NYS Music 20​19

Category: Folk/Americana

  • Lúnasa Brings Troy Music Hall to their Feet

    As Lúnasa winds up their North American spring tour, it would be remiss not to take an opportunity to sing their folk praises. The sextet had quite the reputation to live up to, even as a first time attendee, after being quoted by New York Post as the “Hottest Irish Acoustic Group on the Planet.” With special guest Natalie Merchant, we would expect nothing less.

    For those of you who have not heard of Lúnasa, they are an award winning Traditional Celtic band from Ireland. Touring extensively over the course of the last 22 years, the band brings the highest level of musicianship.

    With Kevin Crawford on flute/whistles, Trevor Hutchinson on bass, Cillian Vallely on Uilleann Pipes/whistles, Colin Farrell on fiddle, and Ed Boyd on guitar, this group melds together perfectly, bringing  a flawless sound to their audience.

    The setting for the evening was Troy Savings Bank Music Hall. Living in Troy a short period of time back in the early 90’s, I don’t recall this charming neighborhood of brownstones, little pubs and shops with such grand architecture all around. It was the perfect setting for a perfect evening of music. The venue itself is a work of art, with the most amazing lighting and acoustics. You couldn’t ask for a better place to see Lúnasa.

    Performing two full sets of music from their extensive library, Crawford would occasionally set up the songs with a personal story about who wrote the number, what inspired it and what the audience would be in store for. He was witty and charming, making the audience feel comfortable from the start. It was a personal insight that would invest you even more into the evening.

    Later they were accompanied by the acclaimed Natalie Merchant, lead singer of 10,000 Maniacs.  Her voice is sultry and smooth, with lyrics that speak to your soul. As she took the stage with the band, she spoke of joining them last year on a tour of Ireland, sharing how they came to work together. While working on a collaborative album, Merchant was looking for some of the world’s leading musicians to join her, she did not hesitate to invite them, and the rest they say is history.

    Ironically, was fun to hear that the first time she ever saw Lúnasa was in this very venue, pointing to the row and seat she sat in. Unbeknownst to the band, she longed to join them on stage that evening. Fast forward a few years later and the chemistry they share on stage is a true synergy.

  • Hearing Aide: Driftwood ‘Tree of Shade’

    Driftwood is set to release their fifth studio album Tree of Shade this coming spring. This folk-rock and Americana-influenced band has grown over the years from a duo to a five-piece group. Band members include Dan Forsyth (guitar/vocals), Joe Kollar (banjo/guitar/vocals), Claire Byrne (violin/vocals), Joey Acuri (bass), and Will Sigel (drums). Each additional instrument and added vocalist serve to create the rounded and wholesome feel of Driftwood’s music.

    Reminiscent of the sentiment of their band name, Driftwood continues to evolve with the passage of time. Tree of Shade consists of eleven tracks and represents the group’s sonic evolution as they experiment with slower paced music. Personally, listening to this album puts me back around a campfire on a chilly summer night. The opening track “California” (which also happens to be violin/vocalist Claire Byrne’s favorite track) helps set the tone for the rest of the album as it embodies the previously described ambiance.

    Perhaps one of my favorite aspects of this album is the quality and quantity of the vocals. Songs like “Conquering Man” and “Santa Fe” beautifully portray the strength and conviction in Byrne’s voice while “Stick With Me” demonstrates the bright harmonies the group is capable of delivering. “Stick With Me” is another standout track for guitar/vocalist Dan Forsyth as he loves “how simple and timeless it is.” Other noteworthy elements in their music consist of the raw sounds from the guitar and banjo as well as the ever-present violin as heard in the closing few bars of “Tree of Shade,” the title track of the album.

