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Spotlight on Tim Finn, music writer at The Kansas City Star

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Tim Finn has covered the local and national music scene for The Kansas City Star for over two decades. In that time, he’s seen hundreds of concerts and interviewed hundreds of musicians. Barry Lee, host of KKFI’s Signal To Noise, felt it was time someone interviewed Tim.

 
The Deli: When you first started your career as music writer for The Kansas City Star, what ground rules did you set for yourself for writing concert reviews?

Tim Finn: Foremost: don’t use a live review as a format for critiquing (or disparaging) the music. A review of a live show is different from a review of an album. The music itself isn’t the primary focus, the performance is. No one attends a rock concert like they do a movie or a restaurant. You buy a ticket to a rock show because you’ve already decided you like/love the music. Likewise, no one goes to a movie knowing they hate the genre, or a to restaurant knowing they hate the cuisine. So, even if I must go to a show to see a band I don’t like or whose music I don’t like, I don’t trash the music itself. Instead, I do some consumer advocacy: was it long enough? Did they do most of their hits? How did the crowd react? How was the sound? And in the middle of that, I may lay down a context that may illuminate my opinion of the music: "they’re a mainstream hybrid/derivative mix of Band X and Band Y…" and leave it at that.

We typically stick to the large shows, the ones that attract big crowds (and more readers). Occasionally, we will review a local show. But I’d rather preview local bands/shows and mention the high quality of the music and the live shows and hope the exposure gets more people to those shows.

The Deli: During those first years covering the local music scene, which bands or artists caught your attention as being the most interesting?

Finn: Those were the years of Outhouse, Season To Risk, Shiner, Molly McGuire, Tenderloin, Frogpond, Grither, The Gadjits, Mike Ireland, Iris DeMent.

The Deli: What role, if any, did local record stores play in KC’s music community?

Finn: Well, Anne Winter had a profound influence on me on my role as a writer and reporter, then as a friend. She either introduced me to people or bands, or advised me to get in touch with them. Recycled Sounds was the nerve center of the local scene for so many years. For awhile, I was going in two or three times a week, not just to buy music, but to hear about what was going on. Or see an in-store.

The Deli: Historically, local artists often felt that it was necessary to leave Kansas City if they wanted to be successful and make a living playing music. Do you think that’s still true today?

Finn: There’s evidence to support that. Janelle Monáe being one example. And it was sad to see Miles Bonny move away. But I don’t think it’s necessary, especially today. I think you can certainly start lots of momentum here and then generate it elsewhere. Look at Radkey. Or Making Movies. Or Beautiful Bodies. Or The Architects. The Republic Tigers. The Elders. The Wilders. Tech N9ne still lives here.

The Deli: What’s your assessment of the current state of our local music scene?

Finn: I listen to more local bands just recreationally now than I ever have. Too many to name. So, there are more good bands these days, in every genre, I feel safe saying, whether it’s indie-rock/pop, singer-songwriter, hip-hop, hard rock, country… There is more variety, too. And what I like most of all: way more collaborations, whether they are side projects or tribute shows. There has always been a strain of jealousy (or envy) within this music community. But I think this has subsided and there seems to be way more collaboration and internal support than there used to be, especially across genres. I love it when, say, Hermon Mehari, a jazz trumpeter, jumps in on a set with a rock band.

The Deli: Are there any local bands or artists that are not yet well know that should be?

Finn: So many local bands have been given the big label opportunity over the past 15 years, and many have come so close. But very few have cashed in on it, mostly because you have to be as lucky as you are good, it seems. Or maybe luckier. Music isn’t sports, where the spoils go to the most skilled.

If I had to name one that I think has the sound, the recordings, and the live show to be a successful touring band I’d say The Grisly Hand. And I’ve always thought Mikal Shapiro was a good a songwriter and performer as many I’ve seen.

The Deli: You’ve been to every kind of venue to see and hear music, from Sprint Center on down to house concerts. What do you consider to be your optimum place to experience music?

Finn: It depends on the show. I’ve been to shows at the Uptown Theater when it’s full, and it’s as intimate or satisfying as a house concert (Sigur Rós and The Swell Season come to mind). Starlight Theatre can be the perfect venue. As long as the crowd is attentive and engaged and the sound is good, any venue can work for me.

The Deli: If you could assemble an all-star band using KC and Lawrence musicians, who’d be in that band?

Finn: That’s too hard to answer. I’d start with Ernie Locke, though.

The Deli: What’s the best local concert you’ve seen so far this year?

Finn: I have to list a few. The performance of Beck’s "Song Reader" by Project H (Mark Lowrey, Jeff Harshbarger, Shay Estes, and many others) was brilliant. The recordBar was pretty much full that night, and everyone was hearing every song for the first time. Yet, for the most part, everyone gave the band and the music full attention that night.

Awhile back, I saw The Grisly Hand at Knuckleheads and for part of the show they brought up a three-piece horn section and created this country/soul sound that was delicious.

At this year’s Warped Tour, the Beautiful Bodies and Mac Lethal were performing at the same time at contiguous stages. I bounced back and forth between both. Each drew a big, rowdy crowd. Both are so much fun to watch, the way they engage their fans.

And The Pedaljets album release show was great. They are such a good live band. And the more I see Ghosty live, the more they impress me.

And I have to plug Middle of the Map, which showcases the breadth and depth of local music in this town.

The Deli: What advice would you give to an aspiring area band who are just getting started in the music world?

Finn: Don’t do it for the money, glory or fame. Do it because you love it. And do it with the people you love.

 
–Barry Lee
 

Tune in to KKFI 90.1 FM on Sundays at 8:00 p.m. and listen to Barry’s show Signal To Noise, a two-hour free-form radio program dedicated to the proposition that all good music transcends its genre. 

Also, you can check The Star’s music blog Back To Rockville, which Tim writes for, and you can often see him out at many local and national shows. He’ll be the tall guy. 

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Show review: The Latenight Callers’ Lost Weekend Brunch, recordBar, 11.16.13

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Kansas City music fans got a rare treat when the recordBar hosted The Latenight Callers for the Lost Weekend Brunch, featuring the complete brunch menu and their famous (in certain circles, anyway) Bloody Mary bar and generous pours. If you aren’t familiar with either the recordBar (located at 1020 Westport Rd., on the northwest corner of Westport Rd. and Southwest Trafficway) nor The Latenight Callers, get acquainted with both. The bar has been around for just over eight years and is Kansas City’s premier live music venue, and the band pretty much invented the noir a go-go genre.
 
