Say hey to the first live album from Connecticut funk group West End Blend, whose eight-track recording includes a blend of songs from their three previous albums, invigorated with the energy captured during their two-night run at The Waterhole in Saranac Lake.
Captured on a studio-style soundboard engineered by the GRAMMY award winning Brendan Morawski, the recording is bright and full, bringing fans closer to the band without even setting foot in the venue.
Overall the live tracks match the recorded versions in quality, but play out a littler longer and showcase the band’s live flair. Purposeful guitar on “Get By” leaves space for a more intense build, intensifying the plea in the song’s lyrics to make a relationship right. The track is cleverly bookended with emotive guitar instead of the layered vocals and sound effects they used on the studio version, adding weight to the song.
Most of the songs they chose for this album deal with the uncertainties of love (“Day Dreamer” and “The Scene”) and determination and finding inner power (“All You Got” and “I’m Time”). The lyrical content relays compelling and relatable themes backed by powerful dance grooves that emphasize the message.
There are a couple of dates to catch West End Blend before the end of the year including December 21 at Anthology, and December 22 at The Haunt. Check out their Facebook page for event details.
Cory Wong is rebranding what it means to play rhythm guitar. Though it’s often regarded as less expressive than lead guitar, Wong has evolved his own unique style illuminating the magic beyond the melody. He’s recently released his first full length solo project, The Optimist, after his 2016 EP MSP, Part 1. He took some time to chat with NYS Music about the new album, the adorable meaning behind “Juke on Jelly,” and why he continues to confuse (but also impress) people at his shows:
Ally Dean: Have people been responding well to tunes off the new album during this tour?
Cory Wong: It’s been great! I’m surprised- oddly enough I did not bring enough records. I’ve sold three times as many albums as I expected as far as physical merch. It’s a great metric- people are receiving it even better than expected.
AD: That’s so exciting! Speaking of people digging your music, some have referred to you as a “rock god.” Does that do anything for you or do you kind of just shrug it off?
CW: Yeah, I mean we all have an ego and people stroking your ego and saying insanely complimentary things is very flattering, but it’s also really funny. People know me as “rhythm guitar god” which is a rare thing. When people see a guitar show they expect to see shredding solos and insane scales. So what’s challenging for me is figuring out how to uphold that title but not be “shredder guy,” but playing in a very groove and feel-based way.
I’ll do all my guitar fireworks but they’re very different. They’re clean, direct and rhythmic guitar. So people will come up to me say that [guitar god] phrase, but with a confused look on their face.
AD: You’ve collaborated with a lot of different people. Does the dynamic usually involve a sense of shared learning or are there a lot of musicians out there that feel more their way is the right way and they aren’t as open to learning and improving from their peers?
CW: In general the vibe I try to set up is one in which people feel they can contribute. For me it’s all about the artistic endeavor of it, regardless of whether it’s a business venture. It’s about the art and the craft. Of course I have a radio sensibility because I’ve played in a bunch of bands that have been on the radio so I have a good sense of what is radio friendly and that influences what I do but that’s not the goal.
So when I collaborate with someone like Robbie [Wulfsohn] from Ripe or Antwaun [Stanley] I say “we’re going for this energy.” Antwaun and I are so close almost like brothers at this point from touring together with Vulfpeck for the past few years. When we get together to write there’s a lot more of a relationship there, it’s not about writing something to pay the bills. Most of the people I collaborate with are guys that have a mutual respect for me. I surround myself with people I enjoy being with. That’s part of the recording process too. Everybody is making themselves very vulnerable with what they’re doing, so you have to have that mutual respect.
AD: And speaking of Robbie, I was excited to see you collab with him on “Light as Anything” because Ripe is one of my favorite bands right now. I saw them play in Rochester last year and loved them so much I saw them in Syracuse the next weekend. I think the structure of that song compliments his vocals really nicely. How did you choose him for the vocals?
