Nathaniel Rateliff and the Night Sweats- Club Garibaldi, 10/29/15

photo courtesy of Gigshots by Stephen Bloch

You know that scene in the classic 1979 Steve Martin movie The Jerk,  where Martin's character Navin R. Johnson gets up in the middle of the night dancing to the music, saying that this music makes him want to go out there and be somebody?  (Feel free to click on the link if you do not know which scene I'm referencing)  

Well, that is precisely the feeling I had after the 75 minute soulful boogie woogie party provided by Boulder residents Nathaniel Rateliff and the Night Sweats this past Thursday at Club Garibaldi.  

Thursday's stop at Club Garabaldi was sold out for months, and tickets were extremely hard to come by, given the venue's limited capacity.  Fans that were able to attend were treated to a truly special evening of music.  Sean Raasch, Club Garabaldi promoter and frontman for Milwaukee's Twin Brother, introduced the show, stating that we were all in for a special night of music from a band who will clearly be playing bigger venues in the future.  Sean was spot on.

My friend, Brooke Van de Kamp wrote the following piece for OnMilwaukee.Com which first appeared on 10/20/15 and which I've reposted with her permission below.  Her prose captures the raw emotion, unbridled energy, and sheer joy that exuded from the pours of the seven piece band on stage, as well as the 150+ sweaty dancing fans, grinning contagiously from ear to ear during the set.   Call it neo-soul, throw back rhythm and blues, new-school gospel, or what you will, there is no denying that there is a love of life and music that emits from the powerful guitar licks and soulful howls Rateliff delivers on stage with the Night Sweats.  Hard times can be overcome by joy, and good music triumphs over all to move the soul.

Nathaniel Rateliff and company deliver a soulful song sermon at Club Garibaldi by Brooke Van de Kamp

Considering that Nathaniel Rateliff & the Night Sweats could have easily sold out any one of a number of larger Milwaukee venues on Thursday night, it certainly seemed as though there’s no place the no-frills, folk rock/gospel-esque/neo-soul band would rather be rocking than Club Garibaldi in Bay View.

The seven-piece Denver-based ensemble looked right at home on the cramped stage, ready to all but sermonize to the expectant audience congregated in the neighborhood bar. It seemed that everyone was getting ready for a revival.

"We were here years ago," Rateliff started, "there was no one else here." The crowd roared and Rateliff and company wasted no time in delivering their best. The Night Sweats – which included an organist and a hardy three-piece horn section – launched into a euphoric "I Need Never Get Old," the opening track of their just-released eponymous debut album from Memphis' recently revived Stax Records. It came as no surprise after hearing just a few Rateliff chords that the gritty, sixties soul sound of The Night Sweats and their charismatic front man fit in perfectly with the iconic label whose legends include Booker T. & The M.G.’s, Otis Redding and Isaac Hayes.
There are few bands that sound nearly as good live as they do on an album, but Rateliff & The Night Sweats are clearly an exception. From the raspy, visceral "Howling at Nothing"; the raw, supercharged "Trying So Hard Not to Know"; the bittersweet soul of "Look It Here"; and the Redding-like strummed ballad of "Mellow Out", the live versions stood out as not only worthy comparisons to the album cuts, but in most cases, superior interpretations of the originals largely due to Rateliff’s unapologetic unleashing of pure emotion.


"Shake," typically one of Rateliff’s slower, groovier tunes, evolved into a romping affair with a soulful and aggressive mix of shakers, organ and guitar, and the crowd was more than willing to join in the funk. More than once throughout the evening, Rateliff would close his eyes, then look up and point emphatically to the ceiling. It feels like he is searching for something.

When Rateliff started humming the first few bars to introduce the now radio-famous, sing-along, stomp your foot gospel anthem "S.O.B," the crowd was already fully on board and enthusiastically clapping and "hmmm-mming" along. Band introductions commenced – Joseph Pope III (bass), Patrick Meese (drums), Luke Mossman (guitar), Mark Shusterman (keys), Wesley Watkins (trumpet) and Andy Wild (sax) – while the crowd collectively clapped, snapped and continued to hum along in lieu of song lyrics.

photo courtesy of Gigshots by Stephen Bloch

Rateliff asked for audience participation, and the crowd couldn’t help but deliver. "S.O.B" 
continued to build to a thunderous crescendo until suddenly the band quieted to just a mild snapping beat. "Thanks again for coming out," said Rateliff, "We love Milwaukee." The band quieted down, briefly, before revving back into the chorus and bringing the crowd back with them. "Thanks again so much."

