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Tucson Favorites Peter McLaughlin and Chris Brashear Host the Inaugural Tucson Opry

May 24, 2022 |

Is there any music lover in Tucson who doesn’t know the work of longtime local Peter McLaughlin and frequent visitor/sometime resident Chris Brashear? Whether you do or don’t, if you’re a fan of the roots/Americana/old-time music that you’ll hear in the better quarters of Nashville, you need to betake yourself to the Old Pueblo’s answer, courtesy of those two: Tucson Opry, that is, the debut edition of which will take place at 7:00 pm on May 30 at the Hotel Congress (311 E. Congress). Tickets are going fast, so grab yours at the front desk or online.

Our correspondent Kathleen Williamson talks with Peter and Chris about their work and this auspicious occasion. Enjoy!

Americana Great Jim Lauderdale Brings “Hope” to the Old Pueblo

May 5, 2022 |

Americana pioneer and country legend Jim Lauderdale is coming to town to play songs from his catalogue and his new album Hope. Our correspondent Kathleen Williamson is here to greet him with a wide-ranging interview in partnership with KXCI-FM and Zócalo. Enjoy—and get to the show, which, to judge by past performances, promises to be one of the best of the year.

Jim Lauderdale. Photo by Scott Simontacchi.

Jim Lauderdale and His Band will play at the Hotel Congress Plaza (311 E. Congress) on Saturday, May 14, at 7:30pm. Tickets $28 in advance at www.hotelcongress.com.

Wishbone Ash Celebrates “Argus,” 50 Years On, at the Rialto

May 1, 2022 |

This piece is supposed to be about the upcoming appearance by legendary 70’s progressive rock act Wishbone Ash and their 50 year anniversary/celebration of their epic LP, Argus. As such, there will be thoughts on their signature twin lead guitar sound; what is it that defines progressive rock; and what it was like to be immersed in that very British primordial ooze that spawned bands of similar sensibilities, like early Genesis with Peter Gabriel, Pink Floyd, King Crimson, Yes, Jethro Tull, etc.

But mostly, after two phone conversations while he was driving between gigs (he assured me he was on Bluetooth), I find myself fascinated with Andy Powell, guitarist, singer, composer and keeper of the flame (and the brand) for Wishbone Ash since its inception in 1969.

At first, I thought his quiet, thoughtful demeanor to be in such contrast to the sound and power that can drive the music. And then I thought more about the music. And while it’s been a long time since I’ve had me some Wishbone Ash on the turntable, when I did get around to serving up Argus, I was moved by its artistry and the melding of quiet and soft with those brilliant guitar driven melodies. Having heard parts of it twice in two days, I still cannot get “Time Was” out of my head. But I digress . . .

These are but some of the things we touched upon.

Wishbone Ash—the current lineup.

Progressive Rock. When I asked Andy to define the term, he said with a wry chuckle, “It was really just bands playing with more than three chords. We were trying to flex our creative muscles, and really, just trying to be clever.” This led into his thoughts and reflections on the evolution of British music from the mid-1960s on citing bands like Small Faces and the Move and how the British fascination with American blues somehow fused with the psychedelia music of that time.

Argus. “It’s a vintage sound if you listen to the late ’60s 16-track analog. And while you always love every project you’re involved with, yes, we did know this one was special.”

50 Years of Wishbone Ash. In our first conversation I asked him if there was ever a time when he wasn’t doing Wishbone Ash, wasn’t playing or recording under that name. I know it’s not unusual for a classic rock band to reconstitute 15–30 years after its heyday. Or perhaps there was an extended hiatus or two—also not unusual for the genre. When I asked him about this again, he alluded to 1991–94, when he went off the grid, so to speak, working at what’s known as a teaching farm. But even then, he was still doing business and playing the occasional gig. Wishbone Ash sports a discography that includes at least 27 albums spanning more than 50 years, including 2020’s Coat of Arms.