CW: While I was producing their record, I realized in the process Robbie is legit! And the whole time I was producing their record I had this little selfish wishbone in my rib cage goin’ “you need this guy for your record.” So we had to come up with the right tune because we both wanted to feel good about it. For them, they have such an insane live energy, as you know. The thing about producing that band was how to get that live energy in the studio. What they’re going for is a somewhat more straightforward, radio friendly thing. Robbie and I were talking a lot in that realm and about lyrical concepts for his record, and he had this one idea that didn’t quite make sense for Ripe, so we decided to put it on my record. So it was a lot of fun. And our writing process was a lot of back and forth through voice memos, sharing lyrics and melodies. It was when I was on tour with Vulfpeck and he was on tour with Ripe and then we met up in L.A. to actually record it.
AD: I love when musicians I adore collaborate on projects. It makes my heart so happy.
CW: That’s awesome and that’s part of the community thing too. We find time during touring to make it happen. It’s been fun to kind of be one of those community connectors. It does come full circle and the community is not as big as people may think. It is huge but there’s so much interconnectedness.
AD: I was wondering about another song on the album. The “Juke On Jelly” tune is quite fun. And KATIS [pronounced kaytis] repeats this line really quickly and I can’t quite figure out what she’s saying…
CW: It’s “Oh my little jelly, get up on the telly.” There are kind of two stories to it. It’s the story of a person trying to audition for a TV thing that didn’t feel the confidence to do so and it’s an encouragement to them. I have a friend whose name is Jellybean and he plays a Telecaster. Jellybean is the drummer from Morris Day and The Time. He’s also a Minneapolis legend and shreds on the guitar. I used to pay guitar with Dr. Mambos Combo, it’s like a house band at a club in Minneapolis. Jellybean would come up and play guitar and it was a Tele. So the song is also kind of asking him to come up and play, but it’s mostly about a person who wants to audition and they’re afraid but they know it’s what they’re meant to do.
AD: That’s absolutely adorable. So who would you still love to collab with whether they’re alive or dead?
CW: There’s a handful. I’d love to play with George Benson, a legend guitar player. Always wanted to play with the guys from Bela Fleck and the Flecktones. Seeing them in high school split the door wide open for me to say, “Wow, this kind of music can be done and people will like it. You can have stuff that is both complicated and simple at the same time.” Seeing them was transformative as a musician. Chris Thile is one of the greatest musicians to ever live. He’s a mandolin player. Brad Mehldau is a jazz piano player I love.
A lot of people I really wanted to collaborate with I’ve already worked with. I wanted to work with Nate Smith for a while and then we did the Fearless Flyers record and now we have a band together. It’s amazing.
I went to school for science. It was a real leap of faith to choose music as my profession. I knew it’s what I was supposed to be doing with my life. My friends all knew it. Without being too Christian about it, but that’s my background, but I really felt like that’s what God was telling me to do and I still really believe that.
And now I’m in a band with Nate Smith, the most insane drummer of our time. It’s an amazing reminder that I’m doing what I’m supposed to be doing but also a serious reminder to keep doing it well and treat it with valor. Now that stuff is happening for me, I can’t get lazy, and have to work harder.
Review: The Optimist is a fitting title to describe both the overall attitude of the album and Wong’s buoyant demeanor. Every song’s distinctive character still brightly demonstrates how Cory Wong is redefining the “guitar god” persona. “Jax” animates the album to life with a sharp infectious rhythm that stimulates the brain, buzzing like the most welcome alarm clock signaling dance time.
“Jax” is felt more in the brain, but “Light As Anything” is felt more in the heart. Robbie Wulfsohn’s vocals mixed with elegant and thoughtfully placed guitar synthesize so well. “91′ Maxima” grants listeners some of that quirky sensibility that may be familiar to Vulfpeck fans with some viscous, drool worthy guitar work. “Jumbotron Hype Song” opens with thirst quenching bass from fellow Minneapolis musician Sonny T along with surprisingly poppy vocals from longtime collaborator Antwaun Stanley, combining to create a really interesting spread of highs and lows.