It was a rare free show—rare for both the band and the bar. The music got started about 12:30 pm and the band played two sets. It wasn’t too loud, so the folks who were there for brunch and conversation weren’t crushed by a wall of sound, but the people who were there for the music weren’t disappointed either, because the band brought their A-Game to a brunch show. Krysztof Nemeth never missed a note on lead guitar, Nick Combs was smooth as silk with the melody lines on the keyboards and percussion—don’t ask how he pulled it off, just accept the fact that he managed to do so and move on—Gavin Mac kept the groove on bass, and Julie Berndsen vamped it up like nobody’s business while belting out hypnotic vocals; and she looked divine, in a red sweater dress and black beret. She looked as if she had stepped off the page of a Neiman Marcus catalog, circa 1945—and as Martha Stewart would say, “that’s a good thing.”
 
All in all, it was a treat for all the senses. The food served at the recordBar is probably the best bar food in town, and in Kansas City, that is a pretty bold statement, but one I’m willing to go out on a limb and make. The atmosphere at recordBar is always cordial and pleasant, which is definitely a reflection on the owners Shawn Sherrill and Steve Tulipana, and the staff they have hired. Shawn and Steve deserve every bit of the success they’ve had, and more. Two nicer guys you’ll be hard-pressed to find anywhere, and when you consider that they are in the live music business, it approaches unicorn rarity.
 
The Lost Weekend Brunch was the first Saturday brunch the recordBar has hosted, and the only one the bar has ever hosted with live music, but based on the turnout, it was quite a success and something they ought to consider doing regularly… if not weekly, perhaps they will do it once a month. I know that every one they host, I will attend, and you should, too.

–Tammy Booth/Blue Girl
 

 

 
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Show recap: Apocalypse Meow 6

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On any given night in KC or Lawrence, there are bands playing to groups of varying sizes and intensity levels. Some of the audience is on its feet dancing. Some of them have their noses stuck in their electronic habitats. People order a few drinks at the bar during a quiet song, maybe smoke a cigarette between songs. The Friday night kick-off party of Apocalypse Meow 6 was one of those rare nights when the audience unified to experience and be captivated by the music.
 
This is the first Apocalypse Meow show since the death of Abigail Henderson, who—along with friends and husband Chris Meck—founded Midwest Music Foundation after friends held a benefit for Henderson when she was diagnosed with breast cancer in 2008. On Friday, Meck debuted his trio The Guilty Birds (pictured above), the first project without his wife since they began 10 years ago in Trouble Junction, and his very first project as primary singer/songwriter.
 
 
The trio (including Tiny Horse members Zach Phillips and Matt Richey) played a short but poignant rock/soul-infused set, while a packed crowd locked eyes and ears to draw in each note; to admire the musicianship, the ability, the fire, the obstacles and the affirming end result; to feel the anguish of a noticeable absence, but to honor and celebrate its legacy. The Silver Maggies kept the audience at attention with dark Americana propelled by intelligent songwriting. Hundreds of raffle tickets for Meck’s custom-built (with assistance from Phillips, Chris Wagner, and Paul Marchman) Fender Telecaster were purchased on Friday alone, and that spirit of generosity graciously carried into Saturday evening.

 
 
With a larger-capacity venue at Knuckleheads, eleven bands/solo performers commandeered the indoor and outdoor stages on night two. She’s A Keeper began by grabbing and enveloping the filtering-in crowd with its brand of colossal folk rock. The entrancing, aggressive outlaw blues of the duo Freight Train & Rabbit Killer (pictured below) demanded attention with its minimalistic setup, menacing costumes, and otherworldly presence. Meanwhile, the acoustic stage was occupied by a few KC music legends, all of whom were dear friends of Henderson’s. This connection translated into each musician’s cathartic sound, beginning with heartstring-pulling stories from Tony Ladesich (pictured below). Betse Ellis followed (and guest starred with the other acoustic stage performers later) with a fierce fiddle that could have sliced through any act on the main stage.
 
 
 
As the evening grew colder, warm bodies migrated toward the front and moved their hips to power trio Not A Planet (pictured below), pushed by the dynamic rhythm section of Liam Sumnicht and Bill Surges and steered by Nathan Corsi’s steady, pitch-perfect vocals. And no matter which stage you chose or floated to and from, each remaining act performed with no shortage of moxie. Howard Iceberg—KC’s answer to Bob Dylan—played a quiet but potent, storied set that included a duet performance with Michelle Sanders, a dulcet complement to Iceberg’s earnestly gruff voice. Federation of Horsepower frontman Gregg Todt (pictured below with Ellis) traded in his distorted axe for to round out the acoustic stage with a bluesy soul tone.
 
 
 
The second half of main stage featured three acts with female powerhouses at the forefront. The Latenight Callers’ Julie Berndsen allured the crowd with a coy sensuality that developed into a fiery, lascivious character, enhanced by the band’s electrifying, mammoth noir sounds. The Philistines continued in that same vein of ferocity from Kimberely Queen, whose appropriately unbridled theatrics amplified the band’s barbaric psychedelic rock sounds. The musical climax came when Sister Mary Rotten Crotch (pictured below) was welcomed to the stage right after Meck’s guitar was raffled off and subsequently auctioned (Artie Scholes, the raffle winner and also owner of The 403 Club, gave the guitar back to MMF for this purpose) to the highest bidder. But outside of this positive gesture and outside of the fact that many fans had been waiting for Sister Mary to take the stage again (the band’s last performance before taking a five-year hiatus was Apocalypse Meow 1 in ’08, and they only recently reunited to play a couple weeks before), frontwoman Liz Spillman Nord injected the hungry audience with an acrimonious punk vitriol. The veteran band showed old and new fans alike that they still pack a mean, purposeful rock punch and they still don’t give a fuck what you think.
 
 
Midwest Music Foundation and Abby’s Fund for Musicians’ Health Care made $12,000 at Apocalypse Meow this year, thanks to the efforts of all that were in attendance or made a donation of time, money, and/or resources. And though it was impossible for each moment of Meow weekend to have been as uninterrupted and uplifting as its inaugural set was, a sense of community was felt by each attendee and volunteer/staff member, each auction bid, each raffle ticket that fell into each bucket, each embrace or tear shed, each note or beat played.
 
On behalf of Midwest Music Foundation and The Deli Magazine—Kansas City, we thank you for your support of local music and those who work to make it happen. We thank you for honoring Abigail and helping us continue to carry on her legacy.
 
