One of the best finds of the first day of LouFest was rock 'n' roll quartet, Quaker City Night Hawks, a four-piece patchwork of all things 1973 and Texas justice. The Fort Worth based band made easy work of a late day shift at LouFest, drawing most of the crowd to the BMI stage and keeping them entranced up through the final jam. Comprised of bassist Pat Adams, drummer Aaron Haynes and guitarists Sam Anderson and David Matsler, QCNH set the tone for the rest of the festival, especially Saturday's Kentucky-born headliner Chris Stapleton. As we've seen some great music coming from Texas the past few years, QCNH have had a slight advantage being in Fort Worth, away from the hustle and bustle of Austin. Adams cites that distance as one reason they've been able to work and build an audience so easily: "Austin is very cutthroat, but Fort Worth is awesome -- it's kind of like an incubator scene, and because it's not Austin you can actually get your shit together and hone your craft."

Since forming nearly a decade ago, the group has released four albums, their newest as early as last spring. In true blue-collar fashion, they've worked hard and fast to get where they are. "We were a band for six weeks before we cut our first record," Anderson says. "It was really rushed because we had to complete it in five days, so it was very difficult, but this last record, we had plenty of time to try shit out and get a feel for what we wanted to do."

Trying shit out never sounded so good. The new record, El Astronauta, is a doozy. Laden with devilish riffs and lyrics to match, it sounds like the lone-star love child of ZZ Top and Creedence Clearwater Revival. "It felt like the first time we've ever felt like ourselves," says Anderson. Matsler agrees, "I feel like it's the most fully realized album we've put out so far." The band takes it's inspiration from all things west Texas and Matsler says that's all by design. "I'm interested by a lot of old school, 70s country, blues players like Freddie King -- there's a great culture of rock 'n' roll and Texas blues where we come from."

That inspiration and long nights brought forth the sci-fi/acid-blues and Southern rock arrangements on El Astronauta, which is sure to be on a host of 'Best Of 2016' lists by the end of the year. But inspiration is not without it's drawbacks, and Adams says it took some time to get the new album finally on the shelves due to the production schedule, "We had El Astronauta in the can for the past year before it was mixed mastered and ready to be released." Still, he's optimistic about the process going forward: "We hope to keep up a steady pace of music. We're lucky in this band to have two guys that write songs constantly."

Typically, Anderson and Matsler write songs individually before bringing them to the table where they get reworked in night-owl fashion. "It's been a hallmark of this band from the start," Matsler says. "We didn't want to co-write, it's not comfortable -- I'd rather do it at my house with my pants off," he laughs.

All jokes aside, each band member brings a number of influences to the drawing board. As Haynes says, it's all about the song: "That's where we have the most common ground. It's the song that's the most important thing, that's what's going to come out in the melodic structure of the tune. We'll all get out of the way, put our egos aside for the song."

"Yeah, our egos are stupid," Anderson quips. And a band without egos is a band that knows how to rock. After LouFest, QCNH will hit a few dates on the East Coast before heading back home to play the Austin City Limits festival, work on another record, and play some more hometown shows. "Some of those nights are very special performances," Matsler says, "It's like a totally different show, because we're the most comfortable there. Forth Worth is home base for us." Without a doubt, the rest of us will be looking forward to the next time QCNH make their rounds through here.


Click below for more photos of QCNH's performance at LouFest.

Quaker City Night Hawks at LouFest 2016 in Forest Park 9/10/16

With longtime bandleader Ben Jaffe at the helm, Preservation Hall Jazz Band made their first appearance at LouFest this weekend. Although they've performed several times at area venues in the past, including The Sheldon and Powell Symphony Hall, there's a special sound they've been adapting for the festival circuit. The seven-piece jazz band, comprised of several stellar players over the years, has been in full, New Orleans swing since the 1960s, when Jaffe's parents created the Preservation Hall in the French Quarter. Of the current lineup, 84-year-old saxophonist Charlie Gabriel is the senior member and a seventh generation musician. The band's set offered a string of original, NOLA style tunes and ended with a tuba-centered medley of Michael Jackson and Stevie Wonder. Afterward, Jaffe, who plays bass and tuba, had a chance to sit down to talk about the festival sound and the band's purpose as a gateway to a world of jazz for a newer generation.

