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Abigail Henderson





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 www.voteformmf.com to vote for one of the charities, once per day, per IP address.

 

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Show recap: Apocalypse Meow 6

On any given night in KC or Lawrence, there are bands playing to groups of varying sizes and intensity levels. Some of the audience is on its feet dancing. Some of them have their noses stuck in their electronic habitats. People order a few drinks at the bar during a quiet song, maybe smoke a cigarette between songs. The Friday night kick-off party of Apocalypse Meow 6 was one of those rare nights when the audience unified to experience and be captivated by the music.
 
This is the first Apocalypse Meow show since the death of Abigail Henderson, who—along with friends and husband Chris Meck—founded Midwest Music Foundation after friends held a benefit for Henderson when she was diagnosed with breast cancer in 2008. On Friday, Meck debuted his trio The Guilty Birds (pictured above), the first project without his wife since they began 10 years ago in Trouble Junction, and his very first project as primary singer/songwriter.
 
 
The trio (including Tiny Horse members Zach Phillips and Matt Richey) played a short but poignant rock/soul-infused set, while a packed crowd locked eyes and ears to draw in each note; to admire the musicianship, the ability, the fire, the obstacles and the affirming end result; to feel the anguish of a noticeable absence, but to honor and celebrate its legacy. The Silver Maggies kept the audience at attention with dark Americana propelled by intelligent songwriting. Hundreds of raffle tickets for Meck’s custom-built (with assistance from Phillips, Chris Wagner, and Paul Marchman) Fender Telecaster were purchased on Friday alone, and that spirit of generosity graciously carried into Saturday evening.

 
 
With a larger-capacity venue at Knuckleheads, eleven bands/solo performers commandeered the indoor and outdoor stages on night two. She’s A Keeper began by grabbing and enveloping the filtering-in crowd with its brand of colossal folk rock. The entrancing, aggressive outlaw blues of the duo Freight Train & Rabbit Killer (pictured below) demanded attention with its minimalistic setup, menacing costumes, and otherworldly presence. Meanwhile, the acoustic stage was occupied by a few KC music legends, all of whom were dear friends of Henderson’s. This connection translated into each musician’s cathartic sound, beginning with heartstring-pulling stories from Tony Ladesich (pictured below). Betse Ellis followed (and guest starred with the other acoustic stage performers later) with a fierce fiddle that could have sliced through any act on the main stage.
 
 
 
As the evening grew colder, warm bodies migrated toward the front and moved their hips to power trio Not A Planet (pictured below), pushed by the dynamic rhythm section of Liam Sumnicht and Bill Surges and steered by Nathan Corsi’s steady, pitch-perfect vocals. And no matter which stage you chose or floated to and from, each remaining act performed with no shortage of moxie. Howard Iceberg—KC’s answer to Bob Dylan—played a quiet but potent, storied set that included a duet performance with Michelle Sanders, a dulcet complement to Iceberg’s earnestly gruff voice. Federation of Horsepower frontman Gregg Todt (pictured below with Ellis) traded in his distorted axe for to round out the acoustic stage with a bluesy soul tone.
 
 
 
The second half of main stage featured three acts with female powerhouses at the forefront. The Latenight Callers’ Julie Berndsen allured the crowd with a coy sensuality that developed into a fiery, lascivious character, enhanced by the band’s electrifying, mammoth noir sounds. The Philistines continued in that same vein of ferocity from Kimberely Queen, whose appropriately unbridled theatrics amplified the band’s barbaric psychedelic rock sounds. The musical climax came when Sister Mary Rotten Crotch (pictured below) was welcomed to the stage right after Meck’s guitar was raffled off and subsequently auctioned (Artie Scholes, the raffle winner and also owner of The 403 Club, gave the guitar back to MMF for this purpose) to the highest bidder. But outside of this positive gesture and outside of the fact that many fans had been waiting for Sister Mary to take the stage again (the band’s last performance before taking a five-year hiatus was Apocalypse Meow 1 in ’08, and they only recently reunited to play a couple weeks before), frontwoman Liz Spillman Nord injected the hungry audience with an acrimonious punk vitriol. The veteran band showed old and new fans alike that they still pack a mean, purposeful rock punch and they still don’t give a fuck what you think.
 
