Sol Flair

Tab Benoit Rocks Dosey Doe Big Barn Live in Concert February 13 & 14

Louisiana Cajun-blues guitarist Tab Benoit will be returning to the Houston area for two fun-filled nights of music at Dosey Doe Big Barn in The Woodlands. All seats for this performance will be socially distanced, so we suggest that you get your tickets as soon as you can.

Tab kicked off his tour this year at The Ryman Auditorium n Nasville to rave reviews.

Joining Benoit for that one performance was blues guitar queen Samantha Fish. The concert was also livestreamed.

Music Connection reviewer, John Mollenhauer said of the concert, “(Benoit is) an artist whose playing speaks as much to you as the lyrics do, warm and disarming stage presence and heartfelt playing. This was the artist’s first live show in over eight months.

The same was probably true for the audience, and both were clearly thrilled to be there. If you like the blues, you’re gonna like Tab Benoit.”

Reviewing a live Tab Benoit show this past Spring, Blues Rock Review writes, “Song 14 Music News • February 2021

number two was “Little Girl Blues” a hard rocking bayou blues song from 2005’s Fever From the Bayou giving Tab the opportunity to demonstrate his prowess on the six string by attacking it like a man possessed. “Nothing Takes the Place of You” by Toussaint McCall was a beautiful soaring blues tune that Benoit sang with a passion reminiscent of the late great Otis Redding. The final song of Benoit’s 75-minute set was “Medicine” the title barn burning song from the 2011 album. The band was so tight by this time that it was seamless in the way that the trio inter-played with each other. The night ended as a satisfied audience expressed their appreciation for a great show.”

Benoit was selected a “30 Best Blues Guitarist In The World Today” by Guitar World and co-authored the recently-released book, Blues Therapy, about the blues and mental illness.

Benoit, who’s always been known for his environmental activism, performed two nights in his hometown of Houma last Spring at the 16th Annual Voice of the Wetlands Festival. He also appears prominently in the

IMax motion picture Hurricane on the Bayou, a documentary of Hurricane Katrina’s effects and a call to protect and restore the Wetlands, and produced a CD to help restore that state’s Coastal Wetlands. Benoit was recently inducted into the Louisiana Folklife Center Hall of Master Folk Artists in the Spring of 2020.

Benoit has launched his own imprint, Whiskey Bayou Records, with partner and manager, Rueben Williams. The label has thus far released albums by such established artists as Eric McFadden, Alastair Greene, Damon Fowler, Eric Johanson, Jeff McCarty, and Dash Rip Rock.

Benoit received a Grammy nomination in 2006 for his musical tribute to Blues and Country music on the album, Brother to the Blues. The title track was a George Jones cover. The legendary country singer is one of Tab’s favorites. The Houma, Louisiana-based Benoit also paid homage to Music City with 2011’s Night Train To Nashville, which also featured Louisiana’s Leroux.

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OPEN MIC EVERY WEDNESDAY HOSTED BY CASUAL HEATHENS Thursday, February 4 - The Guillotines, BC Binge, Social Distance Friday, February 5 - Vinyl Cut, Swamp Hippies, Southern Retaliation, Brother Stone Saturday, February 6 - Darkness of Tomorrow, Pigweed, Chaw, Kranc Sunday, February 7- High Voltage Rock Camp Thursday, February 11- The Paradisers,The Yesmen, Cheyenne Ayla James Friday, February 12 - Mirari, Power High, Witness To The Fallen, Hate Saturday, February 13 - Ghandis Gun, Wir, Planet Gears, 307departure, Lucid Illusions Sunday, February 14 - Heavy Honeys, Johnny and The Hell Hounds, Habanero Honeycomb Thursday, February 18 - Newark After Dark, Skeleton Bishop, Jagger Reeses Friday, February 19 - The Replacements, The Last Action Heroes Saturday, February 20 - Lip Service, Junk Bunny, Gray Falls, Blackmoore Sunday, February 21 - Jason Pennington Thursday, February 25 - Eden Effect, Planet Gears, Marco Soto Band Friday, February 26 - Perfect Strangers, Stargazer Sat 27 - Pantera/White Zombie/Lamb of God Tributes Sunday, February 28 - The Attenuators, Eternal Turtle, The Rotary Phones February 2021 • Music News

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Aurelio Voltaire Performs At The Scout Bar February 26 Aurelio Voltaire is often described as a modern day renaissance man. He is a singer/ performer, creator of comic books, animation and toys.

