"Dancing Guy "shakes it in San Marcos

Todd Andrews, aka “The Dancing Guy.”

By ASHLEY CASS
News Reporter

Sunglasses, visor and an iPod are a few of the tools of Todd Andrews’ trade, which consists of dancing for an apartment locating company on Aquarena Springs Drive.

Locally known as “Dancing Todd” or “The Dancing Guy,” Andrews began his dancing career at Liberty Taxes going on four years ago and moved to Little Caesar’s before he caught the eye of Jason Tarr, owner of Great Locations, the real estate company.

“I used to dance in front of Liberty Taxes and managers would drive up to me, give me their card and offer me jobs,” Andrews said. “The manager of Little Caesar’s came up to me and offered me a better paying job, so I started working there for about a year and then Jason Tarr got a hold of me and said he wanted me to work for him.”

With the incentive of more money and a flexible schedule, Andrews began working for the Great Locations in 2007.

Before moving from San Diego to San Marcos, the “Dancing Man” was involved in a fatal multi-rollover accident at age 16, in which he was pronounced DOA, dead on arrival. Resuscitated and revived, Andrews suffered full paralysis on the right side of his body, which he overcame through seven years in rehabilitation.

With a substantial insurance settlement in tow, Andrews moved to Texas in 2004 to find a home.

“I moved to Texas because the housing market was better and the cost of living was lower,” Andrews said. “I really love this town.”

While capable of driving back and forth to work and home, Andrews continues to visit a rehabilitation center in San Marcos.

“Basically I’m kinda still in one, in general,” he said. “I just go over to shower, eat and they take me home. That’s all I need them for and I drive to work and I drive to my house.”

With numerous commercials, interviews, YouTube videos, and even a larger than life billboard, Andrews is well known and recognized by San Marcos residents and Texas State students.

“I was standing in line at the H-E-B and this woman told me she saw me on TV,” Andrews said. “It’s pretty common that I get recognized. The students here come up to me and always say, ‘Hey you’re that dancing guy.’”

Texas State student Liliana Hinojosa recalled her early memories of moving to San Marcos and seeing the dancing man in action.

“I remember when I first moved to San Marcos, I saw Todd dancing on the sidewalk and I asked my friend what that guy was doing,” Hinojosa said. “She responded with ‘That’s Dancing Guy! He’s always dancing on that corner.’ It seems like that guy is always dancing. Besides on Aquarena Springs, I’ve seen him shake it at Nephews. He’s a San Marcos novelty. I can’t help but smile when I see him.”

Currently on repeat on the “dancing man’s” iPod is Country Singer Trace Adkin’s “Got My Game On.”

Said Andrews, “I’m a big Trace Adkin’s fan. His music makes me dance. So, that’s what I listen to when I’m outside shaking it for all the drivers.”

Great Locations Vice President of Operations Julie Hutchins said Andrews’ cheerful demeanor is consistent around the clock.

“Todd always comes into work with a positive, ‘ready-to-work’ attitude,” Hutchins said. “He’s just as energetic off the streets as he is when he’s waving to the cars. Since Todd joined Great Locations, we’ve provided him with outlets to grow his personal reputation while promoting our company at the same time.”

Said Andrews, “I enjoy this gig. I get a lot of respect from people. That’s what I do for a job. Who else would go out there and shake their thing?”

Robbie and the Robots- Todaysterday

Robbie and the Robots
Todaysterday
Jacket Weather Records
http://www.myspace.com/robbieandtherobots

Released in 2005, Todaysterday is the first and only full-length album (so far) for pop-punk alternative rockers Robbie and the Robots which consists of Robbie Doyen on guitar and lead vocals, Aphyr St. James on djembe and backup vocals, Levi Cory on bass and backup vocals, Jesse Hodges on lead guitar and backup, and J.R. “Mojo” Juica on drums. The 10-track album which centralizes mostly on relationships and partying encompasses a splash of genres from pop to punk to rockabilly to rock throughout. Incredibly witty, Doyen’s lyrics are clever, well-written and rhyme.

