January 2, 2013 · 3:18 pm

Album Review – Green Day’s Uno, Dos, Tré

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When Green Day erupted onto the music scene in 1994 with Dookie, a punk-pop revolution began that turned straight-laced suburban kids into pseudo-punk moshers with non-conformist agendas. Dookie quickly became the angst-laden, fast-paced, three-chord anthem for teenagers in the ’90s.

Since the success of Dookie, Green Day has been forced to reinvent its sound to stake claim to its longevity. The band’s most recent studio effort comes in the form of an album trilogy—Uno, Dos and Tré — released over the past few months.

The first installment, Uno, is riddled with ’90s throwback moments in songs like “Nuclear Family,” “Let Yourself Go” and “Angel Blue.” “Carpe Diem” and “Oh Love” stand out as the catchiest tracks that will likely become concert sing-alongs. Despite the band’s overuse of black eyeliner, “Kill the DJ” comes off as too glam-rock, making this track one to skip. On a high note, Uno makes a good run at reproducing some of that old Green Day sound that 30-somethings are longing to hear again.

Dos appears to be the experimental album of the collection, where the band slows the pace and mingles genres. Although the opening track, “See You Tonight,” is a sweet and quiet guitar-centric song with harmonies, it doesn’t set the album’s tone — listeners beware. The album is mainly weighed down by oversexed tracks like “F*** Time,” “Stop When the Red Light Flashes” and “Makeout Party.” Dos appears to be the weak link in the trilogy chain.

The final installment, Tré, may appeal to fans that coveted Green Day’s rock opera American Idiot (2004). Like Dos, the pace is slower, but this time it feels like singer Billie Joe Armstrong is projecting to an audience of lost teenage souls. What it lacks in story line, it makes up in message with songs like “Brutal Love,” “X-kid” and “The Forgotten,” which collectively feel like the soundtrack to youth. “Dirty Rotten Bastards” is more energized and serves as the album’s revolutionary “fist-in-the-air” tune. This album may be the best of the three, despite the overall lack of punk.

With this trilogy, Green Day departs from the political defiance that marked its music over the past decade, and returns to its roots — singing about sex, drugs and slacker love. While most tracks are fun and upbeat, the band never quite seems to catch up to the urgency of its early albums, leaving listeners feeling a bit sluggish. There are too few Tré Cool drum rolls and Armstrong’s lyrics are way too coherent. What happened to the Green Day of yesterday, where mumbled lyrics were a mystery and excessive air drumming on the dashboard at stoplights was the norm?

Overall, this trilogy seems a bit gimmicky. Listening to all three albums is like going to a seafood joint, ordering crab cakes and getting a few lumps of crab with a lot of filler. Without all of the filler, Green Day could have released one album with a dozen quality songs.

A bit of advice: Listen to the songs, pick your favorites, buy them separately and create your own playlist.

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November 21, 2012 · 11:50 am

Avetts and Cheerwine pair up for The Legendary Giveback

Over the last decade, The Avett Brothers have gained attention for their seamless harmonies, heart-wrenching lyrics and frenetic banjo-driven live shows. From humble beginnings busking on street corners in downtown Greenville to sharing the stage with folk legend Bob Dylan at the Grammy Awards, brothers Scott and Seth Avett and bassist Bob Crawford have certainly come a long way on their journey to the top.

Despite the bright lights of success, The Avett Brothers have remained dedicated to giving back to their community. Their most recent charitable venture involved partnering with Cheerwine for the “Legendary Giveback Concert” last month at nTelos Wireless Pavilion in Charlottesville, Va. The concert benefited Operation Homefront, Big Brothers Big Sisters and University of Virginia Children’s Hospital. Additionally, fans who pledged to volunteer in their communities received access to an online live stream of the concert.

The evening in Charlottesville was met with much excitement from fans across the Southeast. Concertgoers began lining up for the sold-out general-admission show as early as 8 a.m. for an 8 p.m. show.

When The Avett Brothers finally took the stage, the packed amphitheater erupted. The Avetts and Crawford were joined on stage by touring band members, cellist Joe Kwon, drummer Jacob Edwards and Paul Defiglia on the keys. They opened with a high-energy version of “Slight Figure of Speech,” and it was clear that these Concord boys came to blow the roof off of the venue.