As a musician, he is a songwriter whose music can best be described as a collection of murder ballads, tongue-in-cheek exercises in the macabre, with just enough bawdy songs about Star Trek and Star Wars to keep a convention audience rolling in the aisles. Many know him for his songs “Brains!” and “Land of the Dead” from the Cartoon Network show “The Grim Adventures of Billy And Mandy”.

“Garden of Earthly Delights” triptych via stop-motion animation. The spot took home a handful of awards and was included in a time capsule of 20th century programming that was shot into space. Moreover, it established Voltaire’s unique style of whimsically dark animation and surreal storytelling. Voltaire then went on to direct a handful of horror, sci-fi and Halloween oriented station IDs for SyFy Channel, USA Networks, Discovery, The Learning Channel, Fangoria and others .

Voltaire has also recently written his first feature length screenplay, “Call of the Jersey Devil”. The film is a live action, horror/comedy feature film Voltaire hopes to direct. The script won “Best Screenplay” at The NYC Horror Film Festival as well as at the Rocky Mountain Horror Film Festival in 2010.

Aurelio Voltaire’s live shows, whether solo or with his skeletal orchestra, are full of stories and games. Many describe his shows as sitting around a fire while an old friend regales you with tales, presuming that old friend drinks a liter of rum a night, dates zombie prostitutes and wrestles Krakens.

In 2004 Hong Kong’s premiere vinyl toy company, Toy2R, introduced Aurelio Voltaire to the world of “designer vinyl” by manufacturing a toy of his comic book character, Deady. It was an instant hit and lead to a string of other Voltaire toys including a line of “Pocket Goth” plush toys for Toy Network that were made for the games and amusement market. Those toys were available as prizes at all of the major amusement parks as well as in crane machines at Walmart, Toys R Us, etc.

Voltaire has been recording and touring for 20 years. He’s released 11 full length albums. The first five were released by Projekt Records. These days, Voltaire selfreleases most of his CDs. Aurelio Voltaire started his career as a stop-motion animator and director in the eighties, at a handful of New York City animation houses, During those years, a teenaged Voltaire animated stop-motion commercials for Budweiser, Ikea, RC cola, Hess, Parker Brothers, Kellogg’s, Arm and Hammer, Marvel and many others. He made his mark as a director shortly thereafter creating award winning station IDs for MTV including the now classic “MTV Bosch”.

Based on the work of Hieronymus Bosch, the 15th century, Flemish painter, this station ID brought to life the hell panel of his famous

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Music News • February 2021

feature narrations by singers of note. The first four films in the series are narrated by Danny Elfman (Oingo Boingo), Gerard Way (My Chemical Romance), Deborah Harry (Blondie) and Richard Butler (The Psychedelic Furs). The films have toured the festival circuit and have been seen at scores of horror and animation film festivals around the world as well as collected a handful of awards.

More Chimerascope shorts are presently in the works.

After a ten year hiatus from the film business that saw Voltaire develop a large following for his music, comic books and toys, Aurelio Voltaire has returned to making films for the love of it. He is presently working on a series of shorts call the “Chimerascope series”. Based on the station ID work he did for MTV and SyFy Channel, each film is about a minute or two long, animated in stop-motion animation and

Voltaire continues to make toys, mostly of his character, Deady. Recent Deady toys include a figure made by Disney and Minstyle (of Deady as Stitch from their film “Lilo and Stitch”), an 8-inch Deady figure by Toy2R that was co-branded with the popular on-line role-playing game AdventureQuest Worlds, a Deady Hot Wheels car by Mattel for the Japanese market as well as collaborations with the ubiquitous “Skelanimals” characters (also by Toy2R).

