Tag Archives: Live Review

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

Posted on by

photo by Luca DePalo

by Luca DePalo, Contributing Blogger

Lita Ford and All Sinners

Greenwich Odeum, East Greenwich, RI

April 9, 2026

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

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

Opening Act: All Sinners

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

All Sinners; photo by Luca DePalo

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

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

Headliner: Lita Ford

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

photo by Luca DePalo

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

photo by Luca DePalo

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

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

photo by Luca DePalo

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

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

Live Review: The Man In Black at the Park Theatre

Posted on by

photo by Luca DePalo

by Luca DePalo, Contributing Blogger

Shawn Barker/The Man in Black

Park Theatre, Cranston, RI

March 28, 2026

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

photo by Luca DePalo

About the Venue

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

photo by Luca DePalo

The Concert

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

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

photo by Luca DePalo

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

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

photo by Luca DePalo

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

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

photo by Luca DePalo

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

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

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

Live Review: Bees Deluxe at Sanctuary

Posted on by

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.

Live Review: Brit Floyd at The Vets

Posted on by

photo by Luca DePalo

by Luca DePalo, Contributing Blogger

Brit Floyd

Veterans Memorial Auditorium, Providence, RI

March 1, 2026

On a chilly Sunday night in the city of Providence, Rhode Island, rockers gathered at The Vets to celebrate the legendary music of Pink Floyd with a performance by Brit Floyd on their The Moon, The Wall and Beyond tour. The two-and-a-half-hour set was filled with classics, deep cuts, and fan-favorites that were performed note for note by the 9-piece band.

Having performed over 1,000 shows since the band’s launch in Liverpool, England in January of 2011, Brit Floyd has circled the world, has sold out tours across Europe, North America, South America, and the Middle East, and has performed concerts at some of the world’s most iconic venues, including London’s prestigious Royal Albert Hall, the beautiful Red Rocks Amphitheatre in Denver, the historic Greek Theatre in Los Angeles, NYC’s Radio City Music Hall, and too many other venues to name.

photo by Luca DePalo

This night was more than a tribute to the legendary founders of the original band – Nick Mason, Roger Waters, Richard Wright, Syd Barrett and David Gilmour – but a celebration of their work that still stands as iconic today.

While walking in, I and many others in attendance could just feel a rush of excitement in the air. The venue, built in the 1950s, carried a charm that blended perfectly with the anticipated audience. Conversations echoed, laughter filled the aisles, and every passing second seemed to build toward something… that thing being unforgettable.

As the lights began to dim, the band stormed the stage, opening with the lighter track, “In The Flesh?”, instantly signaling the promise of performing The Wall. The slow, steady build of the intro created a buzzing tension throughout the venue, and perfectly pulled in the audience.

photo by Luca DePalo

Following the first track, classic hits were played from the record such as “Another Brick In The Wall, Parts 1 & 2,” the guitar shining “Hey You,” and the groovy “Young Lust.” Not only did the first set cover tracks from The Wall, but also 1971’s Meddle and 1987’s A Momentary Lapse of Reason, creating the perfectly balanced set. After a 20-minute intermission break, the audience was ready for more power!

Instantly, with the lights slowly turning off, the band kicked into “Breath (In the Air),” starting off the Dark Side of the Moon set. This set included plenty of songs from the album like “Money,” “Time,” “Us and Them,” and many more.

But nothing compared to the performance of the song “The Great Gig In The Sky.” Female vocalist Jessie Lee Houllier absolutely crushed the track; it’s not an easy one to tackle at all, yet she delivered the soaring vocals with confidence and power, earning her one of the loudest standing ovations of the evening.

photo by Luca DePalo

Now with the mention of Jessie, I can’t forget to name the current lineup. Although the lineups have changed every once in a while, Brit Floyd in 2026 is: founding members Damian Darlington (guitar and vocals), Ian Cattell (bass and vocals), Rob Stringer (keyboards and vocals), and touring members Randy Cooke (drums), Rhiannon Dewey (saxophone and percussion), Shannon Fayth (backing vocals), and Lisa Melfi (backing vocals). Every band member contributed to recreating the iconic sound of Pink Floyd’s studio work, which would not be possible with just five members.

