Friday, December 30, 2016

The Motet with Pho- Turner Hall Ballroom, 12/29/16

Funk music, simply put, is good for the soul.  It's hard to argue that there is any other genre that can get people of all ages and backgrounds grooving and dancing easier than funk.  Funk is fun... the bright timbres of horns, deep bass grooves, and jazzy solos from band members are hard not to love.

To close out 2016, Colorado's funk collective The Motet played a show at Turner Hall with rising Midwestern funksters Pho from Minneapolis starting the party.

photo by Stephen Bloch
Consisting of musicians in their early twenties, Pho took the stage with a handful of patrons in the venue seated at cabaret tables.  About three songs in, the ever growing crowd was in front of the stage dancing.  Anchored by exceptional drumming and horn playing, the instrumental tracks from Pho were creative, engaging, and captivating, leaving the crowd guessing which surprises were coming next from the seven piece ensemble.  Their material showed influences of everyone from Sly and the Family Stone, to Galactic, to perhaps the most famous Midwestern funkster of them all, the late Prince.  To close their set, The Motet's charismatic front man, Lyle Divinsky came out to join the band for the only number that involved vocals, leaving the crowd up and grooving as the house lights came on.

photo by Stephen Bloch

photo by Stephen Bloch

photo by Stephen Bloch
The Motet took the stage a half hour later for their headlining performance.  The sextet played an energetic set which featured an array of solid instrumental tracks, as well as plenty of numbers which featured Lyle Divinksy's prolific vocal range.  Divinsky certainly is a talented front man, and did his very best to get the crowd engaged, on their feet, and grooving.  Declaring that, "We're gonna bring the dance party to Milwaukee," at the onset of their set, Divinsky and his band mates did their darnedest to entertain.   Highlights included "So High" and "The Truth," two tracks off of their most recent record Totem released earlier this year.  Like many similar jam funk acts, studio albums cannot capture the energy of the band nearly as well as seeing them live.  The Motet certainly brought a great amount of warm energy to entertain a large and eclectic Turner Hall crowd on a cold winter's eve.

photo by Stephen Bloch

photo by Stephen Bloch



Thursday, December 29, 2016

Pipes's Picks: Favorite Live Performances of 2016:

There is nothing more powerful than seeing good music performed live.  In a year that had its ups and downs for sure, there was never a lack of great shows to take in around Milwaukee.  Many thanks to great venues like the Pabst/Riverside Theater Group, the Cedarburg Cultural Center, Club Garibalidi, Summerfest, and the Cactus Club for bringing so many quality acts to our area.

Performances of the Year:
photo from tmj4.com
Chris Stapleton- Summerfest, Marcus Amphitheater 7/2/16
Stapleton, arguably the biggest break out star of 2015, roared into the Marcus Amphetheater for a co-headlining performance with Alabama Shakes for his first Milwaukee appearance.  The capacity crowd sang back the chorus to one of his more poignant tunes, "Fire Away," leaving the prolific singer-songwriter misty-eyed.  Months later this moment still resonates with me as a fan.  To be able to take a huge space like the 24,000 seat Marcus Amphitheater and create an intimate connection with your audience is a feat that few can accomplish, and Stapleton nailed it on his first try.

"Hello Central, Give Me Heaven," Curated by Christopher Porterfield
 Alverno Presents How To Write a Popular Song, Pittman Theater, 1/30/16


Powerful, heart gripping, and incredibly warm, Christopher Porterfield and an all-star cast of musicians featuring Phil Cook, Monica Martin, Caitlin Canty, Barry Clark, Andrew Fitzpatrick, Dave Godowsky, Shane Leonard, Ryan Necci and Thomas Wincek, blew the roof off of the Pittman Theater with this incredibly soulful cover of "Hello Central, Give Me Heaven" a tune penned by Charles K. Harris in 1901 and popularized by The Carter Family.  The amazing ensemble of musicians breathed new life into a classic, and for a group assembled for one show only, this performance was among the best I've ever seen.


photo by Stephen Bloch
Mavis Staples- Eaux Claires, 8/13/16
Sister Mavis's early afternoon set at the second annual Eaux Claires festival was among the festival's finest.  At 77 years young, Mavis remains a "performer's performer" with a riveting set of material showcasing cleverly arranged covers and hits to appeal to fans, most of which were at least half her age.  You know Mavis is a big deal when many of the other performers gathered on the sides of the stage to watch a master at work as Mavis grooved from one end of the stage to the other.  She humbly thanked Justin "Bon Iver" for inviting her, and her mispronunciation of Bon Iver's name added only to Mavis's sweetness and charm.  Mavis is the grandmother you wish you had, and her genuine humility and funky grooves made her cover of The Talking Head's classic "Slippery People" extraordinary.  I think that my cheeks still hurt from smiling throughout this song and her entire set.