–Michelle Bacon
 
Michelle is editor of The Deli Magazine – Kansas City, and also plays drums Drew Black & Dirty Electric and bass in Dolls on Fire and The Philistines. Thanks to everyone who made this weekend beautiful. #shinealight

 

 

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Apocalypse Meow 6 Preview: Sister Mary Rotten Crotch

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Sister Mary Rotten Crotch. Try saying that name without making some sort of judgment about the music.
 
Not that your judgment would necessarily be wrong. We’ll let the band describe what they sound like, but it’s every bit as gritty and rowdy as you’d hope. The band got its start 15 years ago and reunited less than a month ago. Its last show was at the very first Apocalypse Meow. On the eve of the sixth and largest Meow yet, we talk to the four-piece to see what they’re up to and what they’ve been up to over the past few years.
 
The Deli: In a sentence, describe what Sister Mary sounds like.
 
Alison Dunlop-Sanders: Smirk, if you say it really fast.
 
Liz Spillman Nord: Your mom, when she’s really pissed you didn’t do the dishes or pick up your room, and you’re getting an F in math… yep, that’s what it sounds like.
 
Amy Farrand: Fun for the entire family.
 
Brent (Tammy) Kastler: Apple pie and Chevrolet. ‘Merica dammit!
 
The Deli: Why did you decide to reunite now instead of moving on to your other respective projects and not turning back?
 
Alison: Personally, because no other band or project will have me. I can play only Sister Mary stuff, if I play anything else it’ll sound like Sister Mary stuff. Who wants that?
 
Liz: We reunited because Alison wanted us to play the Mid-America Bully Rescue benefit. Collectively, I think, we decided we were having too much fun and we should ride the ride until the ride isn’t fun anymore.
 
Amy: It’s the 15-year anniversary of the beginning of it all. Why not?
 
Tammy: Cause we are that good, damnit! We do what we want!
 
The Deli: What other projects have each of you been in through the years?
 
Alison: I was in the Itty Bitty Biggy Titty Band in my teens. We never actually played. Anything. And I played bass for The Skags for like 15 minutes, I loved it! Big fan of Rudy.
 
Liz: I think the music projects fall to Amy and Brent. Alison and I have focused on visual stuff long before the band, during the band, and after the band. I’ve spent the last several years trying to create little musicians of my own with my kids, so I guess that’s my music project. I like to play the piano with my son when he practices his bass. I force him to improv.
 
Amy: I’ll just go over the ones since the old days. Shotgun Idols (guitar), American Catastrophe (bass), Whiskey Boots (drums), Rural Grit All-Stars (miscellaneous instruments), Experimental Instrument Orchestra (various homemade and experimental instruments), Dangerhand (drums), Atlantic Fadeout (drums), The Silver Maggies (theremin/percussion) Solo work.
 
Brent: In no particular order. Anti-state (bass) element (bass) the great planes (bass) the radtones (bass) chad Rex and the victorstands (bass) waiting for signal (bass) salt the earth (bass) spinal tap (drums) poison (vocals) milli vanilli ( backup dancer ).
 
The Deli: Have you written much new material or playing mostly material from before?
 
Alison: We haven’t written anything new yet. But we have brought back some stuff that’s new to Amy Lu and Tammy.
 
Liz: So far we have concentrated on our existing material. Amy and Brent have had to learn some songs that were crafted during the two John (John Barker and Jon Cagle) era. I have couple of little numbers in my head, and a draft on paper. We’ll tackle those following Apocalypse Meow. They will need massaged by the better poets in the group. Fortunately, there isn’t a shortage of stories or people to write about.
 
The Deli: What have been some of your biggest accomplishments as a band?
 
Alison: Epically bad humor. Epic, man.
 
I concur with Liz on our biggest accomplishments. I’m not even sure WE thought we’d pull it off, and I’m pretty damn sure no one else did. It really was kinda kismet. It didn’t occur to us to NOT do it, we just kept plugging away without looking up in a way. We did shit we didn’t even know how to do, but since we didn’t know we couldn’t do it we did. And we were so lucky to have amazingly talented people come along that never pointed it out, which was fucking awesome. We also had awesome support from other local musicians, who were also polite enough not to say "what the fuck are you doing?" hah. I freaked out once because I really have one style, that’s it, I can’t play other stuff because I have wackafied rhythms that I can’t seem to not have so I went crying to John Cutler about it when he practiced upstairs from us at El Torreon with Parlay and he was like "so fucking what? Embrace that shit, you have a style. Own it." He probably doesn’t even remember that but it totally made an impact on me. I was seriously ready to quit playing all together before that. I still have no fucking idea what I’m doing but fuck it. I’ma do it anyway. And I’m hurt that Liz is going to have a slumber party at Tammy’s without me.
 
Liz: Some might say our Pitch awards are our biggest accomplishment, but I would argue that the biggest and best accomplishment is that after 15 years, we can still call ourselves a band. Granted, we’ve had some long breaks and a few changes in line-up, but considering this was really a gimmick when we started, this is pretty amazing. I will never forget the moment on Rico’s porch, July 4, 1998, when Alison said to Hannah and me, “Hey, I’m learning to play the guitar… thinking about starting a band. Wanna be in a band?” Me: “Sure, I’ll play Tim’s bass.” Meanwhile, Aaron was making bombs out of sparklers, and Tanya was telling the story about breaking her tailbone during childbirth. I’m pretty sure guns were shot into the ground in the back yard that day, and god knows what else. I don’t remember much after my kids were born, but I remember that day. What followed was a week-long discussion about the name… Sister Mary Sodomy was on the table, among others, and I believe Kathy Dunlop gave some solid advice.
 
Tammy: That we are still doing it! After all of the years and line up changes, time off. We can still get in a room and spend more time laughing than playing tunes. We have fun dammit!
 
The Deli: How do you think the music scene has changed around here since you all last performed together? Is it better? Any local bands you’re really into right now?
 
Alison: I do not really know. Big fan of The Big Iron and Red Kate fo sho. And Amy Farrand is a bad ass. I’m old and stay in a lot tho.
 
Liz: Sadly, my life for the last nine years has been sucked away by the suburbs. I’m fighting my way out right now… My kids have been, and continue to be, my priority, so my life discovering new music and being involved has revolved around elementary school picnics and yearbooks. I am finally at a spot where I’m comfortable concentrating on things that I love, so ask me that same question in six months.
 
Tammy: I’m really into puddle of mudd.
 
The Deli: You’re headlining what hopes to be the biggest Apocalypse Meow yet. What does this mean to you?
 
Alison: We’re headlining? … It’s an incredible honor for sure, if that’s true. Little overwhelming. Now I’m scared.
 
