
The World of Bluegrass includes a business conference, the IBMA Awards show and Fan Fest, which included more than 60 acts last year. In 2011, the Fan Fest had 3,900 unique visitors each day for three days and the business conference attracted 1,610 over four days.Nashville Convention and Visitor's Bureau spokeswoman Andrea Arnold said the NCVB gave incentives totaling roughly $330,000 to IBMA to host past festivals. The NCVB also worked with the IBMA to develop plans to help make World of Bluegrass work in Nashville, but those plans weren't implemented.
“We've worked with them over 10 years to help grow and develop their event,” Arnold said. “It's very unfortunate that they haven't been able to be as successful in Nashville as they've needed to be.” ...
One advantage Raleigh has over Nashville is the city’s downtown convention center, which opened in 2008, [and] is located next to an outdoor amphitheater with a capacity of 5,500.
Well then. We already knew that Austin may or may not be attempting to drink our milkshake regarding the Americana Music Association, and it was public knowledge that World of Bluegrass's contract with the Nashville Convention Center would be up after this year's festivities. But Raleigh?
Well, the new locale makes some sense, at least according to a certain 'grass-industry insider who chose to remain anonymous. "Bluegrass has undergone quite a revolution internally over the past few years with bands like the Avetts, Yonder Mtn., OCMS, Mumford, etc. gaining loads of attention in popular culture," our source told us. "It would make sense to go to a place — like Raleigh — that is really a hotbed of bearded bands with flannel, banjos, and a drum kit. Which, to most post-frat boys who will buy tickets, downloads, and merch, is their definition of a 'bluegrass' band." Ouch. The first Raleigh-based World of Bluegrass fest will take place Sept. 23-29, 2013.
This, of course, comes as a surprise to exactly no one — not even Scott Buttrey, who had been booking at the venue since 2005. He explained to the Scene via Facebook that “since 2009, it has gotten harder and harder to get fans out to the shows.”
Well, yeah. Ever since Rocketown drank their milkshake in 2004, The Muse's concert calendar has been in shambles. For every potentially great gig secured at the venue, there was a sad, muddled slurry of Juggalos, the dregs of the local rap scene and acne-riddled Operation Ivy covers. It became a place that local bands dreaded, knowing better than to chance electrocution, double (or even triple) bookings, stolen gear, trigger-happy tow yards, non-payment and just about every other disaster conceivable.
But that wasn't always the case.
A few months back, I was having a nightcap in a classy local dive by the name of Edgefield Sports Bar and Grill when a few of my local-filmmaker pals strolled in. They told me they were gathering for an unofficial wrap party, as they'd just completed production on a Harmony Korine-directed Black Keys video. They proceeded to explain the concept to me — "concept" in the Harmony Korine sense of the word, of course, meaning a very loose set of ideas and visuals presented in a free-form and absurdist fashion — which consisted of The Black Keys' Dan Auerbach and Patrick Carney strapped via faux Baby Bjorns to giant doppelgangers of themselves. The doppelgangers were portrayed by a couple of Belmont basketball players, and the video also featured a pair of outlandish, girlfriend-sharing, skateboarding identical twins who call themselves the ATL Twins. Word is The ATL Twins will also appear in Korine's forthcoming feature, Spring Breakers, alongside James Franco, Selena Gomez, Vanessa Hudgens, Ashley Benson and Rachel Korine.