The band exited the small stage while cheers rowdily continued from the crowd. A long minute later, Shusterman and Meese returned to revive the melody and coax the rest of the band back on stage. The reassembled band then deftly moved into a cover of The Band's classic "The Shape I'm In," then closed the loop by coming back to the chorus of "S.O.B." one final time. Rateliff takes off his guitar, looks and points to the ceiling. It feels a little like vindication.

photo courtesy of Gigshots by Stephen Bloch

By the end of the roughly 75 minute top-to-bottom soul-shaking renaissance of a gig, Rateliff and his band, with their sleeves rolled up and clothes soaked in perspiration, had earned the right to bask in the adoration of the densely packed crowd.

There is no doubt that as Rateliff’s popularity continues to rise. His throat-searing, heart-wrenching proclamations will continue to win over audiences both big and small. There are moments in musical history where those in attendance will have a story to tell of seeing an immensely popular band at a small venue. Tonight's show had that feeling. Any show-goers lucky enough to get one of the most sought after concert tickets of the year will be the envy of those who came up empty handed. Club Garibaldi and Nathaniel Rateliff & The Night Sweats were a match made in heaven and one that likely will never be experienced again.

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Opening for Nathaniel Rateliff and the Nightsweats was the fellow Colorado band, Land Lines, an intriguing trio of cellist, drummer and keyboard/organ player.  I was quite impressed with their unique sound which at one times felt surreal like Portishead and other times outright funky.  They were a nice contrast in styles to Nathaniel Rateliff and the Night Sweats and performed an energetic and engaging set that was sonically quite unique.

Craig Finn, Esmee Paterson- The Cactus Club, October 23, 2015

photo by Will Piper

Craig Finn, who is best known as the front man of the Minneapolis via Brooklyn band, The Hold Steady, is on tour supporting his outstanding 2015 release Faith in the Future.  Accompanied by a bass player, drummer and very skilled guitarist, Craig and his band stopped in MKE at the Cactus Club for a sold-out Friday night show.  Finn shared with the wall-to-wall capacity crowd (making the venue swell at its near 200 person capacity) that the last time he played the infamous Cactus Club was with his Minneapolis-based band Lifter Puller in 2000.  Finn was so proud of this fact that he even played a deep cut, "Mission Viejo," from Lifter Puller's debut 1997 self-titled release (that made even this blogger/hardcore Finn fan do some research to figure out the title).

Earlier this month I had the distinct honor of being in attendance at a house show with Finn, put on by a friend of mine in Wauwatosa.  Talking with Finn, and also listening to his anecdotes  gave me a tremendous insight into his work as a narrative songwriter.  Simply put, this man is a "human-observation-specialist on steroids" and draws a lot of the inspiration for his songs, and his lyrics for The Hold Steady, by focusing on the seemingly mundane ins-and-outs of day-to-day life.

On tunes such as my favorite from Faith in the Future, "Newmeyer's Roof," this becomes apparent as Finn honestly shares his experience being in Brooklyn when 9/11 took place, and how his now significant other was in the Towers and got out because she refused to obey the instructions given to her.  This is a bone chilling tale, one that would raise hackles on any sensitive human being's arms, but with Finn in the driver's seat, he is able to juxtapose the fear with the hope, which, after all is what makes him one of my favorite songwriters.  Never contrived, but refusing to live in a land of doom-and-gloom, Finn's set embodied the spirit and earnestness of his Faith in the Future record, and had his fans clamoring for more after the nearly 90 minute performance.

