The New England Americana Association reviews Americana & Americana-adjacent bands from New England

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REVIEWS – SUMMER 2025

This issue’s writers are AJ Crowe, Gina Tempesta, Kier Byrnes & Lois Turpedro

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2025 New England Americana Fest

Bellforge Arts Center, Medfield, MA

06/29/2025

I’ve just returned from my first New England Americana Fest, though it’s been going on since 2007.  The question is, ‘Where have I been?!’  I believe this was the first one at the Bellforge Arts Center in Medfield, and it was on the Great Lawn, a wonderful backdrop for a summer music festival.  After being rained out for Saturday, Sunday’s weather brought the full-on summer sun, but all throughout the day, there were shady spots to sit and enjoy the 14 Americana acts.  To my cheap-ass delight, the festival was free, which made me more inclined to spend my money on lemonade, a tasty BBQ sandwich, beer, and merch!  I’d say there were a few thousand people in attendance throughout the day, lots of kids running around on the hill behind the stage, and it was exciting to hear about the upcoming renovations at Bellforge, including a 300-seat indoor auditorium.  Okay, enough context.  On to some reviews!

Zion Rodman kicked off the day playing solo with a 5-song, 25 minute set, which seemed to be the format of the day with two rotating stages, so the music was fairly continuous.  This attendee approved.  He kicked off with some smooth fingerpicking on his song “Sunday” and his voice, especially on the high notes, fit the landscape of the BAC quite well.  All Zion’s songs contained a few unexpected chords, and he rifled through a few open tunings which brought me back to my Simon & Garfunkel days.  He was full of clever guitar runs to complement his relaxed playing style, and his closing song “Everybody That You Know” was perfect for relaxing at a summer festival.  It wasn’t intended that he kick off the festival, but file it under ‘happy accidents’ as his songwriting and sweet falsetto were a nice way to ease into the day ahead.

Next up was Sam Reid & the Riot Act, and this listener is a new fan.  Sam has some serious guitar chops, and he was accompanied by my favorite performer of the day, Joe Kessler on the fiddle.  Some musicians play, and some perform, and Mr. Kessler engaged the crowd with his full-body dancing, and he could shred his blue violin like nobody’s business.  This band really hit its peak when these two were trading solos, and the bass & drum rhythm section really held it down.  The band’s set was chock full of foot-stompers, and the bass player with the bass voice took the reins for the closing number which included a segue into a reggae beat.  I believe the band did a few covers, but if not, they really nailed the old country genre.  The whole set had me engaged and dancing in my seat, and I’ll definitely see this band again!

Number 3 on the bill was the band Comanchero, and the songwriting/lyrics were at the front and center of this act, which is one of my favorite aspects of Americana.  They had a second percussionist who jumped on the bongos for their 2nd song, “Citgo” which had a splendid bass groove.  In fact, this bassist had tasteful grooves for all the songs which fit the double percussion of this band quite well.  To me, their best song was #4, “Whiskey”, which included some harmonica and cool rhythmic changes.  The frontman had the line of the day, saying they were having an “antique sale since they brought CD’s.  Insert chuckle here.  They smartly ended with a CCR cover, “Born on the Bayou” which took advantage of the strength to lay down a groove, and of course, the cowbell didn’t hurt.  This song brought the crowd alive.

Next up was Jimmy Ryan’s Wooden Leg, and many people know Jimmy as one of Boston’s musical treasures and a mandolinist of note.  I was pleased to see Joe Kessler on stage.  This was easily one of the top sets of the day.  Jimmy kicked off each song with a great riff, and when the band joined in, you could tell it was business time.  They rocked hard, and Jimmy would jump right into the next tune to keep the momentum rolling along.  My personal favorites were “Hard Time” and “Face Up”, both songs I had only heard covered by other musicians (Christian McNeil, etc.), so it was eye-opening to learn these were Jimmy Ryan originals.  This set was the first to get me on my feet and there were a dozen others up near the stage that felt the same way.  I’ve seen Jimmy perform in a few other iterations, all great, but I’ll have to proclaim ‘Wooden Leg’ as my favorite thus far.

Coming in at #5 was the nylon guitar string joy of Fauxmenco.  The two immensely talented musicians endured some sound difficulties, but overall, it was clear that they bring a strong variety of authentic ‘American’ rhythms and melodies to the Americana table, and they’re always a treat to hear.  Rafi kept things lively with his F*bombs, and it was a good idea to get the crowd clapping along.  Overall, I recommend checking them out at an indoor setting to maximize the impact that their music deserves.

Batting #6 in the lineup was Molly Pinto Madigan and her talented band.  The word that came to my mind throughout their set was ‘lush’, both in her voice and the stylings of the songs.  They swing toward the softer, folkier side of the Americana continuum, and I could imagine myself in Medieval times at points during their set.  There are definitely some Old World influences happening, and the 70’s music scene felt like it played a role too.  Her band complemented her songwriting with a pleasing atmospheric context.

#7 was Sunfisher, described in the program as simply “Stone Country Rock”.  That fits.  After their Waylon Jennings soundcheck, the originals brought to mind Springsteen in the songwriting and Roy Orbison in the singer’s tremolo.  This was a tight band with well-crafted songs that would build nicely.  The lyrics seemed to look into the troubled yet beautiful soul of America to see what gets stirred up.  The electric guitar player was super skilled in his instrument but also an excellent harmonizer.  All in all, one of my favorite sets of the day.

#8 was The Displayers, a duo for this gig, but usually a trio, as they were missing their bass player today.  They had the cleanest sound of the day, as the drums were crisp, and the singer’s voice was clean and strong.  Creative chord progressions lead to some thoughtful melodic lines.  For two people, they really put out a great sound, even from the porta-potties in the back!

#9 was the duo of Elisa Smith and Erin Bonnie, both strong singers, and the cliche idea of the whole being greater than the sum of its parts came into play here.  You could tell they’ve been playing together for a long time.  Elisa on guitar has a great country twang, and Erin plays her fiddle wonderfully.  Clever songwriting was apparent and I particularly liked the puns in “Tractor Candy”.  One of my favorite moments of the day came on their last tune, a waltz called “Lord Have Mercy”.  When they belted the chorus together, it was beauty brought to life via the magic of music.

