Live Review: Danielle Miraglia at Front Street Concerts

Posted on August 13, 2017 by Geoff Wilbur

photo by Geoff Wilbur

Danielle Miraglia

Front Street Concerts, Hopkinton, MA

August 12, 2017

Danielle Miraglia is a Boston treasure. Period. We are fortunate enough to have one of the best regional blues-centered music artists in our midst, a special performer whose full band shows (with her band, the Glory Junkies) are blues-rock and whose solo acoustic shows are more blues-folk, but they always carry that original Danielle Miraglia spark, that glint in her musical eye, and that fun, amusingly thoughtful emotional and intellectual sincerity. The entire east coast is lucky to get a chance to experience her music during her tours, but we in the Boston area can get a regular dose of her musical magic, and the fact that she typically draws strong crowds even with her frequent performances is a testament to how much we appreciate her considerable, world-class talent. This is my fourth review of Danielle’s music since the Blog‘s launch, but it is the first in more than a year. I reviewed her last album, a 2016 set at Atwood’s Tavern, and last summer’s gig at Front Street Concerts.

photo by Geoff Wilbur

Front Street Concerts, meanwhile, is a favorite venue, perfect for a pleasant summer night. It’s a backyard “house concert” with a dinner buffet and a purpose-built barn featuring a stage and a sound system, with wide-open barn doors and a tent allowing most attendees to sit outside on lawn chairs. Even without the music, it would be a great place to spend a summer evening. But, of course, the concert series organizers always, dependably bring in exceptionally talented musicians.

On this particular evening, Danielle performed fronting the Glory Junkies Trio, flanked by violist Laurence Scudder and guitarist Erik White from her Glory Junkies band. Using a stomp box where added percussion was necessary (as she does during solo acoustic performances), Danielle delivered a perfectly rockin’ evening of blues and blues-rock. The Trio kicked things off with one of the songs that first turned me on to Danielle’s music, “See the Light” from her 2011 Box of Troubles release. This is almost hillbilly blues-rock, showcasing her bandmates’ skills, hinting at the offbeat humor occasionally hidden in Danielle’s lyrics, and featuring her strong, versatile voice, touching upon its raw power while built around the textured emotion that makes her mid-range so powerful.

photo by Geoff Wilbur

She followed that with a pair of songs from her Glory Junkies disc. “Fair Warning” sports a cool, almost syncopated sound in its trio arrangement, while “Famous For Nothing” is driven by kind of a chunky rhythm when performed live, a cool rendition of this album favorite on this particular evening.

Next up was the first of Danielle’s new originals to be performed this evening, “All of My Heroes are Ghosts.” Classic, gritty, growly Danielle Miraglia at her best. It was during this song, in fact, that I was compelled to comment to the person standing next to me, “Oh, my God! That thing in her voice!” Vintage. Or, rather, new, since it’s one of the songs I assume will be on the album she’s currently recording.

photo by Geoff Wilbur

Late in the first set came another favorite new song, the topical, timely “Make Your Own News.” On the whole, the tune chunked along like a classic blues rocker, but the bridge almost seemed to borrow from seventies pop-radio harmonies, and there was a fun viola solo well worth its own shout-out, as well.

After that, Danielle shook the joint with the raucous “Stagger Lee” before mellowing a bit on “Home,” a powerful song whose sound is always so warm and uplifting, a tune that displays the richness of Danielle’s voice that makes this sort of connection possible. And, of course, she closed the first set with a Janis Joplin cover, just one of many iconic artists whose songs fit her voice so well.

Spotted Tiger (Laurence Scudder & Erik White); photo by Geoff Wilbur

The second set started with two songs sans Danielle, as Laurence and Erik have their own band, Spotted Tiger. So we were treated to a couple Spotted Tiger tunes. The first was an almost hillbilly-ish Americana number; the second more like energetic folk. Indeed, these guys form a cool duo. I saw them perform a full set as Spotted Tiger once before, the spring before I launched the Blog.

Then Danielle was back to finish off the night. The second set featured a couple favorites from the Glory Junkies disc, “Dead End Street,” in which I love the funky pop element that interacts well with Danielle’s blues snarl, and “Coffee Stained Thank You Cards,” a song that would easily win my vote as the best blues-rock song to mention sarcastic zombies in the lyrics.

Notable, as well, was new original “Everybody’s Wrong.” This one shows off Danielle’s blues howl – my notes from the evening simply say “Grrr!” and “Wow!” – in addition to some almost Chuck Berry-esque axework by Erik White.

photo by Geoff Wilbur

The final set also included several covers. There was a Dylan cover, the heartfelt, melancholy “I Want You.” And a Prince cover, of course: “Gett Off.” And notably, as usual, a show-closing, wailing rendition of Tom Waits’ “2:19,” a Danielle Miraglia concert staple that she always makes her own.

Not ready to end the evening any earlier than necessary, there was, of course, an encore. In this case, a very gospelly rendition of “Shine a Light.”

There’s rarely a better way to spend a Saturday night than at a Front Street concert. And there’s never a better evening than a Danielle Miraglia concert. Combine the two, and you get a true summer memory.

Looking Ahead

There’s just one Front Street Concerts event left this summer. That’s next Saturday, August 19th, featuring Tim Gearan. If you can get out to Hopkinton next Saturday, it’s well worth it. But you need to RSVP in advance to reserve your spot.

photo by Geoff Wilbur

Danielle Miraglia, of course, has several shows on her schedule. Next up is August 26th at Lemifest in Mashpee. Then, on August 27th, as part of the Charles River Reprobates in Newburyport. You can also catch her on September 3rd at the Plymouth Folk and Blues Festival in Plymouth, VT and on September 9th at the 7th Annual Haverford Music Festival in Havertown, PA. Be sure to check the “Shows” page of her website for details and check back regularly to stay current. Indeed, this is one of the thinnest schedules I’ve seen on her website in a while, so I’m sure there will be more shows added soon.

Spotted Tiger also has a few gigs coming up, as noted on their website. They’ll be onstage tonight, August 13th, at Toad in Cambridge, MA. They’ll be at Bull McCabe’s Pub in Somerville, MA on September 22nd. And they have gigs listed in Beverly and Salem, MA and Nashua, NH on various dates from October through February. For more details, see their website.

Live Review: 4EverFab at Ellsworth-McAfee Park

Posted on August 10, 2017 by Geoff Wilbur

photo by Geoff Wilbur

4EverFab

Ellsworth-McAfee Park (Northborough Summer Concert Series), Northborough, MA

August 10, 2107

photo by Geoff Wilbur

If you saw my review of The Mychael David Project’s show last summer, you know I’m a big fan of the Northborough Summer Concert Series. It’s a nice park, and the series reliably books talented bands. Tonight was the first time I was able to Northborough for a show this summer, and it was the last show of this summer’s series. I arrived a half hour late, but the show started a half hour late due to some technical problems, so I actually caught what may have been the first song of the evening, “She Loves You.”

