Scene and Heard

Americanafest Announced 2012 Dates Following Most Successful Event Ever

Posted in Entertainment by sceneandheardblog on November 17, 2011
The Americana Music Association has chosen September 12-15, 2012 for their annual Festival & Conference, which will take place once again in Nashville, Tennessee.  The announcement comes on the heels of the not for profit music association’s most successful and critically acclaimed event ever.  The Americana Honors & Awards show is, according to theWall Street Journal, “a night in which singers who can sing, players who can play, and writers who can write came together to acknowledge their debt to great, unfettered American music and renew their pledge to take it forward with honesty and integrity.”
Musical segments of the Americana Honors & Awards show will appear on PBS nationwide during a special presentation: ” ACL Presents: Americana Music Festival” beginning November 19 in the Austin City Limits timeslot.
Fueled by musical legends, the next generation of stars and music industry heavyweights, the 2011 Americana Music Association Festival and Conference, presented by Nissan, saw over 10,000 fans, over 300 performing artists and more than 1,000 music industry professionals, all of whom participated in the unparalleled four day celebration of  American Roots inspired music.
The most significant increase in attendance took place at the conference portion of this year’s event, where industry professionals and artists gathered for a series of educational workshops and seminars.  Peaking at over 1,130 attendees, a 25% gain over last year, registration for the conference has now increased by a staggering 35% since 2009. The 2011 Festival & Conference also stimulated a boost in new AMA memberships, with a 13% increase in members in the last 12 months. Membership now stands at 1356.
The Americana daytime conference, located primarily at the Nashville Downtown Sheraton Hotel, featured 47 unique events divided into educational panels, workshops and
musical presentations.  The conference expanded it’s outreach into the Nashville community partnering with the Country Music Hall and Fame Museum, Musician’s Corner, the Tinney Contemporary Gallery, the Southern Festival of Books, the Hard Rock Cafe and the Second Fiddle.
Highlights of this year’s event included the Keynote Address from Recording Academy President/CEO Neil Portnow, an Americana curated-lineup with Nanci Griffith headlined at Musicians Corner in Centennial Park, a gallery exhibit and performance by Steve Forbert, and a stacked panel discussion titled “Land of 1000 Dances: The Groundbreaking Sounds of Muscle Shoals,” featuring pioneering producers, songwriters and musicians who contributed to the acclaimed recordings birthed there.
By evening, the Festival portion of the annual event showcased nearly 100 of Americana’s
best acts, including a diverse mix of both legends and the next generation of stars.  Attendance increased proportionately with thousands of fans and conference attendees packing houses at all five participating venues through the purchase of festival wristbands or limited general admission purchases.
The association’s capstone event, the Americana Music Honors & Awards show sold out the Ryman Auditorium for the first time in its ten-year history.  The program was broadcast live on Nashville Public Television (WNPT-Channel 8), and for the first time in the event’s history, will be broadcast nationwide by PBS.  “ACL Presents: Americana Music Festival” is set to air on Saturday November 19th (check your local listings).

“This year’s event reflects the growing national and international popularity of the Americana genre,” says Americana Executive Director Jed Hilly.  “That artists like Gregg Allman, Robert Plant and Lucinda Williams along with industry leaders like Neil Portnow, Rich Bengloff and Michael Huppe have flown to Nashville to be a part of our community is a huge honor.”  Hilly added, “What’s really exciting is the attendance of the genre’s next generation at both the festival and conference portions of our event – from the Avett Brothers to Jessica Lea Mayfield and the Civil Wars, and the hundreds of
other new artists and younger fans eager to understand the new music landscape and
experience great live music.  The Americana future is bright.”

Following the enormous success of Americanfest 2011, the association will conduct its annual Board of Directors elections and will focus on increasing its already broad appeal nationally and internationally in 2012.
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Posted in Entertainment by sceneandheardblog on November 17, 2011



Wanee Festival 2010


The 2012 Wanee Music Festival, held April 19th to 21st at Spirit of the Suwannee Music Park in Live Oak, FL, is putting  Early Bird Tickets on sale Monday, December 5th at 10AM.  3 Day Tickets are just $165 (plus applicable fees) and are available through and  They are only on sale through Sunday, December 11th and the supply is limited so get them before they are all gone!