KK: How long have you guys been doing the festival circuit now?

BJ: It's interesting. The first time I got the band into this environment was when we played Bonnaroo in 2006. That got us starting to penetrate some of these unorthodox festivals with jazz. Normally, they might present something esoteric, where Herbie Hancock might jam with Phish or something, but Bonnaroo was the first time we started getting in there and meeting people and becoming a part of this community. We're kind of like gypsies traveling the festival circuit.

KK: You guys have really gotten into it over the last few years. How have the crowds reacted?

BJ: You start seeing the same people, same bands, and we just hit the scene at a time when music was transitions from CDs to digital -- electronic music was starting to headline these things. I remember the first time I heard Skrillex at Austin City Limits, we were backstage and you could just sense that something was about to go down -- the energy was starting to move towards this one area, and we went up on the stage and looked out on the crowd and the energy was like nothing I'd ever seen before. I mean, I saw the Red Hot Chili Peppers play when they were still a punk band and it was like that -- the energy was wild and the crowd was swaying and then this guy comes out and rips it up. Completely out of left field for me. And it was really cool that the promoters were putting us on the same bill with these artists and kids were getting to hear all of us at the same festival.

KK: Are there many jazz acts who get in on the festival scene or do you find that you guys are kind of loners out here?

BJ: We're probably one of the few who makes an effort to do it. A lot of bands maybe wait to get a call and it's very hard for them. We've made a real effort to discover our sound in a festival environment, that's something a lot of artists in jazz don't do because they're used to playing small clubs and concert halls and it's a completely different level of knowledge. Just because you're a great musician doesn't make you a great recording artist and vice versa. For me, it was important to learn how to record with headphones and tracking and to think about building on the Preservation Hall experience, but I realized early on you can't replicate that, so don't try to, or you're just gonna fail. That's what a lot of jazz bands try to do -- they try to replicate a concert hall experience in an amphitheater environment and that's not what you're there to do. You're there to throw sound out into the audience. It's taken us years to find how best to do that because you have to find the right engineer to work with acoustic instruments -- it's finding all the things that work with the band. None of us grew up performing with mics so that process of playing and having a balance on stage with a big audience, it's taken us time but I think we've finally found our stride.

KK: And that experience has really helped the band find a signature sound.

BJ: Right before we recorded That's It, we went on tour with My Morning Jacket and we decided that if we were going to play in this environment, we had to learn the language of monitors, production value, microphones, stage volumes -- night after night, we had that opportunity to practice that. Up until then, we would hit a festival and hope and pray. That touring experience gave us a lot of practice. But we're not trying to recreate that Preservation Hall sound of New Orleans jazz, which shouldn't be confused with modern forms. I think of what we're doing with our sound as part of New Orleans modern jazz, because we're all from jazz families. And when I think of modern, I'm not necessarily thinking Coltrane, I'm thinking of the next evolution of a tradition, so we're like the next evolution of the Preservation Hall Jazz Band, which in turn was the evolution of Jelly Roll Morton and King Oliver, so we just keep moving it down the line.

KK: What do you think the next evolution looks like for the band after today?

BJ: I think you heard some of it today! It's definitely tuned into the way people experience music now, very tuned into dance music -- because New Orleans jazz is dance music. Dance music isn't new, it's been around a long time. So in some ways, dance music is our tradition.

KK: Are you surprised at the number of younger crowds who love your shows? What do you think they're getting from it?

BJ: I think we're introducing them to something really important. We're a portal into a whole genre of music. Several generations of music-lovers learned about Coltrane and bluegrass from Jerry Garcia for example -- he was the portal through which a lot of people entered this universe. If you tackle Preservation Hall and start digging, you're gonna uncover The Meters, Lee Dorsey, Irma Thomas, and eventually, the rhythmic root and soul of all of this is going to bring you back to West Africa. But everybody needs an entry point and that's what distinguishes the band to me -- I hope we're that portal for them.


