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Wide Skies Reimagined a blast on Park n Ride roof top

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You can count on the Geomatic Attic’s Mike Spencer to do something unique.

Ryland Moranz and Leeroy Stagger playing wide Skies Reimagined, July 28. Photo by Richard Amery

 Because Covid prevented the Geomatic Attic’s annual Wide Skies Music Festival, Spencer decided to do an abbreviated version of it and hold a free, limited seating concert on a roof-top, Wednesday, July 28.

 Skinny Dyck and Evan Uschenko were performing in the beer gardens in the Bowman Arts Centre parking lot before the show on the Park n Ride roof top with Leeroy Stagger and MonkeyJunk.

 

Ryan Skinny Dyck played a lot of traditional country and original music including a few tracks from his most recent album “Get To Know Lonesome” as well as some older songs like “Timing.”

 Uschenko added tasteful guitar leads throughout.

 

 They ended with country classic “Lost Highway.”

Well into their set, the lucky 400 people who were able to get tickets for the main event had started the long trek up six flights of stairs to the roof of the Park n Ride  building.

 It may have seemed like an odd choice for a venue, but the top level slants down, where people could place their lawn chair towards where the stage was placed, giving the set -up an amphitheatre feel.

 I had to leave early to do a live edition of Disco Sucks Punkin Old School on CKXU, but was able to catch most of Leeroy Stagger’s set.

Evan Uschenko playing wide Skies Reimagined, July 28. Photo by Richard Amery

 The audience gave him an appreciative welcome home round of applause as Stagger noted it was great to be back in Lethbridge where he met his wife and raised his family.

“ It’s like being in a Beyonce video, he quipped, observing the roof top set up.

 

 Stagger, mandolinist/ guitarist Ryland Moranz, bassist Tyson Maiko and drummer Kyle Harmon, worked their way through a set full of peace, love, original music and a few covers like Neil Young’s “Everyone Knows This is Nowhere,” which featured one of many beautiful Ryland Moranz mandolin solo.

Ryan ‘Skinny’ Dyck playing wide Skies Reimagined, July 28. Photo by Richard Amery

 

They played an Indio Saravanja song and started playing originals including “Let Love In.”

 His Gord Downie tribute from his “Strange Attractor” CD was a highlight. “ I Want it All” was another one. I always enjoy “Run Rabbit Run” and his story about going through some of his grandmother’s photos and finding one of  his granddad as part of Vancouver Island’s first motorcycle gang and learning about a character named “Dirty Bill.”

“ As soon as I heard that, I knew that was going in a song,” he said.

 Ryland Moranz switched guitars mid song  so he could play a subtle slide guitar solo.

 He also played a few newer songs including “Searchlight” and a couple off his most recent album “Dystopian Weekends,”

 I had to leave during an impassioned cover of Tom Petty’s “Walls” so missed MonkeyJunk.

— by Richard Amery, L.A. Beat Editor

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Last Updated ( Friday, 30 July 2021 12:51 )
 

Taylor Ackerman's Global Acid Reset get their groove on

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Taylor Ackerman’s Global acid Reset were happy to provide a high energy sweaty set of blues infused rock for a frenetically sweaty dancing full house at the Slice, Saturday, July 24.

Taylor Ackerman playing the Slice. Photo by Richard Amery

 They had a psychedelic  ’60s feel. A highlight was “My Baby Likes to Strut” and a wah wah drenched Hendrix inspired number.

 

They “ended” with a slower, more groovy version of the Steve Miller Band’s “Keep On Rockin’ Me Baby,” but weren’t quite finished.

 They were nearing  the end of an energetic set of gritty, blues based rock , but the trio of drummer Dustin Gergel, bassist Pat Ackerman and guitarist/vocalist Taylor Ackerman were called back for a couple encores of Black Sabbath’s “Sweet Leaf,” and their equally thunderous original L.O.V.E. from last year’s EP “Perfect Vision.”

Taylor Ackerman’s Global Acid Reset  playing the Slice. Photo by Richard Amery

 

 But Taylor Ackerman  sent everyone home in good spirits with a tender solo version of The Tragically Hip’s “ Long Time Coming.”

— By Richard Amery, L.A.Beat Editor

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Last Updated ( Wednesday, 28 July 2021 15:01 )
 

Harpdog Brown and Papa King sing the blues at the Owl

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 Saturdays are radio show days. The Hotrock Blues Beat is a sacred time, so whatever happens between 8-10 p.m.  on Saturday nights doesn’t get covered. But I was looking forward to Papa King and Harpdog Brown, so raced across the coulee to the Owl Acoustic Lounge, July 24, just in time for King, Harpdog Brown and  keyboardist Bruce MacKay take an hour long break.