Liz: There’s a little pressure that accompanies the headline spot, but I don’t think we’d be in that position if the decision makers didn’t have faith in us. It’s an honor for me to even be on stage with Amy, Brent and Alison. I think the world of them… all three have more talent in their little pinkies that most of us have in our whole bodies. The caliber of musicians that will be performing over the weekend blows me away, and I feel blessed to be part of it, even if it all ends tomorrow.
 
Amy: It’s pretty cool for me. I do what I can for this cause. It’s very close to my heart, and I want to see it continue for a very long time.
 
Tammy: I’m stoked to be playing. It’s a great cause.
 
The Deli: What else do you have planned? Anything in the works for you all?
 
Alison: I do what they tell me. And I wanna write some shit. I like writing shit. And then convincing these crazy bitches to go along with it.
 
Liz: I plan on staying the night at Brent’s house sometime in the near future. That is all.
 
Amy: More shows. More recordings. More. Taking over the world.
 
Tammy: Trying to piss people off one song at a time. I’m looking forward to truth or dare and the pillow fights that are gonna happen when Liz comes over for the sleepover.
 
 
You can hear some of Sister Mary’s music at http://sistermaryrottencrotch.com.
 
Sister Mary will be headlining Apocalypse Meow tomorrow, November 2, at Knuckleheads. It kicks off at The Midwestern Musical Co. Doors open at 6 pm both nights. Friday’s show is free (and features Farrand’s other project The Silver Maggies) and all ages, Saturday’s show is $10, 21+. Visit http://www.apocalypsemeow.net for a full lineup and schedule. Ticket link. Facebook event page. To find out more about MMF, visit http://midwestmusicfound.org, and learn about Abby’s Fund for musicians’ health care.
 
–Michelle Bacon
 
Michelle is editor of The Deli Magazine – Kansas City, and also plays drums Drew Black & Dirty Electric and bass in Dolls on Fire and The Philistines.
 

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Midwest Music Foundation Staff Spotlight: Michelle Bacon

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(Photo by Todd Zimmer)
 
The Midwest Music Foundation staff constantly works behind the scenes at live music events you have likely attended. They’re the ones who search for facilities, supply entertainment, coordinate with vendors, and generally ensure that your live music experience will be a good one. They’re also the ones that get the word out about musicians’ health care and other educational resources for musicians, filling a vital gap in the community.
 
Before the advent of the sixth annual Apocalypse Meow benefit, we hear back from some of the staff to find out what they do and why they do it. Now we’ll turn the tables on Michelle Bacon, editor of The Deli KC and Promotions Assistant/Social Media Coordinator for MMF.
 
The Deli: When and how did you first get involved with MMF?
 
Michelle: Michael Byars asked me to help with some of the web admin stuff for The Mailbox (his now unfortunately defunct podcast). I had been interested in the organization since hearing about its mission; I started blogging a bit on the website and volunteered at events. Then last year at MidCoast Takeover, The Deli was so impressed by the showcase that they asked if MMF would be involved in expanding its local music publication to KC, making it 1 of only 11 cities in the nation represented. Rhonda [Lyne] asked me to head up the publication, and I was more than honored to do so.
 
The Deli: What is your current role with the organization?
 
Michelle: I’m the editor of The Deli KC, which you are feasting your eyeballs on right this very moment. I hope you dig it. I also help maintain MMF’s social media presence and sometimes help with show promotion and booking and such. And I’ll edit anything you send me, because it would drive me crazy not to.
 
The Deli: Why is MMF such an important cause to you? What do you hope it will accomplish in the future?
 
Michelle: The music community has provided me with just that—a sense of community and belonging and likemindedness. Having MMF in this city provides all of us local musicians with a commonality: our devotion to what we do and an understanding of why we do it. And I want to do as much as I can to get the word out about MMF in as many ways as I can. I hope that we continue to grow, and hope The Deli can be a catalyst to bring more attention to KC music.
 
The Deli: Who are some of your favorite local artists?
 
Michelle: I would tell you, but then I’d have to add more hyperlinks to this post. Darn.
 
The Deli: Do you have a favorite memory of a past Meow? 
 
Michelle: I’m still the new kid on the block. Meow 4 was my first time in attendance, and I barely knew anyone there. Last year was Meow 5, and I had the honor of performing as well as volunteering for the first time. The overall experience was wonderful; I interviewed Abby shortly before the event, and seeing the show executed so well made it even more affirming of how much of an accomplishment it was.
 
The Deli: What are you most looking forward to about this year’s Meow?
 
Michelle: This weekend is going to be amazing for a number of reasons. I think everyone’s simultaneously excited and nervous, because it’s a big year—our first without Abby. It’s obviously going to be tough for many. I think the music will expose a lot of emotions, both for audience and musician. But this community has grown and will continue to grow together with these experiences; these are the kinds of things that push people to make astounding strides. I really think it’ll be beautiful, and I can’t wait to be a part of it. I’m honored to play again as well with an amazing group of folks in The Philistines.
 
 
Michelle will be at Apocalypse Meow all weekend, volunteering and playing bass with The Philistines on Saturday night. The event starts tomorrow, November 1 at The Midwestern Musical Co. and Saturday at Knuckleheads. Doors open at 6 pm both nights. Friday’s show is free and all ages, Saturday’s show is $10, 21+. Visit http://www.apocalypsemeow.net for a full lineup and schedule. Ticket link. Facebook event page. To find out more about MMF, visit http://midwestmusicfound.org, and learn about Abby’s Fund for musicians’ health care.
 

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Midwest Music Foundation Staff Spotlight: Rhonda Lyne

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The Midwest Music Foundation staff constantly works behind the scenes at live music events you have likely attended. They’re the ones who search for facilities, supply entertainment, coordinate with vendors, and generally ensure that your live music experience will be a good one. They’re also the ones that get the word out about musicians’ health care and other educational resources for musicians, filling a vital gap in the community.
 
Before the advent of the sixth annual Apocalypse Meow benefit, we hear back from some of the staff to find out what they do and why they do it. Read on to find out more about Rhonda Lyne, MMF’s Director of Development.
 
The Deli: When and how did you first get involved with MMF?
 
Rhonda: I first got involved with MMF helping with the first Apocalypse Meow in 2008. The MMF was formed after this event and I was asked to join soon after inception to help with various fundraising events based on my contributions to the first Meow.
 
The Deli: What is your current role with the organization?
 
