Monthly Archives: May 2025

Live Review: Dennis Brennan at Sanctuary

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photo by Geoff Wilbur

Dennis Brennan Trio (Dennis Brennan, Jim Haggerty & Andrew Stern)

Sanctuary (Barside), Maynard, MA

May 25, 2025

The Backstory

Sanctuary Arts Center, in a cool, repurposed church in Maynard, Massachusetts, was launched in 2019… just in time for the pandemic. I think I recall hearing about it at the time, but it really came into my consciousness earlier this year when I learned Blog favorite Danielle Miraglia had a regular monthly gig there the first Thursday of each month. I haven’t made it out to one of Danielle’s shows yet, but I did finally have an opportunity to get to a Sanctuary gig yesterday.

Often, there are afternoon shows in the bar (“barside”) and evening performance or events in the main concert room, which I walked through as the evening’s band was setting up. Very impressive space! I can’t wait to get to a concert in the big room. However, this late afternoon/early evening gig was in the cozy bar, which was pretty full because, well, let’s face it, it was a Dennis Brennan show.

That’s the other thing I’ve noticed about Sanctuary. A lot of the artists who perform there, notably two or three of the early “barside” events most weeks, are artists you’d usually have to drive in to Boston, Cambridge, or Somerville to see. They don’t play the outer suburbs very often, so it’s a great opportunity for outer western suburbanites (like me) to catch the Boston area’s best artists without having to drive into (and park) in the city.

photo by Geoff Wilbur

The Review

That brings us to tonight’s gig. Dennis Brennan is a well-known, veteran talent in the Boston area. On this particular night, he showed off his range, from Americana to ’50s-influenced rock to blues. It’s a package of musical styles likely to appeal to a broad range of fans, and the crowd at Sanctuary, spanning a few decades in age, represented the breadth of Dennis’ appeal.

During the first set, Dennis was without his guitar, so he manned the harmonica, and the band focused primarily on the blues. It was an excellent showcase of this part of his repertoire. Dennis’ gravelly vocals are versatile, and he showcased his ability to hit the full range of styles – pained, thoughtful, lively – surprising no one who has heard him before, of course.

By the time I settled in, it was time for song number two, a rendition of Walter Jacbos’ “Blues with a Feeling” that featured thumping bass, a sweet guitar groove with the occasional blues wail, and some fancy-ass harmonica work. The band followed that with Mose Allison’s “Foolkiller,” which called for a little livelier and funkier delivery.

photo by Geoff Wilbur

Dennis manned the tambourine on Sanford Clark’s “Still as the Night,” which featured some nifty southwestern style blues guitar driving this slow song with a feeling like wide open spaces. Dennis was back on the harmonica for a funky, bluesy version of Chuck Berry’s “Don’t You Lie to Me,” providing earnest and heartfelt vox, as well. And the band closed the first set with a Charles Brown song, “Fool’s Paradise,” one of those slow, talkin through it slow blues songs that feels particularly like it’s telling it like it is.

Now, my notes for the second set are a little sparse, as I realized an old friend, the organizer of the Backyard concert series, had made it out to the suburbs for this gig. However, it’s worth noting that Dennis had his guitar for the second set, so the second set differed a little in style. There was plenty of blues, which sported a little more of a guitar-driven blues groove, in part, I’m sure, due to the absence of harmonica. But some Americana, as well as some ’50s-’60s style rock ‘n roll were also represented in the set. Featured were a rollicking performance of “Oh, Lonesome Me,” a cool rendition of the Hollies’ “You Better Move,” and an old-style swinging rock song I must admit I didn’t recognize.

In the end, it was a great evening of music from one of the area’s undeniable talents, Dennis Brennan, in trio format with a pair of Boston’s in-demand bandmates. And out in the outer suburbs, which is lucky to have a venue like the Sanctuary bringing top Boston talent close to an intimate venue an hour outside the city.

photo by Geoff Wilbur

Looking Ahead

For future Sanctuary concerts, check out the “Concerts” page on the venue’s website. If you’re like me and like to let Facebook remind you of upcoming shows, you can find many of the upcoming Sanctuary shows on the venue’s “events” tab. Go ahead and click “interested” on the shows that interest you, as I do, so you’ll be reminded as the dates approach.

Single Review: The Outfit – “Hard On Me”

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The Outfit – "Hard On Me" cover art

image courtesy of Pavement Entertainment

Single Review of The Outfit: “Hard On Me” (Pavement Entertainment)

Not long ago, you read my review of Go, last year’s album from The Outfit. The Chicago rockers are back with a new single, “Hard On Me.” This is The Outfit’s first release with new lead singer Bill Wilson, and the band doesn’t miss a beat. Wilson’s voice is an ideal fit for a top-shelf ’80s-reminiscent hard rock outfit like The Outfit. Wilson seems to fit seamlessly with his new bandmates Matt Nawara (lead guitar), Mark Nawara (drums), and Mike Gorman (bass).

