Tag Archives: Live Review

Live Review: Mary Fahl at Club Passim

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Mary Fahl

Club Passim, Cambridge, MA

May 20, 2017

A few months ago, you saw my review of Mary’s latest studio album, Love & Gravity. As impressed as I was by that record, it was a real treat for me to get to hear her perform in concert. Originally known for her work as a member of the chamber pop group October Project, Mary’s solo work relies on the same powerful, soaring vocal abilities that brought her such early notoriety, but her solo style has perhaps a slightly stronger folk element. I can’t help being reminded of a folk-Americana CD I’m currently spinning in my car, the new one from Amilia K Spicer that I’ll be reviewing in the coming weeks, as they both share the same ethereal vocal element and some folk influence, while from there the two take their music in different directions with extraordinarily different voices.

Mary Fahl

photo by Geoff Wilbur

On this night at Club Passim, Mary performed with cellist Monique Citro, whose contribution added warmth and depth to the songs in support of Mary’s singing and guitar-playing. Many in the crowd had seen Mary perform multiple times over the years, and during many songs there were several concert-goers mouthing along to the words. They were also aware of Mary’s penchant for between-song storytelling, typically related to the songs she was about to sing, and the combination of stories and songs rather quickly turned the concert ambiance into that of a roomful of friends… one of whom, of course, wielded her amazing voice.

Mary opened the evening with a couple October Project songs. First, “Take Me Down,” showcasing her powerful voice that cut through the warmth of the cello accompaniment, both blending well with her strumming guitar. But, of course, the focus of the evening was always on Mary’s amazing voice.

Next came an emotionally powerful rendition of “Return to Me.” And she followed that with a great rendition of “Wild is the Wind” – as she noted before the song, the Bowie version of the Nina Simone song.

Then she performed “Gravity (Move Mountains, Turn Rivers Around)” from her latest album, Love & Gravity, a song she penned for her husband. There’s a serious Irish folk song vibe to “Gravity,” and Mary, as expected, sang the heck out of it.

photo by Geoff Wilbur

Almost every song stood out in its own way, though I’ll not touch upon all of them. “Song for the Sirens” featured some acoustic picking as an added dimension, while the strong vocals and warbles were genuinely spine-tinglingly beautiful. Mary’s rendition of “Both Sides Now” is both a truly original version, as it appears on Love & Gravity, while also feeling ever-faithful to the original; as exceptionally good as this song was on the recording, its live performance carries so much more emotion! And her performance of October Project’s big hit, “Bury My Lovely,” was both booming and catchy; it’s obvious why it was a hit.

Mary closed her set with a song she recorded for her album re-imagining of The Dark Side of the Moon, a rendition of “Brain Damage” that seemed as if Mary had blended her voice with Roger Waters’ – maybe proportionally 70/30 in favor of her voice. Such versatility. Such variety. And what a way to end a set!

The two-song encore opened with Mary’s “Going Home,” from the Gods and Generals soundtrack, a tune with a sweet melody, in many ways like a folk-song lullaby. And Mary closed the night with an opera aria from her folk-classical EP. Because she can. Or, rather, for those who speak “hashtag,” simply #BecauseMaryFahl.

In all, it was a tremendous, intimate night of soul-touching music and stories-among-friends from Mary Fahl, featuring her amazingly rich, powerful voice. I can see why so many in the audience return to see her again and again… and again. I look forward to her next visit to the area.

Looking Ahead

If you can possibly make it, you should get out to hear Mary perform in person. Per the tour date page on her website, Mary’s next performances will be Friday, July 14th in Northampton, MA and Saturday, July 15th in Saratoga Springs, NY. The other dates currently listed are Sellersville, PA on July 29th; Ann Arbor, MI on August 11th; Pittsburgh, PA on August 13th; Denver, CO on August 26th; New York on October 5th; Wilkes-Barre, PA on October 6th; Geneseo, NY on October 14th; Wilmington, DE on November 4th; and Old Saybrook, CT on January 27th, 2018. Again, check Mary’s website for additional information on those shows and for other dates as they’re added.

 

 

 

Live Review: Mark Wilkinson house concert

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Mark Wilkinson

photo by Geoff Wilbur

Mark Wilkinson

House concert in Hudson, MA

May 13, 2017

The Backstory

Mark Wilkinson

photo by Geoff Wilbur

For weeks, I had planned to head to Boston for the Springtime Spectacular at the Lawn on D on May 13th to see Analog Heart, whose last album I reviewed last spring but who I haven’t seen perform live since before I launched the Blog. Mother Nature, however, had different plans, as rain was forecast to begin around the time of the band’s set, and even if it wasn’t heavy during the set, I was virtually guaranteed to be driving home in a torrential downpour, with an inch or more of rainfall in the forecast. So I turned to “plan B.” Lori Diamond and Fred Abatelli were performing in Arlington, MA. I plan to try to get out to see them perform sometime this year; I really enjoyed the show I reviewed last year. I figured I plan to get out to at least one of their sets this year, anyway, so this would be as good a time as any. But I’d still have to drive home in a heavy rainstorm, so I checked more local listings, looking for shows closer to home and listening to clips of the artists to help me decide if I should abandon “plan B,” as well.

The choice was quickly made when I came across the listing for Mark Wilkinson’s gig out here in the far western suburbs of Boston, much closer to home. And upon finding one of his YouTube clips, within the song’s first few seconds, I knew this dude with the special voice was someone I wanted to see perform, and since he’s on tour (and based in Australia), there would not soon be other opportunities to see him. To cap it off, my wife had the same initial reaction to Mark’s songs, so we caught his house concert together (a nice change from my usual solo live-gig adventures).

Mark Wilkinson

photo by Geoff Wilbur

The Concert

Located in an apartment in Hudson, tonight’s venue was ideal, its great room serving as a large, open concert space with high ceilings and terrific acoustics, sufficiently large yet intimate for a house concert. And well-suited to Mark’s incredible voice, soaring and full of emotion.