The album’s first track entitled, “Symbiosis,” is a soft ballad with a repetitive “na na na na na na na,” chorus. Commencing with a psychobilly guitar intro “Drug Free Sabbath,” is an album anthem which evidently gets its name from Doyen’s professed lyrics- - “I don’t smoke crack on the day of the Lord, I don’t smoke crack on the day of the Lord.” The track is a dancey number which is likely a crowd sing-along favorite with its upbeat tempo and easy lyrics. “Naked,” focuses on the joys of being young, dumb, and driving “naked with the top down.” There’s a notable rockabilly feel and Chuck Barry-esque guitar amidst the lyrics “drugs are better than people. Take a pill, take a hit, take a puff, take a sip, yeah, drugs are better than people.”

The album art, which appears to be a drain of some sort with the album title trailing in a downward spiral motion, was created and designed by Doyen. Created on a grayscale, the design is bland and simple. A female robot caricature also created by Doyen is featured in the insert. A picture of the band taken by Sarah Grace Lanz graces the back of the insert.

If Robbie and The Robots are as delightful and fun as their album suggests, the results are undeniably a rockin’ good time.

SMTX 78666- SMTX 78666

SMTX 78666
SMTX 78666
http://www.myspace.com/sanmarcoscompilation

SMTX 78666 is a 19-song compilation featuring original songs from local bands The Jared Francis Band, Scott Biram, Robbie and the Robots, Eleven Fingered Charlie, The Cari Hutson Band, Kallisti Gold, The Jocks, The Subtle Creeps, The Word Association, The Wailing Walls, The Hatchets, Grant Ewing, Bernie Calcote Blackwater Gospel, Rockus Circus, The AK47’s, Chancla, Fambly and Apse Affinity.

Intended as a charitable cause and the brainchild of Robbie Doyen, lead singer of Robbie and the Robots, SMTX 78666 includes a variety of genres, including bluegrass, rock ‘n roll, hip hop, ska, punk, metal and blues. Partial proceeds of the CD go to AFFTER (Advocates for Fibromyalgia Funding Treatment Education and Research) in an attempt to fight the disease that afflicts Doyen’s father. Fibromyalgia is thought to be second most common rheumatic condition in the United States, affecting two percent Americans, according to John Hopkins University research.

The first track “Texas Beer” by Jared Francis Band, recalls the greatness of living in Texas - the best part being Texas beer. Comparable to American rock band O.A.R, the Jared Francis Band reminisce about their time in Texas and refute the experience of moving to Oklahoma - “Gray skies, Texas Rain - ain’t nothing better to ease my pain. Oklahoma is fading fast. San Marcos, Texas, you’re right on track.” The upbeat guitar and funky bass make the track one of the more jammy tracks of the album.

The foot tapping track entitled “Whitehouse Blues” by Scott Biram characterized by fast riffs and Biram’s rye soaked vocals is a banjo-picked yodeling good time. “Up in the Scene,” the Hip Hop Remix by Robbie and the Robots begins with emcee Omari Kamua laying down rhyme atop funky electric guitar and pounding bass. After a minute, Doyen begins with the lyrics “my favorite band is playing up in Austin and I’m going to go.” The poppy garage Texas country band’s lyrics are simple but clever.

Another standout track is “Snake Eyes” by the hip hop group The Word Association. The down tempo groove contains some profanity but keeps a perpetual harmony in its looped bars and numerous singers dropping rhymes. The track begins with a sole member rapping the lyrics “if you take a young man, put a microphone in his hand and push him as hard as you can - you have an artistic weapon. We have ten,” and concludes with several of the members chiming in “no surprise, you rolling dice with snake eyes. No surprise, you rolling dice with snake eyes.”

“All Night Ramblin” by Grant Ewing is a notable blues track featuring soft cymbal tapping, rolling guitar riffs, and the theme of drowning the blues with a night of alcohol “slamming.”

