Southeast Engine / September 28, 2012 / Stuart's Opera House

By: Katie Pinter, Staff Writer
Photo By: Katie Pinter

After trekking into the unknown territory that is downtown Nelsonville, I was pleasantly surprised to find an entire block party centered around a last minute Southeast Engine show. 

Friday's show was part of the free summer concert series held by Stuart's Opera House. Obviously, it's now sweater weather instead of summer, but this change of season seemed to fit better with the tone of the band. The event was also part of the town's Final Fridays on the Square, an art event that closes off the center of town so that people can walk around to the different galleries and art shops. Overall, the sense of community was really strong since a lot of people came out that night, with the largest group centered around the stage.

The show was set up outside in a small, empty parking lot across from Stuart's, which is not exactly ideal for a chilly fall evening. People just camped out on blankets or folding chairs or the cold asphalt, like myself. It's interesting to note the number of families that were present. Although there were a lot of aging hipsters and college age kids present, many young families with hyper toddlers were there as well. Good to known they're keeping them cultured while they're young.

I arrived about four songs into the band's first set, and it was very apparent that the crowd was feeling it. All of the children were dancing and playing close to the stage as Southeast Engine charmed on with their folk rock. Seeing the kids bop around created a nice vibe - you could just feel everyone letting themselves take the time to enjoy the show. 

The band's line-up did not include bass player Jesse Remnant, but had a cool-looking guy wearing a blazer sub for him. The only downside to this was that the harmonies were not as prominent throughout the tracks as they usually are. Instead, lead singer Adam Remnant carried the vocals, starting off with songs from their album Canary.

After the next song, drummer Leo DeLuca started giving some background information about their group. He mentioned that he and Adam started the band as teens back in Dayton, OH and they listened to a lot of another band from the area. That band was Guided By Voices and Leo added that the next few tracks would be from GBV, off their album Bee Thousand. 

Leo and the band quickly played through two of the GBV tracks and then took a break before their second set. In this time, everyone wandered around to the shops and galleries and I managed to snag some hot chocolate and a grilled Nutella and banana sandwich. Needless to say, I was having a great night and eagerly headed back to the lot as the band dove into its second act. 

Continuing on with more GBV tracks, Southeast Engine really connected with the crowd because everyone around me seemed to be either singing or just grooving along to the music. The guys' cover of "I Am A Scientist" was just perfect - so sweet and simple.

The night finally came to an end with one last cover, "Down By The River" by Neil Young. Halfway through the song, the band turned the song into a jam session, with each member showing off their chops while Adam laid out his killer guitar skills with an impressive blusey rock solo. 

As the band wrapped up its set, I thought back to something Adam had said earlier that night: "We'd been looking around for the ideal place to play around Athens, and I think this is it." Looking around the crowd, I don't think anyone would have disagreed.

Adam Remnant, Jesse Remnant, Todd Burge and Billy Matheny / February 27 / Donkey Coffee

By: Colin Roose, Staff Writer

Since I usually only go to the free-for-all amateur open-mic nights, it was a something of a star-studded evening when I witnessed the songwriter-in-the round performance of Adam Remnant, Jesse Remnant, Billy Matheny and Todd Burge at Donkey Coffee on Saturday.

I have to admit I came into the show unaware of the pedigrees of any of the participants. In fact, their description on Donkey's website was the extent of my knowledge of them, which was something to the effect of "the finest songwriting talent in the area."

Now, just about anyone who's walked down Court Street will tell you that that is the kind of phrase routinely scrawled on those show posters taped to lampposts, and being something of a jaded Donkey showgoer, my expectations weren't exactly sky-high. But all it took was one round to prove definitively that not only were these guys professionals through-and-through, they were indeed some of the finest guitar buskers in a town already filled to the brim with promising folkies.

The half-an-hour late start time meant that I could grab an iced chai and claim that sweet armchair right in front of the stage before the show. I love Donkey.

The crowd slowly filed in after me, being the usual types that populate the back room, sitting at tables, chatting, reading a book. But when the four gentlemen stepped up onto the stage, the little noise there was erupted into applause that was louder than anything else that evening. This wasn't going to be amateur night.

