Album Review: Robert Scheffler – Truce

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image courtesy of Howlin’ Wuelf Media

Album Review of Robert Scheffler: Truce

Singer-songwriter Robert Scheffler‘s album Truce showcases the singer’s talent and versatility, as the songs cover a broad range of influences, all centered by Scheffler’s storytelling ability and his hoarse, emotional vocal delivery. His breadth of range and the depth of the imagery and circumstance reminds me in some ways of Billy Joel, though Scheffler has a distinct style of his own. Scheffler has a tone that’s reminiscent of some of my favorite rock ‘n roll singer-songwriters – a bit of It Comes in Waves-era Martin Briley in some spots – and a bit more singer-songwritery in others, more like blog favorite Davey O., but perhaps a bit grainier. And when he’s soft-rocking with a little more tempo, I hear a little Don Henley in there. I’d love to hear some of the people Scheffler reminds you of – I know there are other names out there that escape me, but stylistically, Scheffler’s sound is, while being distinct, also very familiar, easy to get comfortable with and enjoy. I know strumming soft rock isn’t an easy category to break huge in – it takes a song that really touches somebody, perhaps tied to a favorite movie scene – but this dude has as much talent as those who do get their big breaks, and he’s got some songs here that, with the right placement, would launch him into the world’s musical consciousness. Regardless, this is a cool disc you should hear, and if nothing else, it can be one of your favorite albums of this subgenre.

Album-opener “Excuse the Mess” sets the tone from the get-go, bright and summerly strumming with tunefully compelling vocals. While that first song is acoustic – honestly, I had to listen back, even after reading that it was acoustic, to be sure because the song has so much energy – the disc is mostly electric, and that begins with song two. Indeed, Scheffler goes a little more nostalgic – to the extent present-tense can be so – with “Hang On, Skyline.” Just the lyric, tempo, and subsequent guitar riff of the line “Hang on, skyline; hang on, moon; I’ll be there soon” is an earworm that’ll leave an impression on you. Both of these first two numbers push ahead steadily, compellingly, even working in some nifty guitarwork. “Basher,” which follows, has its energetic stretches, and its calling card is a crunchy, distorted guitar riff, but it also slows down when the lyrics call for a little more intimacy.

photo by John Matthews; photo courtesy of Howlin’ Wuelf Media

“All in Good Time” is a melancholic, emotionally sung ballad. “Where Do I Know You From?” is funky-pop-rock, with an opening that suggests it could be related to Peter Gabriel’s “Sledgehammer” before it slides into being a smoother mid-tempo rocker. Still, it’s got some edge in its arrangement and subtle flamboyance in the vocal delivery. Then it’s followed by the middle song of this 11-song collection, a soft number that’s mellowly reminiscent, the sonically and nostalgically regretful-sounding “Truce,” paying off with the lyric: “How much longer can I cry for the promise of a truce gone by?”

You’ll get some tempo back on “Carry On Without Me.” The vocals don’t, in fact, sound like Don Henley, except for a bit of an insistent edge, but this absolutely sounds like a song you’d hear Henley sing on one of his albums. Or, at least, a song you’d hear on the radio played alongside “The Boys of Summer” or “The Last Worthless Evening.” The energy amps up a little more, though still remains in the same sonic neighborhood, with the next track, “Blue Sky Mess.”

Then, just when you get into a whole mid-tempo soft rockin’ groove, Scheffler changes things up and goes full-on acoustic with one of the more memorable songs on the album, “I Don’t Love You Like I Should.” I mean, as much as I love the electric stuff, this might be the number that’d most easily reel in new fans because it’s just so dang cool. It sounds like something you’d hear on a Barenaked Ladies record – their weird, acoustic, uniquely catchy stuff – yet it somehow works on this album, almost entirely because of Scheffler’s identifiable vocals. And the nice turns of phrase in the lyrics, well, those would help this song work in just about any setting.

Before you settle in too much, though, a peppy drum beat and energetic strum greets you on “Punch Line,” a song whose beat, tempo, and rhythm make it a musical fraternal twin – or at least a close, best-pal cousin – of “Hang On, Skyline.” The second song of the record stylistically matching the second-to-last? It’s just one of those little things that ties this record together as a cool listening experience. For me, this is my singalong song on Truce. It gets me up to sing and dance every single time.

So how does a classic, mainstream-friendly soft rock singer-songwriter end an excellent record like Truce? With melancholy, of course. Duh! “We’re All Waiting” will end your listening experience with a sniffle.

Truce is a satisfying record, with so much lyrical depth and about as much stylistic variety as you can expect from a soft rock singer-songwriter’s album, simply an impeccable 11-song collection.