Rhonda: My roles have changed over the years based on need, but mostly I work to organize fundraising events, schedule volunteers, work with health care grant applications and dispense grants, and just make tons of multi-tabbed spreadsheets. 🙂
 
The Deli: Why is MMF such an important cause to you? What do you hope it will accomplish in the future?
 
Rhonda: I got involved with MMF because of my friendship with Abby and her passion for the organization inspired me as well. I made a promise to her before she passed that I would carry on her mission to the best of my abilities. Over the years, it has become a huge part of my life as well. I have always loved live music and did what I could to support it, be it attending shows, hosting bands at my house, or just spreading the good word of the amazing music made in KC and the Midwest. I hope in the future, we can continue to grow and provide resources so that our musicians are compensated for the work they do and can make a living making music. It’s such an important part of life and the folks that made it work extremely hard for often very little money or appreciation.
 
The Deli: Who are some of your favorite local artists?
 
Rhonda: Oh wow, not sure where to even start on this one. I think I’ll just say "I love them all" as not to get myself in trouble.
 
The Deli: Do you have a favorite memory of a past Meow? 
 
Rhonda: Usually I’m too busy working at Meow and other events to really remember much of anything. Some time after the silent auction ends and everyone has paid is when I get to let loose and have some fun. The first year was really amazing how so many folks from the community came together to help Abby. We had to keep adding days because so many bands wanted to play. I had never seen Parlay or Sister Mary Rotten Crotch; Pendergast and Sandoval both played, which were favorites of mine as well. I’m pretty sure Abby got up and sang with Howard Iceberg—that was always a treat. Every year has had tons of great memories with so many amazing bands and people coming together. At Meow 3, I think one of my favorite memories is when the event was over and I was sitting on the coach in the green room at The Riot Room with Abby and Adam Lee and we all had a bottle of Jim Beam in our hands. Abby was the only person that could get me to drink that vile stuff. 🙂
 
The Deli: What are you most looking forward to about this year’s Meow?
 
Rhonda: I’m looking forward to hopefully one of our biggest years yet. Knuckleheads is a great space and hopefully Mother Nature will be kind to us so we can fully utilize the entire venue. We have some awesome auction and raffle items and a great lineup. Looking forward to hearing The Philistines for the first time and the return of SMRC to Meow. Also, the addition of the acoustic stage, which we haven’t had since the first Meow. It will be bittersweet because Abby won’t be there, but I know her spirit will be with all of us that night. I’m sure there will be much laughter and tears and I hope we can raise a ton of money so we can help more musicians in need.
 
 
If you can catch her, say hi to Rhonda this weekend at Apocalypse Meow. It starts tomorrow, November 1 at The Midwestern Musical Co. and Saturday at Knuckleheads. Doors open at 6 pm both nights. Friday’s show is free and all ages, Saturday’s show is $10, 21+. Visit http://www.apocalypsemeow.net for a full lineup and schedule. Ticket link. Facebook event page. To find out more about MMF, visit http://midwestmusicfound.org, and learn about Abby’s Fund for musicians’ health care.

  

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Midwest Music Foundation Staff Spotlight: Angela Lupton

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The Midwest Music Foundation staff constantly works behind the scenes at live music events you have likely attended. They’re the ones who search for facilities, supply entertainment, coordinate with vendors, and generally ensure that your live music experience will be a good one. They’re also the ones that get the word out about musicians’ health care and other educational resources for musicians, filling a vital gap in the community.

 
Before the advent of the sixth annual Apocalypse Meow benefit, we hear back from some of the staff to find out what they do and why they do it. This time we’ll be talking with Angela Lupton, co-founder and Executive Director.
 
The Deli: When and how did you first get involved with MMF?
 
Angela: I was involved with MMF at its inception. Abigail [Henderson], Chris [Meck], Mac [McSpadden], and I would sit around on our back porch and talk about all manner of things. We would talk about the ills of the world and what we considered the solutions to be. The gap in support for musicians in town was one of the issues we were sure we could actually do something about. So, the MMF was born in the hearts and minds of four people. I was the initial Executive DIrector because Abigail thought I should be. She did not want to be in charge, which is crazy because she was a person who got things done.
 
The Deli: What is your current role with the organization?
 
Angela: Currently, I am the Executive Director of the MMF. Mac and I had to step away from our initial roles when our daughters were born and I was in graduate school full-time, but have returned to the role now.
 
The Deli: Why is MMF such an important cause to you? What do you hope it will accomplish in the future?
 
Angela: MMF is important to me not only because I co-founded it with my best friend, her husband (now one of my best friends as well), and my wife, but because I love music. I go to music for everything in my life: to celebrate, to calm, to excite, and to grieve. The people who make music are so important and we should treat them that way. Musician should be a viable career option. In the future, I want the MMF to establish what, for ease of use, I am calling a musicians’ community center. It will be a space for the MMF offices, a performance space, several practice spaces, recording space, professional library, and computer lab. This space would provide a community gathering spot for musicians as well as a permanent home for the MMF to conduct professional development workshops for musicians. This is the big idea. This is the dream. Along the way there we will continue our current projects as well as develop a musician micro-grant program and we have some other things in the works.
 
The Deli: Who are some of your favorite local artists?
 
 
The Deli: Do you have a favorite memory of a past Meow? 
 
Angela: The very first Meow. In the planning stages of it, Mac and I went over to Abigail and Chris’s little brown mouse house in Waldo. Abigail did not want a benefit. She liked to take care of herself. I told her it was happening whether she liked it or not. If she wanted some kind of input she could go ahead and consent to my plans. Otherwise, someone, somewhere was going to do it anyway and she would have no say. She consented. We were off. It ended up being three nights and four venues. Everyone wanted to help. Everyone still does.
 
The Deli: What are you most looking forward to about this year’s Meow?
 
Angela: I am looking forward to the storytelling that I am sure will accompany this particular event. Stories of Abigail and how we all ended up in this place. Kansas City takes care of its own and anyone else that might drop by.
 
 
 
Join Angela this weekend at Apocalypse Meow. It starts tomorrow, November 1 at The Midwestern Musical Co. and Saturday at Knuckleheads. Doors open at 6 pm both nights. Friday’s show is free and all ages, Saturday’s show is $10, 21+. Visit http://www.apocalypsemeow.net for a full lineup and schedule. Ticket link. Facebook event page. To find out more about MMF, visit http://midwestmusicfound.org, and learn about Abby’s Fund for musicians’ health care.
 

