Guitarist, songwriter, and singer Jim Miller of the band Western Centuries passed away unexpectedly from cardiac arrest while on tour in Boston last week. Miller was 69 years old and his passing has been felt hard on the Americana and acoustic roots musical communities. Outside of his songwriting in Western Centuries, known for its biting social commentary and insightful phrasing, Jim Miller was a founding member of Americana pioneers Donna the Buffalo and also collaborated with musicians like Dirk Powell, Rosie and Richie Stearns, Jim Lauderdale, Ginny Hawker, and Tim O’Brien.
Western Centuries was formed around three very different, but complimentary, songwriters: Jim with Cahalen Morrison and Ethan Lawton from Seattle. At live shows, the three would trade instruments, swap leads, and share the stage in a manner unusual for most Americana and country bands. Part of this stemmed from Miller, who loved to perform, but was always humble and soft-spoken about his own contributions to the music and the community.
Jim Miller was born in Boston in 1953 and lived for a time in Colorado. As a child, he spent much of his boyhood on the Canadian prairies around Saskatchewan, singing in the Saskatoon Boys Choir and getting introduced to roots music through his parents. An early experience at a Jimi Hendrix concert and exposure to the folk music concert series at Yale University brought Miller deeper into the fold. He later formed Donna the Buffalo with Tara Nevins in graduate school and was a key member of the band for fifteen years, touring heavily throughout the country. Miller cut five albums with Donna the Buffalo and was a key part of their early sound.
He was also a respected lepidopterist (scientist who studies moths and butterflies), earning a PhD from Cornell University. Though he toured all across the United States and over to the United Kingdom and Europe with Western Centuries, his lifelong quest for understanding moths took him to even further corners of the globe; he was especially an expert on moths in South America. In addition to all the music fans left mourning by Miller’s passing, there are also many in academia who are speaking now in remembrance of how he influenced them directly and encouraged their careers.
Miller ended up meeting Cahalen Morrison and Ethan Lawton at jam sessions around the town after moving to Seattle. The three formed Western Centuries as a way to explore an urban nexus of country that drew from their own roving influences, like Morrison’s Southwest origins, Lawton’s interest in early soul and reggae, and Miller’s groove-laden history of song building. The band recorded four albums with Free Dirt Records with their most recent album, Call the Captain, released in 2020 and called “truly diverse” by Rolling Stone Magazine. The band had just finished recording a new album when Miller tragically passed away.
NYC indie band Morningsiders have returned to unveil their newest album I’ve Got a Song, along with the release of their new single ‘Hang the Cedar’, a song detailing the struggles of finding identity within a friend group.
The folk-pop trio recorded the single with the help of well-known producer Peter Katis, who has also worked with The National, Interpol and Sharon Van Etten. The song came together after the group realized that they had a piano pattern that would work perfectly as a verse. Building outward from the verse resulted in a cohesive story and smooth melodies.
‘Hang the Cedar’ captures the difficulty of developing a personality while navigating within a friend group. It can be an added challenge when you consider how those around you view you, but the Morningsiders are here to help you along.
PC : Shervin Lainez
“It’s like all of a sudden you have a chance to meet yourself, but also to reinvent and curate in a way that you couldn’t before.”
Morningsiders
Morningsiders is comprised of Magnus Ferguson (vocals/guitar), Reid Jenkins (fiddle/vocals) and Robert Frech (piano). After forming in 2012, the group has gone through a number of member rotations before landing on their current three man dynamic. They first gained national attention after their song ‘Empress’ was featured in a Starbucks commercial featuring Oprah Winfrey and have kept this momentum going with an ever changing musical sound and inventive approaches.
Fans can listen to ‘Hang the Cider’ on all streaming platforms.
German rock band, Scorpions, are set to perform a historic concert fit for the world’s most famous arena, Madison Square Garden, on Friday, May 6. The rock outfit will take the stage in celebration of Bangladesh’s 50th year of independence. Joining them on the special occasion will be Bangladeshi fusion/rock band, Chirkutt.