 

Live Review: KC & The Sunshine Band at the Bally’s Event Center

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photo by Luca DePalo

by Luca DePalo, Contributing Blogger

KC and the Sunshine Band

Bally’s Event Center, Lincoln, RI

May 9, 2026

On a Saturday night in Lincoln, Rhode Island, the famed KC & the Sunshine Band played to a sold-out crowd at the Bally’s Event Center. This show, which pushed two hours, turned a night of dull weather into a full-on disco party, remembering all of those ’70s classics.

photo by Luca DePalo

KC & the Sunshine Band was founded in 1973 in Hialeah, Florida and are still known as one of the most influential disco/funk bands to ever exist. With chart-topping hits like “Get Down Tight,” “That’s The Way (I Like It),” “I’m Your Boogie Man,” “(Shake, Shake, Shake) Shake Your Booty,” and “Please Don’t  Go,” the band continues to tour with founder and lead singer Harry Wayne Casey. This, being my third time seeing the band, I couldn’t wait to hear the setlist!

As the lights slowly dimmed down, the powerful 14-piece band slowly took the stage, performing a long medley of covers: “I Wanna Dance with Somebody (Who Loves Me),” “I’m So Excited,” and a mix of other ’80s classics. Although I didn’t expect this, it felt perfect to introduce every band member.

photo by Luca DePalo

The band is musically directed by Nyne, who plays the keyboards and sings lead/background vocals. The rest of the band includes Fermin Goytisolo on the percussion, David Simmons on the drums, Stephen Lashley on the bass, John Reid and Cisco Dimas on the trumpet, Miles Fielder on the trombone, Felipe Lamoglia on the saxophone, Michael Joy on the keyboards, and Christopher Lane on the guitar. Following the band are the background vocalists and dancers: Maria De Crescenzo, Anika Ellis-Mungin, Nadia Albulet, and Tarian Green.

photo by Luca DePalo

After each member strutted onto the stage, then came Harry Wayne Casey, instantly kicking into “(Shake, Shake, Shake) Shake Your Booty,” with me and the rest of the crowd rising from our seats. Instantly, I realized that even though his voice wasn’t in perfect shape like past performances, he still had the charm like it was 1976 all over again.

Going up to the front of the stage, Casey shouted, “Good evening Lincoln! How we doin’ tonight?” He continued, “Let’s go back to back to 1977 with Saturday Night Fever,” before performing the famed “Boogie Shoes,” which showed off how he still has those boogie shoes even at the age of 75.

photo by Luca DePalo

Following that track, the hits just kept coming. “Please Don’t Go” brought the emotion, “I’m Your Boogie Man” lit up the horn section, and “Keep It Comin’ Love” lifted everyone up from their seats. Another shocking moment was during the song “Rock Your Baby,” where Casey walked right past me, through the crowd, and sang with passion. I never had the opportunity to meet him in the past, so being about five feet from him felt like I was face-to-face with a superhero!

photo by Luca DePalo

One of the key moments of the evening that stood with me was about halfway through the show when Casey had a short speech. Casey stated “I hate to tell you, but if you came here with any expectations, thinking you were gonna see a 23-year-old me up here tonight, you missed that 55 years ago.” With humor, Casey stated “What the hell happened to me? I mean, I can’t even remember if that’s the way I like it. And getting down tonight is easy, but getting back up… not so much! And yeah, then the pandemic came along and I gained all this weight, I’ve never weighed this much in my life. I thought, we may have to rename KC & the Sunshine Band to KFC & the Sunshine Band!”

photo by Luca DePalo

Soon after came the mega hits. “Give It Up” created a huge dance routine and “That’s the Way (I Like It)” allowed for a beautiful sing-along. With each member walking to the front of the stage and being greeted by applause, the band then ended with “Get Down Tonight,” the perfect track to end a disco party.

Overall, KC & the Sunshine Band proved yet again how they are the founders in funk music. The other members in the crowd and I just couldn’t get enough! Everybody needs a night out in life, and it just felt like the perfect time to have fun.

As always, I love attending all of these local shows. Go support live music and put on your “Boogie Shoes” when KC & the Sunshine Band comes nearby you sometime soon!

Album Review: Hat No Hat – Hat No Hat

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photo courtesy of Hat No Hat

Album Review of Hat No Hat: Hat No Hat

Hat No Hat is the eponymous debut album from – you guessed it! – Hat No Hat. If you’ve been around this blog at all over the years, you’re familiar with rockin’-meets-folky-meets-Americana singer-songwriter Jimmy Lee (James) Morris. He’s a seriously talented dude, and he’s half of Hat No Hat (with his son Archie Morris). The duo’s debut album really takes advantage of having 100% more guitarists than James had as a solo act. The energy, the rocking-ness! This is probably, definitionally, and Americana album (from a British duo), but it’s likely to appeal to rock fans well beyond the level its heaviest song due to the tempo and axework, as well as fans of genres like country, folk-rock, and several flavors of Americana.

image courtesy of Hat No Hat

The two main characters of Hat No Hat (Archie and James) were joined on this record by the talented Beth Lees (vocals/flute), Neil Williams (double bass), Max Gibson (slide guitar), and Joss Love (drums), who helped fill out the rich sound on the record.

