The Fighting Jamesons-Virginian-Pilot Newspaper

Not long ago, Jeffrey McLaughlin, fiddler and mandolin player for The Fighting Jamesons was searching the web when he stumbled upon a blog post about the band.

 “We had just played a show and this girl was talking about seeing it with her dad,” he said. In the entry, the author wrote that when the Virginia Beach based Celtic rock band played the Irish classic, “The Leaving of Liverpool,” father and daughter looked at each other and smiled. “She said that he’s sung that song to her since she was a baby. They had this incredibly special moment. It was a really great story and it made us feel so good.”

On a recent Friday night in Richmond, McLaughlin and the rest of The Fighting Jamesons are gathered in their dressing room, pre-show at The National rock club to share stories about their relatively quick emergence on the music scene.

 “You think back to when you were a kid and you’re setting up a stage made of milk crates like you’re Gene Simmons or something putting on shows for your sister and cousins and then you’re actually playing clubs like The National or the NorVa or The Stone Pony in New Jersey,” said singer/guitarist Mike Powers. “It’s extraordinary. Playing music has got to be the coolest job in the world.”

Powers, who also plays the banjo, ended his 10 year on-air reign at Norfolk radio station 96X last year and founded The Fighting Jamesons in 2010. The quintet, including guitarist Geo Bauman and brothers Paul and Jon Bidanset on drums and bass guitar respectively, take their cue from such bands as The Pogues and Dropkick Murphys by blending traditional Irish/Celtic music with rock and punk. The band has quickly made a name for themselves thanks to their fiery high-energy shows. Think sing-along choruses, the occasional guest bagpiper and hoisted pints of Guinness.

“We take a lot of pride in our live act,” said Powers. There’s a lot of energy and heart behind it and we always do our best every time we go on stage. I think that’s missing in music right now; going out there and working hard for your audience.”

The band’s skillful performing chops even managed to surprise some family members. “My mom had never seen us play until last November,” said Jon Bidanset.

“After the show she was like wow, that was really, really good. I laughed because she sounded so shocked.” On Saturday, The Fighting Jamesons perform at the NorVa for what will likely be one of their more festive gigs. As the saying goes, everybody is Irish on St. Patrick’s Day. In the case of The Fighting Jamesons it also happens to be factual. Each of the band members can lay claim to some Irish ancestry.

 “My family emigrated from Ireland around 1913,” said McLaughlin. “The legend in our family is that they were actually going to take the Titanic to America a year earlier but they didn’t have enough money saved.”

At that revelation, Powers’ voice raises with good natured incredulity. “How have we not heard about this before?” he exclaimed. “This is ridiculous. You have to write a song about it. That’s an amazing story.”

It was Powers’ own visit to the Emerald Isle that inspired him to start the band in the first place. “It was kind of life changing,” revealed the musician.

 “My wife and I went there three years ago and it was the greatest time of our lives. The people, the atmosphere, the sounds, the smells; everything about it is just intoxicating. One night we were in a pub in Killarney and this husband and wife were performing. They saw me singing along and invited me up on stage. It was incredible.”

For lead guitarist Geo Bauman, playing in a Celtic band has even improved personal relationships. “My family is about as Irish as you can get,” he said. “Growing up I played in all kinds of different bands, mostly metal and really weird sounding stuff that really doesn’t mesh with other people. Now that I’m playing something that involves my heritage like Irish music, they’re really proud. I have a really strong connection with my family now.”

It’s easily apparent that the band mates are also exceptionally close knit.

“These guys are literally my best friends in the world,” said Jon Bidanset. And while his brother is mostly absent from the conversation to man the band’s merchandise table, his brief appearance initiates a wild flurry of jokes, anecdotes and good humored barbs. “What we lack in height we make up for in charisma and friendliness,” joked Paul Bidanset. “If you were to stand outside of a room and just listened to us talk, you wouldn’t go fifteen seconds without hearing somebody laughing,” added Bauman.

For Powers, that camaraderie helps keep the band motivated.

“I really believe in these guys and in this bond,” he said. “I think if we work hard and continue on this path, we can take it to the next level.”

To that end, the band essentially gave up drawing a salary last year, sacrificing immediate gratification in favor of the bigger picture.

“We took all of the money we made and invested it right back into the band,” said Powers. “We used it to make our record.”