So it was with bated breath that I awaited the Keys video, which was to be for their single "Gold on the Ceiling." And then, in February, the Keys dropped an official video for "Gold on the Ceiling" (see it after the jump) that featured loads of great live footage, but no Baby Bjorns, and certainly no ATL Twins. So what happened to the Korine video? Well, the Keys did an interview with MTV that illuminated things a bit:

Little Hamilton is officially dead and has been stripped for parts. Our around 4 year tenancy is up in June, but flooding due to about 20 leaks in the roof that the landlord doesn't want to fix has meant that our place is super super toxic and gross and moldy and we've cut down the pa system and are in the process of deserting.That said - a couple of particularly not-quite-as-burnt-out people are signing a lease in the next couple days for a roughly 1500 square ft room that, while far from perfect, has a working roof and central heat and air. It's not Little Hamilton - it can't be, location-wise, but it will be something new in the same spirit - making a space for DIY shows - be it punk shows, theatre shows, art shows, speakers, etc. Details will be shared on the little hamilton facebook page once that space is named and ready to go - probably mid-June, hopefully.
The past few months have proven to be a tumultuous stretch for local venues. We've seen Glenn Danzig's House close its doors and Murfreesboro institution Red Rose die a painful death. But we've also seen the birth of Marathon Music Works and gotten word that The Stone Fox will open in July. Hey, I've even heard some hot goss about the potential resurrection of a certain underutilized East Side haunt ... but I'll have to keep that under my hat for the time being.
Keep an eye on Little Hamilton's Facebook page — and keep the other eye here on the Cream — to hear more about Pink & Co.'s plans for the forthcoming space. The saddest part of all of this (but not really)? I may never again get to use my image of Little Alexander Hamilton.

But the object of this post isn't just to salute the achievements of the Tyler family, multitudinous as they may be. The Tylers — along with a couple of other local entrepreneurs — plan to open a venue/restaurant/club/hang-out spot by the name of The Stone Fox. While there isn't any info yet at their listed URL, the Tylers & Co. recently created a Facebook page for The Stone Fox, which will be located at 712 51st Ave N. Is that technically in The Nations? Sylvan Park? Where my local-neighborhood wonks at? Regardless, the building over the years has been home to establishments called Len's Den, Area 51 and Grandpaw Too's.
In an email to the Scene, Elise outlined all the plans for The Stone Fox, noting that "the venue is going to be around 200 capacity," that they will have a "small menu (five or so offerings a day)" and drinks that will "run the gamut with everything from $2 drafts to $12 cocktails," and that they "would love to showcase local and touring acts" with roughly "two shows a week" and "karaoke, movie nights, trivia, DJs, etc." on other nights. Now, I know we were excited at the prospect of The Humdrum opening in East Nashville, but we've gotten word that The Humdrum isn't going to work out. Where one dream kicks the bucket, another springs up in its place. C'est la vie, c'est Nashville. The Tylers say they hope to have The Stone Fox up and running come July. To see Elise's full email with all the details, have a look after the jump. Also, have a listen to Area Code 615's "Stone Fox Chase." Just because.
You don't say!
Wiz was reportedly cited for possession after tossing a small bag of kush out the window, which officers retrieved and found to be a bag of kush.
UPDATE: We've read Wiz's actual misdemeanor citation — fun fact: It lists Atlantic Records under "place of employment/school name" — and it says that after police were called to the Holiday Inn, they "observed a strong odor of burnt marijuana coming from inside apt. 276." After the cops knocked on the door, it opened, "and then police observed the defendant throw a marijuana cigarette out the window." So they went and got it, "and inside the rolling paper was a green leafy substance consistent with marijuana," at which point Wiz admitted it was his. If you're scoring at home, the weed is noted as weighing 2.7 grams. Wiz was not arrested, but another fellow named Lonnie Howard was booked for possession.
Back in January, we reported that Nashville trash queen Ke$ha and Oklahoman psych gods The Flaming Lips were collaborating on a track here in town. And just a few weeks ago, we discovered that lead Lip and good-vibe mascot Wayne Coyne is interested in potentially making this more than just a one-off. Anyway, as reported by Stereogum, the collab album The Flaming Lips and Heady Fwends was released on Saturday (which was Record Store Day, of course), and the record's lead-off track is a Lips-Ke$h cut called "2012 ... You Must Be Upgraded."