The self-titled disc kicks things off with no-nonsense energy and a message we all need to take to heart but be careful not to scream along with, at least when we’re not alone and especially at work. That’ll be hard because it’s so fucking catchy! Oh, yeah, I should mention you might find yourself swearing a lot more after listening to this album, in part because of it’s memorable singalong album-opener “Not My Fucking Problem”!

photo courtesy of Hat No Hat

Oh, but there’s plenty more swearing. Well, at least on a couple songs. Third tune “Fuck Right Off,” for example, is quite an earworm itself, though I’d still give the edge to the album’s leadoff track. And still, I hesitate to tell you, these are even kind of tame compared to song seven, “Sweary Rant.” The only person appearing on this record who I didn’t already mention, by the way, Pat Bollard, sings the “Sweary Rant” vocals, helping give this track a flavor you won’t find elsewhere on the disc.

I think I’m giving you the wrong impression, though. I can’t even recall any swearing in James’ solo work – not saying there’s none, but it’s not prominent. Mostly, he’s a thoughtful singer-songwriter, and Hat No Hat continues in that vein. On the seven non-swearing-based songs, sure, but also a bit on the blue numbers, as well.

photo courtesy of Hat No Hat

In fact, “I Knew Everything” is a peppy light pop-rocker with some interesting intricacy to its bluesy-country guitarwork, while “Rat Race” has more of a noir-ish vibe (the sort that might fit in alongside songs from the Gentlemen’s Anti-Temperance League).

“Whiskey Blues” is also a standout, a bluesy twanger with lead vocals that, based on prior reviews – or near-reviews, in this case, as while James Morris has penned a couple, while I wasn’t able to get mine written within the necessary time frame – are very clearly the exceptional voice of Beth Lees. In any case, it’s a perfect fit for her vocals and adds some variety to the disc while fitting in with the overall Hat No Hat style.

Not to be outdone, the next song, “Monkey Brain,” is an energetic number that’ll soon have you singing along with the chorus because it’s catchy and fun, all while employing some usefully subtle guitar flourishes and a flamboyantly-picked guitar solo.

photo courtesy of Hat No Hat

“Horsefish,” a late-disc instrumental that follows “Sweaty Rant,” is a helpful palate cleanser, showcasing cool strumming with what sounds like flute (there’s Beth Lees again!) that kind of sounds snakecharmer-ish. Even those who are primarily lyric-lovers are likely to enjoy this nearly-two-minute music-only interlude.

Beth’s vocals play a key role in the penultimate song, the duet “Winter is Coming.” The guitars build the song’s power alongside the somewhat haunting vocals, with only a playfully-picked guitar solo briefly providing respite from the tension before it returns. The song isn’t necessarily ominous, though it could be construed that way, though it’s definitely a warning. Unlike anything else on this album – adjacent to the common thread but a little more psychedelic in nature – “Winter is Coming” is likely to be a subset of fans’ clear favorite among the ten songs in the collection.

And, speaking of the ten songs in the collection, the final, “Hoyer ’65” is another instrumental. It leans into the guitar picking but also carries the feeling of a closing musical signoff from an educational public television video. I worry I may have made this sound less cool than it is. Believe me, this is a neat way to end the record. Guitar players, I imagine, might particularly enjoy listening to its guitar-driven musical journey. But I, as a non-guitar-player, also really enjoy this number.

And that’s a wrap. I’ve gotta say, this is one of the favorite albums I’ve received for review in the last year. Sorry I’ve taken so long to write the review and share it with you, but the good news is that Hat No Hat is working on a second album right now, noting in a Facebook post a planned release date of July 3rd – so now you won’t have to wait as long to hear a follow-up to your new favorite band’s first record. Forget the apology, then; for saving you a long wait for your next fix, you’re welcome!

Single Review: Natalie Joly – “In Time”

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image courtesy of Natalie Joly

Single Review of Natalie Joly: “In Time”

Regular Blog readers are aware of the talents of rock/country singer-songwriter Natalie Joly. Well, she only keeps getting better. Of course, Natalie’s gravelly, rich vocals still crack oh-so-engagingly during the emotional spots. And on “In Time,” there are plenty of those! This is a smooth ballad – perfect for a country slow dance and reminiscent for me in emotion and tempo of what I might expect from the Garth Brookses of the country world, full of power and painful reminiscence. So what did I mean about getting better? Well, I’ve always enjoyed Natalie’s songwriting, but “In Time” levels up in terms of word and phrase choice, which result in a similar level-up of emotion.

Have you given this song a listen yet? Once you do, if you didn’t know before, oh my god, what a voice, am I right? The moment you hear it, you know it’s Natalie!

Keep an eye out for new releases by Mrs. Natalie Joly Labo! (Her Spotify account, at least, appears to be transitioning to her married name, so if you can’t find her under one name, try the other.) In addition, you can always see what Natalie’s up to on her socials, which you can find via her linktree.

EP Review: Preston Lydotes – Stranger at Best

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image courtesy of Preston Lydotes

EP Review of Preston Lydotes: Stranger at Best

Preston Lydotes is a talented singer-songwriter who moved from Boston to Nashville to continue pursuing his art during since I reviewed his killer single “Wrong” last year; hey, anything that helps him build his career and share his talents is good for music fans. Well, “Wrong” is one of the five exceptional songs on Lydotes’ Stranger at Best EP.

