Perhaps musical talent can be inherited. At least, that seems to be the case with David and Sophie Buskin, who will be performing as part of Caffè Lena’s Pride Series on Thursday, August 1, as Buskin & Buskin. David, known for his background in folk-rock, is part of the duo Buskin & Batteau, and the band Modern Man, which he refers to as a “geezer trio.” He is a talented songwriter and has written for artists such as Judy Collins, Arlo Guthrie and Roberta Flack.
Sophie is a bit more rock and roll. Her stylings influenced by alt-rock, albeit she has been a part of the NYC folk scene for many years now. While attending college at Berklee, she was part of their Gospel Choir. Her first album, Sweet Creature, was released last year. She has been slowly evolving as a musician in her journey of self-discovery, and has performed with Jewel, Alana Davis, Mason Jennings and Judy Collins.
This multi-generational act brings a certain playfulness to the stage that comes along with knowing one another for such a long period of time. David’s pride in his daughter and her maturation into the musical performer she is today is apparent in their interactions, and is a pleasure to witness.
The opener that evening will be local Schenectady County Community College barbershop quartet, Out of Time. Tickets can be purchased here.
Every music loving Suffolk resident knows that the Great South Bay Music Festival is our time to shine each summer. We don’t get to host the Governors Ball, the closest Warped Tour ever got was Jones Beach and calling Nassau Coliseum convenient to get to, when you live in Wading River, is pretty much bologna. But if one thing is clear, it’s that our fine state of New York is a divinely fertile nesting ground for music and arts of all sorts. When you live in eastern Suffolk, traveling “up the island” is always a necessary headache in order to reach said fertile nesting ground.
2019 Music Festival Pamphlet
But then there was Jim Faith – who created the heart of the Great South Bay Music Festival nestled down on the bay in Patchogue, NY. And don’t be fooled superstitious concert goers, for this festival now in its 13th year, was absolutely the most dynamic yet – (however please note, there will be “No Frisbee throwing in front of the Main Stage area” says the festival’s website).
Each night hosted a specific genre that allowed the festival to uphold its tradition of eclectic sound. From our hometown heroes Taking Back Sunday, to rock/reggae sweethearts Slightly Stoopid, festival heavy hitters Lotus and certified musical legends America – it is safe to say this diverse festival had something for pretty much everyone.
For those looking to dive into our local music scene, this place was abuzz from the moment the music kicked off. On multiple smaller stages scattered throughout the grounds, all four days had some super compelling lesser known artists that deserve their slot on your Spotify playlist.
Festival goers enjoy the performances at Great South Bay 2019
As opening day got underway, Thursday saw a lazy stream of fest-goers making their way into the venue due to earlier wet conditions. Ultimately though to the joy of the attendees, the sky cleared up for the night other than a few stubborn clouds.
Whatever We Are made their Great South Bay debut performing many great originals and having tremendous chemistry the main stage, performing through strong winds and grey skies. Ex-My Chemical Romance backup guitarist, Frank Iero, performed a great setlist with his band, Future Violents. They set the energy level high and helped the crowd ignore the weather and wind that took out one of the ‘Great South Bay banners’ on the Coors Light Stage. Long time fans were ecstatic to see Glassjaw, local post-hardcore band from Hempstead. Their loyal following did them proud, showing allegiance to songs well over a decade old. Not performing often these days, The Great South Bay Music Festival couldn’t have been happier to host this performance for a crowd that welcomed them back to the stage. Lead singer Daryl Palumbo and crew rocked onlookers for an hour with a hard and heavy performance.
Gabrielle Ross – Whatever We Are
Frank Iero and the Future Violents
Daryl Palumbo of Glassjaw
When Long Island favorites Taking Back Sunday came out, they were greeted by a cheer that only your home state could conjure. Over the course of their hour and fifteen-minute slot singer, Adam Lazzara (ham that he is) swung his mic and inserted the band’s personal anecdotes between songs. Essentially their entire performance was a hybrid of mosh-pit and sing-along. It was clear that their fans hadn’t forgotten, even the most obscure lyrics from their beloved album, Tell All Your Friends, which celebrates its 20th anniversary this year. There’s something really special about local acts playing to the fans who lifted them up to the level of success they enjoy today, and Taking Back Sunday’s performance was no exception.
Taking Back Sunday performs a thunderous setlist and keeps the rain away!
FRIDAY:
As Friday commenced the crowd embraced the beginning of the weekend’s forecasted heat wave, which brought temperatures up into the 90’s. But to the surprise of many, at the gate of the festival each person was offered complementary water courtesy of Long Island Cares. This seemingly small gesture really highlighted the overall neighborhood feel the gathering aims for.
