Here are some of the restaurants open on Christmas Day in St.Louis.

You can stop by Top of The Riverfront at The Millennium Hotel for Christmas brunch from 11 am to 4 pm.

Another place to dine in style is at Eau Bistro at The Chase Park Plaza where brunch will be served from 9 am to 2 pm and dinner will be available from 5 to 10 pm.

Put on The Ritz with dinner in the hotel’s The Grill restaurant from 5 pm to 9.30 pm.

Renaissance Grand Hotel will also put on a Christmas feast at its Capri Restaurant until 11 pm.

Chez Leon on Laclede Avenue is also open from 4 -9 pm.

Harrah’s St. Louis hotel and casino will also be open with food available on December 25.

Did we leave out your favourite eatery? Feel free to drop us a line to let us know. Happy Holidays to all our readers.

Here’s a lineup of what’s on offer in St. Louis for NYE 2010.

For The Family

Don’t miss out on St. Louis’ end of year family fun at Grand Center’s First Night with music, dancing and art in an alcohol free event, starting around 6 pm.

You could also take the family for a midnight New Year’s Eve ski at Hidden Valley.

If they fancy the cold, but not snow. Take them for a midnight skate at Steinberg Skating Rink at Forest Park.

For Adults

Enjoy a rock n’ roll New Year’s Eve at Lemp Mansion’s Grand Hall.

A dance party, gourmet cuisine and a car giveaway is on offer at Millennium Hotel’s New Year’s Eve party.

Make a date for the New Year’s Eve ball at The St. Louis Airport Hilton.

You could also try a 6 course last supper of the year at The Ritz Hotel.

As regards parties with live music, you will be spoiled for choice. There are options at Broadway Oyster Bar, Blueberry Hill, The Old Rock House and The Pageant among others.

There are a multitude of NYE parties in clubs around town. You could check out Champagne Supernova, City Light NYE at Jade Lounge, The Phoenix, The Vault, The Red Sea, Big Daddy’s On The Landing, Schlafly’s The Tap Room, The Upstairs Lounge, Club 15, to name but a few.

You could also head to Soulard for your party. Bar 101, for example, has a rocking party planned.

There are also bar & grills open for NYE parties with great food. These include The Junkyard and The Blarney Stone.

For something different you could check out the New Year’s Eve feast at The Boathouse, Forest Park.

You can also laugh in the New Year at The Funny Bone Comedy Club with John Morgan: The Rajun Cajun.

For some alternative music, check out Dr. Zhivegas at The Family Arena.

If classical music is your desired choice on New Year’s Eve don’t miss the St. Louis Symphony Orchestra’s end of year performance led by conductor David Robertson at Powell Hall.

If you want us to include your event, feel free to let us know. Happy New Year to all our readers.

See what we mean. Here’s a top ten (in no particular order) of what you and your family can enjoy over the holidays in St. Louis, Missouri.

10 Christmas Events to Put the Sparkle in Your Christmas

Take the family on a horse drawn carriage ride through a Winter Wonderland at Tilles Park until January 2.

If they still want more take them to the  Gardenland Express seasonal ride at Missouri Botanical Garden where eight Model G-scale trains wind through elaborate miniature landscapes, twinkling holiday trees, and oversized snowflakes. The event takes place until January 2.

You really can’t get away without bringing the little ones to see Santa over the holidays. Santa’s Magical Kingdom in Jellystone Park Resort at Six Flags is sure to be a big hit with them.

The popular Christmas music of Mannheim Steamroller comes to the Fabulous Fox on December 18 with multimedia effects in a show created by Grammy award winner Chip Davis.

Christmas isn’t Christmas without a carol. Don’t miss the Christmas Carols in the Garden at Missouri Botanical Garden until December 19.

Christmas cabaret is a great holiday time staple. Bistro Cabaret will entertain you with top notch cabaret performers Jeremy Whaley, Brandon Williams, Kevin McBeth and Andy Waggoner on December 22 at 8 pm.

If you are looking for a showcase of costumes, acrobats and musical extravaganza for the Christmas check out Cirque Dreams Holidaze at The Fabulous Fox from December 21 to 29.