The EP kicks off with the title track, “Stranger at Best,” on which Lydotes’ plaintive wails combine with a sonic wall of rich, alternative pop-rock power to create a moving number that’s so overpowering you’re almost glad it clocks in at just 2:12 because you’d be nothing but a quivering puddle of human jelly on your living room floor from trying to withstand the sheer power of the song – even moreso if you paid attention to the love-lost lyrical content – if the track had lasted even three minutes, let alone a more typical four. To be fair, though, none of the songs on the EP reach four minutes. Length isn’t necessary because Preston wastes no time in painting his musical pictures.

photo by Asher Thomas; photo courtesy of Preston Lydotes

“Stranger at Best” is a great lead-in to the slower-building “Wrong,” which is so mellow and chill in the beginning that it offers a chance to catch your breath. Better do it fast, though, because “Wrong” is a slow-build that reaches the same powerful heights as the EP’s title track did before employing a stylish fade at the end. If this is your first exposure to Preston Lydotes, this will be the point at which you realize you’re listening to a truly special, exceptionally talented artist, one who’s probably gonna take you on one emotional roller coaster ride after another with his powerful songs. And that’s fine ; you’re not gonna mind.

“The Critic,” next, is musically sweeter and more thoughtfully introspective, mixing chart-topping ’90s jangly guitar (Matchbox 20, anyone?) with a rich, modern music bed that’s oh-so-clearly mid-2020s, all tied together by Lydotes’ emphatic, emotional, piercing vocal wails.

Track four, “5 to 9,” provides a new sound, its opening guitar licks falling somewhere between George Thorogood and the Georgia Satellites. It’s a very cool twist on Lydotes’ sound, signaling the EP’s most energetic, pop-rockin’ entry. To me, “5 to 9” seems like the most likely song on the EP to have the broadest cross-genre (and cross-generation) appeal. It’s also the Stranger at Best song that’s most likely to fill a dancefloor.

“The Fallout” slows things down significantly to close this 5-song collection. It’s a heartwrenching, richly-textured balladic sad song, utilizing a wide-open spacey arrangement and softly emotional vocals to bring the listener all the way down to near-tears, with the lyrics noting “Well I hope you always know that I loved you from the start. But the fallout is a lit cigarette and a broken heart.” Sniff. I’m not crying, you’re crying.

Yeah, it’s just five songs, not quite even 15 minutes, but damn, that’s a full collection. Preston Lydotes doesn’t need more than that to let you know he’s a rare talent. Check out this EP. Start following him now. And hopefully join me to enjoy a lifetime of powerful music from this young artist.

 

Album Review: Mike Ward: Psychosongs – The Time That Remains

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photo courtesy of Mike Ward

Album Review of Mike Ward: Psychosongs – The Time That Remains

Mike Ward is a Detroit-area folk singer-songwriter with an identifiable vocal delivery – in other words, a combination of his voice and the way he uses it that causes the listener to quickly know who he is and remember how much they like his music. As a singer-s0ngwriter, that’s important; it’s the difference between a good singer whose performances are enjoyed when experienced and a memorable one whose performances are sought out for the experience. Indeed, I have no doubt, Mike’s gigs attract fans who’ll travel to hear him perform.

image courtesy of Mike Ward

I became a Mike Ward fan while reviewing his previous album, Love Never Rests, last year, so I was psyched to get my copy of The Time That Remains, and yeah, this disc doesn’t disappoint. (There was, in fact, an EP in-between these two full-length discs.) If you’re a fan of Mike’s earnest, warm voice and his well-constructed, carefully designed, sometimes light and playful yet other times tear-jerking lyrics, you’ll enjoy this album as much as you enjoyed his prior efforts. On this record, Mike mans the acoustic guitar and lead vocals. He’s joined by David Roof on bass for all songs, as well as various other instruments and supporting vocalists in the mix here and there. Indeed, the two are accompanied by a variety of additional talented artists throughout the record, varying from song to song.

photo of the 1947 Gibson LG 2 from the song “Instrument For Good,” a family heirloom Mike still play at shows; photo courtesy of Mike Ward

The Time That Remains opens with a message song, “Why Not,” that kicks off with the lyric “Why not do something good today with the time that we’ve got,” leading into a soft, thoughtful folk number. Sara Gibson’s cello performance stands out as a strong contributor to this kickoff number, as do the background vocals from Annie Bacon, Kate Hinote, and Emilia Ward.

“Instrument for Good,” next, plays upon the dual meaning of “instrument,” both Mike’s guitar and his “hoping one day it could make me an instrument for good.” Like the disc-opener, it’s a smooth, pleasant, earnestly-sung number, thoughtful yet occasionally light, the latter often due to slightly amusing word choices.