#10 was the rock end of Americana with the men in black of Nate Perry & Ragged Company.  This 5-piece electric crew brought the goods.  With three strong singers, they could really build and craft a catchy chorus which brought me back to the 2000’s reminiscent of Jakob Dylan.  The lead singer has that raspy goodness which really cuts through.  This was the type of band you go to a music festival to discover, then follow their socials until you get to catch more shows!  Their new song “Tonight” had people moving, and if this was the Brighton Music Hall on a Saturday night, the dance floor would be bumping!  Like Tom Cruise, this band has all the right moves.  I was starting to feel the songs were pretty similar rhythmically, but their final number brought variety in a potent dirty blues slow groove.  They brought the energy and I believe got the first standing ovation of the day.

#11 was Wayward Vine, a band I have heard about and was glad to finally see in person (although they were without guitarist Yoni Gordon today, who I’m a big fan of).  I’m also a big fan of Valerie’s boots!  This band danced on the pop edge of Americana and had some clever lyrics and nice harmonizing, as well as some rotating instrumentation to keep things lively.

#12 brought out a wonderful band to fill a stage for a summer festival, and one of my favorite band names, Other Brother Darryl.  This 7-piece outfit brought the atmospheric jams in a style they call ‘Cosmic Canyon’.  Yeah, that fits!  Their full sound brought me back to the 70’s and images of the Dead and the Byrds.  They began their set with keen acapella vocal harmonizing that morphed into a great slow groove with the keyboard featured well in the mix to hold it together nicely.  I’ll have to say the most heartfelt moment of the day was when the band gave a nod to one of their songwriters who had passed asking the crowd to yell to the heavens “Hi Dave”.  Overall, this set was one of my favorites, as this band taps into nostalgia in the best way.

#13 was the nicest surprise of the day for me with the band Dirt Road Souls.  Coming after a 7-piece with a 3-piece is not the easiest thing to do, but this tight trio smartly started off with some blues rock and surprisingly, the first and only appearance of a standup bass all day.  Their second song, “Bright Light, White Heat” was my favorite of their set with its clever lyrics, catchy guitar riff and pure groove.  The lead singer introduced the next song by saying an Americana fest isn’t complete without a Willie Nelson cover.  Yes, well played, and “Whiskey River” was well chosen and executed.  Overall, this band was fun with strong harmonies and some of the best songwriting of the day.

#14, the Closing Act, was none other than the hosts with the most, Kier Byrnes & the Kettle Burners.  The lead singer of Sunfisher rightly said ‘Kier is a doer’, and the thousands in attendance benefited from his organizing.  Not just a builder of community, he also leads an excellent band.  This was my second time catching their act, and I remembered correctly.  They bring a distinct flavor to Americana with their Eastern European influences.  The interplay of the accordion and the electric guitar riffs bring out incredible energy as evidenced in the song White Russian which grabs you and holds on (in a good way, of course).  I appreciated the band’s dynamic stage presence and movement.  Honestly, I thought the crowd could have been more dynamic, and I was surprised because I couldn’t stop moving.  I guess they were a bit spent from a long day of music (the crowd, not the band) but they showed their appreciation for the set and the whole day appropriately.  And what music fest would be complete without a finale of a multitude of musicians onstage for the final song, in this case The Band’s “The Weight”, classic fun!  

This was my first New England Americana Fest but it shan’t be my last!  Hopefully, the Bellforge will play host again next year for another terrific day of some of the area’s best music.  Thanks to everyone involved in this day’s events! (AJ Crowe)

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For more on the 2025 New England Americana Fest, please click here for a review of the show on Geoff Wilbur’s Music Blog or watch the videos on JustBill’s www.rockninboston.com.

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WAYWARD VINE

End of May 

Single 

The band Wayward Vine is categorized under the Folk genre, but their latest song “End of May” has a definite crossover feel, not quite pop but not quite folk in the literal sense. Beginning with a melodic piano opening,  Valeria Rachel breaks through with beautiful undertones of Joan Baez and Joanie Mitchell.   Co-writer and band member Greg Lawrence adds his deep vocals on chorus, which lends a layer to the lyrics that makes you think the song is about a bad breakup. But ending the tune with Rachel’s haunting violin adds a sense of sorrow rather than anger. It’s a lovely song, regardless of labels or genre. (Gina Tempesta)

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PAUL SIMON

Wang Theatre, Boston, MA

6/10/25

At one time (a long, long time ago), he was a small-time singer/songwriter from the New York/New Jersey area making his name. These days, Paul Simon calls Connecticut home and sits on the Board of Trustees of Boston’s own Berklee College of Music.  His show tonight is at the Wang Theatre in the Boch Center, and is packed with fans of all ages.  Paul, as usual, has put together a band of highly talented musicians. Paul’s songs are woven into the spirit of America and like America, his songs are a melting pot of various musical styles. He introduces his first set to the audience, warning it is very quiet, but promising the hits for the second set. The audience cheers him on and he does not disappoint. The first set is mellow and virtuosic, the second has the crowd singing along to “Graceland,” “The Boxer,” “Me and Julio Down by the School Yard” and “50 Ways to Leave your Lover” with its iconic drum beat intro.  “Under African Skies” is my favorite song of the night; Paul brings his wife Edie Brickell (former frontwoman of The New Bohemians) to accompany him on the duet and their voices blend perfectly..    

After the concert wraps up, I wander through the lobby on my way out, spending some time checking out some of the “Folk Americana Roots Hall of Fame” which is housed in the Boch Center. With artifacts from iconic musicians like Lead Belly, Woody Guthrie and Pete Seeger on display, it’s just one more reason to go see a show at the Wang.  (Kier Byrnes)

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BILLY DODGE MOODY

Meaning to Disaster

Single

Floating somewhere between Americana and indie rock is Billy Dodge Moody, soaring through the space like a meteor composed of the same elements that made Radiohead and Jason Isbell.  “Meaning to Disaster” is a somber, richly orchestrated ballad and the instrumentation and production are top notch, as are Hannah Foxman’s backup vocals, which add to the tender vocal delivery put forth by Billy.  The music has an ethereal, spiritual feel with many sonic layers woven together, supported by the raw emotion bottled up in the lyrics.  Billy Dodge Moody is a talent to be watched. (Kier Byrnes)

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SIDEBODY

Full Time Job

7 song album

My first exposure to sidebody was watching them perform “He’s Dead” online as part of the band’s Tiny Desk concert. I was immediately hooked.  That led me into a deep dive of their latest studio album, Full Time Job. I’m glad I did as I’ve really been enjoying the studio version of “He’s Dead”, which happens to be the opening track on the latest sidebody album. The music reminds me a bit of surf rock tune meets the B52s with a dash of indie rock.  While this music doesn’t quite fall under the Americana category, there are undeniable traces of Americana-adjacent influences like classic early rock and roll with hints of surf rock primed with a healthy dose of New Wave. “Quantumly Entangled” continues with the New Wave feel, adding in a bit of funk. Not Dead (in Natick) could easily find its way into an Americana playlist; also doesn’t hurt that it’s catchy as hell. It also doesn’t hurt that sidebody can drop harmonies like no one’s business. “Not No” is fiery punk where as “Pie in the Sky” has a 1950’s doo wop rock feel. “Spong Time” has a chiptune-feel fueled by The Pixies’ Black Francis’s styled dead pan lyrics. Full Time Job is a great album and sidebody is an undeniably talented band, no matter what genre they juggle. (Kier Byrnes)

