Album Review: Midrone – Foreverness Revisited

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image courtesy of Midrone

Album Review of Midrone: Foreverness Revisited

There’s a style of classic rock that drips with progressive rock styling. That’s what Midrone delivers on Foreverness Revisited. The vocals soar. The music is heavy but uplifting. And the musical progressions are, well, progressive yet not obscurely so. Rather, they’re pop-friendly. I even hear some Beatles-esque passages and structures on a track or two. As a result, this record is accessible to fans of more straightforward classic rock, with the requisite harmonies and hooks to appeal to a broader audience, primarily structured within a progressive rock framework. Just that combo alone marks this as a pretty cool release, notwithstanding how enjoyable the songs are, too.

Foreverness began as a collection of demos in 2012 and 2013. Foreverness Revisited is Midrone’s Paul J. No’s attempt to complete that decade-old vision with proper production value, so No almost entirely re-recorded Foreverness as Foreverness Revisited, featuring himself on vocals, keyboards, guitars, and programming, joined by JP Benadjer (guitars) and Seb Bournier (drums), with the record mixed and mastered by David Paredes.

“A Miracle is in the Air” kicks things off with pingy, progressive synthwork. Fuller instrumentation develops quickly, as the song soars musically behind a vocal line that lifts and drops alongside the music. To my ear, the final result comes across with the steadiness of a Peter Gabriel crossover track that’s set to the music of a reined-in version of Asia.

It’s followed by the song that made me think of the Beatles, “The Little Walk Down Memory Lane,” a catchy little ditty that’s one of the record’s more pop-accessible numbers. It’s also my personal favorite on this disc, though I enjoy spinning the record from beginning to end; it’s without a weak link, suggesting a disc full of potential favorites, depending on your nuanced musical preferences.

Midrone skews synth-meets-guitar prog on “Many Ways to Say Goodbye,” then comes in a bit more mellow on “Don’t Mean Anything,” a kind of Moody Blues-ish number. The constant is a tuneful vocal that leans pop, even though it’s paired with progressive musicianship.

Most of the rest of the disc is comprised of various combinations of elements I’ve already noted. I particularly like “The Story of Jimmy Jack,” which combines softly soaring segments with more aggressive passages.

Another song that deserves mention is the most experimental, progressive song on the record, mixing spoken word narration and engaging music to tell the story of the lead-up to the Wall Street crash of 1929 and, of course, given the song’s title, the aftermath – “The Party is Over.” (It may cause you to google John Jacob Raskob. I studied finance, among other things, and I can’t believe I didn’t already know the quote this song leverages!) I generally dislike spoken word in songs, but it really works here, one of the coolest song concepts you’re likely to ever discover. If you ignore the rest of this review, you should check out this song. It’s not a barometer of whether or not you’ll like the rest of the record, but it’s something you really should hear at least once. Or several times – it seems to get even better with multiple listens.

Finally, “Foreverness” closes the collection. It’s a good stylistic summation of the rest of the record. Most good progressive rock records end with this sort of satisfying conclusion, and Midrone delivers.

In its entirety, Foreverness Revisited resides in that musical corner of progressive rock that delivered mainstream hits for prog-influenced rock acts in the ’70s and ’80s, adeptly straddling those two worlds. Whether your tastes lean mainstream or progressive, I’d suggest giving this record a listen.

Album Review: Trousdale – Growing Pains

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photo by Tessa Carroll; photo courtesy of Big Hassle

The Story Behind My Discovery of This Album

If you’re lucky enough to live in a town where your public library membership includes access to Freegal, you’ll know that it’s a cool way to accumulate songs and albums that are missing from your collection, as well as a great way to sample new artists. (Yes, you can do that with Spotify, but you can download the MP3s [a certain number of songs per week – at my library, it’s three] “free and legal” from Freegal. I mean, your library is paying for it, so it’s only free from the downloader’s perspective.) Last year while perusing Freegal, I stumbled upon the band Trousdale and their 2025 album Growing Pains, so I downloaded three songs each week for four weeks until I had the whole record.