For your food fix on Christmas Day, make your way to the Millennium hotel for a special seasonal brunch at The Top of The Riverfront. Be there at 11 am.

Don’t overlook your musical fix during the holidays. Indie pop comes to Cicero’s on December 26 when Sing Me A Fiction stops by.

The African-American holiday tradition Kwanzaa (first fruits) will be celebrated in St. Louis’ Missouri Botanical Garden on December 29.

That’s it for now. If you want to send us any extra information, feel free to email us or give the info in comments below.

Here’s a taste of the city’s December music lineup:

Sunday, December 5

You’re up, up and away at The Firebird when Californian rockers, Tommy & The High Pilots take to the stage.

Tuesday, December 7

Singer-songwriter Mitzi McDonald brings her Celtic-inspired sound to The Sheldon.

You could make it a double-bill at The Sheldon. Big Brass maestros Clarion Brass will also be stopping by tonight.

Wednesday, December 8

Zappa plays Zappa at The Pageant. Son Dweezil plays papa Frank’s music, that is. If you don’t need this explanation this could be the gig you have been waiting for.

(See Dweezil live below. Article continues after video)

Thursday, December 9

Jill Andrews is a lo-fi guitar strumming singer-songwriter who will be stopping by Off Broadway.

Friday, December 10

We’re sure his days of biting bats are well and truly over, either way we’re sure Ozzy Osbourne at Scottrade Center is worth checking out.

Ellis Paul, acoustic performer, brings his low key charm to Off Broadway.

Nashville regular and Grammy award winner, Kathy Mattea, stops by The Sheldon.

Jazz at The Bistro is causing quite a stir in St. Louis at the moment. Check out some jazz, funk and gospel fusion when Good 4 The Soul plays their set at St. Louis’ Grand Center arts district.

Sunday, December 12

If you like your music post-hardcore style, check out Greeley Estates at The Firebird.

Kevin Welch brings his country music to Off Broadway.

Chicago alternative band, Chevelle, play The Pageant.

Monday, December 13

It’s all about metal, in more ways than one, when The Sword comes down at The Firebird.

Wednesday, December 15

Jane Monheit, a modern day jazz vocalist supremo, will sing Jazz at The Bistro in St. Louis’ Grand Center arts district.

Thursday, December 16

Folk singer-songwriter Peter Mayer will come all the way from Minnesota to play The Sheldon.

Friday, December 17

See some local rockers build Rome in a few hours at The Pageant when Building Rome stops by.

He needs no introduction. Johnny Mathis plays The Fabulous Fox.

(See him perform live below. Article continues after video)

Saturday, December 18

Illinois indie rock takes over The Firebird when Elsinore comes to town.

Sunday, December 19

Can they add you to our friend list? Manhattan three-piece power poppers Ultimate Fakebook (yes, you’ve read correctly) will take over The Firebird.

Tuesday, December 21

You’ll find music with acrobats and aerialists thrown in at The Fabulous Fox when Cirque Dreams Holidaze trapezes through St.Louis.

Southern rock/folk blues outfit The Scandaleros & Red House play 2720 Cherokee.

Wednesday, December 22

What will the weather be like for the holidays? Find out at The Firebird when The Forecast works its magic.

Thursday, December 23

In what could be the homecoming event of the month local hip hop band Lojic plays a two-night home-coming show at Cicero’s. This is the last of the two nights.

Friday, December 24

See our upcoming Christmas calendar for events taking place on this date.

Saturday, December 25

See our upcoming Christmas calendar for events taking place on this date.

Sunday, December 26

Expect your eyes, ears and minds to be titillated at Cicero’s when Sing Me a Fiction takes to the stage.

Monday, December 27

There’s no country like local country. See what we mean when Hank & The Truckers take to the stage at Cicero’s.

Wednesday, December 29

ScoundScape will thrill you with everything from hip hop to soul at Cicero’s.

Check out Stan Chisholm/18andCounting at his regular Wednesday multimedia music/art showcase at Upstairs Lounge. Expect a DJ set and art installations. See our recent interview with him here to find out more.

Thursday, December 30

Now, for something completely different, literally. New York progressive rockers, Trans-Siberian Orchestra will stop by Scottrade Center.