Although the weather was hot, with free water in hand, the crowd entered psyched and ready to celebrate a summer night with insane music. The mood of the crowd went perfectly with the day’s theme which is traditionally reggae/hip-hop fusion. Over at the main stage, local reggae darlings Oogee Wawa were busy captivating an audience that proved they were ready to party. With a tour schedule that boasts playing 200 gigs a year since 2013, these fellas know how to hype a crowd. Their infectious energy was the absolute perfect kickoff to the night.
Oogee Wawa delivers a joyful and amazing performance sharing love for their fans
Meanwhile over at the Clamshell Bandshell, standout independent act and hip-hop artist Dudley Music took the stage. Right away the lyricism was impressive – his thoughts were clear, meaningful and well delivered. Accompanied by a full band including guitar, drums and bass – Dudley’s musicianship blew onlookers away as he switched between multiple instruments, including keyboard and saxophone. His musical arrangements were creative, cohesive and well thought out. The deeper into his set, the larger the crowd got, until there were a couple hundred people grooving and hollering for more. Ending his set, he weaved “This is How We Do It” by Montell Jordan into his own original track and captured the audience by engaging them in a sing-along that left more than a few wanting more. Dudley, without question, won over some new fans and exposed the crowd to a style they may not have experienced before.
Dudley Music plays for their fans at Clamshell band
Once it was time for Sublime with Rome, the steadily increasing crowd began to squeeze up towards the stage. That night old school Sublime fans were out! As the words “she was living in a single room with three other individuals…” played (a classic Sublime soundbite taken from the film Beyond the Valley of the Dolls), the crowd suddenly erupted with cheers. This tune, considered a cornerstone Sublime song by fans, was played along with an impressive set of tracks from back when the band still had original lead singer Bradley Nowell. For the most part they played throwback Sublime songs, only peppering in their newer additions here and there. The crowd showed Eric Wilson, the only original Sublime member left, showed massive amount of love as he was exiting the stage.
By the time Slightly Stoopid’s set was up, a overwhelming crowd had amassed. Their passionate fans went out of their minds as the members wandered to their places, thick clouds of synthetic smoke drifted in the background. Opening with the dynamic instrumental, “Dabbington,” their horn section of trombone and saxophone immediately made waves. Per usual, throughout the performance lead vocals were shared by frontmen Miles Doughty and Kyle McDonald, who also crisscrossed back and forth between bass and guitar. While playing some of their super early surf-punk songs in order to let fans “get the wiggles out,” a proud mosh-pit formed in the center of the crowd to the mild chagrin of security. The band fed so well off of everyone’s energy during the entirety of the performance, Slightly Stoopid made it very clear that they appreciated the love New York had to show these Cali natives.
Sublime with Rome
Slightly Stoopid
SATURDAY:
As the years float by, Great South Bay Music Festival has grown and morphed into the success it is today. One of the evolutions being the additional stages that are scattered throughout the grounds. Having these outlets are fantastic as it allows the festival to veer off theme each night, giving even more artists the opportunity to showcase their talents.
This year’s newest addition was the Busker Stage, bringing the festival grand total of four. As fest-goers leisurely strolled the area leafing through the vendor’s offerings, Andrew Fortier and Tricycle began to croon. They had a pragmatic, salt of the earth feel accompanied by a rich three part harmony that was nothing short of angelic. They were the nights best kept secret.
Andrew Fortier and Tricycle
As the sun began to set, Spafford kicked off the jam band lineup over on the main stage. This group of musically talented men captivated the eager crowd and compelled their spirits to let loose, dance and enjoy. Even through the stifling heat – hands waved, feet were moving and by-george you better believe the hula hoops came out. The band’s sound had a lighthearted airiness about it that easily carried you right through their lengthy improvisations. It felt appropriate that a gorgeous breeze off the bay began sweeping over the crowd as their set concluded.
Next up was Dweezil Zappa, opening his set with a heavy and energetic tune. If the jam band night is nothing else, it is certainly relentlessly energetic. Zappa relinquished vocal responsibilities to multiple other band members as he jammed on lead guitar for the majority of the performance. Vocalist Cian Coey stood out as a powerhouse, ending their first number with a resounding high note, like it was straight off a Guns ‘N Roses track. The crowd went wild with appreciation. When Dweezil himself lent his vocal contributions, it was more like a spoken word piece being woven into music. His unique stylized delivery made the lyrics stand out, really giving the entire performance a commanding presence.
Darkness fell over the grounds as headliner, Lotus, made their way into the spotlight. As they began to play, glow sticks were abound with neon colors flying through the sky. The group’s offering were a bit hard to categorize. At first their dance friendly, funky 70’s vibe, created something that sounded like it should have been on the Superbad soundtrack. Blend that up with some kaleidoscopic synthesizer and then sprinkle in a diverse array of sound effects; that probably still wouldn’t fully describe the sound. At times it was difficult to even discern what instrument was creating each sound. It was truly a carnival for the ears – a colorful whirlwind of notes. Throughout this set of progressive jams the band had their dark and brooding moments; but each song ultimately concluded with a positive outburst of that dance friendly, funky sound.