They delighted the audience with a handful of old favorites, like “Salvation Song,” “Old Joe Clark” and “Gimmeakiss,” as well as new songs from their most recent album, “The Carpenter,” like “Live and Die,” “I Never Knew You” and a crowd-hushing, stripped-down version of “Through My Prayers.”

The entire set was elevated by playful brotherly antics, Seth’s face-melting electric guitar solos and Scott’s kick-drum acrobatics and stage sprints. The evening closed with an old-timey cover of “Alabama Gals,” but could be summed up best by the lyrics of “Salvation Song”: “And they may pay us off in fame but that is not why we came and if it compromises truth then we will go.”

The group’s air of goodwill has become the norm among their most loyal fans, who have organized fundraisers as far west as Portland, Ore. The Avett Brothers have proven themselves to not only be extremely talented musicians, but also a band of brothers working toward the greater good.

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September 11, 2012 · 12:14 am

Album Review: The Carpenter

We’ve changed a lot, and no one here can stop that train before it gets to where it’s going

These lyrics resonate with me each time I listen to The Avett Brothers’ new album, The Carpenter. While there are certainly collections of lyrical lessons nestled in all twelve of the album’s new songs, these particular lyrics from I Never Knew You serve as a shot of reality to fans, both old and new. The band, made up of brothers Scott and Seth Avett, bassist Bob Crawford, and touring members cellist Joseph Kwon and drummer Jacob Edwards, is sending a pretty clear message that they are a forward-moving, well-oiled, meticulously crafted machine that shows no sign of pumping the breaks anytime soon–not even for their fans who are waiting at the “I Want More Banjo Station” screaming, “Hey, what about us!?” Didn’t Ill With Want teach you all anything?

Sure, The Carpenter has a more produced sound (um, it’s a studio album), and yes it may teeter on the cusp of mainstream pop music with an Americana twist, but so what!? Music is made to move the listener, to evoke emotion and thought, and that is what The Avett Brothers do best–banjo or no banjo. If the album moves you to tears, laughter, love, goosebumps, or overwhelming joy, well then stay on board and enjoy the ride. If you start to experience motion sickness, please feel free to get off at the next stop and find a different destination, because this Avett train is movin’ on.

For me, listening to The Carpenter is kind of like taking that train ride through the countryside–a thought-provoking experience of varying landscapes for the senses and soul. The brothers Avett, a charming pair of musical vagabonds who never seem quite comfortable sitting still, take listeners on a journey down the path of self-discovery. While they have left deep, muddy bootprints in all corners of the US, their mode of exploration goes well beyond planes, trains, and automobiles, so much so that they spent nearly three years in the trenches mucking through their own very private experiences–both joyous and sobering–in order to put this album together.

The Carpenter certainly maintains a common theme we have seen from the Avetts over the past decade–man searching for meaning through the passing seasons. The opening track, Once and Future Carpenter, stays true to this theme as it portrays the travels of “a poet young and hungry” on the eternal path for purpose. Imagery of spinning slot machines accompanied by lyrics like “sometimes I hit/sometimes it robs me blind” remind listeners that while life’s just one big crap shoot, we have to take risks and make the best of the hand we are dealt.

Although Live and Die is the only banjo-heavy song on the album, I predict some disappointment from fans who covet that gritty punk-bluegrass Avett sound of past albums and live shows. Instead, Live and Die delivers a much more radio-friendly pop sound, and showcases a delicate and happy side of the banjo. This catchy tune is like a big ol’ mason jar full of NC honey, dripping with the sweetness that is Mr. Seth Avett. It doesn’t get any sweeter than this folks. It is a fun and joyful song that I will undoubtedly be singing in and around the house for weeks to come.

Winter in my Heart takes a somber turn as the band openly shares their woes with depression. A poignant admission of falling victim to the black veil of depression, this song will hit home for fans who have experienced their own feelings of hopelessness and despair. The brightest light in this dark song is Kwon’s hauntingly beautiful performance on the cello, which is further elevated by the eery cries of the musical saw (side note: whoever came up with the idea to use the musical saw on an album titled The Carpenter deserves his own Grammy. Seriously, that is genius!). Overall, Kwon adds breathtaking dimension to this already multifaceted cast of characters, and continues to solidify the authenticity and uniqueness of The Avett Brothers.

