Take the attitude of Dr. Dog, the horn line spice of Cake, and the essentials for a modern folk group and you get Neighborhood of Make Believe. Okay, that’s a very general statement but there’s a lot of experimentation going on in NOMB’s debut album so it’s hard to say what their sound is exactly – flowing, warm and washy are definitely some constants. That being said, listeners will have to cull through the 12 track collection to find something they like, but it’s still worth giving a listen to from beginning to end. They’ve dropped their songs strategically throughout the album so it’s a bit of a roller coaster which will hold the listener’s interest. Maybe not one with corkscrews and loops, rather a traditional wooden one with some exciting drops and turns.
Songs like “Track Name’s,” “Fairness” and “Thin Soup” are easy going, slow moving and have a great sense of peacefulness. The immediate emotion isn’t sadness – it’s only until listeners dive into the lyrics of the track do they then understand the direction and purpose of the song. I suppose that is true to most songs in this genre but they’ve found a well working formula and they stick to it, creating an engaging album when combined with the following contrary tracks.
We find more energetic and multilayered tracks like “When Willem’s Wife Was Wet” that add some flavor to the album. “Willem’s Wife” has the most depth and direction in the collection and it’s something this group should definitely try to reproduce in coming works. Instrumentation is crisper and clearer, movements are well defined – it’s much needed separation as well as mood booster from the other, lower energy tracks.
“Faces” is worth dissecting as well. Some might say it’s lacking in direction but its just omnidirectional. It’s ominous, then jovial, hopeful and open – it’s just interesting. It’s not necessarily catchy but is definitely fun to listen to. The chord progressions are bizarre and just blend into each other enough to create a unique atmosphere.
Things get more interesting as we’re introduced to a western, backwoods feel in “Traveling Standing Still.” Complex guitar work, odd time signatures and a super cathy bridge/ chorus create another fantastic space with loads of potential and direction, although the song drops off without any sort of climax. Still one of the coolest works on the album.
The remainder of the tracks reflect their style at the beginning of the album which is a bit of a let down to be honest. The prior three tracks were highly engaging, unique and just plain fun to listen to. It would be music to our ears if we could hear these guys come back with another album following the abstract sounds found in “Standing Still”, “Faces” and “Willems Wife”. Die hard indie/ folk lovers will enjoy this collection for sure. Give it a once over and you’ll find a several things to enjoy.
Key Tracks: When Willem’s Wife Was Wet, Faces, Traveling Standing Still
“If you told my high school self that I’d be receiving an email from Natalie Merchant,” Paul Rudd quipped, “asking me to take the stage with Mary Stuart Masterson and introduce Antonio Delgado, I would’ve said, ‘What’s email?’.”
The event– Hudson Valley Votes– took place at UPAC on October 20 and featured prominent Hudson Valley residents. In addition to 10,000 Maniacs’ frontwoman Natalie Merchant, long-time David Bowie band member Gail Ann Dorsey, renowned songwriter Dar Williams, Lettuce collaborator Alecia Chakour, and Woodstock favorites Rachael Yamagata and Simi Stone participated in the musical portion of the evening.
Natalie Merchant, Gail Ann Dorsey and Resistance Revival Chorus
The show, organized to trump up support for local progressive politicians, began with a rendition of Woody Guthrie classic “This Land Is Your Land.” The itinerary progressed fluidly; after the Guthrie cover, children and teenagers from Kingston’s Energy Dance Company took the stage and invaded the aisles, putting on a high energy hip-hop dance performance that earned a standing ovation. The youth movement continued with a subsequent performance by members of Woodstock’s Rock Academy.
“We aim to turn New York blue through the activism of young people!” one of the event’s organizers exclaimed. It was reiterated throughout the evening that young voters would need to show up on November 6 in order for the progressives’ candidates to succeed. In addition to young people, women carried the night. Many of the featured candidates were females running in their first elections; most of them expressed displeasure with the unequal representation of women in Congress.
