Author Archives: Geoff Wilbur

Live Review: Danielle Miraglia at Front Street Concerts

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Danielle Miraglia (The Glory Junkies Trio)

photo by Geoff Wilbur

Danielle Miraglia

Front Street Concerts, Hopkinton, MA

August 12, 2017

Danielle Miraglia is a Boston treasure. Period. We are fortunate enough to have one of the best regional blues-centered music artists in our midst, a special performer whose full band shows (with her band, the Glory Junkies) are blues-rock and whose solo acoustic shows are more blues-folk, but they always carry that original Danielle Miraglia spark, that glint in her musical eye, and that fun, amusingly thoughtful emotional and intellectual sincerity. The entire east coast is lucky to get a chance to experience her music during her tours, but we in the Boston area can get a regular dose of her musical magic, and the fact that she typically draws strong crowds even with her frequent performances is a testament to how much we appreciate her considerable, world-class talent. This is my fourth review of Danielle’s music since the Blog‘s launch, but it is the first in more than a year. I reviewed her last album, a 2016 set at Atwood’s Tavern, and last summer’s gig at Front Street Concerts.

Danielle Miraglia

photo by Geoff Wilbur

Front Street Concerts, meanwhile, is a favorite venue, perfect for a pleasant summer night. It’s a backyard “house concert” with a dinner buffet and a purpose-built barn featuring a stage and a sound system, with wide-open barn doors and a tent allowing most attendees to sit outside on lawn chairs. Even without the music, it would be a great place to spend a summer evening. But, of course, the concert series organizers always, dependably bring in exceptionally talented musicians.

On this particular evening, Danielle performed fronting the Glory Junkies Trio, flanked by violist Laurence Scudder and guitarist Erik White from her Glory Junkies band. Using a stomp box where added percussion was necessary (as she does during solo acoustic performances), Danielle delivered a perfectly rockin’ evening of blues and blues-rock. The Trio kicked things off with one of the songs that first turned me on to Danielle’s music, “See the Light” from her 2011 Box of Troubles release. This is almost hillbilly blues-rock, showcasing her bandmates’ skills, hinting at the offbeat humor occasionally hidden in Danielle’s lyrics, and featuring her strong, versatile voice, touching upon its raw power while built around the textured emotion that makes her mid-range so powerful.

Danielle Miraglia (The Glory Junkies Trio)

photo by Geoff Wilbur

She followed that with a pair of songs from her Glory Junkies disc. “Fair Warning” sports a cool, almost syncopated sound in its trio arrangement, while “Famous For Nothing” is driven by kind of a chunky rhythm when performed live, a cool rendition of this album favorite on this particular evening.

Next up was the first of Danielle’s new originals to be performed this evening, “All of My Heroes are Ghosts.” Classic, gritty, growly Danielle Miraglia at her best. It was during this song, in fact, that I was compelled to comment to the person standing next to me, “Oh, my God! That thing in her voice!” Vintage. Or, rather, new, since it’s one of the songs I assume will be on the album she’s currently recording.

Danielle Miraglia (The Glory Junkies Trio)

photo by Geoff Wilbur

Late in the first set came another favorite new song, the topical, timely “Make Your Own News.” On the whole, the tune chunked along like a classic blues rocker, but the bridge almost seemed to borrow from seventies pop-radio harmonies, and there was a fun viola solo well worth its own shout-out, as well.

After that, Danielle shook the joint with the raucous “Stagger Lee” before mellowing a bit on “Home,” a powerful song whose sound is always so warm and uplifting, a tune that displays the richness of Danielle’s voice that makes this sort of connection possible. And, of course, she closed the first set with a Janis Joplin cover, just one of many iconic artists whose songs fit her voice so well.

Spotted Tiger (Laurence Scudder & Erik White)

Spotted Tiger (Laurence Scudder & Erik White); photo by Geoff Wilbur

The second set started with two songs sans Danielle, as Laurence and Erik have their own band, Spotted Tiger. So we were treated to a couple Spotted Tiger tunes. The first was an almost hillbilly-ish Americana number; the second more like energetic folk. Indeed, these guys form a cool duo. I saw them perform a full set as Spotted Tiger once before, the spring before I launched the Blog.

Then Danielle was back to finish off the night. The second set featured a couple favorites from the Glory Junkies disc, “Dead End Street,” in which I love the funky pop element that interacts well with Danielle’s blues snarl, and “Coffee Stained Thank You Cards,” a song that would easily win my vote as the best blues-rock song to mention sarcastic zombies in the lyrics.

Notable, as well, was new original “Everybody’s Wrong.” This one shows off Danielle’s blues howl – my notes from the evening simply say “Grrr!” and “Wow!” – in addition to some almost Chuck Berry-esque axework by Erik White.

Danielle Miraglia (The Glory Junkies Trio)

photo by Geoff Wilbur

The final set also included several covers. There was a Dylan cover, the heartfelt, melancholy “I Want You.” And a Prince cover, of course: “Gett Off.” And notably, as usual, a show-closing, wailing rendition of Tom Waits’ “2:19,” a Danielle Miraglia concert staple that she always makes her own.

