Strand of Oaks- 88.9 Radio Milwaukee 10 Year Anniversary Block Party, 6/24/17

photo by Will Piper

It is hard to find a musical act that loves what they are doing more than Timothy Showalter from Strand of Oaks.  This was Strand of Oaks's second stop in Milwaukee since March and with each performance his crowd continues to grow.

Strand of Oaks has been riding high off of their critically acclaimed record 2017's Hard Love and has been tirelessly touring on the album's behalf.

photo by Stephen Bloch

In an 88.9 Radio Milwaukee studio session with DJ Ken Sumka, Showalter talked about how Milwaukee has almost become like a second home to him, and how Strand of Oaks has frequently played Milwaukee due to the great friends he's made in town and strong support from local fans and radio play. Showalter referenced early tours with Juniper Tar and a friendship formed with Field Report's Chris Porterfield as well.

During the stripped down session, Showalter and his guitarist played toned down renditions of "Radio Kids," (the first single off of Hard Love), as well as "Goshen '97" (off of Strand of Oaks break through release 2015's HEAL), and debuted a reworked version of the rock 'n roll juggernaut "Rest of It," from Hard Love, which translated great live.

For their evening set, Strand of Oaks delivered nearly an hour of high energy rock 'n roll with swagger.  Every Strand of Oaks show is different, as Showalter and his bandmates often provide improvisational jams into their songs to allow band members to stretch themselves and for Showalter to cut loose as a front man.

photo by Will Piper

Strand of Oaks's performance at the 88.9 Radio Milwaukee Block Party was nothing short of a Milwaukee love fest, with Showalter grinning like the Chesire Cat from Alice in Wonderland constantly throughout the set, even amid some minor technical glitches during "Shut In." Highlights of the set included Showalter dedicating the track  "Plymouth" (off of HEAL) to the people of Milwaukee who have supported him from the start, as well as rousing renditions of "JM" (also off of HEAL), and a full-blown rock 'n roll version of "Rest of It" to close the show.  Based on the fantastic reaction from the crowd and Showalter's genuine enthusiasm for performing, expect to see Strand of Oaks back in town before you know it.

photo by Ken Sumka

Wilco- Riverside Theater, 6/18/17

photo courtesy of Gigshotz by Stephen Bloch

There was a special vibe at the Riverside Theater for Wilco's Father's Day show as the band opened their set with "Via Chicago," featuring a literally thundering drum interlude in the middle of the track, compliments of Glenn Kotche. This was the best version of "Via Chicago" I had ever seen Wilco perform out of the 20 shows I've seen of theirs, and it set the stage for an evening of truly remarkable music.

Throughout the nearly two and a half hour set (including two encores), Wilco delivered a career retrospective performance, showcasing their talents as a well-oiled, seasoned, collaborative band who refuses to rest on its laurels and continues to push its music in new and unique ways.  When seeing Wilco live you can hear every note played by each band member and every word from singer Jeff Tweedy while the rest of the band is shredding on guitars and pounding away on keyboards and drums.  Wilco knows how to crank the show up to eleven for its rocking numbers and then back down again to allow for more mellow, introspective material in a seamless way that helps its music flow and keep the crowd engaged and mesmerized.

photo courtesy of Gigshotz by Stephen Bloch

Touring is support of their reflective 2016 release Schlimco, the band performed new material with a fervor that can't be captured on the record alone.  Tender tracks like "If I Ever Was A Child," and "Cry All Day" were greeted with Nels Cline's virtuoso experimental guitar riffs and jams, and translated amazingly live.

Moreover, classic cuts from earlier albums were reworked to allow for more improvisation and experimentation by different members of the band.  "Art of Almost," off of 2011's The Whole Love, was a set highlight that saw Cline work his guitar magic like a mad scientist amidst his plethora of electronic pedals, and sonic enhancers.  Likewise, the epic "Spiders (Kidsmoke)" off of 2004's A Ghost Is Born was reworked to have guitar featured as the driving force of the melody and a capacity crowd sing-a-long lead by Tweedy to mimic the riff.

photo courtesy of Gigshotz by Stephen Bloch

Wilco's mindful precision to the intricate nuances of their tunes makes them a one-of-a-kind act.  A mid-set placement of "Misunderstood," the first track off of Wilco's 21 year old break out record, Being There, featured multi-instrumentalist Pat Sansone showing off his skills on banjo, while Nels Cline dabbled in lap steel guitar, to provide a more rootsy vibe to the tune.  "Impossible Germany," a fan-favorite jam off of 2006's Sky Blue Sky featured Cline delivering a face-melting solo, and a three guitar attack from him, Tweedy and Sansone, which prompted Tweedy to declare to the crowd, "he just keeps getting better each year," referring to Cline's playing.

