Tag Archives: Live Review

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.

 

Live Review: Station at Arlene’s Grocery

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Station

photo by Geoff Wilbur

Station

Arlene’s Grocery, New York, NY

November 11, 2016

There’s always a place for a solid, fun, melodic hard rock band. Something you’d see on the Sunset Strip in the 1980s. And, of course, across your radio dial during the same time frame. That’s where Station comes in. They’re a fun-loving, talented five-piece that carries that 1980s-style small-venue concert party atmosphere into its rightful place in the current music landscape.

This concert reminded me of my pre-rock journalist days, catching great touring hard rock bands at Paolo’s in Grand Rapids, The Apple Core Lounge in Shelbyville, or the Silver Dollar Saloon in Lansing (before it “went country”). It reminded me of the great “hair band” (I always hated that term — it’s about the music, the performance, and the atmosphere, not the hair) scene in Boston when I was writing for Tough Tracks in the late eighties/early nineties, hitting clubs like The Channel, Axis, Bunratty’s, and Narcissus.

And I’m enjoying seeing this style return to the scene a bit more, since this is the kind of music that can provide that big arena show experience in a small club. At least, that’s true when it’s done right. And Station rocked Arlene’s Grocery with gusto last night. In addition, many of the fans in the packed venue were singing along, enthusiastic to see the band’s final New York City show of 2016. When the crowd knows the words, you know you’re seeing a band with a loyal following.

I arrived as the show was beginning, walking in during “Dressed to Kill,” an ’80s rocker with great rhythm in the vocal, an ever-so-slightly funky edge to an otherwise straight-ahead, forceful rockin’ tune.

Station

photo by Geoff Wilbur

At times during the set, the bands songs reminded me of The Who (specifically “Baba O’Riley”), ’80s Kiss, Nazareth, Faster Pussycat… most often, though, Station’s music was an interesting blend of hard rocking Legs Diamond and more purely melodic Sleeze Beez. Station’s performance was built around ample use of appropriate, well-placed, often blistering guitar solos, an occasionally stage-stealing bass player, and vocals that frequently jumped an octave or two during the more intense segments of the songs.

Other standout songs during the evening included “With Me Tonight,” with a monster lead guitar hook; crowd-pleaser “Everything,” on which the vocals most closely recalled Paul Stanley in spots; and “Never Say Never,” which reminds me of Nazareth during the beginning guitarwork and is driven by a heavy rhythm and vocal screams.

It’s also worth mentioning a couple of the band’s new songs, which show there are some solid new songs in the pipeline. Of course, I’m just guessing at the song titles, but the first “new one” of the evening, “If You Want It Hard Enough You’ll Find It…” features a pulsing rhythm and high, emotional vocals. Ample vocal screams and multi-part harmonies accompanied a well-placed tempo change late in the song.

The other new song of note, “Always Be a Part of Me” sports a medium-fast tempo. It’s a romantic song with emotional vocal highlights, a steady rhythm, and a bit of a guitar hook.

Station

photo by Geoff Wilbur

Late-set standout “Are You Sleeping Alone” struck me as a potential hit, with melodic harmonies and hooks, all within the requisite guitar-heavy framework.

The encore, “I Don’t Want to Know Your Name,” was another song with a potentially broad appeal. Musically, it sported the entire guitar hero arsenal, which a catchy rhythm and exceptionally melodic vocals, rising and falling with power and emotion. A crowd-pleaser, this was a great way to end a gig.

In the end, Station delivers some pretty standard melodic metal fare. The band has its own performance and songwriting style, which is how fans distinguish among this type of band to find their favorites. But the show itself is guaranteed to be a crowd-pleaser. And on this night, Station did a fine job of rocking Arlene’s Grocery with an hour and a half of guitar shredding, hard rock screams, and party atmosphere, maintaining an intensity of 10 on a 10 scale non-stop for 90 minutes. Absolutely a band worth catching for those seeking a rock concert experience. I also look forward to hearing what Station’s next album brings.

Looking Ahead

Station has a couple Connecticut shows coming up later this month: November 19th at Cook’s Cafe in Naugatuck, CT and November 29th (with Theory of a Deadman) at The Ridgefield Playhouse in Ridgefield, CT. Check the band’s “shows” page for additional information and future dates as they’re added.

Meanwhile, I’ll be wrapping up my New York trip tonight by attending my fifth show in six nights. I’ll be at the Knitting Factory in Brooklyn to see The Dayz.