Click below for more photos of Preservation Hall Jazz Band's performance at LouFest.

Preservation Hall Jazz Band at LouFest 2016 in Forest Park 9/10/16


In a perfect world, the Rival Sons would already be an instantly recognizable name among rock music fans here in their native United States. However, for reasons seemingly rather mysterious and unknown, the Long Beach, California quartet (who tour as a quintet, with the addition of a keyboardist), have earned the bulk of their substantially-sized success outside of their home country. Receiving high, near-the-top billing on festivals and stadium shows all across Europe and Canada for the past few years, Rival Sons, now in their eighth year of existence, finally appear poised to potentially achieving a well-deserved similar status here in America.

Even without a very large American fanbase, many critics here in the States have been aware of and given praise to Rival Sons since the start of their career back in 2008. Respectable media sources like the Huffington Post and Classic Rock Magazine have referred to the band as "America's next great rock and roll band" and "the band to watch," and those who are fortunate enough to already be American fans have given Rival Sons' live shows absolutely stellar online reviews; many stating that they are the best band (or one of the best) they have ever seen in concert.

Alongside better-known bands like Queens of the Stone Age, Wolfmother, and The Black Crowes, Rival Sons are primarily influenced by heavy, blues-steeped British groups from the 1970's like Cream, Bad Company, Deep Purple and Led Zeppelin (Jimmy Page is a huge fan of the band). Their sonic style also has enough meaty, soulful swagger to have rightfully earned Rival Sons comparisons to bands such as the Cult, and the Doors, and Aerosmith (with whom the band toured in 2014).

Rival Sons are currently supporting their recently (June) released fifth album entitled Hollow Bones (Earache) on a monster-sized, 52-date global tour spanning seven months. This tour contains the most U.S. dates of any of their previous world tours, and their Pageant appearance will be only the second time that the band has ever graced a St. Louis stage. Drummer Michael Miley has said that the band's firmly committed to giving 110% to each and every audience they play for. If any of the several high-quality live Rival Sons performances available online are any indication, that statement should be proven true time and time again throughout this tour.


Singer, songwriter and pianist Lucas Jack just moved to St. Louis in July from San Antonio, Texas, where he developed quite a following. A modern throwback to the great piano rockers and pop artists of the 70s and early 80s such as Jackson Browne, Leon Russell, Elton John and Billy Joel, he'll celebrate the official release of his new album, Make it Beautiful on September 14 at Off Broadway (with opener Emily Wallace). 

The new album, he says, "is a lot 'poppier' than my previous material, which had a more organic sound. This album has a lot more synthesizers and auxiliary percussion tracks, and a bit more production shine on it. In place of pedal steel, fiddles or horns, I have synthesizers and drum loops." 

He recorded Make it Beautiful with his three-piece band, which includes Michael Gomez on drums and Justin Schneider on bass, with Lucas taking the lead on piano and vocals. They will perform with him at the album release show. 

Growing up in Kalamazoo, Mich., Lucas says he can't even remember the first time he played the piano. "It's like asking, 'when is the first time you ate a banana or drew a picture with a pencil?' We always had a piano around, and I just always remember banging away at it. I started proper piano lessons when I was probably five years old and took them my whole life, even up through college."

As early as high school, Lucas was playing small shows in piano bars, as well as at church and weddings; but he never really allowed himself to consider it as a potential career path. 

"I just knew it was something I wanted to do my whole life and that I'd always have a piano and be playing, because it's really cathartic and helps me process feelings that I have. It's a way that I cope with things that disappoint me and things that make me sad. It's an emotional experience for me," he says. "But I didn't have confidence in that it would matter to other people the way it matters to me, so I mostly just played for myself."