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BAKER THOMAS BAND

Toad, Cambridge, MA

5/28/25

Before it closed in September, 2024, Toad was known as a cozy little venue that made a reputation as a hub of the Americana scene. Under new ownership, Toad recently reopened with some minor renovations but with the same magical vibe.  One of the elements the new ownership brought back is the Baker Thomas Band, a late night mainstay of the Toad scene.  The band features many of the area’s top musicians, led by Tom Bianchi on bass and vocals. The band laid heavy into its covers pulling off impressive versions of Lynyrd Skynyrd’s “Free Bird” and 4 Non Blondes’ “What’s Up.” The Baker Thomas Band was on point and it felt like the old Toad was back. It was great to be back in the room listening to some well-played tunes performed by this group of incredibly talented musicians. Looking at Toad’s upcoming calendar, it seems like they are booking more cover bands in lieu of the original bands that made it great. Only time will tell what happens next, but I’ll be back again to check it out.  (Kier Byrnes)

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NICK ZAINO

In a Daydream

Single

Nick Zaino’s recent single “In a Day Dream” is a folk song with a modern twist. The song structure plays with rhythm and melody, and the song’s multiple parts flow together with a laid back groove.  Nick’s acoustic guitar and powerful voice guide the song through verse and chorus  There are some high harmonies that contribute to the minimalistic but pleasantly arranged ballad. Overall, a delightful  tune, perfect for a contemplative Sunday afternoon or recouping from a wild week at the day job.  (Lois P. Turpedro) 

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THE 94s

Mercy

13 SONG ALBUM 

Chances are if you’ve been to a porchfest, brewery or music festival in the Greater Boston area, you’ve seen the band The 94s at some point. Known for supporting local venues, The 94s have been a staple on the scene for years, playing an array of original and cover tunes that range from rock to country to folk. The latest album from the duo of  singer songwriters Nicole Cuff and James Cuff includes a mix of styles that ebbs and flows while showcasing their range of vocals and the subtleties of their lyrics. “Mercy!” is the band’s third full-length album and has something for everyone, including the rocky “Always on the Run,” ballards like “Broken” and “Nothing at All” and the lovely “Walk out the Door,” that makes you want to dance a slow dance close to your partner. Whether on purpose or not, the lively ditty “Bound for Bottom,” is reminiscent of Evan Dando’s 90s Boston band The Lemonheads, and perhaps a nod to all the great local bands before them.  So next time you’re out and about and looking for some great local music that will keep everyone in your group happy, look for The 94s and you won’t be disappointed. (Gina Tempesta)

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LISA BASTONI

No Kings in America

Single

Lisa Bastoni has received nominations from both Boston Music Awards and New England Music Awards over the years but the most important reason to celebrate her may be due to her latest single, “No Kings in America.”  It’s not just a catchy folk song, it channels Bob Dylan, Woody Guthrie and Pete Seeger to make a striking statement of the political landscape we are living in currently. The raw emotion of the song is poignant and powerful as she takes us down a path questioning the current government’s impact on the N.I.H, the environment, our schools, D.E.I., the F.D.A. and more.  “No Kings in America” is a reflective tune and a reminder music can be a catalyst for social change. While it may be only Lisa’s voice that sings the song, it gives us all a voice to remind those in power that no one is above the law.  (Lois P. Turpedro) 

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REVIEWS – SPRING 2025

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The 2024 New England Americana Fest has a “Three View” review! As we had multiple reviewers in the audience that submitted reviews capturing different parts of the night, we decided to publish all of them.

Review 1 of 3:

DAMIAN ISRAEL, NICK ZAINO, REPLACING THE DJ

Medford Brewing Company, Medford, MA 

12/19/24

The New England Americana Fest is back and better than ever. With beer flowing and a SRO crowd, local music fills two stages at The Medford Brewing Company, with little pause in between the 19 acts here tonight; as sound techs and organizers work hard to keep the tunes pitch perfect. 

With both rooms buzzing, I am able to catch the first three acts on the acoustic stage with Damian Israel of The Displayers kicking things off. Israel begins his set with a low key original tune as onlookers are just getting warmed up  for the night. Israel ends his  three song set with an upbeat version of “Oh Holy Night” as the crowd shows its appreciation to Israel’s thoughtful fusion of folk and pop that never overpower the holiday sentiment.

Next up is Nick Zaino, who is ready to keep the festive spirit alive. A bit more on the rock side,  and with his guitar and harmonica on hand, Zaino pleases the crowd with three holiday songs, including a lively rendition of Tom Petty’s “It’s Christmas All Over Again.” Nick’s style is often described as a mix between The Band and Elvis Costello, with a bit of the Jayhawks thrown in, and tonight, he is clearly embracing his influences.

Seeing Replacing the DJ is up next, I am intrigued.  Billed as a groovy, instrumental jazz duo, Boston music staple,  Jay DiBiasio, of such bands as Three Day Threshold, and well-known bassist John Stump, dazzle the crowd with their  acid-jazz vibes, including a funky interpretation of The Jackson Five’s “Never Can Say Goodbye.” I think they have a fun and successful future ahead of them as one of Boston’s newest bands. 

As the crowd is growing thicker and the “standing room only” becomes less spacious, I am happy to see Boston’s local music scene alive and well. It’s great to see such a diverse and lively crowd come out to support the efforts of so many.  (Gina Tempesta)

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Review 2 of 3: 

2024 New England Americana Fest

Medford Brewing Company, Medford, MA 

12/19/24

Its a cold December night that kicks off with a bang with Damian Israel Shiner of The Displayers. Diving right in, he strums away on his acoustic guitar and the crowd immediately gathers. Damian’s songs walk the line between folk and pop punk, leaving you with a positive feeling. With Damians powerful and versatile voice, the good vibes flow freely as he caps off his set with a Christmas carol (as it is December).  

Up next is The Dave Sammarco Band. These guys bring it all and don’t pull any punches.  Their set, complete with fiery fiddle solos bring an air of authenticity to the New England Americana Fest. Dave and his boys have been masters of the Americana circuit for a long time. It is good to see they can still rock out hard.  

