Monroe is the alias of Matt Berman, a multi-instrumentalist pop/rock artist who’s musical accomplishments span both on and off the stage.
On stage, Monroe has played keys and saxophone on Brandon Flowers’ (The Killers) “Desired Effect” World Tour, performing at festivals across the nation such as Life is Beautiful, Bumbershoot and Austin City Limits. Off stage, Monroe’s music has been praised by the Alternative Press, Popdust Magazine, Substream Magazine and more, along with TV placements on HBO’s “Boardwalk Empire” and the CW’s “Gossip Girl”.
Monroe signed with Pacific Records early 2018 and plans to release “The Streetlight” EP in the spring, featuring the singles “Streetlight”, which has been hailed as an “indie-pop/rock summer anthem” by Vents Magazine, and “One More Night” which was labeled an “indie pop gem” by Wolf in a Suit.
Bayo Fayemi is an up and coming guitarist/bandleader/composer. He began to study the guitar and jazz at the age of 18. He honed his skills in the York College Big Band, before joining several ensembles around NYC. His styles of choice range from Jazz, R &B, and the Blues. He is set to record his debut album this Spring.
Bayo has honed his skills in numerous NYC venues, including: B.B. King’s Lucille Room, The Shrine, Silvana, DROM, Rockwood Music Hall, Lovecraft Bar, The Illinois Jacquet Performance Space, Jamaica Performing Arts Center, York College Arts Festival, and the Air train Jazz Festival. Many of these venues he has entered as a leader. Bayo has performed with the legendary Bernard Purdie, Leon Kaleta, The Label Noir, Jeanne Marie Boes, Noel Wippler, Johnny Hobbes, and has opened for funk/soul band Erehmeta and jazz pianist Mark Adams.
Irv Irving's sound is at once accessible to all and entirely his own. It spans a range of 20th Century American music including rock and roll, blues, folk, country, and more, yet it is greater than the sum of those parts. His lyrics, while seemingly familiar in form and topic, interweave a multitude of references to literature and history, at the same time remaining intensely personal. From jamming and hanging out with folk legends Pete Seeger and Ramblin' Jack Elliott while just a teenager to logging hours on the New York City scene, headlining shows with his band and opening for acts ranging from bluegrassers King Wilkie to indie rockers Stellastarr, Irving has seen a lot and is keeping his eyes wide open.
Irving went into the studio in 2017 to cut some songs with his friend Tim Hatfield, who has engineered recordings for artists such as Keith Richards and Steve Earle. To accompany Irving, Hatfield recruited a band of top musicians, including drummer Charley Drayton (Keith Richards, Johnny Cash), bassist Tony Garnier (Bob Dylan, Tom Waits), keyboardists Glenn Patscha (Willie Nelson, Levon Helm) and Joe McGinty (Devenda Banhart, Ryan Adams), multi-instrumentalist David Mansfield (T-Bone Burnett, Johnny Cash). Irving personally invited in guitar hero Jim Campilongo, whom he met on the New York City live music scene. We think you'll enjoy the results.
Trevor Oswalt (a.k.a. East Forest) is a unique bird in the Wild West aviary of electronic music. While his shamanic ambient electropop can be contextualized along with Aphex Twin, Philip Glass and Sigur Ros, the fundamental mission of his project is to create sonic architecture for others to explore their own inner space. Thus, it is a process of opening doorways for the listener to walk through, which takes patience. Patience, while typically thought of as kryptonite in the instant gratification, hyper-speed world of music, might just be the medicine we need.
Nature indelibly made a huge impression on Oswalt, who grew up in the Pacific Northwest. He spent a decade in NYC, where he discovered indigenous traditions and began cultivating source recordings from sound healings and mushroom ceremonies. Eventually he started leading underground ceremonies across the country. Playing in the private shadows allowed the patient sound of East Forest to emerge: an emotional and spacious lexicon born out of a practical need to play solo for six hours, while guiding a room full of listeners in deep meditation.