“Paycheck” niftily adds mandolin from Jason Dennie (the first of three songs on the records) and pedal steel from Larry LaBeck (the first of his two appearances on the record) to sprinkle a twangy, slightly countrified seasoning on this swaying country-folk song, lifted by Mike’s additional vocal energy during the song’s chorus.

photo courtesy of Mike Ward

“Ride of Their Lives” is a wonderful, slowly rolling song – soft, but the liveliest song on the album so far – telling the life story of a couple, starting with their meeting as teenagers and extending into old age. It’s one of those songs that gives you chills if you’re in an even slightly sentimental mood. Oh, so very cool! Following that, “Paul” starts out as if it’s going to be similarly reminiscent, but then it turns tragic. (Thanks for the gut-punch, Mike!) I mean, it’s still reminiscent, but now sadly and thoughtfully so, about the impact of the song’s tragedy upon family and friends. Neat thing about this song, though, is that it’s the first of two appearances on Mike’s disc of decorated Detroit-area singer Michelle Held as a background vocalist. (Yes, I’ve reviewed Michelle once, and there’s another of her singles in my queue.) “Paul” is a great song, but the twist is not unlike getting unexpectedly slashed by the goalie while standing in front the net waiting for a centering pass.

“Pet Peeves,” next, is a playful ditty, with both picking and strumming cadences intertwined as Mike lists off oh, so many pet peeves, with some help from guest background vocalist Judy Brown. Stuff that irks Mike ranges from Ticketmaster fees to group texters, from the thought that “if only insurrectionists would get what they deserve” to stuck pant zippers. Honestly the only one of Mike’s gripes really raises my hackles is his dislike of daylight saving time, mostly because my personal dislike is standard time. But it’s a fun list, a playful tune, and oh, exactly what you need to hear after the tragedy of the preceding song.

photo courtesy of Mike Ward

“Let the New Renew You,” the first of three numbers on which Mike is joined by violinist Emily Slomovits, is an uplifting piece that’ll erase any lingering frustration with some of Mike’s pet peeves. It’s followed by “How Are You Today?” Joined again by Gibson on cello and Ward on backing vocals, both noticeably contributing to the song’s feel, the tide rises and falls pleasantly as Mike cycles back to the recurring lyric “when we had more life, why didn’t we live more?”

“Left to Ourselves” mixes smoothness in lyrics like “what is our nature, beyond DNA?” with a hoarse edginess and some uncomfortably thoughtful lyrics. Pace changes, as well, power this song, which, as a listening experience, consistently outperforms its simplicity. It kinds of blends into the next track, the somewhat sonically similar but lyrically quite different “When Kindness Comes Your Way.”

from the “Why Not” video; photo courtesy of Mike Ward

Penultimate track “Wipe Away” is a fun little guitar-pickin’ ditty, with LaBeck’s pedal steel combining to provide a tapestry that pleasantly differs from the preceding songs – the variety of instrumentation and styles, in fact, are part of what makes The Time That Remains a more interesting journey, providing twists and turns during a beginning-to-end listen that extend beyond simple song differences.

The album concludes with “What Prayer,” a super-mellow, almost lullaby-like final statement, though I suppose on a song called “What Prayer,” perhaps it’s a commandment: “Love of one another is the only truth. Love yourself first then love will follow you.” So love this album. Love each other. And love a chance to catch Mike Ward perform live, if and when it presents itself.

Album Review: The Squirts – III

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photo courtesy of Head First Entertainment

Album Review of The Squirts: III

The Squirts are a talented rock band whose latest album, III, its third, though released nearly two decades after the band’s second, is full of catchy songs, stylistic variance within the rock genre, and a broad variety of influences that are a testimony to the great artists with whom the members have performed. The Squirts – Matt Bissonette (lead vocals, bass), George Bernhardt (guitars, backing vocals), and Rodger Carter (drums, percussion) – first teamed up as The Squirts while all three were members of Rick Springfield’s backup band, even performing as the opening act and then returning to the stage as members of Springfield’s band during the same concert. Fast-forward to more recent times, and the seeds of this third album were planted during COVID lockdowns, with ongoing work on the record leading to its 2025 release.

As for the album itself, this quickly became one of my all-time favorites. The songs are guitar-laden and catchy, with tempo changes, stylistic variance, and hooks galore. I hear shades of bands like Enuff Z’Nuff, recent new favorite The Outfit, and a plethora of other song-driven bands that trace their lineage through energetic guitar-driven pop-rock back to the Beatles.

image courtesy of Head First Entertainment

The opener, “Gotta Believe You Now,” kicks off with a rough, staticy, raucous guitar intro before revealing Bissonette’s tuneful, smooth-to-edgy vocals, pleasant, emotive, and versatile enough to support an entire record full of listening. The build and release nature of “Gotta Believe You Now” helps it soar, grounded by the heavy pounding of the drums and nifty little guitar flourishes during pauses in its otherwise hard-driving main line.

A testament to the peppiness of this record is its second track, an energetic, cheerfully rockin’ number, a lighter vibe that’s a little unexpected considering its title, “When We Die.” It’s followed by “Funny You Should Ask,” a tempo-changing pop-rock number that includes an almost beat poet breakdown, albeit brief, just past its halfway point.

