Album Review: Alan Arena – Deceived

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image courtesy of Frank Roszak Promotions

Album Review of Alan Arena: Deceived

Deceived is the latest release from highly-regarded (and very deservedly so) Cape Cod-based singer-songwriter bluesman Alan Arena. Arena’s voice is rich, moderately deep, clear yet bluesy with just a hint of gruffness from time to time. It’s his calling card, one that brings a light pleasantness to his songs and an earnestness to their messages.

Arena is joined on the record by several top musicians on one or more individual songs, but for the better part of the record, his band includes Paul Nelson (guitar), Brad Hallen (bass), Marty Richards (drums), Brooks Milgate (piano/organ), and Stephen Clements (percussion). The album itself is partly an honor to the legacy of the tragically late Nelson, who was an important encourager and collaborator of Arena’s.

Deceived kicks off with the peppy “Raised on Radio,” a bluesy, swinging rocker of a number, one that feels like it would fill a dancefloor in venues ranging from tiny blues joints to large dancehalls. He follows it with “Believe in Yourself,” a slower-paced, soulful crooner that’s sure to uplift those in need of a little encouragement. Then the title track, “Deceived” comes in with some strings support from guest musician Milton Smith.

“Big Black Cat” is another lively number, with organwork punctuating Arena’s seemingly restrained yet enthusiastic vocals, and flashy guitarwork – including but not limited to a solo – providing a vibe that suggests the song might be prone to turning into an extended jam from time to time when performed live. If that’s not the case already, well, I’d recommend it.

The playful “Devil in the Bottle,” the harp-drenched, steady, slow swayer “Mother Earth,” and the jazzy “Speed of Life,” a song that’d seems like it wants to be frantic but is simply too laid-back to be bothered, bring the record to near its conclusion, though there’s a thoroughly engaging, riffy guitar line in “Speed of Life” that belies the song’s chill attitude.

And the disc closer – sort of – is “Hypnotized,” a lively song filled with horns (thanks to the talents of Sax Gordon Beadle) and exuding an almost big band feel.

So did I mean by “sort of”? Well, the record actually concludes with a couple of reduxes. First, track nine is the radio edit of “Believe in Yourself.” Honestly, whether this is your favorite song or not on the record (and if not your absolute favorite, it’s probably one of your faves, ’cause it’s an amazing tune), it’s one of the more likely songs on Deceived to receive airplay. (I’d nominate “Raised on Radio” as the other most-likely.

And then there’s the actual, final album-closer, an instrumental version of the title track, “Deceived.” It’s often cool to end a blues disc on an instrumental. In this case, too, it ends the record on the right note. But it’s not just the instrumentation from track three. Oh, no, not at all! On “Deceived (Instrumental),” Sax Gordon Beadle turns a guitar line into a sax line, and Brooks Milgate’s key-tickling gets prominent treatment, as well, in the absence of lyrics. So yeah, it’s the same song; but no, it’s not. Very cool, indeed!

Looking Ahead

After hearing Deceived, I can’t imagine a venue – large or small – in which I wouldn’t want to hear Alan Arena perform. At the moment, Arena’s website lists three upcoming concerts. Alan Arena & Volume Control are scheduled to perform on Monday, July 20th at the Gardner Ale House in Gardner, MA and on Wednesday, August 12th at The Bull Run in Shirley, MA. The Boston Soul Revue with Alan Arena, meanwhile, is scheduled for 12:00 noon n Sunday, August 23rd at the Marshfield Fair in Marshfield, MA.

EP Review: Already Dead – I Think It’s Time to Leave…

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photo courtesy of Already Dead via Knyvet

EP Review of Already Dead: I Think It’s Time to Leave…

Already Dead is comprised (composed? maybe, given the band’s name, decomposed?) of Daniel Cummings (guitar, vocals), Brandon Bartlett (guitar), Forgie (drums), and Ian Kilpatrick (bass). The band serves up old-school punk rock with a punch that’s raw and rugged yet just polished enough for more mainstream rock and hard rock fans to enjoy, too. And that’s pretty cool because it allows the songs on this disc to reach – and be appreciate by and rocked to by – a broader audience, not just classic punks.

artwork by Mark Saffie @ Saffie Design; image courtesy of Already Dead via Knyvet

The ragged, aggressive opening of record-opener “I’ll Go Mine” establishes the band’s street cred, something it never relinquishes throughout the EP. However, Already Dead is tight and precise when called for. That, Cummings’ tuneful note-hitting, and the song’s catchy hooks will appeal to a broader audience. If you’re punk, you’ll dig this record; if you’re not, it may become one of your favorite punk discs. On the other hand, I’ve noticed my musical taste has been expanding to include more punk rock over the years, so it could just be me.

