OCMAs Night Two: The District in Tustin

Posted by Kayla Crow | 2 comments

First and foremost, I have to thank the guy who danced in front of the crowd the entire night.  I’m still wishing I danced half as well.

And for those of you who didn’t get to witness him… You really missed out.

Walking up, I made it just in time for the start of Nicole Vaughn & Her Lovely Band (If you haven’t read our interview with the very lovely Nicole, please check out this article).  Never having seen Nicole live, it was a great new dynamic to hear her with her phenomenal band.  The folky-Americana mixed with the unanticipated force of some good ol’ rock n’ roll was an amazing start to the evening.  I’m torn between my two favorite parts of Nicole’s performance: the addition of “Traveling Girl” to the set list, or Johnny Cash’s “Ring of Fire” AND “Jackson” (with shared microphone and all) meshed into her own song.

Following the energetic start was Erick Macek, alone with his acoustic guitar – not that he needed any back up.  I haven’t heard one person get that much sound out of a guitar since the King of the Blues competition at House of Blues.  Erick’s ability to interweave some wonderful, intricate guitar with relatable, yet poetic lyrics created an intimacy that wouldn’t be expected.  And to top it off, the stories about his mom, whom he dedicated his song “September Rain” to, was enough to warm any heart that had been chilled from the outdoor showcase.  One great surprise for the night was an acoustic rendition Erick played of Foster the People’s “Pumped Up Kicks” which, despite my initial dislike for the song, got me nodding my head and even singing along…  Just a little.  There’s something about Erick’s music that sticks with you so simply.  With mentions of the beach, given the ridiculously warm days, I can easily close my eyes and listen for Erick’s soothing, charming voice and energetic, soulful guitar.

With a pretty seamless transition, the very talented and smooth group Allensworth performed next, bringing a great mix of acoustic and a little bit of funk into the mix.  I always love seeing an acoustic bass, as well as a Cajon mixed with multiple guitar parts – and with their wonderfully harmonized vocals, it was impossible not to enjoy their subtle allure.  One difference between Allensworth from any of the other groups performing for the night was their staging – the quartet clustered among the steps of the stage as there wasn’t the necessary seating available.  While many would see that as a hiccup, it simply pulled the crowd closer to the group as they played.

The forever endearing yet slightly mind blowing Moonsville Collective was to follow, filling the stage in very much a Polyphonic Spree way, with a collection of instruments ranging from banjos to trombones, harmonicas to kazoos, jugs and everything in between. Their ability to get the front of the crowd line dancing and two-stepping with songs about the classic deadly trio – cigarettes, whiskey and women – pulled them into their own amazing league of Americana-hoedown-bar music (that could also be the inclusion of one of those really cool wooden train whistles towards the end of their set).  If I’m ever stranded in a bar off some uncharted road, I can only imagine Moonsville Collective being the band I’d run into.

To bring down the night (in a good way of course!) was Headshine, returning to the OCMAs and closing out the show.  I just want to say what a great way to end a night.  This fusion of great SoCal beach music with a lot of soul, some amazing percussion, and even the addition of a live DJ set really brought everything to a perfect close.  This trio (then quartet) really provided what I can only call “vibe’ for those left at the end of the night, still wanting more. I know it’s not the first time Headshine has been reviewed by my fellow writers, and I can easily say I hope it’s not my last.