Album Review of Trousdale: Growing Pains

Growing Pains, which you can find on all of the major streaming services using this link, seems to have been another step forward for talented trio Trousdale, with widespread touring and even a performance at the Grand Ole Opry coming since the release. As the band continues to draw more and more attention within its core musical subgenre, though to be fair it’s hard to pin them down to a single subgenre, the way music fandom is so segmented, many of you who are likely to love Trousdale’s music may not have heard of it yet. Well, if that’s the case, I’m here to remedy that. This is a group that delivers the sort of tightly-performed, well-written songs with crisp production that’ll easily become favorites among a broad swath of music fans. Get on board as a Trousdale fan now, enjoy this album, and join me in looking forward to what comes next!

image courtesy of Big Hassle

My initial impression of Trousdale was that of a song-driven, pop-rock act, with a rich, sunny sound and monster hooks. A few songs into the disc, the Americana and pop-country flavors become apparent, which is why you’ll often find Trousdale listed as an Americana or alt-country act, but trust me, this is broad-appeal tuneage.

Growing Pains is an album you might want to start from the beginning, as the first two tracks will reach out and grab you hard, and then you can settle into the rest of the album’s outstanding songs (you’ll probably find your personal favorites somewhere in there), with a couple more big-sound attention-grabbers mixed in for good measure.

Personally, I wonder how much the album’s initial raw-bluesy guitar chord predisposed me to like this band and this album. Oh, man, what crunch! Beyond that, I hear shades of Fleetwood Mac’s “Don’t Stop” in the opening measures of the disc-opening title track, “Growing Pains,” which settles into a raucous, thumping, energetic rocker that blends the dominant, pounding rhythm of a Bad Company number with the big, open, upbeat, tuneful energy of an ELO pop-rocker but with harmonies you’d expect from a pop vocal trio. It’s a kickass song that should have introduced Trousdale to the broader public, and it still might, as it’d be an ideal song to accompany an energetic sequence in film or TV. (Yes, I’m callin’ it top-shelf montage music.) As for the listener experience, before too long, you’ll find yourself singing along – probably with the background vocals – and you might even catch yourself swooping and dipping along, dancing in your seat.

photo by Alex Lang; photo courtesy of Big Hassle

“Over and Over” has a little bit of a sidewinding rhythm and a playful, funky vibe, with a catchy-af beat, killer three-part harmonies, and an overstuffed bag of hooky moments. It’s another great potential hit song, and Trousdale’s just getting started.

Third track “Lonely Night,” while clearly pop-rock and sporting a rather sparse instrumentation during its vocal-heavy spots, contains a bit of that Bad Company crunch early on (not obviously, but once I heard it on maybe the thirtieth listen, now I can’t unhear it) and fun, dancing guitar riffs in a late-song bridge, all while the chorus delivers a modern spin on classic hit vocal-pop styling. I know some of you are going to drift toward this Trousdale song as your favorite.

Indeed, Growing Pains is a record full of potential personal favorites. The songs are lyrically relatable, potentially striking a slightly different chord with each individual listener given the relatively universal themes explored by most of the tracks. The vocals are top-notch. The music is catchy. And the style is widely-accessible, with guitar riffs for rockers, pop-country tones from time to time for fans of artists like T-Swift and Ashley Cooke, with enough stylistically diverse elements and harmonies to appeal to fans of vocal pop and pop-rock music, yet insightful-enough lyrics to appeal to folk-rockers and other lyric snobs.

“Want Me Back” is one of those lyrically-thoughtful numbers with enough hook and twang to reach audiences from pop to pop-country. Meanwhile, “Death Grip” and “Second Hand Smoke” are a pair of well-crafted numbers whose varied degrees of hauntingness remind me a bit of Clare Bowen, with “Death Grip” recalling some of my favorites from her eponymous solo album, while “Second Hand Smoke” is slightly more the sort of thing her Scarlett character may have absolutely killed with on Nashville.

“Don’t Tell Me” kicks off with an attention-grabbing guitar riff, just as the title track did, but then chooses a tempo and rhythm that’s very country. Or maybe it’s the lyric, as the chorus begins with “Don’t tell me you love me to keep me from leaving. Stop callin’ me ‘baby,’ I don’t want to hear it.” Yeah, that’s kinda country. Coolly, as well, after the first chorus, just as you thought maybe the song would settle in, the music levels up, pulling you in. I know Trousdale doesn’t sound like Shania Twain, but this is definitely the sort of song I could hear as a Shania hit.

photo by Alex Lang; photo courtesy of Big Hassle

“Warm Shoulder, Cold Heart” is a soft number that really highlights the band’s vocal talents. If that’s your favorite thing about Trousdale, this will likely be one of your favorite songs, while “Sleeping At the Wheel” should appeal particularly to folkies, though again, for listeners who simply enjoy great songs delivered by top-shelf musical talent, you’re going to enjoy every song on this album.

