The Long Island Music Hall of Fame has announced its first annual holiday concert at the brand new facility in Stony Brook on Dec. 23 from 12:30-4 p.m.
The Long Island Music Hall of Fame recently moved into its brand new Stony Brook location that is dedicated to the recognition, honor, and preservation of Long Island’s music and entertainment heritage. Since 2004, the museum has inducted over 120 music artists and related professionals, and now they are put on display.
The museum features displays of original musical instruments, famous awards, apparel, and other memorabilia from many of Long Island’s favorite artists. People represented here include Billy Joel, Blue Oyster Cult, KISS, LL Cool J, and more. Since the opening of the new facility, LIMEHOF has featured live performances from Stanton Anderson Acoustic Trio, the Smithtown High School East Chamber Choir, Quarter Horse, Jack’s Waterfall American Roots, Richie Cannata and Mark Newman, and Kerry Kearney.
On Dec. 23, there will be the first annual holiday concert put on by the museum, with music from 12:30-4 p.m. The artists featured on the bill include Gene Casey, a Long Island native whose songs have been used in A Prairie Home Companion and on the soundtracks to television and feature films, including Justified and Sons of Anarchy. Other artists on the bill include Pete Mancini & The Hillside Airmen from NYC. Mancini has released two records that have earned praise from NPR, and also landed him an appearance on the AMA radio charts.
Finally, Rorie Kelly performs, an award-winning singer/songwriter from Long Island. Her music has been featured in film and TV shows and received radio airplay around the world which led her to perform at the Obama White House in 2016. The Long Island Music Hall of Fame’s first annual holiday concert will be held on Dec. 23, and tickets are free when purchasing admission to the museum. For more information about the museum and the event, go here.
Westward expansion. An 80+ year stretch marked by hope, oppression, sorrow, and death. For Ian McCuen, it serves as a provocative metaphor for a life of disappointment and a world of heartbreak on their fifth album, November’s Westward to Nowhere.
It’s not the first record inspired by grief and the idea of travel. Modest Mouse did the same thing twice in the 90s to massive acclaim. What sets the Buffalo indie folk musician’s concept album apart though is its consistent and clear narrative, which progresses towards its natural finish by the end of the project’s behemoth 18-track, 80 minute run.
Cover art for ‘Westward to Nowhere.’
The early going of Westward to Nowhere depicts McCuen’s character as a damaged and traumatized young adult who anticipates and hopes for better things with a change of scene. The lo-fi acoustic opener “Westward” introduces the album’s historical symbolism with the noises of a train and the repeated closing line “westward home, westward home, and I know that I must go,” a phrase which is made a motif via the three interludes found across the record.
Follow-up track “Independence, MO” is a fuzzy but light indie rock song about the “thrill of anticipation” for starting new, coming before lead single “Lonesome Homesteader” (or “Lonesome Dreamer” according to the album listing), a gloomy acoustic ballad spaced out by stretches of organ and banjo. “I walk for miles at a time, daydreaming of a place that’s always mine,” McCuen sings on “Lonesome Dreamer.
This continues onto the waltzy “California Bound,” where McCuen analogizes seasonal change with grief and recovery, hoping that change of scenery will “wash away past trauma.” The same goes for the synth and violin-laden “Beatrice, NE,” where McCuen dreams of traversing the Great Plains and scaling the Rockies. “Goodbye Beatrice, so much world left to see,” they sing on one of several tracks that personally address the pinpointed location on McCuen’s journey.
Musically, Westward to Nowhere is highly consistent and consistently melodic. McCuen’s near whispered falsetto heavily reminisces of Elliott Smith, with their low-key acoustic approach and sentimental subject matter also ringing true of the legendary singer-songwriter. This tonal steadiness doesn’t mean a lack of variety in texture or instrumentation though, with McCuen’s parts on guitar, piano, organ and more being complemented by guest musicians such as Lissa Reed on cello and Sally Schaefer on violin. Reverb-heavy moments of guitar noise add contrast to long stretches of acoustic subtlety on songs such as “American Retreat.” There’s “The Plea,” which closes its six minute runtime with a biting and bluesy guitar solo and hints of trombone. All makes for an experience which sonically conveys McCuen’s sorrow in an affecting and musically accessible fashion.