The surprisingly short “I’ll Go Mine” clocks in at just 1:08. It’s a complete song, but the tempo’s fast, and it just reaches the end oh-so-quickly. It’s followed by “Time,” a song that aggressively complains about needing more time or less time… well, it depends. But you’ll be singing along with “I need more hours in the day” or “I need less hours in the day” – probably getting them confused – by the end of the first listen.

logo courtesy of Already Dead via Knyvet

The tempo is aggressive but steadier and more methodical on track three, “Gettin’ By,” but the hooks keep coming. Here’s you’ll be singing along with the chorus “Sometimes just gettin’ by (is) better than gettin’ ahead. Sometimes gettin’ by, you’re better off dead!” Um, OK. That seems like a mixed message. Indeed, by the end of the song, you may still be left uncertain about your preference between gettin’ by versus gettin’ ahead, but you’ll definitely know you’ve been rocked. This song also includes probably the coolest guitar solo on the EP, marking this as almost certainly tuneful guitar shredding fans’ favorite Already Dead song.

Drummers, on the other hand, are going to prefer track four, “Sick Talk.” The fast but very crisp tempo is a skins-filled feast, with axework matching the drums, and the vocals clocking in as the rawest in the collection.

“Nothing Wrong” closes the record with introspection, with the aggression mostly provided by the vocals, while the guitars provide some texture in the verses and the drums stepping back a little in the mix to act more just as the tempo-keeper, allowing skinsman Forgie to show off a bit of finesse. In fact, Kilpatrick’s bass has a bit of a bluesy slap to it, especially in the chorus, suggesting that these musicians could all play a variety of musical styles if they chose. And in the end, the musicians’ individual talents are a main reason Already Dead – and I Think It’s Time to Leave… – stand out among others of their genre.

More Recently: Bonus Single Review of Dan Cummings – “Which Side Are You On?”

image courtesy of Knyvet

Just yesterday, on Friday, May 29, Already Dead lead singer Dan Cummings dropped his stripped-down folk-punk cover of the traditional protest song “Which Side Are You On?”, a song whose roots date back to 1931. Cummings’ is a cool, catchy version with updated lyrics for today’s modern circumstances, though “modern” isn’t really the right word, is it, as I’d think “modern” wouldn’t be regressive? Regardless, it’s a powerful song, recorded as a rough-edged acoustic rock punk-folk number with appropriately hoarse, edgy vocals that very clearly don’t conceal barely-controlled anger in the lyrical delivery. Kudos to Cummings – who traces his familiarity with the number to the Dropkick Murphys’ version – for his powerful rendition.

Single Reviews: Adios Fatso – “WTF” and “Gopro, Not Again!”

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photo courtesy of Adios Fatso

Single Reviews of Adios Fatso: “WTF” and “Gopro, Not Again!”

If you dig two minute-ish broad-influence punk-styled raucous rock complaints-slash-anthems (though the song lengths probably technically disqualify them from being called anthems), you’re gonna love Adios Fatso‘s two somewhat recent singles, “WTF” and “Gopro, Not Again!” Both songs were recorded at the Blasting Room in Fort Collins, Colorado, mixed by Andrew Berlin (Descendents, Teenage Bottlerocket, Rise Against), and mastered by Jason Livermore (NoFx, Propagandhi, Lagwagon), so you know the real, raw, rambunctious Adios Fatso sound was well-captured on the recordings.

image courtesy of Adios Fatso

While this Massachusetts band’s tempo and edginess are pure punk energy, other influences come through loud and clear. Pop, funk, classic rock, soul, and more all show up here and there in the mix. And an overarching jangly-psychedelic ’70s pop veneer appears in both tracks, though when you put so many ingredients into a punk rock blender, you can never be entirely sure whether you’re hearing an influence or simply the natural result of blue and red making purple. Of course, on the “Gopro, Not Again!” cover art, the red and blue remain distinctly separate, never creating purple, so perhaps that’s telling you something. (Seriously, no, that’s completely unrelated.)

