New David Hockney & Alison Saar Works At L.A. Louver!

There was a packed house at the L.A. Louver last night for the opening of David Hockney: Something New In Painting (and Photography) [And even Printing] ... Continued as well as a new sculpture from Alison Saar almost exactly a year after their dual show this time last year. The crowd was abuzz with anticipation to see the new work from one of the most celebrated living artists in the world, but certainly in Los Angeles, which is almost always the star of Hockney's work. Bright colors and swimming pools made his name, and we were all here to see the latest.

It was almost intimidating to arrive to see the absolute longest line to get in I've ever seen stretching down Venice Boulevard all the way to Speedway. Indeed, it was too much for some who chose to sit it out at James Beach or the Canal Club rather than wait in line, but that's too bad because the line moved very quickly, and the reward was great once inside the door of the Louver.

The first floor was all Hockney, with large scale murals depicting "photographic drawings" of people in chairs taking in the more familiar, colorful works from Hockney. The drawings of mostly men were a little creepy to me, but it's cool to see such a range from someone so known for the almost tropical hues of his beautiful paintings of the great and sunny outdoors.

I've loved the Australian artist, Ken Done, since I was a little kid, and several of the bright new works from Hockney reminded me of those gorgeous visuals from the hemisphere to our south.

This will be a show worth revisiting, as there was really no way to take it all in with so many people crammed in there to see and be on the Art Scene. You couldn't take two steps without running into a longtime Venetian art lover, and that's really the best part of these show openings. That, and the confirmation that ART is still very much alive and well in our fair town. I overheard a girl in line saying in her Millennial drawl, "It's smart that they're putting art galleries in Venice now, there's so much money here." I had to step in and let her know that this venerable gallery has been here in Venice since 1975 ... and that Venice has always been about art, money or none. And always will be, if we the People have anything to say about it. And we do.

The upstairs gallery featured more of the bright works, and a series of drawings of Hockney friends, from Ed Sheeran to this lady that I thought was Jane Goodall, but was really a woman called Erica Bolton.

I loved the piece called The Walk To The Studio, 2018, as it features the wonderful flora and fauna outside of Hockney's Hollywood Hills studio. Lucky fella!

In the Skyroom outdoor galley, there was the new sculpture from Alison Saar called Grow'd, depicting one of her Topsy characters based on the girl in Uncle Tom's Cabin. It is pure power, and the now grown girl/woman commanded the room beautifully. I love Saar's work, and I'm not alone, because there was a hushed and reverent aura over the room from everyone who entered. The importance of good art cannot be understated.

What a great show! And night - as the party continued on to James Beach, the Venice Art Crawl mixer at Canal Club, and then an extra fun whiskey tasting party over at The Stronghold. This was one of those Venice nights that make all the rest of the things going on here all the way worth it. Kind of like standing in the line to get into this show ... there's hassles, sure ... but the art and community you get once you're here is WHY you're here. I love you, Venice. I love you, Art. Thank you!

David Hockney Something New in Painting (and Photography) [And even Printing] 
Alison Saar : Grow'd
L.A. Louver
Venice
February 7 - March 23, 2019

Paul Chesne - Downright Up & Left

If you've ever gone out in Los Angeles, chances are you've seen Paul Chesne play. One of the - if not THE - hardest working musicians in L.A., Chesne has been listed in the L.A. Weekly or L.A. Times Calendar section, usually multiple times, every week for the past 15 years. That's playing out an average of three times a week, on top of a full-time (mercifully flexible) day job, handling everything himself. Because he's a musician that simply loves to play.

That is clear to see at each and every gig (and I've been to many of his roughly 1,400 gigs over the years), as both Chesne and his audiences are all there to live the rock and roll. It's just plain fun, every single time. After all these years of dear friendship and fond rock memories, Chesne and I finally sat down to chat about it all over some rare Green Spot Irish Whiskey at The Townhouse the other night. As we do.

Born and raised in L.A., Chesne picked up the guitar at the age of 12, after seeing Marty McFly jam to Chuck Berry in Back To The Future. He took some lessons, learned and dedicated his life to it. That continued through his time at UCLA, when in addition to all his reading and learning, he began playing open mic nights around town, often at Canter's Kibbitz Room (where he could be found up-ending an open mic night as recently as a week ago). The schooling is evident in just regular conversation with Chesne, but also always shows up in his razor-sharp song lyrics, deftly wrapped up in some of the catchiest Americana twang rock jams ever.