Nick Zaino is a guy who always seems to stand out in a crowd. He exudes kindness and can bring a smile to just about anybody’s face.  Perhaps it’s his background running Boston’s Comedy Radio (https://bostoncomedyradio.com/) or it could also be his penchant for writing clever songs with witty hooks. Tonight it’s no surprise that he wins the crowd over,auplase echoing through the room with each song..

Keeping in the comedy theme, Robby Roadsteamer, a Boston legend infamously known for his antics stirring up trouble, combining comedy and activism takes the stage.  Robby was a last minute addition to the bill after one artist had to drop out. Saving the day, Robby takes the New England Americana Fest stage decked out in a red suit, with his usual brash confidence.  His rants are less political than some of the viral videos from Instagram but no less controversial. “Construction Boots” is called out as a request and in a flash you can tell who is in on the joke and who is not. Some people are confused, and many more laughing as Robby exits the stage and hurriedly departs the venue for his next appearance elsewhere.   

Replacing the DJ is a jazzy new band featuring Americana veterans guitarist, Jay DiBiasio & bassist, John Stump, performing instrumental grooves. The musicianship is tight as guitar and bass weave complex melodies and rhythmic patterns grazing on influences from jazz, to jazz manouche to even hints of surf rock and chicken-pickin’ country rock. They are a delight and their set ends too soon.

Stone country rock is the trademarked sound of Sunfisher.  Despite the fact that they are without their regular drummer, the band seamlessly plays a tight set that has the crowd swaying and stomping along. Singer and acoustic guitarist, Scot Fitzsimmons, commands the stage like a young George Jones and delivers alt country with an edge. The band is as tight as George Jones’s Smoky Mountain Boys too, holding things down like pros. With ripping lead guitar and steadfast bass playing, this is a band to watch. 

Comanchero have been making waves in the Americana scene for a long time, and it’s evident by their unique take on Americana twang fused with jam rock.  Tight grooves, funky basslines and even a bit of reggae are mixed together in a soup that would make your mama jealous.  Behind the kit, Greg Moon croons out tunes, blending perfectly with their other singer Sam Margolis, who can sing to the rafters. Whether they are trading off lead vocal duties or harmonizing with each outer, their vocal display is dazzling. 

Chuck Melchin, the frontman of the Bean Pickers Union, has a new project called “The Bluest Sky”. The music is more up-tempo recalling the alt-country bands of the mid 90’s. There isn’t any room to get closer during Chuck’s set, as the crowd has squished into every possible nook and cranny in front of him, craning their necks to get a better view of his performance..  Chuck responds in kind by belting out a dramatic performance with his trusty acoustic guitar, raising it above his head Pete Townsend-style, at one point.  

If you like Lester Flatts level flatpicking, three-part harmonies and a driving rhythm section, you would have had a smile the size of Texas on your face as Sam Reid & The Riot Act perform. Sam Reid lays down breakneck bluegrass solos speckled with Caribbean rhythms, and mandolin player, Aaron Goff, plays the mandolin with the precision of an MGH surgeon. In a room with a very high percentage of musicians, there were a lot of people in the crowd left with their jaws dropped open in stunned disbelief at the virtuosity of this band.  There’s never been an Americana roots and bluegrass band like this.

Representing Wayward Vine is Valerie Rachel on lead vocals and keys and Greg Lawrence on acoustic guitar and harmonica.  The music has a singer/songwriter feel; a blend of folk and country with poignant lyrics and well crafted hooks.  Valerie’s voice is tender and heartfelt, supplemented by Greg’s melodic harmonies.  The music is passionately delivered and catches the crowd’s attention. A big two thumbs up for Wayward Vine. 

Daniel Miller & The High Life are a hard working Americana band that aren’t afraid to play with a little twang and kick some ass.  Knoxville, TN transplant to New England, Daniel Miller writes songs that have grit, fury and a truckload of heart. A highlight of the festival is when the boys play “Mad as Hell,” a  song that rocks super hard and has the whole room bobbing their heads along in rhythm.

Celebrating his recently released debut album, Andrew Mason McIntosh is joined on stage by Andrew Vincent and Jeffrey Finkelstein. Andrew has a knack for putting together undeniably catchy originals. His set is quirky and fun and when he plays his song “Dónde Está el Baño?” he has the whole bar singing along. Though he’s still relatively new to the Americana scene, Andrew Mason McIntosh shows a lot of promise. Definitely keep an eye out for this up and coming artist. 

Pushing the Christmas theme hard is Lonely Leesa and The Lost Cowboys.  Clad in a Christmas tree dress, Lonely Leesa music has a lot of flash, sparkle and holiday spirit.  Their over the top set includes a cover of Mariah Carey’s “All I Want For Christmas is You” featuring Jason McGorty of The Kettle Burners on accordion and Darlene Love’s “Christmas (Baby Please Come Home”. With Christmas only a few days away, even the Grinchiest of Grinches would be moved to celebrate a little winter holiday cheer after hearing Leesa’s set.

A newcomer on the Americana scene and a welcome surprise was the soft folk and bluegrass stylings of Katie Leigh.  Katie’s soft and gentle vocal approach enabled her to craft magnificent harmonies with her guitar. There were a few small technical issues during her set but those who hung out for her set got treated to some really nice bluegrass tunes with hauntingly beautiful singing. She is another one to watch. 

When I heard Tigerman Woah! was going to be a part of tonight’s lineup, I couldn’t help but smile. This quarter has been one of my longtime favorite bands and one of New England’s heaviest hitters when it comes to the Americana scene.  The band comes out with a bang, firing on all cylinders in a folk-punk onslaught. The crowd chants along with lead singer, Adam Kazynski, who wields his banjolele like it’s a loaded weapon. Kevin Landry’s stand up bass and Adam Lentine work behind the kit equal a monster of a rhythm section. Jonathan Feinberg ripping it up on lead guitar caps things off nicely. The crowd loves it and eats up every second of it.  

Other Brother Darryl not only won the Boston Music Award for Country Artist of the Year, but they also won the award tonight for most stringed instruments on stage; two acoustic guitars, an electric guitar, a bass guitar and a banjo.  That being said, the crowded room of folks tuning in to see them play at the New England Americana Fest are getting quite a special treat of “Cosmic Canyon Rock” reminiscent of Gram Parsons, Jayhawks and Uncle Tupelo. The soulful dulcet voice of Dan Nicklin is complimented by the euphonious harmonies sung by Nate Leavitt, all wrapped in an embrace of acoustic guitar. Listening to the band perform, I get the feeling like I’m being transported to a faraway place where everything is calm and at peace. 

