Album Review: Florence Sommerville – Endless Horizon

Posted on by

image courtesy of AFC Management & Publicity

Album Review of Florence Sommerville: Endless Horizon

Acclaimed young British country music artist Florence Sommerville shows her talent and range on Endless Horizon, her full-length album featuring 12 songs plus 4 CD-only bonus tracks.

Sommerville has a classic country vocal sound, sort of. Her style has a hint of folk-country storyteller but with the carefree energy of a Stevie Nicks. Coincidentally, one of the “bonus” songs on her CD is “Landslide,” so she clearly leans into that persona. It’s a sound that comes off as intimate but with the power to entertain a big crowd from a festival stage. In fact, I’ve noted on Sommerville’s Instagram – yes, I follow most of the artists I add to my review queue on one or more social media – that she’s been a big hit on the festival circuit in the UK this summer. What else have I noticed on Sommerville’s Insta? Well, Endless Horizon won UK Country Album of the Year at the UK Country Music Awards this month. So I’m in broad company when I tell you this is a must-hear record from a talented artist.

photo courtesy of AFC Management & Publicity

The record itself is a broadly-pleasing collection of appealing songs. Well-written, frequently storytelling. Many of them come from the voice of a free spirit, and Sommerville presents herself as someone who fits that persona. Several songs are sung from an American perspective, though there’s a mention of London on one track that befits a UK country-Americana artist like Sommerville. At the same time, she’s convincingly American where the song calls for it. Some songs are fresh and young, while others are backward-looking stories that are sung with the wisdom and from a perspective of someone well beyond Sommerville’s years. All that is to say, she’s a helluva performer, a great storyteller, and not at all bound by age or geography in her ability to spin a convincing yarn.

I have so many favorites on this record, I barely know where to start. At the beginning, I suppose. First song “(I’ll Be Your) Best Broken Heart,” which kicks off with a big, swaying sound and leans into the whole free spirit thing: “I’m all in for the moment. I’ll be the best thing you have going. Even when I leave a mark, I’ll be your best broken heart.” Add softly wailing soft rock guitar mini-runs in the bridges and verses, and you’ve got potential hit number one right at the start.

“Fearless” is a fun, rowdy number – lyrically, at least, more mid-tempo by tempo – that celebrates youth and bad decisions. Next track “Overton” is a poignant storytelling song that does that cool thing where it’s told in the third person until late in the song when the story turns first-person, prompting the thought of “Aha! It was you all along! I knew it!” Of course, Sommerville’s too young for this to be her first-person song, but you forget that, since the character in the song is convincingly much older, looking back.

photo courtesy of AFC Management & Publicity

“Broken Pieces,” next, has a fiesty honkytonk feel, one that’ll have you swaying in your seat or, almost certainly, paying rapt attention if seeing it performed live.

Next up, “California” is slower, more wistful, seemingly exhausted. And yet, when it gets to the chorus, hopeful. And the chorus reveals that the story behind the song takes the same journey as the song’s sound itself takes from verse to chorus, then starts over with the next verse, though slightly less wistful and perhaps a little more reminiscent that the first verse. And the cool chorus lyric that begins with “I would drive down to California” and ends with “finding me without you.” As with the album opener, there are spots for crying, wailing soft rock guitar, and it’s appropriately used mostly in the bridges at first, though seemingly throughout the song by the end. It’s a soft, smooth, and wickedly cool tune.

“Out Where the Love Grows” is a warm, proud proclamation of small-town life and, in particular, of one’s hometown. There’s a country bounce and twang, musically, to this most country of all country sentiments, a song subject that’s immensely popular among those country music fans who’ve grown up in small towns, whether they’ve stayed or left. Sommerville’s entry into this category is impeccable, by the way. No surprise there. Ideal for a county fair. Or a soft, intimate, moderate-tempoed moment on a big concert stage.

photo courtesy of AFC Management & Publicity

“Silly Little Things,” next, lightens things up. It’s not as if the preceding song had a heavy mood. Not at all. And it’s not as if this isn’t reminiscent; it most surely is. But somehow it’s still a little lighter, even though it’s about changing one’s life. Like so much of this album – and this exceptionally talented artist – the songs are straightforward and, at the same time, a contradiction. It’s a nifty, clever song, though, quite likely some people’s favorite from this album.

