{"id":24,"date":"2024-11-08T16:35:13","date_gmt":"2024-11-08T16:35:13","guid":{"rendered":"https:\/\/kbfreedomrunners.com\/americana\/?page_id=24"},"modified":"2026-02-20T17:32:03","modified_gmt":"2026-02-20T17:32:03","slug":"reviews","status":"publish","type":"page","link":"https:\/\/www.newenglandamericana.org\/index.php\/reviews\/","title":{"rendered":"REVIEWS"},"content":{"rendered":"\n
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New England Americana reviews Americana & Americana-adjacent bands from New England<\/em><\/strong><\/em><\/strong><\/p>\n\n\n\n

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NEW ENGLAND AMERICANA <\/em><\/strong><\/p>\n\n\n\n

YEAR IN REVIEW<\/em><\/strong><\/p>\n\n\n\n

Who rocked our world this year?<\/strong><\/p>\n\n\n\n

10. All the writers and folks who went out into the world, hunting for great Americana bands and came back with music reviews which then they submitted to New England Americana.<\/p>\n\n\n\n

9. The New England Music Awards and Boston Music Awards for helping build community, bringing musicians from all the scenes together.<\/p>\n\n\n\n

8. The Bellforge Arts Center<\/a> for being a beacon of art and culture in New England as well as an amazing host to the New England Americana Fest.<\/p>\n\n\n\n

7. All the New England Americana bands that pitched in to help the cause this year, especially, Dave from Dirt Road Souls<\/a>, Nate from Other Brother Darryl <\/a>and Sam Margolis from Comanchero<\/a>.<\/p>\n\n\n\n

6. Jeremy Selwyn (and Taquitos.Net<\/a>), who not only generously supports this site, but also is a regular out catching Americana shows<\/p>\n\n\n\n

5. Michael Marrotta and Knyvet<\/a> for being the best Public Relations crew in the biz!<\/p>\n\n\n\n

4. Top level sound engineers who are always willing to lend a hand like Johnny Dalton, Mike Quinn and Hendrik Gideonse.<\/p>\n\n\n\n

3. Fantastic local businesses like Hemlock Ink, Harpoon Brewery, Medford Brewing and Nick\u2019s Pizza in Medford that support the local arts communities.  <\/p>\n\n\n\n

2. Online music publications who’ve supported New England Americana bands like Geoff Wilbur\u2019s Music Blog<\/a>, Twangville<\/a>, The Alternate Root<\/a>, and Rock and Roll Fables<\/a><\/p>\n\n\n\n

1. Radio shows who play local music, especially New England Americana bands, like  Bumblebee Radio<\/a>, MarkSkinRadio.com<\/a>, Oh Hello Boston<\/a> and Almost Famous on 95.9 WATD<\/a> <\/strong><\/p>\n\n\n\n

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REVIEWS – WINTER 2025<\/strong><\/strong><\/p>\n\n\n\n

This issue’s writers are AJ Crowe, Gina Tempesta, Erin Morse, Deb Aufiero, Kier Byrnes & Lois Turpedro<\/p>\n\n\n\n

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2024 New England Americana Songwriter Showcase<\/mark><\/strong><\/p>\n\n\n\n

Medford Brewing Company, Medford, MA <\/strong><\/p>\n\n\n\n

12\/12\/2025<\/strong><\/p>\n\n\n\n

The New England Americana Association really knows how to throw a party!  15 acts, 2 stages, 5+ hours of great music in 20-minute bites to keep the action flowin\u2019 with great beer and great camaraderie for a great cause, raising money for Boston Children\u2019s Hospital.  What\u2019s not to like?!  <\/p>\n\n\n\n

Chuck Melchin<\/mark><\/strong> – \u201cI love the way you tell a story, and I don\u2019t care if it\u2019s true.\u201d Chuck Melchin is a storyteller who uses music as his medium.\u00a0 I got heavy hints of Neil Young in his set, along with glimpses of the Old World in his soundscape.\u00a0 I don\u2019t know who accompanied Chuck on guitar, but his harmonies and solos fit the songs like a nice scarf on a cold December night.<\/p>\n\n\n\n

Mike Quinn<\/mark><\/strong> – I don\u2019t know if Mike is a bassist or not, but the bass lines of his playing and songwriting pop in a highly danceable fashion.\u00a0 I was getting whiffs of Sir Elvis Costello in his danceable tunes, not easy to pull off with just an acoustic guitar.<\/p>\n\n\n\n

Crab Elastic<\/mark><\/strong> – I\u2019m a big fan of vocals, but I wasn\u2019t bored for one moment in this eclectic set of instrumentals that ranged from the jazzy \u201cMore Today Than Yesterday\u201d to Jackson 5 to The Meters to a Beatles\u2019 mash-up.\u00a0 I\u2019m not sure what this band would not have the musicianship to pull off, and there were moments of Deep Groove in their stellar set.<\/p>\n\n\n\n

Coywolf Johnson<\/mark><\/strong> – First off, the vibe fits the name to a capital \u2018T\u2019!\u00a0 Thanks, Hendrik, for bringing \u201cThe Ballad of Belinda Sutton\u201d to the stage, a song about Medford, a song of slavery, a song of triumph.\u00a0 With just his acoustic bass, Hendrik eloquently spoke some dark truths of protest in a time that needs it more than ever.\u00a0\u00a0<\/p>\n\n\n\n

Lonely Leesa Coyne & The Lost Cowboys<\/strong> <\/mark>– I was blown away by their first song, \u201cSouthern Boys\u201d.\u00a0 In fact it was the highlight of my night!\u00a0 Just a straightforward, kick-ass rock song.\u00a0 I probably don\u2019t need to mention this, but Leesa clearly won the \u2018Outfit of the Night\u2019 Award for her Xmas tree dress.\u00a0 A nod to them for throwing in a Christmas tune, a bold one at that, taking on Darlene Love\u2019s \u201cBaby, Please Come Home\u201d and delivering with aplomb.\u00a0 I liked this band so much, I gave them all nicknames:\u00a0 Bass – The Professor, Guitar – The Savant, Drums – Gus, and Guitar\/Vox – Queen Sheeba.<\/p>\n\n\n\n

B.R Lukas<\/strong> <\/mark>–\u00a0 His one-man band falls right in that pleasurable line of stomp-rockers like The Lumineers and Mumford & Sons, etc., as the man certainly knows his way around a \u2018stop\u2019!\u00a0 Not a one-genre wonder, the last song was my fave, a very soulful 60\u2019s era folk tune.\u00a0\u00a0<\/p>\n\n\n\n

The Lazy Susans<\/mark><\/strong> – With a fun set running the gamut from 60\u2019s bubblegum to Motown to a Go-Go\u2019s sounding groove, this band of suburban rock moms gave me all sorts of B-52\u2019s feels, but with the added bonus of cowbell and rap interludes.<\/p>\n\n\n\n

