Author Archives: Geoff Wilbur

Album Review: Maja Babyszka, Gilad Atzmon and Nikos Sidirokastritis – In Memory Of That Song

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photo courtesy of Aesthetiko Musicians Collective

Album Review of Maja Babyszka, Gilad Atzmon and Nikos Sidirokastritis: In Memory of That Song

I’m not a huge jazz music fan, at least I’m not particularly knowledgeable about the genre, but I appreciate exceptional musicianship. And there are some albums that are a pleasant listen, offering interesting musical paths that journey in different directions while maintaining a stable center and/or returning to repeated patterns. My favorite kind of jazz record is one that offers enough flourishes to keep things interesting while allowing my mind to simultaneously focus elsewhere. In other words, music to work to. In Memory of That Song is one such record. It structures my thoughts when I’m not actively listening while offering cool musicianship that’s equally fulfilling when I’m doing nothing else but listening.

image courtesy of Aesthetiko Musicians Collective

Anyway, this recording assembles rising Polish pianist and vocalist Maja Babyszka, British woodwind specialist Gilad Atzmon, and Greek percussionist Nikos Sidirokastritis. The album aptly utilizes all of their talents, with each featuring more prominently in certain songs or passages of songs. The album kicks off with “A Dark Movie Scene,” a song on which the cool woodwind provides a rich and – for lack of a better term – woody texture. Second track “In Baku,” meanwhile, showcases some lively and sparkling pianowork. “At About 3:40 PM,” next, mixes the woodwinds and piano more evenly, with percussion playing a significant and dramatic role. It’s also the rare offering featuring vocals, though not lyrics, as Babyszka’s vocals play along with the keys and winds as if a third instrument.

The record continues with “We Had an Illusion,” a sparsely-instrumented, mood-eliciting number that brings to mind images of black-and-white film noir for the first couple of minutes before the piano joins in, adding a lighter, more playful presence. The back half of the song explores both of those styles alternately, with a variety of transitions to keep things interesting.

“Peace Has Prevailed,” following, is a pleasant number that effectively and enjoyable supports decompression and relaxation. It’s followed by the title track, the sixth and final song on this 39-minute album. “In Memory of That Song” begins with percussion, the only song on the record to begin that way, which sets the stage for wind and piano to join in an almost reluctantly playful way at first, though the musical addition evolves, as if gaining confidence a few minutes into the song. It’s an example of the variety found on the album, though at the same time the record is still clearly a cohesive collection of songs. The longest song on the record, “In Memory of That Song” clocks in at eight-and-a-half minutes, but it’s a welcome length, as it extends the particularly enjoyable listening experience.

With that, as the title track softly fades away, this inspired album comes to a close. Indeed, though I’m more of an occasional jazz listener than an expert, when I hear something I like – like In Memory of That Song – I like to share it with you. I hope my descriptions have done the record justice. The one thing that isn’t up for debate is the talent of the trio on this exceptional disc.

 

Single Review: Matthew Holtby – “This is Bliss”

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image courtesy of Cameron Carpenter on behalf of Matthew Holtby

Single Review of Matthew Holtby: “This is Bliss”

“This is Bliss” is a song that’s sneakily catchy. It’s a mellow, not-quite-balladic pop song with a smooth-as-molasses veneer, supporting Matthew Holtby‘s tonally-pleasant, precise-yet-emotionally-connected vocals.

The song, says Holtby, is “a lovely little tale of the life my wife and I have created together, plain and simple. Every word is true.” It’s a sweet, pleasant, richly-produced soft pop tune, sonically and lyrically blissful, true to its title.

photo courtesy of Cameron Carpenter on behalf of Matthew Holtby

The big unanswered question is how a song can be cool with lyrics like this, about marital harmony: “I know I write a lot of sappy shit. But I don’t care, I love the way we live. This is bliss.” But the song’s a great listen, and I’m sure you’ll want to add it to some of your playlists.

Holtby self-produced the song at his home studio, with mixing assistance from Colin Kennedy, joined musically by cello and violin-work from David Shewchuk.

So, if you’re looking for a smooth, pleasant listen that’s cooler than it most obvious comparables, check out “This Is Bliss.”

More About Matthew Holtby

Honestly, just click on some of the links on this longest-I’ve-ever-seen linktree to learn more about Matthew’s music and related endeavors.

Album Review: Sado-Domestics – Getting the Ghost

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image courtesy of the Sado-Domestics

Album Review of Sado-Domestics: Getting the Ghost

The Sado-Domestics are one of metro Boston’s premier Americana acts, comprised of musicians whose talents aren’t limited solely to participation in this project. The singing-songwriting duo of Chris Gleason and Lucy Martinez are joined by Jim Gray (bass), Eric Royer (pedal steel), and Jimmy Ryan (mandolin) on their latest full-length recording, Getting the Ghost. Both Eric Harabadian and I have reviewed previous Sado-Domestics releases, so click through to our reviews here (Camouflage: Stories by T.J. Gerlach) and here (Beach Day in Black and White) to read a bit more about the band’s background and our takes on their other recent releases.