Mark’s voice has been compared to James Blunt’s (“You’re Beautiful”). I also hear some Alex Band (The Calling) in there. And his tempo and style have also earned him comparisons to Tracy Chapman. I’d add Lisa Loeb and Sixpence None the Richer to that list. I’d probably even throw some Jim Croce and Gordon Lightfoot into the mix, too, for their warm, emotional vocal styles capable of connecting emotionally with listeners. I suppose what I’m trying to say is that Mark Wilkinson’s voice and performance style is timeless, powerful and emotional, and seems capable of touching that nerve that reaches directly to your heart and soul, connecting personally and profoundly with his audience; on this evening, an intimate collection of about 25 people. What I had sensed from Mark’s recordings came through in spades at his live show: This guy is special.

Mark Wilkinson

photo by Geoff Wilbur

The set consisted of 13 songs, and he was encouraged to follow it with a 3-song encore. He opened the set with such a powerful song I forgot to jot down its title, as his voice and strumming boomed warmly and envelopingly through the room, enhanced by its great acoustics. He followed that with “Chasing Rainbows,” a sad, sensitive, but still full-voiced and insistent tune whose tone was simultaneously melancholy and defiant.

Mark went a bit poppier with his next song, “Everything to Me,” with a more hit-friendly tempo and strum and a songwriting rhythm with just a hint of a slightly more celebratory flavor. There’s a nice, catchy mix of musical style and lyrics that, of course, still feature his voice, a voice a listener could get lost in and lose all track of time and place.

Mark Wilkinson

photo by Geoff Wilbur

Other songs stood out during the evening, as well. Of note, “Middle Ground” showcased sensitivity and strength, as the lyrics meandered through the story. This, Mark noted (for those of us unaware here in the States), ended up in a coffee commercial in Australia, so it’s his most well-known song back home as a result.

“Hey Baby” stood out, as well, as it served as the well-chosen singalong/audience participation song of the evening. It was followed by “Benny’s On the Rooftop,” a song that sports a nice, faster tempo and proves memorable – perhaps a favorite even – though the lyrical content isn’t so happy, to put it lightly.

The one cover in his set was of Bruce Springsteen’s “I’m On Fire.” As with any great cover, of course, Mark makes it own, adding his personal vocal flair to The Boss’ brooding classic. But he didn’t leave the room’s energy down, following it with the playful “Please Don’t Tempt Me,” in which he employs a relatively edgy rock vocal. Great song to mix things up with.

Mark Wilkinson

photo by Geoff Wilbur

The song “Don’t Say It” displayed such emotion, sensitive with an interesting guitar-picking pattern adding additional character and movement to the song. It was followed by “All I Ever Wanted,” a faster-tempoed song with an uplifting feeling, which served as a great set-ending number.

Oh, but he was greeted by a standing ovation and obliged with a 3-song encore, kicking it off with a suggestion from the audience, an older song of his entitled “Baptism By Fire.” And, true to the lyrics, there was some fire in Mark’s always-rich vocals accompanied by emphatic strumming. He followed that with “When the Armies Arrive,” driven by his echoing, booming voice full of emotion.

And he closed the evening with “Still Got My Baby,” whose interesting, peppy energy and playful tempo, driven by a little funky syncopation, provided a pleasant, cheerful ending to the evening. Excellent selection to send people home with a smile on their faces.

Mark Wilkinson

photo by Geoff Wilbur

But, of course, as with many house concerts, not everyone goes home, as the evening concluded with additional conversation, many of us enjoying nice chats with the artist and the others in attendance. Nights like this are an occasional fortunate happenstance, stumbling across a great talent who isn’t nearly as well-known in the U.S. as he should be… yet (we hope).

Looking Ahead

There are still several more stops on Mark’s house concert tour. (And I’d recommend going if you can; this is a special tour during which he’s eschewing traditional venues.) His dates in Sea Girt, NJ, Dublin, OH, and two of his three gigs in Ontario are already sold out, as is one of his UK stops. However, you can still gets seats at his performances in Montclair, NJ (May 18th), Charleston, SC (May 23rd), Potosi, MO (May 27th), Nashville, TN (May 28th), McGregor, MN (June 2nd), Milwaukee, WI (June 3rd), Elmwood Park, IL (June 4th), and Ottawa, ON (June 10th), plus six of his seven shows in the UK from June 28th through July 6th. Check the tour page of Mark’s website for more details and to reserve your tickets.

Live Review: Ali Handal and Billy Crockett at Fox Run Concerts

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Ali Handal and Billy Crockett

Fox Run Concerts, Sudbury, MA

April 29, 2017

The Backstory

I was introduced to Ali Handal’s music more than two years ago by some mutual musician friends in Los Angeles. Since then, I’ve tried catch her Boston area live performances but have heretofore failed in that endeavor. Last night, however, she opened a double-bill that fit my preferred time and location – an early time slot in an outer western Boston suburb – so I was finally able to make it happen. Better yet, it was a house concert; these more intimate performances in front of smaller audiences are one of the great new(ish) trends in independent music that I’ve really enjoyed since returning to music journalism.

Last night, she opened for Billy Crockett, who, after reading his bio, seems like someone I should have already known about. He is a respected artist who has been around the music industry for years, but our paths had not yet previously crossed. With a quick listen to some of Billy’s YouTube clips in preparation for the event, I knew I could expect a stellar evening.

Ali Handal

Ali Handal; photo by Geoff Wilbur

The Opening Act: Ali Handal

Ali Handal opened her six-song set with strength. Granted, that’s no surprise, but her initial song of the evening, “You Get What You Settle For,” showcases the element of her voice I can best describe as an expressive roar. There’s perhaps a bit of a bluesy edge to the song, as well, with some cool funky guitar effects.

What’s so intriguing about Ali, though, is her range. In addition to an arena rock-worthy roar, strong and smooth enough yet artfully restrained befitting an acoustic singer-songwriter event like last night’s, she has a crisp, sweet, high end to her vocals as well, which she’s able to weave seamlessly into her songs, allowing them to showcase both power and sensitivity.

