Category: Bluegrass/Country

Burlington Waterfront Fuels moe. Fun

You know it’s a good one when Rob’s smile is that big. moe. bassist Rob Derhak was grinning ear to ear as the sun set in a blaze of glory over the crowd gathered for Saturday night’s show at Burlington’s Waterfront Park, part of the Lake Champlain Maritime Festival.

On Friday night, moe. kicked off the weekend with a show at Higher Ground in South Burlington, late enough that fans also attending the Twiddle concert at the Waterfront could make it in time to see some of moe. (The band’s switched locations and times for their Saturday night gigs.) The box office said moe.’s Higher Ground show was sold out, but it never got too packed for fans inside the concert hall Friday night.

The show started off with “Same Old Story,” the highlight of the band’s latest album, No Guts No Glory, released last year. The song is always high energy and fun, but it’s easier to get into later in a set. “Waiting for the Punchline” followed it up, getting the crowd dancing like a good ol’ fashioned hoe.down, as usual. The rest of the set was relatively standard but enjoyable.

The second set got more exciting. It opened with “Rainshine” (which always sounds like “Haze” at the beginning, getting at least one member of the crowd falsely psyched up). It was only the third time this year the song, from moe.’s 2012 album What Happened to the La Las, made it into a setlist, and it ended up being a fun one with a nice heavy jam section.

Then Mihali Savoulidis, Twiddle’s frontman, joined moe. to play “The Road,” giving it more spunk than usual. After a good “Wind It Up,” the band played the first few chords of “meat” before guitar player Al Schnier stopped it and tried to get the whole band to join him in a rendition of the Grateful Dead’s “Eyes of the World.” It didn’t last long — Al’s guitar cohort Chuck Garvey gave up playing and started laughing almost immediately, and Rob seemed to play every note on his bass in hopes some would work. Al gave up and the band proceeded with meat, jamming it through all its funky glory. It transitioned into first a stellar “Billy Goat,” which always gets the crowd singing along to its good-life-advice-y chorus, then “Head,” before finishing up the “meat” sandwich with more rumbling bass and shredding.

The show ended with a quick encore of “Lazarus,” which at this point is somewhere between the old “Lazarus” and the newer “The Bones of Lazarus.” Fans seem to agree that its better than “Bones” but doesn’t yet reach the heights of the storied “Lazarus”es of bygone days.

After a late night, moe.rons had to transition to an early show by moe. standards on Saturday night at the Waterfront. Part of the Lake Champlain Maritime Festival, the show featured a ring of vendors off chuck.side of the stage. Bluegrass jammers Cabinet opened the show with a lot of energy, then passed the stage off to moe.

The band started on a high note with a “Buster” that transitioned into “Spine of a Dog,” two songs that fit well together with the same sort of calypso feel to them.

After finishing up “Spine,” Al made the crowd turn around to view the amazing sunset, burning across the sky with bright pinks, oranges and yellows. “We’ll give you a second,” he said. “Look at this. This is fantastic.”

Rob joked that they just wanted to see everyone’s asses.

Then they played the lighter “Blonde Hair and Blue Eyes” before they got down and dirty with Rob slapping the shit out of his bass on “Not Coming Down.” That transitioned into “Wormwood” > “Deep This Time” > “Downward Facing Dog” to finish out the set with a whole lot of head bobbing and dancing.

Set two opened with moe.’s funnest song, “Seat of My Pants,” which was bouncy and fun with all the springy octave jumps and just enough down and dirty rocking. There may have been a brief tease to the theme song for Sesame Street. It almost sounded like it was going to go into “Rebubula,” but instead it continued into “Dr. Graffenberg.” Sometime in there, a crew of audience members dressed as sea life paraded through the crowd and made their way to the front, dancing there briefly before ebbing back to the sea (one can only assume). Besides that, Graffenberg was as whimsical and rockin’ as ever.

Band members then took the set down a notch with the slow but beautiful “Where Does the Time Go?” Some consider this a bathroom song while others enjoy it wholeheartedly, getting lost in the nostalgic melody and skillfully written lyrics.

Then “Tubing the River Styx” segued into a smokin’ “The Pit” that transitioned into a lighter tone with “Kyle’s Song.” Then “Gone” segued into “Do or Die” with a pensive jam that featured the lights going down and the band playing in silhouette against the backdrop.
During al.nouncements, Al read a note that wished someone named Erica a happy birthday and said, “PS- San Ber’dino.” And almost immediately other band members started playing parts of the Frank Zappa tune, and they went right into it when Al’s announcements wrapped up. Then they wrapped up the show with “Happy Hour Hero,” a great song that has a laid-back melody, sending the crowd off to some Twiddle or just one more bottle.

It’s always a treat when moe. plays Burlington, and this weekend run was one for the books!
Friday, Aug. 7 at Higher Ground

I.
Same Old Story
Waiting for the Punchline
Okayalright>
Big World>
Ricky Marten
MarDema>
George
II.
Rainshine
The Road*
Wind It Up
meat.**
Billy Goat>
Head>
meat.
E: Lazarus

Saturday, Aug. 8 at the Burlington Waterfront
I.
Buster>
Spine of a Dog
Blond Hair and Blue Eyes
Not Coming Down>
Wormwood>
Deep This Time>
Downward Facing Dog
II.
Seat of My Pants>
Dr. Graffenberg
Where Does the Time Go?
Tubing the River Styx>
The Pit>
Kyle’s Song
Gone>
Do or Die
E: San Ber’dino
Happy Hour Hero

*Joined by Mihali Savoulidis of Twiddle on guitar.
**Al stopped after the song started and tried to get the band to play the Grateful Dead’s “Eyes of the World.” It didn’t work.

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August 22, 2015
Taking The Time To Make His Music – A Chat With Country Musician David Fanning

Nashville has not only become a mecca for country music but also has a melting pot of talent behind the scenes. The city has become the place for country musicians to travel to for recording. David Fanning may not yet be a name you are familiar with, but I can assure you that his talent shines through in other ways that you may have been touched by. Working together with artists Parmalee and Thompson Square, among others, this young man is wise beyond his years, and his ear for talent is spot on–not only a songwriter, but also as a producer.

Photo by Jeremy Cowart

Kathy Stockbridge: Hi David, thank you so much for agreeing to talk to NYSMusic. It’s so nice to introduce you to our readers. You grew up on a farm in Alabama, talk to me a bit about how you found your way on this path of music.

