Category Archives: Live Reviews

Live Review: Eva James at Sanctuary

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photo by Geoff Wilbur

Eva James

Sanctuary Bar & Lounge, Maynard, MA

July 11, 2026

I caught a tremendous, emotional performance last night from Eva James. But, of course, there’s a backstory that got me out to the performance last night, and that started last year. Occasionally, when I think I might have time to get out to cover a live show, I check out who’s playing and listen to snippets of a few of some of the artists’ songs online. Last summer, for that purpose, I checked out Eva’s music and was blown away. Ultimately, I didn’t get out to see her perform last year, but when I saw she was scheduled to play Sanctuary last night, it was an easy call. Now, I actually didn’t go listen to her music again before last night show. That was actually pretty cool because I went into last night performance without a mental picture of what to expect (other than “something good”), and that made last night’s performance just that much more powerful.

Indeed, I wasn’t the only one drawn in Eva’s performance. A talented vocalist and songwriter, Eva’s music is intimate, thoughtful, and, shall we say, not happy – with a couple exceptions, as she pointed out during the performance. There’s a cool interview with Eva in Medium, which you may want to read later, that gives more background into the difficult song topics she tackles – as the article notes correctly, mental health, anxiety, and toxic relationships, as well as physical health issues, as Eva discusses a little during her performance and on this podcast. Needless to say, for those who paid attention to the performance, it was an emotional experience. And with Eva’s powerful, evocative vocal delivery style, pretty much the entire room was dialed in unlike any audience I’ve seen in a while, at least in a cozy setting like Sanctuary’s barroom performance space.

photo by Geoff Wilbur

Eva opened the set with the touching, heartfelt “Low,” utilizing rich, full vocals to deliver a nuanced, powerful set-opener. After a couple more song, including the rich and haunting “You’re the Worst” (whew!), Eva edge into a little more storytellingish style on “Test Drive,” on which the piano added as much dramatic weight as the vocals. “Sober,” next, was heavy and lyrically deep and dark, with rich vocals against serving up powerful emotions. On “Invinceable,” next, the pianowork did some of the heavy lifting supporting her emotional vocals, which themselves stood out with precision in some of the song’s more vulnerable moments. Meanwhile, on “Northern Lights,” Eva’s vocals supported the determination of the song’s lyrics.

At that point, through just seven songs, it was already a powerful, emotional performance. And that’s just from the audience’s perspective. It seems like – in the best possible way – a peek into a therapy session, but with an exceptionally talented songwriter and musician with an impressive, evocative voice that pulls the listener in. Like an Adele who’s been through a helluva lot and shares it in her songs, maybe.

“How Are You Liking Me Now,” next offering a little different vocal edge, very soulful, kind of feeding off the vocal determination of the previous song, and the livelier pianowork and vocals provided a tempo change. “Til We Meet Again” returned to the rich soundscape, as even though the style is cohesive, each song is its own powerfully unique self, and a thoroughly engaged audience continued to be a testament to the power of Eva’s performance. Eva then concluded the initial piano-based portion of her set with a song (missed the title) with a heavy tapestry but with some interesting vocal patterns, adding, too, subtle dynamics by hitting some quick emotional higher notes earlier on and hitting some late song vocal howls. On the surface, it was an atmospheric, heavy number, but if you paid attention, you’d catch the details underneath the surface.

photo by Geoff Wilbur

Eva moved to the guitar next and it brought out a slightly different dynamic, as is typical of using a different lead instrument. I was quite fond of Eva’s song “Renegade,” though she also delivered a soft strummer, and a couple songs that brought out for me a hint of that special emotional tone you might identify with, at least to my ear, Sarah McLachlan. There was a song with a little sway to it – Eva packed the mid-section of her performance with a bit of variety, albeit all within her very identifiable style.

At this point, I kind of lost my focus on the performance, as a loud new patron entered the bar. Though I was sitting at the end of the bar next to the performer and he was at the far end of the bar, I – and a majority of those in attendance – heard every word of his very enthusiastic conversation, making it difficult to pay attention to the performance. Seriously, people, when you’re in a cozy bar and nearly everyone there is in rapt attention of the performer, read the room and adjust accordingly, no matter how much you’re trying to impress the person next to you. I can tell you he’s planning to attend an upcoming Ghalia Volt concert in Baltimore. Great taste! (Blog contributor Eric Harabadian reviewed one of Ghalia’s albums eight years ago.) He also extolled the virtues of nearby restaurant El Huipil. I again agree, though he talked about the amazing margaritas. I’ve never had one of the margaritas, but El Huipil serves my favorite quesadilla in the region. However, I suspect at least one of their margaritas was in the room with us last night in post-consumption form. After about three songs, I conceded that his volume wasn’t going to go down, so I moved my chair into the middle of the performance room, much closer to the performer so I could continue to enjoy one of the most fully enthralling performances I’ve heard in a space like this. Yeah, Eva James owned the crowd. Well, except for that one guy, who I don’t think kept his mouth shut long enough to hear a note Eva sang or he might have joined the rest of the patrons and focused entirely on the performer.

photo by Geoff Wilbur

From my new perch, I quickly found myself again absorbed by the set, which continued with “Something New,” a memorable, completely crowd capturing number. The powerful “Devastate Me” and another number whose title I missed but that elicited a powerful reaction from the audience followed.

Then came “Wildfire,” and oh, this song could be big. It featured really engaging dynamics, with depth and some of those big, powerful moments, not just musically but vocally, too. I must admit, by this point my notetaking began to fall off a bit, but it’s definitely worth mentioning “Seratonin,” with its cool energy, a nice rhythm, and overall an enjoyable song.

I noted an almost country-folk hint in “The One You Lose,” not really the musical style but many of the same personally engaging elements. Of course, most of all it’s a memorable lyric that stuck with me from that song: “In another life, I’d be the one you choose. Instead, I’m just the one you lose.” Not just the lyric, of course, but also the delivery. Still it also got me thinking and realizing that all of these songs could probably move easily across genres based on their arrangements. And that makes sense. They’re deeply personal, emotional, and human. Eva’s a helluva songwriter, and a good song is genre-elastic.