The Fighting Jamesons released their self-titled debut late last year. The eight song CD features a healthy respect for Irish music tradition while infusing the genre with a decidedly modern day attitude. The disc kicks off with the thrashing, fiddle fueled “Ghost Ship Baltimore,” an original song about the ships that carried Irish immigrants trying to escape the country’s Great Potato Famine. On “Uncle Michael” the band charges through their own version of an old school drink soaked Irish anthem. Elsewhere, “Sink” finds the band taking on a more introspective tone.

“It’s about having an emotional night kind of alone in a bar,” said McLaughlin. “It’s not slow by any means but it’s the slowest song on the record. We were kind of scared to do it because we’re such an upbeat band but people seem to really like it.”

"There are so many different styles of Celtic music,” added Powers. “We tried to hit every single one from traditional to punk rock to straight up rock and roll to something more folksy. There’s so much to pull from.”

The next challenge for The Fighting Jamesons is expanding their predominantly east coast fan base. “I’d love for us to tour nationally and even internationally at some point,” said McLaughlin.

The band recently got one step closer to that objective by signing with a national agency that also represents such artists as The Clancy Brothers, The Irish Rovers and The Saw Doctors. The Fighting Jamesons have since been booked to play several big Irish music festivals this summer, including gigs in Colorado and New York. If all goes according to plan, the band mates will one day be able to quit their day jobs.

 “My number one goal and I think everyone else is on the same page; is to make this band our number one priority,” said Bauman.

“I think we owe it to ourselves and all the people that supported us to see how far we can take it,” added McLaughlin. “We’re in this place now that so many musicians are never fortunate enough to reach. We want people to know that we’re incredibly appreciative and humbled by the ridiculous amount of support that’s been shown to these five nerds. We intend to work incredibly hard to hopefully be worthy of it.”

Hank 3-Same Name, Different Sound - Virginian Pilot Newspaper

For Hank Williams III, aka Hank 3, musical boundaries are meant to be crossed. He’s spent his career traveling from country to punk, with occasional road trips to speed and doom metal. It’s not your grandfather’s music, or in Hank 3’s case, it’s not your father’s either.

“Hank Williams and Hank Junior have covered the country world as best as it can be covered,” said the younger Williams’ of his famous bloodline. “If I was just a country singer I don’t think I would have gotten the respect of people like Henry Rollins of Black Flag or Jello Biafra of The Dead Kennedys. I think even people in the country world can see that I’ve stayed true to myself,” he said by phone from his ranch in Nashville, Tenn. “I’ve always loved different kinds of music. I think it sets me apart.”

Still, it would have been easy for the musician to cash on his legendary last name.

“Yeah, there were some suggestions,” Williams revealed. “The easy road would have been to work with some famous Nashville producer, do what they told me to do, and make tons of money.”

As a matter of fact, the musician’s first CD, “Three Hanks: Men with Broken Hearts,” signaled a turn in that very direction. The 1996 mainstream country release brought the voices of all three generations of Williams men together through modern technology. Hank 3 has been distancing himself from it ever since.

“Even though I’m not famous or making that much money, I like being independent,” he said.

That kind of determination has put Hank 3 on a rather unconventional career path. In the country music genre, he’s recorded such fittingly named albums as “Risin’ Outlaw” and “Damn, Right, Rebel Proud.” The material includes an amped up, attitude driven version of rockabilly, that Williams dubs “Hellbilly.” The musician, who plays the NorVa on Wednesday, has also been a punk rock drummer and a heavy metal bass player. He says the seemingly disparate genres are not mutually exclusive.

“There’s a lot of connection there,” he maintained. “I think the barriers have been broken down over the years and people are a little more open.”

 Williams, 39, offers up a few of his musical influences as evidence.

“Just look at someone as big as Willie Nelson. Nashville told him we don’t like your sound and we don’t like your look. Well, he moved to Texas and started getting bikers and hippies and all kinds of different fans. David Allan Coe was singing about long haired rednecks. There’s a bunch of people that love Johnny Cash and Hank Williams who also love Pantera and heavy metal.”

Note the absence of any references to mainstream country in Hank 3’s discussion.

“Everything is so clean and pretty and perfect.” Williams is unapologetically the opposite. “I’ve been known to cuss,” he said. “I sing about drinking and raising hell but my main goal is to make people forget about their problems. I want people to have a good time.”