International Entertainment Lawyer By Day - Rocker By Night In both rock and legal circles the name Al Staehely is extremely well known among the who’s who within the entertainment industry. Never sitting still you can find Al attending the Grammy’s one day and jetting to London the next to be with one of his long standing rock career friends or perhaps landing in Paris to attend the annual MIDEM event at Cannes. Most recently Al traveled to the famous creative hot spot for artists and songwriters Marfa Texas. There he entered into the studio with a session crew second to none where he birthed his soon to be released newest creation. That’s Al and it’s always been Al. Upon interviewing Al Paul Heath of Radio X in Belgium stated, “the man literally walks around with a Martin six string ready to create from scratch or add to his latest inspiration”. Al’s not a poser, he’s a life long main stage rocker that just happens to be an entertainment lawyer and if you ask him he will actually reinforce that notion. That is what is enduring to his peers. In a few words - you either is or you ain’t and Al Staehely certainly is. To this day Al remains the front man on stage armed with his Al Staehely, Wilma Schindeler at the Grammys precious bass guitar and a voice that every rocker admires. Al was the front man, heart throb, for the rock group Spirit with a way to reach large audiences that automatically generated a warm welcome with his guy next door personality. He is the man that went to law school to keep a rock group together. He not only earned his law degree but kept fueling his creations at the same time. Al graduated in Texas and then he and his brother John moved to Malibu California. At the time the west coast was red hot with acts like Janis Joplin, The Doors, Jimi Hendrix and more. Al and John were in the thick of it and the relationships they would forge there are lasting a lifetime. The cool thing is that it is not over, the odyssey continues. Writing, performing, and recording are the priorities and then you throw in some serious legal work and that about Ed Cassidy, Al, John Locke, & John Staehely sums up where the respect comes from within the industry. On the fan side the man remains a draw. Currently Al and John are live streaming their shows from the noted listening room in Houston, The Mucky Duck. However, previous to the no audience rule caused by the pandemic The Duck would realize sold out crowds every time the men announced an upcoming show. Huge arenas are fine and Al has certainly headlined them but as it goes with most seasoned rockers nothing beats the intimacy of being able to see the audience members and interact on a more one to one footing. If an artist, a songwriter, sees and hears the appreciation of those in front of them there is just something extra special about that experience. That’s Al Staehely. You can learn even more at www.alstaehely.com Left - Mark Singer, Al Staehely 18

Music News • February 2021

Myles have been lighting up the stages of Texas and beyond since January 2014.

NITE completed two full tours within North America in 2016 with Seabound (Germany) and The Foreign Resort (Denmark), and also a U.S. tour with The New Division (Los Angeles) in 2018.

They have been humbled to share the stage on a number of occasions with artists such as Midge Ure (of Ultravox), Paul Young, Chad Valley, Howard Jones, Clean Bandit, The Griswolds, A Flock of Seagulls, Small Black, The Alarm, Zola Jesus, Blackbird Blackbird, Men Without Hats, Julien-K, Woody Woodmansey’s Holy Holy, A Silent Film, ChameleonsVOX, Modern English, De/Vision, ACTORS, and many more.

N•I•T•E Perform at White Oak Music Hall Feb. 11 NITE are Canadian-born twin brothers, Kyle and Myles Mendes, based in Dallas, TX. The duo create a unique hybrid of electronic-tinged rock with a nod to 80’s-influenced dream-pop. Kyle and Myles’ powerful dueling vocals might remind oneself of Tears for Fears’ Roland Orzabal and Curt Smith, with a delivery of tasteful guitar hooks amidst bright synthesizers and throbbing drum machines.

From an early age, music was a huge part of Kyle and Myles’ upbringing. Mesmerized by KISS, the first concert the twins attended, their interest in performance hit an all-time high.

