Music

Up until he was 23 years old, Morgan Snow’s sole ambition was to become a professional baseball player. But after playing college ball in Myrtle Beach, S.C. and after several attempts with pro-MLB tryouts, he decided to let go of his big-league dreams. Soon after this life-altering choice, Morgan bounced around a bit and found himself working the door at a dueling piano bar. A friend and co-worker started teaching Morgan how to play guitar. Adjusting to life without baseball, music became his new outlet, “I started to practice guitar for hours a day and getting lessons every night after the bar shift.” In 2005, Morgan’s guitar guru was killed in Iraq. Years later, one of the Triggers & Slips first songs “Old Friends,” was inspired by this friendship that gave Morgan a new purpose and direction.

At the State Room
May 18, 2019

On May 18 “Triggers & Slips will play an acoustic set of Alice in Chains (and other grunge-era bands) covers at the State Room. Alice in Chains front man Layne Staley died of an overdose and Morgan, who is a drug counselor by day, hopes the event will bring awareness of the opioid epidemic and the lifesaving benefits of the overdose reversal drug Naloxone. For tickets and info stateroom.com.

Triggers & Slips started simply with Morgan on vocals, guitar and harmonica and continues to develop and evolve. For instance, Four Letters,  Triggers & Slips’ self-titled album, brings a modern take on honky-tonk. By the third album (The Stranger, expected to be released Fall of 2019) Morgan has added a full-on six-member band. The new record was recorded live to tape in single takes, which Morgan says gives the music spontaneity and freshness.

“You need to be prepared, being live, there are no go-backs,” he says. 

These sessions took place at Man vs. Music Recording Studio under the guidance of legendary local producer Mike Sasich, who has lent his skills to local bands like Thunderfist, Joe McQueen and other. The album comes across (deliberately) like a group of friends at a party, jamming together in the living room until the wee hours. Morgan says they really wanted to stumble upon “those subtle imperfections that come through. That’s what people fall in love with.”

Along with Morgan, Triggers & Slips is John Davis- lap steel, dobro, electric guitar, harmonies and occasional lead vocals, Greg is on the Midgley-piano and organ. Tommy Mortenson plays bass, Eric Stoye on drums and Page McGinnis on guitar, and mandolin. Morgan jokes: “I like to be the least talented person on the stage, and so far, I feel like I have been able to achieve that.” 

On May 18 “Triggers & Slips will play an acoustic set of Alice in Chains (and other grunge-era bands) covers at the State Room. Alice in Chains front man Layne Staley died of an overdose and Morgan, who is a drug counselor by day, hopes the event will bring awareness of the opioid epidemic and the lifesaving benefits of the overdose reversal drug Naloxone. For tickets and info stateroom.com. 

See all of our Small Lake City Concerts here. See all of our Music coverage here.

Last Friday, April 5, 2019, at the Depot was a mix of ingredients that made for what felt like a tepid 20-year high school reunion. The show was at 8:30. Doors opened at a responsible 7 p.m: more than enough time for the audience to filter in and take one of the metal seats splayed throughout the hall. There was a lot of flannel-wearing, middle-aged sophisticates engaging in fluttery chatter and laughter. A bartender circulated the room, taking drink orders. Even the drunken heckler who kept screaming some inane phrase considerately wrapped up his spectacle and was escorted out after a few minutes.

Photo credit: Charissa Che

Instead of a Spiritualized show, were we at a lounge with a live band? A cozy graduation? A PTA assembly? One couldn’t be totally sure.

Photo credit: Charissa Che

Singer/guitarist Jason Pierce came out in sunglasses and went straight to his slightly comfier-looking chair at the far right of our periphery. At least for the first three-quarters of the show (before I left) he did not once acknowledge the people who came to see him, or engage at all with us or his own band – who was scattered on the other side of the stage. Upon recollection, he didn’t turn his head at all. The right side of the room watched his back the whole time. Eyes on his lyrics, he strummed his electric guitar as some neat colors swirled behind him (one nearby observer likened it to a Windows screensaver: not entirely inaccurate). Behind Pierce were three backup gospel singers who conveyed more emotion than everyone else. Too bad they weren’t at the fore of the show.