That attitude has awarded Williams a loyal fan base and it’s something he derives much satisfaction from.

 “A lot of musicians nowadays just show up two minutes before they play and when they’re done, they’re outta there. I take pride in the old country way of shaking hands and thanking the people that are there for you.”

 Creating a bond with fans he said, is the best part of his job.

 “The biggest payoff is when someone tells you how your music has helped them or affected them in some way.”

 When Hank 3 performs in Norfolk, he’ll have plenty of new material to draw from. Last fall the musician released four albums simultaneously. “Ghost to a Ghost/Guttertown,” is a double disc of outlaw country and swagger packed “Hellbilly.” “Attention Deficit Domination” features a grinding metal sound reminiscent of Black Sabbath, and the unusual “3 Bar Ranch Cattle Callin’” is a concoction Williams calls “cattle-core;” speed metal mixed with the voices of actual livestock auctioneers.

 Hank 3 will perform separate sets of each genre.

“I’m basically opening up for myself,” he laughed. “You don’t have to stay for all of it but I always pay respect to my deepest roots first,” he added. “No matter what, the first set is always the country part of the show, then it’s the “Hellbilly,” and then the rock.” While he may not be as well-known as his forebears, Williams seems content. “If anything happened to me tomorrow I’d feel like I’m satisfied,” he said. “I played with some of my biggest heroes in the rock world and the country world. I’ve had great audiences and I have quite a few records out there. I think some people would say that kid was a true artist and did things his own way.”

Celtic Woman Feature- Virginian Pilot Newspaper

Susan McFadden had just wrapped up her leading role in the London production of Legally Blonde- the Musical when she got the invitation.

“I was in Dublin visiting my parents,” said the performer about the phone call asking her to join the Irish female vocal ensemble, Celtic Woman. “Of course I absolutely jumped at the chance. I was over the moon.”

The 28 year old singer has good reason to be excited. Created by the musical director of “Riverdance,” Celtic Woman has become something of a phenomenon. Their 2005 debut release remained on Billboard Magazine’s World Music chart for a record-setting 81 weeks and their numerous PBS television specials are consistent ratings grabbers.

“I’ve followed the success of the girls over the years,” said McFadden, who joined the band late last year. “I really admire them. They are very dedicated to their work and dedicated to their fans. I think they are very elegant ladies and really good role models for young girls.”

The group, who perform Wednesday at Chrysler Hall in Norfolk, mix traditional Irish music with pop songs infused with a Celtic twist. A typical set list by the group may include everything from an Enya tune to a classic like “Danny Boy."

“Every Irish person has grown up with music in their house,” said McFadden by phone from a recent tour stop in Nashville, Tenn. “My mom is one of 11 children and my dad is one of 14 so there are hundreds of us in our immediate family. We were always having parties and without fail there was always music. At some point the guitars would come out and there would be singing. The music is really kept alive because we all keep singing these songs,” she added of Ireland’s rich musical heritage. “My great- great grandparents were probably singing these songs. It’s lovely to have those passed down.”

A native Dubliner, McFadden made her performing debut at the age of 11, playing the role of Annie in the classic musical. The entertainer’s theater background will serve her well in Celtic Woman. More Broadway event than traditional concert, the ensemble’s performances are typically highly theatrical, lavish affairs.

“Visually it is beautiful,” said McFadden of the group’s current production. “The costumes are stunning and the lighting is gorgeous.”

The show will also feature a champion bagpiper, a choir, a six piece band and Irish step dancers. Given the band’s considerable commercial success, it isn’t surprising that McFadden is just a bit nervous in her new role.

“The girls have all worked so hard,” she said of her band mates. “They’ve set the bar so high and are very passionate about what they do. It’s important to come in with the same standards. I want to make them proud.”

A seasoned performer in her own right, McFadden needn’t worry too much about measuring up.

Among the other notable entries on her resume is winning the British television reality show “Grease is the Word,” which landed her the lead role of Sandy in a West End production of “Grease.” She’s been a fixture in London’s musical theatre scene ever since. Now, the singer is eager to lend her performing chops to Celtic Woman’s brand new production called “Believe.” An album and companion DVD of the same name was released in January.

 “All of the songs are about belief and hope,” said McFadden. “There’s so much negativity in the world at the moment. All you need to do is turn on the television and see the news.”