“Misguided Confidence” by the AK47s begins with ravage raucous screaming and Hot Topic-esque metal rock guitar riffs and drumming. While most of the lyrics in the song are difficult to understand, the track further proves that there’s something for everyone on the compilation. “Chancla” by Chancla which translates into flip-flop depicts the story of a boy disciplined by “number one tool of Latina mothers for discipline.” Featuring a few words in Spanish, the comedic song tells the story of a young boy being asked to make a chicken pot pie and throwing out the “basura” and getting lost in playing “Pacman” instead of doing his chorus.

The album artwork done by local artist Bonner Fowles depicts a laid back river floating experience on the San Marcos River which folds out into three part gatefold. The inner sleeve is simpler with tree leaves adorning the upper outer corners encircling the artist names, song titles and band website. The inner back tray features a girl tubing with a beer and cigarette in hand encompassing the overall theme of the album - river floating and house parties.

Frisbee Dan: A San Marcos treasure

Frisbee Dan is out at Sewell Park just about every day, decorating the sunlight with his singular Frisbee technique. Photo by Christina Zambrano.

By ASHLEY CASS
News Reporter

Through numerous interviews, YouTube videos, a handful of commercials and even a t-shirt, Dan Barry, known to most as “Frisbee Dan,” has risen to San Marcos celebrity status throughout the years as a fixture at Sewell Park.

But Dan Barry’s true hook is his finesse with the Frisbee, a flair for teaching his craft to the young, and his useful presence in the park as sort of an unofficial guardian of the peace.

Every day, without fail, during prime hours in the scorching daytime, Barry can be found at the park tossing his customized Frisbees until sunset. Clad in black short shorts, a white sun hat, rec specs and close to half a bottle of sunscreen, Barry has played Frisbee at Sewell Park for almost 20 years.

Barry jokes that he’s more of an “eye sore” than an “icon.” Regulars at the park enjoy that humor, to say nothing of the show he puts on most every day.

“I think he has great technique, and I’ve never seen him drop a disc or miss a catch,” Texas State student Vanessa Monahan said. “Frisbee Dan is an icon. He’s like the Leslie Cochran of San Marcos, minus the drag.”

Hailing from Akron, OH, Barry arrived to San Marcos in 1986 as a rehab therapy patient at Tangram Rehabilitation Center after suffering a severe head injury from jumping out of a moving truck.

Excelling in horticulture, he was released from Tangram four years later and staffed at the facility for eight years, helping to treat other injured patients.

“I was trained by a horticultural specialist who got their horticulture degree from A&M,” Barry said. “I was really good at it and I sifted through recovery period quickly, and now I’m a certified licensed landscaper. The only reason my parents chose Tangram was because it had nursery work or landscaping, and they knew I enjoyed to do that kind of stuff, since I had already been doing that.”

Even before his accident, Barry enjoyed playing Frisbee, a hobby he and his brother shared during their years as landscapers in Ohio. With more than 35 years of Frisbee playing experience, Barry said he can “can hit a walking person yards away without any effort on a windy day.”

Sharing his throwing method with numerous Texas State Ultimate Frisbee athletes, Barry has developed a more efficient technique.

“Stance, grab, wrist release, quick release,” Barry said. “Pop it quick. The slower you throw it, the worse it flies. Some people don’t have any eye-hand coordination. You have to have some sort of hand-eye coordination. If not, you won’t be able to do it. If you have a boyfriend and don’t have a problem backhanding him, you’d be great at Frisbee playing.”

Barry, who customizes his Frisbees with colored duct tape embellished with a star logo, says the process is tedious and time consuming but worth the effort.

“It takes me three hours to set all the tape, but doing this will reinforce the center to kick it, tip it or do whatever to it without it breaking,” said Barry. “I have guys come back here five or 10 years after getting a disc from me and they still have them intact.”

Texas State Graduate Assistant for Outdoor Recreation Steven Campbell, whose workplace is on Sewell Park, sees Frisbee Dan on a daily basis.