Dweezil Zappa
Spafford
Lotus
SUNDAY:
As the music festival’s last day commenced it seemed somewhat appropriate that it also turned out to be the hottest day yet. As the flock of music fans sizzled on the grass everyone there brought their best spirits to finish out the weekend on a high note.
The Clamshell Bandshell got down to business right away with The End of America, a band from Philadelphia, PA, that brought some tight three-part-harmonies to the joys of a growing crowd. The outfit easily coaxed every passersby into listening, as it just felt natural to wander towards their sound. The vocalists (playing an acoustic and electric guitar and banjo respectively) gave a soulful, meaningful delivery of lyrics. They came across as a band that really had something to say, important messengers during times of trouble.
Over on the main stage Edgar Winter emerged as the sun still blazed in the sky. He began by playing “Free Ride,” which got people immediately invested in the classic tune. He also engaged the crowd by narrating small stories between each song that gave the entire performance a personal touch. One particular song, “Tobacco Road,” ended up turning into a 15-minute long anthem. Several minutes in he broke off into a call and response with his guitarist – Edgar creating the vocals followed by guitar mimicking his notes. This then flowed into an epic interlude of crazy improvised scatting which morphed into several instrumental covers of famous rock melodies such as Led Zeppelin’s “Kashmir.” Towards the end of the set Edgar took a moment to make a heartfelt shoutout to his brother Johnny Winter who passed away back in 2014. The crowd paid homage to his brother’s memory with a barrage of claps and screams.
The music group WAR notably featured sweet soulful harmonica licks from the very first song. Some rich vocal harmonies over a funky beat accompanied by of course (as this became the brass hero of the festival) the saxophone. WAR played the opening notes of popular track “Spill The Wine” to the crowd’s delight. Everyone really came together enjoying the music that was so happy and energetic, it was like a Sunday night family party. Then drummer, Salvador Rodriguez, sang a version of their ballad “So.” Belting notes with the vocal clarity found in pop stars, Rodriguez left the crowd seriously spellbound. Finishing off with the classic “Why Cant We Be Friends,” Lonnie Jordan and his crew delivered a super high energy finale – everyone in attendance could tell the band was having the time of their lives.
Lonnie Jordan, 71, has been last standing original member of WAR for over 20 year.
The very last of the entire four day bonanza was America. They have officially been performing together for 50 years and they certainly took the stage with the poise and showmanship of those who have been in the game. Throughout their performance there were multiple guitar rips that made them worthy of the label “classic rock.” Mid-set they put their own spin on Beatles song (which is always a crowd pleaser) Eleanor Rigby. As their set was winding down, America continued playing as a lightning storm rolled in over the bay. They continued on for as long as they possibly could, but were ultimately forced to cut their last songs short for everyone’s safety. They never got to play Horse With No Name, their extremely popular and arguably most well known song.
Edgar Winter
Lonnie Jordan
America
All in all the feel of this year’s gathering captured exactly what Jim Faith had initially set out to do, bring our local neighborhoods together in peace and music. It felt much like a big block party or backyard barbecue. It was commonplace as a passerby to see people running into friends and exchanging excited hugs. There were giggling kids running around and groups of people hanging back in lawn chairs enjoying cold beers and each other’s company. The festival can be pretty much exactly what you decide to make of it. So whether it’s a relaxed chill session or an energetic experience at the front of the stage, The Great South Bay Music Festival has got you completely covered!
“So, I have a new EP out,” Jonatha Brooke said to the crowd gathered at Caffè Lena on Thursday night. The news was received with warm applause. “And I’m naked on the cover.” At this point she posed, arms stretched outwards and upwards, ready to take on whatever the audience sent her way.
Jonatha is the second performance of Caffè Lena’s pride series, which has a way of making performers feel safe enough to be completely honest. Jonatha’s vulnerability is only accentuated by her presence on the stage, a lone woman with a mic and a guitar.
The performance was incredibly satisfying. Perhaps it was the way her voice eased through the room, settling in comfortably with the crowd. Or it could be the fact that she is a self-proclaimed “terrible liar” and her brand of off-beat candor was refreshing.
Jonatha spoke openly about her relationship with her mother, doing impressions of her throughout the night. She has written and performed in a musical based on living with her mother while she dealt with Alzheimer’s. The musical is called My Mother Has 4 Noses and is based off a quote made by her mother, who said, “After all, how many people do YOU know who can say they have FOUR noses?”
After “mothering her mother” as she so put it, Jonatha spoke about how it had helped her better understand herself on a new level, one in which she experienced what she described as a, “I would take a bullet for you feeling.” This led into a performance of a song that she played as a member of The Story – “So Much Mine.” This song describes the perspective of a mother watching over her child and the worries that spring to mind when one thinks about them.