Shows of the Year:
photo by Stephen Bloch
Jason Isbell and the 400 Unit/Shovels and Rope- Pabst Theater, 2/23/16
Passionate songwriting lead to an even more passionate performance from Jason Isbell and his band, The 400 Unit.  We were treated to having Isbell's wife, Amanda Shires perform alongside her husband and the genuine interplay between the couple made songs like their duet of "Mutineer" leave me with goosebumps.






photo by Stephen Bloch
Sturgill Simpson- Riverside Theater, 6/4/16
2016 was a banner year for the new king of outlaw country, Sturgill Simpson.  Simpson has exploded on the music scene over the past five years, going from a buzz alt-country songwriter to a bonafide stellar performer.  Joined with larger backing band, Simpson rocked the Riverside Theater in a two-set performance that saw him playing his entire release A Sailor's Guide to Earth front to back.




photo by Stephen Bloch
Breakout Artist of the Year:
The Record Company- Turner Hall Ballroom, 10/6/16
I had the pleasure of checking out The Record Company twice in 2016- both at Summerfest and at Turner Hall for their fall performance. A family trip to the Great Smokey Mountains was the only thing that kept me from their show in the spring at Turner Hall, but thanks to MKERocks writer, Jeremiah Weber, we have that show covered for you here too.  Simply put- I challenge you to find a musician who enjoys performing more than Chris Vos. Vos and company are true pros and seeing their show evolve into a coast-to-coast sell-out act is pretty amazing for a Wisconsin native who has worked extremely hard to get to where he is today.  If you haven't seen The Record Company, you need to.

Opening Band of the Year:
Fort Frances opening for Ryan Adams and the Shining- Summerfest, Harley Stage, 7/10/16
Fort Frances has always been a stellar and consistent live act, performing original, catchy indie rock tunes at local festivals, clubs and even a headlining performance at the Cedarburg Cultural Center earlier this year.    However, they had some serious rock star swagger going for them performing to a full stage worth of fans waiting to see Ryan Adams and the Shining headline the Harley Davidson Roadhouse at Summerfest. With a set that favored more rocking numbers, many of which came from Fort Frances's excellent 2016 release Alio, and a blaring rendition of LCD Soundsystem's "All My Friends" to close the set, Fort Frances got the strong crowd up and on their feat, ready to see Ryan Adams perform his best show I've seen to date.  On a beautiful summer evening, you couldn't ask for better tunes.

photo by Will Piper
photo by Stephen Bloch
Local Act of the Year:
Trapper Schoepp played a lot of great shows in Milwaukee this year that I had the pleasure of seeing, ranging from stellar sets at Cedarburg Summer Sounds, Rock the Green Sustainability Festival, and opening for The Record Company at Turner Hall this fall.  Schoepp was touring in support of his current release, the Brendan Benson produced Rangers and Valentines, which showcases both maturity and progression in Schoepp's songwriting.  Few artists can weave a tale better than Trapper Schoepp and with upbeat rock arrangements and passionate performances, Trapper Schoepp continues to hone his craft as an artist who is well beyond his years.

Saturday, December 17, 2016

Pipes's Picks: My 16 Favorite Albums of 2016

2016 was quite a year, both musically and otherwise.  As has become my annual tradition, I offer you my top records for 2016.  Hope you enjoy my list and let me know what were some of your favorite musical moments of 2016 were.

For a mix of tracks off of these records as well as others that I enjoyed a lot this year, be sure to check out "Pipes's Picks: Best of 2016" on Spotify

16.  Lake Street Dive Side Pony
The funky, soul, retro harmonies and catchy pop melodies of Rachel Price and her bandmates helped make 2016 a break-out year for veteran rock/soul outfit, Lake Street Dive.  Side Pony showcases some great tracks to get you bumping and swaying like, "Call Off Your Dogs," "How Good It Feels," and "Godawful Things."
15.  Hayes Carll- Lovers and Leavers
With introspective lyrics and splendid story telling, Hayes Carll's latest release showcases the songsmith as an act who continues to mature in his craft.  Great similes and Carll's soulful drawl draws listeners in with stand out tracks like "Drive," "Magic Kid," "Love is So Easy," and "The Love that We Need" (which may be Carll's finest song to date).