Now, for something else completely different. Colorado progressive bluegrass band, Yonder Mountain String band (YMSB), will play The Pageant.

(Article continues after video)

Friday, December 31

See our upcoming New Years calendar for events taking place on this date.

That’s it for now. If you’ve got a gig, or know of one, that you don’t see on here, feel free to email us or give the info in comments below.

Courtesy of Lee Harris.

By Muireann Prendergast

Now, it’s time for something new. Very new. Stan Chisholm or 18andCounting . Interdisciplinary artist and multi-genre concept DJ extraordinaire. Respect the man. Respect the names. “18andCounting is as important to me as my birth given name. The next person to misspell, undermine, or assume it has something to do with age is getting punched in the mouth.” He calls South City St. Louis his native land but has broadened his reach to embrace the Chicago/St. Louis scene for the past 5 years. Chisholm says he’s midwest to the heart and bone; midwest that is but “gunning to be global.”

What is 18andCounting? Chisholm explains that this is a name he has been using since he was 13 years old. He says he started counting his personality traits as a way of justifying why he got on with such a wide range of people, as an urbanite in a suburban school. This fixation with multiplicity led to the start of his interdisciplinary art.  “I would have an alias for each discipline. i.e. Anti~ the emcee, Dox the designer, insi the stencilist, etc. Again a silly mission but important for understanding what, how, and why I create. Eventually I found it difficult to keep those titles separate.”

The number 18 in the name is significant for Chisholm for numerous reasons. It was the number he stopped counting at when he was in middle school. It also marks the traditional coming-of-age moment in western cultures. Of course, it has its aesthetic appeal. For Chisholm, the design of the number 18 is interesting in that it includes “the most rigid and simple number and the most twisted and complex.”

And…..andCounting? This suggests narrative, a narrative which reflects his work, explains Chisholm, as well as fluctuation, collaboration, addition, subtractions, divisions etc.

What is the relationship between art and music for Chisholm? Why, crunchy peanut butter and raspberry jam, of course. Also, let’s not forget that Chisholm is a kind-hearted human being who likes to share his talents. “I see it as my duty to both live in and polka-dot grey areas,” he muses.

So, here comes the big question. How has his innovative approach been received in St. Louis? Well, it seems. “People get it and are ready for it. I’ve been busy on many fronts in this city and recently people have many ways to reach me and offer me things”. Chisholm values trust above all else when taking on a project. “It’s important that I let people know that I’m in charge of me. When I get offers I’m given a lot of freedom. I think trust is a huge award, and in a lot of cases it’s all I really want.” He has been receiving a lot of trust recently with many large scale collaborative projects with different organizations, independents and audiences.

How has the interdisciplinary art scene evolved since he started out? The main development as he sees it has been the growth of these collaborative initiatives right across the country. This seems to have happened for two main reasons: economic hardships and social networking. “In the past few years we’ve realized that we don’t need massive celebrity figures pushed on us because we can build our own. People now feel like they are a part of status growth because they can click and share away and literally see the numbers grow,” says Chisholm.

So, how does this apply to St. Louis? St. Louis, he thinks, now has a support network of individuals who don’t “deem themselves to be creatives” but work behind the scenes to promote the interdisciplinary art vibe. He nods to Sleepy Kitty, Made Monarchs, Sloup, And PBR Dave (Chisholm likes to see corporate money guided by individuals with good intent and good ideas).

However, the city ultimately reflects its geography: center of the county, smallish, with city versus country political divides and a population looking beyond it. “The people who live here know that everyone is on edge because we’ve all been to bigger cities and want more, but we can get away with more  here because of our size and the lack of greedy intowners trying to get big off of our preset reputation.” That being said, making friends is key in St.Louis (real friends, not just network heads). Let’s not forget the importance of hard work either. “Everyone knows someone with a building, in a band, with a great idea etc… We’ve built this system that is a support group, showcase, experimental lab, and family reunion all in one.”   

That being said, he does have worries, two worries really. That of the scene not developing as it could, of people being too comfortable to put in the work it takes to produce creatively and of being alone without peers, outside of his college friends, with whom he can ‘synch’ with. “We really need to support fresh talent around here or we’re gonna find our selves in a pile of tired humans,” he continues.      