On a rejuvenated February Seven Avett country charm resurfaces with crisp guitar picking and clean vocals. This song feels like throwback Avett–a simple song with strong and honest lyrics, much like the songs of the musical legends that paved the way for them. Through My Prayers speaks to the heavy regret and sorrow that comes with missing the chance to tell someone you care. Here, Seth shares the story of a painful lesson learned and implores others to show the love in their hearts before it’s too late–no message could be more chilling and appropriate as this on the 11th anniversary of 9-11.

The Avetts take a brief departure from their traditional acoustic sound, and give a slight nod to their Nemo and Oh What a Nightmare roots by bringing out the electric guitar for a few face-melting riffs on songs like Geraldine and Paul Newman vs. The Demons. Paul Newman vs. The Demons offers a new twist on an old theme–not learning from past mistakes (think Distraction #74)–but this time with a very different sound that tends to distract from the album’s cadence. On a positive note, the song does evoke quite vivid Labyrinth-esque images of Seth falling down a dark rabbit hole while being grabbed at by his demons on the way down, only to find Paul Newman there to save him in the end. Seriously, in my mind this has already translated into the most amazing Crackerfarm video. Nevertheless, it will be interesting and exciting to see how this song matures and holds up on stage. Additionally, Pretty Girl from Michigan gets plugged in and ends up as one of the best songs on the album. This song has been a longstanding fan-favorite, so it is nice to see such a smooth transition from the road to the studio.

The infamous banjo returns on Down With The Shine, alongside a horns section that brings in some dirty Bourbon Street undertones. Although this song has been floating around for a few years, it made its first “national” debut on NPR’s Tiny Desk Concerts and has been evolving ever since. More recently the live version has turned into something of a big top waltz with Scott acting as the dramatic ring leader. While this album version is masterfully layered with rich instrumentation, it unfortunately feels bogged down and sluggish in comparison to the live version. Herein lies the magic that is the ever-changing nature of Avett Brothers songs, and also why I don’t put too much stock into the initial “feel” of the album versions of their songs. Inevitably, the live variations of these songs will continue to move audiences and strengthen their already loyal fan base. Fear not weary, doubtful fans, it will be alright.

Deep beneath the mountains of depression, loss, and turbulence that drives the album, emerges a true gem that immediately beams with light. A Father’s First Spring shines brightly in all its glory as Scott shares the overwhelming feelings that accompanied the birth of his first child, Eleanor. To say that this song will move you to tears is an understatement (think Murder in the City, Part 2). Though simple, the lyrics “I was a child before/the day that I met Eleanor” reveal a complex evolution of character. Scott’s mastery of song and story allows him to speak on life’s purest love–that of a parent for his child–and evoke the deepest of emotions, even in listeners who have yet to experience parenthood. This track is a pure nugget of gold–a special gift from a proud daddy to his daughter, all in the name of posterity (of course).

The album closes with Life, which highlights the fragility of our time here on Earth. Themes of faith and love are intricately woven through the song in true Avett fashion. The beauty of this song lies in its simple message to live with intention and keep those you love close, for “we’re not of this world for long”. As the end of the musical journey approaches, Life leaves me with a feeling of hope, promise, and empowerment.

Overall, The Carpenter proves to be a cohesive collection of songs that gives fans a glimpse into the maturing hearts and minds of men who strive to find deeper meaning and purpose in life. The album succeeds in balancing themes of life and death–good and evil–and opens the door to further discovery and evolution. What it may lack in raw energy, it certainly makes up for with raw emotion, like a wound left open for all the world to see. This album bears the souls of a band of brothers who have been up against some very serious life changing events, yet in their transparency fans are afforded the opportunity to listen, relate, heal, and push on to a new day.

The Carpenter, which was officially released today, is available on iTunes and exclusively at Target with bonus tracks* (*Standing With You and Die Then Grow are wonderful additions to the album, and will ease some of the longing for that old Avett sound).

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August 15, 2012 · 2:33 pm

Raleigh: Nick and The Babes to Headline Lincoln Theater Show 8/24/12

Turn it up maaaaaan!