David Fanning: Well thank you for talking with me. If you could ever see a picture of the town I grew up in, it’s literally what you kinda write about in a song. It’s kinda one of those one red light kind of towns.

KS: I know them well.

DF: What got me interested in music was honestly my family. Growing up, ever since I was tiny, they were in a 50s and 60s a capella group. So they would sing bebop music on weekends just for fun, nothing obviously professional. That’s just what I grew up doing. So I was a miniature Elvis when I was like 9, 10, 11 years old. That’s how I learned about harmonies and melodies and all of that kind of stuff. It was a great experience for sure.

KS: So in addition to singing, what musical instruments do you enjoy playing?

DF: I play guitar. I’m one of those people, especially in a live setting, that love to perform. I’m definitely not Keith Urban, but when it comes down to it I can hold my own. I do a little piano, but honestly I actually started out on drums. I guess I’m one of those people that decided early on that I like to perform versus being “the guy” on any of that stuff. I do obviously play during the show a bunch, but I have a lead guitar player that is way better than I am at that.

KS: I have a feeling you’re being very humble here. I read that you have a really good ear for music. At at the age of fourteen you began producing music and you taught yourself how to use ProTools. Share with our readers a little bit about how that came about.

DF: Where I grew up we had no studios, and even though it wasn’t that far from Nashville, Nashville was still about an hour and a half away. We couldn’t afford to come up here and spend that kind of money nor did I know how to growing up. I always wanted to, but just didn’t know how to. So, even though all we had was dial up internet, I learned how people recorded music and began ordering gear and just getting by. I ended up getting ProTools and established a little set up to record at the house. I started recording my own stuff and figured out how to do it as I went along. I made a bunch of mistakes, and just learned how to get sounds and different things down. When I was finally able to go to those studios, I took what I learned there and applied it to what I already knew and it really started shaping who I was as a producer. It paid off, because I was about 22 when we produced the first Thompson Square record, and “Are You Gonna Kiss Me or Not” was my first number one that we did on that album. It was an amazing thing. I never knew growing up that I could use all those skills and apply them to what I’m doing today.

KS: Do you think having those skills helped to shape you as a better performer just knowing the whole process and how music is produced?

DF: I think so, it’s one of those things, I’m still growing as an artist. The negative (which is actually still a positive) is I took off about five or six years off from the road. I had been playing my whole life so getting back on the road the past couple years has been a new learning experience as to what works and what doesn’t work and how can I get better. In the studio it’s the same way on each project. We’re doing the new Parmalee project right now. This record is going to be different from the last record, as it’s a little more progressive. It’s awesome, but I’ve learned a lot more [in producing] since that last record too. Sonically I’ve learned a lot. With songs I’ve learned how to make dynamics happen more as well. It’s always just a learning experience. The music industry is always changing so it’s fun to evolve with it.

KS: I like that word–evolve. There are so many different sub-categories within the country genre that it allows you to be creative even more so.

DF: That’s the thing about country music. They are letting you be creative. You might be pop country, or rock country, or rap country even.

KS: Yes, exactly. You spoke of taking some time off. Share with the readers a little about your timeline in the music business and your journey to where you are today.

DF: Even though I took some time off from the road, I was working every day in town. What happened with me is when I was around 20 I moved to Nashville. It’s crazy but I emailed about 300 people when I wanted to move to town. I was actually moving from LA to Nashville, as I lived there for a little while. I had moved out there because I thought, that’s just what you do. When you come from a small town you think LA is the place to be. That’s just what I thought. So I went out there and realized that I’m definitely not that kind of person. I’m definitely more of a small town southern boy, so I moved to Nashville, and when I moved I e-mailed literally 300 people and thought maybe someone would want to give me a shot or something. There was this one guy, his name was Kevin Neal, and at the time he was at a place called Buddy Lee Attractions who booked Jason Aldean. He was like “Man I’ll come out to one of your shows”, and at the time I was playing downtown Nashville at night. He came out and he ended up hooking me up with Aldean’s band who was Kurt Allison, Tully Kennedy, and Rich Redmond. Back then Jason was just starting to get some legs under him and stuff and have some hits. Me and the guys, his band, just hit it off and started working on my stuff in the studio. We cut about six songs and realized that we really work well together in the studio, so we started a production company. The first act we produced was Thompson Square. It all kinda went from “we actually have some success here”, to “I should focus a little bit on this production thing and build a little bit more of a name for myself on that end and see where it goes”. I went through a few years of working with Thompson Square and Parmalee, who I actually found at the Tin Roof parking lot in Nashville. [Parmalee] used to drive their RV up into town and that’s where they would park. One day I got set up to write with them and we ended up writing a song called “Musta Had A Good Time” together in their RV. I kinda fell in love with their whole vibe and I brought them to the guys and we ended up cutting “Musta Had A Good Time” and “Carolina”, getting them a record deal.

KS: They are awesome. I had a chance to speak with them earlier this year and they are a bunch of fun loving guys. Very talented. Good call there David, great discover!

DF: During their last record we were doing I looked at the guys and said, ‘I gotta go do what I was made to do. I have to go play. I can’t sit here and get this studio tan on any more’.

KS: When you talk about your production company you’re talking about New Voice Entertainment? You’re what they consider a triple threat. You perform, you write and you produce. Do you find yourself being drawn to one particular aspect of music or do all the parts feed your creative soul?

DF: Live performance for me and just live entertainment is my thing. I love it. There’s nothing like it. There’s nothing like the rush. I love writing songs and I love producing, but to me they don’t fulfill the void that I have. I could have a million number ones on the side, and still wouldn’t feel complete if I couldn’t play. That’s exactly what I’ve always wanted to do, and I’m finally getting the chance to do it. I’m obviously happier than I’ve ever been. I’m a lot more tired than I’ve ever been, but where I’m at is a fun place to be at. Sometimes you’re on a bus, sometimes you’re in a van, and you’re all over the place, and it’s definitely had its growing pains as we just did a 5,300 mile West Coast trip in a miniature bus with me and the band guys getting stuck in there for eight days. It was really cool and fun though. We had a blast. It’s one of those things where we’re definitely creating memories and such. It’s been a fun journey so far. We’re ready to come to NY though.

