Album Review: Samantha Rae – The High Road

Posted on by

photo courtesy of Samantha Rae

Album Review of Samantha Rae: The High Road

Samantha Rae had a big year last year. Just focusing locally and on last year, since the accolades have continued in 2026, she was the winner of the Country Artist of the Year award at the Boston Music Awards. She was also nominated for Country Artist of the Year by the New England Music Awards as well as the Nashville-based Josie Music Awards. Her album The High Road was nominated for Album of the Year at the New England Music Awards, and one of the songs on The High Road, “I See in You,” won the original song competition at the Williamsburg International Film & Music Competition. That was all well-earned acknowledgement of not just Samantha’s talent but also the talent of her co-writer, bandmate, and co-conspirator Jay DellIsola, as well as the impeccable quality of this record, The High Road.

Samantha Rae delivers a dozen catchy country ballads and rockers on The High Road, delivered in a modern sound that would play well alongside current hitmakers like Ella Langley and Ashley Cooke, and yet, without sacrificing that current sound, Samantha also serves up plenty of that old school sass and style reminiscent of icons like Dolly and Reba.

image courtesy of Samantha Rae

So what about this award-nominated album? Well, The High Road is every bit as top-shelf as its praises suggest. And that’s apparent from the very beginning. You know how sometimes the opening notes of an album instantly cause you to think, in that moment, “oh, this is gonna be good!”? Well, the cymbal strike and guitar strum at the beginning of disc-opener “Taking Me Down” is one of those moments. Very quickly, this song will have you swaying along, and screaming along with Samantha’s drawn-out “I… never had a prayer without you” and other “I…” lyrics. It’s not a fast-tempo number, but it’s absolutely energetic and very fun-country, kicking things off with good vibes.

The vibes turn more ominous – or, at least, the second song’s opening guitar notes do – as if foreshadowing what’s coming next, though the song is called “Gaslighter,” so its direction is not exactly a secret. And while the eerie tone persists in bridges and even parts of the verses, the chorus itself is empoweringly energetic, with the same sort of vibe that drives Carrie Underwood’s “Before He Cheats” or Meredith Brooks’ “Bitch.” Samantha displays the swagger to carry the “don’t mess with me” mantle, while the arrangement and instrumental performances are as big-stage and radio-ready as the vocals.

photo courtesy of Samantha Rae

It’s followed by perhaps the oddest song on the record, “Pinocchio.” The track’s an absolute attitude-filled banger. And it sounds like Pinocchio’s kind of a prick, which is a sentence I never expected to write. You’ve kind of gotta think this is one of those circumstances where the names have been changed to protect the innocent (or guilty) because the emotion behind the vocals is powerful. The lyrical choices are clever, leaning into references that only this character reference could produce. You’ll totally get into this tune, all the way to the end, as Samantha’s voice really soars during the song-closing lyrics “I’m wide awake, it’s your mistake that you let me go. Now I’m wide awake, it’s your mistake that you went so low. Oh, Pinocchio.”

“Want Me Back,” next, is an energetic and playful follow-up. Then “Burning in My Soul” follows, with its cool, mid-tempo country-bluesy vibe.

It’s a nice set-up for the album’s first full-on ballad, the memorably emotional “Where You Are.” Interestingly, something about the piano opening of “Where You Are” is vaguely reminiscent – to me, at least – of the opening measures of Motley Crue’s “Home Sweet Home.” Of course, other than the feeling in that short moment, this one’s a purely country ballad. “Where You Are” is one of those lump-in-your-throat numbers that causes the hair on your arms to stand up, with warm piano providing support but mostly leaving room for those vocals, crisply clear but with a rough, emotional edge, helped along by prominent violinwork that just adds to the song’s poignance.

photo courtesy of Samantha Rae

After that, deep sigh, whew! And time to bring the energy level back up. “143 (I Love You)” kicks off with guitar licks that recall Lonestar’s “Never Enders,” one of my favorite Lonestar songs, even though the title track from the band’s 2016 Never Enders never really gained much footing on country radio. In any case, “143” is as emotional as the record’s preceding track and a little reminiscent, but it’s both of those things packaged as a joyful, mid-tempo country rocker that’ll bring a quick smile to your face. It seems like a number that’d get a live audience bopping and swaying, likely a live favorite.

