Category Archives: Live Reviews

Live Review: Mason Levi and Bronnie at Bolton Spring Farm

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photo by Geoff Wilbur

Mason Levi and Bronnie

Bolton Spring Farm, Bolton, MA

October 11, 2026

It was a crisp October day in the outer Boston suburbs – one of the coldest days so far this year and cooler than typical for the first half of October – and the rain that, just a day earlier, had been forecast to miss the time slot delivered light sprinkles a few hours earlier than expected. But that didn’t matter because Bolton Spring Farm had prepared a really cool set-up for the day’s performance from talented, rising Nashville artists Mason Levi and Bronnie. And a little ingenuity kept the rain off the performers when it arrived, while some of the rest of us grabbed the umbrellas from our cars. Add to that some truly inspired pizza (and donuts, I believe, though I had the pizza) from food truck – rather, food trailer – vendor Wheat + Water Crafted Doughz, and the setting was still pretty ideal for a fun early fall concert in a very cool, unique setting.

photo by Geoff Wilbur

So how did I come across this show? Simple, half-accident: social media. Then, of course, I checked out Mason’s and Bronnie’s music, their solo releases, plus their collaborations, including “Memory Lane,” which reached number five on the UK country charts, and I was sold. How does that UK charting happen? Well, though both are Nashville-based, Bronnie’s from Liverpool (while Mason’s from Pennsylvania). Plus, “Memory Lane” is a catchy, fun, hit-worthy song. Obviously hit-worthy in the UK because it is a hit there, but I’ve gotta say globally, too. Bronnie’s also earned a nomination for Female Artist of the Year nomination from this year’s British Country Music Awards and released her Sedona Sunrise album, containing a bunch of catchy tracks, including “Memory Lane,” this summer. Mason, in his own right, had a high-energy hitworthy solo release this summer, “Wrong One Right Time.” Yowza! Suffice it to say, this was a pair of talented artists I was excited to see live.

The Bolton Spring Farm had a nice stage set-up for the duo, on the back of a flatbed truck. Mason and Bronnie largely swapped lead vocal roles, alternating songs during the performance. Mason kicked things off with a fun rendition of Toby Keith’s “Should Have Been a Cowboy.” Other first set highlights included Mason’s leads of “Dixieland Delight,” “Every Rose Has Its Thorn,” and “Boondocks,” while Bronnie delivered exceptional performances of Taylor Swift’s “You Belong With Me,” Shania Twain’s “Still the One,” Carrie Underwood’s “Before He Cheats,” and the Beatles’ “Let It Be.”

The first set also featured the aforementioned original Mason Levi-Bronnie duet, “Memory Lane.” One of the best things about a well-written, properly-chosen original is that they’re able to truly play to the artists’ strengths, and this song, like pretty much all of the originals I’ve sampled from these two online, absolutely does. It’s not surprising they had a hit on their hands with this fun song.

photo by Geoff Wilbur

The final two songs of the first set were notably fun. Mason served up one of my favorite Joe Nichols songs, “Tequila Makes Her Clothes Fall Off” – I’ve been a Joe Nichols fan ever since I interviewed him in connection with his self-titled debut album on the Intersound label back in the mid-’90s, and to this day, I can’t hear the song without laughing about the plot twist in its music video. Bronnie then closed the set out strong with her rendition of Dolly’s “Jolene.”

After a short break, the duo returned for the second set. Mason kicked it off with a great performance of Luke Combs’ “When It Rains It Pours.” Bronnie followed with a cool performance of Johnny Cash’s “Ring of Fire,” and I really enjoyed the lilt in her voice on this one. Mason then delivered a performance of Craig Morgan’s “Almost Home” with well-placed strained emotion in his vocal delivery. Highlights of the rest of the set included Bronnie’s performance of Fleetwood Mac’s “Go Your Own Way,” the pair swapping Randy Travis covers, and Mason serving up Johnny Cash’s “Folsom Prison Blues.” Of course, I dig originals, and, just as in the first set, Bronnie served one up during the second set, an energetic performance of the catchy “Sedona Sunrise,” the title track from her current album, an album that’s a big hit in the UK and, of course, worthy of the same in the US.

