Americana is a genre that ultimately is deeply rooted in soulful music-- and there isn't a more soulful genuine performer on the scene than Valerie June. Blending a diverse array of instruments with a goose-bump inducing voice, Valerie June delivered a unique Americana performance that paid homage to the past while delivering a hopeful sound for the future.
With a stage decorated with an array of banjos, guitars, and illuminated stars, Valerie June and her outstanding band performed at Turner Hall for a spell-binding seventy-five minutes of music. Her set featured many of her latest compositions from her forthcoming album The Order of Time, along with some stand out tracks from 2013's Pushin' Against A Stone, and some deep cuts. June's stage presence and aura are palpable, and the crowd of over 400 people hung on her every word, deeply focused on her lyrics and performance. The crowd was silent during the songs, showing deep respect and reverence for the performer, and the illuminated glow of cell phones (a common sight at many shows these days) was scarcely seen. The folks in attendance were all about the music, and June was committed to bringing them a performance of the highest quality.
June started the show in a more solemn mood, draped in a long leopard skin cloak, as she opened with an unreleased new track, "Man Done," and then flowed into "The Hour," a bluesy number off of Pushin' Against A Stone. Once the cloak came off for "Tennessee Time," one of June's most notable numbers from Pushing Against A Stone, the crowd and June began to loosen up and become more lively, with June falling into a swagger with her banjo and guitar licks and wide range of vocals. Another stellar track from the night was the funky new toe-tappin' number "Shake Down." In addition, June performed a three song solo improvised mini-set, part way through the show, and ended the main set with a riveting rendition of "Workin' Woman Blues" which closed the show on a high note.
photo courtesy of Gigshotz by Stephen Bloch
However, it was the encore in which June spoke the most to the audience. Mainly she talked about how honored she was to be back in Milwaukee, where she is working as a guest artist at Lancaster Elementary School in MPS as part of the Turnaround Arts program. June's success and close bond with her students was captured in a great piece by Today's TMJ4 . The encore showcased June at her rawest and finest as a performer, playing "Somebody to Love," which featured her on her banjo-ukulele hybrid which she affectionately calls, "Baby." In addition she dedicated perhaps her strongest new track, "Astral Plane" to her students, who June lovingly refers to as her, "little lights."
Valerie June embodies everything that is good about music- with her uplifting songwriting, gorgeous vocals, versatile arrangements and true desire to use her music to make a difference in our world at large. The children at Lancaster Elementary are lucky to have June in their lives, and the crowd at Turner Hall was equally blessed to be part of such a stellar and special performance.
photo courtesy of Gigshotz by Stephen Bloch
Setlist:
Man Done
The Hour
Two Hearts
Tennessee Time
Slip Slide
With You
VJ Solo- 3 song set
If And
Love You Once
Workin' Woman Blues
The brainchild of prolific Cleveland songwriter/guitarist Dylan Baldi, Cloud Nothings have established themselves as a buzz worthy national act in the past five years, despite the band members being in their early twenties in terms of their age. With a sound that combines the DYI attitude of Fugazi paired with a noise-rock psychedelic vibe reminiscent of Sonic Youth, Cloud Nothings delivered their unique blend of genre blending rock 'n roll on a Sunday evening in front of a strong crowd at Turner Hall. Touring in support of their stellar Life Without Noise record that dropped just last month, Cloud Nothings delivered a blistering set of music with barely a pause between songs. What makes Cloud Nothings an interesting act is their ability to mix together short, punkier compositions, with more jammed out tracks that can clock in at nearly 10 minutes in length. The new material from Life Without Noise translated even better live than on the record, with "Up To The Surface," and "Sight Unseen" being two highlights. Older stand out material also received great reactions, with a thrashy version of "Stay Useless" off of 2012's Attack on Memory release. The set closer, "Wasted Days" ended the show with a fury of guitars and crazy drum riffs from Jayson Gerycz, whose fantastic percussion serves as a highlight of the band's performance.
photo by Will Piper
Chicago's Moon Bros brought their country-infused dreamscapes to Turner Hall, playing in the second slot of the three band bill. The trio headed by guitarist/harmonica player Matthew Schneider, featured a bass player (who played bass licks off of a traditional 6 string guitar) and a pedal steel player. In many ways Moon Bros, a band who performs sitting down and with more of an Americana feel, is a contrast to the "in-your-face" rock of Cloud Nothings, but the psychedelic nature of their jams instrumental interplay between musicians proved them to be a compelling opening act.
