It’s taken me a few days to digest last week’s microshow with Yeveto. Despite Amy’s “bregnancy prain”, Russell’s 64k memory and Ben’s proposed digital drum kit, Yeveto put on a stellar show. Spinal Tap was known for their “punctuality” – Yeveto should be known for being the most well-rehearsed. And in the best way possible, between arrangement, setup and performance. I can’t thank them enough for being such a well-oiled machine. Oh and playing incredibly moving instrumental experimental film music! Thanks!

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Wow. What a religious experience. The performance by Ms. Sara & The Help absolutely filled the room. Everyone in the room was simply swimming in their music and loving it. Literally, at one point, we were trying to figure out who in the audience was singing back-ups because the vocals just seemed to come from everywhere.

The Help was John Caplan on acoustic and resonator guitar and Jay on acoustic guitar and banjo. The guys also sang harmonies. There’s really not much else that can be said. You have to hear it for yourself. What a wonderful night of sick vocals, harmonies, stringed instruments galore, virtually all new songs and a few covers of fellow Baltimore artists.

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Last week we were joined by Cutthroat, one of do-gooder label For The People Entertainment’s most prolific hip-hop artists. Accompanied by Oba on guitar and Tron on everything else (conga, keys, percussion), Cutthroat performed songs from his previously released Words Can’t Explain It: Chapter 1, Chapter 2, Chapter 2.5, and Chapter 3; as well as his collaborative album Silent Flutes. He also performed songs from his forthcoming release Word’s Can’t Explain It: Chapter 4.

Cutthroat is a musical phenomenon that blends backpack hip-hop with lyrics pushing listeners to explore their higher consciousness. From growing up in Severn, MD to spending time in his true home Puerto Rico’s Ponce corridor to tackling the streets of Baltimore’s worst neighborhoods, Cutthroat has both socially and lyrically shed light on problems faced by people on a global scale.

This microshow is a prime example of why we do this. Taking excellent music out of its familiar territory and trying something different. Thanks to Ali, Atman, Tron, Oba and Andy for really stepping this up!

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Cameron Blake came in last night for his microshow. Dave Hadley (Caleb Stine/Wye Oak) joined him on pedal steel; Gabe Finck (BSO) was on french horn; and Chris Pierorazio on percussion and drums. It was a perfect night of rain, friends and a religious musical experience. Cameron never fails to bring on the fight and last night was no exception. Hearing Cameron rework his songs’ arrangements brought new life to them. He also covered a song by Baltimore’s own Caleb Stine. And you know we love when Baltimore artists give love to their own. Thanks Cameron!

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At last week’s microshow our ears and minds were tweaked by the frenetic stylings of concept pop band the Art Department. They put on a cool set: two acoustic guitars (one nylon and one steel) and non-gender-bending vocals from Jon Ehrens and company. Enjoy the set!

Technical Info: Vox: U87, Acoustic Guitars: SM81, Bass Drum: Beta 52, Snare: SM57, Overhead: AT3060

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Eric came in last week for a Microshow. His unique style represents a quest to blend disparate musical parts into a cohesive, digestible whole. Eric recently completed his first solo album, Great Falling Sky. Comprising 11 tracks, it is an ambitious freshman effort, featuring complex vocal harmonies, bizarre synths, lush acoustic guitars, and musings on a decade of war, terrorism, and partisan infighting. He takes a lot of the complexities of his record but strips it down here in a three piece. Justin Parrot on upright and Scott Schoem on keys join Eric.

Technical Stuff: Vox: U87, Acoustic Guitar: SM81, Upright Bass: C3, Keys: A-Designs Tube Pre DI

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