While primarily personal, Westward to Nowhere has its political moments too, “The Plea” being explicitly so. “Can’t you hear the chanting, ‘no justice no peace,’ how much fucking longer we gonna let Kansas bleed,” McCuen asks on the final verse’s closing line.
There’s also the on-the-nose “Running Still (Worker’s Hymn),” a mostly acapella anthem where they sing in the first person about working class strife with exploitation, and the heartful late-placement ballad “American Retreat” which addresses Native American genocide, abandonment of military veterans, and general lies from “the lofty speak of what an infinite frontier provides.”
Such cynicism defines the rather hopeless back half of Westward to Nowhere. There’s “Letter,” on which Ian McCuen pens letters to a sister, an old friend, and a former lover, detailing fun reminiscence, regret, but most of all, agonizing over the distance created from these loved ones. “I can hardly recognize where I’m heading or from where I came,” they observe over the light drumming of the song’s chorus. “On my shoulders lays the blame.”
McCuen’s journey away from misery has made life even more hopeless, something fully emphasized in the album’s final three tracks. There’s the upbeat organ/violin-driven “Lonesome Drunkard” with its alcoholism play-by-play, followed by the overpowering gloom of nine-minute “Deadwood, SD,” which takes their sadness to suicidal levels.
McCuen forecasts themselves as “face first in the dirt with a bullet in the brain” and “just another number in the morgue,” and reminds of the album’s historical symbolism by alluding to “repeated failed attempts at finally striking gold. In the last few minutes, over a subtly building assembly of piano, guitar, , McCuen echoes frustration with a disgustingly wrong promise, singing “I’m so fucking sick and tired of hearing ‘Westward Home,’ after all this time I still don’t know where the hell I belong.”
No point is more bleak though than the closing track “Nowhere.” The train from the end of “Westward” returns, not to take McCuen on a life changing journey, but to take them out. “My brain and my body have given out on me, so I’m giving in to let these tracks take me,” they sing after two minutes of desolated acoustic guitar playing. McCuen’s echoey vocals and the track’s eerily sparse musical framing make this a haunting self-eulogy, as they talk about an eradicated sense of youthful optimism, reflect on a life of unfulfilled self, and envision a memorial not consisting of any heartfelt tributes, but “just regret for my days.”
Westward to Nowhere begins with a clear point and ends on a resounding personal message: the grass isn’t always greener elsewhere. Change of scene and change of personal direction don’t always lead away from misery. It may lead nowhere, and it might make life more isolating than ever imaginable. Originally aiming for California, McCuen never got farther west than Montana, a testament to the fleeting nature of personally prophesied destinations.
The album bears similarities to 1984 hardcore classic Zen Arcade by Husker Dü, a concept record about a boy who leaves a troubled home to find a world of nothing but. Ian McCuen never comes close to being as loud as Husker Dü, but the emotional ideas and big picture thinking are all there.
This is a long record that doesn’t do anything musically shocking, but within the album’s historical approach, it’s all fitting. Continental travel is long, consistent, and miserable, often like life. On Westward to Nowhere though, Ian McCuen conveys this in a way that ends up being pretty enjoyable to listen to.
The network of original artists on Long Island have brought me from dive bars to aspiring stars. Sam Woolf is a young man with the courage of his convictions. When faced with the pressure to be reinvented to suit the market, Sam chose to stay true to his art.
