Jim Price
Moderator
Joined: 07 Dec 2002
Posts: 4817
Location: Altoona, PA
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 Posted: Saturday Jul 31, 2004 |
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MILLENNIUM MUSIC CONFERENCE RECAP 6/29/04 (PART 1)
When I last wrote on Rockpage about the Millenium Music Conference early last year, my last memory of Millenium weekend was high-tailing it out of Harrisburg as the first snowflakes fell early on Sunday morning after the Conference had ended. By the time my car crawled back into Altoona, some 5-7” of snow was already on the ground, en route to 18” in the Altoona area (and me camping out overnight at Q94 after doing the “Backyard Rocker”). Some 2 feet of snow quickly covered the Harrisburg area, shutting the city down and stranding most Millenium participants (who didn’t escape early) in the Harrisburg Hilton and Towers for two more days!
That memory must have stayed indelibly etched on Millenium organizer John Harris’ mind, and was likely a big factor in the decision to move the conference from February to June this year. The site of this year's conference changed as well, if just across the street, from the Harrisburg Hilton and Towers to Crowne Plaza. And even the spelling changed - from Millenium to Millennium.
How would all these changes affect the Conference? I would find out as I sojourned to Harrisburg to partake in this year's event.
DAY ONE, THURSDAY 6/24/04
Another change for this year's Millennium Music Conference was the addition of a third day of panels, clinics, mentoring sessions and the trade show; added to the front end of the event on Thursday afternoon. I opted to pass on this first day of business sessions (too late for me to schedule another vacation day off to attend), and arrived in Harrisburg early Thursday evening in time for the first showcases.
After parking my car in the Crowne Plaza's underground parking garage (and sauna, it felt like 100 degrees down there!), I proceeded up to the hotel lobby to check in and procure my Millennium laminate. Looking around and trying to figure out where I needed to go, I ran into Martin Dam, guitarist and singer for Montreal-based rock band Crash Delicate; he was also looking for where to check in for Millennium. It would be the first of numerous times I would run into Martin during Millennium weekend; and before the weekend was over, I would actually go see Martin and his band perform.
Eventually I procured my Millennium power amulet – errr – laminate (which enabled me access to all the showcases), and I was off to check out the first night of showcasing bands and artists.
In previous years, I arrived at Millennium with a good idea of at least a few of the bands I would make a point to check out, at least for Thursday night. But this year for me, it was wide open – although I had a few names on my radar, I was largely undecided where I was heading and who I wanted to see. Since I did want to see Pittsburgh's J.D. Strum a little later this night at Kokomo's in downtown Harrisburg, I decided to stroll down 2nd Street and checkout whatever looked promising.
First, upon stepping outside the Crowne Plaza and starting my walk down the sidewalk, my first encounter with painted cows. Yes, painted – and otherwise decorated – cows. On just about every block. Blue cows, orange cows, cows covered in pennies, a cow sitting on a bench outside the Hilton reading the Sunday comics – What was the story with all these painted-up bovines!? (I would eventually learn that this was "CowParade Harrisburg 2004" - the cows were on display since spring, and were being auctioned off with proceeds benefiting the Whitaker Center for Science and the Arts.)
Bovine mystery aside, this was the Millennium where I would discover Harrisburg's 2nd Street scene. This place is HAPPENING! For those not familiar with it, in recent years a number of empty buildings along 2nd Street were converted into cafes, eateries, nightclubs and venues. The evening atmosphere is similar to Pittsburgh's Strip District, with lots of activity. A lot of Millennium showcases were happening in this part of Harrisburg, and located within easy walking distance of Crowne Plaza Hotel; making this an easy choice for anybody who didn't know Harrisburg well enough to try to find the outskirts venues.
The first showcases here weren't slated to start until 8 PM, and I still wasn't sure where I would begin. In the distance, I could hear what sounded like a band playing, so I figured perhaps one of the showcase venues started early, and I went to investigate. The sound was emanating from the Pep Grill, and inside, the band Texas Jerry was completing their soundcheck. I guess I had made my decision – Texas Jerry would be my first band of this Millennium.