It’s easy to critique a bad Beatles tribute band. And a hard critique in such an instance is well-deserved. But it’s hard to know what to write about a good Beatles tribute band. There’s no point in describing the songs; you know them by heart. All I really have to do is mention song titles – don’t worry, I will – and you can hear them in your head. So, was this a good night or a bad night? Well, 4EverFab is widely-booked and popular in a major metro area with plenty of entertainment competition, so you can do the math.

photo by Geoff Wilbur

4EverFab covered all of the Beatles’ music styles, from the early stuff to the late stuff, with aplomb. They did a great job with the crunchy rock guitars (like “Back in the USSR”), the edgy psychedelic stuff (“I Am the Walrus”), the harmonies (“Paperback Writer”), the mellower stuff (“In My Life”) and everything in-between. 4EverFab is a talented, tight outfit that could perform a broad range of music beyond the Beatles, too, you’d have to imagine, based on how well they cover the Beatles’ catalog.

Of course, the two-hour set was filled with more favorites: “Penny Lane,” “Strawberry Fields,” “Yellow Submarine,” “Ob-La-Di Ob-La-Da,” “Hey Jude,” “A Hard Day’s Night,” John Lennon’s “Imagine,” the Beatles’ “Birthday” song, and many more.

photo by Geoff Wilbur

An evening of Beatles hits performed by a top-notch Beatles tribute band like 4EverFab was a great way to end the summer’s outdoor concert series in Northborough, always an ominous sign that the summer is coming to an end.

Looking Ahead

You can catch 4EverFab at several more summer concert series around Massachusetts (and one in NH) this month, starting in Taunton tomorrow night, Friday, August 11; Burlington on August 15; Mansfield on August 16; Lynn-Nahant Beach on August 17; Plainville on August 20; Randolph on August 22; Southbridge on August 27; Danvers on August 28; and Plaistow, NH on August 30. They’ll also be performing at the Topsfield Fair on Saturday, September 30. Keep up with 4EverFab’s live performance schedule here on their website.

Live Review: Coco ‘n’ the Fellas at the Bee Bop Café

Posted on June 30, 2017 by Geoff Wilbur

photo by Geoff Wilbur

Coco ‘n’ the Fellas

Bee Bop Café, Plovdiv, Bulgaria

June 29, 2017

I had been hoping to get to this club during my stay in Plovdiv this year. Several of my favorite jazz (or jazz-influenced) artists have performed here, so I knew to expect talent on the schedule. Obviously, I still checked out Coco ‘n’ the Fellas’ music before deciding to head out to the club, and I was duly impressed. Not just with the band, but with the club, as well. It has a comfortable vibe of its own, and I hope to return whenever I’m in town and find good music on the club’s calendar. Indeed, Plovdiv has a top-shelf jazz venue rivaling those of any major city.

photo by Geoff Wilbur

London-based Coco ‘n the Fellas consist of Ami Oprenova and “the Fellas”: electric guitarist Daniele Ciuffrida, acoustic guitarist Joe Perkins, and upright bassist Havard Tanner. The group’s sound is gypsy swing-influenced. As you may know, while I appreciate and enjoy good jazz music, and I think music fans spanning most genre preferences would recognize Coco ‘n’ the Fellas as an exceptionally talented ensemble, it’s not my area of greatest expertise, so you can (as I did) click through to see what Wikipedia has to say about gypsy swing if you’re so inclined.

The group performed two sets at the Bee Bop Café, delivering the sort of performance I’d expect in a ’50s or ’60s jazz club, a cool night out in a setting with an air of sophistication. The “fellas” were tight when supporting Ami’s vocals, loose and adventurous when called-for, and occasionally a bit playful in their instrumentation. “Coco” frequently became the fourth instrument, as is the case in many jazz performances, scatting along with or in response to one of her bandmates. Just as notably, once every few songs, she would hold a note impressively long, often matching a note-holding cohort. In all, an exceptional outfit, well-matched and up to their collective task.

photo by Geoff Wilbur

After a music-only opening, Ami joined the band on stage to begin the evening with “Honeysuckle Rose.” It was followed by an exceptional performance of Kenny Wheeler’s “Everybody’s Song.” The performance was smooth, like something straight out of a ’70s love story movie soundtrack, perhaps from during a montage scene. This was one such instance in which precise light instrumentation was deployed in support of Ami’s smooth, full vocal, her voice dancing around the melody, never sitting still on it.

I loved the tempo of “After You’ve Gone,” a (gypsy) swinging tune that was notably driven in parts by the electric guitar. And “If I Didn’t Have You,” an oh-so-smooth song overall, is primarily bass-driven with each guitarist moving the song along in a different segment.

At this point, Coco ‘n’ the Fellas pleased the crowd with a jazzy version of a traditional Macedonian song, one of my favorite moments of the evening, as well.

photo by Geoff Wilbur

Another highlight was “A Red, Red Rose,” a very torchy number, one of several that showcased Ami’s strong lower register, contrasting it with the dynamic higher end of her vocal range. Ami and Joe performed as a duo on “Cheek to Cheek,” an uptempo strummer that included some serious scatting. And the band without Ami delivered an instrumental, “Dark Eyes,” that seemed like it should, on at least some occasions, inspire some jazzy folk dancing.

The second set was an extension of the first, an enjoyable performance by this talented ensemble. Rather than repeat myself too much, I made note of just three songs from the second set. “A Child is Born” is about as smooth and mellow and this quartet gets. Coco ‘n’ the Fellas original “Not Enough Coffee” doesn’t contain many words, but it is high energy, I noted, as if the song itself was actually hyped up on too much coffee (in a fun way, of course). And I noticed great energy on the group’s performance of “King of the Swingers,” a recording of which you’ll actually find on YouTube from one of the band’s London shows last fall.

Looking Ahead

Per the “live” tab on band’s website, Coco ‘n’ the Fellas continue their European tour in Bulgaria and Italy before returning to London. However, the dates on the website are off by one (unless they’ve been corrected since I checked since the band is aware of it), so you’d be better served to rely on this Facebook photo, which lists the correct dates, though it’s a little incomplete. Tonight (June 30th), the group is at Menthol in Varna (though it may be too late by the time I’ve posted this for you to get to the show), tomorrow (July 1st) at the In the Jazz Bar in Stara Zagora, and Sunday, July 2nd at Jazz Club Studio 5 in Sofia. In a couple weeks, the group will have a few dates in Italy. And then they return to London, with a few shows booked through August. The band tells me they’ll be in Ireland later this year, too. Be sure to check the band’s website (and/or its Facebook page) or the venue websites for additional information. And, of course, double-check the dates.