image courtesy of Adios Fatso

Lyrically, Adios Fatso insists its lyrics are based on real-life events, and its fun to listen with that in mind. The first of the two singles, “WTF,” gives a hint into its real-life basis with the closing lyrics “When gaslighting is the name of the game they will play, making good things seem bad, and they’ll blame you (yeah, they’ll blame you) every time.” Seriously, WTF? It’s a solid 2 minutes of energy. Well, mostly. “WTF” slips a cool stop-start rhythm into the chorus, providing a smoother vocal befitting its briefly slower pace, and it ends with reference to being bullshit-free. (I’ll circle back to the bullshit-themed reference later.) As for those closing lyrics, they lead up to a short but blistering guitar run that’ll thrill fans of all guitar rock subgenres.

photo courtesy of Adios Fatso

More recent single “Gopro, Not Again!” very quickly gets to its drum-slapping rhythm, but it also features a funky little bass riff, an almost jazzy breakdown, some ska-reminiscent horns, and some slightly slower segments that allow listeners (or concertgoers, I’d imagine) to breathe occasionally before launching into the song’s pervasive, chaotic, breakneck pace. The song itself focuses on the disappointments of a misbehaving GoPro, with recording attempts thwarted by such nuisances as a firmware update and a faulty SD card. I know I’m citing the other song here, but WTF? As for the lyric linking the two songs together, “Gopro, Not Again!” ends with the line “I’m sick of dealing with your bullshit” before launching into a wall-of-noise yet tight instrumental close.

Both of these songs are infectious. If you have any predilection toward enjoying this kind of music, both “WTF” and “Gopro, Not Again!” will become fast favorites!

Single Review: Battlemode – “Game Over”

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photo by Astro; photo courtesy of Knyvet

Single Review of Battlemode: “Game Over”

Boston’s chiptune gurus were at it again last summer. Shortly after I reviewed the band’s singles “Playlist” and “Just Pretend,” the trio dropped equally-hooky “Game Over,” which I’m reviewing today, because when a song’s this catchy, I can’t let you – anyone who reads the blog – miss hearing about it (and enjoying it). I assume if you saw my review last year you’ve been following these guys and have been keeping up with their music, but what if you haven’t been? Or what if you were so busy – let’s say, on your classic Game Boy, for example – that you totally missed the last review? I’mma rectify that right now.

cover art by Narvicto DeJesus; image courtesy of Knyvet

Battlemode is comprised of Biff (vocals, violin, keyboard, aerophone), Astro (vocals, Game Boy), and Sam Mulligan (vocals, guitar). And these dudes are chiptune maestros.

Like its predecessors, “Game Over” is an infectious, dancefloor-ready, electronic-based, hook-laden earworm. In this song, a steady, punchy rhythm, classic recurring supporting electro-riff, and a floaty, atmospheric musical background support a digital-sounding chorus fed by a distorted first verse and a fast-spoken, not-quite-rap second verse. But the key to “Game Over” – as was the case with “Playlist” and “Just Pretend” – is simple: It’s memorable and fun to listen to. It’ll get you bouncing to its energy all the way up to it’s all-too-abrupt end at 2:00. And do you know what that means? Yeah, it ends too soon, so you’re gonna have to play it again.

More Recently

Proof that I can’t possibly keep up with these guys’ prolific output, there have been several releases since “Game Over.” Battlemode also dropped “NVR KNOW” and “Sw33ttooth” later in 2025, followed by the EP DON’T PANIC!, which counts “Sw33ttooth” as one of its three tracks, earlier this year.

Live Review: Queensrÿche at the Ballys Event Center

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photo by Luca DePalo

by Luca DePalo, Contributing Blogger

Queensrÿche

Bally’s Event Center, Lincoln, RI

May 16, 2026

On a beautiful Saturday night in Lincoln, Rhode Island, the iconic metal band Queensrÿche played to a packed audience at the Bally’s Event Center. This 90-minute show turned a calm and breezy evening into a heavy, dark, and gloomy gathering.

photo by Luca DePalo

Queensrÿche was formed in 1980, and although the band has lost founding members along the way, the band remains constantly active. With headbanging classics like “Jet City Woman,” “I Don’t Believe in Love,” “Take Hold of the Flame,” “Empire,” and the mellow “Silent Lucidity,” I could not wait to hear the setlist, as this was my first time attending one of their performances.