Word organically spread as a devoted community shared his early albums, leading to glowing nods of approval from the likes of NPR and Wired. He completed multiple tours across the U.S. and Europe and shared his mission on the stage of TEDx while performing in a diverse range of settings, from SXSW to Grace Cathedral, as well as private parties for the likes of Google. As his diverse catalogue emerged (14 releases total), the music evolved from extended, ambient jams to more concise, structured material with vocals - a vivid mix of the digital and analog realms with a social and spiritual underpinning. “I’ve always been inspired by the natural world and the psychedelic experience” Oswalt asserts, cementing his position on plant medicine, which he has often implemented in his recording process. “I prefer to operate where my intuitive musical mind can speak and something larger can come through”
His newest release, a deluxe version of his 2017 album CAIRN, drops January 26th, 2018 –rounded out by several unreleased B-Sides and remixes. The original sessions took place in the high desert of Utah at Oswalt’s Boulder Rock Studios with the assistance of electronic producer Keith Sweaty. It was a highly collaborative project that also featured trumpet by Brad Lee of The Album Leaf and rhymes by Scarub of Living Legends, along with strings by the ‘Bizarre Strings’ trio (Band of Horses, My Morning Jacket, Joanna Newsom). The bulk of the material explored the collapse of a long-term relationship and the fundamental changes that result, both in the personal sense, as well as in a global level.
A cairn is traditionally a stack of stones that marks a trail in the wilderness. Come across a marker and you know you’ve reached a point in the trail. Trails in turn lead somewhere: the destination we hope to reach. Reflecting on the album title, Oswalt notes “The past year I was going through a divorce and immense changes which caused me to riff on this idea - where do I go from here? I was looking for signs to show me the next step and was also interested in leaving a marker for others, if I found my way.”
When it comes to meaning, the title of Howard's second album Together Alone contains multitudes. It's an aching, restless, and altogether lovely document of the paradoxical sensation in which we feel more isolated than ever in the face of increasing togetherness and connectivity—a modern sentiment wrapped in music that's timeless in its timbre. Following 2015's intriguing debut Religion, it's the first album from 30-year-old multifaceted bandleader Howard Feibusch's project to be recorded with the full band that so capably toured behind Religion.
Thematically, Together Alone is dual-headed and informed by its elliptical title. "I got married, which shifted the writing and emotion behind behind my process,” Feibusch explains when talking about his lyrical approach. "At first, I was a bit lost about what to write about, because I was happy. It's easier to write from a place of unrequited love and isolation. It was challenging for me to avoid the darker and heavier places in my head." Even though a newly found togetherness informed Feibusch's overall outlook, Together Alone still deals with heavy themes—specifically, the isolation caused by technology and the ever-threatening overflow of the Information Age. "We all talk, but connections are thinner than they ever were before," he sings on the ghostly title track, built off a beautiful music-box melody.
Feibusch, has been playing music since he received an electric guitar for his 12th birthday: "The first twenty songs I learned were Nirvana's," he reminisces, a self-guided musical upbringing that included heaping helpings of modern and classic rock, along with electronic music. The genesis of Howard as a band, specifically, lies within Feibusch and bassist Myles Heffernan's previous band Orange Television, which the pair formed while attending UMass and worked under for five years. In the fall of 2013, they moved to NYC, playing shows as a duo before meeting drummer Chris Holdridge; the three rehearsed Orange Television songs together, but something didn't feel quite right. "I felt like I was in a cover band of myself," Feibusch admits. "I wanted to start over."
And that he did: after linking up with multi-instrumentalist and engineer/producer Alex Chakour (Charles Bradley, Sharon Jones), the group recorded Religion, a gauzy and sonically exploratory album that took the phrase "bedroom recordings" to a new level: "I did a lot of it on my own—I was literally putting it together in my bedroom." After touring behind Religion's expansive tunes, a fascinating and largely electronic EP Recycle followed in 2016, and the now-fully-formed band got to work on Together Alone in Feibusch's newly-minted recording studio. This record was crafted as a band—the last one was more about samples and production,” he explains. "It feels like a new orbit within our evolution.”
Together Alone finds Howard venturing further out of their comfort zone and using their full-band capabilities to their greatest advantage—a full-bodied warmth, aided by horn contributions from the famed Daptone musical family. No sonic stone is left unturned here, from the gently rollicking and subtly psychedelic "Mothers Wedding" to the brittle, dusty desert rock of "Oh Dear Brother." You can hear a variety of influences here, from the winsome sounds of Athens' Elephant 6 collective to Amnesiac-era Radiohead and the distant lullabies of the Everly Brothers—but they all coalesce to form a sound that is truly its own.