Merchant, the musical director, sang a moving rendition of John Lennon’s “Imagine,” vocally accompanied by Dorsey and Yamagata, with Jack DeJohnette on the piano. Dorsey, who womanned the stage more than anyone, showed off her vocal versatility all night. She also collaborated with Williams, Chakour, and The Rock Academy.
Gail Ann Dorsey (left) and Dar Williams (right)
The musical highlight of the evening undoubtedly came, however, from the Resistance Revival Chorus. More than a dozen women, resplendently clad in white, put on a haunting acapella protest performance, singing about marching to take back Congress, the Supreme Court, the White House, and to take back power. They received a well-earned, deafening ovation from the exuberant audience.
Keynote speaker Antonio Delgado, who is challenging John Faso for a seat in the US House of Representatives, followed the Resistance Revival Chorus by continuing the tone of resistance. “We cannot solve problems,” Delgado claimed, “if we do not have civic discourse.” The charismatic politician joked about the difficulties of raising twin boys, spoke about challenges he faced growing up as a black boy in Schenectady, and vowed to supporters, “I will always be straight with you and I will always be accountable to you.”
Antonio Delgado, NY19th District Candidate
While the political sphere in the country seems to be growing increasingly partisan, musicians showed the beauty of collaboration Saturday night. The crowd was energetic and the atmosphere full of hope. The sold-out event appears to have been a success, although attendees and participants may be waiting until November 7 to make their final determination.
Boasting an impressive 30 year run, the preparations for Warren Haynes’ Annual Christmas Jam are underway. The popular, two-night benefit will take place on Dec. 7 and 8 in Asheville, NC at the U.S. Cellular Center. Tickets for presale were released on Oct. 19, along with a limited number of discounted two-day passes and VIP packages. Regular ticket packages go on sale at 10 a.m. on October 26th.
Grammy Award-winning vocalist-songwriter, prolific producer, and notorious guitarist, Warren Haynes has more than upheld his reputation by continuing to curate performances that draw crowds year after year. Haynes spoke on the event’s transformation over the years stating,
I can’t believe that it has been 30 years since myself and a few friends held a small event in a local club so we could all play together around the holidays and donate a small amount of money to charity… It’s gone from being a local event to an international one and we couldn’t have done it without the help of all the great artists, bands, and musicians that have donated their time through the years… This is truly going to be the biggest and best Christmas Jam yet.
This year’s line-up, in alphabetical order, for Dec. 7 is as follows: Dark Side of the Mule, Grace Potter, Jamey Johnson, Marco Benvento, and Mike Gordon of Phish. Dec. 8, also in alphabetical order, includes: Dave Grohl and friends play “PLAY”, Eric Church, Gov’t Mule, Jim James, and Joe Bonamassa. While local and international music fans can expect stellar performances both evenings, the entertainment doesn’t stop there. There’s no need to wait around till dusk; attendees can treat themselves to “Xmas Jam By Day” concerts and events. Also note that there are still other artists to be announced as the Christmas Jam draws nearer so be on the lookout for further announcements.
The 2018 Christmas Jam marks 30 years of great music, but it also commemorates 20 years of Warren Haynes collecting donations specifically for the Asheville Area Habitat for Humanity. Haynes’ investment in his community and long-term commitment to this cause has resulted in the Christmas Jam collectively raising roughly 2.3 million dollars for Habitat for Humanity. For concert goers looking to be more directly involved in the charity, there is another day event which coincides with the concert. “Before the Jam, Lend a Hand” brings together the musical artists, event staff, and attendees to help construct those homes which are only possible due to concert proceeds.
The link below is a video of Warren Haynes performing “Melissa” with Warren Haynes with Jake Shimabukuro at last year’s 29th Christmas Jam.
