Tuned Up presents...
Ben Sollee, The Classic Crime, Matt and Toby, Zoo Trippin, SATELE, Keyoung, Souther, NIcholas Rowe - Music, Canadian Waves, Mountains Like Wax, Civilian, Kids In The Way, Cardinal Harbor, Jetty Bones, Graceful Closure, Kevin Schlereth, Year of the Buffalo
Sat · May 6, 2017
Doors: 2:00 pm / Show: 2:00 pmVeritas
$15.00 - $20.00
Tickets at the Door
This event is all ages
Steadfast Festival exists to pay homage to the loyal fans you see at every show by bringing together quality music from multiple subcultures.
2:30-2:55 - Nicholas Rowe
3:05-3:30 - Canadian Waves
4:20-4:50 - Satele
5:00-5:30 - Keyoung
6:25-6:55 - Year of the Buffalo
8:15-8:40 - Kevin Schlereth
8:45-9:10 - Special Guest
3:40-4:10 - Civilian
5:45-6:15 - Matt and Toby
7:10-8:10 - The Classic Crime
9:15-close - Ben Sollee
2:30-2:55 - Jetty Bones
3:05-3:30 - Mountains Like Wax
4:20-4:50 - Souther
5:00-5:30 - Cardinal Harbor
6:25-6:55 - K I D S.
8:15-9:00 - Zoo Trippin'
What is the Classic Crime? History is filled with heroes that made the ultimate sacrifice and martyrs who died for their cause. Whether their actions were viewed as "criminal" in their day was irrelevant. From those fighting against injustice to those who stood up for the folks who don't fit in, dying for one's beliefs or one's art is the Classic Crime.
"Music has a profound effect on the listener. It even has the power to lift spirits and change lives," reasons Classic Crime singer Matt MacDonald. "If we can see our music change a life for the better, than we've been paid in the kind of way we hope to be."
The Classic Crime's new album, "Albatross," threatens to change lives in such a way with the sheer expanse of its scope, conjuring the most brilliant moments of Brand New, Thrice and Third Eye Blind while alternately sounding refreshingly original.
The vocals are unique, the lyrics are hopeful, and the boys' hearts are all in the right place. Tours with Mest, Allister and Scary Kids Scaring Kids, as well as prime placement on the Tooth & Nail Tour with Emery and Anberlin, won't hurt.
The Classic Crime is a new take on an old rock n' roll sound for a generation hungry to be heard. Producer Michael "Elvis" Baskette (Iggy Pop, Chevelle, Cold) helped The Classic Crime shape and hone their already considerably strong material into breath-taking anthems, proving how far they've come since their days as teenage pals.
Justin Duque wasn't one of the "cool" kids in school; never an outcast, but never quite popular. "I knew that high school was a big popularity contest and I never bought into it," he says. What high school did offer Duque was a chance to meet drummer Paul Erickson.
Duque and Erickson became fast friends and before too long they found themselves playing in a band called Orizon with bass player Alan Clark and singer Matt MacDonald. By the time guitarist Robbie Negrin came onboard, the time felt right to change the name.
The Classic Crime will leave their mark on the musical landscape with "Albatross." Don't worry about the over-saturation of bands out there. This album stands apart.
"If we are mentioned in the same breath as the great bands of the Pacific Northwest then I think that we'll have done something right," Duque says with modesty. Adds MacDonald: "We have been given a talent to write and play music and it is my hope to give that to other people. [We want] to inspire hope in other people."
The concept of Mountains Like Wax was kindled by Taylor's roots in the tranquil landscape of the Smoky Mountains, a favorite Psalm, and his fierce desire to write honest music about growing up in a modern world that could make the dark times in one person's life hopeful anthems in another's. He came to share this vision with Katz, who was quick to join him and add his ethereal guitar to the rushing waves of Taylor's perfectly imperfect tenor. But as their initial partnership took shape, their sound evolved, and the two brought on Preston Vaughn to occupy the remaining void with his precise rhythm section which further gave depth and ridges to their sonic landscape. Acknowledging their mutual admiration for acts like Thrice, Mansions, Kings of Leon, and Local Natives, they began the process of blending aspects of these influences into their own brand of post rock imbued with the raw emotion that initially birthed the band, and then perfecting these new songs in front of a live audience; allowing that audience to fuel and prune them until what was left was a striking monument to their hard work.