Some of the songs to this point have been thoughtful and a little heavy, but for the first time the songs get darker on “Forget the Water”: “No there ain’t no similarity. Your ever-changing personality. I don’t know if I can live this way much longer. Forget the water, there’s something in the whiskey.” It’s a song about the contradictions. Sad, wistful, thoughtful, a song with a slow pace and careful voice inflections that tell not just a story but the emotions behind the story. It’s not the first serious song on the record, but it’s the first hard-swallow, lump-in-your-throat number. Whew!

After that, some relief is needed, and Sommerville provides just such relief with the playfully cheerful sound of “Love Me Then.” Oh, the subject is of love unrequited, but it’s fun journey through a love-not-quite and one of my (many) favorite songs along this Endless Horizon.

“Boots in the Rain” is a thumping, very country-sounding twanger of a travellin’ song, a free-spirited view of enjoying life wherever country music takes you. Oh, and this is the one song that clearly references England rather than the U.S. – it contains the lyric “it’s cold here in London,” something I mention for no real reason other than I wrote about it earlier in the review.

photo courtesy of AFC Management & Publicity

“Molasses,” next, opens with an almost ominous guitar chord, and the song, both stylistically and musically, keeps the listener off-balance throughout. I keep hoping this song is somehow connected to the Great Molasses Flood of Boston, but, alas, no. Rather, it’s a haunting song whose style matches its well-crafted lyrics.

The the final song is “Cut and Run,” a warm, summery, hopeful song about a mismatched romance. And perhaps Sommerville in the role of the romantic with the “gypsy mind” is what starts the Stevie Nicks comparison. It is the last song on the album, so it’s a mental picture that endures. And it is a damn fun song. More likely, though, it sets the table for the comparison, allowing the bonus cover on Nicks’ “Landslide” to steal the deal.

As for it actually being Endless Horizon‘s final song, that’s only sometimes true. It’s the end of the digital album, but the CD contains four acoustic “bonus tracks.” And four very cool ones, too.

The first bonus track, “Whisky in the Morning,” is a wailer in which Sommerville’s voice rises, falls, and connects with the song’s character, a downtrodden man whose day starts with, you guessed it, whiskey in the morning. The song’s delivery really connects with the lyrics’ depression and hopelessness. But, you know, in an appealing way.

Bonus song two is the aforementioned “Landslide.” Sommerville sings it with all the requisite fragile vocal nuance, accompanied by a soft, sparse strum.

“Love Me Then,” next, is the only duplicate song in the collection, an acoustic version of one of my favorite electric tracks on the disc. The acoustic treatment adds a different feel to the song, to the point that I’m not sure which one is my favorite.

The CD version of the album then closes with some Guns N’ Roses. Yes, really. Somerville delivers a tremendous cover of GN’R’s “Sweet Child O’ Mine,” convincing making the case that it always should have been a country song.

I look forward to one day, I hope, catching a Florence Sommerville concert here in the States. She’s an exceptional talent, stylistically serving up music with the potential for broad appeal, with impressive songwriting and storytelling skills, and the performance presence of a country music industry veteran. If you’ve not yet heard of Sommerville, give this album a listen. You’ll be glad you did.

Single Review: Savvy Haze – “Hip Thrust”

Posted on by

photo courtesy of Savvy Haze

Single Review of Savvy Haze: “Hip Thrust”

Nayla Savannah is a versatile creative force whose music, as she notes, combines hip-hop and grunge, as well as a variety of other influences for an original, edgy sound. Her talent is readily apparent to anyone who spends a lot of time with cutting-edge creative artists, as you can hear from her solo recordings Savy World and Be Free, as well as Savvy Haze Live, the latest full-length recording from her band Savvy Haze. “Hip Thrust” was shared with me this spring, as it was being released to popular streaming platforms, and I knew I was listening to something special.

image courtesy of Savvy Haze

Indeed, while a description of Nayla’s might make it sound as if it inhabits – and perhaps invents  a niche subgenre – Savvy Haze’s initial single release, “Hip Thrust,” is a broad appeal song you absolutely have to hear. The studio single, separate from Savvy Haze Live, is an aggressively catchy earworm. Not just casually catchy. I’m talking the kind of song you hear played at sports arenas during breaks in the action where everyone stands up and dances. Or maybe struts; that’s really more what I do when I listen to the song. It’s an awkward, weird strut, but I’ve got a great big ol’ smile on my face.

