Tyler Ramsey and Carl Bromel- SPACE, Evanston, IL 2/22/19

photo courtesy of Gigshotz by Stephen Bloch

There was a palpable feeling of excitement, enthusiasm, and above all trust in the air in the cozy and intimate confines of SPACE in Evanston.  Walking through an enthusiastic and adoring crowd together, two marquee songwriters took the stage for what would be one of the most special and collaborative performances I've had the pleasure of experiencing in recent history.  Tyler Ramsey, previously a co-songwriter, guitar player, and multi-instrumentalist for Band of Horses, and Carl Bromel, best known as the guitarist for My Morning Jacket, joined forces to showcase their solo material in a collaborative show that saw both musicians accompanying one another.   Bromel is touring in support of his finest solo release to date, last year's Wished Out, and Ramsey has his new solo record, For The Morning, ready to drop on April 5th.  The comradeship and synergy between the musicians was so tight that it was often difficult to determine who was the primary song-smith for any given tune.  The harmonizing between the two men was on point and often both players would trade off solos and jams.  Bromel played acoustic and electric guitar along with pedal steel, whereas Ramsey played acoustic guitar, keyboards, and harmonica among other instruments.

photo courtesy of Gigshotz by Stephen Bloch

Bromel's solo cuts from Wished Out were well-received live.  He wasted little time getting into the record, opening with "Dark Matter," Wished Out's infectiously contagious first track.  Another standout included Bromel shredding the axe with a super jam on the title track, "Wished Out," which got crowd revved up into a frenzy as if they were seeing Carl jam hard at a  My Morning Jacket concert.  Older tunes like "Snowflake," and "4th of July," were also set highlights and showcased Bromel as an accomplished solo songwriter and player.

photo courtesy of Gigshotz by Stephen Bloch

Likewise, Tyler Ramsey had many occasions to showcase his craft as an exceptional songwriter.  There is a sense of wonder and the beauty of nature that perpetrates a lot of Ramsey's compositions. Like Bromel, Ramsey jumped into some of his finest material early in the set.  Ramsey performed songs from his 2011 solo record, The Valley Wind, including the heart-wrenching title track.  Other highlights included "1,000 Blackbirds," and "A Long Dream."  Ramsey's finest work, however, might be on some of his narrative and well-crafted tunes from his forthcoming record, For the Morning, which drops in early April. Ramsey's first single "A Dream of Home," is a great anthem about fatherhood and growing that resonated with the audience, including myself. "Breaking A Heart," another new track from For the Morning was also well-received and whetted the audience's pallet for Ramsey's new material that will be released soon.

While both musicians have styles that are both similar and uniquely different, the two-person show showcased two friends and a trusting audience enjoying an extremely special evening that will not soon be forgotten.  

photo courtesy of Gigshotz by Stephen Bloch

Trapper Schoepp Delivers His Best Work to Date with Primetime Illusion

photo courtesy of Gigshotz by Stephen Bloch

Trapper Schoepp is modern rock 'n roll's, consummate good guy-- an artist who cranks out amazing tunes time and time again; a songwriter who truly cares about environmental and social issues; a musician whose tunes relate to fans ages 3-103; a guitarist who constantly strives to innovate and progress while holding true to his bluesy roots; and a performer who brings his best every time, winning over audiences with his warm, kind and honest demeanor.

If you’ve had the pleasure of seeing Trapper live- you know what we’re talking about.  If you haven’t seen him live, you need to. Trapper and his band are simply that good… invoking the spirit of narrative rock singer-songwriter legends like Tom Petty, Bruce Springsteen, and Bob Segar, while putting his own unique stamp on the rock ‘n roll genre.