Photo credit: Charissa Che

Maybe Pierce played aloof to maintain an aura of mystery about him? Was that a brand he had to uphold? Again, one could only guess. Before half his set was through, the metal seats had largely been vacated by their previous occupants. Some people socialized at the bar and others were just gone.

Photo credit: Charissa Che

There’s the good kind of “weird” show, where maybe the frontman is eccentric but still engaging. Then, there was this one, which seemed to be more of a casual gathering of people who happened to like the same band, the band, who happened to be passing through, so why not, and a good ol’ fashioned time where people could sip their Bud Lights while relaxing their backs and catching up. Which is cool, if that’s what you knew you were heading into. But if you were heading to a venue that is typically known for putting on rock and indie shows with standing room, a feeling of community, and just general excitement, this was not going to be your jam.

Photo credit: Charissa Che

To peek more pics from the show, go here. (They were taken sans a photo pit, and therefore with as much possible effort without impeding any of the seated audience’s view. Perhaps they adequately convey the vibe described above.)

See all our music coverage here.

Jazz and Other Drugs” was a pleasant way to start off this past weekend. On Saturday, April 6, 2019, friends, family, and local music fans gathered at the Sugar Space to watch six of Utah’s gifted jazz musicians showcase their talent. The occasion was simple: to celebrate instrumentalists and singers (and as a bonus, boost the visibility of Asian American musicians) in the community. Thanks to curator-emcee-performer Brandan Ngo, audiences were privy to a cozy and communal experience.

I interviewed Ngo and singer-guitarist Amanda Lau (who sang a kickass cover of “Rubber Ducky,” mind you) post-show to pick their brains about what brought on the show, why it mattered, and what we might expect from them in the future. The show also featured the stylings of the Merry Kim Kim Trio (keyboardist Jon Kim; cellist John Kim; drummer Aaron Merry), Drew Olsen, Alex Bowen, John Bergquist, and April Kerr. Check them all out in action here.

Brandan Ngo and the Merry Kim-Kim Trio. Photo credit: Charissa Che

Can you tell me why this show was conceived?

Amanda: Brandan! His passion for music and involvement in other local productions motivated him to create his own show. I like to think this concert was his dream come true, the first of many shows I hope!

Brandan: I’ve always wanted to make music, and put on a show with talented musicians, but for some reason it seemed like an unattainable goal for many, many years. I was always waiting for the opportunity to present itself to me; waiting for permission from “people in charge” to grant me a path to go out and perform.

This show is actually a result of a fortunate sequence of events. My friend April Kerr, who is featured in this concert, put on her own concert sometime last year to promote the release of her first ever album. It was an incredible night full of talented friends. Walking out of that, something started fomenting at the back of my mind. I had just watched my friend put something amazing together out of her own volition. It was a novel idea and still quite exotic to me. After months and months of auditioning and searching for opportunities, and after one particularly nasty audition, it finally clicked. If I want to see myself on stage so badly, then I need to put myself on stage. Nothing is stopping me from creating my opportunity. My voice teacher, Keri Hughes, was a great catalyst in getting this concert idea going as well. I knew I wanted to do it; she’s the one that affirmed I’d be crazy not to.

Amanda Lau. Photo credit: Charissa Che

What do you hope to leave your audience with?

Amanda: The joy of jazz!  

Brandan: I hope to leave my audience with a spark and a hunger to create something of their own; the same spark I left with after leaving my friend’s concert a year ago. Good art should inspire you to consume more art; great art should inspire you to create it. I hope at least one person in my audience leaves to finally write that song or take that photograph or choreograph that dance.

John Kim and Aaron Merry. Photo credit: Charissa Che

Tell me a little about the pieces you’ll be performing. Why did you choose them for this occasion?

