Live Review: Station at Arlene’s Grocery

Posted on November 12, 2016 by Geoff Wilbur

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.

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.

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

Posted on November 11, 2016 by Geoff Wilbur

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.

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.

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

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.

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

Posted on November 10, 2016 by Geoff Wilbur

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.

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.

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.

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.

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.

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.

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

Posted on November 8, 2016 by Geoff Wilbur

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.

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.

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.

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.

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

Posted on October 23, 2016 by Geoff Wilbur

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.

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.

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.”

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.

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…

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

Posted on October 9, 2016 by Geoff Wilbur

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.

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.

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.

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.

Live Review: Cheryl Arena at The Backyard

Posted on September 18, 2016 by Geoff Wilbur

photo by Geoff Wilbur

Cheryl Arena

The Backyard, Brighton, MA

September 17, 2016

It’s been four months since my last visit to The Backyard. Always a fun house concert venue with an eclectic crowd and delicious variety at the pre-show potluck. The weather also cooperated by providing a cool, comfortable setting for the evening’s festivities.

photo by Geoff Wilbur

The Concert

I had heard Cheryl Arena’s name numerous times but had not yet seen her perform. This seemed like a great opportunity. She has shared bills and the stage with several of the blues-based acts I follow in the Boston area, so even without hearing any of her music before, I was comfortable I’d be pleased. And, indeed, I was. Winner of the Blues Audience Newsletter reader’s poll for most outstanding harmonica player three times since 2009, she does amazing things with the harmonica, a one-woman whirlwind jam session at times. She also wields a quintessential blues voice, the sort you might hear leading the house band at one of the hottest spots on Bourbon Street.

photo by Geoff Wilbur

Cheryl Arena’s supporting cast was stellar this evening. With Pete Henderson on guitar, Brad Hallen on bass, and Forrest Padgett on drums, the band was Cheryl’s equal step-for-step this evening, and many of the blues numbers turned into extended jam sessions with each instrumentalist showing his wares while Cheryl took her turn – and often control – with her harmonica wails.

photo by Geoff Wilbur

Indeed, Cheryl’s voice is smooth and yet has a sort of smokiness to it, though without the smokers’ cough. Much of the time, the music she performed this evening was as New Orleans as the jambalaya that was part of the potluck at the beginning of the night. Other times, the vocals and the rhythm were more of a blues swing. During the event, she notably dropped in a fun original, “Shave It,” for good measure. Pete Henderson took the lead on a few songs as well, lending the occasional hip counterpoint, providing an appealing occasional variance during the evening. Regardless, by the end of the set, the space in front of the stage was packed with dancers enjoying the evening and participating in the fun atmosphere.

Cheryl Arena & band with Willie J. Laws; photo by Geoff Wilbur

We also were graced with a special treat when Cheryl called to the stage the inimitable Willie J. Laws to join her on guitar and vocals for a couple songs, which began with an exceptional rendition of “Ain’t No Sunshine.”

The evening only came to an end out of respect for the neighbors; if it had been up to the crowd of about 100 attendees, the fun would have stretched on much, much longer.

Looking Ahead

The next gigs listed on Cheryl’s website are Tuesday, September 27 through Saturday, October 1 at Jon Gindick’s Harmonica Jam Camp at The Shack Up Inn in Clarksdale, MS.

photo by Geoff Wilbur

The Willie J. Laws Band is performing tonight, September 18th, at Glenn’s Restaurant & Cool Bar in Newburyport, MA. (I love Newburyport. I wish I lived closer to it.) He also performs next weekend, Sunday, September 25th with Bruce Bears at The Beehive in Boston and on Saturday, October 15th at the Sandywood Center for the Arts in Tiverton, RI. Check out Willie’s website to keep up-to-date on his concert schedule.

Next up at The Backyard is Amy Fairchild on Friday, October 7th. She’s followed by Julie Rhodes & Sugar Blood Jinx on Saturday, October 15th and Jan Marie & Aaron Shadwell on Saturday, November 19th.