photo courtesy of Gigshotz by Stephen Bloch

As a young man in his mid-twenties, Trapper clearly is a songwriter who is wise beyond his years.  With his new album and third LP, Primetime Illusion released this January, Trapper emerges with his finest work to date… crafting songs that try to make sense of our world in our current times- recognizing modern challenges that we face while simultaneously evoking a sense of eternal optimism, joy, and hope. Recorded last spring at "Wire and Vice" in Milwaukee with Wilco multi-instrumentalist Pat Sansone serving as the producer,  Primetime Illusion showcases Trapper as an artist who continues to grow in his lyrical craft, while keeping his infectious rock grooves at the forefront of his songwriting. Album opener, “Shakedown,” is a great example of this, as is his first single, “Freight Train,” a track that Trapper has performed regularly as part of his live set.  In addition, Trapper stretches the bounds of his sound more on Primetime Illusion with tracks like, “What You Do To Her,” which features backing vocals from Nicole Atkins and tackles the topic of sexual harassment and misogyny in our culture.  Moreover, the standout track, “If All My 9’s Were X’s,” is a great example of Trapper telling a gripping story, using a bowling metaphor, while all-the-while leaving room for his listeners to fill in bits as well.  Front to back, Primetime Illusion is an album that hooks the listener with its first spin and keeps them coming back for more with new disoveries after each subsequent listen.

This past summer, we had a chance to catch up with Trapper about his new record, his robust touring schedule, and his diverse performances.

MKERocks:  Trapper, you have a really full tour schedule and are hitting a boon of festivals, music series, as well as gigs opening or large international touring acts like Frank Turner and Rhett Miller of the Old '97's.  Your show last summer at Cedarburg Summer Sounds was a great example of a fun local show. How do you approach these performances and what makes them special for you and the band?

Trapper: I've spent years on the road as an opening act playing 30-45 minute sets and looking at my watch worrying that we don't go over our allotted time. It's great to stretch out and have the whole night to ourselves at shows like Summer Sounds. These types of gigs allow for more spontaneous detours within the set. I love breaking down that fourth wall.

photo courtesy of Gigshotz by Stephen Bloch

MKERocks: I hear you have a new album in the works.  Can you share a bit about this project and when it's set to come out?

Trapper: We recorded the album with producer Patrick Sansone from Wilco in Wauwatosa. It'll be out in early 2019. The songs have a lot of deep grooves and space. It's inspired by 70s acts like Fleetwood Mac, Tom Petty, and Jackson Browne.

MKERocks:  Recently you did a series of shows where you performed a Tom Petty tribute.  Listening to your music over the years, there is definitely a link between your music and Petty's with both of you channeling what I'd call "All-American Rock."  Could you share a bit about Tom Petty's influence on your sound and about that performance?

Trapper: For me, he set forth the blueprints for a five piece rock n roll band. My dad had Full Moon Fever in his Suburban growing up so those songs are deeply ingrained in my psyche. It was cool to play his and my music back to back as it showed to me how much he's influenced me.

MKERocks:  The Milwaukee music scene has really seemed to be taking off of late with many great acts, including you gaining more attention both regionally and nationally.

Trapper: We have a nice melting pot going here. It's helped that the thriving coffee, beer and radio scenes have all helped elevate the arts. I moved to Milwaukee a decade ago and it's been cool to watch the city as a whole have a new life. Let's just hope Milwaukee doesn't lose its edge. Spoiler alert: it won't.

photo courtesy of Brian Norman

MKERocks: One of the highlights of your show in Cedarburg was seeing you play with your guitar students-- Ben and Abbey Norman.  Can you please comment on this experience from your point of view?

Trapper: Folk music is all about extending the line through song and passing things down to the next generation. I see teaching guitar as being apart of that whole idea. It's, of course, special for me to be able to share the stage the someone who has started to learn a craft from me.

