For musical groups and artists, there are various stages of professional development. A model of such development could look something like this: band X forms, gains fan base in hometown. Band X signs with major or independent label based on sound, target audience and business model of creativity vs. profit. Band X evolves into a forgettable one-hit-wonder, memorable fan favorite, icon or stupendous Grammy winner.
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Fastball & Wyatt
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 Entertainment
 Art
The Empty Bottle
Chicago, IL
May 3, 2009
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In the case of Fastball, the band reached a peak between the last two areas. They’ve got the catchy songs and loyal fan base, going back to their Austin roots. They have a platinum album in the form of 1998’s All the Pain Money Can Buy, released by mega-label Hollywood Records. They even have two Grammy nominations and one from MTV. So what were these guys doing in the basement-like confines of The Empty Bottle? The answer: campaigning. While the trio did have a blast of success in the late 90s, their story reads like a bell curve.
Their debut album in 1996, Make Your Mama Proud wasn’t a huge success, but won over local fans and demonstrated potential. All the Pain ushered in their heyday with catchy late-Beatles era pop hooks on tunes like “Out of My Head” and the saucy “The Way”. Their sound got more artsy on subsequent releases, though album sales were sluggish and it failed to attract listeners outside their fan base. So now the group is floating around in adult-contempo land – a relic of late 90s FM radio, with a few solid but not-too-groundbreaking or threatening hits in their favor. And with a new album, Little White Lies recently out on indie label Rykodisc after an almost five-year hiatus, it is clear the band is trying to win over new legions of fans, or at least not get lost in the heaps of power-pop groups, all while projecting a more rootsy sound and mindset.
The openers were Wyatt, a jazzy local quartet comprised of bass, drums, keys and sax. Their keyboardist added an edge to the smooth sounds by furiously rockin’- er, jazzin’ out, and the group’s talent was highlighted when their saxophonist helped out the main act on a few numbers.
While Fastball didn’t rock anyone’s socks off, their style was laid back, complete with bursts of improvisation and easy chatting with the audience. “Little White Lies” came in early, keeping a perpetual rhythm. Lead vocal Miles Zuniga sang, “I could be myself, how about you?” These words brought the crowd closer; several long-time fans started dancing steps form the stage. One woman yelled out, “Play the hits!” She got her request later. For now the guys wanted to show off their newer material.
The saxophonist from Wyatt and soon-to-be crowd favorite Andy, came on to add a classy touch to a few tunes, including “Angelie” off Fastball’s new album. Complete with lyrics like, “I need you more and more, I crave you like a cigarette” and a slow tempo, a mysterious air permeated the venue and exposed another dimension of the band. The retro-leaning classic “Out of My Head” came next. This brief number was two-and-a-half minutes of pure fun. The guitar licks and mini-solos were so authentically classic rock that one could swear it came from some oldies radio station. With “The Way” duskily coming through every crevice of the building, the crowd couldn’t help but sing along.
A few more jammy songs with Andy – the crowd cheering him on by name for his knack for blending seamlessly with the music and right-on-target expressive flourishes – and it was clear that Fastball won over a few supporters. Even if the band proves to be a two-hit-wonder, they still can rouse a crowd. And it was fun to watch the band’s zeal, just like that of some political candidates during their run.
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