Four members strong, York-based Texas Jerry soon commenced their official Millennium set, playing a selection of songs from their two recordings; their 2003 EP You and I and their recently-released full-length CD, Lesson Learned.. The group's obvious focal point was leading lady Elyssa Williams, who brandished a strong midrange voice in the Pat Benatar vein. Flanking Elyssa were guitarist Shawn Williams, bassist Dave Huxta and drummer Bill Lacomb. Texas Jerry’s style and sound were melodic, classic-rooted, hard-edged rock with strong song hooks and muscle. Songs that stood out for me included several tunes from the new CD, such as “Right Behind You,” “Better Than You,” and the angrier-edged “Walk Away;” also a new song the group introduced called “How Many Times,” bearing a slight Tom Petty flavor. Texas Jerry’s presentation was good overall; instrumentally tight and vocally solid. Although relatively small at this point, the Pep Grill audience was won over by Texas Jerry as their set progressed; and a few new fans even purchased CD’s at the end of their set.
Elyssa Williams of Texas Jerry.
Texas Jerry, kicking things off at the Pep Grill.
I stuck around to see the Pep Grill’s second band of the evening, the Eddie Stone Band. A power trio based near Washington, DC; the Eddie Stone Band tapped several styles for an exciting, freewheeling presentation. An improvised hard-rocking free jam triggered their set and immediately drew cheers from the Pep Grill populace (the band later told me that was their soundcheck). The group then introduced a fast-rocking original tune about a ’69 Camaro called “Sugar Bush.” Next was another original, “Crystalline Rollercoaster,” which started out as a bluesy instrumental before shifting gears into a reggae-flavored number. The group then shifted into a more agitated mode for a tune they explained was written for Kurt Cobain (no title was given). Next was a remake, as the Eddie Stone Band gave their rendition of the Who’s “Baba O’Reilly.” This version of the Who classic was raw and agitated, suggesting how this tune might have sounded had Nirvana came up with it first – interesting. The Eddie Stone Band’s presentation was raw, furious and unpredictable; and group namesake Eddie proved himself to be quite the shredder on the frets. This band provided wideopen power trio excitement, with all three members stretching out and having fun on their instruments. Again, I was impressed with what I witnessed here; and wouldn’t mind seeing the Eddie Stone Band again someday.
The Eddie Stone Band, stating their case at the Pep Grill.
Wanting to catch JD Strum’s performance at Kokomo’s Downtown, I departed the Pep Grill at this point. One problem: I didn’t know where Kokomo’s was, except that it was in this general vicinity along 2nd Street. So I headed out to the sidewalk to try to find Kokomo’s. I paused outside an open-air venue, where I heard an acoustic group performing inside. But this was Bourbon Street Station, not Kokomo’s. I stood and pondered which direction to go; but before I could decide, a female voice called out from the stage, “Jim Price, I see you – get in here!” My attention jarred and my curiosity triggered as to the source of this command, I obeyed.
Once I stepped inside Bourbon Street Station and saw the band onstage, I quickly realized who had called out to me – Gretchen, lead lady of Something Fluid. Gretchen, guitarists Chris and CJ were performing as an acoustic trio, and entertaining a decent-sized Friday evening crowd. I stuck around long enough to catch two songs, their acoustic treatments of Tommy Tutone’s “867-5309/Jenny” and George Michael’s “Faith.” Understanding that it was Millennium weekend and that I had a lot of bands to see, Gretchen graciously excused me and granted me the go-ahead to head back out on my appointed rounds. It was definitely cool to see Gretchen, Chris and CJ in action; and with Something Fluid’s electric incarnation recently reformed and back in action, I hope to see a return visit to the Altoona vicinity sometime soon!
Something Fluid acoustic trio at Bourbon Street Station.
Hey Dean! I found your new Harrisburg branch office!
Stepping back onto 2nd Street, I proceeded down the street, passing the Hardware Bar, Dragonfly, Fisaga and other clubs and eateries, eventually finding my destination, Kokomo’s – in enough time to catch the last four songs of JD Strum’s set.
J.D. Strum is the band project of Pittsburgh singer/songwriter/guitarist Jeff Marks. I first met Jeff at Millennium a few years ago; I finally saw him perform for the first time last summer at Pittsburgh’s Hard Rock Café in his acoustic duo with former Voodoo Babies frontlady Lori Bernish, and now I would get to see him perform with JD Strum. Jeff is the “J” in JD Strum; Drew Bentley is the “D.” Performing with Harry Carr as an acoustic trio, JD Strum did songs from their recently released CD, Just Another Story, including “On and On,” “It’s All Good,” “I Want to Know” and more. Their presentation was pleasant and relaxed, and the trio’s instruments and vocal harmonies were on target. From what I witnessed, JD Strum offered up a smooth performance, and received a favorable response from a number of Kokomo’s fans and patrons.