Many of Jonatha’s songs revealed different aspects of her inner workings, such as her song “Imposter,” off of her new EP of the same name. The song is played on mandolin, and in it, she calls herself the imposter. She said that the song was about her own feelings of self-doubt that sometimes haunt her, a relatable feeling to be sure. “Liar, loser, phony. No one ever says so, but I know it’s true. Poser, lightweight, cheapskate. I wanna be, but woe is me. Someone better muster up the truth,” she sang, her voice clear in the small space. She calls herself her “own best saboteur,” harkening on the very realistic feeling many have of having to fake their way through the day, to bend themselves to appear less weak or to hide their flaws from others.
And yet, there was no denying that Jonatha Brooke wasn’t as uncertain of herself as “Imposter” may have led the audience to believe. Before performing her song “Fire,” Jonatha strolled casually across the stage and proclaimed, “I am kind of liking getting older sometimes because I don’t give a shit anymore.” Amen to that.
She chose to end with “Linger,” her big hit from 2001. It was comforting to hear that someone as successful as she is could still harbor doubts. In this, Pride Night at Caffè Lena has once again provided Saratoga with a space of security where doubts were eased.
The 2019 Pleasantville Music Festival is now in the books. This was my first time at the festival, held 30+ miles north of NYC, which was celebrating its 15th year. Before heading to the festival I found out a few things about Pleasantville, N.Y. It is a village in a town, it’s first train station was built circa 1846, and has roughly 7,000 people living there, per the 2010 census. I started to think, village, 1846, music festival? I was, well, concerned.
But I was schooled- schooled quickly. With past headliners including Gin Blossoms, Blues Traveler, The Smithereens, and Ian Hunter; the quality of music spoke for itself. The organizers maximized the large enclosed multi-use sports field enabling three musical stages, an abundance of food and drink vendors, large kids play section, tented shade areas and enough space for all to enjoy the day without being on top of one another.
Recycle station volunteers
As part of the festival and “to keep the Earth happy” they instituted a zero waste program including manned recycling stations and volunteers who continually roamed the site, picking up any trash that may have made it to terra firma. I was taken by how well they kept the festival site clean. Water stations offering free fill ups were available for all, whether you bought something to drink or brought a refillable bottle with you.
Then there was music. Three stages offered different musical grooves from local to national acts. The Chill Tent, a very large covered area with a multitude of large fans circulating air throughout, offered acoustic styled acts including Dean Freidman and Chill headliner Matthew Sweet, who filled the tent to capacity. The Party stage, a decibel or two louder than the Chill Tent, true to its name was a party for all. Bands playing this stage were definitely adding heat to an already hot day. Two acts on this stage that caught my attention were Micky James and the band The New Respects, both had everyone on their feet and wanting more.
Matthew Sweet in the Chill Tent
The main stage was just that with BAILEN, Aimee Mann, Soul Asylum, and headliners Everclear playing to a field full of fans, singing and dancing to their hits. The bands were interacting with the crowd making the main stage feel like the most intimate of places.
The day’s musical extravaganza started with the three winners of the Lagond MusicBattle of the Bands competition. The winners, Mosa, SpitPhyre, and Lillimure, set the tone for each stage they performed on. It was great seeing support for new and developing musical talent. Eighteen acts played this hot, blue sky day. The coordination of the two smaller stages with the main stage allowed you to experience all the acts and not feel you missed out on something going from one stage to the other.
With my knowledge of Pleasantville, N.Y. social studies enhanced and having had consumed a plethora of great music, all I have to do now is wait for year 16 to get on the calendar.
Soul AsylumThe New RespectsDean FriedmanSwahoogieReady for some rock ‘n rollMatthew SweetMosaAlex Cano Aimee MannBruce T CarrollBAILENE’lissa JonesField entertainmentColor Tongue LillimureMicky JamesTough competitionMeltSpitPhyre
Ticonderoga native Marty Wendell has been a local superstar since the 1960’s, sharing the stage and touring with musical titans such as Carl Perkins, Arlo Guthrie and Johnny Cash. Drawing from a rich and storied career, nearly sixty years in the making, Wendell returns triumphantly in 2019 with Rock and Roll Days: A Celebration of Sun Records – a stalwart tribute to the early days of rock, and ultimately, a retrospective on the music that shaped his own career.
On a surface level, Rock and Roll Days stands as a straightforward rockabilly jaunt, full of groove and levity. The occasional solo troubadour, Wendell comes fully backed by his touring band this time around and delivers a clear, strong and confident performance. Subtitled “A Celebration of Sun Records,” Rock and Roll Days was crafted to pay homage to the legendary record company famously considered to have fostered the early development of Rock and Roll in the Mid to late 1950’s.
Originally founded in Memphis, TN, Sun Records was the support system that helped launch the careers of Sam Philips, Roy Orbison, Jerry Lee Lewis, Elvis Presley and Johnny Cash, among many others. Like young musicians of the time, it was this monumental moment in music history- the birth of rock and roll- that captured Wendell’s imagination like no other, inspiring him to pursue a career in music that would last the rest of his life. Returning to those early days with song, it is that same feeling of youthful inspiration that Wendell tries to preserve on the new album.