    The group created this album in the Catskill Mountains and undoubtedly captured the energy of their surrounding environment. They said it was their first time working with a major producer like Simone Felice and he really encouraged them to keep it simple and stick to whatever captures the song.When I first heard songs like “Lay Like You Do” and “What You Do to Me,” I couldn’t help but think of other beloved bands who create similar sentiments in their music. Driftwood, like The Zac Brown Band and Mumford and Sons, succeeds in inciting feelings of togetherness through the power of music. Some groups the band cite as their biggest musical influences span across generations including Paul Simon, Dr. Dog, Brandi Carlile, and Bob Dylan. It is evident by this list that they value “great songwriting and music that comes from the heart” as they told me.

    “The album is emotional, mature and introspective. In some ways it’s really folky but there are also some tracks that we really took chances on.” The group shared that their goal for the upcoming album is “just to touch people’s hearts” as they “want to connect with [their] audience and share the music and this life.”

    Key Tracks: Lay Like You Do, California, What You Do to Me

    April 12 &13: Syracuse, NY – Funk N Waffles

    April 20: Rockwood Music Hall – New York, NY

    May 17: Ransom Steele Tavern – Apalachin, NY 

    May 18: Albany, NY – The Hollow

  • Dead Horses and Honeysuckle Play One for the Folks at Good Luck

    Dead Horses, a duo from Wisconsin, and Honeysuckle, a trio from Boston, met somewhere in the middle Tuesday night – geographically in the middle via Rochester, NY to be exact – as a part of the latest show put on by Honest Folk. The show itself also met in the middle musically, landing squarely within folk traditions both new and old.

    Honeysuckle opened the night. Guitar, mandolin, banjo and a kick drum blended into a joyful swirl of acoustic strings and beats. They played some new, as-yet-recorded songs to keep them “on their toes.” Though early in the set, “Catacombs,” off their 2017 release of the same name, kept the audience on their toes as well. An airy and floating psychedelic segment broke into a full-fledged mandolin-led jam before slinking back into the main song.

    They weren’t afraid to break free from folk and bluegrass expectations, mixing the two and then splashing in some more modern elements from pop, rock and jazz. Most noticeably, Chris Bloniarz’s mandolin was being fed into a rather large bank of effects pedals. He used them subtly, allowing his playing to shine through and it never overwhelmed the acoustic three-piece sound.

    On a new song, “Windstorm,” lead singer and guitarist Holly McGarry explained that it was written as a reaction to someone who once wrote a mean poem about her, saying she dressed like an old woman. She wore it like a badge of honor though; old women are great dressers! Appropriately enough, their music also had a timeless quality to it, but in a youthful and new body.

    The band exhibited wonderful three-part harmonies throughout the set, but truly flexed their vocal chords with, as they deemed it mandatory, a cover of Crosby Stills and Nash’s “Helplessly Hoping.” They nailed it, silencing all doubters, if there were any remaining at that point in the set.

    Dead Horses, comprised of Sarah Vos on guitar and Daniel Wolff on double bass, played a set of sparse, sometimes dark, folk songs with their Midwestern charm shining through. They met and matched their openers in vocal prowess with Vos carrying the bulk of the load. As lyrically excellent as their songs were, some of the most captivating vocals were ooh’s and mmm’s or the chills-inducing extended and repeated “sweeeet”s during the song “Brothers.” In “Turntable” Vos sang, “If my heart was a turntable, and my belly was the speaker and my soul the needle,” which just about sums up their songwriting as well as one could.

    Wolff’s bass carried the heft of the instrumental melodies, plucking out the bottom, bowing higher registers and banging out rhythms off the body, at times all in the same song.

    The band has been writing songs and releasing them as singles when they’re ready, not waiting for a full album to emerge. New tunes like “Birds Can Write the Chorus,” “A Mighty Storm,” and the “Family Tapes” show how the band is still developing their sound. On the latter, in a short span, the song moved through at least three distinct sections, stepping away from a more traditional structure.

    Generally a taboo question for a band, Dead Horses were forthcoming about the origin of their band name. Named after a friend who died of a heroin overdose, they feel a need to be open about it since it is such a prevalent issue that needs even more exposure than it currently is receiving.