Live Review: New Myths at Brooklyn Bazaar

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New Myths

photo by Geoff Wilbur

New Myths

Brooklyn Bazaar, Brooklyn, NY

November 10, 2016

The Backstory

Earlier this year, I discovered New Myths’ music. I don’t recall how or where, but I was intrigued by their uniquely original sound and placed one of their songs on a personal playlist I listen to when I’m in the office. So, by now, I’ve heard the band’s “Edge of the World” dozens of times. When I planned this New York trip, I checked to see if any of my already-favorite New York bands were playing. So I was excited to get a chance to see New Myths live.

New Myths

photo by Geoff Wilbur

The Concert

Brooklyn Bazaar wasn’t a venue I was aware of before this show. What a cool, spacious room its upstairs concert room is. Like a funky multi-function room with style. And as New Myths’ set time approached, the room began to fill.

With a bit of a foggy haze on the stage, New Myths’ initial song began as an atmospheric soft pop-punk number with haunting vocals and then cranked things up a notch. I’m not sure there’s a fitting category for New Myths’ intriguing, edgy, alluring sound other than alt-pop-punk.

New Myths

photo by Geoff Wilbur

Varying across songs, of course, there are elements of Blondie and The Muffs on the one (more rockin’) hand, and Missing Persons, ’til Tuesday, Human League, and Berlin on the other (synth-pop/New Wave) hand. It’s a blend of familiar sounds presented in a new way with subtly catchy hooks. New Myths display the energy and oomph of punk but with more of the aural aspects of the poppier New Wave artists.

As for the concert itself, with the lights, fog machine, and New Myths’ on-stage rock ‘n roll attitude, this did feel like a smallish, relatively intimate concert rather than a club show.

The songs throughout the set varied. One was a pulsing number driven by the drums with edgy, atmospheric vocals and a catchy bass line. The next had a catchy drum rhythm with the bass line doing the muscle work. And always there were the vocals – wailing, cracking, squeaky, haunting… always fitting the song, sometimes in surprising ways.

Often in the songs there were vocal harmonies, too. On one track, in particular, I noted that, with the catchy beat and vocal harmonies set against an aggressive musical backdrop, New Myths sounded a bit like the angry Go-Go’s

New Myths

photo by Geoff Wilbur

And the occasional rough edges? They’re in line with the band’s punk attitude.

“Playing With Fire” was a highlight, with a bass line that weaves around and a catchy drum rhythm, plus what I can best describe as a wall of vocals.

“Edge of the World” is my longtime favorite, the song on my personal playlist, and I knew it from the first opening riff of the song-starting guitar hook, which drives this track, featuring squeaky, atmospheric vocals supported by harmony vocals.

But there was one other song that stood out even more for me live. It features a harmonic, haunting punk-rock war cry, surf punk guitarwork, and a playful drum beat. Based on those notes (since I only knew the one song very well before the show), after a skim of the band’s songs on SoundCloud this morning, I’m pretty sure it’s “False Gold.” Seriously, this one could have monster crossover appeal.

I would absolutely recommend catching a New Myths show. They’re stylistically original in a corner of their sub-genre that’s not commonly done. At least, it’s not usually executed nearly as well as New Myths do it.

New Myths

photo by Geoff Wilbur

Looking Ahead

New Myths have one upcoming gig listed on their website, a December 10th date at The Mercury Lounge. Watch the band’s “tour” page for details and future shows as they’re added.

My week in New York continues tonight. I do have a concert in mind, and it’s a bit late, so I’m not sure if I’ll get a review posted tomorrow or if my two remaining nights of reviews won’t be online until a couple days after the shows. There are some other, earlier shows I have my eyes on, too. I’ll decide later today. I’ll finish my extended sampling of the New York live music scene on Saturday night when I’ll be at the Knitting Factory in Brooklyn to catch The Dayz.

Live Review: Lindsey Luff and Milow at The Mercury Lounge

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Lindsey Luff and Milow

The Mercury Lounge, New York, NY

November 9, 2016

I didn’t get out to a live show on Tuesday night. Instead, I spent the evening with some of the publicists I’ve known since the very beginning of my writing career. But I was back out at the clubs again last night for the early show at The Mercury Lounge, where Brooklyn-based Lindsey Luff opened for LA-based Belgian singer Milow.

It was my first visit to The Mercury Lounge in 18 years; in 1998, I made it to a Lisa St. Ann–Willie Nile performance there. (Not that I’ve been avoiding this great venue; I’ve only been to a few shows in New York since then.) In any case, the room feels as welcoming as it did nearly two decades ago.

