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.

Live Review: The Artimus Pyle Band and SoulShine at the Stadium Theatre

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photo by Luca DePalo

by Luca DePalo, Contributing Blogger

The Artimus Pyle Band and SoulShine

Stadium Theatre, Woonsocket, RI

February 20, 2026

On an gloomy night in Woonsocket, Rhode Island, snow was falling through the streetlights. Just down the block, the Stadium Theatre was buzzing with life. Inside, the sound of rock music was loud and clear. The Artimus Pyle Band and SoulShine were co-headlining a show with drums, screaming guitars, and a lot of energy that made the cold weather outside feel forgotten.

photo by Luca DePalo

The crowd was packed into the theater, excited and waiting for the show to start. When the lights went down, SoulShine, the Allman Brothers Experience walked out to a cheer. They started playing away with their first song, “Statesboro Blues,” from 1971. The room lit up with energy. The bluesy guitar riffs and deep bass lines filled every seat pulsing with electricity. It felt like Duane and Gregg Allman’s spirit was there just like when they started the Allman Brothers Band in 1969.

SoulShine kept playing hit after hit. “Blue Sky,” “Ramblin’ Man,” and “Midnight Rider.” Every song was loud and full of soul like the originals. The two guitar players traded solos that soared above the lights while the rhythm section kept everything tight. People were singing along, swaying to the music and getting lost in the groove. Some knew every word while others were just amazed by the band’s performance. After an hour, it was clear that SoulShine wasn’t just covering Allman Brothers songs. They were really channeling the band.

photo by Luca DePalo

Then it was time for Lynyrd Skynyrd classics, loud and live. The lights went down again. The Artimus Pyle Band took the stage. You could feel that this was something. There was something about the way they played. The first chords of “Workin’ For MCA” rang out. The spotlight hit the drum throne. Artimus Pyle himself playing with the same fire that made him a legend. The whole band locked into that Skynyrd groove.

Lets be clear. This band isn’t just a tribute. They’re carrying on the legacy of rock with help from two guys who helped build that legacy. Up front was Barry Lee Harwood, who joined APB most recently in 2025 and brings a lot of rock history. He played with the Allen Collins Band and the Rossington Collins Band. Added his dobro and mandolin to Skynyrd’s “Nuthin’ Fancy,” “Gimme Back My Bullets,” and “Street Survivors.”

photo by Luca DePalo

Of course, Artimus Pyle himself behind the drums. A Skynyrd member from 1975 to 1977 then back again from 1987 to 1991. He’s the surviving member of Skynyrd’s classic lineup, and he lived through the bands infamous 1977 plane crash that killed Ronnie Van Zant, Steve Gaines, Cassie Gaines, the assistant road manager, and both pilots. As Artimus said, “If it wasn’t for Ronnie Van Zant there would be no thing as the band.”

Since leaving Skynyrd, Artimus has had a career. Solo records, projects, all paying tribute to southern rock’s finest. The Artimus Pyle Band doesn’t just play the hits. They bring the era’s energy right back to the stage.

photo by Luca DePalo

One standout moment was the band’s dobro player letting those shimmering slides ring out and giving songs like “Tuesdays Gone” an edge that pulled everyone in. The set kept going with classics. “Gimme Three Steps,” “Call Me the Breeze,” and, of course, the anthem. “Sweet Home Alabama.”

Then, right before the end the unmistakable opening of “Free Bird,” everything shifted. The crowd held its breath during that intro waiting for the storm to hit. Then came the epic guitar solo. Furious, relentless powerful. The energy in the room was off the charts. When it finally ended, the audience exploded into a standing ovation knowing they’d just witnessed something they’d never forget.

photo by Luca DePalo

As the band took their bows and the lights came up fans filtered back outside, the snow was still falling. Now everyone carried a little warmth with them. The energy and spirit of southern rock echoing down the quiet wintry streets of Woonsocket.

Looking Ahead

You can find upcoming tour dates for the Artimus Pyle Band on the “Tour” page of the band’s website. APB dates are currently listed for Missouri, Kansas, Pennsylvania, Illinois, New Hampshire, and New Jersey. The “Upcoming Shows” section of the SoulShine website currently lists just a single date – March 7 in Mamaroneck, NY – but that’s where to check as more shows are added. And those of you in or near Woonsocket can check out the “Events” page of the Stadium Theatre’s website to see the theater’s upcoming calendar of events.