There were just three songs left at this point. Following a soft, haunting number, Eva delivered “Overboard,” noting is as her “other happy song”; indeed, it’s sonically similar to Eva’s whole catalog but there’s a hint of softness. And she finished the show with “The Way,” a particular favorite among those in the audience who were familiar with her song catalog. I can see why it’s appealing; it’s warm and so engaging it seemed to end far too quickly and much sooner than the clock claimed. Hard not to get choked up with lyrics like “when there’s nothing left to say, only love can light the way.”

And therein lies the paradox of an Eva James performance. So much of it is so heavy and emotional and dark, yet hearing her perform, even singing about tough times and darkness, is joyful. I’m so glad I made it out to Sanctuary last night. This was one of the most moving live performances I’ve heard in a long, long time. Eva James is an amazingly talented young woman, and one of her performances (or more than one, obviously) is something any music fan should experience.

Live Review: Danielle Miraglia and Bob Enik at Sanctuary

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photo by Geoff Wilbur

Danielle Miraglia and Bob Enik

Sanctuary Bar & Lounge, Maynard, MA

July 2, 2026

Danielle Miraglia was back last evening for the latest installment her “Drinks with Friends” series of first-Thursday performances at Sanctuary. Joining Danielle on this particular evening was fellow Charles River Reprobate Bob Enik. (Longtime readers may have seen my “bonus coverage” of the Reprobates at the bottom of my Los Goutos live review back in 2018.)

As an aside, for those here in the far western suburbs, if you’re not yet familiar with Sanctuary, check ’em out. This is a venue that brings a lot of metro Boston’s top musicians out to the outer suburbs, giving us a chance to catch top local artists without having to travel to Boston or Cambridge. Of course, there aren’t many local artists as “top” as Danielle Miraglia, and the appreciative crowd knew that. This particular night was a rare double-header. Usually the Sanctuary hosts early evening no-cover bar shows, 5:30 on weekdays, followed by ticketed big-stage shows at 8:00. Well, last night the 8:00 performance was another no-cover bar gig, featuring one of Boston’s most decorated Americana acts, the Sado-Domestics. Now, I had other plans, so I couldn’t stay for the late show, but I did review one of their Sanctuary bar gigs earlier this year. Top-friggin’-notch!

Enough sidebar – I’ll get on with the review: It seems as if I’m always a few minutes late to a 5:30 show at Sanctuary, and yesterday was no exception. I walked in while Danielle and Bob were playing Danielle’s original “Glimmer of Gold.” There were plenty of Danielle Miraglia originals in the evening’s performance; as you might expect, that pleased me.

photo by Geoff Wilbur

Next up, the duo dove into a pair of Bob Dylan tunes. First, a nifty, bluesy performance of “Tonight I’ll Be Staying Here With You.” Then, a little more slappy (hey, it’s an acoustic guitar thing) and a bit livelier tempoed performance – one that also featured that trademark Danielle Miraglia vocal smirk – of “You’re Gonna Make Me Lonesome When You Go.” And, while Bob’s guitarwork was rarely conspicuous and his flourishes never out of place, this song included the ideal spot for a well-placed Enik guitar-pickin’ run.

A nifty spin through “Cry” (from Nothing Romantic) was a thumping offering well-suited for this duo format; it was followed by a soulful, wailing, laid-back cover of the Rolling Stones’ “You Got the Silver.”

Next up was the rhythmic, stompin’ “Stagger Lee.” It’s a great song for two guitars, allowing Bob to noodle a little while Danielle powered ahead, followed by the perky, amusing “You Can Love Yourself,” the Keb Mo tune that appeared on Danielle’s Bright Shining Stars record.

The tone changed a little with full-on funky rhythmic fave “Monster,” a song that’s sooooo cool, even if it is a little painfully too topical at the moment. The first set closed with “Home,” an absolute crowd pleaser that the audience always soaks in.

After a short break, the duo returned with a mishmashed combo of Prince’s “When You Were Mine” and the Stones’ “Shattered,” flowing back and forth between the two songs a couple of times, because of course leave it to Danielle Miraglia to find the proper interplay between two of her favorite artists.

“C.C. Rider” was a strong next choice, followed by a rendition of “All My Heroes Are Ghosts” that featured a slow, soulful lead-in, and a really slowed-down, achingly bluesy version of “Drive” that showed off Danielle’s vox.

A rollicking rendition of Big Mama Thornton’s “Hound Dog” followed before Danielle and Bob closed with Prince’s “Kiss,” serving up a dynamic cover, with notably cool flourishes from Enik’s guitar, as the duo kept the song funkin’ all the way ’til the end.

 

Live Review: Straight No Chaser at the Stadium Theatre

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photo by Luca DePalo

by Luca DePalo, Contributing Blogger

Straight No Chaser

Stadium Theatre, Woonsocket, RI

June 19, 2026

With summer officially underway, it is the perfect season to start going out to see some outdoor concerts at a nearby amphitheater or stadium. But on a humid Friday night at the Stadium Theater in Woonsocket, Rhode Island, I – and a sold-out crowd – decided to go check out the legendary a cappella group Straight No Chaser as they embark on their “Beach Bash” summer tour.

photo by Luca DePalo

Straight No Chaser (also known as SNC) is a professional American a cappella group formed in 1996 in Bloomington, Indiana. The group’s name was inspired by composer Thelonious Monk’s 1967 record Straight, No Chaser. Although the band has been best known for its iconic covers of songs like “Mary, Did You Know,” “The 12 Days of Christmas,” and “O Holy Night,” they have recorded many successful originals like “The Christmas Can-Can,” “Text Me Merry Christmas,” and “To Christmas (The Drinking Song).”

photo by Luca DePalo

After many lineup changes over the years, the band is currently led by original members Jerome Collins and Walter Chase as tenors and Steve Morgan as a baritone. Other members include Luke Bob Robinson as the group’s bass vocalist, Mike Luginbill as a tenor, Seggie Isho as baritone, Tyler Trepp as a tenor and vocal percussionist, Jasper Smith as a tenor and baritone, and the incredible Freedom Young as a vocal percussionist and a baritone.

