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We’re Strong Apart, We’re Stronger Together

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With her first solo album in a decade, Sally Rose is getting back to her Americana roots. But don’t worry, she’s still a rock n’ roll riot grrrl at heart — and she’s bringing some much needed queer femme representation to the world of country music.

In a year in which the world of local music has seemed frozen, somehow Sally Rose has managed to stay as busy as ever. The bassist and vocalist for Shagwuf and the Sally Rose Band is used to living at a very fast pace. “I am notorious for overbooking myself,” she said. “This past year, I have, in normal Sally Rose fashion, managed to stay overbooked and overbusy the entire time, but that is a very natural coping mechanism for me.”

The latest example of her indefatigable work ethic is her new solo album, Tread Light. “This will be, technically, the third album I’ve put out since March 13 of last year,” she said. The pandemic put paid to the release party for Dog Days Of Disco, the album she released in March 2020 with Shagwuf. That show had been scheduled for, of all days, March 13 — the very day that news broke about the true extent of the COVID-19 pandemic — and the band had to make the heartbreaking decision to pull the plug only hours before doors were supposed to open. All touring and promotional plans were cancelled, but Dog Days Of Disco still came out, and Shagwuf followed it in fall with an EP, Trendy Weapon, and its accompanying short film, The Year Was 2020.

Now, only a few months later, Sally Rose is making a statement all her own with Tread Light, her first album as a solo performer in a decade. As with everything that came out of 2020, the pandemic had a great deal to do with the album’s gestation. “The notion of doing a solo album has been in the back of my mind for at least two years now. I’ve had a lot of people ask me about doing it; I just felt like I didn’t ever have the time or the resources,” she said. “It was an idea I neglected for a long time.”

Once she went into quarantine, though, that all changed. “It turned into this window of opportunity for me to refocus on getting back in touch with my singer-songwriter roots,” she said. “It reminded me how powerful it can be to write music in solitude. Really, you’re the only person you’re writing that music for. Trying to find a greater appreciation for writing and performing music by myself in my little cabin became really important to me. It became really valuable and sacred to me to be able to pick up my guitar and write music by myself again.”

The album she created may be a solo album, but she didn’t make it alone. Compatriots from Shagwuf and the Sally Rose Band, including Sweet Pete Stallings on bass and guitar, Benjamin Jensen on drums and upright bass, and Catherine Monnes, aka Sally’s mom, on fiddle and cello, helped beef up the sound, along with Charlie Bell on pedal steel and producer Lance Koehler throwing in the occasional “big bada boom.”

No, what makes this a solo album is the fact that it is, for the most part, a significant departure from what Sally’s usually up to, musically speaking. As a self-described “country girl who has lived in Nelson County her entire life,” she sees Tread Light as “somewhat of a homecoming album.”

“I spent the last 10 years really working hard to embody this hustling riot grrrl that I always wanted to be when I was little,” Rose says. “I wanted to be a person on the frontlines as an activist and an ally, [and] I thought that was only possible if I was playing loud rock n’ roll. The irony there is that I was working really hard all these years to play into this stereotype for a genre that already has a lot of people speaking up on issues. Although punk rock might not be the most incredibly inclusive and diverse genre, it’s far more inclusive and diverse than country or Americana, or even the indie-folk or singer-songwriter genres.”

This belated realization, coupled with months of sitting at home with an acoustic guitar, led to an epiphany. “It kind of hit me like a ton of bricks,” she said. “There needs to be representation in the country music scene for queer female artists. It is that much more important for me to take up space in the country music scene as a queer female artist, to give representation and to remind, influence, and even educate people in my hometown about the fact that I am queer. Country music is predominantly owned and run and operated by cishet men, and I am almost ashamed that I spent so many years running away from the fact that I can be both a rock n’ roller riot grrrl and also be a queer female artist playing and writing and singing country music. Because we fucking need the representation.”

Rose was also inspired by seeing a similar project from a friend. Besides playing with Shagwuf and the Sally Rose Band, she’s done regular live performances over the past several years as a duet with Erin Lunsford of Erin & The Wildfire. “It’s always really special, singing with somebody that i love, trust, and admire so much,” Rose said. “She and I would always talk about the struggles of being a frontwoman and a manager of your own band, and how hard it can be touring as a woman and dealing with the finances, the taxes, booking tours and shows, and managing band dynamics.”

Another thing Rose and Lunsford bonded over was their songwriting. “She and I had talked about putting out solo records for a long time, and when she came out with her solo record in 2020, it was this huge inspirational moment for me, being like, ‘Holy shit, my girl’s doing it,'” Rose said, referring to Lunsford’s 2020 album, The Damsel. “It took my breath away, and totally inspired me to do the damn thing.”

Rose’s collaborative relationship with Lunsford tied into the sort of solo album she wanted to make. “I love collaborative projects, and really wanted to make an album of duets,” she said. “Even though this is being promoted as a solo record because it’s not the Sally Rose Band and it’s not Shagwuf, at the heart of it, Tread Light is an album of duets.”

Indeed, Rose’s most prominent vocal partner on the album is Lunsford, who contributes her voice to three of the album’s ten songs. Other duet companions include indie-folk artist Devon Sproule, punk rocker-turned-folkie Tim Barry, singer-songwriter Sarah White, and Alethea Leventhal of Charlottesville electro-goth group Ships In The Night. “Everybody who plays on this album is either a dear friend, one of my idols, or both,” said Rose. “Because of the pandemic and everybody being at home, it allowed me to reach out to a lot of my personal legends and approach them when nobody was playing shows. It made each of those people a lot more approachable and available, because everybody is looking for ways to create, collaborate, and have some sense of togetherness right now.”

Rose at Minimum Wage Recording Studio with Tread Light producer Lance Koehler.

While it’s the final song on the album, Tread Light‘s title track might be the hardest-hitting. As the only song that overtly addresses everything we’ve all been through over the past year, it is both empathic and encouraging, as Rose and Tim Barry duet on lines like “It’s OK to break down in the grocery store. It’s OK to admit fragility,” and “We’re all trying to get by in such compromised times. In your loneliness, you are not alone.” The song, and the album, ends with a powerful message: “We’re strong apart, we’re stronger together. If we can brave this storm, we’ll survive any weather.”

“It was so gut-wrenching to see that even a global pandemic couldn’t bring us together,” Rose said of the song’s lyrics. “In March [2020], when I wrote ‘Tread Light,’ it felt like if anything was going to humble American society and slap everybody in the face, [it was] that regardless of race, ethnicity, gender, upbringing, background, financial comfort or discomfort, any one of us can get sick, any one of us can die tomorrow.”