What are his favorite venues in St.Louis to perform/exhibit? 2720/Art D favors installation experiments for its size, crowd, staff, and decor and general art savvy.

He also names Upstairs Lounge for its homey vibe “It’s intimate and also flexible.” So, what doesn’t he like in avenue? “When a place is too set up it turns me off. I want to feel like that place belongs to myself and those who I share with.” Artwise he doesn’t think it’s cool to name venue but does say that where there is a good staff and decent budget, it makes all the difference.

For Chisholm, in terms of venues, there is also a lot of unchartered territory, like the Royale. “I’ve got some tunes that I think would go off well there. I try to show in every set I play that I’m not just full of bangers and bouncy jams.” However, he is hopeful that one day he wont be depending on venues at all. “I’m going to start bombarding backyards and alley ways. There’s so much more out there. “

What kind of audience does he have in St. Louis? It’s quite broad. “I bounce around a lot of genres, and I plug in performance and installation elements so I end up with different people.” It’s all cause and effect for Chisholm. “I wouldn’t say I have a guaranteed following everytime out because I normally play tunes that fit the bill. Venue, fellow performers, crowd energy and each individual in it, the time of day etc. These things all shape my playing which in turn shapes my audience.” Ultimately, it all depends. Things have a different meaning for different people. There’s the flux of 18andCounting again.

Plans for the future? Many. “I don’t fall for that ‘everything thing has been done’ rubbish. Subscribing to that thought is the anti-future.”

For the year ahead Chisholm wants to set his own deadlines and of course, hang out with his nearest and dearest a bit more. Let’s not forget that. However, as ever he’s looking for something new to do. “I’m concerned with dissecting the differences between museums, small galleries, bars, and music venues, spaces that aim to cater to the public, but often find themselves as a hub for a specific type of person. I want to turn that %&$@ upside down.”

18andCounting will next perform at:

Moneybags at Mad Art Gallery, December 3. Read here

Upstairs Lounge, Every Wednesday. Read more here

2720 Cherokee, First Tuesday of the month. See here

By Muireann Prendergast

Did you know Cavo means ‘hollow places’ in Latin? Well, you do now. As is often the case, the name is misleading. There isn’t very much that is hollow about the St. Louis band of the same name.  From their start (as Hollow in 2000-2001), the quartet has put time into its songwriting, knowing that the quality of the music is what counts, explains frontman Casey Walker who comprises Cavo along with Chris Hobbs (guitar, backing vocals), Chad La Roy (drums) and late addition Brian Smith (bass, backing vocals).

The band released its first full length album, The Painful Art of Letting Go in 2008. Their latest (2010) EP offering is Let It Go Acoustic (Reprise Records).

So, what are their influences? Walker explains that each band member brings something different to the band. For this reason, he says they have a bit of everything in their sound. “One day we’ll write really heavy, and the next we’ll be writing something acoustic,” says Walker, who explains that they are prepared to consider whatever sound comes out, as long as it’s quality, of course.

However, despite their love of songwriting, this is not necessarily an easy process. “The more time we spend trying to perfect the art, the more we realize how much we don’t know,” says Walker. All the same, they keep at it, finding a certain beauty in what each of the four of them brings to the table. They write together in the same room but also alone, each in their own time. “Any way a great song evolves is welcomed,” Walker continues. Even what the fans tell them they want to hear is considered. “We’d be fools not to listen to that, right?”

Does the band put a lot of thought and structure into its live performances or just let the vibe flow? A little of both, says Walker. “We try to perfect the show because the fans deserve the best but also the vibe and energy in a club can be a powerful thing and sometimes the crowd can dictate the show,” he says.

How does the band describe its audience? Pretty wide-ranged. Walker says they even have parents on board who tell them they love their discs but can’t get them away from their kids. He thinks the broad spectrum of tours Cavo has participated in has cultivated this wide-ranging fanbase. They have played heavy tours to younger audiences and also arenas with Daughtry and Lifehouse, something which has helped them to reach a more diverse crowd. Of course, let’s not forget that their third single Let It Go was featured on the soundtrack of the movie The Transformers: Revenge of The Fallen. This too has helped them reach a wide public.