Live Review: Pesky J. Nixon at Front Street Concerts

Posted on June 18, 2017 by Geoff Wilbur

photo by Geoff Wilbur

Pesky J. Nixon

Front Street Concerts, Hopkinton, MA

June 17, 2017

photo by Geoff Wilbur

Before this evening, I had heard of Pesky J. Nixon, but I had never seen the band perform live. A regionally touring folk band, Pesky J. Nixon plays locally occasionally, but they were just one of many top bands I hadn’t yet fit into my schedule. That changed last night.

Featuring two options for lead vocals, an accordion, and a mandolinist/fiddler, Pesky J. Nixon can cover a variety of musical real estate, centered on folk. The group shines when it features its immensely strong vocal harmonies. And its sense of humor, especially live. An evening with Pesky J. Nixon is a lighthearted affair featuring a cadre of top-shelf musicians.

photo by Geoff Wilbur

The band opened with its cover of “Look at Miss Ohio,” showcasing its great harmonies. The first set also featured a smooth folk groove on Woody Guthrie’s “Oklahoma Hills,” great fiddling and harsh vocals on Buffalo Springfield’s “Stop Children What’s That Sound,” and an energetic, groovy, and fun cover of “Easy Chair.”

The amazing Ansel Barnum joined the band for the final song of the opening set, the smooth, lilting original “Breathe in Autumn.” Ansel would play on the final three songs of the second set, as well.

photo by Geoff Wilbur

Second set highlights included a cover of Ryan Adams’ “Two,” steeped in the band’s exceptional musicianship and strong energy. And the following song, a cover of Jimmy Ryan’s “John Brown,” in which the accordion and drums drove the rhythm, harmonies and co-lead vocals added texture, and there was a mandolin solo. Indeed, this performance of “John Brown” ticked all the boxes of a great Pesky J. Nixon song, cover or original.

The cover of Jeffrey Foucault’s “Americans in Corduroys” was a more sentimental number, an easy song to just close your eyes and soak into.

photo by Geoff Wilbur

The return of Ansel Barnum closed the evening with three more crowd-pleasers. First, a Pesky J. Nixon original, “Anna Lee” dabbled in harmonies, accordion, and harmonica. No, I wouldn’t call it bluegrass, either; we’ll just say it’s bluegrass-inspired and leave it at that.

Next up was an energetic, fun, rollicking rendition of “Talk About Heaven,” a Tim Gearan tune on which Pesky J. Nixon brought its most intense energy of the evening.

photo by Geoff Wilbur

And the “encore” was a real treat. A melancholy, nostalgic, wistful folk rendition of… “Girls Just Want to Have Fun.” Complete with singalong. Did I mention that sense of humor? Indeed, though mostly present in the between-song banter, clearly it also creeps into song selection. Truly, they did a heck of a job with it. And it drew to a close an exceptional evening of folk and folk-adjacent music from a talented band.

photo by Geoff Wilbur

Looking Ahead

Pesky J. Nixon lists four upcoming shows on the band’s events calendar, though I’d suggest checking back as more gigs are added. First, on June 25th, the band will perform with Miles to Dayton as part of the Sunday Street Acoustic Series at the Long Island Museum in Stony Brook, NY. Next up, they’ll take part in the Falcon Ridge Folk Festival August 3rd-7th in Hillsdale, NY. On September 15th, they’ll be local again, joining the Durham County Poets at the Amazing Things Arts Center in Framingham, MA. And on September 23rd, you can catch them at Common Ground Community Concerts in Hastings-On-Hudson, NY.

Front Street Concerts has four more concerts currently scheduled this summer: Peter Mulvey on Thursday, July 13th; Andrea Gillis & Marc Pinansky on Saturday, July 29th; Danielle Miraglia on Saturday, August 12th; and Tim Gearan on Saturday, August 19th.

Live Review: Ibby at The Farmer’s Daughter

Posted on June 17, 2017 by Geoff Wilbur

photo by Geoff Wilbur

Ibby

The Farmer’s Daughter, North Easton, MA

June 16, 2017

Tonight’s show was an album release party for Ibby’s new disc, Cross Your Heart. In the past several years, I’ve only been to one other hometown album release event at a venue filled with friends and family like this – TOS’ in Maynard last summer. Sure, I’ve been to album release concerts in the city, but this is a unique sort of event with its own energy, one where relatives, neighbors, coworkers past and present, and (especially for a recently-graduated 18-year-old like Ibby) school friends seem to comprise nearly the entire audience.

photo by Geoff Wilbur

From the start, Ibby adorably, enthusiastically cheerful, fully enjoyed the spotlight and every moment – contagiously so, in fact; it’s clear this fearless singer-songwriter is completely at home performing.

Frequently, Ibby’s songs reminded me of other talented artists. Not in the entirety – which is to say, she has an original sound of her own – but elements of her songs recalled others for comparison. Unfortunately, I was rarely able to get beyond “what is the name of that song this reminds me of?” last night, so I’ll have to hope I can make more of those connections for you later this summer when I review the CD. Suffice it to say, Ibby’s songs will quickly feel familiar while remaining uniquely hers.

Ibby’s vocals are warm and rich with plenty of well-placed vocal cracks adding emotion and emphasis. Her strumming was steady and strong with varying patterns giving the songs unique textures. And, as I noted, her cheerful-yet-thoughtful, enthusiastic stage presence was cute and endearing. It’s a combination likely to win over any audience of music fans.

photo by Geoff Wilbur

Ibby’s music is pop singer-songwriter fare, occasionally veering into folk-pop, sometimes sporting a hint of country, written about and inspired by events in her life. It’s a glimpse at the ups and downs of a teenager’s world, if that teenager is as introspective and self/world-aware as a good, young songwriter must be. Musically, I’d expect to hear her music in coffeehouses, nightclubs, and festivals (and on the radio). And, as with any song-driven music, it should transition well between acoustic and full-band performances, as opportunities arise, obviously sounding more folky when it’s just a girl with her acoustic guitar.

She kicked the evening off with “Breathin’,” a song driven by its strumming pattern and featuring an emotionally scratchy vocal. The next song, slightly folky pop-rocker “How Did I End Up Missing You,” coupled insistent vocals with forceful strumming, mixing a cracking voice with a combination of other tuneful vocal elements to create a memorable, distinctive-yet-familiar sound.

photo by Geoff Wilbur

Other songs stood out during the evening, as well. “88 Keys” deployed a heavier strum, building and getting louder during the song. “Pier 17” was performed in a pop-folk style with the energy of a “travelling song,” its tempo causing it to always seem to be going somewhere. And “Lightning Don’t Strike Twice” was rather soaring and exceptionally engaging.

“My Dear” deploys a steady tempo with vocals rising and falling to pull the listener in, utilizing the insistent, emotional wail Ibby places so well (and not infrequently) in her songwriting.

