Review: “The Wake” – four Indianapolis American rock bands turn it up

Dubbed “The Wake,” the four-band bill at The Earth House in downtown Indianapolis on Friday night was a well-paced night of throwback Midwestern heartland rock, updated for the times. Held in an old church (with the gospel influence that brings) is most certainly a good thing in rock and roll.

All four bands were almost entirely Indy-based. The Weakenders, with only a guitar player not from Indy (he was the from-the-gut guitar-playing, long-haired Nashville cat) were the final band of the night, and brought home the two-guitar rock and roll turned-up-to-11 noise.

The Dead Hearts showed the promise and original music that warrants following the Tom Petty/Bryan Adams/Springsteen vibe they throw off when they play. Attakula was a surprisingly diverse and mature roots rock version of Arcade Fire. And Henry French and The Shameless worked as a three-piece; French wrangled rock and roll grit and beauty out of his Telecaster guitar and was helped along by the cranked-up drums.

The show was a model of efficiency, moving from one band into the next in about 15 minutes each; it roared to a start with French, whose sound channeled a rocked-up version of Son Volt. They tore through just over 45 minutes of originals. French, who has said he is taking a break from the band and music for a while, was most effective when taking a song’s energy, and twisting it higher as the song roared. A neo-Bo Diddley beat, and Henry stomping his right foot while facing the drummer during the last song of the set, was goose bump-inducing.

Attakula, six-piece band of nuanced roots rock, revealed themselves as a contender for best local talent working in the Americana genre. They can come with twin guitar attack, or bring on a mandolin to replace the Gibson Les Paul. A full, intricate sound and Petty blues mixed with The Band country-rock moments were highlights.

With “Not What I Wanted to Say” coming early in their set, The Dead Hearts brought the most accessible songs of the evening. They, as all the bands did at some point in their set. worked moments of beauty mixed with barbed wire electricity, By the time they reached “Bad For You” at the end of the 50-minute set, singer Brandon Perry had found sweet spot of chunky rhythm guitar with Brian Gropp’s gospel-tinged Hammond B3-like keyboards. The band is only one year old, and they’re still growing in confidence. If they find a way to let loose a bit more during performances while continuing to write, I like their future,

The most polished, and also pleasingly Shooter Jennings-like rugged, of the groups was the Nashville-based The Weakenders. Three of the four members are from Indy, and have recently moved to Tennessee. Guitarist Eli Chastain led them through “Sink or Swim,” echoing a Neil Young rawness; the two hard-strummed guitars worked together with slamming drums to show off the band’s efforts to take their musical game up a step by moving to Music City. Their effective harmonies and a nicely rehearsed set closed the show, using high-energy rock and roll with country-via-“Exile on Main Street” touches to pull the crowd in.

Were there things to that could have been better? There were moments with each band when lyrics needed to be sold harder, as they stopped being words and blended into melody. I would have loved a cover tune from each band; sometimes I need one, even on a night of originals. And the crowd of a 100 or so felt large enough to make it seem like the night was appreciated, but they did hang back until The Weakenders took the stage.

In reality, these are minor qualms with a show that was meant to refute the notion that American rock and roll is scarce — or dying — in Indianapolis.

As Brian Gropp of the Dead Hearts told me between sets during the show “American rock is out there” — at house parties and in basements; it’s just harder to find.” For one night, it seemed lost no more, and instead found in an old church in downtown Indianapolis.

And it may be in the hands of these four – and the others who mine the same sound — to keep playing, elevating their on-stage energy, and continuing to honor their true voice. We know it is rarely a one night or one week or one month endeavor to get anywhere worthwhile in life, professionally or otherwise.

It’s up to one band to make themselves heard with American rock in Indy. If any one of these bands, or others who were not at this show, takes their musical game to the next level — in popularity and with creativity — then others could follow. This was a good step in the process. What’s next?


Concert Preview: “The Wake” – Four Indianapolis American rock and roll bands ready for Earth House

Can American rock and roll survive in Indianapolis?  And if it is going to, where in Indianapolis can it be found?  And what happens when four bands, all who embrace the retro-yet-authentic sound of American rock, struggle to get booked into an Indianapolis club?