Before ending sharp at 10:00, the band finished with the iconic track “Wish You Were Here” and the guitar shining “Comfortably Numb,” before coming back with an encore featuring “Run Like Hell.”

The night truly felt like a throwback to an era when albums were more like experiences than just entertainment. This music of the ’70s carried truth, depth, and clarity, still holding its boldness decades later. For a few hours in Providence, Brit Floyd didn’t just perform some covers of Pink Floyd, they transported the audience back in time.

photo by Luca DePalo

Looking Ahead

You can find upcoming Brit Floyd tour dates on the “Tour” page of the band’s website. The band will be in Boston tomorrow night, March 6th, one of four remaining New England shows before their tour takes them out of the region and, eventually, to every region of the U.S., so check out the calendar for concerts near you.

Meanwhile, Providence locals probably already know to check out the “Events” page of the venue’s website for upcoming performances spanning a variety of the arts at The Vets.

Live Review: The Artimus Pyle Band and SoulShine at the Stadium Theatre

Posted on by

photo by Luca DePalo

by Luca DePalo, Contributing Blogger

The Artimus Pyle Band and SoulShine

Stadium Theatre, Woonsocket, RI

February 20, 2026

On an gloomy night in Woonsocket, Rhode Island, snow was falling through the streetlights. Just down the block, the Stadium Theatre was buzzing with life. Inside, the sound of rock music was loud and clear. The Artimus Pyle Band and SoulShine were co-headlining a show with drums, screaming guitars, and a lot of energy that made the cold weather outside feel forgotten.

photo by Luca DePalo

The crowd was packed into the theater, excited and waiting for the show to start. When the lights went down, SoulShine, the Allman Brothers Experience walked out to a cheer. They started playing away with their first song, “Statesboro Blues,” from 1971. The room lit up with energy. The bluesy guitar riffs and deep bass lines filled every seat pulsing with electricity. It felt like Duane and Gregg Allman’s spirit was there just like when they started the Allman Brothers Band in 1969.

SoulShine kept playing hit after hit. “Blue Sky,” “Ramblin’ Man,” and “Midnight Rider.” Every song was loud and full of soul like the originals. The two guitar players traded solos that soared above the lights while the rhythm section kept everything tight. People were singing along, swaying to the music and getting lost in the groove. Some knew every word while others were just amazed by the band’s performance. After an hour, it was clear that SoulShine wasn’t just covering Allman Brothers songs. They were really channeling the band.

photo by Luca DePalo

Then it was time for Lynyrd Skynyrd classics, loud and live. The lights went down again. The Artimus Pyle Band took the stage. You could feel that this was something. There was something about the way they played. The first chords of “Workin’ For MCA” rang out. The spotlight hit the drum throne. Artimus Pyle himself playing with the same fire that made him a legend. The whole band locked into that Skynyrd groove.

Lets be clear. This band isn’t just a tribute. They’re carrying on the legacy of rock with help from two guys who helped build that legacy. Up front was Barry Lee Harwood, who joined APB most recently in 2025 and brings a lot of rock history. He played with the Allen Collins Band and the Rossington Collins Band. Added his dobro and mandolin to Skynyrd’s “Nuthin’ Fancy,” “Gimme Back My Bullets,” and “Street Survivors.”

photo by Luca DePalo

Of course, Artimus Pyle himself behind the drums. A Skynyrd member from 1975 to 1977 then back again from 1987 to 1991. He’s the surviving member of Skynyrd’s classic lineup, and he lived through the bands infamous 1977 plane crash that killed Ronnie Van Zant, Steve Gaines, Cassie Gaines, the assistant road manager, and both pilots. As Artimus said, “If it wasn’t for Ronnie Van Zant there would be no thing as the band.”

Since leaving Skynyrd, Artimus has had a career. Solo records, projects, all paying tribute to southern rock’s finest. The Artimus Pyle Band doesn’t just play the hits. They bring the era’s energy right back to the stage.

photo by Luca DePalo

One standout moment was the band’s dobro player letting those shimmering slides ring out and giving songs like “Tuesdays Gone” an edge that pulled everyone in. The set kept going with classics. “Gimme Three Steps,” “Call Me the Breeze,” and, of course, the anthem. “Sweet Home Alabama.”