For more information go to

Wanee Festival 2010

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DR. DOG TO RELEASE NEW ALBUM Be The Void Out February 7th 2012

Posted in Entertainment by sceneandheardblog on November 17, 2011

Beloved Philadelphia band Dr. Dog are poised to release a staggering burst of vital rock ‘n’ roll with their new record Be The Void. The album hits stores this February 7th via Anti-Records and is the raucous follow up to the group’s critically lauded Shame, Shame. 

While the band’s previous records boasted meticulously crafted symphonic pop, this time around the band turns up the guitars and delivers a truly great cathartic rock ‘n’ roll album played with near reckless abandon and passion.

With the addition of new drummer Eric Slick and electronics-percussionist-guitarist Dmitri Manos, the band entered the studio (Meth Beach) with a renewed sense of enthusiasm and confidence, tracking the songs liveto perfectly capture the rough and tumble energy of their renowned live show.

“We would just get in the pocket and go with it because it sounded great,” bassist-vocalist Toby Leaman explains. “There wasn’t this endless deliberating. We just went with our gut feelings on things.”

“It was reminiscent of when we were starting out and were these fearless weirdoes in a basement, so confident and reckless and bold,” guitarist-vocalist Scott McMicken adds. “It was really liberating.”

The songs on Be The Void flawlessly combine Dr. Dog’s adventuresome and expansive arrangements with a far leaner and meaner primal sound. The beats are harder, the guitars louder and edged with a warm distortion. “Guitars stopped being problematic and started becoming very exciting to us,” McMicken explains.

From the rollicking re-imagined blues of the disc’s title track to the searing guitars of “Vampire,” the frenetic punk urgency of “Over Here Over There” and the beautifully fuzzed out rock of “Warrior Man,” Dr. Dog’s Be The Void is a truly great rock ‘n’ roll record and the unmistakable sound of a band whose moment has arrived.

Be The Void Track Listing:
That Old Black Hole
These Days
How Long Must I Wait
Get Away
Do The Trick
Heavy Light
Big Girl
Over Here, Over There
Warrior Man
Turning The Century

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Bonamassa Shocks Music Industry

Posted in Entertainment by sceneandheardblog on November 12, 2011

Sells out 2 nights at Legendary Beacon Theater in New York City

Joe Bonamassa will play the Louisville Palace Nov. 15th

November 7, 2011- Award-winning blues-rock guitarist and singer-songwriter Joe Bonamassa kicked-off his 2011 U.S. Fall Tour on October 25, 2011. On his tour, Bonamassa has performed to sold-out crowds in Minneapolis’s State Theater, Detroit’s Fox Theater, Chicago Theater, Boston’s Wang Theater and most recent, sold-out a two night performance at the legendary Beacon Theatre in New York, NY on Friday, November 4, 2011 and Saturday, November 5, 2011. Bonamassa has been on a roll selling out historic theaters such as the Chicago Theater, Detroit Fox Theater, and Boston’s Wang theater. During the two-night show in NY, Bonamassa performed with special guests:  Legendary Classic Rock Singer Paul Rodgers (Bad Company and Queen), John Hiatt, Nashville Music Lifetime Achievement Award recipient for songwriting, and American Music Award (AMA) winner for Hit song “Have a Little Faith in Me” and Blues-Rock Songwriter Beth Hart. Bonamassa’s U.S. tour is in support of his 12th solo albumDust Bowl, which debuted at #1 on Billboard’s Blues Chart and #37 on Billboard’s Top 200, making it his highest-selling and chart-ranking U.S. debut to date. To get a free download of the single “Dust Bowl” click –

The two night show at the Beacon Theatre will be released as Bonamassa’s fourth live concert DVD, following a hugely successful DVD release “Joe Bonamassa – Live At The Royal Albert Hall”  featuring a special guest appearance from Eric Clapton. “Joe Bonamassa – Live at the Beacon Theatre” DVD is set to release early 2012.

Bonamassa collaborated with John Hiatt on the album Dust Bowland most recently, with Los Angeles-based singer-songwriter Beth Hart, known for her raw and powerful blues-rock sound, on a record called Don’t Explain, released Sept. 27, 2011 through J&R Adventures. Don’t Explain features Hart’s interpretations of ten classic songs first made famous by artists including Billie Holiday, Etta James, Tom Waits, Ray Charles, Delaney & Bonnie, Bill Withers, and Aretha Franklin with Bonamassa on guitar. Fans can get a free download of the first single “Well, Well“.