Jenn Bostic is a soulful singer/songwriter with a hint of blues, soul, country, pop and gospel. Her emotive songwriting and powerful vocals have been touching hearts around the world. “Jealous of the Angels,” written for her late father, was championed by both Smooth Radio and BBC Radio 2. She has performed the song on BBC Breakfast, Weekend Wogan, Good Morning Sunday and Songs of Praise, and the music video has over 3 million views on YouTube. She has had 4 singles play listed at BBC Radio 2, the most listened to radio station in Europe.
In 2012 she won five Independent Country Music Association Awards including "Best Songwriter," "Best Musician," and "Overall Winner." Bostic was also named “International Touring Artist of the Year” at the 2017 British Country Music Awards, where she gave a stunning performance that received the first standing ovation of the night.
She has performed sold out tours across the United States and Europe, and has opened for the likes of Richard Marx, Christian Kane and The Band Perry. Venues have included The Grand Ole Opry, The Ryman Auditorium and Jazz at Lincoln Center in New York City. She currently resides in Nashville, Tennessee, where she worked on her new album with six-time Grammy Award winner Paul Salveson. The album "Revival" was released on May 4th, 2018 and has received a number of positive reviews.
Tiffany Danae Thompson began writing and recording music her freshman year of high school in Austin, Texas and continued to refine her voice and songwriting during college in Wheaton, IL. In addition to Austin her music has been influenced by her time spent living abroad in Russia and various cities in the United States which have vibrant music scenes.
Her songs articulate the everyday struggles of loneliness, loss and love, but all the while looking with a hopeful eye toward the future. In 2016 she completed a project entitled DANAE, which was a pop music collective based out of Nashville that created inspirational and engaging experiences that she refers to as positive pop. DANAE taps into the originality of a team of producers, songwriters, musicians and filmmakers to blur genres and break expectations. The end result of the project was the EP "Direction", which featured the singles "Prove", "Gold In the Dirt", "Actualized", and the title track. The album won the award for "Best POP EP" at the 16th Annual Independent Music Awards which were held at New York's Lincoln Center in April 2018.
One of the Tiffany's early works, the 2011 single "We Are the Dreamers", was featured on one of the most popular segments of the Lifetime TV series "Dance Moms" and the video from the show has had over 2 million views.
This is her third appearance at Rockwood Music Hall and she looks forward to introducing some new music to the audience.
Home Page: http://danae.co/
ADDED COLOR is a Brazilian/American rock band formed in Brooklyn, NY, comprised of Brazilian brothers Dan and Kiko Freiberg, Tim Haggerty, and Danny Dahan. Since meeting in 2014, the group has played around 200 shows in over 20 states in the USA, and toured internationally in Canada, Morocco, and Brazil. They have played major festivals in Brazil such as Porão do Rock, which has featured Muse, Eagles of Death Metal, amongst others, and are currently working on finalizing a tour through the USA, Europe, Morocco, and Brazil in 2018. While they have only been called Added Color since May, 2017, the band’s previous project under the same formation received critical acclaim from significant press outlets such as PureVolume, Red Bull Music, The Huffington Post, AOL Noisecreep, and The Village Voice, with The Monsters of Rock Festival officially nominating them as one of the top five upcoming Brazilian rock bands.
Added Color made their debut on May 9, 2017 releasing their 5-song EP entitled “Psycho”. The EP received the backing of an international tour, beginning in Morocco and was followed by a 6-week US Tour. Pancakes and Whiskey debuted the title single off the “Psycho” EP by stating “If you’re ready to hear the best rock track of the year, thus far, then you’ve come to the right place.”
Added Color's second EP, "Mr. Industry" was released on April 20, 2018. The EP was recorded in Brooklyn at Silver Cord Studios by Johann Meyer (Gojira/Roadrunner Records) and Jamie Uertz (Blind Melon) and produced by Added Color and Fadel Dabien. "Mr. Industry was backed by a second Morocco tour, and will be followed by a US summer tour. The EP has received great reviews and has been impressing crowds when performed live.
Whether they’re playing big stages in Brazilian festivals or more intimate venues, Added Color always brings a high energy performance to the audience. Their message: be yourself no matter what, respect others for who they are, and don’t play into people’s expectations of who you should be.
From their humble beginnings on a college campus four years ago, Magna Carda has steadily risen to the top of the Austin music scene as the premiere hip hop act. Described by Mashable as “Austin’s answer to The Roots,” Magna Carda is led by the city’s most dynamic MC-producer duo — Megz Kelli and Dougie Do — whose work pairs like a fine wine with the meat-and-potatoes backbone of the group’s signature live instrumentation. With their genre-defying blend of rap-meets-jazz-meets-R&B-meets-electronic, the band has quickly captured the imagination of listeners and the attention of critics alike in Texas and beyond.