“I think he’s a San Marcos legend, a staple part of the atmosphere at Sewell,” Campbell said. “He’s a friendly character and gets along with the students well. He watches out for the folks in the park - reports anything detrimental.”

Local progressive fusion band Ars Poetica pays homage to Barry with its track entitled “Frisbee Dan.” The 2:15 minute song is an upbeat orchestration of jazzy piano, happy guitar riffs and whispery brushed drums featuring the lyrics, “All the grass in the park, from the day to the dark - he’s no ordinary man, Frisbee Dan. And when you ask why he do what he do, he says ‘I love it,’ why don’t you love it, too.”

Olive Street-Review

Olive Street
Olive Street
www.olivestreetrecords.com
Beginning as house mates in San Marcos, Olive Street formed in 2006. The inspiration behind the band’s name came from their living location’s side street name. The band consists of Kyle Mylius on keyboards, Lindsey James on vocals, acoustic guitar, organ, Jah Wilkinson on drums and Bel Stuart on bass guitar and backing vocals.
The self-titled EP, which was released earlier this year, features four tracks. Bringing a new detail to folk-rock, Olive Street’s front man Lindsey James sounds hauntingly like Connor Oberst while the band’s resonance is reminiscent to that of the Counting Crows.
The first track entitled “Dealbreaker,” is a soft tune resounding guitar pickings, slow drumming, and melancholy piano haunting through the quaver of James’ voice. The pain behind James’ voice is not only evident in the quivering of his vocals but through the thoughtful lyric writing---“I didn’t know what I was putting you through... I don’t think I could be with you, it was a dealbreaker baby.”
In the EP’s second track, “Sea of Mesquite,” James’ tone is more aggressive and mildly suggestive of Matchbox 20’s Rob Thomas husky voice droned with background guitar and a piano suggestive of a lounge theme. “They Grow Like Weeds,” includes more upbeat piano, easy drumming, and solemn guitar lines hemming the underlying theme of solitude for the characters in the song. The album’s concluding track, “Shapeshifter,” cultivates a sorrowful mood and incorporates an unnamed female vocalist echoing on some lyrics. Towards the end of the song however, the song becomes faster paced and louder only to return to its slow, dawdling pace in the last 50 seconds.

Henry & The Invisibles-Review

Henry & The Invisibles
Henry & The Invisibles
http://www.myspace.com/henryinvisible
More notable for his live performances, Henry Roland, front and sole member of Henry and the Invisibles produces live loops on the spot to create a soulful, funk-tastic experience that guides the crowd through an orchestration of electronica and fusion. The one man band’s Prince like vocals suit the incorporation of looped guitar, bass guitar, percussion, keyboards, and household items such as pots and cans, coffee-cans, and water jugs well. With serviceable falsetto funk and glassy-eyed soul rock, Roland’s unhinged 1970’s nostalgia meets with non-stop dancing and grooving.
The self-titled 6 track-EP featured on Roland’s site, http://sonicbids.com/epk/epk.aspx?epk_id=14383, Sounding almost identical (with a more down-tempo element) to Jack Johnson’s intro to “Upside Down,” Roland’s “Power of Ten” transforms after a few bars of the recognizable beat into something more funky and fresh with Roland declaring that “it’s getting funky, it’s getting funky, it’s getting mother funky.” The second track entitled, “How You Livin’,” is a slower tune which recalls the ‘Purple One’s’ sexy sultriness. Roland’s originality and experimentalism entwined with a rhythmic element becomes more and more prevalent throughout the progression of the tracks. “Only Humans,” is resonant of alternative rockers the Pixies in its down-tempo alt. guitar riffs, vibrating bass and echoing vocals. “Sing a Song,” the standout track of the bunch is a live performance which includes tambourine jingling and soulful cooing. Almost like church, “Sing a Song,” list life’s importance’s “one world, one heart, one love” and asks, “If we can all sing a song, then why can’t we all get along?” Midway, Roland rips into a funky bass guitar solo. The last track, “LoveJam A.K.A. The Gospel” is also a live track and the longest at 8:21 minutes. The encompassing theme of Love is ubiquitous and central not only through Roland’s repetition of the word, but in the lyrics.