The latest record, Getting the Ghost, kicks off with one of its more memorable tracks, “Big Cat,” which is always wise – kick an album off with a song that’ll grab listeners from the very start. In the case of “Big Cat,” steady picking structure and exotic rhythm support Lucy’s slightly edgy vocal, while a rich-yet-noisy wall of sound pushes the song along in key parts. It’s a creative spin on the uniquely Sado-Domestics base sound, making it a great opener. It’s followed by “Good Day,” which is a more straight-up Sado-Domestics sound, a little off-kilter and rockin’ with some creative musical details and nuances thrown in to keep the listener’s ears busy.

photo courtesy of the Sado-Domestics

“I Don’t Know You Very Well” is a beautiful if haunting softer number, while “Autumn Glow” follows with a horse-riding git-along rhythm and a pleasant travelling pace. “The Getaway (Major Motion Picture),” next, inspired by the 1972 film, continues the previous song’s vibe but with a bit more energy, a more prominent rhythm, and some effective, enjoyable instrumental flourishes.

I’m not quite sure why, but “New Logo” is probably my personal favorite on the disc. Its opening few measures remind me 0f the opening of Clint Black’s “A Good Run of Bad Luck,” though they’re not a copy. The sound is heavy, the vocals crisp but persistent. I mean, it’s a cool delivery, on the rockin’ end of the Sado-Domestics’ usual range. But it’s probably the lyrics that seal the deal for me: “Same old brand with a new log.” A fun take on “a leopard never changes his spots.” The next song, “Wolf,” maintains and even builds upon the energy and pace before the band slows things down with the twangy, country and western dancehall-sounding “Chancer.”

“Tip of My Tongue” continues the twanginess, leaning into one of Lucy’s sweeter, richly textured vocal performances on this record. “Killing Me Kindly” follows, and you may recognize this one. It’s a Sado-Domestics-flavored rendition of the song that was one of my favorites on Los Goutos’ Mighty release, Los Goutos being one of Chris Gleason’s other bands. (Yes, I reviewed that album, too.)

Finally, the record closes with “Balthazar,” a strumming, introspective, thoughtful number that provides a soft landing for the record. It’s has deliciously off-kilter, very Sado-Domestics styled vibe to it.

In the end, this was another strong release from the reliably exceptional purveyors of Americana music known as the Sado-Domestics. On the heels of this release, the band was deserving nominated in the 2025 New England Music Awards’ Americana Act of the Year category.

Looking Ahead

Per the “Shows” page on the Sado-Domestics’ website, the band currently has a few January and February shows booked in Massachusetts, with dates listed in Roslindale, Maynard, and Somerville.

Album Review: Ward Hayden & The Outliers – Little By Little

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photo by Sasha Israel; photo courtesy of September Gurl

Album Review of Ward Hayden & the Outliers: Little By Little

Ward Hayden & the Outliers are one of New England’s best country bands. When the band was called Girls, Guns, and Glory, I was a near-miss at several of their performances, which were hosted and/or attended by friends and connections whose opinion I generally consider to be consistently spot-on. So was I surprised when I finally dug into the new Ward Hayden & the Outliers album, Little By Little, and it blew me away? Not at all, though it exceeded any reasonable pre-listen expectations. This is an exceptional, tight, rich album from a band that’s also known for its great live performances. In New England, Ward Hayden & the Outliers are no secret. As further proof of that, the band was named Country Act of the Year and received one of the two Performer of the Year awards at the 2025 New England Music Awards.

I know this seems like an abrupt transition, but I should note that I’ve never been a deep-catalog Bruce Springsteen fan, or even a big fan of some of his hits. I did always enjoy “Dancing in the Dark,” a fun song that Ward Hayden & the Outliers put a nifty, modestly country spin on as Little By Little‘s third track. The anguished emotion in the vocal and the warm ambience of the soundbed make this rendition just as enjoyable as the original and with a unique Ward Hayden spin on it.