KS: Yeah, we’re ready to have you here. Hope you’ll be able to take in some sites while you’re here. Our Adirondacks are gorgeous!

DF: Yeah, I hear it’s beautiful.

KS: Well, right now you’re in the studio doing some recording for yourself, talk to us a little about this new album and what we can expect.

DF: I am. We’re cutting music right now. It’s got a good amount of songs and a little bit of a different direction than the rest of the music that we’ve cut previously. It has a little depth to some of it, some is a little more progressive. For me I grew up listening to Chesney and McGraw and all those artists. But I also felt like I was on the verge of where people are now. With iPhones people are able to listen to all different kinds of music; I was kinda there too. I listened to 90s-early 2000s rock, country, and pop. One thing I liked about older records was it felt like each song told it’s own story and didn’t necessarily sound exactly alike. So that’s kinda how I wanted my record to be. Some of it is country-pop, some of it’s country-rock, some of it is happy and some of it is sad. I just wanted every song to have it’s own flavor to it and sound different than the song before.

KS: I’m anxious to hear it. Will you be sharing any of the new material with us at Keg’s Canalside on August 14th, when you play?

DF: Oh yeah, for sure. The fun thing about the show is that I still play some of the music I produced so that people kinda get familiar with some of the work I’ve done. I play a bunch of familiar stuff, but I also sprinkle in a bunch of new stuff too so that people get the whole picture of who I am.

KS: Speaking of who you are. You, like many musicians, dedicate time to charity work. You work with St. Jude’s Children’s Hospital. Can you tell us a little about your cause and why you chose to work with this one?

DF: Honestly, I’ve of course heard of St. Jude’s for a long time, and I didn’t get a chance to go and visit until a couple years ago. We went there for a few days and it was just eye opening of where it’s started, where it’s gone, what they accomplish, and the success rate they are having right now. I was expecting it to be a super sad place when I toured, but it’s not. The doctors, nurses, patients and families are all so positive. It blows your mind because they are going through the hardest time of their lives yet they are building hope and finding cures. Once I saw that I just had to be a part of it. It’s something I’ll always be a part of. It’s a great cause and they can’t have too much support.

KS: Thank you so much David for speaking to us today. I am so thankful for the chance to personally welcome you to NY and allow our readers an opportunity to get to know David Fanning.

So as I finished up the interview, I found myself so impressed by this young man’s range of talent, his down-home goodness, and musical skills. I find the journey musicians take very retrospective as we discuss the beginnings, the journey and the current events occurring in their lives at that time both musically and personally. The one constant I always find among them all? The love of performing. The sheer love of the music. Whether he made a living out of it or not, I believe David would absolutely be on the stage somewhere doing what he was meant to do, perform live for anyone who’ll listen to him.

I urge you all to take a trip tomorrow night over to Keg’s Canalside in Jordon, N.Y. and meet David Fanning and give him a warm Central New York welcome.

August 14, 2015
Keller Williams Announces Fall Tour and New Trio

Singer/songwriter/multi-instrumentalist Keller Williams is gearing up for another tour, now celebrating his 20th year creating music. His fall tour will start at the end of August and will feature the brand new Keller Williams Trio with friends Bob Wasserman and Rodney Holmes.

When not playing with the trio, Keller will be performing with some of his side projects including Keller and the Keels, Keller Williams’ Grateful Gospel, and funk project Keller Williams with More Than a Little. His bands will be making stops at festivals such as Lockn’ Festival, Luna Light and Magnolia Fest, among others. As if that wasn’t enough, Keller will also be solo headlining clubs along the way.

Over Thanksgiving weekend, Keller will host an all-star lineup of bluegrass friends for “Thanksforgrassgiving” on Nov. 27 and 28. Joining him will be Travis Book and Chris Pandolfi (The Infamous Stringdusters), Larry Keel, Jason Carter (Del McCoury Band) and Jay Starling (Love Cannon). Catch this bluegrass extravaganza at The National in Richmond, Virginia on the 27th and the 9:30 Club in D.C. on the 28th.

Fans in Buffalo can see the Keller Williams Trio on Sept. 26 at The Tralf. For tickets, tour dates and other information, visit Keller’s website.

August 5, 2015
Country Star Miranda Lambert Tabbed as First Act for New Lakeview Amphiteater in Syracuse

The brand new Lakeview Amphitheater, along the shores of Onondaga Lake in Syracuse, will be christened on Sept. 3 by country star Miranda Lambert, local officials announced Wednesday.

Tickets for the 7:30 p.m. show will be sold through the usual outlets beginning at 10 a.m. Friday, July 31. Lawn seats will cost $35 and pavilion seats range from $75 to $95. The show occurs during the New York State Fair, and as such, ticket purchase also includes admission to the fair.

Onondaga County Executive Joanie Mahoney, flanked by Assemblyman Bill Magnarelli, Acting New York State Fair Director Tony Waffner and County Legislature Chairman Ryan McMahon, made the highly anticipated announcement from the New York State Fairgrounds, the site that is home to the State Fair Grandstand, host to many high-profile concerts in its 33-year history. The grandstand has seen a decline in marquee artists in recent years and will be torn down as part of a major renovation project at the fairgrounds next year. Mahoney hopes to host 20 concerts at the new venue next year as the amphitheater replaces the grandstand as the location for State Fair concerts.

Miranda Lambert, who recently made headlines with the announcement of her divorce from country star and “The Voice” judge Blake Shelton, has been a mainstay on the country charts and at country music awards shows since her debut album Kerosene in 2004. Her most recent album, Platinum, was released in January 2014, with the latest single, “Little Red Wagon,” being the third to chart from this release.

While the venue’s construction is still incomplete, an aggressive finish date has been set for Aug. 24. Controversy has arisen with the booking of a concert at the new venue while the current one has had difficulty attracting marquee acts this year. Lambert’s show coincides with the last-ever grandstand show featuring Patti LaBelle and Meghan Trainor’s free show at Chevrolet Court during the fair. The booking has drawn criticism in a year when only four grandstand concerts have been booked during the 12-day fair run. Lambert’s only available date was the third and officials are confident the conflict will not have a major affect on overall attendance.