Performing as an acoustic trio, J.D. Strum at Kokomo’s Downtown.
As I sat and watched JD Strum’s set, I ordered up my first batch of Harrisburg wings from Tonya the waitress. A few years ago, as you might recall, I had a not-so-pleasant experience trying to order wings from another Kokomo’s, in Camp Hill. Fortunately, though, this Kokomo’s service was much better – Tonya was courteous and friendly, and the hot wings kicked ass. Definite thumbs up!
Also during intermission, I was pleasantly surprised by a visit from soundman extraordinaire Jeff Rittenhouse, in the neighborhood to run sound at the Hardware Bar a few doors away (I believe he said for UUU). Jeff said Kokomo’s was one of his favorite places to hang at when he was in the Harrisburg area.
Besides JD Strum, I had also come to Kokomo’s to see Michael Reich. It had been two Millenniums since I last saw Mike perform (outside of an unplugged song or two on Q94’s “Backyard Rocker”); and I was very impressed with Mike’s CD, Who’s Minding The Store, enough so that I wanted to make a point to catch his showcase performance. Mike opened his set with “As Clouds Roll By” from his second recording, Before I Let It Go, and proceeded with a set showcasing songs from Who’s Minding The Store and one new song. “Every Step of the Way.” Mike performed the country-flavored “Live for Today;” his ode to 9-11, “Line In The Sand;” “Better Late Than Never;” “Don’t Turn Me Away” and more. Eventually, electric guitarist Jeff Maglio joined Mike on his ode to musicians at Millennium, “2nd Street (Hey Hey);” and drummer Tom Kristich packed a beat for the set-ending rendition of Mike’s technology commentary, “Wireless.” Mike did a good job here, giving a spirited, hearty performance as he sang his lyrical themes of our changing society and times with passion and conviction. His guests provided variation to Mike’s presentation, and kept his set fresh. Mike won a number of new fans at Kokomo’s this night; and he even sold a CD or two.
Michael Reich performs at Kokomo’s.
Michael Reich, with special guest Jeff Maglio.
Following Michael Reich’s set, I decided to leave Kokomo’s – and downtown Harrisburg – to catch one of the showcases happening outside of downtown. Although I hadn’t been there before, I set out to catch the later showcasing bands at Doc Holliday’s Courtyard in New Cumberland. I decided to try to find this venue without using Harrisburg’s infamous interstates (which I try to avoid if at all possible). Through trial and error I eventually succeeded, but arrived too late to catch much of Axum’s set other than the last two songs.
I was very surprised to discover a sparse crowd in the room as I arrived. (This would turn out to be a frequent trend during this year's Millennium – the downtown showcases were well attended, while the outskirt venues were sparsely populated throughout the weekend.) Given what I thought was a strong slate of bands at this venue – Spitshine, Naked Stranger, Axum and Vs. the Earth – I thought the Courtyard would be packed. Not the case. Either everybody was checking out the downtown Harrisburg clubs (which were busy), or perhaps these bands weren't as strongly established in this part of the world as I thought they were. Oh well.
The Vs. the Earth contingent spotted me quickly and greeted me, before introducing me to their manager from Baltimore, Gary Hutson. I would see Gary a good bit during Millennium weekend; he was a panelist at this year's Conference and was at the Crowne Plaza a good part of the weekend.
Although less than 20 people remained in the band room as Vs. the Earth kicked off their showcase set, it didn't matter to them. Singer Adam Marino treated it as a cordial get-together with close friends, and instantly ventured out into the room to meet and shake hands with everyone before the group commenced their set with "She Rocks Me." Adam, guitarist Mike Ritchey, bassist Big Dawg and drummer Shawn Hocherl proceeded with a fast-firing, crisp set of their catchy, hook-laden original tunes; most from last year's Nevermoure CD 10 Songs.6 Great, 3 Good, 1 Decent. The group rocked the house with "Psycho," "Untouchable," the newer "Friend Zone" and "The American Teenage Anthem." Towards the middle of their set, Vs. the Earth slowed it down for two ballads, an acoustic number and - with piano piped in from "Kenny" in the truck outside (that's Adam's story and he stuck to it) - "Carolina Sky." Adam strode out onto the floor during this latter song and cuddled with a couple in a love seat as he crooned along. Vs. the Earth demonstrated all of what they did best, going full-tilt on the rockers, mellowing out tastefully on the ballads, and executing all of it tightly, crisply, and with smiles on their faces. The group didn't lament about the lack of people here, but instead gave those who were present a rocking good time. It was a professional, friendly presentation, delivered with positive energy.