It’s impossible not to smile during “Sitcom” which employs a comically contrived laugh track throughout an already very cheerful tune with happy horns and a ton of momentum. British singer KATIS and German musician Marti Fischer on the clavinet (which is famously and very prominently used in Stevie Wonder’s “Superstition”) come together for “Juke On Jelly” which is an incredibly feel good anthem of encouragement. The title track “The Optimist” is a classy instrumental that rings truest to Wong’s style without being too whimsical. He geniously used the studio recording as a platform requesting famed sax player Dave Koz to make a cameo on the video and IT WORKED (see link above). The album ends with “Massive Action” which brings that heavy bass back with mischievous horns and heavier more lethargic approach that’s just plain cool. The Optimist is available for purchase all over the Internet. Get your copy now!
Key Tracks: Light As Anything, Sitcom, The Optimist
Known for their enthralling fusion of soulful harmonies, gripping guitar and unpredictable drum patterns, The Nth Power played at Funk ‘n Waffles Rochester on Thursday, August 23 to a cold room devoid of the passionate crowd they deserved. The tiny crowd could have been a blessing in disguise since the uncomfortable volume may have been a discouragement to first time listeners seeking the band out in the future.
Despite a harsh beginning to the show, moments of clarity during some of their jams showed the room what they can do. Their stage presence added to the spectacle, with Nick Cassarino (vocals/guitar), Nikki Glaspie (drums/vocals) and Nate Edgar (bass) all equally emotive with instruments in hand. Edgar is probably the most amusing to watch, balancing on one foot and bobbling his head, creating almost a bass player caricature.
Cassarino took a moment during their performance to plug a charity the band wholeheartedly supports. The Harold Robinson Foundation helps the underprivileged youth in South LA connect with nature by sending them to a three-day outdoor camp. The foundation is highly rated for remaining transparent about their operations and is definitely worth checking out.
The Nth Power soldiered on, displaying a fierce mashup of Earth Wind & Fire’s “Shining Star” and “Mighty Mighty” that lit up the room before delving into one of their most beloved tunes “Only Love” off their 2016 album Abundance. Overall it was a show worth seeing but hopefully the sound will be more on point next time to do justice to their playing.
After several counties in NY calling a state of emergency due to recent heavy rains, Curveball coordinators were forced to make the unfortunate decision to cancel the Phish music festival in Watkins Glen as a matter of public health and safety. After exploring every avenue to try to keep the festival afloat, the required permits that deem the festival site safe for thousands of people to inhabit it for the duration of the weekend could not be granted, and the festival was cancelled.
Most notably, there was no reasonable way to deliver the necessary amount of clean drinking water needed to run the festival. The local sewage treatment plant could not keep up with the onslaught of rain and local supplies became contaminated.
According to security, those already en route are permitted to arrive until 7:30 pm Thursday, but must be out by 12:00 pm Friday.
Ticketholders will be issued refunds. For more information visit phish.com.
CATS are back! Circles Around the Sun will release their second instrumental project August 17, shorn from the pretense of set break music like their first album, Interludes for the Dead. The four-man fellowship is guitarist Neal Casal and keyboardist Adam MacDougall (bandmates in the Chris Robinson Brotherhood), bassist Dan Horne (Jonathan Wilson, Grateful Shred) and drummer Mark Levy (We Dream Dawn, Bonfire Dub).
The seven-track double album jumps right into the eight-minute “On My Mind” with comforting undertones CATS fans adore, but shedding the lethargic nap time vibes to reveal energizing velocity.
Chuck D of Public Enemy introduces the second track “One For Chuck,” after hearing CATS record at Castaway 7 Studios, digging their sound, and agreeing to make a cameo on the song. The ensuing low key dance groove offers effects with an uncanny likeness to cats meowing but still pleasantly tickles the ears. You don’t have to like cats to like CATS.