McFadden says Celtic Woman’s latest show is designed to give the audience a much needed escape.

"The world can be a hard place and we want to take people out of that for a couple of hours. At times like this, entertainment is really important. I think we need more of it.” So, how does it feel to be an ambassador of that kind of inspiration? “It’s wonderful,” McFadden said. “It’s such an amazing feeling to know you have that ability to share something so powerful.”

Hunter Hayes is Living the Dream - Virginian-Pilot Newspaper

While most 4 year olds were busy with their toys, Hunter Hayes was playing his custom made accordion on stage with Hank Williams Jr. to a crowd of 200,000 people. Before he was a teenager, the Louisiana native had released two independent albums, jammed with Johnny Cash and Charlie Daniels, and performed for President Bill Clinton.

“I don’t really think I found music, I think music found me,” said Hayes by phone from his home in Nashville. “There was never a time when I wondered what I was going to do when I grew up. I guess I started too young to know it wasn’t a typical career path.”
Along the way Hayes taught himself to play dozens of instruments, starting with a guitar given to him by actor Robert Duval. The two met when Duval was filming “The Apostle” in Hayes’ hometown of Beaux Bridge, Louisiana. After catching one of the young musician’s performances, the actor gave him a small part in the film. Fast forward to the ripe old age of 20 and Hayes has a country music radio hit with “Storm Warning,” from his eponymous major label debut. He’s also a semifinalist for the Academy of Country Music’s New Artist of the Year Award.

“When I was in middle school I would daydream and draw pictures of tour buses and now here I am living out of one,” said Hayes, who performs Thursday at the NorVa. “My happy place as a kid is where I am now.”

It’s the musician’s first headlining tour but he’s already logged plenty of miles on the odometer. Last summer, Hayes opened shows for country music superstar Taylor Swift, and it didn’t take long for him to begin winning over her fans.

“To see people singing along to your songs is amazing,” said Hayes. “That’s definitely the moment when you know you’re doing something right as a songwriter. I’ll never get used to it and I don’t want to get used to it. I want it to be that cool every time.”

After graduating from high school, Hayes moved to Nashville and got his first Music City gig as a songwriter, helping pen several tracks with country hit makers, Rascal Flatts.
“It was and still is a little trippy for me that I got to work with such heroes,” Hayes said. “I remember when I bought their “Me and My Gang” CD, I would just crank it up. There were certain songs that meant a lot to me and that I could really relate to.”

Making that kind of connection is something Hayes aspires to.

“It’s always been my goal to have a record that somebody can put in their CD player and say yeah, that’s me, that’s my song,” he said. “Music is a very powerful thing. Just think of how quickly your day can change if the right song comes on the radio. I want for someone to relate to my songs enough for one to really mean something to them.”

 If sales figures are any indication, Hunter Hayes has indeed struck a chord. His current CD has remained on Billboard Magazine’s country music chart since its release last fall, peaking at number 7.
The musician wrote or co-wrote every track on the album, played every instrument and even did all of his own backing vocals. So is it fair to ask Hayes if he might have a few… issues?

“I know, right? I’m a total control freak that’s what it sounds like,” he said with a laugh. “Artistically, yes, I’m willing to admit there are some things I want to be in control of. I want to do everything in my power to make sure my music translates to who I am. There are some records that you can listen to and you feel like you know that person. You’re not feeling like you’re listening to a group of songs that a team of people picked out. At the end of the day if I’m not myself, than I’m wasting everybody’s time and I’m wasting my own time.”

Despite his already impressive list of achievements, Hayes isn’t shy about admitting he has even greater plans for the future.

“I’ve got crazy big dreams,” he revealed. “I want to get to the point where I’m headlining arenas. It’s a little weird for me to say I have some of these goals because it’s like, that’s a little out of reach you know? But I think you should believe in your dreams and believe in yourself. Dream as crazy as you want to.”

A fresh breath of Fillmore - Howard County Times/Baltimore Sun

Music fans and local paparazzi will be out in full force next week when a bona fide superstar joins well-wishers in throwing open the doors of the country’s latest Fillmore Music Hall, just down the road a ways in nearby Silver Spring.

On opening night, everybody is going to get a chance to walk the red carpet and be treated like a VIP,” says Stephanie Steele, General Manager of one of the region’s newest entertainment spots.

