Radio Radio is an awesome venue. From its soft red and gold lighting and diner high tops, to its modern style front-of-house furnishings, this place vibrates with appeal. Propped up on a stool in the middle of several high top tables, I could easily get the hand crafted bar, screening a subtitled Bollywood film even the staff couldn’t explain (ed note: Aaron Caudle could!), but I digress. From my position I could see the stage with ease, although my view would be partially obstructed by the fans that gravitated towards the stage as Ancient Slang began to tune in. But hey, that’s what you get when you decide to sit down at a punk rock show.

Ancient Slang took the stage around 9:15 p.m. playing to a mostly male crowd of approximately 60-70 people. The trio consisted of electric guitar, bass guitar and drums, beginning the set with a guitar lead drone jam. The intro set everyone up for some punk up-tempo riffs, complemented nicely by the steady rhythms of percussion. As with any punk-ish band, the vocals left something to be desired. The heavy riffs and loud drum playing overwhelmed anything the group was trying to present vocally. Their set lasted roughly 40 minutes, but I caught myself toe-tapping for most of it.

Television Ghost took plenty of time to get going, almost completely erasing the momentum created by Ancient Slang. Once it got underway, the quintet consisting of 2 electric guitars, a bass, drums, and a synth player, stamped their trippy sound on the night. Using a range of effects on guitar and synth TV Ghost dug deep into my brain but left me wanting more. Riff heavy songs were almost drowned in feedback, making it impossible to understand what the lead vocalist was saying. Their energy, however, was amazing, with the lead singer stomping all over the stage and at one point completely losing his balance as he fell to the stage, not missing a beat. While it was entertaining to watch, their sound was repetitive and left me feeling exhausted and disconnected.

From the moment Metz started playing, it was apparent why they were the headliner. The trio radiated an aggressive energy that could be felt all the way out the door. Taking the stage just after 11:00, Metz’s fast tempo and in-your-face riffs freed me from the TV Ghost trance. Where the opening acts erred in stretching out their songs for too long, overplaying and thus desensitizing the crowd to the edgy sound, Metz kept their pieces short and sweet. This gave the audience a punch in the face and kept them wanting more.

Plenty entertaining show if punk/alternative is your genre, and a unique entertainment experience on a Monday night for only $10. Well done folks. Well done, indeed.

Most of the songs covered on Drink a Toast to Innocence — A Tribute to Lite Rock take me back to my childhood, listening to my parent’s radio as we all got ready in the morning. These were the songs I heard daily in my mom’s big blue Cadillac. Pleasant melodies, catchy hooks, non-threatening vocals. The lyrics about hanging out growing hair and becoming one with the whales and albatross — they’re still silly. Nevertheless, the songs get to me.

Well, most of them.

I listened for two things as I repeatedly burned through the double-album: One, could the artist make the source material more muscular, elevating the songs; or two, did it sound like something brand new. I wanted the artists to keep the strong hooks but make them their own while avoiding the karaoke trap. Two songs, in particular, stand out: Paul Bertolino’s version of Firefall’s Just Remember I Love You and Greg Pope’s re-imagining of Poco’s Crazy Love. The former mixes that extra something with layered vocals to make the song really pop. Pope’s version of Crazy Love sounds like something brand new.

As with most tribute albums, after the first couple of spins, I’d had enough of 50% of the tracks. Others that stuck besides the stand-outs above were David Myhr’s take on The Things We Do For Love, Bleu’s Baby Come Back, and Michael Carpenter’s We Don’t Talk Anymore.

Considering the number of well-known lite rock songs not represented here, I’m curious why certain tracks didn’t make the cut. I certainly wasn’t pining for another version of The Pina Colada Song. All in all, the record is a good time. Now I need to find that picture of me with a Leo Sayer haircut and burn it.

The Somewhat Unexpected: Oklahoma teen duo Skating Polly bring it live. With songs that blend a sweet Tegan and Sara-like vocal chirpiness with riot grrl rage, step-sisters Peyton and Kelli were raw and refreshing. Loose, ragged, and fun, Skating Polly burned through a 35-minute set highlighting their newest record, Lost Wonderfuls. Heads up, Girls Rock Indy, here’s a band for next year. So refreshing to watch a young, female band that prefers the ferocity of Kathleen Hanna over the vacuous Disney girl pop that gets shoved through the radio.

The Disappointing: The Flaming Lips have built an impressive career as experimental pop masters. The Soft Bulletin remains one of my favorite albums, and whether you like the band’s stylistic twists and turns since, their recordings have never been boring. And yet, that’s what their performance was Monday night.