The track — which you can hear above via YouTube embed — is a four-minute barrage of skronk-pop madness that features (at least according to Stereogum, as I keep my nerdy obsessions mostly tuned to American sci-fi and am thus largely unfamiliar) a Doctor Who sample. "I want my mind to be completely toast," speak-sings Ke$h-Ke$h amid apocalyptic lyrics, ungodly sounds and an "acid haze." I think listening to this track on repeat for over an hour would probably send anyone's mind into Toast Zone, as Ke$ha's sinister mumblings make her sound a bit like she could be the leader of those Pink Robots the Lips sent Yoshimi to battle a decade ago (God, has it really been that long?). Around the two-minute mark, "2012" wanders idly into perfectly listenable terrain, before dropping back into that maddeningly discordant freak-out. After an acid-fueled Armageddon, where could this collab (The Ke$hing Lips? Flame-$ha?) go from here? Oh, of course. Into futuristic-sex-toy terrain.
By the way, the Rumor Mill also seems to be churning up other bits of Nashville-Lips collab action. This tweet from Mr. Coyne indicates that Nashville's own Linear Downfall recorded a King Crimson cover with his outfit, and this one shows Nashville's Conestyle joining Coyne's collaborative entourage. Coynestyle. Now that one's easy.
For one reason or another, the Mercy folks still want to keep info on The High Watt pretty close to the vest. But when asked directly for the scoop on the new stage, they offered us this statement:
At this juncture, the only two venues we have onsite are the Mercy Lounge and the Cannery Ballroom. Some of our upcoming shows at Mercy Lounge will take place on a second stage in the Mercy Lounge, which is being called The High Watt stage. We have begun to utilize this stage so that we can more effectively accommodate the wide range of acts that wish to perform at 1 Cannery Row. For anyone curious about the current arrangement, we recommend simply attending some of our upcoming events.
Now, if you look at Mercy Lounge's calendar page, you'll see that some shows have a lightning-bolt icon next to the listing rather than the typical Cannery or Mercy icons. These, I have deduced (by being told), are shows that will take place on The High Watt stage. One of the aforementioned shows is tonight's Craig Finn appearance. If you holler at us on Twitter, you can win a pair of guest spots to that. Other upcoming shows booked for The High Watt Stage are as follows:
According to a status update via their Facebook page, Parachute Musical has decided to call it quits. The split appears to have been amicable — the term "bro-noodling" was used — and PM is now discounting all their merchandise. Here's an excerpt from the band's farewell notice:
The past 7+ years have been some of the greatest moments of our lives, but at the same time, we all feel that this chapter has come to a close. We're ready to try new things, go new places, see where life takes us.We just want to thank all of you for your love, support and generosity throughout the band's existence. PM would not have made its small yet significant mark on this planet had it not been for you. It certainly made a huge mark on our lives and we'll never forget it, or you.
I managed to contact Colorfeels' manager, Bo Brannen, who assured me that the band's overextended set was "not intentional." In fact, he pointed out that the outro to "Pretty Walk" — which you can hear here — was misinterpreted as being a fourth song. And while Brannen says the band's set apparently lasted for 17 minutes, they "never saw anything about a time limit — only a song limit — until the day of the show." He was careful to note that Colorfeels weren't attempting to eschew the rules or disrespect the other artists.
A shame that this controversy might sully memories of Colorfeels' performance, as — on a personal note — I found it to be the most engaging of the evening. But here's some good news: For the next four days, Colorfeels are offering a free download of their song "Shapes" — the final tune from last night's set. The song was "produced by the whole band and recorded at Sound Emporium with tracking engineer Josh Papp and mixed and mastered by our good friend Ryan McFadden," and it "features two drum sets." You can download "Shapes" via Colorfeels' Bandcamp page and stream it below. Dig those groovy horn blasts. By the way, Colorfeels are playing with Daniel Ellsworth and the Great Lakes this Friday, March 2, at Exit/In.