Milwaukee Journal Sentinel's "Bands to Watch" 2019 Showcase- 88.9 Radio Milwaukee Studios, 1/12/19

The Milwaukee music scene is as lively and robust as I've seen it since I began following local bands in high school.  With wonderful support from stations like 91.7 WMSE,  88.9 Radio Milwaukee and others more acts than ever are getting attention along the shores of Lake Michigan and beyond.  Milwaukee Journal Sentinel music writer Piet Levy put together a diverse line-up of acts that all are pushing their sound past the shores of Bradford Beach. The "Bands to Watch" 2019 showcase drew an incredibly diverse crowd that appealed to a wide audience. The great thing about this event was the chance for me to enjoy several of my favorite artists who produced some of my favorite music of 2018, as well as checking out new artists I've never seen before.

On Saturday evening fans of all ages packed the 88.9 Radio Milwaukee studios for a showcase of local music making waves.

Buffalo Gospel- 
2018 was a breakout year for a band that is no longer our city's best-kept Americana secret.  These days Buffalo Gospel is selling out regional shows and has cultivated a strong following. With a stellar release On the First Bell, Buffalo Gospel continues to tighten and refine their sound.  Their live performance puts them up there with any Americana act I've seen and lead singer/songwriter Ryan Necci's vocals continue to grow in range.

photo by Stephen Bloch

Luxi-Luxi's performance was truly unique.  The solo electronic artist was joined on stage by a visual artist as she performed songs from her latest release Lost Letters (of Seraphina) which also has an accompanying video game!  Her trippy vocals reminded me a bit of early Portishead and played well to the crowd who appreciated her quirky and original style.

photo by Stephen Bloch

Versio Curs-
Versio Curs' power punk style was by far the most rocking act of the evening.  With a two-guitar attack, driving drums, and thumping bass, they had many of the younger fans in attendance completely engaged.  To quote one college-aged fan standing next to me, "these guys could easily be my new favorite band."  They are certainly worth a listen.

photo by Stephen Bloch

Christopher Porterfield of Field Report-
Christopher Porterfield's masterful songwriting has gained him and his group, Field Report, attention from coast to coast.  From performing at the Bradley Center with Bon Iver last February to selling out two nights at the Back Room at Colectivo this past spring to an epic "Home for the Holidays" show this past December, Porterfield had a great 2018.  What's even more encouraging is how he's debuting new tunes.  Despite some technical difficulties during his set, Porterfield's humble and earnest nature allowed him to jump into the crowd and play "Tightrope" without amplification (and despite a sinus infection), to the delight of fans in attendance.  Porterfield's vocal range continues to grow and his affable nature and endearing lyrics make him a constant favorite.

Photo by Will Piper

Lex Allen-
Lex Allen has become quite the prolific songwriter of late.  He's currently working on his follow up to his excellent 2018 record Table 7: Sinners and Saints.  Lex was the most dynamic performer of the evening with a stage presence that is energetic, theatrical, and above all, fun.  Lex's message of being who you are comes through in his songs.  Whether he's jamming with a young fan, leading the crowd in swaying and clapping or jumping into the audience to sing with fans, Lex Allen is perhaps one of the most engaging and entertaining acts out there.  How does one top "Struck Gold?"  Only time will tell.

photo by Stephen Bloch

Dead Horses:
Dead Horses' core combination of Sarah Vos (guitar) and Daniel Wolff (upright bass) closed out the evening.  The Milwaukee-via-Oshkosh duo has continued to refine their sound and grow as musicians.  Vos's vocals show yearning and peace simultaneously and draw the listener deeply into her songs.  Performing brand new material from an upcoming 2019 release alongside highlights from 2018's amazing release, My Mother the Moon, Dead Horses closed out a night of great music in grand fashion.

photo by Stephen Bloch

Pipes's Picks: Top Albums of 2018

2018 brought with it an array of great albums from familiar artists and new faces.  In particular, this was a year where Milwaukee artists really shined on a local and national level.  In fact, four of the artists on this list call our fair city their home. Milwaukee rocks, as we know, and it gives me great pleasure to see our music scene in the city flourish.  Special thanks to Gigshotz by Stephen Bloch for all of the photos in this piece unless otherwise noted. Blending together my favorite releases of the year, I hope you enjoy this year's Pipes's Picks Top Albums of 2018.  