Susan Cattaneo<\/mark> <\/strong>– She\u2019s a local songwriter who I\u2019ve definitely heard about for many years, but have never gotten the chance to see in person, until tonight!\u00a0 She did not disappoint.\u00a0 Powerhouse vocals, excellent rhythm guitar, and above all, songwriting at the highest level.\u00a0 Medford has a gem in Susan C. (AJ Crowe)<\/p>\n\n\n\n

Louder Than Milk<\/strong> <\/mark>– This is my first time seeing Louder Than Milk and I was impressed. Andy Crowe takes center stage belting out lyrics and strumming that acoustic guitar, though it doesnt stop there. Eric Smalley keeps things moving on bass with the help of Dana Reynolds on drums, Jay Paget and Jeff Todd dominate their electric guitars and Kim Patch brings it all home on fiddle. The band has got a lot of energy. Louder Than Milk is a country band that knows how to groove. They put a little grease on traditional country, bending it toward funk without losing the twang. (Kier Byrnes)<\/p>\n\n\n\n

Billy Dodge Moody<\/mark><\/strong> – Another local veteran of the music scene, Billy is a 5-tool player!\u00a0 I don\u2019t know about his basketball skills, but he\u2019s got the playing, singing, songwriting, recording, and let\u2019s throw in cool persona.\u00a0 Again, I\u2019ve seen his stuff online, but seeing him in person makes the music hit home even more.\u00a0 Not bad for a last-minute fill-in!\u00a0 All the songs were catchy, and it took all my strength not to jump on the vacant drum set for the last number, but luckily for the crowd, I\u2019m a pillar of self-discipline.<\/p>\n\n\n\n

Elisa Smith<\/mark><\/strong> – I saw Elisa last Spring at the N.E. Americana Fest at Bellforge in Medfield, playing with Erin Bonne as a duo. That was cool, and the full band treatment was cooler!\u00a0 I\u2019m a sucker for pedal steel, but the rhythm section was also top-notch, as you might expect.\u00a0 This falls on the right side of country music for me, the side still with a soul.\u00a0 It\u2019s nice to see Boston so well represented on the current scene.\u00a0 The driving solos of their 4th song was a highlight of the night for me.\u00a0 There\u2019s not much to match the beauty of a full band in sync.\u00a0 The closing duet of Elisa & Erin singing \u201cLord Have Mercy\u201d is a keeper.<\/p>\n\n\n\n

goh<\/mark><\/strong> – Chris and Jay bring the fun with their catchy 3-chord-and-the-truth songs.\u00a0 Their well-crafted numbers put out a lot of music for a duo, and I love the drum\/trumpet combo.\u00a0 Their witty lyrics bespeak bubblegum pop with edge.\u00a0 My favorite tune was the closer, a rare seasonal gem where \u201cshe put the \u2018Ex\u2019 into \u2018Xmas\u2019 \u201c.\u00a0 Bonus points for handing out shakers to get the audience in on the action.<\/p>\n\n\n\n

the displayers<\/mark><\/strong> – Another band whose act I caught out at Bellforge, the duo expanded to a trio, and their ethereal sound just took on an extra layer as a result.\u00a0 Terrific harmonies peaked in their fun mashup of \u201cAngels We Have Heard on High\u201d\/\u201dGloria\u201d!\u00a0 I\u2019ll definitely be checking out these cats again.<\/p>\n\n\n\n

Andrew Mason McIntosh<\/mark><\/strong> – Driving folk rock story songs with humorous lyrics, accompanied by electric guitar and bass, with special appearance by Jason McGorty of the Kettle Burners.\u00a0 Andrew brought the Christmas spirit with two great originals.\u00a0 Obviously a man of the world, he played a song about being a tourist in Mexico, as well as one about his clan in Scotland.\u00a0 We all got our money\u2019s worth with that set!<\/p>\n\n\n\n

Kier Byrnes & The Kettle Burners<\/mark> <\/strong>– Our gracious hosts closed out the night with a rockin\u2019 set.\u00a0 This is Americana rock with punk energy flavored with Eastern European\/klezmer rhythms. Think Dropkick Murphys crossed with Gogol Bordello.\u00a0 They performed their usual high-energy set and ended the night by handing out cowbells and other percussion to the audience for a rousing version of \u201cHonky Tonk Women\u201d.\u00a0 What a fitting way to end the party with community and a good, old dirty rock song!<\/p>\n\n\n\n

(Editor’s note: This review was written by AJ Crowe, except for the noted paragraph by Kier Byrnes)<\/em><\/p>\n\n\n\n

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NATE RAMOS<\/mark><\/strong><\/p>\n\n\n\n

Across the States <\/a><\/p>\n\n\n\n

11 Song Album<\/p>\n\n\n\n

Nate Ramos is a singer\/songwriter based in Plymouth, Massachusetts. In his debut LP Across the States,<\/em> Ramos and his band craft a narrative embedded in visions of the endless American highway soundtracked by layers of gritty Western instrumentals and emotive vocals. <\/p>\n\n\n\n

The album opens on a coupling of \u201cCatching Up (Intro)\u201d and \u201cCatching Up\u201d, a meandering, melancholy instrumental followed by a high tempo exposition track which bares an all-consuming yearning for the one you love on the road. Agony which primes to grasp at the mirage of hope dangled for them in track 3, \u201cAcross the States (Reimagined)\u201d. Here, the album\u2019s motif comes into sharper view through a daydream of no longer playing \u201ccatch up\u201d, an ambling trip on the open highway together, free from any obligation but to take your time. This theme is further explored through vignettes and metaphors, such as the solitude of an 18-wheeler\u2019s cab on a long haul in \u201cBallad of a Truck Driver (Reimagined)\u201d, the potential of free will in \u201cThe Junction\u201d, and living for more than tomorrow in \u201cCrosses on the Highway\u201d. The record\u2019s diversity of love songs is also something of note – while tracks like \u201cCatching Up\u201d and \u201cMeet You at the End of the World\u201d create tension and urgency, they are beautifully contrasted by more care free, tender tracks like \u201cCranberry Queen\u201d (a New England man indeed), and \u201cLovin\u2019 You\u201d. <\/p>\n\n\n\n

Across the States<\/em> offers complex, imaginative writing and instrumentals that are thoughtful, and intentional. Each track creates a sense of immersion, as if clicking through a reel of film with a viewfinder, and it leaves my heart satisfied. (Erin Morse)<\/p>\n\n\n\n

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HOUND AND HANDLER<\/mark><\/strong><\/p>\n\n\n\n

I Feel It All<\/a><\/a><\/p>\n\n\n\n

7 Song Album<\/p>\n\n\n\n

Hound & Handler is a bluegrass trio based in Boston, MA made up of Sean Davis (Mandolin, Vocal Harmonies), Joe Everett (Bass, Vocal Harmonies) and Ross Kiah (Guitar, Lead Vocals). Their 2025 LP release I Feel It All<\/em>, featuring banjo player Max Wareham, opens on a riff tinged with hope and weariness to present the title track. That tone persists throughout the song, most resonantly as Kiah sings, \u201cI revel in the pain that tears me down\u201d. This is the first of several earnestly narrated stories in this collection, including the incessantly catchy ballad of a youngest sister \u201cRandi\u201d, and the joy of making and canceling plans in \u201cPhil Swift (Taping Up A Leak)\u201d.<\/p>\n\n\n\n

