NYS Music 20​16

Category: Genres

  • High Energy Soul Singer Sharon Jones Dies at 60

    Soul Singer Sharon Jones, known for her powerful voice and kinetic stage presence, passed away on Friday at age 60, after a courageous battle with pancreatic cancer. She was surrounded by members of the Dap-Kings and loved ones, according to her publicist.

    sharon jones Cancer did not slow down Ms. Jones, who was first diagnosed in 2013 and continued recording or touring while undergoing chemotherapy. A documentary on her life, MISS SHARON JONES! was released this summer to great acclaim.

    Sharon Jones found success in her 40s, after being rebuffed by major labels who considered her, “too short, too fat, too black and too old,” as recounted in “I’m Still Here,” released this summer. The song details her life as she moved from the segregated south to New York City and persistence in achieving her goals. While performing with a wedding band Good n Plenty, she met producer/songwriter Gabriel Roth and joined funk label Daptone Records in Brooklyn, led the Dap-Kings on stage and gave high energy performances for audiences since 2002. The group won a 2015 Grammy for Best R&B Album for Give the People What They Want and recorded six albums on the Daptone label.

    Born in Augusta, GA, her mother was forced to give birth in a storage room at a hospital in the segregated Jim Crow south. Jones relocated to Bedford-Stuyvesant in Brooklyn in 1960, attended Brooklyn College and turned her focus to music. She collaborated in her career with Lou Reed, Phish, Michael Bublé and David Byrne, among many others. Radiation and chemotherapy did not slow down Ms. Jones, “I need to dance onstage, I don’t want something that makes me bedridden. I want to live my life to the fullest.”

  • Hearing Aide: Greensky Bluegrass’ “Shouted, Written Down & Quoted”

    Greensky BluegrassBluegrass is generally known for its solid Americana roots, sans drums, crammed with banjo licks, crisp acoustic guitar and deep bass tones that glue the melodies together. Greensky Bluegrass has taken the core idea of the typical bluegrass style and spiced it up with a twist of tones that bridge the gap between Americana and a rock flavor to create a perfectly balanced jam grass album.

    Shouted, Written Down & Quoted starts off with an immediate bang that captures the attention of the listener without even trying. “Miss September” dives right in, showing off the beauty of Paul Hoffman’s lyrical and vocal talent.  Heavy on mandolin, this welcome tune eases the listener into the album before “Past My Prime” turns into a more serious ride. Anders Beck dances his fingers around the dobro, creating a gritty tone that craftily weaves around banjo and guitar strokes that are masterfully injected within this track, reflecting the no holds barred attitude.

    A tender “While Waiting” winds through crisp guitar that gently carries the melody with touches of dobro and banjo, once again, dropping in just the right place, creating a beautiful tune. An energetic “Run or Die” rolls along with a quick pace before easing into one of the most tender songs they’ve ever created. “Room Without A Roof” was written by guitarist Dave Bruzza for his wife. Elegant lyrics sung in Bruzza’s deeper vocal tone practically bring the listener to tears as this polished melody is delicately moving and gracefully produced.

    Taking the listener out of the sublime trance from the previous track, “Hold On” picks up the energy at just the right time. Dripping in Michael Bont’s banjo notes that carry the tune along with bending acoustics from Beck’s dobro, this uplifting track puts a smile on the face and instinctively has toes tapping to the beat.  The album title also makes its appearance among the lyrics, so listen closely before they quickly pass by.

    The lyrics within “Merely Avoiding” paint a picture so many have experienced of starting over after moving on from a relationship. Afterwards, the hard hitting track “Living Over” rolls along with deep bass laid out by Michael Devol as clean mandolin notes play along with the guitar and intense dobro action, delivering a stellar melody crammed with an edgier rockin’ energy. “More of Me” eases along with a gentle flow. Carrying the listener on waves of emotion, the instrumental melodies sing the story as the lyrics carry the song across suspenseful ups and downs.

