The Lowdown: Josh Grider

It clearly takes some degree of talent to make it in the music business. It also takes killer songs that mesh the perfect lyric with a fitting and captivating arrangement. But possibly the hardest, most frustrating part of the whole ordeal are the roles that timing, cosmic alignment, being in the right place at the right time, and pure unadulterated passion play. That matrix of unidentifiable variables that come together for some, while conspiring against others is what Josh Grider explores on his newest album, Luck & Desire.

The Las Cruces, New Mexico native moved to Nashville by way of Texas in early 2011 just to “try something different.” There, he hung around Music Row for a few years meeting fellow songwriters, signing a publishing deal, and building a network of like-minded friends who challenged his writing and supported his dreams. One of them was fellow singer/songwriter and soon-to-be producer, Trent Willmon. The connection was monumental. “He’s savvy,” Josh explains. “He understands what being an artist is. He understands what being a writer is. He understands Texas and Nashville, and he understands the road. He understands so much of what I do, and the proof is in the pudding. We made a awesome record.”

That was the goal—to make an awesome record. But for Josh, it was about more than just making an album that would sell well or produce a litany of number-one hits. He says his goal was “to make something artistically satisfying enough for the purist in me, but relatable enough that I could play it for my dad.” He pauses and explains, “My dad is a smart guy, but he’s not a studied musician or anything, he’s just a lover of country music.” Indeed he is. He raised Josh on the classics, the legends. Merle Haggard, Marty Robbins and Willie Nelson are the foundation that Grider builds on, but his own generation of musical peers is also present in his music. “Dave Matthews was a huge influence. John Mayer and Chris Thile make me want to just quit,” he laughs. “I’m just blown away by everything those guys do. I could never do what they do, but I’m certainly challenged by them. For me, they are setting the bar for songwriters in our generation.”

The formally trained singer, who remembers pressing, “play” on his Fisher Price tape recorder to hear Ricky Skaggs “Heartbroke,” always knew country was where he belonged. Even though he played guitar in a jazz combo in high school, and received a scholarship to attend college and study classical voice, it only took one night performing in a Waco honky-tonk for Josh’s relationship with his roots to be solidified.

Josh began putting pen to paper in high school and soon realized his passion. He beams when he says, “Writing is my favorite thing in the world. I’m very fortunate to be given the ability to deliver what I write, and I guess that’s why singing the songs I wrote is my second favorite thing in the world.” Writing is more than a job for Josh. It’s a passion that allows him to chronicle his life, and a therapy that helps him make sense of the world around him. When speaking about song selection for Luck and Desire he says, “I just started looking at what I had been writing and all of the sudden these themes of want, and need, and desire, and getting or not getting what you want started surfacing.” According to Josh, that is just what seems to happen. “There will be seasons in my life and things that I go through that will definitely influence my writing. It’s really neat to go back and look at how the songs reflect what I was going through in my life and how I was trying to work it out musically.”

There is, too, an unspoken theme to Luck & Desire that Josh is most proud of. “Luck and Desire definitely play a big thematic role in this album,” he says. “But that particular song sort of ends sadly for desire. I think there’s more hope than that in the record. Overall, I want there to be hope, because I have hope. Without it what the hell is the point? I say focus on the good and believe that something good is going to happen, and it just might.”

For more information check out www.joshgrider.com

The Lowdown: Eleven Hundred Springs

Listening to any effort from Eleven Hundred Springs, including latest Midway, is like having your cool uncle pull out his favorite albums. Matt Hillyer and the rest of the band have that old-school country sound down. When the band first formed way back in 1998, some people thought it was just guys imitating the sounds of Merle Haggard, George Jones and Hank Williams, but over the course of nine albums, Eleven Hundred Springs have developed into a tight unit of true believers. Songs like “I’m a S.O.B. (When I’m S-O-B-E-R)” and “Hard Work Just Ain’t Working Anymore” are not imitative of the band’s influences. They are authoritative narratives of rural America.

Eleven Hundred Springs shows a commitment to the true soul of country music — what Steve Earle calls real music. While they may not look like your conformist country (Disney Channel / reality show, etc) act, the tradition and spirit that make up true Americana is easy to see. It’s all about honesty and lack of pretense.

