Rapper Drake took to his Instagram feed early Monday morning to express his devastation and pledge his support to Houston in the wake of Hurricane Harvey. Noting that the city has “truly been a home to me over the last 8 years,” he said that along with his DJ and manager Future the Prince, he is “working with local relief groups to aid and assist the people of Texas.”
A handful of local music events were affected by Austin’s brush with the outer bands of Hurricane Harvey over the weekend.
Lyle Lovett performed his scheduled Saturday show at ACL Live, but the second show was canceled “due to the hazardous weather conditions impacting travel in the Austin area” and “to ensure the wellbeing of the patrons, staff, and artists.” according to a post on the venue’s Facebook page. The statement added that “refunds for tickets purchased through Ticketfly and LyleLovett.com will be processed within 7-10 days through point of purchase.”
Nutty Brown Amphitheatre’s show with the Josh Abbott Band on Saturday has been rescheduled for Oct. 27. According to the venue’s Facebook page, “All tickets from the original date will be honored, and if you are unable to attend the rescheduled date, please contact Ticketfly by August 31.” UPDATE: Another Nutty Brown show, with Nashville country singer Jake Owen on Sept. 2, also has been canceled, “due to the mass devastation in Southeast Texas,” per a statement from promoter Paragon/Nederlander. Tickets will be refunded at the point of purchase, per the statement.
Canadian rock band A Simple Plan postponed its Saturday concert at Emo’s. A press release from show promoter C3 Presents did not mention refunds, stating only, “We encourage ticket holders to hold onto their tickets for the soon-to-be-announced rescheduled date.”
C3 Presents also announced that Canadian indie singer-songwriter City and Colour canceled Tuesday’s scheduled show at Stubb’s, along with dates in Houston and San Antonio. “Orders have been fully refunded and will reflect on your account within 48-72 hours,” the statement read.
South Congress hot spot the Continental Club lost power on Saturday and moved a performance by Los Coast and the Jungle Rockers down the street to its sister club C-Boy’s, which did not have a power outage. Sunday’s shows at the Continental were canceled when power had not yet been restored. Power has now been restored, allowing the club to reopen for its usual Monday shows, according to owner Steve Wertheimer.
And in the hill country, the Kerrville Fall Music Festival announced it’s canceling this weekend’s three-day event because of “the number of our festival attendees and volunteers who are impacted by the damaging floods from Hurricane Harvey, according to executive director Mary Muse.
The Kerrville Fall Music Festival, a smaller offshoot of the hill country town’s main Kerrville Folk Festival in the spring, announced Monday morning that it has called off this weekend’s Sept. 1-3 event because of Hurricane Harvey’s impact on the region.
Executive director Mary Muse cited “the number of our festival attendees and volunteers who are impacted by the damaging floods from Hurricane Harvey” in a statement posted to the festival’s website,” adding that the festival “is staffed by a small army of volunteers, many of whom live in the Houston area.”
The festival had planned to present touring artists including Susan Werner, Peter Mulvey and the Honey Dewdrops as well as such area performers as the South Austin Moonlighters, Sam Baker and the Bob Livingston Trio at Quiet Valley Ranch just outside of Kerrville’s city center.
The statement made no mention of refunds, but included the following: “For folks who planned to attend and purchased advanced tickets, or reserved RV sites at Quiet Valley Ranch for the Fall Music Festival, we ask your understanding and concurrence. Since the Kerrville Folk Festival Foundation is a 501(c)3 nonprofit, your advance purchases can now be converted to a tax-deductible donation to the festival which will be making a donation to Hurricane Harvey victims relief.”
As flood waters deluged one of the greatest rap cities in the country, many of the city’s musical heavyweights and music scene personalities turned their social media streams into disaster information channels, retweeting messages from friends and fans trapped in their homes waiting for rescue. They also began to mobilize relief efforts for the weeks ahead.
“There’s a huge difference between evacuating a city like Houston (2.4 Million) and Corpus Christi (326K),” she said, after opening a lengthy Twitter thread by calling out armchair analysts decrying her city’s mayor as “you (expletives) that have never evacuated a MAJOR city during a hurricane.”
If you can AFFORD (Yeah, I said it) to evacuate, you need gas or a means of transportation to get to one of the buses headed out/shelters.
She brought up some of the factors that folks who have never been forced to evacuate might not consider, like the fact that many people are forced to face the heartbreaking decision to leave their pets.