Halfway through her set, in fact, she displayed that sensitivity particularly well on “Distance,” with the sweeter vocal augmented by an interesting guitar-picking style. It’s that mix of power and sensitivity that make Ali a unique talent – well, that and the fact that her guitar skills are capable of providing varying soundbeds beneath her strong voice.

And there’s also her engaging stage presence, intimate but with a sense of humor, that draws her audience in. She closed her set, in fact, showcasing that sense of humor with “Thank God for Birth Control,” the prototypical anti-parenthood song, if there ever was one. And I’m not sure there ever was.

In all, it was a fun set by an exceptional talent. I’m glad I finally found a chance to see Ali Handal live, and I look forward to seeing her perform as a headliner, perhaps, sometime down the road. (Also in a club or arena setting where she can better unleash her rock chops, perhaps allowing me to hear her perform my current favorite Ali Handal tune, the more raucous, rawkin’ “But I Do,” live.)

Billy Crockett

Billy Crockett; photo by Geoff Wilbur

The Headliner: Billy Crockett

Billy Crockett’s music has been labeled folk/Americana, and I suppose it is, but there’s more to it than that. Rather than pigeonholing it, I hear music with the potential for significant crossover appeal beyond a single genre, one well-placed hit away from making Billy a household name. I hear a sort of timeless singer-songwriter vibe in Billy’s songs. It’s the sort of music you’d hear at festivals and occasionally on pop radio in the ’60s/’70s. Rich, storytelling songs driven by Billy’s powerful, emotionally expressive vocals.

In a house concert setting, Billy’s personability and storytelling ability carries over into his between-song banter, and, as a result, this evening at Fox Run Concerts had that sort of intimate, gathering-of-friends feeling. Of course, the on-stage “friend” on this evening was an exceptionally talented troubadour. And during his songs, the intensity with which Billy feels his music is written on his face, carried in his voice, and driven home by his full immersion in his performance.

Billy followed Ali’s set with his own short set before intermission, then returned for a longer set to close the evening. He kicked things off with “Feel It,” an emotion-driven acoustic singer-songwriter number. He followed it with the engaging “That’s Something,” displaying the richness and versatility of his strong voice, supporting the vocals with a ’60s/’70s folk-influenced strumming.

Over the course of the evening, my mind kept circling back, comparing Billy’s music to that you might find on a soundtrack. More precisely, a Broadway soundtrack. I’m not talking about those big production numbers. Rather, the emotion in his voice and progression of each song’s music and content are more akin to songs (and portions thereof) that share important plot points, in which an individual character tells backstory, explains his emotions about something, or moves the story forward. This past winter, I (finally) caught a production of Cabaret in Boston, and I think Billy’s songs, particularly the more haunting, introspective ones, remind me of some segments of that evening’s performance. Not exactly, though. The pace and tempo of Billy’s songs and distinct enunciation remind me a bit of Randy Newman, best known by the general public for his movie soundtrack work, though I wouldn’t compare Billy’s rich, distinctly original voice to Randy’s beyond that. More appropriately, I’d call them musical neighbors.

Billy continued with songs like “Record Player,” which appealed to the audience’s nostalgia, and “On Your Way,” a storytelling song with a bit of a dark tension to it, before intermission.

After the break, Billy returned for a full set. Highlights of the second set included “Ghosts,” a song whose warm, rich guitar song adds gravitas to the vocal; “Meant That,” with all its soulfulness; and the engaging, somewhat twisted tale of “Rabbit Hole.”

Billy closed his set with “Mavis,” his tribute to Mavis Staples, augmenting his trademark vocals with some dancing guitar strumming, and an archetypal storytelling singer-songwriter song, “Already Perfect,” recalling for me hints of Joshua Kadison or Bob Halligan, though with a Billy Crockett spin.

For his encore, Billy led a singalong of James Taylor’s “Sweet Baby James,” followed by his cover of “Native Boy,” dropping the curtain on an evening of warmth, camaraderie and song, wrapping up a double-bill perfectly suited to a house concert.

Billy Crockett and Ali Handal, of course, are clearly artists whose power and skill can (and often do) engage thousands as easily as dozens. Singers of that caliber in an intimate house concert can deliver a special evening, and, indeed, they did.

Looking Ahead

Though Ali doesn’t have any more gigs left on her latest East Coast swing, she does have a Saturday, May 20th house concert (with limited seating) scheduled in Reseda, California. For more information about this show and for future concert information as it is announced, see this link to her website.

Billy does have a few shows left on his East Coast tour. Per his website, you can see him at Club Passim in Cambridge, MA on Wednesday, May 3rd and at Rockwood Music Hall in New York on Monday, May 8th. Then he’ll be back in Texas, performing on the main stage at the Kerrville Folk Festival on Thursday, May 25th. Check this page for more information about those gigs and upcoming performances, as they’re added.

As for more detailed reviews of Ali and Billy – since live reviews tend to be more hastily written than album reviews, based on my notes from a single evening rather than dozens of listens – watch for my review of Billy’s current album Rabbit Hole in the coming months. Likewise, Ali will soon be releasing a new record soon; when that’s available, rest assured I’ll reach out to “her people” for a review copy.

Live Review: Caisy Falzone at Pianos

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Caisy Falzone

photo by Geoff Wilbur

Caisy Falzone

Pianos, New York, NY

February 11, 2017

Backstory

Occasionally, I day-trip to New York. Typically, I hit a museum or two, visit a couple restaurants, walk around the city a bit, and catch a little live music.

Caisy Falzone

photo by Geoff Wilbur

There were a couple bands performing on Saturday night who I’ve reviewed before and would have gone to see if it had been possible. But Amy and the Engine, whose album I reviewed last year, was taking the stage at the Bitter End a little too late for me to make it to the show and still catch my train home. Project Grand Slam, whose album I reviewed last year, was performing at Sugar Bar; I’d’ve probably attended their gig, but I didn’t know about the show until I saw the band’s Facebook posts after it was over. I did, however, search show listings and sample several artists’ music in the day or two before my visit, and a listen to Caisy Falzone’s Your Time EP convinced me I’d almost certainly enjoy her live performance. So I made my way into Pianos early Saturday evening relatively sure I’d enjoy Caisy’s set before it even began.