Anything but, actually. The Remnants and Matheny are three-fourths of Southeast Engine, the poster children for Athens folk music whose latest album Canary received rave reviews and got them featured on NPR. Todd Burge is an accomplished West Virginian songwriter who has performed at CBGB's and the Country Music Hall of Fame. Yet despite their differing affiliations, their performances, both as an ensemble and individually, were cohesive and complementary to the point that I wonder why they aren't all in a band together.

After the warm welcome to the performers, there was surprisingly little non-musical noise onstage or offstage. No whooping. No whistling. No grinding, thank God. There was only total concentration, so palpable that every plucked guitar string, every tapped piano key could be felt as if it were the only motion in the room. Such an environment created the atmosphere needed for all four songwriters, whose only common trait was their predilection for storytelling, part relationships, part introspection, and all soul.

Adam Remnant was up first, playing a clean electric guitar with a slight country twinge. Being the lead vocalist for Southeast Engine, his set predictably included some songs from his band. Being unfortunately unfamiliar with the Appalachian authenticity of their music, I couldn't name them, but the others backed him up with harmonica, acoustic guitar, and piano for a full band treatment. His patience was admirable as he fingerpicked simple-yet-effective chord sequences and philosophized about relationships. With his almost childlike voice, you couldn't help but believe every word he said.

Next in the sequence was Todd Burge, whose technical acoustic flash and charisma validated his twenty-year performing experience. Chatting up the attendees with stories of his lyrical inspiration, he managed to touch on Facebook statuses, the film Easy Rider, and the story of Jesus throughout one show.

But even though his influences for songwriting weren't very traditional, his playing certainly was - watching him play, I felt like I was sitting in on a back porch performance by a Tennessee mountain dweller. Even while strumming the complex Dixieland-like patterns, he was still able to show off his personality and singing range through his loud vocalizing along with the guitar melody. Burge was a fantastic all-around showman and earned his place as the bon vivant of the evening.

Adam's younger brother Jesse followed, who showed the least pure folk influence of the four. Although he categorized his first song as "electric blues," his performance was far less formulaic than that name would imply, staying away from predictability with an indie singer-songwriter feel.

His skill as backing singer for Southeast Engine particularly shined, as he came up with amazing vocal-centric melodies and jumped up into the falsetto range during the climactic bits. That kind of wailing is in just about every singer-guitarist's back of tricks, supposed to show emotion and be "beautifully ugly," but the average belter usually overdoes it and leaves out the "beautiful" part. Remnant is one of the few I've seen who can use the technique to reach breathtaking peaks instead of just blowing a lot of hot air onto his microphone, and added a layer of honesty to his songs about love and falling asleep driving on the highway.

Billy Matheny played last in each round, hopping between piano and guitar as needed. He began one of his rounds by announcing his intention to name his next EP Exile on Main St. 2 and asked the audience to promote the title on Twitter with "that pound key thing" before jumping into his soft, intimate-feeling compositions. The keys he pressed on the piano were often simple chords, but they had the catchiness of a nursery rhyme, having an almost Leonard Cohen-like way of sinking in.

One of the most jaw-dropping parts of his set was when he picked up a guitar and mentioned to the others to improvise along with him in the key of G. While he played the main sections, Burge's harmonica blasts, Jesse Remnant's piano embellishments and Adam Remnant's rhythm guitar transformed Matheny's tune into a song. With so little to go on, their chemistry molded a polished piece that commanded respect.

The show concluded with Matheny's "West Virginia Waltz," a catchy old-time shuffle with a backstory. He explained that he had heard a band play a song with that name years ago, and couldn't find any recording of it or anyone else who could play it for him, so he reconstructed the melody as best he could. It bothered him, he said, that a song could just cease to exist like that, that it could be played for so many people and no one would remember it.

And that's exactly why these shows are worth going to. When such gifted musicians grace Athens, how else will anyone know ten years from now what they sounded like? For their part, these four songwriters epitomized the purpose of a venue like Donkey, to showcase what we have going for us musically and reveal exactly what our regional identity is. When we have folks like Matheny that determined to keep tradition alive, you can bet our scene has something going for

Mountain Stage / October 9, 2011 / Templeton-Blackburn Auditorium

By: Emily Votaw and Amanda Norris

Homesickness is one of the most clichéd, yet horrendously universal experiences of any young person who sets out on his or her own--and especially for college students.

