I have a theory that I have cultivated over the past few years and propagated to just about anyone within earshot. It goes something like this — culture (and specifically American popular culture) runs in 20-year cycles. Think about it. Approximately 20 years after a certain style of music or trend or fashion was first cool, we tend to re-appropriate it for our own modern usage, if still with slight modifications.

A broad example: the slew of ’80s parties that marked the last decade of Provo weekends. It was simultaneously ironic and cool to get nostalgic for the dancing, fashion and trends of the Reagan era — you guessed it, 20 years after the fact. This ’80s revival peaked in 2009 with the death (and subsequent career renaissance) of pop icon Michael Jackson — an event which defined our lovefest with the decade, but also marked our transition into the 2010s and, per my theory, a 1990s nostalgia to boot.

Don’t tell me you haven’t noticed it. The ’90s are making a comeback. Where Provo youth once craved legwarmers and frizzy hair, they now wax nostalgic over Mighty Morphin’ Power Rangers and late ’90s boy bands they totally pretended to loathe when said groups were actually (non-ironically) popular. Hell, another James Cameron monstrosity even rests atop the box office again for the first time since 1997 (albeit without the dazzling star power of a young Leonardo DiCaprio).

Still skeptical of my theory? Think about some of the most recent fashion trends, then consider their cultural roots. Case-in-point: you can’t walk anywhere in the year 2010 without seeing a multitude of young, hip men dressed in well-tailored flannel shirts. Now, we didn’t snatch this idea directly from the lumberjacks; nay, the flannel shirt first prominently entered American popular culture in the grunge scene of the early 1990s. Granted, Kurt Cobain and his mop-topped contemporaries wore them oversized and unbuttoned most of the time, but they pioneered the look as an acceptable fashion choice nonetheless.

Now, 20 years later, we’ve resurrected these grunge relics while also adding our own modern spin. We don’t wear them loose and grimy like they did in Seattle circa 1993, because that would just be gross. Instead, we channel Cobain through our 2010 prism — clean, crisp, well-fitted — and come out with the $40 flannel you recently bought off the rack at Urban Outfitters. We’re essentially adopting the look, feel and meaning of styles and symbols from decades past, but also providing our own modern alterations to maintain their relevance.

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People who’ve read this site somewhat regularly since its inception have probably garnered that I don’t throw my hat in the ring with the local folk-haters. By contrast, I love folk music and particularly Provo’s unique brand of indie-folk that increasingly populates our venues. I know some wish for “more rock and roll” in our little town but, to me, good music is good music — and if there’s one thing our local bands do really, really well, it’s creating great folk music. Nowhere was that better on display than at Velour on Saturday evening.

The second night of Velour’s four-year birthday bash was heavily slated with local folk heavyweights, beginning with relative newcomers The Archer’s Apple. Featuring a unique set-up that doubles down on percussion (i.e. using two drums sets on most song), frontman Seth Hanks led the band through a rousing set of folk numbers that won many a new convert amongst the folks standing near me.

The Archer’s Apple makes a type of folk that is insanely enjoyable and lyrically driven, but that employs just enough experimentation and instrumental excellence to set it apart from similarly inclined folk-pop bands. Not to mention that “Bang Bang” (which also showed up on our recent local music compilation) is one of my favorite songs I’ve heard in the last year. With the band currently in the studio working on their first album, I expect to hear a lot more from The Archer’s Apple in the near future.

Second act Desert Noises have recently taken quite a bit of time off while band member Kyle Henderson played with friend and labelmate Joshua James on his recent world tour. James returned the favor on Saturday, stepping in to play bass for the band when regular bassist Riley Johnson couldn’t make it due to some mysteriously vague “legal issues.”

It’s been interesting to watch Desert Noises grow as a band from the time they introduced themselves to Provo and the world with their EP release last year to today. While they still harbor a sound reminiscent of a Band of Horses-Fleet Foxes lovechild, their newer songs seemed to have branched out in new and interesting directions, even appropriating some 1950s pop harmonies to make for an intriguing blend.

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There’s been some griping recently (including some by folks at this publication) about the amount of indie-folk bands that permeate the local scene. Well, for those of you who hold that opinion, Friday night’s four-year anniversary show at Velour Live Music Gallery was tailor-made for you — not a folkie with a microphone in the house.

The show opened with a solid set from local up-and-comers and recent Velour Battle of the Bands finalists Gypsy Cab. If you’re into classic rock — and particularly Southern classic rock — and frequently find yourself wondering what happened to the “good ol’ days” of rock and roll, this is the band for you. Gypsy Cab are what Lynyrd Skynyrd would have sounded like had they grown up in the post-grunge, post-punk new millennium. A bit punchier than the likes of “Sweet Home Alabama,” et al., the group’s songs exude energy like you can’t believe — a feeling that was certainly helped along by a full-volume sound set-up on Friday evening.

