Trapper Schoepp Creates Universal Rock Sound on The Bay Beach Amusement Park EP

Is there anything more helplessly romantic than a classic amusement park?  Settled on the banks of the Fox River as it flows into Green Bay, Bay Beach has entertained guests for 125 years.  Its scenic location coupled with the amusement park’s commitment to making itself both a picturesque and affordable attraction has garnered it a reputation as a true Wisconsin classic. Vintage concessions of ruby red and bright blue sno cones, Good Humor ice cream bars and yummy, scrumptious popcorn are sold at throw back prices to pair with the wide array of classic rides that dot the landscape of Bay Beach.  If you haven’t been to Bay Beach, you need to go, and if you have been there, you know what the buzz is about.

Simply put, there is something special about Bay Beach… a magical place that provides fun for patrons of all ages.  The thrill of riding The Zippin Pippin is exhilaratingly universal, as I recall riding Elvis Presley's favorite roller coaster two summers ago with my father-in-law, a man in his 70’s.  Both he, myself (a man in his late 30’s) and the pre-teen in the car behind is all smiled with delight like the Cheshire Cat from Alice in Wonderland upon the ride’s conclusion.  Few things can garner such a universal reaction as the thrill of a good roller coaster.  

If there was anyone to use Bay Beach as a backdrop for a record, that person would have to be Trapper Schoepp.  Schoepp is a master storyteller, and his passion for local lore, history, and his home state of Wisconsin is evident on his new 6-song EP Bay Beach Amusement Park,  set for release this Friday, June 2nd, and celebrated with a concert at Anodyne Coffee in Walker’s Point with the superb veteran Missouri-based Americana rockers Ha Ha Tonka opening the show.  

“My first ride was a total thrill,” Schoepp stated when referring to his maiden voyage on The Zippin Pippin.  “I got right back in line wanting to set lyrics to the rhythm of the roller coaster.  It reminded me of the innocence of childhood and the great escape a ride can give you.”

Schoepp's keen observations of human behavior allow him to craft stories that draw his listeners into the hearts of his characters.  This is clearly seen on the first single off of the EP Bay Beach Amusement Park, “Bumper Cars,” where Schoepp recalls the classic thrill of being able to choose who you hit, not who hits you, with a barrage of clever comparisons between riding the bumper cars and confronting social  groups with stark differences. Who else could incorporate opposite groups like the Jedi and the Sith, the Hatfields and the McCoys, and even Jerry Seinfeld and his postal service nemesis, Neumann, other than the always clever, Trapper Schoepp?

“In a world of derivatives, Bay Beach is an original,” Schoepp stated.  “It’s a happy place for me to return to both in song and in real life.”

Schoepp's classic rock swagger, fantastic stage presence, and ability to relate to fans from age 2 to age 100 makes him a truly unique, charismatic and special performer.  

Joseph Huber with Al Scorch- Anodyne Coffee Roasters- 5/5/17

photo by Will Piper

Joseph Huber in so many ways embodies the positive spirit of Milwaukee as a man who knows the special quality of making his home in "The Good Land."  He's a songwriter who pens his tunes from the vantage point of a keen observer.  He writes from the perspective of a working man.  He is inherently humble and promotes the work of others' more so than bask in compliments of his own.

Huber sat onstage before a packed-to-the-roasted-coffee-smelling-rafters at Anodyne Coffee this past Friday with patched jeans, a flannel shirt and a grin spanning from ear-to-ear. His longtime band mates and collaborators Jason Loveall (on fiddle) to his right and Eston Bennett (on upright bass) to his left, were by his side and a single bottle of Miller High Life sat beside him.  A multi-instrumental virtuoso, Huber strapped a bass drum peddle to one foot, to use to bang against a suitcase behind him, and a tambourine to the other foot, to help enhance the rhythm of his tunes.

artwork created 5/5/17 by Danny Duffy

Huber's show was raw and riveting-- all about the substance of the tunes and the way that they bring people together.  Looking around, you'd be hard-pressed to find more of a smorgasbord of people from all walks of life in Milwaukee in attendance, smiling along with their ol' pal Joe and his band mates.  The universal appeal of his music in essence makes Joseph Huber both uniquely Milwaukee, and uniquely great as a top-notch Americana artist.