But "home" is many things to many people.

Yet, the most palpable aspect of homesickness may be longing for all the stuff your family does, and for some youngsters, a key part of their parental identity is latched onto NPR and the soothing, boring sounds it so oft provides for aging hippie mothers and fathers.

Maybe the Mountain Stage performance at Templeton-Blackburn Auditorium on Sunday, October 9 was simply a set of local (ish) bands playing at a central part of campus. But I would like to argue that it was, indeed, a parent-palooza.

And not just any kind of parents gathered to see some good kind-of-old-fashioned alt-country Sunday night.

Oh no.

Intellectual sorts.

“Out the wazoo.”

I hope those parent-sorts enjoyed the incredibly short sets put on by the numerous acts. The night started out with a painfully folky, though incredibly endearing and very impressive set by Karen Casey & John Doyle. Kind of like when that folk show comes on after Garrison Keillor’s "A Prairie Home Companion;" when any sensible dad switches the radio off.

And that set set the tone for the night – very skilled players playing for not very long.

Local musical sweethearts Southeast Engine played exactly three tunes, all expertly pulled off, especially their heart-wrenching rendition of “Adeline of the Appalachian Mountains." Keyboardist Michael Lachman was donning his traditional super-spiffy suit – a shocking exclusion from the band’s last Athens gig at Casa Cantina. I found comfort in its return.

In fact, I suppose you could just say that Sunday was a comfortable night, saying that I was surrounded by people who could be my parents and surrounded by the reassuring-yet-incredibly liberal-leaning organization that permeates all NPR events.

Needless to say, I didn’t feel too homesick that night.

--Emily Votaw, Staff Writer
_________________


Continuing where our dear Emily Vowtaw left off...

Ha Ha Tonka stole the show-- According to The Post, that is. Somehow the band's photo made it above the fold, much like they somehow got everyone in Mem Aud to stand and clap along to their, to quote Arlo Guthrie with all the irony that entails, "four-part harmony, with feeling."

I'm not sure how it happened. Perhaps I am disconnected, but I could not help feeling like I was watching Hanson-gone-country, all dressed up to play the church social in the best flare jeans that money can buy. For the record, I don't mean that as a compliment.

Luckily The Jayhawks, who closed the night, put on an enjoyable set. Their country-blues-folk-infused jam was worthy of all the hyphens and the listen. Much like Hot Tuna, who played earlier in the night, they played stuff your parents would love and you would tolerate-- which is a-okay in my book.

To close the mountain stage, all of the performers gathered for a communal jam of Buffalo Springfield's "For What It's Worth." The track was excellently arranged, and of course my favorite soloist was Southeast Engine's keyboardist-- and, if only to echo Miss. Vowtaw's comment-- my, didn't he look snappy while doing it.

--Amanda Norris, Staff Writer

Of Southeast Engine, Echo & and the Bunnymen Covers, and Allen Ginsberg

It begins with Allen Ginsberg. It always begins with Allen Ginsberg. And this Friday night, it began with Allen Ginsberg--or at least a man with his glasses and hazed stare--hitting on my mom on the Casa Cantina dance floor.

Yes friends, it is Moms Weekend in Athens and as we all know, when spring dawns on this town things can get a little preposterous. We know this, and we wouldn’t have it any other way.

The walk from West Green to Casa alone proved that Athens would be in top form: encounters with Rick the Court Street pianist, two dueling violinists outside of Bagel Street, the late-night accordionist making a rare appearance before after hours, and even an enthusiastic breakdancer outside of the diner. There were almost as many street performers on Court Street Friday as there are bars. I love this town.

We arrived at Casa just in time to catch the beginning of opening act Wolf Ram Heart’s set. We also beat the door man--cheating Casa out of cover charge is a rare and exciting feat. I almost felt bad about it until the front man of Southeast Engine congratulated us. If the headliner sanctions it, it’s fair game. But I digress: Wolf Ram Heart.

Let’s talk about Wolf Ram Heart. Like most people who were raised on too much VH1 Classic, I love Pink Floyd but I also love to hate on all other forms of prog rock, all the time, always, no exceptions. Wolf Ram Heart is the exception. I loved their set. They played flawlessly and got people dancing, high praise for an opening act. The highlight was their cover of “Lips like Sugar”-- nothing gets the cougars boogieing like Echo & the Bunnymen.