The charitable event will be organized by The Bangladesh Information and Communication Technology (ICT) division, with the support of the Bangladesh Hi-Tech Park Authority, the United Nations Development Programme, the U.S. Embassy in Bangladesh and local sponsors. The large-scale performance will be held in hopes of gaining a global audience and celebrating Bangladesh’s half-century anniversary through this live, one-night-only musical performance. Keeping the philanthropic tone of the event, proceeds from the concert will benefit the United Nations Development Programme’s global awareness campaign on cyber security programs for the youth and children, with a focus on under-developed countries.
With over 110 million records sold around the world and over 2.2 billion views on YouTube, Scorpion will more than likely play fan favorites from their impressive catalogue, which includes hits like “Wind of Change,” “Still Loving You,” “Rock You Like a Hurricane,” “Send Me an Angel,” and many more. Founded in Hannover, West Germany in 1965, they were part of the first wave of metal in the 1970’s with their debut album, Lonesome Crow, released in 1972. The band was ranked #46 on VH1’s Greatest Artists of Hard Rock, while their hit “Rock You Like a Hurricane” came in at #18 on VH1’s list of the 100 Greatest Hard Rock Songs.
The long-standing rock band has received multiple honors including World Music Award winners and a Star on the Hollywood Rock Walk. Most recently, they were honored with the Lower Saxon State Award.
Chirkutt is one of the most popular fusion band music troupes in Bangladesh. Founded in 2002, the band has also worked on several local film music scores in their home country. After releasing their debut full-length album “Chirkuttnama” in 2010, and through live performances, they had a rapid upsurge in growth.
Tickets will go on sale on Monday, April 4 at 10 a.m. (EST) through Ticketmaster. Scorpions Rock Zone fan club members will have an exclusive, first access to tickets available starting Thursday March 31 at 10 a.m. (EST). For more information and to join the community visit The-Scorpions.com/RockZone
Fresh off the release of her second album Squeeze, Sasami played a packed show last Friday night, March 25th, with support from Zulu. The eclectic crowd comprised people of all stripes, with plenty of typical goth garb (leather, long coats, and tall boots) and plenty of LGBTQ+ representation in the mix. Fans were asked to keep masks on throughout the show to protect the band from tour disruptions, with signs posted on the walls and doors.
Sasami at Music Hall of Williamsburg, Photograph by David Reichmann
L.A. native “powerviolence” band Zulu opened up the show with loud, sustained heavy metal sounds. The audience gleefully moshed and thrashed throughout their brief but powerful set.
Zulu at Music Hall of Williamsburg, Photograph by David Reichmann
Sasami started her hard-hitting set with some fan favorite tracks including, “Skin a Rat,” “Say It,” and “Make It Right.” Her setlist covered her 2-album catalog, and even included a cover of System of a Down’s “Toxicity” with on-stage help from Zulu. Given Sasami’s experience as a trained classical composer, her setlist spanned several genres and included operatic interludes, head-banging choruses, and even a few balladic deep cuts such as “Call Me Home.”
Sasami and Zulu at Music Hall of Williamsburg, Photograph by David Reichmann
Sasami’s music has always contained difficult themes, and often expresses frustration with systemic violence or even her own interpersonal relationships. Earlier in the week, she had posted on social media about her decision to postpone an upcoming Boston tour date until they could “book it in a venue everyone feels safe in.” She also stated, “My [number one] priority as a touring musician is to create a safe space for my community to rage, emote, dance […] and have fun…” Throughout her set, Sasami repeated her mantra of wanting to use music to create a safe space for minority and disenfranchised peoples, leading to loud cheers each time she reaffirmed her intentions.
Sasami at Music Hall of Williamsburg, Photograph by David Reichmann
Sasami’s North American tour continues, and you can listen to Sasami’s 2022 album Squeezehere and view upcoming tour dates here. Listen to Zulu’s music here.