Combining a tasteful blend of new originals and time-honored standards, Rock and Roll Days plays like a love letter. Tracked “old school” in the recording studio (that is to say, live, with the recording musicians all together at the same time), Wendell and his tour band have seen to every detail in creating an album which would speak directly to the history from which is was inspired. The result is something of a sonic scrapbook- a photo album composed of songs in lieu of pictures which serve as aural windows to the past through the scope of one man’s experience. It is a joy to be invited down this hall of memories. Yet we are invited to look forward just as much as we look back thanks to the spattering of new tunes written specifically for the record and the refreshing sincerity of Wendell’s earnest delivery.
As a young man, Marty Wendell first got his start playing for his church congregation in the 1950’s. Cementing his desire to pursue performance, Wendell went on to continue performing all through his college years. Venturing out of upstate New York in the mid 1960’s and heading into Greenwich Village, Wendell began working with producers who brought him into the recording studio for the first time. Here he produced hits such as “Hey Hey Mama,” “An Ode to Burtis Dean,” and “Bring the Circus Back to Town.” Since that time, Wendell has toured with John Anderson, Lacy J. Dalton, The Hager Twins, Bluesman, T. Graham Brown, The Statler Brothers, and The Carter Family. He has produced more than 10 albums to date and is one of a select few artists to have recorded music in Memphis’ historically renowned Sun Studios.
Those previously familiar with his work will delight in the re-recorded rockabilly version of “Hey Hey Mama,” arguably Wendell’s biggest hit and the one that gained him a supporting role on Johnny Cash’s Folsom Prison album tour. Cash had remained a tremendous influence on Wendell throughout his entire life. This sentiment is later addressed during the latter half of the album on the heart felt single “Teardrops of Gold,” which is preceded by the story of how Cash came to Marty Wendell in a dream to inspire the writing of that song. The album then closes with a recorded conversation between Cash and Wendell taken from the Folsom Prison tour in 1968.
With a life-long career to reflect upon, Wendell’s youthful enthusiasm for this music has lost none of its luster in his late adulthood. With timeless authenticity, Rock and Roll Days brings a wholesome and charming facet of one man’s life as a musician, from inspired young man to seasoned veteran, into sparking clarity.
Key Tracks: Rock and Roll Days, Blue Suede Shoes, Hey Hey Mama.
Susan Tedeschi and Derek Trucks are no strangers to the Rochester area. They’ve both been frequent visitors since their beginnings – forming a mutual love affair with the area’s music fans. Tedeschi Trucks Band have made it a point to stop here on every one of their tours, making Wheels of Soul their fifth area visit in just as many years.
Derek and Susan (and management) have proven themselves to be curators with exceptional taste and vision. Each of their Wheels of Soul tours have come with its own distinct flavor. The lineups have been soulful one year, rocking another, and folky another. Each year their own band fits in with their openers regardless, the ultimate chameleon that can match wits no matter the genre.
This year, rambunctious duo, Shovels and Rope, from Charleston, SC and Country-rock jammers, Blackberry Smoke, out of Atlanta, GA joined the Jacksonville, FL headliners for Southern-fried flavor on stage. The combo cooked-up a succulent, meaty and juicy flare, with a nice crispy exterior.
Playing for a fanbase that knows you inside-and-out leaves little room in the way of surprises. Surprise isn’t really TTB’s game though, and they wowed the judges with pure power and finesse. The band, still twelve-members strong, did bring some fresh meat since we last saw them. Gabe Dixon has taken over on keys and Brandon Boone is now on bass. They also come supporting a new album, Signs. They introduced the crowd to three of the new tracks, “I’m Gonna Be There,” “Hard Case” and “Signs, High Times.” “I’m Gonna Be There” was a clear highlight among those, with a slick and slow building solo that ended with Trucks’ guitar exhibiting its signature growl over the backup singers’ building vocals.
One of the elements of the Wheels of Soul tours that after five years fails to surprise, but nevertheless always wow’s, is when Tedeschi Trucks Band brings out their openers for a guest spot or two. This year Charlie Starr from Blackberry Smoke, plus Michael Trent and Cary Ann Hearst from Shovels and Rope emerged for a cover of Leon Russell’s “Stranger in a Strange Land.” Despite the clear talent both openers exhibited in their sets, this performance didn’t rise to the high expectations of past guest spots.
One of the reasons for Derek and Susan’s strong connection with Rochester is the champion they’ve found in local radio personality Brother Wease. As a thank you for his consistent support, Tedeschi lead a stripped down quartet on an emotional interpretation of John Prine’s “Angels of Montgomery” that she segued into Jerry Garcia’s “Sugaree” as the backing vocalists joined in. A stunning moment to be sure.