“Fans should be prepared for more face-melting  guitar solos” – Nick Bailey

Well if that isn’t enough reason to go catch headliners Nick and The Babes at The Lincoln Theater in Raleigh, NC on August 24th, I don’t know what is.

After a hiatus from touring, band members Nick (guitar, vocals), Graham (drums, vocals), Rob (keys, mandolin, banjo), and Dail (bass) are excited to get back on stage at one of Raleigh’s most popular music venues.  Though scattered between Raleigh, Greenville, and New Bern, the band has been working diligently on practicing, recording and producing 8 new songs for an upcoming EP–expected to be available on iTunes in the next month.

Dail, Nick, and Graham

I recently caught up with guitarist/singer/songwriter Nick Bailey to find out more about the band’s upcoming Lincoln Theater show and new music on the horizon.

“This is our first time headlining at The Lincoln Theater and we are very excited to share the stage with other great musicians like Jason Adamo, Brent Jordan & J.T. Poe, and Young Cardinals,” said Bailey.

With that coveted headliner spot comes a well-earned benefit–freedom from the ticking hands of the on-stage clock that often terrorizes opening acts and limits what would otherwise be epic jam sessions.

“It will be nice to just go with it and not be so worried about the time limit that comes with being an opener.  Guitar and drum solos can go a little bit longer, and we wont be constantly checking the clock.  We are really looking forward to that,” explained Bailey.

For their first show in quite a while, fans can expect a mix of old and new tunes from NATB, with newer material departing a bit from their patented acoustic Americana sound.

“[We’ve written] some darker songs that are a little bit more driven by the electric guitar.  I have been greatly influenced by bands like Pearl Jam, and I think that is reflected in our newer songs.  The songs on our new EP will definitely have more of a rock feel to them, and a more produced sound that will offer our fans some good variety,” he said.

One of the songs that will appear on the EP, called Girl I Know, is currently being featured in Our State Magazine’s first-ever singer/songwriter competition.  Girl I Know, as well as NATB original Morning Light, will be judged alongside songs from other local musicians by music industry professionals.  Bailey admits that he’s not holding his breath to take first prize in the competition, but recognizes the value of taking advantage of a great opportunity to expose a wider audience to the band’s music.  While the original version of Girl I Know maintains NATB’s traditional sound, the EP version will have a louder jam-band sound that fits their current musical direction.

For Bailey, the majority of 2012 has been spent writing music for TCL’s new reality TV show about conjoined twins, called Abby and Brittany.  With his “day job” project now complete, he can shift his attention and energy to the things he loves the most in life–getting back on stage with his band mates and ripping those legendary, face-melting electric guitar solos.

For only $8 you too can go and get your face melted by NATB on Friday, August 24th at The Lincoln Theater.  Get your TICKETS before they are gone! Openers at 7:30PM, NATB at 10:30PM.

NATB

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May 30, 2012 · 2:55 pm

A Legend Lost – Doc Watson (1923-2012)

Docs in Boone, NC

This week we lost one of our most treasured Americans.  After a full life of hard work and harder flatpicking, legendary musician Arthel Lane “Doc” Watson peacefully passed on at the age of 89.  Born in Deep Gap, NC, Doc was known far and wide as a masterful guitarist and storyteller whose music spread across countless genres, including folk, bluegrass, country, gospel and blues.

Two years ago I was fortunate enough to catch Doc’s set at the Newport Folk Festival.  I, like many who did not grow up in the south, knew ‘of’ Doc but was not being very familiar with his canon of work.  When I saw that he was in the line-up, I knew I couldn’t miss out on the chance to see and hear him perform live.  On that sunny Saturday in late July, festival goers of all ages funneled their way into the small space between the main Fort Stage and side Harbor Stage to be within an ear shot and maybe even get a glimpse of NC’s native son.  Joined on stage by his longtime musical partner David Holt and grandson Richard Watson, Doc treated us all to an unforgettable musical experience that afternoon.