  • Song Premiere: Sarah Eide “Dreams On Hold”

    Life has been full of surprises for Sarah Eide. She captures the twists and turns of her journey in “Dreams on Hold,” the title track of her next album. In this song, Eide brandishes her flair for dramatic storytelling. The song ebbs and flows like a soundtrack. It starts off with straightforward acoustic Americana, culminates in a jazzy whirlwind, and ends on a high note full of curly-cue flourishes of trumpet, piano, and fiddle. The biographical story line takes the listener along as Eide holds a conversation with her childhood self, then her own children.

     

    Eide grew up in Rhode Island, where she started playing at age 3. Classically trained during childhood, Eide became exposed to jazz, Americana, and world music at Berklee College of Music. Her dreams of scoring films in LA were waylaid when she took a detour and found herself as a mom in the Midwest.

    The song is about the disparity between ambition and priority, with the ultimate resolution being the underlying foundation of unconditional love: “I’m still believing and I’m still scheming/ Good things come to those who wait/ So for now, I’ll put my dreams on hold for you.”

    “Dreams on Hold” features Chicago musicians Shane Jonas of Low Down Brass Band, Joe Camarillo of The Waco Brothers, and fiddler Jess MacIntosh. Eide produced this album herself. Dreams on Hold comes out May 6th.

    Newly relocated to Rochester, New York, Eide is already making waves in the local scene with her unique spin on Americana. Her next show is on March 14 at Abilene Bar and Lounge, a homey little spot on Liberty Pole Way in the heart of the city.

    https://soundcloud.com/saraheide/01-sarah-eide-dreams-on-hold/s-pXMru

  • Join Sad Songs Summer Camp with the Milk Carton Kids

    Welcome to Sad Songs Summer Camp, where you’ll talk, listen to, and learn about music from the Milk Carton Kids. You’ll also get the chance to workshop sad and not-so-sad songs during your stay, with input from the duo. From July 23, to July 26 at Full Moon Resort in Big Indian, New York, you’ll join a camp full of other music lovers for an all-inclusive music vacation, complete with lodging (available in multiple packages), provided meals, and more.

    The camp is powered by Music Masters Camp, a series of interactive retreats and workshops which bridge the gap between performers and their audience.

    Kenneth Pattengale and Joey Ryan sum up the experience in their special, banter-filled style in a transcribed bit from the above trailer video.

    Pattengale: “Basically, we all wake up, eat breakfast in the morning, Joey and I will give a master class, then a guest artist will give a masterclass. We eat lunch –

    Ryan: “Master class?”

    Pattengale: “Yeah, we’ll teach things, like things that we know. Harmony Singing, songwriting, lyric writing…”

    Speaking to NYS Music about the camp following a recent show at Tarrytown Music Hall, Ryan described the way the camp came together.

    “We’ve been aware of camps like this because friends of ours do them. Steve Earle does a camp called Camp Copperhead and the other people in our band will go and teach at folk and bluegrass camps. So, we’ve been aware of camps like this but we never thought that we would do one ourselves. When we got the call with the opportunity to host a camp, we thought it’d be a great chance to work with people directly and share a combined musical process.”

    On reflecting if working in a teaching and workshop capacity is of particular interest, Ryan commented:

    “I enjoy talking and getting to know people. We’re around musicians on tour all the time, so it’ll be great to spend time with people and musicians in another capacity, where we can learn about them and work directly. Conversations at merch tables are a quick ‘We loved your show’ and ‘Thanks, here’s a t-shirt we have,’ where at Sad Songs camp, we’ll be able to get to know people and fans on a deeper level that we aren’t usually able to, and work with their music, while spending some time to write for ourselves as well.”

    According to the website, camp goers can expect a full, crafted experience.

