Atlantic Fadeout

Show recap: KC Uncovered III - Shine A Light

Throughout the first day of the winter solstice, the streets of Kansas City glazed over with ice and various events around town were canceled. While much of Westport and surrounding areas were relatively desolate, a healthy-sized crowd gathered at the recordBar to pay tribute to the music, the work, and the life of Abigail Henderson.
It’s one thing to cover the music of a musician whose work you respect. It’s another thing to cover the music of a musician you know personally whose work you respect. It’s yet another thing to cover the music of a musician whose work and life was esteemed by every person in the room, from those who knew her best to others who had possibly not even met her. Though this was quite the challenge for each musician who took the stage, each one honored Henderson’s music in his or her own way.
The audience was somewhat subdued when The Clementines stepped up to the stage, perhaps fully beginning to grasp the fact that they would be hearing these songs live for the first time since Henderson’s passing. But as soon as the first note of “Gods, Guns, and Glory” (an early Gaslights tune) kicked in, a collective smile swept over the room. Throughout the band’s five-song set, Nicole Springer captured everyone’s attention with a vocal inflection and country twang very akin to Henderson’s. Her charismatic control over Tiny Horse’s “Ghost” and confident command over “Last Dollar” (The Gaslights) was reminiscent of Henderson’s range.
Katie Gilchrist picked up right where Springer left off, evoking the late singer’s grit and tenacious attitude with “15 Hands” (The Gaslights). Vi Tran Band interpreted some of these songs in a different way, with slightly different arrangements to highlight Gilchrist’s voice or to emphasize the weight of the words Henderson wrote—for instance, the band performed acoustic versions of “One Trick Pony” (Tran on lead vocals) and closed out the set with “Galveston” (Gilchrist on lead vocals). On Atlantic Fadeout’s “Better Run of Bad Luck,” Gilchrist channeled the brazenness of her friend, providing one of the many musical highlights of the evening.
Where the previous two frontwomen amazingly called upon Henderson’s voice with their similar vocal deliveries, the remaining acts put a different spin on the music. Power trio Not A Planet injected its own melodic, punctuated rock ‘n roll style into songs of a more country/Americana nature. Nathan Corsi proved that his own vocal pipes could stand up to the fiery deliveries of Springer and Gilchrist through Gaslights’ tunes like “Red Dirt” and “Wicked Love.” The band reinterpreted Tiny Horse’s “Ride” with a boldness that emphasized the story of the song and a delicateness that honored the song’s memory.
Next up was The Oil Lamps, a supergroup of Henderson's friends and former bandmates with featured guests. The main band included the event's co-founder Bill Sundahl, Mike Alexander, John Velghe, and Mike Meyers. Howard Iceberg appeared on guest vocals for "Lines and Wires," (The Gaslights) delivering his own punk rock resolve to the tune. Amy Farrand, who was the drummer for Atlantic Fadeout, stepped into the forefront to sing the band’s tunes “Blood and Bone” and “Break Your Heart.”

But one of the most compelling performances of the night was the band's performance of "On the Market," featuring Steve Tulipana on vocals. This was a Gaslights tune that Henderson sang in a quieter, more melancholy register than most of the band's work, perhaps more reminiscent of her vocal work in Tiny Horse. Tulipana turned this into a heart-clenching tribute, channeling the intensity of Tom Waits and Joe Cocker, each word calculated and phrased to drop like an atom bomb. 
Finally, Sister Mary Rotten Crotch (pictured above) took the stage, a perfect choice to end a cathartic evening. The tears that had been shed throughout the night ceased when Liz Spillman Nord started spitting lyrics from old Gaslights’ tunes. Her fierce punk vocals turned up to eleven put a completely different spin on Henderson’s music, but kept in step with the late singer’s intrepid spirit. By the end of the evening, the tight-knit crowd was at the edge of the stage pumping fists and singing along with the band on tunes like “Sundays and Interstates” and “Old Blue Love.” The night ended on a high, celebratory note, preserving the memory and honor of an individual that helped bring the Kansas City music community closer.
—Michelle Bacon

Michelle is editor of The Deli Magazine - Kansas City, and also plays drums Drew Black & Dirty Electric and bass in Dolls on Fire and The Philistines. #shinealight #voteformmf 
Saturday’s show also kicked off the beginning of the voting period for Boulevard Brewing Company’s 10% of KC campaign. The campaign continues through December 31 and includes three area charities—one being Midwest Music Foundation. Visit to vote for one of the charities, once per day, per IP address.