After forming as a rapper/producer duo on the campus of St. Edward’s University in 2012, Megz Kelli and Dougie Do set their sights on developing a new sound that would make use of both live musicianship and studio production. Since then, the band has been at the forefront of Austin’s burgeoning hip hop scene, and has shared the stage with hip hop’s biggest names from The Pharcyde to Joey Bada$$ and from Chali 2na to Oddisee. Magna Carda’s unique sound has attracted the attention of NPR among other regional and national press.
With their upcoming EP, Magna Carda is well-positioned as a band to watch in 2018.
New EP "Somewhere Between" now available for streaming via Spotify/iTunes/Tidal.
Music has been at the heart of Jeremy Bosch's life for as long as he can remember. As a child growing up in Puerto Rico, he played percussion and sang at his local church, while his family raised him on a diverse melee of classics by legends such as Barry White, Earth Wind & Fire, Miles Davis, Hector Lavoe, Chicago and Tony Bennett, to name a few. It didn't take long for his musical talent to manifest: at the young age of 15, the prodigy received a full scholarship to a summer performance program at Berklee's College of Music, an honor he was awarded again and again into his late teens.
It was during these formative years that Bosch had his first professional experience as an artist, playing alongside Puerto Rican percussionist legend Giovanni Hidalgo and his All Star Band. Suddenly, Bosch knew he was destined for a career in music.
It's been a long and transformative road since Bosch's summers at Berklee. He has performed across the globe at concerts and festivals in Europe, South America, North America and the Caribbean. Most recently, DeJesus had the honor of performing as a band leader at the European Parliament in Brussels, Belgium. He also performed alongside Grammy Award winner Sergio George and the Salsa Giants in New York City's legendary Madison Square Garden.
As an artist, Bosch has grown to find inspiration not just in fellow musicians, but also in luminaries from a wide range of artistic paths and disciplines. From actors and actresses to writers and athletes, Bosch maintains that a powerful work ethic and dedication to one's passion is the true source of his artistic influence.
After all, the title Bosch holds goes far beyond that of 'musician.' A classically trained composer and forward-thinking visionary, he strives to produce music that can be experienced by all the senses.
"Lately I've been trying to make my music as visual as possible. Trying to have people see through the lens of my lyrics and music the setting, the colors, the people, the entire landscape, as well as the emotions that accompany these things: the heartache, the euphoria, the nostalgia, the humor etc."
The journey of an artist isn't always easy - it takes great discipline, consistency, dedication and sacrifice to reap satisfaction and success...and Bosch wouldn't have it any other way. A firm believer in art's ability to heal and unite through creative growth, Bosch's greatest aspiration is to be heard around the world as a source of inspiration and promoter of progress.
"What I want my listeners to receive from my music is renewed Hope. Hope for the industry, hope in their daily lives, hope in their families, in their homes, for their future, for their destinies. Hope."
He is a producer, composer, bass player and leader of one of the most exciting big bands of our times. Stephan Kondert, a.k.a. SK, born and raised in Salzburg, Austria, started his biggest music project to date in 2006, when the opportunity to play a grand-scale concert arose with the aim of creating something new, refreshing and never heard before. So SK gathered and unifed the solid core of his musician friends on stage; altogether 16 people, who played a legendary concert with brand new instrumental tracks, specially composed for this occasion. SK experimented with Drum n Bass, Dancehall and Hip-Hop beats, to work out diferent ways to present the full range of the big band sound. The history of SK Invitational had just begun, leading to their frst, self-titled Album, released in 2007.
The album got attention from rappers all over the world that acknowledged the originality of the sound of SK. Some of them became part of the upcoming second album “Raw Glazed”, which was nominated for the “Best Hip-Hop” Amadeus Award in 2010, became album of the week on the radio stations FM4 and Superfly, and got a great deal of airplay all over the world. Besides that, the band got hired by some of Europe's best independent and major label artists for recordings, performances and production, for example for the album “Wir” of legendary Munich-based Rap crew Blumentopf and the live album “sweet16” of Austrian Hip-Hop band Texta.
Alongside their studio work, the complete band carried out four successful tours with several feature guests through Germany, Hungary and Austria, and played a lot of festivals in Europe, for example Donauinselfest, Freakwave, Linzfest, Ottensheim Openair and Popfest Vienna.
