Thanks a bunch to Richmond-based hammock rock band, Don Fredrick, for the FB invite to The Sound of Music studio in Richmond neighborhood, Scott's Addition, for their live-recorded performance. The band went on second of three acts, setting the stage for headline Norfolk band, the Chicken Boys. I wasn't planning on reviewing their act this time, (and I still don't have express permission,) but Don Fredrick presented an entirely different dynamic from their performance last month, so I can't resist sharing my thoughts. I see this band as having many strengths, and a maturing voice. Don Fredrick, the jovial headliners who welcomed old friends to their audience at the Strange Matter last month, were more serious last night, opening for the Chicken Boys, and setting down a live recording with professionals from the Sound of Music studio. I spoke with guitarist, Dan Flaherty, after the show. He thanked me for attending, since the band's loyal fan base was split last night when another band had a conflicting performance on the other side of town. Kudos to singer, Will Cummins, for bringing the audience in closer early on for more good vibes. Cummins was not so assertive overall, and didn't occupy center stage. The Southern Rock keys and guitar, Snider/ Gionfriddo, duo that had me laughing last month was split up on opposite sides of the stage. Flaherty didn't take any vocal leads. They didn't play Moonlight!! A much more straight-faced performance, and yet, the band was still in tune with their audience, and did a good job of handling this role while under the pressure of cutting a recording. They wrapped up the show on a super high note with a polished performance of a song I didn't recognize from their Bandcamp recordings (can't name it please help!!) That last number especially sounded great in the space. In terms of comparison with last month's show, I really enjoyed their most adventurous number, a fun cover of the Talking Heads' "Take Me to the River." Last show, I'd say Don Fredrick really let loose on their original track, "Country Breakfast Shorty." What I got from both of these songs is a cool, blase, gotta-have-it kind of rock and roll. "I don't know why/ I love you like I do," but I'm gonna play an insanely awesome song about it. Whatevs. I guess they are hammock rockers after all, and whatever hammock rock is, maybe it starts with an attitude. Last night, the first verse of "Take Me to the River" really went over. They were improvising on their set list, feeling the crowd out, and drawing out the energy in the room. Kudos to Ricard for dropping that baseline, and Bowdring on the drums for picking it up, and for great playing all evening! Don Fredrick did a great cover, taking their time with the buildup of rhythm. Despite some muffle and crackle, I think they pulled off a great recording. They let loose, and I suspect that their equipment wasn't 100% wired up with the studio's, or perhaps their gusto exceeded their amperage. Kudos to Andrew Gionfriddo for taking an excellent solo after a tech derp. According to Flaherty, Don Fredrick played an entire set of Talking Heads covers last Halloween, and so my interest is of course piqued. What a great set of material for this group to take on-- the free, simultaneous, occupation of many genres, and many voices, from the funky beats, the fun synth breakdowns, and of course - great songwriting. Ah! David Byrne is so cool! Flaherty was also excited to be recording live at the Sound of Music. Hopefully, we audience members did our part to make the recording special. The band kind of huddled up for a sound check (awesome space jam) that was clashing with the house music. I guess in big venues the sound check isn't so noticeably loud. This warehouse space was well equipped with studio equipment, and professional techs, as well as a projector for the band's Youtube Solar System slideshow. Not to mention an unceremonious bar backed by a big cooler and a license taped to some random prop walls leaning against the real wall. Many tall wooden structures were stored behind and defining the stage area, and made me feel like I was getting ready to roll out the set for my high school musical production. The floor was just poured cement, so I also felt the after-hours warehouse vibe. People say Scott's Addition is an up and coming neighborhood in Richmond, and last night, I felt a scene emerging from one of its many repurposed spaces. The ceiling of this warehouse-venue was made of dark-stained, two-by-four beams that were lined up like ribs that zig-zagged in rows that merged like intertwined fingers. I'm not sure if the ceiling absorbs sound, or if it is just beautiful. I got my wish and heard lots more Don Fredrick material. Their opening tune was lyrical and melodic (maybe Chevron and Sinclair?) Folk for the modern illusive frontier? BTW Does anyone else dig the Broken Bells? Then, they got us all hyped for The Chicken Boys, who cranked up the volume, and once they settled into a rhythm, put on a great performance. (Thanks for playing "Sk8r Boi!!!") I also had fun taking myself for a walk around the studio building, where I found a midnight pot of coffee and word magnets, a friendly kitchen shared by the renters (a seer, photographer and other professionals' cards pinned to doors in the hallway,) a pile of on-the-way-out mix CD's and other CD's, a random piano, and cool posters, lovely restrooms. Then, I really enjoyed my drive out of quiet Scott's Addition and home on a breezy borderline-Spring night, thinking about my own stuff, but also wondering: 1. What is to become of the recorded material, Don Fredrick? 2. Where did the band's name really come from? I'll share my mom's observation-- Gionfriddo sounds like Don Fredrick-o. Since I didn't snap a photo of Don Fredrick at their show, I'll include a photo of an unceremonious church:
The Church at the Desert Bar, Parker, Arizona.
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AuthorWe are Kieran and Michelle, two 32-year-old William & Mary grads living in Virginia. Archives
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