Concert Review: Adia Victoria at the Riot Room

I attended Adia Victoria’s show at the Riot Room last Monday on a hunch.  While I was underwhelmed by the recordings of the Nashville based artist as I researched a preview I wrote for her Kansas City debut, I suspected that I was missing something. 

My hunch paid off. 

I was one of about three dozen people in attendance for what’s certain to be one my favorite performances of 2016.  Backed by an impressive band of Nashville cats, Victoria prowled the stage like the feral grandchild of Howlin’ Wolf and Dolly Parton. 

Victoria repeatedly suggested that she was playing the blues.  Accordingly, a noisy cover of Robert Johnson’s “Me and the Devil Blues” was my favorite selection.  She was entirely credible as she insisted that she was going to “beat my man until I’m satisfied.”

I was so gobsmacked that I failed to take a decent picture.  Fortunately, Todd Zimmer documented the show with a remarkable set of photos.


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I reviewed of a new collection of 58 previously unissued Charlie Parker tracks for KCUR.

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I reviewed Brian Wilson’s concert at Muriel Kauffman Theatre.

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I reviewed a concert by Duran Duran, Chic and Tokimonsta.

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I previewed Drake’s return to Kansas City for The Kansas City Star and Ink magazine.

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I reviewed a concert by Shinedown, Halestorm and Black Stone Cherry.

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I talked up Rooftop Vigilantes on KCUR last week.

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I write weekly music previews for The Kansas City Star and Ink magazine.

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The last 132 Hastings stores have been shuttered.  I spent a significant portion of my life in Amarillo soliciting the buyers of the once-powerful chain.  By and large, my contacts at the Hastings headquarters were good folks.

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I’m all about Revocation’s Great Is Our Sin.  RIYL: Exmortus, metallic hooks, Lamb of God.

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The unfortunately named Dinosaur exemplifies the look and sound of modern jazz.  (For the record, I dig the London ensemble.)

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Many readers of There Stands the Glass are vocal advocates of Goat.  Requiem, the band’s new album, will be released in October.

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Grady Champion’s preposterously old-school ”Move Something” just might be my favorite song of 2016.  (Not kidding.)  RIYL: Marvin Sease, dance songs, Mel Waiters.

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The things I liked about Z-Ro’s purple-drenched Houston rap are largely absent on Drankin’ & Drivin’.  Z-Ro knows it.  He raps “if you don’t like my new sh*t you can go back to my old sh*t… gotta get this money, man.”  RIYL: 2Pac, the slickness, UGK.  Here's "My Money".

(Original image by There Stands the Glass.)

The Kendrick Conundrum

Where in tarnation is my album of the year?  I've found plenty to like but little to love among the hundreds of albums I've heard in 2014.  (Perhaps my lack of focus plays a role in this conundrum.)  I prefer the top seven titles in my year-end 2013 list in the column to the right to anything I've encountered during the past nine months.  Where's the stuff that turns my world upside down?  Kendrick Lamar's disappointing new song "i" sent me into panic mode.  C'mon Kanye.

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I reviewed concerts by Spoon and Living Colour.

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Here's the video for Josh Berwanger's "Enemies".

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Kenny Wheeler has died.

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George Hamilton IV, a staple of the Opry, has died.

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Highway Robbery, the new album by Freeway and the Jacka, is RIYL: J. Stalin, thug life, Messy Marv. The Real Rick Ross and Freddie Gibbs are in the video for "Cherry Pie".

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Jerry Douglas, Rob Ickes and the late Mike Auldridge sound great on The Three Bells.  RIY:: dobro, Gene Wooten, pickin' and grinnin'. 

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Goat's formula- equal parts the Doors, the Velvet Underground, Tinariwen and Toumani Diabaté- is irresistible on Commune.

(Original image by There Stands the Glass.)