During his set I felt like I was sitting on Doc’s front porch listening to him pick, sing, and tell stories, rather than standing shoulder to shoulder in the hot sun with hundreds of fans.  His songs told stories of love, the Lord, and life’s lesson.  Between songs, he captivated the audience with tales of his childhood and his lovely wife Rosa Lee.  Despite his age, Doc still possessed an impressive nimbleness in his fingers and a childlike spirit.  There was a natural ease about him as he talked to his fans as if they were kin.  Throughout the set, bouts of laughter and song rang out from the crowd, and it was easy to see how this humble, honest man from NC had made such a profound impact the world of music over his lifetime.

Doc Watson was one of the greatest musicians of all time, and he selflessly shared that gift with the world over the past eight decades.  While Doc certainly leaves behind a tremendous musical legacy, he also leaves each of us a sweet reminder to make the best of the life we are given.  Though he wanted to be seen as “just one of the people”, Doc will always be remembered as a gift from above.  Rest in peace Doc.

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May 22, 2012 · 3:31 pm

Langhorne Slim and The Law – The Way We Move

Langhorne Slim and The Law

With the introduction of websites like PledgeMusic, musicians now have a way to help cover the costs of making an album.  The process is easy–fans pledge a certain amount of money to help fund the album in exchange for some type of band memorabilia or experience.  This new music business model  directly incorporates the fan into the album making process, thus spawning a symbiotic relationship between musician and fan.

Last year, Langhorne Slim and The Law decided to turn to their fans for help with their next project.  This move seemed more than appropriate for a band that has been known to break into jam sessions after shows and who’s lead singer often invites fans on stage while he performs.  Slim and The Law have been making direct connections with their fans for years, so when the fans were given the opportunity to pay it back with the PledgeMusic campaign, they didn’t shy away.  Over 450 fan pledges were made and the guys responded kindly with a brilliant new album, The Way We Move, which will be officially released by Ramseur Records on June 5th.  The overwhelming fan response through PledgeMusic exceeded the band’s original goal by over 50%–a striking testament to the quality of their craft and character.

Interestingly, I’ve discovered that Slim’s music doesn’t always ‘hook’ the listener until he/she sees him perform live, which is where he shines the brightest.  Whether on stage solo or with his band, Slim is able to use his powerful bluesy rasp and jovial, heartfelt lyrics to project straight into your soul with ease.   However, on his previous EPs and albums, this quality was somewhat lost in translation.  Fortunately, all 14-tracks on The Way We Move capture Slim and The Law’s live spirit and energy better than any other previous studio recordings.

This is the album you should play for the non-believers who just can’t seem to get on board the Langhorne Slim Express.  The upbeat, joyful title track alone is enough reason to pick up the album in its entirety.  Just try to play that song and sit still.  Impossible.  In between raucous tracks, Slim finds moments on the album to slows things down.   Among the slower tracks, Salvation evokes the fear of moving on with lyrics like I want to hold you but my hands are cold/I meant to catch you but I moved too slow/I hate to leave, but it’s time to go, while Coffee Cups chronicles the emotions that come with life on the road.  Well known as a hopeful romantic, Slim reveals his doubts and desires in love on several tracks including On the Attack and Someday.  Slim’s band–The Law–provides a menagerie of beautiful supporting sounds including banjo/keys (David Moore), drums (Malachi DeLorenzo), and upright bass (Jeff Ratner), as well as back-up vocals/yells on tracks like Found my Heart and Two Crooked Hearts.  The album closes with Past Lives, a crowd favorite at live shows that often involves Slim walking out into the audience to rub sweaty shoulders with his biggest supporters.  Perhaps this was the band’s way of ending the album with a big “Thank You” to all of the folks who helped turn a dream into a reality.  It couldn’t have happened to a nicer band.

Check out the video for their title track, The Way We Move:

Nothing beats a live Langhorne Slim and The Law show, so check out their website for tour dates, and pre-order their new album, too.

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May 18, 2012 · 4:04 pm

Interview: Rebekah Todd

A girl and her guitar

Thus far, the height of my musical “career” was winning first place at my elementary school talent show for singing I’ve Been Working on the Railroad.  I was five.  I was a complete ham, and wanted to be a star.  My older brother told me the only reason I won was because I was cute–fair enough.  Fast-forward almost 30 years, and I’ve realized that my feverish desire for stardom is much better served in the confines of my car and home, rather than on the main stage.  Instead, the main stage should be reserved for those people who possess that innate gift of musical creativity and mastery that inspires and makes us feel alive.  It was a pleasant surprise when I recently stumbled upon one of those people right here in eastern NC.