Not ready to end the evening any earlier than necessary, there was, of course, an encore. In this case, a very gospelly rendition of “Shine a Light.”

There’s rarely a better way to spend a Saturday night than at a Front Street concert. And there’s never a better evening than a Danielle Miraglia concert. Combine the two, and you get a true summer memory.

Looking Ahead

There’s just one Front Street Concerts event left this summer. That’s next Saturday, August 19th, featuring Tim Gearan. If you can get out to Hopkinton next Saturday, it’s well worth it. But you need to RSVP in advance to reserve your spot.

Danielle Miraglia (The Glory Junkies Trio)

photo by Geoff Wilbur

Danielle Miraglia, of course, has several shows on her schedule. Next up is August 26th at Lemifest in Mashpee. Then, on August 27th, as part of the Charles River Reprobates in Newburyport. You can also catch her on September 3rd at the Plymouth Folk and Blues Festival in Plymouth, VT and on September 9th at the 7th Annual Haverford Music Festival in Havertown, PA. Be sure to check the “Shows” page of her website for details and check back regularly to stay current. Indeed, this is one of the thinnest schedules I’ve seen on her website in a while, so I’m sure there will be more shows added soon.

Spotted Tiger also has a few gigs coming up, as noted on their website. They’ll be onstage tonight, August 13th, at Toad in Cambridge, MA. They’ll be at Bull McCabe’s Pub in Somerville, MA on September 22nd. And they have gigs listed in Beverly and Salem, MA and Nashua, NH on various dates from October through February. For more details, see their website.

Live Review: 4EverFab at Ellsworth-McAfee Park

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4EverFab at Ellsworth-McAfee Park

photo by Geoff Wilbur

4EverFab

Ellsworth-McAfee Park (Northborough Summer Concert Series), Northborough, MA

August 10, 2107

4EverFab at Ellsworth-McAfee Park

photo by Geoff Wilbur

If you saw my review of The Mychael David Project’s show last summer, you know I’m a big fan of the Northborough Summer Concert Series. It’s a nice park, and the series reliably books talented bands. Tonight was the first time I was able to Northborough for a show this summer, and it was the last show of this summer’s series. I arrived a half hour late, but the show started a half hour late due to some technical problems, so I actually caught what may have been the first song of the evening, “She Loves You.”

It’s easy to critique a bad Beatles tribute band. And a hard critique in such an instance is well-deserved. But it’s hard to know what to write about a good Beatles tribute band. There’s no point in describing the songs; you know them by heart. All I really have to do is mention song titles – don’t worry, I will – and you can hear them in your head. So, was this a good night or a bad night? Well, 4EverFab is widely-booked and popular in a major metro area with plenty of entertainment competition, so you can do the math.

4EverFab at Ellsworth-McAfee Park

photo by Geoff Wilbur

4EverFab covered all of the Beatles’ music styles, from the early stuff to the late stuff, with aplomb. They did a great job with the crunchy rock guitars (like “Back in the USSR”), the edgy psychedelic stuff (“I Am the Walrus”), the harmonies (“Paperback Writer”), the mellower stuff (“In My Life”) and everything in-between. 4EverFab is a talented, tight outfit that could perform a broad range of music beyond the Beatles, too, you’d have to imagine, based on how well they cover the Beatles’ catalog.

Of course, the two-hour set was filled with more favorites: “Penny Lane,” “Strawberry Fields,” “Yellow Submarine,” “Ob-La-Di Ob-La-Da,” “Hey Jude,” “A Hard Day’s Night,” John Lennon’s “Imagine,” the Beatles’ “Birthday” song, and many more.

4EverFab at Ellsworth-McAfee Park

photo by Geoff Wilbur

An evening of Beatles hits performed by a top-notch Beatles tribute band like 4EverFab was a great way to end the summer’s outdoor concert series in Northborough, always an ominous sign that the summer is coming to an end.

Looking Ahead

You can catch 4EverFab at several more summer concert series around Massachusetts (and one in NH) this month, starting in Taunton tomorrow night, Friday, August 11; Burlington on August 15; Mansfield on August 16; Lynn-Nahant Beach on August 17; Plainville on August 20; Randolph on August 22; Southbridge on August 27; Danvers on August 28; and Plaistow, NH on August 30. They’ll also be performing at the Topsfield Fair on Saturday, September 30. Keep up with 4EverFab’s live performance schedule here on their website.

 

EP Review: Blushface – EP

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Blushface

photo courtesy of Blushface

EP Review of Blushface: EP

Formed in Kraków, Poland in 2016, Blushface is comprised of Mateusz Bober, Michał Popiel and Maciek Iwański. The music created by this trio is exceptionally catchy rock and roll, making it a joy to get a chance to listen to this EP over and over while reviewing it. The music is impossible to pigeonhole further, though, because it crosses so many subgenre lines.

