Wednesday, February 2, 2011
Thursday, January 20, 2011
It's the video for the Audio Bullys' "Only Man".Their album "Higher Than the Eiffel" is out now!
http://tinyurl.com/2vygdst
http://tinyurl.com/2vygdst
Tuesday, November 16, 2010
There are few musicians as different as David Gray and Ray LaMontagne. Gray is a flamboyant Englishman who loves to embellish on almost every song, while LaMontagne is incredibly shy, and, aside from adding some mellow drums, rarely deviates from the way the song appears on studio records. However, if there is one thing that both have in common, it is this: both are simply brilliant live.
Gray and LaMontagne played what appeared to be a sold-out show Thursday night, and were started off right by Serena Ryder, who already has a gold album with “If Your Memory Serves You Well”, as well as a Juno that she received in 2008 for “Best New Artist”. With a voice reminiscent of both Emmylou Harris and Reba McEntire, Ryder’s voice is bluesy, with just enough of a pop edge to make her commercial. Although she played for just 20 minutes, Ryder proved that she has enough charisma and talent to make her a name to remember.
LaMontagne was up next, who started the show off with the infectious “Repo Man”, which demonstrated LaMontagne’s ability to sing and play a fluid combination of rock, folk, and blues. Instead of standing front and center, LaMontagne stood to the far right of the stage, even with his bandmates, all of whom were fantastic. Dressed in a tan beret, a chocolate brown dress vest over a tan dress shirt, brown pants, and dress shoes, LaMontagne looked as classy and smooth as he sounded. Speaking little between songs, and almost always only thanking the crowd, he addressed the crowd directly just one time, asking them to be quiet for “Are We Really Through“, during which the crowd was utterly silent. Clearly an incredibly talented musician, LaMontagne played numerous songs from his new album, “God Willing and the Creek Don’t Rise”, as well as several hits, including “Trouble”, “Hold You In My Arms”, and “You Are the Best Thing”. LaMontagne finished his set with the ever-popular “Jolene”, and seemed incredibly grateful for the support of the crowd when he left for the evening. One of the most noticeable aspects of LaMontagne’s set was the fact that he is far, far more talented live than he appears on his records. His voice has an immeasurable amount of character to it, and the records simply fail to demonstrate the raw talent that he possesses.
Half of an hour later, it was Gray’s turn. Always the showman, Gray started off the set with the title track from his 2009 release, “Draw the Line”, followed quickly by that album’s single, “Fugitive”, with both of which having far more life to them than on the studio versions. Gray warned the crowd that he “was suffering from a bit of a sore throat”, and that he could use all the help he could get. Despite this, Gray sounded flawless, and, when his voice started to waiver slightly, he asked the crowd to sing along, which they did more than willingly. Throughout the show, when he wasn’t playing the guitar or piano, Gray demonstrated his love of performing, whether he was playing along with the drums, dancing, or engaging the crowd. Gray played several of his hits, including “Sail Away”, “This Year’s Love”, and “Be Mine”, the last of which he said was for those few romantics left in the world. Throughout the night, Gray simply fed off the energy of the crowd; when they cheered or sang along, it was more than apparent that he loved it. One of the most memorable songs of the night was “Kathleen”, which combined a smooth piano line with Gray’s passionate vocals. Another highlight was “Life in Slow Motion”, which Gray replaced the line “Snowflakes are falling / I catch them in my hands”, with “Moonbeams are falling / I catch them in my hands”, adding a more appropriate twist on a brilliant song. Backed by a superb band, Gray was more than able to embellish on several of his songs, including a non-album portion of “Nemesis” that left the crowd silent while Gray captivated his audience with an emotional digression from the original version. Gray played a four-song encore, including his biggest American hit, “Babylon”, which the crowd utterly loved. Despite his sore throat, Gray put on one of the best performances I have ever witnessed, both vocally and musically. Clearly a showman, Gray managed to bring the crowd, which was mostly in its late thirties to forties, to it’s feet for the entire second half of his set.