Mason and Bronnie performed a third set, as well, making this a 3-set, 4-hour concert for those who stayed for the entire show, though I was only able to stay for the first two sets. This weekend kicked off the current U.S. leg of their tour, kicking off with 4 shows in the Boston area. This Instagram post shares their full slate of tour dates, landing next in Pennsylvania before continuing through Tennessee, Louisiana, Alabama, Mississippi, and Kentucky, with Hawaii, Colorado, Utah, and California dates yet to be announced. Absolutely catch them if you can!

Live Review: Britt Connors Band at The Haymarket Lounge

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photo by Geoff Wilbur

Britt Connors Band

The Haymarket Lounge at City Winery, Boston, MA

October 1, 2026

A few months ago, I caught a Britt Connors performance for the first time, opening for Danielle Miraglia at Sanctuary in Maynard, MA. That show was an acoustic performance, with Britt on acoustic guitar accompanied only by bass player Ed Lucie. As much as an acoustic performance can be fun and can help you discover an artist you’re happy to learn about, it’s never quite the same as a full band performance. A full, live, plugged-in performance often showcases an artist’s songs in a new light, closer to what he or she envisions, which is why I prefer them. Of course, I’m aware my opinion isn’t universal. But hey, it explains I was so excited to get this opportunity to hear Britt perform with a full band on Thursday night. For this particular concert in City Winery’s Haymarket Lounge, Britt was joined by Mike Connors on drums, Ed Lucie on bass, Jim Kelly on guitar, and Bethany Weiman on cello.

Britt and company opened the show with “Hummingbird,” a crowdpleaser that immediately impressed upon me how cool some of these songs would be with the addition of strings (cello). Next up, Britt performed “Innocence and All,” a song with a nifty, cool edge and a kinda spooky vibe a little when the music got low. “Cecilia” followed, thumpin’ along like a rockin’ version of a sassy old-school country song. Or maybe blues, especially with the blues feel in the guitarwork and Britt’s very bluesy wails in the vocals.

photo by Geoff Wilbur

Before the next song, Britt explained how a Dolly Parton-inspired song seemed to arrive inside of her brain, how it was brought into the world. Indeed, “Waltz for Dolly” really painted a picture like an old-school Dolly-style song, but Britt has her very own bluesy vocal edge that makes this song entirely hers, even if she thinks it should be credited to Dolly. Worth noting, too, is that the stringwork is neatly prominent here. A very cool lyric, “were we living or just doing time?” also especially caught my ear.

“Anchor Me” does a great job of showing off the power of Britt’s vocals in spots. I also love the cheerful tone in the music during the verses and how the instruments kind of take it up a notch about a line into each verse and here and there elsewhere. It’s the sort of thing that shows attention to detail in the songwriting process and a sense of how different elements play into the feel of a song. Very cool, indeed!

Next up was “Distance,” and while the band’s harmonies lift other songs in the set, Britt called them out specifically in advance of this particular song, a powerful, slower-paced number with a neatly whirling feeling. I suppose I could also call it haunting, but I use that word too often in reviews, so let’s go with whirling in this instance, with perhaps a side order of haunting. And, yeah, the harmonies are key players during “Distance,” particularly in the chorus.

“Beaufort Breakdown” was next, and if I can paint a picture for you, think of an uptempo number with a Hee Haw-ready rhythm – you know, fast-paced. But that’s not really fair because the guitar, in places, and vocals are a bit bluesier. Regardless, this song is a real crowd favorite. And my wife and I actually spent about an hour in Beaufort once many years ago, enjoying its cute waterfront park, but now I feel like we were cheated by not witnessing a breakdown while there.