    Bluegrass roots are firmly planted in “Fixin’ To Ruin.” Playfully intertwining the specialties of each musician, this track is stocked solid with the classic energy bluegrass fans have come to love. “Take Cover” carries the album to a smooth finish, fittingly ending with this quick paced bluegrass tune.

    Teetering on the verge of bluegrass, jam and straight up rock, Greensky Bluegrass continues to keep fans captivated by their unique energy. The tracks off this new album leave plenty of room to stretch out and playfully explore during live performances. Don’t let the bluegrass part of their name fool you.  Listeners are in for a hell of a ride with their new album, especially when performed onstage. For more information on Greensky Bluegrass, along with dates for their upcoming winter tour, please visit their official website.

    Key Tracks: Miss September, Room Without A Roof, Living Over

  • STS9 Rewinds Time at Terminal 5

    Picture your mind and body being taken on an intergalactic journey through time and space where imagination is limitless. On November 12, Sound Tribe Sector 9 (STS9) truly made every soul in Terminal 5 rock their bodies to the charm of sweet sound waves. This galactic adventure transported and tickled the tummies of many with tasteful sounds and groovy jam produced by this very unique tribe.

    STS9 Terminal 5STS9 has the power to elevate sensations of happiness and fulfillment. This group brings instrumental electronic rock music to the next level – incorporating a bit of jazz, funk, hip hop, drum and some badass bass. Fans at Terminal 5 were truly astounded at the immense rhythm that filled the atmosphere. Many were ecstatic to hear songs from their latest album, The Universe Inside, recently released in September. They kicked off the night with one of their newest tracks “World Go Round”, and played various brand new songs including “Worry No More,” “Light Years,” and threw it back with a classic called “When the Dust Settles” released in 2011.

    Not to mention the light show was fantastic, which ultimately brought a sense of cosmic waves shooting through the air and lifted everyone’s spirits. The crowd gave thanks to this dynamic group. Hunter Brown expressed himself on guitar/keys, Jeffree Lerner gave into the groove on percussion, David Phipps smiled to the punch of his keyboard, Zach Velmer went crazy on drums, and Alana Rocklin simply rocked the bass to the max.

    STS9 Terminal 5Reflecting the stardust of the universe and everything within it, this band knows how to become one with its audience and its surroundings. Being at a show like this makes you reflect on living in the moment and how everything circles in a glorious manner. Their tunes wrap around you with warmth and a comfort that is lacking in this world. STS9 is an identity of the planet and beyond, reaching and rewinding a sense of timeless nature.

  • Papadosio at Brooklyn Bowl, Friday November 11

    Papadosio kicked off their two night run at Brooklyn Bowl on Friday, November 11 with Consider The Source performing an opening Radiohead tribute set, followed by two sets of Papadosio.
    Set 1: By The Light > Advocate XL, Each and Every Wave > Dream Estate XL, Vactrollio
    Set 2: Euclidean Lights, Giving You Up 1/2 > New Love, Mr Turtles, Smile Nod XL, Giving You Up 2/2
    Encore: Cue
    papadosio brooklyn bowl

  • Runaway Gin to Perform First Show in NYC

    Runaway Gin – a Tribute to Phish, will perform their first show in New York City on Saturday, November 19 at The Highline Ballroom. Featuring two sets, this South Carolina based Phish tribute act will kick things off at 7pm on Saturday, warming up the crowd as they prepare for Phish at Madison Square Garden in just under 46 days. Runaway Gin is Andy Greenberg on guitar, Bobby Hogg on bass, John Fitzgerald on keys and John Pope on drums. Andy talked to NYS Music about the upcoming show, what makes them a unique band, and performing with Holly Bowling this fall.

    Pete Mason: This show marks your first in New York City. Where has the band been playing the most and what are your plans for this first show the Big Apple?