Down on the Farm. In 1991, Andy joined his wife, who was a teacher, in a new job she had where she would be teaching kids on a farm. During this time, Powell deeply reflected on his life and his music career. “I decided I had had it with agents and managers and I’m only going to work with good people.” And so his time and energy would be split between doing chores on the farm and working on rebuilding the name and the brand of Wishbone Ash. “I needed to get real with it; strip it down to the basics and then rebuild. And I loved getting me hands in the dirt and seeing exactly what you’re made of. It doesn’t get any worse than pig shit!” he laughed. This time marked a significant turning point in his life and career. And Wishbone Ash? It was then and there Powell understood how much he needed to reach out and connect to the community of fans that was still out there.

Ahead of Its Time. Powell believes the funding for Illuminations, released in 1996 and paid for by asking the band’s extremely supportive fan base for money, was perhaps the first recording project to be funded in this way. While now quite commonplace, in the mid-1990s, crowdsourcing (Go fund Me, Indie Go-Go, etc.) was virtually unheard of. “I believe we were ahead of the curve when it came to finding new ways in reaching out to our fans. We also had one of the first websites up.” Since the advent of the internet in the mid-1990s, Powell has made excellent use of the social media tools available. In another example of being ahead of its time, Powell says it was the early 2000s that Wishbone Ash, teaming up with the band Yes, headlined a musical cruise, again quite commonplace now, but 20 years ago, not so much.

Favorite Albums in the Post-Argus Era. Post Argus simply means anything after 1980. “I’m very proud of Illuminations. I feel we were very successful in making a slick, American style rock album.” He also cites Elegant Stealth (2011), Blue Horizon (2014), and the most recent Coat of Arms. I would love to have heard him expand on his takes on what made each project so memorable.

I finally asked Andy if anyone had ever approached him about writing a book as his stories so well blended the precision of detail with the richness of the times. “Oh yeah, I’ve done that! My autobiography is called Eyes Wide Open.”

Not one who is generally a fan of older, iconic bands with multiple personnel changes, I am excited for this show.

Wishbone Ash plays the Rialto Theatre, Tuesday, May 10 at 8:00 p.m. Tickets range from $30 to 42.

With “Grow Up,” Tucson Indie Pop Band Chateau Chateau Enters a New Era

April 27, 2022 |

Chateau Chateau’s new album Grow Up is a perfect example of pairing pain with pleasure. The indie pop group hails from Tucson, which has seen an explosion of fun and quirky music these last few years. Chateau Chateau is led by Bleu and Alex, the power duo that bring darkness and humor to their tracks. The band formed in 2018, with Bleu joining in 2019, and it has since released a steady stream of empowering and exciting songs that remind people that it’s completely acceptable to be themselves and be comfortable in doing so.

As with most musicians, the COVID-19 pandemic was tough on the group, but that didn’t dampen their spirits. They not only released a wonderful “Chateau Chateau” cooking video and a full band Q&A, both of which can be found on their YouTube channel, but they also released the album Princess during the height of the pandemic. Since the restrictions lifted and live music returned, the band has gotten back into touring and recently made an appearance at South by Southwest, bringing tracks from Grow Up to the festival’s stage.

Bleu. Photograph by Alex Hamby.

Grow Up is set to release on May 6. The album is gritty and real and will leave anyone who has experienced similar stories feeling overwhelmed, but in the best possible way. Each song is about an experience frontwoman Bleu has had during her dating years. As a member of the LGBTQIA+ community, Bleu wanted to highlight her experiences with relationships from romantic to familial and to bring a voice to those who might not normally feel heard. In “Converted,” Bleu brings anger—with a dash of humor—to the table as she discusses her experience being the token “converted homosexual” for a man she dated. Grow Up also highlights her experiences growing up in a religious, abusive household. The lyrics are raw, but the upbeat guitars and synthesizers bring a bubbly feeling to the track that will make the most cynical person start dancing.

As the album progresses, it keeps the funky, fast-paced pop sounds throughout. Grow Up’s penultimate track is a cover of ‘Til Tuesday’s “Voices Carry,” and Bleu knocks it out of the park. The song’s 80’s funk meshes perfectly with Bleu’s raw vocals, and it will make any fan of the original smile.