Musically, “Hard On Me” has a sidewinding guitar style, with the opening verse rocking hard in bursts, using blank space as a powerful additional instrument. It’s a relatively blues-based hard rock take that seems a natural fit for a Chicagoland band. Well-placed key changes, absolutely crunchy axework, and a steady rhythm steer the musical direction of the song, while there’s a very Eric Martin-ish edge to Wilson’s voice whenever the song calls for him to build up the power from one line to the next. I can absolutely hear Mr. Big potentially performing this song. But not necessarily better than The Outfit does. This is an impeccable performance of a thumpin’ classic hard rock tune. It’s no wonder the song is gaining some attention – as I write this, “Hard On Me” sits at #18 on the Secondary Market Rock Chart.

Classic ’80s guitar-based hard rock fans are going to love “Hard On Me,” so be sure to check it out. (And then maybe give my review of the band’s last full-length album, Go, a quick read.)

Single Reviews: The Northern Line – “Lightning Strikes” and “Throw a Fist”

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The Northern Line band photo

photo by Harrison Searle; photo courtesy of Knyvet

Single Reviews of The Northern Line: “Lightning Strikes” and “Throw a Fist”

Boston’s The Northern Line is Bilvox (vocals), Mike Ackley (keyboards), Pete Zeigler (lead guitar), Joshh Magee (bass), and McG (drums, backing vocals – formerly of The Luxury, an old favorite band I reviewed many years ago). Or, I suppose, since they have a sort of British indie flavor to their music, I suppose I should say The Northern Line “are,” but while I let my British writers write in British English, I’m strictly an American English writer, so the band “is.”

The Northern Line – "Lightning Strikes" cover art

art design by Bilvox; image courtesy of Knyvet

The last few weeks, I’ve been digging into a couple of The Northern Line’s catchy, rhythmically rocking singles; namely, “Lightning Strikes,” which was a fall release, and “Throw a Fist,” which dropped this spring.

“Lightning Strikes” won me over quickly with its crashing rock guitar opening and psychedelic organ early accompaniment. The song’s modestly-jerkily swaying tempo and keywork that occasionally mimics a distant siren suggest a ’70s-themed dance party, perhaps something Austin Powers might attend. Occasional, well-placed guitar riffs add to the song’s character, providing something of interest to a broad range of fans, putting the finishing touches on an interesting song with a nice beat, and you can dance to it.

Finally, and I just cant let this go even though it’s a bit self-indulgent, but there’s something about the way the lyric “bang the drum” is performed that makes me think of T. Rex’s “Bang a Gong (Get It On).” To be fair, the songs aren’t that similar aside from being kind of jangly and having that similar line of lyric, but truly, I keep wanting to sing “bang a gong” whenever The Northern Line delivers that lyric.

The Northern Line – "Throw a Fist" cover art

art design by Bilvox; image courtesy of Knyvet

This spring, The Northern Line followed up “Lightning Strikes” with “Throw a Fist.” The newer single eases into its melody a bit slower, starting simply with a steady bass beat that thumps for a while, then joined by a little jangly guitar, stretching for about 40 seconds, making me think it’d be a favorite intro for DJs to talk over, rendering an off-air tape recording of it a lot less interesting. It’s one of those songs for which you’d have some radio personality’s banter as a permanent part of your mixtape. And that thought is completely in line with the song itself, which, stylistically speaking, naturally takes me back in time to the era of shag carpets and recording songs off the radio. The tempo of “Throw a Fist” is midtempo, so even though it suggests danceableness, it’s more of a slow fast-dance – too fast for a slow dance but not fast enough to engender more than simply swaying and maybe bouncing up and down a little as a dancing style. It’s not as if “Lightning Strikes” was faster; rather, there’s a cooler, more laid-back vibe on “Throw a Fist.” And as much as the song just kind of moves along as more of a tempo-driven song than a typically-structured, lyric-driven tune, there is a memorable lyric – or, at least, one that’s quickly familiar in the chorus, “memories of moments adorn the walls” – that ties the song together for the listener.

The Northern Line has a unique sound that’s hard to place on the music spectrum. If I had to place it, though, I’d say it’s British pop-rock influenced music with a bit of a throwback vibe. It’s music that’s cool, enjoyable to listen to, and more memorable than it perhaps initially seems, as it becomes quickly familiar, sporting a unique vibe that easily identifies the songs as The Northern Line originals.

The Northern Line band photo

photo by Harrison Searle; photo courtesy of Knyvet

Looking Ahead

You can catch The Northern Line live twice in the next week here in the Boston area, according to the “Live Shows” section of the band’s website. On Thursday, May 29th, The Northern Line will be on the bill at The Middle East with Lipsmear, Looking Glass War, and DJ Ben Sherman. Then, on Saturday, May 31st, you can catch the band performing during Malden Porchfest.