14.  Hiss Golden Messenger Heart Like a Levee
On Heart Like a Levee Hiss Golden Messenger continues to come into their own as an Americana juggernaut.  MC Taylor's vocals and storytelling is at its best paired with the current incarnation of Hiss Golden Messenger featuring Wisconsin native Phil Cook on keyboard and guitar.  Heart Like a Levee shows Hiss as a more mature band tackling broader topics and wider ranges of instrumentation, while staying true to their roots-based jams and Americana sensibility.  The addition of Cook to the Hiss Golden Messenger fold certainly broadens the range of the band.


13. Drive By Truckers- American Band
Patterson Hood and Mike Cooley have tackled topics of social injustice, family struggle and strive, and searching for identity throughout the band's storied two decade career.  American Band sees Drive By Truckers producing a catalog of tracks that could easily fit on a Neil Young record.  Unabashed and undaunted, songs like "Filthy and Fried" and "Roman Casiano"  showcase the band in prime form telling working-man stories with style and pastiche.  Ultimately, their soulful music and heavy riffs drive the songs as American Band emerges as another classic DBT record.



12. Margo Price- Midwest Farmer's Daughter
A masterful storyteller whose beautiful and booming voice carries her songs, Price delivers a powerful and poignant record that has made her a buzz artist on the Americana scene.  Her voice carries the record, but catchy melodic hooks on tracks like "Tennessee Song" and bluesy grooves on tracks like "Four Years of Chances" differentiate Midwest Farmer's Daughter as an eclectic record that, while rooted in country, encompasses a myriad of styles.






11.  Okkervil River- Away
Veteran indie folk-rock outfit Okkervil River returned with perhaps its most powerful record in a decade with Away.  Okkervil River are masters of the long-form narrative song, and with most tracks clocking in over the six minute mark, they manage to produce a record that stands alone as a collection of tracks, but also works like a read aloud story when you listen to the entire composition in one sitting.  Sheff and company tackle the theme of growing and aging in a unique way showcasing Will Sheff  at his lyrical storytelling finest with building epics like "Okkervil River R.I.P.," which is one of the band's best tracks from any of their releases.


10. Bon Iver- 22, A Million
On 22, A Million Justin Vernon delivers his most ambitious record to date.  Mixing in an increasing amount of electronica and production to build lush, layered,  soundscapes has resulted in a Bon Iver record that is so different than anything else out there, that it's almost addicting to listen to and try to decipher.  There is a tender sweetness in the book end tracks "It Might Be Over Soon," and "00000 Million" that sticks with you and showcases some of Vernon's finest work, whereas the middle of the album takes you on an often complex, confusing and sonically wild ride.


9. Jim James- Eternally Even
With his sophomore major solo release, My Morning Jacket front man Jim James delivers a soulful, insightful and poignant collection of tunes.  Eternally Even makes you think while you groove. Standout numbers like "Here In Spirit," "Same Old Lie," and "In The Moment" both provide social commentary on modern America as well as some seriously funky and deep grooves.  Ultimately, James's spiritual and positive nature has love triumphing over all.




8. Day of the Dead:
Curated by Aaron and Bryce Dessner of The National, the over 50 track behemoth reinterpretation of Grateful Dead tunes breathes new life into classic material.  Drawing from an eclectic array of mostly contemporary indie artists including Phosphorescent, Jim James, Bonnie "Prince" Billie, Charles Bradley, Courtney Barnett, Kurt Vile, Sam Amidon, and Jenny Lewis, just to name a few, the compilation has far more hits than misses, a rare feat for a collection of music this large.  Sure, there are some songs I have to skip over on this, but if I think about what I truly listened to and enjoyed in 2016, I don't think a week went by when I didn't play something off of this collection.  At the heart of Day of the Dead is the Dessner twins' passion for not simply covering Dead songs, but making them the artists' own.  The National's version of "Morning Dew" brings an eerie quality to the song that, I dare say, I enjoy these days more than the original.

7.  William Tyler- Modern Country
Thoughtful storytelling in songs doesn't always need to include lyrics.  Such is the case with William Tyler's stellar release, Modern Country.  In seven sweeping tracks, Tyler transports his listeners into another world with instrumentation alone.  A stellar guitarist- who uses  dexterous axemanship, masterfully blending together, traditional, slide, and psychedelic styles, Tyler creates lush and layered compositions that have an almost hypnotic quality.  In many ways his unique and simply gorgeous record epitomizes its title- Modern Country. 