Intrigued by two recent guests on The Long Island Sound podcast , brothers Como, Andrew and Matt, I was introduced to Sam Woolf. The Como Brothers collaborated with Sam Woolf, and I was impressed both with the original songs and vocal accompaniment. A particular jem is “Give a Little Love”
Sam Woolf & Como Brothers, Andrew and Matt
American Idol Competition
At the age of seventeen Sam Woolf, through the encouragement of his mother, took a chance at an audition for American Idol back in 2014. As an uneasy teen with little to no live performance experience, Sam Woolf got the golden ticket to Hollywood to perform on American Idol. He made all the way to the number five spot in the contest. When I asked Sam about the scrutiny on national television, he has this to say:
… I had really no experience performing live,… no real experience performing in front of an audience. So that that part was like, I just kind of had to muster up the courage and just be like, I gotta do this
Sam Woolf
2014 Sam Woolf on American Idol
American Idol judge Keith Urban was impressed with Sam’s perfect pitch as he performed Ed Sheeran’s Lego House during auditions. Woolf climbed to the number five spot before elimination. What intrigued me was his determination to retain his identity as an independent singer/songwriter. When the American Idol team wanted to transform Sam into some sort of a teen idol, this is how he responded:
Yeah, I certainly was going against it. Because that was the bubble they put me in. The heartthrob, which is how they labeled it… I don’t want to be the heartthrob. Come on, I’m just trying to be that indie singer songwriter
Sam Woolf
A Decade Later
It’s been a decade since Sam competed on National Television, and he has recently moved to New York City to continue with his music career. He’s opened for Jefferson Starship, War and the Doobie Brothers. He stays in touch with Alex Preston and Caleb Johnson who were contestants with him on American Idol. In January he’ll be releasing a new song called, “Worst Thing” and this is what he said about the new release:
It’s called “Worst Thing “, to me, it’s my favorite song, I think, the most honest song I’ve ever written. And I hope people can relate with it in some way, or they could connect with it.
Sam Woolf
Now that Sam has settled in New York, I’m excited to see where he pops up next. I’m sure there will be more collaborations and great music in this guy’s future. If you’d like to hear the rest of the conversation with Sam, check out his episode on The Long Island Sound Podcast.
It was a splendid evening for mid-week melodies, hump-day harmonies and independent live music in Glens Falls Wednesday, December 7th as fans of all ages filled the Park Theater for a captivating performance by The Ballroom Thieves and Griffin Sherry of The Ghost of Paul Revere. A beautiful and underutilized venue that dates all way back to 1911, the intimate room was the perfect setting for these modern-day master songwriters to pour their hearts out.
The Ballroom Thieves performing at Park Theater in Glens Falls, NY 12/7/2022.
Playing his first run of shows since the demise of The Ghost of Paul Revere, Portland, Maine’s Griffin William Sherry surprised both fans and even the venue when he arrived in town with a full backing band of musicians that also included former GOPR drummer Chuck Gage. Sherry joked from the stage how this was more people and more gear than he ever took on the road with his former band while also reassuring the crowd that it is ok to get a little rowdy. “I’m particularly looking at you ladies” he said, while pointing out a table full of much older women. “It’s so good to see you again!” chimed an excited fan from the other side of the room.
Perhaps still grieving the loss of GOPR who played their final show in September, fans were delighted to hear new renditions of some old favorites with “One of These Days” being a clear highlight. Known primarily as an acoustic guitar player, the surprises from Sherry didn’t end there. Using his new solo platform to try new things, longtime fans gasped when he suddenly strapped on a beautiful hollow body guitar and launched into a cover of the classic Pink Floyd song “Fearless.” The ‘electric’ Sherry would also try out several new songs, including “Stephentown” and the hard rocking set closer “Ain’t It Amazing.”
Griffin William Sherry performing at Park Theater in Glens Falls, NY 12/7/2022.
Following a quick pause in the action the lights went dim as the Ballroom Thieves then took their places on stage. Back on the road for the first time in years, the acclaimed neo-americana folk act from Boston were in complete command from the very moment they played their first note. Building up the tension with the hypnotic intro of “Canary,” the Thieves wasted no time in living up to their reputation as one of the most dynamic, energetic and melodic live bands on the independent circuit. Consisting of husband-and-wife duo Martin Earley on guitar and vocals and Calin Peters on electric cello, bass and vocals, the current incarnation is rounded out by John Henry Nolan on guitar and keyboards and drummer Kevin O’Connell (from Rome, NY) who somehow was able to play the show despite suffering a torn meniscus.
The Ballroom Thieves performing at Park Theater in Glens Falls, NY 12/7/2022.
Fresh off the release of their latest studio album, 2022’s Clouds, the band has gone through some tough times these last few years and many of their new songs address that head on. A chronicle of desire and despair, trust and betrayal and the importance of mental health, The Thieves would play the albums opening track “Worldender” next, followed by “In the Morning. “ Trading stunning and lush vocal harmonies, the cozy atmosphere almost made you feel like you were getting your own private show.