Lindsey Luff

photo by Geoff Wilbur

The Opener: Lindsey Luff

I was impressed immediately as singer-songwriter Lindsey Luff kicked things off in a slow rockin’ Americana-ish number featuring a vocal that’s more accurately described as a power wail which, in this case, seems to carry a bit of Irish folk song anguish. In the second song of the night, in fact, her plea of “run away with me” is very convincing.

Lindsey Luff

photo by Geoff Wilbur

Lindsey’s songs throughout her set were very consistent, with her haunting, insistent, often plaintive voice maintaining enough edge (with perhaps a hint of gravellyness) to set that energetically relaxed tone that keeps the audience engaged.

“What I Wouldn’t Do” pairs Lindsey’s convincing vocals with a wicked-catchy simple bass hook, while “Anything At All” sports a more brooding vocal supplying the soft power.

Lindsey Luff

photo by Geoff Wilbur

Lindsey’s edgy crooning vocal is featured on the mellow “Wishing,” a great song to get the audience swaying. “Remind Me” is worth noting, too, with guitar, vocals and, notably, drums building to power; here, also, was particularly effective use of emotional, cracking vocals.

Lindsey closed the set with a rousing, arena-swaying audience singalong number, sporting determination in her vocals and featuring a nice atmospheric guitar solo. Perfect way to leave the audience wanting more.

Milow

photo by Geoff Wilbur

The Headliner: Milow

As Milow’s set time approached, the crowd noticeably built, as an enthusiastic chunk of New York’s Belgian community came out in force to show its support.

Milow’s rich, full, emotional, deep vocals provide his catchy songs a smooth vibe. I guess he’d be best described as a singer-songwriter, and he spices his music up with a playful streak. In fact, I often found myself thinking his songs were a bit of James Taylor-meets-Barenaked Ladies, if you can imagine that. And that carries over into his stage presence, as he’s great at connecting with the crowd during his between-song bits. By the end of the first song, even, it was obvious Milow is a headliner-quality performer.

His second song made a connection with a good chunk of this New York crowd on this given night, “(Gonna Move to) Canada.” Of course, in the song “Canada,” he’s off to meet Neil Young. The track features great keyboard work and guitar strumming and, wow, what a voice! Plus, by the end of the song, it’s the first introduction to the playfulness in some of Milow’s lyrics, not unlike that band I mentioned earlier, whose sound I hear a bit of in this (in part due to tempo and phrasing) and who he could, in fact, meet in Canada, Barenaked Ladies.

Milow

photo by Geoff Wilbur

With so many good songs during Milow’s set, it’s hard to know what to highlihgt. “No No No” would probably be one of my favorites; I love the way the power builds in spots.

Cheerful “Happiness” proved to be a crowd favorite. It’s a rather odd, unusual love song, quite silly, with a twisted sense of humor shared broadly by his audience.

I was very fond of “The Fast Lane,” a hit single-quality song that impressed me with its mellow, smooth, and rich vocal. “We Must Be Crazy,” meanwhile, is one of his many lyrically-interesting tunes, as he doesn’t always make the most obvious choices in his lyrics, and that’s a good thing.

“Swimming Against the Tide” again displayed his hit songwriting skills, as this catchy number again caused me to invoke a combo of Taylor and the Ladies for comparison.

A cover of “Blue Skies” showcased Milow’s phrasing skills, as he really drew out some syllables so they could pop, making a very old song new again.

Milow

photo by Geoff Wilbur

“You Don’t Know,” with its cool, energetic medium tempo, proved another crowd singalong favorite.

Milow promised he’d bring the mood back up after “You’re Still Alive in My Head,” a sensitive, Simon and Garfunkel-ish number with a notably cool guitar-pickin’ bridge.

He delivered with “Howling at the Moon.” This uptempo, fun song about traveling and the changing seasons is perhaps my favorite of Milow’s singalong songs, as it offers those who sing along a chance to, in fact, howl along. And everyone needs a good howl.

For his encore, Milow sang his cover of “Starboy,” which he just Shazammed. Dude really made it his own. It was a terrific end to a great concert.

Milow is quite obviously a headlining performer. And I had a terrific time; it’s always fun to discover a new artist at a show alongside a throng of his enthusiastic, adoring fans.

Looking Ahead

Well, I plan to be in Brooklyn tonight, catching New Myths at Brooklyn Bazaar. It’s one of the two dates I had placed on my calendar “in ink” when originally planning this New York jaunt; I look forward to hearing them live.