To Rose, the fact that even this literal life-or-death situation only served to further increase the divisions that exist in America was particularly disheartening. “I have very strong ideals and opinions as an activist, and of course I like to think that i am on the right side of history, but it made me realize that sometimes it takes trying to listen to somebody else’s struggle and somebody else’s perspective to bring us together,” she said. “I’m hoping that resonates with this song, that even my neighbors that I might have really really different political views with, if they need something, if they need soup, then I can make soup and drop it off on their porch. Because I don’t want them to die.”

Other songs on the album have a less political take on the world, but nonetheless impart a particularly Sally Rose-ian worldview. “Bleeds,” a classic honky-tonk blues, feels musically timeless, like it could have been written in Bakersfield in 1965. But when Rose and Erin Lunsford sing “Why did you ghost?” on the chorus, the listener gets a firm reminder that this is a very up-to-the-minute album.

Meanwhile, “Colorado,” a song Rose has previously released with the Sally Rose Band (on 2012’s Live At George Bower’s), was never intended to be on the album. “It made the cut in one night, when I was on psychedelics with a small group of friends — this was all pre-COVID, for the record — and they wanted me to play guitar and sing a song,” Rose explained. “The only song that I could remember how to play at the time was ‘Colorado,’ and it took me straight back to when I was sleeping in teepees and working on a farm out there with one of my dear friends, Emily, after I had been brutally devastatingly crushed and heartbroken — like I have been many times.”

Heartbreak also pervades one of the two covers on the album — Mazzy Star’s “Fade Into You.” Asking Rose about it, I couldn’t help but reminisce about my late teenage years in the mid-90s, driving around Charlottesville on lunch break from my summer job painting city school buildings, all the windows rolled down, sweating my ass off, listening to Mazzy Star’s So Tonight That I Might See on a crappy boombox in my passenger seat. Rose has resonances aplenty with this song, and they’re of a much darker and more personal nature.

“As someone who is a self-proclaimed codependent empath, I have had a tendency to fall for people that I thought I could fix with love, and I’ve gotten burned a lot by ignoring red flags, thinking that trust and love and nurturing could heal people who had traumas or demons. And that is simply not the case. It led me to get hurt a lot when I was younger,” said Rose.

“‘Fade Into You’ is one of those songs that I always felt deeply whenever I was in a situation where I would get hurt so bad, and I would be completely blind to somebody’s narcissistic, sociopathic tendencies. I would get lost in the relationship, and put it on a pedestal, and see nothing but light and hurt in someone, when really they were just a pretty fucked-up person. No amount of love, or trust, or comfort could fix those things. Therapy could fix those things, but not me as their partner. So now when I listen to ‘Fade Into You,’ it reminds me of the many many times that I did fade into relationships, and fade into partners, giving more of myself than I could or should have. That’s what a lot of us hopeless romantics do, and there’s a lot of beauty in wanting to love and wanting to be loved. ‘Fade Into You’ is just one of those tragically beautiful songs that perfectly encompasses that feeling.”

As 2021 gets going, Rose finds herself hoping things get back to something like normal life. “Moving forward into 2021, I’m just hoping I can get back to some sense of ‘normalcy,'” she said, “by practicing with the boys in Shagwuf when it’s safe again, and by pursuing my solo career as a musician. Those are my dreams and goals for 2021.” She laughed. “Touring would be great. Playing live shows would be great. Hugging friends would also be really, really great.”

Of course, touring isn’t possible right now, but Rose is more than ready to return to action on the live music front as soon as it’s safe to do so. “What I would do to be able to play and go on tour right now, and sleep with a crick in my neck in the back of the van without AC, sweating our asses off, and not getting fed, and drinking too much… I miss all of that so much,” said Rose. But when asked about touring behind Tread Light at some point in the future, she wasn’t really sure how she’d approach it.

“That’s something I have not thought a ton about, just because touring feels forever away,” she said. “I would love to tour Tread Light as a solo album, potentially with Erin Lunsford, and do a solo album duet tour. I feel like touring by myself would probably be a really great growing experience, but also, if I’m being completely honest, boring as fuck, and really lonely. Touring is an important part of my life because of the friendships that you make and the experiences that you share with the people in the van — those inside jokes that you’re going to have with that person for the rest of their life. So yeah, I haven’t even talked with Erin about that [idea] yet, but it’s definitely something I would love to do.”

Unfortunately, the Sally Rose/Erin Lunsford duet tour won’t be coming to a venue near you anytime soon. However, you can catch a preview if you tune in on Sunday, February 14th to Sally Rose’s special Valentine’s Brunch album release livestream. Not only will the stream feature Erin Lunsford joining Sally for a special duet performance, the whole thing will be coming to you live from Minimum Wage Recording Studio, where Tread Light was tracked. The livestream will kick off at 1 PM on Sunday, and you can watch it on Facebook Live by following this link. Whether you’re heartbroken (“like I’ve been many times,” says Sally) or enjoying a snowed-in quarantine Valentine with your sweetheart, this performance is sure to lift your spirits.

All Photos by Rich Tarbell

Projecting A Clear Message

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In Chesterfield County, one couple with strong feelings about the current political climate have begun to express themselves through signs and projections on the front of their house.

A Chesterfield man named Tim Barry — no, not that one — has turned his home into a giant political projector screen.

From a tribute to Ruth Bader Ginsburg after her death to a declaration that “Breonna Taylor Deserved Better” to a projection of Biden’s infamous retort to Trump — “Will you shut up, man?” — Barry’s unashamed political messaging has drawn both support and disdain from his neighbors. 

Tim and Lauren Barry have been involved in politics for a long time, having both worked for political campaigns in the past. Tim now works in public relations for a professional organization. They live in their Chesterfield home with their two young daughters.

Barry says that the first night they projected an image, Ruth Bader Ginsburg had just passed away. 

“That was sort of the impetus to start the projections. We were talking about how upset we were about the justice passing, and the plans the Republicans were making to replace her, and we were upset,” Barry said. “We were angry about the way things were going. We knew we had to do something, and this was something we could do using our combined skills.”

Barry says that his wife, Lauren, is the person who creates the graphics that they project on the house. 

“My wife is a really talented graphics artist,” Barry said. “I do the messages, and she makes them look amazing.”

The projections are not the Barrys’ first political display, however. Earlier in the year, the couple became caught in a battle with the county over a sign in their yard. 

Tim and Lauren erected three large yellow letters in their yard after the killing of George Floyd in May. The letters — which spelled out “BLM” — have been a source of conflict between the Barrys and Chesterfield county officials. A zoning ordinance in the county prohibits residential signs from occupying over 14 square feet of space.