Clay Nightingale-The River and Then the Restless Wind

Clay Nightingale
The River and Then the Restless Wind
http://www.myspace.com/claynightingale

The River and Then the Restless Wind is the first self-released EP for local folksy Americana act Clay Nightingale. The band consists of multi-instrumentalist and vocalist Daniel Schaetz, Barry Walker on guitar, Jeremy Whiteon on keyboard/ glockenspiel/percussion, Joe Trent on pedal steel/guitar/percussion, Drew Schaetz, drums, vocals, and Dave Yelacic on bass.

The symbolism behind the album’s title refers to the San Marcos River popular in many recreational activitiesm, and the oldest San Marcos bar, The Restless Wind, which is located right off the square on North LBJ. Titular to the album’s title, the theme of all the songs on the EP include the subject of drinking or floating on the river. Sounding like a puree of the Silver Jews, Townes Van Zant, and The Hold Steady, Clay Nightingale embodies and exudes a timeless alt-country sound.

“Eureka” features soft percussion, doo-wop guitar, a rich country twang and a church bell sound effect. Schaetz vocals, mildly sprechgesang with a down tempo rhythm may suggest that he is unable to hit high notes. However, it remains essential to the entirety to the album. Missing Missing sweet, sleepy and indicative of a broken heart throughout. Schaetz is accompanied by female vocalist Stephanie Briggs, who chimes in on certain lyrics to show mutual emotions.

The duo croon in harmony, “I sure miss missing somebody, I sure miss missing somebody. If I could only miss you,” in the last stanza of the track. “The Bar is a Wonderful Place” is a playful ditty about the joys of hanging out at a bar personified by country riffs and a drunken circus-esque drum rhythm.

The album art is plain and brown, with the band’s name and album title printed in front. The back features a snapshot of two individuals who are most likely in the band clad in hair-rocker garb.

Clay Nightingale is currently working on their second album, which is set to be released mid-year. The River and Then the Restless Wind is the perfect album to hear at a dive bar which believably can be found on the jukebox at the Restless Wind.

The River Hymn- The River Hymn

The River Hymn
The River Hymn
http://www.myspace.com/riverhymn

The River Hymn is the full length self-titled EP for experimental rock gospel-esque group The River Hymn, which consists of Morgan Bierlein on vocals/synth, Colin Colby on guitar, Justin Filor on fretless bass and Miles Landry on drums. Comparable to a more soulful Beth Gibbons (lead singer of British trip hop group Portishead), singer Morgan Bierlein’s ethereal vocals are complemented nicely by penetrating bass riffs, mesmerizing guitar and rhythm drums.

The album begins with “In The Water,” an instantly inviting and dreary track evocative of an early Janis Joplin cut. Bierlein’s emotive, whispery vocals see-saw from a soft gentle cooing to a climactic howl throughout the track. “One Eye Open” begins with soft guitar riffs a low key bassline, stiff rheumatic drums and Bierlen crooning “she’s passed out in the passenger seat again, with one eye open.”
Midway Colby, goes into an unsettling epic guitar tangent which convenes with Bierlein’s abrupt wailing almost instantly. “Procession,” is an instrumental piece that remains actual to its title by coming across sad, yet sexy, and provoking a mental image of a funeral procession. The track begins and remains consistent with the slow drumbeats, weepy accordion and melancholy guitar riffs.

The art featured on the eight track album is made up of five intertwined owls atop edifice-like rocks in the three sole colors of red, white and black. The band’s name is on the bottom right in all caps. The back of the album, also consisting of the before mentioned colors, features a female statue flanked by three shadows, which appear to be bears or rabbits. A flock of birds flies across the “bears” and statue.