Overall, this was one of-if not the-best concert I have ever attended. Not only were LaMontagne and Gray excellent musically, but their voices were some the richest I have ever heard. Despite their obvious differences, Gray and LaMontagne equally demonstrated that they’re far more talented than they’re given credit for.
Jason Mraz and Robert Francis played to an enthusiastic crowd Thursday night at the Eastern Michigan Convocation Center in Ypsilanti, MI. Backed by a talented band, Francis started the show off right with a set that was both charismatic and emotional, which included several of his better known songs, including “Junebug” and “Darkness”, revealing on more than one occasion his similarities to many of the most prominent alternative singer-songwriters of today, such as Ryan Adams and Glen Hansard of ‘The Swell Season’. Francis also played several new songs, during one of which he played a guitar solo that brought the crowd to its feet. With memorable melodies and relatable lyrics, Francis captivated the crowd for the entirety of his set.
Mraz came on shortly after, starting off with a new song, which he dedicated particularly to those in the past, but to those in the present as well. With lyrics that included “And I’m so grateful as can be / ‘Cause I get to play in Ypsilanti”-sending the crowd into a roar-Mraz started the show off in grand fashion as he soulfully played a Fender Telecaster. A few songs later, he invited a female member of the crowd to join him on stage to dance together as he sang a tango-infused Spanish song, entirely entertaining the crowd. He then followed it up with “Sleeping to Dream”, a track he dedicated to the child he has yet to have, during which the crowd was utterly silent. Backed by an brilliant band that included a captivating horns section, Mraz demonstrated his incredible vocals on more than one occasion as he played reworked versions of many of this songs. Giving credit to one of his sound engineers, Mraz revealed that the entire back portion stage was composed of previously-used two-liter bottles in an effort to be more environmentally conscious. Mraz also played a soulful version of “Coyotes”, blending a variety of different styles, including rock, reggae, and jazz in a fluid combination; however the most incredible moment of the night came during that song when Mraz sang notes that most had perviously believed only a female opera singer could hit. Mraz also played a reggae version of his first hit, “The Remedy (I Won’t Worry)”, keeping the song sounding refreshingly different without losing the melodic qualities that made it a hit in the first place. Finally, Mraz played a three song encore, the second of which included his most popular hit, “I’m Yours”, as well as a song that he essentially rapped while two members of the audience danced on each edge of the stage, ending the show on an incredibly memorable note that left the crowd on its feet long after he left the stage.
Overall, Mraz demonstrated not only his immeasurable talent as a musician, but also his ability to interact with the crowd in a remarkably relatable manner, a talent that is rarely found in many of today’s most popular musicians. With Francis starting the show off right, Mraz was more than able to keep the crowd both entertained and engaged during the entirety of his hour and half set.
Thursday, July 29, 2010
John Mayer played what appeared to be a sold-out show Wednesday night at DTE Energy Music Theater in Clarkson, MI. The hugely popular Train opened the show, and lead-vocalist Pat Monahan was just spectacular, demonstrating that he is far, far more talented than he appears on any one of the band’s five studio records. Furthermore, his lead guitarist, Jimmy Stafford, was truly remarkable, as was his drummer Scott Underwood. Perhaps the most memorable moment of their set was when Monahan, recalling that, when he was growing up, he could only afford lawn seats, walked up DTE’s numerous steps and traced the exterior of the pavilion seating area, giving those on the lawn an unrivaled view, all while singing the simply beautiful track, “Marry Me.”
Then it was Mayer’s turn, who wore a black wife beater, dark gray capris, and a folded bandana under his bangs. He was accompanied by a large band, which included the ever-brilliant David Ryan Harris on guitar and backing vocals as well as the incredibly talented Robbie McIntosh on guitar. Also present were Charlie Wilson on keyboards, Sean Hurley on bass guitar, Keith Carlock on drums and percussion, and Bob Reynolds, who brought the crowd to its feet with his saxophone.