The preceding song on Little By Little, “Youngstown,” also sounded familiar to me, and I wasn’t surprised to find it was also a Springsteen song. Hayden and company serve it up as a lively, powerful, guitar-picking-driven sound with a full rockin’ country arrangement and well-placed fiddle flourishes.

image courtesy of September Gurl

Sensing a pattern, I finally took a look at the album’s press material. I usually like to let albums marinate for a while before reading about them so I’m not influenced by either the press material’s or other reviewers’ thoughts until my own are mostly formed, so I hadn’t given them a glance. Lo and behold, all eight songs on Little By Little are Bruce Springsteen’s covers. Yeah, I know, I probably should have realized it sooner, but like I said, while I respect and enjoy Springsteen’s music – and even my esteem for the Boss has grown with each passing year to be quite substantial by now – I know little beyond his biggest hits, mostly the ones from the ’80s. Some of the songs on Little By Little are deeper Springsteen cuts, too. Well-chosen ones, I might add, selected almost certainly because they can be arranged to fit Ward Hayden & the Outliers’ strengths. Indeed, these eight track are fully Outliers-styled, so much so that if  you didn’t know they’re Springsteen tracks (I raise my hand here), you’d be easily convinced they’re the band’s originals.

One of my favorite songs on Little By Little is the album’s opener, a lively performance of “Promised Land” whose feisty pace is enhanced by the way the band dives quickly from between blocks of lyric, from verse to verse, verse to chorus, and chorus to bridge or next verse. It’s an introduction to Ward’s powerful vocal delivery with its cracking and quavering that create a convincing sincerity, and it includes opportunities for a variety of well-integrated instrumental featurettes (or solos, if you prefer).

“Cadillac Ranch” is another strong entry, a rockabilly-tinged number (I hear shades of Jerry Lee Lewis in the pianowork) that moves a mile a minute and leaves the listener energized but breathless by its conclusion.

Probably my very favorite song on this record is track five, though. “If I Should Fall Behind” is a steadily-plodding, loosely (yet richly) instrumented number whose heartfelt message lives in the cracks and wails of Ward Hayden’s vocals. The haunted western rhythms in the song’s instrumental sections – I know, I always reference Chris Isaak’s “Wicked Game,” but that’s because you all know what that sounds like – add another cool element that’s relevant to the song’s sonics and lyrics both.

“Two Faces” is delivered in a stripped-down fashion, with the vocals primarily accompanied by rhythmic drums, supported by the rest of the band in an as-necessary fashion without the sort of big, rich sound found on most of the other tracks, providing some stylistic variance while focusing the attention more heavily on the lyrics.

The stripped-down flavor continues with “County Fair,” though it’s more of a sweet, old-school, twangin’ country crooner, as opposed to the more avant garde vibe of “Two Faces.”

Ward & the Outliers close with “Used Cars,” delivered in a steady style that leans country while recalling the delivery of John Cougar Mellencamp, particularly on working-class songs like this one.

In all, Little By Little is an album that’ll appeal to country music fans, Springsteen fans (at least, if you can appreciate different arrangements of his music), and simply fans of well-conceived arrangements of damn fine songs. But wait, there’s more because more recently…

More Recently

Little By Little was released early in 2025. It was followed by the summer release of Piece By Piece, a collection of eight more Bruce Springsteen songs given the Ward Hayden & the Outliers treatment. I haven’t checked out that collection yet, but I’m sure it’ll rock. Well, country rock. Also worth noting is the summer release of Restless, an EP from Ward Hayden & Greg Hall.

Of course, this fall, as I mentioned at the top, the band won a pair of New England Music Awards. Ward Hayden & the Outliers were also nominated in the Boston Music Awards’ Americana Act of the Year category. (The oft-nominated band’s most recent Boston Music Award win was for Country Act of the Year in 2023.)

Album Review: The Gravel Project – Find What You Need

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photo courtesy of The Gravel Project

Album Review of The Gravel Project: Find What You Need

The Gravel Project are Andrew Gravel (vocals, guitar, songwriter), Jordan Gravel (keyboards), Dave Fox (drums), Eguie Castrillo (percussion), Brad Barrett (bass), and Jen Kearney (vocals), while Jesse Williams earned the bass credit on Find What You Need. The artists, who each have their own highly regarded projects outside of the band, come together in The Gravel Project to form a sort of psychedelic-infused, blues-based, classic rock supergroup. And the region has noticed. The Gravel Project was named Blues Act of the Year at the 2025 New England Music Awards.

image courtesy of The Gravel Project

The record opens with the rhythmic thumping and organwork that leads into “Love the Life,” a classic psychedelic rock number that’s a great example of the power of Gravel-Kearney vocal harmonies during the chorus. Now, I’m not saying it sounds like Jefferson Airplane, but it reminds of that and similar ’60s/’70s rock bands; it wouldn’t take much to fit it into their or similar bands’ repertoires. But The Gravel Project’s sound is richer, fuller – more modernly produced – giving “Love the Life” an electric energy that makes it a quick favorite; music fans who prefer vocals, guitars, keys, or percussion would each be able to find a reason to jam to this cool number.