The brand new (today!) Paul Chesne album, Downright Up & Left is a perfect showcase of all those years of gigs and learning ... it's drum tight and thought provoking, all while rocking your face off. CD Baby describes it as "Beautiful, dark and groovy." That's certainly true, but doesn't begin to capture what it's like to be at every live Chesne show. It's a full on rock experience. Chesne and his band are going all out on stage (and into the audience ... up on top of the bar ... sometimes out the door on to the sidewalk ... pretty much anything goes. You will leave sweaty. You will leave smiling. You will leave happy to have been there - no matter how many times you've seen them.

Chesne and his always excellent backing band benefit from playing so many gigs ... they all just full-throttle it, and expertly follow the many "Chesne-isms" - musical tangents that both keep the band on their toes and make every show one of a kind. It's like the Beatles theory in Malcolm Gladwell's Outliers ... when you play out live that much, you're going to be awesome. This is quite an accomplishment over the years, with bandmate turnover, burnout, personalities, frustration, triumph, exhaustion, bliss, thousands of van miles, and gigs from makeshift to epic. As Chesne says, "There's been Hey Days and Dark Days, sometimes in the same month." Such is the life of a true rock and roller.

With the release of his latest album - all bought and paid for himself, through good old fashioned hard work, not some crowd-funded project as is so common these days. As Chesne says, "I put my money where my mouth is." This album is more "artsy", according to Chesne. "I'm divorcing myself from any commercial intent, and really committing myself to being an artist, and to my belief in the SONGS. I've never sold out. I've TRIED (ha!), but I never have. I don't owe anybody anything, and I'm proud of that." He should be.

He's the kind of guy who if he's not booked at a big festival like Coachella (yet), he'll make his own festival at Pappy & Harriet's out in Joshua Tree (where he enjoys an almost house-band notoriety). If a party isn't fun, he'll make it fun. If there's no music on the beach that day, he'll go get his guitar, plug in and make some right there on the Boardwalk until the cops come to shut him down (Boo!). He's one of those guys that if you have a visitor come to town, you immediately check to see when Chesne is playing, so you can show them a guaranteed good time.

Chesne has lived in Venice for ages, and we talked about how it's been changing. We pined for the days of our magical old music nights at Abbot's Habit, where every Friday night was an all-out blast. We lamented the loss of the Stronghold music nights. We yearned for the times when someone we knew booked stages for the Abbot Kinney Festival and there were actually bands from Venice (like Chesne's) playing (Cough. Hint.). We dig the still-cool O'Brien's and the Basement Tavern that have hosted so many of our rock nights (Though in Santa Monica. Venice needs more music!). We agreed how much we love walking everywhere, and how at least we still have our gang of like-minded friends living, working and loving it here ... "We're lucky we have each other." So SO true.

I love so many Paul Chesne songs (he knows that my all-time favorite thus far is "You Owe Me" and will graciously play it for me whenever I'm there begging for it) and asked about his mind-set for the songs on the new album. "I empathize with it all ... it's gloomy and sad ... and beautiful - like life lately. There's a lot of heartache ... but I put a lot of heart in that ache." And Bam - a new Chesne song lyric came to life right there at the table in front of me. (Write it down, Paul!) Downright Up & Left is available right now at CD Baby and Paulchesne.com, and is up on Spotify as of right now. And you want it.

The current incarnation of Chesne's band consists of Jon Niemann, Josh Norton, Rich Berardi, Jason Chesney, and Steve Tegel remains as their "Svengali".  You can catch them all at their dress-up gig at The Edison in downtown L.A. on March 12th. Or at the hundreds of gigs that are sure to come after that - weekly.

As we wound down our night and our drinks, Chesne said, "It's renegade insanity - that's what Venice is all about." At least it is if we have anything to do with it. This photo is from one of our times at Pappy's that I think does a great job of showing what a Chesne show experience is all about ... no more words necessary ...

 

Catch Paul Chesne out, and/or pick up his excellent new Downright Up & Left today to join in on the renegade insanity whenever you like, from wherever you are.

*Most photos ripped off with permission from Paulchesne.com

The People's Republic of Venice Welcomes Back The Nightwatchman!

It's been a while since The Nightwatchman (Tom Morello) last liberated Venice. In fact, Venice was the site of some of his earliest liberating. We used to have Friday nights at Abbot's Habit that my brother, Paul, booked, called The Habit Night. Tom and I were friends, so when he was working out his new solo acoustic project, The Nightwatchman, back in 2005, he offered to play at The Habit for Paul and I's birthday jam. It was a packed house of riled up Venetians at the height of the sickening, unpopular Iraq War. It was sweaty and heartfelt and kickass. Really, there's some great footage. There was another Habit jam starring The Nightwatchman in early 2006, and then that ball really got rolling, the venues got bigger ... and so did the country's problems.