Opening band Kacy & Clayton, a psychedelic folk outfit from Canada, came on and joined Wilco for their first encore, "California Stars" a beautiful rendition of the band's 1998 stand-out track from their Mermaid Avenue collaboration album with Billy Bragg.  "California Stars" has become a long-time fan favorite at Wilco shows, and the harmonizing between Tweedy and Kacy Anderson coupled with Clayon Linthicum taking lead guitar duties made this version extra special.

photo courtesy of Gigshotz by Stephen Bloch

By the time Wilco ran into their second encore which featured straight up rocking renditions of "Monday," and "Outta Sight, Outta Mind" (both off of Being There) they had the entire crowd (comprised mainly of 40 year olds) on their feet singing along and basking in Wilco's masterful way of ending their performance on a strong, rocking note.

Wilco continues to refine their craft and push themselves as musicians.  They do get better with age and remain the best band on the planet (in this writer's humble opinion).

Setlist:
Via Chicago
Normal American Kids
If I Ever Was A Child
Cry All Day
Muzzle of Bees
I'm Trying to Break Your Heart
Art of Almost
Pickled Ginger
Misunderstood
Someone to Lose
Poor Places
Reservations
Impossible Germany
How to Fight Loneliness
Forget the Flowers
Box Full of Letters
Heavy Metal Drummer
I'm the Man Who Loves You
Hummingbird
The Late Greats

Encore 1:
California Stars (with Kacy and Clayton)
Locator
Random Name Generator
Spiders (Kidsmoke)
I'm A Wheeel

Encore 2:
Monday
Outta Sight , Outta Mind

Twin Brother- Good City Brewing Festival, 6/17/17

photo by CJ Foeckler

Milwaukee's Twin Brother is a band re-imagined.  Fronted by West Allis native, Sean Raasch, Twin Brother has been playing indie-inspired folk rock in town since 2012.  The band released two records, 2013's self-titled release, and 2014's Swallow the Anchor, which drew a lot of praise and earned Twin Brother headlining club gigs across town as well as opening slots at Turner Hall for several national acts. However, not content to be a band pigeonholed in the ever growing alternative country folk scene, Raasch and longtime bandmate Lodi Broekhuizen retooled Twin Brother, adding new members and expanding the band's sonic repertoire.

Alongside Raash and Broekhuizen at the core of Twin Brother are Terry Hackbarth playing bass, Andrew Eshbaugh on trumpet, Marlese Koehlein playing organ and  keyboards, and Luke Rivard on drums and percussion.  The result of the collaboration of these musicians is a band who has emerged from its cocoon with a full-bodied, complex and diverse sound that takes into account each of its members' strengths as performers and blends them together into a unique, original, juggernaut of sound.

Recently, we had a chance to catch up with Sean Raasch to talk about the retooled Twin Brother:

MKE Rocks: How would you describe your band's sound as its evolved over the years?
Raasch: The sound is simply larger now.  The arrangements are more intricate and the musicianship has stepped up.

MKE Rocks: How have new members helped shape the new sound?
Raasch: Everyone brings their own flavor.  Everyone's individual style is what makes the band unique in an otherwise generic and saturated market.  We pull from genres all the way from power pop to 70's prog rock to r&b and soul.

MKE Rocks: Do you focus on playing mainly new tracks, or are you mixing in older stuff as well?
Raasch: We have a mix of everything but you'd have to come to a concert for that info :)

photo by Will Piper

Twin Brother played an afternoon set at the inaugural Good City Brewing Fest, celebrating the one year anniversary of one of Milwaukee's most acclaimed new mico-breweries.  This festival curated by the Pabst-Riverside Theater Group featured a boon of local talent including sets by Klassik and Fever Marlene.  The family-friendly event was a great way to showcase local talent, food and great brews.

photo by Will Piper

Twin Brother's spirited set drew heavily on new material, some of which will appear on a forthcoming EP set for release in September, and on a full-length album the band is working on at Honeytone Studios.  Eshbaugh's horns play a prominent role in the melodies of the tunes, bringing a Calexico-style Tex-Mex vibe to the group.  Moreover, Broekhuizen's guitar work was on point, often jamming effortlessly into Jerry Garcia inspired progressions.  Rivard also added his percussion prowess to the mix, especially on numbers like "Ladybird" and "Heywood," the first single released from the new incarnation of Twin Brother.  Everything considered, the band clearly seemed to have fun and enjoy creating music together.  Raasch was particularly relaxed on stage and Koehlein and Hackbarth effortlessly glued the sound together.

Twin Brother has emerged as a complex and musically diverse act-- breaking the boundries of Americana to create something fresh and new. Pairing Raasch's introspective storytelling lyrics alongside lush sonic arrangements make Twin Brother one of the more interesting, fun and insightful acts on the scene today.  If you haven't caught a Twin Brother show recently, do yourself a favor and check them out. You won't be disappointed.

Setlist:
New Mexico ->
Alone in Austin
Secret Talks
Troublemaker
Heywood
Ladybird
Bombs
Canterbury
Big Bird

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