Most of their neighbors, however, have been supportive. The Barrys received a note from one local resident that read, “Goodness… Can I tell you how much this BLM sign means to me?” The note described the lettering as a “huge sign of hope.”

“Our feedback has been 95 percent positive,” said Barry. 

Another neighbor, speaking to Channel 8 News in Chesterfield, said she was surprised that the sign was so “in-your-face,” and said she wished that it said ALM — all lives matter. 

The letters are still securely fastened to Barry’s trees, and he has no intention of taking them down. The process to appeal the county’s decision may take several months, Barry said. 

Unlike the BLM letters in the yard, there are no county ordinances against the projector images. The Barrys start the projector at sundown, and take the image down before they go to bed around 10:30 P.M. Unless it’s raining, they project images every night. 

Tim Barry said that he is afraid of drawing too much attention to the house, in fear that someone who doesn’t like their message will retaliate. 

“I don’t want to go in and make it contentious,” Barry said. “We are genuinely afraid that someone might do something to us.”

However, the house is already gaining popularity. According to Barry, at one point the house had its own instagram page with around 2,500 followers.

Local and state politicians have supported Barry’s messaging behind the scenes as well. When the county first sent a letter to the Barrys, warning them to take down their BLM sign, Tim Barry reached out to state Senator Ghazala Hashimi to ask for support.

“She put us in touch with a senior person from the county,” said Barry. “I’ve kept her office updated on what we’re doing.”

When Barry wanted to put up a projection image in support of congresswoman Abigail Spanberger, he informed her office beforehand so they could give permission. Barry says that other politicians have commented on photos of the house on Facebook.

“People are definitely noticing it,” Barry said. “But no one has asked us to put them up there.”

There was one more thing we had to ask Barry about. Readers of RVA Mag may notice that he shares a name with local musician Tim Barry. Barry says that he’s familiar with the musician, and that he’s encountered people who were disappointed that he wasn’t the other one.

“One time I went and got my hair cut at the barbershop, and people thought it was going to be him,” Barry said. “When I walked in, they were disappointed.”

Photos courtesy Ed Holten and Tim Barry

No Lies, Just Bullshit: Homegrown in Harrisonburg with Virginia’s Underground Podcast

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From announcing the Avail reunion shows in Richmond to interviewing tattoo artists, musicians, and hometown folks, No Lies Just BS Podcast host Nick Swartz opens a personal window into Virginian life from his Harrisonburg shop, Alley Cat Tattoo. 

“I don’t really do things in the conventional way.”

When he first started the No Lies Just BS podcast, host and owner of Harrisonburg’s Alley Cat Tattoo Nick Swartz had a lifetime of stories waiting to be told.

From humble beginnings in Clifton Forge to being kidnapped with his brother at eight years old, Swartz could have easily captured an audience with the tales of his own upbringing — but his stories weren’t the only ones Swartz wanted to tell.

“Not everyone is a great storyteller, but everyone has a story to tell,” Swartz said. “I’ve talked to people from all over the place… I’ve got a ton of stories that I haven’t told yet on the show, but I like to sprinkle them in when my memory is sparked by someone else.”

The podcast, which started three years ago this October, is a storytelling podcast with a focus on the tattoo community. From interviewing world-renowned tattoo artists to hometown folks from rural regions of Virginia, to hosting the original Avail reunion show announcement in its Tim Barry episode — which quickly ignited fans from Richmond and across the nation — Swartz made a point to highlight voices from all walks of life.

“The podcast has kind of grown on its own. And it’s weird, because I get recognized in Richmond a lot more than anywhere else — but I also have people look at the podcast and go, ‘What’s that?’ more than anywhere else.”

Swartz has come to know many of his friends and podcast guests through owning Alley Cat Tattoo. Since No Lies Just BS started, he’s sat down with tattoo artists like Richmond’s Brian Bruno at Absolute Art, Mike Rubendall of Kings Avenue Tattoo in New York City (according to Swartz, one of the most high-profile shops in the world), Jill Bonny of San Francisco’s Studio Kazoku, Virginia’s Scott Sterling, Timothy Hoyer, and more. He’s also hosted musicians like Scott H. Biram, Old Heavy Hands, and Ryan Braces of Bracewar.

“I was trying to tell these stories out about growing up in the mountains and having this crazy life,” Swartz said. “My brother and I got kidnapped when I was eight and he was eleven. We were left in an empty condominium in Florida for a month. We were around rednecks, bikers, and scumbags, drugs and crazy shit. I was telling these stories [as I started the podcast], but I was sort of directing them toward a tattoo audience, because that’s where I was known.”

An especially-beloved voice for Swartz is that of Mary Jane, a local artist in her 70’s who made her way into his shop seeking her first tattoo. Mary Jane had just seen the latest season of Stranger Things, and noticed the character with a fishbone tattoo on her ear. Sick of wearing earrings, Mary Jane decided to get her first tattoo on her earlobes.

“I hear her setting an appointment, and she has an incredible Southern accent from the far South. And I love accents — it’s something I’ve always been drawn to,” Swartz said. “I said to her, ‘Do you know what a podcast is?’ And she said, ‘Yes, of course. What am I, an idiot?’ I asked if she’d like to be on my podcast, and Mary Jane said, ‘Well, my friends will probably think I’m crazy for spending the day with some weirdo like you, but I’ll do it [laughs].’”

Mary Jane (Episode 98) went on to tell a remarkable tale of growing up in Alabama and living through segregation. Born in Tuscaloosa — at the time, the national headquarters of the Ku Klux Klan — she lived in the Deep South until 1969 before moving to Virginia’s Shenandoah Valley. Her family included a black woman, Johnnie Mae Jones, who was her daddy’s best friend and worked as their live-in nanny for 50 years. In high school, Mary Jane and her friends used to get drunk and sneak into Klan rallies.

“She said, ‘I remember going to these meetings as a little girl,’ and I thought ‘Oh my god, she’s gonna be racist, I’m gonna have to throw her out of here.’ Then she went, ‘The only thing I knew about these guys was they wore white… things… over their heads, and that they were white trash. You knew they were the lowest of the low,’ and I said, ‘Oh, thank God.’ I’ve had the gnarliest tattooers from all over the world reach out to me and say she’s their favorite episode — now, she has two full sleeves of tattoos and two half sleeves on her legs. And she’s part of our family, she comes to cookouts at my house.”

Stories like Mary Jane’s aren’t uncommon to No Lies Just BS. Swartz has hosted guests from tattooers to musicians and hometown locals — all telling their own little pieces of life with a laid-back, and usually comedic, flare.