 
Midwest Music Foundation and Abby's Fund for Musicians' Health Care made $12,000 at Apocalypse Meow this year, thanks to the efforts of all that were in attendance or made a donation of time, money, and/or resources. And though it was impossible for each moment of Meow weekend to have been as uninterrupted and uplifting as its inaugural set was, a sense of community was felt by each attendee and volunteer/staff member, each auction bid, each raffle ticket that fell into each bucket, each embrace or tear shed, each note or beat played.
 
On behalf of Midwest Music Foundation and The Deli Magazine—Kansas City, we thank you for your support of local music and those who work to make it happen. We thank you for honoring Abigail and helping us continue to carry on her legacy.
 
--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. Thanks to everyone who made this weekend beautiful. #shinealight

 

 

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Midwest Music Foundation Staff Spotlight: Rhonda Lyne

The Midwest Music Foundation staff constantly works behind the scenes at live music events you have likely attended. They’re the ones who search for facilities, supply entertainment, coordinate with vendors, and generally ensure that your live music experience will be a good one. They’re also the ones that get the word out about musicians’ health care and other educational resources for musicians, filling a vital gap in the community.
 
Before the advent of the sixth annual Apocalypse Meow benefit, we hear back from some of the staff to find out what they do and why they do it. Read on to find out more about Rhonda Lyne, MMF’s Director of Development.
 
The Deli: When and how did you first get involved with MMF?
 
Rhonda: I first got involved with MMF helping with the first Apocalypse Meow in 2008. The MMF was formed after this event and I was asked to join soon after inception to help with various fundraising events based on my contributions to the first Meow.
 
The Deli: What is your current role with the organization?
 
Rhonda: My roles have changed over the years based on need, but mostly I work to organize fundraising events, schedule volunteers, work with health care grant applications and dispense grants, and just make tons of multi-tabbed spreadsheets. :)
 
The Deli: Why is MMF such an important cause to you? What do you hope it will accomplish in the future?
 
Rhonda: I got involved with MMF because of my friendship with Abby and her passion for the organization inspired me as well. I made a promise to her before she passed that I would carry on her mission to the best of my abilities. Over the years, it has become a huge part of my life as well. I have always loved live music and did what I could to support it, be it attending shows, hosting bands at my house, or just spreading the good word of the amazing music made in KC and the Midwest. I hope in the future, we can continue to grow and provide resources so that our musicians are compensated for the work they do and can make a living making music. It's such an important part of life and the folks that made it work extremely hard for often very little money or appreciation.
 
The Deli: Who are some of your favorite local artists?
 
Rhonda: Oh wow, not sure where to even start on this one. I think I’ll just say "I love them all" as not to get myself in trouble.
 
The Deli: Do you have a favorite memory of a past Meow? 
 
Rhonda: Usually I'm too busy working at Meow and other events to really remember much of anything. Some time after the silent auction ends and everyone has paid is when I get to let loose and have some fun. The first year was really amazing how so many folks from the community came together to help Abby. We had to keep adding days because so many bands wanted to play. I had never seen Parlay or Sister Mary Rotten Crotch; Pendergast and Sandoval both played, which were favorites of mine as well. I'm pretty sure Abby got up and sang with Howard Iceberg—that was always a treat. Every year has had tons of great memories with so many amazing bands and people coming together. At Meow 3, I think one of my favorite memories is when the event was over and I was sitting on the coach in the green room at The Riot Room with Abby and Adam Lee and we all had a bottle of Jim Beam in our hands. Abby was the only person that could get me to drink that vile stuff. :)
 
The Deli: What are you most looking forward to about this year's Meow?
 
