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

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image courtesy of BJF Media

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

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

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

image courtesy of BJF Media

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

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

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

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photo courtesy of Nikki and the Barn Boys

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

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

photo courtesy of Nikki and the Barn Boys

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

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

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

image courtesy of Nikki and the Barn Boys

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

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

Album Review: Jennifer Lyn & the Groove Revival – Retrograde

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photo by Wyatt Ell; photo courtesy of Blind Raccoon

Album Review of Jennifer Lyn & the Groove Revival: Retrograde

I’ve been following Jennifer Lyn & the Groove Revival for several years – heck, I have Jennifer Lyn’s 2016 single “I’m All Wrong for You Baby” and a couple songs from the band’s 2018 Badlands album on my #PhoneOnShuffle playlist – and am glad to finally have an opportunity to share this top-shelf blues-rock (or rockin’ blues) band’s music with you here at the blog. Indeed, the band’s style is so densely packed in the style of psychedelic ’70s blues-rock bands, it’ll appeal to classic rock fans, yet there are some pure blues elements that’ll also appeal to blues fans. Double whammy, if you will. Two fan-bases for the price of one. And dayum, this is some tasty tuneage.

image courtesy of Blind Raccoon

The album opens with the sidewinding, psychedelic classic rock vibe of “Light the Fire.” The song features plenty of classic guitar crunch but with lots of white space between the riffs, making room for Lyn’s powerful voice to soar as the song builds to power, relents, then builds again. Next, “Searching for Solid Ground” is organ-heavy and, while a natural progression from the disc-opener, is lighter and a bit more musically playful.

There’s almost a “Got No Shame” vibe in the opening of “Sucker for the Pain,” one of my favorite tracks on Retrograde. It’s followed by “Refuge,” a powerful, soulful, meaty, slow-tempoed song that’ll stick with you; it features kind of a church-organ vibe to the keys and has a nifty, noodly, bluesy classic guitar rock solo just past the halfway mark that’ll make your hair stand on end in spots.

“Do Bad Things to You” follows. It’s a raucously fun song with a Thorogood-esque, thumpin’ tempo supporting vocals that reach hard-rock-wail every time the song climaxes.

photo courtesy of Blind Raccoon

Then the album returns to smooth soulfulness with “Soul Saver,” a song with a bit of a pop-rock vibe, though more likely an album track on a ’70s/’80s guitar-driven, mid-tempo pop-rock disc, as it’s more of a nifty album-listening, organ-driven, jangly tune with kind of a travelin’ feel to it. It’s not exactly hooky pop-rock radio fare, which is OK because it’s not trying to be, but it’d be a favorite of many fans who bought the album.

“’59 Cadillac” is another fun romp, a mid-tempo funky blues rock number that proclaims “I don’t care if he’s coming back. I got his ’59 Cadillac.” Gotta respect that energy!

The bluesy guitar riff opening “Breaking Chains” has kind of a wide-open-spaces, old west vibe to it. The song’s energy is powerful yet light and uplifting, and there’s a neat little repeating guitar riff threaded throughout the song that helps hold it all together.

photo courtesy of Blind Raccoon

The album’s penultimate number, “Baggage,” is a lot rougher around the edges. It howls, wails, and squeals its message – blues-rockingly, of course – with an insistence that can’t be denied. I think we can all relate to this number, unfortunately, with lyrics like, “As much as I’ll miss your lovely face, your baggage won’t fit in my suitcase.” In the end, this is an energetic, commiserating number, one that rejoices in kicking the baggage to the curb.

The album closes with “Do It All Again,” a psychedelic, moderately-paced guitar rock number that’d fit in perfectly on a psychedelic ’70s rock LP. I half-expect the song to rattle and pop a bit like overplayed vinyl. But no, this is classic-influenced guitar rock in all its modern digital awesomeness.

