Tag Archives: Geoff Wilbur

Live Review: Danielle Miraglia & the Glory Junkies at Sanctuary

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photo by Geoff Wilbur

Danielle Miraglia & the Glory Junkies

Sanctuary Main Hall, Maynard, MA

April 3, 2026

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

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

photo by Geoff Wilbur

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

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

Britt Connors; photo by Geoff Wilbur

Opening Act: Britt Connors

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

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

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

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

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

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

Headliner: Danielle Miraglia & the Glory Junkies

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

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

photo by Geoff Wilbur

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

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

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

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

photo by Geoff Wilbur

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

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

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

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

photo by Geoff Wilbur

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

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

But wait, that’s not all!

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

Now, that’s how you end a concert.

Live Review: Bees Deluxe at Sanctuary

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photo by Geoff Wilbur

Bees Deluxe

Sanctuary Bar & Lounge, Maynard, MA

April 2, 2026

Tonight, Bees Deluxe helped turn a cozy suburban bar into a hip urban blues lounge. Top-shelf musical acts will do that. Of course, those of you who live near Sanctuary know that, in addition to hosting some acts that are big suburban draws, this venue is also an oasis of music from artists who don’t often perform this far out in the burbs, and that’s why you’ll so often find me in this arts and entertainment venue’s cozy little bar. The frequent early set times in the bar – 5:30 shows, like tonight; sometimes earlier on the weekends – are another draw for those of us who live and work nearby.

photo by Geoff Wilbur

As for Bees Deluxe, I love this band, a group that infuses such cool grooves through their songs. They play a style of blues I don’t know well but enjoy. You may have noticed my enthusiasm when I reviewed Hallucinate a couple years ago, but I was happy to defer the review of Smash Hits to longtime co-conspirator Eric Harabadian, whose blues knowledge is much broader and deeper than mine.

Last night, the Bees Deluxe lineup was comprised of three of its core members – Carol Band (keys), Conrad Warre (guitar), and Matt Arenburg (drums) – plus Allyn “Aldo” Dorr, who you’ll find listed on the “musical guests and friends” section of the “musicians” page of the band’s website. A couple times during the set, the quartet became a quintet, as they were joined by special guest Keith Lanzilotti on harmonica.

photo by Geoff Wilbur

The band noted they were going to try to fit a 3-hour setlist into the 2.5 hours available. (The Donna the Buffalo show in the main concert hall began at 8:00 last night; hence, the hard stop.) So it was no surprise that the band didn’t take a break. I had other obligations, so I just stayed for the first two hours of set, and I stopped taking notes about a half-hour earlier. So here’s what I heard during the first 60% of the show.

The groove was already in full swing by the time the band reached its cool rendition of Michael Burks’ “I Smell Smoke.”

Soon thereafter, Bees Deluxe entered a section of its setlist readily recognized by those of us without much blues knowledge. Notably, a neat version of “These Boots are Made for Walkin’,” with Carol taking the vocal lead, obviously, in place of Conrad, who took back vocal duties on the cool, hoarsely delivered “Love the One You’re With,” a song that also served as a great opportunity for Conrad to show off some nifty guitar riffs atop Carol’s rich keyboard bed. The easily-recognizably trilogy concluded with some crowd-pleasing Bacharach, “I Say a Little Prayer.”

photo by Geoff Wilbur

The next few songs included several originals, including “You Say Red,” a smooth number that is a little softly rollicking, if you believe a “rollick” can be soft. It was followed by a number whose title I missed but that’s worth mentioning because it featured simultaneous atmospheric and psychedelic vibes, a combo that runs through a lot of Bees Deluxe’s music. Also worth noting in this run were a great rendition of “I Wouldn’t Treat a Dog (The Way You Treated Me),” which you’ll find on the band’s Smash Hits disc (follow the link to Eric’s review, which I shared in the first paragraph). It also featured the first appearance of guest harmonica-wiz Lanzilotti and a couple more originals – lean-back-and-soak-up-the-vibe number “Wherever You Hide” and “Queen Midas,” a kind-of-groovy, psychedelic personal favorite of mine from the Hallucinate album that features an aggressive approach to its chorus.

The band then slowed things down with a rich rendition of “Georgia on My Mind.” Carol’s keys set an almost religiously organ-ic baseline, while Conrad’s meandering axe added additional character.