Last night saw The Nightwatchman return to Venice, for a show benefiting Afghanistan Veterans Against The War (and IVAW) at The Stronghold. The Same. Long. Awful. War. Gone were the backing instruments of coffee grinders and latte foamers, but back were the sweat, heart and ass kicking. Harder than ever.


Tom Freund opened up the night with some of his choice musical selections: "Copper Moon", "Truly Mellow", and, appropriately for the night, his Beatles cover of "Revolution", with his bass standing up alongside him. So was the crowd, singing along heartily at the very start of the night. He's playing tonight at The Stronghold too (Go Tom!) so get on over there. His talent runs deep, and it's always a complete treat to behold.


Longtime comrades of The Nightwatchman, Jason Heath & The Greedy Souls, were up next to help set the tone of the night with their excellent tunes of pondering anarchy. "Anarchist Girl" has always been my favorite of theirs, (and perhaps a theme song of mine at times), and it reminds me every time I hear it of when Jason Heath told me that if things got crazy with tear gas or whatnot when we were both raging against the Republican Convention in Minnesota (2008), that I should soak a bandana in vinegar to combat the fumes. Good information! (We didn't have to use it, but still). They played "Truth Rag", "Flower In The Sun" (another lovely fave), and the rueful "God's Name In Vain" from their great album, The Vain Hope Of Horse. Jason Federici played the accordion movingly, and Ysanne Spevack joined in beautifully on the fiddle. As I told them, their music makes me want to travel. Escape. Reflect. Appreciate. Rock.


Wayne Kramer (yes, of the MCmofo5!) joined JHATGS for "Anarchist Girl", and then stayed up there for his own set. He is a great friend and co-Freedom Fighter of The Nightwatchman's, and he and I met on the 2008 Justice Tour. (He was the one that first told me I needed to get to the ER when I got bit by a crazy post-Katrina spider in New Orleans. I will always remember how I should've listened to Wayne Kramer right off the bat). It was great to see him again, and especially to hear one of my faves of his anew, "Something's Broken In The Promised Land". Featuring such biting lines as "The whole state of Michigan just signed up for welfare", and "The dream is sold out in the Promised Land", Wayne lets you know this is not music for Easy Listening. You'd better think, and you'd better bristle at injustice if you're going to get Wayne Kramer ... and everyone got it last night in Venice, California.

Wayne launched a new organization, along with Billy Bragg, at SXSW called Jail Guitar Doors that is working to rehabilitate prison inmates through music. Wayne did time himself in 1978 and The Clash wrote a song ("Jail Guitar Doors") about it, hence the name Billy Bragg chose when he started the initiative to honor Joe Strummer's life. Wayne told last night's assembled about it all and said "Send us money. Guitars ain't free y'know. Something happens when they pick up that guitar, and they're not gifts. They're a challenge - to use as a way to cope, and to not go back to the Pen." I think we can all get behind that. So please do. "Bad Seed" was next, in honor of those "bad seeds" they're working with. "Hollywood Boulevard" spoke the great line, "tough thumbs in your belt" that I loved. Wayne is a real poet, and makes you feel wiser after just one listen. He dedicated the next one to his lovely wife, Margaret, "who didn't show up tonight." "Let It Be Me" was an incredibly dear love song that made you feel the true depth between them. He wrapped it up with a jangly acoustic guitar version of "Redemption Song", which everyone sang along, and seemed to truly feel.

Wayne introduced his dear friend, Mr. Morello, who sprang onto the stage saying, "I'm The Nightwatchman, and it begins tonight!" And so began the song called, "It Begins Tonight", with Tom on his trusty "Whatever It Takes" acoustic guitar, and banging along with himself on his stomp box. Shouting that let you know everyone was on board followed that, which led right into "Flesh Shapes The Day". Tom really knows how to throw down as a showman, and the crowd was all the way into it all the entire time, yelling especially for the "Si Se Puede!" line.


"Maximum Firepower" has always been a rile-er of the masses, and it was no different last night. "The Nightwatchman giveth and taketh away" was as true as a lyric as it was for the volume. One minute the entire place would erupt in deafening applause, the next it was what it must sound like when you're deaf. Silence. "If you take one step towards Freedom, it'll take two steps towards you." Inspirational as ever, Tom sings the truths we all need to hear. And act on. "The Dogs Of Tijuana" was dedicated to Wayne Kramer, with its Mexican guitar melodies and "Ah-Ah-Ah-Ah" chorus, and warning that "Every dog has its day, and tonight we're coming home!" (That made me smile that I was at a sweet rock show a mere two blocks from home!)