After 6 intense years of touring, producing and moving to NYC, Stephan Kondert fnished his third SK Invitational album, including features of rappers and singers from both the US and Europe, such as M.O.P., Homeboy Sandman, TY, Blak Twang, Edo G., Sadat X, John Robinson, J Hoard, Lylit, Horst Raimund and Baritone MKenzie. “Golden Crown” is going to be released in February 2017 via Kopfhörer Recordings.
Late Sea is a Brooklyn based art rock band led by composer and multi-
instrumentalist Izzy Gliksberg.
The group is known for their dark ambient grooves that carry Izzy’s
enigmatic Leonard Cohen-like lyrics. Late Sea are a prominent group in the
NY music scene with regular performances at House of Yes, National
Sawdust, Drom, Apple Studios, Pete's Candy Store and Rough Trade
Late Sea draws inspiration from lyrical, song-based acts such as Nick Cave
and Tom Waits, but their approach to production and musical arrangement
is influenced by forward thinking, experimental acts such as Nicolas Jaar,
Radiohead, and James Blake.
Late Sea were the first and only music act ever to receive the prestigious
KSF Artist of Choice Award where they collaborated with Emmy nominated
director Andrey Alistratov and Producer Hazuki Aikawa to create their
recently released visual EP The Writers Trilogy.
Late Sea are:
Izzy Gliksberg – vocals, guitars, and keyboards
Sam Nester – trumpet and laptop
Graham Dobby – drums
Kalen Lister – keyboards and vocals
'like memories of lost loves, their music washes over you in waves of
nostalgia and mystery' Song and Soul Magazine
'Haunting... stunning and in your face.' Impose Magazine
'Brings shivers up and down your spine' Audio Fuzz Magazine
For Trixie Whitley, her sophomore release represents an introspective expedition into the depths of her creative identity. Porta Bohemica cribs its name from a defunct European railroad. Its songs wind through landscapes of absolute subconscious that she learned to trust by largely self-producing the album.
“The metaphor of an old train line feeds something in my imagination. I related to that sense of travel when making this record. It involved letting go of my past to embrace my individuality as a young woman and as an artist,” the Brooklyn-based musician says.
From a very young age, Trixie Whitely nurtured a singular creative spirit, springing from her restless inner directive. At the ripe age of three, she made her onstage debut alongside her father, the internationally acclaimed singer-songwriter Chris Whitley. Never relying on her lineage, Trixie set out to craft a unique personal and artistic identity. She started playing drums when she was ten. At age eleven she became the youngest resident DJ in Belgium, spinning underground electronica, free jazz, ambient instrumentals and hip-hop at raves and modern art museums. By her early teens she was touring with several avant-garde theater and dance collectives throughout Europe, including Les Ballets C de la B, with Sidi Larbi Cherkaoui.
During this time she developed an affinity for punk rock’s nonconformist and D.I.Y. ethics, which permeated her fearless genre-bending and daring life choices. After a nomadic transatlantic existence, living between New York and Belgium, she quit high school at age 17 and took a job slinging burgers at a dive while steadily advancing her music career. One of her early efforts impressed the iconic producer Daniel Lanois, who has worked with musical legends such as Bob Dylan, Neil Young and Emmylou Harris. He enlisted her to front his own band, Black Dub, with modern jazz drummer Brian Blade and renowned New Orleans bassist Daryl Johnson.
Since 2013, Trixie has emerged as a compelling solo artist with three EPs and one full album in her catalog. Fourth Corner, her full-length debut, garnered acclaim from MOJO, Interview, ELLE, Vogue, Vmag, Relix, The Village Voice, NPR and The New York Times, among other publications. With its success, she has toured internationally and earned three nominations, as well as a win for Best Female Artist at the 2013 MIA Awards and best writer/composer at the 2016 MIA awards.
Trixie’s prismatic artistry reflects electronica, R&B, the vulnerable ethos of singer-songwriters, and the unapologetic individuality of punk rock. Although her previous effort reflects her broad tastes, it is with her latest release that she creates a transcendent musical miscellany. She even cast aside an earlier version of the record and started over in order to achieve the ultimate meaning and mastery displayed in Porta Bohemica.
“I wanted to make people think and feel something honest and emotionally complex in my music that comes from being fully present in the creative moment.”