Together with the memory of their first concert and the sounds of their favorite bands (New Order, The Cure, Depeche Mode) buzzing about in their heads, the 20 Music News • February 2021

two began experimenting, creating their own vibrant sound.

Beginning at fifteen years of age, Kyle and Myles fronted a three-piece band, RadioFire.

After a few years, they felt their music starting to take a bit of a different direction, so a new project was born.

Originally named Nighttime Eyes and later shortened to NITE, the pair finally found the rhythm that worked for them. Kyle and

In July 2017, NITE released a new album, Reborn, on Cleopatra Records, which features the songs “Dreamer”, “Godless City”, and “I Long 4 U”, as a follow-up to their 2014 self-release, I Am Not Afraid.

SLEEPLESS the second album through Cleopatra Records is out now on all streaming platforms.

Jack Ingram Performs At Main Street Crossing February 22, 23, & 24 Jack Ingram will be performing this month at Main Street Crossing. His appearance there will span 3 days, February 22, 23, & 24.

Throughout a recording career that has spanned more than 20 years, Jack Ingram has maintained a reputation for uncompromising, personally charged song craft and energetic, charismatic performances, earning him prominent stature in a prestigious tradition of iconoclastic singersongwriters. Ingram’s prior work has won him a fiercely devoted fan base as well as reams of critical acclaim, and now Midnight Motel marks a creative milestone for the veteran artist, his sound ever evolving while showcasing some of his most expressive, emotionally raw songwriting to date.

Ingram made Midnight Motel independently to avoid outside influences and have creative freedom to write and record. “It was really important to me at this point in my life to avoid thinking about any commercial decisions about the music,” explains Ingram. “Every night after my kids went to bed, I’d go into my

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Music News • Decemberr February 2021 2020

And so Midnight Motel turned into an album that is as real and honest as it could be. “Signing with Rounder Records to release this album was a perfect fit because of their expertise and love for good music, no matter the genre,” Ingram says.

and the musicians recording live in the same room, with minimum overdubbing or sonic trickery. With understated audioverite production by fellow Texas singersongwriter Jon Randall and a stellar studio band including guitarist Charlie Sexton (Bob Dylan, Arc Angels) and drummer Chad Cromwell (Neil Young, Dire Straits), along with bassist Robert Kearns and keyboardist Bukka Allen from Ingram’s longstanding Beat Up Ford Band, the 11song set demonstrates how Ingram’s artistry has widened and deepened over time.

His eighth studio album, and his first since his 2009 smash Big Dreams & High Hopes, Midnight Motel features spare, stripped-down instrumental arrangements that highlight the intimacy and urgency of such new originals as “I’m Drinking Through It,” “Nothing to Fix,” “Can’t Get Any Better Than This,” and “All Over Again.” The album’s organic late-night vibe is perfectly suited to the material, and brings out the emotional edge in Ingram’s deeply felt vocals.

“I couldn’t have made this record when I was 25, because I just didn’t have the experience then,” he asserts, adding, “It’s kind of a concept record, but it’s a loose concept. There’s the late-night thing, and the travel, and then there’s the concept about not letting go of the important relationships, even if they’re not working.

These songs are all about loving, troubled longterm relationships, whether it’s with the music business or my wife or my family.”

music room and stay in there until about three or four, just working out the songs like I did at the beginning of my career. Or while on the road, sit up late at night writing in motel rooms. I wanted to bring people into that space with me.”

Midnight Motel was cut with Ingram

continued on page 24

October 2020 • Music News

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Jack Ingram continued from page 22 The road to Midnight Motel has been a long and sometimes rocky one for Ingram, who was named Best New Male Vocalist by the Academy of Country Music in 2008, despite the fact that he’d already been rocking honky tonks, theaters, and stadiums for a decade and a half by then.

He began writing songs and playing gigs while studying psychology at Southern Methodist University in Dallas, and quickly earned a rabidly devoted audience while performing high-energy live shows in bars and roadhouses throughout his home state.