Chateau Chateau is a force to be reckoned with. Its album release party is slated for 8:00pm on Friday, June 17, at 191 Toole. Tickets and information can be found at https://chateauchateaumusic.com/shows or on the band’s socials @ChateauChateau_.

Rosie Flores Plays HoCo

April 11, 2022 |

Rosie Flores, cowpunk pioneer and self-proclaimed “rockabilly filly,” is coming to town in a show that’s not to be missed. Our correspondent Kathleen Williamson talks with Rosie in a joint project for Zócalo and KXCI-FM, our city’s community radio station. Please have a listen—and then get your tickets to the show while they’re still available. —Editor

Rosie Flores and The Talismen will appear at the Hotel Congress Plaza at 7pm on April 22. Tickets are on sale here.

A Sojourn at Snowbowl

March 9, 2022 |

My history with Snowbowl started sometime in the late 1980s. From my hometown of Kingman, Flagstaff and Snowbowl were the closest ski sites. I’ve seen Snowbowl during some of its best conditions, as in the winter of 1992–93, when I almost failed out of University of Arizona because of the massive amounts of snow that led me not to attend as many classes as I should have. I have seen it in not-so-favorable seasons as well.

The constant in this whole equation is I’ve always had a great day regardless of conditions. My last trip, in February 2022, was no exception: two fun days on the mountain, not a lot of snow, but there was complete coverage and no bare spots. I was there on a Monday and Tuesday. The lines were non existent—just slide right up and get on a lift. The newer Arizona Gondola gets you up top promptly, with an option of a six-pack chair or enclosed compartment. Once up top, take in the view. You are standing next to Agassiz, the second highest peak in Arizona. Next to it is the highest peak, Mount Humphreys, at 12,636 feet above sea level worth the trip up for the view alone. 

The San Francisco Peaks. Photograph by Sean Davis.

The view is not what we came for, though, so we strapped into our boards and started down. I was riding with a friend and his son, as well as some other college-aged kids. The group was mostly somewhere between intermediate and advanced, so we moved quickly. It was clear the day was going to be about blazing fast laps, and it was—as many as you wanted until your legs don’t do as you tell them. We took a midday stop to sample the bar, with a stunner of a Bloody Mary. The bartender told me that they make their own mix, and it shines through. 

The combination of tired legs, another day ahead, and the lift about to be done led us to head for Basecamp at Snowbowl, located right at the base of the turn to head up the mountain to the slopes. I’ve driven past this place hundreds of times, but I hadn’t stopped, and I was pleasantly surprised with this gem of a spot. Newly renovated, the cabins are modern and cozy. A gas-fired stove, the source of heat, adds to the character of the space, as does a very comfortable bed.

The boys headed back to town while my friend and I wandered over to the bar and grill on property, with a great selection of beer and a fully stocked bar. This place ended up being our sanctuary, since we happened to be there on the 14th of February. Not quite grasping the depth of this day, as men may do from time to time, we were left without a place to eat. Everyplace was booked and there was no chance of getting in anywhere, except the bar and grill right next to my room. The food was solid and the staff was great, so it turned out to be a good choice.

The chair lift and an inviting slope. Photograph by Sean Davis.

A caveat for anyone planning to go to Snowbowl: plan ahead. Get your lift tickets online as far in advance as possible. The pricing gets fairly steep, and those not prepared will feel the wrath of trying to pay for a new gondola. Get there early. On busy days, weekends especially, the lots fill up quickly, and I have seen the shuttle lot at the base completely full and waiting for cars to come down before anyone else can go up. Have your rental needs reserved, and include a helmet. Day two of the trip would see a skier without a helmet airlifted after an encounter with a tree. Although it was an awful situation, the ski patrol and mountain staff handled the situation with absolute professionalism.

I plan to return to Arizona Snowbowl for many seasons to come, and I will also be hanging at my new favorite après ski place, Basecamp at Snowbowl.

For more information on Snowbowl’s schedules and fees, see here.