"Thank you! It's always nice to play The Peoples' Republic Of Venice! Full of Hippies and Liberal Activists ... and you have the Beach!" Yes. Yes we do, Tom. And you're clearly welcome back anytime. He dedicated the next one to the Soldiers of IVAW (whom we really got to know on that epic Justice Tour, visiting the horror show of the Walter Reed Hospital - you really should re-read that article here - it was enough to make ANYONE a Hippie Liberal Activist), the beneficiaries of the evening. "When The Tigers Broke Free" was Tom's adaptation of the Pink Floyd song, and made you feel the pain of a child looking back on the death of his Father. More than poignant when you think of the many, many pointless deaths that have happened during this awful war. It's time to end it. We've lost too, too much already. There is no winning for any side of it anymore. Just ending it, and mourning the incredible damage it's done to us all.

Which leads us to the acoustic version of Rage's "Guerilla Radio" - always a crowd favorite, one that Tom hopes will be played when the day finally comes "When War Criminals of ALL administrations are brought to trial and convicted." Huge applause for that, extra so since the night was in honor of those AVAW/IVAW members. "There is nothing more courageous than a Soldier willing to stand up against an unjust War". "ALL HELL CAN'T STOP US NOW!!" was yelled by everyone, not just the super fan guys that sat down front and sang along to absolutely every syllable. Cute.


A special guest called Serj Tankian (System Of A Down) joined Tom for their sublime duet, "Lazarus On Down". It features gorgeous deluxe guitar from Tom, and otherworldly vocals by Serj, who was in the best voice I've ever heard him. Hauntingly quiet in there, these two founders of Axis Of Justice brought the house down. Almost literally, so eruptive it was after the last note died out.


Tom is also producing a band out of Brooklyn called Outernational. Great guys, and they're cut from the same cloth, to be sure. They joined Tom for their call to arms called "Fighting Song". Accordian and trumpet added to the mix, and gave it a Gogol Bordello-y feel, encouraging folks to quickly learn the chorus and sing along for the fight. "All of the People, all across the World, they want something more!" Absolutely they do. And a good start to the more was the "World Premiere" of The Nightwatchman's brand new tune, "Stray Bullet", which Tom sang for Tomas Young, another friend from the IVAW whom we met after he was paralyzed by said stray bullet pretty much immediately after arriving in Iraq. You simply cannot hear his story and be supportive of ANY War, any longer (if you ever were). See Body Of War and you'll understand what I'm saying. Some plaintive Outernational trumpet drove it all home.




There was a moment for tuning during which Tom encouraged people to scream their lungs out, which they did. He then said, "This is a future Classic ... so Stand Up! If you believe in fighting against Injustice ... against Immoral Wars ... then get on stage and sing along with The Nightwatchman! Get up here!"



So as many people as the little Stronghold stage would hold crammed up there to belt it out along with Tom to "Worldwide Rebel Song"! It was easy to learn the "Worldwide Rebel Song, sing it loud, all night long!" verse and sing we all did. It was a little "We Are The World", only way, way cooler than that lame one they just re-did. I cracked up at one point when Tom stopped the proceedings to get someone to fix the microphone stand for him ... "I cannot have a microphone stand that's leaning to the right!" No more cool hipsters were present at The Stronghold by now, as every single person in there seemed to have now joined the Superfan ranks, with huge smiles and rambunctious singing overtaking any thought of posturing ... "Here we come!"


As with every Nightwatchman show, there is more to it than simply rocking it out together. It tends to stay with you long after the stamp on your wrist fades away. Because you can see how music really does affect true change in the world, not just in the uplift of your mood, but in the tone of your thoughts. Enough people singing the song out loud as one - rebelliously - and then walking the walk (or the Picket Line ... or the Peace March ... ) IS the force of change necessary for anything positive to ever actually HAPPEN.


As The Nightwatchman closed the evening down with his customary, "Take it easy, but take it!", I hope that Venice - and everywhere else lucky enough to host a throw down like this - will indeed take it ... to heart.




*You can see more pictures that rule at www.PaulGronner.com

Matt Ellis: Births, Deaths & Marriages

I first became friends with Matt Ellis when I heard him playing his songs at The Habit, the much-missed Friday jam my brother, Paul, started at Abbot's Habit a few years back. I was impressed, and immediately went over and befriended him. That seems to be the way it goes with Matt, as last night The Stronghold was PACKED with friends for the digital release of Matt's new album, Births, Deaths & Marriages ... and we were all impressed.

