Pretty Lights @ The AMP

Apr 25, 2011 by Café Con Leche

All photos by B “Cafe Con Leche” Gutierrez | Follow @BOTcafe

Last Friday, Pretty Lights opened the 2011 season at the Arkansas Music Pavilion. The show started out early with two openers, Spankalicious, who’s part of this year’s Wakarusa line up and Michal Menert, who introduced himself as part of the Pretty Lights movement. Menert’s album, Dreaming of a Bigger Life, is one of three releases by Pretty Lights Music, and it’s available online.

Colorado-based producer Derek Vincent Smith is Pretty Lights. The AMP was filled with tons of young people equipped with everything glow-in-the-dark, from glow sticks to glow hula-hoops. The electro-hip/hop sounds of PL, in combination with the impressive light show, made the AMP bounce for over two hours.

Pretty Lights first came to Arkansas through Wakarusa a couple of years ago, then sold out a show at George’s Majestic Lounge in November 2009. And exactly a year ago he came to the Fayetteville Town Center. After his AMP-takeover on Friday, it seems like we’re going to need a bigger venue for his next visit to Arkansas. If you can catch him live in your town, do so! Don’t miss out. You can find all his music available on his site for download.

Continue after the break to see more photos from Friday night.

G. Love & Special Sauce @ Cain’s Ballroom

Apr 4, 2011 by Café Con Leche

The minute G. Love came on stage at Cain’s Ballroom on March 24, it became apparent the night would be special. Backed up by the Special Sauce, Jeffrey Clemens (drums, vocals), Mark Boyce (keyboards), and Timo Shank (string bass), they started out the night with “Milk & Sugar,” a light-hearted love song from Fixin’ To Die, G. Love’s newest album. That song set the tone for the show, a light and fun showcase of refined musicianship from years of experience and a lot of soul.

The first three songs that night were from the new production, which is full of hits. The audience sang and foot-stomped along, with a familiarity that doesn’t come easy after only a month of the album release.

Continue reading for more about the show, the photos, and a special meeting.

Grace Potter and the Nocturnals @ Bricktown Center

Oct 31, 2010 by HashBrowns

It’s been a month since I trekked up to Oklahoma City with Cranberry Scone to enjoy a blissful evening with the Avett Brothers. I had been told beforehand to get ready for the opener, Grace Potter and the Nocturnals. Even at first glance, this band was intriguing. Gold-haired front-woman in a sparkling silver mini dress, surrounded by scruffy-bearded, mustached, Lennon-hair men in black suits. Delicious. The complex guitar rifts started, Potter opened her mouth, and the soulful sexiness set the tone.

The Avett Brothers in OKC @ Bricktown Center

Oct 1, 2010 by HashBrowns

Words and photos by Anna “Hashbrowns” Vernon.

Fresh off winning Best Duo or Group at the Americana Awards, The Avett Brothers performed last Sunday for a packed house at the Coca-Cola Bricktown Events Center in Oklahoma City. The stage looked much the same as 8 months ago, back wall covered with the artwork of I and Love and You, the keyboard draped with Emotionalism — but with the addition of a large stuffed tiger head sitting on an amp, and a rather emotionally bland drummer (although Scott still uses the kick-drum and Seth the hi-hat cymbal). The opener was pretty delicious in their own right, so you’ll be hearing more about Grace Potter and the Nocturnals soon.

The brothers utilize an instrument that most bands have, but generally don’t think twice about. Their voices. The glorious harmonies sung with and without accompaniment just isn’t being done much – outside of acapella. It is special with these two because they blend so perfectly, for obvious reasons. Their up-bringing by a father who loves to (and still does) sing good ol’ gospel and bluegrass is apparent, though they certainly have a style all their own. Bob Crawford (bass) often joins in, as does cellist Joe Kwon at the top of his lungs – though without a mic. The passion the four of them exhibit on stage is continuous. The emanating intensity and subsequent reaction of the crowd make the shows feel like a spiritual experience, especially when the crowd is familiar enough to sing-a-long, which the Avetts encourage. Read on after the jump.