Rhonda: I'm looking forward to hopefully one of our biggest years yet. Knuckleheads is a great space and hopefully Mother Nature will be kind to us so we can fully utilize the entire venue. We have some awesome auction and raffle items and a great lineup. Looking forward to hearing The Philistines for the first time and the return of SMRC to Meow. Also, the addition of the acoustic stage, which we haven't had since the first Meow. It will be bittersweet because Abby won't be there, but I know her spirit will be with all of us that night. I'm sure there will be much laughter and tears and I hope we can raise a ton of money so we can help more musicians in need.
 
 
If you can catch her, say hi to Rhonda this weekend at Apocalypse Meow. It starts tomorrow, November 1 at The Midwestern Musical Co. and Saturday at Knuckleheads. Doors open at 6 pm both nights. Friday’s show is free and all ages, Saturday’s show is $10, 21+. Visit http://www.apocalypsemeow.net for a full lineup and schedule. Ticket linkFacebook event page. To find out more about MMF, visit http://midwestmusicfound.org, and learn about Abby's Fund for musicians' health care.

  

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Midwest Music Foundation Staff Spotlight: Angela Lupton

 

The Midwest Music Foundation staff constantly works behind the scenes at live music events you have likely attended. They’re the ones who search for facilities, supply entertainment, coordinate with vendors, and generally ensure that your live music experience will be a good one. They’re also the ones that get the word out about musicians’ health care and other educational resources for musicians, filling a vital gap in the community.

 
Before the advent of the sixth annual Apocalypse Meow benefit, we hear back from some of the staff to find out what they do and why they do it. This time we’ll be talking with Angela Lupton, co-founder and Executive Director.
 
The Deli: When and how did you first get involved with MMF?
 
Angela: I was involved with MMF at its inception. Abigail [Henderson], Chris [Meck], Mac [McSpadden], and I would sit around on our back porch and talk about all manner of things. We would talk about the ills of the world and what we considered the solutions to be. The gap in support for musicians in town was one of the issues we were sure we could actually do something about. So, the MMF was born in the hearts and minds of four people. I was the initial Executive DIrector because Abigail thought I should be. She did not want to be in charge, which is crazy because she was a person who got things done.
 
The Deli: What is your current role with the organization?
 
Angela: Currently, I am the Executive Director of the MMF. Mac and I had to step away from our initial roles when our daughters were born and I was in graduate school full-time, but have returned to the role now.
 
The Deli: Why is MMF such an important cause to you? What do you hope it will accomplish in the future?
 
Angela: MMF is important to me not only because I co-founded it with my best friend, her husband (now one of my best friends as well), and my wife, but because I love music. I go to music for everything in my life: to celebrate, to calm, to excite, and to grieve. The people who make music are so important and we should treat them that way. Musician should be a viable career option. In the future, I want the MMF to establish what, for ease of use, I am calling a musicians' community center. It will be a space for the MMF offices, a performance space, several practice spaces, recording space, professional library, and computer lab. This space would provide a community gathering spot for musicians as well as a permanent home for the MMF to conduct professional development workshops for musicians. This is the big idea. This is the dream. Along the way there we will continue our current projects as well as develop a musician micro-grant program and we have some other things in the works.
 
The Deli: Who are some of your favorite local artists?
 
 
The Deli: Do you have a favorite memory of a past Meow? 
 
Angela: The very first Meow. In the planning stages of it, Mac and I went over to Abigail and Chris’s little brown mouse house in Waldo. Abigail did not want a benefit. She liked to take care of herself. I told her it was happening whether she liked it or not. If she wanted some kind of input she could go ahead and consent to my plans. Otherwise, someone, somewhere was going to do it anyway and she would have no say. She consented. We were off. It ended up being three nights and four venues. Everyone wanted to help. Everyone still does.
 
The Deli: What are you most looking forward to about this year's Meow?
 
Angela: I am looking forward to the storytelling that I am sure will accompany this particular event. Stories of Abigail and how we all ended up in this place. Kansas City takes care of its own and anyone else that might drop by.
 