Coming into this show was very different from the other artists I have seen live over time. I made sure to come in with no expectations. I had never heard of their covers and had never listened to an original song by them. I didn’t even look at their setlist, which I always do! All the info I had been given was from a family member who had mentioned how they put on a humorous, energetic, and fun concert. And oh man, I was blown away! Throughout the energetic evening, the band covered a variety of songs from the ’60s to now, including a large variety of genres, with one of them being my personal favorite genre, “Yacht Rock.”

photo by Luca DePalo

Just to show how unique the show was, the group opened with a mashup of the famed Eurythmics song “Sweet Dreams” with a song that brought me back a decade earlier, “HandClap” by Fitz and The Tantrums. They truly pleased everybody with their first set. A couple of newer songs were sung, such as “Shut Up and Dance,” “Cake By the Ocean,” and the recent Bruno Mars song “I Just Might,” and then famed hits like “Jessie’s Girl,” “Sailing,” “Escape (The Piña Colada Song),” and the comedic “Cheeseburger in Paradise.”

After a quick intermission, the group came back in fire! With the feeling of a summer breeze throughout the venue, the band threw out dozens of beach balls and encouraged the audience to rise up from their seats. A few of the many songs included “Lido Shuffle,” “Everybody Wants To Rule The World,” “All Night Long (All Night),” “Can’t Stop The Feeling,” and even “No Diggity.”

photo by Luca DePalo

But what shocked me most from the show was what occurred during the encore. With the stage lights lowered and the crowd chanting “One more song,” the group came back with a shocking surprise. Walking to the middle of the stage, the band lined up side-by-side, lowering their microphones, and placing them down on the stage. As the crowd’s noise began to drop, the group kicked into an emotional version of “The Boys of Summer” by Don Henley. It’s very rare to go see a band end off with an emotional song, so I didn’t know how to feel about it, but that all changed once I heard the line “I can tell you my love for you will still be strong after the boys of summer have gone.”

I don’t think I will ever forget attending this show. It is my mission to see them again sometime soon. If they end up coming near you, I highly recommend it. Because on that Saturday evening, Straight No Chaser proved to a sold-out crowd that music doesn’t need crazy overproduction or instrumentation; it just needs pure harmonies to refresh ears.

Live Review: Queensrÿche at the Ballys Event Center

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photo by Luca DePalo

by Luca DePalo, Contributing Blogger

Queensrÿche

Bally’s Event Center, Lincoln, RI

May 16, 2026

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

photo by Luca DePalo

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

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

photo by Luca DePalo

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

photo by Luca DePalo

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

photo by Luca DePalo

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

photo by Luca DePalo

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

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

Live Review: The Machine at the Park Theatre

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photo by Luca DePalo

by Luca DePalo, Contributing Blogger

The Machine

Park Theatre, Cranston, RI

May 2, 2026

These days, as we face the gradual fading of the classic rock era, more and more tribute groups are popping up, not just across the country but around the world. With legendary acts like Led Zeppelin and The Beatles long gone from the concert circuit, fans of all ages still crave the experience of hearing those iconic songs performed live, and that’s exactly where tribute bands like The Machine come in.

photo by Luca DePalo

The New York-based quartet formed in 1988 (almost 40 years ago!!) and has built a worldwide reputation of being one of the most authentic and dedicated Pink Floyd tribute acts in the United States. Unlike many tribute acts that come and go, The Machine has managed to hold both quality and consistency, where instead of simply playing the songs, they aim to recreate the atmosphere, sound, and emotional depth of Pink Floyd’s live performances. In addition, groups like “Brit Floyd” and “The Australian Pink Floyd Show” tour the world with a dozen members, while The Machine perfectly pays tribute by having four incredible musicians, which I personally feel is perfect.

photo by Luca DePalo

As the show began and the venue’s lights began to dim down, the iconic stage screen, (known as Mr. Screen) immediately lit up blue, before slowly kicking into my favorite Floyd track, the 13-minute “Shine On You Crazy Diamond (Parts I-V).” The song, which was written in dedication to founding Floyd member Syd Barrett, felt like the perfect opener to begin a long evening of hits.

The following tracks included “Breathe (In the Air),” “Time,” “The Happiest Days of Our Lives,” the crowd “Another Brick in the Wall, Part 2,” the bass-driven “Hey You,” and the cowbell-driven “Pigs (Three Different Ones),” before The Machine left the stage for a quick intermission. The set had also included the songs “Fat Old Sun” and “One Slip,” which (even though I had not heard them before) felt necessary to please the die-hard fans who wanted the deep cuts.

photo by Luca DePalo

One detail that became obvious after every track was the fact that the band was not afraid to improvise on every song. Whether it be an extended outro, a quick solo, or just a moment of spotlight, each member contributed to every track, and allowed for a perfect tribute to when Pink Floyd would tour together as a 4-piece.

During intermission, it felt like the perfect moment to just look around the venue, appreciate the atmosphere, and just love the vibe of the room. For me, concerts have always been a place of positivity, almost an escape from the outside world, where everybody unites to celebrate one thing: Music!

The band soon returned back to the stage to enter right back into the time portal for more iconic hits: “Have a Cigar,” my favorite “Young Lust,” “Money,” “Wish You Were Here,” “Comfortably Numb,” and the notable exception of the deeper cuts “High Hopes,” “Echoes, Part 1,” “What Shall We Do Now,” and “Empty Spaces.”

photo by Luca DePalo

The Machine is currently led by founding member Tahrah Cohen, whose musicianship was on full display throughout the night without ever feeling overdone. The band was additionally co-founded by bassist and lead vocalist Joe Pascarell, who sadly passed away in 2022, though his presence still felt true during the performance. His influence seemed to carry through in both the song selection and the band’s overall approach to honoring Pink Floyd’s legacy.