Sasami and Zulu at Music Hall of Williamsburg, Photography by David Reichmann
Considering April is Jazz Appreciation Month, Flushing Town Hall has announced their celebration of this monumental genre with performances from Bill Charlap Trio, Louis Armstrong Legacy Monthly Jazz Jam, Alicia Lieu, and last but not least, Mark Wade.
Flushing Town Hall is a cultural nonprofit that is known for being a sanctuary for jazz music. In fact for over 40 years, the organization has held numerous jazz music programs, in addition to events with jazz legends like Jimmy Owens, Barry Harris, Sheila Jordan, Akua Allrich, and many more. Considering Queens has been home to a variety of legendary jazz musicians, Flushing Town Hall is a creative space to keep jazz alive and discover more musical talent.
The Bill Charlap Trio, consisting of pianist Bill Charlap, bassist Peter Washington, and drummer Kenny Washington, was formed in 1997 and have been a notoriety group ever since. In fact the group has been Grammy nominated numerous times for Uptown Downtown (Impulse!/Verve), Somewhere: The Songs of Leonard Bernstein, and The Bill Charlap Trio: Live at the Village Vanguard.
The Grammy Award-nominated Bill Charlap Trio is set to perform on April 8 at 8:00 P.M. During this performance the group will play some of the songs from their latest jazz album Street of Dreams. In person general tickets are $25 and $20 for members; while virtual viewing is free.
The next event at Flushing Town Hall will be held on April 13 at 7 P.M., with the Louis Armstrong Legacy Monthly Jazz Jam. This organization invites jazz students, musicians, and music educators to Flushing Town Hall to join together as one with the sole purpose of creating new music in a comfortable setting. Furthermore, the house band led by saxophonist Carol Sudhalter always begins a performance with the work of Louis Armstrong, a true pioneer of jazz. For this event, in person tickets are $10, while it is free for members, students, and jamming musicians. However, virtual viewing is free.
New Music Horizons will make an appearance at Flushing Town Hall to present classical composer Alicia Lieu and jazz composer Mark Wade on April 24 at 2 P.M. Alicia Lieu is not only a composer, but is also the founder of the Composers Collective, Pitches Brew, and New York Con-ducting Institute. At the Flushing Town Hall, she will perform new material from her opera in progress, “Unwrapping Fortune”. This work of art demonstrates the culture behind Chinese food, in addition to love.
Mark Wade is known to be one of the best bassists of this era and has played with other noteworthy jazz artists, like James Spaulding and Jimmy Heath. In fact, Downbeat Magazine Readers Poll voted him as one of the top bassists five of the last six years. The Flushing Town Hall is inviting the Mark Wade Trio, known for their improvisation to perform next month. In-person tickets are $10, while for seniors, students, and members the event is free; as well as virtual viewing.
After a pandemic-induced two-year hiatus, the BUKU Music and Art Project made it’s triumphant return to New Orleans this past weekend. The 2-day music festival and art project took place at it’s usual location outside of Mardi Gras World on the banks of the Mississippi river. The project’s 10th anniversary featured a stacked lineup of EDM and bass music, rap, hip-hop, and indie rock. Back in March of 2020, as the stages and grounds were being built, project organizer Winter Circle Productions made the tough decision to cancel BUKU Project just over a week out. Being the first cancelled festival in 2020, it was only fitting that in 2022, a few weeks after Mardi Gras celebrations returned to New Orleans, that BUKU would be the first festival to kick off the season.
The 2022 lineup featured several hold over names from the cancelled 2020 edition including headliner Tyler, the Creator, Glass Animals, Alison Wonderland, Taking Back Sunday, and 100 Gecs. Over the years BUKU has grown into a 20,000 attendees per day festival and the location has proven ideal. A 100 year old power plant with graffiti covered smoke stacks and a vintage riverboat anchored on the Mississippi overshadow the project, reflecting the rich history of New Orleans’ warehouse district.