While performing in various bands and writing music, he also attended law school in Chicago and became an attorney. It wasn't until after met his wife at a St. Louis gig with one of those bands that being a full-time musician became a real possibility in his mind. "She was like, 'Oh, you're a musician,' and I thought, 'Yeah, I guess I am,'" he says.

They married in less than a year and suddenly found themselves moving to San Antonio, Texas, where she was set to show up for active duty in the Air Force. That's when Lucas got serious about taking the leap into music as a career.

"I decided when I moved there that I was just going to play music as a full-time career and make a go of it," he says. "I made that decision at a time of great upheaval in my life. I was leaving a career in Chicago, leaving all my friends, moving to Texas where I didn't know a single person. I wasn't very happy being a lawyer. So I became Lucas Jack the piano player and singer and songwriter, and I've just never looked back."

While he left his law career in the dust, Lucas says those skills have certainly come in handy as he navigates and learns more about the music business. 

"I think the business acumen I bring has made me a better manager of my career and has helped me make better choices as far as what shows I play and people I hire and what albums I release," he says. "Having a law degree and an accounting degree certainly doesn't hurt you when it comes to those kinds of things." 

Though he's played in St. Louis a few times before, the album release show at Off Broadway will mark Lucas' first performance here as an official resident. He's already throwing himself headfirst into the local music scene and has been quite pleased with what he's found. 

"I see a real celebration of local music; a championing of the local scene here where people take a lot of pride in their own. I think that comes through in local publications and also on KDHX, which has been very supportive of my albums in the past," he says. "On top of that, there are so many clubs -- and not just big stadiums or hole-in-the-wall dumps -- but nice, mid-sized rooms where local bands can bring 50 to 200 people and have a really great show with good sound and great lights and get good press and promotion. It's been really refreshing to see how vibrant the music scene is here and how much everyone celebrates a real diversity of music. And people here go out to see live music -- and see local music." 

When he's not banging the keys, Lucas is happy spending time with his wife and two young children, as well as other family and friends that live here, and exploring all that his new home city has to offer. 



Anarchist and leftist punks have long sought to raise awareness about various forms of oppression and exploitation by offering first-person caricatures of the enemy, whether corporate bosses, suburban drones, college preppies, skinheads, or the cult of dumb. It was in this tradition of critique that Ben Wallers started the Country Teasers in mid-'90s Scotland and began releasing albums that prod listeners by holding a mirror up to bigotry of all kinds, especially bigotry that's been culturally sanctioned because of positions of privilege, i.e. the correlation between climate change denial and being a wealthy white male. Often taunting listeners (or readers in this case) to hold on to such positions of privilege in the face of their underlying violence, Wallers set the Country Teasers in the vein of the Dead Kennedys and Butthole Surfers through albums that both take aim at and inspiration from American culture. (The Teasers second album Satan is Real Again, for example, is a nod to the 1959 Louvin Brothers album in which the country duo truly seemed to want their listeners to feel the flames of hell licking at their heels.) From the ashes of the Teasers, Wallers has now emerged as The Rebel, having continued to release albums that take on various forms of patriarchy, cultural exceptionalism, and the self-destructive elements of contemporary humankind. He plays at Off-Broadway, Thursday, August 18 with Spray Paint, Old Scratch's Burn Pile, and DemonLover. In advance of the show, he answered some questions over email about Nashville, William S. Burroughs, satire, modern appliances, Star Wars, as well as some of the heavier facts of contemporary American politics.   


Q: I see a lot of similarities between your lyricism in songs like "Anytime, Cowboy" and the satirical style of a young Randy Newman. Who are some satirists that have influenced your voice, and can satire hold up as a weapon against the growing threat of fascism?

BW: Satire ought really to get stronger and funnier as things get worse in the Non-Funny world (Syria; Ukraine; Congo) but I'm too out of touch to really say. Oh, except comedian Stewart Lee, he's keeping it up over here in England. Lenny Bruce, William Burroughs, Jonathan Swift, viz. See my take on humour is that unless it's attacking something evil or referring to something utterly bleak, I don't really find it all that funny. Although my niece told me this knock knock joke and it's adooooooooorable: "Knock knock." Who's there? "Butcher." Butcher who? "Butcher lil' arms aroun' me!"