The record has two wholly instrumental tracks, \u201cLittle Oatmeal\u201dand \u201cDodge & Burn\u201d. In \u201cLittle Oatmeal\u201d, H&H floats between sounds of warmth ranging from cozy, lived in guitar to something beachier with the addition of shaken percussion. In contrast, \u201cDodge & Burn\u201d features an arrangement that moves through tension, particularly as performed by the bass and mandolin.<\/p>\n\n\n\n

Not ones to shy away from the political, H&H also include \u201cMe & Mine\u201d, a personal favorite. The first minute of the song is only bass and vocals and as other instruments layer in, its lyrics bounce along a deceptively upbeat melody to rear a poignant commentary on our obligation to our communities and the world around us. 
From the opening riff in track 1 to the cascading solos in the outro of the final track, I Feel it All <\/em>is a beautiful representation of contemporary bluegrass, and it earns its praises. (Erin Morse)<\/p>\n\n\n\n

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WILL HATCH AND CO., ANDREW MASON MCINTOSH <\/mark><\/strong><\/p>\n\n\n\n

The Waterhorse, Franklin, <\/strong>NH<\/p>\n\n\n\n

1\/31\/26<\/strong><\/p>\n\n\n\n

While the Waterhorse is still a relatively new pub, it\u2019s quickly gained renown as New Hampshire\u2019s best Irish pub, winning the title by WMUR-TV\u2019s Viewer poll. In addition to being the spot for a fine pour of Guinness, it’s also becoming known as one of the top music venues in the area, drawing all kinds of acts. Tonight Andrew Mason McIntosh takes the stage. He is backed by a full band of skilled performers. He croons and ladies swoon, and has the whole bar singing along in no time. He splits his carefully crafted originals, the crowd favorite\u2019s being a humorous one about a tale of finding a bathroom in a Mexican bar, between well known covers of modern pop songs. It’s a delightful performance. Andrew seems right at home on stage, in his element. He is a rising talent and with the closing of his set, he\u2019s won over a new group of fans. <\/strong><\/p>\n\n\n\n

As the night rolls on, Will Hatch and Co. take the stage. The band is fired up and from their first chord, they dive right in and are totally crushing it.  The music is expertly played; Will and his band nail every note, from fiery bluegrass solos to bluesy barroom sing-alongs. Will reminds me of a sharply dressed Hayes Carll in both his voice and songwriting.  When you think you\u2019ve seen enough, their piano player, Taylor Pearson, jumps up and grabs a guitar or sings a song while Jon Cheney holds it down on bass and Brian Peasley hammers things out on the drums like a master carpenter. Will throws in a bit of banjo here and there for good measure and if this band wasn’t multi-talented enough, Will brings his wife, Lindsay, on stage who takes the mic and blows away the room with a  Patsy Cline cover.  If by the end of the night, your toes aren’t tapping along to this band, you should get checked out by a doctor. (Kier Byrnes)<\/p>\n\n\n\n

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NOCTURNAL ADORATION SOCIETY<\/mark><\/strong><\/p>\n\n\n\n

Lie to Me<\/a><\/strong><\/p>\n\n\n\n

7 Song Album<\/strong><\/p>\n\n\n\n

This New England Music Award nominated band features the husband wife duo of Jimmy Ryan and Donna Sartanowicz.  Jimmy is well known throughout the Northeast and beyond as a mandolin virtuoso.  Donna walks step in step, matching her spouse on bass and vocals. Taking the road of Woody Guthrie, Pete Seeger and Bob Dylan, their songs on \u201cLie to Me\u201d are politically charged, and while they were released in 2025, they are as poignant as ever, if not more in 2026.There are some other notable musicians playing on this album. Eric Royer, known for his banjo and one man guitar machine, contributes on pedal steel.   Mosquito Joe Macallan is on Drums, Chris Gleason plays something called a \u201crubber bridge guitar\u201d and a baritone guitar and a lap steel guitar as well as some other eclectic instruments. That being said, \u201ceclectic\u201d is a good word for this band.  It’s not too often to have a band led by a mandolin, unless your name is Bill Monroe. However, this isn’t a bluegrass band, this band rocks.  Put this band on your list of acts to see! (Lois Turpedro)<\/p>\n\n\n\n

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NORMA DREAM<\/mark><\/strong><\/p>\n\n\n\n

Mercy Drops<\/a><\/strong><\/p>\n\n\n\n

9 Song Album<\/strong><\/p>\n\n\n\n

In their new LP \u201cMercy Drops\u201d, released October 11th, 2025 with Worried Songs (based in New Brighton, UK), the six-piece ensemble Norma Dream imbues defiant tenderness and relentless hope into vignettes of sincere humanity. Based in Northampton, Massachusetts, Norma Dream consists of Norma Jean Haynes (songwriting, vocals, banjo), Will Amend (percussion), Camille Vogley-Howes (violin), Nino Soberon (cello), Eli Liguz (guitar, vocals, percussion), and Madden Aleia (guitar, keys). The skillfulness of the Dream-Team is undeniable. Each note precise, each word deliberate, and yet wholly lilting \u2013 instrumental lines rising, falling, pushing, pulling, cocooned in the warmth of the Coriscan summer that inspired them.<\/p>\n\n\n\n

From its first note to its last, \u201cMercy Drops\u201d weaves together centuries of global folk traditions. The album\u2019s opening track presents listeners with a choral arrangement of \u201cAfrica\u201d, a 1770 hymn from the Sacred Harp, which introduces the concept of the Mercy Drop itself \u2014 pebbles that tip the scales of sorrow toward graciousness, and which bring tenacity to our jubilance. In her writing, Haynes turns each of these pebbles over in her hand, shaping them into earnest poetry that rejects the instinct to heal by denying the existence of hurt. Notably, tracks like \u201cStrawberry Wine\u201d, \u201cBirds of Sorrow\u201d, \u201cJoyous\u201d, and \u201cUn Peu D\u2019Eau\u201d revel in these complexities while providing an immersive soundscape: birdsong, a thrumming clawhammer banjo, the undulating drone of old-time strings, and percussion molded meticulously to the mix. Each time I listen, I find new truth. (Erin Morse)<\/p>\n\n\n\n

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THE GOLDEN YEARS OF DUTCH POP<\/mark><\/strong><\/p>\n\n\n\n