Walker views the St. Louis music scene positively. He thinks it is spurred on primarily by the great bands working hard to make it in the city. He says that, as a scene to break into, it isn’t harder or easier in St. Louis than anywhere else, with bands everywhere facing the same challenges. Walker thinks that the fans and radio stations which help support bands are what make the scene a success in St. Louis. He names 105.7, KPNT station, as a particular support to the band when they were starting out and helped them on the road to getting signed with valuable rotation airplay.

Walker is careful to say that it is the fans that make a show great. That being said he does acknowledge venues in the city for playing their role in the process. These include The Pageant with its great club and welcoming treatment of artists, The Duck Room, Cicero’s and The Amphitheater.

How does Walker think Cavo’s sound will evolve? For him there is no real blueprint. The idea is that they continue making great music. “For us, touring for so long, playing so many shows has made us evolve to a certain extent.  But the real challenge for us is to recognize the development and try to let it take its course, and at the same time keeping what makes Cavo special.”  How will they do this? By talking to each other, of course. Open lines of communication between members are important to the success of every band, he muses.

What are Cavo’s plans for 2010. Why that’s easy. “To write a great album, record said album, and then get back to the fans.”  Walker concludes that touring will a big part of their future. Lucky us.

Local fans will next see them at The Pageant on November 26. Read more here.

By Muireann Prendergast

What do you get when you mix an 80’s vibe with folk and shoegaze? Why, St. Louis’ Fractured Army , of course.  The name itself is a misnomer. The band isn’t so much fractured but eclectic. Kory Kunze, the band’s vocalist and guitarist, tells us that it started out as an alternative country project which then took on an 80’s sound thanks to his love of The Cure, Joy Division and, of course, Bowie. Then, new member Jessica Spitzer added bells. Some compared Fractured Army’s first sound to Interpol and Arcade Fire. Now, three years since he enlisted in the Army, Kunze thinks the sound has evolved even further and continues evolving, becoming more organic. Today, Fractured Army comprises Kunze, Spitzer, Bill Hudgins (Vocals, Guitar, Keyboards, Percussion), Rod Campbell (Bass, group vocals, thinking strongly about guitar) and Dave Paul (Drums, 2-Star General, lighting expert, smoke machine technician)

Even the band’s songwriting experience has changed. Kunze says he started out fully writing the songs himself and then giving copies of his finished product to everyone for them to add their personal touches. Now, he says he brings a small part of the melody to the table and they hash out the finished product together. “I think the more input we can get from the entire band, the better. If you do everything yourself, you tend to fall in a rut and keep going to the same well,” he explains.

Kunze says the band puts quite a lot of planning into its live performance, normally two weeks worth.” Since we rely so much on keyboards, it’s a little tougher to wing it,” he continues.

So how does the band describe its audience? Small, laughs Kunze, explaining that the audience generally grows as the year progresses until the band has to stop at some point to reboot due to work or family commitments. Generally, he thinks Fractured Army’s following is diverse including everyone from college kids to 40 year olds, from new kids on the block indie lovers to older 80’s relics drawn by the sound of their decade in the music.

What has been the band’s experience of the STL music scene? “I both love and hate the St. Louis scene,” says Kunze. He explains that he loves it because he has seen good clubs (come and go) and great bands that were unheard of outside the city and more great bands that almost made it big, but didn’t. According to Kunze St. Louis had one of the best alternative country movements in the 1990’s and now there are fantastic bands of all genres in the city, which don’t seem to get much national attention. The scene’s bad points? He thinks that there is a lot of unnecessary internal competition between bands with everyone trying to break out of St. Louis and in an effort to do so fighting for press and good opening sports with the national acts that stop by the city so that new bands don’t generally work together. However, he is hopeful that this can change. “There are a lot of projects going on right now where St. Louis bands are coming together to promote each other. Special events like The Firebird’s annual Undercover Weekend (where local bands play secret tribute sets) are bringing a ton of bands together as is the Cherokee Street music movement. There are lots of exciting things going on and now bands just want to be a part of it,” he continues.