Vs. the Earth rocks the Courtyard at Doc Holliday’s.
Adam Marino of Vs. the Earth.
Once again, Vs. the Earth.
Thus ended the first night of Millennium showcases for yours truly. As expected, I made some discoveries, and touched base with several familiar faces, including the local contingents representing at this year's conference. The fun was still just beginning, and the next day I would experience the meat and potatoes of what this year's Millennium Music Conference was all about.
DAY TWO, FRIDAY 6/25/04
Things were sleepily getting under way as I arrived at the Crowne Plaza's mezzanine level, where the business end of this year's Millennium Music Conference was getting back under way. I hung out at the Pennsylvania Musician table at the trade show for a while. Andrea and David Greene both informed me that the first day of business sessions and the trade show the day before were slow. We expected things to pick up, though, as the day progressed and more musicians arrived for the weekend. I met and networked with a number of musicians, including J.D. Strum and Michael Reich from the night before; plus members of Spitshine, Condition K, Lucid Fly (making their second annual trek up I-95 from Orlando to attend and showcase), Screamapillar, Milkshake Jones, Kiwi and more. I was happy to see one musician from this area in town to see what Millennium was all about, as Jim Zemlock made the roadtrip to Harrisburg to check it all out.
After lunch and some more schmoozing, I was ready to take in one of the panel discussions. I checked out "Marketing and Promotion," which coached musicians on how to get the word out about themselves, draw people to shows, generate a 'buzz' about themselves, and how to capitalize on that buzz once they created it. Panelists included Stevie B of Mia Mind Music, David Hooper of Kathode Ray Music, Todd Erickson of More Music Group, Cliff Rigano of Universal Records and Megan Wendell of Canary Promotion. A lot of good advice was offered up for musicians here. Among the finer points: Conquer your hometown first, and expand outward. Try to establish a foothold in several markets if you can, and keep nurturing and marketing in those areas. Don’t burn yourselves out in any one area; space out your appearances so that your fan base doesn’t start taking your shows for granted and wants to come out each time you visit. Besides gigging, get product out there to sell, whether a CD with your original music, or other merchandise with your name on it, so you can take advantage of the “buzz” you’re trying to create. Also – stay busy! Even on days when you aren’t playing a gig, spend time doing something to improve your band, whether promoting upcoming shows, contacting new venues, radio stations, publications, maintaining your email mailing list, sending out press releases about your band, etc. When sending your CD and press kit out, research who you want to send it to, rather than randomly sending them out to everybody – make sure to send your materials to people who would likely be interested in them (i.e. – if you are a metal band, don’t send your CD to a folk magazine or a hip-hop rag that could care less about your genre, etc.). Research the internet possibilities for getting your music out there – internet radio stations, music sites, The Orchard (www.theorchard.com), etc. Individual musicians, multiply your opportunities for success by getting involved in several projects if you can, whether a few band entities or studio projects. This gets your name more into circulation, and improves networking opportunities to get your name out there. Regarding press kits, don’t skimp on your photo – get a professional photographer to do your photo right. (And as Megan Wendell said, you don’t want your photo to look like the ones on Rock and Roll Confidential (www.rockandrollconfidential.com). And a recurring theme that I heard throughout this year’s conference: Learn the fine art of DOING IT YOURSELF! Develop your own career, and don’t rely on the chance signing with a record company to make your band happen! And constantly look for new ways to market yourself and get your name out there.
The “Marketing & Promotion” panel.