The show continued, but my note-taking stopped. The crowd, sparse as it often is at the beginning of these 5:30 sets, grew to a packed room over the course of the early evening. And Bees Deluxe provided top-shelf, crowd-pleasing blues to the appreciative audience.

Throughout Bees Deluxe’s set, the keys, very organ-like, set the backdrop. The guitar danced and showed off. And the rhythm section… rhythm sectioned, steadily and solidly, notably nuanced if you paid attention, and clearly appreciated by their bandmates as evidenced by callouts throughout the set, but otherwise not generally showy, as is often the fate of an excellent blues rhythm section. Again, a helluva band. And not surprisingly, an excellent early evening of accessibly thoughtful cool blues.

Looking Ahead

The “Shows” page of Bees Deluxe’s website lists plenty of shows already scheduled for the rest of this year, crisscrossing New England, New York, and New Jersey.

Sanctuary’s concert calendar lists the venue’s upcoming shows, both the free early performances in the cozy bar and lounge and the ticketed shows on the big stage in the main hall. In fact, I’ll be back in Maynard in less than 2 hours for the 8:00 PM start time of my first main hall concert at Sanctuary, as Danielle Miraglia and the Glory Junkies take the stage tonight, following opening act Britt Connors. If you read this as I post it, maybe I’ll see you there. If not, watch for my review so I can tell you what you missed.

Single Review: The Mucks – “Need Your Love”

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photo courtesy of BJF Media

Single Review of The Mucks: “Need Your Love” (Flip Flop Records)

“Need Your Love” is a broad-appeal, alt-influence, guitar-based rock and roll song that carries anguished energy from beginning to end, embedded in lead vocalist’s Michael Dunn’s tunefully pained wail. Dunn is joined in The Mucks by Kieran King (bass), Conor McGuire (guitar), Scott Johnson (guitar, vocals), and Max Kendrick (drums, vocals).

image courtesy of BJF Media

The jangly guitar is key to the mainstream-friendly alt-rock vibe of “Need Your Love,” resulting in a song that’s well-suited to the college rock scene but carries all the elements of a tune with crossover appeal. The subject matter that’s so aptly captured by the lyrics is the realization of the weakening of a long-distance relationship. It’s delivered poignantly and on-point – both musically and vocally – to the extent that it’s likely to resonate with a broad swath of potential listeners. However, even if the subject matter doesn’t elicit memories of a personal experience, this raw, emotional, guitar-rich single is sure to strike a chord with mid-tempo rock fans.

photo courtesy of BJF Media

Looking Ahead

It seems that The Mucks’ future is uncertain. Last summer, a few months after this single dropped, the band shared these Instagram posts: first, announcing that the band taking an indefinite break; then, highlighting a parting of ways with a band member. If you dig this song – and it’s a great song! – you may want to follow The Mucks on Facebook or Instagram in order to be connected with the band if/when they reemerge.

Single Review: Orianthi – “Attention”

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image courtesy of Frank Roszak Promotions

Single Review of Orianthi: “Attention” (Woodward Avenue Records)

Last summer, Orianthi released her Some Kind of Feeling album. I previously reviewed a couple of the earlier single releases from that album – “First Time Blues” and “Some Kind of Feeling.” Well, a few weeks before the album’s release, Orianthi dropped another single, “Attention,” which I’ll review here.

Of course, with any Orianthi release, you can count on some kickass guitar. And, as I’ve grown to expect, some monster hooks on the singles. “Attention” is an uptempo, insistent, catchy guitar pop-rocker with the nifty vocal “You’re so predictable, you do it every time. Drunk-checkin’ on me in the middle of the night. You know, you know, you know what you pull me through. You just want attention; I’m done thinkin’ bout you.” That’s just some cool – and singalong-able – lyrics!

If you listened to the Orianthi songs I reviewed last year, then you’ll know what to expect when I say “Attention” has the pop-rock sensibilities of “Some Kind of Feeling” and the coolness of “First Time Blues,” wrapped up in an uptempo classic guitar pop-rock package. I really dig this song, and if you like guitar, pop-rock, and/or cool, hooky songs, you’ll enjoy “Attention” as much as I do.