“Immovable Object” embarks on a sultry trajectory, followed by the near 20-minute “Halicarnassus,” which beckons the listener with another contagious progression, slowly darkening in tone, possibly dragging some listeners into the rabbit hole of their own consciousness without drowning in the abyss. The constant gentle beat is the life preserver that keeps the listener afloat. Casual references to the Beatles love song “Something” add a comforting familiarity.
“Tacoma Narrows” hits hard with soulful guitar, while the sprightly nature of “Electric Chair (Don’t Sit There) is accomplished with the addition of hand drums. “Ticket to Helix NGC 7293” (an actual nebula in our galaxy) rounds out the album with a feelgood beginning that over the course of 20 minutes devolves into a plasmic soundscape fit for a horror film. Gentle guitar breathes life back into the song to end the album on a high note.
The experience start to finish is satiating. When jams can be overwhelmingly heavy or too loose and disconnected, CATS swiftly navigate the sweet spot in between. They create songs that have just the right amount of weird to intrigue music junkies but still appeal to a wide audience.
Let it Wander is an album perfect for those looking to add more tunes to their chill party mix. The album title is a fitting name for the project which includes two near 20-minute tracks that truly allow space for the band to wander with their work, and for the listener to wander with them.
Catch CATS for one of their small hand full of tour dates while you can! Pre-order the album here!
August 22 – Asbury Park, NJ – Wonder Bar August 23 – Brooklyn, NY – Brooklyn Bowl
August 24 – Ardmore, PA – Ardmore Music Hall
August 25 – Burlington, VT – Higher Ground August 26 – Pine Plains, NY – Huichica Music Festival
Key Tracks: One For Chuck, Electric Chair (Don’t Sit There)
Despite an intense musical appetite, I have always struggled to understand the draw to major jam bands like Grateful Dead. So it was with an apprehensive but open mind that I ventured to Frontier Field Friday, August 3 to test the waters with Dark Star Orchestra, one of the most prominent GD tribute bands out there.
This year marked their fourth annual stadium show at Frontier Field, and it’s something DSO and GD fans alike look forward to all year. In the past few months I have been exposed to various live recordings of GD shows throughout their career, but often felt the music had no memorable quality, like if it suddenly stopped playing in the background I might not even notice. I’ve also sought the wisdom of knowledgeable friends who have given their best effort to inform my musical appreciation of the jam scene, but still hadn’t gained much traction.
With this chip on my shoulder, I walked into the stadium and became instantly optimistic. The setting alone is worth going to see DSO. With the stage nestled near home plate, it is surrounded by an impossibly green field, punctuated by some familiar players in the Rochester skyline, including the infamous Kodak building off to the left. Anyone with Rochester pride would seriously appreciate this venue.
It’s refreshing that DSO plays slightly more uptempo than a lot of the GD recordings I’ve heard, so the music is more lively. Oh- and they can sing. It’s so frustrating when off key vocals distract from an otherwise enjoyable song. This has always been one of my biggest complaints with jam music.
In terms of the setlist, more seasoned fans know if you hear “China Cat Sunflower,” you’re gonna hear “I Know You Rider” right after. Same with “Lost Sailor” and “Saint of Circumstance.” I didn’t know the songs well enough to recognize them at the show, but I did recognize that “The Music Never Stopped” and “One More Saturday Night” were both really fun to dance to. I feel accomplished to finally appreciate a couple songs from their extensive catalog without a serious fan explaining why I should. It feels like a rite of passage in terms of understanding this music better.
Even when things got noodly, it didn’t drag on incessantly as jams often can. For a long time I’ve thought musicians noodling on stage and fans noodle dancing in the crowd was just plain funny. It’s hilarious to me that a silly food describes both technical musicianship and the wiggly dance moves of the people who worship this music. It was too easy to make fun of and I couldn’t take it seriously. I can get down with a quick little jam, but I never understood how the crowd tolerated prolonged noodling where the music sometimes doesn’t even make sense or can go off on boring tangents. But that’s the nature of jamming- sometimes it works out and sometimes it doesn’t. It’s more difficult to make something sound good having never practiced it. It’s taken me a long time to accept this when all I want at a show is to be blown away by the music.