Lindsey Luff doesn’t have any upcoming gigs listed on her website, but keep an eye out on her “shows” page for them.

Milow is heading to Canada for three shows this week. You can catch him tonight, November 10, at Imperial Bell in Quebec City; tomorrow, Friday, November 11, at the Corona Theatre in Montreal; and Saturday, November 12, at the Drake Hotel in Toronto. He’ll be on tour in Europe soon, too, kicking off in Luxembourg on November 30th and wrapping up in Leuven, Belgium, on December 18th. In between, he’ll perform in Groningen, Diest, Cologne, Utrecht, Hanover, Wagrain, Vienna, Prague, Lausanne, Nijmegin, and Antwerpen. See his “tour” page for dates and times of these shows, plus for other future tour dates in the future.

Live Review: Jess Labus at Rockwood Music Hall

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Jess Labus

photo by Geoff Wilbur

Jess Labus

Rockwood Music Hall, New York, NY

November 7, 2016

The Backstory

Yes, I’m in New York this week. On Sunday night, my wife and I saw an exceptional show on Broadway, Cirque du Soleil: Paramour. And last night, I was on the Lower East Side catching some great, local live music, the first of several sets I’ll be seeing — and reviewing — this week. In this case, I spent a bit of time sifting through performers on Monday’s night’s docket around the City, so I was not at all surprised to be entertained by Jess Labus. [Ed. Note: Since this review posted, Jess is now Jes Justice.]

I arrived just a few minutes before the set time, so I only heard one song of the previous artist, whose name I didn’t seek out, but who sang a stirring rendition of Simon & Garfunkel’s “America.” And then it was time for Jess to take the stage.

Jess Labus

photo by Geoff Wilbur

The Concert

Jess Labus delivered a strong vocal performance at Rockwood Music Hall’s Stage 2 last night. Her individual songs called heavily upon a wide variety of musical styles but all centered around her own brand of pop-rock, driven by vocal power in much the same way Pat Benatar’s songs are. But the way her voice can power a song is the basis for the Benatar comparison. There was a very different band whose sound Jess and her band continually reminded me of, driven as much by the songwriting as by Jess’ voice. Unfortunately, the name of that band — a major, successful mid-tempo rock band from the last decade — escapes me. That’s the downside of writing a live review; I don’t have weeks to try to remember, as I would for an album review.

Jess Labus

photo by Geoff Wilbur

Jess kicked the set off solo with her acoustic guitar, singing “Levi,” sporting the most expressive version of her versatile voice, cracking for emotional effect in the right spots. The song’s engaging texture was a result of Jess’ voice really dancing around the melody, moving around within the pocket. In the end, there was a bit of a rockin’ country-folk vibe, in part because it was a story-song, though the way she delivered it gave it more of a Gavin DeGraw (“I Don’t Want to Be”) feel.

The entire band joined Jess for the rest of the set, beginning with “California,” a mid-tempo number whose big sound came from the hooky guitar line and the keys’ rich organ sound, which supported Jess’ vocal roars. Indeed, as nice as the solo acoustic opener was, Jess’ talented, equally versatile supporting cast was the key to the breadth and depth of the set.

Jess Labus

photo by Geoff Wilbur

Next up was “Downtown,” a funky rockin’ vocal track that would fall in the power pop-rock category. It was followed by “I’ll Just Be a Prostitute,” whose bluesy vocal and guitar riff were so catchy they’d almost ensure that, by the end of a second or third listen, if it was on the radio or an album I owned, I’d be singing along. (I had started by the end of the song last night, the first time I heard it.)

“Break Me” featured a powerful, strong vocal, though the song’s engine was really its rhythm. “Come Over,” next, had kind of a funky R&B rhythm supporting Jess’ more soulfully delivered vocal. Next up was “Judgment Day,” a high-energy rocker with power guitars; this song did, in fact, feature a short, blistering axe solo.

Jess closed her set with “Quietly,” which she delivered as a bit of a torch song, continuing to showcase her vocal versatility. And when vocals are delivered with a bluesy, down-home, country edge like this, you call it crooning.

Jess Labus

photo by Geoff Wilbur

After the engaging set, Jess treated the audience to an unveiling of her new, not-yet-released video for the song “Judgment Day,” a tale of gin — or, perhaps, wine — and salvation.

An energetic performance from a powerful singer with a talented band is a great way to kick off a week of live shows. And, indeed, this performance has left me looking forward to hearing more of Jess Labus’ music.