 
 
Join Angela this weekend at Apocalypse Meow. It starts tomorrow, November 1 at The Midwestern Musical Co. and Saturday at Knuckleheads. Doors open at 6 pm both nights. Friday’s show is free and all ages, Saturday’s show is $10, 21+. Visit http://www.apocalypsemeow.net for a full lineup and schedule. Ticket linkFacebook event page. To find out more about MMF, visit http://midwestmusicfound.org, and learn about Abby's Fund for musicians' health care.
 

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Midwest Music Foundation Staff Spotlight: Jenni "Mac" McSpadden

 
 
The Midwest Music Foundation staff constantly works behind the scenes at live music events you have likely attended. They’re the ones who search for facilities, supply entertainment, coordinate with vendors, and generally ensure that your live music experience will be a good one. They’re also the ones that get the word out about musicians’ health care and other educational resources for musicians, filling a vital gap in the community.
 
Before the advent of the sixth annual Apocalypse Meow benefit, we hear back from some of the staff to find out what they do and why they do it. We’re talking here with Jenni “Mac” McSpadden, co-founder and Managing Director.
 
The Deli: When and how did you first get involved with MMF?
 
Mac: I was there at the beginning. Before the beginning, actually. Angela [Lupton] and I worked with Amy Farrand and Abigail [Henderson] on a pre-MMF organization that never quite got off the ground (or rather just became MMF). I believe it was a Tuesday night at Davey's Uptown when we crystalized the ideas and mission of MMF and decided to make a go of it.
 
The Deli: What is your current role with the organization?
 
Mac: Cat herder and list maker. I am the Managing Director. It means that I take care of the day-to-day running of the organization, as well as work on projects such as membership, volunteers, and programming.
 
The Deli: Why is MMF such an important cause to you? What do you hope it will accomplish in the future?
 
Mac: I am a painter and I have directly and indirectly benefited from the vast support system in place here in KC for visual artists. I am also a musician—well, I am trying and learning to be one. Art and music are the things that, to me, make life worth living. Devoting oneself to their pursuits is not only a worthy endeavor, it is essential work. It deserves to be treated as such. Unfortunately in our society too often artists of all kinds are marginalized. Organizations like MMF seek to counter that. My dream for MMF is that it is a place (both physical and digital) where musicians can come and find the support they need to do what they do best. I would love for us to have a building with a performance space, recording, and practice studios, and be a place where musicians can work together and network with the community at large. We have an incredible pool of talent here in KC. I not only want young musicians to realize that KC is a town that loves its music and want to stay here, I want musicians from other places to move here because they know they are valued and respected.
 
The Deli: Who are some of your favorite local artists?
 
Mac: I haven't been out in the world for a couple of years with any regularity—children will do that—so many of my favorites are no longer: Pendergast, The Supernauts, It's Over, to name a few. Current favorites are Amy Farrand, The Grisly Hand, Howard Iceberg, and Not a Planet. The Gaslights were my first KC band though, and they will always have my heart.
 
The Deli: Do you have a favorite memory of a past Meow? 
 
Mac: My favorite Meow was the original one. Three nights of balls-to-the-wall insanity. I ran the stage that year and the night we were at Davey's I had to plan my movements 15 minutes in advance because there were so many people there; it took that long to get around! It was astounding to see the outpouring of love and affection that our community heaped on Miss Abigail that weekend.
 
The Deli: What are you most looking forward to about this year's Meow?
 
Mac: That is a tough question, because of course I am looking forward to it, but it’s going to be a hard one without Abby there. I know I won't be the only one feeling that and so I think that what I am most looking forward to is that sense of community that I felt at the first Meow and have felt so many times since. I look forward to being with my people, listening to music in this town that I love so much, and raising my glass to my friend who I miss so much.
 
 

Raise a glass with Mac this weekend at Apocalypse Meow. It starts tomorrow, November 1 at The Midwestern Musical Co. and Saturday at Knuckleheads. Doors open at 6 pm both nights. Friday’s show is free and all ages, Saturday’s show is $10, 21+. Visit http://www.apocalypsemeow.net for a full lineup and schedule. Ticket linkFacebook event page. To find out more about MMF, visit http://midwestmusicfound.org, and learn about Abby's Fund for musicians' health care.

 

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