The band slows the tempo a bit on the next song, “Stay with Me,” its rich organ-filled opening and song-long soundbed supporting the song’s smooth pleading. Though the tempo never picks up, it’s a slow song with hooks, memorable vocal delivery, and broad appeal, as it would fit in set lists ranging from pure blues to blues-based classic rock. And, with maybe a slightly different arrangement, pop-rock, although I really think The Gravel Project’s engaging performance of this song, as is, would be a hit with those audiences, too.

photo by Ian Urquhart; photo courtesy of The Gravel Project

“Worse for Wear,” next, is a thumping, jangly, theater-stage type of rockin’ blues number. It’s all about the bass line and the vocal wails as differentiators, even as the drums drive the tempo changes and the keyboards provide the song’s baseline sound. It’s followed by more of a blues dirge, “How Long,” though to be honest, I kind of hear shades of Thunder’s Danny Bowes (a much bluesier rocker than the band’s two U.S. hits in ’90/’91 might suggest, though if you listen, the evidence is there) in this vocal delivery, too; not surprising, I guess, since I mostly favor Thunder’s more blues-influenced rock songs. “So Sad” follows, stylistically fitting between the two previous tracks, with a funky blues rhythm as its backbone.

The album takes a slight turn on the next number, “Who Did You Think You Were,” with its Steve Winwood-esque, ’70s/’80s-esque (his solo era) soft, radio-ready, cool rock vibe; it also serves as a great fit for the easygoing, soft-tempo, enjoyable guitar noodling in the extraordinarily long solo starting just past the song’s midpoint. Like I said, though, there’s a sweet, soft sound to this song, something that would have had pop crossover appeal during the time period I’m referencing. (Since rediscovering great old music is an increasingly popular thing for the newest generations of music listeners, that pop-friendliness may actually be important once again.)

photo by Ian Urquhart; photo courtesy of The Gravel Project

The Gravel Project turns to a funk rhythm again on “Shadows into Shame,” blended with a return to a more psychedelic feel. Next, “Find What You Need” is a bit more classic rock-styled, its slow-paced, steady, relentless rhythmic advancement akin to favorite album tracks from classic rock’s heyday and, particularly, reminiscent of some of my favorite newer work from some old ’80s rockers. And, oh, man, that blues-rock axework is perfect for just closing your eyes and soaking it in. Be sure to listen for some cool percussion runs during the extended guitar solo in the back half of this one, too.

The mood changes completely for the next number, “In the Moonlight,” a hold-up-your-lighter-and-sway ballad that’s ideal for an arena concert. And if you want an extra-long slow dance at an event with a dance-floor, make sure the DJ has this song ready to roll. Not only is it a cool, swaying number with character, but it clocks in at more than seven minutes, so make sure you’re dancing with someone you want to spend some time embracing.

photo by Ian Urquhart; photo courtesy of The Gravel Project

The Gravel Project closes Find What You Need near the album’s sonic center, with a jangly, thumping, blues-rock number “Blues for LA” providing a fitting sendoff.

There isn’t a weak leak on Find What You Need, an enjoyable listen from beginning to end, befitting the talented musicians assembled, with plenty of variance throughout what I’d probably classify as a blues-based classic rock album, though I wouldn’t begrudge blues fans from calling it a blues record, either, and if the final song title is any indication, as well as the band winning NEMA’s Blues Act of the Year award, I may be in the minority in my opinion. In the end, though, it doesn’t really matter. The most important point is that this is an exceptional record you’ve absolutely gotta hear.

Looking Ahead

This is obviously a band that’ll rock the house live, so I’d suggest keeping an eye on the “tour” section of The Gravel Project’s website. At the moment, it only lists a single show, December 19th at the Lizard Lounge in Cambridge, MA. If you’re in the area, I’m know it’ll be an exceptional way to spend a Friday night.

Also, keep an eye out in the coming months for our review of Jen Kearney’s new album Gas Station Poet. You may recall we reviewed Jen’s single “Long Division” earlier this year; we look forward to sharing our thoughts with you about Jen’s cool new full-length release when it reaches the top of our review queue.

Live Review: The 2025 New England Music Awards

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photo by Geoff Wilbur

The 2025 New England Music Awards

Six String Grille & Stage, Foxborough, MA

November 16, 2025

The New England Music Awards are one of the regional music scene’s big annual events. A bunch of the area’s top musicians turn out, often dressed to the nines – or at least really cool – and enjoy the camaraderie of their peers, all while hoping, of course, to come out on top for the awards. I know it’s a cliché, but with all the talent in New England, it really is an honor to be nominated.