Mayer started the set off with the infectious “Vultures”, wasting no time in demonstrating his talents as a guitarist. Mayer’s set, which included numerous tracks from both his “Continuum” album as well as his newest record, “Battle Studies”, more than revealed Mayer’s brilliance as a live performer. His fluid combination of rock and blues guitar is spectacular, and even more so live. Mayer’s timing is impeccable, and he’s aware enough of his band to know when he can embellish. Revealing his versatility, Mayer played a flawless cover of Bill Withers’ “Ain’t No Sunshine”, which also included several lines of “Wrapped Around Your Finger” by The Police.
One of the most remarkable moments of the night came when he played a version of “Do You Know Me” that was over eight minutes in length, even though, on the “Battle Studies” record, it’s just two minutes and thirty seconds long, and, during which, he gave Reynolds the opportunity to highlight his uncanny talent on the saxophone while Mayer seamlessly blended in a ukulele. Furthermore, Mayer revealed his impressive ability to play harmonica on “War of My Life”, a moving track that Mayer respectfully dedicated to those people in the audience who had a hard time facing each day.
If someone were to ask me what I believe to be my favorite part of the night, I would have to say it was when Mayer talked. Now, if you know the controversy behind Mayer, you might be anticipating some kind of off-color remark (which, more often than not, are slanted and taken entirely out of context, but I digress). But here’s the thing: Mayer showed his ‘human’ side this evening. He talked about happiness, and how material possessions don’t mean anything if you can’t truly say you’re enjoying your life; he stated that, although you may never have as big of a house as the guy down the street, at least your house won’t become foreclosed on. Then he went on to thank the audience for still singing along despite the fact that some of them may not have had jobs, and letting the audience know, sincerely, that he appreciated them being there. And he said all of this with more authenticity and honesty than I can adequately relate. Trust me, I’ll be the first to admit when someone’s being insincere or arrogant. And Mayer certainly wasn’t.
Perhaps the most moving, and heartfelt, moment of the night was the show’s final song, “Edge of Desire”. Mayer began with an incredible intro that isn’t included on the studio version, and, if I’m being entirely honest, I had mist in my eyes, and I’m certain I wasn’t the only one. Let’s be clear here: I see shows quite often, usually about two or three a month, and oftentimes by brilliant, brilliant musicians. I can honestly say that this is the only time that I have ever had that happen at a show. It was that good. And that real. And that heartfelt. Throughout the rest of the song, Mayer just played and sang his heart out. As he left the stage, it was more than apparent that he appreciated the unending support of the crowd, the majority of which stood for the entirety of his over-two-hours set.
Overall, the show was fantastic, and undoubtedly one of the best I’ve ever seen. Mayer and his band’s musicianship was flawless, and he was more than willing to let them showcase their talents on numerous occasions. Additionally, Mayer’s ability to articulate his feelings and thoughts this evening revealed far more than just the ideas of rockstar: they demonstrated his humanity. I’ll be honest: I’ve admired Mayer as a musician for years, but the jury was still out as to whether or not I admired him as a person. After tonight, I can truly say that I do.
Then it was Mayer’s turn, who wore a black wife beater, dark gray capris, and a folded bandana under his bangs. He was accompanied by a large band, which included the ever-brilliant David Ryan Harris on guitar and backing vocals as well as the incredibly talented Robbie McIntosh on guitar. Also present were Charlie Wilson on keyboards, Sean Hurley on bass guitar, Keith Carlock on drums and percussion, and Bob Reynolds, who brought the crowd to its feet with his saxophone.
Mayer started the set off with the infectious “Vultures”, wasting no time in demonstrating his talents as a guitarist. Mayer’s set, which included numerous tracks from both his “Continuum” album as well as his newest record, “Battle Studies”, more than revealed Mayer’s brilliance as a live performer. His fluid combination of rock and blues guitar is spectacular, and even more so live. Mayer’s timing is impeccable, and he’s aware enough of his band to know when he can embellish. Revealing his versatility, Mayer played a flawless cover of Bill Withers’ “Ain’t No Sunshine”, which also included several lines of “Wrapped Around Your Finger” by The Police.