Matt and his darling wife, Vavine, created an entire event around the release, complete with Hit+Run screen printing Matt t-shirt's of your choice right in front of you, a photo booth with props relating to birth (baby doll), marriage (bouquet, top hat) but no death - though someone did volunteer to zoom out and find a gun in the neighborhood. They had Matt's favorite Australian beer, Coopers, as a sponsor, and that helped get the party started off in a rowdy fashion. Giant burlap tapestries announced the album title, and lanterns were strung all over. The Stronghold has never looked better, and should keep the idea of moving the big couches back so that people can be up and dancing all over - which we were.


The music of the night started out with Will Courtney, a bearded troubadour (formerly of The Brothers and Sisters out of Austin) who reminds me a bit of Neil Young, sound-wise. The bad news was that many of the friends gathering hadn't seen each other in a while, so the catching up chatter at times kind of overwhelmed Will's on the quiet side acoustic songs. I'm going to need to re-visit his stuff, because I was into it (in between constant hugs and greetings).

The room was full to capacity when Matt took the stage with his band mates; Josh Norton on guitar, Simon Smith on bass, Marco Meneghin on drums, Tim Walker on pedal steel guitar and Stuart Cole (from Edward Sharpe and The Magnetic Zeros) on trumpet. People were already whistling and hollering before they even began, and it only increased when they opened with "Heart Of Mine" off the brand new album. There is a spirit of the open road flavoring the new songs, and it recalls the desert rock of Calexico at times, which makes sense as some musicians from that great band play on the album, and it was mixed at their spot, Wave Lab, in Tuscon, Arizona. All the good people in attendance were to have the digital copy in their in-boxes before they woke up today! (Hard copies coming in March. Expect another shindig.)


After thanking The Stronghold and the various sponsors, Matt asked "Is there a Mrs. Ellis in the house?" and Vavine took the stage to join Matt on their duet, "River Too Wide". Looking fantastic in a pink fluffy dress, and looking lovingly at her husband the entire while, the Sometime Songbird (Vav) made their love tangible for the entire room to see. It's also a toe-tapper, and got the house swaying, and that didn't stop from thereon out.

I spoke to Matt earlier in the day while setting up the place, and asked about the origins of the album's title, and the content itself. He said that all these events were happening (births, deaths, and marriages) during the songwriting process, and that you reach a certain age and realize that those are the very things that make the world go around. Each song has something to reflect on it all, and the title track, "Births, Deaths & Marriages" starts out with the line, "Will they even know my name?", and it's clear that he's been thinking about the babies born to friends all the way back home in Australia, and really feeling the distance ... "Missing you, back home." Again, though the tempo is way up, the tenor is rife with truth and feeling.

Next up was "Don't Let Me Forget" and featured the trumpet wail of Stuart Cole, lending it more of that Calexico-style patina and majesty. It conjured up a ton of emotion to where our friend Nathan said, "It's gonna be alright!", cracking up all of us within earshot. Love it. "So Many Lied" calls out political liars, and Fox News types (one in the same, really) within the confines of a rocker of a tune - just the way I like my truths told. "So Much To Live For" was lovely and reflective, and timely, considering we'd all just heard about the suicide death (Births, Deaths, Marriages again!) of Boner from Growing Pains, another Venice resident. Looking around the room, the friendships and unconditional love coursing about made one think that's ALL there is to live for, and we have it in abundance. And so we celebrated that ... all night long.


"Too Late To Call" carried on that Tuscon vibe, with serious weight to it. "Trying To Believe" is a party tune that had Stuart back on the trumpet, and the entire room dancing and singing along the "doo Doo DOO YEAH!" chorus. The party was ON, and too soon it was time for the last song of the regular set, "Won't Let This Die". This one is very special to us, as we are a group of friends that is really like family. We've supported each other, traveled overseas together, laughed, cried, and loved through it all. "The Boys" - Matt, Paulie, Joey and Scotty, are celebrated in this sweet Bromance of a song, where the verses talk about the meaning of Matt's friendship with each. All of them had been busting ass all day to help get The Stronghold ready for the show, and to hear this serenade of deep and lasting friendship sung by Matt with all the boys singing along down front, almost made me choke up, in spite of the rocking fun of it all.


Wild shouts and screams filled the by now boiling hot space, and Matt came back up with the band to reward us with an encore. He had Vavine join him again, and they treated us to the song they sang at their own wedding in Australia, "When I'm Without You". It is sublime, and an absolute tribute to their long-time love. Vav got extra hoots and hollers for the high note, and rightly so. Again ... lump in the throat.


Which soon cleared and was replaced by our singing along with Matt and Vav's cover of Iggy Pop's "Candy", one of my all-time faves. It's a perfect duet for M&V, and the crowd l.o.v.e.d. it. "Life is crazy ...." Isn't it though?