This year’s NEMA featured nine performances while handing out 28 awards. I was a little more active connecting with artists I knew (and meeting some new, talented folks) at this year’s NEMA than I was last time I made it to the event, a couple years ago, so my notes aren’t as detailed, but I’ll still be sure to mention every single performer. Indeed, there wasn’t a single weak link in the line-up, something that was apparent even though my attention wasn’t always focused toward the stage. Honestly, if you get a chance to catch any of the evening’s performers live, do what you can to get to the show. The award winners are listed on the NEMA website, but I’ll also mention them in this review, though I’ll focus more on the live performances, including photos from each of the live sets.

Lila Wilde; photo by Geoff Wilbur

The night’s program began with a performance from the impressive Lila Wilde, who served up great, dynamic, high, pop-friendly vocals. Lila was also able to slow things down well, too, showing of her versatility. One song I specifically noted during her performance was “Jezebel,” which sported a little funkier pop rhythm and landed right in Lila’s vocal sweet spot. This was a great set to kick things off. An interesting thing about NEMA is that the attendees tend to show up on time, so the first performance slot is a great one for being noticed, and this talented artist absolutely turned some heads.

Lila Wilde; photo by Joanna Gleason; photo courtesy of New England Music Awards

Wilde’s set was followed by the entrance of the evening’s emcees, Adam Lopez and Annie Brobst, who kept things moving along nicely throughout the show. During this short break, also, Amanda Morneault of The Harbor Agency presented the evening’s first trio of awards, the Rising Star Awards for Maine (Bella Ann), New Hampshire (Fun City Fan Club), and Rhode Island (Olivia Dolphin).

Gold Hoax; photo by Geoff Wilbur

Following the evening’s first awards, Gold Hoax, winners of 2025’s Last Band Standing competition, took the stage. The Boston-based band delivered some edgy, raucous, energetic alt-rock. I also noted a little rockin’ jangle. This outfit has a sound that’ll perform well both in a club setting and on a recording, so this was a cool introduction to Gold Hoax for me.

Gold Hoax; photo by Joanna Gleason; photo courtesy of New England Music Awards

After the Gold Hoax set, of course, it was time for some more award presentations. Bek Mahoney of BizMarketing and Design, LLC announced the next three award winners, presenting the Rising Star Awards for Vermont (Lily Seabird), Massachusetts (Dred Buffalo) and Connecticut (The Moonrise Cartel).

The Fatal Flaw; photo by Geoff Wilbur

Up next was The Fatal Flaw, performing straight-up rock that pops! The band delivered a fun set of ’90s/’00s-style alt-rock with catchy hooks and ragged punk overtones.

The Fatal Flaw; photo by Joanna Gleason; photo courtesy of New England Music Awards

Following The Fatal Flaw’s set, Gerg Anidem of Indie Scene Radio announced the next three award winners, for Rock (John Fox), Punk (Megan From Work), and Hard Rock/Metal (Bad Marriage) Act of the Year.

Joey Batts & Greg Rivers; photo by Geoff Wilbur

Brandie Blaze; photo by Geoff Wilbur

Next up were back-to-back hip-hop performances, starting with Joey Batts with Greg Rivers, followed by Brandie Blaze. Both performances were impressive, with different delivery styles. Joey Batts relied a lot on a more spoken, conversational approach, whereas Brandie Blaze was a little more vocally dynamic. Both artists are locally renowned for their lyrical skills, as well. They were a pair of absolutely top-shelf performances, with Batts representing the Hartford scene and Blaze the Boston scene.

Joey Batts & Greg Rivers; photo by Joanna Gleason; photo courtesy of New England Music Awards

Brandie Blaze; photo by Joanna Gleason; photo courtesy of New England Music Awards

John Shea, host of Almost Famous on 95.9 WATD, presented next three awards, for Pop (Lainey Dionne), Jazz (Soggy Po’ Boys), and Blues (The Gravel Project) Act of the Year.

Jason Ingriselli and the Miles North; photo by Geoff Wilbur

Jason Ingriselli and the Miles North took the stage next and served up a fun, stage-rocking, well-received set of rollicking, guitar-driven country music.

Jason Ingriselli and the Miles North; photo by Joanna Gleason; photo courtesy of New England Music Awards

After their set, Adam Greenberg named the winners of the Soul/R&B (Ruby Shabazz) and Hip Hop (SeeFour) Act of the Year awards. Then Jim Belisle of Boots & Whiskey announced the winners in the Roots (Adam Frates), Country (Ward Hayden & the Outliers), and Americana (Nate Ramos Band) Act of the Year categories.

Nicolas Emden; photo by Geoff Wilbur

Nicolas Emden followed with a cool, Spanish-language, pop-friendly rock set that ranged from energetic rockers to a soaring, mellow pop-rock ballad, carrying a cool vibe throughout the range of tempos featured in the performance.