During her second set, Ibby dipped into her “back catalog” a bit, with a bit more country in the sound of songs like “Dance,” which I believe she said she wrote in 8th grade, a song she performed with infectious cheerfulness, clearly having a grand time and exuding joy while singing it. She followed it with another “old favorite,” “Worst I Ever Had,” and both of these songs had this room full of her old friends singing along throughout. Like I said, hometown album release parties are a different species of animal.

photo by Geoff Wilbur

Ibby also featured a couple new songs in the second set. One, whose title I didn’t catch, was a poignant song artistically using its words and sounds to paint a picture. The other, “Better Now,” sported an interesting rhythm and some ambitious vocal moves, including a little warble to draw attention to the bridge. This one, “Better Now,” may have legs for Ibby, as it’s catchy enough to become a singalong song by the end of the first listen.

Speaking of singalong, Ibby closed her second set with “Burnouts,” a fun “local favorite.” To that warble, Ibby adds a bit of a howl in this song, and on this particular night, with a venue singing along, she was completely emotionally and musically invested in this song; her energy only increased as the night wore on, buoyed by her own performance.

Ibby’s encore song, “Can’t Forget It,” was a sensitive, tender, touching, folky singer-songwriter piece. And then the evening ended, as the venue was closing, though the crowd would have stayed for another set.

It’s obvious Ibby isn’t a “developing talent.” She’s a developed talent whose future growth will be like that of any artist, as life events and continued maturity will provide different life experiences to write about and connected with, different viewpoints and thoughts to share. But she’s clearly “ready” now, creating engaging, emotional songs as a songwriter and performing them with infectious enthusiasm and skill.

Looking Ahead

Ibby performs again this afternoon at the Beverly Arts Festival – or she probably already has performed by now, as the All You Got Tour performers’ time slot was listed on this notice as 10:30-3:30. Follow Ibby’s Facebook page to see when and where she’ll perform next.

Live Review: Chris Moreno at the Hard Rock Cafe

Posted on June 10, 2017 by Geoff Wilbur

Chris Moreno; photo by Geoff Wilbur

The Holographics, Heavy America, and Chris Moreno

Hard Rock Cafe, Boston, MA

June 9, 2017

There were five bands on the Friday night bill at the Hard Rock Cafe – The Holographics, Heavy America, Chris Moreno, Miele, and The Cosmonautz. I had to leave around 11:00, so I only caught the first three. Of course, I was there specifically to see Chris Moreno, whose album I reviewed a few months ago. This was the first time I had made it to one of his live gigs.

The Holographics; photo by Geoff Wilbur

The Holographics

The evening was kicked off by The Holographics, a young band from Providence. The band began its set with a style best described as alt-rock with a spacey synth line. Musically, the band’s alt-rock vocals were often buried in a wall of sound. The vocals were consistently no more prominent than any instrument, clearly by design, providing The Holographics’ signature sound. The band’s current single, “An Hour Ahead,” was a little more jangly with lighter instrumentation – a fun song and a good choice for a single.

Other influences emerged as the set progressed. One song in particular showed the group’s ability to drive a song with a blues groove.

The back half of set was decidedly more guitar-heavy than the first – wall of sound yielding to wall of axe – though you could still hear the synth in mix, of course. One song, “In My Head” (maybe; I didn’t get the official song titles) sported a bit of funky rhythm and both classic and alt rock guitar riffs for the band’s most lively, energetic turn of the night.

The Holographics closed with a song with easier-to-spot spacey synth work again, almost as if tying the end of the set to the beginning, though there was still plenty of both classic and alt rock guitar – they seem to enjoy mixing those guitar sounds within a song. The last song was also a bit on the progressive end of the band’s musical scale, almost “Aqualung”-ish in style. A talented young band, The Holographics provided an enjoyable first set.

Heavy America

Heavy America seriously cranked up the volume with its set. Also “wall of axe,” but Heavy America’s were louder, more aggressive axes. This was the album release show for the band’s new disc Now, which has been out for about a month, so the band opted to play its entire new album as its performance on this night; it’s cool when bands do that for album release shows.

Heavy America; photo by Geoff Wilbur

Heavy America’s music is rooted in straight-ahead, blues-based classic rock, but this power trio mixes in some tempo-changing finesse and seemingly a little funk to spice up the heavy guitar foundation. This is an aspect of its musical stew Heavy America shares with fellow Bostonians Aerosmith and Extreme. But Heavy America is clearly heavier, more musically caustic, adding a harsher element to its rock mix, whether from punk, alt-rock, or the rawer corners of metal; likely a mix of all of the above.

Throughout the set (and, obviously, the album), the band varied its songs within its core musical style, which was fully embodied by its first single from Now, “Pray For Me” – straight-ahead hard rock with nary a glimmer of light but still with some finesse. With variations on that theme, that does seem to be their style. Some of the songs drifted a bit into a more old-school classic rock direction that I couldn’t really verbalize until was struck by it in the second-to-last song of the set, “Heavy Eyes.” Pink Floyd. I swear I hear a bit of Dark Side of the Moon-era Pink Floyd, most prominently in heavy eyes. Or at least something resembling it.

In the end, Heavy America delivered an energy-filled set of consistently loud and frequently edgy rock and roll well-suited to entertaining a club full of hard rock fans across multiple sub-genres.

Chris Moreno; photo by Geoff Wilbur

Chris Moreno

I specifically targeted a “full band” show on Chris’ calendar rather than an acoustic one because I wanted to hear his songs in all their electric glory, though he performs the sort of song-driven rock music that would translate readily to an acoustic setting, so I really couldn’t go wrong. On this night, Chris was joined onstage by bandmates Eric Garibaldi (guitar), Rod McCarthy (drums), Dave Brideau (bass), and, for three songs, saxophonist Hannah Moverman. Stylistically, Chris’ music is very similar to Matchbox 20, with elements of other bands in that catchy pop-rock neighborhood, rooted in song-driven rock and roll with a classic rock core, catchy hooks, and tunefully straining, emotional vocals.

Most of the songs Chris performed tonight were from his Into the Sun album. He kicked things off with one of my favorites from that disc, “All I Need.” It mixes a driving rhythm, catchy hook, and that little bit of emotional grit in the vocal that can make a song irresistible.

Chris followed that up with a heavier rockin’ edge on “Don’t Let Me Down,” before the band was joined onstage by Hannah for three songs, beginning with “Turn the Page,” again sporting Chris’ trademark hit radio-ready sound driven by hooks and emotional vocals. This song, in particular, reminds me of an old New Jersey band I loved back in the ’90s, Outcry, whose melodic college rock was one minor stroke of luck away from national recognition.

Chris Moreno; photo by Geoff Wilbur

Next up was “Reach for Me,” a song that softened the energy a bit thanks to Chris’ switch to acoustic guitar for this number. This is the song from Into the Sun that is most imbued with a Counting Crows vibe. And the sax, here in particular, added an extra coolness to this song. It’s a wonder more rock bands don’t perform with a saxophonist on stage; it adds a depth to some song segments and punctuates others.