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Apocalypse Meow 6 Preview: Chris Meck and The Guilty Birds

(Photos by Todd Zimmer)
Chris Meck is a mild-mannered, often soft-spoken man. Like his wife Abigail Henderson, he’s the type of person you instantly feel comfortable around, but in very different ways from her.
From a musical standpoint, Henderson was the bold frontwoman whose voice and presence commanded every room she performed in. She also lived with a ferocity that kept her strong through a five-year battle with breast cancer, taking the stage (at Knuckleheads) for the last time with Tiny Horse only weeks before her passing in late August (Read here for an interview with Henderson right before last year’s Apocalypse Meow to find out more about her).
On the other hand, Meck’s musicianship has typically been defined by its tastefulness. Though he plays with a finesse and texture that few other guitarists are able to pull off, he exudes a high volume of emotion and heart through each note. Likewise, he has been the perfect complement to Henderson’s big brazen personality and even larger heart. The two of them started Midwest Music Foundation five years ago, after Henderson was diagnosed with cancer. Apocalypse Meow was the name of the benefit originally held in her honor, and they helped provide the resources and manpower for it to continue as a benefit for musicians' health care for many years.
This will be Meow’s sixth year, and it’s expected to be the biggest one yet. Days before his wife passed, Meck decided he still wanted to play this show, as it had been a tradition since Henderson's benefit for the two of them to play the first night of Meow (they were unable to in 2011 due to Henderson’s illness). He had no idea what this project would eventually become, but he knew that it should happen.
“It’s not Tiny Horse, won’t even try to be,” said drummer Matt Richey. “Chris has his own approach to writing, especially now that he's taking on the role of frontperson; he's experimenting a lot too.”
Meck’s project The Guilty Birds will make its debut at The Midwestern Musical Co. for Apocalypse Meow 6 on Friday. It will be his first time as a frontman and primary songwriter of a band, both duties that Henderson assumed in all of their previous projects, which included Trouble Junction, The Gaslights, Atlantic Fadeout, and Tiny Horse.
“I stopped writing songs about 15 years ago. My tastes exceeded my grasp, so I decided I was probably a better guitar player and became a side man. I was playing with all these people that were prolific and I didn’t need to write,” he explained. “In our bands, Abby would usually bring in what she would call the bones. Basic musical changes, lyrics, melody. I would do the arranging. That’s kind of what I’m doing now, with the roles switched.”
Richey and Zach Phillips provided the rhythmic backbone of Tiny Horse since it was realized as a full band (Cody Wyoming also rounded out the five-piece), and remain with Meck in this new venture. “His writing is sharp and we're really making an effort to keep the focus on the songs, not overplaying as many trios tend to do,” stated Richey. “At its heart it’s still pretty straightforward rock ‘n roll, but there are elements of soul and country. It’s pretty high-energy as well. The more he continues to write, the more it will change.”
But Meck seems slightly concerned to be at the forefront. “I’m terrified,” he remarked. “But I’ve always heard... if something scares you, you should probably do it.”
He explained that he barely touched a guitar for about a month after his wife passed away. "She was the most prolific songwriter I knew. We played together for 10 years, just a couple months after we started seeing each other.” Not long before she passed, the two of them discussed her songwriting process. "Abby used to say, ‘ass in seat.’ Even when we were on tour, she would always be up early sitting in the corner of our hotel room with a guitar. So I sit down every morning with a notebook and fill it with drivel, waiting for something good to come out."
On Friday, The Guilty Birds will execute Meck's newly exercised songwriting process, debuting four original songs, along with a few covers. This year’s Meow will be notably different with Henderson’s absence, even more so while three-fifths of her band performs for the first time without her. "There will be a lot of nerves and it's likely to be quite emotional," said Richey. "I have no idea what to expect it to feel like, but I'll be up there with good people who I have a great deal of respect for and surrounded by a lot of friends. That's what matters the most.”
With Meck at the helm, it’s certain that he will take a divergent path from Henderson’s style of songwriting, but it will be handled with the same delicate sense of care and earnestness. “I don’t know if the end result is gonna be good or not, but I'm enjoying the process. It’s a new adventure for sure."
--Michelle Bacon
Michelle is editor of The Deli Magazine - Kansas City, and also plays drums Drew Black & Dirty Electric and bass in Dolls on Fire and The Philistines. Chris Meck is her all-time favorite tall guy (take that, Abe Lincoln) and has one of a very select few hug passes.
To find out more about MMF, visit Find out more about Abby's Fund for musicians' health care also. Be sure to join Chris and The Guilty Birds at Midwestern Musical Co. on Friday, November 1 at 8 pm along with The Silver Maggies. It's a free, all-ages show, donations welcome. Head to the big event on Saturday night at Knuckleheads. Visit for a full lineup and schedule. Ticket link. Facebook event page.