Kurt Vile- Bottle It In

Vile delivers his most eclectic and diverse array of tunes to date with Bottle it In, a record of 13 songs that spans an hour and twenty minutes- a rarity in today’s music landscape.  Blending folk sensibilities, fuzzy jams, psychedelic arrangements, and quirky storytelling as only Kurt Vile can deliver, Bottle it In invites the listener into Vile’s world and provides new surprises with each and every listen.  Who else could write, “Christmas in Siberia with a little bitty case of the delirium tremens, for some reason I picture Roger Clemens, but Mike Schmidt’s more of the city I came with.” Seriously!  What’s best about Bottle it In is that these melodies and odd lyrical comparisons simply bore into your head and stick there.  

Notable tracks include, “Loading Zones,” “Bassackwards,” “Cold As the Wind,” and “One Trick Ponies.”  

Collections of Colonies of Bees: HAWAII
Making a bold move to add vocalist Marielle Allschwang into the mix proved to be a genius move for Chris Rosnau’s experimental rock outfit, “Collections of Colonies of Bees.”  HAWAII marks the band’s most innovative and accessible album to date.  Rosnau is a mad scientist with guitar pedals and along with his band creates some dazzling sounds on a record that I found myself revisiting time and time again this year.  The great thing about HAWAII is how well it works both as a whole piece, as well as stand-alone tracks.  

Notable tracks include, “Killerers,” “HAWAII,” and “Ruins.”

Liz Cooper and the Stampede: Window Flowers

The debut LP from Nashville’s power trio, Liz Cooper and the Stampede, pushes all of the right buttons mixing blues-rock, psychedelia, strong narrative lyrics, and even creative use of vocals (Cooper fluctuates from using a distortion mic and her natural singing voice).  Cooper is a one-woman wrecking crew on the axe, delivering jams that sound like vintage My Morning Morning or Jefferson Airplane. The grooves are infectious and Window Flowers just plain rocks.

Notable tracks include, “Dalai Lama,” “Outer Space,” and “Mountain Man.”

Jeff Tweedy: WARM

Wilco’s songwriter is perhaps at his most intimate and exposed on WARM as he’s ever been as an artist.  With songs that sound like they could fit in on really any Wilco record to date, albeit in a different form, Tweedy delivers a collection of strong, provocative and moving tunes.  Reading Tweedy’s autobiography Let’s Go (So We Can Get Back) at the same time as listening to this record certainly gives the listener/reader a very personal insight into Tweedy’s mind and psyche as an artist. The collection of eleven songs certainly stands up or surpasses much of Tweedy’s more recent Wilco recordings and shows that the artist has a boon of more stories to share with his audience.

Notable tracks include: “Let’s Go Rain,” “I Know What It’s Like,” and “Bombs Above.”

Buffalo Gospel: On the First Bell
Buffalo Gospel is like a broken-in flannel shirt; relaxed, warm, and above all else, sincere.   There is a palpable sense of compassion and earnestness that emanates from Ryan Necci’s vocals. Their second LP On the First Bell sees the Milwaukee-based group at the top of its game blending elements of country, rock, and Americana to create a unique sound that invites listeners to shine their boots, sit back and basque in a truly soulful band.

Notable tracks include, “High Time to Hang Fire,” “Lonestar,” “On the First Bell,” and “18 Wheeler”

photo courtesy of Bangordailynews.com

The Mallett Brothers Band: Vive L’Acadie

Vive L’Acadie is a record that embodies all things that make Americana music great.  Catchy fiddle licks, mandolin fills, sing-along refrains, strummy guitars and full-bodied vocals are evident on each of the tracks of this ten song LP.  There is a gritty soulfulness that draws listeners into this band and makes them revisit Vive L’Acadie more and more.  With trading off lead vocal duties between several musicians, each track takes on its own unique flavor on the record.

Notable tracks, “Vive L’Acadie,” “Losing Horses,” “Too Much Trouble,” and “Headed Home.”  