Joe Bonamassa plays The Louisville Palace Nov 15





Black Sabbath Reunite, Plan First LP With Ozzy in 33 Years

Posted in Entertainment by sceneandheardblog on November 12, 2011

Posted on Noisecreep  Nov 11th 2011 5:00PM by Chris Epting


11/11/11, also being called “Nigel Tufnel Day” in honor of the Spinal Tap guitarist’s special “goes to 11” amp, will also be remembered as the day the original four members of Black Sabbath — Ozzy OsbourneTony IommiGeezer Butler and Bill Ward — announced they are reuniting with plans for a new album and tour in 2012.

The announcement was made as the four musicians (joined by producer Rick Rubin, who will work on the band’s new album) gathered at the site of their very first U.S. show, L.A.’s famed Whisky a Go-Go on the Sunset STrip. That gig was played 41 years ago to the day on 11/11/70, so that’s where the men convened at 11:11AM, along with emcee, musician and spoken-word artist Henry Rollins.

Walking out on the intimate stage to a loud round of applause from the assembled press (after a short, thoughtful intro by Rollins and a video featuring vintage Sabbath footage), the four metal icons from Birmingham, England took questions first from Rollins then from the media. (And both Rollins and the band all acknowledged the importance of Veteran’s Day, as well.)

Ozzy described how this simply seemed like the right thing to do, given the fact that the band members are in touch (and still happen to like each other). All four seemed confident that the new material they are working on with Rubin is more than up to snuff, and Rubin expressed a lot of enthusiasm at being able to work with such seasoned legends. According to Rubin, the writing process is ongoing, with several songs already written. Recording will begin early next year.

Recently, the band signed a worldwide record deal with Vertigo and Vertigo/Universal Republic in the U.S., its original label. The new LP will mark their ninth studio album together and their first since 1978’s ‘Never Say Die!’

Next summer, Sabbath will headline the mammoth multi-day U.K. Download Festival on June 10, and the new album, set for a fall 2012 release, will be supported with a worldwide headline arena tour (dates TBA).

Noisecreep asked the band if they had any special memories from playing the same Whisky stage 41 years ago to the day. After disputing a much-reported and documented fact that the gig was actually an opening set for Alice Cooper, Iommi recalled that the band rented special white tuxedos for the show and that Bill Ward’s had become so filthy that the tux rental shop would not accept it back.

“I’ve still got the suit,” Ward said with a laugh. “And I’m thinking maybe I should give it to one of those halls that collects artifacts like that.”

Black Sabbath also announced today the launch of, the first-ever official Sabbath website for all authorized band news. In addition, the band’s online presence will also be supported by social media via Facebook and Twitter, marking the band’s first foray into the social media world.

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The Cure Announces New Live Album From Bestival 2011, Due Out 12/6 In the US!

Posted in Entertainment by sceneandheardblog on November 9, 2011

“The Cure had pulled off the epitome of the “festival set” akin to Bowie at Glastonbury 2000 or Macca at Glasto ’04, and every bit as legendary.”– The Guardian

“Set of the weekend.”

“Joyous – truly the stuff of rock-and-roll icons.”
– The Telegraph

“Robert Smith reminding all of his ability to craft those great three minute love songs.”

 – Clash Magazine

Sunday Best Recordings is thrilled to announce the December 6th release of The Cure: Bestival Live 2011, a live recording of the iconic bands incredible, career-spanning two and a half hour set performed at this year’s Bestival.

The double album, which is split over two CDs and also available as a digital download is made up of thirty-two Cure classics, including “The Lovecats,” “The Caterpillar,” “Close To Me,” “Friday I’m In Love,” “Lullaby,” “The Hungry Ghost,” “The End Of The World,” “Just Like Heaven,” “Grinding Halt,” “Jumping Someone Else’s Train” and “Boys Don’t Cry.”

Of the live album, Robert Smith of The Cure says “We had such a great time in the Isle of Wight at Bestival that we wanted to release this show as a way of thanking fans and islanders alike. Bestival is the best!”