From there, the album veers back toward defiant spunkiness with another of those songs that sounds like it has an interesting story behind it, “I Only Cry in Trucks.” It’s a song that coolly calls out specific pick-up trucks – yeah, I know, very country but with a nifty spin. The song’s topic and its sassy energy, though, is focused more on the “only crying” part, with the trucks acting as supporting castmembers. There’s some fun fiddlework, a nifty pluckin’ guitar run, and, of course, Samantha’s insistent, powerful vocals driving this fun number.

Samantha Rae and Jay DellIsola; photo courtesy of Samantha Rae

“Back to You” follows, another mid-tempo emotional broad-appeal country rocker, with a really cool spot in the back half of the song where the music drops out and highlights a powerful Samantha Rae wail of “you give me all I need,” a musical turn that’ll make you stop and notice. “Therapy,” next, is another of those attitude-driven songs, replete with the warning, clearly not undeserved, of “I’m good where I’m at, but you’re gonna need therapy after that.”

The mood brightens on the disc’s penultimate track, “I See in You.” As much as the prior number was a warning, this mid-tempo country rock number is something a couple in love might play for each other, a song that may be a little lyrically sappy but is delivered in such a way that it’s simply not. Well-placed harmonies, engaging stop-starts, dynamic vocals that carry both power and nuance. And occasional singalong “ooh, la la la” backing vocals. Yeah, this is a wicked cool song.

The record ends with “Time.” Twelve whole songs, but the record still seems to end too soon. “Time,” however, is a soft, encouraging number with a message of hope that’s likely something most of us need from time to time. Ideally placed guitar twang and an empathetic vocal from Samantha that really seems to relate to the lyrics, it’s a nice, soft ending to The High Road, a pleasant, tuneful landing to an enjoyable 12-song flight.

As I mentioned at the beginning of the review, this album is well-deserving of all its accolades. Whether you’re a fan of new country or classic country, you’ll find a lot for your ears and emotions to love on The High Road.

Looking Ahead

You can catch Samantha Rae live, with shows at several New Hampshire and Massachusetts locations – many of those listed as “Samantha Rae & Jay acoustic” shows – currently listed on the “Tour” page of her website. Of course, check back for more shows as they’re added.

On the recording front, Samantha is currently finalizing work on a second album targeting a 2027 release, if I’m not mistaken. As teasers, two advance singles from that record, “Gone Fishin’ (For a Man)” and “My Life,” have already dropped. If those two tracks are any indication, there’s not gonna be a sophomore slump. So if you’re new to Samantha Rae, start with The High Road, and then join me in looking forward to the next full-length album, coming soon!

Live Review: Houston Bernard and Whitney Doucet at Maynard Country MusicFest

Posted on by

Houston Bernard and Whitney Doucet; photo by Geoff Wilbur

Houston Bernard and Whitney Doucet

Maynard Country MusicFest, Memorial Park, Maynard, MA

September 19, 2026

Maynard, Massachusetts held its second annual Maynard Country MusicFest yesterday at Memorial Park. The event featured arts and crafts vendors, a couple food trucks, and two of the region’s hottest country music acts, dropped into the middle of a pleasant Saturday afternoon.

I attended this as a social event rather than specifically to write a review, which means I wasn’t taking notes, so the review will be on the short side, but I did take a few photos. And heck, it was a fun event, something you’ll want to circle your calendar for next year if you’re in the area. Assuming it follows the same format again next year, it’s a short 1:00-4:00 concert, so you can enjoy your morning, zip out for some great country music in the afternoon, and get home in plenty of time for dinner.

Whitney Doucet; photo by Geoff Wilbur

Whitney Doucet

At yesterday’s event, Whitney Doucet kicked things off. If you’ve been paying attention, she has been getting plenty of attention the last couple of years, singing national anthems, opening for national acts as they swing through the area, and just generally building a buzz. I was excited to finally get out to hear her perform, doubly so after listening to a few of her recent releases on Spotify. Whitney wowed the crowd with originals like “Cowboys” and a slew of energetic covers, including Ella Langley’s  “Choosin’ Texas.” When male vocals were called for, Whitney turned to her band – notably, her bass player, who sang the Georgia Satellites’ “Keep Your Hands to Yourself.” It was an electric opening performance. Still, I’d like to catch Whitney in a different venue to hear her shine – something about the sound was off, as both the vocals and guitar were overly distorted no matter where I stood. The crowd didn’t seem to mind, and maybe I’m just being picky, but I’ve heard what she’s capable of, and I want to hear it live. (In case others noticed it, too, especially if this was their first taste of Whitney’s music, I wanted to make that point.)