July 31, 2015
Chase Bryant: Nashville’s Newest Sensation

Music. It evokes feelings, transports me back in time and recharges me almost as though it’s a battery pack. Music for Nashville’s newest sensation, Chase Bryant, is the same. It’s in his blood.

Coming from a musical family in small town Texas, Chase heard Jerry Lee Lewis’ “Lewis Boogie” and that was all it took. From that point on, his course was set. Learning to play the guitar at a very early age, he jokes that there were 20 guitars in his hometown, and he owned all of them. After seeing Chase perform recently at The Taste of Country Music Festival, his hard work and dedication to learning his skill showed as I was floored by his shredding ability and how he made his guitar sing.

Chase Bryant – Taste of Country Festival 2015

As Chase and the Shotgun Rider Tour comes to town Thursday, July 3o to Darien Lake, Chase will open for Nashville favorites Billy Currington and Tim McGraw. He graciously agreed to speak with our readers and share some details to what makes him tick.

Kathy Stockbridge (KS): Hi Chase, thank you so much for agreeing to speak with NYSMusic. You have taken Nashville by storm since your arrival and your fans and our readers just love you.

Chase Bryant (CB): Why thank you.

KS: Music seems to be something that has always been in your blood. For those that aren’t aware you grew up in a family of musicians. Share a little about what that was like for you growing up.

CB: Well it was definitely a loud household. My grandfather was a keyboard player for Roy Orbison, and he played along side him throughout high school and right up until the summer my grandfather bowed out of the band because his mom said he couldn’t play rock and roll music any more. After that he went on to college and played with Waylon Jennings, and then on the Glen Campbell television show in Lubbock Texas, and then my two uncles played in a band called Ricochet and had the hit “Daddy’s Money” back in 1996.

KS: I remember that song! So it was in your blood, you were destined. You were born to do this.

CB: Yep, there was nothing I could do about it, and I’m glad there was nothing I could do about it, because I love it.

KS: Share with our readers a little about your relationship with Barbara and Alex Orbison and how that relationship played a role in your career in Nashville.

CB: Alex I used to say was one of my best friends, but I think he’s now more like a second brother to me. He’s been great to me and we’ve built a really great relationship when it comes to music and life in general. He’s been so supportive of my music and his mother Barbara as well has been one of my biggest fans. I couldn’t thank her enough for signing me. She was a great lady and I was her last signing at her company before she passed away. So that was a pretty awesome experience.

KS: When you came to Nashville, Benny Brown — founder of BBR Music Group — was so taken back by your talent as a producer of your demo tapes, he allowed you to co-produce your album with Derek George, which I must add is not something he does often. Share with us a little about how you taught yourself the production end of recording and how you have grown since those early days as a producer.

CB: I was on a panel the other day and I was asked how do you teach someone producing, and you really can’t. If your ears aren’t there and you can’t hear the music then it might not be for you. There are some great artists that never produced their own records or played on their own records, or maybe even wrote the songs. But they were great records and ones I definitely looked up to. I got lucky and sometimes I think that maybe what I do isn’t always right, but Benny sure has given me an opportunity to expand on it. Whatever my name is or the sound that goes along with it, Benny Brown and Broken Bow and Red Bow Records have really let me carve that path and let me become who I really want to be. I’m thankful for that. I was able to write all the songs on this record, co-produce the record, and I played all the guitars. I didn’t produce it by myself either. I co-produced with my best friend Derek George. We had a blast making that record.

KS: Well the finished piece was amazing and you have a great ear for it.

CB: Well thank you.

KS: In addition to producing, you also write your own music. You say that you wrote 400 lousy songs before you wrote your first good one…what was that one song that caught the attention of Nashville manager, pluggers, and publishers? Did you know when writing that one, it as the one?

CB: I think “Take It On Back” was the first really organic, not left of center or anything that had never been done, but it was one of those songs that defined who I was and that sound that people know me by now. I think it was that, and a song called “Change Your Name,” and probably another one that did it, called “Wish I Was A Plane” was another one that set the radar for the label and set the tone for the record. Now “Wish I Was A Plane” is one we play live (isn’t on record). You have those couple of songs that lead to other songs, and those three definitely lead to probably 15 or 16 songs to be on this record that I would like to say are collectively my best pieces of music I could make at the moment.

KS: Yeah, “Change Your Name” is my fav.

CB: Well thank you. I’m hoping that’s a single in the near future. We’ll see what happens.

KS: It will definitely be a hit. You also are an amazing guitarist. You are a left hand guitarist that plays a right handed guitar upside down. It’s not something you notice either. I shot your set at Taste of Country Festival this past June, which by the way you killed it, and after I read that you had this unique talent…I went back to study the photos and sure enough…you rock that guitar left handed, upside-down! Wow…how did you manage to learn that skill?

CB: I don’t know, I’m still learning. Everybody always says “how do you do that, how do you do that?” There’s times I look at and go “why am I doing it this?” But it just happened. I think a lot of people told me no, and a lot of people thought that I would never play it like that, so I was a stubborn kid growing up and therefore I had to do it. It also saved my mom and dad a lot of money buying me my first right handed guitar because left handed ones are way too expensive. I know my mom thinks I have way too many guitars but in the end it ended up saving us a ton of money.

KS: You recently had the opportunity to do a project with Kia Motors and Michael McDonald in their ground breaking digital series Rediscovered. Share with my readers a little about that project and what that experience was like for you.

CB: Oh gosh! Ya know, I listened to the 70’s records a lot, whether it be Fleetwood Mac Rumours, or The Doobie Brothers Minute By Minute or Takin It To The Streets, any of those records defined who I wanted to be as a singer. Musically I thought Michael was just an absolute genius. The sounds that he had coming as a keyboard player and the tone of his voice; there is no way you could ever hear that voice and undoubtedly not think that was Michael. Nobody else you could think of, could it be. With modern technology today people hit their phone and ask Siri “who is this on the radio?,” and I think that is the quickest response from Siri is Michael McDonald because it’s one of the most recognizable voices of all time.

KS: I have to say when I watched that four part series (which I strongly urge my readers to watch the entire series) you nailed it. I could tell he was genuinely impressed as well. Now in that series you talk about your experience of playing at the Opry. Share with me what it was like for you the first time you performed at The Grand Ole Opry.

