Album Review: Randy Armstrong – Echoes of Tomorrow

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photo courtesy of Rock Rose Music

by Eric Harabadian, Contributing Blogger

Album Review of Randy Armstrong: Echoes of Tomorrow (UMP Records)

“Songs of Hope, Love, Peace and Unity”; that’s the subtext of the notes that grace this album by uber-accomplished guitarist/multi-instrumentalist Randy Armstrong. Echoes of Tomorrow is the latest release in a series of instrumental projects and albums the world music-oriented artist has shared with the universe.

image courtesy of Rock Rose Music

Armstrong is the co-founder of Do’a World Music Ensemble, Unu Mondo and the Beyond Borders Octet. His collection of instruments from around the world includes over 300 odds and ends from the United States, Canada, India, West and South Africa, Croatia, Belize, Cuba, Scotland, and Puerto Rico. He has performed at Carnegie Recital Hall and Lincoln Center in New York City and has been an international music ambassador for several arts commissions and the New England Foundation for the Arts.

photo courtesy of Rock Rose Music

As with many of his previous releases, Echoes of Tomorrow defies description in its vast display of musical terrain. Call it “contemporary jazz,” “world fusion,” “folk,” “Americana,” “new age,” or whatever you like, Armstrong does it all and seamlessly crosses all boundaries from one track to the next.  All of the dozen tracks here feature Armstrong overdubbing the majority of the instruments, with drummer Jose Duque on most of the cuts and tabla player Marty Quinn and bassist Volker Nahrmann only on track two, called “Courage.”

Songs like “Choosing Love,” “Compassion” and “Forgiveness” stir inner emotions and pull at your heartstrings while transporting you to a better place existentially and spiritually.  Tunes like “Finlandia—Song of Peace” and “Ode to Sibelius” have a classical arrangement and cadence to them. And the album closer “Born in Appalachia” harkens back to Armstrong’s childhood roots.

This is a really strong record that will touch all your senses in a profound and meditative manner. Hence, it features music that is tailor-made for these troubled times.

Live Review: Danielle Miraglia & the Glory Junkies at Sanctuary

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photo by Geoff Wilbur

Danielle Miraglia & the Glory Junkies

Sanctuary Main Hall, Maynard, MA

April 3, 2026

A Danielle Miraglia performance is always the right call. And a full-band show with the Glory Junkies is a memorable concert event. Spoiler alert: This particular Friday night show did not disappoint!

You’ve seen Danielle Miraglia written about frequently at this blog because, simply put, she is a rare blues talent. Her songwriting is well-attuned to her voice, its bluesy rock flavor frequently seasoned with a smirk. And yes, you can hear it. Her ability to cover the songs she loves, both blues and rock, and make them her own, too, is inspired. Acoustically, Danielle’s blues is folky. But when she goes electric, she’ll rip the roof off a joint. So, too, does band, a collection of some of the region’s best instrumentalists. On this particular night, she was joined by Erik White (bass), Jim Larkin (guitar), Stephan Chaggaris (drums), and Erica Mantone (backing vocals). I’d last caught a Glory Junkies concert back in 2019, and as this night reminded me, that’s far too long.

photo by Geoff Wilbur

This was also the first concert I had seen in the main hall at Sanctuary. To date, I’d only caught early shows in the intimate bar on-site. I had only walked through the main hall once or twice and was looking forward to catching a performance in “the big room.” What great sound! Of course, it’s a converted church sanctuary, so the solid acoustics are no surprise, but what a treat to finally hear a show in this room! For performances in its cozy bar or the big hall, I love this little venue in Maynard, Massachusetts. In the little bar – but also sometimes in the big hall – it’s a venue that brings to the outer suburbs some of the best Boston-area artists, the sorts of world-class local musicians you’d usually have to fight the traffic and then endure the parking hassles of Cambridge or Boston to see. Case in point, Danielle Miraglia, whose “Drinks with Friends” is a regular feature at Sanctuary’s bar the first Thursday of nearly every month.

But I digress. Before the Glory Junkies took the stage, there was an opening set from the talented Britt Connors.

Britt Connors; photo by Geoff Wilbur

Opening Act: Britt Connors

You can catch Britt Connors regularly at Sanctuary’s bar, too. About once a month. On this night, however, Britt served as the opening act on the big stage, serving up an electric-acoustic half-hour or music before the main event. Britt (guitar, vocals) was joined by Ed Lucie on bass, adding a little more richness to her sound to help better fill the big room.

Britt quickly served notice that her vocals were big-league, delivering her opening number smoothly, with crispness and strength. “Restless,” next, served as a little edgy, heavy strumalong, with the vocals’ seeming to meander through the verses but also tending to more forceful, powerful moments in-between. “Hummingbird” followed, a sweetly thoughtful, folky number but with spots of booming, powerful vocals that, again, clearly set Britt apart from similar artists. This song did a great job of showcasing her ability to combine power, intricacy, and crispness, which she uses together or alternately as required by the song, lyric, or moment.