Self-Titled<\/a> <\/strong><\/p>\n\n\n\n

7 Song Album<\/strong><\/p>\n\n\n\n

Formed in Boston in 2018 by brothers Matt and Peter DeAngelis along with their long-time friend Alasdair MaKenzie, The Golden Years of Dutch Pop <\/em>is the debut  self-titled album by this dynamic trio. Their mission statement says the goal of the band is to make \u201cgenre-blending rock-and-roll.\u201d With this album, their goal has surely been met. Although all the songs share the same underlying theme of love and loss, none sound the same and none fit into any specific decade or genre.<\/p>\n\n\n\n

The first song, \u201cHero\u2019s Journey,\u201d  hits with  its heavy electric country rock  intro leading into the vocals as it shifts direction from upbeat to melancholy. Again starting a bit country and a tad rock, the next song, \u2018Protagonist,\u2019\u2019 delivers strong vocal storytelling. \u201cDreams,\u201d then takes the listener on a different journey, with atmospheric undertones and gentle easy vocals. The track is followed by the blues heavy song \u201cTo Get Over You,\u201d and \u201cNight Train,\u201d reminiscent of 90s pop with lyrics that evoke visuals of a moving train across the country at night. \u2018When You Were Mine\u201d with its low slow roll intro turns  into a catchy semi- upbeat tune with break away electric instrumentals.  The journey ends with the over 10 minute \u201cLosing You\u201d with its sleepy instrumental intro that meanders into a guitar forward twangy lullaby.
Full of surprises, The Golden Years of Dutch Pop <\/em>is one of those albums that stands the test of time.  (Gina Tempesta)<\/p>\n\n\n\n

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WAYWARD VINE<\/mark><\/strong><\/strong><\/p>\n\n\n\n

The Fall<\/a><\/strong><\/p>\n\n\n\n

11 song album<\/strong><\/p>\n\n\n\n

Led pianist\/fiddler, Valerie Rachel and guitarist Greg Lawrence, their songs are full of harmony and emotion.  While the lyrics and the sentiment can be raw, the songs lean towards reflective contemplation rather than angst. It makes for a delightful soundtrack, whether you are out for drinks on a wild Saturday night or out for coffee and bagels on a quiet Sunday morning. It also helps that Valerie\u2019s voice reminds me a lot of Natalie Merchant, singer of 10,000 Maniacs and Greg\u2019s voice has a timbre that reminds me of Wilco\u2019s Jeff Tweedy. With the additional support of pros like Yoni Gordon on electric guitars, bassist Jose Downes, and percussionist, Jim St. Pierre, Wayward Vine\u2019s sound sits comfortably between grit and melody, blending raw, lived-in vocals with instrumentation that feels both intentional and a little untamed. There\u2019s an ease to the way they play together; nothing feels rushed or overly polished, but everything lands where it should. Wayward Vine doesn\u2019t chase trends; they cultivate their own lane, and it makes their music feel genuine, grounded, and worth returning to. (Kier Byrnes)<\/p>\n\n\n\n

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THE DROPKICK MURPHYS<\/mark><\/strong><\/strong><\/p>\n\n\n\n

For the People<\/strong> – Extended Edition<\/a><\/p>\n\n\n\n

17 song album<\/strong><\/p>\n\n\n\n

The Dropkick Murphys\u2019 latest album, For the People<\/em>, feels less like a collection of songs and more like a rally staged inside a packed neighborhood bar. The band leans hard into what they do best: streetwise punk energy bolstered by Celtic flourishes that feel earned rather than ornamental. Bagpipes and tin whistle cut through thick, distorted guitars, while the rhythm section drives everything forward with a no-frills, workmanlike punch. Lyrically, the record balances communal defiance with personal reflection. There\u2019s plenty of fist-in-the-air urgency; songs built for shouting in unison, but also quieter moments that reveal a band thinking about legacy, family, and responsibility. That push and pull keeps the album from becoming one-note. Even when the themes are overtly political, the writing stays grounded in lived experience rather than slogans.What stands out most is the sense of cohesion. The hooks are sharp, but never slick; choruses feel designed for sweaty live rooms rather than radio polish. The production keeps things tight without sanding off the grit, preserving the rough edges that give the band its identity. For the People <\/em>doubles down on heart, volume, and solidarity. It\u2019s seasoned, fired up, and still ready to turn a simple melody into a communal roar. (Lois Turpedro)<\/p>\n\n\n\n

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ADAM SHERMAN BAND<\/mark><\/strong><\/strong><\/p>\n\n\n\n

Sorrows and Smiles<\/a><\/strong><\/p>\n\n\n\n

8 song album<\/strong><\/p>\n\n\n\n

Adam and his band have cultivated a strong blend of rock & Americana in his latest release. The tracks are packed to the brim with anthemic choruses, roots-infused guitar lines, sealed with an earnest vocal delivery.  It reminds me a bit of Dennis Brennan mixed with Dire Straights, if Mark Knopfler had a broader vocal range. Although there are only 8 tracks, it’s chalk full of bangers. The opening track \u201cEveryday Dangers\u201d is a mix of roots-rock pop reminiscent of storytellers like Tom Petty and Bruce Springsteen. \u201cMiles\u201d and \u201cLong  Fall Down\u201d are dark yet fiery tunes; introspective, and full of swagger.  \u201cGone Wrong\u201d is one of those tunes that I\u2019m guessing pulls a lot of people up from their barstools onto the dance floor. The album burns hot, and like any fire, has to wind down eventually, hence the last song is \u201cWe\u2019ll Never Know,\u201d a ballad with sparse instrumentation, carried by the strength of Sherman\u2019s voice, which even at a whisper is smooth and rich.  (Kier Byrnes)<\/p>\n\n\n\n

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VARIOUS ARTISTS<\/mark><\/strong><\/p>\n\n\n\n

Elmwood Songwriters Club<\/strong><\/p>\n\n\n\n

Elmwood Lofts, Providence, RI<\/strong><\/p>\n\n\n\n

11\/8\/25<\/strong><\/p>\n\n\n\n

The Elmwood Songwriters Club is a magical, free to the public event held the 2nd Saturday of most months (breaks in the summer). Produced and curated by Bill Bartholemew (of Bartholemewtown), this event is held at an artists\u2019 loft located on Elmwood Ave. in Providence, Rhode Island.<\/p>\n\n\n\n

The entrance to Elmwood Loft is up three flights. Inside, high ceilings and hardwood floors for the perfect sound conditions. The stage is lit in a fuchsia wash. Pop music plays.  Bill, a Providence resident, active musician, podcaster and journalist, opens the show with announcements (including the exciting lineup for the New Year\u2019s Eve bash at the loft).<\/p>\n\n\n\n

Each event follows the same format: eight singer songwriters, ranging in style from soul, folk, experimental, classic rock, and everything in between, perform two original compositions. Though the performers are selected in advance, the show sequence is randomly determined by drawing names from a hat. Tonight\u2019s lineup includes Polly Bessette <\/mark>(Warren, RI), Meera Raphael<\/mark> (Providence, RI), Open Window Maniac <\/mark>(Providence, RI), Beth Killian <\/mark>(Providence, RI), Dave Flamand<\/mark> (Newport, RI), Margeaux Lynn<\/mark> – Newport, RI, Bill Bartholomew<\/mark> (Providence, RI) and Randy Robbins<\/mark> (Newport\/Providence, RI).<\/p>\n\n\n\n

