Monthly Archives: December 2012

20 Best Concerts of 2012

Radical Discharge – Photo M. Spiro

Going back through my Google Calendar and my events list on Facebook caused so many concert memories to come rushing back from 2012. It looks as though I attended well over 60 music-related events this year—from large multi-day festivals to little bar shows. I even left the country for one show, something I have never done before. For another one, I took off from work in the middle of the week. Random.

Defining what qualifies as the “best” shows was difficult. Sometimes best meant that the show itself was great. Sometimes best meant that the venue or company I kept at the show was great. There were a few shows that were actually kind of bad for one reason but good for another. I tried to only list the ones that were both great musical events and also good times. I left out some very good ones, though.

Primitive Weapons – Photo by M. Spiro

Venue-wise I saw my first shows at Golden West and Rams Head OnStage and one of the last shows at Sonar before it imploded in upon itself. I spent the majority of my concert cash at shows at The Ottobar and Sonar. Hopefully the season pass I purchased to The Ottobar will be worth it. I also pray something decent is resurrected on the site of the old Sonar location. The Sidebar has added new lighting and I believe is in the process of upgrading their sound system, which together makes shows there more pleasurable. Some venues I did not visit at all this year. I did not see any shows at The Recher, Charm City Art Space, The Rock and Roll Hotel, The Howard Theatre or the 9:30 Club. Usually I go to the 9:30 Club a few times a year, but I was surprised to realize that I didn’t see a single show there in 2012! I hope to check out some new venues in 2013.

Here we go:

1. January 15 – Graveyard, Radio Moscow and Daniel Davies at Golden West, Baltimore. First show that I had seen at this restaurant that turns into a venue after 10 p.m. While the opener was nothing special, Radio Moscow and Graveyard were stellar. Also made some great new friends from the band Witch Hazel. Read previous write up here.

2. March 28 – Alcest, Deafheaven and Arbouretum at Golden West, Baltimore. Another great show at Golden West. Seeing Alcest was like witnessing some kind of black metal fairy tale unfold. More details on this show here.

Martyrdöd – Photo by M. Spiro

3. May 5 – Behemoth, Watain, The Devil’s Blood, In Solitude and Evoken at Rams Head Live, Baltimore. Every single one of these bands is amazing. Plus, I had a photo pass so was able to get up close for each band. Happy birthday to me.

Nergal (Behemoth) – Photo by M. Spiro

4. May 12 – All That Is Heavy 2 Fest at Mavericks Ottawa, Ontario, Canada with Blood Ceremony, Iron Man, Blizaro, Monobrow, Loviatar and Revelation. Since my husband is the drummer in Iron Man, it was kind of required that I tag along for this one. Hosted by Jennifer and Derek Bradshaw of the show Crossing Boredom on Ottawa’s radio station CKCU, this fest featured some of the best in Canadian and American doom. I fell in love with Blood Ceremony and Loviatar especially and I got to see some friends who live in the area who actually came out to the show! All around wonderful, it was a great time.

Young And In The Way – Photo by M. Spiro

5. May 22 – Meshuggah, Baroness and Decapitated at The Fillmore, Silver Spring. Meshuggah is always a life-changing experience. Pre-bus accident Baroness and Decapitated made me feel all warm and fuzzy inside.

6. May 24 to 27 – Maryland Deathfest X at Sonar, Baltimore. Highlights from this endurance festival of heavy metal included Agalloch, Absu, Negura Bunget, Hellbastard, the Devil’s Blood, Dragged Into Sunlight, Tsjuder, YOB, Demonical, Godflesh, Church of Misery and Ulcerate. What made this fest even more interesting was the fact that Hellbastard stayed with me for five days. FIVE DAYS! Friends for life.

7. June 2 – Marduk, 1349, Withered, Weapon and others at Sonar. There were a bunch of bands playing but I was most happy to see the ones I’ve listed here. Withered was a wonderful discovery, and I have never seen an entire room turn into mosh pit. Nowhere to run! Someone stomped on my foot and an attractive young man bought me a beer. Win!