“Into the Deep,” next, was one of those lifestory-telling songs with kind of a haunting vibe. Sonically a little unsettling, too. Then “Just One Time” served up a little funkiness and plenty of soulful attitude – by mid-song, you’ll find yourself bouncing along to the beat, or at least I did; it’s a little hooky that way.

Britt’s final two numbers – which, if I understood correctly, are two of her most recently-written songs – were my favorites of the set. “Anchor Me” (it’s a love song, she says) is a sweeter song, a real strummer-and-crooner. And Britt’s closing number, written in the wake of the Minneapolis situation, “Steppin’ In,” is a heavy tune with a soulful protest-song vibe, sporting the lyrics “ain’t no savior comin’, we are steppin’ in.”

In all, it was an impressive performance, showcasing Britt’s vocals and songwriting talents. With a voice like hers, I can only imagine what an electric, full-band performance might sound like. Sure, I’ll gladly enjoy her acoustic performances whenever I’m able to get out to hear her, but I’ll circle my calendar for a chance to see Britt with a full band. Regardless, it was a great “warmup” set for the main act of the evening, and I’ll definitely look forward to hearing Britt perform again.

Danielle Miraglia & the Glory Junkies (with special guest vocalists to close the set); photo by Geoff Wilbur

Headliner: Danielle Miraglia & the Glory Junkies

A Danielle Miraglia & the Glory Junkies show is a blues-rock concert. On a stadium or festival stage, a mid-size concert hall stage like Sanctuary’s main hall, or even in a rundown, cramped dive bar, when this band performs, it feels like a concert. And the attendees were prepared, as seated next to me were a longtime – and, at times, a little rowdy – fan joined by his much calmer friend who was familiar with Danielle’s music but hadn’t yet seen her in concert.

So when the lights came on and Danielle Miraglia & the Glory Junkies took the stage, they went big, starting with the band’s powerful number – one that’s likely to be a signature song for the rest of their careers – “All My Heroes Are Ghosts.” The follow-up, the energetic “See the Light,” was a wise selection for the second slot, as it really showcases Danielle’s vocal dynamics. Indeed, hit ’em hard and let ’em know there’s a concert goin’ on!

photo by Geoff Wilbur

By this point, Danielle and the Glory Junkies already owned the crowd, and even moreso after “What Good Can Drinkin’ Do,” with its gritty, heavily swaying rhythm and dynamic vocals – and a crunchy Danielle Miraglia guitar solo, to boot! By the end, it was almost a singalong. I mean, no one was singing, but in a dive bar they would’ve been. With this Janis number, like nearly any cover in their set, Danielle and her band make the song their own.

“Monster,” next, is sidewinding number with a nifty, catchy rhythm and a message that, at the time it was written, seemed insightful yet blissfully unaware how much truer it would soon become. The song, on this night, before an adoring crowd, became a clapalong to the fadeout of “we imagined the monster and we made it real.”

Following came a Tom Waits song, originally recorded too by John Hammond, Jr: “2:19.” It’s a fan favorite cover, one that frequently appears on Danielle’s set lists, and, of course, she and the band always rock this one in a fashion that makes it their gritty ol’ own. On its heels was a cover of Shemekia Copeland’s “Blame It On Eve,” a song that sits on the more finessy end of Danielle’s repertoire, though it’s not without opportunities for that gritty vocal growl, a stylistic combo that makes this number an ideal fit.

All I could catch about the next number was that it’s a new one. Bluesy as hell. And something about a train? It was a heckuva rompin’ tune, though, and I can wait to get swept up in it again at an upcoming show.

photo by Geoff Wilbur

At this point, Danielle stepped back to feature one of her talented bandmates, a cadre of capable singer-songwriters when they’re not being Glory Junkies. This song was a Jim Larkin number, a kinda folky singer-songwritery tune. Not new folk. No, rather, folk with good, old-school, slightly psychedelic ’70s DNA. And hey, Jim has an identifiable hooky twinge in his vox. Who knew?

The song actually provided a nifty segue into the next Glory Junkies song, the coolly funky “Don’t Pray for Me,” delivered with a very laidback bluesy lava lampy vibe.

Following that, Danielle dug way back into her catalog, delving into one of her early albums, 2005’s Nothing Romantic, for “Moment by Moment.” She performed this one acoustically, bringing the room in close, metaphorically speaking, with this thoughtful, pensive, sweetly-sung (I counted just one signature powerful growl in a fitting spot), captivating number that had the audience so raptly attentive you could hear a pin drop. Until, of course, the thunderous applause at the end.