If you like classic rock, blues rock, psychedelic rock, or guitar rock, this is likely to fall into your musical wheelhouse. Jennifer Lyn & the Groove Revival are a band you should be following, if you don’t already. Retrograde is a great beginning-to-end listen. My personal favorites on this album are “Sucker for the Pain,” “Do Bad Things to You,” “’59 Cadillac,” and “Baggage,” but there’s not a bad song in this collection, so your favorites are likely to differ.

Single Reviews: Copper Flats – “Should’ve Been Doin’,” “Household Name,” and “Airplanes and Telephones”

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photo by Misty C Photos; photo courtesy of Skye Media

Single Reviews of Copper Flats: “Should’ve Been Doin’,” “Household Name,” and “Airplanes and Telephones”

Copper Flats is the trio of Brandon Kelly (lead vocals), Jeremy Castaldo (keys/acoustic guitar/electric guitar/background vocals), and Drew Smith (acoustic guitar/background vocals). And “Should’ve Been Doin’,” “Household Name,” and “Airplanes and Telephones” are the band’s first trio of song releases. Three singles, three different nuances on a bigtime, bowl-you-over, massive country music sound. Copper Flats explodes out of the blocks with these catchy, radio-ready arena-pleasers. Simply put, if you like modern guitar-driven country music, you’ll dig Copper Flats.

photo by Misty C Photos; photo courtesy of Skye Media

One of my personal complaints about this type of music is that the songs can be formulaic and unimaginative. Copper Flats does tug at many of the stereotypical heartstrings, as their songs delve heavily into the topics of home, family, and nostalgia, but they don’t get lazy with their lyrics or their instrumentation. That’s the difference between pretender and contender in the world of big, booming, rockin’ country music. It’s also a necessity to get a review with my byline here at the blog. (“Just like everyone else” doesn’t cut it with me.)

image courtesy of Skye Media

The big, swirling guitar that kicks off “Should’ve Been Doin'” reminds me of something Lonestar might do. (You may have noticed over the years that if I reference Lonestar, that’s a big compliment.) It’s a simple, homespun life message packaged in a catchy veneer, a pop-friendly ode to the simple life with a message that appeals broadly. And they namedrop George Strait in the lyrics – you can’t go wrong with that! Plus, it sports a hook that’ll have you remembering it for a while.

image courtesy of Skye Media

Until, of course, you hear “Household Name.” Putting a fun spin on the term, celebrating small-town family life, the energetic verses lead to a memorably hooky payoff in the title lyric. I’m also a bit partial to the late-song musical breakdown that’ll give you chills if you’re in just the right mood. In the promo material, Castaldo captures the song’s essence: “We don’t need fortune and fame, but thank God every day for the lives he’s blessed us with and the opportunities to lead our families and households well.” That’s about as cool a message as there is. You oughta give this song a listen.

image courtesy of Skye Media

The third Copper Flats single, though, topped these first two in catchiness, and believe me when I say that’s not easy. In fact, I’d rather listen to these three songs in order than just one on repeat. Yet “Airplanes and Telephones” is probably the best of the three. It’s a wistful heartbreak song penned by country hit-writers Andrew Dorff, Jonathan Singleton, and Zach Crowell, that sports a big country sound, surging with power, peaking into the title lyric, then releasing into another thoughtful lyric, all wrapped up in a tuneful package with some kickass electric axework dancing through it to help it rock.

Based on these three songs, I have no doubt Copper Flats would be a fun live show and is capable of reliably releasing singles and albums that’ll appeal to any country music fan, as well as plenty of us with broader musical tastes who simply enjoy catchy, energetic performances of well-written songs.

photo by Misty C Photos; photo courtesy of Skye Media

More Recently

The band has a couple more recently-released songs on Spotify – “Golden” and “Blue Collar Man” – though I haven’t heard them yet. (I’ve just been churning through my review playlist.) I’ll have to check them out when I get the chance.