As their sound gradually became more refined, Taylor, Katz, and Vaughn sought the help of their friend, lead singer of Afterlife Parade, Quinn Erwin to produce the band's first project. Seeing great potential in them, Erwin took Mountains Like Wax on as part of his newly minted artist development think tank, Watermain Creative. Erwin along with producer/engineer and Afterlife Parade guitarist John Potts distilled the bands energetic live show into an impressive debut EP titled Tetralogy.
Mountains Like Wax's Tetralogy EP, slated for release November 6, is a bold introduction to a southern post rock band who has amassed a following on the back of its cathartic live performances.
A follow-up to 2012's Should This Noose Unloosen, YWBWPC's ringing guitars and sonorous vocals sway with austere, precise drumming while thoughtful bass paints outside the lines. With each track, frontman Ryan Alexander uses his art to add nuance to how we talk about government and poverty.
"YWBWPC is an attempt to examine the intersection of love and politics and science and hope and nihilism. These aren't mutually exclusive ideas" says Alexander. "They interact every second of every day, yet we feel the need to keep them separate and neat. Love is anything but neat. Religion is anything but easy. Politics are anything but convenient. We should boldly sit at the table of ideas and share our stories. This is what it is to be human."
Initially formed by lead vocalist David Pelsue, guitarist Nathan Ehman and drummer Eric Carter in 1997, the band originated under a different name and focus. With the addition of Austin Cobb and original bassist Nathan Hughes, who has since left the group, Kids in the Way was born. During these early days, Kids in the Way released a successful, self-titled EP that helped land the band artist management and bigger shows, including a guest performance slot with Audio Adrenaline, who eventually signed the act to Flicker Records.
The Hoosier State rockers soon dropped its debut album, Safe From the Losing Fight, which earned Kids in the Way three Top 5 rock songs: "Phoenix With a Heartache," "Hallelujah" and "We Are." The record also won Kids in the Way tour opportunities with groups like Audio Adrenaline, Relient K, Skillet and Pillar. While its rookie project helped build a solid foundation, Apparitions of Melody will blow the doors off.
In keeping with the group's brilliant rock sound, Apparitions of Melody pushes harder, deeper and darker into what rock 'n' roll and real life are all about. There's no posturing, over-thinking or predictable clichés on this record. Co-produced by Sam Shifley and Nathan Dantzler, Apparitions simply mixes edgy guitars, frantic energy, and engaging lyrics to create a soundtrack for modern living.
"The album is a lot deeper," says Pelsue with confidence. "In many ways, it's similar to what we've written before, but the lyrical content and musicianship are much stronger. We tapped into something more intense this time around. It just has a certain vibe."
Several songs on Apparitions of Melody deal with relationship issues, and the band writes in a universal way that appeals to our common humanity. "This Could Be the Song That Changes Your Heart" bleeds sorrow, while "Blind Behind the Wheel" reflects on the 20/20 hindsight that can be so frustrating after making a mistake. There's also the pain-strewn "Breaking the Legs of Sheep," the rocket-inspired "Burt Rutan," and a quirky cover of Tears For Fears' "Head Over Heels." Even still, it's the title track that will rip your stereo speakers wide open.
Featuring quick-paced guitars and a tense, urgent delivery, the title track's sound reflects a philosophical struggle conveyed in its lyrics. "This song simply implies that someday the music will die," muses Pelsue. "Music is an ever-changing, ever-growing thing that people use up and go through like clothing. As a band we are very aware of and accept that reality. It is our hope and desire, however, that long after the music fades from your head, its spirit will live on in you forever."
In contrast, the album's darker imagery might be tough to fade from memory, which makes it all the more striking. For example, "Last Day of 1888" references the infamous Jack the Ripper slayings. "I wrote that song immediately after the first record came out," says Pelsue. "We were on a very mainstream tour, and people were looking at us somewhat critically. I wanted to write a song about being misjudged, and I remembered the story of this man who was incorrectly identified as Jack the Ripper . Eventually, he was driven to suicide because of false accusations. I thought that was a pretty bold example of misjudgment."
Apparitions of Melody captures a real life vibe that's both tangible and sincere. Unhindered by any pretentiousness or predictability, Kids in the Way demonstrates considerable growth and presents new songs that bond with everyone wiling to let the energy take them higher. Rock music will still have its glitz and gimmickry, but these Kids have its heart, and they wear it on their sleeves with Apparitions of Melody.
The six piece alternative rock band formed in Chicago, IL and has been writing and performing their music for the past two years, playing venues such as The Hard Rock Chicago.
345 E. 2nd St.
Columbus, OH, 43215