With original guitarist Michael Wilton and original bassist Eddie Jackson, other members include lead singer Todd La Torre, rhythm guitarist Mike Stone, and drummer Casey Grillo. Although the band has only two original members left, I could not pass on the opportunity to witness if they still hold the power. And man, they do.

photo by Luca DePalo

As the lights slowly dimmed, the robotic voiceover came through the speaker: “I am the essence of your reality.” She continued, “I am the Queen.. the Queen of the Reich,” followed by lead guitarist Michael Wilton running onto the stage, standing high above, and shredding the intro to the song “Queen of the Reich,” with lead singer Todd La Torre following him and hitting that famed high note. Starting off the show with this song just felt perfect. It showed Todd’s singing abilities compared to original singer Geoff Tate, and it also brought the audience back to the first song the band ever wrote (when they were originally named “The Mob”) in 1981.

photo by Luca DePalo

Following the song, as the crowd continued to fill the seats, the band performed “Operation: Mindcrime,” my personal favorite, “Walk in the Shadows,” “Breaking the Silence,” and “I Don’t Believe In Love,” perfectly balancing the setlist. Furthermore, the band played some songs I do not know much of. “London,” “The Mission,” “Neue Regel,” and their most recent song, “Behind the Walls.” Although I had never heard of those four in my life, I – and many others – remained standing and just enjoyed every second.

photo by Luca DePalo

And then came the mega hits. “Take Hold of the Flame” created a massive sing-along, “Jet City Woman” shook every seat from that powerful bass, and was followed by “Screaming in Digital.” Finally came “Silent Lucidity,” probably one of their most listened-to songs. Even after hearing the song constantly, the song always hits the spot. And in all, the crowd knew every word! As for myself, I favor the metal era of Queensrÿche more than their ballad songs, but this felt necessary, almost as if the song was giving a message to the crowd. The band then came out for the encore with “Best I Can,” “Empire,” and “Eyes of a Stranger,” ending an incredible night of heavy metal.

photo by Luca DePalo

Coming out to this show just felt right. I never had the opportunity to see Queensrÿche perform in their prime. But after seeing this new lineup, I quickly realized, as I left the show on Saturday night, that they are true to the music and true to the fans. They are the closest band you could see that can do the songs justice, the way the fans want to hear them. They still have the spirit, energy, thrill, and the fun that all of those tracks possess for all fans, young and old.

Queensrÿche often has several New England dates scheduled every year, with an upcoming performance in New Hampshire this winter. Stay up to date with their shows on the “Tour” page of the band’s website.

Single Review: Ariana Colletti – “6am”

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photo courtesy of Now Hear This, Inc.

Single Review of Ariana Colletti – “6am”

Ariana Colletti‘s “6am” is a sleepy, dreamy pop song with a hint of anxiety. Singer-songwriter Ariana Colletti’s voice is sweet, enjoyable, yet still conveys an uneasiness.

“6am” is an ode to overthinkers, noting in the chorus “It’s crazy how in the middle of the night, the darkness shines and the world goes quiet. The beauty in the silence.” However, for me at least, the payoff lyrics come toward the end, twice-repeated with some intervening thoughts, “So I’ll lay here and think about everything we’ve ever said or done until I finally see the sun.” That’d be the very opening lyric, “6am.” Oh, sure, it seems like I’ve given up a fair bit by sharing those lyrics, but that’s just tip of the iceberg. The rest of the lyrics are so very detailed and cool.

image courtesy of Now Hear This, Inc.

Of course, lyrics alone aren’t what makes a song classic, interesting, a welcome addition to your playlist. No, it’s the music and the delivery. Ariana’s vocals are critical, with their tunefulness and their edgy, barely-holding-it-together-at-times emotion – a rare capability that reminds me of one thing I found so special about Sophia Ward’s vocals (probably in part because she was also responsible for her own lyrics), both during Sophia’s work as a solo artist and previously during her work with TOS.

The music, too, is critical. It starts sparsely, leaving the listener to focus on the vocals, slowly adding instrumentation before reaching full production level with the opening chorus. From there, though the path isn’t linear, the song builds throughout. By the end, it’s a powerful wave, matching the song’s passion, with an almost orchestral full instrumentation before stripping back for the song’s last, short verse, leaving the final, emotional vocals to stand nearly on their own, with just sparse piano accompaniment.

More Recently

Since the release of “6am,” Ariana has released “Don’t Mess It Up,” showcasing her versatility by revealing a more energetic alt-pop tempo and a more playful delivery.