Single Reviews: Midnight South – “Villains” and “One More”

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Midnight South band photo: four men sit on carpeting in a bowling alley in front of a row of bowling ball racks

photo by Autumn Dozier Photography; photo courtesy of Skye Media

Single Reviews of Midnight South: “Villains” and “One More”

Midnight South is an country band with an arena filling, rockin’ country sound. Winner of the Arkansas Country Music Awards’ Vocal Group of the Year award in 2023 and 2024 – currently hoping for a threepeat in 2025 as they’ve been nominated again this year – you can hear why award voters are so enamored with this band. The band has released several singles in the last year or so, and I’ve chosen two of my favorites to write about.

Midnight South – "Villains" single cover: four men sitting and standing around the back of a pickup truck, drinking beer

image courtesy of Skye Media

Midnight South’s “Villains” is a straight-up good-time country music party song that reminisces about enjoying life. The sound is big and uplifting, exactly the sort of song that hits #1 on country charts. Sure, there are the classic Pavlovian country hit references about life going fast, beer (“Busch light”), church (“front pew feelings”), references to to wild youth (“still shows up to raise hell sometimes”), and even smokes (“Marlboro Reds”). The only thing missing is a pick-up truck, which Midnight South covers with the cover art. You know, it seems like I’m painting this as a trite, formulaic country song. Nah, of course not. I mean, in some ways it is – and that’s a good thing because that’s “audience reach” right there – but the playful delivery, the vocal nuances, and the sense of exactly where a little noodly guitar riff belongs… well, that’s what makes Midnight South a cut above. It’s all about the details. For me, this is a crank-it-up, windows down, dog days of summer kind of tune. I know the band released it last fall, but right now’s a much better time to be discovering it, if you haven’t already.

Midnight South – "One More" single cover: a billboard along a rural highway reads "One More"

image courtesy of Skye Media

The other song, “One More” starts off a little nuanced, with a smoothly sung, almost-spoken first verse – and a reference to a “whiskey coke” in the first line as a nod to our old friend Pavlov. Then the song builds to a catchy chorus that ends with that lyrical hook, “One more’s never one more with you.” I mean, the band’s promoting safe drinking, taking a cab home, sitting in the backseat “kissin’ like who were we kidding.” I mean, it’s not very deep, but the lyrics are clever, and it makes taking a cab home seem like a great idea. But it’s really about how the band’s delivery seals the deal. It’s not the blow-the-doors-off country rocker that “Villains” is; no, “One More” is more of a sit back and enjoy it kinda song.

Back-to-back, these two songs are the kind that gives a concert variety. Both have big sounds and relatable, nostalgic themes. However, they have very different types of energy, and that’s what makes it seems like Midnight South is a band with potential staying power. They’re not one-trick ponies; they excel at a range of mid-to-high-tempo country styles. From this small sampling, I’d say Midnight South is talented, authentic, probably a helluva lot of fun live, and definitely a great band for a repeated-listen playlist.

Midnight South band photo: four men stand inside a barn, one of them with a guitar strapped over his shoulder

photo by RK Barger Photography; photo courtesy of Skye Media

More Recently

Between the releases of “Villains” last fall and “One More” earlier this year, Midnight South released a Christmas song, “This Christmas Night.” Since the release of “One More,” just last month the band released its latest single, “Loved By You.” Both of those songs – as well as the band’s back catalogs – are worth a listen.

Also, as I mentioned in the opening paragraph, Midnight South has been nominated for Vocal Group of the Year at the 2025 Arkansas Country Music Awards. A win, if it comes, would be the band’s third in a row in that category. Here’s wishing the band good luck.

Finally, if you’re in Arkansas, check out the “Shows” section of the band’s website. Midnight South has a bunch of shows scheduled around Arkansas for the rest of this year. Of course, you’ll want to keep checking back for updates… or join the mailing list. Yeah, that’d probably be easier.

Single Review: Jaime Kyle – “I Hear You Knocking”

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Jaime Kyle promo photo

photo courtesy of Jaime Kyle and BJF Media

Single Review of Jaime Kyle: “I Hear You Knocking”

I recently reviewed Jaime Kyle‘s most recent album, Wild One, as well as the release of Bernie Marsden’s last single, “Invisible,” which featured Jaime. Both the album and the single leaned into Jaime’s rock and roll skill set. Well, her new single, “I Hear You Knocking,” skews a bit country – or, at the very minimum, deep-fried Southern rock – as the Nashville-based singer-songwriter slips a little twang into her cover of the Dave Edmunds classic. (Yes, Edmunds’ version was also a cover, but hey, do your a quick Wikipedia search if you want more deets on the song’s history.)

Jaime Kyle – "I Hear You Knocking" cover art

image courtesy of Jaime Kyle and BJF Media

“I Hear You Knocking” begins with a crunchy guitar riff, accompanied by Jaime’s rough-edged bluesy country-rock vocal and a steady, mid-tempo classic rock rhythm. I’d place Jaime’s rendition of “I Hear You Knocking” on a playlist with Foghat and Kenny Rogers, as the mid-point connecting those two. Or, perhaps, between the Fabulous Thunderbirds and George Thorogood.