Q: Speaking of, would you like to see the grave of William Burroughs while you're in St. Louis?

BW: Oh god I would LOVE that! I just read Barry Miles's recent Life of Burroughs and it was huge and unputdownable. I totally fell in love with him all over again and this time properly, accepting him also as a human, not just a godly writer. So, yes please.

Q: In a previous interview you said that what country music is like an allegory for American culture going off the deep end...

BW: I must have been high when I said that; or else my neurons got tangled up with the wires that my fingers dangle from in my mouth. I probably just meant "Off a cliff, into the deep end." Really deep, where your feet can't touch the bottom and you panic and ask the guy on the side to help you by maybe passing you the pole and the guy says, "Wait a minute buddy: where did you say you were from?" And you say, "Oh I... I don't think I did say! In fact in all this excitement I can't remember!" So you look down and see your face in the water, and suddenly you remember. That guy on the side is Donald Trump, your new president. You voted for him, but he doesn't pass you the pole. You drown. On the bottom of the pool are a thousand million rotting undead corpses. That's America.

Q: Do you think Tammy Wynette was murdered and, if so, what parallels does the cover-up of her death have with the decline of Nashville?

BW: Nashville IS Decline! I mean what drew me to Nashville's country music was the sense of decaying White culture. The last breath of a threatened, paranoid empire: WHITEY. And Tammy I loved because she sounded like she was trapped, like all our sisters are. Trapped under a man's superior muscle strength. (I am confident that Patriarchy will be overthrown, btw; it's happening).

Q: Is it true the Jon Wayne LP Texas Funeral had an influence on the Country Teasers? And how did it feel to record an album of your own in Texas, were you able to draw from the bottomless well of Texas country?

BW: Yes, I love Jon Wayne and so does the whole band. Monty Buckles sorted it out in 2006 that we supported them in LA and it was really something, like a dream really, i don't think it's even sunk in yet! He was playing a crudely spray-painted vox Phantom... I'm not sure how much influence he had on my Schtick, because I didn't hear about him until we were playing a gig in Edinburgh and this big lad comes up - this must have been 1994 -- and says "You must be fans of Jon Wayne" and I was all like "Wha...? " so he gave me a tape and i couldn't believe it. But thereafter I think the main thing was that David Vaught's production was like totally wow. So maybe it opened us up or something? Not sure.

Q: If you were a domestic appliance what would it be?

BW: I'd be an old typewriter. I dislike the white goods you have in your bourgeois kitchens. Fridges, washing machines and PARTICULARLY dishwashers. Never let me see you putting tea-spoons in a dishwasher please! In fact let's get that thing in the car right now and drive to the Dump ready!  Fucking dishwashers! Breeders of deadly virus! Symbol and embodiment of fucked-up, dying, self-hating, hurrying Whitey culture! Push them over the fucking cliff! Down, down, down! Crash!

Q: What is the wackiest "instrument" you have used on a track (i.e. an oven for percussion, a slinky for texture, etc., etc.)?

BW: I used a slinky to make star wars laser gun noises and reverb; believe it or not the sound of hair, skin & bone rubbing against the wooden edge of a desk is the only thing I can think of sounds-unusual-wise; I like to use lots of different little keyboards; musical boxes; hmmm... Mind's gone blank.

Q: Is it true the Jon Wayne LP 'Texas Funeral' had an influence on the Country Teasers? And how did it feel to record an album of your own in Texas [which?], were you able to draw from the bottomless well of Texas country?