“Didn’t See That Coming” is a rhythmic pop-rocker that interestingly reminds me a bit of the Ryan and Pony album I reviewed several years ago. It’s perhaps due to the slightly off-kilter vocal work during the bridges that drive the lyrics forward during stretches that are usually just a sound bridge – the first an unusually long stretch – but instead serve as a vocal soundbed. Add some crashing rockwork and the funky noodling at the end of the song, and the result is a memorably fun tune.

And yet, it’s followed by such a silly number that its fun may go largely forgotten in the midst of a beginning-to-end listen because, well, track five is “Not a Good Time for a Clown.” It’s a well-designed pop-rock song to begin with, made even more fun and memorable by the subject matter.

I mentioned that one of the bands The Squirts remind me of is The Outfit. Well, “White Noise” is the first of three songs I think would have fit well on The Outfit’s Go album, which I reviewed last year. I find it a little odd because each of the three songs that sound connected for me features a different aspect of the bands’ sounds. “White Noise” is the heaviest of the three, with aggression serving as the key component of the featured axework. The guitarwork connects some lyrically dense yet smoothly sung vocal segments, sure, but inevitably it marks this as one of the more aggressive songs on III. The next song, “Over the Moon,” also fits in this grouping, though in this case due to its progressive rock-reminiscent, open-spacey, meandering structure. Skipping forward to “The Other Side of Paradise,” it’s the final of this trio. In this case, it’s because “The Other Side of Paradise” is a straightforward rocker that opens up into some soaring segments, with guest voice Irene Bernhardt’s late-song whispering of one of the track’s recurring lines, “let’s get married,” being on-brand for both bands. Seriously, guys, The Outfit and The Squirts would be a terrific double-bill for a big rock theater tour.

Stepping back a song now, “Pins and Needles” is the song that makes me think the most of the Beatles – and not just because of the “silver beetle” mention in the lyrics. No, and it’s not really the Beatles it reminds me of as much as maybe the other bands’ songs the Fab Four inspired; it’s more of a third-generation-removed comparison. “Pins and Needles” is a melody-driven number with a modest temp and the guitar mostly just supporting the song throughout. In that respect, very Beatles-esque in nature. The occasional very-bluesy elements are a nice touch, too, adding to the allure of this engaging number.

The record closes with “Nothing New Under the Sun,” an energetic, uplifting, power-pop-rocker. There’s a hint of that classic rock style that incorporates some small prog elements into a primarily pop-rock number. The song’s tone is bright and sunny, a grin-inducing tune with dashes of guitar shredding for the axe fans but mostly just a terrific, uplifting, album-ending vibe.

Beginning to end, The Squirts’ III is a record that you’ll gladly play for repeat listens, over and over. My personal favorite tracks are probably “Gotta Believe in You,” “Didn’t See That Coming,” “Pins and Needles,” “The Other Side of Paradise,” and “Nothing New Under the Sun.” Yes, I know that’s half the album, but even so, all of the songs on the album are all so good, there’s a fair chance your favorite won’t even be one of my top five. This is a killer rock and roll album, beginning to end!

Live Review: The Machine at the Park Theatre

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photo by Luca DePalo

by Luca DePalo, Contributing Blogger

The Machine

Park Theatre, Cranston, RI

May 2, 2026

These days, as we face the gradual fading of the classic rock era, more and more tribute groups are popping up, not just across the country but around the world. With legendary acts like Led Zeppelin and The Beatles long gone from the concert circuit, fans of all ages still crave the experience of hearing those iconic songs performed live, and that’s exactly where tribute bands like The Machine come in.

photo by Luca DePalo

The New York-based quartet formed in 1988 (almost 40 years ago!!) and has built a worldwide reputation of being one of the most authentic and dedicated Pink Floyd tribute acts in the United States. Unlike many tribute acts that come and go, The Machine has managed to hold both quality and consistency, where instead of simply playing the songs, they aim to recreate the atmosphere, sound, and emotional depth of Pink Floyd’s live performances. In addition, groups like “Brit Floyd” and “The Australian Pink Floyd Show” tour the world with a dozen members, while The Machine perfectly pays tribute by having four incredible musicians, which I personally feel is perfect.

photo by Luca DePalo

As the show began and the venue’s lights began to dim down, the iconic stage screen, (known as Mr. Screen) immediately lit up blue, before slowly kicking into my favorite Floyd track, the 13-minute “Shine On You Crazy Diamond (Parts I-V).” The song, which was written in dedication to founding Floyd member Syd Barrett, felt like the perfect opener to begin a long evening of hits.

The following tracks included “Breathe (In the Air),” “Time,” “The Happiest Days of Our Lives,” the crowd “Another Brick in the Wall, Part 2,” the bass-driven “Hey You,” and the cowbell-driven “Pigs (Three Different Ones),” before The Machine left the stage for a quick intermission. The set had also included the songs “Fat Old Sun” and “One Slip,” which (even though I had not heard them before) felt necessary to please the die-hard fans who wanted the deep cuts.

photo by Luca DePalo

One detail that became obvious after every track was the fact that the band was not afraid to improvise on every song. Whether it be an extended outro, a quick solo, or just a moment of spotlight, each member contributed to every track, and allowed for a perfect tribute to when Pink Floyd would tour together as a 4-piece.

