ISSUE #73 / August 22, 2019

Mal Blum/ 📷 : TLM

Richard Album and the Singles kicked off the night with their song, “Who’s the Boss.” It was a bouncy tune, and Album made his gestures emphatically, like he was tossing the joy around the room to all of us. The audience happily caught it and threw it back at them. This band takes punk enthusiasm and plays lo-fi pop. They are usually a four-piece, but that night they were just three, short their keys player, Jenn Romero. Off on vacation with her family. They turned introspective on “Companion.” Album sang sweetly, “Sitting here with my companion, trying to figure out, what to do, with my days.” And as the last chord faded away, he said, “That made me sad. If you see Jenn, tell her it just doesn't sound the same without her.” Regardless, it was still lovely. The obvious connection they feel as a group, the fact that he felt the absence, was truly touching. When they played their next song, “Nightman,” it felt as though they all pushed a little harder. I loved the way Brian Weza sunk into the beat and put his shoulder into every sustained note on his bass. Bill Frish rounded out the trio with a radiant smile and tight drumming. Album thrashed around as he played, shaking loose his usually perfectly coiffed hair, and giving us a real rock heart-throb-worthy performance. You can check them for yourself when they play at The Hideout on September 18th with Mega Bog. -TLM

I always get excited when I’m attending a show with a fellow Surfer. Geeking out about whatever new band or album we’ve been digging aside, it’s just damn fun to physically be around a contributor. We don’t get together often enough, which is understandable when we’re all covering so many things. So, when I saw TLM was heading to Beat Kitchen for the one-two combo (with a wonderful three of Richard Album thrown in last minute) of Counterfeit Madison and Mal Blum – I had to jump on the ticket. She’s got a serious love of live music that is infectious. Speaking of infectious, segue, Columbus’ Counterfeit Madison got me absolutely moving with their gospel-inspired piano rock.

The trio of pianist-singer Sharon Udoh, bassist Adam Hardy, and drummer Seth Daily are rightfully still taking a victory lap for their 2017 release Opposable Thumbs, and is primed to release their long-awaited follow up. The band described their sound as “all of the things” and they aren’t lying. Over the course of the 40 minute set, the crowd grooved to Ben Folds Five era indie rock, rocked out to the heaviest piano this side of Elton John, and filled the room with tears when Udoh showed off Nina Simone range. She had to do that one by herself because Daily and Hardy were crying right along with us. 

While the main attraction is certainly Udoh’s astounding vocal range and funky piano chops, the band got plenty of time to show off. Hardy is a perfect bottom dweller with the chunky bass on songs like “I Hope It’s Alright”, and Daily is hands down the best drummer I’ve ever watched play. His enthusiasm was spellbinding, and I think even he was surprised at how good the band is. I can understand a listener’s hesitation to see them live after checking out the smorgasbord of genres on their debut record, but sometimes seeing is believing and baby, you gotta see this band to believe it. -JCB 

Mal Blum started the show with "San Cristobal," an old one that got everyone singing along. Blum said, "This is going to be a fun one, I can tell already." They continued by playing the entire Pity Boy album (well, almost), and I found myself singing along to every song, showing how much this album has been on heavy rotation since KPL told me to check it out. Blum’s music is about finding yourself through the confusion and pain of life. “Not My Job” brought the audience into a frenzy of shouting. Audrey Zee Whitesides jumped with impressive hops. Every time she got to wail on her guitar, I felt weak in my knees wanting more. Let Audrey solo!!! By the time they hit “Odds,” Anne Dole started to show her loose flair on the drums. When a song really got her going, she would barely be able to stay seated, standing with the force of her own playing. “Splinter” started with a bass line by Barrett Lindgren that reached down and pulled at my gut. With such a great band, Blum was able to relax and express. They said after years of touring solo, getting to go on the road with friends is just plain better. Blum played one song solo: “Black Coffee.” Just like it is on the album. The vulnerability of that song is key to how easy it is to connect to Blum’s music. On the Beat Kitchen stage Blum was warm, kind, self-deprecating. And confident. They approached the mic with a strong stance. During "Well, Fuck," the aggression and snarl became irresistible. There was a progression over the night as Blum became the kick-ass rock star we all want to be. The whole audience was vibrating with emotional intensity. Jumping around, dancing, and singing Blum’s cathartic lyrics. Sharing smiles and shouted lyrics with the crowd made me feel radiant.

-TLM