Live Review: Jay Taylor at Jasper Hill Cafe & Bistro

Posted on September 9, 2016 by Geoff Wilbur

photo by Geoff Wilbur

Jay Taylor

Jasper Hill Cafe & Bistro, Holliston, MA

September 7, 2016

The Backstory

Earlier this year, when perusing live music schedules in the area, I stumbled across a Jay Taylor listing at the Jasper Hill Cafe & Bistro. I couldn’t get out to that gig, but I was impressed enough with his music that I added one of his tunes to a personal SoundCloud playlist – yes, I’ve been remiss in posting a new public playlist, but when I do, Jay’s “Hold On” will be on it. In any case, when he was back in the area this time, I made sure to get out to hear him. Coincidentally, he was at the same venue through whose concert listings I initially discovered his music.

The Concert

There ain’t no two ways about it. This dude has a special voice. It’s mid-range, but it’s rich and smooth, with the ability to go deeper if necessary and to add emotion without adding too much gravel to his voice. That’s – here’s that word again – special. Not that this was a surprise, of course. I’ve heard his recordings. It took a unique talent to get me to drive so far for live music on a Wednesday night.

photo by Geoff Wilbur

Jay is currently touring with a full band. A very talented band, at that. Guitarist Steve Hensley periodically stole the show with his guitar histrionics, at home across genres. And Alex Pierson (bass) and Russ Sternglass (drums) comprised a tight rhythm section that could keep up with Jay – or toy with him a little when they wanted to. Jay added acoustic guitar to the mix while, of course, manning the lead vocals (except on a couple songs, on which the guys did a fine job, but they ain’t no Jay Taylor).

Jay opened the night with “Wagon Wheel,” showcasing his crisp, powerful vocals and sporting his harmonica. The Eagles’ “Peaceful Easy Feeling” also made an early appearance. Songs moved from mellow to rollicking throughout the night, and genre lines were crossed and blurred.

I noticed three songs from Jay’s EP Hold On during the evening. The title track (and still my favorite) was the earliest entry, following the Eagles and, dare I say, kicking the Eagles’ butts, in part due to its increased tempo, of course. All the sharpness, power, kick, and hook of the recorded version made their way over to the live rendition and, if anything, were amplified. A little later, Jay growled his way through “How I Wanted To,” accompanied by a tale that exhibited both his stage presence and his comfort in front of an audience.

photo by Geoff Wilbur

A bit later in the set, the other song Jay performed from Hold On, “The Green Dress Song,” was delivered with a hint of twang and a pretty strong, hooky rhythm that was stepped up a bit from the recording. It was followed a few songs later by Jay’s fourth and final (that I noticed, at least) original of the night, a solo acoustic performance of “Back Road”; this tune starts out its verses in a vocal tone that initially seems ominous before becoming more apparently sentimental as each verse unfolds. I’m not sure I’m describing it properly, but it’s another sign of Jay’s deft vocal skills and worth noticing if you listen closely enough.

The rest of the set, which stretched almost three hours, ranged from Alabama to Bruce Springsteen, from Randy Travis to Elvis, and from Merle Haggard to Eagle Eye Cherry. As the hours passed, the tone of the evening grew more and more country, particularly old-fashionedly so.

The Elvis song, “Can’t Help Falling in Love” was loungy (in a good, Vegasy Elvis way), boppin’, and smooth. I also quite enjoyed Jay’s vocally oh-so-smooth version of John Anderson’s “Seminole Wind.” And he shook the room with a rousing rendition of Garth Brooks’ “Friends in Low Places.”

As impressed as I was with Jay Taylor’s recorded music, I left the live performance that much more convinced he is one tiny break away from being a big-stage concert favorite; you know, the one “tiny” thing a talented, hard-working musician can’t control. (I’m almost never this impressed by a male country singer; this dude’s really good.) Of course, now that you know, there’s no reason to wait to hear Jay on the radio; check out his music for yourself… now.