Looking Ahead

Jess’ website has upcoming shows listed in Manchester, NH on December 2nd, in both Bennington and Barre, VT on December 3rd, and in Brooklyn, NY on December 8th. Check out the “tour” page of her website for additional information and new dates as they’re added.

Live Review: Jann Klose house concert

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Jann Klose

photo by Monica Mansfield

Jann Klose

House concert in Shrewsbury, MA

October 22, 2016

The Backstory

As I noted when I reviewed Jann’s album Mosaic earlier this year, I first met Jann at the Undercurrents music conference in Cleveland, Ohio back in the late nineties. Interestingly, after years of reviewing his music and meeting him a couple times, this was my first opportunity to see him perform live. This concert was part of a series held in Shrewsbury; sometimes these events are held at the historic Sumner House, but this concert was a bona fide house concert.

Jann Klose

photo by Geoff Wilbur

The Concert

First of all, Jann Klose has an amazing voice. And he knows how to use it. Full and rich, emotive at the high and low ends of his broad range. I always have a hard time explaining his “place” on the music spectrum. He is, indeed, a singer-songwriter, and he often wields his acoustic guitar, but I hesitate to use that description because it tends to conjure up folk images. And there’s something much more rock ‘n roll about Jann’s vibe than you’d understand from that description. The most convincing description I’ve come up for Jann is that he’s a rock ‘n roll troubadour. But I’d also suggest you listen to his music and decide for yourself.

A house concert is a terrific venue for a singer like Jann who can fill the room with his voice. And this particular room offered terrific acoustics, as well. Jann opened the evening by sharing a new song with us, “Dear Mel.” It’s as good as his best; it left us already looking forward to what he has in store for his next recording.

Jann Klose

photo by Monica Mansfield

He followed that with “Fair Weather,” from the Stereopticon album he released with Gary Lucas earlier this year, and then a couple songs from Reverie that showcased the breadth and sensitivity of his vocals, “Doing Time” and “Mother Said, Father Said.”

He kept the emotional train rolling with his “Wedding Song,” ein Lied auf Deutsch, und mein Deutsch ist nicht gut, so I can only imagine the words were as beautiful as the melody. From crowd reaction, we’re all looking forward to his English translation. That was followed by “Question of the Heart,” a song in which he emits a tuneful vocal howl near the end that conveys well its pain.

Jann closed his first set with a couple songs from Mosaic, the powerful “Rain is Water” and tuneful, melodic, smile-inducing “Four Leaf Clover.”

Jann Klose

photo by Monica Mansfield

Set number two began with the energetic, catchy “Make It Better,” a song with the perfect message of inclusion for the world we live in today.

Jann’s next song was an inspired cover of Adele’s “Skyfall.” As perhaps the most rocking of Adele’s hits – and my personal favorite of the diva’s songs – it was well-suited to his interpretation.

Next came “Beautiful One” and “Long Goodbye” from Mosaic and “Clouds” from Reverie. During the second set, the audience was fully engaged throughout, easily encouraged to participate, and some of this middle stretch was audience requests of some of Jann’s most beloved originals.

Jann closed the second set with the Jeff Buckley tune “Song to the Siren,” which also appears on Mosaic. Jann’s connection to Buckley’s music, of course, goes a bit deeper, as he was the singing voice of Jeff Buckley in the 2012 film Greetings From Tim Buckley.

Jann Klose

photo by Geoff Wilbur

The quickly agreed-to encore consisted of two songs. Or three, actually, as Jann began with a two-song medley of Prince’s “Starfish and Coffee” and “Kiss.” The “Kiss” portion quickly became an enthusiastic singalong. I can’t say I was expecting a Prince cover from Jann, but he continually surprises me with his range, both vocally and stylistically; I should know better by now. Then the evening ended with Jann’s original “Still,” an emotional closing number that left the audience drained but happy.

Of course, as with any good house concert, the fun extended a bit later into the evening, and Jann later reclaimed his guitar for a few impromptu tunes in the kitchen. A thoroughly enjoyable event featuring an exceptional talent. So, tell me again why you don’t yet own at least one Jann Klose album…

Jann Klose

photo by Monica Mansfield

Looking Ahead

Jann, per his website, will be touring Germany for the first three weeks of November. He returns to the States in December, performing Thursday, December 1st, at The Luna Star Cafe in North Miami, FL; Saturday, December 3rd, at the ACMA Listening Room in Fort Myers, FL; Sunday, December 11th at Cozy Cabin Concerts in Green Brook, NJ; and Saturday, December 17th with Annie Haslam at Sllersville Theater 1894 in Sellersville, PA. Keep an eye on his website for additional dates as they are announced.