Amanda: ‘A Love That Will Last” by Renee Olstead – I sang this at a wedding last year, but at the reception, I couldn’t hear myself and I was so nervous that I forgot an entire verse! I cherished the opportunity to play this song again in a more intimate and forgiving setting. I sent Brandan a link to the song and right away, he said “Yes, do this one!” and put it on the set list. Later, he offered me to sing a second song and I said “Yes, if you’ll have me!” I was so thankful, I could literally jam all day, all night. But I was so indecisive on what my second song should be. I kept wavering back to ‘Rubber Duckie’ by Ernie (yes, the Sesame Street one). It’s one of my fun, guilty pleasure songs. When I told Brandan I was thinking of playing this song, I was worried he would think it’s too weird. But instead, he was 100% supportive and said “Yes, do it!” 

Brandan: My first real exposure to jazz was in junior high. I don’t remember how I stumbled upon it, but Bobby Darin’s “Beyond the Sea” was a tune that [I] took to… right away. Like many things about your personality, you never quite know why something sticks with you or resonates with you. But I never grew tired of it. I felt it would be fitting for my first concert to be a night of jazz music. This night [would] feature a selection of jazz standards, pop, showtunes, and a few originals. Mostly songs about love and heartbreak, as jazz is wont to [be about].

Left to right: Drew Olson, Alex Bowen, and John Bergquist. Photo credit: Charissa Che

What’s your musical background?

Amanda: I’ve taken 12 years of classical piano lessons ever since I was 5 – thanks mom! In high school, I was in marching band as a clarinetist and in a jazz band as a pianist / xylophonist. I only started singing at the beginning of college, when I bought my first guitar on eBay and would casually practice chords in my dorm room. I do have one original song, called ‘Outcast Your Light,’ which is a hip hop track I wrote for a school project. Calling music my hobby feels like an understatement; even though it’s not my chosen career, music has always been a big part of my life. Every now and then, I get to sing at weddings or community festivals, which is always a treat and a fun way to keep up with music.

Brandan: I have been singing in choirs since high school. I was in the University of Utah Chamber Choir from 2013 to 2015, and went on tour with them to France where we placed 1st in two international choir competitions. I’ve also been doing musical theatre around the valley for several years, including a couple shows at Hale Center Theatre. I’m also a novice ukulele player and a very very very novice drummer. 

April Kerr and John Kim. Photo credit: Charissa Che

What would you like to see in the SLC music culture that is not currently there?

Amanda: More Asian American representation across different genres of music! 

Brandan: This is actually my first venture into the life of a local musician as opposed to an audience member, so I have a limited perspective on what the culture needs. From what I’ve seen, there are already a handful of great venues here for small artists to share their art and create opportunity. In [the] future, I hope to see more of these small venues popping up that are working for the artists and the community.

Jon Kim. Photo credit: Charissa Che

Going forward, where do you hope to take your talents? Any shows planned for the future?

Amanda: I would love to be part of more shows just like this one! I love a cozy, relaxed setting. It feels like home, or my favorite coffee shop. I’d love to collaborate with other musicians, like my younger brother Matthew, who is in his own band, Joker’s Hand! No shows in the future… yet. 

Brandan: There’s nothing like creating live music with talented artists for receptive, supportive audiences. I hope to keep singing, and more importantly, I’ve found I want to keep bringing artists together who have maybe never worked with each other before. I want to put artists on stage who never dreamed they’d ever find the opportunity to stand behind the microphone. I hope to be able to contribute to an already thriving local artist scene where everyone inspires everyone else to keep making music, on their own or with each other. As for shows planned for the future, I want to meet more musicians and artists, so I’m certain that means putting on more shows.

Jon Kim, John Kim, and Brandan Ngo. Photo credit: Charissa Che

Check out more pics from “Jazz and Other Drugs” here.

See all our music coverage here.