6.  Wilco- Schmilco
Wilco is aging like a fine wine or cheese.  With their somewhat goofy-titled Schmilco release, the band returns to form with tracks driven by blank space created around Jeff Tweedy's lyrics.  In many ways, Schmilco is an album that epitomizes the "Kings of Dad Rock" at their finest, writing a collection of tracks about growing up and childhood.  Schmilco is a record that grows on you with each listen.  While last year's Star Wars was more of a rock record, Schmilco shows Wilco back in Sky Blue Sky and Being There form with a largely acoustic collection of tracks.  Standouts include "If I Ever Was A Child," "Normal American Kids," and "Cry All Day."


5.  Whitney Light Upon The Lake
Never has a break up album sounded this contagiously poppy.  Formed in the ashes of indie critical darlings, The Smith Westerns, Max Kakacek and Julien Ehrlich deliver an infectious array of tunes that burrow deep into your brain. Melody is the key to this record, and with quirky guitar licks, falsetto vocals and funky horns, Light Upon The Lake delivers songs that demand constant re-listens.






4.  Car Seat Headrest- Teens of Denial
Blending together elements of punk, jam-rock, and raw energy, Will Toledo and his bandmates, created a driving unique take on indie rock with Teens of Denial.  While the musicians in Car Seat Headrest are young in age (Toldeo is 24 years old), their sound is years beyond.  Teens of Denial features everything from the foot-tapping album opener "Fill in the Blank" (which clocks in at a little over four minutes) to the epic "The Ballad of the Costa Concordia" (an over eleven minute opus).  Build around the brute force of the single, "Vincent," Car Seat Headrest is an act I imagine will be a household name sooner than later.

Wisconsin native Chris Vos and his bandmates didn't need to reinvent the wheel on Give It Back To You.  The power trip crafted a passionate modern rock 'n roll album with traditional roots.  With blaring harmonicas, driving bass lines, and above all, soaring vocals, The Record Company deserve all of the success that 2016 has brought them.  The only thing better than hearing the tracks off of Give It Back To You is hearing them performed live.

2.  Steve Gunn Eyes on the Lines
Coming out of the Philadelphia progressive-psychedelic folk scene that includes stand out acts like The War on Drugs and Kurt Vile, Steve Gunn is emerging as a stalwart solo artist combining folk sensibility with truly infectious and charismatic guitar licks.  Gunn has toured as Kurt Vile's lead guitarist extensively, and is crafting a sound uniquely his own.  Part laid-back troubadour, part axe-man extraordinaire, Gunn's songs create unique and contagious sonic experiences for his listeners.  With sweeping sound scape numbers like "Ancient Jules,"  poignantly-laid back grooves like "Nature Driver," and numbers like "The Drop," which combine the jam quality of the Grateful Dead with the eerie aesthetic of The Doors, Gunn is an artist to watch.  Eyes on the Lines is both diverse and extraordinary.

1. Sturgil Simpson A Sailor's Guide To Earth
On his third record, Sturgil Simpson, an artist who has turned the genre of country music on its head, delivers a reflective release as a "road map" for his young son.   Simpson blends themes of uncertainty and hopefulness together on his musical masterpiece.  Tracks like soulful rocker, "Brace for the Impact (Live a Little)," the funky horn driven, "Keep It Between The Lines," and boogie anthem, "Call To Arms" make this concept record a standout release, not just for 2016 but for years to come.

Sunday, December 4, 2016

Amanda Shires, The Back Room @ Collectivo, 12/3/17

photo by Will Piper
Amanda Shires is a prolific Americana songwriter who showcased her skills as a vocalist, guitarist and above all, a master fiddle player, before a sold-out crowd in the Back Room of the Collectivo Coffeehouse on Prospect Avenue.   Joined by a drummer, guitarist and bass player, Shires and her band compassed their catalog in a ninety minute set.  focusing on Shires's most recent record, 2016's My Piece of Land, but playing a nice array from her previous work too.  The performance was intimate and genuine, with fans seated throughout the venue in tightly packed rows hanging on every subtle swoop of Shires's violin bow.  

photo by Will Piper
I was drawn to Shires after seeing her perform alongside her husband, Jason Isbell, as part of his band "The 400 Unit" this past spring. What was perhaps most engaging about that performance was the raw chemistry the couple exuded while playing music together.   While Isbell was not on this tour with Shires, her catalog of songs stood up well on its own, with the soft-spoken Shires sharing anecdotes and a few stories along the way.
Much of Shires's recent work comes from her new role as a mother, and focuses on themes related to family.  In fact the set opener, "You Are My Home," epitomizes this idea.   However, the highlight of the evening was her cover of "Daughter" by Loudon Wainwright III which gave me goosebumps as Shires talked about growing as a person with her, her husband, and their new daughter.  As a father, I can totally relate myself to these themes.  After seeing Shires perform solo, I have new found respect for the beauty of her haunting fiddle work and her narrative songwriting craft.    She is charming, intimate, thought provoking and engaging as an artist.  