    Andy Greenberg: We are so glad to finally play in New York. Since we started in 2014 we definitely have played many many shows at the Pour House in Charleston, South Carolina in particular with our weekly Sunday Phunday residency. Beyond that we ventured into North Carolina and then Georgia and Florida as well as Chicago in the summer of 2015 and then up to Washington D.C. Just this past weekend we went to Birmingham, AL and Oxford, MS for the first time. Our only plans for the show are to get weird, have fun, and play our hearts out. I know so many from NYC and surrounding areas from Phish tour and I am ever so excited to play for many of them for the first time! Some places we play we try and keep things a little light on the jams and more “songy.” New York is not one of those places. We are assuming most everyone there is very familiar (and obsessed) with Phish’s music and we want to go ahead and dive in deep right from the get-go without worry of easing into the show.

    PM: What was it like playing a sold out show at Hard Rock Chicago after Fare Thee Well in July 2015?

    AG: It was incredible. The whole experience was completely surreal. First of all, being in Chicago with Trey playing with the Dead was beyond anything I could verbalize. To see my guitar hero play with many of his musical heroes in such an epic setting certainly had us all feeling very inspired. The crowd’s energy the whole weekend and at our show was absolutely euphoric and we couldn’t help but reflect that back to them. The fact that there were so many people there was overwhelming, in a good way, especially people that I know well and love and people from our hometown. It was a bit of an out-of-body experience up there on stage. Sometimes you just forget where you are and what you are doing and put all your brain-power into just being in the moment. I guess that’s what we always strive for, especially while jamming. That’s how I felt for that show. I walked off stage not remembering much of what just went down – My mind was too occupied with forming memories in those moments.

    PM: Among all the Phish cover bands, what makes Runaway Gin the most unique? What makes you stand out among the rest?

    AG: To be honest I’m not really familiar with the other Phish cover bands – not because I don’t want to be – there just aren’t any near us in Charleston. I went to see Phix when I was in college and I’ve seen Pink Talking Fish and become friends with them, although I guess you wouldn’t exactly call them a Phish cover band per se. I can tell you however what we are all about. We try to sound as much like Phish as possible during written sections of songs – I imagine some tributes may put more of their own spin on the written parts. We try to be in the moment and embellish some things from night to night but in a similar way that Phish would deviate from the composition. When it comes to jams we approach them in the same way that I imagine Phish does and has. We don’t learn jams or try to emulate specific versions typically (although we have once or twice) but I’m not sure if other Phish cover bands take this same approach. In terms of setlists, we create our own shows in the same way that Phish would. We don’t play a show that has already occurred like Dark Star Orchestra does. We felt that doing so would take us (and the audience) out of the present moment which I don’t think is authentic to the experience of being at a Phish show. Another thing that is unique about us is – we play all the time. Since 2014 we have played over 200 shows and I think that a big part of Phish’s sound is the chemistry they have developed from playing together so many times. It would be really tough for us to play as we do without playing as often. When we are off for even a week we can all feel the rust – when we play 3-4 nights in a row it typically gets better and better with each show. At least from my perspective.

    PM: You’ve recently played a pair of shows with Holly Bowling. How were they and did you collaborate at all during the shows?

    AG: We had so much fun sharing the stage with Holly! We did two shows with her the weekend after Dick’s in Charleston and Columbia, SC. It was my first time seeing her live so first of all I was blown away. Piano was my first instrument so I have a very deep connection with what she is doing. I used to sit and transcribe Phish on piano in the earliest stages of my “phandom” and fuse songs together after school for my own amusement. I can’t help but wonder if I had continued playing piano and not switched to guitar in my early teens if I might be doing something in the same vein that Holly is. So the shows were so much fun – really a magical vibe all around! She had the audience in the palm of her hand (you could hear a pin drop during soft sections) and even in tears. Most everyone at the shows, like me, were hearing Holly for the first time and it was such a beautiful thing to facilitate and share in. We did do some collaborating! in Charleston the first night Holly joined us spur of the moment for “Harry Hood” (we chanted “Holly” instead of “Harry”) and again during the encore “Frankenstein” on the keytar. In Columbia for what turned into our “Meat” show Holly joined us for “Also Sprach Zarathustra” and for our first set we closed with “the Squirming Coil” and we brought out Holly’s piano right as we got to the outro section and we walked off stage leaving Fitz and Holly (each on their own pianos) to close the set together with an impromptu piano segment which was stunning to behold!