Starting off the show was Milwaukee's own super group of local talent- Dramatic Lovers. Dramatic Lovers features members of Milwaukee rock icons Decibully, Promise Ring and Maritime, and blend together a fresh take on a power pop sound. They are definitely a talented group and worth checking out again.
photo by Will Piper
Cloud Nothings Set List: Up to the Surface Psychic Trauma Modern Act Sight Unseen Now Hear In Darkened Rings Enter Entirely Fall In Strange Year Things Are Right Stay Useless Internal World Wasted Days
A 500 person plus crowd, consisting of an overwhelming ratio of men to women, packed the friendly confines of the Turner Hall Ballroom on a Wednesday winter's eve to see the southern rock 'n roll juggernaut known as Drive By Truckers. Patterson Hood, Mike Cooley and company have been together for over twenty years, and in that time have released a bounty of southern rock songs with a socially conscientious message, spinning well-woven narratives about challenges faced by Americans, particularly in the South. Make no mistake about it, the five-piece ensemble from Athens, Georgia brings with it a full-wall-of-rock sound, but also does not shy away from dealing with the challenges of the times. With a large "Black Lives Matter" poster hanging from keyboardist/guitarist Jay Gonzalez's rig and the bold anthems from The Clash playing over the house PA as Drive By Truckers took the stage, it was evident that this band means business when it comes to heightening social awareness.
photo courtesy of Gigshotz by Stephen Bloch
Drive By Truckers latest album, and arguably one of their all time finest, American Band was the focus of the evening. The album, released around the same time as the 2016 Presidential Election tackles themes of social inequality, racism, and economic stagnation in the form of well-crafted, fist bumping rock 'n roll tunes. Tracks like "Filthy and Fried," and "Surrender Under Protest" elicited large group sing-alongs with fists and hands with beverages raised in the air. While the Truckers visited many songs from their expansive catalogue, the highlight of the evening was a new and poignant number called, "Ever South," which band leader Patterson Hood dedicated to a friend of his who is an immigration attorney. In the tune, Hood wears his heart on his sleeve as he describes the immigrant upbringing of the character in his song's journey from Ireland and Ellis Island to Georgia.
photo courtesy of Gigshotz by Stephen Bloch
Alongside stellar new tracks Drive By Truckers highlighted many of their classic tracks from years past including ruckus renditions of "Lookout Mountain," "Women Without Whiskey," and my personal favorite DBT track, "The Righteous Path," which featured a three guitar foray to crank the rock up to 11.
Opening for Drive By Truckers was Kyle Craft and his band. Craft hails originally from Shreveport, Louisiana, and his music reflects influences from everyone from Tom Petty to Bob Dylan to Neil Young. Performing with a bass player, second guitarist, drummer and two keyboardists, Craft delivered his soaring vocals to perfection with a well-oiled band. Craft's 2016 Dolls of the Highland record is worth checking out for stand out cuts like "Eye of a Hurricane," "Lady of the Arc," and "Gloom Girl." However, the most noteworthy track of the evening was Craft's politically angsty track "Before the Wall," which he performed solo at the end of the set as a protest song reflecting his discontent of the potential erection of a border wall between the USA and Mexico.
photo courtesy of Gigshotz by Stephen Bloch
Both Drive By Truckers and Kyle Craft are artists who are on the forefront of modern protest music, keeping true to the spirit of their past influences.
Nothing beats the mid-winter blahs better than a good ol’ foot stomping bluegrass hootenanny, and no better bands to provide the soundtrack to that party than two of Milwaukee’s finest picking ensembles… Brewtown Brewgrass and Chicken Wire Empire. A capacity crowd came out to the historic Pabst Brewery on a cold and windy night to warm themselves with good tunes surrounded by great folks who share a common bond for live music. The show sold out in advance and garnered so much interest that it was moved from the Best Place Pabst Pub to the larger Great Hall next door. Even with the room upgrade, bluegrass fans of literally all ages packed the room to the gills for a hot evening of finger-picking, bass thumping, harmonizing and fun. An old saying in the music world is, “Never miss a Sunday show,” and that adage couldn’t have been more clear this past evening at the historic Pabst Brewery. Starting off the night was Brewtown Brewgrass, a sextet consisting of Justin Busche on banjo and vocals, Jon Kehoe on mandolin and vocals, Mike Secklin on bass and vocals, Carrie Secklin on guitar and vocals and Heather Lewin on fiddle and vocals. Brewgrass specializes in old-timey stylings that blend together elements of traditional Americana and gospel. Their playing features gorgeous harmonies and seamless vocal trade-offs between their three male vocalists and two female leads. The Brewgrass players are true students of the genre and breathe fresh life into traditional standards. Set highlights included a toe-tappin’ boogey rendition of “Shut the Door, Keep Out the Devil,” a tightly woven take on “Old Home Place,” and a beautifully reinterpreted version of “I’ll Fly Away,” which featured a sweet vocal arrangement by Carrie Seklin. However, while their style may be “old-timey” Brewgrass had a few surprises in store including a fun, reimagined, and humorous version of the Beastie Boys’ “Girls” off of their Licensed to Ill debut record. What sets Brewgrass apart from other live acts is their ability to relate to literally every age in the crowd- from the very young to the very young at heart. They are an excellent band for evenings like this as well as outdoor picnics and festival gatherings, with a wide repertoire of music to choose from, and a tightly woven performance style. The Brewgrass crew exude a pure sense of warmth, love, and joy which comes through in their music. They are an act that truly everyone can enjoy.