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Midwest Music Foundation Staff Spotlight: Jenni “Mac” McSpadden

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The Midwest Music Foundation staff constantly works behind the scenes at live music events you have likely attended. They’re the ones who search for facilities, supply entertainment, coordinate with vendors, and generally ensure that your live music experience will be a good one. They’re also the ones that get the word out about musicians’ health care and other educational resources for musicians, filling a vital gap in the community.
 
Before the advent of the sixth annual Apocalypse Meow benefit, we hear back from some of the staff to find out what they do and why they do it. We’re talking here with Jenni “Mac” McSpadden, co-founder and Managing Director.
 
The Deli: When and how did you first get involved with MMF?
 
Mac: I was there at the beginning. Before the beginning, actually. Angela [Lupton] and I worked with Amy Farrand and Abigail [Henderson] on a pre-MMF organization that never quite got off the ground (or rather just became MMF). I believe it was a Tuesday night at Davey’s Uptown when we crystalized the ideas and mission of MMF and decided to make a go of it.
 
The Deli: What is your current role with the organization?
 
Mac: Cat herder and list maker. I am the Managing Director. It means that I take care of the day-to-day running of the organization, as well as work on projects such as membership, volunteers, and programming.
 
The Deli: Why is MMF such an important cause to you? What do you hope it will accomplish in the future?
 
Mac: I am a painter and I have directly and indirectly benefited from the vast support system in place here in KC for visual artists. I am also a musician—well, I am trying and learning to be one. Art and music are the things that, to me, make life worth living. Devoting oneself to their pursuits is not only a worthy endeavor, it is essential work. It deserves to be treated as such. Unfortunately in our society too often artists of all kinds are marginalized. Organizations like MMF seek to counter that. My dream for MMF is that it is a place (both physical and digital) where musicians can come and find the support they need to do what they do best. I would love for us to have a building with a performance space, recording, and practice studios, and be a place where musicians can work together and network with the community at large. We have an incredible pool of talent here in KC. I not only want young musicians to realize that KC is a town that loves its music and want to stay here, I want musicians from other places to move here because they know they are valued and respected.
 
The Deli: Who are some of your favorite local artists?
 
Mac: I haven’t been out in the world for a couple of years with any regularity—children will do that—so many of my favorites are no longer: Pendergast, The Supernauts, It’s Over, to name a few. Current favorites are Amy Farrand, The Grisly Hand, Howard Iceberg, and Not a Planet. The Gaslights were my first KC band though, and they will always have my heart.
 
The Deli: Do you have a favorite memory of a past Meow? 
 
Mac: My favorite Meow was the original one. Three nights of balls-to-the-wall insanity. I ran the stage that year and the night we were at Davey’s I had to plan my movements 15 minutes in advance because there were so many people there; it took that long to get around! It was astounding to see the outpouring of love and affection that our community heaped on Miss Abigail that weekend.
 
The Deli: What are you most looking forward to about this year’s Meow?
 
Mac: That is a tough question, because of course I am looking forward to it, but it’s going to be a hard one without Abby there. I know I won’t be the only one feeling that and so I think that what I am most looking forward to is that sense of community that I felt at the first Meow and have felt so many times since. I look forward to being with my people, listening to music in this town that I love so much, and raising my glass to my friend who I miss so much.
 
 

Raise a glass with Mac this weekend at Apocalypse Meow. It starts tomorrow, November 1 at The Midwestern Musical Co. and Saturday at Knuckleheads. Doors open at 6 pm both nights. Friday’s show is free and all ages, Saturday’s show is $10, 21+. Visit http://www.apocalypsemeow.net for a full lineup and schedule. Ticket link. Facebook event page. To find out more about MMF, visit http://midwestmusicfound.org, and learn about Abby’s Fund for musicians’ health care.

 

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Midwest Music Foundation Staff Spotlight: Michael Byars

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The Midwest Music Foundation staff constantly works behind the scenes at live music events you have likely attended. They’re the ones who search for facilities, supply entertainment, coordinate with vendors, and generally ensure that your live music experience will be a good one. They’re also the ones that get the word out about musicians’ health care and other educational resources for musicians, filling a vital gap in the community.
 
Before the advent of the sixth annual Apocalypse Meow benefit, we hear back from some of the staff to find out what they do and why they do it. We’re talking here with Michael Byars, Executive Assistant.
 
The Deli: When and how did you first get involved with MMF?
 
Michael: I had fairly recently begun exploring the local music community after having gotten a glimpse of it from people I knew, and as I learned about more bands and artists and as I became acquainted with more of them, I wanted to do something to be more supportive than merely attending shows. When I learned about the MMF, I thought this might be an opportunity to serve those who I admire and respect because of their talent and the work they put in to create the amazing music I was so lucky to be exposed to.
 
The Deli: What is your current role with the organization?
 
Michael: I think my official title is assistant to Angela Lupton, one of the administrators. Unofficially I’m sort of a "maybe I can help here or do something there" volunteer, just trying to lend a hand or a voice wherever best needed. (Editor’s note: He writes some damn fine reviews for The Deli KC, too!)
 
The Deli: Why is MMF such an important cause to you? What do you hope it will accomplish in the future?
 
Michael: It’s important to me, and important in its own right, because the women and men who go up on the stages of recordBar, Davey’s, The Brick, Liberty Hall, Knuckleheads, Replay Lounge, and various other locations in the Kansas City/Lawrence area provide a vital service: the music they make not only serves as an expression of their art, it draws patrons to the bars and clubs and venues. It’s a cycle of support that’s very fragile and needs to be nurtured, and with the MMF offering a somewhat more secure future for the musicians of our area—maybe that little easing of the mind will help them take their music further by allowing them to focus more on the creative side as opposed to constant concern over the fiscal side.
 
The Deli: Who are some of your favorite local artists?
 
Michael: This is a difficult question; it’s like asking me, "Who are your 724 favorite children?!" There are so many incredibly talented people who add to such a widely diverse palette of sonic entertainment that it really depends on what kind of mood I’m in and what soundtrack would best suit that mood. Just to rattle off a few: The Pedaljets, The Conquerors, Grisly Hand, Betse Ellis, The Blackbird Revue, Cowboy Indian Bear, The Philistines, Be/Non, Lennon Bone, Vi Tran Band… and I know I’ve left out loads more.
 
The Deli: Do you have a favorite memory of a past Meow? 
 
Michael: I think my personal favorite Meow was in 2011, because it was my first one as an official volunteer, and while I was floating around and doing what I could do to help wherever I was needed, I started taking pictures—but not only of the performers; I wanted to capture some of the staff and attendees in natural, unposed settings to try to show some of the work that went into putting on such an ambitious event. I think that may have been when I first felt as if I really was fitting in to the community in a way, because I got to share laughter (and a healthy amount of Jim Beam) with some of the finest people I’ve ever had the privilege of knowing. It was a successful event from a fundraising perspective, but from a personal standpoint it was successful beyond my wildest dream.
 