Looking Ahead

This is a sound that’s almost certain to play well live, and they have several shows coming up. In November, you can catch the band in Conway, El Dorado, and Paris, Arkansas. The first week of December, they’ll be performing with Sister Hazel in Pontiac, Michigan on December 4th and in Wabash, Indiana on December 5th. And Copper Flats has a New Year’s Eve show in Benton, Arkansas. Be sure to check out the “Tour” page of the band’s website for times and locations of those shows, as well as additional performances, as they’re added.

You can also see all of the Copper Flats’ social and other key links at its linktree.

Album Review: Tony Moore – Awake

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photo courtesy of Tony Moore

Album Review of Tony Moore: Awake

Tony Moore‘s Awake is an old-school, timeless, progressive-influenced classic rock album. Remember how great those records are beginning to end? If you’re a fan of that kind of guitar rock music, this is a new collection to add to your best-of list. Something about the vibe of album-opener “Awake” instantly reminded me of Pink Floyd upon first listen, and the whole Awake record has a concept-album vibe very much reminiscent of that era, though Tony’s underlying style is crisper, cleaner, and a bit more modern.

image courtesy of Tony Moore

The album was inspired by the events of the first year of the pandemic – the lockdowns, the uncertainty, the surreal reality. I won’t go into detail because Tony explains it well on his website, including the idea’s germination out of the song “Awake,” at this link. Metal Talk digs even deeper in its interview with Tony at this link. In my review, I’ll just focus on the music itself – an epic guitar-rock masterpiece – and you can return to these links to read more afterwards, perhaps while you listen to the album on Spotify, Bandcamp, or elsewhere.

Album opener and title track “Awake” is stylistically cool and fun to listen to as it unleashes a rhythmic guitar riff-filled, instrumental-only opening only gives way to lyrics at the 4:51 mark. This song sets the tone for the entire album, which is fantastic as a beginning-to-end listen but also features several songs that are standalone treats. And I wouldn’t often say such things about a nine-and-a-half minute song (to be fair, 9:26), but this is one of those treats. The axework throughout is inspired, recalling for me a recent quote I read in this Louder interview/article from Iron Maiden’s Steve Harris about Tony’s guitar playing on Awake: “The music is kind of proggy, which I love, and if Tony could play guitar back then the way he does now he’d probably still be in the band.” High praise, indeed.

photo courtesy of Tony Moore

Another of those kickass standalone tracks is the record’s third song, “Love We Need You Here,” which is partially reprised in the penultimate song slot, as “Love We Need You Here Pt. II,” helping to thematically and sonically tie the album together. This is a softer song, mellow and swaying, with a strumming guitar style that features some western music style flourishes while primarily being a straightforward slow, strumming rocker supported by a curtain of background synth that almost sounds orchestral. The vocals, meanwhile, are just slightly gravelly, emphasizing their heartfelt nature, ideally suited to the song’s payoff lyric, occurring both early and at the end of the song, “Love, we need you here. We need your guiding hand to help us understand. Love, remove the fear and bring us all back home. Don’t leave us lost and alone.” If you’re listening closely, it’ll give you chills.

And it’s followed by a kickass, straight-ahead rocker, “Just One Night.” There’s a little Pink Floyd feeling to this track, but it also sports a lot of the pure pop-rock styled pop music sensibility Tony has featured in some of the catchy, less guitar-driven Tony Moore singles I’ve enjoyed over the last decade or so, since I first became aware of his music. If there’s a potential fast-paced breakout hit on this record, this is my best-bet. Roll the windows down, and crank this one up when you’re zooming down the highway; it’s well-suited for that. I bet it really amps up the audience when played live, too.

photo courtesy of Tony Moore

The next track, “Hopium,” is another especially long number. There’s probably not a lot of hope for this one as a single, but it’s one of the album’s more memorable songs and a personal favorite. It’s followed by stylistically-similar “Dear Life,” almost flowing together in such a way that a full-album listener barely notices the transition a new song. However, it’s a more radio-friendly length, and it’s topically more broadly-applicable, making it a likelier option for external commercial use. I’m thinking movie soundtracks, though perhaps sans the really nifty guitar solo two-thirds of the way through. Soundtracks, during the movie itself, are likely to exclude the slight stylistic and tempo variance that make it a more interesting standalone song; hopefully the soundtrack album will still include the full track as recorded, though.