The Temper Trap – Photo by M. Spiro

8. June 5 – The Temper Trap at Terminal 5 in New York City. This show was more for my daughter who loves this band but overall it remains one of my favorite concert memories of 2012. The Temper Trap are an intelligent pop band with great skills and a lot of energy. Opening bands were kind of funny and unmemorable but The Temper Trap erased all thoughts of them. Terminal 5 is a cool, spacious venue and you can see from everywhere, although we were right in the front. We had no problem walking back to our super cheap hotel on Times Square at 1 a.m. (about 1.3 miles) stopping halfway to eat a late meal at a diner. NYC is a pain in the ass to get to (we took the Megabus), but once you are there, it would be very VERY easy to never, ever leave.

9. July 4 – Black Breath, Martyrdöd, Enabler, Heaviness of the Load and others at Sonar. This show constituted my bachelorette party. (I got married July 7). I am aware that this is a very nontraditional event for a bachelorette party, but it was exactly what I wanted to do. I only had had two other official party members with me, but hearing the four bands I have listed above made for a perfect night. Someone even bought me a beer. Imagine that.

Dick Dale – Photo by M. Spiro

10. July 26 – Dick Dale at Rams Head on Stage, Annapolis, MD. Aside from the MDF four-day pass, this show was my most expensive. Why? I don’t know, because it was surf guitar legend Dick Dale and he might die soon? Maybe. He’s a wonderful performer, a bit of an egomaniac and definitely cranky when it gets past his bedtime, but I am glad I made the trip midweek to see him. I went alone (as I so often do) and sat at a table with strangers. Rams Head On Stage is an odd venue like that; they expect you to buy dinner, which I did. But I won’t regret seeing the man who perfected the tremolo guitar picking sound purloined by so many black metallers.

11. August 5 – Pilgrim, Primitive Weapons, Mares of Thrace at Ottobar (upstairs). Seeing bands upstairs at The Ottobar is a little weird. There is no stage and the bands are essentially in front of your face. But that just made the intensity of these three groups all the more visceral. Good times.

12. August 11–Ringworm, The Infamous … Gehenna, Young And In the Way, Oathbreaker ILSA and Eddie Brock at The Ottobar. No year is complete without a significant hardcore show. I had only previously seen YAITW (in Raleigh NC at the DIVE bar in January), but I had listened to them all. Hardcore is so much better live and on recording.

Tyr – Photo by M. Spiro

13. September 21 – Korpiklaani, Tyr, Moonsorrow, Metsatöll and others at Empire. I hate traveling to Northern Virginia for a show but gladly did so for this line up. I even took off from work. Just an amazing collection of Viking folk metal and superior musicianship. Good friends in tow were icing on the cake.

14. Sept 22 – Iron Man, Wrath of Typhon, Witch Hazel and Jason Barker at Wilcoms Inn, Ijamsville, MD. Wilcoms Inn is like a roadhouse. It’s a little honkytonk. But the chemistry between these bands performing live together is undeniable. Pure energy and heavy metal love fest.

15. October 19 – Pig Destroyer, Ilsa, Necropsy, Royal Thunder and Wargames at The Ottobar. Royal Thunder was an odd addition to this show, but I fell in love with them. Ilsa sounded better than I’d ever heard them before and Pig Destroyer’s performance featured lots of interesting guest appearances. My heart was warmed.

16. October 20 – Sus Domesticus, Sloth Herder and Horde of the Eclipse at Fat Cat Tattoo, Chambersburg, PA. Would you care for some black metal in the cold, unheated basement of a tattoo studio in south central Pennsylvania? Yes, please.

Sus Domesticus – Photo M.Spiro

17. November 6 – Deicide, Strong Intention, Extermination Angel, Existentium (Alhazred), Visceral Violation, March to Victory, and True Unholy Death at The Ottobar. I could think of no better way to spend my night of avoiding election results. And I developed a wee crush on Steve Asheim. Drummers: why do I love them so much?