After that, Chris slowed things down a little with the more melancholy-sounding “Try,” which was followed by a very cool cover of Tracy Chapman’s “Fast Car,” faster-paced that the original and with a smoother vocal. It’s smoother by comparison, anyway, as Chris’ voice usually embraces that hint of strained gravel, but “Fast Car” even had moments that showcased his vocal ability to hit some big, clean notes, something he doesn’t do particularly often.

Next up was a new song, “That Song,” a trademark Chris Moreno tune that creatively departed from the norm a bit in spots, with some interesting rhythms and guitar riffs adding a welcome, unique, different texture.

Chris Moreno; photo by Geoff Wilbur

Next-to-last was another personal favorite, “Finally Free,” as I particularly enjoy the way the song seems to coil and release. Late in the song, Eric Garibaldi delivered a stellar guitar solo to move the song along toward its end. This one’s also extra-cool because of the way Chris’ vocal moves around the melody a bit more than usual.

The band closed the night with “Closer To You,” a catchy crowd favorite, featuring a little extra texture in Chris’ vocal and more frantic strumming at the end. Great way to end the set.

Indeed, I wasn’t surprised by the caliber of Chris Moreno’s (and his band’s) performance. I had heard and loved the album, so I knew what to expect, and I wasn’t disappointed. I look forward to catching another of his gigs when I get a chance, and I’d urge you to, as well. This dude writes catchy songs every bit as good – and just as catchy – as the best of mainstream pop-rock radio, and he surrounds himself with talented musicians.

Looking Ahead

The events page on The Holographics’ Facebook page shows a June 26th gig at Dusk in Providence, RI.

The gigs page on Heavy America’s website lists a show tonight, June 10, at the Carousel Lounge in Salisbury, MA.

And the tour page on Chris Moreno’s website is currently empty, but check back for shows to be added.

Live Review: Behind the Songs at the Hard Rock Cafe

Posted on June 8, 2017 by Geoff Wilbur

photo by Geoff Wilbur

Behind the Songs

Hard Rock Cafe, Boston, MA

June 6, 2017

One of the cool things about curated music events like this one is that the talent has been sifted through by a music industry insider who is staking his or her reputation on the caliber of talent in appearance. As a result, they are often talent-packed events that offer a chance to discover several future-favorite artists in a single night, with a much higher hit-to-miss ratio than a typical multi-band local club night.

This particular event was organized under the banner of Nina Pickell‘s new venture, Off the Stage Music. Behind the Songs was designed as a Nashville-style songwriters’ night, with the main portion of the program consisting of five songwriter-performers on the stage at the same time, each discussing and singing one song before passing the baton to the next. Charlie Farren kicked the show off with a short set. Then the special guest for the evening, Paige Davis, sang a single song before retiring to the audience and returning for a short set at the end of the evening. During the main portion of the program, the five songwriters – Annie Brobst, Julie DiOrio, Chris Ruediger, Justin Piper, and Alissa Musto – shared the stage. It’s a format that’s similar to those used in other songwriter-friendly cities, and there’s a plan for this to be the first event of a series here in Boston. Given the relatively full house at this gig, it’s certainly off to an auspicious start.

I was quite looking forward to this event. Obviously, you’ve read about Alissa Musto here at the Blog, as I’ve reviewed a live show and her most recent album already this year. And I had been watching the calendars of half of the remaining six artists, hoping to catch convenient live performances from them. So I knew to expect great things from this line-up.

Charlie Farren; photo by Geoff Wilbur

The Opening Act: Charlie Farren

Obviously nobody’s “opening act,” Charlie Farren is a local rock icon. From his ’80s days in The Joe Perry Project and Farrenheit to today, working on his 17th solo album, Charlie Farren is a rock star in every sense of the word, and by opening the music for the evening, his presence was a strong encouragement not to be late.

Charlie kicked things off with a short, three-song set. He began with “When You’re Nobody’s Somebody,” a heartfelt, gravelly number somewhere between soft and mid-tempo, filled with power – a rock star’s rock song. Next up was a bluesy, growling rocker, “Hold Me Down and Love Me,” that recalled the best of classic ’70s/’80s guitar rock. And he closed his set with “The Powers That Be,” another timeless rock song that sported a “Baba O’Riley”-esque guitar riff.

The set was a terrific appetizer, serving as encouragement to catch one of Charlie’s full concerts when the opportunity arises and also setting the table for the talented performers to follow.

The Main Event

The songwriters-in-the-round portion of the event featured five songwriters – award winners and rising stars – taking turns talking about and performing their songs. The unique Boston spin on this Nashville-inspired songwriters’ night was the variety of genres involved, a diversity of styles so broad that each transition between artist nearly required a bit of gari to cleanse the palate.

The evening consisted of five orbits around the room; i.e., each songwriter eventually performed five songs. Below, I review the night performer-by-performer rather than cycle-by-cycle.

Annie Brobst with Ryan Dupont; photo by Geoff Wilbur

Annie Brobst

The first performer of the songwriters’ round was Annie Brobst. Annie was joined onstage by her guitarist, Ryan Dupont. My first instinct was to call her a Miranda Lambert-reminiscent country singer, and, indeed, she talked about how many of Miranda’s songs she covers during her performances, so I suspect that’s not a bad comparison. To the extent she strays from the Miranda position on the country spectrum, Annie voice tends toward that of the classic, timeless stars.

The first song she performed – the one that sparked that comparison – was “What’s a Girl Gotta Do.” Annie’s second song, “(Stone in) Still Water,” was emotional and powerful with a bit of old-school country flavor. “You’ll Love Again” showcased Annie’s strong, emotional voice and was powered by a super-catchy guitar line. “Ghost” was a true-blue country music story-song delivered with an interesting flavor – I think I heard a little Jim Croce in the delivery. And Annie’s final song, “Paper Weight,” utilized great lyrics (yes, with a little anger) driving a power and edge to her vocals, punctuated by dramatic guitar pauses. Indeed, Annie performed a variety of songs that showed off her broad country range.

Julie DiOrio; photo by Geoff Wilbur

Julie DiOrio (of The Dirty Dottys)

Next up was Julie DiOrio. What a dynamo of excited, crowd-engaging energy! Another attendee at my table called her “adorable,” and, indeed, that’s apt. Julie was also the only of the five songwriters to attempt to sing the bass line (and other instrument parts) in a couple of her songs. Her first song, “This Nonsense,” was one of those. She sang half of the song each in its original (smooth) version, the second half in its band (alt-funky and a little edgy) version, with the tune getting frantic toward the end. “Ain’t Got the Time” combined crunchy, classic rock guitar supporting funky soulful vocals. Perhaps a hint of Amy Winehouse; in the neighborhood of Elle King. “Dragonfly” was a funky-cool song with a herky-jerky, fun tempo. “Not Too Call,” I think (messy handwriting), was a dynamic, fun tune featuring vocal gymnastics and a ukulele. Of course, “ukulele” renders the word “fun” redundant, but so does “Julie DiOrio,” so I’ll stick with it. And Julie’s final songwriter’s night tune, “The Furniture,” was soooo lyrically clever with an edgy, swingy, alt-rockin’ sound. And it, like so many of this charming songwriter’s songs, came to a cool, abrupt ending.

