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

Willie Watson with Chicago Farmer- 3/4/17- Cedarburg Cultural Center

photo by Will Piper

Fans at the Cedarburg Cultural Center were treated to performances from two top-rate modern folk storytellers on Saturday night, with Chicago Farmer and Willie Watson.

photo by Will Piper

Armed with just a guitar and harmonica, Cody Diekhoff, aka Chicago Farmer performed all original material, drawing from last year's Midwest Side Stories, LP but playing a fair amount of back catalogue tracks as well.  Chicago Farmer's exceptional storytelling engaged his audience from the first verses of "Umbrella," a stellar cut off of Midwest Side Stories.  Chicago Farmer's style of folk is heavily influenced by the protest songs of the early 1960's, and while he certainly has a throw back sound musically, his stories tackle modern issues- both comical and poignant.  "$13 Beers," was a narrative lament about over-priced libations at a big country show in Chicago, whereas "Assembly Line Blues," a track off of his 2006 release, From A Small Town in Illinois told a timeless tale of a working man's struggle.  The highlight of Chicago Farmer's set was "Backseat," a song dedicated to his wife from his 2013 Backenforth, IL record.  There is an earnest sincerity, charm and sweetness to this tune which made me look it up on Spotify immediately when coming home from the show.

photo by Brian Norman

Headlining the evening was Willie Watson, who appeared on stage with an old-timey hat, black suit and an arsenal of two guitars, a series of harmonicas and a banjo.  Watson achieved notoriety as a founding member of Old Crowe Medicine Show, but has carved his own niche as a solo artist since splitting from his former band in 2011.  Watson performs his set in the style of many of the great folk performers before him, opting to play his reinterpretations of older songs, rather than originals. Watson's greatest gift his is soaring voice which breathed new life into tracks like "Mexican Cowboy," a stand-out song off of his 2014 Folk Singer Vol. 1 record.  Music clearly gives Watson great joy, and his infectious smile was evident throughout the evening.  Watson's style of folk is heavily rooted in gospel and early blues music.  "Dry Bones," a song Watson introduced as a "bad ass gospel number" treated the crowd to some stellar banjo work and more spiritual lyrics.  Watson closed his set with a rousing rendition of "Midnight Special," perhaps his most well-known solo track, which had the crowd singing along and on their feet.  For an encore Watson showed off some rootsy blues on slide guitar before sending the crowd home happy with a fast-picking rendition of "John Henry."

It was a pleasure seeing Willie Watson and Chicago Farmer in the friendly confines of the Cedarburg Cultural Center, which served as a perfect venue for a "sit down and soak it in" show like this.  These two could have easily drawn well at a variety of venues downtown, but chose to play to a diverse crowd of music lovers in "Cedar's Burg" instead.

Valerie June- Turner Hal Ballroom 2/21/17

photo courtesy of Gigshotz by Stephen Bloch

photo courtesy of Gigshotz by Stephen Bloch

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

Encore:
Somebody to Love
Astral Plane
Got Soul

Cloud Nothings, Moon Bros., Dramatic Lovers- Turner Hall Ballroom, 2/12/17

photo by Will Piper

photo by Will Piper

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

Drive By Truckers with Kyle Craft- Turner Hall Ballroom, 2/1/17

photo courtesy of Gigshotz by Stephen Bloch

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.  

Chicken Wire Empire with Brewtown Brewgrass- The Great Hall, Historic Pabst Brewery, 1/29/17

photo courtesy of Gigshotz by Stephen Bloch

photo courtesy of Gigshotz by Stephen Bloch

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.  

photo courtesy of Gigshotz by Stephen Bloch

For a gallery of more images from the show, check out this link of photos from Gigshotz by Stephen Bloch.

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!

Tribe UNCOVERED- A Reinterpretation of A Tribe Called Quest, Turner Hall Ballroom, 1/20/17

photo by Stephen Bloch

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.    

Check out the video below of Scenario:

https://www.youtube.com/watch?v=-mWvYu2ebCw&feature=youtu.be