As the music ends, I snap out of my dreamlike state only to be pulled suddenly across the venue to hear music from the next band. Growling guitar, thunderous bass, swirling hammond organ and powerful drums rally around Nate Perry’s voice and hollow bodied electric guitar. Nate Perry and Ragged Company were recently nominated for a Boton Music Award for “New Artist of the Year”, and upon seeing their high-energy, raw and uplifting performance tonight I can understand why. The show ends too quickly and leaves everyone wanting more. I am looking forward to catching this band on Boston Calling this summer.

2024 Boston Music Award Nominee for Country Music Artist of the Year, Elisa Smith and her fiddle playing partner in crime, Erin Bonnie, are a fiery duo.  Headlining the acoustic stage, Elisa sings with the voice of an angel and Erin plays like she’s got a fiddle of gold on the line. This charismatic duo keeps the crowd captivated, with the onlookers hanging on Elisa’s every word.  Though Elisa is no stranger to Nashville, we are glad she calls Boston home.

In closing, this was an amazing night of music and community, raising over $2,000 for the Boston Children’s Hospital.  As this chapter closes in New England Americana, please feel free to revisit this year’s performances on the NEAF Youtube page or Rock’n in Boston Youtube page, thank you Just Bill!). Until the next New England American Fest, thank you everyone who made this possible! (Kier Byrnes)

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Review 3 of 3 from Nick A. Zaino III (writer for The Boston Globe, No Depression, American Songwriter, etc):

2024 New England Americana Fest

On a logistical level alone, the New England Americana Fest Winter Jubilee was an impressive feat. Nineteen performers [including myself, but I won’t review me here, I have too much pride] played on two stages at the Medford Brewing Company. One corner by the bar was designated the Acoustic Stage [which is where I played, but I won’t review me – I have too much pride], and the main room with the Full Band Stage. Most everyone played three songs, bouncing back and forth between the stages, one act striking up just as the last stopped.

The packed crowd bounced from one side of the place to the other to try to take it in. Sooz from online Boston music station Oh, Hello Boston, compared it to local band speed dating. Taken as a whole, the evening showed off the depth and breadth of the local Americana scene. Some of the heavy hitters like Tigerman Woah! and Other Brother Darryl topped the bill, along with the indefatigable Kier Byrnes, who organized the event, fronting his Kettle Burners.

On the acoustic stage, damian israel shiner of damian & the displayers kicked things off solo with his fine, sonorous voice. The Telecaster and bass duo Replacing the DJ played a slinky, funky set of pop and jazz covers, John Stump laying down the groove and Jay DiBiasio skating over the top with cosmic guitar licks. Chuck Melchin played solo acoustic. The duo Wayward Vine harmonized beautifully. Andrew Mason McIntosh kicked off his set with a minor key rocker reminiscent of Dylan’s “Things Have Changed,” and worked a little “Blue Christmas” into the theme. Katie Leigh had a classic old-timey folk sound that wouldn’t have been out of place on 40s country radio. Other Brother Darryl, recent Country Artist of the Year at the Boston Music Awards, promised ten minutes of chaos, though what we got was the heartfelt Jayhawks harmonies of  their single “Sometimes” and a song they have to release as a studio track, “Trees.” Elisa Smith and Arin Bonnie (surprisingly, the only fiddle player of the night), closed down the Acoustic Stage with their modern country stomp.

The Dave Sammarco Band christened the Full Band Stage with their twangy traditional country sound. Robby Roadsteamer made an appearance. Rockers Sunfisher amped up the overdrive, with some particularly strong lead guitar. Comanchero vacillated between reggae and straight-ahead rock grooves. Sam Reid & The Riot Act, playing as a four-piece, had a bouncy bluegrass feel, trading off acoustic guitar and electric mando riffs. Daniel Miller & The High Life played a muscular rock set with two electric guitars blazing.

A few acts got into the Christmas spirit, but none more than Lonely Leesa & The Lost Cowboys. Singer Leesa Coyne, decked out in a Christmas tree dress and hat, belted holiday classics, Mariah Carey’s “All I Want For Christmas Is You” and Darlene Love’s “Christmas (Baby Please Come Home).” Those songs are in everyone’s ears every year, and they’re not easy to make fresh, but Leesa and the band put their backs behind them and drove them home. Not easy energy to follow, but Tigerman Whoa! can make a three-song set sound like an epic show, and they did with “My Grave,” “Guess So,” and a rousing “May the Circle Be Unbroken.”  Nate Perry and Ragged Company brought to mind early Son Volt with their set. Kier Byrnes and the Kettle Burners ended the night with an energetic set, driven by some nimble accordion work and some washboard scratching for good measure.

The night benefited the Boston Children’s Hospital. If you missed the night and still want to donate, you can find out how on their website. And if you want to catch some video of the performances, Damian and Bill Woodworth spend the night running around and capturing the bands. You can find a lot of it on their individual sites, or on Bill’s site RockInBoston.com.  (Nick A. Zaino III)

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MIKE QUINN

Medford Brewing Company, Medford, MA

3/19/25

There can’t be many places better than Medford Brewing to enjoy a cold American Pale ale, brewed by brewer/musician/poet, Max Heinegg, while taking in some good ole’ American rock n roll. Boston music veteran, Mike Quinn, has center stage, rocking the red strat and a sweet goatee. He’s dressed casually in a plaid flannel shirt, blue jeans and black Adidas sneakers but his music is anything but casual; he’s a bottomless pit of smartly written, quirky pop songs driven by a strong captivating voice. In between belting out everything from ballads to rockers; he shares a fun fact and reveals that all of the guitarists in the three bands he plays in currently all happen to be named “Adam.”  As Mike dives back into the songs, he reminds me of a folkier Fountains of Wayne or a more serious Weezer. The back room of Medford Brewing is packed with onlookers as Mike surprises the crowd with a R.E.M. cover, “(Don’t Go Back to) Rockville.” It’s a great night but I have to make it to another location unfortunately, sad to miss out on the other great acts on this evening’s bill; Christina Lacoste and Magen, Mike & Stud. (Kier Byrnes)

