Friday night’s show at Velour would be The Mighty Sequoyah’s last … well, at least for a few years. The five piece band, made up of Darger, Hannah Currie (Viola/Vocals), Alex Woods (Guitar/Keys), Bret Meisenbach (Drums) and Mike Dixon (Bass/Pedal Steel Guitar) opened up with “Medicine Man” from their Sunken Houses album, a track that quickly shows what TMS is all about: thoughtful indie folk rock, beautiful song building and breathtaking harmonies. In fact, those harmonies between Currie and Darger are beyond breathtaking—they have a rare chemistry onstage that only comes from two talented people believing in their music so much that the sounds coming from them almost become a tangible object.
It’s a desirable thing to go to a show with no worries. Why did I have no worries for this show? Cayucas just barely released an eight-track LP that’s drenched with summer vibes via catchy bass riffs and laid-back tales about beach life. All I knew about the opener, JBM, was that he was a multi-instrumentalist out of Montreal who makes folk music. This was destined to be an easy night, and the music I heard was authentic enough to take me where the artists were mentally when they wrote the music. Those places were anywhere but the city.
I love shows at Saltair. Even the drive, which would normally be an inconvenience, can be a wonderful relaxation if you take the right route. So it was Friday evening as my friends and I piled into a few cars and chased the sun out to the Great Salt Lake, ready to have our earholes sweetly penetrated by Killswitch Engage and their tour brethren Miss May I, Darkest Hour, The Word Alive and Affiance. My last show out here was the Coheed and Cambria tour, and memories of that show and its massive swarm of humanity were still fresh. The night was warm, the lake wasn’t stinking too much, and in between sets, you could enjoy a beer on the back porch and watch the sun set. Only a heartless fool wouldn’t have enjoyed himself here.
Camera Obscura began with “Do It Again” and “Break It To You Gently,” two new pop tunes that prove that they’ve still got a vitality to their songbook, a feeling that evolved with confidence as they delivered half of their newest album.
I arrived at Velour about 30 minutes before show time on Saturday night. A week earlier, the venue’s Number Two, the lovely Kaneischa Johnson, had asked me to help out with judging the competition. Kaneischa briefed us, the esteemed judges, on the judging criteria and what she expected from us. I looked at the paper with the criteria that she had given us all, appended to a clipboard: Musicianship, Songwriting, Crowd Response, Stage Presence and Vocal Performance, all out of 10.
CBR, whose name comes from the founding members’ names, has a variety of online videos that feature everything from martial arts fights to parkour (also known as free running). They’re martial artists, free runners and friends, but when it comes down to it, they’re stuntmen.
I think Salt Lake has a handful of original rock acts and everyone is doing something a little different. I feel there is synergy to the scene and many of the acts complement each other.
The Arts Festival is one of our favorite shows to play. We get to reach every age group and make them all dance together. It’s beautiful to look out at the crowd and see 7 year olds trying out breakdance moves right next to a group of 60+ year olds bustin’ out some old-school jigs.
Last Friday, loveDANCEmore curated the second annual Daughters of Mudson, which was housed by the Studio Theatre of the Rose Wagner. As I entered the space, there was energy about the event’s production that I sensed early on—it was practiced, and it has matured into a something that’s becoming integral to the Salt Lake City art scene
"We love moths,” says Montag. “I used to play with them as a kid and viewed them as approachable butterflies ... We love the strange and unusual.”