Jaime’s vocals on this track are steady through the verses. And, of course, her powerful voice is able to emphatically punctuate the energy required by the “I hear you knocking” portion of the chorus while also being appropriately dismissive on the back-half of the song’s central lyric, “go back where you’ve been.”

All in all, this is a cool track smack dab in the sweet spot of Jaime’s wheelhouse. If your musical tastes include any of the artists I’ve mentioned in this review, you should definitely give this cool song a listen; I bet you’ll enjoy it.

Single Reviews: The Brother Stereo – “Time in History” and “The Ballad of the Washed Up (and Seemingly Forgotten)”

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The Brother Stereo band photo

photo by Emily Joy Ashman; photo courtesy of Knyvet

Single Reviews of The Brother Stereo: “Time in History” and “The Ballad of the Washed Up (and Seemingly Forgotten)”

The Brother Stereo is a Massachusetts alt-rock band comprised of Michael Robert Kelly (vocals, guitar, bass), Shawn Pelkey (drums), and Buddy Sullivan (guitar). The band’s music has a very clean, throwback rock veneer but with an alt-rock energy. In other words, the songs would have broad appeal to fans who might not typically like a band “this alternative” while also appealing to alt-rockers whose tastes might not usually include bands with such a clean sound or, it seems, some of the influences that present themselves throughout The Brother Stereo’s songs. You know, if I weren’t trying to describe The Brother Stereo’s sound, I probably wouldn’t even try to pin a subgenre on them beyond simply calling them a rock band. But, alas, something so vague would not be super helpful.

The first of the two singles that found my inbox late last summer and fall, “Time in History,” has a musical intro that will identify it from the very moment you hear it on your playlist. It has a bit of an otherworldly, dispossessed, echoey musical opening, which sets the stage for Kelly’s sharp, melancholy vocals, very well-suited to the song’s subject matter, which walks the line between reminiscence, longing, and regret. This song may very well be the first time I realized those three emotions border each other.

The Brother Stereo – "Time in History" cover art

artwork by Emily Joy Ashman; image courtesy of Knyvet

Interestingly, about halfway through the second half of “Time in History,” there’s an exceptionally well-placed – though you probably wouldn’t guess it would fit in this song until you hear it – classic, not particularly short, blues-rock guitar solo that provides energy, emotion, and a power-build all the way to the song’s end. I can’t recall a comparable alt-rock song that transitions so seamlessly to a blues-rock song. However, though The Brother Stereo’s sound is tough to pin down, it’s easy to dig for fans of each of the individual styles that contribute to these songs’ mutt DNA.

Of the subject matter covered in “Time in History,” Kelly notes, “‘Time in History’ is about the insecurities and complacency of today’s world coupled with the nostalgia of growing up and the longing for yesterday’s world. I think this song will be relatable to our generation very directly.”

The band’s next single, “The Ballad of the Washed Up (and Seemingly Forgotten),” is much more R.E.M.-like; it might pair well with “Losing My Religion.” In particular, in that comparison, Kelly’s vocals have a cutting edge to them much like Stipe’s. Or perhaps this song could be the up-tempo half of a back-to-back with Incubus’ “Drive,” as both tunes have an open but rocking feeling to their driving strums, but that’s probably not quite as good a sonic match as “…Religion” would be. Comparing The Brother Stereo’s two singles, as in “Time in History,” the band leans into a broader rock sound on “The Ballad of the Washed Up.” And delivers a blues-rock guitar solo, though  it’s much shorter and serves just a bridge this time.

The Brother Stereo – "The Ballad of the Washed Up (and Seemingly Forgotten)" cover art

artwork by Emily Joy Ashman; image courtesy of Knyvet

As he did with “Time in History,” Kelly shares the inspiration for “The Ballad of the Washed Up (and Seemingly Forgotten)”: “It’s about being at the top of your game and being a human under a lot of pressure. It’s about the superficiality of the people you meet, keeping up the façade of fame in the eyes of the world and trying to relate to others. I just had Hollywood in mind for some reason and what it must be like for people who are so famous and desirable they can’t walk down the street. Then what it’s like to be the person who used to be that famous and the shit you get for not being as ‘perfect’ or ‘beautiful’ as you used to be. Washed up, if you will.”

The Brother Stereo has a unique sound all its own, but it’s a band whose singles belong alongside other guitar-driven rock songs on your personal playlist. Trust me, they’ll worm their way into your brain. “Time in History” first, likely because of its easily identifiable intro, but “…Washed Up” soon thereafter because of its engaging tempo.

The Brother Stereo band photo

photo by Emily Joy Ashman; photo courtesy of Knyvet

More Recently

In the time since these singles landed in my review queue, The Brother Stereo has released four more singles – “My Focus,” “Drinks on Me,” “Tornado,” and “Feeling Low,” all of which you’ll find on the band’s bandcamp page. To be honest, I haven’t listened to any of them yet. When I take a break from prepping for my next review, I look forward to checking them out.