The Lowdown: Johnny Cooper

Come out this Thursday and tube the Trinity with an experienced Rockin’ the River veteran. This will be Johnny Cooper’s third performance at Panther Island Pavilion on the only waterfront stage in Texas. Here’s the lowdown on what you can expect from Mr. Cooper:

Musicians get noticed for a wide range of reasons. Some win various competitions, while others seem to have as much in the way of connections as in pure talent. Then there are those who simply demand attention through performances so dynamic and powerful that they simply cannot be ignored.

Johnny Cooper is one of those artists.

The front man of the band that bears his name, Cooper already has achieved dual-threat status: he has rare talent that has earned him critical acclaim for his recordings and live shows, and he performs with an energy that captivates audiences in venues of all sizes.

That he has grown so successful so quickly is hardly unexpected, considering he is thriving in the environment in which he was raised. With a mom who was a dance choreographer and a dad who was a songwriter and owned nightclubs, Cooper has been around entertainers throughout his life, and now features a sound that draws on his enormous range of musical influences — a list that includes pop, classic rock, R&B, hip-hop and country — and features an irresistible energy. “That’s what my whole thing’s about,” Cooper says. “I can’t tell you that tomorrow, I’m not going to write a country song, or a funk song, or team up with a rapper. I love it when you tell me I can’t write a certain kind of song, because then I’m going to show up and say, ‘glad you said I can’t do it — here it is.’

“I like a lot of different artists. I listened to a lot of Queen growing up, and Stevie Wonder has had a big effect on my life, but I can’t put on Art Garfunkel and shake my ass. When I first heard Stevie Wonder, I wanted to get up and move. I’m drawn to people who get up there and play with cajones. If I want to hear you sing, I can stay at home and listen to a recording, but if I want to see a show, I want to see a show. That’s the way I am on stage.”

Of course, on-stage theatrics can only carry an artist so far. At his core, Cooper is an extremely gifted musician whose versatility denies his youth. His rich voice is both exceptionally talented and well trained; few singers are willing to perform covers of artists like Justin Timberlake, Michael Jackson, TLC and James Brown, as Cooper did (largely while building up his library of his own compositions) and he does so with a confidence and style worthy of the original artists. He also is a skillful guitarist who can astound with his full band, in duo performances with a drummer or as a solo acoustic artist. While recording his first several albums, Cooper has become an in-demand performer, often playing more than 200 shows a year.

Cooper’s band is as varied as its leader. Cooper had worked on previous projects with drummer Joe Cortez IV (“the best drummer I’ve ever seen in my life,” Cooper says) and was eager to continue their working relationship. He had no intention of adding a keyboard player until his search for a new bassist led him to Jay Sandford, who in turn introduced keyboardist Cris Brenham. “They came in and blew me away,” Cooper says. “Right away, they laid down what my music was missing. It was exciting because it was different. I realized they were exactly what we needed.” The last piece to the puzzle was the band’s “utility player,” Matt Puckett, who plays violin and lead/backup guitar and sings backup vocals, “There’s nothing more exciting than someone who can play a lot of instruments, who can fill a lot of roles. Matt can do all of those things, and he does them really well. He’s phenomenal, and he makes us all better.”

With his band complete, Cooper’s focus is on what he enjoys most: creating and performing his unique brand of music that features often-requested signature songs like “Texas to You” and “Crazy,” drawing comparisons to an range of artists, from John Mayer to Maroon 5. “Go big or go home,” Cooper says. “My whole thing is that I want to keep writing music and writing different kinds of music, writing stuff that appeals to more people, not just one type of people. As long as you surround yourself with creative people — and I have done that — I’ll continue to write more music … and better music.”

Cooper’s sound has evolved since his first album, which had a Texas country/southern rock feel. Moving forward, he added more funk and R&B influences, earning comparisons to Lenny Kravitz. His next offering, Red Sessions, is a hybrid of several musical genres and is being supported through pledgemusic.com, which allows fans to help fund the creation of the album. “It’s a hands-on way for people to help make music,” Cooper says. “Fans get to hear our music and make donations toward the next recording, and in return, they get things back, a bunch of personalized stuff. It’s a great way of allowing our fans to help us make the music they enjoy.”

That’s exactly what fans are doing, and in rapidly growing numbers: enjoying the music of Johnny Cooper, whose song writing, on-stage charisma and unique talent has to be seen and heard to be believed.