Chris Ruediger; photo by Geoff Wilbur

Chris Ruediger

Chris just graduated from high school this spring. The dude is 18 years old but has a veteran, calm, confidence stage presence and a voice that has that certain je ne sais quoi that makes you sit up and say “Duuude!” (or maybe “wow” if you’re not a “dude”-sayer). This event also doubled as the EP release show for Chris’ five-song EP, Secrets.

He began with the first song on that disc, “One Way Ticket,” based in a college rock sound but with a versatile voice that ranges from thin and alt-rock edgy to big and full depending on the song’s requirement. Chris’ first single, “Summertime Story,” showcased nice variety, tempo, and vocal groove. I noted that I really liked the deep bridge that seemed to be hiding a secret in its stylistic depth; now I’m not sure what I meant by that, but it will probably be obvious when I listen to the song again while preparing to review the EP. Next up was a medley in which Chris utilized an interesting texture, and his higher voice and vocal rattle (not exactly a growl) put an interesting spin on what included, at a minimum, portions of “Ain’t No Sunshine,” “Jolene,” and “House of the Rising Sun.”

Chris referred to the Marvin Gaye groove in “Secrets,” and yes, you could really hear some R&B influence, Chris’ performance even hinting at a near-syncopated rhythm in spots. His last song of the night was “Forgive Me,” again featuring that unique timbre in Chris’ voice, combined with lyrics delivered with an urgent insistence. Chris connected so well with this song it actually gave me goosebumps, the sure sign of a song well-sung. This young man has talent to spare and a humble but confident attitude that will take him far.

Justin Piper; photo by Geoff Wilbur

Justin Piper

Songs without lyrics. Justin is a guitar instrumentalist. But, you know, by halfway through his opening number, I forgot there weren’t any lyrics. “Rolling Blue Hill” sported an engaging verse, bridge, and a catchy chorus. On “Nova Scotia,” you could hear the song rise and fall, build and relax as it told its story. His third song, whose title I missed, painted very specific pictures for me; whether or not it was the picture Justin was painting, the images I “saw” were of a walk in the woods, maybe a stream, birds, a waterfall, rapids… Next up, Justin delivered a very flowing musical cover of the Beatles’ “She’s Leaving Home.” And he closed his evening with “When I’m Alone”; as an example of speaking with his guitar, one section of this closing number made me laugh, though I wonder if that was an appropriate response given the song’s title. With a broad range of musical influences driving his guitar stylings, Justin was a terrific inclusion in this inaugural Behind the Songs songwriters’ night.

Alissa Musto; photo by Geoff Wilbur

Alissa Musto

Finally, Alissa Musto. What I think of this tremendously talented young artist is well-documented, first in my review of a live show and then in my review of her album What We Saw From the Piano Bar. An adept, precise, catchy songwriter with a hint of gravel in her voice that connects instantly with an audience when she sings emotionally and, of course, killer piano skills, this was an ideal setting to showcase Alissa’s talent.

She began with “Runaway,” doing her jazzy-pop keys and vocals thing. Man, can she wail emotion, especially impactful when using it sparingly at the edges of rich verses. This particular song rises and falls with her emotions detailed in the storytelling lyrics. Next up was “Temporarily”; dancing pianowork combined with a rich, powerful voice that she unleashed for emphasis periodically. Here, as elsewhere, Alissa exhibited the sort of powerful vocals you might hear in a lounge scene during a James Bond movie, and she combined that with a jazzy-pop edge, as if she was singing with a smirk every now and then. Très chic. Next up was “Black Flak,” a song Alissa really gets lost in, and tonight was no exception, as she delivered serious vocal inflection and soaring waves of powerful piano.

Next up, “Pictures on the Wall,” one of my favorites from What We Saw…, a song I caught myself singing along with throughout. This one’s a fun piano song (Billy Joel-meets-Peanuts‘ Schroeder), in which Alissa combines great voice inflection with worth-listening-to, well-crafted lyrics. She closed with an as-yet-untitled song, fun and engaging. I’ll just say the tune was ambitious, confident and clever as f—; inspired songwriting, just our luck. Such a rare, polished (and yet still developing) musical talent, and she’ll be working on a new album this summer, so you can count on reading more about Alissa Musto in the Blog.

Special Guest: Paige Davis

Paige Davis; photo by Geoff Wilbur

Paige Davis sang one song in-between Charlie Farren and the “main event,” and she returned at the end to sing four more tunes. An award-winning country artist at just age sixteen, Paige was a welcome “special guest” this evening. My assessment at the beginning of the evening, based solely on her performance of “Better,” was that she has a sweet vocal with a hint of a twang. Paige connected emotionally with this song, which rises and falls, utilizing stop-start strums from the start.

Among the four songs at the end, Paige’s performance of the soft song “I’ll See You in My Dreams” displayed her breadth of skills. This short set proved that, while her vocals are sweet, she knows just where to crack her voice for emphasis and vary her tone for emotion. She’s a strong performer now, already selected New England Country Act of the Year in 2017 at this stage of her career, and she’ll only get better.

Looking Ahead

As I said at the beginning, events like this where the artists are selected for their excellence are a great way to discover multiple fantastic new performers in a single location. Designed to be the first of a series, Behind the Songs was a rousing success, so I expect to see – and attend – more of them, events showcasing more of the many special artists in our music-talent-rich city.

Live Review: 2nd Annual Arlington Porchfest

Posted on June 4, 2017 by Geoff Wilbur

The Stacking Stones Band; photo by Geoff Wilbur

2nd Annual Arlington Porchfest

Arlington, MA

June 3, 2017

The Arlington Center for the Arts‘ second annual porchfest event, featuring bands performing on porches around town, was divided into two segments, from 12:00 to 2:00 in Arlington Heights, then 2:00 to 6:00 in East Arlington. I made it to the East Arlington portion of the program.

I had two performances in mind for this event, and neither artist disappointed. In between and briefly afterward, I walked the streets of Arlington and caught some other good music, as well.

The Stacking Stones Band; photo by Geoff Wilbur

The Stacking Stones Band

My first porch of the day was inhabited by The Stacking Stones Band. The first targeted band of the day, I had been trying to get out to see these guys for at least a year, so I jumped at this opportunity. I stayed for eight songs and heard a blend of blues, rock, and just a hint of folk-country in the band’s musical mix. They kicked off with “So Familiar,” which displayed a little distorted, somewhat psychedelic blues-rock guitar and a hint of Joplin in the otherwise bluesy vocal, with a slow blues-based rock rhythm.