Each artist brings spectacular songwriting, skill and unique perspective to their performances. Beth Killian gives a brilliant and focused performance of \u201cAs Is\u201d<\/em> involving looped vocals and sound effects. <\/em>Bill Bartholomew\u2019s new song, <\/em>a bold political commentary titled \u201cCrown Douche\u201d <\/em>resonates with the crowd. Randy Robbins, a personal favorite, delivers a fantastically seasoned set that had the attentive audience dialed in.
I stick around after the show for smokes and convo. Thank you to Bill for this labor of love, which is sure to go down in history. Till next time, Elmwood. (Deb Aufiero)<\/p>\n\n\n\n

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SPILLER, DIABLOGATO<\/mark><\/strong><\/p>\n\n\n\n

Deep Cuts, Medford, MA<\/strong><\/p>\n\n\n\n

2\/14\/26<\/strong><\/p>\n\n\n\n

I like Deep Cuts because they serve great food and beer and are one of the biggest supporters of local music around. Apparently, a lot of other folks like them too, as Deep Cuts recently won a Boston Music Award for being the \u201cBest Music Venue\u201d for venues under 250 person capacity. Tonight, Diablogato is on stage as I walk in, and it makes me immediately regret not getting to the show earlier. They are part rockabilly, part twang and part punk and 100% on fire.  The show features an upright bass and two guitarists, each playing hollow body guitars and their drummer is none other than the legendary Jesse Mayer, one of my favorite all-time drummers in Boston. This is a band worth seeking out. <\/p>\n\n\n\n

Up next is the punk band, Spiller. Punk is like one of the favorite cousins to Americana, and there will often be a lot of crossover between musicians from either genre.  Spiller dedicates their first song, an energetic banger of a song called \u201cSparkler\u201d to Justine from Red on Red Records who recently passed away. It\u2019s heartfelt, and as it also happens to be Valentine’s Day, sentiments are high. Later in the set, Spiller plays a song for the singer\u2019s wife and the band jokes about how the singer forgot to put his own wife on the guest list.  Spiller\u2019s singer\/guitarist is sporting a Red Sox hat and Sunoco sticker on his guitar, The bassist and lead guitarist (who I think may have also played in the band Upper Crust) also wear baseball hats. The drummer is the only one without a baseball hat, otherwise, I jokingly think to myself, this band could double as a softball team. Before I start to wonder how many weeks til opening day at Fenway, the band launches into a non-yodeling version of \u201cHocus Pocus\u201d by 70\u2019s Dutch prog band, Focus. They also bust out some Guided by Voices.  I like this band. They are a lot of fun and the room is filled with laughs and good cheer. What a good night for music. (Kier Byrnes)<\/p>\n\n\n\n

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BRADLEY ROYDS & ERIC REARDON <\/mark><\/strong><\/p>\n\n\n\n

The Rhumbline, Gloucester, MA<\/strong><\/p>\n\n\n\n

1\/9\/26<\/strong><\/p>\n\n\n\n

The Rhumbline in Gloucester is one of those hidden gems in New England. The beer here just tastes better too; as I think any beer tastes better with a kick ass band playing in a corner of the room. You can walk in The Rhumbline any night of the week and catch some top shelf music playing, and tonight is no exception.\u00a0 Behind the microphone tonight is Bradley Royds. All eyes are on him and his talented guitarist, Eric Reardon, backing him up with his ole\u2019 six string.\u00a0 Eric plays expertly, a clear master of the fretboard, but what really captivates me is Bradley\u2019s voice, reminiscent of Ian Anderson of Jethro Tull or Eric Burdon. My favorite song of the night is an original that Bradley wrote about his hometown, Gloucester. It’s a witty song that tells the tale of a drinkin\u2019 town with a fishin\u2019 problem.\u00a0 The song ends and the bar applauds enthusiastically. It’s a sign of a good night, when you stumble on a new musician whose work you enjoy. It’s hard finding talented artists, but that’s what Fred Shrigley, owner of The Rhumbline, has specialized in for decades.\u00a0 For more info on Bradley, check out his website, Bradleyroyds.com<\/a> (Kier Byrnes)<\/p>\n\n\n\n

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REVIEWS – SUMMER 2025<\/strong><\/strong><\/p>\n\n\n\n

_____________________________<\/p>\n\n\n\n

2025 New England Americana Fest<\/mark><\/strong><\/p>\n\n\n\n

Bellforge Arts Center, Medfield, MA<\/p>\n\n\n\n

6\/29\/25<\/p>\n\n\n\n

I\u2019ve just returned from my first New England Americana Fest, though it\u2019s been going on since 2007.  The question is, \u2018Where have I been?!\u2019  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\u2019s 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\u2019d 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!<\/p>\n\n\n\n

Zion Rodman<\/strong><\/mark> 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 \u201cSunday\u201d and his voice, especially on the high notes, fit the landscape of the BAC quite well.  All Zion\u2019s 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 \u201cEverybody That You Know\u201d was perfect for relaxing at a summer festival.  It wasn\u2019t intended that he kick off the festival, but file it under \u2018happy accidents\u2019 as his songwriting and sweet falsetto were a nice way to ease into the day ahead.<\/p>\n\n\n\n

Next up was Sam Reid & the Riot Act<\/strong><\/mark>, 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\u2019s 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\u2019s 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\u2019ll definitely see this band again!<\/p>\n\n\n\n

Number 3 on the bill was the band Comanchero<\/mark><\/strong>, 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, \u201cCitgo\u201d 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, \u201cWhiskey\u201d, which included some harmonica and cool rhythmic changes.  The frontman had the line of the day, saying they were having an \u201cantique sale since they brought CD\u2019s.  Insert chuckle here.  They smartly ended with a CCR cover, \u201cBorn on the Bayou\u201d which took advantage of the strength to lay down a groove, and of course, the cowbell didn\u2019t hurt.  This song brought the crowd alive.<\/p>\n\n\n\n

Next up was Jimmy Ryan\u2019s Wooden Leg<\/mark><\/strong>, and many people know Jimmy as one of Boston\u2019s 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 \u201cHard Time\u201d and \u201cFace Up\u201d, 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\u2019ve seen Jimmy perform in a few other iterations, all great, but I\u2019ll have to proclaim \u2018Wooden Leg\u2019 as my favorite thus far.<\/p>\n\n\n\n

Coming in at #5 was the nylon guitar string joy of Fauxmenco<\/mark><\/strong>.  The two immensely talented musicians endured some sound difficulties, but overall, it was clear that they bring a strong variety of authentic \u2018American\u2019 rhythms and melodies to the Americana table, and they\u2019re 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.<\/p>\n\n\n\n