YOU'RE PETS AREN'T WELCOME AT MOST SHELTERS FYI. Did your judgemental ass know that? Bye bye 🐱🦊🐹🐰🐵
And she told the story of her own evacuation from the city in 2005, when Houston evacuated before Hurricane Rita, a storm analysts believed would be a direct hit on the city. She said it took her 23 hours to drive from Houston to San Antonio. And she shared a photo of the freeway she traveled on, which is now under water. The water, she noted, took less than eight hours to fill up.
Over the weekend, Franklin’s band, the Suffers, was scheduled to play the Lockn’ Festival in Arrington, Virginia, but they canceled the gig to “stay home and take care of our families,” the band said in an Instagram post.
Wednesday: The Wine Down with Mobley at 3Ten. This is your last chance to catch our August Austin360 Artist of the Month before he hits the road on a cross-country jaunt that puts him out of town till he hits the big stage at Austin City Limits Fest later this fall. It’s also a free happy-hour show with wine tastings and bites. So come groove along to some of the catchiest post-genre pop our city has to offer. Free. 5 p.m. 310 Willie Nelson Blvd. 3tenaustin.com — D.S.S.
Wednesday: LeRoi Brothers, Tommy Shannon Blues Band, Bill Carter at Antone’s. Hump day at Antone’s has been reliably one of the best nights of the week at the home of the blues since the club reopened a year and a half ago. The bulletproof anchor is an early-show residency with Rock and Roll Hall of Fame bassist Tommy Shannon’s outfit, now with the added bonus of a set by storied blues-rock songwriter Bill Carter (who has a new self-titled album out). The late show features a rotating cast of Antone’s favorites, and this week’s choice is a timely one: Jungle Records recently put out a deluxe reissue of “Check This Action,” with six tracks added to the original dozen on the band’s classic 1983 LP. Admission is $10 for the 6:30 p.m. early show; get in free for the LeRois’ 10 p.m. set as part of a monthlong celebration of the 30th birthday of Antone’s Record Shop. 305 E. Fifth St. antonesnightclub.com. — P.B.
Thursday: Buddy Guy at ACL Live. There was a really special moment at the old Austin City Limits Studio 6A a few years ago when Buddy Guy and Willie Nelson, two musicians who fully warrant the oft-overused “living legend” tag, took part in a salute to ACL Hall of Fame inductee Stevie Ray Vaughan. Turns out the two had never previously met. Guy’s been a regular guest, though, at ACL Live, aka “the house that Willie built” (see his statue out front). Once upon a time, the blues guitar master was in his element at Antone’s, Austin’s home of the blues. But he’s long since outgrown smaller rooms in a career that has included seven Grammy Awards, including one for his 2015 album “Born to Play Guitar.” Quinn Sullivan opens. $39-$62. 8 p.m. 310 Willie Nelson Blvd. acl-live.com. — P.B.
Canadian singer-songwriter Dallas Green who performs under the name City and Colour has canceled a run of shows in Austin, Houston and San Antonio due to weather conditions related to Hurricane Harvey. He was scheduled to perform at Stubb’s BBQ on Tuesday, August 29.
Promotion company C3 presents, included the following statement from the band along with the cancellation notice:
HOUSTON, SAN ANTONIO & AUSTIN: We’ve been monitoring Hurricane Harvey closely and have been speaking with the venues & local promoters all day. We’re sad to announce, that due to the storm, we will be CANCELLING the upcoming concerts in San Antonio, Houston & Austin. Our main priority is your safety.
Orders have been fully refunded and will reflect on your account within 48-72 hours.
Our thoughts are with all of you, in Texas.
I never had the privilege of knowing Margaret Moser so, consequently, I don’t have any stories about her warmth and magnanimous spirit like the countless moving tributes currently flooding social media.
“We all have people that we go out to the club and we see, and it puts you in a good mood just because they’re there. And she was like that for everybody,” my friend and former colleague Michael Corcoran told me in late June. He described this as “the essence of Margaret.”
In June, Moser announced that she had entered home hospice, and the Austin music scene quaked with grief, understanding one of our greatest champions was not long for this world.