In a legendary place like The Capitol Theatre, the most memorable acts performing there today channel the ghosts of its musical past, like Frank Zappa, Janis Joplin and The Grateful Dead. Acts that will be remembered, years from now, alongside giant names like those are the ones that manage to echo those nearly unfathomable experiences from the earlier years of this concert palace. When the five-piece Americana jam sensation Greensky Bluegrass kicked off their show last weekend with their aptly-named original song “Bring Out Your Dead,” they did exactly this. For this reviewer, the vibrant myth of Pink Floyd performances here in this theatre glowed within the Cap’s interior, vibrating invisibly at the tips of this epic and harrowing modern song. This Capitol Theatre show might have served as a great benchmark showing just how far Greensky Bluegrass has evolved, from a new string band outfit several years ago into the epic rock concert performers they are today.
But the band then showed their range fast, as the next several tunes were some of their much more feel good stuff. “Wings for Wheels” and then “Handle With Care” carried the room from the shadows of that cool opening to a sunny bluegrass beach in paradise. Complimenting this portion of the evening was a roving solo picking, with members trading off in typically swift style. The Lil’ Smokies, the dynamic newcomer five member string band that had opened up for the night with their own highly received set, are set to tour with Greensky for much of the latter’s upcoming tour. So, it should be no surprise that many nights will feature either members of The Smokies, or the entire group, up to collaborate. At The Cap, Greensky invited the Smokies dobro player Andy Dunnigan and fiddle player Jake Simpson up for some fun.
First up was “Second That Emotion,” and not the most epic version you’ve ever heard but still no doubt a much-appreciated nod to one of The Cap’s late musical presiders, Jerry Garcia. But it was the “Worried About The Weather” that closed out set one that was the real kicker, perhaps the standout performance of the entire night. Dunnigan and Simpson never lagged behind or shied away, but instead showed their confidence beside the members of Greensky and made the dramatic tune into an explosive performance.
Set two brought the deeper cuts, with miles of space and focused improvisation, which seemed to see the band toying around with all the funky effects tech at their disposal. After starting out with some more smile-makers in “Fixing to Ruin” and Steam Powered Aeroplane,” Greensky laid down a huge “Ground Hog” and “Wheel Hoss” pairing, and the musical territory traversed here was as mystifying as it was funky and rhythm-inducing. The improv-loaded segue helped to reinforce the claim that Greensky Bluegrass is the headiest of all progressive grass groups out there right now.
This was followed up by another cool pairing in “Tarpology” and, perhaps another Garcia nod, “Ain’t No Bread In The “Breadbox,” with this latter tune being a real stand out on its own. While it hit the usual rolling groove Greensky puts into it, on this night the band pushed even harder to truly dig on it for several minutes. This one must have been an extra-special version in all the versions played.
Nils Lofgren took over the Paramount Hudson Valley Theater on Sunday September 23. Joining Nils on stage was multi-instrumentalist Greg Varlotta. Lofgren shared stories from his 50 year musical career: collaborating with Neil Young & Bruce Springsteen, being an award wining accordion player, and inspirations for his songs. Nils moved from acoustic to electric guitar, harp (yes harp), keyboards, and accordion throughout the night. His set included songs from his original band Grin, solo work including “Keith Don’t Go”, and songs that influenced his musical development.
It is said when a Hobo dies, “They caught the Westbound.”
Lean in, Hobos; one of our own traded in his ticket for a seat on that locomotive ghost. This one hurts.
To say Andy Goessling lived a life of music would be an understatement. Music was how he communicated. He was never considered a man of many words. In fact, many of the online testimonials include the comments, “We never talked much,” or “I only spoke with him for a moment.” He wasn’t much for words. But the words he did speak, became etched in one’s mind like a poignant moment in a movie forever embedded on that reel tape. I cannot count the times I stood or sat with Andy in silence beyond a hug and a kiss hello. Andy was the quiet observer. His presence was enormous.
SONY DSC
Andy loved antiquing. In every town across the U.S., he would find time to visit the antique shops. Mostly, he’d shop for antique instruments. Countless friends recall Andy being a master negotiator when it came to the ancient tools of the trade.