Batting #6 in the lineup was Molly Pinto Madigan<\/mark><\/strong> and her talented band.  The word that came to my mind throughout their set was \u2018lush\u2019, 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\u2019s music scene felt like it played a role too.  Her band complemented her songwriting with a pleasing atmospheric context.<\/p>\n\n\n\n

#7 was Sunfisher,<\/mark><\/strong> described in the program as simply \u201cStone Country Rock\u201d.  That fits.  After their Waylon Jennings soundcheck, the originals brought to mind Springsteen in the songwriting and Roy Orbison in the singer\u2019s 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.<\/p>\n\n\n\n

#8 was The Displayers<\/mark><\/strong>, 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\u2019s 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!<\/p>\n\n\n\n

#9 was the duo of Elisa Smith and Erin Bonnie<\/mark><\/strong>, 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\u2019ve 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 \u201cTractor Candy\u201d.  One of my favorite moments of the day came on their last tune, a waltz called \u201cLord Have Mercy\u201d.  When they belted the chorus together, it was beauty brought to life via the magic of music.<\/p>\n\n\n\n

#10 was the rock end of Americana with the men in black of Nate Perry & Ragged Company<\/mark><\/strong>.  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\u2019s 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 \u201cTonight\u201d 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.<\/p>\n\n\n\n

#11 was Wayward Vine<\/mark><\/strong>, a band I have heard about and was glad to finally see in person (although they were without guitarist Yoni Gordon today, who I\u2019m a big fan of).  I\u2019m also a big fan of Valerie\u2019s 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.<\/p>\n\n\n\n

#12 brought out a wonderful band to fill a stage for a summer festival, and one of my favorite band names, Other Brother Darryl<\/mark><\/strong>.  This 7-piece outfit brought the atmospheric jams in a style they call \u2018Cosmic Canyon\u2019.  Yeah, that fits!  Their full sound brought me back to the 70\u2019s 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\u2019ll 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 \u201cHi Dave\u201d.  Overall, this set was one of my favorites, as this band taps into nostalgia in the best way.<\/p>\n\n\n\n

#13 was the nicest surprise of the day for me with the band Dirt Road Souls<\/mark><\/strong>.  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, \u201cBright Light, White Heat\u201d 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\u2019t complete without a Willie Nelson cover.  Yes, well played, and \u201cWhiskey River\u201d was well chosen and executed.  Overall, this band was fun with strong harmonies and some of the best songwriting of the day.<\/p>\n\n\n\n

#14, the Closing Act, was none other than the hosts with the most, Kier Byrnes & the Kettle Burners<\/mark><\/strong>.  The lead singer of Sunfisher rightly said \u2018Kier is a doer\u2019, 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\u2019s dynamic stage presence and movement.  Honestly, I thought the crowd could have been more dynamic, and I was surprised because I couldn\u2019t 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\u2019s \u201cThe Weight\u201d, classic fun!  <\/p>\n\n\n\n

This was my first New England Americana Fest but it shan\u2019t be my last!  Hopefully, the Bellforge will play host again next year for another terrific day of some of the area\u2019s best music.  Thanks to everyone involved in this day\u2019s events! (AJ Crowe)<\/p>\n\n\n\n

….<\/p>\n\n\n\n

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

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2025 Ossipee Valley Music Festival<\/strong><\/a><\/p>\n\n\n\n

North Atlantic Arts Alliance, South Hiram, Maine<\/strong><\/p>\n\n\n\n

7\/24\/25 to 7\/29\/25<\/strong><\/p>\n\n\n\n

Ossipee is a lovely little 4-day music festival in Hiram, Maine, 2 \u00bd hours from Boston.  It used to have the name \u2018Bluegrass\u2019 in the title up until a few years ago, and there\u2019s still a heavy bluegrass bent, along with an effort to diversify the offerings.  There\u2019s a string camp the week prior to the festival that sells out in a matter of minutes.  I\u2019ve attended the festival the last  5 years, and I have to say, aside from the lack of sleep, it\u2019s a slice of heaven on Earth.  On the big days, Friday and Saturday, music starts at 10 AM and goes until the headliner ends at 11 PM, followed by a few bands in the beer tent until 1 AM, and then there are countless campground jams you can play in or just listen to, so you see the reason for the lack of sleep.  There\u2019s the Maine Stage (get it?), a Stage Too for more local and up-and-coming acts, a Barn Stage that hosts a few dances and many music workshops, and a new River Stage set in the pristine woods right next to, you guessed it, the Ossipee River.  To beat the heat, you can take the short walk to swim, and a bonus of the festival is tubing from one end of the festival to the other.  With ample food trucks and vendors, you can relax and enjoy.  Since kids under 17 are free, there\u2019s a family atmosphere, and with the small size of the festival (around 7000 for the 4 days), it\u2019s not overwhelming.  Most of the time, you can get as close to the music as you\u2019d like.  The three headlining acts this year were AJ Lee & Blue Summit<\/a> Thursday, Sierra Hull <\/a>on Friday, and the California Honeydrops<\/a> on Saturday.  Sit in a lawn chair and listen or get right up to the stage and dance, it\u2019s all there for the taking at the price of $220 for the 4 days with camping, much cheaper than many festivals.  There\u2019s a host of other one-day options, such as $80 for Saturday only.<\/p>\n\n\n\n

TWISTED PINE:<\/strong><\/p>\n\n\n\n

Okay, on to some of the New England acts I was able to catch this time around.  I\u2019ll begin with my favorite, Boston\u2019s Twisted Pine<\/a>, a newgrass quartet of fiddle, mandolin, upright bass, and flute, which adds the guitar licks of Ethan Robbins for the festival.  With excellent songwriting and some psychedelic jams, this group of talented musicians had its origins at Berklee and has been a staple at this festival for 11 years now. With 3 sets that filled each venue they played, they\u2019re past due for a headlining slot next year!  Kathleen Parks<\/a>, the fiddler\/main singer of the band, has a side project now, and I was able to catch her act on Stage Too.  Dan Bui, also from Twisted Pine, slides over from mandolin to bass, and they\u2019re rounded out with guitar and pedal-steel, for a more folk\/country ensemble.  It\u2019s hard to say which is stronger, Kathleen\u2019s singing or fiddle playing, but it\u2019s a contest we all benefit from, and throw in great songwriting and voila, a set of music that takes you to another place, a quite comforting space to spend 50 minutes.  <\/p>\n\n\n\n

COLD CHOCOLATE:<\/strong><\/p>\n\n\n\n

Spinning off Twisted Pine, Ethan Robbins\u2019 band, Cold Chocolate<\/a>, a duo with Ariel Bernstein, had a great set on the Maine Stage.  This Boston act (technically Plymouth and Western MA) has played the fest many times and it\u2019s amazing how much music and rhythm two people can output.  Ethan is a stellar guitar player, and he can go on a two-minute guitar solo, and it doesn\u2019t get boring at all.  Ariel mainly plays drums and sings tight harmonies, but they also slipped in a few songs playing mandolin and banjo.  Originally a 4-piece bluegrass act, they now run the gamut song-wise, moving from covers such as \u201cEverybody Plays the Fool\u201d to a neat rendition of \u201cPink Moon\u201d along with plenty of originals that move from lullabies to instrumentals to songs that could be straight out of a Wood Brothers setlist.  They run the range of Americana, and you should definitely check them out, especially their live set.<\/p>\n\n\n\n

