I’m not entirely sure what the end result of a local-centric music blog posting regional tour dates for a band would be, but Google search results are a hell of a thing, and this is my website anyway so get off my lawn.
Lawrence indie-pop quartet Cowboy Indian Bear are kicking off a two-week tour of the Midwest tonight with a show at the FOKL Gallery (host to the upcoming Psychfest) and will be playing with locals The Atlantic and Maps For Travelers. After tonight, they’ll be venturing over to Springfield, MO, and beyond until they make their grand return for a homecoming matinee with the fantastic Ghosty at the Replay Lounge in Lawrence on May 19th. It is highly recommended you attend if they are coming through your town.
See the band’s video for “Saline” from 2010’s Each Other All the Time below, and stream or download their Daytrotter session here.
Cowboy Indian Bear spring tour 2012:
05/04: Kansas City, KS @ FOKL
05/05: Springfield, MO @ The Outland
05/06: St. Louis, MO @ Cicero’s
05/07: Clarksville, TN @ The Coup
05/08: Memphis, TN @ Hi-Tone Cafe
05/09: Louisville, KY @ Zazoos
05/10: Champaign, IL @ Cowboy Monkey
05/11: Rock Island, IL @ Rozz Tox
05/13: Chicago, IL @ The Whistler
05/14: Milwaukee, WI @ Frank’s Powerplant
05/16: Minneapolis, MN @ 400 Bar
05/17: Omaha, NE @ The Sandbox
05/18: Lincoln, NE @ Knickerbockers
05/19: Lawrence, KS @ Replay Lounge
Next month, Katlyn Conroy will be hitting the road for nearly two weeks on her first ever tour as La Guerre. Conroy has been performing under various monikers and with different bands in the local music scene for the last few years, and officially became the fourth member of Cowboy Indian Bear after the release of their debut full-length. With La Guerre, she is given free rein to explore the darkest crevasses of minimalistic twee, and is expected to have a release out later this year on The Record Machine. Once again, if you don’t go see her when she comes through your town, you’ll be missing out.
Stream her song from the RSD collab between TRM and Golden Sound Records:
La Guerre summer tour 2012:
06/06: Lawrence, KS @ The Bottleneck w/ CS Luxem, Spirit is the Spirit
06/07: Kansas City, MO @ recordBar w/ Melismatics, Shadow Paint
06/08: Columbia, MO @ TBA w/ Enemy Airship
06/09: Saint Louis, MO @ TBA w/ Middle Class Fashion, Golden Curls
06/10: Nashville, TN @ TBA
06/11: Athens, GA @ The Go Bar
06/12: Savannah, GA @ Graveface Records w/ Jamison Murphy
06:12: Savannah, GA @ Sparetime
06/15: Atlanta, GA @ TBA w/ We the Lion
06/16: Birmingham, AL @ TBA w/ Lauren-Michael Sellers, Delicate Cutters
06/17: Memphis, TN @ The Hi Tone w/ Michaela Caitlin, The Memphis Dawls
06/18: Springfield, MO @ The Lindbergs Bar w/ The North Decade
The third and final night of the second annual Middle Of The Map Festival was coming to a close. I had no choice but to make it the most ambitious day possible. I flew solo most of the day, which gave me ample time to venue-hop and catch both local favorites and make some very surprising new discoveries. Just a short twelve hours after Mission of Burma ended their closing set at RecordBar, I was right back at the strip mall venue, sliding into a booth to drink overpriced mimosas during The Record Machine’s daytime label showcase.
If necessary, Minden could have forced an early sunrise with radiant indie-pop that is simultaneously glamorous and affably disheveled. Singer Casey Burge sashayed around stage in metallic spandex, and when I spotted two girls in the audience dressed in kind, I expected some audience participation during the band’s opulence advocating “Gold Standard,” but no– they were but ordinary hipsters. I had a bit of a realization during Minden’s set. The band is well on their way to greatness, and even have a potential for “household name” status. It’s just such a damned shame that they hit their ceiling in KC, and feel they must move away to Portland to prosper as musicians.
Next up for the day show was Katlyn Conroy’s newest project La Guerre (though she was formerly billed under her own name). Conroy on her own has an undeniably saccharine voice, and when those pipes are laid over the blithely uncomplicated rhythm of her own keyboard and a backing band, creates a wholesome naïvety that holds the key to the fluttering, electronic-based twee in which she prevails. Conroy also performed at the festival with Cowboy Indian Bear, a great Lawrence-based group that is only further enhanced by her contributions.