Travel By Magnet-Falcon Buddies

Falcon Buddies
Travel By Magnet
http://www.myspace.com/falconbuddies
Travel By Magnet, is the first EP by experimental, progressive quartet Falcon Buddies, consisting of Dieter Geisler on keyboard/guitar/vocals, Morris Ramos on guitar, Ian Eskander on bass and Victor Tizoc Trevino on drums. The album is truly a multi-instrumental art pop electronic explosion of psychedelic fuzzed-out garage rock which could easily be a blender frappe of Guided By Voices, Flaming Lips and Yeasayer.
"Bedsheets," begins with melodic piano and quickly escalates with serrated guitar riffs, swaggering bass, and light cymbal tapping. Geisler's vocals on this particular track draw similarities to Interpol's lead singer Paul Banks singing style but transforms through the progression of the EP. "Skaldabeast," is a dreamy triumph of schizophrenic vision which evolves from mere chanting to a psychedelic precision of Geisler bellowing, "I don't want to be afraid of this anymore, I don't want to be afraid of this anymore. I don't want to be afraaaaid." The last track entitled "To Red is Vain," is an 80% instrumental track which features what seems to be a whole band inclusion of vocals in "Ohhh ohhh ohhhhh ohhh" reiterated mid song. The track is suggestive of Yeasayer's 2080.
The album art is interesting and a bit difficult to understand. A close up of what seems to be cotton or synthetic stuffing graces the cover atop a bubble wrap and shipping manila envelope---a hook like object protrudes from the cotton/stuffing. The inside flap features a close up of red, yellow and blue wires held together by a little plastic clip. A great album to listen to while trying to gain inspiration for an unconventional painting or drawing.

Big Life-Three Leaf

Three Leaf
Big Light
Pitchdark Productions
www.threeleafmusic.com
http://www.myspace.com/threeleafmusic
Big Light is the first self-produced debut album for San Marcos bluegrass-root-rockers Three Leaf. The quartet which consists of singer/guitarist Chris Brennand, multi-instrumentalist Jared White, bassist Kent Chandler, and drummer/percussionist Zac Catanzaro formed in 2000.
"Take What You Want," is a folksy ballad permeated with rootsy banjo riffs which reiterates the lyrics "steal what you need, use your nails, use your teeth and you will go far" through the song. Listening to the lyrics one would realize it's about growing up, getting caught in a corporate American dream and forgetting who you are. The album's second track entitled "Raw Monkey" is central to Three Leaf's sound incorporating fast guitar riffs, melodic banjo strumming, beat-crazy percussion, and Brennand's wailing vocals. The standout track "Opportunistic," is a well developed upbeat track about a band on their way to stardom. "Flagwave Shadows," the tenth and last track of the album is a slow paced tune consisting of melodic guitar and soft drumming which escalate towards the end of the song while Brennard croons, "love will leave you in the end, beautifully broken in."
The album cover which is mostly black features an illuminated cutout face. The posterior of the album reveals how the image on the front was created with a backlight. The focus of the album isn't on jamming or really on bluegrass, but more on the songwriting and arrangements. Comparable to a more eclectic, rootsy Yonder Mountain String Band album with the inclusion of percussion and drums, Three Leaf's Big Light is perfect to pop into the stereo on a chill evening or quiet night in.

The Couch-The Couch

The Couch
The Couch
http://www.myspace.com/thecouchmusic
The Couch is the self-titled EP for San Marcos rockers The Couch which consists of lead vocalist Taylor Wilkins on guitar, Matt Adams on bass/backup vocals, Jud Johnson on drums/backup vocals. Reminiscent of The Black Crowes with a splash or two of the White Stripes, The Couch encompasses a soulful orchestration of instruments while maintaining a contemporary rock/funk sound. The album's first track "The Sugared Jubilee," reveals the band's ability to rip into the musical abyss with burning guitar riffs, penetrating bass lines and incessant drumming. "Marvin," begins with a Pulp Fiction sound bite from the scene in which Vincent Vega, played by John Travolta asks backseat passenger Marvin his opinion and 'accidently' shoots him in the face and begins to bicker with partner Jules Winnfiel (Samuel L. Jackson.) While the lyrics are not titular to the song's title, the track's wailing guitar and piercing bass compliment Wilkins' whisky soaked vocals nicely. The album's concluding track, "The Pauper, Pope and the Stoned," opens with some sort of vibrato psychedelic sound which fades abruptly when Wilkins's begins to sing. Beginning with an upbeat tempo and transitioning into to a more jam rock anthem midway, Wilkin's sings about disregarding behavior during drunken stupors and repeats the lyrics "stop drinking, stop drinking by yourself" over and over with Adams and Johnson as backups---easily the standout track and most rock of the EP.
The album art features a caricature of what appears to be Arsenio Hall shouting "THE COUCH," sketched by local artist and University Star cartoonist Doug Pollard. In honest opinion, The Couch is a great album to put on during a pre-game before a night out on the town.