    “The camp will provide a space for a lucky group of individuals to learn, co-write, workshop, and, if desired, perform for an audience of like-minded peers —  all with the guidance of the Milk Carton Kids and some of their favorite songwriters and comedians. Mornings will have Kenneth, Joey and their hand-picked guest artists guiding master classes that explore the ins and outs of  harmony singing, songwriting, arrangement, lyricism, stage-banter and performance. After lunch, students will break off into workshops, working solo or with other campers on the skills of their choice, with encouragement and tips from TMCK and other SSSC instructors. Evenings are packed with entertainment, with performance opportunities for campers (don’t worry they’re not required), late night jam sessions, and informal song circles. Not to mention two intimate Milk Carton Kids concerts. Whether it’s over breakfast or around the campfire, students will have the opportunity to hang out with TMCK and friends while learning the tricks of their trade.”

    Non-musicians are welcome to spend time and attend the camp as well. Interested people who have a roommate in mind are welcome to sign up at the same time to secure a spot together. The camp is a unique opportunity for Milk Carton Kids and folk fans to spend intimate time with an artist, and engage in a study of the craft together.

    An early-bird special is available if you book before March. Secure your spot at Sad Songs Summer Camp.

  • Albany to Celebrate Pete Seeger’s Centennial

    This May marks a centennial – 100 years since the birth of Pete Seeger. Although the world lost this preeminent folk singer and activist five years ago, his work lives on. The Egg will host a Pete Seeger Centennial concert on Thursday, May 23 at 7 p.m. Earlier in the month, the Egg will sponsor a “New York Living Legacy” series featuring multimedia performances celebrating the life and works of Seeger.

    The Pete Seeger Centennial concert will be an evening of music, dance and poetry. Arlo Guthrie, one of Seeger’s closest friends, will be joined on stage by Amythyst Kiah, Cary Morin, Dan Zanes & Claudia Eliaza,  Dar Williams, David Gonzalez, Guy Davis,  Richie Stearns & Rosie Newton, Taina Asili,  Tony Trischka, Toshi Reagon and Bill & Livia Vanaver. Tickets are on sale now through The Egg’s website, with net proceeds going to support Clearwater, Caffe Lena and WAMC Public Radio.

    On May 3, 4, and 5, The Egg will present the program “Wasn’t That a Time.” The multimedia presentation features music writer Jesse Jarnow, author of the 2018 book Wasn’t That a Time: The Weavers, the Blacklist, and the Battle for the American Soul.  This volume details the trials of the four singers, led by Pete Seeger. who rose to incredible popularity but whose socialist connections and anti-authoritarian ideologies got them professionally blacklisted at the height of their fame. Live music will be performed by banjoist Richie Stearns and folk fiddler Rosie Newton. Photos of Seeger will be incorporated into the program, as well as recorded music by Pete Seeger and the Weavers. These events are free and open to the public.

    FRIDAY, MAY 3:

    Noon: Caffe Lena, 47 Phila Street, Saratoga Springs

    7 p.m.: Crandall Public Library, 251 Glen Street, Glens Falls

    SATURDAY, MAY 4:

    11 a.m.: Guilderland Public Library, 2228 Western Ave, Guilderland

    1 p.m.: Bethlehem Public Library, 451 Delaware Ave, Delmar

    3:30 p.m.: Clifton Park – Half Moon Public Library, 475 Moe Road, Clifton Park

    7 p.m.: Sanctuary for Independent Media,  3361 6th Avenue, Troy

    SUNDAY, MAY 5:

    12:30 p.m.: Saratoga Springs Public Library, 49 Henry St, Saratoga Springs

    3 p.m.: Voorheesville Public Library, 51 School Rd, Voorheesville

  • Milk Carton Kids Bring Intimate Set and Woo Audience at Tarrytown Music Hall

    “Our confidence is high, we’re fresh off our third GRAMMY loss.” Joey Ryan, often the chattier of the Milk Carton Kids, greeted the audience with his characteristically dry, sharp humor as the duo made their second appearance at the historic Tarrytown Music Hall on February 24. On the heels of a long tour with a new, full group, Ryan and Kenneth Pattengale shed the larger band for a return to original form, featuring just two guitars and one microphone.