The song is primarily one big, long, hooky, plucky, funky groove. Add a thumpin’ rhythm section. And Nayla’s – er, Savvy’s – vocal stylings on top. There’s even some mid-song guitar shredding for guitar rock fans. But the rhythm is so memorable I always forget it’s even in there. The production is a little raw, but that’s all just part of this song’s appeal. Trust me, you’ve never heard anything quite like “Hip Thrust.” And it’ll be stuck in your head for days after each listen.

Not only will “Hip Thrust” appeal across most musical fanbases (anyone who likes unadulterated fun, really), but like any good hit single, it also gets the listener accustomed to the artist’s sound. Now, personally I’m not a fan of live albums, so I’m not likely to get past the external noisiness I heard upon a quick sample of Savvy Haze Live – that might appeal to you if want to capture the atmosphere of a live performance, though, so if that’s you, check it out – but Savvy Haze also has a second guitar-infused funky hip-hop studio single, “Section,” that I find more enjoyable with each listen, in part because I play it back-to-back with “Hip Thrust,” and it’s slowly becoming a favorite, too.  So think of “Hip Thrust” as a gateway song. Everyone’s gonna get hooked on it. So start with “Hip Thrust” and see where it leads you. You know you want to.

Single Review: David Myhr – “Summer Summer Summer”

Posted on by

image courtesy of Earshot Media

Single Review of David Myhr: “Summer Summer Summer”

So, what am I doing sharing the sound of summer with you when summer’s over? Yeah, I don’t know. But hey, if there’s ever a song that could bring summer back, it’s David Myhr‘s “Summer Summer Summer”!

David released this song before the beginning of the summer, the first single of three pre-release singles from his album Everything Is All About You. Indeed, there’s plenty of good music on the album, but this single has been riding my playlist for months, so I’m just going to review it. Quick, while there’s maybe a warm day or two left for you to play the song while cruising the avenue with your windows rolled down.

photo courtesy of Earshot Media

Yes, “Summer Summer Summer” has that California beach/surf vibe. The Beach Boys, Jan & Dean. I’m not saying David Myhr sounds like them, but you can hear that influence, even if Myhr combines it with more straightforward fifties rock influences, as well. Myhr might be best known for fronting Swedish power-pop band The Merrymakers, but “Summer Summer Summer” is chock full of California melodic bubblegum pop-rock.

In any case, there’s only so much you can say to describe a sugary-sweet, sunshine-drenched, timeless pop-rock single like “Summer Summer Summer,” and I’ve run out of words. Indeed, though this fun song will now exit my review queue, I’ve added it to my personal playlist. And if this review has piqued your interest, you should definitely give it a listen on your streaming service of choice!

About the Album

Everything Is All About You, on which “Summer Summer Summer” appears, can be ordered on CD or vinyl now. You’ll have to wait until October 2nd for the album’s digital release.

Album Review: Paul Sherry – Peace in Mind

Posted on by

photo courtesy of Cobra Promotions

Album Review of Paul Sherry: Peace in Mind

The anguished rock ‘n roll voice of Paul Sherry. It’s a gravelly voice that conveys itself as weary but full of wisdom and sincerity. There are a handful of rockers out there who does this with the same gravitas Sherry carries, but there ain’t many, and it’s worth taking notice when you run across one of the few. In this case, Paul Sherry.

Last year, I reviewed an advance single from this record, “Fades,” and it’s still one of my favorites, thanks to its jangly rockin’ness, its coolly swaying tempo, and its descent (ascent) into raucousness as it heads into its fade. But let’s talk about some of the album’s other tracks, too, some of which have become new favorites.