Though I had no personal connection to her, the news hit me hard, too. I’ve been thinking a lot about the space women occupy in the public consciousness. It dawned on me recently that I’m the first woman to hold a music writer position at my newspaper, an institution that’s been around for well over a century. I’m not, however, the first prominent female music writer in Austin. Moser helped shape the narrative about Austin music since the ‘80s, and that’s something rare and special. I felt like it was my duty to write a tribute to her.
Though her moments were precious and many people were clamoring for a few minutes of her time, she agreed to meet with me briefly when she traveled to Austin in late June for an exhibit she was curating at Antone’s on blues great Robert Johnson’s Texas years.
I realized I had never really spent much time with her catalog, so to prepare, I spent a few days immersing myself in her work. And I was blown away.
Her historical knowledge of Texas music was formidable, and the passion she felt for artists she featured bled from her pages. But her autobiographical pieces were the ringers, the stories that lifted me up and the ones that gutted me.
She wrote about zany escapades with her glittery, giggling girl gang, high on life and assorted other illicit substances. She seemed to laugh in the face of anyone who dismissed her as just a groupie. Her posse of rock-loving gals, the Texas Blondes, were the life of the party, and she was the queen of the groupies.
“I had committed the ultimate groupie sin, the Bad Thing, the I-told-you-so part: I’d fallen hard for John and my heart was no longer into sex, even with musicians for fun, after that,” she wrote.
I was entranced and amazed. She wrote many of these stories decades before the term “slut-shaming” emerged as something people ought not do. It was so bold and brash. And it must have been so very hard.
“The whole thing about being a groupie, being up front about it, she kind of gave people an excuse to dislike her, but she never backed down,” Corcoran said. He told me she was sensitive, “She’ll cry at the drop of a hat.”
I decided that would be the focus of my interview: What was it like being a pioneer in the field of not just music, but also writing about sex for women?
She came to town a few days before the July 1 show, and I was excited when her best friend E.A. Srere, who was handling her schedule, secured me a 15-minute slot. But on the day of the interview, E.A. sent me a message asking me to text before I came. Moser was having a rough day. The interview didn’t happen. We exchanged a few more messages about rescheduling, but with each one the tone felt more strained. Moser was going through a bad spell, and while her friend was politely answering my requests, she was negotiating the agonizing process of watching a loved one slip away.
I backed down. It felt like the right thing to do. When time is limited, moments belong to the people who matter, and I was superfluous. I also was fully aware of the inherent selfishness behind my desire to do this piece.
I desperately wanted to ask Moser, “How did you handle the haters? The people who slammed you for being up front about your position as a sexual being in the music scene? The people who considered your capacity for lust a reason to dismiss you?”
The unspoken subtext was so obvious it was almost embarrassing: “And how should I?”
The first time I was dragged online over something I wrote, and every time since, the conversation inevitably devolves into some variation of “you just want to (expletive) that guy” or “you just need to get (expletive).” Because that’s what happens when you’re a female writer with an opinion someone doesn’t like.
One of Moser’s greatest contributions to the canon of music writing is the way she embraced, even venerated, the role of female lust in the experience of rock ‘n’ roll. As well she should have, because, after all, isn’t giddy, tingling ecstasy one of the deepest things a song can make you feel? Isn’t the very term “rock ‘n’ roll” a euphemism for sex?
I like to believe she would have answered quickfire keyboard losers curtly: “Yes, maybe I did want to (expletive) that guy and maybe I understand his music on a deeper level because of it. Maybe that music moved through my body in a way you can never understand.”
Music writing has always been a boys club, and Margaret Moser was one of the first women to break in. But her greatest gift to the female writers that follow her is that she never pretended to be one of the boys.
A show by Canadian rock band Simple Plan scheduled to take place at Emo’s on Saturday, August 26 has been postponed due to inclement weather conditions related to Hurricane Harvey. Fans are encouraged to “hold onto their tickets for the soon-to-be-announced rescheduled date,” a press release from concert promoter C3 Presents said.
The press release also contained the following statement from the band:
Fans’ safety is our number one priority and after careful consideration, it was decided that this was the right thing to do for everyone involved.
We are extremely sorry for this unfortunate turn of events and for any inconvenience this may cause. We are already working on finding a replacement date for the show and will announce the details as soon as possible. All tickets will be honored for the new date. Thanks for your understanding and we look forward to playing for you!