All profits from the sale of this album will go to the Isle of Wight Youth Trust (Reg Charity No: 1087163). The Isle of Wight Youth Trust is a charitable, independent and professional organization offering counseling, advice, information and support services to young people aged 25 and under on the Isle of Wight (the home of Bestival) and, in some cases, their parents or carers. The Youth Trust has been working on the Isle of Wight for 27 years and has made a positive input to the wellbeing of people locally.

Eileen Monks, Director of The Isle of Wight Youth Trust, says; “What wonderful news that The Cure should choose us, an Island charity of 27 years, to benefit in this way. This came completely out of the blue and at a time when it is becoming extra hard to raise funds to support our work with children and young people on the Island, further cementing our association with young people in their many interests and aspects of their lives. We would like to thank Rob da Bank for his continuing support.”

Rob da Bank, founder of Bestival says “Since I was 15 and backcombing my hair, donning my sisters eyeliner and singing the lyrics to “A Forest” into my hairbrush I’ve had an unhealthy fascination with The Cure. To say it reached its peak at Bestival 2011 is an understatement, as after seven years of pestering I not only landed The Cure to headline Bestival, but now appear to be putting out one of their live records on my own record label. How strange! For any of the 50,000 who were at Bestival and saw all or some of the two and a half hour set, this live album will transport you back. For fans of The Cure who didn’t make it I know this will be a legendary addition to your Cure collection!”

District 97 and Little Atlas to play Headliners

Posted in Entertainment by sceneandheardblog on November 9, 2011

Friday, November 18th will see two of the country’s most vibrant and original bands, Chicago’s District 97 and Florida’s Little Atlas, share the stage at headliner’s Music Hall in Louisville.

District 97 is undoubtedly the most musically adventurous rock band in the world to feature an American Idol Top 10 Female Finalist.   The band was formed in the Fall of 2006 by drummer Jonathan Schang, keyboardist Rob Clearfield, bassist Patrick Mulcahy and guitarist Sam Krahn (eventually replaced by current guitarist Jim Tashjian). The foursome from Chicago honed a no-holds barred style of Liquid Tension Experiment inspired Instrumental Rock before deciding the right vocalist was needed to complement their sound; enter 2007 American Idol Top 10 Female Finalist, Leslie Hunt.

With a look, sound and stage presence comparable to a young Ann Wilson from Heart, Leslie’s dynamic performances pushed the band into a new direction that forged a unique marriage between accessible, catchy vocal melodies and an adventurous instrumental prowess. She was followed shortly thereafter by one of Chicago’s finest young guitarists, Jim Tashjian. With this new lineup of peerless musicianship in place, District 97 began wowing crowds and establishing a devoted fanbase through packed shows at legendary Chicago venues such as House of Blues, Schubas and Martyrs’, along with appearances at festivals such as CalProg 2010 in Whittier, CA and the Rites of Spring Festival in Gettysburg, PA in 2011.  Most recently, the band brought the house down performing with the legendary band “Kansas” in Elkhart, IN.

In May 2010, the band signed with progressive indie label Laser’s Edge, who oversaw worldwide physical and digital release of District 97’s debut effort, Hybrid Child, which was released to worldwide acclaim in September 2010, and went on to top many “Best of 2010” lists.  Running the gamut from Meshuggah-inspired metal, the epic majesty of Yes, and the melodicism of the Beatles, Hybrid Child unveiled District 97 as a true force to be reckoned with, and one that has taken the music world by storm. With fans ranging from high school students to world-class musicians such as Bill Bruford, John Wetton and Carl Palmer, it appears no one is immune from the alluring new sounds of District 97.

Joining District 97 will be Florida’s Little Atlas.  Voted best original rock band in Miami, Little Atlas has released their last two albums on Atlanta’s 10T Records.  This adventurous four-piece band is known for their instrumental prowess, heady lyrics, and turn-on-a-dime arrangements.  Like District 97, they are alumni of the Rites of Spring Progressive Music Festival.

The Nov. 18th Show at Headliners Music Hall, a state-of-the-art music venue that holds up to 750 fans, will be the first Kentucky show for either band.

Ronnie Milsap at Horseshoe photos

Posted in Entertainment by sceneandheardblog on November 8, 2011

Ronnie Milsap play many of his greatest hits, sang some gospel and even his rendition of Acapella.  Milsap entertained the sold out audience for an hour and thirty minutes. The country legend still has a strong voice and a great show.