During intermission, it felt like the perfect moment to just look around the venue, appreciate the atmosphere, and just love the vibe of the room. For me, concerts have always been a place of positivity, almost an escape from the outside world, where everybody unites to celebrate one thing: Music!

The band soon returned back to the stage to enter right back into the time portal for more iconic hits: “Have a Cigar,” my favorite “Young Lust,” “Money,” “Wish You Were Here,” “Comfortably Numb,” and the notable exception of the deeper cuts “High Hopes,” “Echoes, Part 1,” “What Shall We Do Now,” and “Empty Spaces.”

photo by Luca DePalo

The Machine is currently led by founding member Tahrah Cohen, whose musicianship was on full display throughout the night without ever feeling overdone. The band was additionally co-founded by bassist and lead vocalist Joe Pascarell, who sadly passed away in 2022, though his presence still felt true during the performance. His influence seemed to carry through in both the song selection and the band’s overall approach to honoring Pink Floyd’s legacy.

The current lineup also includes the incredibly talented guitarist and vocalist Ryan Ball, who perfectly stepped into the role of David Gilmour with impressive tone, matching many of the subtle tones, phrasing, and emotional details found in the original recordings. On bass and vocals, the newest member, Chris DeAngelis, provided a steady foundation, locking in tightly with the rest of the band and helping drive the rhythm section. Finally, the lineup is completed with keyboardist Scott Chasolen, who has performed with the group for over fifteen years, masterfully recreating the sounds of Floyd’s Richard Wright, with his own energy and improvisation skills.

As always, it is a pleasure of mine to go see these iconic tribute bands play across New England, and I can’t wait to review some more shows in the upcoming months! Keep supporting live music!

Live Review: Night Ranger at the Bally’s Event Center

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photo by Luca DePalo

by Luca DePalo, Contributing Blogger

Night Ranger

Bally’s Event Center, Lincoln, RI

May 8, 2026

There’s nothing like the vibe of a Friday night concert, and that can especially be said after last weekend’s show in Lincoln, Rhode Island, from Night Ranger. The band performed a sold-out 90-minute performance and proved how they can still “Rock In America.”

This being my second time seeing the band, and the first time seeing them headline, I came into the show with a huge sense of excitement. Some people come to the show expecting a solid night out — a few singalongs to “Sister Christian,” maybe a few graying mullets headbanging politely, and a sitting crowd. But what we got on Saturday was something way wilder. Something loud, tight, and genuinely moving at times. It wasn’t just a band doing their greatest hits; this was five guys giving it all, as if they had something to prove.

photo by Luca DePalo

The event center at Bally’s Lincoln Casino isn’t what you’d call a massive venue. It’s kind of intimate, very widespread, and the floor has an extremely colorful carpet, but the room is almost too lengthy for a concert. There’s no elevation as the sections go further back, so it’s just a flat floor that feels less like a concert venue and more like a business conference room. Thankfully for this show, I got to sit within the first few rows, but ran up to the front of the stage, or as some may call the “pit” area, when the bands intro song “Fight For Your Right” began.

Blue lights, golden walls, maybe even the smell of spilled beer and sharp cologne. But the vibe? Electrical. Just pure, sweaty rock proximity. And as for the crowd, it was a beautiful mess. You had diehards in vintage tour shirts, older couples head banging in their seats, a surprising amount of kids, and a handful of millennials. There was something very touching about seeing three generations shouting the lyrics to a song like “Don’t Tell Me You Love Me,” as if we were all at a church gathering.

Night Ranger didn’t start off the show like many bands do. As the lights of red, white and blue lit up each member, the band kicked into one of their huge hits, “(You Can Still) Rock in America.” If there were any doubts about whether they still brought it after 44 years, all thoughts were gone in the first 30 seconds. Lead guitarist Brad Gillis came out swinging, with his guitar screaming like it was possessed. That man didn’t just play notes; he acted the notes, and moved around the stage like a guy who just turned 40, rather than someone with grandkids.

photo by Luca DePalo

Brad may be the most underrated guitarist in the entire classic rock genre. Seriously, the way he manipulates his famed Floyd Rose, the sheer control he has, and just his nonstop energy. His solos during songs like “Sentimental Street” and “Goodbye” showed the monster he was and still is!

Then there was Keri Kelli on the rhythm guitar. Keri is the newest member of the band, although he has been with them since 2014, and replaces original guitarist Jeff Watson, whose legendary eight-finger tapping solos were perfectly played with originality and a mix of his own style. After years of touring and recording with so many ’80s hard rock artists like Stephen Pearcy of Ratt, L.A. Guns, Warrant, Pretty Boy Floyd, and even Alice Cooper, Keri brings the perfect energy to the band. And let’s not forget Jack Blades! He was everywhere on the stage. Leaning into the crowd, shouting out names, joking with people in the front row. His vocals were spot-on, exactly like the album. Gritty in the right places and sweet when it needed to be. And I can’t forget to mention, the man never stopped smiling, he was genuinely having the time of his life up there.