Opening for Craig Finn was Portland singer-songwriter, Esmee Paterson.  For her set, Esmee, accompanied only by a drummer, put on a solid show.  Her vocal reminded me a lot of cross between Amber Papini of Hospitality and Nikki Lane.  When speaking with Esmee after her set, she shared that she and Nikki Lane are friends and that their mutual admiration of each other comes across in their songwriting.  Good stuff, as both are incredibly talented artists- with Lane going more the country route and Paterson vying for more of a rock vibe in her tunes.

photo by Will Piper

Craig Finn Setlist:
Christine
Maggie
3 Drinks
Jackson
Sandra
No Future
Western Pier
Terrified Eyes
Going to a Show
Sarah
Newmeyer's Roof
Trapper
Mission
Certain
Apollo Bay
Honolulu Blues
I Was Doing Alright

The Lone Bellow, Anderson East, Hugh Robert Masterson- Turner Hall Ballroom, October 19, 2015

photo by Will Piper

Resident "Milwaukee Man," Hugh Robert Masterson joined forces with neo-soul stand-out Anderson East, and Americana harmonizing darlings, The Lone Bellow, for a Monday night of music that treated listeners to a trio of acts with one foot deeply rooted in tradition and another on modern innovation.  The result was an evening of progressive Americana music which delighted the large crowd gathered at Tuner Hall, especially for a Monday night.

Lots has happened for The Lone Bellow since they last played Shank Hall in January of 2014.  For starters, they were featured heavily at summer festivals and performed a stand-out set at the inaugural Eaux Claires festival.  Their second release, this year's Then Came the Morning built upon the success of their 2013 debut The Lone Bellow, capitalizing on the exquisite harmonies of lead vocalist and songwriter Zach Williams, mandolin player, Kanene Donehey Pipkin and guitarist Brian Elmquist.  However, on Then Came the Morning the band branches out further, allowing the band to take more risks with their music, including diving more deeply into gospel-influenced numbers, particularly the stand out title track, "Then Came the Morning," which was the set closer.   Older favorites like "Green Eyes and a Heart of Gold" and "You Don't Love Me Like You Used To," fit seamlessly against newer tracks like "Take My Love," "Diners" and "Fake Roses."  The vocal prowess of The Lone Bellow has improved and matured, creating a live experience that by far surpasses their studio recordings.  Simply put, this band has some pipes!

photo by Stephen Bloch

Opening for The Lone Bellow was Anderson East, rhythm and blues singer from Nashville, via Athens, Alabama.  His set was a high energy showcase which pitted material from his 2015 debut Delliah alongside covers from acts like Faces, Van Morrison and Eddie Floyd.  While I enjoyed the cover tunes, I thought that the originals were more interesting, including the throw-back jam "Satisfy Me," which closed the set to a rousing ovation from the fans.  Like J.D. McPherson, Anderson East has a fair amount of early rock n' roll roots in his music, bit also has a modern swagger which translates well live.

Milwaukee got to see a lot of Hugh Robert Masterson throughout the night, as our former resident country troubadour did guitar tech for The Lone Bellow.  He also played an early set, which featured both established and new tunes performed acoustically.

photo by Stephen Bloch

The highlight of the evening featured The Lone Bellow, Anderson East, and Hugh Robert Masterson all joining together on stage for a rousing rendition of Prince's classic "Purple Rain," which was executed about as well as any ensemble cover I've heard this year.  

photo by Stephen Bloch

Blitzen Trapper- Turner Hall Ballroom, October 6, 2015

photo courtesy of Gigshotz by Stephen Bloch

Over the better part of the past decade, few acts have proven more consistent in both their studio albums and live shows than Blitzen Trapper.  If you want ruckus rock 'n roll guitars, fantastic multi-part harmonies, and a jangle-jam country rock sound (accented often times with harmonicas), then this proud Portland quintet is the band for you.

Once again, Blitzen Trapper showcased their indie experimental country-folk rock skills at Tuner Hall Ballroom, playing a solid set of music drawing heavily from their brand new eighth LP, All Across This Land.  In fact, with All Across This Land being released on October 2nd, this material was very new for the majority of the audience.  For this tour, "The Trap" ditched the "dressed up" look of suits and ties and opted for more rugged plaid attire which even showcased lead singer, Eric Earley wearing a flannel with cut off sleeves.   Perhaps this look matched the more "throw back" sound of All Across This Land, which at times sounds like what might happen if Bruce Springsteen grew up in Portland instead of New Jersey.  It's hard not to watch Earley belt out tracks like, "Nights Were Made For Love," or "Love Grow Cold," in the cut-off flannel and not think of "The Boss."

photo courtesy of Gigshotz by Stephen Bloch

However, the classic Trap sound was there through and through, as evidenced by the up-tempo title track, "All Across This Land," from their latest record.  In addition, the band played a good chunk of diverse tracks from their previous records including, "Thirsty Man" off of VII,  the narrative tale of "Black River Killer," off of Black River Killer and "Love the Way You Walk Away" from American Goldwing.  A show highlight was a stripped down version of "Furr," which appeared during the encore.