Single Review: Natalie Joly – “Wayside”

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Natalie Joly – "Wayside" cover art

image courtesy of Natalie Joly

Single Review of Natalie Joly: “Wayside”

Natalie Joly is back in the blog, and I’m going to have to issue an earworm alert! I mentioned a couple of Natalie’s 2024 country-rock singles in a pair of “Publisher’s Corner” columns last year, but I haven’t dedicated a full review to one of her singles since a couple of 2021 reviews. That’s too long. Natalie’s new song, “Wayside,” is way too catchy to hide in a column where you might miss it! This is definitely one of her best. Then again, those 2021 releases, “Will You Ever Stop” and “Yours to Stay,” both still appear occasionally on my #PhoneOnShuffle playlists, so perhaps it’s more correct to say that “Wayside” adds to her strong body of work.

On “Wayside,” the drums kick off with a sharply hypnotic rhythm, while Natalie’s trademark country-rock grainy voice – a delivery that seems more gravelly than it actually is, thanks to Natalie’s tone – is better-suited to the verses than most of the other singers who are also able to hit the bigger, more powerful notes in the choruses. Restraint, though, makes the big notes stand out. Indeed, Natalie doesn’t go to the well too often, and those big notes sound effortless when she does. On this song, actually, they’re actually more rich than big, by design, because they’re exactly what’s called for.

The song itself is an introspective number about succumbing to manipulation, with thoughtful lyrics in the verses leading to the chorus payoff of “Don’t think I’m desperate enough to fall in line and grovel for you back just to be pushed to the wayside.” It’s a very cool release from rising, pop-friendly country-rocker Natalie Joly.

 

Album Review: Guy Verlinde & Tom Eylenbosch – Promised Land Blues

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Guy Verlinde & Tom Eylenbosch – Promised Land Blues album cover

image courtesy of BANDR Music

Album Review of Guy Verlinde & Tom Eylenbosch: Promised Land Blues

Guy Verlinde (vocals, guitars, percussion, and broom) and Tom Eylenbosch (backing vocals, piano, banjo, and washboard) were the 2024 Belgian Blues Award winners for Best Duo in 2024. That’s no surprise, as Promised Land Blues is attention-grabbing from the very start. It’s clear that these two are a couple of Belgium’s best blues artists, with a varied, full sound, delivery that pops, and Verlinde’s deep, strong blues voice. The piano playing of Eylenbosch, meanwhile, can range from soulful to energetic to impressively frenetic ivory-tickling.

The album opens with “Heaven Inside My Head,” a song that sounds as if it’s straight from a N’awlins blues joint. It’s a steady-paced blues dirge whose straightforward progression is augmented by a gritty, almost growling vocal from Verlinde and nifty flourishes on the piano from Eylenbosch. Beginning to end, Promised Land Blues songs run the gamut from almost Gospel (“You Gotta Move”) to energetic (“Do That Boogie”) to soulful (album-ender “World Goin’ Wrong”) to haunting (“Gotta Let Go”).

Verlinde and Eylenbosch are joined by other top European blues artists on several songs. For example, “A Worried Man Blues” is one of the three songs on this disc where the headline duo is joined by Steven Troch on harmonica, providing harmonica-work that appears prominently, changing the musical mix.

Finally, one more song worth noting is “Reckonin’ Blues,” a song that chugs along like a freight train, addressing environmental concerns, with a neat little lyric about climate change that includes “a whole more thunderstrucks, now,” after which Verlinde riffs on the relevant AC/DC guitar hook a bit right before the song’s close.

So, if you’re not familiar with Guy Verlinde and Tom Eylenbosch, Promised Land Blues is a solid introduction to a pair of top bluesmen.

Live Review: Watertown Porchfest 2025

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The Tokyo Tramps stand on the porch of the Gore Place farmhouse while performing during the 2025 Watertown Porchfest event

Tokyo Tramps; photo by Geoff Wilbur

Watertown Porchfest

Watertown, MA

May 17, 2025

Every year, many of Boston’s suburbs hold “porchfest” events, where the towns’ porches are filled with musical performances and, armed with a schedule of planned performances, music fans can wander from house to house from 12:00 to 6:00 to hear a variety of area musicians, hosted by the people whose porches serve as performance spaces.

I had only attended one porchfest before yesterday, in part because they tend not to be held in the outer suburbs where I live. In 2017, I attended Arlington’s Porchfest. Yesterday, I drove in to attend Watertown’s. If there was one notable difference, it was that Watertown’s performances were much more often in driveways than on porches, whereas all of the Arlington performances I saw eight years ago were on actual porches. It didn’t matter. Many of the performers yesterday performed under portable tents, in part I suppose due to the rain threat – all week, rain was predicted, but there was just one light 10-minute shower. Still, a good idea for equipment to be covered, something a porch – but not a driveway performance – would provide.