The current lineup also includes the incredibly talented guitarist and vocalist Ryan Ball, who perfectly stepped into the role of David Gilmour with impressive tone, matching many of the subtle tones, phrasing, and emotional details found in the original recordings. On bass and vocals, the newest member, Chris DeAngelis, provided a steady foundation, locking in tightly with the rest of the band and helping drive the rhythm section. Finally, the lineup is completed with keyboardist Scott Chasolen, who has performed with the group for over fifteen years, masterfully recreating the sounds of Floyd’s Richard Wright, with his own energy and improvisation skills.

As always, it is a pleasure of mine to go see these iconic tribute bands play across New England, and I can’t wait to review some more shows in the upcoming months! Keep supporting live music!

Live Review: Night Ranger at the Bally’s Event Center

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photo by Luca DePalo

by Luca DePalo, Contributing Blogger

Night Ranger

Bally’s Event Center, Lincoln, RI

May 8, 2026

There’s nothing like the vibe of a Friday night concert, and that can especially be said after last weekend’s show in Lincoln, Rhode Island, from Night Ranger. The band performed a sold-out 90-minute performance and proved how they can still “Rock In America.”

This being my second time seeing the band, and the first time seeing them headline, I came into the show with a huge sense of excitement. Some people come to the show expecting a solid night out — a few singalongs to “Sister Christian,” maybe a few graying mullets headbanging politely, and a sitting crowd. But what we got on Saturday was something way wilder. Something loud, tight, and genuinely moving at times. It wasn’t just a band doing their greatest hits; this was five guys giving it all, as if they had something to prove.

photo by Luca DePalo

The event center at Bally’s Lincoln Casino isn’t what you’d call a massive venue. It’s kind of intimate, very widespread, and the floor has an extremely colorful carpet, but the room is almost too lengthy for a concert. There’s no elevation as the sections go further back, so it’s just a flat floor that feels less like a concert venue and more like a business conference room. Thankfully for this show, I got to sit within the first few rows, but ran up to the front of the stage, or as some may call the “pit” area, when the bands intro song “Fight For Your Right” began.

Blue lights, golden walls, maybe even the smell of spilled beer and sharp cologne. But the vibe? Electrical. Just pure, sweaty rock proximity. And as for the crowd, it was a beautiful mess. You had diehards in vintage tour shirts, older couples head banging in their seats, a surprising amount of kids, and a handful of millennials. There was something very touching about seeing three generations shouting the lyrics to a song like “Don’t Tell Me You Love Me,” as if we were all at a church gathering.

Night Ranger didn’t start off the show like many bands do. As the lights of red, white and blue lit up each member, the band kicked into one of their huge hits, “(You Can Still) Rock in America.” If there were any doubts about whether they still brought it after 44 years, all thoughts were gone in the first 30 seconds. Lead guitarist Brad Gillis came out swinging, with his guitar screaming like it was possessed. That man didn’t just play notes; he acted the notes, and moved around the stage like a guy who just turned 40, rather than someone with grandkids.

photo by Luca DePalo

Brad may be the most underrated guitarist in the entire classic rock genre. Seriously, the way he manipulates his famed Floyd Rose, the sheer control he has, and just his nonstop energy. His solos during songs like “Sentimental Street” and “Goodbye” showed the monster he was and still is!

Then there was Keri Kelli on the rhythm guitar. Keri is the newest member of the band, although he has been with them since 2014, and replaces original guitarist Jeff Watson, whose legendary eight-finger tapping solos were perfectly played with originality and a mix of his own style. After years of touring and recording with so many ’80s hard rock artists like Stephen Pearcy of Ratt, L.A. Guns, Warrant, Pretty Boy Floyd, and even Alice Cooper, Keri brings the perfect energy to the band. And let’s not forget Jack Blades! He was everywhere on the stage. Leaning into the crowd, shouting out names, joking with people in the front row. His vocals were spot-on, exactly like the album. Gritty in the right places and sweet when it needed to be. And I can’t forget to mention, the man never stopped smiling, he was genuinely having the time of his life up there.

One key moment of the night was when the band performed an incredible version of the famed “Crazy Train,” in tribute to Ozzy Osbourne. Brad Gillis toured with Ozzy in 1982, replacing legendary guitarist Randy Rhoads after his tragic passing on the Diary of a Madman tour.

photo by Luca DePalo

And boy, the crowd wasn’t ready for this one; Jack Blades shouted in his microphone “Hey Brad, do you think these guys deserve a Damn Yankees song? I think they deserve a Damn Yankees song, so let’s do it baby,” before kicking into the songs “Coming of Age” and “High Enough.” Unfortunately, Damn Yankees have not played a full performance in decades, although there have been very few one-off performances over the years. But on this night, just hearing the intro to “Coming Of Age” made the whole crowd go, “Ohhhhhh my god…” It was magical. Totally unexpected and totally earned.

The pacing of the show was incredible. Right when things got nostalgic and emotional with “When You Close Your Eyes,” they slammed right into “Don’t Tell Me You Love Me” with enough force to knock the crowd down. You could feel the rhythm section driving like a mustang. No —— (frills), just thunder and sweat.

With Eric Levy on keys, he quietly stayed the glue of the whole set. Not flashy, not over-the-top, but essential for that 80’s sound. His intro on “Sister Christian” had this almost cinematic quality, like you were watching the credits roll on a movie you didn’t want to end.

photo by Luca DePalo

Of course, Kelly Keagy is still pulling double duty behind the kit and on vocals. When he stepped out front for “Sister Christian,” time kind of froze. It was a moment that you could feel it in your bones. That song’s been covered, parodied, and memed to death. But when Kelly sang it — raw, unfiltered — it was different; it was like hearing it for the first time all over again.