BW: Yes, I love Jon Wayne and so does the whole band. Monty Buckles sorted it out in 2006 that we supported them in LA and it was really something, like a dream really, I don't think it's even sunk in yet! He was playing a crudely spray-painted vox Phantom... I'm not sure how much influence he had on my Schtick, because I didn't hear about him until we were playing a gig in Edinburgh and this big lad comes up -- this must have been 1994 -- and says "You must be fans of Jon Wayne" and I was all like "Wha...?" so he gave me a tape and I couldn't believe it. But thereafter I think the main thing was that David Vaught's production was like totally wow. So maybe it opened us up or something? Not sure. 

Q: What is your animal totem? 

BW: I never used to like cats, despite my hero Burroughs' addiction to them, until we got a cat ourselves, little Tammy, who had run away from a cattery in Somerset as a kitten. Now I love cats. It's great being on the internet all day watching videos of cats. Omg they're HILARIOUS lol? :))))) I love Tammy, she is on my lap as we speak. Other animals I dig are sharks, spiders, centipedes, cockroaches, woodlice, ants. Dogs are a fucking bore, yawn yawn yawn (sorry, no offence meant). I really like sharks, did I mention that? Terrified that's how I'm gonna go. Aaarrrrrgggggh! First human shark-attack death in British waters, that'll be me. Off the Cornish coast. Still, I've had a good innings.

Q: In the latest Star Wars film what was Luke Skywalker doing on that island, how did he even get there?  Do you have a new hope for the new Star Wars Films?

BW: I know, what the Fuck, Ireland?! The Jedi started in Ireland, on EARTH of all planets?! Wild! I'm not a good person to ask about Star Wars because i blindly follow it wholesale like a zombie (except the crap 3 from the 90s obvs). I totally, totally, TOTALLY loved The Force Awakens when it came out and went to see it -- in secret -- 4 times, or maybe 5, I lost count. Not 6 though. Cried a lot; different cinemas produced different emotions, all good; felt that viewing 2 was much better than viewing 1; loved it when Han shouts "Ben!" of course; think we should all shout "Ben!" whenever wotsisname the actor from Girls who played Kylo Ren appears in a trailer before a film at the cinema; "BEN!" Ha ha ha! That'd be hilARIOus!!!! So you know I got the dvd and I watch it a lot, mainly to block out the misery of my home life, but I turn the sound off now because the script is SO BAD and the plot so fragile. But I live in the Force and its ways!  So I am DEFINITELY 100% confident that the next one will be even better. 

Q: Who would play Ben Wallers in the made for TV biopic?

BW: Ryan Gosling would play me; I don't really LIKE him per se, I just think we are very much alike, he and I. Similar ages and so forth. Outlook.

Q: Wot wud U do with a million pounds?

BW: With a million pounds I would buy a nice studio set up somewhere I could play drums again. I'd get someone to build me a Fostex X-30 four track which wouldn't break down. I'd retire from my job for a year and try to knock out the really great album I think might be in there somewhere under all the frustration. Also I'd get like 1,000 Reese's cups, I mean 3,000, because it'd be 1,000 packs of 3.

Q: According to a 1983 interview in Smash Hits, Simon Le Bon from Duran Duran was once electrocuted while swimming. If he had died, how would your career have been different?

BW: I guess Simon's lyrics and delivery, which are unique, would have left a big hole in frontman-ship; could there have been a Morrissey for instance, without Simon Le Bon going before and lighting the way? If anyone can get hold of "Blue Silver," the documentary of their USA tour around the time of Seven and the Ragged Tiger, I'll give you a collectible badge and a used plectrum if I can spare it.

Q: In the same interview, John Taylor of Duran Duran said, "Our fans don't believe pop stars have bowels." What do you think about celebrity culture and is it wielded as a tool for oppression? Furthermore, do you think John Taylor from Duran Duran had bowels?

BW: Obviously Duran Duran were übermenschen in ways we teens would never need to understand. Things like going to the bathroom, shagging, getting angry with each were all totally irrelevant. It's all music! You can't see music! And yes, the capitalist system uses it to make money and like patriarchy I feel its days are numbered. Revolution will come and the next thing will take over until humans destroy themselves and the Earth can carry on with the insects and so forth. Who gives a shit!


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