At this point, Danielle shone the spotlight again on one of her talented bandmates, Erik White, who is also one-half of Spotted Tiger alongside regular Glory Junky violist Laurence Scudder. The band performed “Stereo Road,” a song featuring Erik’s soft-spoken vox, ideal for this song that’s kind of swing-meets-Americana.

photo by Geoff Wilbur

Then, back at the helm, Danielle growled her way through the Rolling Stones’ “Happy” before harmonizing with Erica Mantone atop thumping rhythms to the Everly Brothers’ “Gone Gone Gone.”

The band then closed out its set with the full-on energy of fan-favorite “Stagger Lee.”

But wait, that’s not all!

Sure, the crowd would have demanded more. But Danielle Miraglia & the Glory Junkies didn’t play that game and instead provided an unsolicited encore. On this particular night, several local singing luminaries were in attendance – top-shelf musicians do, indeed, turn out to show their support at a Danielle Miraglia concert – and Danielle convinced them to join her on stage. Britt Connors, of course, joined the Glory Junkies on stage, as did Jen Kearney, Andrea Gillis, and Abbie Barrett. An exceptionally talented “choir” for one of Danielle’s signature numbers – an ideal way to end the evening in any setting, but particularly in a converted sanctuary – the so-very-soulful “Choir,” a song that provided a nice, soft landing for this energetically fulfilling concert. And, of course, that Danielle Miraglia vocal wail at the end of the chorus in the middle of the song is always a treat. The crowd knew the song, too, so it turned into a singalong.

Now, that’s how you end a concert.

Live Review: Lita Ford and All Sinners at the Greenwich Odeum

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photo by Luca DePalo

by Luca DePalo, Contributing Blogger

Lita Ford and All Sinners

Greenwich Odeum, East Greenwich, RI

April 9, 2026

On a breezy yet warm Thursday evening in East Greenwich, Rhode Island, the solo singer Lita Ford performed an intimate night of classic songs spanning her whole career. Making her long-awaited return to the state, the killer performance proved how, even after time, the spirit of rock ‘n still is alive and well.

The Greenwich Odeum stands as one of Rhode Island’s true hidden gems, and as it celebrates its 100th year in 2026, the historic venue reflects a century-long legacy of entertainment and strong significance within the local community. Originally opening in 1926 as a cinema theatre, the venue has evolved completely, hosting everything from film screenings and musicals to local acts and concerts that span a huge variety of genres. After many periods of decline and costly restoration, the venue has been carefully preserved, maintaining its classic charm, while adapting to modern audiences. Today, it remains a vital cultural center, drawing both local talent and internationally recognized artists, and its intimate space continues to offer concertgoers a unique experience that larger venues cannot replicate.

Opening Act: All Sinners

Opening up the night was local legends All Sinners from New Bedford, Massachusetts. The band constantly performs around the New England area, and are no strangers to opening up for famed legends in the genre, with past shows including performances with Warrant, L.A. Guns, Ace Frehley of KISS, Lynch Mob, White Lion, Queensrÿche, Dokken, and an upcoming tour with Metal Church.

All Sinners; photo by Luca DePalo

All Sinners came onto the vibrant rock scene around 2023, and I – and many others – love them for their high energy, dynamic blend of hard rock and effortless high notes. Their 6-song set showed their true power with songs like “The Reason,” “We Own the Night,” and the set-closing “The Hunted.”

The 30-minute set was an honest showcase of four talented guys opening up for a legend and performing as if they were headlining! The band includes Mike Golarz on lead vocals and rhythm guitar, Nick Testone on lead guitar, Bruce Morrison on the bass, and Roger Chouinard on the drums.

Headliner: Lita Ford

Next up was the moment we had all been waiting for. From the moment Lita Ford and her band strutted on stage and kicked off the show with the opening number (and my personal favorite) “Gotta Let Go,” it was clear that this was going to be a night to remember for everyone in the audience.

photo by Luca DePalo

Lita’s rock and roll career began in 1976 as a founding member and guitarist of the famed female group the Runaways. The band’s raw combination of hard rock and punk spawned their famous hit “Cherry Bomb.” Then came Lita’s first solo record, 1983’s Out For Blood; then, 1984’s Dancin’ on the Edge. This LP earned her a Grammy nomination for Best Female Rock Vocal Performance, thus earning her the title “Queen of Metal,” which still stands today. Later, in 1988 came the Lita album, which boasted four hit singles, and then 1991’s Dangerous Caves, both being before the rise of grunge took over rock ‘n roll.

photo by Luca DePalo

At the Greenwich Odeum, Lita’s stage presence was as commanding as ever, effortlessly owning every inch of the stage. She dominated through tracks like “Playin’ With Fire,” the rockin’ “Can’t Catch Me,” and  “Larger Than Life,” spanning over 30 years of music. The set also included surprising covers; “The Bitch Is Back” by Elton John, “Black Leather” by the Sex Pistols,” and “Only Women Bleed” by Alice Cooper, all which lifted the audience from their seats.