A Giant Dog, “Toy” (Merge). The band’s second release on Merge Records, which follows last year’s “Pile,” explodes with the anarchic energy that made Sabrina Ellis and Andrew Cashen’s glam punk hooligans Austin’s top dive bar destroyers. But it’s not all grit and grime. The album is locked and loaded with flashy hooks and top-of-the-lung sing-alongs. For the past two years, this crew has maintained a brutal tour schedule, building a fan base across the country. Fans at home have been wondering when they’ll break out onto a much bigger stage. The answer? Any minute now. — D.S.S.
Release show Aug. 26 at Hotel Vegas. Here’s the video for the track “Bendover”:
Stephen Doster, “New Black Suit” (Atticus). Doster’s revelatory 2014 album “Arizona” was his first release in 18 years, but its success inspired him to reconvene quickly this time with drummer Dony Wynn, keyboardist Kevin Lovejoy and bassist George Reiff. The results are similarly wondrous, if bittersweet. The title track, which closes the album, is the linchpin to this collection of 10 songs, many of which address the loss of dear friends and influential figures in his life. “William Melvin Hicks” is an ode to the Houston comedian who died of cancer in 1994; “Until the End” embraces a live-life-to-its-fullest philosophy. Musically, Doster and his crew traverse melodically engaging classic rock and pop territory, with occasional accents from local aces including violinist Warren Hood, cellist Brian Standefer and saxophonist Elias Haslanger. At the end, Doster sings wistfully, “I need a new black suit, seems all my friends are flying, flying away to the light behind the sky.” Like Ray Wylie Hubbard’s new album, “New Black Suit” was dedicated to bassist Reiff, whose death from cancer in May hasn’t kept his musical contributions from continuing to surface. — P.B.
Release show Sept. 9 at the Townsend. Here’s the leadoff track, “Shooting for the Stars”:
Fairbanks & the Lonesome Light, “Nothing to Escape.” On their second album and first since relocating to Austin from Los Angeles, Erik Flores and Amelia Rose Logan deliver ten tracks of classic alt-country/Americana. Their backing crew helps ground these songs into a deeply rooted Southwestern aesthetic, with abundant swaths of pedal steel that complement the harmonies of Flores and Logan at the core of the music. — P.B.
Release show Aug. 25 at Sidewinder. Here’s the track “Pieces”:
Alesia Lani, “Resilient.” Austin’s smoothest purveyor of sultry bedroom grooves follows up her excellent 2015 release “First Impression.” — D.S.S.
Release show Aug. 25 at Mohawk indoor. Here’s the track “Better By You”:
AUG. 30: Brandon Callies & the American Revival, “Sounds of Love and Ghosts,” release show Aug. 30 at One-2-One Bar.
AUG. 31: Pulkingham Layne, “Stringology,” release show Aug. 31 at Cactus Cafe.
SEPT. 1: Jean Caffeine, “Sadie Saturday Night” (Joe), release show Sept. 1 at Hole in the Wall, in-store Sept. 3 at Antone’s Record Shop.
SEPT. 1: Johnny Dango, “Recluse in Plain Sight.”
SEPT. 1: Sam Pace & the Gilded Grit, “Judgment Eve, Part 1” EP, release show Sept. 1 at Mohawk indoor.
SEPT. 8: David Ramirez, “We’re Not Going Anywhere,” in-store Sept. 8 at Waterloo Records.
SEPT. 9: Mystery Achievement, self-titled, release show Sept. 9 at ABGB.
SEPT. 10: These Fine Moments, “Break It, Bought It,” release show Sept. 10 at One-2-One Bar.
SEPT. 15: Ray Prim, “To Whom It May Concern,” release show Sept. 15 at North Door.
SEPT. 22: Midland, “On the Rocks” (Big Machine), playing Oct. 15 at ACL Fest.
SEPT. 22: Balmorhea, “Clear Language” (Western Vinyl), in-store Sept. 24 at Waterloo Records.
SEPT. 22: Jimmie Vaughan Trio featuring Mike Flanigin, “Live at C-Boy’s” (Proper).
SEPT. 22: Midnight Stroll, “Western Static.”
SEPT. 22: Walker Lukens, “Tell It to the Judge.”
OCT. 6: Whitney Rose, “Rule 62” (Six Shooter).
OCT. 20: Porter & the Bluebonnet Rattlesnakes, “Don’t Go Baby, It’s Gonna Get Weird Without You” (Cornelius Chapel), release show Oct. 21 at Stay Gold.