“Not Normal” is a very proggy song that thematically moves the album forward both lyrically and with its heavy rhythmic beat. Morseo even than the rest of the disc, which leans by varying degrees this way, you could almost drop “Not Normal” right into The Wall and it wouldn’t seem at all out of place.

The keyboardwork of “Remember Me” is another element that helps tie the record together, providing a mid-album vibe similar to the early and late appearances of “Love We Need You Here.” The moods you’ll get from this track are introspectiveness and melancholy. It’s followed by a song that thrives on subtly frenetic energy, “Crazy in the Shed.”

photo courtesy of Tony Moore

I’m not personally a big fan of speaking-over-music tracks, but “Dark Winter,” next, does move the mood and concept forward ominously, as does the next track, a more traditional prog rocker, though a heavy-beat-driven, booming, plodding, soft-power-driven one, “What’s the Point.”

“The One Percent Solution” is a cool song that can effectively drive somewhat different messages, whether a rather specific thrust when viewed through the lens of this concept album versus a potentially broader theme as a standalone number. The song itself progresses very coolly, softly building up to power, though maintaining a very modest tempo throughout.

photo courtesy of Tony Moore

“We Are One” follows, with its rhythmic bounce and marching tempo, combined with tempo changes and stop-starts, guitar flourishes, and emotive vocals, whether soaring or rhythmically emphasizing the beat. This is a track that’ll have you bouncing in your seat.

“Asleep” pleads for action, soaringly, proggily, as one would expect near the end of a concept collection like this one. And just about every guitar-rock fan will enjoy the very cool, rising and falling, soaring guitar solo that drives the last two-plus minutes of this song.

After the short reprise of “Love We Need You Here” – specifically, “Part II” – the crunchy, guitar-driven “It’s Not Over” serves as a rather hopeful album closer. One reason it’s important to listen to the very end of Awake is because, regardless of how you feel after the rollercoaster musical journey that brought you to this point, “It’s Not Over” will restore your hope and determination. And there’s some pretty kickass guitar in the song, too, particularly in the back half.

Awake is a masterwork of the concept album format. It’s a beginning-to-end listen that ebbs and flows. It’s clear why the related concert performances have proven so popular, and I’m hopeful that Tony will continue to tour Awake as an event concert, at least from time to time, throughout the rest of his career, in and around any other work he produces. It’s an experience, a music journey, a conceptually tight collection worthy of prog-rock, straight-up rock, and arts-in-general music fans.

Watch for upcoming tour dates on the “Tour” page of Tony Moore’s website. And be sure to keep up with his goings-on via social media, like his Instagram page or his Facebook page.

Album Review: Will Hawkins – Cartas No Enviadas

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photo courtesy of Will Hawkins

by Eric Harabadian, Contributing Blogger

Album Review of Will Hawkins: Cartas No Enviadas (Fastback Records)

Will Hawkins is a Los Angeles-based singer-songwriter who is best known as the frontman for the band Nine Mile Station. That band’s debut 2023 album BAZAR received many accolades from the music cognoscenti for its lyrical songs, vivid storytelling, and dynamic production.

With this new solo release Cartas No Enviadas (Unsent Letters), there is that same creative spark and territory mined in his previous, lauded band context. Actually, the album title suggests each song as a note or message, yet to be delivered to the subject or receiver in question. Hence, the album, in total, almost plays like variations on a theme or concept.

image courtesy of Will Hawkins

“What Your Words Say” opens the album loud and proud, with a declarative and plaintive urging to a significant other, stating it’s time to get out of each other’s way and lay it on the line. There’s an honesty and passion in Hawkins’ delivery that really seals the deal here in terms of pure emotional connection. “As Good As it Gets” follows and features great hooks and a memorable chorus. The song is a reflection on life and how one places themselves in the world. Dan Nachimson’s brilliant piano playing really illuminates the sentiments here.