THE NEW GROWN-UPS<\/p>\n\n\n\n

Transitioning to another Boston act I heard for the first time (but not the last), The New Grown-Ups<\/a> are an 8-piece, energetic bluegrass group with 7 singers.  Using mainly just 3 mics, the fun they have playing is infectious.  7\/8 of the band sang and traded off being the lead.  They can all pick and solo, so it\u2019s a bit like watching a pinball game in action in a good way, and they genuinely seem to have fun playing together.  If it\u2019s an act, they\u2019re good actors too.  <\/p>\n\n\n\n

HALLEY NEAL<\/p>\n\n\n\n

Another new act for me was Connecticut-born Halley Neal<\/a>, who traveled the Berklee\/Nashville\/Boston route.  I really enjoyed her set with talented fiddle and stand-up bass accompaniment, as her songwriting was authentic and accessible, and her voice gave me the feels!  Combined with a high-energy stage presence, I\u2019m a new fan.<\/p>\n\n\n\n

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FOREST STATION<\/p>\n\n\n\n

Jumping up to Vermont, I saw two Burlington area bands that floated my festival boat.  The first was Forest Station<\/a>, a group of hard-core bluegrass aficionados.  All talented pickers, the lead guitarist, Eli, has Maine Stage flatpicking talent.  Though the vocals aren\u2019t standout, they really craft complex arrangements that tickle the ear in the way great bluegrass does.  Their second song was a good ten minutes long full of evocative solos ripe with chord changes and other musical gifts that took me in hook, line, and sinker!  <\/p>\n\n\n\n

THE TENDERBELLIES<\/p>\n\n\n\n

The other hard-charging, hard-pickin\u2019 Vermont act I recommend is called The Tenderbellies<\/a>.  Bluegrass is alive and well in Burlington!  They throw some harmonica and flute into the mix to vary the jam, and I wasn\u2019t the only one dancing in my seat for their set.  <\/p>\n\n\n\n

HOLLOW TURTLE<\/p>\n\n\n\n

Sliding down to Rhode Island, I was impressed with the three-piece Hollow Turtle<\/a> (guitar, banjo, bass).  Original songwriting, smooth harmonies, and some funky solos, especially on banjo, made for a really enjoyable set.  Add in a relaxed and funny stage presence, throw in some jumpin\u2019 slap bass, and this crew does the Ocean State proud!  <\/p>\n\n\n\n

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CLAY PIDGEONS<\/p>\n\n\n\n

I have to add that along with Boston-area Clay Pigeons<\/a>, who also put on a great Stage Too set, have to be top contenders for Best Late-Night Jam Hosts.  I don\u2019t know if they made it all the way to sunrise<\/a> like Twisted Pine, but they went to the wee hours three nights with a late-night hootenanny that makes me wish I was younger.<\/p>\n\n\n\n

Overall, I\u2019m sure I missed many great New England Americana acts, but hey, just more incentive to return to Ossipee next year and get out of the house this year to see all the great local music out there for the picking (or for the pickin\u2019).  (A.J. Crowe)<\/p>\n\n\n\n

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THE MUCKERS, THE GOBSHITES<\/mark><\/strong><\/p>\n\n\n\n

O\u2019Briens, Allston, MA<\/strong><\/p>\n\n\n\n

8\/4\/25<\/strong><\/p>\n\n\n\n

The Muckers are a melting pot of musical influences, combining Celtic, Romani music, sea shanties, country, rockabilly, and anything else they can get their hands on. Front man and multi-instrumentalist, Jeff Shaw, used to call Boston home, playing in several prominent bands in town but now he and his band, The Muckers, make Atlanta, Georgia their stomping grounds. Back in Boston as part of a tour, O\u2019Briens, a cozy little pub known for eclectic music, made the perfect setting for a musical homecoming for Jeff and his band.  The Muckers are as tight a band as I\u2019ve ever seen. Their music is lively and raw; a truly brilliant band. As their set opens, Jeff leads the band with mandolin, demonstrating as much skill as any bluegrasser I\u2019ve come across. For the second half of their set, Jeff dives in with fiddle, cranking the energy up a notch, throwing in a few covers like Britney Spears\u2019s \u201cToxic\u201d and Gogol Bordello\u2019s \u201cI Would Never Wanna Be Young Again\u201d.  Both are surprisingly difficult songs, which The Muckers handled perfectly, even down to the scream of their talented drummer, Steve Lingo.  <\/p>\n\n\n\n

The Gobshites have been at the top of the list of Boston\u2019s Irish bands going for over a decade.  Singer Peter Walsh rallies the audience with his songs about love, hardships and of course, booze. Pints are being held in the air, toasts are being made and limericks recited. The band knows how to get a party started, which is even more impressive as it is a Monday night.  I was particularly impressed by the musicianship of The Gobshites as well. Tom Hughes on bass is as solid as they come, holding down the bottom end.  Melissa Staiti fills out the sound on keyboards and her voice shines, especially on their cover of The Cranberries\u2019 \u201cZombie.” Jesse Coutu crushes it on drums and Nina Lordi with her lightspeed fiddle playing had everyone’s attention, despite being hindered with an injured knee. The band thanks the audience and it’s over all too soon. A fun show leaving me with new friendships and melodies that will be stuck in my head forever.  (Kier Byrnes)<\/p>\n\n\n\n

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AUTUMN HOLLOW<\/mark><\/strong><\/p>\n\n\n\n

Square Root Cafe, Jamaica Plain, MA<\/strong><\/p>\n\n\n\n

8\/2\/25<\/strong><\/p>\n\n\n\n

Much to my 13-year-old\u2019s chagrin, I did not buy her a $600 ticket to see Megan Moroney at Roadrunner for her birthday.  I\u2019m not sure where my moral code would cap off – maybe $100?  Who can afford, much less be willing, to pay these prices?!  I\u2019m almost as flummoxed about this as the state of our democracy, and probably if you dig into it far enough, the two are related.  Instead of selling my soul, I spent $10 to see a great band, Autumn Hollow, this past Saturday.  The band\u2019s members reside in Melrose, JP, and Roslindale, where the Square Root is located.  This great venue, a small listening room that hosts live music Thursdays – Saturdays, caters to many New England Americana acts, and the great sound and intimate space makes $10 a value I cherish with my cheap-ass heart.  <\/p>\n\n\n\n