Porta Bohemica was a two-year odyssey that profoundly changed the artist. “I embraced many realizations making this record,” Whitley says. “Intuition and vulnerability are some of the most underestimated powers that we have. Once you let go of your fears, you can face your potential and there is an endless palette of possibilities to explore. This is just the beginning, and I feel a lot of excitement and optimism about what’s to come.”
Psych power-pop outlet Sun Parade (Northampton, MA) marked a new era in its life with the release of Shuggy Mtn Breakdown. Ear-candy hooks, crunchy dueling guitars. “The guys can harmonize like the Beach Boys on acid ... They sound like the psychedelic ’60s, the indie ’80s, and the electro-pop boom of the aughts. If you like, well, rock ’n’ roll, you’ll like Sun Parade." - Boston Herald / “A hook line and sinker winner of ragged mischief and melody. Like Dr. Dog, Delta Spirit and Islands, Sun Parade offers a candid approach to music ...” - Glide / "Sun Parade bring infectious and playful melodies to the table in a way that few bands are in 2017. Their musicality and songwriting are bound to draw comparisons to legendary acts like The Beatles and The Beach Boys, and breathe those influences into a brand of indie-pop that still feels fresh and exciting.” - Substream / SMB was produced by Rubblebucket’s Ian Hersey. Sun Parade is Chris Marlon Jennings, Jeff Lewis, Karl Helander, Max Wareham, Eli Salus-Kleiner, playin' raw.
“I said what was true for me,
I did what was true for me.
It might not have the outcome other people want,
or other people think it should be…
But I told the truth as it is to me.”
With a building sheath of synth and down on it groove, Lucie Silvas digs in on “Kite,” the reckless kind of women who knows no fear. Pounding, pumping, thumping, this is a dance song about a woman getting gone, an admonition to a lover that shows the New Zealand/United Kingdom-grown songstress isn’t afraid to thrown down.
Not that everything the dusty blond lifts her voice to lands that aggressive. For the irrepressible Silvas who can tempest and coo, it’s about hitting the emotional bull’s eye that lends an immediacy to the songs on E.G..O, the utterly independent project that follows her critically acclaimed Letters To Ghosts.
There’s the Beach Boys-meet-Dusty Springfield “Girls from California,” lush harmonies wafting like fluffy clouds across a cerulean sky over the ocean waves falling towards the beach as the singer laments the objects of her desire’s fixation on the tan’n’honey’ed blond Los Angelenas. Or the garage rock/power pop punch of the looking for love, but not willing to settle “First Rate Heartbreak” that confesses preferring the title to “a second rate love.”
That emancipation matches the “Have No Fear” tattoo on Silvas’ forearm. If not by design, then perhaps musical manifest destiny took a platinum-selling British songstress and – like Dorothy over the rainbow – found her finding a whole new musical ethos in Music City.
From the laconic Muscle Shoals steam of the slow burn “I Want You All To Myself” to the cocktail jazz that’s equal parts Philly Soul, Todd Rundgren smooth and Dean Martin smoke “Everything Looks Beautiful,” to the minor-keyed string tumbles that lead into classic concert piano on the confessional and unadorned post-break-up benediction “Just For The Record,” Silvas’ torch vocals caress and catch on the raw emotion. Making retro somehow contemporary, she washes vintage feeling arrangements with the kind of heart that transcends time, place and genre.
“Fleetwood Mac, the Carpenters, Carole King: I love the way they write songs,” concedes the pianist who’s been an international sensation and walked away from it. “Bowie to Bacharach to the BeachBoys, Karen Carpenter to the Jackson 5 and Dusty Springfield, it’s all mixed up in here in ways that maybe aren’t so obvious, but I promise is in there.”
She laughs. “It’s like I’m doing arts & crafts with my career, like I have a sewing machine in the back of my shitty apartment. I’m just piecing and patching together all these things I love, making something else altogether.”
Something else, and so much more. Working with producer and “my best friend” Jon Green, the pair excavated a nu soul/cocktail/dance’n’roll hybrid that moves through an emotional palette reflective of a young woman on the brink of the best part of her life. Wryly honest about the vixen’s intentions on the shuffling “Smoking Your Weed,” then seeking redemption on the starkly cascading “People Can Change,” there is hope amongst the drama – and unsentimentally sliding into the “Uncle Albert/Admiral Halsey” Paul McCartney channeled through Petula Clark’s soignee tenor imbues the recidivist “My Old Habits” into a comfortably sleek proposition.