“C’Mon Now” is sort of an open-hearted song. Hawkins’ dynamic and unvarnished words cry out for someone to be transparent. Musically, there is a smooth mid-section shift from odd rhythms to an uptempo break. The song really builds to a stunning crescendo that’s very effective. “Messy” is a cover of British pop star Lola Young, and Hawkins takes the angst and swagger of the original to another level. Session man, indie artist and producer extraordinaire Fernando Perdomo provides the surrounding ambience of the track via minimal keys, drums, and spacey guitar.

photo courtesy of Will Hawkins

“New Friends” is a cover of David Poe and brings out some of Hawkins’ east coast Springsteen-type roots. It’s upbeat, with a great hook. And Lainey White’s swirling violin even suggests a Dylan-meets-Mellencamp vibe. The Colin Hay nugget “Waiting For My Real Life to Begin” gets a thoughtful and pensive reading here. Phil Parlapiano is the pianist on this track, and his decorative and prominent accompaniment adds gorgeous luster to this treatise on living in the moment and appreciating what’s happening in the now.

“California” talks about the wanderlust and desires of a young man seeking the bright lights and fame of Hollywood. Gerald Menke’s pedal steel guitar gives the song an early Jackson Browne and the Eagles kind of feel. “Anything” is a tune from Hawkins’ formative years in NYC. Recorded live at The Baggot Inn, it’s a nice original ballad that drifts into jamming in sections. It’s a nice stretch out for the band. The album concludes with a dedication to Hawkins’ father entitled “May the Road Rise to Meet You.” It’s a traditional Scottish proverb that is lovingly detailed, including the artist’s own bagpipe playing in the fade-out.

Will Hawkins is a talented and multi-faceted musician and producer who presents a contemporary Americana and West Coast sound that is timeless. His songwriting is reflective of CSN&Y and all the greats to arise from the classic Laurel Canyon period of the ’60s and early ’70s. But he is also on the cutting edge with modern troubadours like Dawes, Jason Isbell and others. Hawkins is an artist to keep on your radar.

Live Review: Ayla Brown at Solomon Pond Mall

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photo by Geoff Wilbur

Ayla Brown

Solomon Pond Mall, Marlborough, MA

August 16, 2025

You may know Ayla Brown any number of ways. Here at the blog a few years ago, I reviewed Ayla’s performance at the 2019 Local CountryFest as half of a duo with talented singer-songwriter (and, for a few years now, her husband) Rob Bellamy. Prior to that, you may know Ayla as an American Idol competitor during Taylor Hicks’ season. (Though I recalled Ayla’s Idol stint, I didn’t remember the specific season until Ayla mentioned it during her between-song banter.)

In recent years, Ayla has been a prominent local country music radio personality. She currently appears on The Flyover Podcast, serves as spokesperson for Solomon Pond Mall and the Wachusett Brewing Company, and has other entrepreneurial ventures. Of course, within my world as a music journalist, as far as I’m concerned, she’s a singer-songwriter, and in that role, she’s one of New England’s best. Ayla frequently performs with Rob Bellamy, though this Solomon Pond Mall show, for the mall’s Pond Fest ’25 event, was a solo performance. Rob was there on Saturday, and he got involved a little, but this was an Ayla Brown solo gig.

photo by Geoff Wilbur

Ayla’s set was the centerpiece of Saturday’s Pond Fest, a family-friendly event with food trucks, sponsor tents, and a “touch a truck” event featuring Marlborough’s fire and police departments. Ayla’s 12:00-2:30 set was flanked, before and after, by music from the day’s emcee, DJ Craig Sutton. I knew going in that I was only going to be able to catch the first half of Ayla’s performance, but it was such an engaging performance, I wish I had been able to stay ’til the end.

Ayla kicked her set off energetically with Lady A’s “Downtown.” Her voice has the rich power to capably drive songs like this one. It also has the sweet tunefulness to make you take notice when she croons, as she did on Shania Twain’s “Still the One,” her second song of the day, while also hitting of that song’s big notes.