CB: Playing the Opry is one of those things that every time I play there I quote “there is no bigger religious experience for a country musician…than standing in that circle”. It’s just one of those things as a country artist, when you step in that circle you don’t know what to expect. I took a friend out to my last performance and the first time they toured the Opry they don’t know what to expect. It’s the same when you are standing in that circle; you don’t know what to expect. It’s one of those venues that are full of people who love country music. It’s not a crowd that’s going to walk into the show and scream and yell your whole entire set. They are there to listen to great music, and I’m just a proud part of that and I’m very glad that they asked me to come back again and again.

KS: Your first EP Chase Bryant charged out of the gate with its hit “Take It On Back.” We love that song and I love that video. How did the setting at the Tennessee Railway Museum for the video come about?

CB: I’m a huge train fan. My grandfather, who was a big influence of course, a huge huge huge influence musically but he and I were both obsessed with trains. When Wes Edwards threw out the idea, I didn’t know who was shooting the video, I just knew that “BAM” that was the one. Especially for my first single.

KS: Your newest release Little Bit of You is racing up the charts right now and grabbed the attention of Rolling Stone Magazine as they labeled you as one of it’s “10 New Country Artists You Need To Know.” That must have been awesome to see your name in Rolling Stone Magazine. Do you find yourself pinching yourself at moments saying…can this be really happening?

CB: There are some great names in that article and some of them I moved to town with, people I’m really really rooting for, and people somewhere down the road we’re still together in this. I grew up reading Rolling Stone and was a big fan, and once again it’s one of those things to know I’m a part of it is an honor to be included.

KS: Your music is what I consider feel good, toe tapping, smile making music. Your live show is amazing and full of the same energy. I get the impression that you are a very positive person from your music. Do you find that when create music, your wanting to send a message with each song or do you want your audiences to find their own meaning in the songs?

CB: My message in my music is who I am and who I’ll always be. I don’t know if there’s another way of saying it. I just know that whoever Chase Bryant is, and whatever you see live, and whatever you hear on the radio; that’s me and who I am.

KS: I love your philosophy on music. You said that “I’m just the guy with the guitar. If I wasn’t, I’d be the guy on the front row with his arm around his girl raising a glass to the guy onstage. No questions, it’s just who I am. Music is everything.” I think this philosophy truly defines you and why we adore you. You are in it for the music and sharing that passion with your fans, thank you. One final comment and question — you hands down win for best hair in country music!!! What’s your secret for keeping it perfectly in place as you are moving around on stage. That’s difficult…I know…my son struggles to keep his hair styled like that!

Chase Bryant – Taste of Country Festival 2015

CB: Well that’s actually funny, as I went through a few different hair cuts when I came to town, and thankfully I had a label that was very good and very patient with me getting my image correct. Who knows if it’s correct now but it’s nothing more than blow drying the thing up in the air and putting some paste in it. It’s a pretty simple process. It’s nothing tough or too hard to happen; and sometimes it happens when I wake up on the right side of the bed.

KS: Well you have that image down pat. Thanks again Chase for taking the time to speak with us and we can’t wait to see you at Darien Lake July 30th!!

As I ended the interview I could not help think what a nice young man he was and how well his music fits his personality. He is an upbeat, positive, fun loving young man who loves what he does, and it shows. He’s the next generation of country. With so many critics out there today picking apart country criticizing the new sound, I find Chase Bryant the perfect example of how the next generation is taking the roots of country, that he was whole heartedly immersed in as a child, and giving it the spin to generate new fans from this generation. As a role model, he’s definitely my choice, and again, hands down he wins my “Best Hair” award.

I’m truly looking forward to seeing his set again, and I strongly urge all of you to not miss this show as Chase, along with Billy Currington, and Tim McGraw will blow your socks off for a fun filled evening of country entertainment.

July 29, 2015
Hearing Aide: Lonesome Crow, ‘Lonesome Crow’

Central New York-based Lonesome Crow know right where the sweet spot is when it comes to Southern Rock/Outlaw Country music. Their pedigrees that include Savoy Brown, Mad Jack and Last Train Out gave them plenty of road experience, along with opening for such acts as The Outlaws, The Marshall Tucker Band and Blackberry Smoke.

Composed of “compadres for decades,” Lonesome Crow is Rick Jewett (keys, harmony and vocals), George Lamb (bass), Lou Kaplan (acoustic and electric guitars, lead and backing vocals), Slaus Brown-Paul (lead and slide guitars, banjo, harmony and vocals) and Barry Westfall (drums). Recording was done at Conan Fioramonti’s The Ghetto studio in Syracuse, produced by the band, engineered by Fioramanti, mixed by Bill Aldrich, Jewett, Brown-Paul, mastered by Scott Patnode.

Photo by Deborah Brooks Miller

This band could claim to be formed in the early to mid-1970s southern rock scene in the Carolinas and Georgia. They can honky tonk it with anyone, each member knows their role and is strong within it. Kaplan and Jewett are the primary songwriters with Brown-Paul contributing two songs as well, they even re-make a couple of Mad Jack numbers in the middle. While the terms Outlaws, Hell Raisers and Renegades are thrown around a lot these days, LC live it as much as reality allows. Much like their influences and heroes, LC’s live shows are spirited romps through decades of history while creating their own on the way.

“Rollin’ Into Town” (K), the opener of this eponymously titled album, establishes much of what “Lonesome Crow” is all about. Melodic, well-written songs that are easy on the ear and easily remembered. This could’ve come straight from a Marshall Tucker (MT) issue, much like ‘Lay Me Down’ (K/J), the next track. The story is plausible, the mix is smooth and you can dance to it. Gary Burns’ steel line with Jewett’s piano just make it bounce, the rest is solid, especially Brown-Paul’s solo. ‘American Small Town Boy” (J/K), revs it up several levels, Jewett’s piano and Hammond sound just right with Brown-Paul’s raved-up rhythm. George Lamb and Barry Westfall are great role players, with lead abilities. This music isn’t going to ask them for gymnastics, do what you do, everyone’s feet listen. Kaplan is out front and he knows how to sell what he’s got, he has the look, swagger and chops to get it.