The Lowdown: Brandon Jenkins

Brandon Jenkins is what we call in the Business a Triple Threat. Not only is he the most hailed writer of the Red Dirt movement writing more than just hit songs, but Red Dirt Anthems that captured the spirit of his generation, he’s a soulful monster of tone on guitar displaying his roots of growing up in the Tulsa music scene where so many masters were forged, and most of all his voice is distinguished like no other, so rich and barrel soaked and his trademark.

All that being said his big bald bearded persona captures his audiences like the full displayed sleeves of tattoos he so proudly bares. His music touches on so many different genres; yet has that thread that keeps it uniquely Jenkins. Over all Brandon Jenkins is an American classic and will be long remembered as a musical pioneer and fearless composer personality long after he’s gone.

Don’t miss your chance to see him perform live this Thursday at Rockin’ the River.

Can You Last 8 Seconds?

Rockin’ the River just keeps getting better and better! This year we’ll have a mechanical bull at all 10 Rockin’ the River events. So bring your boots and hat and show off your skills at Panther Island Pavilion.

Bull riding not your thing? Then just rent a tube and kick back and relax on the Trinity River listening to a free concert from some of Texas Country’s hottest bands. Where else can you find a concert on the river in Texas?

Thieving Birds Feature

You know we wouldn’t dare start the Rockin’ the River season unless we had a kick-ass band to headline. Enter Thieving Birds. They’re a band from Fort Worth, Texas that was formed in September of 2010. These four friends combine Rock, Country, Roots and Blues to create a unique musical offering to their audience. The lyrics are thoughtful and strong being carried by the sultry and powerful voice of vocalist and guitarist Ace Crayton. The Rhythm section is filled out by the strong and solid drumming of Beau Brauer along with the precise Bass playing of Rody Molder. Lead Guitarist John Seidler weaves notes together to create a landscape of guitar work that will make you feel as if you’re moving across the terrain of their great state.

They released their debut, self-titled album on June 25th, 2011 and entertain and amuse audiences with their high- energy live sets. “All we want to do is play music together, to have that moment on stage when we’re all feeling the song, and to have the crowd share that moment with us… you can’t get that feeling anywhere else. That’s live music… that’s why we do it,” says Crayton.

You can get more information about Thieving Birds at thievingbirdsmusic.com

Sunday Funday Is Here!

Here We Go Fort Worth!

Sunday Funday, a laid back event, starts this Sunday from 1-6pm and runs every Sunday until August 10th. Located on the banks of the Trinity River at Panther Island Pavilion, it will feature tubing, food trucks, music, kayaks, canoes, pedal boats and stand up paddle boards. Panther Island Brewing will be the beer vendor and will serve several of their beers on site.

Rockin’ the River is Almost Here!

We are less than two weeks away from the kick-off of Rockin’ the River! Mark your calendars now and round up your friends because it’s time to tube the Trinity. We’re starting the season with a bang on Thursday, June 5. Gates open at 4:30 p.m. and the free concert from Thieving Birds begins at 6:45 p.m. on the waterfront stage. When the sun goes down we’re moving the party to the Southshore stage with a concert from Sam Riggs & The Night People at 8:30 p.m. which will be followed by a fireworks show at 9:30 p.m. See you on the river!

The Rockin’ the River series-long VIP package designed to make a splash with your group

The Rockin’ the River Series Pass is a way for you and your guests to experience our events in VIP style. It’s a fun way to break away from boring corporate event offerings and treat your friends, family or employees to an event that is uniquely Fort Worth.

A limited number of passes will be made available for $500. The 2014 Series Pass gives your group the following velvet-rope perks all summer:

  • FOUR wristbands providing Series Pass access to every Thursday night concert (10 concerts)
  • Access to front row, VIP parking area
  • FREE beverages
  • FREE food provided by Salsa Limon
  • FREE tubes to float in the river during the concerts
  • Prime reserved seating in the shady Sponsor & Series Pass Holder section for the land lubbers
  • ONE autographed poster signed by the 2014 Rockin’ the River artists

Are you ready to rock in style?

Sunday Funday Coming to Panther Island Pavilion

Get ready, Fort Worth.

The official Sunday Funday is coming to Panther Island Pavilion this summer and it’s guaranteed to be a good time!