Nicolas Emden; photo by Joanna Gleason; photo courtesy of New England Music Awards

Three more awards were awarded following Emden’s set by David Avery of Powderfinger Promotions – World (FM Collective), Live (The Far Out), and New (Vanna Pacella) Act of the Year.

JVK; photo by Geoff Wilbur

JVK took the stage next, and this is a band that knows all about the “show” part of a stage show. JVK delivered a set that was largely glam-pop/guitar rock with a theatrical delivery, while some songs showed off a little edgier style with a more raucous, punk-meets-glam edge. (The band was nominated for Punk Rock Act of the Year, after all, so that was no surprise.) Overall, JVK’s mix of talented, flamboyant, and edgy are ideal for a great live concert performance, as exhibited by this evening’s short set.

JVK; photo by Joanna Gleason; photo courtesy of New England Music Awards

Mike LaChance, host of Wave Radio Boston’s The Takeover, followed, announcing the winners of NEMA’s Songwriter of the Year (Hayley Reardon) and Producer of the Year (Vic Steffens of Horizon Music Group) awards.

Nate Ramos Band; photo by Geoff Wilbur

The Nate Ramos Band then delivered a crowdpleasing, energetic, rootsy Americana set. One of the band’s songs, in particular, was a cool, echoey, slower-tempoed number that’s slightly chill-inducing (in a good way). Of course, the Nate Ramos Band’s talent is no secret, as the band had already received a NEMA earlier in the evening.

Nate Ramos Band; photo by Joanna Gleason; photo courtesy of New England Music Awards

Next up, Rick Fleck, host of Wave Radio Boston’s Rick’s Rock Shop, announced the Song of the Year (Nikki and the Barn Boys’ “Strawberry Hill”) and Video of the Year (The Far Out’s “Laurel,” directed by Nick DeSimone) award winners.

The John Fox Band; photo by Geoff Wilbur

The final performance of the evening came from another 2025 NEMA award-winning band, the John Fox Band. The John Fox Band is a medium-fast tempoed guitar rock band with the ability to soar both vocally and axe-ingly – you know, with some kickass shredding. The sound is not heavy, so these guys can reach broad appeal, though the style is also reminiscent of harder-rocking bands, expanding the band’s potential fan base to fans of music that’s a bit heavier, too. ’80s rockers will recognize and like the core of this sound, but it’s also updated enough to appeal to modern audiences.

The John Fox Band; photo by Joanna Gleason; photo courtesy of New England Music Awards

Four awards remained, and they were announced by Wave Radio Boston co-founder Pete Hudson. NEMA handed out two Performer of the Year Awards this year, to Aldous Collins and Ward Hayden and the Outliers. Frank Viele’s The Trouble with Desire earned Album of the Year. And the final award of the year went out to Crooked Coast for Act of the Year.

Thus concluded this annual gathering of some of the many talented artists in New England’s music community. Every year, I get to see some of my favorite artists honored with nominations and, occasionally, awards, while the nomination list and the award show’s performances introduce me some talented musicians I hadn’t previously known about. I’m already looking forward to next year!

Album Review: Dan Lawson Band – Relevant Chaos

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photo courtesy of Dan Lawson

Album Review of Dan Lawson Band: Relevant Chaos

A Dan Lawson Band record is always a rockin’ blues treat. Back in 2021, I reviewed the band’s Abyssal Plain record. This record, Relevant Chaos, is the band’s follow-up release. As with its predecessor, this album is a collection of excellently-delivered, raucous, gritty blues and blues rock, sounding much like it would at a dimly-lit, seedy bar, one whose well-worn condition belies the quality of the music within. You know, the kind where all the best bands play, but only the regulars are in on the secret.

“Wear It Well” kicks things off with a steady blues rhythm section, shouted-sung complaint-styled vocals belted atop, and some old-school blues rock riffs. A song like this? Well, it fits like a well-worn favorite shoe.

image courtesy of Dan Lawson

Just when you think you might have the album’s sound pegged, though, “Outway Street” follows, launching itself into some much funkier blues, particularly in the dancing axework, and most certainly during the aggressively funky solo. Still, the vocals attack, just as in the opening number. “Yeah, right!”

Versatility shows up in spades on the next track, as the band goes balladic with “Just Ain’t Easy.” It’s a damn fine classic rock ballad – a 5-minute slow song with a couple of big guitar solos, ideal for canoodling on the dance floor – with a bluesy edge. As repeated throughout the song, for emphasis, “Well, well.”

The band returns to the blues with an old-school rhythm and some nifty fretwork on “Let’s Ride.” Not a fast tempo, per se, but man, it’s persistent. This is one of those tracks that’ll get you bouncing out of your seat while you listen.