Switching back and forth between electric cello and bass guitar, Peter’s voice was both beautiful and haunting. Songs like “Almost Love” and “Do Something” put her squarely in the spotlight and it was easy to see she was reveling in it. Smiling, dancing and leaping about the stage, you couldn’t help but be charmed by her performance. Contradicting upbeat melodies with some darker lyrical content provided a powerful juxtaposition that wasn’t lost on the audience. A great example of this was the Earley sung rendition of “Shadow” which would then go into the brilliantly bluesy number “Anybody Else” from the bands 2017 album Deadeye.
Despite serious lyrics, Calin Peters was all smiles on 12/7/2022.
“Most of the time, we’re usually all about love and understanding, but not on this next one, “Peters’ said. “Picture in your mind someone you hate and when we play this song, we want you to think about them. That is, of course, unless they are in this room right now. If they are, sorry, you can’t play this game with us.” And with that thought in mind, Peter’s then crooned out perhaps the most hauntingly beautiful song of the night called “Woman.”
I was your woman And you left me standing Alone in a world that had not heard me use my voice yet You’re just tired of my noise, I guess Hey, we all make our choices and break our own horses Are you hearing me say all this? This is the last one For you
– “Woman”
Following that up with two more older, tender songs “Pendulum and “Bees,” Martin Early would soak in the moment and candidly address the audience by saying “It’s been a tough couple of years, but we never stopped writing songs and you being here to hear them means more than you’ll ever know. This next one is about coming to terms with a crippling depression.” Providing perhaps the emotional highpoint of the evening, “I Lose” hit you like a ten ton hammer.
The Ballroom Thieves performing at Park Theater in Glens Falls, NY 12/7/2022.
Showcasing their flexibility, both musically and physically, the chemistry between the Ballroom Thieves was undeniable. Interacting like a tight-knit family, even during the “sad” songs each member of the band was clearly engaged, invested, enjoying themselves. At the peak of all Peters and Earley would lock eyes, meet each in the middle of the stage and get so lost in the music that they’d both end with their backs on the floor. Perhaps the loudest cheer of the evening came during their most rocking song, “Fistfight,” rocking duel-guitar attack of the bands hit single “Fistfight.” After wishing guitarist John Henry Nolan’s Aunt Emma a happy birthday, The Ballroom Thieves would close the set with a powerful rendition of “Wolf.”
The Ballroom Thieves laid it all on the line in Glens Falls on 12/7/2022.
These days you almost expect an encore at every show, but in perhaps the best fake out ever, you could hear the collective letdown when the house music came up. Just then as fans starting getting ready to leave, the music and lights suddenly went back down. Returning to the stage with huge smiles and to a huge ovation, The Ballroom Thieves then treated fans to one more surprise by closing the show with a cover of the Donna Lewis song “I Love You Always and Forever.”
A captivating performance from start to finish. From hushed whispers to cathartic screams to synchronized dance moves, the intimate and thought-provoking show felt truly special. Anyone who wasn’t sure about this band going into it walked out of the Park Theater a full fledged believer. Up next, the Ballroom Thieves will take a little time off for the holidays before Early and Peters return to the road for a brief duo tour this winter.
The Ballroom Thieves | December 7, 2022 | Park Theater | Glens Falls, NY Setlist: Canary, Worldender, In The Morning, Almost Love, Do Something, Shadow, Anybody Else, Woman, Pendulum, Bees, I Loose, Fistfight, Wolf Encore: I Love You Always Forever (Donna Lewis cover)
Griffin William Sherry | December 7, 2022 | Park Theater | Glens Falls, NY One of These Days, Stephentown, Me and My Shadow, Fearless (Pink Floyd cover), Ain’t it Amazing
Deer Tick made their long awaited return to the Capital Region on Saturday December 10, playing a near sold out show at Putnam Place in Saratoga Springs. The indie rockers last played the Capital Region in 2018.