“Anytime you have the opportunity to be friends with someone, it improves upon your life,” Swartz said of Mary Jane. “We’ve become the best of friends. She’s a special lady.”

As the owner of a tattoo shop nestled in the Shenandoah Valley between the Appalachian Mountains, Swartz has come to hear the wild and entertaining stories of his many customers, musicians, and tattoo artists in the industry.

“[Jill Bonny] came on, and told a story about visiting two Japanese tattoo masters in Japan, both of them in their 80’s. One of those gentlemen is Hori Yoshi III,” Swartz said. “He prepared a statement to be read on my show, which is mind-blowing. He’s been my favorite tattooer for years, and I never thought I would be in contact with him.”

Of the few people Swartz has pursued more than once to be on the show, Tim Barry was one of them. When he initially didn’t hear back, Swartz assumed it was because of his enthusiasm for Avail, a part of Barry’s life that was behind him. But out of the blue, he got a text from Barry that said, “I want to do the show, and I want to do it on this day.” 

“Avail is a big deal for me, they made a huge impact on me,” Swartz said. “I said I couldn’t do that day because I had someone flying in from LA to do the show and hang at the shop for a couple days, and he goes, ‘Well, it’s got to be this day. And if it can’t be this day, it can’t be at all.’ I was like, ‘fuck!’ [laughs], so I went to Richmond… And he said the real reason why you’re here is because Avail is playing in Richmond for the first time in 12 years.”

The episode quickly reached the music community in Richmond, sparking a wave of excitement for the reunion in Virginia and around the country. When he first announced the show dates on the podcast, Barry noted an episode of No Lies Just BS that hosted his bandmate, Beau Beau.

“Tim told me, ‘Listening to you talk to Beau on the podcast, and the way you described our shows, was inspiring, it made me feel good. Then I was opening for Hot Water Music in London, and they described the Avail shows the same way. I listened to Over The James again, and it sounded really good… so I decided to talk to the guys [about a reunion].’” Swartz said. “It was a face-melter for me. I didn’t know he was going to do that when I got to his house.”

At the beginning, No Lies Just BS got its name from the first Blues Brothers movie — Swartz’s favorite to date. His son’s name is Jake Elwood Blues Swartz, and the podcast’s name was no less intentional.

“It’s been a part of my life my whole life. After Jake gets out of prison, he asks, ‘When are we gonna practice?’ And Elwood tells him the band’s not together. Jake says, ‘You told me the band was still together, you lied to me!’ and Elwood says, ‘Ah, it’s not a lie, it’s just bullshit.’ My wife suggested the name for the podcast, and I agreed because I didn’t want to be the guy to discuss serious topics — there’s a place for those things, and I’m just not the guy to host that show.”

Swartz still tries to make a difference in the world, especially close to home. He just doesn’t like to make a big deal out of it.

“I’m the type of person that I believe as long as we take care of our own, and our own neighborhoods and communities, everything will be okay,” he said. “I do it here. Whenever it’s time to pack the bus for school, I go around and get everyone in the shop to pitch in for school supplies for kids in our area. It’s not a huge thing. But I feel it makes a difference here.”

As he became more involved in the culture over his 16 years owning Alley Cat Tattoo, Swartz came to meet many people with interesting backgrounds and stories he thought the world should hear. As No Lies Just BS grew its audience, he found that the most valuable piece of the podcast was its ability to share the jokes, tales, and personalities — the small, often overlooked facets of everyday life — that give a community its soul. Its underground and personal vibe makes listeners feel like they’re sitting in the room with their favorite artists and musicians.

“There’s this incredible tattooer out of Norway named Marius Meyer, and he was one of my early listeners,” Swartz said. “He said to me, ‘Nick, the draw for me is not the tattoo stuff, but it’s the window into Appalachian life from a country boy’s point of view. There’s no way I can get an authentic version of that where I live, unless I read a book that was written 50 years ago. It just doesn’t exist.”

The podcast offers its listeners a look into the region’s culture. With little other outlets aside from local news, No Lies Just BS creates a way to tell Virginia’s stories from a personal view that many news stories don’t convey.

“The thing that I enjoy is bringing stories to the table that people would not hear otherwise,” Swartz said. “My brother and I lived in a place where, if you needed to, you couldn’t holler for anybody. It was just our house in the woods. We cut wood to stay warm, we killed deer and caught trout to feed ourselves, and we had a giant garden. It’s a point of view that I can provide and share that’s just not often touched on.”

Swartz feels that there’s a difference between his own perspective on life in the back country of Virginia that isn’t captured by most who choose to write about it.

“Often those little articles and news stories [about life in the area] are written from an outside perspective that is spoken to someone that they pity,” he said. “I’m proud of where I’m from, I’m proud of who I am. And the things that I’ve experienced, good and bad, equipped me for life.”

Swartz is interested in everyday people, and with them, he’s heard everything from the complicated to the humorous and bizarre. A passionate chef, Swartz takes a personal investment in cooking — and after cooking with Old Heavy Hands, Brother Hawk, and the artists of Absolute Art among others, his cooking and connections through tattoo communities helped him become close friends with many people from the tattoo industry, including Bracewar’s Ryan Braces.

“Ryan’s been my buddy for many years, and he was booking a show at Strange Matter for Brother Hawk and Old Heavy Hands,” Swartz said. “He asked if I’d come down there and cook, so I went with a buddy of mine. It was a blast. I hit it off with those dudes, we drank whiskey and smoked, and I gave them a ton of food for them to take on the road. So at that point, we decided to link up, and Bracewar booked a show in Harrisonburg. He’s a solid guy all-around — those dudes are my close friends, and they mean the world to me. That’s my family.” 

Another favorite musician of his guests on No Lies Just BS, Scott H. Biram, originally made an impact on Swartz the first time he saw Biram play. That happened back in the 90s, when Biram opened for Hank Williams III in Washington, D.C. When Biram played a show in his town years later, Swartz reached out to a friend at the venue about getting him into the show.

“He told Scott, ‘I think you guys are very similar, and you’d get along just fine.’ So Scott avoided me at all costs,” Swartz laughed. “A year later he comes back, and his manager tells me the reason he avoided me is because he plays a persona on stage — from my friend, he thought I was just like his persona. And he didn’t want to associate with anybody like that. But I’ve been to his shows and bought him drinks so many times, I said that if he sees me, he’ll know me. I texted Scott a picture of me, and immediately got a text saying, ‘Aw hell, man, I didn’t know it was you!’”

When Biram came on the show, he played a version of “Mule Skinner Blues” in the office. The old-time bluegrass song has been a favorite of Swartz’s since he was about 10 years old.