If you like your bands with smart lyrics, in-pocket grooves, and thoughtful dynamics, check out Autumn Hollow<\/a>. They kicked off their set with \u201cSay No More\u201d, the title track to their latest release from last May. This song is an epic, sprawling musical poem that conjures the largesse of life as it sonically builds to match the idea that what we value can\u2019t be captured by words, though we keep trying. \u00a0 It\u2019s the lyricism and songcraft that separates this band from so many others.\u00a0 Lead singer and songwriter Brendan Murphy offers up in the waltz \u201cFever & Fatigue\u201d, \u201cI\u2019ll take the long road to your paradise<\/em>\u201d and later \u201cAnother day lost somewhere in survival, the fever or fatigue – or between the two<\/em>\u201d, contemplative lines that he performs with conviction.\u00a0 Multiple songs had moments that were brought down to Brendan\u2019s lone voice before returning to the peaks of strong three-voice harmonies.\u00a0 I also noticed adept creativity in how the band would close out their songs.\u00a0 During the set, I found myself thinking about \u2018Son Volt\u2019 and \u2018Arcade Fire\u2019 as far as the personal nature and delivery of the songs and the lush soundscapes achieved.\u00a0\u00a0<\/p>\n\n\n\n

I also appreciated the set\u2019s two covers, Deer Tick\u2019s \u201cSmith Hill\u201d and their closing number, the Stones \u201cLoving Cup\u201d.  Along with enjoying the craft behind the music, there was also a lot of seat dancing by yours truly.  I\u2019d be remiss not to mention the tasteful, crisp electric guitar solos by Roslindale\u2019s own Mike Burke.  The whole band was on point, although I found myself wishing the keys would step into the foreground more, which did happen near the end of the set.  All in all, you don\u2019t have to pay an arm and a leg to hear some great music.  Go check out Autumn Hollow! (A.J. Crowe)<\/p>\n\n\n\n

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WAYWARD VINE<\/mark><\/strong><\/p>\n\n\n\n

End of May\u00a0<\/em><\/a><\/strong><\/p>\n\n\n\n

Single <\/strong><\/p>\n\n\n\n

The band Wayward Vine is categorized under the Folk genre, but their latest song \u201cEnd of May\u201d 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\u2019s haunting violin adds a sense of sorrow rather than anger. It\u2019s a lovely song, regardless of labels or genre. (Gina Tempesta)<\/p>\n\n\n\n

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PAUL SIMON<\/mark><\/strong><\/p>\n\n\n\n

Wang Theatre, Boston, MA<\/strong><\/p>\n\n\n\n

6\/10\/25<\/strong><\/p>\n\n\n\n

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\u2019s 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\u2019s 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 \u201cGraceland,\u201d \u201cThe Boxer,\u201d \u201cMe and Julio Down by the School Yard\u201d and \u201c50 Ways to Leave your Lover\u201d with its iconic drum beat intro.  \u201cUnder African Skies\u201d 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..    <\/p>\n\n\n\n

After the concert wraps up, I wander through the lobby on my way out, spending some time checking out some of the \u201cFolk Americana Roots Hall of Fame\u201d which is housed in the Boch Center. With artifacts from iconic musicians like Lead Belly, Woody Guthrie and Pete Seeger on display, it\u2019s just one more reason to go see a show at the Wang.  (Kier Byrnes)<\/p>\n\n\n\n

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BILLY DODGE MOODY<\/mark><\/strong><\/p>\n\n\n\n

Meaning to Disaster<\/a><\/em><\/strong><\/p>\n\n\n\n

Single<\/strong><\/p>\n\n\n\n

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\u2019s 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)<\/p>\n\n\n\n

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SIDEBODY<\/mark><\/strong><\/p>\n\n\n\n

Full Time Job<\/em><\/a><\/strong><\/p>\n\n\n\n

7 song album<\/strong><\/p>\n\n\n\n

My first exposure to sidebody was watching them perform \u201cHe\u2019s Dead\u201d online as part of the band\u2019s Tiny Desk concert. I was immediately hooked.  That led me into a deep dive of their latest studio album, Full Time Job.<\/em> I\u2019m glad I did as I\u2019ve really been enjoying the studio version of \u201cHe\u2019s Dead\u201d, 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. \u201cQuantumly Entangled\u201d 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\u2019t hurt that sidebody can drop harmonies like no one\u2019s business. \u201cNot No\u201d is fiery punk where as \u201cPie in the Sky\u201d has a 1950\u2019s doo wop rock feel. \u201cSpong Time\u201d has a chiptune-feel fueled by The Pixies\u2019 Black Francis\u2019s styled dead pan lyrics. Full Time Job<\/em> is a great album and sidebody is an undeniably talented band, no matter what genre they juggle. (Kier Byrnes)<\/p>\n\n\n\n

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BAKER THOMAS BAND<\/mark><\/strong><\/p>\n\n\n\n

Toad, Cambridge, MA<\/strong><\/p>\n\n\n\n

5\/28\/25<\/strong><\/p>\n\n\n\n

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\u2019s top musicians, led by Tom Bianchi on bass and vocals. The band laid heavy into its covers pulling off impressive versions of Lynyrd Skynyrd\u2019s \u201cFree Bird\u201d and 4 Non Blondes\u2019 \u201cWhat\u2019s Up.\u201d 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\u2019s 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\u2019ll be back again to check it out.  (Kier Byrnes)<\/p>\n\n\n\n

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NICK ZAINO<\/mark><\/strong><\/p>\n\n\n\n

In a Daydream<\/em><\/a><\/strong><\/p>\n\n\n\n

Single<\/strong><\/p>\n\n\n\n

Nick Zaino\u2019s recent single \u201cIn a Day Dream\u201d is a folk song with a modern twist. The song structure plays with rhythm and melody, and the song\u2019s multiple parts flow together with a laid back groove.  Nick\u2019s 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) <\/p>\n\n\n\n

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THE 94s<\/mark><\/strong><\/p>\n\n\n\n

Mercy<\/em><\/a><\/strong><\/p>\n\n\n\n

13 SONG ALBUM <\/strong><\/p>\n\n\n\n

Chances are if you\u2019ve been to a porchfest, brewery or music festival in the Greater Boston area, you\u2019ve 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. \u201cMercy!<\/em>\u201d is the band\u2019s third full-length album and has something for everyone, including the rocky \u201cAlways on the Run,\u201d ballards like \u201cBroken\u201d and \u201cNothing at All\u201d and the lovely \u201cWalk out the Door,\u201d that makes you want to dance a slow dance close to your partner. Whether on purpose or not, the lively ditty \u201cBound for Bottom,\u201d is reminiscent of Evan Dando\u2019s 90s Boston band The Lemonheads, and perhaps a nod to all the great local bands before them.  So next time you\u2019re 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\u2019t be disappointed. (Gina Tempesta)<\/p>\n\n\n\n

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LISA BASTONI<\/mark><\/strong><\/p>\n\n\n\n

No Kings in America<\/a><\/em><\/strong><\/h1>\n\n\n\n

Single<\/strong><\/p>\n\n\n\n

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