Deer Tick, from Providence, Rhode Island was originally born as the solo project of singer John McCauley. McCauley secured the band’s line up early on, adding brothers Dennis (drums) and Christopher (bass). McCauley would later add Ian O’neil (guitar and vocals) and firmly establish the band’s line up that would continue today.
Izzy Heltai kicked off the evening, playing a 35 minute set to an already packed room. Heltai, from nearby Brookline, MA, boasted proudly of previously playing coffee shops in Saratoga Springs. He and his band captivated the audience, performing a blend of mellow indie pop. As the set wound to a close, Heltai’s bandmates left the stage, allowing for one final song, just Heltai and an acoustic guitar.
Izzy Heltai performs at Putnam Place on 12/10
After a brief intermission, Deer Tick took to the stage with a roar of approval from the crowd. From the opening guitar strums of the party anthem “The Bump,” the crowd was fully engaged, belting out lyrics and dancing along. The band dazzled with their Impressive harmonies, with McCauley yielding lead vocals to both O’neil and Dennis Ryan at times. The band’s musical prowess was never more on display then when they performed a cover of the Muddy Waters blues rock classic, “You Shook Me.” McCauley and O’neill traded guitar solos while the Ryan brothers kept pace.
In all, the band would deliver an impressive, nearly two-hour, career spanning set. “Next year will be twenty years of this,” McCauley proclaimed proudly. After exiting the stage briefly, the band would return for a three song encore, to the delight of the audience. The band would end the show with a performance of Ashamed, the opening track on their 2007 debut album War Elephant. “Sing along if you know it,” McCauley asked of the crowd, and he was not left disapointed.
The 21-date tour is in promotion of their upcoming album Live At Levon’s!, slated for February release. The 12-track record was recorded in entirety at the Woodstock venue with audience presence.
Teresa Williams and Larry Campbell.
Their tour announcement on the Second of December was coupled with the release of the album’s second single, a cover of “Darling Be Home Soon” by The Lovin’ Spoonful. The funky orchestra-laden 1967 track is subdued by Campbell & Williams, who slow down the tempo and turn the song into a simple piano and acoustic guitar tune, making for a more melancholic delivery.
Cover art for Live at Levons!
Live At Levon’s! features a selection of new, previously unreleased songs from the Woodstock duo and “old favorites” such as the album’s lead single “Angel of Darkness.” It’s a biting blues rock track, with fuzzy guitar licks and soulful keyboards complementing Williams’ shaking vocals. It’s highlighted by a slippery guitar solo around the three-minute mark.
Information on pre-orders for Live At Levon’s! can be found here, and details regarding tickets and more for Campbell & Williams’ Levon Helms Studio show can be found on TIXR.
The holiday season delivered an early gift for music fans on Saturday, December 3, as radio station 95X hosted its annual 95X-Mas Pajama Jam at The Westcott Theater in Syracuse. The event, headlined by the indie folk-rock band Wilderado, also featured a solo performance by Andrew McMahon and a set by Almost Monday.
Wilderado performs at the 95x-Mas Pajama Jam in Syracuse, NY
Wilderado, hailing from Tulsa, Oklahoma, are led by Max Rainer (vocals and guitar), also include Tyler Wimpee (guitar), Justin Kila (drums), David Stimson (bass guitar) and Jack Malonis (keyboards). They continue to tour in support of their 2021 self-titled album, and were making their first appearance in Central NY.
Wilderado performs at the 95x-Mas Pajama Jam in Syracuse, NY
The event opened with a set by Almost Monday. The San Diego indie-rockers hit the stage promptly at 8pm and delighted fans with a set of groovy rock tracks.
Almost Monday performs at the 95x-Mas Pajama Jam in Syracuse, NY
Up next was Andrew McMahon. McMahon is most known for his years fronting the bands Something Corporate and Jack’s Mannequin. His recent set at Beak & Skiff in August 2022 was a summer favorite of many. On this evening, however, fans were treated to a rare, solo performance. Flanked by just a piano, McMahon took fans through a journey highlighting many of his past musical projects. From the moment McMahon took the stage, fans sang along to every word. A set filled with many highlights, perhaps the most special moment was when McMahon closed his set by honoring a fan’s request by playing the emotional “Hammers and Strings.”