While Gypsy Cab’s genre isn’t necessarily my cup of tea, they are certainly a talented group of musicians and it shows in their live performance. While I don’t think I would ever sit down and listen to one of their album’s for kicks, I love to watch them play. Lead guitarist and part-time vocalist Pat Boyer is undoubtedly one of the local scene’s most skilled axe-men and — I know I’ve said it before, but I’ll say it again — his solos make me feel like the Nazi bad guy at the end of Raiders of the Lost Ark. It’s a testament to the band’s live appeal that a slightly xenophobic song like set closer and fan favorite “Living in America,” which basically represents everything I personally find reprehensible about our national attitude of superiority, is still enjoyable and fun enough for Gypsy Cab to come off smelling like a rose.

Dance-rock locals Location Location took the stage second and fought through some sound problems to produce a solid set of danceable tunes. While it would have been easy for the band to succumb to the issues at hand and mail in Friday night’s performance after putting on such a big show the previous night in Park City (where they opened for national touring act The Bravery), they thankfully took the higher road and made it work.

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Corey Fox, owner of Velour Live Music Gallery, has been working with local bands since the early 1990s — longer than just about anyone else in these parts. His venue has consistently provided a quality outlet for Provo’s musicians to play and promote their music in a convenient space right in downtown Provo for four years now. Fox and Velour’s contribution to the local scene is more than monumental — it is absolutely essential to the lifeblood of our little community.

That kind of commitment is cause for celebration — and that’s what we’ll be doing this weekend as Velour celebrates their fourth anniversary with a pair of star-studded, jam-packed shows with great music for everyone — all for the low, low price of seven dollars. Haven’t yet heard about the wonderful things in store at Velour this weekend? Have no fear and keep reading — we’ve got you covered.

VELOUR LIVE MUSIC GALLERY 4-YEAR ANNIVERSARY CELEBRATION

Night 1: Friday, January 15th; 8:00 p.m.; $7
Featuring: Neon Trees, Seve Vs. Evan, Location Location, Gypsy Cab

Much like the venue’s popular annual Cowboys and Indies event, the anniversary shows feature both folk and indie rock bands from the local scene. However, unlike Cowboys and Indies where all the bands take the stage together, each genre will have its own night to take the stage this weekend. The rockers go first this weekend with a stacked line-up that is not to be missed.

Local indie band Neon Trees has made a big splash recently — and the ripples are extending far beyond Provo’s borders. After signing a recording contract with Mercury Records last year, the band have toured the country relentlessly with some big names and are currently preparing to release their first major-label album in the near future. Thankfully, they’ve decided to take a break from their busy schedule and grace us with their awesome presence on Friday night — a show which is not to be missed.

But the show openers aren’t shabby either. Local electro-poppers (and Rhombus local compilation contributors) Seve Vs. Evan’s shows are legendary, due to the duo’s crazy antics and insanely fun, danceable songs. I was a little unsure about Seve Vs. Evan — and then I saw them play. Needless to say, I’m converted. Indie rockers Location Location (fresh off a huge show with national act the Bravery in Park City on Thursday evening) and Southern rock throwbacks Gypsy Cab (if you love Lynyrd Skynyrd and face-melting guitar solos, these guys are for you) will open the show and round out a generally excellent night for Provo music fans.

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Friday night’s show at Velour showcased the full musical spectrum of the local scene — from the great to the, um, not-so-great, all in one evening on one stage.

The show opened with a spirited performance by now-Los Angeles-based pop-rockers Kid Theodore. I often place this band into a category with Fictionist and the Elizabethan Report — groups whose music I don’t especially connect with on a personal level, but who possess immensely recognizable talent nonetheless. While I may never sit down and pop in a Kid Theodore album for my own personal enjoyment, it is abundantly clear that they do what they do very, very well. If you’re into scruffy, energetic powerpop with lots of multi-part shout-along choruses, you will love these guys. Their Friday set was no different, and they got the crowd moving early and often with a tight set of danceable tunes.

The John Whites have been something of a mystery to me for quite some time — I’d heard about them forever, but had never actually seen or listened to them until they took the stage second on Friday. I was not impressed. I generally found lead singer John White’s (who else?) vocals to be more than a little hard on the ears as he constantly wavered in and out of tune. The songs seemed to lack any sort of discernible structure and seemed to drag on ad nauseum, piling on clumsy guitar solo after clumsy guitar solo to little positive effect.

The band’s cover of Phil Collins’ “In the Air Tonight” started rough, but eventually grew to a fairly nice and respectable apex — before being completely ruined by White’s distracting and misplaced dancing. (To be frank, it was just a bit weird.) I’m not really sure what all that means, nor do I know how to make sense of what The John Whites did on-stage last night — but I’m pretty sure Phil Collins wouldn’t have approved. (Not that anyone would bother to ask for his approval in the first place.)

Thankfully, The Devil Whale took the stage third and calmed my very confused soul with their always excellent folk rock. Band leader Brinton Jones’ tightly written songs are delightfully pleasing to listen to in and of themselves, but also add another layer of texture that subtly enhances the overall experience. Forgive me if I can’t muster a legion of words to describe their performance, because only one comes to mind — solid.

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