Longtime friend, former band mate, and neighbor, Jeff Barg (Bovine Social Club) recalls meeting him in the 1980’s and their friendship flourished ever since. Andy mentored him via text when it came to instruments.
“Andy had a knack for finding old instruments in thrift and music stores. I would find stuff and send him pictures. He would tell me what they were and what they were worth. He vibrated on that plane where the instruments would find him,” said Jeff.
Quoting Mark Twain, “A gentlemen is someone who knows how to play the banjo and doesn’t.” Perhaps Andy would play on those words, or perhaps he would take spirited jabs at his longtime friend and band mate, Tim Carbone (Railroad Earth). Andy would tease that a gentleman never plays the violin. However, in spite of his silly antics, Andy just recently picked up playing the violin, the last of his instrumental conquests. Tim has always regarded Andy as being the inspiration, but ultimately, in the end, it was Tim that inspired him.
Upstate NY musician and friend, Kevin Maul (The Nellies) met Andy through his knack of antiquing. Twelve years prior, Kevin’s one-of-a-kind Dobro had been stolen. One day in Buffalo, Andy had come across this unique Dobro and sensed something wasn’t right. Kevin recalls his monumental experience:
“He called up Beard guitars, the maker of this Dobro, and they told him that it had been stolen…He got my phone number and contacted me. He had said that maybe we would meet up at a festival someplace and he wouldn’t want to have me come up to him and say ‘hey that’s mine’. He was very nice about the whole thing.” Kevin continues to play his lost, but since found Dobro, today.
Andy was a member of several bands over the years: Kings in Disguise, Blue Sparks from Hell, Secret Admirers, Sleeping Bee, Shockenaw Mountain Boys, and most notably, Railroad Earth. His early musical years were largely shaped by his geographic location.
Hailing from New Jersey, there is a little known cream-of-the-crop group of artists living in proximity to each other. He’d find himself noodling for endless hours on back porches, or front porches, or at a party, at the local roadhouse bars, farms, studios, and just about every Amen Corner he could find. While on the road, he played everywhere and with anyone. It could be 5 a.m. with the sun dawning on the horizon, but Andy could be found at some campsite at some festival tapping his toes to the beat of his fingertips hitting the frets. It never mattered to him how large the stage was or how small the crowd. Andy was happy with an instrument clutched between his palms. His collaborations were countless. He’s played with so many musicians, it’s too numerous to list, but suffice to say, the six degrees of separation applies here. Playing was his gig.
Andy met John McEuen (Nitty Gritty Dirt Band) because he tracked him down and sent him and email out of the blue. I recall Andy telling me that the music of the Nitty Gritty Dirt Band was some of the earliest songs he learned how to play. Five years ago, Andy did what many of us fail to do and that is having the confidence and courage to put ourselves out there – he simply asked John if he could join them for a set in New York City. John remarked:
Two nights later, the ever-grinning Andy Goessling showed up. As the show progressed, whenever I nodded towards him for a solo, there it was – always grabbing the right tool for the job. A master catcher of hot notes no matter what I threw at him. Audience applause showed their appreciation for his solos… I soon started planning a recording with Matt Cartsonis for Chesky Records and Made in Brooklyn came together… the one thing I was not sure of, one I considered essential, was if Andy could make the sessions. He did! And this time he brought the zither. The way he played made the listener feel as if you had tuned in notes from a distant past on a strange and beautiful sounding instrument…He raised our bar. Following the album, I called on him whenever the show budget would allow, and he came and did it again – made us better.Lucky we are to have known and played with the great Andy Goessling.
Andy was the unassuming jokester, full of off-the-cuff, witty one-liners. I was fortunate enough to have caught a show Andy was playing with John. At the end of the show, with the intention of greeting fans, he instead gravitated toward me – he always found solace and comfort in the warmth of old friends. We began to speak, albeit briefly, when all of a sudden, another band member blurted out across the lobby, “Hey Andy!” I had just teased Andy that we should relish in the one sober moment we’ve had in the ten years we’ve been friends. The timing was perfect. Andy looks to his music buddy square in the eye and with deadpan face, he proclaims, “We’re having a moment, man.” And then, he laughs. The kind of boyishly cute laughter that is astoundingly infectious, especially endearing because Andy would chuckle after all his own jokes.