“Astral” kicks things off with a brooding, slightly grungy rock vocal, consistent beat, and straight-up rock attitude. A little 3 Doors Down-ish, on the slow side of mid-tempo, vocals a bit more rough-edged and with a clear, very cool accent. And the guitar solo in the latter half of the song is a great mid-tempo blues-based guitar rock segment. Even from the first few seconds, it’s apparent Blushface’s EP is going to be one of the better new albums you’ll discover this month. And it’s actually someone else the vocals remind me of – not exactly 3 Doors Down… or The Fray… or The Calling; I’m sure someone will think of the singer and mention him in the comments, even if the name continues to escape me, but I hear the voice in my mind. Still, that’s a pretty good list of bands whose fans might dig this tune, though you should expect something on the cusp of slow grunge.

Blushface - EP

image courtesy of Blushface

“Just Boy and Girl” is up next, and it opens with a cool, catchy rock guitar line before being joined by vocals, adding a dose of ’80s/’90s hard rock insistence to a song that’s a little jangly at times for typical hard rock but sports a crunchy riff that’ll satisfy rock fans while then dancing off into tuneful interludes for sections of the track. Indeed, like much of the album, this song almost feels like Scorpions-lite. In other words, it feels like the softest album you’d find among a collection of hard rock fans’ favorites. And it sounds as if a live performance will carry a bit more weight, too. Like a mid-tempo rock band the quality of whose vocal and axe chops give it serious street cred.

“Fairy Tales” mellows things out a bit, with strumming guitar offsetting the occasional dancing electric riff, the song eventually revealing itself as a lift-your-lighter arena rock ballad, replete with the crunching blues-rock-based guitar solo.

“YOLF” feels a lot like an ’80s guitar rock song. One of the more sparsely-produced ones, but unmistakably hooky ’80s guitar rock. Its totally cool vibe is supported by a driving beat and tunefully insistent vocals.

“Ask Me Twice” closes the disc with a catchy, hooky, lightly instrumented rocker. This one seems like a sing-along tune, supported by a playful guitar line that sometimes seems it would smirk if it could. It carries a lighter feel than the rest of the songs and sets the collection down softly with a smile.

Beginning-to-end, this is a fun five-song collection that could appeal to a broad range of rock fans. As noted, the guitar chops and occasional vocal power should be sufficient to earn a nod from hard rockers, while the hooks and tempo should appeal to pop and pop-rock fans. Indeed, this is a fun EP, and I urge you to give it a listen. Almost from the first spin, it became one of my favorite new discoveries this year; I’m glad the band reached out to me and introduced themselves and their music.

Album Review: Billy Crockett – Rabbit Hole

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Billy Crockett

photo by Rodney Bursiel; photo courtesy of Shock Ink

Album Review of Billy Crockett: Rabbit Hole

Billy Crockett opened the Kerrville Folk Festival’s main stage this year. He is widely revered within folk music circles. And, as I first discovered at a house concert in April and found confirmed by repeated listens to his newest album Rabbit Hole, he has as good a shot as anyone (and better than most) at making that leap into the broader public consciousness.

Billy Crockett - Rabbit Hole

image courtesy of Shock Ink

Billy’s voice is an original. It’s his calling card. It’s the perfect voice for a storyteller. While he often channels emotion via an exceptionally emotive vocalization a la Randy Newman, he does it with a voice that can be as smooth and able to hit big notes as Bob Halligan or Joshua Kadison. It’s a style that works well for him. I can picture Billy’s songs providing the narrative to a play or film, with Billy himself serving as the singing narrator. In fact, if there’s ever a remake of Rudolph the Red Nosed Reindeer, I’d nominate Billy Crockett for Burl Ives’ narrating snowman role.

With that in mind, Rabbit Hole is an engaging collection of folk paintings, with Billy’s voice serving as the paintbrush, or folk stories, as told by a master storyteller. And, though I hadn’t intended to mention each and every song when I initially planned this review, I found it impossible to leave even one out once I started composing the review, so here you go…

Billy Crockett

photo by Rodney Bursiel; photo courtesy of Shock Ink

The title track kicks things off in a carnival barker-ish style that’s an instant attention-grabber. Indeed, Billy’s narrating the story as an Alice in Wonderland-ish Mat Hatter exploring things rabbit hole-related. It’s a unique song, an interesting journey, a great way to kick things off.

“Record Player” follows, with guitar-slapping syncopation, an emotional voice, a cheery rhythm, and a healthy dose of nostalgia. As a standalone track, I think this one is my personal favorite.

Forboding vocals, as hinted at on “Rabbit Hole,” return full on “On Your Way,” as if Billy’s lead and the backing Gospel-blues wails are warning of a gathering storm. It’s followed by the thoughtful “Drought,” with Billy’s wistful vocals painting a picture of drought, aided by carefully picked strings portraying raindrops.

As Billy moves around the big tent of folk styles and incorporates other influences, “Take Me” sports a bit of a Jimmy Buffett vibe, cheerful, playful, and relaxed. And, in an act of wise song placement, it’s followed by a soft song in the same vein, relaxed and happy, the mellow, comfortable “Almost Perfect,” replete with reminiscences and of the fortunate results of opportunities foregone.