“Jon’s from England, and he’s been my best friend since I was 14. We were in a band that played weddings,” she mock-shock confesses. “You know, Motown, and ‘Grandma’s Hands,’ and Jackie Wilson. We were two Brit kids from the middle of nowhere with all this music inside.”
Green shares his friend’s gene for unpredictability. He’s produced Kylie Minogue, James Bay, Linkin Park and Aquilo, as well as written songs or played on records by Ryan Kinder, Paloma Faith, Ronan Keating, Lady Antebellum and Jack Savoretti.
The pair enlisted some of Nashville’s musician’s musicians. Drummer Fred Eltringhman, electric guitarist Derek Wells, drum/bassist/Hammond organ player Ian Fitchuk, Jon Green, Silvas made up the core band. John Osborne, her husband and master guitar player, also joined in as well on “Kite” as well as “E.G.O.” He also produced “Just For The Record.”
That humanity is a big piece. If the Mirage era Fleetwood Mac invoking “Black Jeans” sees Silvas trying to break out from her inner average girl through a sartorial decision, trying to own her space as the melody curls up and her husky voice caresses the gentlest liberation anthem this year.
“My voice wasn’t always so husky,” she marvels. “I toured a lot, I talked a lot – and then when I realized what the world was, it got this realness.”
That dusky voice flattens for the spin’n’hype creeper “E.G.O.” A blues guitar line, a tribal rhythm and wanting fame, fabulous excess, Silvas casts a spell of “we’re all in this bloated game together” as the superficialist’s national anthem.
“I’m as guilty as anyone,” she says, taking the incrimination out. “We all get so caught up in it. This song is about getting uncaught.”
For the young woman who’s seen more than most, who manages to outrun the jaded that dampen most people in the music industry, there’s a vulnerability that permeates this record. Even when knowing, even when drawing the line, Lucie Silvas believes in humanity, in possibility, in hope.
Spending much of her time over the past few years touring with the likes of Chris Stapleton, Little Big Town, Miranda Lambert, Brothers Osborne and James Bay is incredibly telling of the respect Silvas continues to garner from her peers. Most of these jaunts come from personal outreaches from artists, themselves, who see her as not just compatible on so many musical levels but as someone who’s known to add unique flair and flavor to any tour.
After everything, the album slides into the standard-defining “Change My Mind,” a sultry drift of guitar and wafting vocal. With an opening salvo of, “I’ve never really wanted to grow up/ Cause what if magic only happens when you’re young/ I don’t believe the stars can align/ Til somebody comes to change my mind....”
Without stridence, Silvas shines a light in women who wish to stay unencumbered until they find someone truly worth the commitment. A slow ballad, it takes its time, the beat shifting side to side and Silvas’ vocal a rising moan towards the end. Though the heroine is not coupled, she refuses to relinquish her faith that there is someone out there who can change her mind. Here, Silvas’ greatest strength is manifested: not quite magical thinking, but the ability – at least in song -- to make faith attainable.
Hailed as “The new master of the slide guitar” by the Montreux Jazz Festival and “The real thang” by the legendary Bootsy Collins, Jack Broadbent has spent the past year wowing international audiences with his unique blend of virtuosic acoustic and slide guitar, and poignant folk and blues inspired vocals.
Born and raised in rural England, Jack grew up listening to artists such as John Lee Hooker, Peter Green, Robert Johnson, Neil Young and Joni Mitchell, to name a few. These legends of rock, blues, roots and folk influenced Jack’s distinctive song writing, singing and performance style, which have a depth and heart that defies strict musical genres. Jack‘s performances exude a warmth, humour and energy that has electrified audiences worldwide.
Evan & Luke - 8p
Iceland Soundscape Trio - 8:30p
Lil Buh - 9:15p
Claire Wellin - 10p
Beatbox House - 10:45p
Luke & Evan - 11:30p
Apartment Sessions is a Brooklyn-based multimedia artist collective created and produced by Luke McGinnis, Evan Tyor, and Liz Maney.
We produce bi-monthly videos, performing original arrangements/orchestrations with a rotating ensemble of NYC/New England-based pro musicians, covering our favorite artists and featuring our favorite musicians.