There are endless adjectives used to describe Andy, and they are all true. He was talented, gifted, kind, humble, genuine, peaceful, gentle, introspective, and humorous, just to name a few. But these words barely scratch the surface of Andy’s personality. Andy, the man of few words, spoke via his own actions.
I’ll never forget one day in January, Andy and I watched Mavis Staples from the side of the stage as we often did at festivals. He could have stood with anyone else, yet he stayed with me as I squealed and gushed over the amazing Mavis Staples. Most would consider my outward displays of fangirlism rather annoying, but not Andy. He savored the joy music brought others, even if it wasn’t his own. I sensed my own expression was one he felt, too. Hours later, he found me in the crowd of 10,000 or so and it was dark.
Without a word, he reached in his pocket and handed me a folded piece of paper.
Perplexed, I began to open the folded paper and as I did, it dawned on me what Andy had just done. For once, it was Andy that had left me speechless.
He had given me the Mavis Staples set list.
He proceeded to say he didn’t think he’d find me, so he was going to keep it in his guitar case to give to me when he saw me at another show. Andy’s considerate gift will forever be cherished and dear to my heart.
That is the kind of human this world lost.
For a man that was not much for words, there are two that would stand out the most: authentic and thoughtful.
The ripple effect of his kindness extends beyond the music he used as a tool for joy or healing, or communication and that makes it difficult to imagine a world without Andy. I’m grateful I shared a sliver of time with him on this plane. Andy lived the good life, and while we wish he had one more night on the road, souls of his caliber are needed elsewhere, somewhere in the ethereal realm where he heals from the great beyond. He was an immeasurable blessing for all of us.
We are now left with the deafening sound of his silence and a blindingly brilliant shaft of white light illuminating down on Andy’s now vacant space on stage. Andy deserves that warm applause.
Rhiannon Giddens headlined a benefit for the American Center for Folk Music (ACFM) in New York’s Hudson Valley, at the Towne Crier in Beacon on Wednesday September 13th. Giddens, an ACFM Advisory Committee member, was joined by multi instrumentalist Francesco Turrisi for the evening’s performance. The duo shared new material along with songs dating back to the origins of folk music. Opening the show was Bruce Molsky, a two time Grammy nominated fiddler and Beacon resident. The American Center for Folk Music’s mission is to celebrate America’s rich legacy of folk music.
Mike Powell has had a prolific few years, performing throughout the northeast with his solo act, his duo, and his full band the Black River. He also released a solo album and an album with his band. This Friday, Oct. 5, Powell will release his latest solo effort, Shelter Without Walls.
The six song EP features two previously released, but re-worked songs, “Twenty One Rounds” and “Sad Day in Champion” and four brand new heartfelt compositions. The album can be pre-saved on Spotify and Apple Music through this link. It will be available on all streaming services beginning Oct. 5.
Powell is a unique storyteller who writes with emotion, breaking down walls to allow the listener into the story. He writes best when he draws from personal experiences. “Twenty One Rounds” tells the tale of a mother who lost her son while serving his country; something Powell has knowledge of through his upbringing in Carthage, just outside of the Fort Drum Army Base in Northern New York. This much-loved song gets a rework on the new EP and has lost little of the original’s emotional appeal.
Writing songs has always been a soul satisfying activity for me. I just have a deep love for words and telling stories. Music is the most impactful medium I’ve found for connecting with people and evoking emotion. Being able to play intimate acoustic sets in tandem with rock n’ roll shows with my band is like scratching two creative itches at once. I feel like I have two separate vehicles that share the same fuel system.