 The sixth U.S club to boast the iconic Fillmore moniker, the new venue is a descendent of the original San Francisco nightclub that became the epicenter of 1960’s counterculture. It helped launch the legendary careers of Jimi Hendrix, The Doors and Janis Joplin, among others.

The Maryland concert lineup opens with nine time Grammy Award winner, Mary J. Blige.

“It’s going to be a very memorable night,” Steele predicts. “Being able to see a performer like Mary J. Blige in such an intimate environment is kind of a once in a lifetime opportunity for a lot of people. It’s really classy of her to help us kick this venue off and welcome people in.”

Dubbed the “Queen of Hip-Hop Soul,” Mary J. Blige is a rags to riches story straight out of a Hollywood movie script. Raised in a New York City housing project, abandoned by her father at the age of 8, Blige was a high school drop-out seemingly headed for a rather unremarkable life until a recording she made at a shopping mall karaoke studio landed in the hands of an executive at Uptown Records. One of the label’s employees, a young Sean “Puffy” Combs, was particularly impressed and took Blige under his wing, producing her 1992 multi-platinum selling debut CD “What’s the 411.”

The singer has since released a string of Top Ten releases. She’s won Grammys in the Pop, R&B, Gospel and Rap categories and has collaborated on hit songs with such artists as U2, Elton John and Jay-Z. The singer, now 40, will release her 11th CD, “My Life II, The Story Continues,” two days before her sold out performance at The Fillmore.

So what can fans expect when they enter the brand new nightclub? According to Steele, The Fillmore will feature several dramatic design touches.

“We’ll have floor to ceiling burgundy velvet drapery covering all the interior walls and there will be crystal chandeliers hanging in the main music hall,” she describes. “It will be a very visually rich and warm environment.”

 In addition, vintage concert posters will hang over each of the club’s bars and large murals illustrating the Fillmore’s celebrated legacy will adorn the venue’s hallways. Not all of the club’s components will be traditional however. One issue Steele says management is focusing on is elevating the typical bar food menu.

 “We are developing some high end food options,” says Steele. “It will be fancy but portable.”

Steele says it is part of management’s plan to expand the hours patrons spend at the facility. “The last thing we’re going to do when a show is over is turn on the lights full blast and push everybody out the doors,” she insists. “We want to invite people to hang around so there will be food and beverage specials after each of the performances.”

The 2000 capacity, general admission venue may be state of the art, but why should Howard County residents travel to the venue when they are used to attending shows in Baltimore or perhaps, in D.C.?

For one thing, Steele suggests, it will be the ease of getting in and out.

“Traffic is going to be much easier compared to driving into a downtown metropolitan area,” she states. “We’ve got some really fantastic infrastructure built into this area with two beltway exits. We also have three county operated parking garages within just a couple of blocks from the venue,” she continues. “After seven p.m. and all day on weekends, there will be two thousand free parking spaces folks can take advantage of and they are all within walking distance.”

Construction workers and designers are working around the clock to make sure The Fillmore is ready for opening night, but Steele says the long hours are well worth the effort. “It’s not often we get the opportunity to have a brand new facility in a brand new market and we’re putting a lot of focus on making sure this starts off right. We are thrilled to be here.”

InfieldFest Raises the Stakes in Entertainment-Howard County Times

If Maryland Jockey club President Tom Chuckas has his way, this weekend’s Preakness Stakes will live up to its self-described status as The People’s Party.

“For years the Kentucky Derby has always pushed itself as a race for the upper echelon and that’s fine,” says Chuckas by phone from his office at Pimlico Race Course in Baltimore. “We believe that the Preakness has more of a wider scope. It can be for anybody in a top hat and tails to somebody that wants to come out to the Infield in blue jeans and a T-shirt.”

To that end, the country’s oldest sporting association is once again hosting the Preakness InfieldFEST, an all-day celebration leading up to the 136th running of the middle jewel in horse racing’s Triple Crown.

This year’s musical headliners include pop stars Train and Bruno Mars.

“I think we’ve outdone ourselves this year by selecting these two Grammy winners,” Chuckas says.

The festival, now in its 3rd year, is the Jockey Club’s approach to managing the infield experience, which until just a few years ago, had a rather rowdy reputation.