Album Review: Robert Deitch – Legacy

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image courtesy of Broken Jukebox Media

Album Review of Robert Deitch: Legacy

That voice! That’s why I have to review this album – Robert Deitch‘s voice. It’s one of those rich, moderately deep, textured country music voices, the kind that seems almost like the voice of God but covered in velvet, where every lyric is delivered in a way that it sounds like wisdom. And yet full of energy in a way that – unless the song’s topic deserves reverence – keeps things lively, light, and fun.

From the very start of album-opener “Goodbye Nashville,” Deitch serves up a rich, quivering vocal. And that pure country rattle that drives the emotion. It’s enough to take a song that mostly just reminisces about Nashville and make it feel sentimental to people who’ve never (or almost never) been there. And with that, by the end of a single song, you’re awash in what makes Robert Deitch’s album Legacy so special. Yes, it’s the songwriting and the guitar, the twang and the tempo, but mostly it’s that voice! Of the artists I’ve reviewed, I’d have to say the closest recent comparison is Copper Flats, and on a couple occasions – this first song, for example – Deitch has that catchy little warble that I like so much in Chris Ruediger’s voice.

photo by Zach Van Dorn; photo courtesy of Broken Jukebox Media

The next song is one of the several life-in-a-small-town, heartland-with-heart numbers on this record – kind of like John Mellencamp but country. “3 Church, 2 Tavern Town” regales life in a small town in such a way that you’ll feel warmly about your small-town home, even if you left (or never lived in a small town). It’s catchy, hooky, with a soaring soundbed, engaging guitarwork, and memorable lyrics, memorable for their content, their style, and Deitch’s delivery.

Two songs in, and already two songs that would be hits if released with a major label behind them. That means it’s time for a ballad, and indeed “Better Things” will leave you awash with Deitch’s flowing vocals and the accompanying pedal steel guitar lilt intermingling playfully with the pianowork.

Beginning to end, Legacy is one of the best, most complete country albums you’ll hear, whether independently released or backed by a major label, so sure, you’re not being force-fed Robert Deitch’s music; however, the album, the recording quality, the arrangements, the musicianship, and Deitch’s voice will fit seamlessly beside all your big-stage, major airplay favorites.

Other personal favorites of mine on this record are “Truck Stop Souvenirs,” likely to become a favorite of anyone who had a family member constantly on the road – whether a trucker or just a traveling salesman – because every road warrior with a family brought home truck stop souvenirs; the twangy, romantic, peppy dancehall swinger “The Right One”; the soaringly, nostalgically sentimental, sadly sweet “Either Way,” featuring essential supporting vocals from Susan VanderPool; and, of course, “Trailer Park Romance.”

So let’s talk about “Trailer Park Romance” for a moment. Its lively energy. Its dancefloor-filling tempo. The back-and-forth duet between Deitch and Emilee Johnson, singing the part of the romantic partner in the song’s scenario. And the clever lyrics, like when Johnson sings “I want a long-term trailer park romance. Don’t want me no sissy-boy fancy-pants.” Yes, this is probably the best song you’ll ever hear that includes the lyrics “sissy-boy fancy-pants.” The song also rhymes “front porch” with “tiki torch.” Swoon! I’m a frickin’ writer – this kind of silly-meets-clever lyrical turn of phrase will win me over every time. You’ll be singing along by the end of the first listen, even more after you learn lyrics beyond the chorus! I mean, the whole record is one potential favorite after another, but this is the one that’ll have you laughing the loudest.

Deitch closes the album with a pair of particularly touching slow songs. First, the swooning, swooping “Dyin’ Day” (as in “I’ll love you ’til my dyin’ day”). Then “My Old Man,” a song you’ll tear up listening to, as Deitch sings an ode to “my old man” and how he made his way through life’s trials and tribulations, coping with proud and difficult memories, featuring the prominent lyric “Some drink to remember, some to forget. My old man does both, I guess.” Again, if you’re not sniffling a little by the end of the song, you’re not paying attention.

And that’s Robert Deitch’s Legacy. Energy, passion, nostalgia, romance. All on a well-written 12-song disc. Small-town, heartland country songs, recorded impeccably, from one of the best country singers you’ve probably never heard, accompanied by top-shelf musicians. If you’re a country music fan, or from a small town, or just like great songwriting and fully engaging songs, you owe it to yourself to give this record a spin.

More Recently

Check out Robert Deitch’s Spotify page for a pair 2026 single releases, “Best Mistake” and “My Age,” to hear what he’s been up to since Legacy.