Here are photos from the event:

Ronnie Milsap at Horseshoe Casino


Ronnie Milsap at Horseshoe Casino

Ronnie Milsap at Horseshoe Casino

Ronnie Milsap at Horseshoe Casino

The Pixies to visit The Louisville Palace on Wednesday

Posted in Entertainment by sceneandheardblog on November 8, 2011



For more than ten years, since the Pixies ended their run with a meltdown that left pretty much everyone pissed off, the chances of this group ever getting back together were basically nil. All four members scattered: Frank Black embarked on a solo career that has produced ten albums, many of which were critical triumphs and all of them anticipated eagerly by long-time and new fans. Joey Santiago did session work and got into scoring television and film projects in L.A., and received critical kudos for the two albums he did with wife Linda Mallari as The Martinis.  Kim Deal put together the Breeders who opened for Nirvana, headlined at Lollapalooza, and recorded a platinum album. After finding little satisfaction in studio work, Dave Lovering gave up music entirely and began a career as a professional magician.


But like star systems in an expanding universe, each of the Pixies would feel the pull, sooner or later, back toward the center, where once they had exploded and showered the musical vacuum with pointed, ironic, blackly humorous, and unforgettable songs. It took a few years – twelve, to be exact. But in late 2003, against all expectations, they did get there.


And once again, everything changed.


The Pixies’ 2004 tour was a total surprise and at the same time no surprise at all. Of course, it was a miracle that they were all up there onstage, pummeling through the songs that had inspired bands from Nirvana to Radiohead and guitar-thrashing teenagers in garages throughout the Western world. On the other hand, once they were there, how could they not sound glorious? If anything … if possible … they were stronger than ever, despite their tempestuous legacy.


The band’s return was documented on digital film. Those who disbelieve, or who consider a Pixies resurrection too good to have actually happened, are proven wrong with Pixies Sell Out, a DVD extravaganza that captures the greatest shows from their 2004 reunion tour. Footage includes hair-raising performances from around the world: the Move Festival in England, Voodoo Festival in New Orleans, T in the Park in Scotland, Fuji Rock Festival in Japan, Coachella in California’s desert valley, Austin City Limits festival, and the heart of the DVD, the Eurockeennes Festival in France.


Typically, though, the Pixies comeback began with a burst of confusion and contradiction. Reactions within the band, for example, were hardly consistent when word spread that Frank Black wanted to put the act back together:


“I was elated,” enthuses drummer Dave Lovering.


“I dreaded it,” admits bassist Kim Deal. “I just hoped it would go away.”


Just as typically, given the patterns of communication that had helped drag the Pixies to their demise in the early nineties, it began with Frank Black and his habit of expressing wishes indirectly. Rumors persist that he had originally broken up the band by letting his colleagues know it was over via fax. (“He remembers it that way,” Kim insists, “but it never happened. It could never have happened because he isn’t a confrontational guy. He couldn’t fire anybody, so he just stopped talking to us.”)


This time out, he apparently let everybody know what was on his mind by talking to the media. In an interview with London’s XFM Radio in the summer of 2003, he mused about his dreams of getting the Pixies together again. He even sweetened the bait by revealing that they still hooked up now and then to jam, though “not for public consumption.”


“Well,” Black says, coming clean at last, “we never actually jammed or anything. I was sort of stealing a quote from George Harrison, who said, when asked about his band’s much anticipated reunion, ‘Hey, if we all got together and jammed in the living room, you guys in the press wouldn’t even know about it.’ So I was being completely sarcastic, and the next day it was in The New York Post. It was like the cat that was never actually in the bag was out of the bag anyway.”


That’s all it took for the rest of the band to catch on. “I actually heard about it from my dad,” Lovering laughs. “One day he says to me, ‘I hear the Pixies are getting back together.’ I was like, ‘What are you talking about?’ See, I knew that would be impossible. I would never, ever have conceived of a reunion actually happening. So I discounted it until one day Joey called to say, ‘Guess what? Charles [Thompson, a.k.a. Frank Black] wants to get the band back together.’ And that just made my whole world much better.”


Black had asked guitarist Joey Santiago to convey his wishes to Lovering and Deal – just in time, it turned out, for him to disappear into a series of solo projects that made him unavailable when the rest of the band decided to see how it felt to play together again. With Black tied up on a European tour, the three met in November ’03 at the Breeders’ studio in Vernon, south of downtown L.A.