    PM: What else do you have coming up this fall?

    AG: After this weekend we are going to be putting on “the Animal Carnival” on Friday, November 25 in our hometown of Charleston. This is also my birthday so it’s basically just a big costume party where everyone is going to dress up like animals and we’re going to play all Phish songs and songs they have covered that reference animals. In December, we are headed to Athens, GA to play legendary Georgia Theater on December 8 and then we play Savannah, GA and Tampa, FL that same weekend. The weekend after that we have our first two-night run in Charlotte, NC at the Rabbit Hole and then on the 30 and 31 of December we will play a two-nighter in Atlanta, GA including a 3-setter for New Years which runs until 2:45 am. This is our first time playing on New Years – I’ve been at Phish every NYE since 2011 and I had to choose between Phish at MSG or at Mayan Riviera. I chose Mexico so that left me open for New Years. We normally don’t play shows when Phish is playing but with MSG tickets being so tough and the weather up there vs. down South I figured we could throw a party nearby for all the phans in the Southeast that couldn’t get tickets or make the trip to New York. So yeah it’s a busy Fall and Winter for us and we’re gonna have some fun!

    Saturday show has doors at 6pm and the show starting promptly at 7pm. Check out more info here.

  • Madeon & Porter Robinson at Orpheum Theater Boston

    Wednesday November 9 saw the arrival of the much anticipated Madeon & Porter Robinson Shelter Tour, as the two brought their newly worked duo act to the Orpheum Theatre. Both of these artists pulled their musical minds together to effectively create one back and forth, on your toes concert experience. Alternating between songs, the electronic gurus formulated a set together that was rambunctious, artistically detailed and had the audience fully engaged.

    Madeon Porter RobinsonOne thing that was immediately catching of the performance was the brilliant lighting and backdrop display. Madeon and Porter Robinson set up on two different stations, surrounded by their computers, keyboards and microphones (singing is something that both have grown to get more comfortable within the live concert setting, although neither were traditionally trained). Behind each artist was a massive screen that alternated between animations to match the intensity of the songs. An additional larger screen displayed the entirety of the backdrop, adding to the immense experience.

    Madeon Porter RobinsonTheir duo song recorded and inspired for the tour, “Shelter,” proved to be a crowd favorite. Full of surprises the band shot off confetti midway through the set, just to ensure no one in the crowd would be getting the least bit bored. Very loud, fully of energy and not likely to let up on the tempo for long is the way these two make their music. Although at times one could say somewhat overboard on the frequency of bass drops used throughout their set, the act was overall a powerful and all around fun outing for the midweek concert goers.  They prove to go above and beyond to perfect their live experience as a fully immersive one, and for their young age it’s exciting to see what’s to come in the future.

    Madeon on Facebook  Soundcloud  Twitter

    Porter Robinson on Facebook  Soundcloud  Twitter

  • RoarShark Celebrate Release of Debut Album

    Surf Rock has ridden the ebbs and flows of popularity over the decades, and the tradition is kept alive by enthusiasts of the genre, such as the members of RoarShark. This band hails from Rochester, a location which inspired the album title “…It Came From Lake Ontario.” The band celebrated the album’s release with fans at the Backroom Lounge at Record Archive on November 13.

    roarsharkSurf Rock primarily consists of instrumental music played on electric guitars with rapid alternate picking and lots of reverb, not to be confused with pop music featuring lyrics about surfing. You won’t hear any Beach Boys tunes at a RoarShark show, but you will hear music familiar from its use in television and movies, like “Misrilou” by Dick Dale and the Del Tones and “Apache” by The Shadows.