Slip Resistant Soul; photo by Geoff Wilbur

Slip Resistant Soul

My first stop was to hear Slip Resistant Soul. Slip Resistant Soul is self-billed as NOLA-centric soul and blues, that’s an apt description for this old-school, rockin’ blues band. Indeed, led by a thumping bassline, funky sax, and grizzled blues vocals, I could have stayed and listened to these guys all day. Or, at least, to the end of their set, if I hadn’t also wanted to catch a couple more bands during their 2-hour time slot.

A couple of the songs I enjoyed at this backyard-deck venue were “While My Guitar Gently Weeps,” with echoey psychedelic guitar work, nifty axe solo, an almost reggae rhythm creeping in from time to time, and Ray Charles’ “I Don’t Need No Doctor,” which SRS delivered with ideally gruff vox, a groovy, funky rhythm, and excellent riffing off the rhythm section’s steady beat.

It was obvious why the backyard venue was packed with an appreciative audience, as Slip Resistant Soul is clearly a top shelf band!

Three Weeks Notice; photo by Geoff Wilbur

Three Weeks Notice

Next up, I headed over to catch Three Weeks Notice. Stylistically, based on my limited sampling of the band’s offerings yesterday, I’d guess the music is centered somewhere around Americana or roots rock, though the styles from song to song were varied enough – though still within the band’s cohesive sound – that “centered” is the key word. Three Weeks Notice delivers a rich, full sound, with violinwork adding a neat flavor. I only stayed for four songs, but during the second song the guitarist delivered some engaging wailing vocals that are unusual among similarly styled bands. The third song was a violin-driven instrumental that took an attention-maintaining journey. And song four was a classic, psychedelic rock influenced instrumental that benefited from some cool violin effects and, eventually, increasingly distorted guitarwork.

In all, my four-song sample was a varied song grouping from a clearly talented, interesting band.

Hot Lunch; photo by Geoff Wilbur

Hot Lunch

It was a pleasure to next hear Hot Lunch, a rockin’ pop-rock cover band. From great between song banter in addition to high quality renditions of favorites, this is a band I’d definitely head out to hear for a night of cover-song fun with friends! The five songs I could covered a bit of pop-rock range – Katy Perry’s “Hot N Cold,” Sheryl Crow’s “Real Gone” (which sported a little well-suited extra edge on the vocals), Franz Ferdinand’s “Take Me Out,” Kelly Clarkson’s “Since U Been Gone,” and the Red Hot Chili Peppers’ “Dani California.” The Chili Peppers’ cover sported some nifty howls and, while being the one of the five songs led vocally primarily by the bass player, did feature some nice dual back-and-forth vocal sharing. There was a deservedly large, engaged crowd for Hot Lunch while I was there, with music fans of all ages thoroughly enjoying themselves.

Tokyo Tramps; photo by Geoff Wilbur

Tokyo Tramps

One of the highlights of the event for me was the opportunity to catch Tokyo Tramps, whose last two released I’ve reviewed – their I’m a Tiger EP in 2021 and their Fearless Heart album in 2023. In fact, I grabbed my copy of Fearless Heart to play in my car’s CD player during the drive to Watertown to get into the mood for this set. This was my first chance to catch the Tramps live, and they delivered a fun set. As is often the case, this was a Tokyo Tramps duo performance, featuring core members Satoru Nakagawa (guitar) and Yukiko Fujii (bass), though, of course, on their albums, the Tramps record with a full band.

This performance was at one of the more interesting venues on the porchfest calendar. The bands were set up on the porch of the Gore Place farmhouse. Gore Place is a 50-acre estate showcasing an early 19th century mansion, farmhouse, and farm and sits along the border between Waltham and Watertown. There seem to be a lot of family-friendly events at the site, as well wedding and private events hosting opportunities, so it’s worth checking out the events calendar. There was a plant sale going on alongside the live music yesterday, in fact. But I digress…

I arrived at the venue a couple minutes early; fortunately so, because the Tokyo Tramps must have started a little early – porchfest schedules are a little fluid sometimes. The first song after I get settled in was the fun number “Baby Let’s Clean the House.” (You can find a prior live performance of this song on YouTube, if you’re curious. More than one, in fact.)

Throughout the performance, the duo performs well together, each able to carry a solo, as a good jammin’ blues number often calls for. Guitar fans will be particularly enamored with Nakagawa’s soulful axework, as his classic gritty blues rock/rockin’ blues axeslinging style can carry solo after solo all night long. Or all mid-afternoon long, in the case of a porchfest.

Other standouts of the day’s performance included numbers like “Jeffrey Jive,” with its “who dat? who dat?” singalong, “Empty Pocket,” because every musician is convincing when singing about empty pockets, and decades-old Tokyo Tramps original “Bound for Glory,” a rollickin’ number which appeared on the Tokyo Tramps’ 2003 album of the same name.

The Tokyo Tramps closed their set with “Young Lion,” a personal favorite track from the band’s 2023 album, Fearless Heart. I love the energy of this song, and it translates to a live performance, even as a duo. Its great blues rockin’ energy was an ideal conclusion to a tight set of blues and blues rock music.