Not to be outdone, her husband closed the set in a ball of flames, turning “The Storm” into a full-on “Whipping Post” jam, pushing the set right up to the 11pm curfew. They couldn’t possibly leave this crowd hanging so they risked “getting in big trouble” by coming back out for a quick encore.
Michael Trent and Cary Ann Hearst
Shovels and Rope drew a great crowd for their early opening set that focused mainly on material from their 2019 release, By Blood. Each played a bevy of instruments, drums, guitars, keys, harmonica, on songs ranging from emotive ballads to fuzzed out rockers. The variety was all held together by their wonderful two-part harmonies and incredible songwriting.
Blackberry Smoke came out guns blazing, whooping up the crowd with their Allmans-esque Southern rock jams and fist pumping country rock numbers. It was a big and dense sound that kept it fun for even the least familiar listener, with a slew of heavy teases and jams that included “Third Stone from the Sun,” “Amazing Grace,” “When the Levee Breaks” and a foreshadowing “Mountain Jam.”
Blackberry Smoke
Setlists:
Tedeschi Trucks Band: I Want More, Don’t Know What It Means, The Letter, I’m Gonna Be There, Hard Case, Border Song, Down in the Flood, Swamp Raga > Midnight in Harlem, Part of Me, Angel From Montgomery > Sugaree, I Pity the Fool, Stranger in a Strange Land (with Charlie Starr, Michael Trent and Cary Ann Hearst), The Storm > Whipping Post.
Encore: Signs, High Times.
Blackberry Smoke: Fire in the Hole, Let It Burn, Believe You Me, Mother Mountain, One Horse Town, Ain’t Much Left of Me.
Shovels and Rope: I’m Coming Out, Hammer, The Devil is All Around, C’mon Utah, Birmingham, Forsaken Blues, Carry Me Home, Mississippi Nuthin’, I Know, The Wire, Hail Hail.
Shovels & RopeMichael Trent and Cary Ann HearstBlackberry SmokeCharlie StarrPaul JacksonRichard TurnerBrit TurnerBrandon StillTedeschi Trucks BandDerek TrucksSusan TedeschiKebbi WilliamsEphraim Owens
This past weekend the Levitate Music and Arts Festival held its seventh annual grassroots event in the beautiful small town of Marshfield, Massachusetts. With one of the top lineups of the 2019 Festival season which included Tedeschi Trucks Band, Nathaniel Rateliff & The Night Sweats, Damian Marley, Joe Russoâs Almost Dead, Stick Figure, Michael Franti & Spearhead, Sublime with Rome, St Paul & The Broken Bones, and many other top acts in the jam and reggae music communities, it showed why it has become one of New Englandâs premier music festivals.
Caffè Lena will continue their Pride Series with a performance by Jonatha Brooke on July 18th at 7:00 pm. Jonatha has an extensive music resume. She has released eight albums under her own label, Bad Dog Records. Her songs have appeared in Disney films and in popular television shows, most notably the theme song for the television show “Dollhouse”. Currently, she has been writing songs with Katy Perry and The Courtyard Hounds.
Jonatha Brooke also wrote and performed in “My Mother Has 4 Noses” which was based upon living with her mother while she went through the later stages of Alzheimer’s. While living with her, she would write down the entertaining bits and pieces of their day to day life. She would encourage Jonatha and was a part of the process, noting when something she had said was particularly good. The title of the play itself comes from her mother, who said, “After all, how many people do YOU know who can say they have FOUR noses?”
Many have been touched by the play, and Jonatha has included a section on the website for “My Mother Has 4 Noses” where people can submit images of their loved ones and write something to honor them.
Jonatha has performed at functions in the past to support the LGBTQ community such as the LCCP (Lesbian Community Cancer Project) and is an ally to the LGBTQ community.
When diving into the music of Vera Sola, the inevitable result is a transportation. You’re picked up and delivered into a pensive, intimate, cathartic, often moody and sonically lush environment. It’s a world that is curated, with a meticulous intentionality towards each ambient instrumental flourish, and at the same time, wild with emotional abandon.
Before delving into playing her own music, Danielle Aykroyd was a seasoned storyteller and performer. Stemming from a love of poetry and prose, Aykroyd married her story crafting with music. With the release of 2018’s Shades, her full-length debut, Aykroyd achieved a personal and public triumph. Personally, it was a powerful fist-thump to the chest, as she took her music from the “smoky city hookah bars,” or “poorly lit open mics” she describes frequenting in an interview with Ravelin, to the public stage. In music news, it was a highly praised piece of work, lauded for its virtuosity and dynamism – a bold piece of work powered by a “unique talent,” as described by The Line of Best Fit.
“Someone once told me they find my sound to be ‘frustratingly influenceless,’ but I think that comes from the fact that there are so many disparate influences that a single vein is hard to find.”