Houston Bernard; photo by Geoff Wilbur

Houston Bernard

Next up was headliner Houston Bernard, and not only was the band dialed in, but the sound system was right where it needed to be for his set, allowing the assembled crowd to hear one of the Boston-area’s most talented country artists delivering a lively performance that would play exceptionally well both in a venue like this and as a tour headliner. Or, heck, at least as an opener on a major national artist’s tour.

Now, I had previously only heard Houston perform in original music-friendly environments, so I had heard him play few covers before today. Obviously, his original stuff is top-notch, but the dude knows how to nail the covers, too. He did play a few of his originals, including “You’re All I Need,” a heartfelt number that’s long been a personal favorite of mine, more recent release “Don’t Feel Like a Livin’,” and “Heartbreak in Reverse,” from Houston’s newest album, Oklahoma Stars. For that last number, the recording, a duet with Ashley Jordan, is up for a Josie Award (tonight, in fact!). Live, though, Houston was joined onstage by Whitney, and the two performed it movingly. (Oh, my! While proofreading, I just noticed it was a Whitney-Houston duet!)

Houston Bernard; photo by Geoff Wilbur

For the covers, Houston covered plenty of ground, covering a lot of rock ‘n roll and country real estate, including 4 Non Blondes’ “What’s Up,” Shaboozey’s “A Bar Song (Tipsy)” – yeah, that’s almost a must-cover for a country act these days, Bruce Springsteen’s “Dancing in the Dark,” Kenny Loggins’ “Footloose,” and a song that’s having a bit of a resurgence these days, John Denver’s “Country Roads.”

This was the second consecutive Maynard Country MusicFest with Houston Bernard as headliner – last year, Ashley Jordan opened – and honestly, I think the crowd would welcome him back annually. I certainly would enjoy the opportunity to catch him out here in the outer western Boston suburbs once a year.

Also worth noting, tonight at the Josie Music Awards in Nashville, Houston is nominated for six awards, and the local music scene is pulling for him to bring home at least an award or two, but it is, indeed, an honor to be nominated.

Single Review: Michelle Held – “Another Jane”

Posted on by

photo by Robert Sherrow; photo courtesy of Michelle Held

Single Review of Michelle Held: “Another Jane”

You’ve read here once before about Michelle Held, one of Michigan’s most revered and talented folk singer-songwriters. Well, she has released another single, “Another Jane,” and it’s every bit as cool as you’d expect.

Those familiar with Held know her trademark vocal warble that’s unlike anyone else’s, adding texture and layers to her performance that are uniquely Held. Her songwriting, too, is deep and insightful. On this particular song, she digs into the persona of Jane Goodall, with Held’s vocal warmth matching the thoughtful kindness of the lyrics praising Goodall, mentioning her admirable personality traits and praiseworthy approach to the world, as well as touching upon key points of Goodall’s bio, coming to the now-obvious conclusion at the end of each verse that “we could use another Jane.”

cover image by Christopher Bennett; image courtesy of Michelle Held

Of course, whether or not someone steps into the void left behind by Jane Goodall, we can all glad we have one Michelle Held. Folk music fans, songwriting fans, or I suppose fans of chimpanzees should all check out this most recent single from one of Metro Detroit’s most talented singer-songwriters.

Looking Ahead

At the moment, according to the “Concerts” page of Michelle Held’s website, she only has one upcoming show booked, as a special guest on the October 18th stop of The 50th Anniversary of the Last Waltz Tour at the Token Lounge in Westland, MI. If you’re in the Detroit area, catch her there. And/or, of course, check her website periodically as new performances are added.