One thing I’m sure many didn’t plan for was getting a little choked up during “Sister Christian.” Sure, it’s rock and roll, not a local therapy session. But man, when Kelly and the gang started it out, it felt like a tribute to everybody in the crowd and everybody we’ve all lost over the years. Maybe you thought of a family member, maybe you thought of Ozzy Osbourne’s passing, or maybe you just thought back to your childhood (some probably thought about their couch at home).

When the crowd took over the famed chorus, you could feel it. A big, messy, beautiful wave of voices crashing together. Nobody cared how they sounded. Everybody was different. Whether they were on their feet, had their arms in the air, or just head-banged in their seat, no one checked their phones and no one headed for the exits. It was joyful chaos that combined to create magic.

photo by Luca DePalo

Here’s the thing: Some bands pack a setlist full of obscure deep cuts to prove something. Night Ranger? They know what we came for, and they delivered.

And when the show was finally over, the band stayed onstage a little longer to appreciate the fans who came out to the show, they truly took their time. Brad, Jack, and Keri threw out many picks. Kelly tossed several drumsticks into the crowd, including his drumming gloves, Jack high fived everybody within the first few rows, and Eric prayed in thankfulness. It felt sincere. It felt like goodbye and “We’ll see you next time.”

You may be asking, was it really worth it? Let me put it like this. I’ve been to some incredible shows in my life. Louder ones. Flashier ones with pyrotechnics and more energy. But I haven’t walked out of a venue smiling like that in a long, long, long time. There was something really special about a band that knows exactly who they are, how they are, and what they are to the fans. They weren’t trying to chase current trends. And they don’t try to act like it’s ’82. Night Ranger just showed up, played their asses off for 90 minutes, and reminded the sold out crowd that rock and roll is more than music.

Night Ranger may not be known as the biggest band in ’80s rock anymore, but on May 8th in a small town in Rhode Island, they were rock ‘n roll superstars, at least for one night. I’ll be sure to see them next time they come to New England!!

Live Review: Daybreak at the Stadium Theatre

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photo by Luca DePalo

by Luca DePalo, Contributing Blogger

Daybreak

Stadium Theatre, Woonsocket, RI

April 24, 2026

When I think of romantic ’70s music, the first artist that comes to mind is Billy Joel. But in what has to be a close second at this point is Barry Manilow.  To be candid, I am a big Barry Manilow fan… or as Barry would call, a “Fanilow.” And clearly there are many Rhode Islanders who are Fanilows, as Daybreak: The Music & Passion of Barry Manilow has been performing in Woonsocket for three years and crowds continue to show up to see the songs of one of their favorite singers performed live.

photo by Luca DePalo

As the years go by, and more tribute bands continue to pop up across the country, you start to realize why it’s happening. These artists from the ’60s, ’70s, ’80s, and even ’90s, are becoming too old to tour, and many don’t have the energy they did decades ago. Barry Manilow, on the other hand, continues to tour, even at the age of 82. Last May, I had received the opportunity to attend one of Barry’s shows on his farewell tour, and coming into this show gave plenty of expectations, which I thought could never be reached. But after a concert that went for almost two hours, featuring 21 Barry Manilow we-all-know-by-heart songs, I think it’s going to be a long time before the memory of Friday night fades away.

Personally, the Stadium Theatre is the perfect location for Manilow fans. The venue celebrates a century of entertainment after being built in 1926, and even after restoration in the last decade, it still holds that vintage presence which I’ve come to appreciate more with each visit. Everything from the seats to the marquee to every little detail that brings that signature, yet unique, touch. Just looking around before the show started made me feel like we were launched back to Barry’s starting days.

photo by Luca DePalo

The show took very little time to get going, with a short band jam, before lead singer Joe Hite opened with “Daybreak,” the perfect song to not just start off the evening, but introduce the bands name! Almost instantly, I knew they had the crowd where they wanted them. It was fun to look around the venue and see the joy in various people’s faces.

About three or four years ago, Hite was a solo musician who performed background music in Florida restaurants. But now, he is convincingly embodies the pop icon Barry Manilow, from the outfits to that signature voice and the jokes with the audience throughout the performance. In my opinion, there are moments where you close your eyes and swear you’re actually hearing the real deal. Both he and his band perfectly captured the atmosphere and vibe of Barry’s shows in the 70’s.

photo by Luca DePalo

Set one was a trip down the life of Barry’s career. After “Daybreak,” the hits kept rolling: “This One’s for You,” the signature “It’s a Miracle,” the perfect ballad “Even Now,” the staple “Could It Be Magic,” and my personal favorite, “Weekend In New England,” which felt like the best song to play for the Rhode Island crowd.

With such a badass ensemble, Joe Hite fronts the band, delivering both vocals and piano on almost every track, while Amy Evans and Laura Turk provided backing vocals, drummer Ric Craig drives the perfect rhythm, bassist Val Shaffer locks in the low end to support lead guitarist Phill Fest, whose tone brings the band to life, and then both Jody Marsh and Joe Barone provide percussion, the saxophone, keyboards, and a wide variety of instruments played on all of Barry’s studio records.

photo by Luca DePalo

After a well-deserved intermission, the band returned onstage to perform nonstop hits. Before performing the Grammy award-winning “I Write The Songs,” Hite provided an interesting story. Even though Barry may have written the songs that “make the whole world sing,” he did not write “I Write The Songs.” Yet, it was written and produced by Bruce Johnston, long-time bassist for The Beach Boys. The emotional pull of the song led to a beautiful display of the room lit up from the audience’s phone lights. Of course, a set of Barry songs would not be complete without the tracks that followed: “Mandy,” “Looks Like We Made It,” “Somewhere In the Night,” and more.