Ingram’s remarkably loyal fans enthusiastically embraced his early, independently released albums Jack Ingram, Lonesome Questions, and Live At Adair’s. His indie success helped to win him acceptance within the Nashville majorlabel mainstream, and he expanded his constituency with such acclaimed national

releases as Livin’ or Dyin’, Hey You, Electric, Young Man as well as the live albums Live at Billy Bob’s Texas, Live at Gruene Hall: Happy Happy, and Acoustic Motel.

Ingram moved to the Big Machine label with 2006’s Wherever You Are, which spawned a pair of major country hits in the title track, which became his first Number One single, and its Top 20 followup, “Love You.” His next studio effort, 2007’s This Is It, hit the Top Five on the U.S. country charts and produced a trio of hits in “Lips of An Angel,” “Measure of A Man,” and “Maybe She’ll Get Lonely.” Big Dreams & High Hopes followed two years later, spawning five chart singles, including the Top 10 “Barefoot and Crazy” and the Top 20 “That’s A Man.” For Midnight Motel, Ingram was looking to create something different.

Junior Brown continued from page 10 with, and they showed me how to support myself by writing and publishing.” With his writing coming together by the midEighties, Brown upgraded his gear in a way that no artist had ever done. Struggling through each show, going back and forth plugging and unplugging guitar to steel guitar while singing, he had a dream one night about the two instruments mysteriously melding into one. The result was Brown’s unique invention, the “GuitSteel”, a double necked instrument combining standard guitar with steel guitar.

Built by Michael Stevens of Stevens Electric Instruments, the Guit-Steel allows Junior to switch instruments quickly in mid song while singing. According to Brown, his guitar and steel guitar playing became more his own around this time, with less imitation of others and more his own original ideas and licks. This maturation coincided with the development of a completely “Junior Brown” style of songwriting which employs subtle dry wit to some songs – others can be more overtly humorous, or just plain dead serious; like his playing, there is a wide range of styles that when combined can only spell Junior Brown.

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Music News • February 2021

In the early nineties Brown and his band (including wife Tanya Rae) relocated to Texas to the active Austin music scene and landed a weekly gig at the Continental club. Having worked as a sideman for many of the Austin-based acts over the years, Junior was already well familiar with the town. His unique and entertaining combination of singing, songwriting, instrumental and production skills led to a seven record deal with Curb Records that began with “Twelve Shades of Brown” in 1993. He later released two albums on the TelArc label. There were several Grammy nods, a CMA (Country Music Association) award for “My Wife Thinks You’re Dead”, movie and repeated TV appearances like Letterman, Conan, Saturday Night Live, Austin City Limits, SpongeBob, X Files, Dukes of Hazzard, Me Myself and Irene, Tresspass, Still Breathing, Blue Collar Comedy Tour 1 and 2, and more recently, Better Call Saul. And there were the Ad Campaigns; The Gap, Lee Jeans and Lipton Tea. As Junior became more well known, he began to collaborate on projects with some of his heroes. These include a duet with Ralph Stanley for which Junior received a Bluegrass Music Association Award (IBMA), a duet and video with

“Something inside me was itching to do this,” he recalls. “The pressure in my chest was just so heavy that the only way I could get it off was to write these songs. Frank Liddell, who produced my record Electric in 2001, gave me some great advice: he said, ‘Go away and do something great while no one’s looking.’ That became my motto for this project. I just decided that I was just gonna do the best work I could do, and have it take as long as it takes. I didn’t care about trying to be technically perfect; I just wanted to be emotionally available. I can honestly say it was the best recording experience I’ve ever had. The waters got rough, but I really had a ball and enjoyed navigating that course.”

Rather than shooting conventional music videos to promote Midnight Motel, Ingram and noted filmmaker Michael Tully (Ping Pong Summer, Septien) have created a short companion-piece film incorporating the album’s songs and featuring Ingram as a troubled troubadour. The short film was screened at both the Dallas International Film Festival and the Nashville Film Festival.