“Sad Day in Champion” recalls the closing of a paper mill in that same region of the North Country that affected so many of the people in the region as well as those close to the young Mike Powell.
One of Powell’s new songs, “Poison Diamond” closes the record. A dirgy number, highlighted by Hanus’ trademark guitar and a church-like organ, where the narrator laments, “You took my hand/You stole my heart/ You loved me to pieces/That’s what tore me apart/You set the fire/And it made me cold/You made me higher/And you cut me down low/That’s what tore me apart/I need some glue, or something heavy I can hold on to/This old bottle here will do/I’m never together with you.” This is one of the Powell’s most powerful recordings to date, from the lyrics to the delivery to the musicianship within the song. The subdued duet with a female voice on “I’m never together with you” hits the listener in the heart. This song could be Powell’s launching pad to a wider audience.
“The Polite Rebel” will also embark on the most ambitious month of his professional music career beginning Friday. The busy month kicks off with the Black River opening for Canadian rockers The Trews at Exhibition Hall in Watertown this Friday, Oct. 5. Following the Watertown gig, Powell and his duo partner, John Hanus trip down to Goshen, CT for a main stage gig at the Black Bear Americana Music Fest on Oct. 6. The weekend wraps on Sunday with an intimate gig at The Sinclair in Skaneateles on Oct. 7.
Powell’s intense schedule continues Oct. 10 and 11 as he makes his solo debut at Ani DiFranco’s 9th Ward at Babeville in Buffalo and Lovin’ Cup in Rochester. Oct. 12 sees Powell closer to home at the Brewerton Center for the Arts for another solo show.
The most highly anticipated nights of the month occur at the historic Nelson Odeon, a renovated former Grange Hall located in the rolling hills of Nelson, near Powell’s current hometown of Cazenovia on Oct. 13 and 14. These shows will be used to record Powell in both solo and duo formats as well as certain selections with the Black River, to be included in a future live Powell album.
The Odeon is one of Powell’s favorite rooms to perform and is the reason he chose this historic building for the recording of his first live album. He says of the building:
The Nelson Odeon stands for everything I love about music. It’s like stepping back to a simpler time. I have always dreamed of releasing a live record and this is the perfect room to try and bottle up a moment in time. It will be a special night.
The Black River, in addition to their gig opening for The Trews on Oct. 5, will take up a Thursday residency at King of Clubs in Syracuse’s famed Armory Square on Oct. 4 and 18. Dubbed “The Thursday Night Rock Show,” this ongoing event is hosted by the band and features some of the region’s top acts. Capital District rockers Wild Adriatic will join the Black River in a November session of “The Thursday Night Rock Show.”
Finally, on Oct. 19 Powell makes a trip to Blue Mountain Lake for a performance at the Adirondack Lakes Center for the Arts and wraps up with a songwriters and on Oct. 20 the 18 Songs Tour visits Casita del Polaris in Ithaca. This set brings together three of Central New York’s premier singer songwriters for a night of music – 18 songs- with Powell joined by Charley Orlando and Chris Merkley.
When not on the road, Powell will be in the studio recording the Black River’s sophomore effort. The band released its debut, Classic Universe in January.
Check out the video for “Sad Day in Champion” below featuring Powell and members of the Black River.
Folk singer and songwriter Izzy Heltai spent his summer on tour all over the United States, but there was one festival in particular he was excited to play, the FreshGrass Festival in North Adams, MA.
Izzy Heltai captured by Emma K. Rothenberg-Ware.
Having lived down the street from MASS MoCA where the festival takes place the four years he attended MCLA as an Arts Management major, this festival has always felt like a homecoming for Heltai.
“What’s great about FreshGrass is that its always felt like the festival in my backyard,” Heltai explained. Even though he now lives roughly an hour away in Northampton, there is still something about North Adams and the FreshGrass festival in particular that holds a special place in his heart.
“The festival took me on before I was really ready to play that festival which, when organizations or places do that for someone who’s just starting to figure out what they are doing, is really cool and really nice,” Heltai explained.