One of the standout moments of the performance came when the entire theatre sang along to “Copacabana (At the Copa),” turning the show into a full-on celebration, where the band’s female backing vocalists came out in atheistic attire. The band didn’t just play the songs, yet, they recreated the feeling of a classic Barry Manilow concert, blending nostalgia with genuine excitement. It was captivating from start to finish. That Friday evening in Woonsocket felt like a celebration where everybody unified together during a time of disagreement.

Don’t forget, keep supporting live music, and go see Daybreak: The Music & Passion of Barry Manilow when they return next spring to the Stadium Theatre!

Live Review: Danielle Miraglia & the Glory Junkies at Sanctuary

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photo by Geoff Wilbur

Danielle Miraglia & the Glory Junkies

Sanctuary Main Hall, Maynard, MA

April 3, 2026

A Danielle Miraglia performance is always the right call. And a full-band show with the Glory Junkies is a memorable concert event. Spoiler alert: This particular Friday night show did not disappoint!

You’ve seen Danielle Miraglia written about frequently at this blog because, simply put, she is a rare blues talent. Her songwriting is well-attuned to her voice, its bluesy rock flavor frequently seasoned with a smirk. And yes, you can hear it. Her ability to cover the songs she loves, both blues and rock, and make them her own, too, is inspired. Acoustically, Danielle’s blues is folky. But when she goes electric, she’ll rip the roof off a joint. So, too, does band, a collection of some of the region’s best instrumentalists. On this particular night, she was joined by Erik White (bass), Jim Larkin (guitar), Stephan Chaggaris (drums), and Erica Mantone (backing vocals). I’d last caught a Glory Junkies concert back in 2019, and as this night reminded me, that’s far too long.

photo by Geoff Wilbur

This was also the first concert I had seen in the main hall at Sanctuary. To date, I’d only caught early shows in the intimate bar on-site. I had only walked through the main hall once or twice and was looking forward to catching a performance in “the big room.” What great sound! Of course, it’s a converted church sanctuary, so the solid acoustics are no surprise, but what a treat to finally hear a show in this room! For performances in its cozy bar or the big hall, I love this little venue in Maynard, Massachusetts. In the little bar – but also sometimes in the big hall – it’s a venue that brings to the outer suburbs some of the best Boston-area artists, the sorts of world-class local musicians you’d usually have to fight the traffic and then endure the parking hassles of Cambridge or Boston to see. Case in point, Danielle Miraglia, whose “Drinks with Friends” is a regular feature at Sanctuary’s bar the first Thursday of nearly every month.

But I digress. Before the Glory Junkies took the stage, there was an opening set from the talented Britt Connors.

Britt Connors; photo by Geoff Wilbur

Opening Act: Britt Connors

You can catch Britt Connors regularly at Sanctuary’s bar, too. About once a month. On this night, however, Britt served as the opening act on the big stage, serving up an electric-acoustic half-hour or music before the main event. Britt (guitar, vocals) was joined by Ed Lucie on bass, adding a little more richness to her sound to help better fill the big room.

Britt quickly served notice that her vocals were big-league, delivering her opening number smoothly, with crispness and strength. “Restless,” next, served as a little edgy, heavy strumalong, with the vocals’ seeming to meander through the verses but also tending to more forceful, powerful moments in-between. “Hummingbird” followed, a sweetly thoughtful, folky number but with spots of booming, powerful vocals that, again, clearly set Britt apart from similar artists. This song did a great job of showcasing her ability to combine power, intricacy, and crispness, which she uses together or alternately as required by the song, lyric, or moment.

“Into the Deep,” next, was one of those lifestory-telling songs with kind of a haunting vibe. Sonically a little unsettling, too. Then “Just One Time” served up a little funkiness and plenty of soulful attitude – by mid-song, you’ll find yourself bouncing along to the beat, or at least I did; it’s a little hooky that way.

Britt’s final two numbers – which, if I understood correctly, are two of her most recently-written songs – were my favorites of the set. “Anchor Me” (it’s a love song, she says) is a sweeter song, a real strummer-and-crooner. And Britt’s closing number, written in the wake of the Minneapolis situation, “Steppin’ In,” is a heavy tune with a soulful protest-song vibe, sporting the lyrics “ain’t no savior comin’, we are steppin’ in.”

In all, it was an impressive performance, showcasing Britt’s vocals and songwriting talents. With a voice like hers, I can only imagine what an electric, full-band performance might sound like. Sure, I’ll gladly enjoy her acoustic performances whenever I’m able to get out to hear her, but I’ll circle my calendar for a chance to see Britt with a full band. Regardless, it was a great “warmup” set for the main act of the evening, and I’ll definitely look forward to hearing Britt perform again.

Danielle Miraglia & the Glory Junkies (with special guest vocalists to close the set); photo by Geoff Wilbur

Headliner: Danielle Miraglia & the Glory Junkies

A Danielle Miraglia & the Glory Junkies show is a blues-rock concert. On a stadium or festival stage, a mid-size concert hall stage like Sanctuary’s main hall, or even in a rundown, cramped dive bar, when this band performs, it feels like a concert. And the attendees were prepared, as seated next to me were a longtime – and, at times, a little rowdy – fan joined by his much calmer friend who was familiar with Danielle’s music but hadn’t yet seen her in concert.

So when the lights came on and Danielle Miraglia & the Glory Junkies took the stage, they went big, starting with the band’s powerful number – one that’s likely to be a signature song for the rest of their careers – “All My Heroes Are Ghosts.” The follow-up, the energetic “See the Light,” was a wise selection for the second slot, as it really showcases Danielle’s vocal dynamics. Indeed, hit ’em hard and let ’em know there’s a concert goin’ on!

photo by Geoff Wilbur

By this point, Danielle and the Glory Junkies already owned the crowd, and even moreso after “What Good Can Drinkin’ Do,” with its gritty, heavily swaying rhythm and dynamic vocals – and a crunchy Danielle Miraglia guitar solo, to boot! By the end, it was almost a singalong. I mean, no one was singing, but in a dive bar they would’ve been. With this Janis number, like nearly any cover in their set, Danielle and her band make the song their own.