I also attended the panel discussion “The Orchard Presents: What Does the Music Business Look Like in the Digital Age?” This discussion centered on how the Internet and mp3 technology are impacting the music industry and its future. Panelists here included David Hooper from Kathode Ray Music, Neeta Ragoowansi of Sound Exchange, David Sherbo of Whitewall Records Inc., attorney George Stein, Esq., and attorney Greg Seneff of Seneff Law Offices. One of the big topics of this panel was Sound Exchange (www.soundexchange.com), a new nonprofit performance rights organization jointly controlled by artists and sound recording copyright owners; designated by the U.S. Copyright Office to collect and distribute statutory royalties to sound recording copyright owners and featured and nonfeatured artists, and ensure the fair compensation for the use of copyrighted sound recordings. Still relatively new, a lot of musicians are not yet aware of Sound Exchange and how it works to make sure artists get their fair compensation. Also discussed were websites and philosophies regarding them; whether a website should be flashy and attractive, or efficient and functional for giving visitors immediate information about your band, where to see it and how to obtain your music. Internet radio was discussed as the growing trend for getting your name and music out there. And again, the recurring theme: DO IT YOURSELF! Research and learn about the ways of getting your name out there and making your name and music available on the Internet to increase your possibilities for success. More than anything else, this panel emphasized the importance of the Internet and musicians’ abilities to utilize the Internet to get their name and music out there.
The “What Does the Music Business Look Like in the Digital Age” panel.
Although I had planned to take in the address by the Friday Millennium keynote speaker, Mike Galaxy, I got busy networking and ratchet-jawing at the trade show and missed Mike’s address. Worse yet, I also missed partaking in the complimentary keg of Rolling Rock put on tap prior to the address; it was all kicked by the time I arrived. Damn!
The business end of Millennium finished for the day, I headed to my hotel room to rest for a few minutes. Again running into Martin Dam from Montreal’s Crash Delicate at the trade show earlier, Martin handed me a copy of the group’s debut CD, A Canyon Between. I put the CD in the hotel room’s CD player (a combination CD player/clock radio, cool!), and quickly decided that I needed to see this band’s live show. I drew up a small evening itinerary pinpointing where I wanted to go, and then headed out the door to continue my Millennium adventure.
Earlier at the trade show, former Badlees manager Terry Selders had invited me to come check out a hospitality party and open house at Scott Wray Studios in New Cumberland. So I began the evening by heading there. This was interesting, as Terry gave me and other conference visitors a tour of Scott Wray’s state-of-the-art facility. I was able to listen to samples of some music that had been recorded there, and listen in as other musicians asked questions about the studio. Also while I was there, I chatted with somebody I haven’t spoken with in years, Hybrid Ice keyboardist/singer and part-time Badlees keyboardist Robert Scott Richardson.
A look inside the control room at Scott Wray Studio.
From there, I was off to check out some showcases. I headed to Harrisburg’s new all ages venue, Champion Ship in Lemoyne, to see a band I was curious about, Hierosonic. Five members strong, Hierosonic unleashed a volatile brand of modern heavy rock with a dark tension-and-release flavor. Singer Ben, singer/keyboardist Brandon, guitarist Chris, bassist Mike and drummer Mark attacked with aggressive original songs, seemingly with Korn as a central frame of reference. Low-tuned guitars, tribal beats, and both Ben and Brandon venturing between low-key detached mumblings and full-vent barking tantrums. Hierosonic’s presentation was agitated and intense, varying the tempo and mode of attack often. The room acoustics didn’t do this band any favors, the preponderance of concrete and brick walls gave everything a brash sound, and rendered the vocals muffled and mostly unintelligible. Still, the stagefront fans were enjoying it, and a few of them were raging along, with other audience members intently looking on and seeing what Hierosonic had to offer. For my first look at them, I thought Hierosonic did what they did well; I’d probably get a stronger impression from them in a normal show situation in a room with better acoustics.
Hierosonic rocks Champion Ship.
Going full vent, Hierosonic at Champion Ship.
I then returned to downtown Harrisburg for the rest of the evening. The aforementioned Crash Delicate was actually doing two showcases this night; their initially-scheduled showcase at the Gingerbread Man, and a newly-added, earlier showcase at Dragonfly. The Gingerbread Man showcase conflicted with another band I wanted to see, Condition K; but the Dragonfly showcase fit my schedule perfectly. So to Dragonfly I headed…
Intrigued after listening to their CD earlier, I arrived at Dragonfly as Crash Delicate was just into their showcase set. As expected, they were performing material from the A Canyon Between CD. I missed the first song, “Diving,” but arrived during the second song, “Asking You.” Guitarist Martin Dam fronted the group on the uptempo “Franz Marc” (about a German painter who specialized in animals and nature, he was killed in action during World War I). Keyboardist Caroline Ethier then sang lead on the soaring “Nothing’s Changed,” which varied between mild and ambient keyboard-underscored verses to fiery, soaring, thundering choruses. With Martin again on vocals, Crash Delicate launched into the fiery rocker “Bled,” before Caroline sang lead on the group’s closing number, “Like Living.” This tune, about realizing the futility of a doomed relationship, started off mellow with Caroline’s soft croon and keyboard texture, and slowly built into a passionate and emotional crescendo. I was thoroughly impressed by Crash Delicate’s live presentation, as their performance took the studio songs from the album and lifted them to a greater emotional impact and immediacy. Caroline, Martin, bassist Simon Otis, guitarist Paul McGuire and drummer Joseph Perreau crafted a distinct style and sound, with Caroline’s electronic backdrops anchoring passionate, oceanic rock songs that rose, ebbed and waned. Although not a huge crowd, the Dragonfly audience was increasingly captivated by Crash Delicate’s performance, and cheers for the group grew after each song. Crash Delicate’s first performance in the U.S.; based on what I witnessed here, I more American visits are in the future for this talented group.