Live Review: Corey McLane at Lost Shoe Brewing Company

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photo by Geoff Wilbur

Corey McLane

Lost Shoe Brewing Company, Marlborough, MA

February 6, 2026

Last night, I caught Corey McLane’s first set of the evening at the Lost Shoe Brewing Company. Now, it had been several years since I last heard Corey sing live (way too long, but at least a couple of those years don’t count ‘causa the pandemic, right?), and I had never been to an evening performance at Lost Shoe, though I’ve enjoyed coffee and bagels there several mornings in recent years. During all those visits, though, I had never wandered over into the other room, where this evening’s performance was. Gotta say, it’s a very cool space.

Of course, one of the reasons I enjoy Corey’s acoustic solo gigs is because the dude’s a rock singer, and he sounds every bit of it. I still haven’t seen Corey perform electric with his band Exhale, which is something I’d like to remedy one day, but the band’s album Audio Dreams is a great introduction to Corey’s electric voice with is electric band.

photo by Geoff Wilbur

The songs Corey performs at his solo gigs are songs you rarely hear in an acoustic cover setting, and yet most of the songs he performs would be easily recognized by just about anyone with any exposure to music, life, or mainstream culture (not necessarily even rock music culture). His playlist spans a few decades of rock ‘n roll, though, and is an endless list of “hey, I know that song!” with a smattering of huge hits and more obscure tracks thrown in for good measure. Plus, Corey has mastered the ability to sound rockin’ and vocally powerful while singing “in his indoor voice,” ideal for the sorts of settings that tend to book acoustic music. There’s a reason Corey’s in demand.

I was running a little late last night – hey, it was a 6:00 start time, and I work ’til 5:30! – but I don’t think I missed more than one song. I walked in during Marcy Playground’s “Sex and Candy,” and Corey put a rock n roll growl on this acoustic guitar cover. He followed with Eagle-Eye Cherry’s “Save Tonight,” carrying the gruff acoustic rockingness forward, and the Steve Miller Band “The Joker,” delivering a little classic rock vocal finesse and different guitar style.

Collective Soul’s “December” required another little change to the guitar picking and strumming. Still heavy af, especially for an acoustic number, but it offered some more musical variety. Then Corey utilized a nice anguished vocal approach on Guns N’ Roses’ “Knockin’ on Heaven’s Door.” In particular, he took this one really slowly, emphasizing all the vocals creaks and breaks, kind of raw yet smooth, ’cause he’s got a really good voice. Coming next was Train’s “Meet Virginia,” delivered with rockin’ vox, even as Corey held back, knowing that in this setting he was trying not to overpower the conversations, providing some of the kickassingest background music you’re likely to hear in a low-volume, acoustic venue setting.

photo by Geoff Wilbur

I sat back and enjoyed the rest of the evening, noting songs like Third Eye Blind’s “Semi-Charmed Life,” Tom Petty’s “Mary Jane’s Last Dance,” the timeless R&B/soul/blues-rock classic that fits into any set, any style, Bill Withers’ “Ain’t No Sunshine.” Corey threw in Nirvana’s “The Man Who Sold the World,” Rob Thomas’ “Lonely No More,” Santana’s “Smooth,” Tom Petty’s “You Don’t Know How It Feels,” the Gin Blossoms’ “Hey Jealousy,” Blind Melon’s “No Rain” (“oh, oh, oh, oh”), Bad Company’s “Feel Like Makin’ Love,” Sublime’s “What I Got,” and a couple more songs I missed because I was enjoying myself and forgot to take notes.

At this point, I had reach the hour I had planned to stick around, but I couldn’t pry myself away, so I stuck around. The next song, Pearl Jam’s “Black,” like so many grunge songs, when done slowly and acoustically, some of the groans and howls make you wonder if the singer’s going into labor… if he’s doing a good job, anyway. But alas, when Corey reached to the “do do do do do do do” lyrics at the end, I was pretty sure he wasn’t.

He followed that with a great rendition “Turn the Page.” Glad I stuck around for that; as a Michigander, I love me some Bob Seger, especially when done well. I’m almost embarrassed to say that it took me to this point in the step to realize another thing I like about Corey’s sets – he just goes from one song to the next. No chatter, just music. I’m there to hear music. I don’t need the between-song chatter.

Corey closed the first set with strong, sonically varied renditions of the Cranberries’ “Zombie” and Van Morrison’s “Wild Night,” wrapping up a set full of rock and roll for all ages, but one that Gen X and Millennials, in particular, would know backwards, forward, and inside-out.