photo by Geoff Wilbur

Looking Ahead

Jay has several upcoming gigs listed on his website. You can catch him tonight, Friday, September 9th at Loretta’s Last Call in Cambridge, MA. Tomorrow, Saturday, September 10th he’ll be taking the stage at 3:15 at the 19th Annual Wachusett Mountain MusicFest, on the main stage right before local favorite and former The Voice top-five finisher Kristen Merlin. The other September gigs are Tuesday, September 20th at the Opry Backstage Grill (Nashville, TN); Wednesday and Thursday, September 21st and 22nd at Tin Roof (Louisville, KY); again Wednesday, September 28th at Tin Roof (Louisville, KY); and Friday, September 30th back at the Opry Backstage Grill (Nashville, TN). The remaining gigs listed are all at Tin Roof bars – Fridays, October 21st and December 2nd in Charlotte, NC and Saturdays, October 22nd and December 3rd in Columbia, SC. Obviously, there are a bunch of open dates in there, so keep an eye on Jay’s website to see if those dates are filled in at clubs near you.

Live Review: TOS at Solomon Pond Mall

Posted on August 27, 2016 by Geoff Wilbur

photo by Geoff Wilbur

TOS

Solomon Pond Mall, Marlborough, MA

August 26, 2016

The Backstory

If you read my review of TOS’s CD release gig in July, you’ll understand why I couldn’t pass up an opportunity to see these guys so close to my home, at the mall I drive past 2-3 days a week on my way to my favorite breakfast joint for an omelet and my personal playlist. Yesterday morning, in fact, my phone shuffled up TOS as part of my playlist, which I shared on Twitter, as I often do. Yesterday evening, I stopped at the mall to see one of my now-favorite local bands.

photo by Geoff Wilbur

The Concert

I’ve never seen a concert in a mall before. This is a band with the talent to make this concert an excellent first.

Because I’ve provided in-depth coverage of TOS before and (spoiler alert) will soon complete my review of the band’s album Killer, I’ll focus mostly on the songs performed and the flow of the concert; and though I won’t mention every song, I’m able to mention each song by name and offer a much more detailed review because I had access to a set list while scribbling my notes. Always a helpful bonus.

The gang opened with “Reckless,” filling the corridors with boundless energy. They followed it with “Not My Love,” combining a funky beat with a unique, varied tempo; the song closed with a nice guitar solo and flowed well into “Soul Keeper.”

photo by Geoff Wilbur

“Primadonna” is a live favorite of mine; it’s a good boppin’, catchy pop rocker but with a bit of vocalist Sophia Ward’s haunting howl. TOS then slowed things down a bit on “Mouthful,” a personal favorite from the band’s recent release, Killer, before bringing the energy back with “(Dyin’) Without You,” another boppin’ alt-rock song with a good tempo and another well-suited guitar solo from lead guitarist Jackson Parker.

On haunting album standout “Ghost,” bass player Jae Mannion stepped forward to provide prominent support vocals, adding texture to the song’s sound. Next on “Cry Baby,” another of my personal favorites – a song my wife and I were singing as we arrived home after the show, in fact – I really enjoyed Mitch Rolla’s punched-up ’50 soda shop-reminiscent drumming that provided the song with a fresh feel.

Some other songs stood out, as well. “Side Effects,” for example, kicked off with almost a ’70s jet-setting start, a little psychedelic.

“Death of Me” is as much a treat live as it is on the recording, in part because it’s a song that very obviously and prominently features contributions from all five band members. Sophia’s trademark haunting vocals are supported by a great strumming opening, an important electric guitar line, drumming that defines the stops and starts that propel the song, and a bass part that contributes the key hook.

photo by Geoff Wilbur

“Crush” is a subtly interesting song; it’s solid and steady but made unique by a bit of a funhouse mirror edge to the vocals, electric guitar, and bass lines.

“A Better You” is a mellower acoustic guitar-strummer with sweet vocals and a hint of ’70s lounge-style jazz in both the vocals style and the wandering electric guitar line. “Need This Love” next amped things up with electric power; it has ’70s rock anthem-level power when it peaks. It was followed by “Waterfall,” the sensitive, flowing, raise-your-lighter song in the band’s repertoire.

“Sleep” is interesting, powered by its Wonders-esque (as in the That Thing You Do! Wonders) drumming. It also features the clever lyric “Don’t need love/I just need sleep.”