“Save Me” adds a funky rhythm and a great big sound, while delivering a master class in lyrical attitude. “Vertigo” is an energetic, spirit-lifting example of classic, old-school, radio-friendly pop-rock that pushes persistently forward in the verses while exploding in the chorus. And “Last Bloom” closes the album with a soft, modern vocal pop-rock vibe that sets the listener down lightly, befitting an album-closer, as a lush one-and-a-half minute, harmonious farewell.

I know Trousdale has developed a large enough following that many of you already know how talented this trio is, how catchy their music is, and how easy they are to recommend to fans of a broad swath of musical genres. However, if the algorithms haven’t already spun up Trousdale for you, it’s time for you to seek them out intentionally and bend the algos in their direction. (You’re welcome.)

More Recently

In September, Trousdale released a cool post-album single, “The Ick,” whose catchy rhythm, nifty harmonies, and fun lyrical content are worth a listen.

Looking Ahead

Check out the “Tour” page of Trousdale’s website to find an upcoming performance near you. The band will be in the UK and Europe from late January through late February. They’ll also be performing on Andrew McMahon’s Holiday From Real Cruise that departs from Miami, FL (Feb. 28-March 4), at the Okeechobee Music and Arts Festival in Okeechobee, FL (March 19-22), and at the High Water Festival in North Charleston, SC (April 18). Be sure to check the band’s website periodically to see when they’ll be performing near you.

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

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photo courtesy of Aesthetiko Musicians Collective

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

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

image courtesy of Aesthetiko Musicians Collective

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

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

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

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

 

Single Review: Matthew Holtby – “This is Bliss”

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image courtesy of Cameron Carpenter on behalf of Matthew Holtby

Single Review of Matthew Holtby: “This is Bliss”

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

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

photo courtesy of Cameron Carpenter on behalf of Matthew Holtby

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

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

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

More About Matthew Holtby

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

Album Review: Sado-Domestics – Getting the Ghost

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image courtesy of the Sado-Domestics

Album Review of Sado-Domestics: Getting the Ghost

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

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

photo courtesy of the Sado-Domestics

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

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

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

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

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

Looking Ahead

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

EP Review: Nate Jones – Greatest is Love

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photo courtesy of Nate Jones

by Eric Harabadian, Contributing Blogger

EP Review of Nate Jones: Greatest is Love

Nate Jones is a singer-songwriter/guitarist from Detroit, Michigan who has been steadily building a fervent and loyal following for over 15 years. The 30-something troubadour has dabbled in all areas of musical endeavor as a solo artist, a member of acoustic rock-based trio Athens Creek, and as a weekly host of several open mic nights.

The intrepid artist also has a select body of recorded work and original songs, with influences that run the gamut from James Taylor and Jim Croce to Johnny Cash and The Avett Brothers. With Greatest is Love, he is at the peak of his powers in terms of self-actualization and reflection. You’re getting the “best” version of Jones, where he’s putting his life and love on the line to show the audience what makes him tick. And, in doing so he, no doubt, is connecting to the listener in the most empathic and unfiltered way possible.

image courtesy of Nate Jones

This six song EP was recorded in Nashville, TN in early 2025. Jones had spent a few years there soaking up the creative atmosphere and ambience. And there are, indeed, a number of stylistic tropes that lean toward, perhaps, the country influences gleaned from such tenure. But he’s got his own signature thing going that defies mere categorization, other than to call it “Nate Jones music.”

Track one is called “Live it Loud,” and it immediately grabs you by way of a structure totally built on catchy hooks and an indelible melodic arrangement. This must surely be a crowd pleaser, with its upbeat message and collective spirit from his fellow collaborators. It starts with a refrain that’ll lock inside your consciousness: “Let me see your upside down frown, hands up in the air. Let me hear you sing it out loud, living without a care.” It’s infectious like that through the whole song. It’s a rouser, to be sure!

That’s followed by the seemingly autobiographical “Sober.” It’s a song with a serious tone about addiction and the joys of sobriety. This is Jones putting it all out there in a packaged token of appreciation for realizing the importance of having love in his life. Again, it’s got a great hook and a great message.

photo courtesy of Nate Jones

“(If Everyday Was) Friday Night” scratches that CMT/Active Country itch. This song is tailor-made for radio, with strong video potential as well. Imagine some of Chris Young and Luke Combs’ best work, and you get the gist of what Jones is going for here. Former Athens Creek partner Taylor Walls shows up brilliantly in duet and lead vocals on this track.