With such a badass ensemble, Lita Ford fronts the band, delivering both vocals and guitar on every track, while drummer Bobby Rock drives a powerful rhythm, and bassist Mårten Andersson locks in the low end to support lead guitarist Patrick Kennison, whose sharp riffs bring the band to life.

photo by Luca DePalo

From the extended jam featuring a stunning drum solo on “Back to the Cave” to the lit up room in tribute to Ozzy Osbourne for “Close My Eyes Forever,” the Top 10 hit duet from Ozzy and Lita, the crowd couldn’t get enough the other night! It was truly captivating, and will go down as one of my favorite Lita Ford shows. But, I couldn’t forget the best moment that was saved for last, when everyone cheered during “Kiss Me Deadly” and danced their way through one of her biggest hits.

That Thursday evening in Rhode Island made nobody care about work the next day! As usual, it’s a pleasure of mine to keep supporting live music.

Live Review: The Man In Black at the Park Theatre

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photo by Luca DePalo

by Luca DePalo, Contributing Blogger

Shawn Barker/The Man in Black

Park Theatre, Cranston, RI

March 28, 2026

On a beautiful March evening in Cranston, Rhode Island, a sold out crowd gathered together to hear the unmistakable sound of Johnny Cash, performed by one of the world’s most respected tribute artists, Shawn Barker. Marking his long-awaited return to the state, after last year’s performance, Barker’s The Man in Black: A Tribute to Johnny Cash was more than a concert, it was a musical journey.

photo by Luca DePalo

About the Venue

The venue, named the “Historic Park Theatre & Event Center,” stands as a relic to over a century of entertainment, culture, and community in the city of Cranston. Since its early days, it has welcomed generations of audiences, evolving alongside the city while preserving its historic charm. Local entrepreneur Ed Brady and business partner Jeff Quinlan took over the theater and began extensive repairs around three years ago after it permanently closed in 2020. Now in 2026, the theater operates under the management of Spectacle Live, marking a major step in its revival. As part of Spectacle’s growing network of venues, the Historic Park Theatre has been transformed into a fully modern, performing arts center while still preserving the state that defines its century-long legacy.

photo by Luca DePalo

The Concert

As the band hit the first opening chords and began “The Wreck of The Old ’97,” the audience was already gripped tight, with the 6-piece group having a vintage stage presence and grateful emotion. Meanwhile, Barker stood upfront with a rich baritone voice, which glorified the following tracks, “Big River” and “Country Boy.”

Without any banter, Barker walked up to the front of the stage, with just a simple line. “Hello, I’m Johnny Cash,” Barker stated, before kicking into the 1964 hit “Folsom Prison Blues,” a classic in every setlist honoring the legendary Johnny Cash.

photo by Luca DePalo

The band includes Shawn Barker on lead vocals and the acoustic guitar, keyboardist Thomas Johansen, female backing-vocalist Emily Portman, drummer Steve Wilson (who is also the current drummer for the punk rock band Dead Kennedys), electric guitarist Dean O’Leary, and bassist Bruce Thomsen.

Barker’s conversational banter between songs made the night feel super special, due to the intimacy of the venue, allowing him to talk with the audience as if they were face to face. He spoke warmly about bringing this show for over 23 years across North America, and his excitement about returning to Rhode Island, before performing the classic hits “I Got Stripes,” “Hey Porter,” and “I Walk the Line.”

photo by Luca DePalo

After a well-deserved twenty-minute intermission, the second half took an unexpected turn. It opened with the thundering “(Ghost) Riders in the Sky,” my personal favorite, before diving into the famed “Man in Black,” the iconic name Johnny Cash earned after his consistent black stage attire at every show.

But what truly set Barker’s performance apart from other tribute acts was his willingness to lean into the later years of Cash’s career. His cover of “Rusty Cage” (originally by Soundgarden) filled with a surprise jam of Primus’ “My Name Is Mud” and a killer session of Whitesnake’s “Still Of The Night” was a thrilling highlight, especially for the younger audience members. And nope, he didn’t stop there, Cash’s famed covers of “Personal Jesus” and “Hurt” were performed with raw emotion, showcasing Barker’s deep understanding of Cash’s work. These emotional pieces were also some of his final songs before his death at the age of 71 on September 12th of 2003.

photo by Luca DePalo

Of course, no tribute would be complete without “Ring of Fire,” which had the entire theater singing along. And just when the crowd thought the night was over, Barker returned on the stage for an encore with “Cocaine Blues,” a fiery finale that left the room buzzing for more after the last note rang out.

Shawn Barker delivered not just a night of paying tribute, but a full celebration of Johnny Cash’s timeless legacy. From the early Sun Records hits to the darker, more deeper era, Barker honored every chapter with heart and performed as authentically and pure as he could.