Her songs are often a wrestling act, as she seeks to come to conclusions and confront often-harsh truths. There is an intoxicating, cathartic freedom to the heart-beat rhythms and layered harmonies abundant in her work. At the same time, there’s an astute self-reflection and caution – like someone who’s gathering courage to step over the line between darkness and light. It’s a balancing act shaped by the expressive vibrato of her voice. When she repeats “I want to hurt you,” in Shades’ “Small Minds,” it belies the complicated feelings beneath the surface – the feelings of somebody who couldn’t bear the thought of hurting somebody they love, yet wishes that person could feel a semblance of the pain they’ve caused.
Faced with a bit of downtime between tours, we connected with Vera to gather her thoughts on performing, songwriting, time spent in NYC and (local) plans for the future. Before heading off for a new round of shows, Aykroyd will join Sad Songs Summer Camp, an immersive songwriting workshop where guests will learn and craft music directly with the Milk Carton Kids and guest hosts.”Nestled in a remote camp in Big Indian, NY, she’ll be a featured songwriting and lyricism coach, working directly with camp goers to help them hone in and craft their stories. The camp takes place from July 23 to July 26 and space is limited. Learn more about joining.
Rob Simakovsky: You’ve recently finished a tour, traveling nationally and internationally. What was that experience like? Any highlights or favorite moments?
Vera Sola: The whole thing is so surreal. Two years ago I was holed up in my bedroom alone with my songs, and now I’m singing them out to faces around the world… in wild places like Alpine caves, or Prince’s club from Purple Rain, or a sold-out Saturday night at Irving Plaza. It’s like a fever dream. I still don’t believe it. When people tell me they like my music I experience this brain glitch, pure cognitive dissonance—“How do you know I make music?”
My very favorite show was the last one on this U.S. leg… there was a violent thunderstorm and the electricity cut out a number of times during my set. I ploughed through unplugged and unmic’ed, and the power kept dying and coming back for certain crucial moments in the set.
RS:Now that you have some down time, is there anything in particular you’re catching up on?
VS: I have trouble winding down, especially after working for so long without meaningful time off, so I’m just trying to be easy on myself. Allowing for days where I just watch TV and read and do laundry and don’t feel guilty that I haven’t written anything or solved some intense problem. I guess I’m just catching up on being a normal person in a house with a solid foundation.
That and writing and demoing. I have a lot of songs rattling the cages right now.
Photograph by Damon Duke
RS: You’ve performed with a full stage, but also often perform in your own intimate sets, supporting artists like The Milk Carton Kids. What’s the solo experience for you like on stage?
VS: The full band can be comfortable in that there’s a cushion to fall back on—other energies to draw on if I’m tired, other noises to cover for my mistakes. It’s far less vulnerable and easier to hide my humanity.
Solo there’s nothing but the self to confront and be confronted with. It’s harder to capture and keep the attention of an audience when one’s just up there alone. But if the landing sticks, it’s more rewarding because of how stacked the odds feel. Either way, bad show or good show, I think there’s great beauty and power to getting up there alone. And I like the more difficult route, I’ve never been one to just take what’s easiest.
RS:Many artists approach songwriting in different steps. Some write either the melody or lyrics first, and some may flesh out an entire story. How do you usually formulate your songs?
VS: Sometimes they come together, lyrics and music, sometimes they’re separate. I’m constantly writing, accounting for ideas. I write a lot in the notes on my phone, both fragments and fully fleshed poems. Sometimes there’s a melody to the words and sometimes not.
It depends on the situation. There are songs I’ve written in minutes, and songs I’ve been slaving over for years. There’s one in the bank right now that has my very favorite chorus I’ve ever written, but the verses—both lyrically and melodically—are objectively terrible. Don’t know what’s going to happen with that one. Hoping for a breakthrough at some point.
RS:Are there connecting themes between your music, or recurring themes you find yourself revisiting?
VS: I think a lot of my work comes out of longing. Not just a lovelorn longing—but for a better world, for reconciliation, for understanding. Longing, to me, is best described as a searching for something not immediately attainable. In that process I make a lot of music, fill that void, whatever it might be, with song.
RS:You mentioned you have a particular love for 70’s and 80’s punk. “The Cage” could almost be rearranged into a punk song with a drum and snare 4/4 rhythm. Does the “punk” pathos, or your history of punk influences play a role in your songwriting?
VS: Absolutely, all the music I’ve ever loved finds its way into my compositions. Someone once told me they find my sound to be “frustratingly influenceless,” but I think that comes from the fact that there are so many disparate influences a single vein is hard to find.
When it comes to punk, I’m definitely hindered by the fact that I barely know how to play guitar with a pick. Down-strokes are not my strong suit…That said, I do still have a rather hard-hitting sensibility to my stuff, especially when I’ve got the band going.