London based indie-pop star Leon of Athens channels the flamboyant beauty of Sufjan Stevens, Perfume Genius and Grizzly Bear alongside a similar widescreen pop sensibility as Tame Impala, Foster The People and Phoenix. His brand new album Xenos is a beautiful, thoughtful piece of work. It showcases just why he has become a huge live draw in Greece – where he plays to audiences in their thousands – his ever-growingfanbase across Europe and his rising profile in the USA where he has just been confirmed to appear at Okeechobee Festival and SXSW . The album follows the highly acclaimed release of his debut album Global, championed by the likes of The Guardian, NME, Q, New York Times and more. It is produced by David Kosten (Bat For Lashes, Everything Everything) and is informed lyrically by the refugee crisis, the rise of fascist groups in Europe and the US, but
also personal upheavals: fractured relationships, lost faith, youth, freedom and death.
From the uplifting indie-pop of previous singles ‘Aeroplane’ and ‘Fire Inside You’, to the dark creeping electronics of the title track and ‘Xenos’, Leon Of Athens proves himself an intriguing and exciting force. There are delicate moments on the stark piano-led ballads of ‘Letters To My Father’ and ‘Final Moment’, while the album closes with the joyous ode to his favourite place in the world ‘Corfu’.
On June 8, discover Dreams, the new EP from Twisted Pine. Praised by NPR for their “upbeat, poppy vibe; energetic, driving rhythms; virtuosic solos” and “tight harmonies,” the acoustic quartet deftly reimagines seven pop, rock, and disco favorites. Twisted Pine wrote every song on their acclaimed, self-titled 2017 debut album. Now, after their mashup of Vulfpeck and father-of-bluegrass Bill Monroe went viral, they’ve turned to Sam Kassirer of Great North Sound Society (Lake Street Dive, Josh Ritter, Elephant Revival) to record inspired interpretations of Blondie, The Beatles, The Cranberries, and others.
The Cranberries’ late Dolores O’Riordan was a major influence on bandmates Kathleen Parks (fiddle) and Rachel Sumner (guitar), who weave a sweet and spooky harmony on O’Riordan’s 1993 hit “Dreams.” Sumner revs things up with Joni Mitchell’s “Raised on Robbery,” an unforgettable cruiser sped along by the airtight rhythm section of Dan Bui (mandolin) and Chris Sartori (bass). The two singers blend cool seduction and high wattage on Blondie’s “Heart of Glass” and Scissor Sisters’ “I Don’t Feel Like Dancin’” which, in spite of its name, makes you feel like doing nothing else.
Instrumentally, the group shines on “Funky Kentucky,” a surprising, swinging reinvention of Monroe’s “Kentucky Waltz.” Parks doesn’t so much bend the lyrics as sculpt them, while she, Bui, and Sartori dig deep into the groove bag for a dexterous and soulful string interlude. Vulfpeck’s “El Chepe” and an elegantly far-out “Lucy in the Sky with Diamonds” complete the fun and free-spirited offering.
Though steeped in traditional music, these musicians are also fearless, tuneful improvisers and passionate lovers of pop. Each member impresses on their own, but the ensemble playing and arrangements, incorporating tasteful hints of percussion and keyboards, create a sound that is more than the sum of its parts. Even when Twisted Pine plays the music of legends, what you hear most of all is their singular voice.
Dreams is a proud production of Signature Sounds Recordings. Be sure to see Twisted Pine on tour throughout the spring and summer of 2018, bringing what one critic has called a “charming as hell” live show to stages from Maine to Texas.
Adam Neely, the New York- based session bassist, multi-instrumentalist, educator and YouTuber, brings his large ensemble J A Z Z S C H O O L to Rockwood Stage 2 for a night of belting and too many notes. Over-the-top jazz fusion, metal and pop meld together in a visceral and kinetic blend that will feature Justina-Maria Sóto, Dani Lynn, Gabe Violett, and Hannah Sumner on guest vocals. Basically, if Dirty Loops was a 15 piece band.
Adam is best known for his hugely popular YouTube channel that is dedicated to exploring new horizons in music. His show investigates musical concepts and curiosities in a series of video essays that challenge assumptions about what music truly is. Adam’s videos cover topics as simple as “What makes a song sound like Christmas?” or “Which key is the saddest?” and as esoteric as “Musical Fractals” and “Jazz fusion re-harmonization” – all in a tone that’s as witty and accessible as it is informative and brain-frying.
Devastatingly powerful vocals & retro-rock guitar, with lyrics that run the gamut from vulnerable to all-out venomous: Jocelyn & Chris Arndt are creating a new generation of authentic album rock.