If his promise to return next year holds true, Rhode Island will surely welcome him back with open arms. Until next time, keep supporting live music!!

Live Review: Bees Deluxe at Sanctuary

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photo by Geoff Wilbur

Bees Deluxe

Sanctuary Bar & Lounge, Maynard, MA

April 2, 2026

Tonight, Bees Deluxe helped turn a cozy suburban bar into a hip urban blues lounge. Top-shelf musical acts will do that. Of course, those of you who live near Sanctuary know that, in addition to hosting some acts that are big suburban draws, this venue is also an oasis of music from artists who don’t often perform this far out in the burbs, and that’s why you’ll so often find me in this arts and entertainment venue’s cozy little bar. The frequent early set times in the bar – 5:30 shows, like tonight; sometimes earlier on the weekends – are another draw for those of us who live and work nearby.

photo by Geoff Wilbur

As for Bees Deluxe, I love this band, a group that infuses such cool grooves through their songs. They play a style of blues I don’t know well but enjoy. You may have noticed my enthusiasm when I reviewed Hallucinate a couple years ago, but I was happy to defer the review of Smash Hits to longtime co-conspirator Eric Harabadian, whose blues knowledge is much broader and deeper than mine.

Last night, the Bees Deluxe lineup was comprised of three of its core members – Carol Band (keys), Conrad Warre (guitar), and Matt Arenburg (drums) – plus Allyn “Aldo” Dorr, who you’ll find listed on the “musical guests and friends” section of the “musicians” page of the band’s website. A couple times during the set, the quartet became a quintet, as they were joined by special guest Keith Lanzilotti on harmonica.

photo by Geoff Wilbur

The band noted they were going to try to fit a 3-hour setlist into the 2.5 hours available. (The Donna the Buffalo show in the main concert hall began at 8:00 last night; hence, the hard stop.) So it was no surprise that the band didn’t take a break. I had other obligations, so I just stayed for the first two hours of set, and I stopped taking notes about a half-hour earlier. So here’s what I heard during the first 60% of the show.

The groove was already in full swing by the time the band reached its cool rendition of Michael Burks’ “I Smell Smoke.”

Soon thereafter, Bees Deluxe entered a section of its setlist readily recognized by those of us without much blues knowledge. Notably, a neat version of “These Boots are Made for Walkin’,” with Carol taking the vocal lead, obviously, in place of Conrad, who took back vocal duties on the cool, hoarsely delivered “Love the One You’re With,” a song that also served as a great opportunity for Conrad to show off some nifty guitar riffs atop Carol’s rich keyboard bed. The easily-recognizably trilogy concluded with some crowd-pleasing Bacharach, “I Say a Little Prayer.”

photo by Geoff Wilbur

The next few songs included several originals, including “You Say Red,” a smooth number that is a little softly rollicking, if you believe a “rollick” can be soft. It was followed by a number whose title I missed but that’s worth mentioning because it featured simultaneous atmospheric and psychedelic vibes, a combo that runs through a lot of Bees Deluxe’s music. Also worth noting in this run were a great rendition of “I Wouldn’t Treat a Dog (The Way You Treated Me),” which you’ll find on the band’s Smash Hits disc (follow the link to Eric’s review, which I shared in the first paragraph). It also featured the first appearance of guest harmonica-wiz Lanzilotti and a couple more originals – lean-back-and-soak-up-the-vibe number “Wherever You Hide” and “Queen Midas,” a kind-of-groovy, psychedelic personal favorite of mine from the Hallucinate album that features an aggressive approach to its chorus.

The band then slowed things down with a rich rendition of “Georgia on My Mind.” Carol’s keys set an almost religiously organ-ic baseline, while Conrad’s meandering axe added additional character.

The show continued, but my note-taking stopped. The crowd, sparse as it often is at the beginning of these 5:30 sets, grew to a packed room over the course of the early evening. And Bees Deluxe provided top-shelf, crowd-pleasing blues to the appreciative audience.

Throughout Bees Deluxe’s set, the keys, very organ-like, set the backdrop. The guitar danced and showed off. And the rhythm section… rhythm sectioned, steadily and solidly, notably nuanced if you paid attention, and clearly appreciated by their bandmates as evidenced by callouts throughout the set, but otherwise not generally showy, as is often the fate of an excellent blues rhythm section. Again, a helluva band. And not surprisingly, an excellent early evening of accessibly thoughtful cool blues.

Looking Ahead

The “Shows” page of Bees Deluxe’s website lists plenty of shows already scheduled for the rest of this year, crisscrossing New England, New York, and New Jersey.