Live Review: Pure Prairie League, Atlanta Rhythm Section, Firefall, and Orleans at Indian Ranch

Posted on by

Pure Prairie League; photo by Luca DePalo

by Luca DePalo, Contributing Blogger

Pure Prairie League, Atlanta Rhythm Section, Firefall, and Orelans

Indian Ranch, Webster, MA

August 23, 2026

For what started off as a rainy Sunday morning in Webster, Massachusetts, the weather gradually warmed up in the afternoon, setting the stage for an enjoyable day of live music at the Indian Ranch with Pure Prairie League, Atlanta Rhythm Section, Firefall, and Orleans.

The show was everything you’d expect it to be: an abundance of pop and country rock music that transported you back in time to a more free-spirited place. And sure, the members of these bands have changed over the years, with only one or two original members in each. However, each bands have retained their signature sounds and feels that produced their hit songs in the ’70s and still have fans eagerly returning to hear them perform over 50 years later.

Orleans; photo by Luca DePalo

Opening up the show was Orleans, performing a killer set as part of their ongoing farewell tour, which will continue through the end of 2026 and into 2027. Currently, Orleans is led by longtime bassist Lance Hoppen (who has been with the band since 1972), his brother and keyboardist Lane Hoppen (a member since 1980), Tony Hooper (guitar, vocals), Brady Spencer (drums, vocals), and Tom Lane (lead vocals, guitar).

After starting the set off with “Let There Be Music,” Lance introduced to the crowd, “Well, it looks like the weather has cleared out.” Lance continued, “We’re here to play some music and have some fun,” before slamming right into the band’s classic single “Dance With Me,” a song which by itself was worth the ticket price. Ending with “Love Takes Time” and their Billboard chart-topping hit “Still the One,” Orleans performed an incredible 40 minute set to start off a long day of dancing, rockin’, and grooving.

Firefall; photo by Luca DePalo

Then came Firefall, the most surprising band out of the four. Coming out with “Livin’ Ain’t Livin’,” the band decided to stay true to their roots, only performing songs from their first three records (their self-titled album Firefall, Luna Sea, and Élan), a decision which seemed to persuade the audience.

The Colorado-based band currently features Jock Bartley (guitar, vocals), as well as longtime members Sandy Ficca (drums), Steven Weinmeister (guitar, vocals), multi-instrumentalist Jim Waddell (saxophone, flute, keyboard, backing vocals), and the band’s newest member, John Bisaha (bass and vocals). Among hits like “You Are the Woman,” “Strange Way,” and “Just Remember I Love You,” Firefall brought the audience out of their seats!

Atlanta Rhythm Section; photo by Luca DePalo

Afterwards came Atlanta Rhythm Section, a band that came out swingin’ with “Champagne Jam.” Sometimes described as a southern rock band or as a more radio-friendly version of Lynyrd Skynyrd, the Atlanta Rhythm Section was one of many bands from that genre to hit the upper reaches of the charts during the late ’70s.

Hailing from the small town of Doraville, Georgia, the beginning of the Atlanta Rhythm Section can be traced back to 1970. Fifteen albums and over 50 years later, the band features the legendary original vocalist Rodney Justo, and I gotta tell you, he is still going strong! The band played all their crowd pleasers, including “Spooky,” “Doraville,” “So Into You,” and then “Imaginary Lover.”

photo by Luca DePalo

Finally, came Pure Prairie League. Jogging on stage, lead singer and guitarist Jeff Zona introduced the band and stated “Welcome to the country rock surface this afternoon,” before kicking into “Two Lane Highway” probably one of my favorite songs out of all the bands throughout the day. And I can’t forget about “Let Me Love You Tonight,” what an awesome song!

Other than Jeff, the band currently is carrying on the legacy of co-founder Craig Fuller, who retired from touring in 2012, with Scott Thompson (drums), Randy Harper (keyboards and guitar), Jared Camic (bass), and John Heinrich (steel guitar and saxophone), including all the members providing lead vocals. Overall (even with no original members), I thoroughly enjoyed the band’s set, especially with three songs from their latest album Back on Track. And ending with the crowd-pleaser “Amie” was just perfect!