Album Review: The Dogmatics – Nowheresville

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photo by Nicole Tammaro Photography; photo courtesy of Knyvet

Album Review of The Dogmatics: Nowheresville (Rum Bar Records)

The Dogmatics are masters of a style of garage rock that’s absolutely swimming in monster hooks. Catchy songs. Low-fi. It’s a crunchy, raucously satisfying meat ‘n potatoes musical combo meal. And Nowheresville, the band’s recent full-length release – its first in nearly 40 years! – is a massive helping of raw, rockin’ comfort food. The fivesome behind this gamey but tasty collection of rock tuneage are Jerry Lehane (vocals, lead and rhythm guitar), Peter O’Halloran (vocals, lead and rhythm guitar), Jimmy O’Halloran (bass), Tom Long (drums), and James Young (vocals, backing vocals, mandolin).

The album kicks off with “Key of B,” a fun, energetic, lyrically silly yet earnest ode to one of a rocker’s most important, life-altering decisions. And with that, The Dogmatics set the tone for this entire raw, rockin’ collection.

Some of the songs are garage rockers that share some punk rock DNA. “You’ve Got What I Want,” for example, has such a raw, energetic feel. “With a Scarlet Letter,” meanwhile, adds a more nuanced rhythm while remaining just as gritty and rough.

cover photo by Mary Lou O’Halloran; cover design by James Young; image courtesy of Knyvet

Other songs – “Rainy Nights,” for instance – have a more country aura filtered through an Americana-rock lens, kind of Eagles-ish. “Con Job,” too, leans that way, though it’s more of a hillbilly-ish rocker – rockabilly? – while if you listen to the lyrics, you’ll be sure to never be caught alone in a dark alley with the songwriters. It is a wicked cool song… with a little extra wicked.

One of my favorite songs on the record, “Nothing to Be Learned,” is a pure melody-driven, roughly-produced, guitar-based pop-rocker. Its catchy rhythm and persistent rhythm guitar line helps it feel as if it’s more energetic than its actual pace dictates. Cool stuff, dudes! And if this is your favorite Dogmatics’ sub-style, “I Can’t Get Over You” is another song you’ll love, with a similar hooky-rockin’ delivery.

My very favorite song on the disc is an instant classic as much because of its lyrics as its tunefulness. “No Likes No Comments” is one of the rawest songs on the album, from a production standpoint – though that nifty guitar solo is in a production sweet spot – but the social media-referencing lyrics are so damn clever. The main line of the chorus, “No likes, no comments, no one cares,” is inspired by itself, but the cherries on top are the more inventive lyrics like “I snapped and I chatted, I tikked and then I tokked. My grams had lotsa instas, but everybody balked.” Poor Threads didn’t even warrant a mention. The song is the silliest on the record, which isn’t an easy task on a disc that opens with “Key of B,” and it’s a lot of fun.

The record ends with a couple balls-to-the-wall rockers, at least in context of the record as a whole. Fast energy. Raw feel. Faster tempos. Indeed, “Library Girl” and “Ball Me Out” are a great offramp from this cool disc. Also, they’re strong indicators that a live Dogmatics is like to be an all-out rock ‘n roll party. I mean, the whole album suggests that, but in case you weren’t paying attention, these last two tracks make sure you notice how cool it would be to catch these guys live!

And if you want to catch a live Dogmatics gig, there are a couple in the Boston area in the next week or two. Just check out the “Shows” tab of the band’s website for more info and to see new performances as they’re added.

Album Review: Dave & Kristi – The Chickadees

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photo by Misty Lyn Photography; photo courtesy of Dave & Kristi

Album Review of Dave & Kristi: The Chickadees

Dave Boutette and Kristi Lynn Davis, who perform as Dave & Kristi, have assembled an exceptionally varied, engaging collection of songs on their most recent album, The Chickadees. The duo draws from a variety of influences – swing, folk, rock, country – to create a signature song. At its core, Dave & Kristi are a singer-songwriter duo. For the most, Dave sings the lead with Kristi serving up the sweet harmonies; their voices are well-paired, with Dave’s slightly rough-edged yet well-enunciated and Kristi’s higher, sweeter, smoothing the rough edges when joining the melody and at other times offering a rich harmony.

The album kicks off with the cheerful, swinging “All Are Welcome Here,” as if from an old-timey traveling musical revue, and follows with the title track, “The Chickadees,” an alt rock-influenced folkabilly number with clever lyrics and phrasing that suggest an affinity for the Barenaked Ladies. The pair slows things down with “Soapbox Soliloquy,” an old-school country influenced folk number.

image courtesy of Dave & Kristi

“King’s Highway” features the two vocalists trading off a bit more and is driven by pickin’ guitar and fiddle, a good old-fashioned mid-tempo bluegrass-influenced banger.