Interacting with the crowd at DSO also enhanced the experience. The incredibly welcoming crowd swiftly facilitated making friends with total strangers in the beer line or in the bleachers. Of all the music genres, this one encourages a sort of carefree dance expression you can’t find everywhere, and it’s definitely contagious.
I may still will never be a Deadhead, but I’ve been a music fanatic long enough to warrant some investigative reporting. I will continue seeking to better understand my own misgivings with jam music and to appreciate some iconic music of our history.
Set 1: Alabama, Bucket, West LA, Memphis Blues, Lazy River Road, Esau, Blow Away, Ramble On, Sunrise, Music
Set 2: China Cat > Rider, She Belongs To Me, Lost Sailor > Saint of Circumstance > Drumz > Dear Mr. Fantasy > Throwing Stones > World To Give > Saturday Night
As the first note was played during the Tedeschi Trucks Band Wheels of Soul show at Artpark on July 17, it became an international endeavor. Our Canadian neighbors across the Niagara river hopefully gained a taste for the southern rock sound if they weren’t already familiar.
Although the amphitheater rests beside the bank of the river, the water is mostly hidden by trees that surround the venue, giving it a very lush sense of seclusion. The layout feels a bit jagged, as the GA lawn doesn’t directly face the stage, but is located on a slightly steep hill to the side. A large screen facing the lawn projecting the concert helps to remedy this, but it’s easy to feel slightly disconnected from the music.
This disconnect was triggered before even setting foot in the venue, as finding parking became a scramble to get a spot before missing the opening band. The Artpark signs for additional parking seemed to be leading us farther and farther from the venue, so in a panic we parked in a side yard patrolled by a middle aged man who rolled up to our window on a BMX bike, and in exchange for $5 pointed at the grassy hills in front of us exclaiming, “walk ten minutes that way and you’ll see it.” With eager anticipation and only a smidge of skepticism we hightailed it through the hills, quickly being immersed in a sea of waving yellow grasses that surrounded the path in every direction. We were soon joined on the path by flocks of other concert goers en route to the show, which combined with the beautiful scenery helped put our frantic minds at ease. Although some venues provide VIP parking for media personnel, this parking adventure definitely made for a better story.
We came through the upper entrance, where an immense flight of stairs beckoned us to descend toward the amphitheater where Marcus King Band had opened and Drive-By Truckers were now mid-set. The scene felt a little overwhelming between getting a lay of the land and navigating the throngs of humans scattered across the property. After nestling in a spot halfway up the grassy hill, it was time to go barefoot and settle in for the show.
Tedeschi Trucks Band started their set with “Bound for Glory,” an easy going but powerful tune off their first album. TTB kicked things up a notch with “Made up Mind” from their second album followed by a feathery flute intro to the lovely and triumphant “All That I Need.” Derek Trucks peppered the song with some trademark guitar work before the band quieted way down to build it back up to a full throttle jam like they do so well.
Susan Tedeschi put full force into her vocals for the ballad “Ball and Chain.” “Don’t Know What it Means” was once again concluded by a similar avant gard jam as the CMAC show, but the saxophone was definitely less abrasive this time. A powerful tidal wave guitar intro crashed into Tedeschi’s soft and sandy vocals for “Shame.” Tedeschi added a haunting echo effect to her mic that resonated through the park for a gripping end to the song. TTB brought Marcus King back to the stage for the bluesy Elmore James cover of “The Sky is Crying” where he wailed on guitar and vocals conjuring cheers from the crowd.