Hank Thompson, as well as duets with video and record collaborations with the Beach Boys, George Jones, Leon McAuliffe, Ray Price, Leona Williams, Lynn Morris, Lloyd Green and Doc Watson. He even played guitar for Bob Wills’ Texas Playboys in a radio commercial.

Junior’s performance on the promotional song, “Better Call Saul” was recorded and released both as a video on AMC as well as a flexible 33 1/3rd vinyl record included in the show’s box set from Season One. On May 24th, 2018, Junior released his 11th and most current album, “Deep in the Heart Of Me”. Rolling Stone Magazine’s listing of 50 Country Albums Every Rock Fan Should Own, honored Brown’s US released album, “12 Shades of Brown”, (Curb Records, 1993) on May 27, 2020. Also inn May of 2020, Brown and his wife began hosting a series of live Facebook concerts under the name, “The Junior & Tanya Rae Brown Show”.

Junior, Tanya Rae and the band continue to tear up the highways and will be performing at The Heights Theatre on May 26th for two concerts. There will be an early show and a late show. Seeing Junior live is a definite must, so GUIT WITH IT ’cause he’s AN AMERICAN ORIGINAL!

He went on to record and tour with vocalist Stephen Pearcy of Ratt, and later was asked to play several dates as a guitarist for Ratt. Mark was also the guitarist and principal songwriter for LAbased hard rock band 40 Cycle Hum, which recorded 2 CDs. He later performed with metal band WWIII featuring Mandy Lion, a band which also featured Vinny Appice and Jimmy Bain.

Recently Mark released a solo effort on EMP Label Group, the label founded by Dave Ellefson of Megadeth.

Mark brings monster riffs and powerful guitar energy to define the sound of Kill Devil Hill.

Kill Devil Hill Perform At Warehouse Live February 27 Kill Devil Hill is an American hard rock supergroup, founded in 2011 by drummer Vinny Appice (former Black Sabbath, Heaven & Hell, and Dio), bassist Rex Brown (former Pantera and Down), guitarist Mark Zavon, and lead vocalist Dewey Bragg. The band is named after the town of Kill Devil Hills, North Carolina, a location renowned from pirating days.Kill Devil Hill released their self-titled debut album in May 2012. They toured the US with rock band Adrenaline Mob. Kill Devil Hill released their selftitled debut album in May 2012. They toured the US with rock band Adrenaline Mob. On March 10, 2014, it was announced that Vinny Appice had left the band in order to commit to other things and projects, and that former Type O Negative drummer Johnny Kelly was his replacement.

The band performed on Motörhead’s Boat Cruise in September 2014 and after touring, the band started to write another album with their new member Johnny Kelly. They decided to record at Stagg Street Studios in California with help from engineer Josh Newell (Linkin Park, In This Moment).

Featuring ex-Pissing Razors frontman Dewey Bragg, acclaimed session/touring guitarist Mark Zavon and now Type O Negative and Danzig drummer Johnny Kelly an bass master 26

Music News • February 2021

Nico D’Arnese, Kill Devil Hill deliver a crushing sound that combines a contemporary feel with a classic aesthetic that few bands today can rival.

Now it’s time to meet the guys of Kill Devil Hill DEWEY BRAGG – VOCALS Dewey Bragg’s unique vocal style combines his powerful scream with an amazing sense of melody. Dewey is truly a force to be reckoned with, fronting the band with powerful conviction.

Starting at an early age he honed his vocal chops singing with numerous bands. During that time he mastered the art of entertaining an audience. Dewey recorded vocals on Pissing Razors’ “Where We Come From” in 2001, which was released on Spitfire Records.

One of the best kept secrets in the genre, Dewey is ready and able to kick ass on a whole new level.

MARK ZAVON – GUITAR After appearing in Guitar Player magazine’s “Spotlight” column and receiving national acclaim for his unique style and approach, Mark recorded a CD with the band Scream Parade for Shrapnel Records in the early nineties.