Tiny Horse "Ride" from Jetpack Pictures on Vimeo.

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In Memoriam: Abigail Henderson, 1977-2013

(Photos by Todd Zimmer)

Music is an art. It’s something that needs to be tended, and the people who make it need to be cared for… The currency to building a city is investing in its artists.” —Abigail Henderson

The Kansas City music community has suffered an irreplaceable loss today with the passing of Abigail Henderson, who fought a long, courageous battle with cancer. With her husband Chris Meck, Abby co-founded Midwest Music Foundation when she was diagnosed in 2008, with the goal of providing health care assistance to musicians. Since then, MMF has given a number of grants to musicians with health emergencies. Apocalypse Meow, which began as a benefit for Abby, now benefits the musicians' emergency health care fund and will reach its sixth year in November.
With the conviction that musical talent from the Midwest rivaled that of anywhere else in the nation, she also helped create MidCoast Takeover, a regional music showcase at SXSW that reached its fourth and most successful year this past spring. The Deli named MidCoast one of the best unofficial showcases of 2012, and approached MMF to head up a Kansas City chapter. Thus, The Deli Magazine—Kansas City was born and thrives with Abby's goals in mind: to promote local music, foster talent, and provide a sense of community and inclusion among those who have a hand in KC music.
Abby was also frontwoman and songwriter of Tiny Horse, which began as a duo with Chris Meck and was eventually realized as five-piece band (link to video below). She was also in notable bands including Atlantic FadeoutThe Gaslights, and Trouble Junction.
I had the distinct honor and pleasure of interviewing Abby for The Deli KC last fall in preparation for Apocalypse Meow 5. If you want to know more about this amazing woman and read her words (because mine simply cannot do them justice), please click this link. And as a fellow musician/MMF staffer/friend, I want to personally thank Abby for her steadfast spirit, support, inspiration, beautiful stories and songs, friendship, and the wonderful people she's helped bring together as a result of all those things. And I'm certain that I'm one of a multitude of individuals that share this sentiment.
To commemorate Abby, please take a moment to find out more about MMF and its mission by clicking on the image below. Donations are always appreciated and will continue to benefit the musicians' emergency health care fund.

Thank you, Abby, for the effect you've had and will continue to have on the music community here. Kansas City has undeniably become a brighter, more vibrant place with you in it.

Tiny Horse "Ride" from Jetpack Pictures on Vimeo.


--Michelle Bacon


On The Beat with Amy Farrand

We have drummer, bassist, solo artist, emcee, reverend, and jack of all trades Amy Farrand in the hot seat this week. She tells us about her longstanding drumming career in this city, along with her penchant for toy drum kits. Catch the beat right here!

On The Beat is typically brought to you by Sergio Moreno, but has been overtaken this week by drummer and The Deli - Kansas City editor-in-chief Michelle Bacon. This weekly interview features some of the many talented drummers in the area.

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On The Beat with Amy Farrand




On The Beat with Amy Farrand


If you're involved in Kansas City music, chances are you've heard of Amy Farrand, be it through her work as a drummer in Sister Mary Rotten Crotch, Atlantic Fadeout, or Whiskey Boots; her work as a bassist in American Catastrophe; her career as a solo artist (she recently took home the Pitch Music Award for Best Female Singer-Songwriter); and any other number of things. Fortunately, we were able to pry her away from her busy schedule to talk drums with us for a bit.

The Deli: You've been a mainstay in the music community in KC for several years. Did you start out playing drums?

Amy Farrand: Drums were my first instrument. I started playing them when I was 7 years old. I'm sure it was pretty awful to listen to then.

The Deli: So, how did the drums find you?