 "In 2009 we changed the policy in the Infield to restrict what people could bring in, specifically alcohol,” Chuckas explains. “We realized that if we were going to do that, we had to put on a show. The Preakness Infield is a rite of passage in Baltimore and we want people to have a good time but we also look for some civility and respect for their neighbors. Depending on how far back you go; there was some of that possibly lacking,” he concedes.

In addition to live music, the Preakness InfieldFEST will include a women’s pro volleyball tournament, carnival games, a variety of Maryland based food vendors, a wagering 101 tent with advisors providing guidance for those interested in making a bet on Preakness Day, and the return of the “Mug Club.” For an additional $20, festival goers can purchase a refillable beer mug.

"I haven’t been shy about saying that we do want people in the Infield to have a party,” Chuckas asserts. “But now we are trying to do that by emphasizing all the entertainment and other events we have going on.” In total, six musical acts will play over two stages on the grounds of Pimlico this Saturday.

With three top ten hits from his debut selling CD, “Doo Wops and Hooligans,” it might appear as though Bruno Mars is an overnight sensation.

In fact, the 25 year old Hawaiian is partially responsible for some of the biggest hits of the past several years. As a member of the production trio, The Smeezingtons, Mars has helped craft hits for some of today’s biggest music stars. After many years behind the scenes, the pop singer has made the jump to center stage. Mars was nominated for seven Grammys earlier this year, taking home the trophy for “Best Male Pop Vocal Performance.”

Over the course of fifteen years, Train has rolled out an impressive number of chart- topping hits. Back in 2001, you’d be hard pressed not hear their song “Drops of Jupiter,” playing on your favorite radio station. Catchy lyrics and sing-along melodies have proven to be winning formula for the Top 40 trio. Earlier this year, the band earned their third Grammy for “Best Pop-Performance by a Duo or Group,” for their hit song, “Hey Soul Sister,” from their newest CD, “Save Me San Francisco.”
  
Maryland based rock band, Hotspur, will kick off the main stage entertainment. The quintet recently released their second CD, “You Should Know Better by Now,” and last year was named the grand prize winners of a nationwide search of the country’s top unsigned bands.

“We’re very excited to say the least,” says the group’s lead singer Joe Mach of playing at Pimlico.

 “I think we’ve been around the area long enough that people may have heard about us but haven’t had a chance to see us yet,” he continues by phone from his home in Beltsville, Maryland.

“InfieldFEST is giving us a chance to get out there and play in front of a lot of people."

Hotspur formed while undergraduates at the University of Maryland. With their catchy blend of pop-rock, the band seems well poised to move beyond local band status.

“If the right opportunity comes along we would definitely jump at the chance,” says Mach of Hotspur’s ambition to sign a major label record deal. “We’re making pop music; music for the masses, and the bottom line is you do need a bigger vehicle to get you to that next level,” he acknowledges. “We are at a stage where we definitely have accomplished a lot, but you do reach a point where you need a label or some financial backing to make the jump to radio or to be fully able to hit the mainstream.”

 So far the band has hit all the right notes. Their songs have made the playlist of Baltimore radio station 98 Rock, and three of their videos have been featured on mtvU, an offshoot channel of MTV, targeted to college age viewers.

"It’s one thing to have your video on You Tube but when you’re casually watching TV and a Hotspur video comes on right after Kanye West; that’s pretty exciting.” Mach confesses.

Hotspur are regular favorites at such local venues as Washington’s 9:30 Club, and Baltimore’s Ram’s Head Live. In 2007, the band played Merriweather Post Pavilion as part of alternative rocks’ Warped tour. “Talk about a highlight,” says Mach of playing the venerable Columbia concert spot.

“That was one of our first really big performances. I pride myself on never really getting nervous but that was a time when I thought, what am I getting myself into? I’m on the Jumbotron at Merriweather!”

A second stage at InfieldFEST will feature several additional musical acts including Virginia native, Phil Vassar. The country music singer has released six albums and has recorded five hit singles. He’s also an award winning songwriter, having composed number one songs for such country superstars as Alan Jackson and Tim McGraw.

Alternative rockers, Puddle of Mudd released their triple platinum selling debut in 2001. Four tunes from the CD went to number one on Billboard magazine’s mainstream rock chart including “Blurry,” the most played radio song of 2002. Led by charismatic front man Wesley Scantlin, Puddle of Mudd’s most recent release is 2010’s greatest hits collection, “ICON.”