As the album release show for Huber's fourth record, The Suffering Stage, Huber approached brand new material with the warmth and grace of an old friend seated around a campfire with his buddies playing some tunes.  It's in this ubiquitous joy where Huber excels as an artist.  The set featured all 8 tracks off of The Suffering Stage, and opened with "Playground/Battlefield" which featured soaring fiddle riffs from Jason Loveall, who was as dialed in as I've ever seen him perform.  Likewise, upright bassist Eston Bennett, delivered the thumping pulse which propelled "Sons of the Wondering," giving it a well-worn feel for a brand new track. "16-10" is perhaps the most fun and uptempo track off of The Suffering Stage, and got the crowd jamming and dancing into a frenzy thanks the fast picking by Huber and the boys, and Loveall's "blow the roof off of the barn" jams. Moreover, the title track, "The Suffering Stage" was debuted with Joseph Huber and his full band last Friday. This epic track, which serves as the thematic anchor to the record, clocks in at over seven minutes and channels 1970''s Desire-era Bob Dylan lyrically, received enhanced treatment by Huber's band mates.  Huber dropped long-time fan-favorite "The Hanging Road" in the set before launching into the final two tracks from The Suffering Stage, the soulful ballad "Sea of Night" and the beautifully reflective country rock catharsis "Souls Without Maps."  To say the new material was well-received by the sold-out Anodyne crowd was an understatement as the crowd eagerly enjoyed each new track.   It is perhaps his intimacy in songwriting that make Huber's work stand out as extraordinary amongst his Americana contemporaries.  

photo by Will Piper

Opening for Joseph Huber was Al Scorch, a songwriter and  banjo player who delivered a one-man-band performance with ragged fury.  Scorch featured a lot of material from his most recent release, 2016's Circle Round the Signs.  Socrch is a riveting performer who delivered some great picking and showcased the some licks on the banjo I've never seen before.  His good humor and warm demeanor paired well the Joseph Huber's hometown crowd and made Scorch a fun and solid support act for the evening.

photo by Will Piper

Setlist (thanks to Joseph Huber):
Playground/Battlefied
Sons of the Wandering
16-10
Drop in the Bucket
An Old Mountain Tune
Diminished Things
You Showed Me
Comin' Down From You
Working Man Blues (Merle Haggard Cover)
Iron Rail
The Suffering Stage
The Hanging Road
Sea of Night
Souls Without Maps
Dance Around the Daggers

Encore:
Tongues of Fire
Shovel on Your Shoulder

Joseph Huber- The Suffering Stage- Album Review

On his fourth LP release, The Suffering Stage, Milwaukee multi-instrumentalist singer-songwriter Joseph Huber delivers a series of eight poignant tracks showcasing his best songwriting to date, crafting an album that provides both comfort and companionship in the face of uncertainty.  On the opening lines of “Sons of the Wandering,” the second track on the record, Huber sings, “Sorry friend, but I’ve got no answers for you.  Truth is I’ve never been sure about a thing.”  In many ways these lines help set the stage for Huber’s most ambitious release to date- both musically and lyrically. With his trademark humble frankness, Huber offers keen observations on our current world through the lens of an old friend you could easily see seated next to you with his guitar and harmonica in hand around a backyard fire.  

It’s this warmth and intimacy in his tales and compositions that make Huber so profoundly accessible as a songwriter.  From toe-tapping, feel-good boogies like “Playground/Battlefield,” and “15-10,” which feature longtime bandmate Jason Loveall rocking the fiddle with the fervor of a barn-dance leader, to introspective ballads like “You Showed Me,” and “Sea of Night,” Huber takes his listener on a journey through diverse experiences and observations on modern life from the vantage point of a songwriter who has seen a lot of life from his time traversing the open road.