“Truth or Consequences” is a song that’ll sneak up on you. It has a bit of a haunting musical backdrop with a semi-energetic vocal delivery and a whole lotta pickin’. Yeah, it’s a song about Truth or Consequences, New Mexico. That’s just plain cool. And that nifty little guitar line will worm its way into your brain toward the end. Don’t say you weren’t warned.

The influences don’t stop there. “We Swam in Rivers” is a richly-produced, full-throated ’70s folk-rock number.

The mid-point of the album is “Roll,” a favorite largely because of the intricate lyrics and energetic vocals.

Then, after the sweet “Who You Are,” Dave & Kristi launch into an energetic, clever dark Americana number, “Outlaw Polka,” a song so clever both musically and lyrically that it’ll be a fast favorite; even if you don’t usually like lyrically amusing numbers, the music is a fun, hook-filled romp that’ll reel you in. It’s a very Wally Pleasant-ish song, both in topic and catchiness, and even right down to Dave’s delivery of a few lyrics, notably in a mid-song bridge.

photo by Misty Lyn Photography; photo courtesy of Dave & Kristi

“Winter Embers,” next, is an uptempo ditty, a rich Americana number that blends energetic music with a slower, neatly blended mix of the duo’s vocals. “Pledging My Love” could be described similarly, though its vocals lean toward old-school crooning, and there’s some nifty ’50s-recalling guitarwork nestled into a mini-solo.

Penultimate track “You Chase Too Many Things” is a fiddle-driven, tunefully folky number with perhaps a hint of country, though mostly that’s due to the fiddlin’. It’s a song that’ll put a smile on your face, just in time for the melancholy of the album’s closing number, “Pulling from the Shore.” It’s a song that feels like goodbye. So long. A farewell that reminds you of how coolly Dave and Kristi’s voices blend.

The Chickadees is a great end-to-end listen. Even when it’s introspective and deep, there’s a cheerfulness inherent in the Dave & Kristi delivery style. So if you like well-written songs, cool duet harmonies, folk singer-songwriter based musical variety, or simply a collection of songs from which you’ll likely pull at least one or two favorites, it’ll be time well spent giving Dave & Kristi’s The Chickadees a listen.

So, what are my favorite tracks? Well, obviously “Outlaw Polka,” most likely followed by “Roll.” “The Chickadees” is clever. “Truth or Consequences” has a cool aura. But there’s really not a song on this disc that wouldn’t be one of my top four or five on any given day, depending on my mood. Give this album a listen and let me know what your faves are, maybe in the comments.

Live Review: Corey McLane at Lost Shoe Brewing Company

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photo by Geoff Wilbur

Corey McLane

Lost Shoe Brewing Company, Marlborough, MA

February 6, 2026

Last night, I caught Corey McLane’s first set of the evening at the Lost Shoe Brewing Company. Now, it had been several years since I last heard Corey sing live (way too long, but at least a couple of those years don’t count ‘causa the pandemic, right?), and I had never been to an evening performance at Lost Shoe, though I’ve enjoyed coffee and bagels there several mornings in recent years. During all those visits, though, I had never wandered over into the other room, where this evening’s performance was. Gotta say, it’s a very cool space.

Of course, one of the reasons I enjoy Corey’s acoustic solo gigs is because the dude’s a rock singer, and he sounds every bit of it. I still haven’t seen Corey perform electric with his band Exhale, which is something I’d like to remedy one day, but the band’s album Audio Dreams is a great introduction to Corey’s electric voice with is electric band.

photo by Geoff Wilbur

The songs Corey performs at his solo gigs are songs you rarely hear in an acoustic cover setting, and yet most of the songs he performs would be easily recognized by just about anyone with any exposure to music, life, or mainstream culture (not necessarily even rock music culture). His playlist spans a few decades of rock ‘n roll, though, and is an endless list of “hey, I know that song!” with a smattering of huge hits and more obscure tracks thrown in for good measure. Plus, Corey has mastered the ability to sound rockin’ and vocally powerful while singing “in his indoor voice,” ideal for the sorts of settings that tend to book acoustic music. There’s a reason Corey’s in demand.