Newest record, The Terror, is admittedly dark. Despite a frenetic light show, those songs never came to life. Each one seemed to blend into the next, to the point that even old favorites like Are You a Hypnotist? and One More Robot were barely distinguishable amidst the drone. The show came alive briefly near the beginning with a spirited version of At War with the Mystic’s The W.A.N.D., but the closest the Lips came to re-reaching that peak was a solid, though not exciting cover of Bowie’s Heroes. I’m hesitant to say the show was depressing, but I can’t ignore how little fun it was.

And why was Wayne Coyne holding a baby doll most of the night?

Maybe I just needed to be high. The guy in the dress in front of me was, and he seemed to be having a good time.

Were you there? What did you think of the show?

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Sponsored By:
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I won’t deny the rain was an obstacle — I missed the first half of Martin Sexton’s opening set because of it. But I also wasn’t that disappointed. Sexton’s been around for a while and has a solid set of fans, yet his Van Morrison/David Gray/Dave Matthews style has never interested me. Ritter was the clear draw.

Ritter and his band hit the stage at 9:20 and proceeded to deliver two masterful hours of music. The first three songs seemed designed to get everyone comfortable. Southern Pacifica had a slow build, leading into bouncy new track Hopeful, followed by So Runs the World Away’s breezy Long Shadows. Warm up done, Ritter and company blasted into a rollicking version of Harrisburg that took the show to the next level. The trifecta of Evil Eye, the dirty grooved Rattling Locks, and classic Wolves that followed reset expectations. It was during Locks when it felt like all inhibitions were cast off.

Ritter’s joy for performing was contagious. He was having a great time and, judging by the wolf calls around me, so were most of the fans. I honestly can’t recall seeing a warmer full band show. Pulling that off takes an exceptional amount of skill.

Catching a glimpse of the initial set list, I was impressed by Ritter’s willingness to audible along the way. Girl in the War was a mid-set addition as was an unknown song he said he’d never tried live before. But Ritter still hit a lot of the expected high points, including sing-a-long versions of Good Man and Lillian, Egypt. Main set closer Kathleen was a cathartic burner.

For the encore, Ritter came out alone to do an unplugged version of Snow is Gone perched on the speakers at the side of the stage. The band joined him to end the show with the popular To the Dogs or Whoever.

Two full hours that felt like 20 minutes. Ritter and his band sounded perfect, and the crowd was enthusiastic and fed off his love of being on stage. No doubt — best show of the year.

Josh Ritter Set List:
Southern Pacifica
Hopeful
Long Shadows
Harrisburg
Evil Eye
Rattling Locks
Wolves
Bonfire
The Curse
Joy to You Baby
New Lover
Girl in the War
Galahad
When Will I Be Changed (?)
Appleblossom Rag
Nightmares
In Your Arms Again
Good Man
Lillian, Egypt
Right Moves
Kathleen

Encore:
Snow is Gone
To the Dogs or Whoever

Brewer opened the show with an impassioned set that had the audience locked in hushed reverence. His soaring tenor and acoustic guitar sounded pristine in the small venue. Brewer plays around Indy a handful of times each month, so make an effort to check him out.

Coyote Armada — Coyotes when the show was booked — are a six-piece Old Crow Medicine Show-inspired band that isn’t afraid to throw a bit of the modern into their hootenanny. If you occasionally like some rap to go with your washboard percussion, CA are your bag of fun. I enjoyed the energy and musicianship the group brought to the stage, and many in the room were on hand to see the group. Maybe I’m feeling a bit tired of the throwback sound — bands like Mumford and Sons and the Lumineers don’t really do much for me — so I wasn’t as over the rainbow as some in the crowd. Good fun, nevertheless.

Water Liars, however, were extremely impressive. Rocking way harder than I expected based on listens to their newest, Wyoming, the three-piece have found a nice space in the Will Johnson/Jason Molina ragged glory style. Alternating between feedback-drenched crunchers and plaintive folk, the band held nothing back. Anytime a group’s live show has me immediately going back to listen to their records is good sign. Water Liars fully succeeded on that front.

Did you go to the show? What did you think?

No such hijinks this time. Ritzy Bryan and company brought it hard for 90 minutes. Loud, fast, melodic, hooky — everything that makes them great on full display. The band was incredible.