Better Times Will Come! A Conversation with Janis Ian

March 1, 2022 |

Janis Ian. Photograph by Keith Stokes.

Legendary folk singer/songwriter Janis Ian, a recording artist since the mid-1960s, is now on her farewell tour, with an early stop in Tucson. Tucson musician Kathleen Williamson enjoyed this illuminating conversation with her shortly before Ms. Ian arrived in town.

Janis Ian performs solo at the Rialto Theatre (311 E. Congress) at 8:00pm on March 3, 2022. See here for tickets and conditions.

Rick Wakeman Returns to Tucson

February 19, 2022 |

Rick Wakeman is a little grumpy, a touch out of sorts. He’s between houses, moving from one to another, not sure where anything is. “It’s a nightmare,” he tells Zócalo. “But once I get settled I’m going to treat myself with a nice new turntable to play all these albums I’m packing and unpacking.” With that happy thought, Wakeman goes from momentarily annoyed to funny and gracious.

The shift puts a pleasant lie to the name of his forthcoming “Even Grumpier Grumpy Old Rock Star Tour,” which will bring him to Tucson on March 1. It’s not his first visit: Wakeman first came to Tucson with the band Yes 50 years ago, in 1972, supporting their album Fragile and its rollicking opening tune “Roundabout,” a showcase for Wakeman’s renowned keyboard skills. “That was a great tour, a lot of fun,” he recalls, “and Tucson was a pleasure.”

He’s been back several times, sometimes behind the wheel of a fast car, for Wakeman is also a longtime auto enthusiast, having owned more than 200 cars by his count—many, such as a prized Cadillac convertible, “donated,” as he quips, in divorce settlements. One of his favorites was a 1986 Dodge Ram van that he bought on a stateside tour, tired of missing planes because of perpetually late (and now, sadly, truly late) Yes bassist Chris Squire. “I’ve still got the van,” he says. “It’s here, and one day I’ll restore it.”

Wakeman, now 72, came of age when the British Invasion was just building up to land on America’s shores. “When I was 12 or so,” he says, “there were just two channels on television, and they were on for just five hours a day. The radio was dreadful. There was nothing to distract us, so we made our own entertainment. My life was spent playing soccer and playing every kind of music I could. I woke up thinking about music, went to school and spent the day talking about music with my friends. Music was everything, and it was all I ever wanted to do.”

That all proved to be ideal training for someone who would be performing before audiences just a couple of years later, and whose skills advanced so quickly that he was an in-demand session player at only 18. In that role, Wakeman has played with some of the biggest names in rock and pop music over the years: David Bowie, Elton John, T.Rex, The Strawbs, Cat Stevens, even Black Sabbath. By his reckoning, he’s appeared on more than 2,000 recordings.

Asked whether there’s anyone he didn’t play with whom he wish he had, Wakeman is quick to respond: “Yes, my favorite band when I was a kid was The Who. I always wanted to play with them. John Entwistle was a dear friend, but nothing developed. And while I knew all The Beatles and spent time with them, I never recorded with them. Still, I didn’t do too bad…”

He joined Yes in 1971, contributing to such iconic projects as Close to the Edge before leaving to make the solo albums The Six Wives of Henry VIII and Journey to the Centre of the Earth. He returned to Yes for several runs and was inducted with the band into the Rock in Roll Hall of Fame in 2017.

It all adds up to a storied résumé, and Wakeman is preparing for his tour by selecting music across more than half a century, gathering deep cuts from his musical heroes and colleagues and his own arsenal. It takes time and attention. “I listen to whole albums,” he says. “There are one or two cuts that you think, ‘That’s brilliant!’ Then there are one or two cuts that you think, ‘Oh, that’s awful.’ And then you realize you’re listening to your own album!”

Is there anything he’s particularly grumpy about? Says Wakeman, “Gosh, where do I start? It’s been a tough couple of years for everyone, but for the entertainment industry it’s been nothing short of disastrous. I’m a people person, and I’ve hated not being able to give concerts and go out. I don’t think anything is ever going to be quite the same, but it’s good to feel that we’re slowly coming back.”