The finale for Matt's set was the party anthem with a stern message, "Hey, Mister" from Matt's excellent last album, Tell The People. It goes off ... and had a little help from Paulie and Scotty on backup vocals too. The whole place was smiling, sweating and singing along, and as the cheers rang out at song's end, I had a flashback to the beautiful farm, Stump Jump, in Australia where Mr. and Mrs. Ellis were married. I had the rare honor and delight of being asked to speak at the wedding on behalf of the American contingent, and at the end of my speech to all our newly made friends down there who love and miss their Matt & V, I told them that I wanted them to know that as many of them that sat before me celebrating their love, there were just as many back in Venice that would've loved to be there. On this special night celebrating music, friendship, and love ... I felt the reverse, and just as powerfully. I knew that as many people that were shouting their love and support for Matt and V last night at The Stronghold, just as many back in Oz were wishing they were there.

You find out over time that you can feel Home in more than one place. Surely Australia is home for Matt and V, but so is Venice now. Venice came onto Matt's radar as a young lad because of skateboarding ... which soon led to him hearing about the music and artists that lived and created here. He came out to try living here when he wanted to make a big move on behalf of his music, and soon Vavine followed. They are now part of our family - for life - and the absolute Community of Venice. Matt wrote most of the songs for Births, Deaths and Marriages in his backyard garden in Venice. The beach, people, bike riding, burgers at Hinano's, coffee at Groundworks on Rose, drinks at The Townhouse, parties, dinners, holidays, drinking nights, trials and joys of our circle of friends all color the final product, directly or indirectly.

Music. Art. Community. Friends. Love. All of this made for a throw-down of an evening to celebrate it all. After a blistering set of Roots Rock (!) by the inimitable Restavrant - whom we also ADORE - and a ton more Cooper's, all there was left to do was rejoice ... and enjoy how lucky we are to be a part of such a talented, creative, kind, loving and FUN Family of Friends here in Venice, California.

Births. Deaths. Marriages. And I would add ... Nights like these.







*Matt Ellis can next be seen at the Troubadour on March 15, and at the SXSW Little Radio party right after that.

A WIM-sical evening.

I think it's the best when you meet people and become friends, and have no idea what they do in life or anything, you just like them for themselves ... and THEN you find out that they're in a great band or they do amazing paintings or are roller derby girls or work with handicapped kids, and you like them even more.

That's how it was when I met the guys from the Australian band, WIM, at my friend Vav's birthday party last week. They said they were over here to record their album with this hotshot producer guy, and were having a grand old time here in the States, and then we went about our business of having a blast at the party. While chatting with a couple of the guys, I asked who they would see themselves on a bill with, to try and get an idea of what their sound was like, or whose music they like, as I always think that's pretty telling. When they said, "David Bowie and Nina Simone", I knew that I was going to dig what they were up to ... I just didn't know how much.

So last night - after a little (er, LOT) Paqui Tequila at Patio Culture's tasting party - I found myself walking across the street to The Stronghold for the second night in a row to see our WIM guys play a show. We actually had so much tequila that their new no alcohol policy was not an issue in the least, and we were ready for a rowdy night of music, surrounded by our whole gang of friends, old and new. There were a whole bunch of people on the bill last night, and WIM had just been squeezed on at the last moment, so they were to go last/late. Which was a good thing, as they were the clear Headliners of the night.


Their Myspace page says that their influences are "The Middle Ages, The Wheel, and Glitter", and as much as that doesn't tell you, it also lends you some clues. Their sound is kind of 70's Brit Pop, but also very much of the NOW. This was their first time playing in America, and you could see on their faces that they were loving every minute of it. Simon Jankelson, the keyboard wonder, said, "We're absolutely charmed to be here", which absolutely charmed all of us. Their song, "America" has a line that goes, "I've thrown all my troubles away", and that's exactly how it felt if you looked around the room at everyone dancing and having a ball, thrilled to be among the first over here to discover a band that you can already tell is going to win lots and lots of fans. Especially girl ones. Every single guy in the band is adorable, and sweet as pie.

Martin Solomon is a classic front man, stalking around the stage and belting out the hits in his resonant voice that doesn't really remind me of anyone else too much - a good thing. He danced around and sat down with people in the crowd and made the whole room get a crush on him.


Saul Wodak plays the guitar, Dustin Bookatz plucks the bass, and Harry Thynne holds down the beat on drums, all while obviously loving it and having a blast playing together. "John" and "Something For You" (probably the hit single, poppy, harmonic and catchy as it is) were my favorites, but every song was good, and that's not always easy to say. Everyone at The Stronghold LOVED them, and it was one of those great nights where the feeling for everyone is mutual. The WIM guys all gushed about how L.A. was a "Magical place ... ", and what a great time they've had, so I feel pretty good about your chances to see them play again over here soon. Plus they're going to have to tour behind that newly recorded album that we've all now super-pre-ordered.