Sanctuary’s concert calendar lists the venue’s upcoming shows, both the free early performances in the cozy bar and lounge and the ticketed shows on the big stage in the main hall. In fact, I’ll be back in Maynard in less than 2 hours for the 8:00 PM start time of my first main hall concert at Sanctuary, as Danielle Miraglia and the Glory Junkies take the stage tonight, following opening act Britt Connors. If you read this as I post it, maybe I’ll see you there. If not, watch for my review so I can tell you what you missed.

Single Review: The Mucks – “Need Your Love”

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photo courtesy of BJF Media

Single Review of The Mucks: “Need Your Love” (Flip Flop Records)

“Need Your Love” is a broad-appeal, alt-influence, guitar-based rock and roll song that carries anguished energy from beginning to end, embedded in lead vocalist’s Michael Dunn’s tunefully pained wail. Dunn is joined in The Mucks by Kieran King (bass), Conor McGuire (guitar), Scott Johnson (guitar, vocals), and Max Kendrick (drums, vocals).

image courtesy of BJF Media

The jangly guitar is key to the mainstream-friendly alt-rock vibe of “Need Your Love,” resulting in a song that’s well-suited to the college rock scene but carries all the elements of a tune with crossover appeal. The subject matter that’s so aptly captured by the lyrics is the realization of the weakening of a long-distance relationship. It’s delivered poignantly and on-point – both musically and vocally – to the extent that it’s likely to resonate with a broad swath of potential listeners. However, even if the subject matter doesn’t elicit memories of a personal experience, this raw, emotional, guitar-rich single is sure to strike a chord with mid-tempo rock fans.

photo courtesy of BJF Media

Looking Ahead

It seems that The Mucks’ future is uncertain. Last summer, a few months after this single dropped, the band shared these Instagram posts: first, announcing that the band taking an indefinite break; then, highlighting a parting of ways with a band member. If you dig this song – and it’s a great song! – you may want to follow The Mucks on Facebook or Instagram in order to be connected with the band if/when they reemerge.

Single Review: Orianthi – “Attention”

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image courtesy of Frank Roszak Promotions

Single Review of Orianthi: “Attention” (Woodward Avenue Records)

Last summer, Orianthi released her Some Kind of Feeling album. I previously reviewed a couple of the earlier single releases from that album – “First Time Blues” and “Some Kind of Feeling.” Well, a few weeks before the album’s release, Orianthi dropped another single, “Attention,” which I’ll review here.

Of course, with any Orianthi release, you can count on some kickass guitar. And, as I’ve grown to expect, some monster hooks on the singles. “Attention” is an uptempo, insistent, catchy guitar pop-rocker with the nifty vocal “You’re so predictable, you do it every time. Drunk-checkin’ on me in the middle of the night. You know, you know, you know what you pull me through. You just want attention; I’m done thinkin’ bout you.” That’s just some cool – and singalong-able – lyrics!

If you listened to the Orianthi songs I reviewed last year, then you’ll know what to expect when I say “Attention” has the pop-rock sensibilities of “Some Kind of Feeling” and the coolness of “First Time Blues,” wrapped up in an uptempo classic guitar pop-rock package. I really dig this song, and if you like guitar, pop-rock, and/or cool, hooky songs, you’ll enjoy “Attention” as much as I do.

Album Review: The Dogmatics – Nowheresville

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photo by Nicole Tammaro Photography; photo courtesy of Knyvet

Album Review of The Dogmatics: Nowheresville (Rum Bar Records)

The Dogmatics are masters of a style of garage rock that’s absolutely swimming in monster hooks. Catchy songs. Low-fi. It’s a crunchy, raucously satisfying meat ‘n potatoes musical combo meal. And Nowheresville, the band’s recent full-length release – its first in nearly 40 years! – is a massive helping of raw, rockin’ comfort food. The fivesome behind this gamey but tasty collection of rock tuneage are Jerry Lehane (vocals, lead and rhythm guitar), Peter O’Halloran (vocals, lead and rhythm guitar), Jimmy O’Halloran (bass), Tom Long (drums), and James Young (vocals, backing vocals, mandolin).

The album kicks off with “Key of B,” a fun, energetic, lyrically silly yet earnest ode to one of a rocker’s most important, life-altering decisions. And with that, The Dogmatics set the tone for this entire raw, rockin’ collection.

Some of the songs are garage rockers that share some punk rock DNA. “You’ve Got What I Want,” for example, has such a raw, energetic feel. “With a Scarlet Letter,” meanwhile, adds a more nuanced rhythm while remaining just as gritty and rough.

cover photo by Mary Lou O’Halloran; cover design by James Young; image courtesy of Knyvet

Other songs – “Rainy Nights,” for instance – have a more country aura filtered through an Americana-rock lens, kind of Eagles-ish. “Con Job,” too, leans that way, though it’s more of a hillbilly-ish rocker – rockabilly? – while if you listen to the lyrics, you’ll be sure to never be caught alone in a dark alley with the songwriters. It is a wicked cool song… with a little extra wicked.