18. November 14 – Torche, Radical Discharge, Iron Man, and Passage Between at The Ottobar, Baltimore. People warned me that Torche put on a great live show. It was so great, in fact, that I had the wind knocked out of me as I was thrown to the ground in the mosh pit. But it’s all good, all very, very good.

Steve Asheim (Deicide) – Photo by M. Spiro

19. November 20 – Atriarch, Wolfnuke, Night Sins and Ophidian at The Sidebar, Baltimore. I am not sure what Night Sins was doing but the other three groups on this bill were speaking my language. I loved Wolfnuke already, was just getting into Atriarch and am looking forward to hearing more from Ophidian in the future.

20. December 15 – Satan’s Unholy Abomination Fest at El Oasis, Baltimore. This was a great way to end 2012. See my full review of this show here.

Black Witchery and me. Happy New Year. Photo by some friendly guy who was standing there! 


20 Maryland Bands You Ought to Know

Radamanthys support! (Photo by Mary Spiro)

I am feeling pretty lazy today what with it being the end of the year and I am on vacation and not feeling 100 % metal for the last five weeks. However, I thought it would be a good thing to encourage you to get out there in 2013 and check out some of the talent we have here in the merry metal state of Maryland. Oh, I know it’s not all metal, but still, it should be.

I was going to write a nice little description of each band, you know, talk about the members and where they are from and what style they play. But again >lazy< so instead, I gave each group a semi-descriptive, sometimes sarcastic, categorization. I figure you can just click the link and check them out your own damn self. You will probably hate them.

But if you don’t hate them, go see these groups live because there really is nothing more satisfying than knowing that you did something to support your local music scene. Well maybe a nice plate of spaghetti is also satisfying. I think it’s lunch time.

Anyway, give a listen and give me some feedback. There are only 20 bands on this list, but there are many more groups out there. These are just some of the ones I saw and/or listened to this year that left an impression. Or in case of some of the live shows, they left a bruise.

1. We Lost the Map and are Now Being Threatened by Blackened Western Maryland Goatmen: Wolfnuke

2. Teased-up Blackened Death Thrash with Sunglasses Inside At Night: Extermination Angel 

3. The Band Formerly Known as Alhazred That Still Plays Technical Death Metal: Existentium

4. Completely (Un)Intentionally Instrumental: Balor’s Eye

5. Sir, You are a Scholar and A Gentleman: Radamanthys

6. I Can’t Believe Adam Jarvis Could Play This Slowly: Asthma Castle

7. Indie/Alterna-Rock Something-er-other That Mother Might Not Approve Of: On Standby 

8. Psyche-Doomy/Experimentally/ Jazz Rock That’s Way Too Cool For You: Whoarfrost

9. Too Young to Use Their Free Drink Tickets: Necropsy

10. Sludge Was Never Meant to Be This Hardcore: Sloth Herder

11. I’m Going to Slit My Wrists. No Wait. I’m Fine: Barbelith

12. Post Rock Sludge with That Fat (b)Ass: At The Graves 

13. Whee! I Took Too Much Meth: Witchhat

14. Our Beards Are Way Better Than Your Last Boyfriend’s: Arbouretum

15. All Death? No, just…: Part Death

16. We Like (the) Melvins and We Also Have Two Drummers: Heaviness of the Load

17. Robots, Aliens, Vikings and A Shared Fez: Admiral Browning 

18. Don’t Make Me Try to Explain This Djent Thing to You Again: To The Ark 

19. Somebody Get This Heavy Metal Up Off of Me, It’s Crushing My Soul!: Butcher’s Hill 

20. I am Married to the Drummer, But Don’t Let That Influence You: Iron Man

The 2012 HOLY SHIT List, my favorite albums for the year

I have been reading a lot of year-end best of album lists, so I suppose I should make my own list. Metallomusikum is nearly a year old; it’s due for that kind of thing.