He then joined forces with 2 close friends to form JRZ System, a funk meets hard rock instrumental band that recorded 3 CDs.

JOHNNY KELLY – DRUMS Johnny Kelly is best known for his work with the gothic metal band Type O Negative from Brooklyn, New York. He joined Type O Negative in 1994 to replace Sal Abruscato. He had previously been the band’s drum tech.

Kelly has toured with Danzig since 2002, and recorded drums for the band’s Deth Red Sabaoth album.He currently endorses Gretsch Drums, Sabian cymbals, Easton Ahead drumsticks and Evans drum heads.

Johnny and Mark met while playing Hollywood jam sessions at the now defunct Cat Club next to the Whisky on the Sunset Strip.

Johnny’s powerful, straight-ahead style is a great fit for Kill Devil Hill, and combines flawlessly with Nico to form the backbone of the bands brutal rhythm section.

NICO D’ARNESE – BASS Nico grew up in Italy, and cut his teeth playing with many bands before deciding to pursue his ultimate goal of success elsewhere. He then moved to the UK and subsequently to Los Angeles, where he hooked up with the KDH boys.

His inspiring spirit brings a new fire to the band, and his energy onstage is like that of an unbridled demon. Attacking his bass like a man possessed, he makes it clear that he is a force to be reckoned with.

Nico now lays down the thunder that defines the rhythm section of Kill Devil Hill.

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Saturday, February 6, 8:00 pm - 12:00 am Capone’s Oven & Bar 2303 Richmond Ave. - Houston, TX 77098 Friday, February 12, 8:00 pm - 12:00 am The Abbey Pub 2002 N Fry Rd - Houston, TX 77084 Friday, February 19, 8:00 pm - 12:00 am Scotty’s Saloon 114 Agnes Rd - Richmond, TX 77469 Friday, March 12, 8:00 pm - 12:00 am Wild Hawgs Saloon 16908 Market St - Channelview, TX 77531 Saturday, March 13, 8:00 pm - 12:00 am Texas City Live Bar & Grill 622 6th St N - Texas City, TX 77590 Saturday, March 20, 8:00 pm - 12:00 am Capone’s Oven & Bar 2303 Richmond Ave. - Houston, TX 77098 Sunday, April 11, 4:00 - 8:00 pm The Hawg Stop Bar & Grill 11335 Sheldon Rd-Houston, TX 77044 26

Music News • November 2020

Saturday, April 24, 8:00 pm - 12:00 am Backwoods Saloon 230 Lexington Ct. - Conroe, TX 77385 Friday, May 7, 8:00 pm - 12:00 am Wild Hawgs Saloon 16908 Market St - Channelview, TX 77531 Saturday, June 26, 8:00 pm - 12:00 am Backwoods Saloon 230 Lexington Ct. - Conroe, TX 77385

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Music News • January October 2021 2020

The Hollywood Spotlight

By Hollywood Steve Rangel

The Hates “13” There are perhaps only three true constants in the great city of Houston, Texas: traffic, humidity, and The Hates. Something of an institution in the Bayou City, Christian Kidd and Co. have been fighting the good fight since 1978. And while band members have come and gone with regularity over the years, Kidd has managed to maintain his signature sound and vibe without fail.

Which is not to say the band hasn’t evolved. Their latest release, “13”, features a few more sophisticated arrangements than these local legends have produced in the past. And there’s damn near a harmony vocal on the opening track! But make no mistake about it. The Hates are a punk band. A true, old school, no nonsense, “I’mpissed-and-you’re-gonnahear-about-it” punk band.