Admittedly, I thought I’d stumbled into the wrong show when I arrived at the Depot on Monday, March 18, 2019. Co-headliner Zoé was not at all the same genre as Metric: the psych-rock band from Mexico drew a huge following, and the philistine in me was surprised to find out from a fellow photog that they were a rather big deal, especially in L.A. Led by Leon Larregui, the five-piece troupe has been making waves since their second album, 2003’s Rocanlover. This, as well as their follow-up LPs, have been produced by Phil Vinali, the same guy behind some of Radiohead’s, Placebo’s, and Pulp’s recordings.

Zoé performed tracks spanning their 2001 debut to this year’s Aztian. A heads up about the sharp, persistent strobe lights coming from the stage would have been helpful; as it was, it was hard not to wince for the majority of their set. Larregui, however, came more than prepared in Bono-esque shades, a rainbow poncho, and even a matching feathered mic stand. As seemingly one of the few audience members who was unfamiliar with Zoé, it was a rare way to be introduced to a new band: bathed in trippy lights (strobes notwithstanding) and effects, a bunch of raised smartphones, and Larregui’s warm yet raspy vocals, in a tongue that was not my own.

After they were done, Zoé’s audience (literally) swapped places with Metric’s. Chalk it up, perhaps, to the oddly-coupled roster. Emily Haines’ voice has that naturally shallow and echoey quality about it that recalls a female Julian Casablancas, and it translated impressively live. The top of their set mostly featured songs from their new album, Art of Doubt. Perhaps it requires a few listens in isolation, but they seemed to blend into one another a little too much, not really accentuating Haines’ unique vocals or having any distinct hooks.

Their more memorable numbers came toward the end: the bittersweet “Gimme Sympathy,” the hypnotic “Gold Guns Girls,” and in the encore, “Help, I’m Alive” and “Black Sheep” (Scott Pilgrim fans, unite!). While it’s a lot more contemplative and lengthier than the others, “Now or Never Now” from their new album is worth checking out for its slow burn and ’80s pop instrumentals. As the songs became more coherent and recognizable, so too did the Toronto band become livelier and more interactive with the audience. Some lingering Zoé fans even started moshing (unsuccessfully) by the bar.

To see more photos from the show, go here.

See all our music coverage here.

Last Thursday, March 7 at the State Room was so weird that I needed a couple of days to process what happened. So forgive me if this all comes out discombobulated—the show was likewise all over the place, sometimes in the best of ways, and at other times, irritatingly so.

Openers UPSAHL was by far the most coherent and musical act of the night. The lead singer (whose last name is Upsahl) sang with the coyness of Gwen Stefani and pipes reminiscent of SHAED’s frontwoman, Chelsea Lee, relating to us with songs called “Drugs,” (a fun singalong about her party priorities), “All My Friends Are Rich,” and “Stressed” (“Hey, I’m stressed!” shouted one guy when she introduced the song). Most of the set featured smart pop-meets-R&B songs poised to become mainstream hits, should she keep her momentum and publicity up. “Can You Hear Me Now,” features a killer bass line plus UPSAHL’s versatile vocals. She dedicated it to “all the f*ckboys out there!” “Anyone here know someone like that?” she asked. “No! We’re in Utah!” shouted a woman in the front row. “That’s true,” the singer acknowledged.

Second opener Mikey Mike really wanted us to know he showered yesterday. The first time he shared the information was after he called up the aforementioned woman to spin a big wheel with an illustration of his crazed face in its center. It landed on a free-for-all, which meant she could either take A) a “shoe shot” – drink Jim Beam whiskey out of Mikey’s shoe, or B) a shot from his belly button. The woman understandably grappled with her decision for a good minute before deciding on option B. “I support this!” her husband shouted from the front row. And as assurance, Mikey let her and us know that it shouldn’t be too bad of because he had showered the night prior. The woman emerged from his torso, grimacing, but also seemingly fulfilled with the overall experience.