The band returns to a slower tempo on “Because” a meandering blues ballad with a commercial smoothness that’s actually the antithesis of some of the Dan Lawson Band’s rawer uptempo numbers. Of course, I love musical variety and am pleased when a talented band shows breadth of capabilities on a single record. Plus, this is a heck of a song.

Speaking of variety, “Yo Mama” is a swinging blues number, well-suited to a dancehall, a great tune to get the dancefloor hopping again following a slow dance number like “Because.”

The album ends with a 45-second guitar-noodling “Prelude” before the massive, musically-swirling, attention-absorbing “Story of the Blues,” a song that’ll have you swaying, hoping it’ll never end, as the guitarwork swirls and the agony-drenching deep blues vocals are delivered with strength and power. Early in the song, you’ll find yourself with your eyes closed, swaying along, and finally wondering after more than 6 minutes why the song ended so soon. If there’s anything that’ll get a listener to think “I’ve gotta hear that album again,” it’s a booming closing number like this one.

Throughout, Relevant Chaos does a great job of portraying how much fun a Dan Lawson Band live show would be, packaged into a recording that’s an equally fun listen. Or, at least, almost so. Nothing’s as good as a great live band in a live setting. But Relevant Chaos captures most of thay cool live energy. For rockin’ blues fans, it’s a must-listen 8-song collection.

Looking Ahead

The Dan Lawson Band is a 2025 New England Music Awards nominee in the “Blues Act of the Year” category; they’ll find out on Sunday if they’ve won, but with all the amazing blues in New England, every band nominated is pretty dang good. (In other words, it really is an honor to be nominated, even if they don’t win on Sunday.)

Album Review: Tyler Nail – Family

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photo courtesy of Tyler Nail

Album Review: Tyler Nail – Family

Tyler Nail‘s trademark, identifiable, tuneful warble may be the most obviously original component of his heartfelt, soul-touching, country-tinged Americana, but the choices he makes in song structure, instrumentation, and arrangement are what nudge his 8-song album Family into instant classic territory. Just as importantly, Nail kicks things off with perhaps the album’s most memorable song, “9 Pound Hammer.” It’s certainly the fastest of the collection to grab hold, but within a few listens, it’s definitely not alone.

Tyler Nail moved to Rhode Island in 2024, leaving behind his native North Carolina, where, based on the multiple awards and award nominations he received, his talent was clearly acknowledged. In just a short time, he is already embraced by his new locale, receiving accolades here in New England, too. Tyler was nominated for Motif Magazine’s 2025 Rhode Island Music Awards in the Favorite Americana Artist and Favorite Singer/Songwriter categories. He is also a 2025 New England Music Awards nominee in the Songwriter of the Year, Performer of the Year, Americana Act of the Year, and Video of the Year categories. (The Video of the Year nom is for Tyler’s “Away from Home” video; the video and song predate the release of Family.)

image courtesy of Tyler Nail

Family, as I mentioned, opens with “9 Pound Hammer.” The song paints a picture both lyrically and musically, its lively energy delivering a matter-of-fact, slice-of-life-ness as Nail’s vocals, including that trademark vocal tone, paint a picture of life, pride, and the inevitable technological advancement that can leave even the most hard-working among us behind. I mean, it’s also just a really cool song that’ll get stuck in your brain, something you’ll simply enjoy listening to, too.

“Cussing at a Neon Sign” follows, its pleasant picking pattern well-suited to the song’s nostalgic delivery, one that elicits warmth while envisioning the pictures painted by the song’s lyrics.

The rest of the album continues with mellow, often melancholy, well-written, picture-painting musings, showcasing Nail’s very identifiable, compelling vocal style atop varying strumming patterns, tempos, and arrangements, varied enough for an eight-song, similarly-soft-tempoed collection to remain interesting from beginning to end. It’s a rewarding complete listen, thanks to Nail’s songwriting and performance skills.

The album’s third song, “I Don’t Mind the Rain” is a soulfully Americana-styled storyteller that’s probably the record’s most likely entrant to get the listener swaying pleasantly side-to-side. Like so many of the songs on this album, this one, too, is a lyrical masterwork.

photo courtesy of Tyler Nail

The picking pattern at the beginning of “Jose Pozo” and a uniquely wide-open sound bed, with an almost western twang in some of the acoustic guitarwork, lend it a cool, unique sound that’s slightly unlike anything else on the disc; of course, it still showcases Nail’s unique vocal delivery and sticks to the record’s relatively slow pace.

The back half of the record begins with “Let’s Go Home,” an ultra-slow-paced, melancholy number. “Someday (acoustic)” follows, an almost ominous-toned tune with a slight mystical edge in the picking and strumming.