Sunday Funday will be a unique, laid back event that takes place every Sunday from 1-6pm on the banks of the Trinity River. It will feature tubing, food trucks, music, kayaks, canoes, pedal boats and stand up paddle boardsPanther Island Brewing will be the beer vendor and will serve several of their beers on site.

“Since the start of Rockin’ the River we have had a ton of requests to hold a tubing event on the weekends,” said TRV Executive Director, JD Granger. “We’re giving the public exactly what they’ve asked for and we couldn’t be more excited to bring another weekly event to Panther Island Pavilion,” he said.

Untapped Fort Worth – Rain on 35 Denton Weekend? Surely Not

Under a chilly and sometimes sprinkling sheet of grey Fort Worth sky that turned stout black sooner than usual, the second edition of Untapped Fort Worth successfully kept its attendees spirits high with quality ales and well-crafted musical performances. The several food trucks on-hand even lent the event some warmth in the form of hot deliciousness (most notably, the goat cheese and strawberry jam-laden Sweet and Lowdown burgers from the always excellent Easy Slider truck).

While the crowd was certainly smaller than usual due to the inclement temps, an intimacy was evident — a rarity for a sizable festival — given that everyone who was there, especially after 7pm, when the chill offered more bite, truly wanted to be there. Maybe it was because they couldn’t get enough beer (understandable), or, perhaps there wasn’t an act that could be missed, but Saturday night’s festive spirit at Panther Island Pavilion, just outside of downtown Fort Worth, proffered an emotional glow not even a blazing sun would’ve been capable of providing.

Let’s talk beer first. Southern Tier’s (Lakewood, NY) Crème Brûlée Stout was every bit as rich and delectable as it sounds while Real Ale’s (Blanco, TX) special tapping of Codex Triplex boasted a bright, pleasantly sour splash. Plenty of tasty sunset-tinted brews made their presence felt as new-to-North Texas Odell Brewing’s (Fort Collins, CO) Runoff Red and 90 Schilling both satisfied and the Tongue Buckler Imperial Red from Ballast Point (San Diego, CA) might be better than the brewery’s stunning Sculpin IPA, which is as fine of a West Coast IPA as there is.

Hell, even the cider was solid. Angry Orchard’s (Cincinnati, OH) Cinnful cider was clean, tart and nowhere near as sweet as most of the stouts being offered. But as delightful as the liquid selection were, the music wouldn’t be denied.

From beginning to end, the performances were spot-on, which is remarkable, since few would’ve blamed any of the bands for having an off night when the outdoor conditions were obviously less than ideal. But it seemed that the enthusiasm of the crowd powered the wide-array of artists. The meat and potatoes southern jam-rock of local boys Quaker City Nighthawks didn’t shrink as a light sprinkling of rain drizzled for a good chunk of its set.

The electronically-backed People Under the Stairs were on-point and jubilant while the scruffy dudes of the Felice Brothers sent out a punchier set than they’ve shown in this area during previous tours. Perhaps the weather helped them pick up the beat a bit, and their signature songs, “Whiskey in My Whiskey,” and “Frankie’s Gun,” were both ratcheted up in the tempo department, but not to the detriment of the two tunes, as the kicked-up versions became rowdy sing-alongs, which is needed at any Beer Festival, regardless of the weather.

It was also unsurprising to see the Joy Formidable convincingly tear through an hour-long set to end the night. The Welsh trio blazed with fuzzy reverb through a dozen of their best songs from both critically acclaimed albums in their repertoire. Opening with “This Ladder is Ours” from last year’s Wolf’s Law and closing with the fan-favorite, “Whirring,” their intense brand of joyful stage-burning was a great way to end the evening indeed.

The Brooklyn-based Indie-pop act Lucius and soul-hippie Allen Stone from Washington were the two acts whose music styles seemed to be most ripe for a less than successful night. But, as with the other bands, both acts more than rose to the occasion, emoting positive vibes in droves from the stages they performed on. Lucius, who received many rightful accolades for last year’s Wildewoman, rely on a delicate blend of almost-cloying vocals and an overall precious structure of sunny pop that often draws comparisons to the bet of the so-called “girl-groups” from the 1960s.

But the always identically-dressed Jess Wolfe and Holly Laessig, backed by guitar, bass and an active percussionist, stomped in-rhythm as their harmonies were bolder than they are on-record yet retaining their inherent sweetness. Perhaps the quietest tune of the entire festival, “Go, Home,” was powerfully nailed to perfection as slowing things down was fine, as it was done so with a wonderful sense of harmonic drama.