Scott Damgaard; photo by Geoff Wilbur

Scott Damgaard

After checking out a couple less impressive performances – and a 10-minute rain delay – I progressed to my next reviewable spot, where I caught the last two songs of Scott Damgaard’s thumping, rocking set. I was treated to two songs from Damgaard’s 2007 The Bells of San Miguel album. On the first, “For You,” Damgaard growls like a classic rocker, adds a little classic rock guitar, some kickin’ distortion, and a steadily upbeat, forward-moving energy. Then he closed this set with “The Bells of San Miguel,” a song flavored with a little southwestern style, which is mostly Scott’s strumming pattern. Both songs deliver a great barroom or concert stage energy! I admit, two songs ain’t much to go on, but in this case, it was enough for me to know that I’ll be back for more!

That’s Ben Gardner’s Boat; photo by Geoff Wilbur

That’s Ben Gardner’s Boat

That’s Ben Gardner’s Boat – TBGB, for short – was next, delivering old-school, kickin’, bluesy rock. I had time for four songs before heading off to grab a bite to eat, hoping to make it back in time for a little bit of Scott Matalon‘s set. (I missed, but the last minute of Scott’s set sounded awesome as I drove up and on the walk over from the car.)

Back to TBGB, you’ll recognize all four of the songs I caught. All very classic hard rock, exceptionally performed. First up, “Deep Ellum Blues” rocked the… yard? The driveway? Well, whatever, it rocked it! Next up the band delivered a big sound with a great jangly, classic rock vibe with its rendition of John Stewart’s “Gold.” (Here’s a video of TBGB performing the song, but when I caught them live yesterday, the vocals weren’t buried in the mix like they are in this recording. Still, you get an idea about how tight the band is and how rich their sound is.)

Next up were a couple of multi-media crowdpleasers. First, TBGB delivered a rich-sounding cover of the Hawaii Five-O theme song. It was followed by a rollicking version of “Westbound and Down” (from Smokey and the Bandit). TBGB covered a lot of ground, all of it classic rock-centered. And this four-song snippet is enough to know they’re a reliably fun band to catch live in a live setting, from a bar to an outdoor concert.

Linda Viens/Girl with a Hawk: photo by Geoff Wilbur

Girl with a Hawk

As noted, I made it back in time to catch the last few seconds of Scott Matalon’s set, which was the lead-in to my last set of the Watertown Porchfest, Girl with a Hawk. Now, I just reviewed a few Girl with a Hawk singles a few days ago, so it was kismet I was able to catch a set so soon thereafter. In fact, when I first checked the porchfest schedule, I didn’t see this location’s lineup listed. Whether it was a last-minute addition to the calendar or just something I missed, I don’t know. (I suppose I could have asked.)

In any case, technically, this spot was listed as Linda Viens spot. Linda’s the lead singer of Girl with a Hawk. (I suppose that makes her the girl with the hawk.) In this case, she was joined by two of GWAH’s four other band members, guitarist Daniel Coughlin and keyboardist Richard Lamphear (who played acoustic guitar in lieu of keys).

Viens’ sports an original vocal style that’s old school rock with a kind of a punk energy but with a little more delicate precision than you’d maybe expect from that description, including an ability to go really soft-touch, which can add an Americana-ish vibe to some songs.

The band played recent release “Share It All” with the 2 acoustics and an electric giving it a soft yet rockin’ vibe. There’s a nifty guitar solo in this one, too. Performed this way, the song has kind of an “I’d like to teach the world to sing” vibe, for those of us old enough to remember those classic Coca-Cola commercials. (Yeah, I know it was a pop hit, too, but we all know it from the Coke commercials.)

Other highlights included a couple of new songs. One (recently recorded, though I missed the song title), is a smooth, swaying number. The other, “Two Souls,” sports a very original sound. It’s the sort of song that sounds broadly familiar, but you know you haven’t heard it before because it has a very quickly identifiable Girl with a Hawk sound.

The band’s set also included a strong performance of the most recent Girl with a Hawk single, “No One Like You.” And a new one, entitled “The Fighter,” I believe. I can already imagine how, with full production,  it’ll end up with multiple listening threads, just based on the lead guitar line’s relationship with the melody in its stripped-down form. I look forward to hearing the full studio workup!

The Girl with a Hawk trio closed out their set – and my Watertown Porchfest day – with an “I’m in Love With My Friends” singalong, a satisfying end to a full day of music, in which I was able to hear live performances from a couple acts whose recordings I already knew, while discovering a slew full of new, talented bands. Indeed, that’s what porchfests are all about.

I’ll be looking forward to next year’s Watertown version. And, of course, I hope I’ll find time to get out to one of the areas many other porchfests that dot the calendar this spring and summer!

Album Review: Jesse Terry – Arcadia

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Jesse Terry stands holding a guitar on a boardwalk in the woods

photo courtesy of Michael J. Media Group

Album Review of Jesse Terry: Arcadia

Jesse Terry is a versatile singer-songwriter with a powerful, smooth, recognizable voice and a musical style that lands somewhere between soft rock and country rock-tinged Americana, though it doesn’t really land in one spot. More correctly, it moves around. It wanders. A lot. But let’s go back to that voice. Oh, man, what a voice!