He also played some music with his band. He had the country-rock vibe of Kid Rock and the feel-goodness of Jason Mraz or Jack Johnson. While none of these artists are especially relevant anymore, Mikey made his songs special because of his effervescently nihilistic charm. “How y’all doing tonight?” he said. “Good!” we replied. He adjusted his backwards baseball cap and took a swig from his paper cup, which likely held more Jim Beam. “Alright, well f*ck you!” he slurred, before going into a song. The second wheel-spin was met with more reticence from potential crowd participants. Some tentative hands were raised, then one lucky girl was hoisted onstage. Again, the spin landed on a free-for-all. Mikey gave her the choice between A) a shoe-shot, or B) lighting him on fire. The girl opted for both. She unfortunately waited too long to take the shot, as the whiskey soaked into Mikey’s boot (“These were new shoes, too!” he lamented), so she had a do-over. Borrowing a lighter from a kind audience member, she then lit some of his chest on fire. Fortunately, it was put out quickly. “My hair usually sets on fire and does this cool thing,” said Mikey, “but I showered, so…”

I’ve listened to, and liked, Max Frost’s music without knowing much else about him: what he looked like; his personality. And maybe that was for the best. The solo singer and instrumentalist was no-doubt impressive, darting from one side of the stage to set up his vocal and instrumental loops, then to the other side, to sing and drum. It was a strange and somewhat distracting setup, and I wondered why all the equipment couldn’t just be right next to each other, but the energy it demanded justified the track suit he wore, I guess. It can be cool when a singer’s visual aesthetic unexpectedly clashes with his music: his voice was soulful, he busted out an impeccable falsetto at one point, and he played virtually every instrument while seamlessly transitioning between songs.

But it was hard to get over the high school jockiness he sporadically exuded. He jabbed at those sitting at the back to “get up and party” because “this isn’t a James Taylor show,” and said he “wasn’t going to let it go” until they obliged. And indeed, he really didn’t let it go. One person made a good point, that she could hear better from the back, others followed his instructions, and others simply left the room. Another uncomfortable moment came when he talked about it being good to be back in Utah. “Last time I was in Salt Lake City, I was playing at that arena,” he tells us, referring to his February show at Vivint. He chuckles. “I guess that means my career has taken a downward spiral, now that I’m playing here?”

But “White Lies” and “Withdrawal” were particularly excellent live, and his general showmanship (minus the awkward banter) seemed to get people bopping, so tomato tomahto.

For more photos from the show, check out the full album. See all our music coverage here.

Let’s find something new to talk about. I’m tired of talking about my myself.

So say the lyrics of the Avett Brothers tune “Open Ended Life,” from an album released a couple years ago. But, as they make their way to Red Butte Garden on Tuesday night, on the heels of the release of their latest album True Sadness, fans should expect lots of talking about the Avetts. Because the main theme of the album, as you may have guessed, is heart-sickness and most of the songs were written in the wake of Seth’s fairly scandalous divorce.

For a good snapshot of the band’s evolution, compare the perhaps a little too on the nose “Divorce Separation Blues” from True Sadness to “Shame” from 2007’s Emotionalism. Both are about failed relationships—one is a self-centered view of how the end of a relationship affected the narrator while the other is a tender apology for cross words and poor judgement. I know which I prefer.

So, on their latest album the navel-gazing is more present than it was when the boys from North Carolina were writing a slew of bluegrassy songs titled “Pretty Girl From (insert town name here)” and the music has matured along with the subject matter, True Sadness features synthesizers. For those of us who are Avett fans, this is a Dylan Goes Electric moment and I know I’ll be interested to see how the new sounds are incorporated into their live show.

But, there’s good news! The Avett Brothers are always a rollocking good time.  Brothers Seth and Scott have endless energy, along with their ever-expanding band on stage. They play the hits, and their Utah crowds always know the back catalog. The harmonies area always tight. And even when the subject matter is less cheerful, Joe Kwan’s cello playing is sure to put a smile on your face.

The Avett Brothers play Red Butte Garden Tuesday, July 26^th. Gates open at 6, the show starts at 7. Sold-out.