BUKU Project attendees were treated to a perfect sunny 75 degrees in New Orleans, a city that was eager to welcome music lovers back into their arms. New Orleans’ famous culture center of Bourbon Street is once again buzzing with music and activity and this was mirrored into the design of BUKU. Organizers weaved the experience of discovering local music into the fabric of the project.
As you walk around the grounds, you find pop-up musical performances, many which were not featured on the lineup. In the fields of the main stage area, there is a small vendor market with bands playing DIY style shows in the center of the market. A mobile rickshaw draped in hundreds of Mardi Gras beads was seen riding around the festival with massive speakers and a DJ playing music off the back. Outside of the ‘Ballroom’ stage, there was a boxing ring where rappers, bands, and interpretative performers played intensely experimental music.
Rickshaw and Boxing Ring “Stages”
Aside from the music, BUKU is also an Art Project that celebrates New Orleans artists. Art installations were scattered around the festival grounds and vendors were selling art and custom clothing. Modern sculptures and lighting pieces were found around every corner of the grounds, provided interesting backdrops to the music and for photos. There were also “live art” areas where graffiti and mural artists spent the two days creating beautiful pieces in the shadows of the music stages. Some of these were sold or auctioned for charity, but many fans just spent time watching the art being created while listening to the music in the distance.
Live Art Gallery
Bass Music and Underground Rap
The backbone of the BUKU Project lineup are the dubstep and bass music artists, with the ‘Wharf’ stage dedicated entirely to the genre for both days. The stage production was top notch and all of the performers took full advantage of the system’s power. Lasers from the stage were projected onto the nearby warehouse and the Louis Armstrong riverboat anchored in the river, creating the feeling of an intimate outdoor club while still housing thousands of fans. Liquid Stranger and Lane 8 headlined the stage on Friday and Saturday respectively, with Svdden Death, Mersiv, Clozee, and Wreckno filling in the days.
The Wharf Stage at BUKU Music and Art Project
“Multimedia aggregate” Lab Group also played the Wharf stage, only three months after the tragic death of member and producer Charlesthefirst. The 25 year old’s death shocked the community, but surviving members Potions and Supertask are keeping the aggregate alive and still performing the music that the group created together. At one point in their set Lab Group paid tribute by playing “Old Ways” which features rap verses from Charlesthefirst.
Lab Group Performs on The Wharf Stage. Photo by Buscar Photo
Underground rap and hip-hop played a large role in the 2022 edition of the BUKU Project in New Orleans. Odd Future founding member and now international superstar and fashion designer Tyler, the Creator headlined the project on Saturday. Ever since his solo debut Goblin back in 2011, Tyler, the Creator has been putting a fresh spin on his sound with each new release. 2019’s IGOR was an ambitious blend of rap and experimental R&B which debuted at No. 1 on the charts. Tyler, the Creator followed this up with Call Me If You Get Lost in 2021 which continued to propel his commercial success.
Tyler, the Creator at the BUKU Music and Art Project. Photo by Buscar Photo
Aside from the big name headliner, the rap lineup for both days of BUKU was stacked with rising stars and veteran artists. Friday featured ShyGirl and Tierra Whack in the Ballroom with Trippie Redd delivering a fiery set mid-day on the main Skyline stage. On Saturday, fans were treated to a full day of Flo Milli, Vince Staples, Baby Keem, Maxo Kream, and Tyler, the Creator. Another major success of the BUKU Project was that these individual genre lineups had no conflicts and fans who were there for the rap did not have to make any hard decisions.
Flo Milli at the BUKU Music and Art Project. Photo by Buscar Photo
Indie Rock and The Undefined
What festival would be complete these days without the indie kids? The best thing about music today is that anyone can listen to anything at any time. This has cultivated a generation of music lovers with a very wide palate. This was on clear display when Taking Back Sunday took the Skyline stage for their mid-day set. The band is on tour celebrating the 20th anniversary of their seminal 2002 LP Tell All Your Friends and they split their set between newer material and classic songs “Cute Without the ‘E’” and “MakeDamnSure.” The band drew a large crowd for an early festival set and the injection of nostalgia was a beautiful way to kick off the weekend.