photo courtesy of Gigshotz by Stephen Bloch
Up next was Chicken Wire Empire, another group of extraordinary pickers who are proud to call Milwaukee their home. Chicken Wire Empire blended together a robust set that featured brand new original compositions alongside several well-played reinterpretations of others’ material. Chicken Wire’s line-up features band leaders Jordan Kruger on upright bass and vocals, and Ryan Ogburn on mandolin and vocals, alongside Jon Peik on banjo and vocals, Greg Brundage on guitar and vocals, and Ernie Brusubardis IV on the fiddle. Chicken Wire Empire employ a more jammy version of bluegrass which involves terrific improvisational interplay between the players. Their set opened with a laid-back banjo heavy rendition of The Band’s classic “You Ain’t Goin’ Nowhere.” From there the band forayed into a smattering of tracks from their self-titled debut record, alongside brand new material translated well live. A highlight of the evening was a track called “Maker” which showcased Brusubardis’s haunting fiddle licks weaving in and out of Ogburn’s mandolin jams and Kruger’s thumping bass. Chicken Wire Empire also paid homage to some of their influences including performing a tight rendition of Garcia/Grisman’s “Shady Grove,” and Old and in the Way’s “Kissimmee Kid.” The precision of Chicken Wire Empire’s players, joined with the seamless interplay between the musicians make them a must-see live show, that will get you up, dancing, and forgetting about a cold, blustery mid-winter’s eve.
If Punxsutawney Phil doesn’t predict that spring is coming soon, perhaps the warm vibes and terrific playing of both Brewtown Brewgrass and Chicken Wire Empire foreshadow that warmer day are ahead.
Two future bluegrass fans "liked it all" when asked to comment on their favorite experiences watching Brewgrass and Chicken Wire Empire. Being able to take kids to a family friendly show in the winter was a blessing and great fun!
Music is a great uniter. Regardless of age, race, gender, religion, or social-economic class, music can make us move, groove and rejoice in a way that no other medium can. Music in many ways separates us from the animals, as we can dance, bop, sway, smile and simply bask in its glory like no other species on the planet.
Good music proved to be the ultimate vehicle to unite people when the Alverno Presents "Uncovered" series made its triumphant return on a relatively balmy Southeastern Wisconsin Friday evening. Moving from the Pittman Theater on Alverno's campus to the Turner Hall Ballroom in downtown Milwaukee seemed like a wise and progressive choice. With a strong crowd in attendance, Tribe UNCOVERED delivered an evening of unique performances from some of Milwaukee's hottest musicians.
Curated by Klassik, and produced by esteemed Alverno Presents arts aficionado, David Ravel, Tribe UNCOVERED showcased the vibrant musical arts scene in Milwaukee. Klassik, an experimental hip-hop/r&b performer, curated the performance and held down the lion's share of the vocals for the evening. Joining Klassik, was an all-star cast of fellow Milwaukee stand out musicians such as: Jay Anderson and Foreign Goods, X, Somata, Chris Rosneau, WTCA, AR Wesley, DJ Jordan "Mathatter" Lee, Old Man Malcolm, Deb.On.Air, Mike Regal, Strehlow and Christopher Gilbert, among others.
photo by Will Piper
At the heart of the performance was the emphasis the musicians had on recreating the dynamic samples and grooves that drove the music of A Tribe Called Quest, but with a unique touch, paying homage to Milwaukee. The band assembled by Klassik was white hot from the opening moments of the evening. "Excursions" kicked off the show with masterful interplay between the singers, MCs, deejays and house band. Jay Anderson's saxophone solos and grooves soared throughout the evening, Other highlights included Chris Roseneau's compelling guitar work as a backdrop for Klassik' vocals on "Electric Revolution," the lyrical interplay between the MCs on "Can We Kick It" and the jammed out rendition of "Jazz (We've Got It)." The show culminated with all performers on stage for a roaring rendition of "Scenario."
Reinterpreting A Tribe Called Quest proved to be a very natural task for Klassik and his ensemble, creating a remarkable night of music bringing community together.
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 funkstersPho 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.
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.
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.