After those two openers, Ayla went even bigger with the third song of the day, a special request for the kids in attendance, a Disney detour that’ll test lesser vocalists, “Let It Go.” And though it’s not part of Ayla’s regular repertoire, she still, of course, nailed the big notes.

After belting out “Ain’t No Mountain High Enough” and unleashing a booming, dynamic performance of Natasha Bedingfield’s “Unwritten,” Ayla turned to a few originals. First, “Country Found Me,” a largely autobiographical tune that catchily kinda swoops and sways. Then the cool, attitude-filled, anthemic “Beat By a Girl.” Next up was a booming, heartfelt performance of “Pride of America,” from Ayla’s patriotic Heroes & Hometowns album. She followed it with “Let Love In,” a soaring uptempo number.

photo by Geoff Wilbur

Rob Bellamy joined Ayla and her guitarist for the day, Sean Compton, on stage for the next several songs. First, “Jolene,” which is the kind of power-country tune well suited to Ayla’s voice. Then the softer touch – but still soaring – “Hooked on a Feeling.” Next, Rob performed a song without Ayla, a cover of John Mellencamp’s “Pink Houses” he delivered vocally smooth and gruff with a slight twang.

Next up was a neat moment, as Ayla yielded the microphone to a talented young singer, 11-year-old Zoey, giving her an opportunity to sing before the crowd.

Then Rob and Ayla followed with a duet, a love song, “I Keep Running Back to You,” before breaking for a raffle drawing. It reminded me of what’s special about an Ayla and Rob combo performance, as Rob’s low end blends well with Ayla’s during duets.

Ayla came out of the very brief raffle break soaring and booming, with a crowd-pleasing rendition of “Don’t Stop Believin’,” followed by her outstanding original, “I Just Wanna Be Your Baby,” then a fun performance of “Heads Carolina, Tails California.” And with that, I had stayed 15 minutes longer than I had originally planned, so I slipped out to get to my next errand, but it’s clear those able to stay for the entire show were gonna be treated to an excellent 2-and-a-half hour concert performance.

Looking Ahead

A good way to keep current with Ayla Brown’s goings-on is via her Facebook and Instagram pages. Also, for a schedule of Ayla’s upcoming performances, you can check the “Tour” page of her website.

Live Review: Jennifer Tefft & the Strange at Framingham Centre Common

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photo by Geoff Wilbur

Jennifer Tefft and the Strange

Framingham Centre Common, Framingham, MA

August 8, 2025

Last weekend, on Friday night, award-winning local band Jennifer Tefft & the Strange rocked the latest installment of Framingham’s Friday Night Concert Series. The band, whose most recent album Strange Beginnings was named Album of the Year at the 2024 New England Music Awards, lived up to its pedigree on this particular evening, rocking into the night (well, OK, rocking for a couple hours around dinnertime) to kick off the weekend before a large, appreciative crowd.

The band opened with “Going Out,” Doing that edgy JT&tS rock thing, followed by one of the few covers of the night, a rockin’ rendition of KT Tunstall’s “Black Horse and the Cherry Tree.” The only other covers of the first set were an energetic performance of the Cranberries’ “Zombie” and a hauntingly-delivered set-closing production of the Lumineers’ “Salt and the Sea.”

First-set originals spanned decades, including “Enemy,” noisy alt-rock “My Own,” and haunting “Undone,” showcasing the depth of Tefft’s catalog. Particular pre-intermission standouts included “Paper Cut,” whose opening chords grab the listener before the song pounds along powerfully to the more finesse-y chorus, and jangly, hooky, guitar driven alt-rock “Cooler than You,” a song that might make a good personal theme song. Right?

photo by Geoff Wilbur

After a short break, the second set kicked off by rockin’ hard with “Rollercoaster” from 2017’s Cutting for Stone release. I found myself digging the nifty axework on this number, something the was sort of a theme in the second set. I’m not sure if John Parillo’s axemanship was featured more in the second set or if I just took notice, but for me, it was a recurring theme.It was followed by another power rocker, “Too Late,” and then one of the kickass newer songs, “Down on My Knees,” that showcased that trademark Tefft howl.