As regards the band’s favorite venues, Kunze says they have played in many great places like The Pageant, The Firebird, Blueberry Hill, Cicero’s, Cranky Yellow, Luminary Center for the Arts and Atomic Cowboy.  However, he singles out The Firebird as the best. “They gave us our original shot and have set us up with some great opening spots.  Their sound cannot be beaten,” he explains. That being said, the band is also keen to play new places like Off Broadway and special events like Lo-Fi music sessions.

Does the band think the St. Louis music scene has changed since the band started out in 2007? No, not so much although a couple of venues have closed up and new ones have opened in the meantime. Kunze names the addition of the LouFest music festival into the annual music calendar as a great boost to the scene. 

How does he think the band’s sound will evolve? He doesn’t have a set goal and wants to musically go with the flow as they have been doing until now. “Personally, I’m at a point where I’m not worried about resonating with a certain group or genre.  I think that’s when you shine, when you have five people letting lose and playing what comes naturally.  It’s how you develop your own original sound,” he continues.

As regards plans for 2011, the band hopes to continue in the growth direction it saw this year. Kunze thinks they produced their best music in 2010. “We had a great time this year.  We wanted to get out of town and we’ve done that this fall.  We got to play at The Pageant which was pretty exciting for us, and we got to play with a lot of amazing bands that came in from all over the country,” says. However, there are always outside, personal, factors to be considered which means they have had to put the band on the back burner from time to time.  Despite this they have a full agenda for 2011 with some songs to finish up and then plans to return to the studio to record Fractured Army’s first full length disc around January.  There are also plans to get down to the SXSW multimedia festival in Austin, Texas, and be a part of St. Louis’ own LouFest next year.  There is also a short fall tour planned for 2011 as well as collaboration with other St. Louis bands and some underground art projects. All in all 2011 looks good for them. Not bad for a fractured army.

Fractured Army play Cicero’s on November 13. For more information read here

by Muireann Prendergast

St. Louis has a diva and her name is Kim Massie. She has been singing since she was two and, today, this is evident in her versatile vocal range including blues, R&B, gospel, country and even rock when called upon. She lists her influences as Aretha Franklin, Marvin Gaye, Stevie Wonder and everything else that came on the CKLW Detroit radio station she listened to as a child.

So when was her first live performance? Massie says that, like most black performers, she has been performing in church since she was 9. Then, her 8^th grade teacher, Mr. Stanley Perine, saw her talent, tested her and included her in the general choir, special choir, girl’s glee club and even a trio. For the next 20 years her local performances were exclusively in her local church choir.

That was until 1989 when she performed in a regular Sunday evening talent night in a local bar in Lorain, Ohio, where she was raised. There she sang Anita Baker, Natalie Cole and more Aretha. This propelled her onto the Karaoke circuit for the next 5 years in which she participated and won contests in the Cleveland area. In 1999, after 33 years, she returned to St. Louis because her mother lived across the river in Madison and she was immediately welcomed onto the St. Louis scene as a solo performer.

So, how does Kim define her sound? She describes herself as self-taught in that she masters her idols then adds her own ‘seasonings’ to make songs her own. However, since she has started to record CD’s she has done even more and has learned to tell a story and paint pictures with music so that now, she sees herself as much as a story teller as a singer.

Does Massie structure her live shows? Absolutely not, unless they are specialty shows. Order would be catastrophic, she says. Her audience varies as much as her venues and whether her crowd is dance or easy-listening orientated, dictates the tenor of her show. Plus, she wants her audience to walk away saying “WOW, what a ride,” something which she says comes from letting the music flow naturally.

Kim’s audience is as diverse as her vocal range. It includes young children to the mature and very mature. Moreover, she says her fan base covers many nationalities. “It is great to see who my music touches. This is a high I never want to come down from,” says Massie.

Massie also explains that she has recently begun songwriting following the death of a friend who passed away in July of this year, but that’s something she doesn’t want to reveal just yet.

What is her impression of the St. Louis music scene? Massie says her start in St. Louis was natural and fluid and it helped that she didn’t pigeon hole herself but was prepared to do a little bit of everything. “Nothing was mechanical. It’s was a pure, unadulterated, vibe that drove and still drives me to give my best every time,” she explains.