Then, right before the end the unmistakable opening of “Free Bird,” everything shifted. The crowd held its breath during that intro waiting for the storm to hit. Then came the epic guitar solo. Furious, relentless powerful. The energy in the room was off the charts. When it finally ended, the audience exploded into a standing ovation knowing they’d just witnessed something they’d never forget.

photo by Luca DePalo

As the band took their bows and the lights came up fans filtered back outside, the snow was still falling. Now everyone carried a little warmth with them. The energy and spirit of southern rock echoing down the quiet wintry streets of Woonsocket.

Looking Ahead

You can find upcoming tour dates for the Artimus Pyle Band on the “Tour” page of the band’s website. APB dates are currently listed for Missouri, Kansas, Pennsylvania, Illinois, New Hampshire, and New Jersey. The “Upcoming Shows” section of the SoulShine website currently lists just a single date – March 7 in Mamaroneck, NY – but that’s where to check as more shows are added. And those of you in or near Woonsocket can check out the “Events” page of the Stadium Theatre’s website to see the theater’s upcoming calendar of events.

Live Review: Corey McLane at Lost Shoe Brewing Company

Posted on by

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.

Live Review: Tommy Feeley at Tackle Box Brewing Company

Posted on by

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.

Live Review: Sado-Domestics at Sanctuary

Posted on by

photo by Geoff Wilbur

Sado-Domestics

Sanctuary Bar & Lounge, Maynard, MA

January 24, 2026

I had been looking forward to this performance. It was an early afternoon gig at the intimate bar at Sanctuary in Maynard, MA – a cool room for acoustic and soft electric music. Of course, this was the day before the big snowstorm, so I arrived a little late (30 minutes) after squeezing all of my weekend errands into Saturday. The afternoon’s Sado-Domestics line-up was a 3-piece, scaled-down version of the typically-six-piece band, featuring the singer-songwriter duo at the core of the band (Chris Gleason and Lucy Martinez), and the most in-demand, versatile mandolinist in the Boston area, Jimmy Ryan.

The first full song I heard was “Autumn Glow,” with Jimmy’s mandolin picking standing out in the 3 piece acoustic setting, in great support of Chris and Lucy’s vocal harmonies.

photo by Geoff Wilbur

Next was “Move On” steadily thumping along with a relatively long, cool mandolin solo, followed by a soft and smooth version of “Tip of My Tongue.”

One of the fun things about the Sado-Domestics (and Boston’s other top Americana bands) is that, when they pull out a cover tune, it’s a good one. Of course, Americana isn’t a core genre for me when it comes to my personal music knowledge, so I’m never sure if I’m hearing a well-known genre favorite or a deep cut. (Blues, too, is another style I enjoy but don’t have deep roots in.) Anyway, the choice of Golden Smog’s “Radio King” was well-received and enjoyable, well-suited to the band.

The trio followed with a new song that is probably entitled “Let Go of It.” It’s a cool number, with a little bit of pace (within the context of a Sado-Domestics-tempod Americana set), a great addition to the catalog, and features a lyric that stands out, “let go of it/how much time has she spent/living in your head rent-free.”

photo by Geoff Wilbur

Next up was “Wolf,” one of the band’s faster-paced songs. It’s one of my favorites – a cool, knee-tapper. After that, I sat back a little, stopped taking notes, and just enjoyed the rest of the first set. I did do a little googling, though, when Chris pulled out his bouzouki. Now, I’m not super-knowledgeable about less commonly-played stringed instruments, so I read a little about it while the band played… including how to spell it.

As expected, the band lost no steam in the second set. Personal favorites included “Get in the Wind,” Chancer,” and “Winter Coating.” Additionally, “Shale,” which includes one of my favorite lyrical phrases in a Sado-Domestics song, “dead-eyed American.”

photo by Geoff Wilbur

A couple Jimmy Ryan songs were featured in the second set, as well. “Hard Time” is driven by some energetic picking and a gruff, bluesy-Americana vibe, befitting Jimmy’s vox. And the band closed with Jimmy’s “John Brown,” softly and sincerely.