Billy Crockett

photo by Rodney Bursiel; photo courtesy of Shock Ink

“Spare Me” utilizes an accelerating and decelerating vocal tempo and sorrowful tone, along with sparse guitar strumming, to draw the listener closer and bring tears to the listener’s eyes. If you can withdraw yourself from the song’s emotion enough to examine it, the song structure is as interesting as its content.

Fortunately, Billy doesn’t leave the mood low for long, as “That’s Something” is the next song up. Impossible to stay down in the face of this song’s building wave of cheerfulness, as powered by its upbeat music, it’s an ode to small pleasures and the subtle things at which to marvel in everyday life, if someone’s eyes are open to them. Remaining upbeat, he follows that with “Mavis,” an uptempo, groovy ode to Mavis Staples (and to civil rights).

Next up is an homage to family he barely or never knew, those family members before his time, who he never met or merely crossed paths with as a young child. “Ghosts” is a softly-strummed, detailed, comfortable spoken-sung story-song that will bring a lump to your throat, even though the song is about complete strangers – well, not to Billy. And if you don’t get completely choked-up when his father arrives at his dinner of ghosts, you’re not human. Such a powerful song.

Billy Crockett

photo by Rodney Bursiel; photo courtesy of Shock Ink

The mood comes right back up with “Big Old World,” the album’s final track. Utilizing the one-phrase-flows-into-the-next vocal style, it’s a happy ditty encouraging exploration of the world outside, living life beyond your four walls. Indeed, after the roller coaster of emotions in Rabbit Hole, it’s a great one on which to end. Enjoy life because every day’s a gift. As is this album. Thanks, Billy.

Beginning to end, Rabbit Hole is a masterwork from a masterful singer and songwriter in the folk genre. So I’ll repeat that thanks to Billy for sharing it with the rest of us. Now it’s up to you, reader, to take a listen.

Looking Ahead

Well, if you can get out to see Billy Crockett perform live, you should. I saw him perform a couple months ago, as I reviewed in the Blog. He opened up the Kerrville Folk Festival as the first opening night performer on the main stage last month. At the time, I inquired of an old music industry friend in attendance if she’d be at his performance, and she replied “Of course. I wouldn’t miss Billy.” So don’t miss Billy.

At the moment, according to the “Shows” page on Billy’s website, he lists only six upcoming shows, the first more than a couple months away: Saturday, September 30 at Rolando Diaz Fine Art in Santa Fe, NM; Saturday, November 11th at Blue Sage Hall in Kerrville, TX; Sunday, November 12th at Kessler Theater in Dallas, TX; Saturday, November 18th at the Cactus Cafe in Austin, TX; Sunday, November, 19th at the Dosey Doe Big Barn in The Woodlands, TX; and Friday, March 9, 2018 (next spring!) at The Calgary Folk Club in Calgary, Alberta, sharing the bill with Perla Batalla. Check back to Billy’s website for more updates; he added three of those six shows between my first draft of this review and its publication date.

Live Review: Coco ‘n’ the Fellas at the Bee Bop Café

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Coco 'n' the Fellas at the Bee Bop Cafe

photo by Geoff Wilbur

Coco ‘n’ the Fellas

Bee Bop Café, Plovdiv, Bulgaria

June 29, 2017

I had been hoping to get to this club during my stay in Plovdiv this year. Several of my favorite jazz (or jazz-influenced) artists have performed here, so I knew to expect talent on the schedule. Obviously, I still checked out Coco ‘n’ the Fellas’ music before deciding to head out to the club, and I was duly impressed. Not just with the band, but with the club, as well. It has a comfortable vibe of its own, and I hope to return whenever I’m in town and find good music on the club’s calendar. Indeed, Plovdiv has a top-shelf jazz venue rivaling those of any major city.

Coco 'n' the Fellas at the Bee Bop Cafe

photo by Geoff Wilbur

London-based Coco ‘n the Fellas consist of Ami Oprenova and “the Fellas”: electric guitarist Daniele Ciuffrida, acoustic guitarist Joe Perkins, and upright bassist Havard Tanner. The group’s sound is gypsy swing-influenced. As you may know, while I appreciate and enjoy good jazz music, and I think music fans spanning most genre preferences would recognize Coco ‘n’ the Fellas as an exceptionally talented ensemble, it’s not my area of greatest expertise, so you can (as I did) click through to see what Wikipedia has to say about gypsy swing if you’re so inclined.

The group performed two sets at the Bee Bop Café, delivering the sort of performance I’d expect in a ’50s or ’60s jazz club, a cool night out in a setting with an air of sophistication. The “fellas” were tight when supporting Ami’s vocals, loose and adventurous when called-for, and occasionally a bit playful in their instrumentation. “Coco” frequently became the fourth instrument, as is the case in many jazz performances, scatting along with or in response to one of her bandmates. Just as notably, once every few songs, she would hold a note impressively long, often matching a note-holding cohort. In all, an exceptional outfit, well-matched and up to their collective task.