Based out of Philadelphia, cover rock band Mr. Greengenes, are perennial favorites on the Mid Atlantic club scene. Over the past decade, the quintet has made regular appearances at summertime nightspots in Ocean City and Rehoboth Beach.

The Preakness is the largest single day sporting event in the state of Maryland and organizers say 30 thousand people attended last year’s InfieldFEST. Tom Chuckas says he’s hopeful that number can be topped.

"I think you’d be hard pressed to find this kind of entertainment for the price,” he contends. “We’ve really tried to create a fantastic day.”

KIX Feature- Baltimore Messenger, Columbia Flier

Steve Whiteman knew the end was coming. Gone were the days of traveling in limos and playing arenas. That much was evident when his band KIX walked off the stage after a less than crowded nightclub gig in Frederick, Maryland.

“I’ll never forget it,” says the band’s lead singer of the night in 1995 when KIX decided to pull the plug on their eighteen year career. “It was inevitable,” he says by phone from his home in Hagerstown. “It was obvious that our whole scene of music wasn’t happening anymore. The clubs were getting smaller and they were paying less money.”

Just a few short years following the release of a platinum selling album, it was clear to KIX that the musical climate had shifted dramatically. Thanks to bands like Nirvana and Pearl Jam; party hearty hard rock was out, and grunge was in.

“When all those bands came out, it sounded raw and new,” says Whiteman. “People were like, this is different and cool. That’s why we got flushed. There was a new party in town and we weren’t invited.”

Rather than bemoan the winds of change, KIX called it quits but not necessarily for good.

“We said, let’s just go away and if this music ever comes back, maybe we’ll pick it back up one day.”
It may have been wishful thinking at the time, but has since become reality. Eighties era rock and roll is making a comeback, and bands like Baltimore’s own KIX are leading the charge. “It’s amazing,” says Whiteman of the resurgence.“Why and where it came from I don’t know, but it’s reinvigorated us all.”

On Friday, fans can catch up with KIX when the band headlines the M3 Rock Festival kick off concert at Merriweather Post Pavilion in Columbia. Now in its third year, the event is a throwback to the days when big hair, spandex and headbanging at Hammerjack’s was King. It’s been such a success that promoters have added a second day.

KIX is arguably one of the biggest bands to come out of the Baltimore music scene. Formed in Hagerstown Maryland, the band was a big hit in Charm City in the eighties, and was practically the house band at one of the era’s most popular nightspots.

“The old Hammerjacks was in a class of its own,” says Whiteman, now 54. “It was renown on the entire East Coast.”

The buzz surrounding KIX soon grew, and they were signed to a major label record deal. Their self-titled 1981 debut is one of three KIX albums to make the top 50 in rock critic Chuck Eddy’s book, “Stairway to Hell: The 500 Best Heavy Metal Albums in the Universe.” By 1988, KIX were touring with the likes of AC/DC and Aerosmith. Their videos were in heavy rotation on MTV and their power ballad “Don’t Close Your Eyes,” from their fourth album “Blow My Fuse,” was a hit; peaking at number 11 on the Billboard Hot 100.

The good times would not last.

By the time KIX released their fifth album, the band’s popularity plummeted with the arrival of a new sound coming from Seattle. The so called hair metal era was coming to a close.

“We unfortunately got lumped in with the hair bands,” says Whiteman. “We just kind of got put into that category. You couldn’t escape it at the time. Everyone was jumping on the bandwagon. So many bands just copied other bands. Everybody looked alike and sounded alike. It got to be so formulated. I really feel like that was the demise of the music that we were trying to do.”

The KIX 2.0 reboot happened in 2004 with a series of reunion shows. Whiteman was joined by original members, guitarists Ronnie Younkins, and Brian Forsythe, drummer Jimmy Chalfant, and new bassist Mark Schenker. Their appearance at the inaugural M3 Rock Festival was a huge hit with the hometown crowd.

“People stood up as soon as we hit the stage and they never sat down the entire time,” Whiteman says. “It was their way of saying; we appreciate your body of work and for entertaining us for all of these years.”

So now that the band is back in the public eye, will a new KIX album follow?

“One step at a time,” says Whiteman. “I see other bands trying to come out with stuff because they don’t want to ride on their history, but that’s what made them and we know that. We just want to give the fans what they want. I’ve got to tip my hat to them for all of the support they’ve given us over the years. It’s humbling and flattering at the same time.”