I’ve meant to get out to my second Corey McLane performance several times in the last few years. It’s hard to believe it took me this long; I hope to catch one of his sets again much sooner next time. Now, if you haven’t seen him sing, you’re missing out. And like I said, he doesn’t overpower you, so you can probably get some friends who don’t usually go out to hear live music to join you; I’m guessing they’ll be pleased, as well. Corey regularly posts his upcoming calendar to his Instagram and Facebook accounts, so follow him on social media to keep track of where you can catch a performance.

Single Reviews: The Chelsea Curve’s 2025 singles

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photo by Trebmal Photography; photo courtesy of Knyvet

Single Reviews of The Chelsea Curve: “Jamie C’mon (Andy Lewis Remix)”/”Hey Sah-Lo-Ney,” “Kindawanna,” “Never Come Down,” and “Rally ‘Round”

The Chelsea Curve is an award-winning Boston-area rock band whose style is a Brit rock-inspired blend of hook-laden pop, alt-rock, and groove-rock, delivered with a punk-ish attitude. The band calls itself “retro mod pop,” and whatever that means, it sounds accurate. The trio that comprise The Chelsea Curve are Linda Pardee (bass, vocals), Tim Gillis (guitars, vocals), and Bruce Caporal (drums). The band released several singles in 2025, covering a lot of stylistic real estate within its corner of rock ‘n roll, all in the uniquely original style that makes the outfit such a consistent draw and an original artistic beacon on the regional music scene.

cover design by Linda Pardee; image courtesy of Knyvet

Back in May, The Chelsea Curve released the double A-side 7-inch single “Jamie C’mon (Andy Lewis Remix)” and “Hey Sah-Lo-Ney,” two energetic songs that typify what you might call swing alt-rock, combining groovy, sixties-inspired distorted guitar riffs with a more modern rock edginess. The first of the two songs, “Jamie C’mon,” was previously released as a single in 2022. This remix is rough-edged and carries its tempo forward as if attacking the listener – enjoyable, but at the same time it sort of feels unsafe not to like it. Fortunately, it’s a fun groove that starts strong and then grows stronger with each subsequent listen, so fear not.

cover design by Linda Pardee; image courtesy of Knyvet

“Hey Sah-Lo-Ney,” meanwhile, is an amped-up cover of Mickey Lee Lane’s surfin’-and-swingin’ 1965 rocker. Of course, The Chelsea Curve updates the sound and produces a cleaner, more modern-ear-friendly rendition that’s surprisingly similar to the original. Regardless, it’s a fun song with a time-warp factor, and I had never heard the original (or any of its previous covers) before, so to me, it’s just a cool new song.

cover design by Linda Pardee; image courtesy of Knyvet

In July, The Chelsea Curve released another fun, raw, swinging rocker with a more summertime theme, “Kindawanna.” It’s a fun, fast-paced, rough-edged, radio-friendly rocker that’s over so quickly, thanks in part to its breakneck speed, leaving just the lyric “Kindawanna have a bottle of Prosecco with you! Kindawanna ride around on your Lambretta with you! I Kindawanna be your everything!” I’m already looking forward to next summer when I can roll down the windows and crank this one while cruisin’ the boulevard.

The Chelsea Curve hits a similarly thumping beat on its August release, “Never Come Down.” The tempo’s just a hair slower, and the guitar swirl a bit more substantial, throwing off a strong vocal-harmony, alt-rock vibe.

cover design by Linda Pardee; image courtesy of Knyvet

The band’s fifth song released in 2025, “Rally ‘Round,” was part of The Sound Cove’s Super Sonic Showcase, Volume 1, a sampler released in October by singles-only record label The Sound Cove. “Rally ‘Round” was probably The Chelsea Curve’s poppiest 2025 release, with an updated spin on a pop-rock style that dominated the college rock scene back in the ’90s, yet again with that throwback ’60s-ish vibe. It’s a pleasant song with a rhythmic motor that keeps it moving in a moderately joyful way. Overall, the song is engaging and fun – another excellent addition to your Chelsea Curve music collection.

photo by Reuben; photo courtesy of Knyvet

Of these five songs, I think “Never Come Down” would be my favorite if only “Hey Sah-Lo-Ney” weren’t such a damn memorable earworm. Really, though, this way-too-cool Boston outfit simply treated us to four kickass singles in 2025. Yes, they released five songs, but one release was a two-sided single, so that’s four singles. Regardless, if you’re seeking cool pop-rock that’s a little edgy, check out The Chelsea Curve’s catchy collection of 2025 single releases. I hope they have some more cool tunes in store for us in 2026.

To keep up with the latest from The Chelsea Curve, see the band’s linktree.