Coco 'n' the Fellas at the Bee Bop Cafe

photo by Geoff Wilbur

After a music-only opening, Ami joined the band on stage to begin the evening with “Honeysuckle Rose.” It was followed by an exceptional performance of Kenny Wheeler’s “Everybody’s Song.” The performance was smooth, like something straight out of a ’70s love story movie soundtrack, perhaps from during a montage scene. This was one such instance in which precise light instrumentation was deployed in support of Ami’s smooth, full vocal, her voice dancing around the melody, never sitting still on it.

I loved the tempo of “After You’ve Gone,” a (gypsy) swinging tune that was notably driven in parts by the electric guitar. And “If I Didn’t Have You,” an oh-so-smooth song overall, is primarily bass-driven with each guitarist moving the song along in a different segment.

At this point, Coco ‘n’ the Fellas pleased the crowd with a jazzy version of a traditional Macedonian song, one of my favorite moments of the evening, as well.

Coco 'n' the Fellas at the Bee Bop Cafe

photo by Geoff Wilbur

Another highlight was “A Red, Red Rose,” a very torchy number, one of several that showcased Ami’s strong lower register, contrasting it with the dynamic higher end of her vocal range. Ami and Joe performed as a duo on “Cheek to Cheek,” an uptempo strummer that included some serious scatting. And the band without Ami delivered an instrumental, “Dark Eyes,” that seemed like it should, on at least some occasions, inspire some jazzy folk dancing.

The second set was an extension of the first, an enjoyable performance by this talented ensemble. Rather than repeat myself too much, I made note of just three songs from the second set. “A Child is Born” is about as smooth and mellow and this quartet gets. Coco ‘n’ the Fellas original “Not Enough Coffee” doesn’t contain many words, but it is high energy, I noted, as if the song itself was actually hyped up on too much coffee (in a fun way, of course). And I noticed great energy on the group’s performance of “King of the Swingers,” a recording of which you’ll actually find on YouTube from one of the band’s London shows last fall.

Looking Ahead

Per the “live” tab on band’s website, Coco ‘n’ the Fellas continue their European tour in Bulgaria and Italy before returning to London. However, the dates on the website are off by one (unless they’ve been corrected since I checked since the band is aware of it), so you’d be better served to rely on this Facebook photo, which lists the correct dates, though it’s a little incomplete. Tonight (June 30th), the group is at Menthol in Varna (though it may be too late by the time I’ve posted this for you to get to the show), tomorrow (July 1st) at the In the Jazz Bar in Stara Zagora, and Sunday, July 2nd at Jazz Club Studio 5 in Sofia. In a couple weeks, the group will have a few dates in Italy. And then they return to London, with a few shows booked through August. The band tells me they’ll be in Ireland later this year, too. Be sure to check the band’s website (and/or its Facebook page) or the venue websites for additional information. And, of course, double-check the dates.

 

Album Review: Lucid Fly – Building Castles in Air

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Lucid Fly

photo courtesy of Head First Entertainment

Album Review of Lucid Fly: Building Castles in Air

Building Castles in Air is the fourth release from heavy progressive rockers Lucid Fly since 2005, but it’s the band’s first full-length release. Nikki Layne (vocals), Doug Mecca (guitarist), and Aaron Ficca (drums) combine their talents to create a powerful, weighty, brooding tour de force.

The album moves along at a slow tempo, as if weighed down by its heavy guitars and drums, carrying its power slowly and deliberately. Yet even with all of its weight, Lucid Fly finds the ability to soar, lifted at least in part by Nikki Layne’s rising, falling, soaring vocals, but also by the progressive nature of its instrumentation, able to reach exceptional heights without losing any strength and power.

Vocally, Nikki reminds me a lot of Rescue Aurora‘s Brittany Flynn. Though Lucid Fly is progressive heavy metal while now-defunct (and much less widely-known) Rescue Aurora was heavy alt-rock, the two bands’ penchant for powerfully deliberate tempos further amplifies their vocalists’ similarities.

Lucid Fly - Building Castles in Air

image courtesy of Head First Entertainment

Lucid Fly opens Building Castles in Air with “Billowy and Broken,” easing the listener into the band’s power with bits and pieces of unleashed fury displayed periodically, offset by an erstwhile mellowly soaring music bed and strong vocals, mixing softness with strength and power. By the end of the song, the shift has been made to power; a perfect entrée into the heavy progressive rock world that is Building Castles in Air.

Stylistically, this could easily be listened to as a mood-setting album, a work that creates a feeling, with individual songs being less important than the complete collection. It suggests the sort of band whose concert would be amazing simply because of an overriding sound, one that draws listeners in for that reason alone. Then, of course, after multiple listens, the songs begin to separate themselves, carve their individual identities, and favorites begin to emerge.

“Billowy and Broken” is one standout, and it’s followed by another, “Circles Into Squares,” with edgy vocals punctuating the powerfully atmospheric guitar line.