“Now I feel really ready, prepared, and good enough to play there, but when I first started playing there I had no idea what I was doing.”
When Heltai climbed on stage in Courtyard C, there was an ease about him that showed he had really come into his own as a musician, a comfort in what he was doing. As he explained it in his interview, the more you practice, the better you get and spending the entire summer on tour it seemed, from the audience’s perspective, he was more than ready for his third year occupying the stage.
Over the years, Heltai has learned a lot on the fly, but one thing he’s figured out for sure is to not leave practicing until it’s too late, He says one always thinks they will have time to get another practice together during the festival weekend, but the likelihood of that actually happening is pretty low. With his accompanying band, which included stand-up bass player Dan Bisson and electric guitarist Micah Katz Zeiger, it was easy to tell they had run through these songs many times. It was practically second nature for them.
Izzy Heltai captured by Emma K. Rothenberg-Ware.
Heltai was more than okay with his 12:30 p.m. time slot on Sunday, explaining that he gets booked at a lot of bluegrass festivals. In reality, he’s more of a singer-songwriter and doesn’t have just a four-chord progression with intense violin or mandolin ‘shredding’ over it. His sound is very acoustic and mellow in comparison.
“Maybe everyone is a little hung over and ready to listen to some softer folk tunes,” Heltai explained, with a laugh about why he thought his time slot worked so well. For him, getting to share the poster with names like Brandi Carlile, one of his favorite singer-songwriters who also performed at FreshGrass last year, or the Indigo Girls, who performed this year, is one of the best parts about it. It’s an honor for him to be in the same lineup as them.
Sometimes during performances, when an artist tries to get the crowd to participate, it’s like pulling teeth, but not for Heltai. He had the crowd participating with ease in combination with some witty remarks made by his supporting guitarist, Zeiger.
Two of his favorite songs to perform are “Not Eden” and “Anyone to Anybody.” He explained they are a lot of fun to play, especially around the North Adams area, because a lot of people know the words and sing along, which was definitely evident at his performance. People all around were matching his words in harmony with the tune and clearly knew these songs.
One of the big things that helped Heltai in his career was the support from the Arts Management professors at MCLA. They not only taught him how to organize, market, and advertise himself, but also gave him the freedom while still in school to use his tools in the real world and go on mini tours instead of being in the classroom all the time. The goal is to be able to put what you are learning to use outside of a classroom, and Heltai was able to do just that.
Heltai doesn’t see himself as a successful artist yet, saying, “We will see about successful,” despite the fact he has performed at FreshGrass Bluegrass Festival, Kerville Folk Festival, Falcon Ridge Folk Festival and Ossipee Valley Music Festival. He has also worked as support for musicians such as Ghost of Paul Revere, Honeysuckle, Caitlin Canty, Upstate Rubdown, Frances Luke Accord and The Sweetback Sisters.
Izzy Heltai captured by Emma K. Rothenberg-Ware.
When asked what one of the hardest hurdles to get over is, Heltai replied, “Especially with the type of music I do as a singer-songwriter, I usually play solo, a lot of people just don’t listen and that’s okay.” He explained as a solo artist you have to find the environments you work best in. Sometimes you aren’t going to end up in the best environment, and people there won’t care about your music. That’s unavoidable, and it’s okay.
From watching him at Stage C, it would be hard for listeners to not care about his music, because the crowd was hanging on every word.
Heltai plans to start recording his new EP in October and it will include his “Marching Song,” performed at the FreshGrass Festival. His music and social media can be found on most platforms, under the name Izzy Heltai.
On the equinox, the border between summer and autumn, just outside Buffalo at the border between the US and Canada, emerged a brand new festival showcasing music, arts, and crafts bordering in and around roots and Americana. The first Borderland Festival was, by all measures, a huge success in its inaugural year, establishing itself as a viable extension to the Western New York festival season and an event worthy of a summer’s long anticipation.