    Milk Carton Kids

    The well-crafted set contained a mix of songs, including those from 2018’s All the Things I Did and All the Things I Didn’t Do. Or, as Ryan put it to the audience, “ATTID and ATTIDD… for short.” Beginning with “Hope of a Lifetime” from 2013’s The Ash & Clay, the audience was lulled into silence by the Milk Carton Kid’s ability to envelop a space in rich, emotional soundscapes through Pattengale’s river-flow, unbounded phrasing, Ryan’s understated, sturdy rhythm and the pair’s seamless harmonies.

    They then moved into “Mourning in America,” a song which captures poignant and timely modern themes. Revealing in an interview with Entertainment Voice that the song encapsulates cultural, political and personal struggles, a tear or two was spotted while the duo crooned, “I hear their cries through my window, they’re mourning again in America.”

    Milk Carton Kids

    The duo was able to shift their energy from “Snake Eyes,” the soft, weeping, ode to death which once brought a tear to Marcus Mumford’s eye, to the rousing, joyful pace of “Girls Gather Round” and “Honey, Honey.” Across each song, Pattengale’s impressive lead guitar phrasing was both technical and deeply passionate. His penchant for sweeping, single-note melodies and exploring unique sonic twists by adding out-of-the-box flats, sharps and harmonics shared a particular expressive virtuosity. All the while, his playing was threaded together by Ryan’s patient and supportive rhythmic root note picking and strumming.

    Between songs, there was the schtick. Pattengale and Ryan have developed a reputation for combining music with the other aspects which make a performance so memorable — stage presence, banter, and maintaining a connection with the audience. Known for imbuing their shows with comedic tangents, their special chemistry in which they play off Ryan’s cool, confident sarcasm and Pattengale’s charming, observational wit had the audience laughing often.

    This particular show included Ryan instructing the audience to put their hands up as he shared plans to include more hip-hop elements into their music (news to Pattengale), a conclusion to the tomato fruit vs. vegetable conundrum, and a particular exchange with a member of the audience accompanied by a service dog. Upon learning the dog’s name was “Daniel,” Pattengale quipped, “What’s your son’s name, Spot?”

    Not that they didn’t have touching, tender moments. After sharing Pattengale’s recent journey in which he successfully persevered through a cancer diagnosis and long-term relationship break-up, Ryan softly suggested, “Let’s play your cancer song,” as they transitioned into “Sea of Roses.”

    The duo is supported on tour by Vera Sola, an American/Canadian singer-songwriter, poet and multi instrumentalist who delivered a passionate and powerful opening performance, drawing from the moody, fingerpicking veins of Leonard Cohen. Sharing songs from her 2018 debut release, Shades, Vera Sola stunned the audience with strong, feverish storytelling supported by her unique voice which exhibited such a smokey, precise vibrato that it almost seemed like the microphone turned on and off every other second.

    The duo ended the night with an encore cover of Pink Floyd’s “Wish You Were Here.” Part of the reason the Milk Carton Kids are so enjoyable to see time after time is due to the earnestness in their desire to provide the audience with a complete experience, without asking for much in return. The only thing The Milk Carton Kids want you to do is listen, and maybe laugh, as they put everything, music and self, on display.

    Catch the Milk Carton Kids in New York again later in their tour. For the first time, they’ll also be working with Music Masters Camps by hosting their own summer music retreat and workshop series. Learn more about Sad Songs Summer Camp.

  • JJ Grey & Mofro bring Florida Roots to the Rocky Mountains and head to the Northeast

    Frequently I am asked what genre of music JJ Grey & Mofro falls under. I always find myself fumbling for words but end up with something like “bluesy, jazzy, Florida Swamp funk.” I am usually met with a perplexed look, and I always add, “You have to go. You have to see for yourself and then you’ll understand.”