Live Review: Lori Diamond and Fred Abatelli at Sholan Farms

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Lori Diamond & Fred Abatelli

photo by Geoff Wilbur

Lori Diamond & Fred Abatelli

Sholan Farms, Leominster, MA

October 8, 2016

The Backstory

Two or three years ago, I found Lori & Fred’s music online. If I’m not mistaken, they were playing as part of the summer concert series in my town, and I checked out the various performers’ music when the schedule was released to decide who I might enjoy seeing. Though I wasn’t able to attend the show, I was impressed by their music. Notably, I thought the song “Mystery” was something quite special, so I downloaded it and played it regularly; it remains a song I keep on the rather limited playlist on my phone.

My first attempt to see them perform live was a concert for which I had purchased tickets weeks in advance before it was cancelled due to a snowstorm in the winter of 2014/15. Schedules haven’t matched up again until yesterday, when they played an afternoon set during Sholan Farms’ Harvest Celebration Weekend.

Lori Diamond & Fred Abatelli

photo by Geoff Wilbur

The Concert

It was a beautiful day for a concert. The rain held off until a few minutes into my drive home after the show. Lori and Fred played a mix of covers and originals, all suiting their style, which is relatively unique among widely-performing, popular local artists. I’d call it soft adult contemporary. You might label it easy listening, though I’d beg to differ, as the vocal dynamics and interesting guitar-picking place it in the more broadly-appealing AC category, with the potential for the occasional breakout, crossover pop hit. For those of us whose musical tastes defy category, though, they’re simply a pair of outstanding singers, songwriters, and musicians.

Lori’s sweet, powerful, versatile high voice harmonizes perfectly with Fred’s vocals. And when Fred sings vocal lead, he showcases his crisp. mid-range voice with an occasional vocal growl dropped in for good measure. Musically, Lori’s engaging piano-keyboardwork is augmented ably by Fred’s crisp riffs, often subtle, always adding texture to the songs. Often, Fred spices up slow-tempo songs with intricate, dancing soft guitarwork. Of course, I intentionally went to see this gig because I was impressed with what I had heard online, so I was hardly surprised when Lori and Fred delivered.

Lori Diamond & Fred Abatelli

photo by Geoff Wilbur

The duo mixed covers with originally during their performance. Lori’s vocals on “Crazy Love,” a standout cover, contained a soulful, almost gospelly sound, while there was maybe a hint of blues-gospel in Fred’s guitarwork.

I do, of course, love a good original. On “All Comes Round,” Lori and Fred swap lead vocal responsibility back and forth, as Lori’s sweet power pairs well with Fred’s vocal richness (and a well-placed growl). “Good Harbor”, meanwhile, is a sweet, hopeful, relaxing song about love.

Lori and Fred closed with “True,” a lush piano sound on the keys in this smooth song that recalls ’70s-style adult contemporary-edged pop; it showcases the particular phrasing style from that era’s singer-songwriter hits.

In the end, the concert was well worth the drive. Lori and Fred put on an entertaining, laid-back show. They mingled with the crowd during their break and at the end of their gig. And Sholan Farms was a friendly host for the day, with a food trailer providing lunch and a chance to snag a little cider at the farm store. I look forward to catching Lori Diamond & Fred Abatelli again in the future; and I love an afternoon, outdoor performance, so I’ll keep an eye out for future live music at this particular orchard in coming years, as well.

Sholan Farms

photo by Geoff Wilbur

Looking Ahead

Lori & Fred’s next date, per the tour page of their website, is 3 PM on Saturday, October 29th at Tower Hill Botanic Garden in Boylston, MA. Then they have a gig the evening of November 27th at Parish Center For the Arts in Westford, MA. See the duo’s website for more gigs scheduled in December and beyond, in addition to any new shows they add in the meantime.

Sholan Farms’ Harvest Celebration Weekend continues today and tomorrow. The orchard/farm has entertainment each day. Magic from Magic By George began at 12:30 today and dixieland swing from the Lou & Jan Borelli Duo will commence at 2:00. Steve Charette Magic and Comedy will provide entertainment tomorrow. The farm also has “eclectic acoustic” music from Ragged Heroes scheduled for next Sunday, October 16th. See Sholan Farms’ entertainment calendar for more information.