“For a moment, I was like, ‘This is unreal. I can’t believe it, he’s sitting five feet from me playing a song that I’ve listened to my whole life.’ That really made a big impact on me. He’s a solid guy, it definitely kind of blew my mind — he was also one of the first people that had no reason to give me a chance. In tattooing, you might know who I am, but in the rest of the world, I’m just a dude.”

After more than 160 episodes, there are still plenty of guests Swartz hopes to host on No Lies Just BS in its future. From tattooers like Baltimore’s Uncle Pauly and New York’s Rose Hardy, originally from New Zealand, to honky-tonk musician Wayne Hancock from Texas, the list keeps growing as Swartz meets artists from different walks of life. Most importantly, he wants to hear their stories; especially more from ordinary folks like Mary Jane and his Uncle Benny.

For many of us, the words of a passing stranger in our day-to-day encounters are nothing more than white noise in the background of life’s routines. But for Swartz, something as simple as an accent overheard from another room can open the door to a lifetime of stories shared, new friendships, and the sense of community that connects us all as individuals. The simple things are, to him, things to be valued — and whether it’s small talk or a big moment with our artistic heroes, he’s able to use No Lies Just BS as a means to bring people together.

Catch up with Swartz at Alley Cat Tattoo in Harrisonburg, with his shop’s artists including Chris Porter, Andrew Conner, Trevor Smith, Richie Stutler, and Jake Hockman, as well as piercers Katie Davis and Sarah Pennington (who also performs in Richmond as a popular burlesque artist by the name of Sindi Ray Boustier).

Listen to No Lies Just BS on Spotify or their website, and check out Alley Cat Tattoo on their Instagram. 

The Sun Is Still Shining Over The James: Tim Barry Opens Up About Avail’s Triumphant Reunion

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*This article originally appeared in RVA Mag #37, on the streets now at all your favorite spots.

As soon as the word broke, it was all over town — after 12 years of inactivity, Avail was  reforming to play their hometown once again. The quintessential Richmond, VA punk band, who’d spent their entire career proclaiming their love for the city, Avail was once every bit as synonymous with Richmond as GWAR and Municipal Waste. 

But with their classic albums two decades in the past, did the love Richmond once had for Avail still hold true? The answer to that question came quickly, as their initial reunion show at The National sold out in under ten seconds. The band announced a second show, put tickets on sale a few days later, and that one also sold out within a couple of hours. Clearly, Avail is still beloved in their hometown. 

One listen to 1998’s Over The James, which celebrated its 21st anniversary this year, is more than enough to demonstrate why that is. Melodic, anthemic, yet full of punk rock rage and hardcore power, Avail’s difficult-to-categorize sound retains a broad and undeniable appeal. In the weeks before the reunion, we caught up with Avail frontman Tim Barry, a popular folk singer in his own right, to talk about the legacy of Over The James and what’s been going on with Avail, and Richmond, in the years since it was released. 

Let’s start with the most obvious question. What inspired Avail to get back together?

Music. [laughs] There’s really not much more to it. Avail put out a record in 1998 called Over The James. The 20-year anniversary of that record popped up, and there was a fair amount of talk about it. I revisited the record, [and] it was kind of shocking how good it sounded. That music sparked a conversation between us, to revisit the record at its 21st anniversary and do some shows. When we talked about revisiting our old songs, we didn’t tell anyone until we had practiced first — because lord knows it’s very possible for word to get out. If we can’t still play our instruments or sing, it would certainly be embarrassing to pull the plug because we were so awful. [laughs] 

In the 12 years since Avail last played live, you focused on solo folk music, and Joe, Erik, and [former Avail bassist] Chuck McCauley had a band called Freeman at one point, with Freeman Martin singing instead of you. Was there a reason you stepped away back then? What’s changed now that made you want to sing punk rock again? 

There’s not many layers to why we weren’t playing shows. It just wasn’t as fun as it once was. There’s no reason to do something if it’s not enjoyable, if it doesn’t create something personally for you that’s challenging or memorable. I didn’t hear about Erik, Joe, Chuck, and Freeman doing their music until after they’d stopped. I love Freeman himself, and the music was fantastic. But I caught that a little late. 

I do play folk music, and I have for many years. That’s where I’m happiest. But I’m an old punk. Even the music that I play is sort of abrasive, not unlike punk music. It’s not that I decided to start singing punk rock again — I kind of never stopped. I just do it in my own way. 

I always say if it’s not anxious right when you walk onstage, why bother anymore? That’s certainly where I was at with Avail. And now, 12 years later, I get to revisit that anxiousness and excitement that I lost in the monotony of playing a lot. 

Tickets to the first show at the National were on sale for about a minute before they were sold out. Were you expecting that strong a reaction?

They said that it sold out in 10 seconds, officially, which is fucking hilarious. When Avail was touring, even when we were packing places, Beau and I would bet with the venue how many people we thought would show up… We’ve never had big expectations. We had multiple venues held for both nights –The National, The Broadberry — because we didn’t know if we were going to sell anything out. But it wasn’t about ticket sales — it was about revisiting something that was exciting for us. I knew this was going to be special. 

That morning I went fishing at 6 AM. I turned my phone off intentionally, and didn’t turn it back on until about 11:30. And I had hundreds of [messages] on my phone. I was taken aback. But here’s where it really gets exciting — a handful of the tickets for the first show were sold in person, to people standing in line at the National on the morning that they went on sale. And we were like, if most of these ticket sales are from out of town, people around here aren’t going to be able to go. That’s who we thought we were gonna be playing for. So [for] the second show, we made those tickets available personally, so they would have to go to the National and pick them up. 

That morning, I was with my daughters. We drove past the National, and I could not believe how many fucking people were out there standing in line, waiting for tickets to see Avail play. I stopped and talked to a couple people, just to say hi. And I think Larry Floyd said it best, when he said: “Fuck the reunion show. This is the greatest reunion I’ve seen in years.” And what I saw was a lot of mutual friends, a lot of acquaintances, a lot of people who haven’t seen each other in so many years, all standing on Broad Street, talking, sharing food, bringing waters around… It was a really neat thing to see. 

That show sold out by people buying tickets physically. That’s when music becomes something bigger than what it is, more like a movement. Avail plays the same three chords everyone plays; the lyrics are the same words everyone uses in songs. So it’s not that we as a band are any different than any other band. It wasn’t Avail that created that hype — a lot of other bands could have done it. It just happened the way it did, and we’re very thankful. We’re working our asses off and practicing five days a week to make sure that we give it our all, but we know it’s not just about us. It’s about everybody hanging out. 

You’re doing several other shows after Richmond. Did you always plan to do that many, or did the interest in Richmond make you want to do more? 