    JJ Grey & Mofro

    I have watched this band grow, develop, and change over the course of almost 20 years. As a Jacksonville native myself, it was never difficult to find what was then Mofro floating around town from one venue or another. They were a bit gritty and unrefined in the early days but still put on a fun show. I moved to Colorado in 2004 and would see them any time they came near or when I returned to Florida. Their shows remind me of my roots and what I refer to as “the real South” — the South that most people do not know or understand. Their music would make me homesick and long for the days of Old Florida.

    Now that I am back in Florida, I still find myself traveling for their shows and encouraging any true music lover to do the same. Although Florida has changed, the group still reminds me of the Florida I grew up with – the food, the swamps, real people, and the deep soul. The current configuration of JJ Grey & Mofro is my personal favorite. Each musician is topnotch alone but when combined, the depth of their music knows no bounds. The fluid combination of these seven men is nothing short of incredible.

    JJ Grey & Mofro
    JJ Grey & Mofro getting “Janky” at the Upstate Concert Hall 10/19/17. Photo by Eli Stein

    I was fortunate enough to catch the final two shows of a rather long tour that ended in Boulder (Boulder Theater) and Fort Collins (Washington), respectively. Knowing JJ was sick as he entered these shows and had been forced to cancel the Frisco show the previous night, I wasn’t exactly sure what to expect. Musically, Colorado is a finicky area that has high expectations when bands roll into town, but I was cautiously optimistic as I watched them take the stage. They opened with “99 Shades” to “Sweetest Thing” and into “Somebody Else.” I scanned the crowd and saw a few mouths dropped as JJ belted out notes as only he can do. As the show progressed, the crowd was enamored with what they were watching as they sang and danced along. Always a personal highlight for me is the drum solo (Craig Barnette) for “Ho Cake”; it does not matter how many times I hear that song, it is always a little different and always fantastic. (If you don’t know what a Ho Cake is, check it out and make it! You can thank me later.) The show wound down with a little help from a few of The Commonheart members. Nate Insko (trumpet), Abby Gross (saxophone), and Lucas Bowman (keyboard) joined for an “Ol’ Glory” encore that did not disappoint.

    Prior to the Fort Collins show, I was speaking with guitarist Mike Minda from The Commonheart, and he said to me, “We love touring with them. We learn so much musically, personally. We admire them.” There was a bit of a student-master appreciation that I could hear while listening to him speak. As the show began, the Mofro band came out swinging to “Junior” with Dennis Marion (trumpet), Todd Smallie (bass), Marcus Parsley (trumpet), Craig Barnette (drums), Eric Brigmond (keyboard), Pete Winders (guitar), and JJ (vocals and whatever other instrument he can get his hands on). I could see the steam from the tea to help JJ’s throat, but if you couldn’t see that or didn’t know he wasn’t feeling well, you certainly would not have picked it up in his voice or enthusiasm. Fort Collins fans were treated to a smoking “Gal Young’en,” “Orange Blossoms,” and “Lazy Fo Acre” to name a few. As “Ol Glory” began for the second encore, Eric brought an unwavering depth to a song filled with soul that resonates with any music lover. One by one, the members of The Commonheart joined JJ & Mofro on stage for a third and final encore with “On Fire.” Seventeen musicians joining forces and not skipping a beat is no small feat. I know of very few artists who would even attempt to tackle such a challenge.

    Although I may always struggle to pinpoint a genre to appropriately describe what I would consider a music lover’s dream band, I can tell you: “If you haven’t been, go.” This is some of the best music out there right now. As they say, “Buy the ticket, take the ride.” You won’t be disappointed. As I overheard leaving Fort Collins, “It’s like being taken to church … you walk out better than you came in.”

    The Northeast is in for a special treat when they roll thru Port Chester, New York on March 1st with Big Head Todd and the Monsters.

    For your own taste of this Florida Funk visit their website and check out all upcoming dates around the Northeast.