Amy: Music in general found me. I was the little kiddo who would run up to any instrument I saw and put my hands on it, despite the "No! Don't touch that!" I would usually hear. It would never stop me, and in most cases I would have to be physically removed from the instrument. I wanted to play everything. I asked for drums, and I used to tap and beat on things, so I was given a toy Muppets drum kit. I beat it to shreds, so it was time for a real set. I still play that kit to this day.

The Deli: Besides the Muppet kit, tell us about the kits you currently use. I especially want to know about the toy drum kit you busted out at a Weirdo Wednesday a few months back.

Amy: The kit I play now is the one I got when I was a little girl. Early '70s Slingerlands. It is a rare, copper-plated 7-piece kit. I believe they were only made for a very brief period. I play it as a 4-piece. I use the second rack tom instead the first, because I like a bigger, deeper sound. I also converted a mid-60s marching snare (15 x 12). I had to mount floor tom legs on it as it was too tall for my snare stands. When I started playing with Sister Mary Rotten Crotch I covered them with red plaid. I decided to leave them like that after I left the band.

As for the toy kit, it's just a crappy thing I bought at a megamart. My old roomie had one too. We would put them together for toy drum double kick badassery. Yes! They actually sounded really good recorded. Who knew?

The Deli: What have you learned about your approach to drumming through all the different bands you've played drums in?

Amy: I have learned that my style is pretty unorthodox, and it is an adjustment for some to get used to, so I'm told. I'm predominantly self-taught, except for my brief stint in Africa. I'm sure that has a tiny little bit to do with it. Ahem.

The Deli: You mentioned that you're starting a new project. What can you tell us about that?

Amy: It's still under wraps right now. Baby stages. I will say that I'm playing drums with Heather Lofflin, who I played with in Whiskey Boots, and two other people. No further comment.

The Deli: Obligatory question: favorite drummers?

Amy: John Bonham, Rob Ellis (PJ Harvey), Phil Puleo (Swans, Cop Shoot Cop), Bill Ward (Black Sabbath). There are many more, but these were the first that sprang to mind..

The Deli: You're not only a drummer; you play bass, guitar, you're a solo performer, an emcee, an artist, a host, and you probably do a lot of other things I don't even know. Is there anything Amy Farrand can't do?

Amy: I am a crappy bowler, and I'm horrible at Battleship.

The Deli: You mentioned to me once that when you were starting out, there weren't a whole lot of female musicians in town, so they weren't taken seriously. Do you think that's changing now?

Amy: I took a lot of crap when I was starting out. A lot. "Pretty good for a girl," or, "I didn't think girls could play drums." That kind of bullshit attitude. I would be setting up on stage and hear things like, "Oh, a chick drummer. This band is gonna suck." All it did was encourage me.

I remember once Sister Mary was playing a huge street punk fest at El Torreon. There were bands from all over the country and the UK. By the second or third song in our set I noticed a pack of guys standing off to the side of the stage with their arms crossed, just staring at me. They were watching everything I did. I later found out that all of them were drummers in other bands. None of them said a word to me after our set. Later, one of the guys came up and asked me about something I was playing. He was the drummer for Beerzone from the UK. I took him into a practice space and gave him a lesson before his band took the stage. Ha! He was a pretty nice guy. I was 15 years old when I played in my first band. That was 23 years ago. Thankfully a lot has changed since then. It has been quite some time since anyone told me I was pretty good for a girl.

The Deli: If we ever form that lady percussion circle, would you rather play triangle, toy drums, or other? 

Amy: I will play junk and toys. I don't even own a triangle.

Amy hosts the Weirdo Wednesday Supper Club each week at Davey's Uptown from 7 to 9 pm. It's fun and it's free! She'll also be performing on Friday, September 7 at the Slap 'n' Tickle Gallery. We look forward to having her as one of the featured artists in The Deli KC's first music showcase on Friday, November 9. Details to come. 

--Michelle Bacon

Michelle is editor-in-chief of The Deli - Kansas City. She also has a weekly column with The Kansas City Star and reviews music for Ink. She plays with Deco AutoDrew Black and Dirty Electric, and Dolls on Fire. If you ever joke or attempt to taunt her with an eight-legged creature, she will hate you forever and that's no lie.

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Amy Farrand

Photo by Michael Forester

Photo by Michael Forester