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'How to Deter a Robber' Review: A Stale Home-Invasion Comedy

'How to Deter a Robber' Review: A Stale Home-Invasion Comedy
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Jason Weinheimer of The Libras on pandemic-era collaboration, being a reluctant frontman and "that Little Rock thing"

Jason Weinheimer Will records made during the pandemic carry their context with them into the future? Seems pretty likely Jason Weinheimer’s new record will. “Faded,” out Feb. 26 under Weinheimer’s solo project The Libras, was concocted in a handful of home studios across the country makeshift and otherwise and features work from some heavy-hitting touring musicians who found themselves decommissioned and stuck at home for the last year or so. Among them, from The Libras’ album notes: Paul Griffith (John Prine, Amanda Shires), Al Gamble (St. Paul and the Broken Bones), Paddy Ryan (John Fullbright, Parker Milsap), Jesse Aycock (Hard Working Americans, Elizabeth Cook), Arnold Kim (Yellow Hope Project), Ambrosia Parsley (Shivaree), Chris Michaels, Charles Wyrick, Dylan Turner, Shawn Stroope, Steve Berlin (Los Lobos), Mark Franklin (Greg Allman, Cyndi Lauper) and Kirk Smothers (Bo Keys, Buddy Guy). 

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50 Arkansas artists who made good noise in 2020

50 Arkansas artists who made good noise in 2020 50 Arkansas artists who made good noise in 2020 December 29, 20207:43 pm (top left to top right) Bazi Owenz, Bailey Bigger, Joshua Asante, (bottom left to bottom right) The Eulogy Brothers, Elise Davis, DOT Creators are going to create, and whether the upheaval of a year like 2020 stifles or fuels that process probably depends on the artist, and on the day. Many, undoubtedly, made music in 2020 at their own expense, investing time, money or both into projects they couldn’t support or promote with live performance, at least not for the foreseeable future. A good number of them, especially those who make music for a living, have spent the year devoted to an industry and to a live music landscape   that may well emerge from Post-Pandemic Times looking very different than it did in 2019. But I’m willing to bet that by the time some of this quarantine-crafted music reaches the stage, congregants’ ears

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