After Wolf Ram Heart went Scubadog. It was their first show with their new drummer and I have to say it was a success. Whether their guitarist is using his capo as a slide or they are using an ipad as a musical instrument, Scubadog never fails to change things up and have a good time. Their set was great and Jesse Remnant from Southeast Engine even got up to play moroccos for them.

Speaking of Southeast Engine... Athens loves Southeast Engine. They are the kings of Casa Cantina. They might be on Daytrotter, but they are NOT a “national act.” They are our act, and they are great at it. They introduced tunes from their latest album Canary, which they referred to as their “ode to Athens,” and each one was a hit in its own right. Whether singing devastatingly poetic ballads about Appalachian coal miners or upbeat toe-tappers, Southeast Engine knows how to put on a great live show. They recognize that the surest way to a girl’s heart is with a harmonica but make no mistake, these boys can JAM when they are compelled.

A “bro” in the front row who had a few too many tried to get loud with Southeast Engine, but no one messes with the kings in their castle. Their drummer, always one for entertaining facial expressions, exclaimed “Shut up!”--while simultaneously accomplishing an excellent fill, I might add--and the offender retreated into the shadow of his flat-brim baseball cap, not to be heard from again.

When the set was over, Athenians of course begged for more, and the boys of Southeast Engine, like the gentlemen that they are, gave the crowd a choice: “Would you like rock first? Or anthem?” “BOTH!” we exclaimed, and they obliged, ending with a guitar solo off of the base drum. If only there would have been slashing windmills involved. Maybe next time Casa...

-Amanda Norris, Staff Writer

Southeast Engine, Josiah Wolf and Ortolan / Casa Cantina / September 17

Following one Cobra and a seven dollar fee, Carolyn and I found ourselves inside the Casa Cantina. A little too late. I’d say we missed the majority of the first band, who was Ortolan, a band of four girls who were really great from what I saw. They played some folksy indie-rock for us, making my mouth incapable of forming a frown. The singer’s voice was a lovely one comparable to -- maybe -- Laura Stevenson a little bit, especially with darling harmonies flowered from the other girls. Of course, it made me want to be in a band. In fact, that thought took control of my mind for most of the night. Sweet envy.

Next was Josiah Wolf, the drummer of WHY? who are from Cincinnati (Halright home.) He was accompanied by a woman who an awesome outfit and a graceful voice. And Josiah-- My goodness! He has arms and legs trained like a circus lion. He was playing guitar and drumming simultaneously. Yeah. Imagine the confusion your right brain and left brain would go through during that. It’s like rubbing your stomach and patting your head at the same time, but much much harder, I would imagine. And not once did he appear to have a single flaw, at least not to my untaught eye.

Those two formed the sound of a band of at least four people. His voice, a little nerdy and talky, which I didn’t think was a word but my computer didn’t underline it, so we’ll go with it, was delightful with the lyrics he was singing. Some odd words that don’t make much sense but that fill your brain nonetheless. I loved every minute of it.

One slice of Goodfella's and a midnight dinner in a dark corner off of Court Street later, and we were back in Casa to see Southeast Engine. It had been a whole summer since we had seen them last, so my feet were hot with the readiness to listen and boogie. And so I did, to the best of my ability.

After having us applaud for the opening bands and the movie Space Jam, the band went into a pretty long set of new and old ones. Not once did my feet stop twisting or my knees stop bouncing. Or those of anyone else, for that matter.

Southeast Engine is wonderful to everyone, but I’m convinced no one loves them more than a certain man in a fisherman hat. To anyone who wasn’t moving, he insisted otherwise. He waved his hands in the air with a “come on” so that we would clap louder. He trudged through the crowd all over the place to personally ensure that people were reacting to the music in the way it deserved. He loves Southeast Engine. And fishing, probably.

--Hannah Cook, Live Reviews Editor

Lobsterfest: Day Two!

So, I have a bit of a confession to make...

Despite the fact that I have been in this wonderful student organization known as ACRN since the beginning of fall quarter, this night, better known as Lobsterfest Day 2, was my first local Athens show ever.