The Deli: What are you most looking forward to about this year’s Meow?
 
Michael: Let’s see… I’m looking forward to Knuckleheads as the Saturday setting because I love that space. If Mother Nature cooperates and lets us use the indoor and outdoor stages, it’s going to be pretty special. Musically I’m excited to witness the debut of Kansas City’s newest sensation, Chris Meck and the Guilty Birds, Friday night at Midwestern Musical Co., and Saturday will have so much going on that I’ll try to catch a little of it here and there in between working on things and stuff and more things and even more stuff. I can’t wait to see Freight Train & Rabbit Killer, I know Gregg Todt is going to close the acoustic portion of the evening with greatness, and Sister Mary Rotten Crotch… come on. Need I say more than that?
 
 

 

Say hello to Michael this weekend at Apocalypse Meow. It starts tomorrow, November 1 at The Midwestern Musical Co. and Saturday at Knuckleheads. Doors open at 6 pm both nights. Friday’s show is free and all ages, Saturday’s show is $10, 21+. Visit http://www.apocalypsemeow.net for a full lineup and schedule. Ticket link. Facebook event page. To find out more about MMF, visit http://midwestmusicfound.org, and learn about Abby’s Fund for musicians’ health care.
 

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Midwest Music Foundation Staff Spotlight: Brenton Cook

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(Photo by Forester Michael) 
 
The Midwest Music Foundation staff constantly works behind the scenes at live music events you have likely attended. They’re the ones who search for facilities, supply entertainment, coordinate with vendors, and generally ensure that your live music experience will be a good one. They’re also the ones that get the word out about musicians’ health care and other educational resources for musicians, filling a vital gap in the community.
 
Before the advent of the sixth annual Apocalypse Meow benefit, we hear back from some of the staff to find out what they do and why they do it. We’re talking here with Brenton Cook, Web Admin and Music Promotions Assistant.
 
The Deli: When and how did you first get involved with MMF?
 
Brenton: I guess MMF first came to my attention around 2010 as I was heading down to attend my first SXSW. That first year [the MMF showcase] was called Midwasteland Takeover and I had an absolute blast down there. In 2011 after spending some time with the staff at Murder Ballad Ball, I decided to volunteer some of my time and filled out the online volunteer form online at work one day. I heard back from Rhonda within an hour and I’ve been spending time on various projects with them ever since.
 
The Deli: What is your current role with the organization?
 
Brenton: My background is computers, particularly software programming. There was a real need for someone to handle all of the web updates when I started, so it just seemed natural that that’s where I could help out best, so I’ve been the web administrator since I started, but I work on a lot of different stuff. You’ll find me behind the MMF booth at a lot of events, or asking questions at the Musicians’ Bootcamp, or working with bands to get tracks contributed for MidCoast Takeover samplers or the Midwestern Audio compilation series that I have been assembling.
 
The Deli: Why is MMF such an important cause to you? What do you hope it will accomplish in the future?
 
Brenton: I’ve always been such a music nerd and even though my experience in physically creating music is limited, I feel like I have a really good ear for it and a genuine passion to push Kansas City music further. That’s one thing that I’ve found to be so great about MMF: the idea of helping form this community of musicians and music enthusiasts and make the most out of what is already here. And there are so many very talented musicians in this area. I’d like to see MMF continue to grow and provide more opportunities for everyone; be it more exposure, more musical connections or better health care and easier access to emergency medical funds. There are several similar organizations that are thriving in other music cities that I think serve as a good guide for what we could grow into.
 
The Deli: Who are some of your favorite local artists?
 
 
The Deli: Do you have a favorite memory of a past Meow? 
 
Brenton: Last year’s Meow was pretty memorable. It was at the cavernous Beaumont Club, but we still did a pretty good job of filling the room, and the love and support was really felt. My favorite memory from Meow though was a sealed envelope casually handed into our donation jar. I knew the person who put it in there and couldn’t resist opening it at the end of the night as we were counting up the proceeds. I was surprised to see a crisp $100 bill, and I knew that this was from a person that normally has to watch every dollar spent. It was a strange feeling at first, but I knew that this person wanted to share what they had with their music community.
 
The Deli: What are you most looking forward to about this year’s Meow?
 
Brenton: I’m very interested to see Chris Meck’s new trio (The Guilty Birds) play songs for the first time. I just feel like this is going to be something really special. I’m also excited that day two is at Knuckleheads this year. I can’t wait to see Meow fill that space full of people enjoying the music and be a witness to the outpouring of support for the local music community.
 
 
Say hello to Brenton this weekend at Apocalypse Meow. It starts tomorrow, November 1 at The Midwestern Musical Co. and Saturday at Knuckleheads. Doors open at 6 pm both nights. Friday’s show is free and all ages, Saturday’s show is $10, 21+. Visit http://www.apocalypsemeow.net for a full lineup and schedule. Ticket link. Facebook event page. To find out more about MMF, visit http://midwestmusicfound.org, and learn about Abby’s Fund for musicians’ health care. 
 

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Midwest Music Foundation Staff Spotlight: Sondra Freeman

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The Midwest Music Foundation staff constantly works behind the scenes at live music events you have likely attended. They’re the ones who search for facilities, supply entertainment, coordinate with vendors, and generally ensure that your live music experience will be a good one. They’re also the ones that get the word out about musicians’ health care and other educational resources for musicians, filling a vital gap in the community.
 
Before the advent of the sixth annual Apocalypse Meow benefit, we hear back from some of the staff to find out what they do and why they do it. Our first spotlight is on Sondra Freeman, Director of Promotions and Artist Relations.
 
The Deli: When and how did you first get involved with MMF?
 
Sondra: I met Rhonda [Lyne] at an event while buying raffle tickets from her. She explained what they were doing and I said I wanted to volunteer IMMEDIATELY, if not sooner. 🙂
 
The Deli: What is your current role with the organization?
 
Sondra: I handle all of the booking for fundraising events and serve as a liaison between the artist and the foundation. I am also in charge of radio, print, and television promotion, though I think they should find someone much more attractive to do television. 
 
The Deli: Why is MMF such an important cause to you? What do you hope it will accomplish in the future?
 