“No I in Voice” shares its power in a seemingly asymmetrical manner, as if the whole song is off-balance and about to topple over, atmospheric in parts, yielding to driving power via forceful drumming and a whirling, heavy guitar line. I never really quite groove along with the song, as it always seems a bit askew – very creatively interestingly so.

Lucid Fly

photo courtesy of Head First Entertainment

“Ribbons” would stand out by itself, but it serves the purpose of steadying the ship, as well, by immediately following “No I in Voice.” “Ribbons” hints at the same whirling guitar in spots, but it’s more of a straight-ahead, steadily-balanced, centered mid-tempo rock tune. One with pleasingly powerful vocals, occasionally soaring with the music, building in power and releasing during softer musical bridges.

Finally, the last song I’ll mention individually is “Next to Strange.” It has an incessantly driving rhythm with interestingly tempo-overriding vocals seeming to soar but actually just punctuating the song’s gentle intensity. This is, at least to me, quintessential progressive hard rock at its finest.

As a whole, Lucid Fly’s Building Castles in Air is an all-encompassing listen. It envelopes the listener with a slow but heavier-than-a-brick-wall progressive sound, as powerfully weighty as it is musically meanderingly progressive. Again, it almost seems odd to review the individual songs as the entire album is an entity, a terrific beginning-to-end listen. It also captures such power that I’m guessing Lucid Fly must most certainly deliver a blow-your-face-off live performance worth seeing… and feeling.

Live Review: Pesky J. Nixon at Front Street Concerts

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Pesky J. Nixon

photo by Geoff Wilbur

Pesky J. Nixon

Front Street Concerts, Hopkinton, MA

June 17, 2017

Pesky J. Nixon

photo by Geoff Wilbur

Before this evening, I had heard of Pesky J. Nixon, but I had never seen the band perform live.  A regionally touring folk band, Pesky J. Nixon plays locally occasionally, but they were just one of many top bands I hadn’t yet fit into my schedule. That changed last night.

Featuring two options for lead vocals, an accordion, and a mandolinist/fiddler, Pesky J. Nixon can cover a variety of musical real estate, centered on folk. The group shines when it features its immensely strong vocal harmonies. And its sense of humor, especially live. An evening with Pesky J. Nixon is a lighthearted affair featuring a cadre of top-shelf musicians.

Pesky J. Nixon

photo by Geoff Wilbur

The band opened with its cover of “Look at Miss Ohio,” showcasing its great harmonies. The first set also featured a smooth folk groove on Woody Guthrie’s “Oklahoma Hills,” great fiddling and harsh vocals on Buffalo Springfield’s “Stop Children What’s That Sound,” and an energetic, groovy, and fun cover of “Easy Chair.”

The amazing Ansel Barnum joined the band for the final song of the opening set, the smooth, lilting original “Breathe in Autumn.” Ansel would play on the final three songs of the second set, as well.

Pesky J. Nixon

photo by Geoff Wilbur

Second set highlights included a cover of Ryan Adams’ “Two,” steeped in the band’s exceptional musicianship and strong energy. And the following song, a cover of Jimmy Ryan’s “John Brown,” in which the accordion and drums drove the rhythm, harmonies and co-lead vocals added texture, and there was a mandolin solo. Indeed, this performance of “John Brown” ticked all the boxes of a great Pesky J. Nixon song, cover or original.

The cover of Jeffrey Foucault’s “Americans in Corduroys” was a more sentimental number, an easy song to just close your eyes and soak into.

Pesky J. Nixon

photo by Geoff Wilbur

The return of Ansel Barnum closed the evening with three more crowd-pleasers. First, a Pesky J. Nixon original, “Anna Lee” dabbled in harmonies, accordion, and harmonica. No, I wouldn’t call it bluegrass, either; we’ll just say it’s bluegrass-inspired and leave it at that.

Next up was an energetic, fun, rollicking rendition of “Talk About Heaven,” a Tim Gearan tune on which Pesky J. Nixon brought its most intense energy of the evening.

Pesky J. Nixon

photo by Geoff Wilbur

And the “encore” was a real treat. A melancholy, nostalgic, wistful folk rendition of… “Girls Just Want to Have Fun.” Complete with singalong. Did I mention that sense of humor? Indeed, though mostly present in the between-song banter, clearly it also creeps into song selection. Truly, they did a heck of a job with it. And it drew to a close an exceptional evening of folk and folk-adjacent music from a talented band.

Pesky J. Nixon

photo by Geoff Wilbur

Looking Ahead

Pesky J. Nixon lists four upcoming shows on the band’s events calendar, though I’d suggest checking back as more gigs are added. First, on June 25th, the band will perform with Miles to Dayton as part of the Sunday Street Acoustic Series at the Long Island Museum in Stony Brook, NY.  Next up, they’ll take part in the Falcon Ridge Folk Festival August 3rd-7th in Hillsdale, NY. On September 15th, they’ll be local again, joining the Durham County Poets at the Amazing Things Arts Center in Framingham, MA. And on September 23rd, you can catch them at Common Ground Community Concerts in Hastings-On-Hudson, NY.