Oh, how I avoided the local scene at all costs! I'd walk past The Union slightly faster than everywhere else on a Saturday night and avert my gaze when "Scene & Heard" blogs came up in editorial meetings. While many nights, schoolwork and money and other social gatherings were distractions from a good old-fashioned concert, sometimes I had no excuse not to go except the fact that I didn't really want to.

I figured it was about time to just deal with whatever reservations I had about shows here in Athens and just go to one, especially since the end of the year is so close. I'd seen both Duke Jr. & The Smokey Boots and Southeast Engine at Nelsonville Music Festival a couple weeks ago and have become quite fond of both bands since then. The mixture of two bands I like playing at the end of the year and the fact that this was an event hosted by ACRN made it the perfect choice for my first show.

I walked in a few minutes late into what appeared to be a honky-tonk. The Casa Cantina crowd was having a raucous, boot-stompin' time with The Graveyard Shift. While most of the crowd was bopping their knees or tapping their feet, many were much more into it. For instance, an elderly man over to my far left was doing a proper hoedown dance! If the atmosphere wasn't amusing enough for a first-timer like myself, the music was also quite enjoyable. The Graveyard Shift played good ol' country music with a blues and rock twist, which is exactly what I've been into lately.

Musical highlights from their set were a catchy little number about a high school dance and a song called "Get Back," during which the crowd helped out singer Aaron Heindel (who sports a fantastic mustache) by shouting back "heart around" at him in the chorus. The Graveyard Shift was a fun and wonderful start to the night, and their set was over all too soon for me.

Next up was Theodore, who I'd never actually heard, but heard nothing but good things about. If I'm a sucker for one thing, it's a genuine, heartbreaking voice, and Justin Kinkel-Schuster has got it. His controlled screams mixed with the band's rich, yet fun sound in "Engine Number Nine," melted my heart while allowing me to have a good time, and it certainly confirmed all the good things I'd heard about this St. Louis quartet.

After their truly delightful set was one of the reasons I had decided to come out that evening... Southeast Engine. Though I saw them from the merch tent at Nelsonville, I recognized that that was not the most ideal way to hear them, and I was right. The crowd clearly loved Southeast Engine, as that is when Casa was the most packed. Though certain substances may have been involved, the crowd was jumping and dancing and singing their own hearts out to the tunes they all know so well (especially to the chorus of "Ooh's" in a song later in the set). These hometown heroes were definitely on point. The show was high energy and perfectly played, despite a few issues with feedback from the microphones. The combination of the perfect energy from the crowd and the delightful melodies from the band made me sad that this was only my first time seeing Southeast Engine up close.

Though my feet hurt, my eyes were drooping, and my tummy was rumbling at this point, I knew I couldn't quite yet leave Casa because Duke Jr. was about to go on. Just like at Nelsonville, they put on a fabulous show with their country/blues influenced rock. The second song of the set was a bluesy, sultry cover from the '60s that was just straight-up sexy and got the crowd grinding. The more country-influenced songs also got people do-si-doing and singing along, especially to "Travelin' Man," a clear favorite.

Lobsterfest night two was a clear success, with both the crowds and bands doing their jobs perfectly. I couldn't imagine a better way to start off my career of going to local shows, and I'm sure to do more of it in the future.

--Carolyn Menyes, Staff Writer

Southeast Engine photo courtesy of: Kevin Rutherford

A touch of home (plus some supa' fans) at Casa

Finally. A night where the miserable cold isn’t hindering my ability to walk safely and comfortably around town. Instead, it’s pleasant and agreeing with most everyone’s outfits of shorts or skirts or bare arms. For now, I’ll not bitterly question Ohio for it’s consistent fluctuation in weather. I’ll forget about the fact that it was snowing on my Spring Break because tonight I’m not wearing my Sam’s Club winter coat (thanks, Dad) and it’s okay.

My friend and I arrived to Casa a little after 10:00 in hopes that things would have sort of gotten started. But one thing I’ve learned is that shows in Athens never really start when they say they will on Facebook. So we walk through, pay our 7 dollars and get a smiley face drawn on our hands. Yeah I get it. I’m not 21. Drawing a smiley face doesn’t make me feel any better about that. Big, bold permanent marker is big, bold permanent marker no matter the shape it’s drawn in.