I was introduced to Rebekah Todd when she opened up for Paleface at The Tipsy Teapot in Greenville, NC a few months ago–a lone young lady on stage with just her acoustic Alvarez guitar and a mic.  She did a quick mic check, and politely introduced herself to the audience.  I watched and waited, thinking how brave she was to get up there and sing by herself.  I was envious and impressed before even hearing her voice.  And then she sang.  A boisterous yet angelic, soulful, bluesy voice filled the room, and I was floored.  Who had been hiding this homegrown gem, and why hadn’t I heard of her before?  She quickly captivated the crowd with original songs like  Jordan, Citizen, Gallows, Little by Little, and Walked Right Through Me.  That evening, as her powerful voice echoed off of Tipsy’s glossy, cherry red walls,  I was happy to tag along on her musical journey.

A few weeks after the show I sat down with Todd to talk about her music and big plans for the future.

Todd grew up in the small town of Benson, NC and was surrounded by music as early as she could remember.  At eight years old, she started formal piano lessons, but soon figured out that the structure of reading music didn’t quite fit her style of learning.

“I play by ear 100%, so I don’t read music unless you have a sheet with chords.  If it’s the notes on the staff I can’t do it at all.  When I was eight, I figured that out.  I remember my teacher was teaching me the Titanic theme song.  I was reading it on the paper and I got a note wrong, so I stopped looking at the paper and listened and figured it out.  She yelled at me and told me I had to read the paper, and she was really mean so I dropped it and never went back,” she recalled.

Soon thereafter, Todd’s father suggested she learn how to play the guitar.  She fondly remembered those early memories of her dad and his love for music.

“[My dad] was classic rock all the way.  It’s pretty cool because it really influenced me.  I am happy that I know all of these artists now because I meet people my age who say, ‘Who are the Beatles, or who is Bob Dylan?’.  He was musical and played guitar and he was the one who taught me.  He bought me this crappy Washburn guitar that was black, and when I was eight I thought it was awesome,”  she said with a chuckle.

Rebekah Todd @ Tipsy Teapot

She continued to laugh as she told me that the first song he taught her to play on the guitar was Wild Thing.  Todd and her father continued to play together at home until she started playing in different high school bands with her friends.  Over the years of playing with her dad and others, Todd pulled inspiration from a wide range of musical genres, which has shaped the music she writes and performs today.

“I went through the classic rock phase, and then I really got into people who had a soulful voice, like Lauryn Hill, who is one of my favorites.  I literally wore her CD out [The Miseducation of Lauryn Hill].  Now I am into the more bluesy sound with singers like Susan Tedeschi and the Derek Trucks Band.  I really admire artists like that,” said Todd.

Though she can cover songs ranging from Led Zeppelin to Katy Perry, Todd’s bread and butter is in songwriting.  To date she has recorded about 16 original songs, but admits that there are many more waiting the wings that need to evolve a bit before she will bring them into the studio.

“Sometimes I will be sitting and playing and [a song] will come then, and other times I will get a tune in my head and I will literally pull my cell phone out, hit video, hold it out, and sing into the video.  I used to carry around a tape recorder before cell phones.  I think that started because when I was really young my parents bought me a karaoke machine that I could put a tape in and record my singing and listen to it.  It’s funny how the steps that your parents take totally mold what you become,” Todd shared.

Songwriting for Todd is a very natural, organic, and “in-the-moment” process.  Her songs are passionate and moving because they are honest.  Like most artists, Todd finds inspiration in her life experiences and channels those emotions into her songs as well as her art.

Rebekah Todd

“One time I played with this band called Cool Hand Luke out of Tennessee and Mark came up to me and said, ‘I really like your music because you are honest with what you are going through and what you are feeling’.  Ever since he said that I took it and tried to apply it to everything I was doing.  I’ve come to find that people can relate to your stuff if you are brutally honest with your feelings because then they can say, ‘Oh yeah I feel the same way’.  With my situation now, with having a loss in the family, everyone can relate.  Sometimes it’s hard because you really have to go into your emotions and that can be painful.  It’s the same with art.  You pull it out and you put it on a canvas or put it into a song and hope that people can relate to it,” she revealed.

