Driving out to Lawrence from KC is no fun at night, especially through inclement weather. Of course, compared to what this winter has been like so far, this night was relatively mild. From Mike’s house we took I-70 West through the slushy precipitation and toll booths. Like its alternate route, K-10, I-70 is relatively straight, but it’s poorly lit and narrow. This is a nerve wracking combination with dirty freezing water covering the windshield, and is often a deterrant against treks of this nature. However, this work has become a new animus. I have made this journey many times in order to see shows that are of particular interest, and I made this one with Mike so we could split up and cover two shows. I was bound for the Jazzhaus to see Mouth and The Floozies. Mike was headed for the Granada to see Dead Man Flats.   

As I approached the Jazzhaus, I could already hear Zach ripping a solo from the street. A mural introduces the old solid wood door that leads up the stairs. The lighting, strange paint colors and creaky wood of the stairs suggest that the Jazzhaus is going for a speakeasy feel. At the top of the stairs I was greeted by a gracious bouncer who asked for a modest fee and ID. The bar is immediately to your right as you enter, and stretches out towards the back of the bar in a way that doesn’t turn its adjoining space into a corridor, but still gives the bartenders and stool perchers some elbow room. I gazed around at the walls encasing the quilt of writhing shirts and blouses. The paint scheme was bold and moodily lit. Painted Molds of female figures (minus arms legs and head) were arranged along with other modern art and the ocassional mirror around the entire bar, and Mouth had their backs to the windows occupied by silhouettes of jazz musicians facing the street. 

The place was packed with a college crowd, and they were obviously having a good time. As Mouth delivered their consistently fat grooves, some of them meandering into new territory (new opportunities to use their wicked effects toybox), their audience bounced around and hooted in appreciation. The energy increased proportionally with the number of drinks sold, and the number of drinks sold increased with the ramping energy they fueled; in short, a win-win-win situation. I would’ve loved to play to this crowd, I would love to be raking in this many drink sales as the bar owner, and I certainly enjoyed the show and overall atmosphere as a member of the audience.

I met up with Jeremy from Mouth in the green room to the left of the stage. Security to this area was generally relaxed, and though there was still some equipment flowing through the main thoroughfare of the small room, there was plenty of space on the couches on either side to hang out and relax for a little talk about the night, the Jazzhaus, and Lawrence. There were also a few friends of the bands lounging there. With a window outlooking the street and an industrial fan sucking air from the dance floor, there was a nice breeze generated to keep the air fresh. The door that separates the green room from the stage does well to keep the volume at a level where conversation is still possible.

Audio Recorded Mar 2010 © Nectar Notes

The Floozies were a trip. At first the recognition of some painfully familiar pop melodies wrinkled my nose a bit, but once that taste of irony set in and I watched the lead singer, guitarist, and synth wizard Matt Hill skillfully loop riffs and floor-thumping electronic basslines, I truly appreciated their act. The duo consists also of Matt’s brother Mark Hill on an acoustic drumset augmented by an electronic drum pad. Together, they were able to make the crowd bump even harder than before in their ultimate stage of inebriation. The Floozies played mostly hip-hop, r&b, and pop covers. Ocassionally they busted out some improvisational funk. Their source material may be primitive in concept, but these two were able to deliver the sound of a full band with all the loops and instruments at their disposal. 

Impressed with their performance, I was able to catch Mark Hill out on the back patio during their break between sets. This area of the Jazzhaus was also very comfortable and convenient. There were plenty of ashtrays and a few built in benches. If it weren’t for all the people flailing about in joy a few moments ago getting their cigarette breaks in before the band got back on stage, it would’ve been roomy. Of course, when they weren’t crowding the patio they were crowding the bar. It was pretty difficult to get from one place to another with so many people stuffing the place, but people didn’t seem to mind. I even asked a few audience members how they felt about the night.

Audio Recorded Mar 2010 © Nectar Notes

The second set was even more fun than the first. At the end, the guys from Mouth came out to jam along, and I headed out to the Granada to catch up with Mike before I had to deal with the stampede of happy patrons moving on to the next activity.

The walk took no time at all and Mike let me in through the back. Dead Man Flats was packing up and getting ready to leave, while Mike prepared to interview them. The backstage area was in an amusing state of disrepair. Most of the walls were heavily autographed, dented, unfinished Sheetrock that had obviously developed their condition over a long period of time.

Mike filled me in on his experience. We didnt make it in time to see the first band, Derelict. (they gave us a music download card, but we had trouble using it, or else I would’ve commented on it) With a crowd numbering upwards of five hundred, the bluegrass quartet was at their peak romp level. It was actually frontman and bassist Hank Osterhaut’s birthday, which ramped the energy just a tad more. Mike was all over the Granada networking and taking photos. He had difficulty getting good shots because the crowd was bouncing too hard and shaking the floor. For a bluegrass band, they could really get an audience moving. 

Deadman Flats is a string quartet without bows. Hank Osterhaut plays upright bass, Alex Law plays acoustic guitar, Matt Stambaugh plays mandolin, Pat Watt plays banjo, and they all howl like coyotes. Lawrence is their home base, and they keep the hippy college kids happy. Usually when I think of bluegrass I think of a bunch of drunk old hicks playing on a porch using the deck as a bass drum, but the Flats rock out harder than any local jam band or prissy emo outfit. Instead of singing about working hard on the ranch, the neighbor’s daughter, dancing in the barn and drinkin’, they sing about the Western Kansas activities and situations of today: crazy house parties, trashy sluts, boredom in suburban/rural Kansas . . . and drinkin.’ Not only are they well practiced, but they really get into it (Matt totally shredded his finger on the mantar), and they know how to lead the crowd. They even got the ladies to jump on stage and romp with them. 

After the show was over and the guys had packed up, we squeezed out of the cramped backstage area onto the Granada’s newly empty stage and did an interview in front of an empty dance floor with the whole band.

Audio Recorded Mar 2010 © Nectar Notes

The way back was less precipitous and overall easier to handle. We both had a good time at our separate shows, and we had a lot to yak about. As a musician, having witnessed the way the crowd in Lawrence behaved and appreciated their shows made me want a gig at a venue here. There seems to be more of a concentration here, not only of venues, but of our target market as well. The drive may suck, but even tonight, it was worth it.

Published Tuesday 13th April 2010 - Written by Jeff Benjamin