TTB elicited more cheers as they played the opening notes to John Prine’s “Angel from Montgomery.” More applause followed as they executed a flawless transition into Grateful Dead’s “Sugaree,” with another gorgeous solo from Trucks midway through. That familiar opening guitar riff on “Laugh About It” led the band into the uplifting and empowering song before closing out their set with “I Want More,” a bouncy tune with a lyrical backbone. The song broke down a little at the end as it devolved into a somewhat muddy jam that did not serve as a strong ending.
Luckily TTB returned with a meditative intro into “Midnight in Harlem.” They closed out the night with Patterson Hood from Drive-By Truckers assisting on the Paul McCartney and Wings cover of “Let Me Roll It.” The TTB setlist overall provided a satisfying musical journey, dismantling and rebuilding the energy in a way that makes people fall in love with the band a little more every time they perform.
Setlist: Bound for Glory, Made up Mind, All That I Need, Ball and Chain, Don’t Know What it Means, Shame, Going Down Slow, The Sky is Crying, Angel from Montgomery/Sugaree, Laugh About It, I Want More
Tedeschi Trucks Tuesday is the new unofficial title of the Wheels of Soul Tour, as every NY performance has fallen on this humble day of the week. July 10 ushered Tedeschi Trucks Band along with support from Drive-By Truckers and The Marcus King Band to the foothills of Canandaigua wine country. At CMAC guests can purchase full bottles of wine which the attendant will unceremoniously dump into the biggest plastic to-go cup imaginable. It’s nearly impossible to resist a $16 bottle of blackberry “merlot” until you realize it’s only 6% alcohol and tastes like sugar water with a fruity afterthought.
Never again.
This regrettable beverage purchase was the only minor downfall of the night. Having never attended CMAC or a TTB show before, eager anticipation permeated the atmosphere. TTB’s wide appeal drew a charming audience of young and old faces. The bands mirrored this age spectrum, as Marcus King himself is newer to the scene at only 22. Yet his band was a fitting choice to open the night, as they eased fans in with their blues rock style garnished with King’s distinctive howling vocals for a heavier sound. He invited Derek Trucks to the stage for a tune which would be reciprocated later when TTB performed.
Drive-By Truckers offered more pop rock inclinations with a lighter demeanor. Nothing about their set particularly stood out, but it flowed nicely overall. Once TTB took the stage, the crowd erupted in cheers, electrifying the air with excitement. Their music is what love sounds like. It’s nearly impossible to describe without being cheesy. It massages the ears and makes the heart flutter. Susan Tedeschi’s voice and Derek Truck’s guitar playing are the perfect marriage. Susan took a moment to address the crowd exclaiming, “It’s been really special. We actually paddle boarded on your lake yesterday.” Imagine splashing around in Canandaigua Lake and seeing Susan Tedeschi the queen herself paddling past. Play it cool though.
The only noticeable hiccup in their set came from the sax player when he went a little too avant garde during his complicated solo, making it too hectic to enjoy. But towards the end of the set the entire horn section rallied with the rest of the band conjuring an intensely energetic dance experience that temporarily transported the crowd to the jazzy streets of New Orleans.
Tedeschi Trucks Band hemorrhages emotion through delicate instrumentation, momentum building solos and gripping lyrics. The unwavering strength in Susan Tedeschi’s voice could stand alone as something to see live, but the supergroup she is a part of does justice to every band member to create a musical experience that leaves the crowd in awe.
Stay tuned for a review from their July 17 performance at Artpark in Lewiston!
Setlist: Keep on Growing, Laugh about it, Just as Strange, Don’t Know What it Means, Shame, Midnight in Harlem, Down in the Flood, Show Me, Let Me Get By, Going Going Gone, Rockin’ in the Free World
Nestled near the west bank of the Genesee River, Kaleidoscope Collective invites you to step into your new favorite dance venue, Ecstatic Dance Rochester. Trying something new is never out of season, and whether you’re new to ecstatic dance or well versed in the art of spontaneous movement, all are welcome to join us in our cozy dance studio and allow the music to take you wherever you want to go.