Some of the “best of” lists I have found are ludicrous; like really, what were the writers thinking? I knew that Village Voice list was going to be a joke when it actually started with the sentence “It’s that time of year again.” That writer was phoning it in.

Some lists remind me about albums I missed that I should go back and listen to. I thought Pitchfork’s top 40 metal albums list was pretty good, albeit filled with bands all but the most astute (read: hipster) metal heads would be aware of. It was a good laundry list for me since it was longer than most out there.

With some of the lists, I wondered if the writer was just trying to stroke an ego or be charitable. You see a lot of people listing the same albums—the usual suspects. SPIN’s Top 20 list was a little bit like that, although the inclusion of bands like Enabler and Eagle Twin made me take it more seriously.

Who knows what, if any, pressure these writers are under when they compile these lists? Everyone has a right to an opinion, even if it is wrong.

Well I have no one to answer to and no one to appease. I just calls it likes I sees it. So in the spirit of “it’s-that-time-of-year-again” and “as-if-my-opinion-mattered,” this is Metallomusikum’s first ever “HOLY SHIT” list for 2012. The criteria for an album to make this list are simple:

  • It must be an album of new music, not a reissue, compilation or best of and not an EP or a demo. Sorry kids, come at me next year with your full length. (I reserve the right to make an exception to this rule especially in a lean year.) 
  • It must have been released between January 1-December 31 of the given year. Duh. 
  • It must cause me to declare “HOLY SHIT” at least three separate times during the course of listening to it. I will count them. One hit wonders will not get on this list. 
  • It must make my pupils dilate, my heart to race and the hairs on the back of my neck to stand up to create a physiological effect I like to call an “eargasm”. 

Any genre is eligible. But y’all know what I mostly listen to. Still you might be surprised. There are some obvious items missing from this list. I did not want to repeat what everyone else was saying. There were a lot of really good albums put out this year, but I really wanted to bring you something different. The HOLY SHIT list items are special to my heart.

In compiling this list, I learned a little bit about myself. For one thing, I chose no “light hearted” music. Most of this stuff is pretty intense and serious. I would not characterize anything here as fun or rollicking. Heck, there’s not even any thrash in this list. But I think the list reflects me, at least where my head is at this point in my life. So here we go in no particular order: 

1. Dragged Into Sunlight – Widowmaker 

This new effort from DIS has a completely different vibe from the group’s earlier Hatred for Mankind. In three movements, I think this album more deeply explores DIS repertoire of emotions better than their previous work did. There are many HOLY SHIT moments in Widowmaker, but I recommend listening to this recording in its entirety. I wrote a more complete review here.

2. Enslaved – RIITIIR 

RIITIIR charges forth from the pit of Hades and slowly transformed into a collection of hymns. The lovely clean vocals of keyboardist Herbrand Larsen are featured in near duets now with the growls of Grutle Kjellson. Melody has overtaken the buzz of the tremolo riff. Some people have really criticized Enslaved for the way their sound has evolved and softened over time. I think they are moving closer and closer to their inspirations: Pink Floyd, King Crimson and Led Zeppelin, and I don’t see this as a bad thing. I love this group’s entire body of work and RIITIIR is just another chapter in that unfinished tome. Frankly, Enslaved could record a collection of their belches, and I would probably at least listen to it.

3. Abigail Williams – Becoming 

This album came out at the beginning of the year eventually met with tons of critical acclaim. Did you forget about it? I didn’t. I reviewed it back in January here. It is still one of my favorite albums of the year and will probably be among my favorite albums of all time. This album represented a severe departure from the sound that Abigail Williams developed up to that point. If fact it was so different, I think there was pushback from some long-time fans of the group who did not know quite what to make of it. Yet others, like me, were completely delighted. Then the band broke up. Or maybe they didn’t ,and they will be back in 2013. Who cares really? Just listen to it.