Sondra: MMF is important to me because I simply believe that musicians who remain true to their craft and make the sacrifices necessary to perfect it are worth taking care of. My ultimate goal is to be a small part of making being a musician a viable occupation. Imagine your life without music. I can’t. 
 
The Deli: Who are some of your favorite local artists?
 
Sondra: Did you really just ask me that? The list would be too long! There are SO many. 
 
The Deli: Do you have a favorite memory of a past Meow? 
 
Sondra: Apocalypse Meow III will always hold a special place in my heart. It was my first. And the friends we’ve lost along the way were still with us. 
 
The Deli: What are you most looking forward to about this year’s Meow?
 
Sondra: So many things. I’m looking forward to utilizing the amazing space Knuckleheads provides for an extra stage, and the auction items. I’m looking forward to the extra push that our campaign with Boulevard Brewing Co. will give us (more on the KC Pils campaign here). I’m looking forward to TWO bands that I’ve never seen before performing this year. Chris Meck, along with some of his friends, is building a guitar from scratch to raffle off. I’m REALLY excited about that. 
 
 
Freeman has lined up an all-star cast for this year’s Meow, with thirteen bands/artists over the weekend. It starts tomorrow, November 1 at The Midwestern Musical Co. and Saturday at Knuckleheads. Doors open at 6 pm both nights. Friday’s show is free and all ages, Saturday’s show is $10, 21+. Visit http://www.apocalypsemeow.net for a full lineup and schedule. Ticket link. Facebook event page. To find out more about MMF, visit http://midwestmusicfound.org, and learn about Abby’s Fund for musicians’ health care.
 

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Apocalypse Meow 6 Preview: Chris Meck and The Guilty Birds

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(Photos by Todd Zimmer)
 
Chris Meck is a mild-mannered, often soft-spoken man. Like his wife Abigail Henderson, he’s the type of person you instantly feel comfortable around, but in very different ways from her.
 
From a musical standpoint, Henderson was the bold frontwoman whose voice and presence commanded every room she performed in. She also lived with a ferocity that kept her strong through a five-year battle with breast cancer, taking the stage (at Knuckleheads) for the last time with Tiny Horse only weeks before her passing in late August (Read here for an interview with Henderson right before last year’s Apocalypse Meow to find out more about her).
 
On the other hand, Meck’s musicianship has typically been defined by its tastefulness. Though he plays with a finesse and texture that few other guitarists are able to pull off, he exudes a high volume of emotion and heart through each note. Likewise, he has been the perfect complement to Henderson’s big brazen personality and even larger heart. The two of them started Midwest Music Foundation five years ago, after Henderson was diagnosed with cancer. Apocalypse Meow was the name of the benefit originally held in her honor, and they helped provide the resources and manpower for it to continue as a benefit for musicians’ health care for many years.
 
This will be Meow’s sixth year, and it’s expected to be the biggest one yet. Days before his wife passed, Meck decided he still wanted to play this show, as it had been a tradition since Henderson’s benefit for the two of them to play the first night of Meow (they were unable to in 2011 due to Henderson’s illness). He had no idea what this project would eventually become, but he knew that it should happen.
 
“It’s not Tiny Horse, won’t even try to be,” said drummer Matt Richey. “Chris has his own approach to writing, especially now that he’s taking on the role of frontperson; he’s experimenting a lot too.”
 
Meck’s project The Guilty Birds will make its debut at The Midwestern Musical Co. for Apocalypse Meow 6 on Friday. It will be his first time as a frontman and primary songwriter of a band, both duties that Henderson assumed in all of their previous projects, which included Trouble Junction, The Gaslights, Atlantic Fadeout, and Tiny Horse.
 
“I stopped writing songs about 15 years ago. My tastes exceeded my grasp, so I decided I was probably a better guitar player and became a side man. I was playing with all these people that were prolific and I didn’t need to write,” he explained. “In our bands, Abby would usually bring in what she would call the bones. Basic musical changes, lyrics, melody. I would do the arranging. That’s kind of what I’m doing now, with the roles switched.”
 
 
Richey and Zach Phillips provided the rhythmic backbone of Tiny Horse since it was realized as a full band (Cody Wyoming also rounded out the five-piece), and remain with Meck in this new venture. “His writing is sharp and we’re really making an effort to keep the focus on the songs, not overplaying as many trios tend to do,” stated Richey. “At its heart it’s still pretty straightforward rock ‘n roll, but there are elements of soul and country. It’s pretty high-energy as well. The more he continues to write, the more it will change.”
 
But Meck seems slightly concerned to be at the forefront. “I’m terrified,” he remarked. “But I’ve always heard… if something scares you, you should probably do it.”
 
He explained that he barely touched a guitar for about a month after his wife passed away. "She was the most prolific songwriter I knew. We played together for 10 years, just a couple months after we started seeing each other.” Not long before she passed, the two of them discussed her songwriting process. "Abby used to say, ‘ass in seat.’ Even when we were on tour, she would always be up early sitting in the corner of our hotel room with a guitar. So I sit down every morning with a notebook and fill it with drivel, waiting for something good to come out."
 
On Friday, The Guilty Birds will execute Meck’s newly exercised songwriting process, debuting four original songs, along with a few covers. This year’s Meow will be notably different with Henderson’s absence, even more so while three-fifths of her band performs for the first time without her. "There will be a lot of nerves and it’s likely to be quite emotional," said Richey. "I have no idea what to expect it to feel like, but I’ll be up there with good people who I have a great deal of respect for and surrounded by a lot of friends. That’s what matters the most.”
 
With Meck at the helm, it’s certain that he will take a divergent path from Henderson’s style of songwriting, but it will be handled with the same delicate sense of care and earnestness. “I don’t know if the end result is gonna be good or not, but I’m enjoying the process. It’s a new adventure for sure."
 
–Michelle Bacon
 
Michelle is editor of The Deli Magazine – Kansas City, and also plays drums Drew Black & Dirty Electric and bass in Dolls on Fire and The Philistines. Chris Meck is her all-time favorite tall guy (take that, Abe Lincoln) and has one of a very select few hug passes.
 
 
To find out more about MMF, visit http://midwestmusicfound.org. Find out more about Abby’s Fund for musicians’ health care also. Be sure to join Chris and The Guilty Birds at Midwestern Musical Co. on Friday, November 1 at 8 pm along with The Silver Maggies. It’s a free, all-ages show, donations welcome. Head to the big event on Saturday night at Knuckleheads. Visit http://www.apocalypsemeow.net for a full lineup and schedule. Ticket link. Facebook event page.
 

Tiny Horse "Ride" from Jetpack Pictures on Vimeo.

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