We planned on doing a couple shows in Richmond, and a few others. But I can honestly say it’s not a money grab like most people think. It would be nice to get paid, because we stuck to our guns, and we walked out broke! [laughs] People will hear about these incredible payouts from festivals — those go to the big bands. But I don’t even know where we’re going with this. We certainly don’t have the intent of becoming a band again, full-time. Right now, the shows that we have announced is what we’re doing. Everybody has kids except for Gwomper, and we’re all busy. I have another [solo] record coming out in October, and that’s right when the Avail stuff tails down. We have no idea what we’re doing, but it’s definitely not being a tour-the-U.S. type band ever again. 

I feel like a lot of bands get back together for a tour and then they stick around. 

[Laughs] I don’t mean to quote myself, because that’s ridiculous, but I have a line in a song where I say, “Damn, Beau, we both should have quit at age 24. I can’t stand bands on their third reunion tour.” There’s no reason I need to focus on criticizing bands doing what they love, but I always think it’s a little weird that a band would have a reunion tour, and then three months later have another reunion tour. And then put out a record, and then do another reunion tour. [laughs] Oh my gosh, y’all! 

Avail stopped playing right when the internet started taking over, so not a lot of those shows are well-documented, and it just becomes a legend. So do we blow it? Do we ruin your fucking great memories of what it was like to go to an Avail show by doing it in our middle age? It’s possible! Some bands should just stay broken up, and it’s possible Avail is one of them. 

On Over The James in particular, there’s a lot of real heavy, emotional shit on that record in songs like “Lombardy St” and “August.” What’s it like to come back to songs like that, and contemplate singing about a particular thing at a particular time in your life? Do you still feel those things 20 years later? 

I have this weird way of singing songs. I go back to where I wrote them. I’m back at that spot. If I’m not in the spot where I wrote it, I’m relating it to something more recent. There’s a song on Over The James called “Cross Tie,” and when I sing that song, I am on the freight train that I was riding when I wrote those lyrics. It’s so clear — the colors, the smells… I’ve never sang that song and not been on that train. Those places are gone now, but they’re in my head like a photograph. So I certainly can’t go up there and bullshit it. And if that’s what practice was for me, the first time I went in, just bullshitting through the lyrics, I wouldn’t do it. That’s not who I am. 

Another Over The James song, “Scuffle Town,” the classic about Richmond, mentions the murder rate and crime in the city. Richmond has a whole different vibe now; on paper at least, people present it as an up-and-coming city full of craft breweries, loft condos, and fancy hotels. Meanwhile, it seems the struggle, crime, and poverty has just been pushed out to the margins of the city. I feel like “Scuffletown” is still relevant today, but I don’t know if a lot of people think it is. What’s your take on that? 

I don’t know. I could be critical of the new wave of people, but older people could have been critical of our wave of youth movement in the early 90s. These cycles in cities are pretty consistent. Because of the political climate, people aren’t often comfortable living in places that they are physically opposed, so they go to city centers to live with people who are open to them. And that’s great, but with the population growth comes the demographic shift, where poverty gets pushed out. 

In the 90s, which was the tail end of the crack epidemic, Richmond looked like a bombed-out shell. And the reason artists and musicians clamored to Richmond is because, for example, the house that Avail lived in on Main St at one point was $425 a month for seven bedrooms. That allowed us to tour without making very much money. Avail at its start would not exist if it was 2019 and we were living in town homes for $1500 a month. We wouldn’t have had the ability to tour around the country. 

I was thinking about the line “Ethyl dosed the planet,” and I’m not sure anyone knows what I’m talking about. The Daily Planet was a social service and gathering place for the homeless on Belvidere St. It was my view that when the Daily Planet got run out and bulldozed, that it was Ethyl Corporation [whose offices were a few blocks away] behind the thing. That it didn’t like the eyesore there. Who knows whether, as a young man, I was right or not? It was complete speculation. But we took that stuff really personally, because as a bunch of white kids from the suburbs, we’re running around town watching everybody get rooted out, and feeling this sort of guilt for it. Like, here we are, taking over. Here we are trying to function with high crime rates — shit, our next-door neighbor got killed. People would rob our houses. People would just walk into your house, take the TV and walk out, while you were fucking watching it! It was insane. 

But things change. And to glamorize the old Richmond, vs RVA, I’m not sure I’m ready to fall for that divide. Would I want to raise my two young daughters in the old Richmond, in the city? I’m not sure. But can I raise my two young daughters in RVA? Well, I’m not sure! We almost had to move because we couldn’t afford the rent. 

Photos by Ken Penn

Music Sponsored By Graduate Richmond

Now Hear This: AVAIL Reunites At The National In July

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Drop everything and clear your social calendar — missing this is grounds for your immediate cancellation.

Ladies and gentlemen, the thing that no one ever thought would happen is happening — Richmond hardcore/punk legends Avail are returning for one night only to do a reunion gig at The National on July 19. Hold onto your butts, y’all, because this whole town is gonna explode.

The quintet, who haven’t played a show in over a decade, are returning to action in order to celebrate the 21st anniversary of their fourth album, Over The James. Seems a bit of an arbitrary number, but why worry about the reasoning? What’s important is that the band whose catchy, powerful tunes were the soundtrack to daily life in Richmond two decades ago are returning to action once again.

Tickets go on sale at 10 AM Friday — and if you’re thinking the ticket booth should open six hours early in honor of Avail’s classic third LP, well, you’re not the only one. The tickets are $25 in advance, and there’s no point in telling you how much they’ll be at the door, because this WILL sell out. Bookmark this link now, and be sure to grab yours ASAP, because if the available ticket supply lasts even a day, we’ll be amazed.

Until they go on sale, check out the new episode of the No Lies, Just BS podcast, in which Tim Barry discusses the reunion and a variety of other things. Then enjoy this video of Avail playing their classic anthem of Richmond life, “Scuffletown,” from Gainesville, Florida’s The Fest in 2007. In the words of Tim Barry, “Let’s tear the roof off this motherfucker.”

Music Sponsored By Graduate Richmond

VA Shows You Must See This Week: September 12 – September 18

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FEATURED SHOW
Sunday, September 16, 9 PM
Tommy Gunn’s 40th Birthday, feat. Deathcrown, Cruelsifix, Night Hag @ Bandito’s – Free!
If you’ve spent any time around the RVA metal scene over the past two decades, chances are you know Tommy Gunn. This shredding riffmaster has been slinging the axe in some of the best metal bands from Central Virginia since he was a teenager, getting his start in Disinterment in the late 90s and going on to play in Narsilion, Immortal Avenger, and The Medusa, among others, before starting his current project, Deathcrown. He’s also been active with local charity group Punks For Presents, and if you’ve seen any of their fundraiser shows, you’ve surely caught him playing in multiple Christmas-themed tribute acts over the years.