“Killing Frost” was one of my favorites of the evening. It’s a sweet, floating autumn song that leans into portions of the sweeter end of Britt’s voice and features some big, flowing cello swoops and a cool Ed Lucie chord progression Britt mentioned as the backbone of the song during her introduction. By this point, it had become obvious that Britt really does have great depth and variety in her vocal arsenal, and it’s quite something when she uses them in the same song.

photo by Geoff Wilbur

The first set closed with “Restless,” a song sporting a rich, full sound while advancing unevenly, kind of staccato, though technically I’m not using that word exactly right. Regardless, it features a cool effect where it slows to nearly nothing then comes back forcefully, first just vocally then in a bit of a band-all-in way. A great ending to a first set.

After a short break, the band returned with an emotionally heavy song, “Steppin’ In,” written following the Minneapolis killings. A serious number with a funky vibe. And the some of the most soulful vocal runs of the evening. The song packs a punch. “Exhale” followed, a song gets you swaying in your seat and yet another example of how having a cello onstage can adds some unique flavor to a performance.

“Just One Time” featured insistent vocals and a nifty guitar part with some noodling runs, delivered with some attitude. This song ended with a full-blown guitar showcase, an impressive performance, as the increased unleashing of some of the band’s instrumental talents during the second set lent a fresh dynamic to the back half of the evening. It was followed by “I Told You So,” which continued the attitude from its precedessor on the setlist. It also made me wonder, do Britt’s angry songs all feature her guitarist’s best solos?

“Days Like This,” next, was a throwback to a ’70s light pop singer-songwriter style, smooth and summery and nostalgic because, well, Britt wrote it about the house she grew up in. Next was a cover – I believe the only one of the evening. Britt noted her love of Deb Talan‘s “Unraveling” in the pre-song banter and, indeed, it was a great cover choice. The band’s rendition fit well into the set, showing off some of Britt’s dynamic vocal skills while thumping along stylistically in line with many of her originals.

“Cinderella Blues” is a fun, uptempo, rockin’ song, and the band’s performance included a cool bass solo, allowing Ed to show off his chops a bit. Ah, but there was a guitar solo at the end, where Jim was able to show off some of his serious skills, too.

The evening closed with “Lay My Head,” a soft song, but not a lullaby. No, it was soulful and rather gospelly. Depending on how many years you’ve been going out for entertainment, you may recall the days when Van Halen’s “Happy Trials” closed the bars, and then how it was replaced by Semisonic’s “Closing Time.” Well, this, too, is a great send-off song, stylistically. On this particular evening, it also offered the band a chance to show off, with the cello showcased during a musical run, followed by a weeping guitar solo and a plucky bass solo before Britt brought it to a close, reminding everyone of the textured vocals she’s capable of in slower songs. And with that, the Britt Connors Band brought to a close an enjoyable evening featuring an interesting mix of well-crafted, entertaining songs. It was well worth a Thursday night trip into the city to catch these talented performers! I know I’m looking forward to catching another Britt Connors Band concert one of these days.

Looking Ahead

Be sure to check the “Shows” page of Britt Connors’ website for future performances. She has 3 more “second Saturdays” afternoon performances on tap this year at Sanctuary in Maynard, MA, with the next one coming up Saturday, October 10th at 2:30 PM. She also has a “songwriters in the round” performance scheduled on November 18th at Cafe Zing in Porter Square in Cambridge, MA, in a more typical evening time slot, 7:30 PM. You can check back at the website periodically for updates and/or follow Britt on social media at Facebook or Instagram to learn about upcoming shows. And, if you’re lucky, you’ll get to hear the next big hit variety show theme song, too.

Live Review: Pure Prairie League, Atlanta Rhythm Section, Firefall, and Orleans at Indian Ranch

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Pure Prairie League; photo by Luca DePalo

by Luca DePalo, Contributing Blogger

Pure Prairie League, Atlanta Rhythm Section, Firefall, and Orelans

Indian Ranch, Webster, MA

August 23, 2026

For what started off as a rainy Sunday morning in Webster, Massachusetts, the weather gradually warmed up in the afternoon, setting the stage for an enjoyable day of live music at the Indian Ranch with Pure Prairie League, Atlanta Rhythm Section, Firefall, and Orleans.