Stone, another excellent signing of ATO Records, hopped on the festival’s slightly smaller stage across the grounds just after Lucius finished. Smiling as he wiggled and writhed through a passionate set of his R&B-flavored tunes, there were plenty of fans packed towards the stage, singing along with each word. Again, it would’ve been tough to blame the shaggy-haired Stone and his excellent band of getting in and getting out as quickly, and as sourly, as possible, but that clearly wasn’t in the unit’s plan. Each song Stone sang was made more robust by a duo of organists, with some extra funk getting laid down regularly by his lead guitar player, who stood near the back of the stage, barely visible to some of the crowd.

With a thriving craft-beer scene in North Texas continuing to grow, it’s beyond impressive that a festival filled with so many great beers offered tunes that matched the suds cup for cup, note for note. Being able to capably please the discerning beer fan (read: craft beer snob) while simultaneously thrilling the indie hipster residing within most of us, whether we want to admit it or not, isn’t an easy task. But Untapped Fort Worth, in conditions that surely made happiness tougher to achieve, made it seem as though it was just another day in Beer-vana.

At Fort Worth’s Untapped festival, a chilly brew of great music, beer

By Pegasus News

The unrelenting wind and near freezing temperatures Saturday were enough to make any sane person hunker down at home, given said person didn’t enjoy craft beer.

Fort Worth’s second annual Untapped festival took over the outdoor venue Panther Island Pavilion this weekend, bringing with it a slew of tasty brew and great music. Comparatively, this year’s fest could have been more enjoyable had the vendors been selling hats, gloves and scarves — and they would have made a killing — but you could still count the successes.

For one, Untapped invited some of the most creative brews to date. Austin-based Jester King Brewery revealed its Cerveza de Tempranillo, a beer so exclusive it was listed simply as “A Beer So Awesome We Can’t Even Tell You” before the fest. The 9.4 percent alcohol-by-volume brew takes nearly one year to properly make because it ferments with California tempranillo grapes and wild yeast, which sour the beer. Its purple hue warned drinkers of its champagne-like taste, though not of its magnificent and pungent bite.

The Jester King representative pouring Saturday said enough people preregistered to buy the beer online that the 1,500 bottles (750 mL) produced sold out in less than 24 hours.

Southern Tier Brewing Co. of Lakewood, N.Y., served another highlight: the Crème Brulee, a vanilla bean-infused stout that smelled and tasted like its eponymous treat. The sultry combination of a thick body and little carbonation manifested as dessert in a glass — dangerously delicious.

Cocktail enthusiasts would have been pleased stopping by the Widmer Brothers Brewing Co. (Portland, Ore.) tent for a sample of Gentlemen’s Club, an old-fashioned-inspired ale brewed with cherries and oranges, which gave it a distinct pre-Prohibition flavor.

The Untapped festival also succeeded in the way of music. Though crowds were sparse when the gates opened (I can’t blame them for waiting out the rain), local acts Sam Lao and Quaker City Night Hawks catered tunes at the afternoon’s prime time and inspired dance parties that forced people to forget about their frozen toes. By the time California-based rap duo People Under the Stairs hit the stage, standing in the bathroom lines took serious commitment and some did so preemptively, sipping samples as they waited.

After nightfall, however, crowds thinned quickly as the wind blew ravenously and the temperature continued to drop. The most that festivalgoers could do was drink coffee-flavored beer and pretend they were sitting in a toasty café listening to indie music over the speakers. (This reporter had to leave briefly and warm up due to lack of feeling in hands and feet.)

A respectable amount of hopheads and music lovers toughed it out, though. Headliner Allen Stone shared his body-rocking blend of blues, rock and soul with a couple hundred, as did British rockers The Joy Formidable, whose lead singer Ritzy Bryan didn’t seem to mind the chill in just a dress and tights. There was a sort of pack mentality throughout the remaining attendees, who gathered close using one another as wind barricades.

Eight hours after Untapped began, I sat in my hotel room waiting to regain feeling in my extremities and wondering if the experience had been worth it. Despite the weather, the festival was organized, the vibe was solid and music was energetic. Plus, the beer was cold.

Tiney Ricciardi writes for Pegasus News.