PAPA KING COLE AT THE OWL ACOUSTIC LOUNGE, JULY 24. PHOTO BY RICHARD AMERY

I waited around for a while, but ended up going to Theoretically Brewing but Bailey Kate and Danica Sommer were long finished their show.



When I returned, Papa King, MacKay and Brown had just started their second set.

 

 They had a few people dancing to up beat blues grooves and  had  good vibe about them.

 King,  bashing at an acoustic guitar and playing rhythm and rumbling the lyrics for a couple of blues classics “My Babe” and “ Key To The Highway,” before handing the reins over to Harpdog brown.

King, as always has an appealing gravelly baritone voice reminiscent of Dr. John, which complement’s Harpdog brown’s voice which is also a  loud, resonant baritone, more similar to Howlin’ Wolf.

 

 He and macKay had never met, but the three were locked in with each other. Harpdog Brown bellowed out and or gestured chord changes in between switching harps.

He began with one of my favourites his original “Facebook woman,” but most of their set was blues and rock and roll classics.

HARPDOG BROWN INDICATING A CHORD CHANGE AT THE OWL ACOUSTIC LOUNGE, JULY 24. PHOTO BY RICHARD AMERY

Chuck Berry’s “Nadine” was a highlight. And as Harpdog Brown rumbled “Everything’s Going to be All Right,” as Bruce MacKay tore things up on piano and Hammond B3 for assorted solos.

 

 King took over after a few songs including “ Early Morning Blues” and they wrapped thing so up with Howlin Wolf‘s blues classic “Spoonful,” and the apt  “ Baby Please Don’t Go,” featuring King playing slide guitar and spookily echoed by MacKay’s Hammond B

3 sound.

 They will return to the Owl Acoustic Lounge, Sept. 17 with bassist Doug Freeman.

— by Richard Amery, L.A. Beat Editor

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Last Updated ( Wednesday, 28 July 2021 14:46 )
 

Rebel Angels wind up exciting local rock show at Slice

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Ben Lamb put on another big rock show at the Slice, as he has done in between plagues.

 

Ben Lamb singing with Rebel Angels, July 23 at the Slice. Photo by Richard Amery

A great line-up of local rockers entertained the Slice, Friday, July 23 including Twice the Storm, Fractures of Etalon, Tyrants of Chaos and Lamb’s Volbeat Tribute Rebel Angels.

 

 I only caught the end of the Dead Army duo’s set of loud alternative rock and had to wait for Rebel Angels to set up. I was sad to have missed Tyrants of chaos again.

 

 I’m not familiar with Volbeat’s music, but Rebel Angels always inspire me to check them out so I recognized quite a few of their songs.

 

Rebel Angels at the Slice, July 23. Photo by Richard Amery

 Lamb sang lead vocals while Breanne Urban added harmonies. I always enjoy it when she puts aside her country roots to rock out.

 

 They added Braeden  Rouse on lead guitar to add six string pyrotechnics.

— By Richard Amery, L.A. Beat Editor

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Last Updated ( Wednesday, 28 July 2021 14:31 )
 

Pomeranian Fight Club show plenty of improvement over pandemic

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 It took all my energy to drag myself out of the house on Friday night, July 23 after being a little disillusioned watching a new documentary on Woodstock ’99, so I went out looking for some positive energy. Of course, I found it in the thriving local music scene.

 

Pomeranian Fight Club at the Owl Acoustic Lounge, July 23. Photo by Richard AmeryPeople have spent the pandemic practicing, especially local alternative rock trio  Pomeranian  Fight Club, who had the Owl Acoustic Lounge hopping. While I missed local pop punk band the Waterfront,  I caught an energetic set from a much improved Pomeranian Fight Club.

They had a lot of energy, they mixed a touch of punk with a little funk, some classic rock grooves , some ’90s emo rock and contemporary alternative rock energy. 

 

They had gang vocals and a lot of intensity. The guitarist/ vocalist did some fretboard tapping and sang over it.

Even drummer Lincoln Shriner got to sing a couple songs.  

 Then they switched instruments for their last song.

— by Richard Amery, L.A. Beat Editor

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Last Updated ( Wednesday, 28 July 2021 14:20 )
 
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