4. Lord Mantis – Pervertor

Lord Mantis shares members with Nachtmystium, and both groups were touring together this fall. A live performance of Lord Mantis will turn your head around like an icy wind coming in off of Lake Michigan. There’s a lot of rage in this music, and I suppose there must be a lot of rage inside of me because I cannot stop listening to this record. Maybe this is the sound you get when you let the drummer from one band become the front man for another – it’s pure unadulterated venom and totally beautiful. I would go see them again in a second. Also, the cover art is delightfully disturbing.

5. Carach Angren – Where the Corpses Sink 

Carach Angren makes concept albums that could (and should) be turned into movies or better yet, theatrical stage productions. I never tire of their gruesome stories set to the most grandiose symphonic black metal you could imagine. They are also one of the few bands I don’t mind wearing corpse paint. I can listen to individual songs, but mostly I want to just start the thing from the beginning and geek out like my friends who bliss out listening to the soundtrack of Cats. Carach Angren write “musicals” fit for the king of underworld, which makes them infinitely better than anything Andrew Lloyd Webber could come up with.

6. Nile – At the Gate of Sethu

Why do these guys keep making Egyptian-themed technical death metal? Why do I keep listening to it? Why is that even a thing? I don’t know, but I love it despite the fact that being fascinated by pyramids and hieroglyphics and sarcophagi fell out of fashion decades ago. I am pretty sure that my love of Nile is grounded in my admiration for guitarist Karl Sanders, whom I would probably fall to my knees and worship in an embarrassing Wayne’s World kind of way if I ever met in person. I would probably act foolishly in front of George Kollias as well.

7. Car Bomb – w^w^^w^w

I first encountered Car Bomb through their documentary “Why You Do This,” a self produced documentary about the band touring across the country in a broken down van and getting ripped off by venues and promoters. I didn’t get a good sense of the band’s music from the movie, just that life of a touring musician was hard and mostly not worth it. I had not actually thought much about Car Bomb until I saw they had not given up but had persevered and released a new album that even featured the vocals of Gojira’s Joe Duplantier. Car Bomb probably classifies a “core-something” band. The music is extremely experimental and makes it onto my HOLY SHIT list mostly for its intoxicatingly innovative approach and extreme honesty. I chose Car Bomb over more obvious top choices like Pig Destroyer’s Book Burner and Meshuggah’s Koloss. I love both of those aforementioned albums, but Car Bomb pushed boundaries that made me sit down and question what music even was. It’s not an easy album to listen to but definitely has its eargasm inducing moments

8. God Seed – I Begin

From start to finish, there is nothing I do not love about this studio recording from God Seed, a band comprised of former Gorgorothians Gaahl and King ov Hell and a rotating crew of other super star performers such as Enslaved’s Ice Dale and Dimmu Borgir’s keyboardist Geir Bratland. In some ways, God Seed probably sounds like what Gaahl might have wanted to do with Gorgoroth had things with Infernus panned out differently. But all’s well that end’s well I say. God Seed imbues everything with epic melody, soaring vocals, wondrous keyboards and enough malevolence to make this an album worth numerous HOLY SHITs. I think critics are skipping it for no reason but this thing rocks.

9. A Forest of Stars – Shadowplay for Yesterdays 

Another entry into the realm of the excessively theatrical, A Forest of Stars takes all the edgy rawness that I love about black metal, and mixes in storytelling, prog-rock complexity and maybe some Jethro Tull-like folk elements to create a masterpiece. Each mesmerizing song is composed with layers of richness and melancholy. This group not only deserves recognition, I say they ought to command it. I feel they are being overlooked because they cross so many boundaries and can’t be neatly categorized. Pop this recording on the next time you have a long car trip and don’t be surprised if you find yourself completely unaware of your surroundings.