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ELISA SMITH

Plough and Stars, Cambridge, MA

3/14/25

Got a late start tonight but fortunately for me, the Plough and Stars is one place that’s happening just about anytime of day or night. I’m lucky enough to catch the last set by Elisa Smith.  She cranks out a mix of originals and eclectic, fun covers like “Jambalaya (on the Bayou)” by Hank Williams to “A Bar Song (Tipsy)” by Shaboozy. She has an authentic, modern country sound held solidly together by Matt “Steady” Ricetti on drums and Erin Bonnie on fiddle.  The drinks keep rolling in and so do the songs, as Elisa and her crew lay down some seriously tight jams laced with bluegrass and bourbon. Elisa shares with the crowd that she’s raising money to help finance her new album “Perfume” which she is recording down in Nashville, TN. She cuts into a country version of Bob Seger’s “Night Moves” which has the whole crowd singing along. Another stand out tune is “Hitch A Ride” from one of Elisa’s bandcamp EPs. The chorus, “Gonna hitch a ride on your tailgate baby” is one of those powerfully catchy songs that gets stuck in your head after one listen.  The show ends with a soft duet between Elisa on acoustic guitar and Erin on fiddle both harmonizing eloquently. It’s a great way to end a fun night. (Kier Byrnes)

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COMANCHERO

Darkness

Single

Seamlessly blending reggae, classic blues rock, Americana and a little funk, lies Comanchero’s latest single, “Darkness”. Strong vocals and well crafted, misty lyrics pull the listener in but it’s the soulful harmonica mixed with catchy lead guitar riffs that help put the song over the top.  The vocal delivery of the lyrics make this song a definite rocker but the lyrics are a bit more complex (citing the verse about the blood stain on the door, for example), revealing a dark yet spiritual quality. The song is definitely a rocker. Recently nominated for Worcester Music Award, Comanchero redefines what the standards are for Americana jam rock. “Darkness” is a great song to  Check these guys out at a gritty dive bar near you. (Lois P. Turpedro) 

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ZION RODMAN

The Lives I’ve Kept

Single/3 tracks

Boston-based (by way of Cape Cod and Chicago) artist Zion Rodman brings a refreshing authenticity to New England’s music scene. His soulful voice and melodic guitar work knit together a genre-bending repertoire of originals that include introspective acoustic ballads that wouldn’t be out of place in the closing minutes of an episode of “Scrubs” or “Ted Lasso” (“Whatever Happens”/”Everybody That You Know”), powerful songs with a message (“Did Not Wake Up Today”), and up-tempo roots-rock (“Parking Lot at Night”/”Into the Night”) anchored by an excellent rhythm section. The tracks on the 2024 three-song EP/single “The Lives I’ve Kept” add retro nods to alt-pop influences from the early 90s but shorn of the pretensions that relegated Counting-Gin-Blossoms-in-the-Soul-Asylum to nostalgia playlists. The result is an updated and fresh indie-folk sound grounded in good songwriting and yet rooted in tradition. (Jay Jenne)

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NATE PERRY & RAGGED COMPANY

The Otherside of Everything

7 song EP

Nate and his band, Ragged Company, are on a steady rise, and their five-song EP, “The Otherside of Everything”, is clear proof. A collection of tracks that feel both classic and fresh, the EP—recorded at Rare Signal Studios by the renowned Brian Charles—strikes a perfect balance between polish and raw emotion. At its heart is Nate’s voice, which stands out for its sincerity, strength, and natural fit within the band’s sound. He doesn’t just sing; he connects. His time in Nashville during his Army years has shaped his songwriting, bringing a touch of country-influenced storytelling to his heartfelt lyrics and memorable melodies. By the second chorus of most tracks, you’ll find yourself singing along—reminiscent of the kind of hooks that made Tom Petty and Creedence Clearwater Revival timeless. Ragged Company is a well-rounded, cohesive band. Sam Demello provides a solid, driving rhythm on drums, while Connor Milligan’s bass lines add depth and groove, all while contributing harmonies. Ollie Nash brings richness on keys and vocals, and Chandler’s lead guitar work is both tasteful and powerful, knowing exactly when to step forward. His raw, expressive solo on Preacher is a highlight. With an upcoming performance at Boston Calling, Nate and Ragged Company are poised for bigger things. If The Otherside of Everything is just the beginning, there’s plenty more to look forward to. (Brendan Murphy)

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SAM REID & THE RIOT ACT

Satellite – Remnant Brewing, Cambridge, MA

1/27/25

It’s”Bluegrass Mondays” at Remnant;’s Brewing’s Satellite (the old Atwood’s Tavern). Up on stage is Sam Reid & The Riot Act, known for Caribbean infused bluegrass polyrhythms and  witty banter between songs doused heavily with dueling solos between a fiddle, electric mandolin and acoustic guitar. Sam Reid, as always, is center stage calling the shots and slinging flatpicking runs and riffs as if they were confetti at a wedding.  Even though it’s a school night, there is a sizable crowd in the seats in front of the stage, and with Sammy and the boys playing some hot country tunes, it feels like a rowdy party could break out at any second. Joe Kessler struts out into the crowd, hamming it up while soloing on his notorious blue fiddle and the band doesn’t skip a beat. JC Campbell drops one of his drumsticks and Aaron “The Pipe” Goff picks it up, while playing mandolin and gives the cymbal a smack.  It’s highly entertaining and also has a damn high level of musicianship. As the night winds down, I have to tip my hat to the great Liam the Bartender who also used to hold down the bar during countless nights of Americana concerts at the old Atwoods. While the name of the venue has changed, it was great to see a friendly face and hear some great tunes. (Kier Byrnes)

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ERIN BONNIE

“Roger”

Single

From Big Sky to the Big Dig, Montana-born Erin Bonnie has been sharing her take on classic country, western swing, and acoustic tales of wayward characters and love gone wrong in the Boston area for over a decade. Bonnie’s songwriting and style somehow manages to be simultaneously fresh and timeless. She might have graduated from the Berklee College of Music, but her repertoire has more in common with the Conservatory of Sawdust Floors and Lonely Roadside Bars. A multi-instrumentalist with a guitarist’s sense of what drives a song and a fiddler’s gift for melody. Vocally, there’s a little of Gillian Welch, but also a lot of Iris DeMent. It’s a nice mix. Her latest single “Roger,” released in 2024, is a character study set to a gentle acoustic shuffle interpolated with Bonnie’s own inventive fiddle playing. (Jay Jenne)

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HOMEFRIED VALENTINES, PYEWACKETT

The Square Root, Roslindale, MA

3/22/25

An eclectic but charming cafe in Rozzie, The Square Root has  built a reputation throughout the northeast for putting on some great nights of music.  The crowd goes quiet as the duo known as Pyewackett, takes the stage for their debut show.  The duo is composed of Julie Kantner on guitar and Donna Sartanowicz, on a Paul McCartney style violin bass. Although it’s their first show as a duo, Donna and Julie demonstrate such powerful chemistry on stage, playing off each other effortlessly.  Donna also performs in a band called “The Nocturnal Adoration Society,” which was nominated for a New England Music Award last year.  She performs a few of that band’s numbers in addition to Pyewackett originals, keeping the crowd captivated with her catchy songs and lovely voice.