Of course, she had help in St. Louis. This came from Bud Jostes, owner of Beale on Broadway, who heard her sing at BBs soups and jazz in 1999 only months after she returned to the city. She began singing every Tuesday at Beale on Broadway in 2001 and has been singing there since, twice a week since 2003.

The Beale has enabled her to be seen by tens of thousands of people from all over the world. The downtown location means that Kim has her regular following, some of which are business people on seminars who plan their annual visit to St. Louis around her shows.

What are Kim’s plans for the rest of 2010? She plans to go ‘out west’ in November with The Solomon Douglas band for a 10 day tour starting in San Francisco and ending in Seattle, Washington for The Emerald City Blues Fest.

As regards the future, Kim wants to sing in another language. That will be her biggest challenge. “For now, I only know one song in Spanish,” she concludes.

Kim Massie sings Beale on Broadway every Tuesday and Thursday. For more information read here.

The Stone Sugar Shakedown

by Muireann Prendergast

Next time you see a guy in a Grateful Dead T-shirt, pay attention because it could lead to something. Just ask The Stone Sugar Shakedown’s guitarist Nick Elwood.

That’s how he noticed the band’s future drummer, Ben Walters, in school. By his own account he noticed the T-shirt, approached the guy wearing it and they started talking.

The rest, as they say, is history. Two of Nick’s long-time friends and musical collaborators, Ryan Benthall (bass) and Tracy Gladden (vocals) joined in and the band was born.

“We realized there was a common vision of getting funky and soulful,” Elwood explains.

So, how does The Shakedown describe its sound? That’s a difficult one for Elwood.

“At the core, there’s the funk. That’s the root. But everything branches into new territory and the sound is always evolving,” he says. “We are all influenced by a variety of sounds. Yet, overall there’s a unified love of improvisation, experimentation and pushing the music further each time. There’s a consistent sound of interplay between instruments where it’s evident we share personal connections and musical chemistry,” he continues.

As regards influences, Elwood sees Black American music as being pivotal. Funk, Soul, jazz, blues are all there. Everything that has rhythm, he says. Nina Simone, Ray Charles, Eddie Hazel, they’re all there.

So how does The Shakedown find its music? Well, material is half original work and half interpretations of existing material (called covers by some). The band works together, contributing ideas and building the songs collaboratively, explains Elwood.

“Often we’re reworking old tunes to keep them fresh, while rotating new songs and constantly developing works-in-progress. The initial writing comes pretty easy but we put a lot of work into the fine-tuning of material so we have strong foundations on which to improvise and stretch,” he says.

Live shows are as you’d expect. Pretty funky. So, how do they get that vibe live? Elwood says it’s through a balance of letting it flow and careful planning.

“Sometimes, we’ll write out full sets. Other times we’ll figure what to open with and how to end the show and fill in the blanks during the set. It’s always different, yet always influenced, at least in some way, by the musical flow and vibe of each show,” he explains. Plus, it helps that their shows are always different and you’ll never see the same Shakedown gig twice.

“Each show brings out new sides to our music and we cater to the individual environment,” Elwood clarifies.

Funk as a category is pretty broad, so it comes as no surprise that The Shakedown considers its fan base to be equally diverse.  “Funk crosses boarders. It is universal. Everyone could dig what we do.”

Plus, The Grateful Dead roots help to broaden that fanbase even further with fans of the band showing up for gigs too.

“The important thing is that people are willing to give the sound a chance,” says Elwood. “We always want people to feel free to let their minds wander at our shows and to let themselves becomes just as much a part of the night and collective vibe as the musicians onstage.” Elwood notices the paradox. “Yes, it’s strange, I know. We want our audience engaged, but free at the same time,” he laughs. Still, it’s a paradox that works as those who’ve seen them live will testify.

So, how does the band view the St. Louis music scene? Is it more or less difficult for bands to get started in the city than in other cities in the U.S.? Elwood is happy in St. Louis, believing there are a healthy number of people in the city without the scene being as fiercely competitive as in larger cities like Los Angeles, New York or Memphis. Still that doesn’t mean a band can rest on its laurels. To progress, it takes hard work everywhere, he stresses.

What is The Shakedown’s favorite venue in St. Louis? 2720 Cherokee due to its character and freedom, explains Elwood. However, he also talks about great gigs at The Shanti and Pops Blue Moon.