“Joe and I had agreed that if we sounded like shit, of course we wouldn’t do it,” Kim remembers. “So I packed my stuff into a Volvo station wagon in Ohio and checked into corporate housing near Joe’s house. He had burned ten of our songs onto a CD, which I picked up at his house – David already had all the Pixies stuff on iPod. We listened to those songs, and then we drove down to the Breeders’ space and got to work.


“It began quietly,” she continues, “like, ‘Okay, how does this one start?’ But toward the end of the day Joe and I were amazed at how, for better or worse, we sounded exactly the same as we used to. We even joked about whether this was good or bad, but we all agreed it was remarkable.”


In four days they worked up a list of forty songs, which they polished on and off through the winter, until Black was free to join them. “I was worried because he’d been doing solo stuff for a decade,” Kim says. “I thought that might give him a different sensibility of performance. When you’re in a rock band, it’s part, part, part, like with the Who, it always goes like this: ‘We won’t get fooled again … AAAGGHH!! Yeah!!’ But then you get this Mac Davis thing, where you decide that maybe you won’t go to the verse just yet, you’re going to ride the opening notes until you feel like singing the verse. If you have to cough, you can just cough. You can stop the song to take a drink of something and start the song back up.


“But Charles sounded great,” she smiles. “He sang like a beauty. It was gorgeous. I was so impressed.”


“On my first day back with the Pixies, we took a break to get some tacos,” Black recalls. “It reminded me of our early days of rehearsing in some industrial place, with little amps, a minuscule P.A., and a couple of mikes. I was feeling so up that I said, ‘Hey maybe we should do an unannounced gig in a few days, at some local club.’ The rest of the band looked at me like I had two heads because, to be honest, I’d forgotten a lot of the words to the songs. I was all over the place on that first day. But I knew there was a lot of muscle memory involved, and after I reviewed a little bit that night it all came right back by the next day. And by a couple of days after that we were sounding exactly the same as we had years before.”


With everyone onboard now, plans were laid for their reunion tour.


Opening in Minneapolis, the Pixies tour rolled first into Canada. From the start they drew packed houses and won rapturous reviews: At one of their early shows, in Saskatoon, Pop Matters described the performance as “ninety minutes of bedlam.” And even as part of an all-star bill at Coachella, The New York Times reported, “the day belonged to the Pixies.”


More important to the band was the feedback they were getting from their audiences, which was unlike anything they’d experienced. “In every city, people were so happy we were there,” Kim marvels. “People were crying. It didn’t really hit me until later in the summer, when Charles, Joe, and I went to a Stooges reunion in Berlin. And I realized, ‘Oh, my gosh, maybe people were reacting to us the way I was to the Stooges.’”


“When we started this tour,” Frank adds, “and all the crowds were singing along with us, we were like, ‘Wow, did you hear that tonight? That was amazing!’ But the whole time I’d been thinking, ‘Hey, man, we’ve been through this before. Don’t you remember that first wave of popularity in Europe? It was ridiculous. But you guys don’t remember – we were all too drunk!’”


But, as Frank concedes, there was something different in the response they got throughout 2004. “There were lots of younger people who’d never seen us before. Instead of thrusting their fists in the air and screaming along with the lyrics, the way it was the first time, there was a kind of deference. There was a lot more people standing there, really quietly, and going, ‘Oh, so this is what it’s like to hear the Pixies!’ It was more of a religious than a military zeal.”


Each gig stood out. Most were extraordinarily positive: great performance from the band, enormous warmth from crowds that ranged from early teens to late forties. Some were a little strange, like their appearance at a metal festival in Vienna. “These were young metal fans who had no idea who we are,” Frank laughs. “We were used to that ‘oh, my God, they’re back!’ reaction, so there was a little tension there. But when we were onstage we approached it like being some little band from Boston again, trying to make our way into the world. That was kind of nice, actually – a bonding thing, like ‘We do what we do, and if they don’t like it, screw ‘em.’”


And a few would prove unforgettable. They made their first-ever appearances in Iceland and in Japan; their set in the lush, green setting of the Fuji Rock festival is one of the highlights of Pixies Sell Out. But for all four members of the band, the highlight of their reunion was in the dry desert heat at Coachella.


