Banditos and Blank Range- The Back Room at Collectivo, 8/11/17

Two of Nashville's brightest younger acts took the stage in the cozy Back Room at Collectivo for a night of Amerciana foot-stomping action.  Blank Range and Banditos shared a double-bill, and for the hundred or so fans that were in attendance, there was a palpable sense of energy and excitement that grew throughout the night.  When shows are smaller, acts can chose to play their set and call it a night or give you their very best, recruiting devoted fans in the process.  In the case of both Blank Range and Banditos, the rousing reaction they received converted the fans in attendance to faithful listeners who would likely recommend both bands to friends and spread the word next time they came to town.  These two bands, featuring musicians in their twenties, brought their A game to the Back Room at Collectivo.

photo courtesy of Gigshotz by Stephen Bloch

Starting the show was Blank Range a quartet that focused on swampy guitar licks, vibrant vocal harmonies, and tremendous interplay between its four players. Fronted by Jonathan Childers (guitar, vocals), and Grant Gustafson (barritone guitar, vocals) with Taylor Zachry (bass) and Matt Novotny (drums) rounding out the group, Blank Range performed a solid set featuring many cuts from their soon to be released debut LP, "Marooned With The Treasure."  Blank Range has the ability to draw the crowd in on more intimate numbers like "Ember in the Ash," as well as rockers like "Seemed Like Word Got Around," a track that made me think of a combination of what music would sound like if Blitzen Trapper joined forces with Neil Young and Crazy Horse in a super group. "Circumstances" off of their 2016 EP "Vista Bent" was another highlight that showed off Childers and Gustafson seamlessly trading off guitar licks.  For a final number, Blank Range invited their long-time friends Banditos to the stage for a super-jam rendition of Alan Jackson's classic hit, "Gone Country."

photo courtesy of Gigshotz by Stephen Bloch

photo courtesy of Gigshotz by Stephen Bloch

Banditos were up next, and delivered a raucous set, featuring a boon of material from their recently released acclaimed record 2017's Visionland.  The Birmingham Alabama via Nashville sextet combines elements of blues, gospel, soul, bluegrass, folk and rock 'n roll, to deliver a force of sound.  Mary Beth Richardson, is front and center as the front woman for Banditos, but vocal duties are shared by many in the band with Stephen Pierce II playing banjo and taking lead vocal duties on several numbers along with Timothy Stephen Corey Parsons playing acoustic guitar and also singing lead.  Banditos's recent single, "Fine, Fine Day," was played early in the set getting the crowd riled up with its thumping bass and guitar lines.  "Lonely Boy" showcased the band's classic rock tinged sound and the title track "Visionland," had a slinky, trippy vibe that drew comparisons to late 60's bands like Jefferson Airplane.  The honky-tonk groove of "Still Sober After All These Beers" was a juke-joint toe-tapper, played later on in the set, and was recognizable by most in the crowd.  By the time the band closed with a cover of Lead Belly's "Midnight Special," which featured Blank Range joining Banditos on stage for the final number, the crowd was fully engaged in the set and greeted Banditos and Blank Range with a thunderous round of applause and long line at the merchandise stand.

photo courtesy of Gigshotz by Stephen Bloch

Rock tinged Americana doesn't get much better than the combination of Blank Range and Banditos.  I look forward to seeing where these two young groups go in the future.

Ryan Adams- Riverside Theater, 7/30/17

photo courtesy of Gigshotz by Stephen Bloch

It is easy to forget what a prolific songwriter Ryan Adams is.  Over the past twenty or so years since the break up of Whiskeytown, the alternative country outfit that first got Ryan Adams's songwriting on the map, Ryan Adams has released a whopping sixteen full-length original albums.  Add to that collaborations, singles and even a cover record of Taylor Swift's 1989, and you have yourself a man who is not afraid of the studio to say the least.