Front Street Concerts has four more concerts currently scheduled this summer: Peter Mulvey on Thursday, July 13th; Andrea Gillis & Marc Pinansky on Saturday, July 29th; Danielle Miraglia on Saturday, August 12th; and Tim Gearan on Saturday, August 19th.

Live Review: Ibby at The Farmer’s Daughter

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Ibby

photo by Geoff Wilbur

Ibby

The Farmer’s Daughter, North Easton, MA

June 16, 2017

Tonight’s show was an album release party for Ibby’s new disc, Cross Your Heart. In the past several years, I’ve only been to one other hometown album release event at a venue filled with friends and family like this – TOS’ in Maynard last summer. Sure, I’ve been to album release concerts in the city, but this is a unique sort of event with its own energy, one where relatives, neighbors, coworkers past and present, and (especially for a recently-graduated 18-year-old like Ibby) school friends seem to comprise nearly the entire audience.

Ibby

photo by Geoff Wilbur

From the start, Ibby adorably, enthusiastically cheerful, fully enjoyed the spotlight and every moment – contagiously so, in fact; it’s clear this fearless singer-songwriter is completely at home performing.

Frequently, Ibby’s songs reminded me of other talented artists. Not in the entirety – which is to say, she has an original sound of her own – but elements of her songs recalled others for comparison. Unfortunately, I was rarely able to get beyond “what is the name of that song this reminds me of?” last night, so I’ll have to hope I can make more of those connections for you later this summer when I review the CD. Suffice it to say, Ibby’s songs will quickly feel familiar while remaining uniquely hers.

Ibby’s vocals are warm and rich with plenty of well-placed vocal cracks adding emotion and emphasis. Her strumming was steady and strong with varying patterns giving the songs unique textures. And, as I noted, her cheerful-yet-thoughtful, enthusiastic stage presence was cute and endearing. It’s a combination likely to win over any audience of music fans.

Ibby

photo by Geoff Wilbur

Ibby’s music is pop singer-songwriter fare, occasionally veering into folk-pop, sometimes sporting a hint of country, written about and inspired by events in her life. It’s a glimpse at the ups and downs of a teenager’s world, if that teenager is as introspective and self/world-aware as a good, young songwriter must be. Musically, I’d expect to hear her music in coffeehouses, nightclubs, and festivals (and on the radio). And, as with any song-driven music, it should transition well between acoustic and full-band performances, as opportunities arise, obviously sounding more folky when it’s just a girl with her acoustic guitar.

She kicked the evening off with “Breathin’,” a song driven by its strumming pattern and featuring an emotionally scratchy vocal. The next song, slightly folky pop-rocker “How Did I End Up Missing You,” coupled insistent vocals with forceful strumming, mixing a cracking voice with a combination of other tuneful vocal elements to create a memorable, distinctive-yet-familiar sound.

Ibby

photo by Geoff Wilbur

Other songs stood out during the evening, as well. “88 Keys” deployed a heavier strum, building and getting louder during the song. “Pier 17” was performed in a pop-folk style with the energy of a “travelling song,” its tempo causing it to always seem to be going somewhere. And “Lightning Don’t Strike Twice” was rather soaring and exceptionally engaging.

“My Dear” deploys a steady tempo with vocals rising and falling to pull the listener in, utilizing the insistent, emotional wail Ibby places so well (and not infrequently) in her songwriting.

During her second set, Ibby dipped into her “back catalog” a bit, with a bit more country in the sound of songs like “Dance,” which I believe she said she wrote in 8th grade, a song she performed with infectious cheerfulness, clearly having a grand time and exuding joy while singing it. She followed it with another “old favorite,” “Worst I Ever Had,” and both of these songs had this room full of her old friends singing along throughout. Like I said, hometown album release parties are a different species of animal.

Ibby

photo by Geoff Wilbur

Ibby also featured a couple new songs in the second set. One, whose title I didn’t catch, was a poignant song artistically using its words and sounds to paint a picture. The other, “Better Now,” sported an interesting rhythm and some ambitious vocal moves, including a little warble to draw attention to the bridge. This one, “Better Now,” may have legs for Ibby, as it’s catchy enough to become a singalong song by the end of the first listen.

Speaking of singalong, Ibby closed her second set with “Burnouts,” a fun “local favorite.” To that warble, Ibby adds a bit of a howl in this song, and on this particular night, with a venue singing along, she was completely emotionally and musically invested in this song; her energy only increased as the night wore on, buoyed by her own performance.

Ibby’s encore song, “Can’t Forget It,” was a sensitive, tender, touching, folky singer-songwriter piece. And then the evening ended, as the venue was closing, though the crowd would have stayed for another set.

It’s obvious Ibby isn’t a “developing talent.” She’s a developed talent whose future growth will be like that of any artist, as life events and continued maturity will provide different life experiences to write about and connected with, different viewpoints and thoughts to share. But she’s clearly “ready” now, creating engaging, emotional songs as a songwriter and performing them with infectious enthusiasm and skill.