“Lullaby,” next, was another song that featured some top-notch axework and anguished vocals, delivering a sound that filled the outdoor concert venue, like so many of this band’s songs. A version of the Doors’ “People are Strange,” which featured a low-key opening before slowly amping up the song’s psychedelic coolness, helped build the raw energy that led into edgy, emphatic heavy alt-rocker “Shoulda Known Better,” whose performance culminated in some guitar hero-caliber shredding in the late song bridge.

“Control Freak,” next, sported some heavy distortion. It was followed by a Cover of Lady Gaga’s “Just Dance,” which added some funkiness to the rock guitar, and then hard rocker “Love and War,” a song with a unique aural vibe.

As the show neared its closing time, Jennifer Tefft & the Strange rolled out a new song “Silver,” noting it was the first time they’ve ever played the song live and that it’s scheduled to be recorded in September, a nice treat for those who had stayed to the end (basically, almost the entire crowd, which steadily grew throughout the performance). The song has a modern mainstream rock vocal style and rhythm. “Silver” shows that, creatively, this is still the same, cool raucous rockin’ band, but the song has a new twist in the vibe that’ll keep things interesting. It’s a great live song, but also I can’t wait to hear the studio release!

The evening closed with “Caffeine,” a hit single from Strange Beginnings, featuring the mix that drives many of Jennifer Tefft and the Strange’s best songs: great power vocals from Jenn and a kickass guitar hook. A great sendoff for a fun two-hour outdoor concert.

 

Album Review: The Far Out – Greetings from The Far Out

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photo by Jackie Vlahos; photo courtesy of Knyvet

by Eric Harabadian, Contributing Blogger

Album Review of The Far Out: Greetings from The Far Out

Boston’s award-winning funk/pop trailblazers The Far Out essentially developed their act during the downturn years of the global pandemic. But this vibrant and vivacious sextet has been friends for several years before that. Ellie Dolan (trumpet, vocals), Ryan Fremont-Smith (bass, vocals, saxophone), Olivia Lowe (guitar, flute, vocals), Drew Phillips (drums), Colin Senechal (saxophone, guitar) and Henry Zagarella (keyboards, vocals) comprise the crew that oozes with clever arrangements and unbridled talent.

artwork by Olivia and Ezra Lowe; image courtesy of Knyvet

On the path of some well-received singles, this eclectic and danceable outfit caught the attention of the New England Music Awards. In 2024 The Far Out were honored as the “New Act of the Year” and, assuredly, a band with a bright future and a lot of promise.

“Infectious” is a word that, perhaps, gets overused a lot when one talks about musical acts and performers that exude a ton of energy and attitude. But that is exactly what you get when you take on this album in its entirety. From track to track, The Far Out creates an aural experience that works on a number of levels: emotionally, physically, spiritually and, even, intellectually. Their songs will get you on the dance floor, but you’ll also be engaged by the clever wordplay and snappy arrangements.

photo by Jackie Vlahos; photo courtesy of Knyvet

Eight songs in total; they explode in a colorful array of personality and charm. “Need a Win” opens the album and answers that call, with a bouncy and uplifting beat. Fremont-Smith’s intrepid bass lines grab you from the get-go. “Funkadelic Gas” is not only a great title but locks in a killer groove framed by some of the tastiest horn charts this side of Average White Band. “Lazy Lover” is a bit of a departure that features a punchy feel and some great gnarly crunch on the guitar. “Laurel” follows and is one of the catchy singles that first caught this reviewer’s attention prior to the release of this album. The lead vocals are bright and clear, with smart nuanced breaks and classic-sounding horn accents. “Putt Strut” is a somewhat humorous tune, with some overt golf references and cheeky lyrics a la British prog rockers Caravan. “Long Weekend” is a great sentiment that offers more of a laid back pace. But that sets the stage for the Motown-like “Packed To Go.” This one is straight up R&B, with a grooving breakdown from Phillips. For the finale, they display their jazzy side on the provocatively titled “See Red (You’re Dead).”