Caisy Falzone

photo by Geoff Wilbur

The Show

Performing solo with just a voice and a guitar, Caisy Falzone sings charmingly catchy, stripped-down, singer-songwriter pop-rock. In addition to an inherent vocal sweetness, Caisy infuses her songs with emotion at times via a somewhat uniquely hoarse delivery style, something she uses coolly effectively where many singers might instead lean on vocal gravel. It, when combined with her engaging stage presence and strong songwriting and wisely-selected cover song selection, provides Caisy with a memorable calling card in an otherwise relatively crowded sub-genre.

Caisy Falzone

photo by Geoff Wilbur

Caisy opened the evening with “I Feel You Look At Me” (note: my song title accuracy may vary), immediately charming the audience with sweet, echoing, atmospheric vocals. She followed it with a song that’s more of a strummer (“Almost There”?), one on which she showcases a typically singer-songwriter styled rhythmic vocal emphasis.

Caisy Falzone

photo by Geoff Wilbur

Caisy next served up her version of Sixpence None the Richer’s “Kiss Me.” She nailed it, leaning particularly effectively on her hoarsely emotional vocal delivery for this one. It was followed by a new, untitled pop song which was, yes, more pure radio pop styled but still clearly stylistically Caisy.

On “Hold Me Down,” from the Your Time EP, Caisy laid down a steady, strumming rhythm, with her voice cracking compellingly in the emotional spots. She followed with a cover of Alanis Morissette’s “Ironic”; in this case, the emotion was drawn directly from the song, as Caisy clearly connects with this classic guitar-pop rock hit.

Next up was “Say”(?), an “old song,” Caisy noted, from her acoustic duo past. This song explored the more ethereal end of Caisy’s vocal delivery, complementing it with particularly emphatic strumming.

Caisy Falzone

photo by Geoff Wilbur

Her rendition of Fleetwood Mac’s “Landslide” was engaging and almost innocent-sounding. Worth mentioning is the original way in which Caisy delivered these vocals, seeming to round the vowels a bit, resulting in a unique vibe and memorable performance of this often-covered tune.

Caisy closed her set with “Drift,” another track from her latest EP. On this she employed a persistently hoarse vocal delivery, rhythmically rising and falling in power, combined with a simple-but-effective, interesting guitar rhythm.

Indeed, this set was a great way to cap a day in New York. Caisy’s musical toolbox isn’t notably exceptional, but she mixes and matches her tools effectively. An evening at one of her shows seems to be a guaranteed enjoyable time, and I look forward to hearing how she utilizes her skills and builds upon her song catalog as her career advances.

 

Live Review: Alissa Musto at Renaissance Hotel Patriot Place

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Alissa Musto

photo by Geoff Wilbur

Alissa Musto

Renaissance Hotel Patriot Place, Foxborough, MA

January 12, 2017

The Backstory

Alissa Musto reached out to me via Twitter just last week. I checked out her music, was impressed, and will be reviewing her album What We Saw From the Piano Bar a few weeks from now. Because of my significant review backlog, and because Alissa had some local shows scheduled, I thought it might be nice to get out to review a gig while the album worked its way through my review queue. And last night’s show was an early 6:00 PM set that I could get to easily from home and still be back by 9:00. Early set in the outer suburbs? If you’ve been following this Blog for long, you know that’s my sweet spot, so on this cooperatively temperate winter evening I zipped down the interstate to catch a live performance.

Some of you may recognize Alissa’s name. Yes, she is the current, reigning Miss Massachusetts. And, as I discovered upon digging into her music, a serious musician. Pardon me, a serious singer-songwriter-musician. In my estimation, she’s got the chops to entertain rooms ranging from intimate jazz clubs to concert halls.

Alissa Musto

photo by Geoff Wilbur

The Performance

The set-up is a little unusual at this hotel. The performance space is in the lobby lounge area, but it’s directly adjacent to the hotel restaurant bar, Twenty 8 Food & Spirits. As a result, bar patrons can enjoy the music, as can hotel guests in the adjacent lounge; the lobby is relatively open all the way to check-in at the opposite end leading to the main parking lot, so guests get a taste of the music while coming and going, too.

Alissa Musto

photo by Geoff Wilbur

This evening was a bit of a treat, as Alissa, who usually performs solo, was joined by her younger brother William on guitar. He handled his contributions to the performance with aplomb, especially seeming to excel on some of the jazzier tunes.

Given the setting, Alissa’s performance was a bit toned down; I’m sure I’ll find a way to catch her at a venue appropriate for a livelier performance during which she can fully belt out some of her songs without disturbing guests at the check-in counter. She clearly has the range and power to do it; it’s a testament to her control and professionalism that she was able to deliver heartfelt accounts of some of the more powerful vocal numbers while still adjusting to the mellower delivery requirements. (I suppose I could’ve stuck around after the show and asked her to belt one out in the parking lot afterwards; maybe next time.)

Alissa Musto

photo by Geoff Wilbur

I arrived a couple minutes past 6:00, early in Alissa’s smooth, rich, full vocal performance of the R&B standard “Kansas City.” Over the course of the evening, she covered jazz, R&B, pop, and rock songs old and new.

Throughout the set, Alissa dipped deeply into her broad-based vocal arsenal. My first impression of her was that she had a strong voice with a hint of tuneful gravel. That was on frequent display last night, though just as often she pulled the emotion from the songs via a sometimes evocative, husky hoarseness – again, just a hint – instead. On yet other occasions, she utilized a unique vocal technique that adds texture to her songs; it’s one of the cool, unique elements I’ve picked up on in her vocals – and you know I get most excited about vocalists who have their own trademark elements – but the best description I’ve come up with yet is warbling, and I don’t think that properly conveys its tunefulness or effectiveness.