    February 8, Boulder, CO

    Setlist: 99 Shades, Sweetest Thing, Somebody Else, Every Minute, Jookhouse, Fire Flies, Junior, Gal Young’en, Seminole Wind, Lochloosa, Orange Blossoms, Slow Hot Sweaty, Ho Cake, Shining Down

    Encore: Brighter Days, Ol’ Glory

    February 9, Fort Collins, CO

    Setlist: Junior, Everything is a song, Sweetest Thing, Circles, Every Minute, Florabama, This River, Gal Young’en, Seminole Wind, Lochloosa, Orange Blossoms, Lazy Fo Acre, Ho Cake, I Believe

    Encore: Shining Down, Ol’ Glory, On Fire

  • Interview: Mike Robinson Talks Debut Album, Railroad Earth Tour and More

    Last week, NYS Music covered staple jamgrass group Railroad Earth during the incredible northeast run of their 2019 winter tour. While all musicians put on a strong showing every night, one performer stood out in particular: Mike Robinson, special guest musician for the run that shined on pedal steel, guitar, and banjo.

    Many music fans may have discovered Robinson during this tour, or maybe already knew him from his days with the progressive grass outfit Jeff Austin Band. Yet, soon enough, the musical world will get to know the singer-songwriter in his own right, when he releases his debut EP, Clevidence, on March 7. Featuring five emotionally and sonically rich songs, Clevidence comes as a great introduction to not only Robinson’s prolific talent across a number of instruments, but also his natural affinity for songwriting and singing.

    mike robinson

    The album’s release on March 7 will be celebrated with a special performance at Owl Music Parlor in Brooklyn NY, with singer songwriter Emma Frank opening up the show. In anticipation of the date, NYS Music talked with Robinson about the making of the record, his musical upbringing and more.

    Miles Hurley: My first question is on your experience with working in the studio. Being that Clevidence is your debut solo EP, was the making of this album a new kind of experience to other recording stuff you may have done in the past?

    Mike Robinson: Recording almost all of this project at home was a big departure from other studio experiences I’ve had. I was able to give everything the time it needed without the pressure of the clock that comes with being in an expensive studio. I find that in fancy studios with high hourly rates I am never I able to fully relax. Doing a majority of the recording in my home studio in Brooklyn made it possible for me to focus on the nuances that might have been otherwise overlooked.

    MH: One thing that stands out on the EP are the lyrics, which are pretty intense throughout. Do you feel like you were able to express the ideas or messages behind the songs in the way that you wanted?

    MR: In the process of writing, I found that using hyper-specific language was a potent way to paint a clear picture of an emotional situation. My goal was to give a listener clear mental images to hold on to. I think the specificity of the lyrics contributes to the ability the songs have to convey an emotional message. This can make things seem especially intense and revealing personally, but not sharing the whole story would feel fake. Songwriting is cathartic for me and can be super helpful for me if I’m struggling in my life. Hopefully it can also be helpful to listeners struggling with their own experiences.

    MH: Listening to “How Do You Know” in particular, I’m interpreting a sense of something like self-doubt, or worry. Would that be a close guess? Could you comment on what this one means to you?

    MR: “How Do You Know” is about a generation that is terrified, broke, and leaning on substances to deal with it. I’m twenty-six and I’m struck by how many conversations I have with people my age evolve to this conclusion. I don’t want to get into the politics of the specific things that could be to blame for a generation wide problem, but I do want to address that it is a real thing that many people are going through. From lack of health insurance, to being buried in student loan debt, to facing an uncertain collective future, there is a general sense of uneasiness in the air. And I see those around me relying on substances to cope. I don’t know if these are new problems. I just know that they are real ones.

    MH: The range of instruments you perform, in general and on this record, is nothing short of impressive. Did you develop an interest towards learning these instruments around the same time in your life, or has your progress as a multi-instrumentalist been more spread out across your career?

    MR: My dad plays a few instruments so I grew up with guitars, fiddles and mandolins around. My older brother played bass and drums in high school and my grandpa is a classically trained pianist and even played the cello for a while. I started guitar at age six and it has always been my main instrument. But being surrounded by different types of instruments, I wanted to learn how to play more of them. My first serious double was banjo which I picked up around 15. I didn’t become interested in the pedal steel until a few years ago, but I really got into it. That thing will make you crazy! I was listening to these lush records from the 60s and 70s and wanted to be able to relate to those sounds on a deeper level.