Having just graduated with a bachelor’s degree in Fine Arts from East Carolina University, Todd is ready to hit the road and share her music with the world.  She’s completely devoted to throwing herself into writing and touring as much as she can, while maintaining a realistic outlook.  She knows that with a hopeful heart must also come a level head, and she’s willing to put in the time and work to pursue her dream.

“It’s tough as an acoustic girl to say, ‘I promise that I can bring it’.  It’s something you have to slowly prove and know the right people.  I am working on it.  It’s a weird road.  A lot of people say I should think about getting a band.  That could be cool, but I just don’t feel right with it right now.  I feel like I want to prove to myself that I can do it without the band.  I just graduated and I have all of the time in the world,” she said with a hopeful grin.

So far she’s got a great start with several club shows and festivals booked across the state, and hopes to add a small northeast tour towards the end of August.  In between shows Todd will continue to write songs and dabble in her second love, painting.  Though Todd admits to being very comfortable in the “opener” slot, I suspect she’s  going to be pushed out of her comfort zone fairly soon.  She wont be able to hide in the shadows of bigger acts for too long.  The main stage awaits her.

To learn more about Rebekah Todd’s music and upcoming shows, please visit her website.

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April 3, 2012 · 9:05 pm

The Lumineers’ debut album released today

I first heard of The Lumineers from my childhood friend Marcie’s husband, Joe.  Growing up, if you wanted to find out about new, non-mainstream music, Marcie was your girl.  So, it didn’t surprise me that she married a man who shared her steadfast love for the musical chase.  Tracking down unique artists that don’t get radio play can be fun and rewarding, and those two have certainly perfected the hunt (and I gladly reap the benefits!).

Joe directed me to The Lumineers’ Daytrotter four-song set, and I was immediately drawn to front man Wesley Schultz’s soulful down-home voice.  Schultz’s rustic vocals were balanced by the boisterous hollers of drummer Jerimiah Fraites and the softer harmonies of cellist/pianist Neyla Pekarek.  Their lyrics were simple, but blew through me like a warm breeze through a hilltop willow tree — no resistance, complete surrender.  Their voices mingled effortlessly with the rhythmic stomp-clap cadence of their songs, producing a back-yard sing-a-long sound rooted in folk and Americana and pleasing to the ears.

Naturally — as I tend to do with all new music that moves me — I kept their Daytrotter sessions on repeat for quite some time.  Fortunately, their self-titled debut album was officially released today.  The eleven-track album can be streamed directly from the band’s website.  While tracks are riddled with vocal tones of Englishmen Rod Stewart and David Gray, New Jersey native Schultz successfully manages to take his sound and story in a fresh direction.  The listener’s journey through the Lumineers’ debut album is full of emotional ups and downs, as I am sure the band intended.  The opening track, Flowers in Your Hair, reminds us of how quickly time passes on the road to growing old.  Dead Sea speaks to love lost, while Ho Hey presents us with a hopeful heart.  Stubborn Love chooses the painful pitfalls of love over the emptiness of indifference, while Big Parade scoffs at the pomp and circumstance that envelopes our culture.  The Lumineers are storytellers, and their stories seem all too familiar to anyone who has ever suffered or soared in love — must be why I can’t stop listening.

Check out their new album, and jump on this bandwagon while there is still room.  Seats are sure to fill up quickly.

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March 28, 2012 · 1:44 pm

Music that Matters – Raleigh’s Racing The Cure Benefit

Brotherly Love

There are certain lengths that a friend will go to help another friend in need.  For Grayson Currin, this meant organizing and seamlessly executing the Racing the Cure Benefit for Oliver Gant, a one-night four-venue music event that raised over $45,000 to help a brave young boy fight the battle of his life (Read: Oliver Gant’s story).

Last Friday night in downtown Raleigh, over 1,700 music fans were treated to the sounds of North Carolina’s finest musicians–including The Avett Brothers, The Love Language, Bombadil, Holy Ghost Tent Revival, Jack the Radio, Annuals, and The Old Ceremony–all in the name of charity.