“Needed You to Know” is another emotionally charged piece that builds to a dynamic finale. This is, perhaps, one of Jones’ best love songs, as poetic as it is sincere. He sings, “Lonely is the man that waits for you. Who only hides the lies and tells the truth. Holding out his hand to hold onto. Lonely is the man that waits for you.” Torch songs rarely get much better and heartfelt than this.

“So Alive “is another rallying cry for feeling appreciation for the supportive people in one’s life. It’s all about embracing memories and shared moments. The song addresses the simplicities we all share but may not always acknowledge. But, as aforementioned, you’re getting the “best” of Nate Jones here, and he’s being as transparent as possible.

The title track talks about what he’s learned in life and golden rule kind of stuff. He sings about basic precepts he absorbed from his parents about music, relationships, forgiveness, etc. But, for all the wisdom he’s gained in dealing with various situations in life, the greatest manner in which to handle it always comes down to grace and love.

Joining the thought-provoking Jones on his musical journey are co-producer and guitarist Alex Bonyata, bassist Nathan Moll, keyboardist Tony Salomone, drummer Trey Poluga, guitarist and fellow Athens Creek member Oscar Sosa and backup vocalist Kara Frazier.

For more information on touring dates and events just go to natejonesmusic.com.

Single Review: Dustin Brown – “Ballerina”

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photo by Katie Langley; photo courtesy of RPR Media

by Eric Harabadian, Contributing Blogger

Single Review of Dustin Brown: “Ballerina”

Dustin Brown is a Texas-born singer-songwriter from the Fort Worth area. He’s a mix of country and Americana that is part of a neo-traditional movement in music. He’s been pegged with a poetic “blue collar” style and way of storytelling that’s one part Kris Kristofferson and one part Jason Isbell. He does so by blending bits of Southern rock, “red dirt,” folk, and blues to regale his tales of working-class life, personal growth, and small-town America.

image courtesy of RPR Media

Brown knows of where and what he speaks, having spent a number of years working various jobs such as commercial diver and oil field land man. Undoubtedly those experiences have provided a wealth of inspiration and spark for some of his best songs. He’s in touch with the people and, along with some of the best like-minded original songsmiths, wants his songs to naturally tap into shared emotions and connect with others.

The Texas troubadour has released three full-length albums, with a fourth in the works. The song “Ballerina” is unique in that, not only is it a stand-alone single, not available on any other album, but it is a collaboration between Brown and two other fellow singer-songwriters, Billy Hartman and Rachel Cole. Hartman and Cole are accomplished artists in their own right, with Hartman recording a number of singles and albums under his belt and Cole having toured with the late, great Todd Snider and signed with Snider’s Aimless Records.

photo by Katie Langley; photo courtesy of RPR Media

It’s a lot of collective creative firepower for a single that tells a delicately detailed, yet simple story. The Brown and Hartman-penned song focuses on a relationship and character study of a girl from three different perspectives. All three artists take a verse on the country-folk song supported by complementary mandolin, slide and acoustic  guitar. Brown’s seemingly naked and vulnerable voice leads the charge and paints a vividly intimate aural picture.

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

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photo by Sasha Israel; photo courtesy of September Gurl

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

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

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

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

image courtesy of September Gurl

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

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

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

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

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

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

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

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

More Recently

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

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

Album Review: The Gravel Project – Find What You Need

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photo courtesy of The Gravel Project

Album Review of The Gravel Project: Find What You Need

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

image courtesy of The Gravel Project

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

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

photo by Ian Urquhart; photo courtesy of The Gravel Project

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

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

photo by Ian Urquhart; photo courtesy of The Gravel Project

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

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

photo by Ian Urquhart; photo courtesy of The Gravel Project

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

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

Looking Ahead

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

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

Live Review: The 2025 New England Music Awards

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photo by Geoff Wilbur

The 2025 New England Music Awards

Six String Grille & Stage, Foxborough, MA

November 16, 2025

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

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

Lila Wilde; photo by Geoff Wilbur

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

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

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

Gold Hoax; photo by Geoff Wilbur

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

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

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

The Fatal Flaw; photo by Geoff Wilbur

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

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

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

Joey Batts & Greg Rivers; photo by Geoff Wilbur

Brandie Blaze; photo by Geoff Wilbur

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

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

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

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

Jason Ingriselli and the Miles North; photo by Geoff Wilbur

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

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

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

Nicolas Emden; photo by Geoff Wilbur

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

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

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

JVK; photo by Geoff Wilbur

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

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

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

Nate Ramos Band; photo by Geoff Wilbur

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

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

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

The John Fox Band; photo by Geoff Wilbur

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

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

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

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