In 2017, Adams has emerged as an artist at the top of his game both as a songwriter and performer. In the four times I've seen Ryan Adams live (including shows at the Riverside Theater in 2007, 2014, and Summerfest 2016), last Sunday's show at the Riverside Theater was his finest performance to date.

photo courtesy of Gigshotz by Stephen Bloch

Touring in support of 2017's critically acclaimed, stellar record, Prisoner, Adams delivered a robust twenty-three song set that spanned over two hours, showcasing the dexterity of Adams's solo career. With a heavy cloud of incense rolling over the stage, Adams opened the evening masterfully juxtaposing newer compositions with older hits.  Adams opened  his concert with "Do You Still Love Me," the first track off of Prisoner, and promptly following it up with  "To Be Young (Is To Be Sad, Is To Be High)," the first number of his 2000 debut solo release Heartbreaker.  Music from every era of Adams's career was showcased.  Adams played well-known cuts like, "When The Stars Go Blue" and "New York" from the more pop-infused and accessible Gold record from 2002, alongside the jam-band inspired compositions of "Magnolia Mountain" and "Cold Roses" from 2005's Cold Roses release with the his band Cardinals.  In fact this portion of the concert was reminiscent of a Jerry Garcia "Bird Song" jam and eclipsed the twenty minute mark with exceptional guitar and keyboard interplay.

photo courtesy of Gigshotz by Stephen Bloch

Some of the more magical moments of the set came in the form of deeper cuts from Adams's back-catalogue including "Everybody Knows" and "Two," two of the most personal and moving tracks off of 2007's Easy Tiger.   "Invisible Riverside," a sweeping melodic guitar driven number was perfectly placed in the set and perhaps played homage to the beautiful Riverside Theater that Adams was playing in.   All in all, it is great to see how Ryan Adams has grown from being a stalwart songwriter to becoming an energetic and confident live performer.  He was as dialed in as I've ever seen him, and is breathing fresh life into his vast catalogue of great lyrics and songs.

Setlist:
Do You Still Love Me?
To Be Young (Is To Be Sad, Is To Be High)
Gimme Something Good
Stay With Me
Dirty Rain
Outbound Train
Everybody Knows
Prisoner
Doomsday
When the Stars Go Blue
I Just Might
Two
Magnolia Mountain ->
Cold Roses
Invisible Riverside
Let It Ride
Juli
Do I Wait
Halloweenhead
To Be Without You
New York, New York
Come Pick Me Up
Shakedown on 9th Street

Outlaw Music Festival- American Family Amphitheater, Summerfest 7/9/17

photo by Will Piper

Summerfest's 50th season closed with a festival within a festival.  Pairing together a healthy mix of veteran Americana legends (Willie Nelson, Bob Dylan), established performers (Sheryl Crow and Jason Isbell), and rising stars (Nathaniel Ratliff, Margo Price, and Lucas Nelson), the Outlaw Music Fest provided a stellar day of music that both celebrated, reinvented, and pushed the boundaries of the Americana genre.

photo by Will Piper

Margo Price: Few acts are hotter on the Americana scene right now than Margo Price.  Touring heavily in support of her breakthrough release, last year's Midwest Farmer's Daughter, Price's exceptional vocal range was evident in her set which felt close and intimate even in the cavernous American Family Amphitheater.  Price blends elements of traditional country and honky tonk together, and was probably the most purely country sounding act on the bill.  By the time Price closed her set with "Hurtin' (On The Bottle)" she was greeted with a standing ovation from the fans who got there early for her set-- a rare, but well-deserved honor, for a fantastic musician in an early afternoon support set.

photo by Will Piper

Nathaniel Rateliff and the Night Sweats
"The last time we were in Milwaukee we played, Club Garibaldi," the infectiously charismatic Rateliff declared to start off his set, bringing the crowd to their feet.  Going from the cozy confines of a Bayview club to the American Family Amphitheater is a huge jump for Rateliff and the Night Sweats who have experienced a meteoric rise in popularity over the past year and a half.  Nathaniel Rateliff and the Night Sweats are one of the most entertaining acts in the business-- mixing up rhythm and blues numbers with soulful lyrics and an immensely engaging stage show.  Despite having a shorter set time, the Night Sweats, as always, gave it their all, and the musicians were good and sweaty by the closure of their 45 minute set.  Highlights included a new number, "Out on the Weekend," along with fun and energized staples including "I Need Never Get Old," and "Shake."