“Wicked Ways” is the first Jewett/Kaplan (J/K) piece although they switch to Kaplan/Jewett (K/J) too, I’ll note them as they have a different flavor and the mix of them is cool. Kaplan does his best Doug Gray and the band is swinging or skiffling, is that a word even, great ooos in the background, Brown-Paul’s finger picking and slide drops. Jewett honky-tonks it and off they go, he delivers a great solo mid-song too. “Pick-Up Truck” (J), is where Jewett takes the mic and kicks it into gear, his organ sounds are dead-on and Brown-Paul’s pick and slide jump like Toy Caldwell, the bluesy backing shouts and the same in Jewett’s voice compliment nicely. Brown-Paul shines again in solo, did I say the rhythm section was tight? That.

“Shot To Hell” (K/J), brings a bit of Allman Brothers Band here with the acoustic rhythm brought up, the slide and the piano. The MT is still present as Kaplan re-takes the lead and the harmonies really come through with the help of Fioramanti in the equation, a percussion shake too. Brown-Paul’s (B-P) first piece, “You’re The One” is also his first lead singing role, his voice is softer and smoother, it is just right for this true sad country tune. Gary Burns’ lilting steel guitar licks behind the tremble of B-P’s vocal, Jewett gets a little country majestic and you could wring the sweet out of the backing vocals. “Tonight We Ride” TWR is a (K/J) plus Alan Macomber and Mike Brown piece from their former band, Mad Jack, as is the next one, ‘Desperation Road’ DR. ‘TWR’ is a nice up-tempo love song, more country flavored with a updated guitar solo and a Allman Brothers bridge. It’s got the right swing and sway, DR has it too while of course the topic matter is 180 degree spin. DR opens in a dark mood, Westfall paces with a marching snare, but quickly turns its cheek, Brown-Paul leads to Jewett mid-song as they stretch it out with a couple of great solos. Lamb is running steady on the bottom as Kaplan tells the tale of redemption from his soul and heart. Cool outro too.

“Way Past Mad” (B-P), with B-P at the lead, is tweaked with Texas-Blues and a similar swing. It feels like you’re riding a railroad car, then Jewett jumps on piano line right out of a western barroom. All of the elements that culminate in Texas Swing with a big-rock ending. Great jam. “Fast And Free” (K/J) rocks a bit more than previously heard here, Jewett stealing the show in the middle with a ripping piano solo, only to have B-P top it off. When Kaplan sings, “Packin’ up this old guitar, Packin’ up my guns, Loadin’ down that truck out in the drive, Say goodbye and wish you well, Put the hammer down, Takin’ one last run while I’m alive”, you know he’s been there before. Then B-P drives it home.

“Take My Drunk Ass Home” (J/K) closes with a bluesy country twang, Jewett at the mic, it’s a descriptive, with the title’s protagonist talking to himself. It’s possible he’ll get everything he’s lost back, but we know what he’ll have to do. LC’s dexterity within a loose genre is expressed throughout this album. They tell you stories, whether they’re reality or fiction, they’re plausible, they’re presented authentically and played at the level that is allowed by most prefectures. They love what they do and it shows clearly what the idea of being in a band is all about. If’n all y’all maight prefer this heya musical style, might right give a listen, all y’all be durn happy fo it! Check out Lonesome Crow on facebook.

Key Tracks: “Pick Up Truck,” “Way Past Mad,” “Fast And Free”

July 27, 2015
Blind Owl Band and Yonder Mountain String Band Soak up Some Sun at Paper Mill Island

Spending an early July sunset at an amphitheater resting on an island nestled in the Seneca River as adoring fans tirelessly swing and twirl to American roots music sets the stage for a picturesque evening. That was the setting Friday night at Paper Mill Island Amphitheater in Baldwinsville, NY as Blind Owl Band and Yonder Mountain String Band took the stage to woo the audience with earthy vocals and strings.

The casual, backcountry grunge of Blind Owl Band suggests a certain comfort level they feel even when performing for a crowd. Guitarist and vocalist Arthur Buezo sported a pair of paint splattered overalls tucked into cowboy boots while barefoot bassist Christian Cardiello donned a pastel purple tie dye T-shirt with a prancing unicorn emblazoned across the front. Along with banjo player and vocalist James Ford and mandolinist and vocalist Eric Munley, the four musicians all let their wavy brown locks blow in the breeze, closing out their set with a powerful performance of “Whipping Post” by The Allman Brothers Band. With Buezo growling into the mic, they authentically captured the tortured nature of the rock ballad with a bluegrass twist.

As the sun continued to set, the fading daylight drenched Yonder Mountain String Band in a sea of gold as fans applauded their arrival on stage. The five-piece group confidently emanated a calm and collected demeanor, defying the unrelenting UV rays with an assortment of aviator sunglasses. Early into their performance, a remarkably rambunctious fan explosively dropped his beer on the paved ground, grasping his head in disbelief. Mandolinist and vocalist Jake Jolliff shot guitarist and vocalist Adam Aijala a wry smile, slightly amused by the small tragedy. Jolliff standing, center stage between his four band mates, scanned the crowd, often flaunting a euphoric smile in between mandolin breakdowns. Everyone in the band was afforded moments to display their skill both instrumentally and vocally. With Dave Johnston on banjo, Ben Kaufmann on bass, and Allie Kral on violin, and all contributing vocally, they harmonized effortlessly but also shining individually with a mix of voices evoking that country twang.

The give-and-take between musicians on stage was matched by the dosey doe and swing dance maneuvers of audience members as they took turns spinning each other around, enamored by the music. The high energy on stage and in the crowd was going strong during a bouncy performance of “All Around,” a song off their new album Black Sheep, which was released earlier this year. The full-length studio album represents the influx and evolution of talented artists that have coalesced over a seventeen-year period, culminating in the five-person powerhouse touring today. Yonder Mountain String Band closed out the evening with Kral taking the lead on vocals, exclaiming, “Time to bust out your ‘Pulp Fiction’ dance moves,” before sliding into a playful yet sultry rendition of Chuck Berry’s “You Never Can Tell.”

July 18, 2015
Taste of Country Festival 2015 Closes With Toby Keith

After two days filled with incredible live performances by some of country music’s biggest stars, Taste of Country was set to close out it’s third annual festival at Hunter Mountain with one last day of music, food and fun. A lineup of Sasha McVeigh, Western Underground, Josh Abbott Band, Sara Evans, Jerrod Niemann and Toby Keith were set to bring the festival to a rousing finish. Despite the slight weather issues that once again plagued the mountain, the festival’s third day ran smoothly for the most part.