I reviewed Jesse’s When We Wander a few years ago – that’s what Jesse’s music does, it wanders! – so my expectations for Arcadia were high. This record does not disappoint! It kicks things off with a bang, with a song that’s still my favorite (but just barely), the title track “Arcadia.” It opens with twangy guitar and a John Mellencamp attitude, with a rich sound bed and Jesse’s rich, full, emotive voice. The song is full of energy, the lyrics paint a picture, and the song lifts you up in a bed of music then just carries you along to the end. Simply put, a helluva song. Top 40 airplay fodder.

Jesse Terry – Arcadia album cover

image courtesy of Michael J. Media Group

Interestingly, Jesse follows it with “Burn the Boats,” moving from the rocking of “Arcadia” to a softer, sweeter, folky sound. It still has more of a motor than classic folk, but it’s definitely a lyric-driven, vocal-driven song. It’s a great song, but if you know anything about me, you’ll know that after rockin’ the house with “Arcadia,” I spent the first half of this song screaming “more guitar! more guitar!” OK, no I wasn’t. But in concert, I might’ve. That being said, if I’m not in a “more guitar” mood, this is one sweet, smooth song.

“Gunpowder Days” has a bit of a noisy, funky rhythm throughout, with vocals that vary from gritty to almost folk-influenced ’70s-guitar-rock high notes. It’s a song with grit and gravitas, one with some directional shifts you won’t see coming but that work quite well. Just plain cool.

“Poison Arrow,” next is a chunky rock number with psychedelic ’70s rock-style… organ? I mean, Jesse marches forward in this song, as is his style, much like any other singer-songwriter, but these arrangement are interesting, setting the album apart. And, really, how long has it been since I mentioned his rich, versatile, identifiable trademark voice?!

Jesse Terry stands holding a guitar in a field

photo courtesy of Michael J. Media Group

“Someone in Repair” is another candidate for favorite song. This one is mellow – but with the same awesomely rich soundbed found on the rest of the album – and Jesse’s voice fittingly has some rough edges. But it’s the cool lyrics that seal this one for me. Lyrics like “Be gentle to a stranger for they are someone in repair” are the payoff from much more detailed mini-stories in the verses. Even better, the song closes with the following lyrics: “I hope someday you will see yourself and recognize you are rare. Please be gentle to a stranger; you are someone in repair. Oh, be gentle to a stranger; we’re all someone in repair.” OK, talk amongst yourselves. I’m getting a little verklempt. (Yes, Mike Myers does it better than I do; I have a video link for that.) But I digress. Jesse co-wrote “Someone in Repair” with Craig Bickhardt, Jesse notes in this Instagram video. Well, I just praised Craig’s songwriting skills a few days ago. In fact, checking the liner notes, it looks like Jesse and Craig collaborated on nearly half of Arcadia‘s song. These two in cahoots? They’re playing with a stacked deck!

Jesse Terry stands in a field

photo courtesy of Michael J. Media Group

“Native Child,” next, has kind of a Tom Petty vibe, though its tempo and message are a little more heartland rock-like. In fact, “Waiting Out the Hurricane” opens with a Hard Promises-era Tom Petty and the Heartbreakers-esque twangy guitar. Steadily thumping drums drive the song, with jangly guitars overlaying it, while a a very deep, desert west-flavored bass reverb appears from time to time. All together, “Waiting Out the Hurricane” is very early ’80s Petty-like noisy guitar pop-rock.

“Strong” is a strummer that tugs heartstrings as it builds in power, stirring up an emotional response. It’s followed by “River Town,” which is a my-hometown type rhythmic rocker you might expect from the likes of Mellencamp. Or, if you “country it up,” it could be a hit small-town country pride kind of song. Especially with the lyric, “Folks told me Tennessee and some southern accents would fix me right up.” Well, maybe not. In the story, Jesse moved back north again. You don’t hear that in a country hit.

Jesse Terry stands in a field, with a guitar hanging in front of him from a guitar strap over his shoulder

photo courtesy of Michael J. Media Group

Penultimate song “Headlines” is a weighty song with foreboding music and sweetly cool background vocal harmonies – obviously, that’s what you always combine with foreboding music, right? – atop a noisy music bed. And I like the mid-late thick guitar wail. Musically, this song is so interesting, you won’t pay attention to the depth of the lyrics. Listen again and make yourself because “the devil’s in the headlines.” You’re welcome.

Finally, Jesse closes with “Where You Came From,” a sweet, fatherly song that’ll certainly be a family favorite for years.

All told, Arcadia is a song-driven, soft-to-mid-tempo disc that’ll appeal to heartland rock fans, featuring songs that’ll reach mainstream rock, radio rock, Americana, and probably even a lot of folk music fans. By the way, have I mentioned Jesse’s voice? (chef’s kiss emoji!)