You can almost divide the album into two halves. (“A” side and “B” side, anyone? Is Piece in Mind available on vinyl?) Disc-opener “Rise” kicks off a noisy, loud, grainy five-song bender, as each song features Sherry’s voice at its glass-garglingest, forcefully pounding skinswork, near constant guitar buzz, and the occasional nifty guitar run. Within that framework, though, each song has its own personality, and while the five-pack feels similar, and they all seem to be a well-fitted first half of the record, each has its own distinct character, providing the variance that keeps things interesting.

image courtesy of Cobra Promotions

“Rise,” for example, is a noisy, raucous rocker. “Peace in Mind” has a little slower pace, carves out some white space inside the wall of noise from time to time, and even sports the occasional tuneful noodling on the axe, all befitting the song’s lyrical introspection. “Show Your Love” has a warmer guitar buzz throughout than its neighboring numbers, as its “show your love right here before you go” lyric is repeated like a mantra atop a methodical, always-moving-forward heavy rhythm.

The steady nature of “Show Your Love” is an ideal set-up to one of my favorite songs on the record, “Soul Searching,” a jangly, grainy rock song that seems to be always lifting upward, providing a hopeful underpinning to the “soul searching” lyric, helped along by some “ooh-ooh” support vox in the bridges. It’s just a plain-ol’ cool, broad-appeal noisy rock song.

To be honest, though, I think “Feel the Glow” will be the most popular number among these first five, with a primary guitar riff that’s the most memorable on the record so far.

“Meditation Instrumental,” next, kicks off the “B” side, and it feels like a palate cleanser, like ginger if, in this metaphor, you consider the songs before and after to be sushi. The instrumental number has a jazz-like feel, or is perhaps more reminiscent of something you’d hear on progressive or experimental rock albums, with light guitarwork dancing across a synthetic buzz before the guitar sound increases in density, slowly building to a moderate intensity before fading toward the end. Again, it’s so unlike anything before or after on the album that it stands out for that reason alone.

photo courtesy of Cobra Promotions

Sherry stays mellow for a couple more songs. Well, one at least. “Here Lies the Way” comes across as a grainily, at least initially, plaintive plea before it builds in, well, I’d have to say confidence, if it were possible for a song to have confidence. Indeed, I’m sure it is confidence, at least to the extent its composer or creator can breathe that trait into a song. In this case, the song grows into its message of “Here Lies the Way.” It’s well-followed, both lyrically and musically, by “Serenity.” Indeed, the moderately uptempo rock ‘n roll swagger, tunefulness, and recurring cheerful guitar flourish help establish this as another of my personal favorites on the record, replete with a fun, late song, ’70s/’80s-style dancing guitar line. I wouldn’t say it’s exactly like a Dirty Guv’nahs song, but I’d stick it back to back on a playlist with some of the Dirty Guvs’ best.

“Fades,” next, is a song I was incredibly familiar with already before hearing Piece in Mind, since I reviewed it in the spring of 2025. It’s a fun, kickass, mid-tempo guitar-rock number, just as memorable as when I reviewed it more than a year ago.

The record closes with the fittingly-entitled “It’s All Over.” Even more fittingly, it includes the lyric “It’s all over. Start again.” The guitarwork absolutely drips hard-rockin’ blues, even as the rhythm section powers forward as if it’s a strict rock ‘n roll song. Put those elements together, and the resulting song is rockin’ and cool, a strong album-ender… unless, of course, it convinces you to “start again” from track one, in which case it ain’t over yet!

There’s a reason Paul Sherry is a decorated professional musician. His music is catchy. Sherry’s energy – and that of his music – is the sort that’s designed to absolutely rock a stage as small as a dive bar or as massive as a festival main stage. And Peace in Mind is a strong rock ‘n roll record. The music is electric and will leave you buzzing long after the album ends. Or, if it compels you to catch one of Sherry’s live shows, you’ll clearly be feeling the buzz long after the concert ends.

Single Review: Crymwav – “Everything Turns Grey”

Posted on by

photo courtesy of BJF PR

Single Review of Crymwav: “Everything Turns Grey”

Los Angeles-based power rockers Crymwav are Roger Deering (lead singer, rhythm guitar, bass), Lloyd Stuart Casson (lead guitar, vocals, bass), Pat Muzingo (drums), and Bruce Braddock (bass). Yeah, I know, that strikes me as far too many bass players, too, but that’s what their bio says. Regardless, the foursome recently released an inspired version of “Everything Turns Grey,” a energetically-performed track you’ve just gotta hear!

image courtesy of BJF PR

The song “Everything Turns Grey” is a cover of a 1981 Agent Orange release. As was true of that era’s punk rock, Agent Orange’s production was quite raw. Well, Crymwav beefs that up a bit in this rendition, which adheres pretty faithfully to the original while amping up the sound, providing a more tuneful vocal delivery, and more or less bringing the song forward into a more modern era.