Andrew McMahon performs at the 95x-Mas Pajama Jam in Syracuse, NY
After a brief intermission, it was time for Wilderado. The band opened with a dreamy musical intro before launching into “Stranger,” the opening track on their 2021 self-titled album. The band weaved through several folk-rock styled tracks, much to the enjoyment of the crowd who jumped, danced, and sang along.
Wilderado performs at the 95x-Mas Pajama Jam in Syracuse, NY
As the set wound to a close, Rainer summoned the crowd. “Are you guys going to help me sing Surefire?” The band began their stand out track and the crowd did not dissapoint, belting out the lyrics to the catchy chorus. As the song concluded, the band members shed their instruments and joined Rainer at the front of the stage. Armed with just an acoustic guitar, the band closed their set with “Rubble to Rubble”, a beautiful ode becoming a new parent.
Singer-songwriter Rachael Sage performed this past Sunday, December 4th, at the Towne Crier Cafe in Beacon. Evoking music of the 60s-era folk genre with her powerful vocals, masterful guitar-playing, and agile piano skills, Sage put on an incredible performance.
Rachael Sage at the Towne Crier Cafe
A resident of Beacon with a large New York audience, Sage performed her eclectic music with Kelly Halloran on violin and Trina Hamlin on harmonica and percussion. With her recent release of “Revelation Ground,” Sage performed songs from this new maxi-single along with others from her Billboard Charting album Character, her wide collection of 14 albums, and her experimental side project called Poetica. A multi-instrumentalist and award-winning artist, Rachael Sage has played all across the globe and is set to perform in New York City at The Loft at City Winery to continue her tour across the United States.
During one song, Sage performed acoustically without the accompaniment of a microphone or instruments, instead clapping her hands to keep up the beat. The crowd reacted excitedly, admiring her soulful vocals as she walked off the stage to greet those watching from their seats. Rocking her bright-red boots, bright-red glasses, sparkly hoops, and flower-embellished hair, Sage played her large variety of guitars along with her sticker-covered keyboard. During her performance of Unconditional off of her Poetica side project, Sage used spoken-word to express her resonant composition with entrancing instrumentals, captivating the audience.
Rachael’s performance was truly phenomenal, and something nobody should miss. She previously played many shows in New York between February and April of 2022 during her tour. She is having her last New York show on December 12th and is set to perform at her later tour dates in Kansas.
Setlist: Blue Sky Days, Loreena, Deepest Dark, Whistle Blow, Alive, Sleep When I’m Tired, Haunted By Objects, Only You, Spark, The Other Side, Unconditional, Magenta and Blue, Umru Meine, Revelation Ground, Big Star Encore: Sistersong
Kelly Halloran on violinTrina Hamlin on percussion
Married couple Molly Venter and Eben Pariser brought their project Goodnight Moonshine to Caffe Lena on a Saturday in early December 2022. The duo plays acoustic guitars and sings into a solitary mic. This highlights the spark of their harmonies, both vocally and from their instruments. The audience enjoyed the couple’s banter and playing throughout the show, joining in impromptu with backup harmonizing and also when asked to join in by the band.
Goodnight Moonshine at Caffe Lena. Photo by Derek Java.
Earlier that day, Goodnight Moonshine had performed for a group of young children at Caffe Lena. Transitioning to the adult crowd, the couple was having fun realizing that their child-safe filters were still on. Someone from the crowd asked, “How many wheels on the bus?” Venter was quick to reply, “As many as it takes to get them to stop crying!” This was one of many enjoyable moments throughout the evening.
Molly Venter of Goodnight Moonshine. Photo by Derek Java.
Venter dedicated a song called True North to her father. Lines such as “there went my peace of mind with you on the otherside” and “taught me to speak true” brought to light her love for her father. Venter’s soulful voice is a story-telling gem.
Later in the long set, Pariser asked the audience for participation. He asked those with low voices to sing a low “drown in my own tears” and the higher voices to sing a harmony to the same line. This was fun, and as always the crowd at Caffe Lena did not disappoint the artist.
Goodnight Moonshine basking in the spark of the crowd at Caffe Lena. Photo by Derek Java.