EP Review: Lovina Falls – Would That It Were

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photo by Ken Rothman; photo courtesy of Knyvet

EP Review of Lovina Falls: Would That It Were

Lovina Falls‘ Would That It Were is a five-song EP that features the two singles I reviewed last year – “Tragedy” and “Ellery Way” – and adds three additional catchy, memorable, jangly alt-rock bangers, a bit rooted in an ’80s New Wave style but with depth and, often, ominousness that’s modern and timeless.

The band is Valerie Forgione’s project, and she’s joined by a variety of collaborators – Brenden Cobb (guitar on “Tragedy” and “Ellery Way”), Todd Demma (drums on “Light and Low,” “Tragedy,” and “Ellery Way”), Chuck Ferreira (drums on “In The Corner”), Matt Klain (bass on “Ellery Way”), David Minehan (guitar on “Light And Low,” “About The Sun,” and “Tragedy”), Alice Lee Scott (guitar on “About The Sun” and “Tragedy”), with Carrie Ingber credited with “special thanks… for the mix assist.”

cover design by Valerie Forgione; image courtesy of Knyvet

None of the songs on Would That It Were are straightforward rockers. Rather, they’re creative, offbeat, alternative and art-rock creative productions steeped in the more exploratory, experimental tenets of rock tradition, the branch of rock ‘n roll that encompasses David Bowie, Lady Gaga, the Eurythmics, and the B-52s. I’m reminded of each of them during different songs on this EP.

The exploratory yet rockin’ nature of “Tragedy” recalls Bowie for me; it’s probably the track most likely to appeal to straight-up rock ‘n roll fans. The Gaga connection isn’t as obvious, in that I’m not sure I hear a song she’d sing on this album, though groovy EP-opener “Light and Low” comes closest, though even with its hypnotically swirling, flowing nature, it perhaps strays too far from any big-vocals moments to properly take advantage of Lady G’s vocal range. It’s for damn sure she’d appreciate it, though! In fact, “Light and Low” is the song from the EP’s three new entrants that most often just pops into my head unannounced; it’s hypnotic, I tell ya!

“In the Corner, a Fire,” the most electro-rock song on the record, hints at an Annie Lennox vehicle in a couple of its more brooding spots, though the rhythm and groove are really more B-52s-ish. That’s not to say any of these songs sound like any of the referenced artists. Rather, Valerie Forgione makes them all her own, with her subtle musical stylings and identifiable vocal traits evident on each and every track.

The only other song on this EP I didn’t write about last year, “About the Sun,” has a hauntingly old-west twangy guitar part, with some of the rhythmic, almost cheer-captainish vocals (Gwen Stefani, anyone?) seem abrupt and out-of-place when introduced but then blend back into the song as if they’ve always belonged there. In the end, the livelier vocals provide an interesting counterpunch to the otherwise floating, dream-rock style of the rest of the song. With each listen, it comes across as increasingly clever.

I also like that the EP ends with “Ellery Way,” which, if I had to assign a sound to Lovina Falls, seems the closest to a signature song on the record. It’s so uniquely, persistently, simultaneously alt-rocking and dreamy, its steady rhythm seeming to measure the song’s relentless advancement. The haunting vibe of the song is as engaging yet unsettling as it was when I previously reviewed it. “Ellery Way” is so wonderfully unique and creative that this song alone would be worth the price of admission (to the EP, I suppose, though that’s a weird way to phrase it, so I’m going to pretend I mean admission to a Lovina Falls concert, which I’m also firmly convinced would also be wicked-cool).

In any case, if you’ve not yet heard Lovina Falls, this record is an ideal audio travelogue of the band’s musical style. For Bostonians, Lovina Falls (aka Valerie Forgione and friends) is a band you must know to call yourself an engaged member of the local music scene. (Not a big ask; you’re really gonna like Would That It Were.) For those elsewhere, it’s a chance to check out some of the most forward-looking, enjoyably creative music comin’ outta Boston’s local scene.

Album Review: Robert Scheffler – Truce

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image courtesy of Howlin’ Wuelf Media

Album Review of Robert Scheffler: Truce

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

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

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

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

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

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

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

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

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

 

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

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photo by Luca DePalo

by Luca DePalo, Contributing Blogger

KC and the Sunshine Band

Bally’s Event Center, Lincoln, RI

May 9, 2026

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

photo by Luca DePalo

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

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

photo by Luca DePalo

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

photo by Luca DePalo

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

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

photo by Luca DePalo

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

photo by Luca DePalo

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

photo by Luca DePalo

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

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

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