Maybe I had a little mimosa buzz by the time Akkilles gathered their arsenal of members to begin playing folksy, acoustic guitar led arias, but I wasn’t much of an audience of David Bennett’s when they began. The multi-layered pop was admirable, but I chose to bid my adieu to the RecordBar and head over to the day show happening at Riot Room, where Cherokee Rock Rifle were tearing up the patio stage. Frontman Dutch Humphrey is obnoxious, offensive, and sings abhorrent lyrics while holding his rifle-turned-mic stand out to the crowd with little subtlety as to it being a phallic symbol. The crowd loved it, and so did I. Dutch Humphrey supplies an unquestionable arrogance that makes a frontman worth watching, and the southern-fried rock n’ roll delivered by the rest of the band with respectably day-drunk precision imprints the groove on your skull for hours afterward.
Fast forward a few hours, and the evening shows are kicking off in succession all across Westport. Maps For Travelers opened up the Riot Room (inside, this time) and the crowd was already teeming with people excited for the bands to come. Most importantly, the band performing that very moment should not be ignored. The four guys on stage played until the sweat rolling down in their eyes blinded them, and then played even more. The influences of the band are a bit curious, but their live show is executed with the ferocity of a young(er) Hot Water Music and gives plenty of nods to the various projects of Walter Schreifels and Jonah Matranga in the process.
I saw The Casket Lottery perform in the exact same venue, almost to the exact day one year prior for last year’s festival. But the last time I really watched the band was just a few months shy of ten years ago, when I was completely infatuated with them in my youth and they were still touring on their Survival is For Cowards album. The Casket Lottery was a trio of Nathan Ellis, Stacy Hilt, and Nathan “Junior” Richardson back then, but these days (as in, on their forthcoming album) they have expanded to a five-piece that includes Brent Windler (Sons of Great Dane, Anakin) on second guitar, and Nick Siegel on keyboard. “Nostalgia” was without a doubt the word on the lips of all those in attendance, as the group cranked through old and new material alike as if they never missed out on those six or so years of not being an active band, and only aroused the appetite for things on the horizon in a comeback done so, so right.
Although Reflector released a split 7-inch with The Casket Lottery in 1999, the record only served as a crossroads for the two, as TCL had a sole EP at that point, and Reflector was on the eve of issuing their last recordings as a band. Performing only their second reunion in the last decade, guitarist Jared Scholz was joined by Harry Anderson on bass and Jacob Cardwell on drums to rehash old songs that while musically on point in their arithmetic, lacked the familiar near-squawk of Scholz, replaced instead with a softer crooning while exhibiting songs from Where Has All the Melody Gone? As noted by Scholz early on in the set, the last time they shared a stage with both The Casket Lottery and following act The Appleseed Cast was 14 years ago, at a Halloween party.
At this point, Riot Room was quickly filling in with those awaiting venue headliners Coalesce and Fucked Up. I chose to forgo the lingering stench of beard sweat, and ran over to Firefly to catch Fourth of July play to a modestly sized audience. The brothers Hangauer (Brendan and Patrick) provided the guitar and bass, while the brothers Costello (Brendan and Brian) furnished an additional guitar and the drums necessary to fuel Brendan Hangauer’s creative outlet. The crowd was small, but the number of mouths in the audience that knew every word to every song (even those yet to be released) were far greater than any other band at the festival thus far. The quartet sounded impeccable, and their jaunty pop clattering off the lavish furniture of the speakeasy was not entirely disjointed from the scenery.
I dipped out of Firefly a bit early to catch my second wind with an espresso (after the day show, it was a wonder I was still standing), and passing the vast swaths of festival goers lined up outside the Beaumont and Riot Room only further affirmed my decision to head down into the chambered depths of the Union to catch the remainder of The Devil‘s set. The Lawrence quartet of Mike Teeter, Natale Collar, and Sara McManus is led by Taylor Triano, and pummeled out a filthy, stoner rock answer to the question “what would Janis Joplin sound like today?” — part performance art-punk, part unforgiving noise rock.
The Oklahoma by way of Lawrence band Mansion wreaked a towering ruination of doom metal upon the audience with a face-liquefying decibel surely outlawed across much of the country. Almost entirely instrumental, the songs were time-traversing expansions of momentum with a metronomic backbone rhythm the only thing keeping the audience from devolving into throat-tearing creatures straight from the pages of a Lovecraft novel. Whether they played one forty-minute song or ten four-minute incantations, I have no idea, but their opus could soundtrack the apocalypse.