The festival was gorgeously situated at Knox Farm State Park. Parking was on polo grounds, craft vendors were set up inside horse stables (a few of which actually housed horses), and craftsmen were scattered about, demonstrating their expertise in sheep shearing, cigar rolling, beer brewing, horseshoeing and more. Tasty local food and beverages were available via tent and truck, and a consciousness for the environment was on display with many people drinking from available reusable metal cups and volunteers assisting in proper disposal of all garbage, recyclables and compostables.
Though with non-stop quality music filling the air, there really was time for little else. Two main stages, the Grasslands Stage and the Split Rail Stage, sat mere yards apart and featured alternating sets for a continuum of music across the entire day. A short walk past the horse stables sat the Homespun stage where local talent held court, filling time as viable alternatives to the main acts. Buffalo roots bands like Folkfaces, The Observers and 10 Cent Howl kept the party rambling with down home jams and singalongs. All of the stages were within a few minutes walk and fans could easily catch some of everything with little sacrifice.
And O, the music! Sister Sparrow and the Dirty Birds gave a little preview of their forthcoming album, busting out the upbeat and catchy “Ghost” and showcasing singer Arleigh Kincheloe’s incredible vocal range on the soulful “Gold.” Montreal’s Barr Brothers made a rare appearance in the area, opening with “Come in the Water” and closing with “You Would Have to Lose Your Mind” in a set chock full of their warm and eclectic folk rock. With harps, pedal steels and 12-string guitars, it was a rich tapestry built of many strings, and even one thread which Brad Barr pulled through his guitar for a spacey sonic vibration that reverberated across the farm.
Veteran indie-rockers Dr. Dog are no strangers to Western New York and they were treated like old friends by the crowd which was dancing and singing along from note one. Decked out in matching festival sweatshirts, they treated the audience to an energetic career-spanning set, featuring classics like “The Breeze” and “That Old Black Hole” while also working in a solid chunk of their 2018 release Critical Equation. The slinky groove of “Listening In” turned heavy and dark while “Go Out Fighting” built an deep energy that reached a My Morning Jacket-style intensity level.
The Sam Bush Band showcased their unique take on traditional music, delving into Bush’s newgrass roots on the instrumental “Greenbriar” and getting funky on a fine cover of Alan Toussaint’s “Sneakin Sally Through the Alley.” There was still room for some classic bluegrass stomps with “Howling at the Moon” and “Big Rabbit” and even some social action with “Stop the Violence.” Another Canadian crossing the border for the Borderland Festival, Sam Roberts thanked the area fans for being his first American audience to take him in. Roberts and his band, with stylish guitar-heavy grooving rock, delighted the audience with fan favorites like “Brother Down” and “Mind Flood.”
The clouds persisted for most of what was a perfectly brisk first day of fall. But just as the sun was setting, the clouds parted enough for a beautiful sky filled with reds, oranges, yellows and purples to flow over the festival. It was against this backdrop that New Orleans octet The Revivalists took the stage for the final set of the evening. The crowd kept plenty in the tank and were ready to rage along as the band brought an infectious energy to the stage. Blasting horns, tight rhythms, shredding guitars and a soaring pedal steel formed a crunchy American rock sound that jammed and grooved its way through the darkening night. Autumn was officially here, but for one small corner of the world, a few thousand people were still holding on tight to the spirit of summer.
Take the attitude of Dr. Dog, the horn line spice of Cake, and the essentials for a modern folk group and you get Neighborhood of Make Believe. Okay, that’s a very general statement but there’s a lot of experimentation going on in NOMB’s debut album so it’s hard to say what their sound is exactly – flowing, warm and washy are definitely some constants. That being said, listeners will have to cull through the 12 track collection to find something they like, but it’s still worth giving a listen to from beginning to end. They’ve dropped their songs strategically throughout the album so it’s a bit of a roller coaster which will hold the listener’s interest. Maybe not one with corkscrews and loops, rather a traditional wooden one with some exciting drops and turns.