    The quartet played covers of those songs, as well as original songs which are featured on the album. Inspired by the the greats, the songs written by RoarShark blend seamlessly with the classics. “Azo Go Baja” could feasibly be dubbed into a 60’s beach movie. “Cattle-esque” was nestled between covers of similarly bovine-themed cowboy songs.  “Faulty Equipmonk” has more of a sci-fi feel, with the use of a theramin (played by guest performer H. Elizabeth Alcott of Infrared Radiation Orchestra).

    Attendees were swept away by the infectious grooves. This all-ages show drew in people who grew up during the birth of Surf Rock, toddlers who galloped around the venue, and everyone in-between. Girls in floral dresses danced in a group. Guys in Hawaiian shirts hung out by the bar. There were even a smattering of teenage punk rockers – which isn’t surprising, because the punk and metal genres were heavily influenced by surf rock.

    Together since 2010, RoarShark is Brian Gemme and Josh Reiner on guitars, Neil Bourque on bass, and Gary Yanni on drums.  “…It Came From Lake Ontario” can be found at Record Archive or ordered through CDBaby.

    Set List: Crabs in the Harem, Out of Limits, Faulty Equipmonk, Sadie Hawkins Atom Bomb, Apache, Cattle-esque, Azo Go Baja, Surfin’ Cow, La Femme Electrique, Spy Surfer, Dirk Diggler’s on the Prowl, High Pressure Cutoff, Taco Wagon, Secret Agent Man, White Rabbit, Misrilou, Percolator, Playa de los Muertos, Kids in the Hall

  • Renaissance Still Kicking and Touring

    Renaissance are a peculiar band to say the least. They were part of the progressive rock tradition coming out of 1970’s England, but they were more committed to sounding more classical than rock. At least compared to more well-known prog bands like Yes, Peter Gabriel-era Genesis, and Emerson, Lake, & Palmer. This is a band who did a live album at Carnegie Hall with the New York Philharmonic Orchestra. All their best known songs have some form of orchestra backing. So with their show on November 10 at Buffalo’s Tralf Music Hall, a place that obviously can’t fit a whole orchestra inside, I wondered how they could pull the feat off.

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    On the surface, this sounds like less like a rock band and, as their name implies, a renaissance fair band. But considering they’re still touring, playing in packed music halls, and maintain their stamina despite continuing to play songs around 10-minutes long with many subsections, they certainly deserve much more credit.

    The only remaining member from Renaissance’s 70’s glory years is lead singer Annie Haslam, who has a five-octave range and can still hit and draw out many high notes. She was also the only member to talk to audience between songs. Clearly, the audience came to see Haslam; they gave her much of the adoration between songs. The rest of the band, which included two keyboard players, one dedicated to recreating the orchestral and atmospheric sounds from their albums, maintained a very stoic presence, hardly engaging the audience in ways other than singing their assigned backing vocals.

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    They did play two songs from their latest album, 2014’s Grandine Il Vento, the title track and “Symphony of Light.” Other than that, the eight other songs were from the band’s 70’s era. Prog classics like “Mother Russia,” “A Song for All Seasons” and “Carpet of the Sun” were indeed crowd pleasers, with lesser-known tracks like “Sounds of the Sea,” providing more pleasantries, especially with the sounds of ocean waves and seagulls.

    The encore, the usual closer “Ashes are Burning,” was the only chance the band looked like it was having fun and getting loose. Through it’s 15-minute runtime, everyone took a solo, including the only use of electric guitar the whole night in the final section.

    The show was an odd treat, listening to music of such a bygone era. One where such audacious, un-rock-like rock music had a chance at being commercially successful. Renaissance may not be exactly “hip” anymore, if they ever were at all during their peak years, but I imagine they’re fine with that. As evidenced by the crowd, there will likely still be people interested in this middles ages type of music.