Taking Back Sunday at the BUKU Music and Art Project. Photo by Buscar Photo
Friday headliners and Australian psych-rock titans Tame Impala were the highlight of the indie side of the festival. The band is on the second leg of The Slow Rush Tour which was partially postponed due to the pandemic but is back on the road in full force. Featuring a massive lighting rig suspended from the stage, the band’s live production overwhelms any audience they host. The lighting gives the unsettling yet beautiful feeling of coming face to face with a UFO.
Tame Impala at the BUKU Music and Art Project. Photo by Buscar Photo
The band cruised through reworked live versions of The Slow Rush songs “Breath Deeper” and “Borderline” while playing a driving, laser fueled rendition of fan favorite “Elephant.” Two extended releases of confetti during the last two songs “Let It Happen” and “New Person, Same Old Mistakes” felt like a celebration not only of Tame Impala or BUKU, but more of the return to live music in one of the richest musical cities in the world.
Tame Impala at the BUKU Music and Art Project. Photo by Buscar Photo
Given the seemingly endless creative outlets that exist today, there are so many artists out there that defy categorization and cannot fit within the typical genre classifications. 100 Gecs were an early highlight of the day on Friday. Described as “hyperpop,” the duo performs an aggressive and in your face punk-like pop music. Their chaotic style is a great show to see in a small club, but their gigantic sound reverberated across the main stage grounds as if that was their natural setting. Porter Robinson performed his Nurture live show and British indie rockers Glass Animals brought their iconic summer pool staging to same time slot on the main stage on Friday and Saturday respectively.
Glass Animals at the BUKU Music and Art Project. Photo by Buscar Photo
Our Impression
All in all, the return of the BUKU Music and Art Project to New Orleans was a major success. Organizers brought back some of the big names from the cancelled 2020 lineup and designed grounds that were well laid out and easy to navigate. Lines for food and drinks were never too long and there was plenty of free water and “BUKU Budz” throughout the festival supporting attendees. Most festivals with bass heavy electronic music suffer from sound bleed issues, but none of the stages interfered with each other at BUKU. The food lineup featured local mainstays and highlighted the signature creole cuisine of New Orleans.
NYS Music had a great time at the festival and we caught sets from so any different artists and styles throughout the weekend. We enjoyed seeing big names like Tame Impala in their prime, but also discovering new music that will become part of our rotation. Nothing is better than discovering new music live, looking over at your head-banging friends and asking “what song is this?” Moments like this are what we missed most during the pandemic and we are so happy to have back again.
Check out our artist galleries from the 10th edition of the BUKU Music and Art Project below, photographed by NYS Music photographer Buscar Photo.
M. Ward graced Levon Helm Studios with his presence this past Sunday, March 27. The singer-songwriter, and fans alike, waited two years for this Woodstock show, and the wait only made the night more special. For folks who have seen a show at Levon Helm Studios, you know just how incredible the venue’s acoustics are, and M. Ward played the barn’s walls like they were instruments. He opened the show and silenced the crowd without speaking a word.
Ward began with ‘Duet For Guitars #3.’ This started the night off perfectly by showcasing some of Ward’s most intricately dynamic guitar playing. His pinch harmonics resonated beautifully throughout the studio, and his individual style of strumming filled the room with chords that sounded too full to have been made by a single guitar. The crowd erupted after the song ended and they had their first glimpse into what was in store for them.