This weekend marks Gunn’s 40th birthday, and he’s taking this opportunity to get a whole crew of his metal-thrashing friends together to present what’s sure to be a blast of a free show this Sunday night at Bandito’s. His current crew, Deathcrown, just released a split LP with Sweden’s Ribspreader (…now there’s an image) entitled Comorbid Diagnosis, and it is a top-quality slice of raging death-thrash sure to please fans of At The Gates and Entombed. On Sunday at Bandito’s, you can expect Gunn and his bandmates to bring these tunes to rip-roaring high-volume life before your very eyes.

What’s more, they’ll have some excellent friends on hand to celebrate with them. Cruelsifix have gotten a lot of attention due to the fact that they share members with Cannabis Corpse, but their actual music more than lives up to the hype — and they proved it earlier this summer with the release of their long-awaited debut, Dark Snake. Their take on death metal is skillful, energetic, and sure to get you up and moving the second they hit the stage, so get those nachos done early! Especially since VA Beach’s Night Hag will be on hand to open the show with their crushing take on sludgy, slow-motion death/doom metal, and you can’t do slow-motion headbangs with a taco in your hand. (Well, you can TRY… but I wouldn’t advise it.)

Wednesday, September 12, 8 PM
Sumac, Dalek, Infernal Coil @ Strange Matter – $13 in advance/$15 day of show (order tickets HERE)
Tonight, things will get heavy on an entirely different level. Sumac is coming to Strange Matter, and for fans of hugely heavy riffs that get you thinking even as you’re banging your head, this is a real treat. Sumac is led by former Isis frontman Aaron Turner, who joins here with bassist Brian Cook (Botch/Russian Circles) and drummer Nick Yacyshyn (Baptists) to redefine the “epic metal” category that he had such a huge hand in creating. Sumac’s third album, Love In Shadow, isn’t quite out yet, but you can hear it if you know where to look, and it’s sure to twist your head around.

The album’s four songs stretch over an hour in length, with one track lasting over 20 minutes all by itself. And the songs themselves are made up of movements that evoke the multiple moods and complex structures of 19th century Russian symphonies, even as they remain extremely loud, and powerful enough to level you where you stand. This is an album of titanic proportions, and to see it brought to life on a live stage is sure to be a rare and highly desirable experience. Don’t miss this one — especially since veteran experimental hip hop powerhouse Dalek and premier practitioners of blackened death bleakness Infernal Coil are also on the bill. Getting blown out of your shoes never felt so good.

Thursday, September 13, 8 PM
Sugar Candy Mountain, Don Fredrick, Tecate Tall Boys @ Strange Matter – $10 (order tickets HERE)
Fuzzy psychedelic moods loaded in candy-colored reverb and dreamy delay will be the order of the evening this Thursday night as Sugar Candy Mountain hits RVA once again. This group manages to evoke the slightly queasy adventurousness of late-60s B movies about bad acid trips without once doing anything to disturb the huge smile on your face. Latest LP Do Right, released earlier this year, mixes in some electronic elements to let you know that this band is still firmly rooted in the indie sounds of the 21st century, but their psychedelic elements remain at the forefront, even as their glowing melodies keep you coming back for more.

Thursday night, come back to Strange Matter to immerse yourself in Sugar Candy Mountain’s sounds once again. And show up in time for the opening bands, because they’ll have some great sounds for you as well. Locals Don Fredrick are doing a similar sort of mixture combining 21st century indie sounds with late 60s vibes, but the result is mellower, more pastoral — sorta like Neil Young circa 71 jamming with Wilco circa 01. Something like that. Openers Tecate Tall Boys have a name that seems highly likely to get them sued by a beer company, so before that happens you should come out and catch a pleasant dose of their bedroom folk sounds. The whole evening will do you a ton of good.

Friday, September 14, 9 PM
Hurry Up, Bad Magic, DJ Dogpants @ My Noodle & Bar – $5
One unfortunate reality of the kind of writing I do in this column is that you’re always at the risk of being overtaken by events. This is never more true than when bad weather patterns are approaching and everyone is at least considering cancelling their shows. Of course, as Hurricane Florence draws ever closer, predictions of the storm’s path keep moving it further south into the Carolinas — the latest thing I saw said we might not even get 5 inches of rain here in Richmond. Even if it goes far better than any of us are preparing for, if there’s one place you’re sure to encounter some pretty serious weather, it’ll be a noodle shop in the basement of an apartment building on a Friday night.

That said, there’s at least a decent chance you’ll also encounter a really great band there, so I’m saying damn the predictions — go see Hurry Up at My Noodle & Bar anyway. This energetic garage-punk band brings together two members of The Thermals and one member of the Bangs to kick out the jams in a raw and mighty way. Hurry Up are sure to get your feet moving, even if there isn’t half an inch of water on the floor. And with Bad Magic on hand to kick out their own flavor of passionate, rockin’ jams and DJ Dogpants spinning the rad jams and celebrating her birthday, this is sure to be a really fun night — even if you are soaking wet by the time you get down the venue’s front staircase.

Saturday, September 15, 6 PM
Daniel Bachman @ Steady Sounds – Free!
Daniel Bachman is a unique and interesting guitar player, and we’re lucky to have him here in Virginia, where he lives and works these days. The fact that he is relatively close by probably explains how the folks at Steady Sounds were able to lure him to Richmond to give us a free in-store performance this weekend, and if the weather ends up wrecking this event, we will all be poorer for it. Picking up on a similar thread as those followed by fellow Virginia pickers Nathan Bowles, Jack Rose, and Mike Gangloff, Bachman explores the America’s rich folk music traditions through instrumental solo acoustic guitar compositions, finding a through-line that brings us from the past up through the current moment and into the future.

Bachman’s new album, The Morning Star, finds him getting more experimental than he ever has before, beginning with a long, noisy track full of dissonant percussion and droning fiddles, and going on to incorporate field recordings and background noises in a manner reminiscent of John Fahey in his late 60s prime. But it’s Bachman’s incredible virtuosity on his chosen instrument that makes his work such a riveting listen, and it’ll be on display in all its unadorned glory at Steady Sounds this Saturday evening. There’s also a whole store full of records and vintage gear and apparel to explore, and possibly some DJs spinning tunes, but Bachman is the real reason for the season. No hurricane better spoil this one.