While others were drinking the kool-aid of festival hype bands, Cleveland’s mr. Gnome were creating a fan for life in what amounted to little more than a dreary cavity carved into the basement of an old Midtown building. Through the entirety of the weekend, I watched bands that varied from pretty good to great, to even some old standby favorites, but this duo pushed sound from their speakers fit for an orchestra of musicians, and seemingly with little effort. Nicole Barille’s technique was a spastic array of hummingbird-paced guitar strumming culminating in a medley of genres and influences, and drummer/pianist Sam Meister’s work behind the kit was so robot-esque in its accuracy it’s a wonder he didn’t exhaust himself halfway through the set. I’m kicking myself not for watching them, but for even considering the possibility.
The second group of Oklahomans to climb behind the guard rails that create the makeshift stage at the Union, Broncho played a set covering most of their debut album Can’t Get Past the Lips. The band left the room a sweltering mess of sticky bodies after laying out a sound akin to The Stooges, The Exploding Hearts, and leagues of other punk bands with era-defining attitudes from the ’70s, ’80s and today. Frontman Ryan Lindsey can also be seen as part of Starlight Mints, and joined the defunct OK band Cheyenne after their album was released by The Record Machine, whose owner Nathan Reusch curated the entire festival.
Phantom Family Halo brought their traditional stoner psych in from Brooklyn, and played an ultimately forgettable set that was doomed from the start, crammed between two of the better bands of the night. The band took a backseat to most of the room’s conversations at the time, and with every other venue having already closed their night out by that time, it was inevitable that the crowds would gather and the overflow would begin to gradually fill the room. Which it did, for a short while.
Acid Mothers Temple began at 2:00 in the morning. Had they started at their planned start time of 1:30, they may have gotten an extended set, but due to city regulations, the sound was cut off after only 40 minutes, so that the place could be vacant by 3. In the short time the Japanese psych saints played, I stood on top of someone’s road case (sorry) that was tucked away in a cement support pillar’s corner, and closed my eyes for most of the set. Not because I was tired, but because the band’s free-form space prog was a sensorial trip for the mind and body, and removing one of the senses was the only way to heighten that of one that was more important at that time.
I spoke with the band’s road manager/translator after the place had been cleared out, and he confessed that although the prints available for the tour stated it was to be the last tour, the reality was it is only their last tour of 2012. Well played.
The final tally for the weekend concluded with 25 bands having been watched, seven venues attended, a boundless number of beers resting in my belly, and a revolting number of sleep hours lost. Don’t know about you, but I can’t wait to see what’s in store for year three.
This review was written for Lost in Reviews.
Maybe it was the drink specials, or maybe it was the end of the work week. It could have been because four-piece The ACB’s recently had a Daytrotter session go live, even though it was recorded on a stop in Chicago last summer. Just as well, it could have been that both The ACB’s and opener Fourth of July are something of local darlings to corporate alternative trash station 96.5 The Buzz when they are allowed the weekly two-hour respite from playing Jane’s Addiction and Muse to air up-and-comers in the local music scene. Regardless of the reason, I’ve never witnessed The Brick get as packed as it was the night that two of the area’s best acts took the same Kansas City stage to display material both new and old.
Brendan Hangauer’s Fourth of July began their set at about 10:35, stripped down to a four-piece, free of the horns and keys that frequent their recordings and live shows. Joining him on stage was his brother Patrick on bass, and another set of siblings in Brendan and Brian Costello on lead guitar and drums, respectively. At its peak, the band’s lineup has grown to six people, with additional contributors, and in the early days the project was started as an outlet for Brendan alone. The band played a 40-minute set, during which songs that are normally meandering and melodic in their recorded direction were given a different focus, taking on a faster-paced jangle pop vibe which perfectly synced into the evening and the energy of the crowd.
There was a noticeable lack of Katlyn Conroy and Adrienne Verhoeven on stage, both of whom provided an additional charm on the songs to which they contributed on the band’s most recent full-length, Before Our Hearts Explode! Songs that were played in their absence received a commendable fill-in from members present, while others (“Bad Dreams (Are Only Dreams)”) were omitted from the set entirely. The band’s time on stage was spent frequently shifting between songs from the most recent record (the hyper-catchy “Self Sabotage”) and the first full-length, Fourth of July on the Plains (“Purple Heart”), but always kept a fool-proof musical theme combination: drinking and girls. Furthermore, new songs were played from a record (produced by Chris Crisci) that is expected to drop in 2012, and the band is adamant it will be their best yet.