Alissa Musto

photo by Geoff Wilbur

Back to the evening’s performance, though, I’ll start by recounting the originals. I counted at least three, and there were likely one or two more, as I’m only just becoming familiar with Alissa’s originals and may not always recognize them. Early in the set, she performed “Black Flak,” a smooth number adorned by soft but soulful and heartfelt vocals; the whole song has a bit of a Don McLean “American Pie” vibe to it. And the other song whose name I know – the one song request I made, in fact, since it’s my early favorite from Alissa’s album – was “Brovada.” Lyrically, it’s a very cleverly phrased alter ego song; vocally, both the warbling and hoarse approaches I mentioned earlier were used, to particularly great effect in combination with the lyrics.

The covers covered a bit of ground. Norah Jones’ “Don’t Know Why” kicked off with serious ivory-tickling and featured a cool, jazzy, small vocal run to things things up, subtle enough to likely be missed by anyone not paying close attention; it’s those little touches, indeed, that make songs truly interesting. Alissa utilized a full piano sound an smooth, extra jazzy vox on Alicia Keys’ “If I Ain’t Got You.”

Alissa Musto

photo by Geoff Wilbur

But the selection wasn’t limited to jazzy R&B. There was an über-hip version of “Route 66,” a rendition of Maroon 5’s “Sunday Morning” featuring dynamic vocals, and a somewhat torchy performance of “New York State of Mind.” Alicia sang “Desperado” with a slight quaver while moving around rather significantly within the pocket, dancing around the melody, delivering a relatively personal rendition of such an often-covered tune. She emphasized raspiness on “Not Gonna Write You a Love Song,” with crisp keyboardwork accenting her gently powerful vocals. “Maybe I’m Amazed” was performed smoothly but with character in the vocals and with some cool, jazzy phrasing. And Alissa delivered Anna Nalick’s “Breathe (2 A.M.)” with serious vocal texture.

In the end, the song selection of covers and originals hinted at the breadth of Alissa Musto’s capabilities; and, while the room required the softer touch she used this evening, the performance left no doubt about her versatility for multiple venue types and her overall talent as an artist. It’s going to be fun watching Alissa’s career continue to unfold.

Alissa Musto

photo by Geoff Wilbur

Looking Ahead

I can unflinchingly implore you to get to a live performance. Shows like the one at the Renaissance Hotel are mellow and jazzy. I believe the Saturday nights at Jacob Wirth will be much more raucous. So try to gauge the performance by the venue; Alissa does adapt her performances to suit the rooms. You have two more opportunities to see her perform this weekend. Tonight, Friday, January 13th, she’ll be at Tavolo Wine Bar in Providence, RI from 6:30 to 10:00. And tomorrow, Saturday, January 14th, she’ll be at Jacob Wirth in Boston from 8:00 PM to midnight. Alissa lists upcoming shows here on her website.

Live Review: Ashley Jordan at The Mill 185

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Ashley Jordan

photo by John Darrah

Ashley Jordan

The Mill 185, West Boylston, MA

December 15, 2016

Ashley Jordan

photo by Geoff Wilbur

I last (and first) saw Ashley Jordan perform live in August after hearing repeatedly from locals inside and outside the music industry about her amazing talent. I reviewed her new CD He’s Crazy a month later. And on this particular night, an evening with an early start out here in the outer suburbs — practically in Worcester, actually — from one of New England’s finest singers was just the tonic for a Thursday night toward the end of a long work week. This was, I think, Ashley’s first local gig since her trip to the NashNext finals in Nashville in October. It was also a chance to hear Ashley joined by drummer Frank Pupillo; when I caught her set in August, she was performing solo, so this was an interesting added element to the performance.

Ashley Jordan

photo by John Darrah

One of these days, if talent and skill are rewarded, and because I know she has the fortitude and drive to take advantage of the opportunities presented to her, I’ll get to see Ashley headlining a stadium tour. Of course, success in the music business is always a bit of a crapshoot, but Ashley Jordan is playing with loaded dice. So, for now, it’s nice to get to see one of country music’s premier young talents at a club show in small-town Massachusetts.

This was a bit of an odd gig. I love the room — I hadn’t been to The Mill 185 before — but one chunk of the audience was an office Christmas party, and it made for an interesting vibe. Great chance for them to get to hear such a talented singer, and it was clear they were enjoying it, as were the rest of us in the room.

Ashley Jordan

photo by Geoff Wilbur

As often is the case, I didn’t seek out a set list, and you already know I haven’t listened to country radio much in the last decade, so I may get both originals I haven’t heard and cover song titles wrong, but I’ll give it a shot. I walked in during what I believe was the first song of the evening, unless she started early, to the strains of “A Little Time.” If, indeed, it was the first song, it was a great way to start the evening. She followed it with her power-acoustic-guitar-driven original “Drink Some Whiskey.”

Ashley Jordan

photo by Geoff Wilbur

Ashley then launched into the first song of the evening from her new album, He’s Crazy — one of my favorites from the disc, “Blue Eyed Boy.” She captured the emotion of the song exceptionally well, as usual. And then she followed it with a song that unleashed a lot of anger; “I Don’t Know You Anymore,” I believe.

Ashley Jordan

photo by Geoff Wilbur

Next, Ashley launched into her cover of KT Tunstall’s “Black Horse and a Cherry Tree.” I love how she performs this particular cover; it shares a bit of a rockin’ growl edge she’s able to call upon, showcasing her versatility to perform at the rock end of the country spectrum; it’s a capability she shows during a few of her originals, too, but something about this cover really captures it well.

Then came the emotional “So Far Gone,” an original made all the more poignant by Ashley’s well-considered lyrics. It was followed by a strong, dynamic vocal performance during a cover of Maren Morris’ “My Church.”

Ashley Jordan

photo by Geoff Wilbur

Next up, Ashley unleashed some booming vocals during her “Coming Home” cover. And she closed the set just as dynamically with a rousing rendition of “He’s Crazy,” the title track from her new CD. On this night, she delivered it with a particularly emphatic guitar line supporting her always-strong vocals.