Sunday, September 16, 3 PM
Forced Order, Division Of Mind, Paper Trail, Dead & Dreaming, Illusion, Neuromancer @ Strange Matter – $12
If there’s one thing we should all know about hardcore kids by now, it’s that they aren’t afraid of getting things started early as hell. Add in a weekend when no one is at school, and sometimes things will just get started right around the time you’re getting out of brunch. Case in point, this Forced Order show at Strange Matter on Sunday. But let’s be honest here — what reason do we have to complain about this? What were you going to be doing on Sunday afternoon between brunch and sunset anyway? Homework? Please. Put the books down and come to the show. You can finish your math work before you go to bed.

What will you find when you arrive? Well, first of all, there’s California’s Forced Order, who are on their final tour before breaking up. This group features members of groups like Fury and Twitching Tongues, and cranks out some heavy, angry hardcore with pit-starting riffage aplenty on their 2016 LP, Vanished Crusade. It’s enough to get you moshing hard — and this is your last chance to do so, since they’re breaking up after this tour, so be there already! You’ll get a nice selection of VA hardcore’s up-and-coming heavyweights opening up the show as well, from the bone-crunching heaviness of Division Of Mind to the aggressive energy of Neuromancer, plus the furious mosh power of Dead & Dreaming, some thrashing crossover sounds from Illusion, and metallic crunching rage from Paper Trail. Get ready — high fives and stage dives await you.

Monday, September 17, 8 PM
Mimicking Birds, Deau Eyes, Majjin Boo, Hotspit @ Strange Matter – $10 in advance/$12 day of show (order tickets HERE)
It’s going to be a difficult few days with all this intense weather going on, so by Monday night, we’re all going to need a chance to relax. This is what Strange Matter will be offering us with a performance by Portland indie-folk group Mimicking Birds. Their latest single, “On The Warm Side,” not only offers us a pleasant vision of weather to aspire for with its title, but also combines gorgeous vocal melodies with pleasing, intricate musical structure highlighted by interwoven guitar leads that hit all the right notes without ever being predictable.

They’ve got plenty more killer tunes where that one came from, and their entire set should be a joy with which to soothe your troubled nerves this Monday night. What’s more, you’ll be able to enjoy some pretty amazing local sounds as well, most prominently from Deau Eyes. This rock n’ roll group with a 90s alt-rock energy and some excellently chunky guitars are sure to get you dancing, while twinkly local math-rockers Majjin Boo will break things down to their essential parts with a rare solo set. Brand new local openers HotSpit will kick things off in fine fashion and get you ready for an excellent night of sensational sounds.

Tuesday, September 18, 7 PM
Dark Rooms, Prabir Trio, Rebekah Rafferty & The Wakes @ The Camel – $5 (order tickets HERE)
Dark Rooms are not the sort of group you can easily predict, or categorize. Their synth-driven pop music has a dark undercurrent, which is often communicated through strange voices, random dropouts, and ambient moments that leave you feeling slightly wrong-footed. But their melodies always come through in the end, absorbing your mind with a warm, glowing soundscape that’ll make you smile and feel right at home only a moment later.

If you’ve seen 2017 film A Ghost Story, you’ve caught Dark Rooms’ music on the soundtrack, and you’ve understood a little bit of the strange mood their music creates. How will that mood translate into the live environment will they take the stage at The Camel? That’s not a question we can yet answer, but whatever it turns out to be, it’ll surely be a fascinating experience to find out. You’ll be joined on this journey by the Prabir Trio, a crew of local stalwarts in a brand-new configuration; and Rebekah Rafferty and the Wakes, a talented band of local musicians backing an unforgettable singer-songwriter. It’s going to be an excellent evening.

Bonus Hampton Roads Picks:

Saturday, September 15, 7 PM
Tim Barry, Julie Karr, Andrew Alli, Josh Small @ Shaka’s – $13 in advance/$15 day of show (order tickets HERE)
Long after the band that made him famous, Avail, stopped playing shows and faded from the memory of the local scene (something none of us would ever have predicted 25 years ago), Tim Barry is still making excellent music about living in Virginia and trying to survive in an increasingly alienating world. He released his sixth studio album, High On 95, last year, and demonstrated that his grasp of excellent melodies and incisive lyrics is just as strong as it ever was. And if there’s one thing Barry’s solo career as a whole has proven, it’s that he doesn’t need a loud rock band behind him to be profound, powerful, and punk as fuck.

This solo show finds Barry backed by several Richmond-area friends, all of whom are talented as hell and have excellent songs of their own to sing. However, it’s Barry himself who is still the star attraction, much as he’s always shunned the spotlight. And whether he’s breaking out classics from his early days as a solo artist or picking out choice cuts from his latest collection of tunes, he’s going to have you smiling and singing along. Whether you’re a lucky Tidewater-area fan or a Richmond head with some extra gas in the tank, this show is absolutely worth whatever effort you need to expend to get to it. You know what to do. [Note: and this is why weather makes my job difficult. Between when I wrote this and when the column is published, this show was cancelled due to the hurrican. Sorry, folks! Better luck next time I guess… –Drew]

Sunday, September 16, 7 PM
War On Women, HIRS, Demons @ Taphouse Grill – $10 in advance/$12 day of show (order tickets HERE)
Oh wow, a double-shot of incredible femme-punk fury hitting Norfolk? How could you possibly miss it? War On Women have been around for most of a decade, dealing out their angry, metallic hardcore sound and its accompanying intelligently furious lyrics in an urgent and powerful response to the increasingly desperate political situation we all find ourselves in here in the good ol’ USA. They just released a new album in the spring; entitled Capture The Flag, it turns up the heat on their usual raging sound, simultaneously dealing with important and infuriating topics on songs like “The Violence of Bureaucracy” and “Predator In Chief,” and adding an engaging dose of catchiness to their raging-as-ever riffs.

War On Women’s set is sure to get you moving; HIRS, on the other hand, just might stop you in your tracks. This Philadelphia grindcore collective has been responsible for literally hundreds of million-mile-per-hour thrash-grind blasts with a trans-power theme over their past seven years or so of existence, but they’ve stepped things up in a big way on new LP Friends, Lovers, Favorites, which features a ton of high-profile guest spots, and more importantly, some extremely heavy riffs that veer back and forth at the drop of a dime from hyperspeed carnage to head-crushing mosh power. You’re going to need earplugs for this one, and wearing reinforced-toe shoes wouldn’t be inadvisable either. Norfolk noise-rockers Demons will kick off this show with some heaviness of their own. Get ready to rage.

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Top Photo by JJCA Photography

Email me if you’ve got any tips for me about upcoming shows (that take place after the week this column covers–this week’s column has obviously already been written): [email protected] [and yeah, there’s plenty more of my writing to read over at GayRVA — come say hey.]

Music Sponsored By Graduate Richmond