Earle Brown dates

Local San Marcos blues rock band Earle Brown made up of Evan Styles on vocals and keyboard, Jeff Mills on drums, Mick McGuiness on backup vocals and guitar, Scott Morgan on backup vocals and percussion, Dan Irwin on bass and Chris Blacon on backup vocals and guitar have two show dates on their calendar. The six-piece is reminiscent of San Francisco rock quartet Tea Leaf Green with a twist of Black Keys. I’d highly recommend you check them out! For being around less than five months, they totally rock!

Tuesday, January 20th at 10:30 pm at The Triple Crown
Back to School/Inauguration Day...
Come early and see Our Favorite Colors open at 9:00 pm
$2 you-call-it's until 11:00, and cheap drinks afterwards.
$5 cover at the door.

Thursday, February 26th at 10:00 pm at The Gray Horse
Cheap Beer, No Cover, and a 2 hour set.

www.myspace.com/earlebrown6

Oxblood Masquerade Music and Arts Festival

The fourth-annual Oxblood Masquerade Music and Arts Festival, produced by Austin-based promotions company They Will Come Productions will be held October 31-November 2 at The Ball Farm, a 62-acre venue located 25 minutes from downtown Austin in Lytton Springs. The event which used to be called Melody & Josh’s Halloween Bash stemmed from the mastermind of Josh Ball, event organizer. “Initially, it was just a big party about 125-130 people in attendance and Funkotron performing. But now it’s grown into something larger,” says Ball.
The event which gets its name from the oxblood lilies that grow throughout the venue’s area will feature a 36-band lineup, local art, food vendors and beer. Festival attendees will be allowed to bring their own food and alcohol. Due to liability, alcohol brought is to be consumed in the designated campground area only ---no kegs or glass bottles are allowed. Vehicles occupied by minors carrying alcohol are prohibited from entering the campground. Ball highly recommends that festival attendees facilitate the free campsites. “We emphasize camping to minimize drunk driving, it’s free for all, although you can’t get back into the ground with a one day pass,” says Ball. “Campers must be attendees in order to camp on the grounds. We aren’t letting any outside guests use the campsite.”
The community based event which promotes the sharing of fans among the bands, previously relied on word of mouth advertising but has extended its promotion to radio, internet and flyers. “We expect at least 2,000 to attend,” said Ball. Texas State Senior, Bryan Wasetis who attended last year said that he first heard about the event through his friend who had attended the year before. Wasetis further stated that the Oxblood festival is an enjoyable way to discover local music and have fun with friends. “Instead of doing the conventional Halloween thing in Austin, my friend who had gone the year before suggested we go to Oxblood instead because it would be more fun,” said Wasetis. “Oxblood is revolutionary in how it supports the local music scene. I had an incredible time at last years, a great mix of people and good times.” Bands on the bill include local favorites Three Leaf, Funkotron, The Olive Street Band, Green Mountain Grass, The River Hymm and Word Association to name a few.
In support of the going green trend, all food and beer will be served in compostable containers and the main stage will be run by solar power. All attendees are encouraged to wear costumes in lieu of Halloween.
For ticket prices, complete line-up and more information visit www.oxbloodmasquerade.com.