A  three piece band that hails from both Boston, MA and Readsboro, VT is up next.  Homefried Valentines features the husband-wife duo of Michael Eigen on vocals, guitar and drums and Carla Eigen on vocals and electric ukulele.  Both of the Eigens come from impressive musical backgrounds. Michael performed in the Americana band, Los Goutos and Carla is a trained opera singer who also performed in the 90’s alt-rock band, The Sextiles. Homefried Valentines deliver a blend of Americana/folk music that is both vibrant and theatrical as well as sparse and introspective, thanks in part due to Carla and Michael’s beautiful intertwining harmonies, with slow vibrato and impressive sustain in their vocal delivery. Their set flies by with each song being received well and returned with much applause from the audience. Anthony Giordano, the owner of the Square Root is on hand and by the smile on his face, I’d guess he is enjoying the show. The Square Root is a special place for both music and community and tonight was a heck of a night. (Kier Byrnes)

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THE VELVET DIRTMUNCHERS, BASICALLY GOOD PUPPET THEATRE

The Dead of Winter 3 Festival, The Rockwell, Somerville, MA

2/26/25

Due to other obligations, I only make the second half of the show, but as I walk in during intermission, I can immediately tell I have walked in on something special tonight at The Rockwell. The band hosting the night, The Velvet Dirtmunchers, or as I call them, my favorite new band, take the stage and they 100% slay. From funeral marches with edgy lyrics and accordion arpeggios to ballads in funky time signatures, this band is as eclectic and eccentric as they come and that’s just the tip of the iceberg of what makes The Velvet Dirtmunchers so damn special.  The band has a horn section, which I believe were nicknamed “The Worm Gang” that at times lay flat down flat on the ground as they played or at other times were out in the crowd choreographing a new dance with the audience in ⅞ time.  Bandleader, Camille, was gracious and talented; her songs were captivating, dark and beautiful, brought to life with lovely arrangements and talented players.  

As if the music of The Velvet Dirtmunchers wasn’t enough, with its odd time signatures, wild tales and irreverent and whimsical performance,  part of the festival also included some highly creative puppetry by Basically Good Puppet Theatre. A twenty-four inch Dracula came down from his castle and attacked a puppeteer, while Belinda the Witch either offered advice and bits of wisdom to the crowd, while she wasnt hexing them. It was a quirky night and the heavily interactive performance of the band and the puppetry was fun and engaging.  Sign me up for the Dead of Winter 4! (Kier Byrnes)

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ELISA SMITH

I Shouldn’t Drink Around You 

Single

Listening to Elisa Smith’s single “I Shouldn’t Drink Around You,” brought me hope that the future of Country music is in good hands. On first listen, the tune has a bit more rock ‘n’ roll feel than a modern-pop-country vibe. The song is gritty and saucy, a little tongue-in-cheek and definitely a crossover of  multiple genres. After looking up her bio, it all made sense. She was spoon-fed gospel, 70s Rock, old-school country and a bit of bluegrass from an early age. According to her website she is regarded as “Boston’s Honkey Tonk Queen.” With this single, Elisa Smith has proven she is more than that, with shades of Peggy Lee and Heart sprinkled in.  (Gina Tempesta)

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REVIEWS – FALL 2024

TIGERMAN WOAH!

Live at The Bridge Sound and Stage
16 tracks
There is a certain thing Americana music does better than other genres. A defiance, a transcendence that acknowledges death and drink and all the worldly troubles people carry around on a daily basis. Gets in grief’s face and gives it the finger. Tigerman Whoa’s music embodies this, and on Live at The Bridge Sound & Stage, they get right into it, kicking off this set with “My Grave,” leading the crowd singing the refrain, “Oh, though they’ve tried/I’ll send myself to my grave.”  The struggles are familiar. Promises not to get drunk (“Old Plank Road”), fighting the boss (“The ’69 Strike”), love and hate (“Guess So”), racism “Babydolls”), and even environmental apocalypse (“Count Me In”). The beating heart of the thing is country mythology, similar to how the Drive-By Truckers write. Musically, they cast a wide net. Plinking banjos and octave-split guitar solos. Walls of distortion and slinky Marc Ribot-inspired licks. Train beats and Gene Krupa-inspired swinging tom beats. The low, grumbling vocals sound like Woody Guthrie reborn in Soloman Grundy’s body. It’s hard not to feel the intensity when they play, especially when they’ve got a crowd in front of it. The music is a rallying cry for your feet and your soul. (Nick Zaino)

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CHRIS SHELBY (Featuring MARIAH ROSE)

Whiskey Dreamin’
Single
“Oh, great!” you say. “Another country song with ‘whiskey’ in the title.” You can’t be blamed for being wary of the one more dude with a Jack Daniels fetish and a need to tell you about it. But take a breath and give this one a listen. There is considerable charm in this song about a guy who is disappointed in himself, and hoping the woman at the end of the bar (in this case, his duet partner Mariah Rose) won’t see that. “Here we go again/I think I’m falling in love,” he sings. “Here we go again/I better not screw this up.” This is not a chest-beating stereotype, it’s a humble, hopeful guy who can’t help himself. And that’s what lifts this radio-ready single out of the amber swamp. (Nick Zaino)

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OTHER BROTHER DARRYL

Singles Series: “Until I Do,” “Drive,” “Gypsy Girl,” “Sometimes,” “The Ballad of Joni and Graham”
Five singles
This set of singles from Other Brother Darryl is an excellent introduction to the Boston-area Americana supergroup. The band counts The Jayhawks and Wilco among their musical touchstones, but the most recent singles feel like a drive through Laurel Canyon, circa 1970, and not only on the obvious homage, “The Ballad of Joni and Graham.” These songs feature strong CSN-style vocals with a little of Young in the production and arranging. The single “Sometimes” also recalls other Gen-X lovers of the Laurel Canyon sound (Jakob Dylan, Counting Crows) with its layered instrumentation and wistful melodies. All of the songs feature strong professional studio polish, and special mention should be given to keyboardist Dave Lieb, who is as essential to the sound as the contributions from singer-songwriters Dan Cederholm, Nate Leavitt, Dave Mirabella, and Dan Nicklin. The tracks bode well for the release of their debut album, Roll Shine Roll (dedicated to founding member Mirabella, who sadly passed away in 2022), due out early next year. (Jay Jenne)