Ward then rolled into one of his most popular songs with ‘Chinese Translation,’ which allowed his voice to take center stage and play with Levon Helm Studios’ walls. You can take a listen to M. Ward’s 2011 performance of the song that he did for Kink FM in the video below. This clip is a great representation of just how smooth Ward is, both in his guitar playing and in his singing. At times during the show on Sunday, Ward would step away from his mic entirely and allowed his voice to carry itself throughout Levon Helm Studios. There are few venues, if any, that can compare to the sonic experience in this setting with a musician as skilled as M. Ward.
M. Ward played his first of two covers for the night with his rendition of Buddy Holly’s ‘Rave On.’ He slowed things down in the best way possible, and truly made the song his own, almost unrecognizable from the original. Ward’s second cover was one that caused an interesting response from the crowd. The lyrics to Daniel Johnston’s ‘Story of an Artist’ come off as humorous to some when sung in such a new tone. The song was featured on his 1983 album Hi How Are You, and its lyrics explore Johnston’s lack of support and belief in his art from his family. It is truly a sad, sad song, but what brought out the laughter seemed to be the juxtaposition of Ward captivating the crowd with his musical abilities while singing lyrics about a family telling their son that the world will never like his songs. The two observations clash, but the effect is powerful as the laughing fans soon saw and felt the seriousness of Ward’s voice.
The show’s pace picked up for the final few songs as Bat Fangs came out to accompany Ward. The group rocked the barn after an intimate set of songs, and left the Woodstock crowd on cheering on their feet for a few minutes. The crowd cheered until Ward and Betsy of Bat Fangs returned to the stage, and started the encore like the show began, with a song off Ward’s 2003 album Transfiguration of Vincent: ‘Helicopter.’ The duo would go on to end the night by fielding crowd suggestions, and settled on ‘Poison Cup,’ which managed to bring one fan to tears even.
M. Ward just finished up the last of his American tour dates until June, and will be flying across the pond to play three weeks of shows in Europe. When Ward returns to the U.S. he will be playing four shows in Texas before heading back overseas to tour the UK. If you have travel plans, be sure to check out M. Ward’s website. For future shows at Levon Helm Studios, check out their events page.
Setlist (partial): Duet For Guitars #3, Chinese Translation, Fuel for Fire, Rave On (Buddy Holly), Vincent O’Brien, Here Comes the Sun Again, Story of an Artist (Daniel Johnston), Never Had Nobody Like You, To Go Home
New York’s entirely independent alt-pop, King Vagabond released their debut single on a platform that helps to build a kingdom for the queerdos with their brand new single “Rule The World” along with music video which premiered on March 27th.
Throughout the COVID-19 pandemic while the world seemed to be falling apart, King Vagabond looked thoroughly for a long time into a different path that could help them to create a natural flow of creative subconscious which led to the creation of their debut single.
“That’s what ‘Rule the World’ is all about. It asks listeners to unsheathe their swords—the ‘weapons’ they keep hidden—and lean into them hard. Only after you face, love, and own every part of yourself can you become the ruler of your world.”
-Joey Dean
The duo behind King Vagabond are familiar with the NY area since Joey Dean (vocalist) is from Hudson Valley and Niko Vaude (producer and guitarist) is from Queens. The inspiration to create the duo came after their previous band of seven years that ended at the start of the pandemic which as a result created King Vagabond. King Vagabond mission is to help build a kingdom for those wandering the shadows, searching for light. Before the creation of the group, they have performed with massive pop artists like Shawn Mendes, Charli XCX, and Todrick Hall, and festivals such as Vans Warped Tour.
The single, “Rule The World” comes from 80s-inspired synths with gritty guitar leads. A queer misfit and a catholic Egyptian-American became a turned rockstar tells a tale of poetic triumph with their songs to create an alternative sound introduced into pop and electronic.
Grants totaling $235,000 from MPTF will support 224 live, admission-free events throughout the US and Canada. Funding will support professional musicians to perform at different venues and live streams on Facebook.
MPTF sponsored event.
Jazz Appreciation Month was created at the Musuem of American History in 2001, and it celebrates the extraordinary heritage and history of jazz. It was also made to encourage people of all ages to study the music, listen to jazz, read books about jazz, and attend concerts.
