You Know It's True

Things got groovy at the Camel tonight.

The invitation was irresistible: "Heading to the Camel to blow minds. Join me if you like that kind of thing."

Since I was already planning to go, I was then even more curious about what to expect.

Instead of just another music show, this one was nothing short of audio/visual splendor with the talented Dave Watkins creating a visual landscape for the bands.

The first of those was Louisiana Territory who'd been on hiatus all summer and returned ready to rock with a new drummer.

"We're gonna try out a whole lot of new songs," the lead singer warned us, including a twangy, slightly country sounding one called "You Know It's True."

They also did a new song about a subject, according to the singer, that "I'm not allowed to talk about in this band," namely make-up sex.

It was only after they later played "I Let You Down" that I wondered if the two songs were related.

Not that it's any of my business.

After their set I was joined by a friend intent on eating before Snowy Owls took the stage.

As he scarfed, we talked about how much we both like Snowy Owls' reverb-drenched sound, but he put it best.

"They sound like good, early Smashing Pumpkins without Billy Corgan's annoying voice."

To make a great sounding band even better without the use of recreational drugs, Dave's swirling light show matched the tempo and intensity of the songs.

It was a fascinating juxtaposition with the visual seeming like it could have been right out of the 60s and the audio more 90s.

Best of all, the lighting effects had nothing to do with a computer, instead requiring multiple cameras, audio boxes and an operator.

Dave, the operator, told me, "The magic is in not knowing what's going to happen." You know, like life.

A friend told me that he'd just gotten word today that he'll be in the Spielberg "Lincoln" movie. I've no doubt that he's merely the first of many long haired, bearded men I know who'll make the cut.

I'm no mathematician, but you heard it here first. The Venn diagram of Richmond's music scene and the male extras for "Lincoln" will show a huge area of overlap.

I stayed for only part of Last Century's set before making my way outside to talk to a friend and talented guitarist.

Introducing me to his friend, he summed me up by saying, "Karen is the ultimate patron of the arts. When I see her show up at something I'm involved in, it makes me feel great."

Imagine getting that kind of credit just for showing up to witness the talented people and have my mind blown.

I don't know how I got so lucky.