The evening continued much longer, of course, but I was just there for the first set, leaving early in the second. Glad I spotted this gig — catching a little Ashley Jordan music early enough for me to get back home and get up for work the next day was the perfect way to spend a Thursday evening. And it was an opportunity to check out this venue and sample a bit of its menu. Pretty sure I’ll be back here, as well, next time I have a chance.

Ashley Jordan

photo by Geoff Wilbur

Looking Ahead

If you haven’t seen Ashley Jordan live, keep an eye on the tour page of her website and on her Facebook page, which is where I found about this show. If you have seen her perform, of course, you’re probably already doing these things.

And while this was her first live performance in several weeks, she has been busy, getting her new single, “Weapon,” played on The Bull 101.7 and releasing her new Christmas song, “Where Are You Christmas.”

Live Review: Fifth Season Quartet at Lilypad

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Fifth Season

photo by Geoff Wilbur

Fifth Season Quartet

Lilypad, Cambridge, MA

December 4, 2016

Another great evening of jazz from a group featuring some of the most acclaimed local jazz musicians, the Fifth Season Quartet. The line-up last night was the same as last time I reviewed this group but with one addition. The quartet of Elena Koleva (vocals), Plamen Karadonev (piano, accordion), Greg Loughman (bass), and Austin MacMahon (drums), who I had seen perform last winter, were joined now by standout jazz harpist Charles Overton.

Fifth Season

photo by Geoff Wilbur

The group opened the evening with “Falling Grace,” showcasing Elena’s rich vocals and Plamen’s piano chops. Indeed, throughout the course of the evening, there was plenty of vocal riffing and ivory tickling, but since this is a bit of an all-star cast, there were also several showcases of each member of the band’s individual talents, ranging from true solos to extended jamming led by different bandmates. One such extended bass riff occurred during “Orange Colored Sky,” which may be built around some serious vocal gymnastics but was also delivered with segments of instrumental creativity, as well.

A couple of Plamen’s original numbers were featured during the nine-song set; in each case, Elena left the stage for these instrumental pieces. Mid-set, the band performed “Urban Things,” a progressive jazz number with a bit of a harsh edge, largely focused on the accordion parts. And toward the end of the set, though not exactly an original, the band rocked through Plamen’s arrangement of a Macedonian and Romanian folk number. This arrangement, in particular, brought a great deal of energy to the room. Indeed, much of the set showcased Elena’s amazing vocals, often in balladic form, but this original was the tentpole of a threesome of set-ending energetic, faster-tempoed numbers.

Yes, the energy continued as the group ended its evening with a rousing rendition of “It Don’t Mean a Thing.” A fine ending to a terrific set of oh-so-cool jazz.

You’ll be certain to catch us at future Fifth Season Quartet gigs; they’re what you’re looking for when you crave a jazz-filled evening.

Live Review: Ace Plays Opera at First Church Boston

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Ace Vaptsarov and the Guitar Arias Orchestra

photo by Geoff Wilbur

Ace Vaptsarov and the Guitar Arias Orchestra

(Conductor: Anthony Sabatino)

First Church Boston, The Sanctuary

December 2, 2016

Anthony Sabatino

Anthony Sabatino, conductor; photo by Athanasios Lazarou; photo courtesy of Ace Vaptsarov

Berklee student, guitarist Ace Vaptsarov, who I first encountered when he joined Balkansky onstage for a few songs a year ago, was the featured artist of the evening. He was the artistic director and soloist, supported by an orchestra featuring musicians from Berklee College of Music, Boston Conservatory and Longy School of Music, conducted by Anthony Sabatino, and led by concertmaster Seoyeon Im. Assistant conductor Sahil Jindal also conducted three of the performance’s eleven numbers.

Ace Vaptsarov

Ace Vaptsarov; photo by Athanasios Lazarou; photo courtesy of Ace Vaptsarov

The performance was a unique take on opera, with the evening containing arias from such operas as Carmen, Magic Flute, Faust, Tosca, Il Trovatore, and La Traviata, placing a different spin on several of the most famous operas with the infusion of an electric guitar part accompanying a symphony comprised of some of Boston’s most talented musicians.

Sahil Jindal

Sahil Jindal, assistant conductor; photo by Athanasios Lazarou; photo courtesy of Ace Vaptsarov

Both seventh-semester Berklee student Vaptsarov and the graduating Sabatino are quite accomplished, having achieved positions of distinction and received accomplishments and accolades while still students at Berklee. Indeed, this concert event, and the talented orchestra with which they’re working, are more than just another feather in their caps; rather, this is a terrific musical presentation that’s a welcome fusion of rock and jazz guitar with orchestra, an interesting take on old favorites for adventurous music fans.

Seoyeon Im

Seoyeon Im; photo by Athanasios Lazarou; photo courtesy of Ace Vaptsarov

I was excited for this event, curious to hear how the guitar and orchestra melded together… and the performers kept the audience in suspense through the first piece, an arrangement of Schubert’s “Ave Maria” on which Ace’s guitar was complemented only by piano as the orchestra sat silent.

Soon enough, it became apparent, as the full orchestra participated throughout the rest of the program. It took a few numbers before the jitters settled and the comfort level peaked. In fact, I’m uncertain if it was the performers or the audience or both that finally settled into a groove, but by the end of the short, hour-long program, I think everyone was disappointed the performance had to end.

Ace Vaptsarov and the Guitar Arias Orchestra

photo by Geoff Wilbur

Interestingly, on some numbers Ace used effects that caused the guitar to sound like its own one-man bowed string section, while a more typical electric guitar sound was used elsewhere, as appropriate. In “Ave Maria,” for instance, there was a guitar echo effect that created a hollow, plucking sound, almost like a combination of harpsichord and violin.

After the sparsely orchestrated first number, of course, for the second piece, the “Anvil Chorus” from Verdi’s Il Trovatore, the full orchestra joined in, and in this case Ace’s power guitar melded well with the strings, giving the whole performance an electric edge.