Huber’s songs are lyrically driven, and nowhere is this better seen than on the title track, “The Suffering Stage,” which, clocking in at over seven minutes, serves as both the cornerstone and opus of the record.  An outside-looking-in take on our modern social media driven and, at times self-centered society, Huber’s poised and well-crafted tale delivers with a lyrical depth and style that invokes memories of 1970’s Desire era Bob Dylan: “All you needed was a hand to hold, or an ear just to hear you cry; but everywhere you turn everybody’s busy learning their own damn lines; like a man ain’t more than just a penny in the tray.”  

Life is messy.  There are no easy answers to how to navigate life in the 21st century, but if anything can be true of “The Suffering Stage” it is that you are not alone, and Huber’s 8 timeless tales masterfully weave you into the heart and soul of modern Americana as well, if not better, than some of his more well-known contemporaries.

“The Suffering Stage” is a brilliant record that I cannot wait to hear more of when Huber takes the stage at Anodyne Coffee in Walker’s Point this Friday, May 5th at 8:00 p.m.

Son Volt- Turner Hall Ballroom, 3/31/17

photo courtesy of Gigshotz by Stephen Bloch

Raw, in-your-face, powerful and poignant are all words that come to mind when reflecting on Son Volt's robust 26 song career-spanning set Friday night at the packed Turner Hall Ballroom.  Son Volt is about as straight forward of a band as you're going to find on the Americana scene today.  There are no video screens, no fancy light shows, no lengthy jams, and very little stage banter from Jay Farrar and his band mates.  However, with the power of the music played Friday night-  no gimmicks or extras were needed.

photo courtesy of Gigshotz by Stephen Bloch

Farrar and company are touring in support of Notes of Blue, the veteran band's 8th LP release.  Son Volt knew it's crowd well and played a show that juxtaposed new material right along side classic cuts from all eras of Jay Farrar's musical career.  Set opener, "Cherokee St" from Notes of Blue started the evening out on a loud and ruckus note, followed by the power chord heavy new number "Lost Souls." Moreover, Farrar featured "Damn Shame," a personal favorite of mine from his often underrated solo Sebastopol release in 2001 where he collaborated heavily with Steven Drodze of the Flaming Lips.   Fans of the narrative heavy, alt-country masterpiece Trace (1995) were treated to a fair share of tracks off of Son Volt's iconic debut release including "Catching On," "Ten Second News," "Route," a rousingly reflective rendition of "Drown," and a beautiful "Windfall" in the first encore.

Speaking of the encore, Farrar dusted off some classics performing several timeless Uncle Tupelo numbers which stand up as well today as they did 20 plus years ago.  "Still Be Around," (from the 1991 Uncle Tupelo album Still Feel Gone,) felt relevant and sincere.  Moreover, "Graveyard Shift," (off of 1990's epic No Depression debut release) had a sense of urgency as it may have in its hay day, as did encore closer "Chickamaunga" from 1993's Anodyne release.  A final encore number showcased Son Volt covering Velvet Underground's 1969 classic, "What Goes On."

Impactful and emotionally heavy, Son Volt proved that great Americana music can be loud and ruckus and, above all, meaningful and fun at Turner Hall.

photo courtesy of Gigshotz by Stephen Bloch

Strand of Oaks with Twin Limb, The Back Room of Collectivo

photo courtesy of CJ Foeckler Photography

The old adage of "never miss a Sunday show" was proven right once again.  Rock 'n roll can't solve life's problems in and of itself, but it can, and does, give us strength.  That sentiment was palpable at Strand of Oaks's sold-out performance this past Sunday at the Back Room at Collectivo Coffee.  Fans were packed into the coffee house well before opener Twin Limb took the stage, and were treated to a night of pure rock goodness.

photo courtesy of CJ Foeckler Photography

Timothy Showalter, the singer-songwriter behind Strand of Oaks, has long been known as an outstanding lyricist who is able to transport his listeners into the intimate settings of his tunes.  His narratives have covered such topics as heartbreak, aspiration, overcoming pain, and longing for better days. However, Showalter took his music in a different direction on his latest release, 2017's Hard Love, opting to channel more hopeful optimistic themes rather than the darker imagery and reminiscence that dominated 2014's critically acclaimed breakthrough record, HEAL as well as his earlier work.

photo courtesy of CJ Foeckler Photography

Showalter is a master of his craft, and the new material came alive on stage with zeal, passion and, above all, a sense of joy.  Strand of Oaks were on the A game from their opening cords of the night. Taking a page perhaps from their former tour mates, My Morning Jacket, Strand of Oaks took to jamming out most of their numbers of the evening.  The loose feel on stage lead to terrific interplay between Showalter and guitarist Jason Anderson, who would often trade off licks and add some good ol' wailing to much of the set.