One key moment of the night was when the band performed an incredible version of the famed “Crazy Train,” in tribute to Ozzy Osbourne. Brad Gillis toured with Ozzy in 1982, replacing legendary guitarist Randy Rhoads after his tragic passing on the Diary of a Madman tour.

photo by Luca DePalo

And boy, the crowd wasn’t ready for this one; Jack Blades shouted in his microphone “Hey Brad, do you think these guys deserve a Damn Yankees song? I think they deserve a Damn Yankees song, so let’s do it baby,” before kicking into the songs “Coming of Age” and “High Enough.” Unfortunately, Damn Yankees have not played a full performance in decades, although there have been very few one-off performances over the years. But on this night, just hearing the intro to “Coming Of Age” made the whole crowd go, “Ohhhhhh my god…” It was magical. Totally unexpected and totally earned.

The pacing of the show was incredible. Right when things got nostalgic and emotional with “When You Close Your Eyes,” they slammed right into “Don’t Tell Me You Love Me” with enough force to knock the crowd down. You could feel the rhythm section driving like a mustang. No —— (frills), just thunder and sweat.

With Eric Levy on keys, he quietly stayed the glue of the whole set. Not flashy, not over-the-top, but essential for that 80’s sound. His intro on “Sister Christian” had this almost cinematic quality, like you were watching the credits roll on a movie you didn’t want to end.

photo by Luca DePalo

Of course, Kelly Keagy is still pulling double duty behind the kit and on vocals. When he stepped out front for “Sister Christian,” time kind of froze. It was a moment that you could feel it in your bones. That song’s been covered, parodied, and memed to death. But when Kelly sang it — raw, unfiltered — it was different; it was like hearing it for the first time all over again.

One thing I’m sure many didn’t plan for was getting a little choked up during “Sister Christian.” Sure, it’s rock and roll, not a local therapy session. But man, when Kelly and the gang started it out, it felt like a tribute to everybody in the crowd and everybody we’ve all lost over the years. Maybe you thought of a family member, maybe you thought of Ozzy Osbourne’s passing, or maybe you just thought back to your childhood (some probably thought about their couch at home).

When the crowd took over the famed chorus, you could feel it. A big, messy, beautiful wave of voices crashing together. Nobody cared how they sounded. Everybody was different. Whether they were on their feet, had their arms in the air, or just head-banged in their seat, no one checked their phones and no one headed for the exits. It was joyful chaos that combined to create magic.

photo by Luca DePalo

Here’s the thing: Some bands pack a setlist full of obscure deep cuts to prove something. Night Ranger? They know what we came for, and they delivered.

And when the show was finally over, the band stayed onstage a little longer to appreciate the fans who came out to the show, they truly took their time. Brad, Jack, and Keri threw out many picks. Kelly tossed several drumsticks into the crowd, including his drumming gloves, Jack high fived everybody within the first few rows, and Eric prayed in thankfulness. It felt sincere. It felt like goodbye and “We’ll see you next time.”

You may be asking, was it really worth it? Let me put it like this. I’ve been to some incredible shows in my life. Louder ones. Flashier ones with pyrotechnics and more energy. But I haven’t walked out of a venue smiling like that in a long, long, long time. There was something really special about a band that knows exactly who they are, how they are, and what they are to the fans. They weren’t trying to chase current trends. And they don’t try to act like it’s ’82. Night Ranger just showed up, played their asses off for 90 minutes, and reminded the sold out crowd that rock and roll is more than music.

Night Ranger may not be known as the biggest band in ’80s rock anymore, but on May 8th in a small town in Rhode Island, they were rock ‘n roll superstars, at least for one night. I’ll be sure to see them next time they come to New England!!

Single Review: Flash Bangs – “Hide Away”

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photo courtesy of Cameron Carpenter on behalf of the Flash Bangs

Single Review of Flash Bangs: “Hide Away”

For those of you who enjoy power pop, have I got a song for you! Power pop is a style that was huge in the days of top 40 radio with its guitar-driven, hook-laden, broad-appeal style securing several spots on each week’s hit music charts. Fans might just call it rock ‘n roll without assigning it a subgenre, but a well-written and well-performed song in this subgenre, with its big, bright sound, energetic rhythms, and catchy beat, is almost impossible not to enjoy.

photo courtesy of Cameron Carpenter on behalf of the Flash Bangs

Well, with “Hide Away,” the Flash Bangs have delivered a great addition to this perpetually engaging subgenre. Launched as a side project of George Westerholm (George Westerholm And The Wild Wild Cats), James Clark (The James Clark Institute), and Sean Ryan (Mr. Miyagi), this Toronto-based trio’s 2025 debut self-titled EP opens with the single, “Hide Away.”

On “Hide Away,” the wryness of Westerholm’s vocals and the rough-edged nature of his vocals combine well with Clark’s sometimes-steady, sometimes-aggressive drumming and the nifty touches yet steadiness of Ryan’s bass work to deliver a timeless rock song that’ll bring you energy and smile every time you hear it, all the way through its final instrumental crash then fade-out. “Hide Away” also sports an old-school, throwback-style music video, which you might enjoy watching on YouTube.