Looking Ahead

Ibby performs again this afternoon at the Beverly Arts Festival – or she probably already has performed by now, as the All You Got Tour performers’ time slot was listed on this notice as 10:30-3:30. Follow Ibby’s Facebook page to see when and where she’ll perform next.

EP Review: Aüva – Side Effects

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Aüva

photo courtesy of Aüva

Aüva formed in January 2015 while studying at Berklee and is comprised of Miette Hope, Jack Markwordt, Jake LeVine, Michael Piccoli, Andy Metzger and Austin Birdy.

EP Review of Aüva: Side Effects

Psychedelic, enveloping pop-rock music. Aüva unleashes three new numbers within its lush, full sound on this 3-song EP, Side Effects, a follow-up to the band’s eponymous 2016 full album release.

Aüva - Side Effects

cover art by Nathan Gorey; image courtesy of Aüva

EP-opener “Pretend” is based in ’80s New Wave, an engaging pop-rock journey that reminds me a bit of Modern English and its MTV-conquering New Wave brethren, but Aüva utilizes richer production to form a more plush wall of sound. “All I Need” slows things down and sounds a bit more ’70s-influenced, though it’s otherwise a very modern number, a current take on a lava lamp ballad. EP-ender “Glitter & Weed” is a more energetic psychedelic pop-rocker atop a music bed I’d call a “din” and supplemented with some ’80s-style synth.

I stumbled across Aüva’s music while traveling down a local music rabbithole a few weeks ago and was quickly impressed by the band’s unique sound. I’m not sure if I should be listening to it in the shag-carpeted back of a van or in a black-lit lounge sitting in a bean bag chair, maybe with a slowly turning, subtly lit disco ball overhead. Regardless, the band’s full sound and vocal interplay between its male and female vocalists create eminently listenable, stylish pop-rock.

I’ll be watching the “shows” page of Aüva’s website to see if I can catch them live somewhere soon. I’m guessing their music will translate exceptionally well to a live performance.

Album Review: Mike Sponza – Ergo Sum

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Album Review of Mike Sponza: Ergo Sum

Blues music based on ancient poetry and recorded at Abbey Road Studios. Seriously, for those reasons alone, this would be worth a few listens. But the performers are also top talents, the songs are engaging and well-arranged. And if you didn’t know anything about the works referenced, you might never know the inspiration for this music. You’d simply consider it very interesting, entertaining, original blues. An ambitious, original project from Italian bluesman Mike Sponza, Ergo Sum is a musically-artistic success.

Mike Sponza - Ergo Sum

image courtesy of Frank Roszak Promotions

The disc kicks off with “Modus in Rebus,” a song that’s basically one great big blues hook. Crunchy guitar and a gravelly, insistent blues growl power this catchy number. It’s followed by “Carpe Diem,” which launches with an energetic travellin’ guitar line and a restrained, hoarse vocal; it’s a song you’d play during a road trip or that you’d expect to see during an energetic movie montage scene. Matel Kuzel contributes some well-placed saxophone wail. “Carpe diem. Baby.”

“Penelope” changes the album’s tempo a bit. It’s a slower-paced, emotional, blues jam-flavored number punctuated by vocal fits. It’s followed by “The Thin Line,” Mike Sponza’s collaboration with Dana Gillespie – it’s the only song not co-written with Ian Siegal – that suits Dana’s much smoother vocal delivery, also featuring a psychedelic blues organ sound not found earlier in the collection, augmented by well-placed horns.

Mike Sponza

photo courtesy of Frank Roszak Promotions

The disc continues, exploring different blues styles as it works its way through more ancient poets. “See How the Man” is horn and groove-driven. “Poor Boy” is more of a romping swing. “Kiss Me” is a musically thumping and grinding, steadily-paced blues romp. And “Prisoner of Jealousy” closes the disc with a soulful ballad full of raw, heartwrenched emotion.

In sum, Ergo Sum is an ambitious effort, exceptionally well-executed by a cadre of talented purveyors of the blues. And if critiqued simply as a blues album, it’s an exceptional disc that touches all manner of subgenres and styles of the blues in an enjoyable fashion. In other words, it’s a success all fronts.

Looking Ahead

Per Mike’s website, he has some gigs around Europe this summer. Check back to his website to see if more shows are added, but at the moment his schedule is: June 23rd (Cittadella dei Giovani) in Aosta, Italy; June 24th (Blues Festival) in Correze, France; June 29th (Lent festival) in Maribor, Slovenia; July 7th in Parma, Italy; July 20th (SWR Festival) in Mainz, Germany; July 21st (Haus Am Walde) in Schwachhausen, Germany; August 4th (Blues Nacht) in Meppen, Germany; August 7th (Kastav Blues Festival) in Kastav, Croatia; August 25th (Rock Cafe) in Pula, Croatia; September 8th (Topos) in Leverkusen, Germany; and September 9th (Bischofsmühle) in Hildesheim, Germany.

I also hear there’s another Mike Sponza album in the works, so I look forward to that, as well.