Strand of Oaks's most recent single, "Radio Kids" was given a jammy intro and full-throttle rock treatment.  Likewise, "On a Hill," the opus of Hard Love was a stand out set highlight with roaring guitars, thumping bass and blistering drums.  Moreover, Strand of Oaks reworked some older material from HEAL to give it a looser and more elated feel.  "HEAL" was more uptempo, and "JM," turned into an epic jam-fest of a tune, with the audience singing the refrain of, "we've got your sweet tunes to play." The highlight of the evening was Strand of Oaks's set closer, "Everything" off of Hard Love which featured opener Twin Limb performing alongside Strand of Oaks on stage.    The interplay between musicians lead to nothing short of a rock 'n roll party on stage, exuding the love of playing music that is evident in Showalter and his band mates.

photo courtesy of CJ Foeckler Photography

Opening for Strand of Oaks was Twin Limb, a trio from Louisville, Kentucky, who I recently saw perform alongside Jim James during his last solo tour.  Twin Limb's heavily nuanced sound served as somewhat of a musical compliment and contrast to the power rock of Strand of Oaks.  With a smorgasbord of effects pedals, atmospheric accordion riffs and staccato drums, Twin Limb delivered a strong set, drawing heavily from 2016's Haplo release.  The influence of touring with Jim James (of My Morning Jacket) was also evident in Twin Limb's set with guitarist Kevin Ratterman's psychedelic riffs complimenting the spacey, ethereal harmonies of vocalists Maryliz Bender (drums and vocals) and Lacy Gutherie (accordion, keyboards and vocals).

Thank you Tim for the sweet tunes you play :)

Greensky Bluegrass with Cris Jacobs, The Riverside Theater 3/17/17

photo courtesy of Gigshotz by Stephen Bloch

Greensky Bluegrass brought their foot stompin' sounds to the Riverside Theater for a St. Paddy's Day hootenanny.  The five piece outfit from Kalamazoo, Michigan plays a fast-paced style of bluegrass with quick-timed interplay between the musicians.  The band consists of Dave Bruzza (guitar). Paul Hoffman (mandolin), Michael Bont (banjo), Anders Beck (dobro), and Mike Devol (bass).  Greensky Bluegrass is a high energy live act whose varied set lists, clever covers, and lengthy improvisational jams make them a fan favorite for folks who enjoy traditional bluegrass music as well as those who enjoy rock jam bands.

photo courtesy of Gigshotz by Stephen Bloch

Greensky played a robust show, performing two sets of music and playing more than two and a half hours. While Greensky has released some quality studio albums, most notably, 2016's Shouted, Written Down and Quoted and 2014's If Sorrow's Rain, their live performance far eclipses their studio efforts.  Drawing heavily on the energy and enthusiasm of the continually bopping crowd, numbers like "The Four," "Miss September," "Past My Prime," and "Demons" were all well-received and stretched out beyond their studio lengths, much to fans delight.