I was running a little late last night – hey, it was a 6:00 start time, and I work ’til 5:30! – but I don’t think I missed more than one song. I walked in during Marcy Playground’s “Sex and Candy,” and Corey put a rock n roll growl on this acoustic guitar cover. He followed with Eagle-Eye Cherry’s “Save Tonight,” carrying the gruff acoustic rockingness forward, and the Steve Miller Band “The Joker,” delivering a little classic rock vocal finesse and different guitar style.

Collective Soul’s “December” required another little change to the guitar picking and strumming. Still heavy af, especially for an acoustic number, but it offered some more musical variety. Then Corey utilized a nice anguished vocal approach on Guns N’ Roses’ “Knockin’ on Heaven’s Door.” In particular, he took this one really slowly, emphasizing all the vocals creaks and breaks, kind of raw yet smooth, ’cause he’s got a really good voice. Coming next was Train’s “Meet Virginia,” delivered with rockin’ vox, even as Corey held back, knowing that in this setting he was trying not to overpower the conversations, providing some of the kickassingest background music you’re likely to hear in a low-volume, acoustic venue setting.

photo by Geoff Wilbur

I sat back and enjoyed the rest of the evening, noting songs like Third Eye Blind’s “Semi-Charmed Life,” Tom Petty’s “Mary Jane’s Last Dance,” the timeless R&B/soul/blues-rock classic that fits into any set, any style, Bill Withers’ “Ain’t No Sunshine.” Corey threw in Nirvana’s “The Man Who Sold the World,” Rob Thomas’ “Lonely No More,” Santana’s “Smooth,” Tom Petty’s “You Don’t Know How It Feels,” the Gin Blossoms’ “Hey Jealousy,” Blind Melon’s “No Rain” (“oh, oh, oh, oh”), Bad Company’s “Feel Like Makin’ Love,” Sublime’s “What I Got,” and a couple more songs I missed because I was enjoying myself and forgot to take notes.

At this point, I had reach the hour I had planned to stick around, but I couldn’t pry myself away, so I stuck around. The next song, Pearl Jam’s “Black,” like so many grunge songs, when done slowly and acoustically, some of the groans and howls make you wonder if the singer’s going into labor… if he’s doing a good job, anyway. But alas, when Corey reached to the “do do do do do do do” lyrics at the end, I was pretty sure he wasn’t.

He followed that with a great rendition “Turn the Page.” Glad I stuck around for that; as a Michigander, I love me some Bob Seger, especially when done well. I’m almost embarrassed to say that it took me to this point in the step to realize another thing I like about Corey’s sets – he just goes from one song to the next. No chatter, just music. I’m there to hear music. I don’t need the between-song chatter.

Corey closed the first set with strong, sonically varied renditions of the Cranberries’ “Zombie” and Van Morrison’s “Wild Night,” wrapping up a set full of rock and roll for all ages, but one that Gen X and Millennials, in particular, would know backwards, forward, and inside-out.

I’ve meant to get out to my second Corey McLane performance several times in the last few years. It’s hard to believe it took me this long; I hope to catch one of his sets again much sooner next time. Now, if you haven’t seen him sing, you’re missing out. And like I said, he doesn’t overpower you, so you can probably get some friends who don’t usually go out to hear live music to join you; I’m guessing they’ll be pleased, as well. Corey regularly posts his upcoming calendar to his Instagram and Facebook accounts, so follow him on social media to keep track of where you can catch a performance.

Single Reviews: The Chelsea Curve’s 2025 singles

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photo by Trebmal Photography; photo courtesy of Knyvet

Single Reviews of The Chelsea Curve: “Jamie C’mon (Andy Lewis Remix)”/”Hey Sah-Lo-Ney,” “Kindawanna,” “Never Come Down,” and “Rally ‘Round”

The Chelsea Curve is an award-winning Boston-area rock band whose style is a Brit rock-inspired blend of hook-laden pop, alt-rock, and groove-rock, delivered with a punk-ish attitude. The band calls itself “retro mod pop,” and whatever that means, it sounds accurate. The trio that comprise The Chelsea Curve are Linda Pardee (bass, vocals), Tim Gillis (guitars, vocals), and Bruce Caporal (drums). The band released several singles in 2025, covering a lot of stylistic real estate within its corner of rock ‘n roll, all in the uniquely original style that makes the outfit such a consistent draw and an original artistic beacon on the regional music scene.