On May 18, the stage on the Earth House in downtown Indianapolis will be shared by four Indianapolis American rock bands, doing their part to make Telecaster guitars ring loud in our city, just as Roadmaster, Henry Lee Summer, Mere Mortals and many others did in the 70’s and 80’s.

Dubbed “The Wake: A Showcase of American Rock ‘n Roll” (i.e. if rock is dead, let’s have a freakin’ party), The Dead Hearts, The Weakenders, Attakulla, and Henry French & the Shameless bring three-chord rock and roll noise to the old church.

Yet to hear The Dead Hearts keyboardist Brian Gropp explain it, there seemed to be little love for the Tom Petty-esque rock the band embrace.

“At the end of February, Eli (Chastain) from the Weakenders contacted me looking to get a show going in Indy,” he says.   “A couple days later, I get an email from Greg Osborne from Attakulla.  Our name happened to be dropped to him.  I’m thinking the more the merrier. After listening to both bands, and knowing how good Henry French is, I thought this is one heck of a lineup,” Gropp says.

So they started looking for a venue.

“There was not a medium-sized club within I-465 that gave us the time of day.  We went after a few of our favorite clubs from multiple angles and were repeatedly ignored,” Gropp admits. “We started to get a little frustrated.  Nobody wanted this show.”

Eli emailed Gropp about renting a DIY venue or having a house party.  At the end of his email he said, “Is rock and roll dead dudes? Say it aint so!’

“We finally got a bite at The Earth House. After we worked out the details, we realized that we have to show that independent local rock and roll is very much alive in Indianapolis.”

French had the idea for the show’s theme.

“Since we kind of got snubbed by everyone, I consider this a call to action to an extent,” he wrote in the original email to the bands.  “Time to prove that rock and roll still has a crowd in Indy.”

It was his suggestion to build a title and theme for the show that’s on all the posters, website and handbills that proclaim “rock and roll ain’t dead.”

They found a media partner in the Back Roads Radio Show.  They emailed, and it intrigued me; one show, four American rock bands in Indy, and the struggle to do it.


The Dead Hearts

What the hell is American rock and roll anyway?

Do the Black Keys fit the description?  How about less-mainstream bands like the Bottle Rockets and Deer Tick?  Or Kid Rock, with his penchant for emulating his idol, Bob Seger?  Or is it the domain now of country performers like Miranda Lambert and Eric Church?

I’d wager it is somewhere in the influences of these artists, and standard bearers like Wilco, John Fogerty’s CCR, Tom Petty, and the sound of Seger and Mellencamp – who loves that sound more than Indy, right?

“Our opinion on it is kind of like this; our favorite bands wrote classic songs,” Chastain, the guitarist in The Weakenders, says. “To us, stuff like What’s the Story Morning Glory? or Damn the Torpedoes are always going be on iPods or in playlists or on radio for a reason; they’re full of absolutely undeniable jams. We are aiming for that kind of territory.”

Longtime Indiana guitar player John Byrne has been plying his trade for two decades as a go-to sideman in bands like Mere Mortals, Danny Flanigan and the Rain Chorus (who he is joining for their own show the same night at another Indy club  / Locals Only – 9pm), with Jess Richmond, 8-Track All-Stars and many others, most variations on a sound that used to be called heartland rock.

“It’s a tricky business trying to define or quantify something as broad and subjective as American rock,” Byrne says. “Neil Young said it best, I think, when he said ‘once you talk about mystique, you have none,’ but I definitely think that it has some essential, defining characteristics.

“For me – who basically grew up trying to be the kid that Patrick Fugit plays in the seminal rock movie “Almost Famous”, – the best, most effective American rock and roll had to have at least some self-awareness of what it was trying to deconstruct.

The Weakenders

Gropp echoes the sentiments of Byrne.

“(It’s) always a slippery slope when you start to define a genre.  We have some obvious influences.  All four Dead Hearts have a mutual enamoring of Tom Petty and The Heartbreakers.  I am biased being the keyboard player, but I love a band with driving organ and keys (and) love the E Street band so much.”