The ACB’s began their set at 11:40. Last time I encountered the quartet in a live music setting, they all were dressed in drag (complete with smeared lipstick) for the Ultimate Fakebook-hosted Halloween show at the Bottleneck last October. I’m sure they were all very thankful to be able to play without worrying about getting a stocking run, and lord knows those heels can be a pain in the ass. The set has not changed drastically since then, with much of it focusing on their lauded sophomore album Stona Rosa, though they threw in debut album opener “You Did It Once” to appease the crowd. There is no reasonable explanation as to how singer/guitarist Konnor Ervin can hit the falsetto notes he does, but that single feat instantly sets the band apart from most others in the area, not to mention the group’s inclination toward hit-makers of former times.
My single complaint about the set is the speed with which the band plays “My Face.” It is arguably the best song on Stona, and is likely one of my favorite locally-released tracks in recent years, and deserves the same patience when played live that it was given in the studio. That said, I still must praise the harmonization and vocal trade-offs that take place during the chorus and that the pace is kept steady, if not sped up a beat or two. Besides playing staples from the newest album such as “Italian Girls” and “I Wonder,” the band played some more recent efforts like “Feel Winter,” a song which also appeared on the previously mentioned Daytrotter session. There was also a brief 30 seconds where they played Dave Matthews Band’s “Crash Into Me,” and we are all better off for that not having lasted longer than it did, even if their tongues were placed firmly in cheeks at the time.
Nerd talk: While Brendan Hangauer has almost exclusively kept his songwriting under the Fourth of July moniker, the same can hardly be said for the rest of the band. As mentioned above, the newest album has voice contributions from both Adrienne Verhoeven and Cowboy Indian Bear‘s Katlyn Conroy. Conroy probably would have been in attendance had it not been for a prior engagement at The Bottleneck with her newest band La Guerre. Patrick Hangauer has not only collaborated with Verhoeven on her post-Anniversary project Dri (who have a surprising lack of crossover thrash songs), but also plays all instruments under his electronic alter-ego 1,000,000 Light Years. On that note, former FoJ guitarist Steve Swyers can be seen these days remixing and skewing others’ tracks under his Say My Name alias.
Patrick and Brendan’s brother Kelly still contributes to the band at times they require horns, keys, or additional vocal harmonies. Kelly has also worked with the Costello brothers in Save the Whales, an experimental Lawrence group whose permanent lineup is about as murky as Fourth of July’s; and White Flight, former Anniversary frontman (and ex-FoJ drummer) Justin Roelofs’ love letter to the extraterrestrial plane of existence for which he yearns. It should also be noted that Lawrence label Range Life Records has released output from most of the bands that you see listed in this section of the story thus far. If your mind has not yet melted, there is also former lead guitarist Andrew Connor, who miraculously juggles his time between Ghosty, Power and Light, and The ACB’s.
By comparison, the direct family tree of The ACB’s may not be quite as complex, but there is still some interesting blood lines that tie in with Kansas City music. About a year ago, Konnor Ervin formed a Belle & Sebastian and late ’60s psych-influenced pop band called The I’ms with Kyle Rausch and his brother Collin. One listen to the debut ACB’s album and one can instantly and correctly presume they were influenced by Cheap Trick. The sounds were not unfounded, as both Kyle and Collin were previously a part of rock/powerpop band The Abracadabras, which paid tribute to the ’70s powerhouse bands like T Rex, though to speak in more recent terms, both the Abras and the ACB’s could be compared at least in part to the sounds of Supergrass. Alternately, Kyle and Collin’s cousin Kasey Rausch has been a well-respected musician in the local bluegrass and Americana music scene for well over a decade.
I would be a fool to hunt down and post every local show happening in the coming months. The metro area is experiencing a musical boom, and has been for the past few years, so I suppose limiting myself in the amount of shows I post here is both good and bad. Good that there are so many choices, but bad in that I don’t wish to show preferential treatment against those I choose to exclude. These days, most local events are pretty easy to track via the bands, venues or promoters participating in them, so if you miss out on something you only have yourself to blame.