WIM for sure has a whole crowd of new fans this morning. They left to conquer New York today, so we all hugged our goodbyes after the show, and I promised to brag about them to everyone I know. So here I am. Bragging. We loved WIM, their music, and that feeling they gave us last night - the one where music brings everyone together to have fun and CELEBRATE life.

Thanks, Guys. We can't wait until next time!



*Check out the kind words the L.A. Times Music Blog threw out for WIM:

My Freund, Tom - At The Stronghold.

I wrote about The Stronghold as a music venue back in April of this year for The Beachhead, and wondered how it would turn out. I've seen a fair share of growing pains (mega-disorganization one night when we had a visiting friend scheduled to play ... no bueno) and recent confusion about it all, so last night I just finally asked one of the owners, Michael Cassell, just what exactly the deal was ... what their vision for the place is, because it's a really great space, and I'd love to see it do well, especially because - selfishly - it's super close to my pad.

He said that they want it to be all about the music - not about getting hammered (though that could have a lot to do with the fact that they have no liquor license). He said, "People are paying for silence" - meaning that they want it to be a place where people sit and LISTEN to the music, and really appreciate it. Kind of like a McCabe's show. I HOPE that folks will want to pay a cover to just sit and listen to great music in the neighborhood - sans alcohol - but it remains to be seen. The bonus to that is that it can go really late-night, with no booze laws to deal with. And you can always smuggle it in red cups if you've got the shakes or something. Per the management.

So last night was the first time for the no alcohol deal, and it was Tom Freund Tuesday - he's got a residency for every Tuesday this November. I hope you already know him and his music, but if you don't - it's high time you did. I was at a Steve Earle show last month (with Tom Morello and Ben Harper to boot) and I was standing there talking to Tom Freund when this young guy came up and just fawned over him like those other legends weren't even there. "I can't believe I'm at this show and I just met my favorite singer-songwriter!", he rejoiced. It was darling, and so nice to hear, as Tom throws down with the very, VERY best of them.

The Stronghold (the music space is upstairs from the custom jeans part downstairs - you can hear the industrial sewing machine whirring long into the night) is really a lovely interior, all wood floors and big iron spiral staircase loft looking, with leather couches and chairs set up around the stage area. It's downright cozy ... and if it gets too much so, there's a gigantic back patio where you can go get fresh air or pollute it. Coffee and water are on offer, as well as a little selection of snacks. Total McCabe's. Or a Speakeasy.

I chatted with Tom a little bit backstage before the show, as though we've been homies for a long time, you don't often get the chance to dig deeper at shows and whatnot. He settled down in Venice because he's a New Yorker, and if you're moving to California, you'd better be near the ocean, is how he put it. I totally agree. He has a gorgeous wife, Francie, and a stunning little redheaded daughter called Delilah. They are part of a community of great hipster parents in Venice, which is one of the things he likes most about where we live ... people helping out and creating that nurturing vibe for everyone involved. The Ocean is a crucial part of life for the Freunds, as is the walk and bike-ability of how we get around in these parts. You'll see them hanging out all over town, but Tom said, "I'm an Abbot's guy by nature", meaning Abbot's Habit. That's about the people. If it's about the coffee, he'd take a cappuccino from The French Market, thanks. (Amen). It doesn't hurt that musicians of the highest caliber are friends and neighbors, especially when someone is as about the tunes as Tom is.

Amilia K. Spicer and Steve McCormick are a couple of those friends and neighbors, and opened for Tom last night, taking you to down home Kentucky (where she's from) through her beautiful voice and straightforward guitar playing. Steve is a great harmonizer, both with vocals and guitar, and you can tell they really enjoy playing together. I need to go hear her more. Tom joined them on his stand-up bass for her last song, "Harlan" about the town in Kentucky where she's from - or as she put it, "this is a song about my DNA." It was so lovely with the three of them creating a whiskey soaked visit down home on that stage, that Harlan is now on my list of places to check out.