Montreal’s Crash Delicate states their case at Dragonfly.
Martin Dam and Caroline Ethier of Crash Delicate.
Once again, Martin and Caroline of Montreal’s Crash Delicate.
Martin Dam of Crash Delicate.
Once again, Crash Delicate.
Once again, Martin and Caroline of Crash Delicate.
Next on the itinerary, I headed up 2nd Street to Kokomo’s Downtown to get my first look at Josa Step. I ran into Michael Reich upon arriving, and – still fired up over the set I had just witnessed from Crash Delicate, celebrated Canadian rock by ordering up a Molson draft!
I was familiar with Josa Step’s jangly, hard-edged brand of alternative rock from hearing their two CD’s; I was curious to see how that sound translated on the live stage. Based out of Greencastle, Josa Step – singer/guitarist Sean Clever, guitarist/keyboardist Klaus Funk, bassist Sean Grove and drummer Matt Cole showcased songs from their Speak to Dream and Pearls CD’s, plus a few new songs. Sean’s and Klaus’ jangly and layered guitar textures gave the sound a slight U2 flavor; but Matt’s intricate drum rhythms and the group’s unconventional melodies made the sound distinctly their own. Josa Step’s execution was clean and together, and Sean sang his words with power and emotion. In all, Josa Step sold their unique brand of rock with a solid, enthusiastic performance.
Josa Step rocks at Kokomo’s.
Sean Clever of Josa Step.
Once again, Josa Step.
In my evening of Millennium showcase musical chairs, I next headed back to the Crowne Plaza Hotel for my first look at the full band edition of Condition K. I had seen singer/guitarist Manian Hacker and drummer Kyle Taylor perform as an acoustic duo at last year’s Millenium. I had heard a lot of “buzz” about Condition K so far at this year’s Millennium, and was curious to see just how far this group had come along. It didn’t take long after my arrival – just after their set began – to realize that Condition K delivered the goods, per the hype, in a big way. Kyle levied hefty, big drum thunder that powered the whole presentation along. Manian demonstrated a rangeful, powerful voice of the Brett Scallions (Fuel)/Ed Kowalczyk (Live) vein to top the sound. In between, guitarist Torr and bassist Curt generated ample crunch, foundation and muscle. The base sound was melody-based and drew both from classic and current hard rock influences; and would segue well between Fuel and Led Zeppelin or Nickelback and Black Sabbath. Condition K offered up a number of powerful tunes, including “Laceration,” “Radio,” “On a Sunday,” “Blue Morning” and more. This group appeared confident and poised; and very much had their act together. Needless to say, I came away very impressed with Condition K and what they brought to the stage.
Kyle Taylor of Condition K.
Manian Hacker of Condition K.
Condition K brings it to the fans at the Crowne Plaza.
Torr and Manian of Condition K.
Once again, Manian Hacker of Condition K.
I decided to stick around for at least part of the set of the next band on the Crowne Plaza bill; Fairfax, Virginia’s Rotoglow. This foursome established a quick, rocking pace early, refocusing the Crowne Plaza crowd’s attention to the stage with an strong, catchy number called “We Belong.” The style was melody-based, upbeat modern-flavored rock that would sound good next to Foo Fighters or Goo Goo Dolls on the radio, with a slight touch of Cheap Trick pop sensibility thrown in. Singer Andrew Hellier caught my attention with his powerful, driving voice; and the rest of the group executed tightly and cleanly behind him. The group continued to build momentum as they quickly launched into the next song, “Paralyzed,” and the harder and faster “Get A Grip.” What I heard from Rotoglow was strong; the group plays shows in the Harrisburg area from time to time, so perhaps I will catch a full show from them at some point later on.