“If pressed to pick a single band that has become the most succinct standard-bearer for American rock in our current era,” continues Byrne, “I’d have to say Wilco because they quite literally took up the mantle of “Americana”, that somewhat self-congratulatory sub-genre that did its best to keep burning the twangy troubadour flame of vintage Neil Young, Gram Parsons, (and) Townes Van Zandt, and infused it with the intensity of the Stooges and the weariness of Steve Earle while rocking like a hurricane.”

With regional and national rock acts playing shows at the Vogue (upcoming dates include the Bodeans, Otis Gibbs and Dawes), Birdy’s (Paul Thorn has a show on June 23) and Radio Radio (two shows this month from The Lumineers), it would seem there would be a market for bands with similar sounds, on the local level.

What is trickier for most local and regional bands, is working on establishing a consistent fanbase for shows.  And to do that, it is more difficult if there is not a healthy American rock and roll scene.  Is there one in Indy?  I would argue a pair of shows from aforementioned The Lumineers, and consistent crowds for Old Crow Medicine Show, Lucinda Williams, Old 97’s and BoDeans, among others, gives the appearance of a plugged-in, web-savvy audience that knows the music and where to find the shows. Is that enough for local artists and bands of the genre?

“Rock and roll is still everywhere,” Gropp says. “In garages, basements, and house parties.  I think there are a lot of frustrated rockers wondering how to get the music elsewhere.  There are still a handful of places that will occasionally let a live rock band do their thing, but they better bring a crowd.  If not, they don’t want you back.”

“Indy just doesn’t have the same amount or type of clubs that it did 20 and 30 years ago,” Byrne admits. ”Save the occasional aberration, local music has been banished from Broad Ripple. Plenty of cool shows happen in Fountain Square, but it seems to me that the gigs that get the most notice are for bands from out of town.”

As Byrne notes, there are clubs in the strip malls that book cover bands, And he plays in those bars because, “at the end of the day, I just love playing guitar.”

Henry French

“If you want to find the essence of American rock and roll in Indianapolis any given week and you aren’t willing to settle for another heartfelt walk-through of ‘Mustang Sally,’ you have to dig pretty hard,” Byrne concludes “The good news is that there is music here, and plenty of it,  but there’s just no getting around the simple law of economics that supply doesn’t create demand.”


For the four bands playing “The Wake”, the potential success of the event becomes a lesson in hard work, and networking an audience that they, WTTS and the terrific Back Road Radio Show cultivate.  It also helps they believe deeply in the sound they are making.

The Weakenders are living in Nashville, Tenn, with three of their members are from Indianapolis.  This will be their first show back in town. They have a new record Super Major, coming out this spring.

“We’ve noticed with the band, people seem to actually mean what they say to us when they talk about our songs, or the new record or the live set or whatever it is,” Chastain says. “People seem to really think we’re on to something. That is a really good feeling.

For The Dead Hearts’ Gropp, the effort to carve a niche, or be a part of something that means a lot to not just his band, but many like-sounding and –minded others, is one reason to go forward.


“So much of what we do is promotion and trying to find a balance between keeping people interested and not annoying them. It can be really taxing and frustrating, contacting countless clubs and not getting a response  The bottom line is the music.  We love making music.  We would probably do it even if nobody was listening.”

Attakulla call their music a “revival of American garage rock wrapped in a crunchy, electrified folk sound.”  Henry French likens himself to Tom Petty, the Foo Fighters and the Replacements. I even wrote that French was a “guy has the potential to make the next great Midwest rock and roll record.”  And that The Dead Hearts were the Indianapolis’ Best New Band of 2011.

Is that enough?  Can their passion, diligence and the sound of Indiana rock and roll get an audience to a beautiful old church in downtown Indy featuring these four?

According to Gropp, music fans know where to find good shows.

“I think people want something honest, something they can interact with.  Something personal where they can say, “Oh yeah, I was there that night.  I remember when that happened.’

For all their struggles in finding the right venue, they hope the show called “The Wake” will jump start something for them.