Tom Tuesdays are the best, and you never know who is going to show up to join him. Last night he was backed up by Matt Pszonak (on lap steel and bass), wonderful percussionist/drummer, Chris Lovejoy, and Jason Yates on keyboards (Jason of The Innocent Criminals). Jason played a few songs of his own to get us further warmed up, and then Tom took the stage for the intimate crowd (that grew less so with each song ... people were still coming in when I left post-Tom!). Tom opened with a song that isn't on any of his albums, "Crow's Landing". Judging from the crowd's reaction, it will probably be on his next one. This night was "Set List Free", Tom said, so with hardly a glance at Lovejoy, they launched into Tom's oldie, but goodie, "Trondheim". I love that one, and not just because I'm Norwegian. And I love the next one, "Bombshell" - and not necessarily because I'm one of those, it's just really good.

Tom's latest album, "Collapsible Plans" is a treasure. Ben Harper produced it (available on his website), and Tom has opened for a bunch of Ben's tour shows. They're longtime friends (and were a college duo together) and their music compliments each other totally. The song, "Collapsible Plans" was next, and the two girls right near me knew every single word - though Tom sang it a lot better. "Unwind" features such fancy finger-work on Tom's guitar, you can't even see his hands, they're such a blur. Funky Wah-Wah sounds permeate the mix, and the hoots and hollers at song's end were well-deserved.

Ah, good old "Copper Road". Tom would have fit in great with the whole desert-rock Gram Parsons times, that's for sure. In fact, he played Parsons' "Hickory Wind", joined by Amilia K., and the country yearning is almost painfully pretty, filigreed with Tom's masterful mandolin work. "Queen Of The Desert" fit that genre as well, and the mandolin ... That mandolin. Sigh. The real show-stopper for the mandolin is Tom's song about his wife, "Francie". PLUGGED IN mandolin madness, that again makes one pause to wonder how human fingers can fly so fast. It's a classic in the Freund ouevre, for very good reason. I'm humming it now.
But then Tom would also fit in great in any smoky jazz bar across the globe. "Comfortable In Your Arms" features his stand-up bass played with a bow, which he glides masterfully. "I want lessons", was all I was thinking while listening to that thing. Glorious. That was followed up by the Beatles' "Come Together" and then I thought, "Exactly. That is really the whole point. Of music. Of love. Of Community." ... I snapped out of that revelation just in time to whistle for the ripper of a bass solo on that one. Geez Louise.

"Me and Julio Down By The Schoolyard" is always a crowd-pleaser, with Jason Yates and Lovejoy leading the sing and clap-along. A word about Lovejoy: he just rules. He's so inventive with his little bag of percussion tricks, and such a joy to watch, with his crazy hair and big smile he gets from playing ... he's a real treat to yell and clap for.

"Why, Wyoming" took us back out on the road, with Amilia K. again lending her harmonic gifts. Because there is really no time limit as it stands now at The Stronghold, Tom could play as long as he felt like. Even on a Tuesday school night, that was fine by the entire room. "I Get By With A Little Help From My Friends" is always a good thing to remember and celebrate, and when the version is done all slowed down and fresh like Tom did it (joined by Shannon Moore), it's even better. Even BETTER when you get Stanley "The Baron" Behrens to join you, blowing on his harmonica like the bluesiest cat around. When Tom and I were talking pre-show, he said there are two great harmonica players on the planet - Taj Mahal and Stanley Behrens. Seriously. It was so great to see Stan play last night too, as he's been dealing with the dread liver cancer, and its horrid treatments. He's on the list to get a transplant soon, but you would know none of this by watching him play. The LIFE he breathes out through his harp is so powerful, you really do trust that this guy can handle anything that comes his way. Once again, the power of music to heal and elate was clearly evident. GO STANLEY!!!

"Digs" was groovy as ever, and had heads bobbing in unison around the room. "If you don't like the digs, you can find someplace else." Word. Buffalo Springfield's "For What It's Worth" was also given a jazzy treatment, and featured a drum jamboree between Lovejoy (I love that name) and Jason Yates on congas. "Stop, Hey, What's that sound?" ... that sound is fresh live music in our own backyard!!!
The last song of Tom's official set (I left, but heard it still going on up there as I went by later) was his excellent (said like Bill & Ted) "Truly Mellow". It takes you back to the time when you were that teen listening to music in the basement ... trying out new sounds, ideas, perhaps herbal remedies ... as you sorted out who you were going to become ... all the while feeling truly mellow. There's a good singalong part that is also easy, just "La-di-dah" repeated back to Tom. This crowd sounded good together too.

Once the applause died down, my crew and I said our goodbyes and ambled down the steps into the night, feeling mellow, feeling lucky, and feeling hopeful that The Stronghold will get it all streamlined and flowing. Live music so close to our homes is just about the best thing ever, so I'm rooting for them. There is a special feeling when you get people together to be just about the music, and in such close quarters. It all goes back to that music, love and community ... and the more opportunities for that, the better.

Tom Tuesdays - one more left in November. Don't be square.