The Creation Of “Buzz Band”

photo by Roy Moore

"It's a long way to the top if you wanna rock 'n roll." — AC/DC

Four and a half years ago, when I first started improvising with Karen Jane DeWitt as part of Local Genius Society, one of the first things we bonded over was music.  So often one of us would mention a band – The Raveonettes, Cults, Best Coast, Father John Misty, No Doubt – and the other would say, “Hey, I love that band!”

Much of my pre-Austin life was spent immersed in music – covering shows, reviewing albums, interviewing musicians.  I’d experienced the musical world as a journalist and a fan.  But in Austin more of my time was being spent on stage, improvising stories and characters.

Looking for a new artistic project, Karen and I thought about a way to combine our shared passion for music with our love of improvised stories, and we pitched the Institution Theater on an idea for a narrative show about the lives of musicians reaching for stardom.  We wanted to explore stories about what goes on behind the scenes, after the concert, on the tour bus, in between albums – we wanted to create real characters that are living in the moment and laying it all on the line chasing a big dream.

And we wanted rock and roll.

Looking to Patti Smith’s “Just Kids,” Anthony Kiedis’s “Scar Tissue,” Chuck Klosterman’s “Fargo Rock City,” Keith Richards’s “Life,” and other rock texts as guides, we made it our aim to focus on stories with high personal stakes, moments of tenderness or triumph, and real emotion.

On top of this, we also wanted a specific kind of live music.  We weren’t looking to create a stage musical, with characters singing their feelings to one another, but rather a story, with spontaneous, improvised rock and roll.  (I love a good musical as much as the next person, but a rock concert is a different beast.)  We wanted to hear the band’s sound and see them in concert, or in the studio, or working on writing songs.  We wanted drums, percussion, electric guitar!  

We were incredibly fortunate that the Institution team saw promise in our idea and let us run with it.  And we were even luckier to be graced with the talents of a cast who can really do it all.  Not only are they generous and funny improvisers, they’re fearless musicians and genuinely kind people.    

Behind-the-scenes:  Luis Salinas and Dave Ronn

Karen and I wanted to allow for a really collaborative rehearsal process, and the cast has been imaginative, playful, and unafraid.  They’ve embodied the open-minded Yes-And attitude of improv, which, as first-time directors has been a great gift.

Behind-the-scenes: Megan Simon, Dave Ronn, and Jordan T. Maxwell

Special thanks to everyone who gave us advice, suggestions, and guidance as we’ve shaped this show – particularly Kareem Badr, Jon Bolden, John Ratliff, Asaf Ronen, Tom Booker, Sarah Marie Curry, Aden Kirschner, and our improvised storytelling idols PGraph.

Working on “Buzz Band” has been a great new adventure, and I couldn’t have asked for a more inspired and giving creative partner than Karen Jane DeWitt.  She’s got killer instincts and vital exuberance, and she’s deeply caring.  The best, man.

We are so excited to debut “Buzz Band” and unveil some improv rock stars.

It’s all happening.

“Buzz Band” at the Institution Theater

 3807 Woodbury Drive (near S. Congress and Ben White)

Fridays and Saturdays May 8 & 9, 15 & 16, 22 & 23 at 8PM

Tickets ($10):  http://www.theinstitutiontheater.com/shows/148/buzz-band

Best Songs and Albums of 2013

If 2013 boasted some fine albums and some excellent songs, compiling a “best of” list proved to be a challenge.  For every standout and pleasant surprise (Haim’s Days Are Gone, Sky Ferreira’s Night Time, My Time) there were a few releases that one would have had higher hopes for (Arcade Fire’s Reflektor, Daft Punk’s Random Access Memories).  By far the album I found myself routinely returning to was one I’d failed to discover in 2012, Lord Huron’s outstanding Lonesome Dreams.  It’s beautifully orchestrated and full of wistful tender lyrics. 

Best Album picks:

Days Are Gone – Haim

If these SoCal sisters have quickly taken the world by storm, it’s for good reason – their debut is a solid collection of accessibly catchy songs, punctuated by easy harmonizing and powerful choruses.  The album at once feels both familiar and fresh; nostalgic and hopeful for the future.  Do they live up to the hype?  They do.

IV (EP) – The 1975

Sure, this isn’t technically an album, but the five songs on this EP, released four months before their full-length album, hang together well and showcase the spunky simplicity of The 1975.  Much the EP’s charm stems from the jangly guitars and Matthew Healy’s alluring British voice.

The Bones Of What You Believe – Chvrches

The debut disc from this Scottish trio does much to hone a synth-y ‘80s vibe, but the songs really pop thanks to Lauren Mayberry’s hauntingly delicate vocals. 

Night Time, My Time – Sky Ferreira

It’s easy to shy away from this album with its creepily sordid cover art and vague pop promises, but don’t let that deter you.  Songs like “You’re Not The One,” “Boys” and “Heavy Metal Heart” should be more than enough to win you over. 

Modern Vampires Of The City – Vampire Weekend

As tempting as it is to want to dismiss Vampire Weekend, their third album doesn’t disappoint.  Here there’s a sense of evolution, and, if not maturity, certainly themes of getting older.  It suits them, and grooms some great standout tracks, including “Unbelievers” and “Step.”

Trouble Will Find Me – The National

Matt Berninger’s commanding, unmistakable voice can be as comforting as it is unsettling.  The music here stays out of too dark territory; even songs like “Demons” feel like they have an uplifting core.  High Violet may remain a superior album, but Trouble is a nice move.

Muchacho – Phosphorescent

There’s something about the sprawling, “Ring Of Fire”-referencing “Song For Zula” that instantly draws you in to Muchacho.  The song’s swelling melody is accentuated by Matthew Houck’s sometimes creaking voice, which adds a sort of rough texture to the entire alt-country-tinged album.

Heartthrob – Tegan & Sara

Stepping away from the “folk/indie” label, Tegan and Sara may have produced the best pop album of the year.  The oddball Canadian twin sisters pack this album with tight, polished three and a half minute songs about love and relationships.  You know, pop songs.   

AM – Arctic Monkeys

It’s the fifth album from these rollicking Brits and they haven’t lost any of the flamboyant ego from their early  “I Bet You Look Good On The Dancefloor” days, but they have chilled out a bit.  It’s a good thing.  There’s a dramatic risky/cool tone to the album, escalated by Alex Turner’s vocals.

Settle – Disclosure

The debut from a pair of English brothers, Settle is an unrelenting electro-dance album with a bit of a bit of a ‘90s throwback feel.  Here the synths feel modern and the lyrical styles feel retro.

Best Songs - Playlist

“Do I Wanna Know?” – Arctic Monkeys

“Closer” – Tegan and Sara

“The Mother We Share” – Chvrches

“Miracle Mile” – Cold War Kids

“Don’t Save Me” – Haim

“Unbelievers” – Vampire Weekend

“Song For Zula” – Phosphorescent

“Wings” – Haerts

“Here Comes The Night Time” – Arcade Fire

“Graceless” – The National

“Sex” – The 1975

“You’re Not The One” – Sky Ferreira

“Take My Hand” – Charli XCX

“Happy” – Robert DeLong

“Wanderlust” – The Weeknd

“Play By Play” – Autre Ne Veut

“Latch” – Disclosure

“Get Lucky” – Daft Punk

“Blurred Honky Tonk Women” (“Blurred Lines” mash-up) – MadMixMustang

“High School Lover” – Cayucas

“Two Fingers” – Jake Bugg

“Do What U Want” – Lady Gaga (feat. R. Kelly)

“Team” – Lorde

“Open” – Rhye