MPTF’s Trustee Dan Beck spoke about the new events scheduled for Jazz Appreciation Month.
Seeing regional jazz greats working again, coming out of the past 24 months of the pandemic, is extremely exciting and so culturally important. Jazz Appreciation Month has been a significant focus of the MPTF’s efforts throughout its history.
Binghamton’s Local 380 represents over 160 professional musicians in the Southern Tier and Finger Lakes region of New York.
Schedule
April 3 2PM- Empire Saxophone Quartet (with percussion) @ The Heart at Castle Gardens
April 6 6:30PM- Island Hoppers Steel Band @ United Methodist Homes: Hilltop
April 15 4PM- Alpha Brass @ Willow Point Nursing Home
April 17 3PM- Chris White Trio @ Bridges’ Tudor Houses
April 27 7PM- Southern Tier Brass @ Good Shepard Fairview
The position of the Earth relative to the Sun indicated it was Spring in the Northern Hemisphere. But unsurprisingly in Rochester, Winter was hanging on for one last (we hope) gasp before ceding the floor. On an absolutely frigid and snowy late March Sunday, a duo of duos, Honeysuckle from New York via Boston, and Tough Old Bird from nearby Buffalo, shared the stage at the Club at Water Street for an intimate evening of folk music.
Honeysuckle, Holly McGarry on guitar and vocals, and Chris Bloniarz on mandolin and vocals, were closing out the first week of their first tour since the big live music pause. They released a new album in 2021 but when they were ready to tour behind it COVID reared its ugly head once again. So, they were promoting their “new” year-old album finally, though their set covered the breadth of their full catalog.
McGarry, donned in a flowery dress more fit for the season than the actual weather, tethered the duo to a more traditional folk anchor. Her beautiful singing brought life to reflective, darkened material, floating along her strummed and picked acoustic guitar work. Bloniarz contrasted that with mandolin playing that veered into jamgrass territory, weaving interesting and exhilarating threads in, out, over and through McGarry’s songs. He filtered his instrument through a large bank of pedals, though it never lost it’s mandolin-ity. He set up an occasional loop to increase the duo’s reach, a grooving bass-line or nice vamp to solo over for a few bars.
Their songs often looked into the past. “Shadow Dance” was inspired by an episode of the British show “Repair Shop,” which McGarry binged over the pandemic, in which an old violin was meticulously restored. The tune had an appropriately timeless quality. “Two Stone Birds,” about a stressful trip transporting delicate family heirlooms cross country on a small airplane, was fittingly jaunty and folksily funky. A cautionary tale about exploring your genealogy, “To the Grave” teetered between bright and dark. A rarely played “Crossbow” emerged from obscurity to fulfill a birthday request (as if having the band sing you “Happy Birthday” isn’t enough of a gift!), and proved to be one of the set’s highlights.
Tough Old Bird, brothers Matthew and Nathan Corrigan, opened the show with a set of their gorgeous folk duets. Matthew handled most of the vocal duties while Nathan took care of most of the flashier guitar work. But there was no exclusivity to this setup, these are brothers that know how to share. They are also brothers who knew how to harmonize, like only kin can, beautifully singing about both winter and spring, even if neither or both were appropriate, and songs inspired by their home’s proximity to the Great Lakes. The duo filled out and diversified their sound; Matthew with deft harmonica playing and Nathan switching it up with a banjo and electric guitar, all the while banging out rhythms on a foot tambourine.
Water Street served up a double shot of double folk that warmed the chilled audience up like a double shot of whiskey, from the inside out.
Honeysuckle Setlist: Miss You, Gaslight, Untouchable, Shadow Dance, Two Stone Birds, Little Less Alone, It’s Getting Late, Something Worth Having, Windstorm, Greenline, Firestarter, To the Grave, Darkness Knows, Crossbow, Deep Blue Eyes, Canary