One of the most remarkable moments of the night came when he played a version of “Do You Know Me” that was over eight minutes in length, even though, on the “Battle Studies” record, it’s just two minutes and thirty seconds long, and, during which, he gave Reynolds the opportunity to highlight his uncanny talent on the saxophone while Mayer seamlessly blended in a ukulele. Furthermore, Mayer revealed his impressive ability to play harmonica on “War of My Life”, a moving track that Mayer respectfully dedicated to those people in the audience who had a hard time facing each day.
If someone were to ask me what I believe to be my favorite part of the night, I would have to say it was when Mayer talked. Now, if you know the controversy behind Mayer, you might be anticipating some kind of off-color remark (which, more often than not, are slanted and taken entirely out of context, but I digress). But here’s the thing: Mayer showed his ‘human’ side this evening. He talked about happiness, and how material possessions don’t mean anything if you can’t truly say you’re enjoying your life; he stated that, although you may never have as big of a house as the guy down the street, at least your house won’t become foreclosed on. Then he went on to thank the audience for still singing along despite the fact that some of them may not have had jobs, and letting the audience know, sincerely, that he appreciated them being there. And he said all of this with more authenticity and honesty than I can adequately relate. Trust me, I’ll be the first to admit when someone’s being insincere or arrogant. And Mayer certainly wasn’t.
Perhaps the most moving, and heartfelt, moment of the night was the show’s final song, “Edge of Desire”. Mayer began with an incredible intro that isn’t included on the studio version, and, if I’m being entirely honest, I had mist in my eyes, and I’m certain I wasn’t the only one. Let’s be clear here: I see shows quite often, usually about two or three a month, and oftentimes by brilliant, brilliant musicians. I can honestly say that this is the only time that I have ever had that happen at a show. It was that good. And that real. And that heartfelt. Throughout the rest of the song, Mayer just played and sang his heart out. As he left the stage, it was more than apparent that he appreciated the unending support of the crowd, the majority of which stood for the entirety of his over-two-hours set.
Overall, the show was fantastic, and undoubtedly one of the best I’ve ever seen. Mayer and his band’s musicianship was flawless, and he was more than willing to let them showcase their talents on numerous occasions. Additionally, Mayer’s ability to articulate his feelings and thoughts this evening revealed far more than just the ideas of rockstar: they demonstrated his humanity. I’ll be honest: I’ve admired Mayer as a musician for years, but the jury was still out as to whether or not I admired him as a person. After tonight, I can truly say that I do.
Thursday, June 17, 2010
In years past, if you wanted to become a successful, commercial musician, you went to one of two places: Los Angeles or New York City. Sure, you can make it there today. But the chances are must rarer than, say, Nashville.
When many people are asked about the music in Nashville, the answer is almost automatic: it’s the heart of the country genre. And that’s certainly true. However, there’s more to the city than that: it’s also one of the most thriving places for singer-songwriters.
Many of these singer-songwriters are anything but country. One of the most well-known to be discovered in the city is Mat Kearny, who has several Top 10 hits. In addition, one of my personal favorite ‘groups’ is Ten out of Tenn, a group of ten singer-songwriters from Nashville who tour together. And believe me, Nashville has some of the best talent I’ve heard in a while in terms of the potential to make it big in pop music.
I met the opening act for Five for Fighting’s (John Ondrasik’s) most recent tour, Ben Rector, before a show in Detroit a couple of weeks ago. Besides being extremely talented, he was humble, intelligent, and authentic. Having just graduated from college in May, he had moved in Nashville to pursue a career in music, which, undoubtedly, was a risky move. But, given his career aspirations, I think he made an incredibly wise decision in choosing Nashville over New York City or Los Angeles.
Far too often, Nashville is overlooked as a source of pop music, but I can guarantee that it won’t be long before the rest of the industry realizes what a select few have come to understand: the future of the singer-songwriter-and potentially pop music itself-lives in Nashville.
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