Dead Horses: My Mother The Moon

Dead Horses in many ways is a band that purely captures the modern Americana sounds. With Sarah Vos’s warm soaring vocals and Daniel Wolff’s steady upright bass, My Mother The Moon is a record that you can envision being performed in your living room while listening to it.  The addition of mandolinist Ryan Ogburn has helped add depth and rich timbres to the group’s music and makes My Mother the Moon a start-to-finish introspective modern Americana classic.

Notable tracks: “On and On and On,” “Darling Dear,” “Swinger in the Trees,” “Turntable.”

Courtney Barnett-Tell Me How You Really Feel

On her most recent record, Tell Me How You Really Feel, Barnett continues to hone her chops on the guitar and paint vivid stories for her listeners.  Often fuzzy and grungy, Tell Me How You Really Feel is a more introverted and introspective record, as the songwriter wrestles a bit with her rise in popularity internationally.  Great lyrics drive the record, but the guitar work is noticeably more rocking than on her previous releases.

Notable tracks include: “Hopefulnessless,” “City Looks Pretty,” “Nameless, Faceless”

Field Report: Summertime Songs

Field Report’s third album finds the band in a tighter and brighter place. Christopher Porterfield is on top of his game as a lyricist, using creative similes and masterful imagery to bring Summertime Songs alive for the listener.  Field Report continues to mature and get tighter as an ensemble and this collection of songs showcases the band exploring its sonic landscape like never before.

Notable tracks include: “Everytime,” “Healing Machine,” “Summertime Songs, “Tightrope”

Father John Misty: God’s Favorite Customer
There is no other artist on the planet like Josh Tillman.  As Father John Misty, Tillman embodies a sound that melds classic “AM Gold,” with progressive rich soundscapes and quirky lyrics that draw listeners into Misty’s world like a Hunter S. Thompson tale.  The prolific Tillman has released a series of stellar albums recently, and God’s Favorite Customer is no exception.

Notable tracks include, “Mr. Tillman,” “Date Night,” and “Hangout at the Gallows.”

Jim James: Uniform Clarity/Uniform Distortion

In a totally “Jim James move,” Jim James released a pair of records that are both similar and uniquely different at the same time.  Uniform Clarity showcases the compositions with just James and a guitar, whereas Uniform Distortion showcases the same tunes with electronic instrumentation and backing musicians.  No matter which way you slice it, James writes darn fine songs that relate to our present state of human affairs. These two records catch James in a very raw state as a songwriter and musician and in a very weird way, these songs work almost equally well in both an acoustic and electric arrangement. Funny how that works with a great artist!

Notable tracks include: “Just A Fool,” “Yes to Everything,” “Over and Over,” and “Throwback”

Phil Cook: People Are My Drug
Phil Cook personifies the word soulful.  The Americana singer-songwriter’s second full solo recording, People Are My Drug, finds Cook digging deeper into gospel music. The nine tracks that comprise People Are My Drug range from ballads to juke-joint boogie tracks.  It is hard not to smile, nod or tap your foot while listening to Cook’s music.  His positive energy and vibes are infections.

Notable tracks include: “Another Mother’s Son,” “Steampowered Blues,” “Now That I Know”

King Tuff: The Other

Kyle Thomas, aka King Tuff, delivers one of the more fun and funky releases of 2018 with The Other, a downright groovy record.  Thomas’s songwriting is on point and takes the listener on a tour of modern times while having a darn good time in the process.  Catchy hooks and clever melodies dot The Other from start to finish.

Notable tracks include: “Infinite Mile,” “Psycho Star,” “Raindrop Blue”

The Decemberists: I’ll Be Your Girl

The Decemberists push beyond their nautical boundary waters with a collection of songs that draw on pop sensibilities and also push their traditionally acoustic sound forward.  I’ll Be Your Girl is a refreshing return to form for one of indie rock’s most tried and trusted groups.  Colin Meloy and company sound as fresh as ever, and I’ll Be Your Girl live translated even better than on the album.  “Rusalka, Rusalka/Wild Rushes” holds up as one of the band’s best songs from any era.