10. Darsombra – Climax Community 

I have not done any drugs in a long time. Back in the day, however, I dropped some acid and smoked a little weed. I could understand why one might feel compelled to partake in such things to enhance the experience of avant-garde psych rock guitarist Darsombra/Brian Daniloski. With Climax Community, I see no need—the music alone is capable of moving you into a transcendent plane of existence. A soloist, Brian’s compositions are masterful and beautifully executed, drawing upon metal, jazz, post-rock and with exotic scales and rhythms. Add to these aural hallucinations Ann Everton’s cinematic visualizations, which you can access with a password on Vimeo, and you have 75 minutes worth of drug-free HOLY SHITs guaranteed to keep you mentally high for a long time.

OK, that’s it for this year. I invite your comments and feedback below. Tell me about your favorite albums.

REVIEW: Carthage – Salt of the Earth

Carthage of Baltimore

Math-core, metal-core, djent, technical death metal. All these subgenres of heavy metal have one important thing in common—complexity. The new album by Baltimore’s Carthage is rife with challenging complexity and notable musical virtuosity. But do I like it?

Well, yes, but not for the reasons you might like it. Or hate it. Salt of the Earth does not fit neatly into my typical musical palate, which by choice is filled with a lot of fairly dark and evil black metal. One simply does not listen to blast beats and tremolo riffs all the time. I am also a fan of much more technical metal bands like Obscura (and their inspiration Gorguts), the math metal geniuses Meshuggah, djent groups like Vildhjarta; and straight up tech death groups like Decapitated and Atheist. And, of course, my secret guilty pleasure—The Acacia Strain.

The subtle rhythmic complexities of whatever it is you want to label Carthage as playing are mentally and intellectually simulating. This is not background music; it commands your attention from start to finish throughout 12 tracks and about 40 minutes of music. A standout track for me includes “The Furthest Thing” that blends some lovely harmonics and melodies with some insanely challenging riffs. Lovely harmonies mixed with death metal-like growls and screams can be heard throughout the album. This dichotomy is sometimes why I don’t like bands in these subgenres.

Another standout feature of the record is the fat bass and precision percussion. These two instruments alone lead listeners into another standout track called “Pushing Forward.” The vocals here start much cleaner at the beginning but then move into the familiar growl. Vocally, I like the middle part of this song better than the “call to action” at the beginning (and which returns in the end). But hey, the melody is nice and rather proggy.

As with many groups today, the vocals can kill the songs for me. It’s not that the vocals here are bad—not at all, these guys are very talented vocally. And there are many guest vocals (**see note below). It is just that there are too many different KINDS of vocals—some clean, some death growls, some guttural, some pretty. This is really a kind of a taste thing. Many groups use this technique with great success, and there is a fan base that thinks this style is awesome. I am just not one of those people.

Musically, however, Carthage’s Salt of the Earth presents a masterful collection of thought out, finely tuned compositions. And I don’t mean that like their instruments are “in tune;” I mean that like the music is well written, sharply honed and expertly executed (and recorded). Guitarist and vocalist Tre Watson says these songs have been around since 2010, so apparently Carthage has had time to perfect them.

Other favorite tracks on the album include “ To Return” and “Green.” Both tunes have memorable, melodic riffs and cool sections. The album closes out with the quite beautiful “Continuous,” which happens to be the longest track on the record. Frankly, I think some of the songs leading up to this encore piece could have been a little longer.

And yes, like many groups in this category, Carthage songs have “breakdowns,” but it’s not like the breakdown section is the only heavy part of these songs. Carthage provides aural assault from the first chord to the last note.

In the final analysis, Carthage seems to be carving out a unique enough niche that should break away from the pack. I don’t think Carthage sounds like anyone else—I think they sound like themselves, and that is a good thing. It is the worst thing for a band to be an obvious derivative of another group.
I would not be surprised if Salt of the Earth is part of the plan that puts Carthage on the world’s musical map and gets them noticed for tours with more well-established groups or airplay on stations like Liquid Metal. That would be a good thing for Baltimore, because as the cliché goes, “A rising tide lifts all boats.”