One of my favorite songs on the record, “Nothing to Be Learned,” is a pure melody-driven, roughly-produced, guitar-based pop-rocker. Its catchy rhythm and persistent rhythm guitar line helps it feel as if it’s more energetic than its actual pace dictates. Cool stuff, dudes! And if this is your favorite Dogmatics’ sub-style, “I Can’t Get Over You” is another song you’ll love, with a similar hooky-rockin’ delivery.

My very favorite song on the disc is an instant classic as much because of its lyrics as its tunefulness. “No Likes No Comments” is one of the rawest songs on the album, from a production standpoint – though that nifty guitar solo is in a production sweet spot – but the social media-referencing lyrics are so damn clever. The main line of the chorus, “No likes, no comments, no one cares,” is inspired by itself, but the cherries on top are the more inventive lyrics like “I snapped and I chatted, I tikked and then I tokked. My grams had lotsa instas, but everybody balked.” Poor Threads didn’t even warrant a mention. The song is the silliest on the record, which isn’t an easy task on a disc that opens with “Key of B,” and it’s a lot of fun.

The record ends with a couple balls-to-the-wall rockers, at least in context of the record as a whole. Fast energy. Raw feel. Faster tempos. Indeed, “Library Girl” and “Ball Me Out” are a great offramp from this cool disc. Also, they’re strong indicators that a live Dogmatics is like to be an all-out rock ‘n roll party. I mean, the whole album suggests that, but in case you weren’t paying attention, these last two tracks make sure you notice how cool it would be to catch these guys live!

And if you want to catch a live Dogmatics gig, there are a couple in the Boston area in the next week or two. Just check out the “Shows” tab of the band’s website for more info and to see new performances as they’re added.

Live Review: Brit Floyd at The Vets

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photo by Luca DePalo

by Luca DePalo, Contributing Blogger

Brit Floyd

Veterans Memorial Auditorium, Providence, RI

March 1, 2026

On a chilly Sunday night in the city of Providence, Rhode Island, rockers gathered at The Vets to celebrate the legendary music of Pink Floyd with a performance by Brit Floyd on their The Moon, The Wall and Beyond tour. The two-and-a-half-hour set was filled with classics, deep cuts, and fan-favorites that were performed note for note by the 9-piece band.

Having performed over 1,000 shows since the band’s launch in Liverpool, England in January of 2011, Brit Floyd has circled the world, has sold out tours across Europe, North America, South America, and the Middle East, and has performed concerts at some of the world’s most iconic venues, including London’s prestigious Royal Albert Hall, the beautiful Red Rocks Amphitheatre in Denver, the historic Greek Theatre in Los Angeles, NYC’s Radio City Music Hall, and too many other venues to name.

photo by Luca DePalo

This night was more than a tribute to the legendary founders of the original band – Nick Mason, Roger Waters, Richard Wright, Syd Barrett and David Gilmour – but a celebration of their work that still stands as iconic today.

While walking in, I and many others in attendance could just feel a rush of excitement in the air. The venue, built in the 1950s, carried a charm that blended perfectly with the anticipated audience. Conversations echoed, laughter filled the aisles, and every passing second seemed to build toward something… that thing being unforgettable.

As the lights began to dim, the band stormed the stage, opening with the lighter track, “In The Flesh?”, instantly signaling the promise of performing The Wall. The slow, steady build of the intro created a buzzing tension throughout the venue, and perfectly pulled in the audience.

photo by Luca DePalo

Following the first track, classic hits were played from the record such as “Another Brick In The Wall, Parts 1 & 2,” the guitar shining “Hey You,” and the groovy “Young Lust.” Not only did the first set cover tracks from The Wall, but also 1971’s Meddle and 1987’s A Momentary Lapse of Reason, creating the perfectly balanced set. After a 20-minute intermission break, the audience was ready for more power!

Instantly, with the lights slowly turning off, the band kicked into “Breath (In the Air),” starting off the Dark Side of the Moon set. This set included plenty of songs from the album like “Money,” “Time,” “Us and Them,” and many more.

But nothing compared to the performance of the song “The Great Gig In The Sky.” Female vocalist Jessie Lee Houllier absolutely crushed the track; it’s not an easy one to tackle at all, yet she delivered the soaring vocals with confidence and power, earning her one of the loudest standing ovations of the evening.

photo by Luca DePalo

Now with the mention of Jessie, I can’t forget to name the current lineup. Although the lineups have changed every once in a while, Brit Floyd in 2026 is: founding members Damian Darlington (guitar and vocals), Ian Cattell (bass and vocals), Rob Stringer (keyboards and vocals), and touring members Randy Cooke (drums), Rhiannon Dewey (saxophone and percussion), Shannon Fayth (backing vocals), and Lisa Melfi (backing vocals). Every band member contributed to recreating the iconic sound of Pink Floyd’s studio work, which would not be possible with just five members.