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THE MAGIC CITY

Roadrunner Vs. Your Mother
Single
Starting with a short, grunge-sounding, guitar solo, the intro to this song sets up the mood to be somewhat ominous. It almost sounds as if they blended sound and texture ideas from the 90s and brought them to life in a new light, here in the 21st century. As the vocals come in, the story begins, and it draws you in. Not too much later, the harmonies trickle in, but from a distance, making you really listen and pay attention to the creative lyrics and story being sung. The chorus has an interesting chord progression, and it’s not one your mind can completely predict. It brings you to new places, and in response, aids in the emotional flow of the song. The guitar solo from the intro comes back in as a short interlude, bringing back the main themes from the beginning. As the second verse comes in, the same melody is used, but they utilize call and response to change it up. This leads into a longer guitar solo that isn’t overly complicated, but fits the vibe of the song quite nicely. As the last chorus approaches, the lyrics change and mix up with previous words from earlier on in the song as it fades out. Overall, this song tells a story with mixed emotions, and isn’t too much for the ear to comprehend. The blending of their sounds has a sense of nostalgia, and they capture a different kind of sound we don’t hear too much of today. (Jayna Leach)

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ANDREW MASON McINTOSH

Water Comes Down
8 tracks
Water Comes Down showcases eight stylistically diverse originals from Boston-based singer-songwriter Andrew Mason McIntosh. His high, keening tenor recalls a young Luka Bloom, especially on the earnest strummer “Responsibility.” McIntosh’s songwriting explores a broad musical palette – from the whimsical Spanglish of “Donde Esta el Baño” with its “too much cerveza, not enough comida” narrative echoing the Gulf and Western stylings of Kenny Chesney to the piano ballad “Reality Check” giving off strong Brit-pop vibes. The album’s lo-fi production is a feature rather than a bug, as creative percussion choices give each track a distinct identity. (The atmospheric glockenspiel on “Addiction” recalls Lou Reed-era Velvets.) Known for his entertaining live performances and clever mash-ups, McIntosh brings that same energy to these compositions, creating an album highlighting his strengths as a songwriter and performer. (Jay Jenne)

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JIMMY RYAN

Readville
8 Song Album
In his 30+ years of playing music, we have come to expect great things from this left hand mandolin genius.  On his 5th solo release, Jimmy Ryan does not disappoint once again. Aided by Ed Reimer and Dave Westner, Jimmy takes the listener through expertly crafted songs, laden with mandolin hooks and clever lyrical twists. Most people associate mandolin with folk and bluegrass; on Readville, Jimmy proves that it can be quite an instrument to rock out on as well. The biggest surprise on the album was Jimmy’s fiddle playing. Everyone knows that he’s a talented mandolinist, but turns out he’s pretty sharp on the fiddle as well. There are 8 solid tracks on this record, a terrific listen from start to finish. This is a must have for collectors of fine music who enjoy just the right amount of eclecticism. (Kier Byrnes)

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OTHER BROTHER DARRYL

The Ballad of Joni and Graham
Single
For those not in the know, Other Brother Darryl is, as they call themselves, a “Boston-based alt-country supergroup,” made up of players who have been part of the fabric of the local Americana scene for years – Dan Nicklin (vocals, harmonica, percussion), Nate Leavitt (vocals, acoustic guitar), Dan Cederholm (drums), Chad Raleigh (multi-instrumentalist), Derek Feeney (acoustic guitar), Dave Lieb (keyboard, vocals), Jim Collins (bass, vocals). There is a lot of experience in that line-up, and it shows in the quality of the songwriting and the polish in the production. “The Ballad of Joni and Graham” is inspired by Joni Mitchell and Graham Nash, and the brief late-60s romance that itself inspired CSNY’s “Our House” and possibly Mitchell’s “A Case of You.” OBD’s lyrics are stuffed with references to that story, nodding to a telegram Mitchell sent to Graham (“Time goes by like sand in your hand”) and Graham’s lyrics (“two cats, the yard, the home”). The thing that sticks is the beautifully-rendered longing, starting with the words and enhanced by slow bounce of the groove and sweet harmonies. It should be noted here that the band credits beloved Rationales frontman David Mirabella, who sang and played on the demo of this song released as a b-side of OBD’s debut single “Until I Do” in 2022, with “spiritual guidance” for the band in general. Mirabella passed in 2022, but you can still hear him, literally and spiritually, in Other Brother Darryl. (Nick Zaino)

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THE WHISKEY BOYS

Time Machine
10 Song Album
Cambridge has always been a stronghold for folk music; whether it’s the Harvard Square’s New England Folk Archives or legendary folk music venue Club Passim. One of the world’s biggest folk music record labels, Rounder Records used to call the area home as well. Today, this town is the home of The Whiskey Boys, one of the premier folk acts around. Led by fiddle/vocalist, David Delaney, the band builds on the folk genre by exploring new themes and utilizing some creative approaches on traditional folk music. The music is so fresh and entertaining, it will leave the folk purist or the average radio listener quite pleased. This band continues to turn a lot of heads in New England.  This band is one of the best you will find in town. I wouldn’t be at all surprised to see The Whiskey Boys as one of the big up and coming acts at next year’s Newport Folk Festival. (Kier Byrnes)

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JEFF BYRD & DIRTY FINCH

Draggin Bones
12 Song Album
This Rhode Island based alt-country quartet have an impressive debut in Draggin Bones.  Their descriptive vocals, twangy sound and emotive performances remind me of a cross of Travelling Wilburys, Ryan Adams and NRBQ. Frontman, Jeff Byrd has a terrific line up with Dan Simpson, Steve Del Tufo and Shawn O’Brien. The group has real chemistry and it shows, especially on songs like “To Be Within/Without” and “Something So Beautiful.”  Its bar room rock at its finest. These guys do a lot of touring fortunately and should be back here in Boston soon. (Kier Byrnes)

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JIMMY RYAN

Mandolin
7 song album
This EP is about as bare bones as you can get. One man, one mandolin. Sure there is some over dub style layering here and there but overall its complete minimalism. Jimmy Ryan, one of the best mandolin players in the country, call Boston his home and is a regular in the Cambridge folk and Americana scene. As one of the top session players in town as well, Jimmy is often sitting in with other bands, however here he is alone and the sound is sparse, but quite beautiful.  His interpretation of the Stones’ “Sympathy for the Devil” is alone worth the listen, but there are 6 other tunes on here equally praise worthy. (Kier Byrnes)

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