The members of Carthage include:
Eric Hendricks – Vocals

Tre Watson- Guitar/Vocals
Ian Starks- Guitar
Noyan Tokgozoglu – Guitar
Robby Gossweiler- Bass
Billy Berger – Drums/Vocals

**According to Tre, there are many guest vocals on the album as well, “including members of our friends in In Dying Arms, Forgive The Fallen, VELA and Sky Came Burning! and of course, you! A lot of you submitted your vocals to be on the song “1984/4” and everyone who submitted was used. I hope you’re really excited.”

You can listen to Carthage – Salt of the Earth below.

Music I have purchased on Bandcamp

Sometimes instant gratification wins out and I need to obtain a musical recording as soon as possible. Many people turn to iTunes and Amazon, and I have purchased my fair share of music from those outlets–mostly with gift cards from friends or family. 
However, I prefer to buy music hosted on Bandcamp. I love the Bandcamp interface and I feel like the performers are probably getting a better deal in terms of compensation. 
The music industry is rife with greed and musicians are constantly looking for ways to pay the bills. When I can, I buy music directly from the artist when I see them live. I also sometimes buy t-shirts and other related items. So far this year, I have attended 47 live music shows. I will probably see a couple more before we ring in the New Year. Suffice it to say I support the local music scene.
Check out my purchases on Bandcamp this year here
What music did you buy in 2012?

Start a mosh pit in your living room with StageIt

The other day, a friend on Facebook used the term “couch gravity” to describe the reason why he didn’t attend as many live musical performances as he’d like.  But what if you could attend a live performance and support the musicians you love from your couch? You could even start a mosh pit in your living room.

Washington, DC area pianist Al Baes knows the challenges of the gigging musician.  He has been playing classical music since he was five, studied jazz at the University of Maryland College Park,  has played around the DC area for more than two decades and is the keyboardist for the R&B jazz group Soul-Rhythm.

“One of my most memorable performance on stage that I had the pleasure to jam with was the group, Heatwave. This was back in 1997 in Virginia. We did their popular tune “Always and Forever.” They had happened to drop by a nightclub where I was performing with my band,” Baes recalls.

This holiday season, Baes is trying something new.

On Sunday, Dec. 9 at 8 p.m. Baes will play on a virtual performance platform called StageIt. With StageIt, performers set a date and time for their show and sell tickets to a one-time-only event. All a fan needs to do is buy a ticket and log on at the appointed time. Performances are not archived; they happen once, just like a show you would travel to attend. StageIt also allows concert viewers to tip the performers during the show, using a credit card or PayPal account. Any type of musical genre is welcome.

“I only discovered StageIt a couple of weeks ago and thought of just trying it out,” said Baes. “Actually this first performance is just an experiment. I am just trying to see how it goes.”

Baes says his show “A Paradise Experience” will be short– just 30 minutes —  and “will consist of some of my own original material which I use in piano lounge settings. I am also bringing some cover tunes as well.”

In the spirit of the holidays, Baes has decided to donate any proceeds from Saturday night’s performance.

“Since the StageIt broadcast service requires payment from viewers, and since my objective is not to make money from this, I decided to forward the funds to a charitable entity, DC Central Kitchen. Viewers can pay what they can using a credit card or debit card.”

What does he think about a virtual concert venue?

“I think this online broadcast service is a great idea especially since it’s really hard for musicians to find venues to perform their music, and also (it gives you) the opportunity to gain exposure and to promote (your) material.”

Some of Baes’ favorite musicians include Al Jarreau, Joe Sample, Bobby Caldwell, Anita Baker, Quincy Jones, and Grover Washington Jr. They are likely to influence his performance on Sunday.

To attend “A Paradise Experience” on Sunday night, follow this link.

To view Baes’ profile in StageIt go to this link.

The Facebook event page for this show is at this link.

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