CANCELED: The September 29th Unwritten Law show at The Beaumont Club has been canceled, likely due to co-headliner The Ataris inexplicably dropping off the bill. The show previously had three KC bands in support, including Hipshot Killer, Bent Left, and Le Grand. Hipshot Killer is one of the best melodic punk bands to come out of KC in a long time. If you haven’t already, you can pick up the band’s debut 12 inch at Vinyl Renaissance on 39th Street. For the tech savvy, a digital version can be purchased from their bandcamp here. Bent Left has been a mainstay in the local punk scene for the better part of a decade, and has many politically-charged albums and EPs which can be purchased either through local stores or directly from the band. Le Grand, while not my bag, probably has a built-in fanbase with high schoolers who love auto-tuned and frankly generic pseudo-punk and/or radio-friendly “screamo.” Not trying to put baby in a corner or anything, but I have to call it like I hear it.
09/23: Kansas City via Chicago (or vice versa) space rockers The Life and Times are heading up an event at Crosstown Station for those who want to punish their eardrums (in a good way, of course). Not only will this be one of the venue’s last shows before their untimely demise of being turned into an urban church, but it will be one of only two times the headliner will make an appearance in our town before the end of the year (the other being an opening slot on the 11/04 HUM show at recordBar). Opening the Crosstown show will be thirty-something favorites Dirtnap (Are they together? Are they split up?), Larryville newcomer indie-pop sensations Cowboy Indian Bear, and Cherokee Rock Rifle, a hard-rockin’, hard-drinkin’, hard-sexin’ foursome with only one release under their belt, but a steadily growing local following due to the charisma of bar tending front man Nathaniel “Dutch” Humphrey.
10/01: Crosstown Station will be saying it’s goodbyes with a final live music show on October 1st. The list of names on the bill is long, not the least of which is a rare reunion from Giants Chair, co-creators of a ’90s indie rock sub-genre lovingly referred to by some as the “Kansas City sound” (shared in part with Molly McGuire, Shiner, et al). Also performing as part of the festivities will be Be/Non (the ever-changing sounds of the prolific Brodie Rush), Thee Water Moccasins (a side project of Roman Numerals), Minden (new project from members of Kelpie), Olivetti Letter (a brand spankin’ new band with members of To Conquer, Season to Risk, Doris Henson, and many others), Olympic Size (a mostly one-off project between members of Doris Henson, The Belles, and Roman Numerals that still pop up for an occasional gig), local jazz outfit Diverse (who often team up with other local musicians to pay tribute to past influences), and the synth-heavy sounds of Parts of Speech. Other unannounced and unbilled (Major Games) special guests are expected to appear, and if you are free that evening, you would be wise to attend.
10/15: Kansas City label The Record Machine is releasing a new split 7 inch between locals Soft Reeds and Minden, and The Brick will serve as host to their record release on October 15th. Also opening will be TRM newcomers Deadringers. The event will be 21+, and the cover will probably be $7. Even if the flier says $5, bring $7, as the venue in question has a history of magically increasing their cover charges the evening of the show. Hear Deadringers’ single publicly released demo track here, and while we’re on the topic of TRM, go here to stream and purchase the debut LP from Ad Astra Arkesta. New releases (and coinciding release shows) can be expected from Capybara and Max Justus before the end of the year as well. If 2010 treated The Record Machine well, and 2011 has placed them in a local spotlight, it will be interesting to see what 2012 has in store for the label.
10/25: Last but not least, Season to Risk will be playing a very unexpected second gig this October, opening for the once great Helmet (or, as they have become since reuniting, Page Hamilton & Co) at Riot Room. Locals Waiting For Signal will be rounding out what is currently only a three band bill, sure to give at least some in the crowd a migraine due to either S2R’s smoke machine, or the deafening wall of noise coming from much of the lineup. Helmet has reportedly been playing a respectable amount of their older material, covering a lot of songs from Betty, Aftertaste, Meantime, and Strap It On. But, as is to be expected, at least part of their set will involve some of their newer, inferior songs as well. Season to Risk revealed before their first show of 2011 last month that they have now written two new songs as an inactive band. There is hardly any chance they will ever be recorded, so if you want to hear them, you know what you need to do.
In my attempt to turn this page into something of a legitimate source for local music coverage, I attended two mostly local shows at The Brick over the weekend, the first of which was posted late last night. Full disclosure: I am not a photographer, so some of the shots I took over the weekend (with two different, borrowed cameras) may not necessarily be from the most flattering angles or have the most visually appealing lighting possible. What can I say, I am a caveman and your use of portable picture-taking technology both frightens and confuses me.