And Indianapolis will have a place for music that we call American rock, the trusted sound has never really gone away. For bands like The Dead Hearts and the Weakenders, they simply keep pushing forward, even if it is just three chords at a time. Because, for them,  that’s the only thing they can do.


When: Friday, May 18, 2012 at 7:00 p.m
Where: The Earth House Collective, 237 N. East St., Indianapolis, IN 46204.
Tickets: $7 in advance ($10 at door) and available at

Best of 2011 – The Dead Hearts, Seger, Huey and a Hoosier guitar player

(Originally appeared in NUVO Newsweekly Year-end Wrap Up)

Here’s the question I get more than any other about bands and music: What do they sound like? And when I write about musicians and their music, I relay influences I hear without making it seem like a singer or a band is only that.

It’s also my job to figure out what might make them unique; why we should care about them. For 2011, what resonated was the wide swath of sound encompassed by roots music in Indianapolis, whether we call it Americana, alt-country, folk or simply American rock and roll.

I leaned on some of my favorite moments of the year. New music and concerts that resonated by pushing ahead while respecting what came before. That’s when roots-rock music is, at its best.

Best New Local Band: The Dead Hearts
Brandon Perry and his buddies put together a group of Indiana guys playing crunchy Midwest and Memphis rock and roll. They made the Q95 Next Big Thing contest, and have a look and sound that harkens back to power pop crossed with Fogerty. This is unapologetic, Petty rock.

Best Local Album: Tim Grimm – Wilderness Songs and Bad Man Ballads
Part compilation album, part new material, Grimm’s new album invites you in with his warm, conversational, roughly gorgeous voice. He keeps you listening because the songs richly describe the details of the characters who live there.

Lucky to See Them Here: Civil Wars at the Earth House
Huge. That is what they are. The success they have had this year, both critical and commercial, was on display on a sweaty July night when the duo poured beautiful harmonies into the old church. They played late in the year at a larger venue (the Egyptian Room), but this is the show that the fans will talk about in reverential terms in 10 years. It was a magical and memorable night of music for the soul.

Two Unexpectedly Great Live Shows: REO Speedwagon at Rib America and Huey Lewis at Clowes Hall
The Champaign, Ill., boys of REO turned Rib America into a sing-along that was propelled by a surprising classic rock energy from Kevin Cronin and his band. They pulled out some old stuff (“Son of a Poor Man”) that felt good, and celebrated the 30th anniversary of the Hi Infidelity album with multiple cuts from that smash. Great sound, great energy and one of the nicest surprises from an old rock band this year. Lewis, on the other hand, has partially reinvented his band as a Stax/Memphis soul and rock group. Mixing his hits with the soulful sound of the South, Lewis thrilled a Clowes Hall crowd, looked good and proved how you can maintain your integrity as a performer 20 years after your most recent hit song.

Guitar Player Taking it National: Thom Daugherty
Fresh from the breakup of The Elms, Daugherty has done some production work and caught on as a sideman/guitarist with the uber-hot The Band Perry. As the DVD/album “The Last Band on Earth” shows, the guitarist and his crunchy chords were a large part of the legacy of The Elms. He has taken that start and vaulted himself to a place that takes him on a cross-country trek, meeting some of his heroes and allowing him to play for more people than The Elms ever did.

Last Time Around For Two Legends: George Jones at the Murat, and Glen Campbell at the Palladium
Campbell is wrapping up his career with a tour and battling Alzheimer’s disease, while George is simply an old guy who has lived nine lives. Both revisited their hits for audiences that sensed they were watching history.

Maybe Not The Last Time: Bob Seger at Conseco Fieldhouse
His show in May was a greatest hits extravaganza, but how could it not be, with his ubiquitous radio status? He forgot the words to “Turn the Page” and laughed it off. That’s because the other two and a half hours were filled with the rock and roll soundtrack of the lives of any rock fan between the ages of 35 and 60. Seger tours without a flashy stage set up – no big screens, no lasers, no fire bombs. He just brings the band and rock and rolls like it’s 1980. God bless Bob Seger. He’s back out on the road and putting a new album together.