  • Consider the Source Get Intimate at Albany’s Madison Theater

    Walking down the sidewalk of Albany’s Madison Avenue, a laundromat and Tierra Farm Store are the book ends to a timeless, historic neighborhood theater, complete with old school signage and black typeface letters that spelled out “Consider the Source Tonight” above head. The sci-fi, Middle Eastern fusion band hailing from NYC that has garnered quite the following from the Jam community, awaits in a back room of the small Madison Theater, ready to offer fans an unforgettable experience of two sets: one acoustic and one electric.

    Consider the Source Madison Theater Show Artwork

    If you’ve seen Consider the Source, I’m sure it’s been at your average sized music venue or perhaps one of many festivals that roll on through summertime. In rare, more intimate cases, CTS brings an acoustic set to the forefront of the stage. Back at Wild Woods 2014,  200+ people fell victim to a beautiful, serene performance that found its viewers seated on the ground, watching in awe. The trio has also surrendered an interesting choice of acoustic Radiohead sets to their fans. Madison Theater, on the other hand, would witness a cozy performance in a back room of a theater, able to hold no more than 100 people. Seats weren’t filled, but those who came prepared for the show with a drink in hand were ready to relinquish all control and step into an inter-dimensional journey of cerebral intellect and emotional engagement.

    John Ferrara of Consider The Source playing the Slapstick.

    An unplugged, acoustic set is not what you’d expect from quite a powerhouse of a trio but that’s what makes the performance all the more distinctive. John, Jeff and Gabriel emerged from behind a curtain, which they referenced as a “hobbit hole,” towards the back of the stage, mirrored with two large, probably locally crafted paintings on each side. Just three rows back and even still, you were at their very feet, able to get a close up view of an array of atypical instruments and a minimalist yet captivating stage set up.

    After quick banter and brief introduction with a small yet devoted crowd, they launched into acoustic set one with a prelude of harmonies that seemed straight out of Game of Thrones, paired with the stylings of rhythmic African drumming. From the get-go, it was clear to see each band member truly work with and bounce off one another in the heat of the musical moment. The atmosphere made it easy to get a closer look into their onstage operations, as they displayed top-notch eye contact and ability to follow and lead one another at the snap of a finger or the strike of a drum. Aside from the technicalities, their crescendos were master-level, able to give off sound as grand as a full-piece band or as soft as a mouse.

    Gabriel Marin of Consider the Source

    Song two, a Turkish tune by the name of “You Go Squish Now,” brought a double neck guitar to the stage– one Gabriel Marin is known to handle with integrity. The wails and cries of the double neck drew intense emotion from Marin’s face and demanded the attention of all in its path. Next up was an improvisational “Good Point, Wandering Bear” which found the group conquering their halting breaks and impeccable timing. In the midst of all of this, they cracked jokes in between song changes and asked each other to borrow instrument tuners, bringing us all back down to planet earth to realize that aside from their unmistakable talent, they’re just like the rest of us, if even for a second.

    A fan-appreciated Star Trek reference kicked off song five, titled “There are Four Lights,” which found John exchanging banjos for basses and claiming “I forget how to play this one, who starts?” The last song of set one introduced the first major hand drum solo in the middle of “Tihai for the Straight Guy,” which is typically very electric and offered a captivating Dan Bau solo. Consider the Source makes you feel like you’re on a journey of self-discovery, inner-confusion and triumph as your passing through dimensions of time and space, only to be spit out where you started, feeling more enlightened than before.

    Set two was plugged in and picked back up with Are You Watching Closely fan-favorite “Moisturize the Situation,” which is more up-tempo than most of the tunes delivered in set one. After coming to a band decision whether or not it would be 40/60 or 60/40, they launched into a song  by the name of “40 Percent Gentleman, 60 Percent Scholar” while segueing into the first song drummer Jeff Mann ever played with the group. Macedonian track “Do Not Shrink Me Gypsy” was what solidified Mann’s involvement when founding drummer and member Justin Ahiyon parted ways with the group that began back in 2003. Fans were delighted to see the Mandolin make its way out on stage as well as the electric sazz for “More Than You’ll Never Know.” (Bonus points if you knew the title referenced Arrested Development.)