Kidd has never wavered from his original vision, making The Hates as genuine as any band you’re likely to hear. “13” is a unique offering. These eleven tracks were recorded in various different sessions, spanning the period between September of 2003 all the way to December 2018, utilizing multiple lineups and production teams. But the common denominator, as always, is Christian Kidd. Kidd represents the essence of this often misunderstood genre. He’s a punk rock lifer, an Everyman with a guitar, a microphone, 32 Music News • February 2021

and a message. What has always impressed me about his songwriting is that, to get his point across, he doesn’t rely solely on profanity and venom, two tired cliches of punk music. He is more matter-of-fact in his approach, which is vastly more relatable. His lyrics certainly don’t lack conviction, but there’s more going on here than the rants of an angry young man. The material on “13” is aggressive, the performances are

convincing, and the presentation is raw.

Christian Kidd’s lead guitar style suits his compositions perfectly in that it too pushes back against accepted standards.

He’s not as concerned about keys and time signatures as he is about energy.

Long time fans of The Hates will be delighted with this latest work. If you like your music loud, heavy, and real, you just might be delighted too. God save the queen, and long live The Hates!

Thursday, February 4 - James Wilhite Friday, February 5 - Jonn Del Toro Richardon Saturday, February 6 - Tony Vega Sunday, February 7 - Katie’s Jam with Mark May Thursday, February 11 - Live Mojo Friday, February 12 - Sparky Parker Saturday, February 13 - Jay Hooks Sunday, February 14 - Katie’s Jam with Jay Hooks Thursday, February 18 - James Wilhite Friday, February 19 - Mark May Saturday, February 20 - Sonny Wolf Sunday, February 21 - Katie’s Jam with James Wilhite Thursday, February 25 - Bert Wills Friday, February 26 - Eric Demmer Saturday, February 27 - Mike Zito Sunday, February 28 - Katie’s Jam with Paul Ramirez

February 2021 • Music News

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Music News • February 2021

RANDOM SHOTS

Double Vision Live at Rockefellers (Photo by Brian Lambert)

Escape Live At The Scout Bar

Big City Nights Live At The Wildcatter Salon (Photo by Tina Rasco)

February 2021 • Music News

Jam Night at Swanny’s

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RANDOM SHOTS

Hold On Hollywood at Warehouse Live (Photo by Brian Lambert)

The Dirty Reckless at Bonez Draught House and Sports Bar (Photo

by Kevin Hamlin)

Kendall Mason Band Live at The Acadia Bar And Grill

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Music News • February 2021

RANDOM SHOTS Kiss Alike (Photo by Brian Lambert)

Planet Gears at The 19th Hole

Girl To The 4th Power at Pub Galleria

Sparetime Murray at Pub Galleria (Photo By Terry McGill

Ever Glaze at The BFE Rock Club

February 2021 • Music News

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Music News • February 2021

RANDOM SHOTS Fun at The Hunger CD Release Party at The Scout Bar (Photos by Carox Rox)

Mindcrime (Queensryche Tribute) at Warehouse Live (Photo by Brian Lambert)

Sparky Parker At Katie’s Bar & Grill 38February 2021 • Music News

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Music News • February 2021

Winter’s End At The Acadia Bar & Grill Music News • February 2021

RANDOM SHOTS Powerslave at Warehouse Live (Photos by Brian Lambert)

Jay Hooks at The Jailhouse Saloon

Ricky Jackson with special guest Bob Emmons (right) at Katie’s Bar & Grill

Texas TNT at Capone’s

Sol Flair at Bonez Draught House and Sports Bar February 2021 • Music News

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RANDOM SHOTS City Nights At Sambuca.

City Nights is a highenergy dance band that was formed in 2005. Last year they performed 8 months of shows at Sambuca, Golf Club of Houston, and La Carrera.

(Photo by Leo Maldo)

“Tusk” is a six piece Cypressbased Fleetwood Mac/Heart tribute. Their two female vocalists really nail the Wilson Sisters, Stevie Nicks, and Christine McVie. Here they are at Warehouse Live.

Photo by Joey Robichaux

The Jam at The Jailhouse Saloon, and yes, that’s Dena singing there with Sadie Williams on bass!

(Photos by Letric Ed)

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Music News • February 2021