Friday, December 2, 2016

Whitney with Midwest Death Rattle, Turner Hall Ballroom, 12/1/16


photo courtesy of Gigshotz by Stephen Bloch
Whitney is not the type of band that you'd expect to play break-up songs.  With poppy melodies that nuzzle themselves into your head, Whitney blends together a unique indie pop-rock sound with psychedelic guitars, bright brass fills, driving keyboard riffs, funky drums and falsetto vocals.  Most songs about yearning for lost love don't involve bopping dance-along beats, but the core duo of Max Kakacek (guitar) and Julien Ehrlich (drums and vocals) pulled this off in grand fashion before a packed house at the Turner Hall Ballroom on a Thursday night.  Joined with a keyboardist, bass player, second guitarist, and horn/percussion specialist Will Miller, Whitney delivered an upbeat, fun and engaging performance.

The band themselves may have been a little shocked with the large crowd they drew.  "Last time I was here with one of my bands this room was about a third this full," Ehrich quipped part way thought the band's set, "Thank you so much for coming out to see us and bringing your friends."

photo by Will Piper
Ironically, Whintey may be outdrawing Kakacek and Ehrlich's previous critically acclaimed band, The Smith Westerns, which broke up in 2014.  With yearning lyrics aside, Whitney's music is contagiously catchy, unique and original.  Tracks like "Golden Days," "The Falls," and "No Matter Where We Go" from the band's debut album,  Light Upon The Lake released earlier this year, were well-received and translated even better live than they did on the record.

In addition to playing the tracks off of Light Upon The Lake, Whitney shared a couple of homages to musical influences, including a clever take on Bob Dylan's "Tonight I'll Be Staying Here With You," and a fun and horn heavy rendition of, NRBQ's  track "Magnet."

While all accomplished musicians, Whitey has a rawness about them that makes their shows palpable and real to the audience.  They are polished, but not overly scripted.  On numbers where they were able to jam and improvise a bit, the band showcased their best work.

Opening for Whitney was the wall-of-sound Milwaukee-based rock group known as Midwest Death Rattle.  With loud forward bass and driving guitars, Midwest Death Rattle let their presence be felt in the Turner Hall Ballroom.  Vocalist/guitarist Nick Perow's powerful range coupled with the band's uniquely quirky arrangements and stage presence made them an engaging and fun support act for Whitney.  Drawing comparisons from everyone from Drive by Truckers to Cold War Kids to City and Colour, the band self-described online as "weirdos making music" were immensely entertaining and a fun act that I hope to see again.
photo by Will Piper

Tuesday, November 29, 2016

Jim James- Turner Hall Ballroom, 11/27/16

photo courtesy of Gigshotz by Stephen Bloch
Jim James is perhaps E.T., the Extraterrestrial of the rock 'n roll world.  Performing with his trademark floppy hair and sunglasses, coupled with a solid black dress shirt, overcoat, and crisply pressed charcoal trousers, James's appearance and aura alone may seem other-worldly. Jim James, both as a solo performer and front man of My Morning Jacket, has made a practice of connecting with the audience members in the front rows of his shows through finger touches, not unlike E.T. Similar to Steven Spielberg's lovable "phone homing" alien, James's simple touches have one mission only, and that is to connect to others trough the genuine love and passion of his performance.

On his second full-blown solo tour, this time supporting his recent critically acclaimed release, Eternally Even, Jim James delivered a soulful, spiritual and riveting performance at the Turner Hall Ballroom before a capacity crowd.  James is a true show man, and engaged the audience through a ninety minute set and half-hour encore by alternating between acoustic and electric guitars, keyboards, and his swagger moving constantly from one end of the stage to another, often times with a finger outstretched along the way.
photo courtesy of Gigshotz by Stephen Bloch

While My Morning Jacket may serve as the rock 'n roll outlet for James's work, his solo material touches more heavily on soul, psychedelia and funk.  Backed by his opening band for this tour, fellow Louisville, Kentucky trio Twin Limb, along with an additional drummer and bass player, James let loose a sonic spectacle showcasing much of his current album, along with a healthy dose of tracks from his first major solo release, 2013's Regions of Light and Sound of God, along with a couple of well-placed covers and deep cuts along the way.