“Way to Live” continues the record’s quiet, thoughtful mood, though a bit more nostalgic in this case. For traditional country music fans looking for a guitar-picking soft Americana number as a playlist change of pace, “Way to Live” might be just what you seek in this collection.

Family closes with the wistful “Japanese Cherry Tree.” The rich, warm opening vocals are a nifty touch. The song’s gentle but firm strumming, Nail’s trademark warbly crooning style, and the lyrics’ earnest delivery, all wrapped in a package that’s pleasant to listen to, are a fine representation of Nail’s sonic specialties. Though my personal favorite songs on the album, when I look back after listening, are usually “9 Pound Hammer,” “I Don’t Ming the Rain,” and “Way to Live,” while I’m listening to it, “Japanese Cherry Tree” is my favorite for the six-plus minutes of its duration, making it a solid way to conclude the eight-song listening experience.

Family is a terrific collection of well-written songs from a troubadour New Englanders can consider themselves lucky to call a new neighbor, a resident country-folk-Americana artist with exceptional songwriting talent.

More Recently

On Halloween, Tyler Nail released a new single, “Haunted Houses.” You can find it here on his Bandcamp page.

Single Review: Pylot – “Faded Light” (feat. Ezra Hyte)

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image courtesy of BJF Media

Single Review of Pylot: “Faded Light” (feat. Ezra Hyte) (FiXT)

With “Faded Light,” Pylot delivers a haunting synthwave-based, emotionally powerful, radio-friendly pop song whose pattern-based, light-touch, scattershot synth and rhythmic drumbeat combine in a musical backdrop ideally suited to Ezra Hyte‘s emotional vocals. On this recording, Hyte’s vox remind me of Dean Lewis, while Pylot’s music bed is sparse enough to let the vocals drive the melody.

cover art: Pylot – "Faded Light" (feat. Ezra Hyte)

image courtesy of BJF Media

The tempo of “Faded Light” is slow, but the rhythm bounces like a boxer dancing around the ring, sizing up the melody, as Hyte’s vocals reside in the echoey, soft-touch, heart-wrenching yet pleasantly tuneful end of the Lewis-esque sincere power-pop vocal range.

In the end, Pylot’s music and Hyte’s voice combine on “Faded Light” to deliver a sad song that’ll appeal to a broad range of music fans, from those whose heartbreak songs are usually of the classic rock variety to listeners with more modern tastes. Simply put, this is a very cool song music fans really ought to be aware of; if you haven’t heard it yet, do yourself a favor and give it a spin.

EP Review: Nikki and the Barn Boys – Where Do We Go From Here

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photo courtesy of Nikki and the Barn Boys

EP Review of Nikki and the Barn Boys: Where Do We Go From Here

The vocals are a key driver of Nikki and the Barn Boys‘ sound, kind of a wail, sometimes a howl, but with power and edge and an almost crooning nature to them, if that’s possible. Regardless, it’s a unique amalgam packaged in a familiar, comfortably noisy guitar driven alt-rock jangle. Sure, the band is a New England Music Awards nominee in the New Act of the Year, Song of the Year, and Album of the Year categories. We’ll find out whether or not they take home any hardware on November 16th. Indeed, the band fully earns its inclusion among New England’s finest with this four-song, NEMA-nominated EP, Where Do We Go From Here.

photo courtesy of Nikki and the Barn Boys

Album-opener “Sacramento” is a catchy strummer. The scratchy, attention-grabbing opening, the captivatingly distant “oo-oo” background, and the pace that feels more uptempo than it really is. This is an opening track that’s instantly engaging. It’s energetic yet sports a too-cool-for-you-all, tunefully flippant vocal delivery.

“Fall In” follows, a noisy, energetic, emotionally wrought wailer. It has a bit of a modern vibe, but for those who remember the times, it brings back all those jangly old ’90s college rock feels.

NEMA Song of the Year nominee “Strawberry Hill,” track three, has a motoring beat that’s a little reminiscent, for me, of Bridget Davis & the Viking Kings, but Nikki and the Barn Boys are a fair bit more energetic, distorted, and enthusiastic. The tempo isn’t particularly fast, but the amount of energy the song generates makes it seems deceptively lively.

image courtesy of Nikki and the Barn Boys

Finally, “Drowning” concludes the collection. It’s a bigger, broader, more empty-spaced crooner, with the music building and pausing to emphasize the more heartfelt, wail-meets-howl chorus.

Where Do We Go From Here is a great four-song introduction to a modern alt-rock band with a timeless style. If you’re looking for music that’s a fun mid-tempo romp with beguiling hooks that seems as if it may be a little cooler than anything else you’re into, you’ve gotta check out Nikki and the Barn Boys.