Rotoglow keeps the party going at the Crowne Plaza.
Once again, Rotoglow.
For the moment, though, I had another band I wanted to catch elsewhere in downtown, so I departed Crowne Plaza. The band I had hoped to catch was The Mayan Factor, whose sound intrigued me when I downloaded an mp3 from their website while doing my pre-Millennium homework two weeks before. They were playing at the Gingerbread Man, not too far from the Crowne Plaza. I thought I knew where the Gingerbread Man was, and set off to find it somewhere behind the Hilton on Strawberry Square. But damned if I couldn’t locate the place! I walked up and down several sidewalks, but saw nothing looking like the Gingerbread Man or even a venue. Time elapsed as my search for the venue turned up empty, and eventually, with time dwindling on The Mayan Factor’s set (they were scheduled to start at midnight, it was going on 12:30), I abandoned the effort and headed back to 2nd Street to locate another showcase.
At this point, I had no strong candidates on my itinerary that I wanted to see, so I went where the winds and sounds directed me. As I approached the open-air Fisaga, I heard and saw a band in the midst of a showcase set inside, so I entered to check them out. It was a Boston-based band called Fooled By April, who were in the last stages of their showcase set. They were in the midst of a hard-rocking, fast-driving original tune as I entered the venue; and they then thanked the crowd of onlookers and began their last song – a jagged-edged take on Led Zeppelin’s “Good Times Bad Times.” The group sounded strong on their read of Zeppelin here, apparently displaying a bit of the group’s classic rock inspiration.
Fooled By April, completing their showcase set at Fisaga.
I decided to then head further down the street, back to Kokomo’s Downtown to catch the last band on the bill there. The table directly in front of the stage was unoccupied, so I remedied that situation and quickly occupied it as the Staten Island, New York-based band Bluish finished setting up. The group was having some problems resolving some feedback difficulties, and soundman Chile had told me that the acoustics here weren’t the best (a lot of the venue was wood, but around the stage area there was glass and mirrors). Eventually the problems were resolved, at least enough so that the group could begin. Bluish offered a slightly different slant on their brand of alternative-flavored rock; they identified themselves as “the rock band with a flute.” One of their members was Danielle Bilotti, who sang and played flute, offering a unique woodwind edge to the group’s sound. Not too hard and not too soft, Bluish played an upbeat brand of alternative rock that mixed in several elements, from funk to jazz to pop. Danielle and Anthony Bilotti switched off and blended on lead vocal duties, changing up the style as they went along. Their harmonies were good, and the remaining group – bassist Joe Bilotti, guitarist Steve Giordano and drummer Jay Engel – were solid players. The group played a variety of their original songs, including “Conquer and Heal,” “End of the Beginning,” “Just Say When,” “Sooner Than Later,” “Language Learned” and more. In all, occasional feedback problems notwithstanding, Bluish offered an enjoyable set.
Bluish, capping the evening at Kokomo’s Downtown.
Danielle Bilotti of Bluish.
Joe Bilotti of Bluish.
Anthony Bilotti of Bluish.
The night just about over, I began my trek back to the Crowne Plaza Hotel. I again admired Harrisburg’s bustling 2nd Street scene, as club-goers and passers-by were still enjoying their Friday evening, and pizza shops and even a hot-dog vendor were doing a brisk business as the clock approached 2 AM. I did hear one band still in action as I again approached Fisaga, so I went inside and caught the last part of The Dammitheads’ set.
From Racine, Wisconsin, The Dammitheads – numbering two members in all this night, singer/guitarist Dave Tomaloff and drummer Steve Hawkins – were completing a song as I entered, and segued directly into a take on Van Morrison’s “Gloria.” The sound was basic, three-chord rock’n’roll, but for a two-piece group, Dave and Steve were able to generate a full sound. Dave then introduced the group’s last tune of the night, “The Art of F**king Off.” Nice. But it rocked, and again showed this duo’s abilities to generate a full band sound. I didn’t get to hear much of The Dammitheads, but what I did witness made it worth stopping by Fisaga to see. Back to the hotel, and recharge for Millennium Day Three…
The Dammitheads, closing the night at Fisaga.
Dave Tomaloff of The Dammitheads.
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