As with many stellar bluegrass outfits, Greensky also performs a number of reinterpretations of others' music.  A show highlight was an over thirteen minute rendition of Bob Marley's "Small Axe," a daring move to take a reggae song and strip it down into a bluegrass number.  Robert Palmer's "Simply Irresistible" was another stand-out cover, as was the second set closer, "Ain't No Bread in the Bread Box," by Roy Rodgers and Norton Buffalo, which was later popularized by the Jerry Garcia Band.

photo courtesy of Gigshotz by Stephen Bloch

Opening the evening was Cris Jacobs, a Baltimore based singer songwriter who recently was reviewed by Rolling Stone Country as one of the ten new artists to watch in 2017.   Jacobs combines elements of blues, country, bluegrass and soul into his music.  His music has drawn comparisons to Sturgill Simpson, Chris Stapleton, and even Nathaniel Rateliff.  Jacobs's set drew heavily from his 2016 debut solo release Dust to Gold.  Jacobs's affable demeanor and high energy set made him a great pairing for Greensky Bluegrass.  In fact, Jacobs guested with Greensky during the second set during "I'd Probably Kill You," and "Simply Irresistible."  Jacobs's strong performance makes him a great candidate to return to Milwaukee for a show at Collectivo or Anodyne Coffee.

photo courtesy of Gigshotz by Stephen Bloch

Greensky Bluegrass Setlist:
Set I:
The Four
Wheelhoss
Lose My Way
Small Axe (Bob Marley Cover)
Please Don't Bury Me
Demons
Pig In A Pen
Take Cover
What's Left of the Night
Miss September

Set II:
Tied Down
I'd Probably Kill You (with Cris Jacobs)
Simply Irresistible (Robert Palmer cover with Cris Jacobs)
Keroscene
In Control
A Letter to Seymour
Past My Prime
Frederico
Wings for Wheels
Ain't No Bread in the Breadbox (Roy Rodgers cover)

Encore:
For Sure Uh Huh
Run or Die

Allah-Las with The Babe Rainbow, Turner Hall Ballroom, 3/15/17

photo courtesy of Gigshotz by Stephen Bloch

The intersection of checkered-themed and brightly colored lights made the Turner Hall Ballroom feel somewhat like a discotheque from the late 1960's, and that could very well have been the point when Milwaukee was greeted by two acts who blend together elements of music from an earlier era-- Allah Las and The Babe Rainbow.  

photo courtesy of Gigshotz by Stephen Bloch

Hailing from sunny Los Angeles California, Allah Las combine a tightly woven form of rock 'n roll with a heavy influence in surf rock and psychedelic music from the 1960's.  The band emanates a laid back vibe on stage and are very much California rockers of the old sort.  The band consisted of its core members, Matthew Correia (percussion), Spencer Dunham (bass), Miles Michaud (vocals, guitar), and Pedrum Siadatian (lead guitar), and were also joined on stage by a keyboardist and conga player.  The subtleties of the Allah Las' music is what makes them a stand-out act, as each of the band members had something unique to bring to the band's overall sound, and the band mates often traded off lead vocal duties.  

photo courtesy of Gigshotz by Stephen Bloch

Their generous set consisted of material from all three of their albums, 2012's self-titled release, 2014's Worship the Sun, and 2016's Calico Review.   The musical dexterity of the band came through on a number of stand out tracks. Allah Las can run the gamut from shorter, infectiously catchy pop ditties like "Could Be You," (a stellar track from Calico Review), to more trippy numbers like "501-415," from Worship the Sun to full blown jams like "Catamaran," perhaps the band's most well-known song off of their debut record. Throw in some groovy instrumentals like "Sacred Sands" off of Allah Las, and a well-placed Television cover, and you have an act who is reinventing a style of music from the past to make it unique and relevant today.  

photo courtesy of Gigshotz by Stephen Bloch

Opening the show was The Babe Rainbow, a quintet from New South Wales, Australia who, came to the stage wearing mock turtlenecks and high waisted pants, looking like they could have just stepped off of the Scooby Doo Mystery Machine to go into Turner Hall.  Their lead singer, Angus Dowling himself looked like Leif Cassidy doppelganger.  With a heavy emphasis on bongos, maracas and a variety of tambourines, alongside psychedelic guitar riffs and steady bass, The Babe Rainbow's colorful stage show and energetic presence was wildly entertaining.  Along with the Allah Las, The Babe Rainbow's music brought about  themes of summer beaches, surfing, and just plain having fun.   Isn't that what a good rock 'n roll show should do?

photo courtesy of Gigshotz by Stephen Bloch