Also worth noting was “You & Me,” a hooky, medium-fast tempo blues-rocker that carried a hint of a “Sweet Home Alabama” vibe, “Roses All Around You,” which could’ve been the musical sibling of CCR’s “Fortunate Son,” and the band’s rendition of “Tulsa Time,” with showcases some terrific vocal harmonies and a really countrified guitar part. The band closed its first hour with a cover of Waylon Jennings’ “Lonesome, On’ry and Mean,” showcasing its harmonies, a crunchy guitar line, and powerful vocals. A tight unit with some well-written originals whose performance carried a fun vibe, I look forward to my next encounter with The Stacking Stones Band.

Samantha Farrell; photo by Geoff Wilbur

Samantha Farrell

Later in the day, I made my way over to see my other targeted performer of the day, Samantha Farrell. When I arrived at Samantha’s porch, I caught the last song-plus of Greg Klyma‘s performance. I didn’t take any notes as I was getting settled in, but I was impressed my Greg’s strong voice and performance style and plan to review his summer album release, so watch for that in the blog in the coming months.

When Samantha Farrell finally began to sing, just wow. She has a voice and a performance style that enthralling and amazing at the same time. At times during the performance, she’d hit an amazing note, and I’d glance over at some of the other vocalists in the audience who would be shaking their heads in amazement, knowing they’d only be able to sing like that in their dreams. Her vocals seem rooting in jazz with elements of torchy standards, blues, and vocally-powered pop ballads.

When she was singing “Let It Go,” for example, her power vocal contained that sort of torchy blues-pop edge reminiscent of Elle King. “September Sun,” with kind of a jazzy, folky feel, utilized her strong, powerful, very high vocal. “Tuesday Night” was also very jazz-based – sophisticated, cocktail lounge fare that featured a crisp, strong vocal from Samantha that would cut through pea-soup fog. And at the end of her set, the slow, rich sound of “Fade Away” featured extremely well-placed cracking of her vocal. Simply, holy cow, Samantha Farrell is a powerhouse singer with few equals.

Elsewhere Around Arlington

In between (and on the walk back to my car afterwards), I caught a few other bands worth mentioning.

Poor Yorick; photo by Geoff Wilbur

Poor Yorick was just a few houses down from The Stacking Stones Band, and because both bands were fairly high-volume, the two bands made a deal to pass the performance back and forth every four songs and shared each other’s audiences. Riding powerful vocals and psychedelic rock guitars, the band blasted through its set, for the most part. They kicked things off with a cover of “Come Together” that was all parts psychedelic hard rock, sporting strong vocals and shredding axework. “The Love Cats” was a funky and somewhat theatrical number. And also worth noting was a song that was a mild departure, a straight-up rock version of “Don’t You (Forget About Me)” that was obviously heavier than the Simple Minds original but performed by the band as the least-heavy rocker of its first set.

Gin Daisy; photo by Geoff Wilbur

On my way up Cleveland Street, I stayed for a few very cool songs from local bluegrass band Gin Daisy. As I approached their porch, the band was deploying great blended harmonies and some serious pickin’ from the entire group – well, technically the fiddler was bowing, but still. I stayed through an old-school bluegrass number, a square-danceable song that would’ve been good barn-raising music, and an interesting arrangement of “Midnight Special” that varied tempoes throughout. I don’t know this genre well, but I do recognize talent, and Gin Daisy has that in spades.

21 Pearl; photo by Geoff Wilbur

I caught a few songs from 25 Pearl. My first impression was ’70s classic rock meets ’70s folk in a blues club. The songs carry a kind of dark flavor and perhaps a harshness and aggressiveness unusual for bands that blend the rock-folk-blues elements employed by 25 Pearl. Dylan meets classic rock at a Tom Petty concert, performed with a uniquely erratic nature.

Casey LJ; photo by Geoff Wilbur

Finally, on my way to my car from Samantha Farrell’s porch, after a late-afternoon passing rain shower chased a lot of people away and convinced many bands to shut down a half-hour before the fest’s end, I did run across a few performers continuing their performances. One that caught me ear enough to get me to stop and listen was Casey LJ. I was able to enjoy his final four songs, all performed with a unique charisma and a vocal tone that I can’t quite describe as a drawl. He kept his crowd happy with extremely entertaining renditions two Eagles tunes (“Desperado” and “Heartache Tonight”), The Who’s “Squeeze Box,” and the Grateful Dead’s “Deal.” It was a great way to end a fun afternoon.

Indeed, my first porchfest of any kind, Arlington’s was a lot of fun. Unlike some of the more inner suburbs, on-street parking (especially for those of us who arrived before the performances started) was easy, plentiful, and legal, in part because we weren’t competing with residents, as the homes had driveways. But there were plenty of participating porches within easy walking distance of each other – even easier for the attendees who brought their bikes. Conceptually, it’s a neat event and a great way to hear a variety of music on a pleasant afternoon.

Live Review: Mychael David Trio at Hudson House Restaurant

Posted on May 28, 2017 by Geoff Wilbur

photo by Geoff Wilbur

Mychael David Trio

Hudson House Restaurant, Hudson, MA

May 27, 2017

Last time I saw Mychael David perform was last summer. (If you recall, I reviewed that show, too.) It turns out he really is as good as I remembered.

This evening’s show in the lounge area of the Hudson House Restaurant and Lounge was in trio format, meaning that Mychael wasn’t performing with his full band. Rather, he was flanked by his exceptionally talented guitarists Pete Early and Howie Swett. Well, technically, Mychael sat on the left, so he wasn’t actually “flanked,” but it was just the three of them.

I caught the band’s first set this evening. They opened with “Nobody Wins,” displaying Mychael’s rich, deep, versatile voice in fine form. It absolutely soared during this song.

photo by Geoff Wilbur

Mychael followed that with “I’m From the Country,” a Tracy Byrd song he performed with a bit more twang and during which he showed off his country growl. Next up was “Folsom Prison Blues, during which Mychael featured the deep, powerful, booming side of his voice.

Mychael continued to mix things up a bit, singing a mid-tempo, mid-range number, Mark Collie’s “Even the Man in the Moon is Crying.” Indeed, he has range, and his voice is warm, rich, and strong throughout that range. It’s always a great pleasure to get to hear Mychael David sing.

After letting Pete handle the vocals on Alan Jackson’s “Chasin’ That Neon Rainbow,” Mychael unveiled a couple of the songs on the band’s upcoming album, to be entitled Heroes and Honkytonks.