cover design by Linda Pardee; image courtesy of Knyvet

Back in May, The Chelsea Curve released the double A-side 7-inch single “Jamie C’mon (Andy Lewis Remix)” and “Hey Sah-Lo-Ney,” two energetic songs that typify what you might call swing alt-rock, combining groovy, sixties-inspired distorted guitar riffs with a more modern rock edginess. The first of the two songs, “Jamie C’mon,” was previously released as a single in 2022. This remix is rough-edged and carries its tempo forward as if attacking the listener – enjoyable, but at the same time it sort of feels unsafe not to like it. Fortunately, it’s a fun groove that starts strong and then grows stronger with each subsequent listen, so fear not.

cover design by Linda Pardee; image courtesy of Knyvet

“Hey Sah-Lo-Ney,” meanwhile, is an amped-up cover of Mickey Lee Lane’s surfin’-and-swingin’ 1965 rocker. Of course, The Chelsea Curve updates the sound and produces a cleaner, more modern-ear-friendly rendition that’s surprisingly similar to the original. Regardless, it’s a fun song with a time-warp factor, and I had never heard the original (or any of its previous covers) before, so to me, it’s just a cool new song.

cover design by Linda Pardee; image courtesy of Knyvet

In July, The Chelsea Curve released another fun, raw, swinging rocker with a more summertime theme, “Kindawanna.” It’s a fun, fast-paced, rough-edged, radio-friendly rocker that’s over so quickly, thanks in part to its breakneck speed, leaving just the lyric “Kindawanna have a bottle of Prosecco with you! Kindawanna ride around on your Lambretta with you! I Kindawanna be your everything!” I’m already looking forward to next summer when I can roll down the windows and crank this one while cruisin’ the boulevard.

The Chelsea Curve hits a similarly thumping beat on its August release, “Never Come Down.” The tempo’s just a hair slower, and the guitar swirl a bit more substantial, throwing off a strong vocal-harmony, alt-rock vibe.

cover design by Linda Pardee; image courtesy of Knyvet

The band’s fifth song released in 2025, “Rally ‘Round,” was part of The Sound Cove’s Super Sonic Showcase, Volume 1, a sampler released in October by singles-only record label The Sound Cove. “Rally ‘Round” was probably The Chelsea Curve’s poppiest 2025 release, with an updated spin on a pop-rock style that dominated the college rock scene back in the ’90s, yet again with that throwback ’60s-ish vibe. It’s a pleasant song with a rhythmic motor that keeps it moving in a moderately joyful way. Overall, the song is engaging and fun – another excellent addition to your Chelsea Curve music collection.

photo by Reuben; photo courtesy of Knyvet

Of these five songs, I think “Never Come Down” would be my favorite if only “Hey Sah-Lo-Ney” weren’t such a damn memorable earworm. Really, though, this way-too-cool Boston outfit simply treated us to four kickass singles in 2025. Yes, they released five songs, but one release was a two-sided single, so that’s four singles. Regardless, if you’re seeking cool pop-rock that’s a little edgy, check out The Chelsea Curve’s catchy collection of 2025 single releases. I hope they have some more cool tunes in store for us in 2026.

To keep up with the latest from The Chelsea Curve, see the band’s linktree.

Live Review: Tommy Feeley at Tackle Box Brewing Company

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photo by Geoff Wilbur

Tommy Feeley

Tackle Box Brewing Company, Marlborough, MA

January 30, 2026

Last night, I caught a 30-minute acoustic set from Tommy Feeley at Tackle Box Brewing Company, opening for popular Dave Matthews Tribute Band So Lucky. Prior to planning to catch Tommy live, I sampled some of his music online, enough to realize his voice was going to translate to a great live performance. Also, that some actively-produced studio time is likely to produce some great, broad-appeal recordings. So did last night’s performance prove me right? Oh, yeah!

photo by Geoff Wilbur

First, though, I want to mention the venue. I had never stepped inside, and I’ve gotta say, it’s a great room. There’s a stage at one end, with room in front of it, presumably for dancing, which I’m sure happens given the line-up of bands they book. A bar in the back for beer-grabbing. Many games to enjoy and big multi-purpose event space off in the back. Anyway, so glad I got to see this venue. Looks like a fun place to grab a beer, whether there’s a band there or not.