Sheryl Crow:
Sheryl Crow has been performing and touring for over two decades, continuing to redefine her songs and push her craft.  Her music ranges from pop to rock to country... and she showed off this dexterity during her ten song set which covered several of her more well-known cuts such as "Everyday is a Winding Road," "My Favorite Mistake," "If It Makes You Happy," and "Soak Up the Sun" (which was particularly well-received.)  However, her final tune, a tribute cover of The Allman Brothers's "Midnight Rider" was perhaps her finest.  Joined on stage by Lucas Nelson, who did a phenomenal job channeling Duane Allman's guitar solo, Crow and her band finished her set with a bang.

Lucas Nelson and Sheryl Crow- photo by Will Piper

photo by Will Piper

Jason Isbell and 400 Unit:
With their latest stellar release, The Nashville Sound dropping earlier this summer, Isbell and his band had a renewed since of energy as they hit the stage for their early evening set.  The new material from The Nashville Sound translated very well live with the 400 unit and Isbell's wife, Amanda Shires, providing rich grooves to back Isbell's soulful and introspective lyrics.  In many ways, Isbell and the 400 Unit stole the show at the American Family Amphitheater with a set that filled the large venue with larger rocking tunes.  "Anxiety" off of The Nashville Sound, opened the set, and other louder tracks like "Hope the High Road," "Cumberland Gap" and "Super 8" moved fans to their feet.  However, Isbell is a rare artist who can translate equally well with his rocking numbers as well as his softer ones.  "If We Were Vampires," a stand out track from The Nashville Sound was a show highlight, focusing on a duet with Amanda Shires about growing old together.  To close their show, Isbell and company followed Sheryl Crow's lead and performed a ruckus, jammed out rendition of the Allman Brothers's "Whipping Post," a daring cover which was pulled off to perfection.

photo by Will Piper

stock photo- Dylan doesn't allow photgraphs

Bob Dylan and His Band:
Bob Dylan is Bob Dylan.  The enigmatic song smith has made a career out of reinventing himself.  He has toured almost non stop for the better part of the past two decades, and has played large festivals, minor league baseball stadiums and theaters.  Much can be said about Dylan's weaknesses... he won't allow photography and unless you were blessed to be sitting in the first few rows, could rarely see his face, his voice is so garbled that his lyrics would often benefit from subtitles, and these days he either sits at the piano or sings at the back of the stage.  The key strength to his performance is that he is having fun.  Dylan was beaming, and dare I even say I got a wink from the old bard himself smiling at him in the front row.  This time around, the 76 year young Dylan took his crack at singing some old standards like Frank Sinatra's "Melancholy Mood," and Tony Bennett's "Once Upon A Time."  Dylan as a lounge singer?  As goofy as it sounds, it grows on you, much like his Christmas record.  Dylan's original material like "Highway 61," "Desolation Row" and "Ballad of a Thin Man" were highlights.  I was very grateful to be up close for Dylan, as seeing him from further away would have been a very different experience.

photo by Will Piper

Willie Nelson and Family:
At 84 years young, I hope that I have half of the vigor of Willie Nelson when I reach that age. Nelson, is an elder statesmen in the music industry and continues to tour heavily.  He headlined the Outlaw Music Festival with a well-rehearsed set which played heavily on country standards and hits.  Joined with members of his family as well as Margo Price, Sheryl Crow and Amanda Shires for most of the set, Willie got the crowd singing along to "Mamas Don't Let Your Babies Grow Up to Be Cowboys," Toby Keith's "Beer for My Horses," and a medley of tunes to close out the show including "Will the Circle Be Unbroken," and "Light Me Up and Smoke Me When I Die."   Willie clearly enjoys being the ring leader of his Americana circus, and the Texas rocker doesn't seem like he has plans for hanging up his boots any time soon.

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.