Ace Vaptsarov and the Guitar Arias Orchestra

photo by Geoff Wilbur

Throughout, the warm power of the strings were fully the electric guitar’s equal, as it quickly became clear the orchestra featured some of the best strings in Boston. The woodwinds and horns each had their moments, as well; particularly, I noted the winds’ significant role in “Lucevan le Stelle” from Puccini’s Tosca. And, of course, the percussion can’t be overlooked, particularly in opera pieces, where they’re often called upon to add the forces of power to the most dramatic moments.

Ace Vaptsarov and the Guitar Arias Orchestra

photo by Geoff Wilbur

In addition to the opening number, which was an engaging way to begin the event, there were four others that particularly stood out for me. “Toreador” from Carmen, for example, in which the full orchestra sound complemented the guitar, which played the “toreador” part. The exchange between guitar and orchestra created a fun dynamic that caused this piece to stand out.

Another aria from Carmen, “Habanera,” also charmed. In this case, while the guitar sounded like a bowed string section, the portions during which the music moved notably between the string section and the guitar were particularly entertaining.

“La Donna e Mobile” from Verdi’s Rigoletto was also noteworthy. It was a number crisply-performed by both Ace and the orchestra — short but exceedingly fun.

Ace Vaptsarov and the Guitar Arias Orchestra

photo by Geoff Wilbur

And “Der Holle Rache,” the Queen of the Night aria from Mozart’s Magic Flute, was an exceptional penultimate song. Per Ace’s remarks the aria that initially sparked his idea for this evening, this was a dynamic number, as the soft to loud variances for both orchestra and guitar complemented each other quite well.

“Brindisi” from Verdi’s La Traviata ended the evening, again showcasing a fun back-and-forth between guitar and strings, closing the program on a high note, leaving the audience wanting more.

Ace Vaptsarov and the Guitar Arias Orchestra

photo by Geoff Wilbur

In the end, this was a fun performance, a unique evening well worth seeing and hearing, a night that will be long-remembered by the performers and the audience. Thanks to Ace Vaptsarov, the conductors Anthony Sabatino and Sahil Jindal, concertmaster Seoyeon Im, and the talented Guitar Arias Orchestra for a sensational, one-of-a-kind performance. It will be worth keeping an eye on all of the key contributors to this event to see what they’re up to next, as I expect some more unique, enjoyable, culturally forward-looking evenings are in their futures.

Live Review: The Accidentals and Carbon Leaf at The Sinclair

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Carbon Leaf and The Accidentals

Carbon Leaf and The Accidentals; photo by Geoff Wilbur

The Accidentals and Carbon Leaf

The Sinclair, Cambridge, MA

November 19, 2016

The Backstory

You’ve read Joe Szilvagyi’s review of The Accidentals’ Parking Lot EP here in this Blog. Joe discovered The Accidentals this past summer. Joe and I have vastly different musical tastes; we rarely listen to the same bands. (He’s a terrific judge of talent and a great music reviewer, and I enjoy having him write for me because he’s knowledgeable about styles of music that aren’t my bailiwick, but our personal music collections have very little overlap.) In this case, though, after reading Joe’s review and listening to the band’s recent release, I’ve joined Joe as a fan of The Accidentals’ music. So when I noticed The Accidentals were going to be in the Boston area, I circled the date on my calendar… and then hoped a non-music-related event wouldn’t get in the way.

The Accidentals

The Accidentals; photo by Geoff Wilbur

The Opening Act: The Accidentals

Full of energy and sporting an identifiable sound all their own, genre-busting trio The Accidentals energized a crowd that was mostly discovering them for the first time. If I had to describe The Accidentals’ music, I’d call it a pop-friendly, folk-influenced, classically-progressive, personality-infused blend of catchy songs and impressive musicianship. Combined with an engaging stage presence, this is a group with all the tools for a long, successful career. And there’s even a quirky edge to some of its songs that might lend itself well to independent film soundtracks as an introductory outlet.

The Accidentals

The Accidentals; photo by Geoff Wilbur

On this particular night, right out of the gate, drummer Michael Dause got things rolling, joined soon by string multi-instrumentalists Katie Larson and Savannah Buist. Savannah and Katie swapped lead instrumental duties throughout the set, while vocally, Savannah’s vocals are a bit quirkier, while Katie’s a bit more straightforward folky-indie-rock. And Michael’s voice maybe a little crisply high when he’s asked to lead.

The Accidentals

The Accidentals; photo by Geoff Wilbur

The positive energy from the opening number carried through to the band’s smooth second song, “The Silence,” from the band’s Bittersweet album. (Actually, to be fair, the energy ran throughout the set.)

Next up was a new song, “Stitches and Seams,” an engaging folky alt-rocker featuring Savannah’s quirky vocals atop Katie’s smooth, rich string bed. This was followed by “The Sound a Watch Makes When Enveloped in Cotton,” performed in standard power trio (electric guitar, electric bass, drums) format. Katie shredded on the electric guitar, Savannah rocked the bass throughout (and during the included solo), and Michael augmented his drumming with a brief beat-boxing segment. Altogether, it came across a bit like Johnny Cash… if he was a three-piece, odd alt-rock band.

The Accidentals

The Accidentals; photo by Geoff Wilbur

Skipping ahead, Michael was notably the featured vocalist on an exceptionally enjoyable cover of Rush’s “Tom Sawyer.”

The band then closed with a two songs I recognized from the Parking Lot EP. First was “The End,” a catchy, fun, jug-band-worthy knee-slapper that’s tailor-made to showcase the electric fiddle.

The Accidentals closed their set with “Parking Lot,” the band’s super-catchy EP title track that showcased the group’s live performance at its fully animated best, replete with truly frenetic fiddling; it absolutely, most enthusiastically, brought the house down. In fact, after the show, though the audience was there to see its beloved Carbon Leaf, I overheard several conversations about the terrific “opening band.” I’m pretty sure The Accidentals made a big step toward building a small legion of new fans in Boston with their set.