    “Bass Wand Jam” came up next and as if their instrumental diversity wasn’t enthralling enough between Kala U-basses, Goldtone Banjo Basses, Dumbeks, Theremins and Mandolins, John threw a Slaptick bass into the mix. Essentially, its a thin, 5 foot bass-drum hybrid instrument. The rectangular piece of metal has a paper thin slab of metal running down it, which functions the same way as a string would. With two songs left, Jeff manned the drum kit while holding down a Dumbek solo during the appropriately titled “Doumbekistan,” before entering the last song of the night, “Tsim Sha Tsui.” The last two songs found Gabriel releasing his long strawberry blonde locks from his hat, a cultural Taqiyah.

    When someone asks you to explain Consider the Source, you find yourself somewhat caught off guard. You know exactly how their magic makes you feel, yet no words seem to accurately depict their impact, as their sound is unrivaled and incomparable to the music that surrounds them. Their use of technique and one-off musical instruments make for quite a treat and although they’re huge in the Jam world, they continue to break boundaries with Middle Eastern influences and plan to dip into progressive rock and metal scenes as well. Those in attendance at Madison Theater witnessed quite a luxurious, musical experience– one that many dream of being a part of.

  • The Pretty Reckless Sells Out the House of Blues Cleveland

    Cleveland, home of the Rock and Roll Hall of Fame, hosted The Pretty Reckless who performed for a sold out crowd at the legendary downtown Cleveland House of Blues on Saturday, November 12.

    The popular rock band The Pretty Reckless,  led by the gritty, soulful and mysterious female singer, Taylor Momsen is currently on their fall 2016 headlining tour in support of their latest album, Who You Selling For, just released less than a month ago on October 21. Supporting The Pretty Reckless on this tour are the bands, “Them Evils,” a three piece in your face straight up rock and roll band from Huntington Beach, California and “The Holy White Hounds”, another kick ass rock band hailing from Des Moines, Iowa.

    The Pretty Reckless proves rock is definitely alive and kicking with this, their 3rd studio release following their stunning success of their 2014 album Going to Hell. With her signature raspy, gritty yet soulful vocals, Momsen throws a different smoky-sultry twist on this new album with enchanting and mesmerizing vocals. Although evolving and experimenting on this new album, the bands growth is apparent through their eclectic songwriting, 70’s riffs and signature hooks. The band, formed in 2009 with Momsen on vocals, Ben Phillips on guitar, Mark Damon on bass and Jamie Perkins behind the kit, still put on a kick ass and entertaining rock show. Their sound remains reminiscent of 1970’s rock with a flair of Zep thrown in along with early Heart and maybe a Stones influence. However on Who You Selling For the band is breaking out to define their own unique sound. Their stage show was not at all flashy or showy, with only mood lighting for most of their 60 minute set. The band however is not about theatrics or wild stage shows, they are first and foremost, all about their music.

    Opening the night was the band Them Evils from Huntington Beach, California. This band was a very unexpected surprise. They played a 30 minute blistering set from 7:45 to 8:15 and could have played longer as the set seemed to fly by with mega energy and killer rock tones. Lead singer and guitarist  Jordan Griffin sported a black Gibson Explorer played through a vintage Orange amp and his guitar tone alone set the mood back to a vintage gritty 1970’s rock and roll vibe. His vocals were nothing short of, well, killer. Jordan has amazing stage energy and presence, as does the rest of the band including bassist Jake Massanari and drummer David Delaney. I heard classic Sabbath tones along with a mix of Led Zeppelin, Motorhead and AC/DC. Massanari and Delaney owned the bottom end rhythm section with a thumping, yet groovy beat and drive. Them Evils are definitely a rising band to be reckoned with with their blend of modern and classic rock. Included in their short but solid set were originals “Untold” and “Have One on Me” as well as an amazing cover of AC/DC’s “It’s a Long Way to the Top (if you wanna rock n roll)” and Motorhead’s “Ace of Spades” to close the set. Keep an eye and both ears on Them Evils as the are making big waves in the modern rock in roll world despite having one foot in the 1970’s still in terms of their sound. Check out their website.

