Last night, I cruised down to San Antonio to catch the Harm’s Way and Ringworm show at Jack’s Bar and was pleasantly surprised. Being only my second time seeing a show in San Antonio, I gotta give it up: San Antonio’s hardcore scene is world class. Those kids are passionate, fun and foster a sense of community I haven’t seen since my Chicago days.
I grew up in Hardcore, attending shows around 16 years old at Off The Alley, VFW’s, the Arlington Heights Knights of Columbus, the Darien Sportsplex, and the much-lauded Fireside Bowl just to name a few venues. Living in New Orleans and later Austin, the scenes are unique, and each offers something different, but in comparison to San Antonino, it’s not even close. I tip my cap to the excitement, interaction, and fever of those kids. Definitely made my heart happy to see the positivity and everyone hanging out talking vs. Austin’s scene where everyone immediately splits for the bar. Creeping 37 years old, I’ve been going to shows as long as some of those kids have been alive. I made me unbelievably happy to see that the scene still holds strong.
Harm’s Way never ceases to impress. For 30 minutes, they slammed through tracks off their various e.p.’s and their two latest records, Rust and Subhuman. Energy throbbed throughout the room and kept the spirit of the show moving. For my money, the highlight of the night was Baltimore’s Queensway. Initially, my friend and I were planning on ducking out for a bit to grab some food, considering we’d just driven an hour and a half to make the show. We were walking through the venue when we caught the first song of Queensway and immediately stopped, both recognizing these dudes were going OFF.
Nothing is better than a tight hardcore band, 100% engaged with the crowd, giving their all to the crowd and doing more than just playing outward to the room. Queensway was engaged, poised and destroyed. Jack’s Bar’s reception and throbbed in support and it was clear they’d won the majority of the attendees over by the end of the first song. Having never heard of Queensway, I was taken aback by not only their tightness but their constant energy.
They made a new fan last night and from here on out, I’ll do my best to champion their music to my friends looking for straight ahead hardcore. If San Antonio was any litmus of what these boys are capable of, watch the fuck out. And a word to San Antonio, I’ll be back to dance alongside y’all.
Dustin Lynch posted a video on Twitter complaining about not getting an ACM nomination for his pop song that played on country stations, entitled "Small Town Boy," which he described as a career changing song. What might Waylon say?
When you do what we do, there are folks you consider “the home team,” the musicians we’ve watched grow over the years. The artists we were begging readers to check out long before they broke out or hooked up with a super producer. Tyler Childers and Colter Wall made their way onto the national stage. We’re always rooting for Justin Wells, and we want Lindi Ortega to do well. Jason Isbell is slowly taking over everything, and some of us can remember when Sturgill was playing rooms to 100 people. There are so many great bands out there grinding, The Quiet Hollers, Two Cow Garage, Shovels and Rope; we tip our hats to all of them.
We take pride in seeing these folks bloom, which in some cases, submitted a few scratch tracks or sent us a tweet to check out their music. These once obscure artists are getting a shot at real success.
Another one of those folks we love and are unbelievably proud of is Caleb Caudle. On his newest record, Crushed Coins, Caleb Caudle is making noise that’s booming louder than his critically acclaimed Carolina Ghost.
Crushed Coins feels different than Carolina Ghost in that the body of work is less reliant on the big and bright late 80’s/early 90’s country overtones, and instead feels personal and more “Americana” than strict, by the book country and western.
Crushed Coins features straight-ahead songwriting and a strict reliance on mastery of craft instead of studio trickery or layers of instruments designed to muddle the message. There are some heartbreakers, some good time jams and some beer drinking tunes, which as about all you can ask for in a straight ahead country record.
If Randy Travis or Garth Brooks is on your Spotify playlist, be sure to check out everything Caleb Caudle has released, he’s one of the best dudes putting in the work. He’s skillfully adept at harnessing that clean, powerful and hooky sound those guys pulled off back in the day. I’ve said it before, but it bears repeating, Caleb Caudle is an artist that appeals to older country fans, but can also bring in a lot of new people. He’s got an immediate likability, but also listenability that many artists, no matter how great just can’t foster.
As Pantera taught us on the home video: KEEP THE SCENE ALIVE, MAN.
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Grab Crushed Coins from Caleb's Bandcamp site or find it at all the other usual places.
Dad Mark Benson, 47, of Taylortown, Louisiana took his daughter and two of her friends to a concert at the Bossier City Centurylink Center assuming there'd be country music. After all, the main guy was wearing a cowboy hat on the poster, and the two opening acts had the same last names as people from his church. And the local radio station had promoted "One Big Night of Country" for the last 2 months, but so far Mr. Benson had heard nary a note of country.
Clad in camo cargo shorts, a Flori-Bama t-shirt, and white & red New Balance shoes, Mark stood incredulous at the barrage of beats and other sounds which couldn't possibly have come from the guys holding instruments on stage. The performers pranced around the stage exhorting the audience to "keep it lit" and "put your drinks in the air" while mumble-singing mid-tempo pop songs that all seemed to run together.
Besides a couple of drawled phrases and constant references to beer, there was nothing in the first hour and a half of the show that might have indicated what genre of music these singers claimed to be. He's pretty sure he's heard that song from the one guy about "leaving the bar with me" on the country station, or maybe the one from that other guy about "leaving the bar with her," but he wouldn't put money on either one.
Now, 4 songs into the headliner, Mark and other goatee-having fathers are glancing at each other with confused looks. The tall, handsome singer seems like a nice young fellow, but he's yet to twang a note. There's no steel guitar on the stage. There's no fiddle player. There's no banjo. There haven't been any cheating songs.
"Get off my lawn" and "music was better back in my day" swirl through Mark's head, but he doesn't dare utter those phrases into existence. His daughter and friends seem to be having fun watching the show through their phone screens and he's into his 6th Fat Tire tallboy, so things could be worse.