Carbon Leaf

Carbon Leaf; photo by Geoff Wilbur

The Headliners: Carbon Leaf

Carbon Leaf has been around a while. Since before the members of The Accidentals were born, in fact. And they’ve built a huge fanbase who turn out to see their performances. A large, packed concert hall full of fans enthusiastically singing along… it felt like the sort of crowd that might follow a band like Phish around at times. The audience spanned generations, combining those who’ve known the band for a couple decades with more recent converts. As Carbon Leaf explained late in the set, this year’s touring was a bit light, and the band approached this show a little differently, playing longtime favorites toward the middle of the set and playing deeper album cuts than might be expected at a typical rock concert.

Carbon Leaf

Carbon Leaf; photo by Geoff Wilbur

Carbon Leaf has been said to have Celtic, folk, and even some country influences in its alt-rock style. Indeed, I heard them all throughout the evening.

The band opened with “Miss Hollywood,” its smooth rock backdrop supporting insistent alt-rock vocals.

Later songs churned through Carbon Leaf’s mix of stylistic influences. Many of the catchier songs sport a bit of a slightly-Celtic-influenced Barenaked Ladies alt-rock sound. Just a bit, though, as Carbon Leaf’s music sounds like no one else’s. Or, perhaps, a bit like everyone else’s, as its sound navigates so many styles adeptly.

The first song to get the packed house singing along was “What About Everything,” a poppy alt-rocker with a folk edge. Thus began a string of crowd favorites. In fact, the crowd sang whole segments of “I Don’t Know Where to Begin,” a song quite well-suited for a campfire singalong.

Carbon Leaf

Carbon Leaf; photo by Geoff Wilbur

It was followed by the most hoedown, square dance-worthy ditty of the evening, “7 Brides for 7 Sinners.” And then Carbon Leaf’s biggest-ever hit, “Life Less Ordinary,” was delivered with great rocking energy that, naturally, had the entire audience singing along. Both great tunes, and a back-to-back pairing that showcased the broad diversity within the band’s repertoire.

The Accidentals then joined Carbon Leaf on stage for a single song, a rousing rendition of “Let Your Troubles Roll By” that turned into an extended jam among the talented musicians onstage.

Carbon Leaf

Carbon Leaf; photo by Geoff Wilbur

The next couple songs showcased significant penny whistle work from vocalist Barry Privett, and another sported some psychedelic blues guitar, while great Irish drinking song-styled “The Donnybrook Affair” really brought out the rowdiest side of the crowd.

The two-song encore that ended this raucous evening began with acoustically psychedelic “November (Makebelieve)” and ended with “I Know the Reason” and its big rockin’ hook, a satisfying end to a fun evening.

Looking Ahead

The Sinclair gig was The Accidentals’ last night on the road with Carbon Leaf, but each band has some upcoming gigs.

The Accidentals have a (snow) flurry of Michigan shows scheduled during the remainder of 2016. You can catch them in Grosse Point on November 26th, Elk Rapids and Williamsburg on November 27th, Grand Haven on December 2nd, Rockford on December 3rd, and Traverse City on December 16th. For details on these shows, as well as several 2017 shows (including a January west coast swing with Martin Sexton), check the tour page on The Accidentals’ website.

Carbon Leaf will be in Londonderry, NH on December 1st and 2nd, Philadelphia, PA on December 3rd, Annapolis, MD on December 9th and 10th, Alexandria, VA on December 15th and 16th, and Richmond, VA on December 17th. Further information on those dates, plus a southeast tour in February 2017, can be found on the tour page of Carbon Leaf’s website.

Live Review: The Dayz at the Knitting Factory

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The Dayz

photo by Geoff Wilbur

The Dayz

Knitting Factory, Brooklyn, NY

November 12, 2016

The Backstory

On my final night in New York, I gathered with my oldest group of friends for dinner, some live music, and coffee/dessert in Williamsburg. Well, except that there was traffic that caused some of us to run late, so while the rest of my crew was finishing dinner next door, I zipped over to catch The Dayz at the Knitting Factory.

I’ve known The Dayz’ frontman Dax Callner since my days publishing Geoff Wilbur’s Renegade Newsletter, but I had never seen him perform live with this or any previous band, so I was looking forward to it. I’d heard the band’s music, so I knew I was in for something good.

The Concert

I estimated the set start time incorrectly, so I missed about half of the set. A shame, since what I caught was, as expected, tight, catchy, and original.

The Dayz

photo by Geoff Wilbur

The Dayz, at least on their Facebook page, refer to themselves as a “collective.” Elsewhere online they use the more common term “band,” but I kind of like collective. The seven-piece outfit is comprised of Dax Callner (vocals/guitars), Aaron Green (bass), Alix Brd (vocals), Richie Phillips (saxophone), Terry Shook (drums), Alroy Teves (guitars) and Michael Villarosa (keyboards). But, as one might expect from a collective of talented musicians who enjoy playing together, any of them can carry the musical load for significant stretches of a given song. At times in the few songs I heard, Dax, Richie, Alroy, and Michael all ably took the lead and stamped their musical signatures on significant song segments while still maintaining a Dayz sound.

I was just settling in during the end of “Waves,” so the first song I heard in full was “Ascension,” a funky, smooth, jazzy number with great harmonies and a silky sax contribution I really dig. Its hook is in its rising vocal line.

The Dayz

photo by Geoff Wilbur

“Ice Breaks” features a quick-strumming ’70s style and, once into the meat of the song, the sax notably rocks it as hard as the guitars. It was followed by “The Contrarian,” which struck me as having a bit of that David Bowie “Modern Love” vibe but a bit more rockin’ with interesting piano/keys meanderings. Plus saxwork featured as a full solo.

The final song of the evening, “The Fourth Estate,” is truly something special. It could clearly be The Dayz’ signature song, a catchy number that would get any club or arena crowd on its feet and moving. Look for this tune to turn up in pop culture at some point.

And that was it. Short and sweet. A few exceptional songs from a talented collective of musicians.

In a single phrase, I’d probably describe The Dayz as a soulful rock band. Stylistically, However, they deliver the live, party-atmosphere energy of a big-time ska band in rock ‘n roll wrapping with some soulful vocals and melodic jazz elements sprinkled in for original flavoring.

Looking ahead, you can catch The Dayz live December 7th at 8:00 pm at The Bowery Electric.