For this listener, two songs highlight what connects this pair to their audience, and the rest of the world for that matter. One is about the couple’s twins called “Already Who You Are” and the other is called “Stars.” Both have lines about everything being “made of stars.” Speaking true indeed. Keep an eye out for Goodnight Moonshine next year and see them if you can. You can stream shows from Caffe Lena, as well. Information can be found here.
Photo by Derek Java.Photo by Derek Java.Photo by Derek Java.Photo by Derek Java.Photo by Derek Java.Photo by Derek Java.Photo by Derek Java.Photo by Derek Java.
Charlie Parr walked onto the Arbor Loft stage, bundled up in a made-for-Minnesota-winters cardigan, minutes after opener Al Olender finished up her set. He sat down, settled in with his Mule resonator guitar and started to tune it. Or was he just playing?
The Rochester crowd milled about, conversing, getting a set break drink. Parr kept picking away, and it became more and more evident this was some mighty fine playing that deserves an attentive ear. And after a little while he leaned into the mic and started singing, “Can you remember what it’s like / When all the world’s filled with light / Now do you have that in your sight / Then spread it around, do.”
And Parr’s set started just like that, no welcome, no pretense, he just got right to it with “817 Oakland Avenue” off his excellent 2022 release Last of the Better Days Ahead. The crowd quickly quieted, the lights went down, and the show on Thursday, December 1st, had begun.
About 90 minutes later, after the peppy “Jubilee,” he flatly announced that was the end of his set, “Do you mind if I do the encore now?” With that he left the crowd with a stirring a capella rendition of the gospel, “Ain’t No Grave Gonna a Hold My Body Down.” He opened unceremoniously with a long guitar exploration and closed with just his voice. In between those bookends, the set was filled with the lush combination of his deft finger picking and rich voice.
Sometimes seeing an artist perform solo, even the great ones, you are left wondering what could be gained with a band or even just an accompanist. Not so with Charlie Parr. He sounded perfect all on his own. Through finger picks, slides, foot stomps and that ragged voice with unexpected range, there wasn’t empty space wanting for anything more. And modifications, like an “aggressive capo” on the mostly instrumental “Jaybird” got even more sound from that guitar.
“You know you’re at a folk show when a guy talks awkwardly while tuning his guitars.” Parr said, while tuning his guitar. He tuned quickly though, and like the way he opened his show, his tuning turned to playing without pause or hesitation. The show kept moving, with engaging upbeat songs, even if they were depressing in nature. He provided “palette cleansers” with some traditional folk blues tunes, like Brownie McGhee’s “Sportin’ Life” and Blind Willie McTell‘s “Delia,” the closest he was getting to playing a seasonal holiday song (not very close at all.) His original “On Stealing a Sailboat” referenced Arlo Guthrie in style, a romping spoken word story. No, there was no question or doubt about this being a folk show, or an Honest Folk show for that matter, the promoter closing out the year in grand fashion. We look forward to what’s in store for 2023.
The full house lent an attentive ear to opener Al Olender, a young singer-songwriter from the Hudson Valley making her third return trip through Rochester this year. She immediately connected with the crowd on catchy and clever “All I Do Is Watch TV,” finger picking and strumming her vintage electric guitar and emoting with her silky smooth vocals. Her friend Amanda Brooklyn came out to aid with sparse but well-placed harmonies. She cut through sad subject matter with engaging and humble humor, in her lyrics, with in-song jokes, and witty banter. She was admittedly nervous performing a cover of Roy Orbison’s “Blue Bayou,” (you wouldn’t have guessed it from her delivery) but had no hesitation baring all about her own experiences in a bad breakup on “Liar Liar.” Olender is a new voice to keep an eye out for.
Charlie Parr – Arbor Loft, Rochester – December 1, 2022
Setlist: 817 Oakland Avenue, Last of the Better Days Ahead, Everyday Opus, Sportin’ Life (Brownie McGhee), Don’t Send Your Child to War, Cheap Wine, 1922 Blues, Dog, Jaybird, Over the Red Cedar, On Stealing a Sailboat, Delia (Blind Willie McTell), Jubilee Encore: Ain’t No Grave Gonna Hold My Body Down