The show was everything you’d expect it to be: an abundance of pop and country rock music that transported you back in time to a more free-spirited place. And sure, the members of these bands have changed over the years, with only one or two original members in each. However, each bands have retained their signature sounds and feels that produced their hit songs in the ’70s and still have fans eagerly returning to hear them perform over 50 years later.

Orleans; photo by Luca DePalo

Opening up the show was Orleans, performing a killer set as part of their ongoing farewell tour, which will continue through the end of 2026 and into 2027. Currently, Orleans is led by longtime bassist Lance Hoppen (who has been with the band since 1972), his brother and keyboardist Lane Hoppen (a member since 1980), Tony Hooper (guitar, vocals), Brady Spencer (drums, vocals), and Tom Lane (lead vocals, guitar).

After starting the set off with “Let There Be Music,” Lance introduced to the crowd, “Well, it looks like the weather has cleared out.” Lance continued, “We’re here to play some music and have some fun,” before slamming right into the band’s classic single “Dance With Me,” a song which by itself was worth the ticket price. Ending with “Love Takes Time” and their Billboard chart-topping hit “Still the One,” Orleans performed an incredible 40 minute set to start off a long day of dancing, rockin’, and grooving.

Firefall; photo by Luca DePalo

Then came Firefall, the most surprising band out of the four. Coming out with “Livin’ Ain’t Livin’,” the band decided to stay true to their roots, only performing songs from their first three records (their self-titled album Firefall, Luna Sea, and Élan), a decision which seemed to persuade the audience.

The Colorado-based band currently features Jock Bartley (guitar, vocals), as well as longtime members Sandy Ficca (drums), Steven Weinmeister (guitar, vocals), multi-instrumentalist Jim Waddell (saxophone, flute, keyboard, backing vocals), and the band’s newest member, John Bisaha (bass and vocals). Among hits like “You Are the Woman,” “Strange Way,” and “Just Remember I Love You,” Firefall brought the audience out of their seats!

Atlanta Rhythm Section; photo by Luca DePalo

Afterwards came Atlanta Rhythm Section, a band that came out swingin’ with “Champagne Jam.” Sometimes described as a southern rock band or as a more radio-friendly version of Lynyrd Skynyrd, the Atlanta Rhythm Section was one of many bands from that genre to hit the upper reaches of the charts during the late ’70s.

Hailing from the small town of Doraville, Georgia, the beginning of the Atlanta Rhythm Section can be traced back to 1970. Fifteen albums and over 50 years later, the band features the legendary original vocalist Rodney Justo, and I gotta tell you, he is still going strong! The band played all their crowd pleasers, including “Spooky,” “Doraville,” “So Into You,” and then “Imaginary Lover.”

photo by Luca DePalo

Finally, came Pure Prairie League. Jogging on stage, lead singer and guitarist Jeff Zona introduced the band and stated “Welcome to the country rock surface this afternoon,” before kicking into “Two Lane Highway” probably one of my favorite songs out of all the bands throughout the day. And I can’t forget about “Let Me Love You Tonight,” what an awesome song!

Other than Jeff, the band currently is carrying on the legacy of co-founder Craig Fuller, who retired from touring in 2012, with Scott Thompson (drums), Randy Harper (keyboards and guitar), Jared Camic (bass), and John Heinrich (steel guitar and saxophone), including all the members providing lead vocals. Overall (even with no original members), I thoroughly enjoyed the band’s set, especially with three songs from their latest album Back on Track. And ending with the crowd-pleaser “Amie” was just perfect!

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, there was  a bit of a disturbance in the bar, and after deciding it wouldn’t be quieting down any time soon, I moved my chair into the middle of the performance room, much closer to the performer, to better hear this exceptional artist. 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.

photo by Geoff Wilbur

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!