The venues, ranging in capacity from ~250 to 800, provided music lovers with a more intimate environment in which to experience their favorite bands.  This was especially true for fans of The Avett Brothers, who currently sellout venues that hold several thousand.  The chance to see The Avett Brothers in a venue that holds 250 people drove some of their more diehard fans to start lining up at King’s Baracade as early as 9 o’clock Friday morning.  By the afternoon, the line of fans camped out in chairs neared the block’s corner.  Curious pedestrians inquired about the line and quickly learned about Oliver’s event.  I can imagine that soon thereafter, a feverish round of desperate texts and tweets were fired off by said curious pedestrians to track down the last few tickets floating around Raleigh.  This was an event not to be missed!

I was lucky, or crazy according to some, to have scored the first spot in line at King’s that morning.  Some people questioned my judgement, my employment status, and my priorities, but I didn’t care.  We should be using vacation days to support events that are rooted in everything good in our world–friendship, music, philanthropy, and community.  These are the things that matter in life.  The experience of connecting with other fans in line, meeting those closely connected to the cause, and standing center stage in front of Scott and Seth Avett while listening to their beautiful music, was well worth the time and energy I spent.  I’d surely do it again in a heartbeat.

Seth Avett

The brothers Avett, stripped down with only a guitar, banjo and microphones, took the stage around midnight.  The crowd erupted with applause and excitement as those homegrown, humble boys from Concord opened with their heart-wrenching family ballad, Murder in the City.   Family is an omnipresent theme at all Avett shows, and it was evermore present that night as Scott and Seth played and sang from their hearts to honor their friend Jed Gant (Oliver’s dad) and his family.  For these Avett boys, family extends far beyond one’s genetic code.  It is a pervasive term that leeches its way into the all of the lives they affect with their music, art, and generosity.

Scott Avett

What was supposed to be a 25-minute set, thankfully stretched into a 50-minute set with gems like When I Drink, January Wedding, Denouncing November Blue, In the Curve, Go to Sleep, I Killed Sally’s Lover, and At the Beach.  Scott and Seth gave every bit of energy they had and looked like they were having a blast doing it as well.  Half-way through the set, after thanking Jed for inviting them to be a part of such an important event, Seth said, “We’re gonna play one of the songs we always used to play back when we first met Jed many years ago.  This one’s called Cigarettes and Whiskey.”  The crowd went crazy as the brothers added their own Cabarrus County charm to this old country classic.  They quickly downshifted into a beautiful version of Doc Watson’s Look up Look Down that Lonesome Road.  Minus a few token cat calls, the audience had hushed to hear that Avett harmony, all while near or distant memories of love lost stirred deep within.  This is why The Avett Brothers have fans lined up at 9am for a midnight show.  Their music digs up raw human emotions that make us feel reborn and alive.  They make us remember what we’ve been through and look ahead to better days.

They ended their set with a song that has become a staple in their shows as of late–gospel hymn A Closer Walk with Thee.  What a fitting way to end a show of this magnitude–with grace, hope and faith.  To Grayson Currin and everyone else involved in making the Racing the Cure Benefit for Oliver Gant a success, thank you for promoting music that really matters and for supporting a cause bigger than all of us.  To the Gant family, our prayers are with you always.  Keep fighting Oliver!

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February 21, 2012 · 1:16 pm

Leaping into 2012…an extra day of music!

Rockin' my new Little Martin in 2012!

Happy (belated) 2012!  This year is slated to be jam-packed with shows (and reviews!) across the music spectrum.  So far, I have several shows under my belt and on the books,  including:  Jim Avett, Overmountain Men, Mipso Trio, The Darkness, The Avett Brothers (NC and CA dates), The Jimi Hendrix Experience, Merle Haggard, Paleface & Mo, and more!  I am excited to share these experiences with you all.

Another wonderful thing about the year 2012 is that it is a Leap Year, and the calendar gods have granted us an extra day to do with what we wish.  What will you do with your extra day?  I know that my extra day will be filled with as much music as I can cram into it.  Music is a part of my daily routine — in the car, at the gym, at work, in the kitchen while I cook, at late night jam sessions, and even in my dreams.  I don’t even attempt to imagine a world without music — just seems unlivable!

So let us appreciate an entire extra 24 hours of  music in our lives this year.   Cheers to a fabulous 2012!

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