Album Review: Remnants – Strange Things Change Brings

Posted on by

photo courtesy of Remnants

by Eric Harabadian, Contributing Blogger

Album Review of Remnants: Strange Things Change Brings

Remnants is a quartet based in Southeast Michigan that flips the concept of “alternative” right on its ear. This band brings a musicality and sophistication to the indie music scene that, in many ways, defies description. That’s not to say the members of Remnants are not effective communicators or difficult to understand. Far from it! They just bring so much to the table that when the listener takes the time and samples all from their musical buffet, one’s plate runneth over!

image courtesy of Remnants

Adam Quiroz, Nathan Adermatt, Jude Biggs, and Michael Ellerman II are the masterminds behind the nearly 80 minutes of audio nourishment that is before you. For those who like their rock with a little pop, folk, progressive, classical, and experimental elements, get ready for an adventurous and satisfying walk down the road less travelled.

The album opens appropriately with a track called “Intro.” It’s an instrumental piece featuring “additional musicians” that, actually, are integral to each and every track on this body of work. Violinist Colin Murphy, cellist Sara Gibson, flautist/saxophonist Paul Johannes, and percussionist Tom Arnett bring their “A” game to the overall sonic tapestry of this recording. “Intro” is cinematic, dynamic, symphonic, and has a relaxed folk feel that gently massages your senses. That’s followed by the Counting Crows-influenced “Kinda Like the World.” The track’s herky jerky rhythms matched with Murphy’s elaborate strings throughout creates an ebb and flow that is soulful and organic. “This Car’s Careening” is a mix of atmosphere and ambience. The blend of acoustic guitar and Wurlitzer-like keyboards summons a mystical and whimsical feel.

photo courtesy of Remnants

They present a somewhat poppier demeanor to the followup “Seeing’s Believing.” It spotlights strong hooks, light percussion, and a cool guitar figure that really stands out. “Burning Fire” flips the script once again, with its dreamy languid meters and odd guitar motifs. One of their signature tracks, “House Down by the Water,” keeps that progressive sensibility going, with dynamic sectional changes and a mix of dissonant and melodic sounds. “Interlude” takes a break from vocals as this instrumental piece dips into a darker tuning, almost musique concrete experimentalism. And then “Bargaining” comes right back and hits you squarely in the face, with saturated and scorching lead guitar work. Some light Manzarek-tinged keyboard textures add a tasty and unexpected touch to this track.

photo courtesy of Remnants

“The Being” features Alice in Chains-type tribal beats and complex sound design. Quiroz’s surreal vocals are an added delight. “The Road We Live On” is another live set favorite that gets an odd mix of acoustic elements and a Zappa-type feel. “Woebegone” highlights the violin and offers more of that chamber music ensemble vibe. “Let it Grow” continues in that vein and suggests the enigmatic brilliance of Jack Bruce’s solo work. “The Right Rig” is another dynamic piece that builds to an epic crescendo and finale. “Outro” appropriately takes things out as the album began, with an arrangement that is dreamy and orchestral.

Remnants are a young band that appears fully formed and seem to have found a unique voice amid a modern music sphere that is cluttered with tribute bands, copycats and wannabes. That said, this reviewer does not paint the current state of cultural affairs with a broadly negative brush, but pick up a copy or stream this band and judge for yourself. If you’re looking for a true alternative to all the pervasive noise that dominates the current narrative, look no further than these progressive musical stalwarts.

Single Review: Memoira – “Ikigai (Memories)”

Posted on by

photo by Soft Neon Audiovisualin/Jerkka Perälä; photo courtesy of Inverse Records

Single Review of Memoira – “Ikigai (Memories)” (Inverse Records)

It’s been a while since I’ve shared some good symphonic, progressive metal here at the blog. Well, I can be perhaps a little too picky when I choose what to review this genre, but I definitely have a good one for you tonight. Finnish soaring power-rockers Memoira serve up an engaging, catchy song with “Ikigai (Memories),” a song that mostly lives in the stratosphere but also features some crunch machine-gun-tempo guitarwork in a couple spots.

image courtesy of Inverse Records

Krista Astrid Schröter (vocals) delivers the sternly earnest yet tunefully booming vocals, while the song powers forward in a 4 1/2 minutes that just seems to fly by thanks to the musicianship of Lassi Nuolivaara (keyboards, piano), Serdar Ilter (guitars), Niko Laaksonen (bass), and Kimmo Puhakka (drums).

The song itself encourages the listeners to live their lives, with lyrics like “Let the rain wash away all your pain. Life can end in just one day. Make those memories, make those memories last” delivering its message a little abruptly – or, perhaps, directly – but with solid melodic power.