For all that angst, Rick Wakeman is a jovial fellow. Expect plenty of jokes—he’s a master of the off-color tale—along with reminiscences and, of course, a full slate of classic tunes at the show.

Rick Wakeman will appear at the Rialto Theatre (318 E. Congress St., 520.740.1000) on March 1, 2022. Doors open at 7pm, show at 8pm. Tickets $38–$62. Visit www.rialtotheater.com for more information.

Inner Wave Lands in Tucson

February 16, 2022 |

Friday, February 11, 2022, at Hotel Congress. The sidewalk outside of the venue was lined with all types of characters, but most had the vibe of ’70s hippies with a much more sophisticated sense of fashion. The small bar in the lobby of the venue was slightly less crowded than on a typical Friday night at the Hotel Congress, but the front room was packed, with around 200 people in attendance. Opening band Divino Nino, from Chicago, played a wide range of styles throughout their set, starting with a psychedelic slow jam and ending with a funky number that had the room hopping.

Inner Wave. Front left: guitarist Elijah Trujillo; back left: keyboardist José Cruz; center: lead vocalist and guitarist Pablo Sotelo; rear: drummer Luis Portillo; right: bassist and vocalist Jean Pierre Narvaez. Photo by Jake Ward.

Inner Wave, a band from Los Angeles, took the stage, highlighting songs from their new album Apoptosis, recorded during the quarantine in 2020 and recently released. The energy level in the room turned up a notch as the band started its set strong. The guitars, synth, and drums flowed together in perfect symphony, while the vocals carried over them seamlessly. The band sounded the same performing live as they do on record, which is an impressive feat in a world of auto-tune. The crowd was enjoying every moment of it, and the band was, too, playing as if for old friends when in fact it was its first ever appearance in Tucson. The sounds had couples and groups dancing until the very end of the show—which, we hope, won’t be their last performance here.

See here for a documentary of the making of Inner Wave’s newest.

Son Volt Comes to 191 Toole

January 14, 2022 |

“Pandemic blues again, life in lockdown / Don’t let your hope, your driving force / Drag on the ground.” So writes Jay Farrar in “These Are the Times,” two years into a worldwide plague that, he adds, has us “walking backwards.” One of many highlights on the new Son Volt album Electro Melodier, the song speaks to Farrar’s guarded optimism that, as he puts it elsewhere on the album, “the worst will soon be over.”

Electro Melodier began as a classic Covid album, assembled, as so many are these days, with musicians recording in different studios, one Son Volt member from as far away as New York, most of the others closer to Farrar’s home base of St. Louis. But something was missing in the distance, he says, and as time went on and the album inched along, “we all masked up and played together.” There’s an agreeably live feel to the album, one that hits the ground running with the upbeat, aptly titled “Reverie,” which encourages its listeners not to “stop dreaming on a distant star.” The album continues in a similar spirit, though with a couple of more pensive moments, one of them the song “War on Misery,” which, Farrar says, “I wanted to sound something like Lightnin’ Hopkins, with a low-tuned guitar and some quiet spaces.”

In a sense, Farrar tells Zócalo, the pandemic was a boon, if in just one regard: by taking the band off the road and constant live performing, it gave him and his bandmates the time to work hard on crafting an album that holds together as a piece. Even so, he allows, he’s glad to be going out on tour again after nearly two years away, a tour that will see the band’s return to Tucson after several years on top of the pandemic-born hiatus.

Electro Melodier, says Farrar, came together well overall, though one song, he says good-naturedly, was a little like pulling teeth. A slow march with pensive lyrics about the big lies in the face of the “truth we all know,” it “started to veer off in a direction that was sort of like the band Rush. We had to dial it back a bit to keep it from going off into prog-rock territory.” It’s now safely back in the Americana pocket that Farrar helped pioneer, another standout in an album that never falters.

Son Volt at 191 Toole, Wednesday, January 19, at 8pm. $25 via Ticketmaster or at the door. Proof of vaccination or a negative Covid test within the previous 48 hours is required for admission, and masks must be worn.