"Same Old Lie," a stalwart, albeit lyrically dark track off of Eternally Even, contrasted both lyrically and sonically with the encouragingly optimistic "Here in Spirit," as two of the standout performances. Older tunes from Regions of Light and Sound of God like "Know Til Now" and the final encore performance of "State of the Art (A.E.I.O.U.)" were particularly well-received and powerfully delivered as well.


photo courtesy of Gigshotz by Stephen Bloch

There is a reason why many Jim James fans describe his shows as spiritual and almost church-like experiences.  James is the real deal in terms of a performer who honestly wishes the best for his audience to grasp his messages of overcoming challenges and ultimately choosing love over hate.  In this manner, just like E.T. the Extraterrestrial, Jim James is a man and musician who's easy to love.

Twin Limb served as both the opening and backing band for Jim James.  During the trio's forty-five minute supporting set, the band,  cast on stage with deep red and black lighting, played a set filled with tracks from their recent debut full-length record, 2016's Haplo.  Juxtaposing dream-pop and trippy landscapes with intricately nuanced percussion provided by Maryliz Bender, Twin Limb provided fans with a performance equal parts tender, yearning and remorseful, with a heavily layered sound that showcased the band members individual and collective talents.


Jim James Setlist: From Setlist.fm
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  15. Encore:
  16. (George Harrison cover) (live debut by JJ)
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Saturday, November 19, 2016

Carl Broemel with Dave Simonett, SPACE, Evanston, IL , 11/18/16

photo courtesy of Gigshotz by Stephen Bloch
There is a simple beauty that made the performance by Carl Broemel and Dave Simonett work on so many different levels. This theme encompassed a crisp fall Friday evening, starting with a My Morning Jacket "Jackitivists" meet up at a local Evanston pub & grill, to the exquisitely intimate venue SPACE, to the individual sets by the musicians themselves.  While best know for work in their respective groups-- Broemel is the lead guitarist extraordinaire for My Morning Jacket, and Simonett the virtuoso songwriter and front man for Trampled by Turtles-- the solo performances and joint collaborations by these two prolific artists just seemed to "click" amid the cozy confines of SPACE. With a stage that slightly protrudes into the crowd, seats line all three sides of the stage, and dimly lit cabaret tables are sprinkled throughout the venue, allowing for concert goers to take in the performance within close proximity of the artist, in a room with pristine acoustics.

photo courtesy of Gigshotz by Stephen Bloch
The evening began with a solo set by Simonett who played many newer or solo compositions with a smattering of tunes penned for Trampled by Turtles mixed in.  Simonett without the high powered bluegrass/Americana ramblings of his Trampled bandmates is an all-togetether different artist.  His songs showcased his narrative songwriting style with a humble, earnest, and subdued delivery.  The set highlight was when Simonett invited Broemel onstage to perform a sweeping rendition of "Midnight on the Interstate," perhaps my favorite Trampled by Turtles track, with Broemel adding rich timbre to the song through his saxophone work.

After a brief break, Broemel came on stage, performing a large part of his set from his recently released solo record 4th of July.  While Broemel may be best known for wailing on his axe alongside Jim James on high powered rock 'n roll numbers, make no mistake about it, Broemel is a solid song smith with a style uniquely his own.  In many ways, Broemel's work provides both a sensitivity and rawness which often is not seen as much in My Morning Jacket material.  Highlights included a hauntingly beautiful rendition of "Rockingchair Dancer," a well-placed cover of Radiohead's "Pyramid Song," an intimately perfect rendering of "Carried Away" (a stalwart track off of Broemel's first record, All Birds Say, from 2012), and a jammed out "one-man-band" epic "Fourth of July."
photo courtesy of Gigshotz by Stephen Bloch

However, Broemel and Simonett saved the best for last, as the duo converged on a stripped down rendition of Leonard Cohen's masterpiece, "Hallelujah," which sent the crowd home with goosebumps.  The interplay between Simonett's soaring vocals and Broemel's guitar work on this cover was beautifully simple, as was their entire performance.

Carl Broemel Setlist:
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  8. (Radiohead cover)
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  12. (Leonard Cohen cover)
photo courtesy of Gigshotz by Stephen Bloch