If you’re a fan of musical transitions, about a minute, there’s a nifty “ah, ah” vocal transition, and a little past the song’s midpoint, there’s a musical bridge where the keys and guitars break things down and recalibrate the song’s sound a bit before launching back into the chorus and the song’s closing stanzas.

If you’re a fan of symphonic, edgy, hard-rocking progressive metal, Memoira is a band you should hear. And “Ikigai (Memories)” is a fantastic place to start.

Single Review: Ben Reel – “Bring It Back to Life”

Posted on by

image courtesy of Rhí Cobra Promotions

Single Review of Ben Reel: “Bring It Back to Life”

Ben Reel is a gravelly-voiced crooner who’ll keep you engaged beginning to end as his voice commands attention while carving a blues-based rockin’ path atop the big, sweeping soundbed of “Bring It Back to Life.” The song feels a little loungy in the very best way, with the chorus tapping into a seventies-rock energy, while the verses more recall the wordy folk-rocksmiths from the same era. At the same time, there’s an anxious edge in the song that’s very modern. Just to keep things interesting, there’s a Beatles-esque bridge.

Sure, “Bring It Back to Life” is a great song, but Reel’s exceptional vocal performance – and that voice itself! – is what really sells it. Needless to say, this will quickly become a new favorite, a song you look forward to on your daily playlist.

More Recently

“Bring It Back to Life” was an advance single from Ben’s Spirit’s Not Broken album. I’ve not yet heard any of the other tracks on the record, but it’s an exceptional promotional calling card for the full-length disc, indeed!

Single Reviews: Jennifer Tefft and the Strange – “Salt and the Sea,” “A Little More,” and “Silver”

Posted on by

photo by Mike TD Photo; photo courtesy of Knyvet

Single Reviews of Jennifer Tefft and the Strange: “Salt and the Sea,” “A Little More,” and “Silver”

Kickass New England rockers Jennifer Tefft and the Strange are back! And by “back,” I mean that the 2024 New England Music Awards Album of the Year winners have released three singles over the last eight or nine months. But hey, they’re back on the Blog!

cover art by Stephen “Sharky” Beccia; image courtesy of Jennifer Tefft

“Salt and the Sea” dropped in November 2025, featuring the foursome of Jennifer Tefft (vocals, acoustic guitar), John Parrillo (guitar), Stephen “Sharky” Beccia (bass), and Tim Provost (drums), as did “A Little More,” released in February 2026. Chris Jost has taken Provost’s place on the skins, appearing in a recording for the first time on the new single “Silver,” released just last month, in June 2026.

On their trio of recent singles, Jennifer Tefft & the Strange confirm their place as one of the region’s premier straightforward guitar-driven rock bands. While this kind of music has increasingly been referred to as alternative rock, it’s the sort of music that, in previous decades, would have been radio rock and/or album-oriented rock, though an AOR band with hit single potential.

photo by John Parrillo; photo courtesy of Knyvet

“Salt and the Sea” is the Strange’s haunting yet precisely, relentlessly, methodically advancing cover of The Lumineers’ song of, obviously, the same name. Indeed, the song builds and builds, vocally and musically gaining strength but still remaining a little ethereally aloof, sonically speaking. If you’re familiar with the original, the Strange’s cover is in some ways very true to the original, but at the same time, in their hands it’s a kickass rock song. The pianowork on the original becomes an enigmatic pulsing rockin’ rhythm, and Tefft herself puts a little more of a smooth finish on the vocals. Still just as haunting, but haunting as sung by a top shelf rock vocalist.

cover art by Stephen “Sharky” Beccia; cover design by Jennifer Tefft; image courtesy of Knyvet

“A Little More” was a re-release of a song Tefft had recorded solo. This is the full-band’s rendition, noted on Bandcamp as “A Little More (Strange Version).” If I circle back and listen to the earlier recording, it was indeed stripped-down. This is very much to rock concert version, and for those of us who prefer full band performances, I absolutely dig the makeover. There’s a recent Jennifer Tefft and the Strange are a popular draw when they perform live, and it’s because of what this talented group of musicians is able to achieve as a foursome. As such, this recording of “A Little More” delivers this great song with a rich, full sound that makes it pop.