I arrived at The Brick shortly after 9PM on Saturday, still rubbing sleep from my eyes from a nap cut short only 15 minutes earlier. The event was advertised as having a start time of 9, so I may or may not have been driving the legal speed limit on my way down to the venue. Already there was a very sizable crowd sitting and standing about, and a revolving group of twenty-somethings coming from and going to the outside to smoke, leaving a pile of half-full PBRs and frosty pint glasses near the door on their way out.
Reward Tree took the stage at 10, and played a 20 minute set that circled around the band’s small but varied discography. They opened with a song from last year’s Needy EP, an electronic based indie-pop effort that introduced the band to the Kansas City music scene, though they had been playing shows for a short time before that. Followers of Kansas City indie rock may notice that all four of the gentlemen in Reward Tree made up the core membership of Jump Rope For Heart, a band that called it quits in late 2007, but not before touring Japan for two weeks in 2005. If you search the darkest corners of the used bins (a home away from home for myself), I’m sure you can come up with one of their CDs.
During the band’s electronic songs, guitarist/vocalist Taylor Dunn would remove his guitar and instead don a pair of cheap sunglasses while concentrating on the sampler in front of him, removing the glasses and strapping the guitar back on for the instrument-based songs. This trend continued a few times, until the band began playing songs from their latest release, 2011’s Making Beds, which includes many songs that were reworked and re-recorded from an earlier Jump Rope release. Before starting their final song, Dunn told the story of a time they thought they had been asked to play as part of a Pixies tribute show, and prepared a short set of covers only to find out that they were actually supposed to be opening for a Pixies tribute band. After this, they launched into a cover of “Debaser” that was so true to the original, all it was lacking was Kim Deal.
The second band of the evening was Conduits, a fairly new sextet with a lot of hometown hype in Omaha, NE. They opened with “Misery Train,” a slowly building minimalistic pop song that crescendos in the latter half, becoming a reverb and bass driven shoegazer opus, and a great start to a set from a band that had only played Kansas City once previously. Front woman Jenna Morrison’s vocal mix was initially too low to hear, but the problem was fixed before the second song began. It was quite easy to become enamored with Morrison’s sultry voice, at times it recalled the smoke-filled piano bars of years past. And yet between songs, the larger than life voice turned meek to give the crowd a quiet “thank you” while she sipped at a cup of hot tea, her eye contact with the audience at a minimum.
Out of the spotlight was a group of the best musicians the Omaha indie rock scene currently has to offer, from drummer Roger Lewis (of The Good Life), to guitarists Nate Mickish and J.J. Idt, and the bass of Mike Overfield that would have otherwise made the band’s sonic sound lack were it not present. Conduits ended their set with a nearly ten-minute-long driving, droning and at times deafening song that again emphasized the sheer size of Morrison’s voice resonating from the walls of The Brick in intervals, the music repeatedly surging into a culmination of distortion in the band’s climax. After they left the stage, I overheard no less than three people exclaim to their friend in excitement that the band was “fucking awesome.” Succinctly put, comrades.
Closing out the evening was Lawrence, KS, trio turned quartet Cowboy Indian Bear, who took the stage and struck the first chord of “Saline” at midnight sharp. A rush then occurred, with a few dozen people clamoring to get a better view of the group. I wish I could say that I was able to hear keyboardist Katlyn Conroy, but her voice was mostly washed out among the harmonization between C.J. Calhoun and Marty Hillard. In fact, at one point during a break to the back of the room, I mistook what I thought to be her voice with a rather impressive falsetto from Hillard. Conroy’s vocals aside, the lot could be seen exchanging glances with each other before key time changes during the newer songs, but the four have undoubtedly found their niche as a group.
Cowboy Indian Bear have played in Kansas City many times over the last two years, and proclaimed proudly from the stage that this would be their first as a headliner in the city. A notable reaction I took away from their performance was a respect for their multi-instrumentation, Calhoun frequently trading back and forth between a guitar and a keyboard within the same song, Calhoun and Hillard trading guitars and basses, and both Calhoun and Conroy playing a small set of toms placed in front of their stations, which in turn created an explosion of sound in unison with drummer Beau Bruns. Their aurally pleasing set ran for the better part of an hour, and included a number of songs from their full length debut, but the group played a few well-received tunes that have not yet been recorded. You will know as soon as I do when those are going to be released.