At an ecstatic dance event, you set the mood for your own dance experience. The soundtrack of the evening is curated by either a DJ or live musical act. It begins with tranquil tones to ease you in, each song building the intensity up to a musical climax of heavy bass to get your heart pumping- feel free to twerk it out if you feel so inclined. The music will come full circle as the soundtrack gradually descends back to a calming state, creating a dynamic, fulfilling experience that offers opportunities to play with whatever type of movement the music inspires you to explore.
Dance alone, dance with your friends, or dance with someone new. If you want to explore movement with someone new, be respectful and ask for consent. Not sure how? A fun and non-invasive way to dance with someone is to mirror their movements. If you want to make contact, try reaching a hand out. If it’s not reciprocated, that’s okay. Not everyone wants a dance partner. Remember- no talking! Part of ecstatic dance is learning to navigate the realm of nonverbal communication.
As our collaborator Arthur Gold eloquently phrased it, “This is a no booze, no shoes/inside shoes event so wear your fanciest of socks and pack your swankiest water bottle.” That being said, if you need shoes for comfort and/or medical reasons, that is perfectly okay. If you want to take a break from dancing or chat with a friend, relax on a comfy couch in the lounge attached to the studio. If you fancy a cup of tea, an eclectic selection of teas will be available for purchase to soothe your senses courtesy of Stick Joint Teahouse.
Join us Tuesday, June 26 at 7pm for the first Ecstatic Dance Rochester event! We will facilitate some quick introductions to get acquainted before dancing begins at 7:30pm. We’ll groove until 8:45, and round out the evening with a quick debrief to reflect on the experience and get feedback for future events. Ecstatic Dance Rochester will meet monthly with future events scheduled for July 17, August 7 and September 25.
This event is $15 at the door, with sliding scale donations accepted. No one will be turned away for lack of funds. Don’t miss out on this exciting new movement happening in Rochester. Join our community.
Anyone who’s ever questioned their purpose (so all of us) will relate to the sentiments laid out in TJ Foster’s recent release First Person, Volume One. The album unfolds like a diary decorated with a mix of acoustic guitar, piano, harmonica and occasional drums. Each song explores the obstacles that emerge as people struggle with defining their own identity and finding their place in the world.
The lyrics won’t shock the ear with poetic potency but Foster’s words will validate the listeners’ own questioning of self. The first track, “I Don’t Know,” sets the tone for the album with modest guitar elevated by strong vocal harmonies. The title offers a simple and honest response to the questions that escape our grasp. “57” wrestles with the desire for human connection but hauntingly echoes the chorus “Should I just be alone.” The melancholy ensues with “Basement,” which details a few of the emotional hardships Foster has experienced including losing a friend to suicide and dealing with his parents’ divorce.
“An Ode to my Twenties” surprises the listener with the most upbeat tune on the album, recounting important milestones including graduation, getting married, having two kids, getting a first tattoo, and perhaps most notably, finding a taste for wine. It’s may seem like a minor adult accomplishment, but detecting the subtle nuances in a glass of merlot is an ability often lost on younger drinkers. In “Upside Down,” Foster almost whispers the line “I may act like I’m awake, but I’m perpetually dreaming.” It speaks to the human tendency to be caught up in our thoughts and not actively participating in our own lives, too busy focusing on the negative to revel in the positive.
Though First Person, Volume One offers no comforting solutions to the numerous existential questions it poses, perhaps comfort can be found the questions themselves, as they are familiar to many of us. Released on April 13, the album is available for purchase here.
Key Tracks: I Don’t Know, An Ode to My Twenties, Upside Down
CATS are back! 
Anyone who’s ever questioned their purpose (so all of us) will relate to the sentiments laid out in TJ Foster’s recent release First Person, Volume One. The album unfolds like a diary decorated with a mix of acoustic guitar, piano, harmonica and occasional drums. Each song explores the obstacles that emerge as people struggle with defining their own identity and finding their place in the world.