cover art by Stephen “Sharky” Beccia; cover design by Jennifer Tefft; image courtesy of Knyvet

Finally, just a few weeks ago, the band released its new single “Silver.” The rhythm section drives this not-quite-anthemic, mid-tempo, mainstream-friendly alt-rocker, while guitarist Parrillo weaves some nuanced guitarwork into the song to really make it stand out. Granted, with a powerhouse vocalist like Tefft behind the mic, every song’s going to jump off the vinyl a little, but the Strange next-levels it to be a memorable song. The line “where’s my silver lining day” might sound a little Bangles-ish, and I’ve often compared Tefft’s voice to Pat Benatar, but this song features an in-between, edgy mainstream alt-rock howl that not’s really quite either. And after hearing an album-plus of Jennifer Tefft and the Strange songs, I really think this one taps into the very best of the band’s sound, a song that seems not to call for comparison but, rather, is definitive of the band’s Strange sound. “Silver” is what a Jennifer Tefft and the Strange hit song/crowd favorite, in their identifiable sound, would sound like. Rather, does sound like.

Jennifer Tefft and the Strange are one of the region’s top bands, so if you don’t have their new material, then you’ll be psyched to hear about these new releases. And if you’re new to the band, well, hey, this is just the start. You have some back catalog to check out, too. Lucky you!

Live Review: Eva James at Sanctuary

Posted on by

photo by Geoff Wilbur

Eva James

Sanctuary Bar & Lounge, Maynard, MA

July 11, 2026

I caught a tremendous, emotional performance last night from Eva James. But, of course, there’s a backstory that got me out to the performance last night, and that started last year. Occasionally, when I think I might have time to get out to cover a live show, I check out who’s playing and listen to snippets of a few of some of the artists’ songs online. Last summer, for that purpose, I checked out Eva’s music and was blown away. Ultimately, I didn’t get out to see her perform last year, but when I saw she was scheduled to play Sanctuary last night, it was an easy call. Now, I actually didn’t go listen to her music again before last night show. That was actually pretty cool because I went into last night performance without a mental picture of what to expect (other than “something good”), and that made last night’s performance just that much more powerful.

Indeed, I wasn’t the only one drawn in Eva’s performance. A talented vocalist and songwriter, Eva’s music is intimate, thoughtful, and, shall we say, not happy – with a couple exceptions, as she pointed out during the performance. There’s a cool interview with Eva in Medium, which you may want to read later, that gives more background into the difficult song topics she tackles – as the article notes correctly, mental health, anxiety, and toxic relationships, as well as physical health issues, as Eva discusses a little during her performance and on this podcast. Needless to say, for those who paid attention to the performance, it was an emotional experience. And with Eva’s powerful, evocative vocal delivery style, pretty much the entire room was dialed in unlike any audience I’ve seen in a while, at least in a cozy setting like Sanctuary’s barroom performance space.

photo by Geoff Wilbur

Eva opened the set with the touching, heartfelt “Low,” utilizing rich, full vocals to deliver a nuanced, powerful set-opener. After a couple more song, including the rich and haunting “You’re the Worst” (whew!), Eva edge into a little more storytellingish style on “Test Drive,” on which the piano added as much dramatic weight as the vocals. “Sober,” next, was heavy and lyrically deep and dark, with rich vocals against serving up powerful emotions. On “Invinceable,” next, the pianowork did some of the heavy lifting supporting her emotional vocals, which themselves stood out with precision in some of the song’s more vulnerable moments. Meanwhile, on “Northern Lights,” Eva’s vocals supported the determination of the song’s lyrics.

At that point, through just seven songs, it was already a powerful, emotional performance. And that’s just from the audience’s perspective. It seems like – in the best possible way – a peek into a therapy session, but with an exceptionally talented songwriter and musician with an impressive, evocative voice that pulls the listener in. Like an Adele who’s been through a helluva lot and shares it in her songs, maybe.