    MH: Follow-up question to that, asked by a non-musician interviewer: how hard is pedal steel to learn?

    MR: My cousin is studying to become a helicopter pilot and it sounds similar to that with lower stakes. The toughest thing for me was to be able to establish independence in all of my limbs. your left leg is responsible for 3 or 4 pedals and 2 or 3 levers, right leg is on a volume pedal and 2 levers, right hand is picking and stopping strings from ringing and the left needs to make sure the bar is in the right place and in tune. Physically, it’s a very complex instrument to master. While it’s also challenging mentally, it would be even harder if you are a non musician to start. Most of my knowledge came from guitar and I was able to transfer the theory to steel.

    MH: There are some great harmonies on the album. Can you give a little background on who’s there with you?

    MR: I sing all of the lead and some of my own harmonies, most of the female vocals are an amazing singer and composer based in Brooklyn named Emma Frank with the exception of “How Do You Know” which is sung by Abby Hollander.

    MH: Speaking of the pedal steel, it sounded great in the Railroad Earth setting—I caught The Egg show and you sounded fantastic! You’ve been on tour with the band and have performed many shows with them now. Can you speak a little to what that’s been like? Has playing with them met or been different from any expectations?

    MR: I did three shows with them that week: Albany at the Egg, Boston at the Wilbur, and the Capitol Theater in Port Chester. That’s been it so far, but I will play with those guys whenever they want. That band and crew are incredible. The songs are great, the players are great, everyone was very supportive and positive. It was a complete lesson in how the business is done and how to keep the music as the focus. The fans are some of the most genuine music fans I’ve had the pleasure of playing for and I would be very fortunate to do some more work with those guys. One of the highlights of my career so far, without a doubt.

    MH: You moved to New York at an early age, and is where you are based now, if that’s correct? Have you found NYC to be a fruitful creative environment towards your career as a performer or songwriter?

    MR: I’m from Colorado. I moved out here at 18 for college. I was pretty overwhelmed by the city but determined to study with all the inspiring New York musicians I grew up listening to. I had every intention of moving right back home to Colorado when I was done with school but right about when I graduated I had just started seriously gigging in New York. I decided to give being a full time freelance musician a try for a few months. One thing led to another and I found myself living with some of the most inspiring musicians in my generation, touring in several bands and growing as an artist. My life was working too well that I didn’t have a compelling reason to leave. I’m constantly pulled towards a the desire to live somewhere more calm and connected to nature. But 8 years later, New York has yet to let me down in the ways I’ve feared.

  • Hearing Aide: Joe McCann ‘Chase the Sunset’

    Places, moments and memories seem to be muses for Chase the Sunset, the instrumental guitar-centered album released by Joe McCann on January 1. Hailing from Upstate New York, McCann is a studio based BMI artist and multi-instrumentalist with a love of melodic, ambient and evocative sounds.

    In his first release of original material, McCann explores various ranges of mood and tone. “East Berlin Bridge” features a swaying melody over jazz-influenced chords and rhythms, while “Cool Breeze” explores wavy, echoing guitar effects over a light, almost shoegaze-influenced sound. The moving, soft quality of “Cool Breeze,” along with the sunny, pleasant mood of “Fingerwalk” invites listeners to sit back and momentarily let McCann’s soothing guitar serve as the backdrop to the day’s activities.

    McCann exhibits a clear passion for setting scenes with his music as he places us in a barroom evening with “Double Duty,” or drops us in the middle of a person’s quest for ascension in “Chase the Sunset.” Following this stripped-down debut, it will be interesting to see McCann expand his musical universe with other instruments or even vocals in his next release.

    Key Tracks: Chase the Sunset, Dwell, Cool Breeze