But I think even more than the sound itself, I’m influenced by the raw nature of punk, a sort of purity of expression. At a certain point I discovered that same unbridled truth in the work of early folk and blues songwriters like Skip James. And that’s what moves me most. I don’t like being limited by genre, I just want to play and sing and let fly what will. I need that freedom or I lose touch with myself as a person and a performer.
Vera Spla
RS:Let’s talk about your voice, particularly your expressive vibrato. Was it there before you found your songwriting niche, or did it develop as you found your own style?
VS: I’m not sure if I’ve found my songwriting niche yet! I have trouble locating what I do and how I write in any particular place at all.
As for my voice, it sort of appeared out of nowhere. I’d been writing songs for years, but was too afraid to sing them, and that fear was a literal choke-hold. Even when I decided I was going to record something (I didn’t know yet what it would be), I had a very limited vocal range. It wasn’t until I actually opened my mouth to sing in the studio that I let go of all that tension and fear, and that’s when the vibrato arrived. What’s particularly cool (to me) about the album I made is that it truly is a ‘record’ of that moment of catharsis. You hear, on those songs, me quite literally hearing my own voice for the first time.
That was just over two years ago now. I’ve grown stronger and more self-assured. I’ve certainly developed my voice—but it’s completely true that I didn’t even really have one until February 2017.
RS:A few of your songs seem to have thematic dualities: Peace and struggle; joy and longing; betrayal and forgiveness. There’s an acceptance of balance. Would life be too boring if things were always good, or as they should be?
VS: I’ve lived a very privileged life, but it surely hasn’t been without its sorrow. I’m lucky in that even in the darkest moments I’ve been able to hold on to my sense of humor. There’s a lot of laughter and good-hearted self-deprecation in my work. That’s where I find a sort of radical acceptance.
Otherwise I’m a person who feels very deeply, and everything around me deeply too. I’m quite a pessimist, so it’s hard to even imagine a perfect world. To be completely honest, I play music as a way to process and conquer and come to terms with what’s hard about life. So I probably wouldn’t be a musician if everything was awesome all the time.
RS: You spent a good amount of time in New York growing up, and have said that the NYC environment had an impact on your work. How?
VS: The city’s got this special coexistence of cold detachment and deep empathy. Growing up in that environment I learned to observe and to listen and to draw from the diversity of the surroundings for comfort and creativity.
RS: Any particular local spots you’d visit for artistic inspiration?
VS: I like to walk long distances alone and compose in my head as I do. Doesn’t really matter where, as long as I’m moving through the streets at a clipping speed, it’s good.
RS:After going on tour with The Milk Carton Kids, you’re now going to be a guest instructor on July 23 at their Sad Songs Summer Camp, where guests can workshop their songs directly with some amazing artists. How did the opportunity come about?
VS: Kenneth has been a dear friend for a little while. He says he’s always admired the way I approach lyrics in particular. I think the kicker, though, was a discussion we had about a couple of Dylan songs. I was giving him a run-down of various critical interpretations, as well as what the words meant to me personally, and he invited me to teach a course on lyricism and poetry. I told him that I was deeply unqualified but he made a compelling case for why I should do it, and it was such a great opportunity and he’s such a doll I couldn’t say no.
RS: How does it feel to be able to have a chance to coach others in their songwriting?
VS: Totally wild. I guess I do have a few tricks up my sleeve thanks to a striking combination of personal error and schooling. I’ve been lucky enough to study under some incredible poets and it’s cool to be able to pass along what they taught me.
RS:You recently released a couple of new singles,and are going to be playing a new set of shows in July and August. What exciting news should our readers keep in mind?
VS: More music as soon as humanly possible. I’m excited about what I’m making now.
RS:Being a storyteller, how might you give guidance to somebody who might have a start and end of a story, but not a middle?
VS: Oh gosh, I have a number of those going right now. I have no idea…make a list of possibilities and roll some dice maybe?
The 39th annual Old Songs Festival was held in picturesque Altamont, New York, nestled just below the towering Helderberg escarpment. Thousands of fans gathered for the weekend celebration of folk music, instruments, and friendship. Campers braved the, at times, heavy rain to hear more than 40 performers over the 3-day festival.
Intimate performances were held on three main stages, spread between the outdoor amphitheater and inside the fairground’s buildings. Musicians and festival goers gathered for more than 100 workshops over the weekend on topics ranging from dancing, open tuning, the bodhran (an Irish frame drum), and clawhammer banjo playing.
The festival drew performers from across New York State, as well as the world, including Canada, Ireland, Scotland, Italy, and South Africa. It was impossible to hear every performance, but the days were packed with great music. The artists were masters of their instruments, and wove together song and storytelling that made a performance in a barn in front of hundreds of people feel like sitting in a friend’s living room, listening to a jam session.
The entire festival had a feel of a family reunion. Several kids could be seen riding bikes in the infield, as well as taking advantage of the numerous kid’s music and activities. As Sunday’s performances drew to a close, attendees could be heard asking, if not reassuring each other that that they would see one another next year.