As far as which fan based will most dig it, I’m not going to try to put this song into a box. Rather, I think a broad swath of rock ‘n roll fans are likely to enjoy this single. It’s raw enough for those who lean a little punk. Its energy is likely to appeal to those who like songs that promote physical movement, from a subtle head-nod to a full-on thrash-dancing seizure. The nifty guitar part shreds a little, albeit tunefully and with maybe even a hint of surf guitar. Bottom line: If you like rock ‘n roll of any stripe, this song is worth at least a few listens. If you’re anything like me, it’ll intrigue you at first and then grow on you with each subsequent spin.

Single Review: Randy C Moore – “Forget Me Not”

Posted on by

photo by Linda Moore; photo courtesy of Margin Promo

Single Review: Randy C Moore – “Forget Me Not”

Texas country music singer Randy C Moore is back, this time with an exceptional original, the self-penned “Forget Me Not” released earlier this year. To be honest, when I reviewed Moore’s “Cat’s in the Cradle” cover, I was impressed, but this original is next-level outstanding. Clearly, if you’re not familiar with him (as I wasn’t until last year, though Texas country music fans seem to know him quite well), it’s time to discover Randy C Moore and add him to your personal playlists.

cover photo by Linda Moore; image courtesy of Margin Promo

This particular song, “Forget Me Not,” is an old-school, storytelling country & western strummer. Its beat is steady, moving progressively, consistently, inevitably forward, with the tempo seeming to build momentum, though it’s really just content and delivery of the story-song building upon itself, drawing the listener in. Moore’s deep, powerful vocals – very Johnny Cash-like in that they can simultaneously be matter-of-fact and convey emotion – are hypnotically rich, smooth, and deep. OK, not “Johnny Cash deep,” but still very cool and convincing. And did I say smooth? Yes, I did, but I’ll say it again because it’s a poised, composed smoothness that’ll make you want to hear more.

So, country music fans, especially if you enjoy older-school country, you’re gonna love this song. Within just a few listens, “Forget Me Not” will quickly become an old favorite for you, as it has become for me.

More Recently

Since the release of “Forget Me Not,” Randy has released a newer single, the energetic “High Cost of Low Livin’,” a song that shows off yet another stylistic twist on country music, showcasing yet more musical real estate that Randy can capably perform.

Album Review: Samantha Rae – The High Road

Posted on by

photo courtesy of Samantha Rae

Album Review of Samantha Rae: The High Road

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

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

image courtesy of Samantha Rae

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

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

photo courtesy of Samantha Rae

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

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

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

photo courtesy of Samantha Rae

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

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

Samantha Rae and Jay DellIsola; photo courtesy of Samantha Rae

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

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

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

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

Looking Ahead

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

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

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

Posted on by

Houston Bernard and Whitney Doucet; photo by Geoff Wilbur

Houston Bernard and Whitney Doucet

Maynard Country MusicFest, Memorial Park, Maynard, MA

September 19, 2026

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

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

Whitney Doucet; photo by Geoff Wilbur

Whitney Doucet

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

Houston Bernard; photo by Geoff Wilbur

Houston Bernard

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

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

Houston Bernard; photo by Geoff Wilbur

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

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

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

Single Review: Michelle Held – “Another Jane”

Posted on by

photo by Robert Sherrow; photo courtesy of Michelle Held

Single Review of Michelle Held: “Another Jane”

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

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

cover image by Christopher Bennett; image courtesy of Michelle Held

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

Looking Ahead

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

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

Posted on by

Pure Prairie League; photo by Luca DePalo

by Luca DePalo, Contributing Blogger

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

Indian Ranch, Webster, MA

August 23, 2026

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

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

Orleans; photo by Luca DePalo

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

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

Firefall; photo by Luca DePalo

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

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

Atlanta Rhythm Section; photo by Luca DePalo

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

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

photo by Luca DePalo

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

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