“Monster,” next, is sidewinding number with a nifty, catchy rhythm and a message that, at the time it was written, seemed insightful yet blissfully unaware how much truer it would soon become. The song, on this night, before an adoring crowd, became a clapalong to the fadeout of “we imagined the monster and we made it real.”

Following came a Tom Waits song, originally recorded too by John Hammond, Jr: “2:19.” It’s a fan favorite cover, one that frequently appears on Danielle’s set lists, and, of course, she and the band always rock this one in a fashion that makes it their gritty ol’ own. On its heels was a cover of Shemekia Copeland’s “Blame It On Eve,” a song that sits on the more finessy end of Danielle’s repertoire, though it’s not without opportunities for that gritty vocal growl, a stylistic combo that makes this number an ideal fit.

All I could catch about the next number was that it’s a new one. Bluesy as hell. And something about a train? It was a heckuva rompin’ tune, though, and I can wait to get swept up in it again at an upcoming show.

photo by Geoff Wilbur

At this point, Danielle stepped back to feature one of her talented bandmates, a cadre of capable singer-songwriters when they’re not being Glory Junkies. This song was a Jim Larkin number, a kinda folky singer-songwritery tune. Not new folk. No, rather, folk with good, old-school, slightly psychedelic ’70s DNA. And hey, Jim has an identifiable hooky twinge in his vox. Who knew?

The song actually provided a nifty segue into the next Glory Junkies song, the coolly funky “Don’t Pray for Me,” delivered with a very laidback bluesy lava lampy vibe.

Following that, Danielle dug way back into her catalog, delving into one of her early albums, 2005’s Nothing Romantic, for “Moment by Moment.” She performed this one acoustically, bringing the room in close, metaphorically speaking, with this thoughtful, pensive, sweetly-sung (I counted just one signature powerful growl in a fitting spot), captivating number that had the audience so raptly attentive you could hear a pin drop. Until, of course, the thunderous applause at the end.

At this point, Danielle shone the spotlight again on one of her talented bandmates, Erik White, who is also one-half of Spotted Tiger alongside regular Glory Junky violist Laurence Scudder. The band performed “Stereo Road,” a song featuring Erik’s soft-spoken vox, ideal for this song that’s kind of swing-meets-Americana.

photo by Geoff Wilbur

Then, back at the helm, Danielle growled her way through the Rolling Stones’ “Happy” before harmonizing with Erica Mantone atop thumping rhythms to the Everly Brothers’ “Gone Gone Gone.”

The band then closed out its set with the full-on energy of fan-favorite “Stagger Lee.”

But wait, that’s not all!

Sure, the crowd would have demanded more. But Danielle Miraglia & the Glory Junkies didn’t play that game and instead provided an unsolicited encore. On this particular night, several local singing luminaries were in attendance – top-shelf musicians do, indeed, turn out to show their support at a Danielle Miraglia concert – and Danielle convinced them to join her on stage. Britt Connors, of course, joined the Glory Junkies on stage, as did Jen Kearney, Andrea Gillis, and Abbie Barrett. An exceptionally talented “choir” for one of Danielle’s signature numbers – an ideal way to end the evening in any setting, but particularly in a converted sanctuary – the so-very-soulful “Choir,” a song that provided a nice, soft landing for this energetically fulfilling concert. And, of course, that Danielle Miraglia vocal wail at the end of the chorus in the middle of the song is always a treat. The crowd knew the song, too, so it turned into a singalong.

Now, that’s how you end a concert.

Live Review: Lita Ford and All Sinners at the Greenwich Odeum

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photo by Luca DePalo

by Luca DePalo, Contributing Blogger

Lita Ford and All Sinners

Greenwich Odeum, East Greenwich, RI

April 9, 2026

On a breezy yet warm Thursday evening in East Greenwich, Rhode Island, the solo singer Lita Ford performed an intimate night of classic songs spanning her whole career. Making her long-awaited return to the state, the killer performance proved how, even after time, the spirit of rock ‘n still is alive and well.

The Greenwich Odeum stands as one of Rhode Island’s true hidden gems, and as it celebrates its 100th year in 2026, the historic venue reflects a century-long legacy of entertainment and strong significance within the local community. Originally opening in 1926 as a cinema theatre, the venue has evolved completely, hosting everything from film screenings and musicals to local acts and concerts that span a huge variety of genres. After many periods of decline and costly restoration, the venue has been carefully preserved, maintaining its classic charm, while adapting to modern audiences. Today, it remains a vital cultural center, drawing both local talent and internationally recognized artists, and its intimate space continues to offer concertgoers a unique experience that larger venues cannot replicate.

Opening Act: All Sinners

Opening up the night was local legends All Sinners from New Bedford, Massachusetts. The band constantly performs around the New England area, and are no strangers to opening up for famed legends in the genre, with past shows including performances with Warrant, L.A. Guns, Ace Frehley of KISS, Lynch Mob, White Lion, Queensrÿche, Dokken, and an upcoming tour with Metal Church.

All Sinners; photo by Luca DePalo

All Sinners came onto the vibrant rock scene around 2023, and I – and many others – love them for their high energy, dynamic blend of hard rock and effortless high notes. Their 6-song set showed their true power with songs like “The Reason,” “We Own the Night,” and the set-closing “The Hunted.”

The 30-minute set was an honest showcase of four talented guys opening up for a legend and performing as if they were headlining! The band includes Mike Golarz on lead vocals and rhythm guitar, Nick Testone on lead guitar, Bruce Morrison on the bass, and Roger Chouinard on the drums.