photo by Jackie Vlahos; photo courtesy of Knyvet

Perhaps keyboardist and vocalist Zagarella typifies The Far Out’s goals and state of mind: “I hope that you can hear our camaraderie through the music. These songs are built on the foundation of strong friendships. And while that’s easy to see when we play live, I would love for people to hear it at home too!”

RIYL: Parliament Funkadelic, Average White Band, Earth Wind & Fire, Swing Out Sister, Squeeze, and Brand New Heavies.

Looking Ahead

Per the “Shows” page on The Far Out’s website, you can catch them in Massachusetts, Vermont, Rhode Island, New Jersey, and Connecticut between now and mid-September. Be sure to check the band’s website to see when and where they’ll be performing near you.

Live Review: Andrew Geano at Chopps

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photo by Geoff Wilbur

Andrew Geano

Chopps Italian Steakhouse & Bar, Burlington, MA

July 25, 2025

First of all, it’s probably becoming obvious that I like this restaurant. Tonight I went with a pizza. Delish! But, of course, it’s not just the food I appreciate about Chopps. It’s the fact that they reliably book excellent singers to entertain their restaurant patrons (and guests passing through the Boston Marriott Burlington hotel lobby). Of course, if I’m unfamiliar with the singer, I still check them out. This is a bit of a drive for me, so I don’t take any chances.

Now, it’d be cool to catch Andrew at a venue where he’d play more of his originals, as songs like “Head Voice” and “Wanna Be Right” are pretty cool. A dinner show with lots of folks just passin’ through, though? Well, that’s gonna pretty much be covers. With a top-notch vocalist singing ’em, that’s still plenty good.

I only really caught the tail end of Andrew’s performance tonight – less than one of his three hours behind the mic. But he covered a lot of ground, nearly all of it while leaning into the insistent edge of his vocals, which is particularly good at slashing through background noise and restaurant chatter. The first song I sat down for was his version of R.E.M.’s “Losing My Religion.”

Andrew began his final mini-set with a heavy strumming-driven rendition of Cheap Trick’s “I Want You to Want Me,” then transitioned into a rendition of “Teenage Dirtbag,” on which his vocals sported a ’90s alt-pop-rock flavor, chameleonically speaking.

He added some whoopy squeals, fittingly, to the Beatles’ “Come Together,” then followed it with a nod to new hitmaker Chappell Roan with “Hot to Go!” And the Jimmy Eat World’s “The Middle.” That was actually a pretty good transition. Who knew?!

Speaking of “who knew?”… I wouldn’ta believed it, but Andrew does a good Taylor Swift. On his rendition of “You Belong With Me,” sure, maybe his vocals are a little deeper than Taylor’s, but he nailed the tone.

Andrew went back to the ’80s to officially close his final set with his lively rendition of Hall & Oates’ “You Make My Dreams Come True.” It was a song with a “woo!” or two, and Andrew’s good with the “woo!”s.

It had become clear that Andrew had won over a table or two of devoted fans, at least for tonight, even before the end of his performance, so it was no surprise they called for an encore, and he obliged. I mean, he wrapped up five minutes early, so this was one of those planned encores, but still, the audience called for it. The song of choice? Blink-182’s “All the Small Things.” And talk about giving an audience exactly what they wanted – several tables were singing along!

It was definitely a good choice to catch some Andrew Geano tuneage tonight. As I noted in my last review of a Chopps performance a few weeks ago, you will occasionally upcoming performances occasionally mentioned on the restaurant’s Facebook and Instagram pages. As for Andrew’s upcoming performances, the “Shows” page of his website shows that the next month packed with gigs in Massachusetts, New Hampshire, and even a gig in Maine, so look there for upcoming performances near you.