First up was “Won’t You Put Your Badge Back On,” a song paying tribute to law enforcement, recalling simpler times, and referencing classic television shows. And, of course, performed impeccably. It was followed by “The Dog Don’t Know Sit,” an old-fashioned country-tempo strummer; a fun number, obviously (as if the title didn’t give that away).

photo by Geoff Wilbur

Mychael then returned to covers, with “Good Hearted Woman” up next, just confirming that, with the detail in richness in Mychael’s voice, he can sing anything country. And beyond, apparently, as the band closed its set with a rousing rendition of Bob Seger’s “Night Moves,” a version that included an impressively stretched-out “waiting on the thunder” wail.

Always a pleasure catching a Mychael David show and hearing him breeze through a broad range of country music sub-genres, all with a bit of a classic country tilt. And he surrounds himself with exceptional musicians, as Pete and Howie’s guitar playing occasionally stole the show from Mychael’s voice– no easy feat.

Looking Ahead

Per the “tour” page of Mychael’s website, his next gig is Saturday, June 24th in Sterling, MA. On Wednesday, June 28th, he’ll be in Merrimack, NH. And on Thursday, June 29th, he’ll be performing in Northborough, MA as part of Northborough’s summer concert series, returning to the concert series where I reviewed him last summer. Additional shows listed are: Sunday, July 2nd in Wells, ME; Friday, July 14th in Sturbridge, MA; Friday, July 21st in Auburn, MA; Saturday, August 5th in Winchendon, MA; Saturday, August 12th in Boylston, MA; Sunday, August 20th in West Boylston, MA; Thursday, August 24th in Hampton Beach, NH; Saturday, September 9th in Sterling, MA; Sunday, September 24th in Loudon, NH; Saturday, October 21st in Haverhill, MA; and Saturday, November 25th in Clinton, MA. Go to the website for additional details about those shows, and check periodically as Mychael adds addition dates to his concert calendar.

Live Review: Martin and Kelly at Chopps

Posted on May 24, 2017 by Geoff Wilbur

photo by Geoff Wilbur

Martin and Kelly

Chopps American Bar and Grill, Burlington, MA

May 23, 2017

Jilly Martin and Ryan Brooks Kelly are a local country duo with a good pedigree as is apparent from the list of big names they’ve shared the stage with. Also, more importantly to those of us who care about such things, they’re outstanding musicians and performers. When sampling their music in advance of this evening, the song that convinced me they were a must-see was their catchy, fun original “Young, Broke, and Beautiful.” Both have strong country voices – Jilly’s is a sweet, high voice well-suited to classic country, while Ryan’s is a modern country voice with a bit of an edge, with the added ability of throwing in a good twang when called for. Together, their voices blend exceptionally well, so it’s a real treat to hear them sing harmonies, and they find a way to work to their own vocal strengths in their originals.

photo by Geoff Wilbur

The performance space at Chopps is in the bar area of the restaurant, adjacent to the lobby of the Marriott Hotel in which it’s located. As a result, the musical performances tend to be a little subdued. On this particular night, Martin and Kelly delivered a performance well-suited to a toned-down environment like Chopps, with patrons enjoying their music both actively and passively. I stayed for the first half of their 3-hour time slot and thoroughly enjoyed myself; I always love the food, service, and setting at this restaurant, so when there’s good live music here, I’m an “easy sell.” I do, however, look forward to catching Martin and Kelly in a livelier environment one of these days to see more of their energetic side.

photo by Geoff Wilbur

The duo opened with their rendition of Thompson Square’s “I Got You,” with their vocals blending solidly when they harmonized. Next up, Jilly got to show off her vocal chops on Sugar Land’s “Something More.”

Jilly’s high and soft-but-strong vocals were particularly well-suited to Kasey Musgraves’ “Merry Go Round,” while Ryan’s voice displayed an emotional edge on Scotty McCreery’s “Carolina Moon.”

There were other noteworthy covers I caught during the evening’s performance. For example, there was a rendition of “Make You Feel My Love” that was sung sweetly by Jilly, somewhat like a lullaby. Thomas Rhett & Tori Kelly’s “Die a Happy Man” offered them an opportunity to showcase their sweet harmonies in a nicely blended duet. And Willie Nelson’s “Always On My Mind” afforded Ryan a chance to put his sweet crooning skills on display, while Jilly picked up the second verse strong, and the song lent itself to some classic harmonies, too; certainly, this is one of the duo’s strongest covers.

photo by Geoff Wilbur

Also notable was Martin and Kelly’s rendition of Joey + Rory’s “Cheater, Cheater.” Jilly channeled Johnny Cash, it seemed, for some of the low notes on this picker and grinner, while Ryan’s guitar did its best banjo impression. And the duo delivered a fun country version of Avicii’s “Wake Me Up,” with Jilly and Ryan taking on Aloe Blacc’s vocal line by swapping the vocals back and forth, adding an interesting texture to the song.

Later in the first set, Jilly sported a bluesy country edge to her vocals on her rendition of Reba McEntire’s “Why Haven’t I Heard From You” – perhaps her strongest cover vocal of the evening, and certainly the one that showed the most range. And early in the second set, Ryan’s vocal was at its most half-growly during Eric Church’s “Hell On the Heart.”

But, again, this duo shines the brightest during Martin and Kelly originals. The original they performed during their first set was “I’m Gonna Kiss You,” on which both singers seemed to play to their strengths.

photo by Geoff Wilbur

And, of course, just as the clock hit my personally previously-determined exit time, three songs into their second set, the duo cranked up “Young, Broke, and Beautiful.” So I stayed for one extra song. Simply wow. It’s an energetically fun original with well-crafted vocal harmonies, Jilly and Ryan’s individual vocal parts each residing within their own personal sweet spots and blending perfectly together, augmented by a nice supporting guitar line and subtle hooks. This one’s radio-ready and hit-caliber. And a great time for me to call it a night, to end on a high note, at the conclusion of my own personal favorite Martin and Kelly original… though I’m sure I’d’ve enjoyed the remaining 90 minutes of the band’s program if I hadn’t wanted to get home.

Looking Ahead

Martin and Kelly’s upcoming concert schedule has them crisscrossing New England, with many shows in Massachusetts, Connecticut, and New Hampshire. plus the odd Rhode Island gig and a few shows in Verona, NY. Check the “Shows” page on their website for upcoming dates on a schedule that’s already packed until the fall and starting to fill in beyond, as well. According to Martin and Kelly’s website, their next few shows are… tonight, May 24th, at Sylvan Street Grille in Salisbury, MA with 101.7 The Bull; Friday, May 26th at World of Beer in West Hartford, CT; Saturday, May 27th at the Tin Rooster at the Turningstone Casino in Verona, NY; Tuesday, May 30th at a WOKQ event in Seabrook, NH; Thursday, June 1st at the Boston Harbor Hotel in Boston, MA; Friday, June 2nd at Station Eight in Marshfield, MA; and Saturday, June 3rd at the Whiskey Barrel in Haverhill, MA.

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