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Sundance 2015: ASCAP music café a week-long iPod shuffle

February 8th, 2015 Posted in Arts and Life

ASCAP music café opens with thrills from every genre

By Noelle Johansen

PARK CITY—People peeled off their winter coats as they crowded into the cozy venue, taking a break from film hopping by warming their insides with booze and swaying to the beat of the live music.

Jamestown Revival’s Zach Chance (left) and Jonathan Clay. (Ben Hansen photo)

Jamestown Revival’s Zach Chance (left) and Jonathan Clay. (Ben Hansen photo)

The Sundance ASCAP Music Café held nothing back during the film festival’s opening night. From cabaret to Americana bluegrass to alternative rock, the ASCAP stage stayed fresh with a variety of genres.

Representing New York City was the sultry nouveau-cabaret duo, The Duchess and the Fox. The sexy sound of Andrea Diaz’s voice with Joe McGinty on the keyboard turned the afternoon at ASCAP into a 1920s nightclub. It was enough to send everyone to the nearest vintage thrift store in search of a beaded flapper dress like the stunner Diaz wore.

Jamestown Revival, a medley of bluegrass and southern rock, woke the crowd from their time-traveling trance. Patrons in varying stages of inebriation hooted, stomped and hollered in approval of the lively set. Front men Jonathan Clay and Zach Chance met as 15-year-olds in Texas, the depth of their friendship reflected in their perfectly timed harmonies. Though they rarely tour locally, they recorded their debut album in a cabin in the Wasatch Mountains and named it “Utah.” They performed a mixture of songs from “Utah” and teased the audience with samples from their planned release later this year.

Scott Weiland (Ben Hansen photo)

Scott Weiland (Ben Hansen photo)

Truly, the act everyone waited for was Scott Weiland of Stone Temple Pilots and Velvet Revolver, who performed with his new act, The Wildabouts. The show seemed worth the wait for longtime fans and new listeners alike. Weiland danced around the stage in skinny jeans and sunglasses while everyone rocked out completely. Then, for a moment, Weiland embraced his mellower side and sat cross-legged in the middle of the stage for a song. Before long, he was back on his feet, shaking his slender frame and filling the room with heavy lyrics set to heavier beats.

The swarms of people who left ASCAP after The Wildabouts missed a fun performance from The Relationship, with Brian Well of Weezer fame. Softer and funkier than Weiland and the gang, The Relationship ended the evening with a solid dose of alternative rock.

The day—and week following—was an iPod shuffle of genres, proving to be ASCAP’s trick to pleasing ears of all tastes.


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