Touring in support of newest record Wolf’s Law, the set was a perfect mix of the recent release and choice cuts from my favorite album of 2011, The Big Roar. The show opened with the staccato rush of Cholla, followed by the sing-along Austere. The swirling This Ladder is Ours was next and built exceptionally well. Ritzy was in fine voice and every song had a crackling energy, even the quiet Silent Treatment. And the way that song exploded into Maw Maw Song? Cathartic doesn’t do the moment justice.

I left the Vogue hearing everything I expected: Tendons, Ever Changing Spectrum of a Lie, Cradle, and, of course, the encore rush of Whirring. Early EP cut While the Flies was the lone moderate surprise, but it blended well with the rest of the show.

L.A. band Kitten opened the night with a fun 80s new wave influenced set, followed by a stirring 35-minute performance from Guards. But the night was all about the Joy Formidable. Not even four months into 2013 and yet another top flight Indy show.

Joy Formidable Set List:
Cholla
Austere
This Ladder is Ours
The Greatest Light is the Greatest Shade
Little Blimp
While the Flies
Cradle
Tendons
Silent Treatment
Maw Maw Song
I Don’t Want to See You Like This
Ever Changing Spectrum of a Lie

Encore:
Forest Serenade
Wolf’s Law
Whirring

Were you at the Vogue Sunday night? What did you think of the show?

I’d been waiting 17 years for this one. When the MOKB Presents show was first announced, I audibly blurted out an expletive-laden string because it was so unexpected. Since their debut in 1995, Ash has put out some of the catchiest, most rocking songs ever. What’s amazing is they hit almost all the highlights live.

Local band Kaleidostars warmed up the crowd with a tight set of catchy power pop. Radio Radio wasn’t full Friday night but those in attendance were obviously waiting for the main course. The audience listened respectfully yet they were clearly saving their energy.

Now touring as a three-piece, Ash hit the stage promptly at 10:30 and proceeded to tear it up. Beginning from the opening notes of Meltdown, the band never let the energy lag. Newer gems like Joy Kicks Darkness and Arcadia blended perfectly with the classics. And as I mentioned above, they played what the crowd came to hear. Shining Light, Girl From Mars, A Life Less Ordinary, Evil Eye, Burn Baby Burn — the list goes on.

After almost two decades, Ash still look like they’re having a blast. Lead singer/guitarist Tim Wheeler loves performing and his joy was contagious. Everyone around me at the front of the stage was bouncing and singing along.

What a fun show! I hope I don’t have to wait another 17 years to see them again.

Live music lovers of Indianapolis may be sleeping on this one, but that’s flat-out foolish. For 20+ years, these guys have been cranking out incredible tunes. It’s been about that long since I last saw them play in support of the great 1977. I never thought I’d have the chance to watch them tear it up again. Girl From Mars, Shining Light, Burn Baby Burn, A Life Less Ordinary, Orpheus, Joy Kicks Darkness, the list goes on.

This is an MOKB Presents gift. Accept it graciously, Indy. Go.

IRL: You’ve been playing together for about 4 years now, correct? How did you land on your sound – maybe call it ragged glory mixed with elements of decades past?

KS: Yes, 4 years. The sound developed from listening to old and new records. Our friendship outside of the band helped us accept each others creative differences, which help to make up our sound. We just try to keep it real and not force anything.

IRL: Nashville is well known for its vibrant music scene. Would you say your proximity to the city has informed your songwriting?

KS: Nashville new and old has influenced our music. Since we’ve started touring we’ve been able to be influenced from other towns and their scenes. But we do agree you can hear “Nashville” in our music. It’s not just country music. It’s all kinds.

IRL: I’ve seen a few references to the Black Keys as it relates to the band’s sound, but my feeling is you have your eye on greater themes, similar to the Drive-By Truckers. Where do you see the band’s progression going forward?

KS: We don’t try to sound like anyone. We’ve been compared to a lot of different bands. Some of them we’ve never heard of before. We just try to do our own style. But as far as moving forward we’d like to tour more and record more albums.

IRL: I love how the album was produced to include that rough-around-the-edges feel. Would you polish it up more on the next record if you had a bigger budget or do you intend to maintain the current aesthetic?

KS: We just give the songs the feel they need to have. Whether it’s a rougher feel or a more polished feel doesn’t depend on our budget as much as it does what feels right from song to song or album to album.

IRL: How has your live show developed since you began and how do you see it evolving?

KS: It has changed. It tends to change from night to night, and I’m sure it will continue to. There’s never really any telling what’s going to happen on stage, so we just tend to go with it where feels right.

The Kingston Springs hits Austin this week for the SXSW Music Festival. Find out where they’re playing and check them out.