It was a great way to enjoy an early afternoon as the storm approached. The Sado-Domestics are one of the Boston area’s most highly-regarded Americana outfits, and there’s a reason for that. It was a great opportunity for those of us in the outer suburbs to catch a performance. That, of course, is one of the benefits of having a venue like Sanctuary out this way – moreso than any other venue this far out from the city, Sanctuary attracts a lot of top talent that you’d usually have to travel to Boston, Cambridge, or Somerville for.

To catch the Sado-Domestics, check out the calendar on the band’s website. And to see who’s on Sanctuary’s concert calendar, check out the venue’s website.

Live Review: 1964 The Tribute at the Stadium Theatre

Posted on by

photo by Luca DePalo

by Luca DePalo, Contributing Blogger

1964 The Tribute

Stadium Theatre, Woonsocket, RI

January 16, 2026

Friday night at the Stadium Theatre in Woonsocket, Rhode Island was a night like no other. The Beatles tribute band “1964 The Tribute” performed a 30-track set of nonstop hits by the early era of one of the world’s most legendary groups.

Walking into the old timey venue, the chill of the January air faded almost instantly. The Stadium Theatre’s vintage architecture, bright marquee, and packed lobby set the tone. This wasn’t just a concert, it felt like stepping through a time portal. Fans of all ages filled the seats, from longtime Beatles diehards to younger listeners experiencing these songs live for the first time, all buzzing with the same anticipation.

photo by Luca DePalo

As the lights dimmed and the band members took their places, the transformation was complete. Late night host Ed Sullivan appeared on the screen, introducing the band just as he had decades ago during February of 1964. The familiar announcement drew cheers and laughter, through old advertisements for companies, setting the stage for what felt less like a tribute show and more like a recreation of a historic television moment.

From there, 1964 The Tribute burst into action, performing the single “I Saw Her Standing There.” Instantly, the sold out audience was captured by the sound, look, and youthful energy of The Beatles at the height of Beatlemania. Dressed in matching suits and armed with period-correct instruments, they embodied the early years of the Fab Four like no other act around.

photo by Luca DePalo

Throughout the first half of the night, the band performed iconic hits such as “I Want to Hold Your Hand,” the harmonica-filled “Please Please Me,” the unique “All My Loving,” and the vibrant “I Should Have Known Better.” And not only did they play the part, but they acted like the part. Each member would fool around like the young boys they once were, and crack jokes back and forth!

The Beatles just have that iconic sound… almost like blues yet rock and also a form of folk at times. And throughout every single track, every instrument sounded like you were listening to the album in the early ’60s. There are many Beatles tribute acts out there, but nobody can do it as well. 1964 The Tribute has been touring the world since 1984 and frontman Mark Benson (who played as John Lennon) can still perform at top!

And with each member having their unique talent, some surprises throughout the night included the George Harrison-fronted “Do You Want To Know a Secret,” the Ringo Starr-fronted “Boys,” and the screeching John Lennon vocals on “Twist and Shout.”

photo by Luca DePalo

Track after track flew by in a flood of hits, each one met with cheers, claps, and spontaneous sing-alongs. The crowd swayed, smiled, and sang along to every familiar lyric, proving that more than sixty years later, this music still connects generations.

After a short intermission, the band returned back onto the stage, performing “Day Tripper,” “Help,” “She Loves You,” and 20 more classic tracks!

Each song was vibrant and energetic; however, the night slowed down as Mac Ruffing (who played Paul McCartney) walked up to the front of the stage, introducing the 1965 hit “In My Life.” Right then and there, the Stadium Theatre lit up in a display of the audience’s phone lights… almost as a remembrance of John Lennon and George Harrison’s legacy. The song was definitely my favorite of the night.

By the end of the evening, the Stadium felt less like a historic venue in Woonsocket and more like a roaring 1960s concert hall, leaving the audience warmed, nostalgic, and reminded why The Beatles’ legacy continues to endure.

What a great night!

photo by Luca DePalo

Looking Ahead

1964 The Tribute has upcoming concerts scheduled in Arizona, California, Florida, Virginia, Pennsylvania, North Dakota, Maryland, Ohio, and Tennessee. See the “Shows” page of the band’s website for dates, locations, and ticket links for those shows and others, as they’re added.

Live Review: The 2025 New England Music Awards

Posted on by

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!