Notable tracks include: “Once In My Life,” “We All Die Young,” “Rusalka, Rusalka/Wild Rushes”


Enjoy this Spotify playlist featuring the artists on this list along with many others who made kiler music in 2018!

Field Report and Friends "Home for the Holidays"- Turner Hall Ballroom, 12/14/18

2018 has been a huge year for Field Report.  In March the band dropped their stellar third album Summertime Songs and performed two sold-out shows in the Back Room at Colectivo in support of it.  The group toured across the country and Field Report added guitarist and vocalist Caley Conway into the mix which added a whole new layer and dimension to their sound.  In celebration of their year as a band, the holiday season, and the end of their Summertime Songs touring cycle, Chris Porterfield and company masterfully curated a one-of-a-kind "Home for the Holidays" show focusing on Field Report material, interpretations of holiday songs, and celebrating the rich tapestry that has become Milwaukee music.  When Porterfield tweeted last month that he had some "chestnuts roasting" he wasn't kidding!

The evening began with Chris Porterfield by himself performing "Evergreen" from the band's 2012 debut record.  He was soon joined by bass player Barry Clark and his friends, the Tontine Ensemble.  The Tontine Ensemble played a spacey, deconstructed and improvised version of "Silent Night," which set the stage for the myriad of sonic surprises and musical presents that the audience was in store for.  The string section accompanied Field Report for the first part of their set, adding rich musical timbres to tracks off of Summertime Songs including "60 Second Distance Run," "If I Knew," and "Blind Spot."  Field Report as a core quintet nailed "Tightrope" from Summertime Songs and the classic Marigolden number "Decision Day" showcasing them at their tightest as a band.

Porterfield is a master of creating lasting and impactful visual images through his lyrics that transport his listeners into his songs.  His use of similies is second to none.  The reworked rendition of perhaps his most popular Marigolden track, "Home (Leave the Lights On)" showcased this, especially with the lyric, "the downtown's dolled up with tinsel and angels, season sneak like haircuts teased apart and tangled, we're praying for a while and we took it all down, like garland hanging on traffic signals."

Caley Conway who for the past two years has released solo EPs showcasing her take on holiday classics was up next for a short set of yuletide tracks that offered up an ethereal rendition of "Jingle Bells," "I'll Be Home for Christmas" and "Have Yourself a Merry Little Christmas."  Tight crisp renditions of Marigolden cuts "Cups and Cups," and the heartwrenching  "Pale Rider" followed, with Conway offering beautiful vocals on "Pale Rider."

Multi-instrumentalist and electronic music specialist Thomas Wincek offered perhaps the most surprising holiday cover of the night, a Manheim Steamroller version of "Deck the Halls."  He was joined by his daughter Althea, Barry Clark, Devon Drobka and a very fitting light arrangement.

Field Report rejoined for a truly remarkable version of "Everytime," which showcased some of Porterfield's best vocals of the evening.  The poppy Summertime Songs single "Never Look Back," came next before Devin Drobka was up for his holiday interpretation portion of the set.

Drobka chose "Little Drummer Boy," with a vocal explanation of having to play the track many times as a percussionist over the years for family and friends.  His rendition, which featured horns and Barry Clark on bass took the tune on a different and very jazzy direction and provided a highlight of the evening.

Chris Porterfield came back on stage with Ryan Necci and Michael Rosetto of Buffalo Gospel to perform an Elvis Presley inspired "Blue Chrismas," featuring Necci's smooth and booming vocals and Rosetto on banjo.

The evening was winding down as Porterfield returned alone on stage for a version of "Ilcomunicado," a deep cut off of Field Report followed by "On Christmas Eve," a song he wrote in part about a priest in Milwaukee who claimed to have had UFOs damage his church.  It was the show highlight in my opinion and a masterful piece of storytelling like only Chris Porterfield can deliver.  Check out the TAP Milwaukee version of it here.