Headliner: Lita Ford

Next up was the moment we had all been waiting for. From the moment Lita Ford and her band strutted on stage and kicked off the show with the opening number (and my personal favorite) “Gotta Let Go,” it was clear that this was going to be a night to remember for everyone in the audience.

photo by Luca DePalo

Lita’s rock and roll career began in 1976 as a founding member and guitarist of the famed female group the Runaways. The band’s raw combination of hard rock and punk spawned their famous hit “Cherry Bomb.” Then came Lita’s first solo record, 1983’s Out For Blood; then, 1984’s Dancin’ on the Edge. This LP earned her a Grammy nomination for Best Female Rock Vocal Performance, thus earning her the title “Queen of Metal,” which still stands today. Later, in 1988 came the Lita album, which boasted four hit singles, and then 1991’s Dangerous Caves, both being before the rise of grunge took over rock ‘n roll.

photo by Luca DePalo

At the Greenwich Odeum, Lita’s stage presence was as commanding as ever, effortlessly owning every inch of the stage. She dominated through tracks like “Playin’ With Fire,” the rockin’ “Can’t Catch Me,” and  “Larger Than Life,” spanning over 30 years of music. The set also included surprising covers; “The Bitch Is Back” by Elton John, “Black Leather” by the Sex Pistols,” and “Only Women Bleed” by Alice Cooper, all which lifted the audience from their seats.

With such a badass ensemble, Lita Ford fronts the band, delivering both vocals and guitar on every track, while drummer Bobby Rock drives a powerful rhythm, and bassist Mårten Andersson locks in the low end to support lead guitarist Patrick Kennison, whose sharp riffs bring the band to life.

photo by Luca DePalo

From the extended jam featuring a stunning drum solo on “Back to the Cave” to the lit up room in tribute to Ozzy Osbourne for “Close My Eyes Forever,” the Top 10 hit duet from Ozzy and Lita, the crowd couldn’t get enough the other night! It was truly captivating, and will go down as one of my favorite Lita Ford shows. But, I couldn’t forget the best moment that was saved for last, when everyone cheered during “Kiss Me Deadly” and danced their way through one of her biggest hits.

That Thursday evening in Rhode Island made nobody care about work the next day! As usual, it’s a pleasure of mine to keep supporting live music.

Live Review: The Man In Black at the Park Theatre

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photo by Luca DePalo

by Luca DePalo, Contributing Blogger

Shawn Barker/The Man in Black

Park Theatre, Cranston, RI

March 28, 2026

On a beautiful March evening in Cranston, Rhode Island, a sold out crowd gathered together to hear the unmistakable sound of Johnny Cash, performed by one of the world’s most respected tribute artists, Shawn Barker. Marking his long-awaited return to the state, after last year’s performance, Barker’s The Man in Black: A Tribute to Johnny Cash was more than a concert, it was a musical journey.

photo by Luca DePalo

About the Venue

The venue, named the “Historic Park Theatre & Event Center,” stands as a relic to over a century of entertainment, culture, and community in the city of Cranston. Since its early days, it has welcomed generations of audiences, evolving alongside the city while preserving its historic charm. Local entrepreneur Ed Brady and business partner Jeff Quinlan took over the theater and began extensive repairs around three years ago after it permanently closed in 2020. Now in 2026, the theater operates under the management of Spectacle Live, marking a major step in its revival. As part of Spectacle’s growing network of venues, the Historic Park Theatre has been transformed into a fully modern, performing arts center while still preserving the state that defines its century-long legacy.

photo by Luca DePalo

The Concert

As the band hit the first opening chords and began “The Wreck of The Old ’97,” the audience was already gripped tight, with the 6-piece group having a vintage stage presence and grateful emotion. Meanwhile, Barker stood upfront with a rich baritone voice, which glorified the following tracks, “Big River” and “Country Boy.”

Without any banter, Barker walked up to the front of the stage, with just a simple line. “Hello, I’m Johnny Cash,” Barker stated, before kicking into the 1964 hit “Folsom Prison Blues,” a classic in every setlist honoring the legendary Johnny Cash.

photo by Luca DePalo

The band includes Shawn Barker on lead vocals and the acoustic guitar, keyboardist Thomas Johansen, female backing-vocalist Emily Portman, drummer Steve Wilson (who is also the current drummer for the punk rock band Dead Kennedys), electric guitarist Dean O’Leary, and bassist Bruce Thomsen.

Barker’s conversational banter between songs made the night feel super special, due to the intimacy of the venue, allowing him to talk with the audience as if they were face to face. He spoke warmly about bringing this show for over 23 years across North America, and his excitement about returning to Rhode Island, before performing the classic hits “I Got Stripes,” “Hey Porter,” and “I Walk the Line.”

photo by Luca DePalo

After a well-deserved twenty-minute intermission, the second half took an unexpected turn. It opened with the thundering “(Ghost) Riders in the Sky,” my personal favorite, before diving into the famed “Man in Black,” the iconic name Johnny Cash earned after his consistent black stage attire at every show.

But what truly set Barker’s performance apart from other tribute acts was his willingness to lean into the later years of Cash’s career. His cover of “Rusty Cage” (originally by Soundgarden) filled with a surprise jam of Primus’ “My Name Is Mud” and a killer session of Whitesnake’s “Still Of The Night” was a thrilling highlight, especially for the younger audience members. And nope, he didn’t stop there, Cash’s famed covers of “Personal Jesus” and “Hurt” were performed with raw emotion, showcasing Barker’s deep understanding of Cash’s work. These emotional pieces were also some of his final songs before his death at the age of 71 on September 12th of 2003.

photo by Luca DePalo

Of course, no tribute would be complete without “Ring of Fire,” which had the entire theater singing along. And just when the crowd thought the night was over, Barker returned on the stage for an encore with “Cocaine Blues,” a fiery finale that left the room buzzing for more after the last note rang out.

Shawn Barker delivered not just a night of paying tribute, but a full celebration of Johnny Cash’s timeless legacy. From the early Sun Records hits to the darker, more deeper era, Barker honored every chapter with heart and performed as authentically and pure as he could.

If his promise to return next year holds true, Rhode Island will surely welcome him back with open arms. Until next time, keep supporting live music!!