    Up next was the four piece rock band, The Holy White Hounds from Des Moines, Iowa. This band, in keeping with the feel and sound of the night, were again, not overly flashy or flamboyant on stage, but put on a kick ass energized show with a ballsy, gritty sound with some killer effects by simply using vintage effects pedals. The band has been climbing steadily since 2005 working their way up the ladder paying all the dues and sweating it out night after night showcasing their unique rock sound with influences of Nirvana, The Pixies, and Queens of the Stone Age all while defining their own sound with infectious hooks and riffs. The Holy White Hounds merge a blend of classic rock, grunge and punk for a totally unique sound. Touring in support of their current album Sparkle Sparkle, the Hounds consists of members Brenton Dean on lead vocals and guitar, Ambrose Lupercal on bass, Seth Luloff on drums, and James Manson on guitar. Their set included original songs “Switchblade,” “Blind,” and “Oh Mama.” Again, despite having been around for over a decade, this is another great rock band on the rise to keep an eye out for. Check out their website for more info.

    Assuming most of the hundreds of fans that started lining up outside the House of Blues on a chilly Saturday night in Cleveland had never heard of the two opening bands, If they chose to enter the club when doors opened at 7 p.m. they definitely got a taste of good old straight up with a gritty kick ass rock and roll welcome.

    At 9:45 p.m. by the stage left clock, The Pretty Reckless took the stage and the sold out crowd went wild with a deafening roar as Momsen casually walked out on stage along with her band mates with her trademark wavy, dirty-blonde hair and a slightly different rock star look than the her norm, wearing black skinny pants, long black boots and a long black leather coat over a dark shirt. The dark tone and look set the mood for their set. Illuminated by only a few dim spots and blue back lighting, the tone was dark but the sound was huge. The Pretty Reckless, touring in support of their most recent studio album Who You Selling For, opened with “Follow Me Down,” their 3rd consecutive number one hit from the 2014 album Going To Hell. Next was an older classic, “Since You’re Gone” from their 2010 album Light Me Up. The band may have wanted the fans to focus solely on the music as their stage presence was ominous and dark with some vintage looking and only necessary mood lighting with the music speaking volumes about how this band has evolved. Momsen knew how to work the crowd in an intimately powerful and commanding fashion as they continued through their set with “Oh My God” and “Hangman” next. Philips was brilliant on guitar as he played his crafted riffs and longer solos from the new material on his beautiful Gibson ES-335. Damon and Perkins were equally as impressive, although again, not flashy, on bass and drums providing a solid, gut felt low and and driving back beat as they plowed through the set effortlessly with a gritty heavy under-toned rock and roll and hypnotic groove at times and a driving all out rock beat at others. The Pretty Reckless continued through their hour set playing other hits including “Prisoner” from Who You Selling For, “Sweet Things,” and “Heaven Knows” from Going to Hell which had the sold out crowd about blowing the roof off the place with their singing along. The Pretty Reckless closed the night with “Fucked up World” also from Going to Hell.

    The Pretty Reckless continue their 2016 headlining tour along with Them Evils and The Holy White Hounds as they are proving to be one of the best female fronted bands going as they are taking no prisoners, kicking ass and taking names wherever they go, just leaving a fun and dirty kick ass rock and roll sensation wherever they travel. They continue their U.S. tour into December before heading across the pond to take Europe by storm in January 2017. It is going to be an excellent new year for the Pretty Reckless and their world-wide fans!

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