Feeley’s eight-song set began with “Sunrise Over Cheryl,” which seemed kinda Mellencamp-y, served up with John Cougar-ish earnestness befitting the nostalgic song. Next up, “Where I Feel Alive” sported a little more energetic strum, which bent toward a bit more of a Bruce Springsteen feel. With lyrics about “leaving for the West Coast” and “land where the ocean meets the sunrise,” both the tempo and the lyrics are ideal for a travelin’ song.

“Incendiarism” sported a little more ’90s alt-rock vibe. Not that the songs vary that much, they’re all tightly within a stylistic window, which is exactly what you want if you want to become a fan of a musical artist, but you also want variety, which Feeley has shown – already by the third song – that he’s capable delivering. It’s a feat that’s even more impressive when you consider the difficulty of providing various as one guy with an acoustic guitar. As for “Incendiarism,” it’s a coolly anguished number, sporting the lyric “she’ll burn this whole house down.” Yikes!

photo by Geoff Wilbur

“Feelgood Fiasco” is a fun story-song that adds to the energy. In it, you’ll lots of Vegas hotels get a mention, so you may hear where you stayed  if and when you visited. For me, I recognized the Hilton Star Trek bar, which I visited back in the late ’90s. Snagged a drinking glass there, which I still have. And I know it’s a song about Vegas, but it’s still not very often you hear Star Trek references in a kickass acoustic rock song.

“Tape Deck” is a song ’80s music fans will dig, with references to a lot of favorites from that era – Poison, Motley Crue, Warrant, Tesla, Bon Jovi. Great, edgy vocals helped drive the song. Next up, “One Man’s Ocean,” with the lyric “one man’s ocean is another man’s wave,” continued the trend of both the singing and the intensity amping up over the course of the set.

The final original of the set, “Choosing Clarity,” was an intense song delivered with a rolling strum. Vocally, it’s another song in which Feeley really leaned into a style that elicits Mellencamp/Springsteen comps.

photo by Geoff Wilbur

For his closing number, Feeley was joined on stage by So Lucky’s lead singer Justin Languirand. Together, they performed a top-shelf cover of the Allman Brothers’ “Soulshine.” With the verses going back and forth between the singers, and load-sharing throughout the song, Feeley really let his voice roll rich and kinda gruff (a little Seger-ish), while Languirand’s vox were higher, sweeter, and somewhat more precise, making for a great combo.

In the end, it was a fun performance. Feeley’s songs were varied and well-written. I kind of wonder what they’d sound like with a full band lineup in a top studio. For sure, they’d rock. As for the atmosphere, I love when acoustic music is performed with rock n roll intensity. If that’s your vibe, too, you’ll dig a Feeley set. The crowd in attendance really dug it, too, with plenty of applause following each song. That alone is definitely not bad for an un-advertised opening act.

To catch Tommy Feeley live, scroll down the main page of his website to the “Upcoming Shows” section. He has upcoming 2026 shows scheduled in every New England state except Connecticut, plus a June jaunt that includes one performance each in Wisconsin and Minnesota. More shows, of course, will be added as they’re booked.

Single Review: Kurt Frohlich – “Worry”

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image courtesy of BJF Media

Single Review of Kurt Frohlich: “Worry” (Golden Robot Records)

When reading about Kurt Frohlich‘s “Worry,” the ’80s UK new wave influence and comparisons to Depeche Mode and The Cure are mentioned, but what jumps out to me, someone whose ’80s background is more ’80-classic than ’80s-modern, are the ’70s classic rock influences I hear. Namely, “Worry” builds slowly, employs heavy rock beats and kind-of-spacy, almost progressive guitarwork, combined with a distinct dystopian feeling, to deliver a song that could have come directly from Pink Floyd’s The Wall. The arrangement, the slow build, the guitarwork… “Worry” is a kickass rock song with a dark, echoey vibe in common with the aforementioned new wave acts. To me, that adds up to broad appeal.

photo courtesy of BJF Media

For my classic rockin’ friends, you’re definitely going to enjoy this song, and even if it’s not a quick hit, it’ll grow on you. I’d love to hear from some of my brooding new wave friends (at least, you leaned a little dark when we were young) to hear what you think of this song, too.

More Recently

“Worry” was a pre-release single for Kurt’s full-length album 1987. Be sure to check that out, too.

Looking Ahead

The “gigs” page of Kurt’s website lists a few upcoming shows for a couple of Kurt’s band projects, The Spazmatics and the Hooligans. You can check back periodically for more shows, and you can follow Kurt on Facebook or Instagram to keep up with his latest goings-on.