As always, the Trap provided a solid evening of music, tales and fun, and proved why their fans will continue to come out and support the band album after album and tour after tour.

Photo courtesy of Gigshotz by Stephen Bloch
#weneedmoremarty

Craig Finn- House Show, Wauwatosa, WI

photo by Will Piper

Back in high school and early college, I was hooked onVH1-Storytellers, a show where prominent artists performed songs and told the stories behind them.  I vividly remember being sucked into episodes where R.E.M., the Black Crowes, and even Paul Simon shared the impetus behind some of their most famous numbers. As someone who has always been drawn to the lyrical aspect of songwriting, I found that the stories behind the songs were often times as interesting and compelling, if not more so, than the songs themselves.

Enter Craig Finn, most notably the lead singer and lyricist of the Minneapolis via Brooklyn band, The Hold Steady.  For nearly the past decade, I've been a Hold Steady fan and have attended several of their shows, ranging from an intimately rowdy affair at the Mirmar Theater in 2007, to a seeing the band perform a couple of shows at the Majestic Theater in Madison, to enjoying Hold Steady gigs as the band grew to the level of a regular Summerfest side stage headliner.  While the vibrant, bright rock 'n roll timbres resonate with the music of The Hold Steady, it is truly Finn's lyrics and ability to suck his audience into the world of the characters in his songs which makes both Craig Finn and The Hold Steady exceptional performers in my book.

As a 44 year old singer, in the rock 'n roll business for most of his life, Finn has more than a few tales to tell.  And tell stories he did.  The biggest chunk of the evening was not the hour and fifteen minute solo acoustic set that Finn performed, but rather soaking in tales from a songwriter who sucks in as much life as he can observe.  For playing as many shows as Finn and The Hold Steady do, not to mention the fact that The Hold Steady were quite the party band in their earlier days, Finn has somewhat of a photographic memory of being able to recall details from the Mirmar show where I first saw him, as well as his performances at the Majestic in Madison.  Finn  comes across a "one of the guys," someone who wants to learn more about you as much as you might want to learn about him.  He's a sports guy and knows his baseball as well as anyone I know, and a lot of banter was simply that- dudes talking about baseball, the Twins, the upcoming MLB playoffs, the Packers, the Vikings.

Finn's "one of the guys" persona and down-to-earth approachability help you glean a small window of insight to where Finn gets his muse for his songs... he's a people watcher first and foremost and a constant listener and observer.

For his set, Finn performed outdoors on a crisp, blistery fall night on a porch with an acoustic guitar, stripped down mic set up, and a lone garage light for effects.  The smell of softly wafting smoke from a warm glowing outdoor fireplace set the mood for what was probably the most intimate performance I've seen from any artist, let alone one of Finn's caliber.  As expected, Finn drew heavily on his solo material, taking requests from the party hosts and drawing from his most recent release, the acclaimed Faith in the Future, which features some of Finn's best lyrics and songs in recent years.  Each tune was accompanied by a story behind it along with the banter of an old familiar friend telling tales with a guitar.  Only Finn, however, can engage a crowd, even a small intimate one, into singing along in an anthemic closing number, "No Future," a song about people you'd find at the late night Perkins restaurant on Riverside Avenue, ironically located across the street from where the host's daughter currently lives.

The show highlight for me, however, was a tune that Finn chose himself to include, "Certain Songs," off of The Hold Steady's 2004 debut, Almost Killed Me record.  In it, Finn sings about how "certain songs get scratched into your souls."  Thank you, Craig.  Your songs certainly will be remembered fondly by this fan.

Setlist:
Maggie I've Been Searching For Our Son
Modesto is Not That Sweet
Western Pier
Extras
Christine

New Friend Jesus

Certain Songs
Jackson
Sarah, Calling from a Hotel
Newmyer's Roof
Dennis and Billy
No Future