Sasha McVeigh – Taste of Country Festival 2015

They only ran into a few issues towards the end of the night when an impending storm forced Niemann to shorten his set and Keith to move the time of his set up, to ensure all performers were finished before the increment weather set in. Outside of the storm issues towards the end of the night, the rest of the day may have been the hottest out of all three, which is saying something since day two was a scorcher in it’s own right.

Toby Keith – Taste of Country Festival 2015

Around 3:00 p.m., the Texas based Josh Abbott Band, a lesser known group of the weekends performers at Hunter Mountain, took the stage for their set. Although they may not have been a household name, they did a wonderful job of introducing many new fans to their music, and by the end of their set the band fulfilled their promise that fans that were not familiar with them, would know their songs by the end of their set. The group often highlights some more traditional county instruments such as the fiddle and the banjo, and many of the songs that they performed Sunday, especially the more blue grass influenced, twangy “Brushy Creek” gave those instruments ample time to shine.

Jerrod Niemann – Taste of Country Festival 2015

“Road Trippin’” was a carefree song about a group of friends getting away for a long weekend and having a crazy fun time along the way, while lead singer Josh Abbott’s vocals were stellar on the slower paced “She Will Be Free.” Abbott also humorously informed the already inherently rowdy crowd that both line dancing and beer pong were more than welcome and even encouraged during his band’s set. The group then jumped into the fiddle infused “Oh Tonight,” a collaboration with fellow country artist Kacey Musgraves that was a romantic and charming track, while “Where’s The Party” from their 2014 EP Tuesday Night was a wild crowd pleaser. The band poignantly illustrated their love for their home town with “My Texas” before closing their hour long set with their more mainstream sounding single from Tuesday Night, the laid back “Hanging Around.”

Toby Keith – Taste of Country Festival 2015

Sara Evans was the next performer of the day, and if her outfit was any indication, she was ready to help close out the last day of the festival in style. Evans, who has proven longevity in the country music work with her continued success since her debut album in 1997, has been one of country music’s most popular and successful female artists. As a talented vocalist with numerous hits, and awards under her belt, Evans is a confident and experienced live performer. She kept the energy going during the hot weather at Hunter Mountain with classic hits like the uptempo “Suds In The Bucket,” which inspired an abundance of singing and dancing throughout the crowd, and opener “Born To Fly,” a country classic with an distinguishable chorus that tends to hook fans more and more with each listen.

Recent hit “A Little Bit Stronger” is an inspiring track that was well known and was a certainly a fan favorite, before the soaring “As If” and one of her older tracks “Perfect” took center stage. Evans dedicated her twangy hit “Coalmine” to all of the attractive men in the crowd at Hunter Mountain, which earned her a loud applause and cheer, and “Slow Me Down” with it’s clean, modern production and flowy hooks delighted the crowd. She also took the time to inform fans of her soft spot for sad songs, demonstrating her love for them with a heartfelt performance of “My Heart Can’t Tell You.” As her set was coming to an end, Evans played her romantic hit “I Could Not Ask For More,” before closing with her gigantic #1 hit from 2005 “A Real Fine Place To Start.”

Sara Evans – Taste of Country Festival 2015

Jerrod Nieman was the second to last performer of the night, and even though the impending storm cut his time on stage short, his set still rocked fans all over Hunter Mountain. He kicked off his set with “We Know How To Rock” a banjo infused tune of southern pride, before slowing the pace down a bit with the more intimate “Lover, Lover,” a #1 hit he scored as his debut single back in 2010 (and a cover originally recorded by folk music group Sonia Dada).

The Kansas native also broke out another one of his #1 singles, the upbeat party song “Drink To That All Night” which got the thousands in attendance up on their feet, as well as honkey tonk anthem “One More Drinkin’ Song” which had fans singing along enthusiastically. Niemann notably played a new song that he said is to be released in the coming weeks. The track features lyrics that mention many top festivals around the country, as well as ones that show appreciation to a specific type of country girl that you are likely to see at country music festivals and shows. Niemann showed off his silly side to the delight of the crowd when his banjo player wore a giant donkey head mask on stage during the performance of his very strange song “Donkey.”

Josh Abbott Band – Taste of Country Festival 2015

He busted out some fun covers as well, one of Alabama’s “Louisiana Saturday Night,” and another of Stevie Ray Vaughn’s “Pride and Joy,” a song that allowed his band to jam out during it’s tail end. Though his set was cut short, Neimann put on an exciting and uptempo show for the Hunter Mountain audience, proving to be strong direct support for upcoming headliner Toby Keith.

Toby Keith – Taste of Country Festival 2015

Keith’s set, like Neimann’s, was affected by the threat of an incoming storm looming over the mountain, though his set was moved forward rather than cut short. Although a light but steady drizzle persisted throughout his time on stage, it didn’t put a damper on the party that Keith unleashed on the rowdy and invigorated New York crowd. Since 1993, Keith has created and released 17 studio albums, scored 20 #1 hit singles (with 60 total singles on the Billboard Hot Country charts), sold over 40 million albums worldwide and won a myriad of country music awards, making him undoubtedly one of the most recognizable and successful artists in country music. Known not only for his music but his vibrant and humorous personality, Keith was the perfect choice to close out a wildly entertaining and successful 2015 Taste of Country Music Festival.

Unsurprisingly, Keith brought his usual emphatic and unapologetic brand of patriotism with him to Hunter Mountain, with American flags about and the screens around/behind the stage flashing pictures iconic American images and moments. The production throughout his set was flawless, at time featuring fire shooting out of the floor, fireworks and gorgeous lighting. His set started out with hits like the appropriately themed “American Ride,” and “Beer For My Horses” which featured a really cool moment when Willie Nelson joined him in the performance via video recording. Before the latter song, Keith made a point to salute New York firemen and police officers, and thank them for their service and sacrifices.