Although the quartet have only been playing together a year as The Stone Sugar Shakedown, Elwood has noticed an evolution in the St. Louis music scene. “Certain styles like electronic and Dubstep-type shows are gaining speed,” he explains. “These days, it’s not difficult to find an electronically-driven after-party around town,” he thinks.

So, how does The Shakedown think its sounds will develop? Well, considering all the talk of improvisation and free flow, that’s hard to say. Still, Elwood thinks the sound will stay progressive while incorporating new sounds and feels. “I’d like to continue finding a balance between complexity and improvisation, so that the music is tight and fluid at the same time,” Elwood hopes. He also likes the idea of learning new musical styles in the future and seeing these reflected in the music. Of course, he doesn’t overlook the fact that the changing, evolving crowds and fan base could also affect the sound produced.

What are The Shakedown’s plans for 2010-2011? They will be recording and producing their own new music over the autumn and winter months .Then there will be a summer 2011 tour through Colorado and around the Midwest. In the meantime, they will be continuing to gig all over Missouri and St. Louis and of course, looking for other musicians and groups to collaborate and play with.

One thing is for sure The Shakedown is always on the lookout for that new sound and that new vibe.

Stone Sugar Shakedown will play 2720 Cherokee on October 12. For more information read here

images by Sarah Daisy Photography

The front room of Foam is a work of art. Painted and collaged tables, light fixtures of all shapes, and vintage Japanese pachinko games line the brick wall.

In our travels, and by extension our lives, we have come across places that have grown into wonderful hot spots. The people and businesses there enjoy what is happening but will still fondly reflect back on how things were if asked.

They will tell you how when they began.

“It was more sincere back then.”

They will recall with misty eyes the energy of the people moving into the neighborhood, the community that grew up around their efforts. It seems we often end up at these places too late and have to foot the bill for their success (and there is nothing wrong with that, good work and effort does deserve reward) but, ‘Ahhh,’ you say, ‘If only we had shown up earlier, knew earlier, had swung by, saw it when it was still REAL.’ Well friends this next Secret Spot is for you.

Which brew suits you? Coffee or beer?

Our Secret Spot is on Cherokee, the new St. Louis hot spot.  The street is a left turn from the gas station and then a right turn right on Cherokee right after the Arsenal exit on 55 North. The whole street is a wonderful collection of different shops and art related galleries that is bisected on the corner of a four way stop by this article’s Secret Spot. The place is Foam. It is on the corner of Cherokee right behind the large Indian statue. Foam is a coffee shop and bar that, on the weekends, has live music. Foam is unlike other coffee shops in the city, as it is in a section of St. Louis focused on urban renewal and growth.
Get there early during the day and enjoy some fresh brewed espresso and Billy Goat chips, or swing by later in the day and grab a glass of Fat Tire. That’s right dear reader, they sell alcohol! Alongside alcohol and great French Press coffee Foam also deals in small five dollar pizzas. If that isn’t enough to get you in here are a few more awesome facts about Foam.

"I'm a dad and so I try to make this place a comfortable place to bring your kids. Out in West County, it's a child utopia, but we don't have much here in the city," says Foam owner Mike Glodeck.

First, they offer free wifi (jackpot). Second, Eleven Magazine, the number one music magazine in St. Louis has their headquarters right down the street (they used to be above, but they’ve since moved), and if you hang out there long enough you might get to meet any number of their writers designers or editors. Third, and I’ll take point to stop here because I could go all day, the inside is beautiful.
Foam’s space is sparse yet well defined with soft pastel colors, a buttery wood floor and an old working Coke fridge where you can get real coke (as in Mexican coke, as in cane sugar not high fructose corn crap syrup).  There are two rooms, the front one made up mostly of tables and the back with two bench areas and a couch and comfy chairs. Foam’s owner is an interesting man by the name of Mike Glodeck and if you are there at the right time you can catch him.

A Cherokee Statue welcomes you to Foam.

I could seriously talk on about how great the area is, how I love the space and the enchanting night life that goes on there, but honestly you just need to swing over, pull up a chair, drink back a beverage and enjoy being in the center of St. Louis urban growth.