Anyway, we sort of awkwardly waited around for Manor Animals to begin. I’ve seen them a fair amount of times and if my ears heard correctly, they played for us some new tunes that’ll be coming out on their new EP here soon. They also tapped around on this odd little white contraption that made neat sparkling noises. I wonder what it was...?

Pomegranates, a band from Cincinnati, came on after. Naturally, I was pretty giddy about seeing them not only because they’re super good at playing this pretty unique music, but also because it felt like a little piece of home (that I missed a lot quite honestly) was coming to remind me that it was still there. Of course, that wasn’t what Pomegranates came to do. I mean, they don’t even know me. Regardless, they played, and it was wondrous. Jumpy and dreamlike noises were being showered on the crowd and it felt even more surreal with smoke drifting around their bodies and through gleaming green lights.

The reaction of listeners was also sort of surreal. I couldn’t decide who to watch and wonder about more - the four girls in the front who were obviously all about some Pomegranates as they were flailing and singing and taking pictures of themselves with the band in the background... OR the plaid-shirted man to the right of the stage who was dancing like an old fool and making all sorts of dancing faces. He was funny. Since the Pomegranates' supa’ fans were standing right in front of me, they took up most of my distraction from the band. Thanks a lot. No, I’m kidding. Pomegranates are really good, I know. They deserve some serious attention, no matter the way it’s presented I suppose.

I reluctantly left with my friend after they played and ended up missing Southeast Engine. But I can imagine they were Athens’ favorite and played as well as they ever do. I can imagine people danced like old fools.

-Hannah Cook, Staff Writer

Southeast Engine: My Athens music scene tradition

I am often asked about the Athens music scene by folks who are either not active show-goers or don't live here. My first question, if the person is familiar with indie rock at all, is if he or she has heard of Southeast Engine.

Most of the time the answer is yes.

It doesn't matter if you think Southeast Engine is over-rated, if you think their music is boring, if one of the members of the band once gave your friend's friend a dirty look this one time three years ago. Whatever. Southeast Engine is Athens' most popular indie rock band for a reason, and you just cannot ignore that.



Southeast Engine was the first local band I ever saw perform in Athens. This was a little over three years ago. Between now and then, I've seen roughly 150-200 shows here in little ole Athens. And I think I've missed only a handful of local Southeast Engine shows during that time period.

Why, exactly?

I'm not saying Southeast Engine is the absolute best band in this town. I'm just saying that they really capture what this town means to me -- and to other people, too. They bring back a lot of memories for me throughout my college years. My friends have changed, my tastes have evolved, even my personality has grown since I was a freshman. But seeing this specific band play the Casa Nueva stage hasn't.

ANYWAY, I saw Southeast Engine play again last night at Casa. They were, as usual, more dynamic live than they are on their recorded albums. I danced, I sang along, I fist-pumped like I was a member of the "Jersey Shore" cast. It was bliss.

Fresh off a string of touring dates, Southeast Engine debuted a few new songs off their upcoming album last night. We saw bassist Jesse Remnant trade his bass for the keys on a particular track that sounded like the latest Wilco album. The new songs felt comfortable. They felt like relaxed fit Southeast Engine.

We also heard frontman Adam Remnant pontificate on the verb tenses most often associated with the phrase "rocking out." The grammar nerd in me had a good chuckle, but you know, he's right. Rarely is the term "rocking out" used in the present tense. It's most often associated with the idea of "rocking out" sometime in the future, and "having rocked out" previously. He's a charming and wise fellow, that Adam Remnant.

All quippy on-stage remarks aside, the highlight of Southeast Engine's set on Saturday was "Where Are You Now?", a song off one of the band's older releases. In fact, this song is ALWAYS the highlight of every Southeast Engine set. It's the song generally toward the end of the show, in which the audience screams a series of "OHHHHs" along with the band and claps furiously. It's always incredibly loud and energy-filled, and my throat usually hurts a bit afterward.

Here's a pretty good video of the song's performance in Chicago about two weeks ago. Just imagine the crowd participation times a trillion toward the song's end and that was last night.



The set was over a bit after that, until the crowd started chanting "Holy Ghost." I could hear the screams very clearly through the wall of the girl's bathroom, in fact.

Southeast Engine obliged. The crowd went wild! You all know how this story ends. Great night.

-- Jillian Mapes, ACRN Editorial Director