“It was … indescribable,” Kim says. “We had worked our way west toward Vancouver, playing regular-sized shows. But when we walked out onstage at Coachella, the sun had just begun to curve down, so it was getting cooler but it wasn’t dark yet. We could see all these people and they were so happy. It wasn’t like, ‘Geez, they’re clapping loud.’ It was more this sense of excitement that the Pixies were there. I was so overwhelmed that I screwed up the beginning of our first song, ‘Bone Machine.’”


“I think we played Pomona the night before,” Dave continues. “A lot of the Coachella bands were there, so there was this feeling that it was a big event. Getting there, it was wonderful to hang with the bands backstage. It reminded me of one of the first times we’d played in London, at a place called the Mean Fiddler, after Surfer Rosa had come out. The audience just shocked me. It was the same at Coachella: I hadn’t ever seen that number of people with that amount of love. It was incredible.”


After Coachella, the Pixies routine that only got weirder – i.e., more comfortable, more fun – with each gig, and they found themselves getting along. “We buried the hatchet,” is how Santiago explains it, while Dave elaborates: “We’re all older and wiser, so we could deal with each other much better this time around. Other than that, there was no difference in what it was like to go on the road again. It felt exactly the same, from rehearsals to being onstage.”


They even passed time on the road playing games, including one ancient music geek diversion based on band names. “Okay,” Kim explains, maybe getting a little excited. “I’d start and say the name of a band, like ‘Asia.’ Then someone else would take the last letter of that word and name another band.” (“Alabama?” the interviewer suggests.) “Yeah, exactly. Then I’d say … well, I couldn’t say ‘Amboy Dukes,’ it would have to be ‘Ted Nugent and the Amboy Dukes,’ so … ‘Abba’? We’re stuck in the A’s, aren’t we? We’d play that for four full hours and have a blast.”


All four agreed on the most important point of the tour: The Pixies were beating everyone’s expectations, including their own. ‘We’re definitely tighter,” Santiago observes. “And I was trying new things, using more effects in a very flavorful way. I’d never done that in the past.”


“I’ve had a lot of time to think about the drum parts I’d recorded with the Pixies, which I was never happy with,” Dave adds. “Neil Peart [of Rush] was my favorite then, so I would always go nuts and throw a lot of fills into our early stuff. Now I’ve pared it down and it’s like, ‘Aha! Now I understand how it goes!’ I’m thirteen years too late, but at least it’s coming together now.”


“We were always about trying to play like the record,” Frank says. “That was our thing. Now, our thing is to play as we used to. While there are subtle differences – like, we’re probably a little more muscular as musicians – we do in fact sound the same, which is ‘mission accomplished’ for us.”

In assessing the result of nearly twenty Pixie years, from their first gigs in Boston through catalog of history-changing CDs (Come On Pilgrim, Surfer Rosa, Doolittle, Bossanova, Trompe le Monde), their crash-and-burn breakup, and their improbable return, it’s Kim who wraps up the ongoing saga with perfect, eloquent brevity:


“We sound the same … only better.”

Nutcracker in a Nutshell – 5th Anniversary Performance!

Posted in Entertainment by sceneandheardblog on November 7, 2011

Louisville, KY – Join Clara and the Nutcracker Prince as they battle the Mouse King and travel to The Land of the Sweets in the holiday classic Nutcracker in a Nutshell.  Designed to delight audiences of all ages, Nutcracker in a Nutshell is a shorter, child-friendly version of the traditional Nutcracker ballet.  The ballet has something for everyone…a delightful party scene, an exciting battle between mice and soldiers and the wonderful fantasy of the Land of Sweets. 


In what is becoming an annual holiday tradition for thousands, the MAGIC™ Dance Company is performing the 5th Anniversary production of Nutcracker in a Nutshell at the magnificent Louisville Palace Theater.  With gorgeous costumes, beautiful set design and incredible dancing, the magic of the holidays opens up before your eyes through this wonderful production.


Nutcracker in a Nutshell performances are Saturday, December 3rd at 2:00 pm and 7:00 pm.  Ticket prices for the production are $20.00 and $17.50.  Information on the show, photo galleries from past productions and ticket information is available at either Nutcracker in a Nutshell website ( or through the Louisville Palace Theater ( 


Corporate parties or groups are welcome.  For group ticket information please contact Marie Gould (502-439-9830,