In conclusion, and fittingly so, Field Report and friends closed with "Summertime Songs," my favorite track off of their most recent album, with their dear friend and Milwaukee music icon Mark Waldoch donning a Santa Claus hat and roaring through his vocal part on the track.  If this image doesn't make you smile and rejoice in all that is special about the Milwaukee music scene, I don't know what will.  As Porterfield stated, making music is done best with family and friends, and the Field Report's "Home for the Holidays" show demonstrated this to perfection.

Phosphorescent with Liz Cooper and the Stampede, Turner Hall Ballroom 12/2/18

photo courtesy of Gigshotz by Stephen Bloch

The old adage in the concert community, "never miss a Sunday show," was gospel truth as Phosphorescent and Liz Cooper and the Stampede brought their own unique Americana music to Turner Hall; rocking the socks off of the crowd who ventured out on a rainy dreary early December Milwaukee night in the process.

Touring in support of his 2018 release, C'est la vie, Matthew Houck who is the songwriter behind Phosphorescent, pulled out all the stops with a six-piece band playing behind him.  Houck admitted that it had been "a minute" since the band played Milwaukee, which the group skipped on their 2013/2014 Muchacho tour.  The band, consisting of two keyboard/organ players and backup vocalists, a guitarist, a bass player, a drummer, and a percussionist, added a rich tapestry of timbres to Houck's introspective and often-times rawly emotive songwriting.  The psychedelic experimental indie folk-rock crew performed material drawing heavily from their latest release, but with some deep cuts sprinkled in as well.  Phosphorescent opened with "New Birth in New England," their latest single off of C'est la vie, which had an up-tempo vibe and very Paul Simon paced feel to the track.  A mid-set placement of "These Rocks," was a strong and personal tune, that came across with a level of raw earnestness, as if Houck was singing to his audience from his own living room.  

photo courtesy of Gigshotz by Stephen Bloch

The two gems off of C'est la vie, shined the brightest live. The reflective "Christmas Down Under" was done masterfully, as was the highlight of the set, the jammed out "Around the Horn," which clocked in at nearly ten minutes.  Houck threw out some vintage tracks as well.  For his encore, Hoek played a chilling solo version of "Wolves," from 2007's Pride LP.  This is one of my favorite songs of Hoek's and a welcome addition to the setlist.  The evening finished with two cuts off of the 2013 Muchacho record, "A Song for Zula," and an upbeat jammy "Ride On/Right On."  

photo courtesy of Gigshotz by Stephen Bloch

Opening for Phosphorescent was Nashville's Liz Cooper and the Stampede.  It is rare for an opening act that I have never heard live to steal the show, but Cooper and company did exactly that- and granted, Phosphorescent was darn good!  Backed with drummer Ryan Usher and bassist Grant Prettyman, the Stampede delivered a wall of sound that felt in large part like what would happen if Jefferson Airplane married My Morning Jacket.  Cooper is a frontwoman with flare and excellent skills on the guitar.  Rotating between a myriad of effects pedals and vocal distortion, she lead the group through a powerful support set drawing off of their outstanding 2018 debut release Window Flowers.  Opening with the first track of the record, "Sleepyhead," Cooper got the audience instantly engaged going back and forth between a straight mic and a mic that added vocal effects.  Liz Cooper and the Stampede quickly opened up their sound with a jammed out rendition of "Dali Lama," one of the stand-out tracks off of the Window Flowers.  The jams and tempo changes in this tune were remarkable and generated a well-deserved roaring ovation from the crowd which had come to their feet and towards the stage during the tune.  "Mountain Man," another stellar cut was jammed out as well, showcasing each musician's unqiue prowess.  If you have not heard Liz Cooper and the Stampede, please do yourself a favor and give them a spin. They were by far the best find of 2018 and a band who I hope is not a stranger to Milwaukee.  

photo courtesy of Gigshotz by Stephen Bloch