“How Are You Liking Me Now,” next offering a little different vocal edge, very soulful, kind of feeding off the vocal determination of the previous song, and the livelier pianowork and vocals provided a tempo change. “Til We Meet Again” returned to the rich soundscape, as even though the style is cohesive, each song is its own powerfully unique self, and a thoroughly engaged audience continued to be a testament to the power of Eva’s performance. Eva then concluded the initial piano-based portion of her set with a song (missed the title) with a heavy tapestry but with some interesting vocal patterns, adding, too, subtle dynamics by hitting some quick emotional higher notes earlier on and hitting some late song vocal howls. On the surface, it was an atmospheric, heavy number, but if you paid attention, you’d catch the details underneath the surface.

photo by Geoff Wilbur

Eva moved to the guitar next and it brought out a slightly different dynamic, as is typical of using a different lead instrument. I was quite fond of Eva’s song “Renegade,” though she also delivered a soft strummer, and a couple songs that brought out for me a hint of that special emotional tone you might identify with, at least to my ear, Sarah McLachlan. There was a song with a little sway to it – Eva packed the mid-section of her performance with a bit of variety, albeit all within her very identifiable style.

At this point, there was  a bit of a disturbance in the bar, and after deciding it wouldn’t be quieting down any time soon, I moved my chair into the middle of the performance room, much closer to the performer, to better hear this exceptional artist. From my new perch, I quickly found myself again absorbed by the set, which continued with “Something New,” a memorable, completely crowd capturing number. The powerful “Devastate Me” and another number whose title I missed but that elicited a powerful reaction from the audience followed.

Then came “Wildfire,” and oh, this song could be big. It featured really engaging dynamics, with depth and some of those big, powerful moments, not just musically but vocally, too. I must admit, by this point my notetaking began to fall off a bit, but it’s definitely worth mentioning “Seratonin,” with its cool energy, a nice rhythm, and overall an enjoyable song.

photo by Geoff Wilbur

I noted an almost country-folk hint in “The One You Lose,” not really the musical style but many of the same personally engaging elements. Of course, most of all it’s a memorable lyric that stuck with me from that song: “In another life, I’d be the one you choose. Instead, I’m just the one you lose.” Not just the lyric, of course, but also the delivery. Still it also got me thinking and realizing that all of these songs could probably move easily across genres based on their arrangements. And that makes sense. They’re deeply personal, emotional, and human. Eva’s a helluva songwriter, and a good song is genre-elastic.

There were just three songs left at this point. Following a soft, haunting number, Eva delivered “Overboard,” noting is as her “other happy song”; indeed, it’s sonically similar to Eva’s whole catalog but there’s a hint of softness. And she finished the show with “The Way,” a particular favorite among those in the audience who were familiar with her song catalog. I can see why it’s appealing; it’s warm and so engaging it seemed to end far too quickly and much sooner than the clock claimed. Hard not to get choked up with lyrics like “when there’s nothing left to say, only love can light the way.”

And therein lies the paradox of an Eva James performance. So much of it is so heavy and emotional and dark, yet hearing her perform, even singing about tough times and darkness, is joyful. I’m so glad I made it out to Sanctuary last night. This was one of the most moving live performances I’ve heard in a long, long time. Eva James is an amazingly talented young woman, and one of her performances (or more than one, obviously) is something any music fan should experience.

Single Review: The Dollyrots – “Attention Span”

Posted on by

photo by Jen Rosenstein; photo courtesy of Earshot Media

Single Review of The Dollyrots: “Attention Span” (Wicked Cool Records)

The Dollyrots are the husband-wife duo of Kelly Ogden (bass, vocals) and Luis Cabezas (guitar), and I feel like the Dollyrots’ catchiness is well-known, even among those who haven’t heard their music before. But if that’s the case, well, the band’s new release “Attention Span” is a good place to start. It’s a fun, energetic song with the spirit of old-school punk, the hookiness of modern pop-punk, and an energetic joy that’ll appeal well beyond either of those categories of music fans. (The band itself, in its Instagram bio, refers to itself as a “bubblegum punk band,” and yeah, that sounds like a perfect description.)

image courtesy of Earshot Media

The sound itself is throwback. In fact, this seems like something Cher and her friends might listen to in Clueless. The movie, not the TV show. As if! The opening guitar riffs are raw and staticky, but once the song kicks in they’re crisper and tunefully crunchy, driving the song forward along with the rhythm section (with John Fields providing drums on this recording), both leaving enough soundspace to feature the vocals.

What does all that mean? It means that this is a catchy, fun song you’re likely to get into really quickly. Like, by the end of the first listen. Totally. But in all seriousness, this is a seriously fun song!