Before ending sharp at 10:00, the band finished with the iconic track “Wish You Were Here” and the guitar shining “Comfortably Numb,” before coming back with an encore featuring “Run Like Hell.”

The night truly felt like a throwback to an era when albums were more like experiences than just entertainment. This music of the ’70s carried truth, depth, and clarity, still holding its boldness decades later. For a few hours in Providence, Brit Floyd didn’t just perform some covers of Pink Floyd, they transported the audience back in time.

photo by Luca DePalo

Looking Ahead

You can find upcoming Brit Floyd tour dates on the “Tour” page of the band’s website. The band will be in Boston tomorrow night, March 6th, one of four remaining New England shows before their tour takes them out of the region and, eventually, to every region of the U.S., so check out the calendar for concerts near you.

Meanwhile, Providence locals probably already know to check out the “Events” page of the venue’s website for upcoming performances spanning a variety of the arts at The Vets.

Album Review: Dave & Kristi – The Chickadees

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photo by Misty Lyn Photography; photo courtesy of Dave & Kristi

Album Review of Dave & Kristi: The Chickadees

Dave Boutette and Kristi Lynn Davis, who perform as Dave & Kristi, have assembled an exceptionally varied, engaging collection of songs on their most recent album, The Chickadees. The duo draws from a variety of influences – swing, folk, rock, country – to create a signature song. At its core, Dave & Kristi are a singer-songwriter duo. For the most, Dave sings the lead with Kristi serving up the sweet harmonies; their voices are well-paired, with Dave’s slightly rough-edged yet well-enunciated and Kristi’s higher, sweeter, smoothing the rough edges when joining the melody and at other times offering a rich harmony.

The album kicks off with the cheerful, swinging “All Are Welcome Here,” as if from an old-timey traveling musical revue, and follows with the title track, “The Chickadees,” an alt rock-influenced folkabilly number with clever lyrics and phrasing that suggest an affinity for the Barenaked Ladies. The pair slows things down with “Soapbox Soliloquy,” an old-school country influenced folk number.

image courtesy of Dave & Kristi

“King’s Highway” features the two vocalists trading off a bit more and is driven by pickin’ guitar and fiddle, a good old-fashioned mid-tempo bluegrass-influenced banger.

“Truth or Consequences” is a song that’ll sneak up on you. It has a bit of a haunting musical backdrop with a semi-energetic vocal delivery and a whole lotta pickin’. Yeah, it’s a song about Truth or Consequences, New Mexico. That’s just plain cool. And that nifty little guitar line will worm its way into your brain toward the end. Don’t say you weren’t warned.

The influences don’t stop there. “We Swam in Rivers” is a richly-produced, full-throated ’70s folk-rock number.

The mid-point of the album is “Roll,” a favorite largely because of the intricate lyrics and energetic vocals.

Then, after the sweet “Who You Are,” Dave & Kristi launch into an energetic, clever dark Americana number, “Outlaw Polka,” a song so clever both musically and lyrically that it’ll be a fast favorite; even if you don’t usually like lyrically amusing numbers, the music is a fun, hook-filled romp that’ll reel you in. It’s a very Wally Pleasant-ish song, both in topic and catchiness, and even right down to Dave’s delivery of a few lyrics, notably in a mid-song bridge.

photo by Misty Lyn Photography; photo courtesy of Dave & Kristi

“Winter Embers,” next, is an uptempo ditty, a rich Americana number that blends energetic music with a slower, neatly blended mix of the duo’s vocals. “Pledging My Love” could be described similarly, though its vocals lean toward old-school crooning, and there’s some nifty ’50s-recalling guitarwork nestled into a mini-solo.

Penultimate track “You Chase Too Many Things” is a fiddle-driven, tunefully folky number with perhaps a hint of country, though mostly that’s due to the fiddlin’. It’s a song that’ll put a smile on your face, just in time for the melancholy of the album’s closing number, “Pulling from the Shore.” It’s a song that feels like goodbye. So long. A farewell that reminds you of how coolly Dave and Kristi’s voices blend.

The Chickadees is a great end-to-end listen. Even when it’s introspective and deep, there’s a cheerfulness inherent in the Dave & Kristi delivery style. So if you like well-written songs, cool duet harmonies, folk singer-songwriter based musical variety, or simply a collection of songs from which you’ll likely pull at least one or two favorites, it’ll be time well spent giving Dave & Kristi’s The Chickadees a listen.

So, what are my favorite tracks? Well, obviously “Outlaw Polka,” most likely followed by “Roll.” “The Chickadees” is clever. “Truth or Consequences” has a cool aura. But there’s really not a song on this disc that wouldn’t be one of my top four or five on any given day, depending on my mood. Give this album a listen and let me know what your faves are, maybe in the comments.