His sense of humor made an appearance when outrageous, eclectic hit “Red Solo Cup” a fan favorite, was performed alongside giant red cup props on stage which got a big laugh from the crowd. Keith’s set on this night included “I’ll Never Smoke Weed With Willy Again,” a song that he performed with Scotty Emerick, who was on the road with him. Hits like “Who’s Your Daddy” that featured a notable guitar introduction, “A Little Less Talk and A Lot More Action,” and a cover of Ted Nugent’s “Stranglehold.” After leaving the stage briefly, the Oklahoma native returned for an encore performance. It was a special moment when Keith closed with an impassioned performance that included “American Soldier” and “Courtesy of the Red White and Blue,” two songs that once again hammer home the themes of patriotism and love of country. It was incredible to see fans all the way up the mountain shouting the lyrics to this anthemic classic as the rain fell down around them. There is no doubt that this was one moment that fans would bring home with them, and remember for the rest of their lives.

Actually, that same sentiment can be said for the entirety of the 2015 Taste of Country Music Festival, as this years star studded lineup of performers and the wonderful environment that Hunter Mountain provided raised the bar for the future. Country music fans on the East coast should take note, if it’s first three years are any indication, the Taste Of Country Music Festival is set to be one of the premier country festivals in the East for a long time to come.

July 17, 2015
Yonder Mountain String Band Performs at Albany’s Alive at 5

The Blind Owl Band played a great opening set, highlighted by a bluegrass take on The Allman Brothers Band classic “Whipping Post.” The Saranac Lake based band had a small contingent of devotees in the front at the beginning of the set, but by set’s end the whole crowd was won over. Yonder Mountain took the stage to a packed Alive at 5 house under the overpass of I-787 and presented classic YMSB numbers, covers and tracks off their new album Black Sheep.

“On the Run” opened the night, part of the celebrated ‘Bolton Stretch’ saga that weaves in and out of Yonder’s setlists. A pair of tracks from Black Sheep, “Insult and an Elbow,” and the Colorado inspired “Drawing a Melody.” The highlight of the high energy 90 minute set was a pair of sandwiches. The first combined Springsteen and Dylan with “Saint in the City” > “Spanish Harlem Incident” > “Saint in the City,” perking the ears of many Bruce fans in the audience, as Albany has more than a fair share. The second appeared in the encore, taking Yonder’s “Troubled Mind” and seguing into the punk number “20 Eyes” by The Misfits, making the tune seemingly inocuous in the process, before moving back into the end of “Troubled Mind,” capping another successful Alive at Five in Albany.

A photo posted by NYS Music (@nystatemusic) on Jul 9, 2015 at 4:18pm PDT

Next week, stay tuned for Rival Galaxies and Atlas Genius as Albany’s Alive at Five summer concert series continues.

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July 13, 2015
FarmBorough Music Festival Brings The Rumble To Randall’s Island

Decorated in patriotic flags, cowboy hats, and crowds, FarmBorough Music Festival made a huge splash on Randall’s Island for its premier first year.

Spanning over three days, flocks of daisy-duke wearing dancers crowded the festival Main Stage and the up and coming ‘Next from Nashville’ tent to witness some of the best damn country music in New York City. Featured in this celebration of colors and covers was none other than headliners Dierks Bentley, Brad Paisley, and Luke Bryan. Though their sets proved to be quite responsive amongst their fans, the earlier sets throughout the day were equally as impressive in level of musicianship.

If there’s anything to learn from the opening day of FarmBorough, it’s that everyone should be a fan of Maddie & Tae. After living in Nashville in their teens to pursue music full-time, this duo of gals landed a record deal with Big Machine Label Group and transformed those girl power anthems you had in your childhood to raw rhythms of southern soul. Their song “Smoke” spoke to a hopeless relationship, and quite contrasted from their rather sassy tune “Sierra,” which was dedicated to a girl from their high school. Their hit single “Girl In A Country Song” launched their success throughout a very short year, and as they release more singles, they prove both their vocal technique and songwriting abilities as a team each time. The 2015 release of Start Here features a number of their great anthems, which the crowds were able to recite word-for-word. Their stage presence was energetic and memorable, and their cover of Rihanna’s “Umbrella” made a lot of young country girls happy.

While I’d say their take on a pop tune may have stole the show, many other acts came to follow with their own takes on songs, including Canaan Smith’s “Jealous” cover, originally by Nick Jonas. One of the most memorable covers came to be later on the evening, when Joe Nichols took the stage and covered The Band as well as Tom Petty. Throughout each of his originals, including “Hee Haw, ” “Sunny and 75,” and “Yeah,” it was nice to hear an occasional dash of classic rock hits. Continuing the cover trail was none other than Dustin Lynch, who did quite the spin on “Hold On, We’re Going Home” by Drake in between his hit songs “She Cranks My Tractor” and “Where It’s At.” Randy Houser brought the crowd to a sentimental mood when he laid down an unexpected cover of “Stay With Me” by Sam Smith. Despite each artists’ great individual success, witnessing so many great cover songs brought a whole new style to each live set.

As anticipated, the crowd’s size and energy built as the headlining acts made their grand entrances. With Dierks Bentley’s giant curtain falling as he entered, each beer-infused fan made their voices heard amongst the Main Stage audience. Shortly after shotgunning a beer with a fan in the first row, Bentley shared his 2009 hit “Sideways” that made everyone dance in their thick cowboy boots. Ever since his release of the album Riser in 2014, he has made a country anthem out of hits like “Drunk On A Plane” and “5-1-5-0.” As the crowd maintained the same voltage of energy, Brad Paisley struck the stage on Saturday night with a variety of fan-adored songs from his most recent album, Moonshine In the Truck. His engagement with the crowd matched with the impressive technical abilities of the venue made his set a performance to remember.

The most impressive part of each headliner’s performance is that is stood out separately in each unique way. What I can say, however, is that every headliner’s set had to include a staple in country music: lots of beer. Luke Bryan closed out the weekend on Sunday night, where he made several toasts to the audience in celebration of a great weekend in music. As he dove into several of his greatest hits, such as “All My Friends Say” and “Kiss Tomorrow Goodbye,” he truly pleased the crowd with his new single “Kick The Dust Up,” which only came out this past May.

Witnessing so many country superstars performing in the same space as lesser-known underground talent brought a new form of festival to Randall’s Island. We also shouldn’t forget that FarmBorough is the first three-day country music festival to ever hit New York City, which is quite a rare and random accomplishment. It was a truly rewarding experience to achieve the city bustle of concerts like Governor’s Ball, while enjoying and experiencing the music and culture of the South. Though their is no official word on what will take place in terms of next year, we’ll be frequently checking their website and hoping that next year will be as successful and memorable as their first run.

July 12, 2015