Finally, toward the end of the set, TOS presented its mellowest number “The One,” a primarily singer and acoustic guitar-driven song with a sensitive sound and sweet vocals showcasing singer Sophia Ward and acoustic guitarist Jonathan Sommer. The 21-song set closed with “Never Wanna See You Again,” utilizing a surf rock undercurrent to add texture to this otherwise growling rocker.

For an encore, the band performed “Killer,” the powerful rock song motored by exceptional acoustic guitar, powerful vocal wails, and an almost wall-of-sound feel. An ideal way to end a concert… and this most unusual evening at the mall.

photo by Geoff Wilbur

Looking Ahead

TOS has three upcoming shows listed on its website: Friday, September 2nd at Sally O’Brien’s in Somerville, MA; Saturday, September 10th at the Remember September Music Festival in Brockton, MA; and Friday, October 7th at the Out of the Blue Too Art Gallery in Cambridge, MA. Keep an eye on the band’s website for additional upcoming dates. Also watch this blog in a couple weeks for a review of TOS’s recently released CD, Killer.

Live Review: Ashley Jordan at Loft 266

Posted on August 25, 2016 by Geoff Wilbur

photo by Geoff Wilbur

Ashley Jordan

Loft 266, Worcester, MA

August 24, 2016

As I’ve mentioned before, I often strike up conversations with people about local music. And during several of those conversations, with both fans and people within the music scene here in Massachusetts, I have been asked “Have (I) seen Ashley Jordan?” So, with a nod to the “where there’s smoke there must be fire” school of music journalism, I finally made a point to catch Ashley last night during her Wednesdays-in-August residency at Loft 266. And though I was only able to stay for her first set, I can confirm that there is, indeed, fire.

At just 23, Ashley has been performing for 10 years and is a recording studio veteran, as well, with four albums in the past six years. A quick glance at her bio shows a long list of awards dating back six years; she particularly seems to have swept most of the local country music award categories the last four years. If one of the next batch of young country stars comes from Massachusetts, it’s a good bet Ashley’s your gal.

photo by Geoff Wilbur

Performing an acoustic set of mostly originals last night, Ashley showcased her broad range. When she sings quietly, I hear a bit of Clare Bowen in her voice – that’s “Scarlett” to fans of the TV show Nashville. Some of her mid-tempo, high-but-spunky/powerful bits recall Dolly Parton; when you hear it, you’ll know what I mean. And I’m not sure which blend of young pop-rockin’ country stars she reminds me of when she sings with strength, but her mellow-to-power vocal runs suggest she could be one of the special ones.

A couple of the originals that made an impact – there were more than two, but these were the only ones whose titles I jotted down – were “Angels,” which shows shows vocal range, and “He’s Crazy,” which features a range of vocal dynamics. (Both songs are featured on Ashley’s new album, He’s Crazy.)

A notable cover was Ashley’s rendition of “Black Horse and a Cherry Tree,” as it shows off a richer, soulful low end and some energetic howls that hint at the full extent of her vocal talents.

The one thing I was left wanting at the end of set was a chance to hear Ashley perform with a full band. An acoustic set is fine, but I can just imagine the songs with their full arrangements…

Looking Ahead

Tonight, Thursday, August 25th you can catch Ashley at the Hard Rock Cafe at Foxwoods (Mashantucket, CT). I’m sure that’ll be a heck of a show. And next Wednesday, August 31st, she finishes her August residency at Loft 266 in Worcester, MA. She also currently has two September gigs scheduled, both at Perfect Game in Worcester, MA – Friday, September 2nd and Friday, September 16th. You can keep abreast of Ashley’s live performance schedule via the “Tour” page on her website.

	Live Review: Corey M… on Live Review: Corey McLane at H…
	Single Review: Erin… on Single Reviews: Erin Gibney –…
	Single Review: Erin… on Single Review: Erin Gibney –…
	Album Review: Sado-D… on Album Review: Los Goutos –…
	Album Review: Sado-D… on Album Review: Sado-Domestics –…