SHOW OF THE MONTH

Three Day Threshold / The Stolen Records / Okay Thursday / B for Brontosaurus / Roadsteamer / Tristan da Cunha

Bullfinch Yacht Club

Boston, MA

September 22, 2007

On almost any other night, the downtown Bullfinch Yacht Club is a yacht club by name only. But on this Saturday night, between the smooth tunes, collective demeanor of the crowd, costumes and strong cocktails, the venue was transformed into an actual, rocking luxury liner.

Tristan da Cunha took the stage first. The band flexed its musical muscles - albeit in a smooth-operating manner. The local favorites showed why they are so beloved in Boston, churning out a series of classic late '70s covers and even reworking one of their own shizo math-rock songs into a chill pastel crooner, leading the audience on a journey to several uncharted isles before letting Roadsteamer take the helm.

Once on stage, Roadsteamer's execution of originals such as "Duck Hunt" and "I Put a Baby In You" seemed to please the crowd. Unfortunately, the Bullfinch's not-so-amazing sound system rendered most of the 'Steamer's vocals incoherent and stole most of the charisma from the set. Following Roadsteamer, B for Brontosaurus played a straight-up set of their original grad-school rock. They charmed the crowd into submission and contributed a cover of the Beach Boys' "Kokomo" to the overall yachting spirit. They also brought a few members of the crowd up on stage, including Laura "Bridget" Regan (of Bridget and the Squares).

Fourth on the bill came local sweethearts Okay Thursday, who, as always, commanded the attention of the entire room with their costumes and performance. Not to be outshined by leading women Sarah Korval and Nikki Dessingue, guitarist Michael Epstein came dressed in his Donald Fagen Saturday Best. Okay Thursday leaned a little closer to the pier than the preceding band and pulled out a stunning cover of "Maneater," (with Tristan da Cunha's Ernie Kim on saxophone) as well as Dessingue's flawless, hilariously sexy Stevie Nicks impression on Fleetwood Mac's "Dreams." The set ended on the high note of one of the band's original favorites, "Bitchabout."

Taking the fourth spot on the bill came the dark horse of the evening, The Stolen Records, who jumped right into the water with melding of Warren G's "Regulate" and its sample source, Michael McDonald's yacht-rock anthem "I Keep Forgetting." Their ska sound brought the trip back towards the islands and provided a nice berth for headliners Three Day Threshold.

Three Day Threshold played flawlessly, with guitarist Colt Thompson furiously picking his way through blistering originals such as crowd favorite "Uni." During a cover of "Honky Tonk Women," dusty-booted Kier Byrnes aimed the microphone out at the crowd, beseeching them to sing along. The night's theme was well represented by a surprising cover of Toto's "Rosanna," which, despite Byrnes' initial apology, sounded like a fine way to cap off the event.

The virtual tour lasted a little longer than three hours, but no one was lost nor tossed. The potent music and more potent drinks of Yacht Rock 2007 provided both a figurative and literal buzz for all of its participants.

-Review by C.D. Di Guardia; photos by Kris Ireland

Lowell Thompson

Club Metronome

Burlington, VT

September 21, 2007

Club Metronome has a very sexy vibe about it. With over 20 paintings of scantily clad women in provocative poses outlining the walls, it sets a comfortable scene for intimate singer/songwriter sessions such as this one with Burlington's own version of Springsteen, Lowell Thompson. Thompson, with his John Deer hat, striking blue eyes and gentle demeanor, took to the stage with fellow songwriter Bill Mullins. The duo performed well, tightly synchronized in performance and tone.

Thompson's lyrics were filled with stories of heartbreak and loss. Lines such as "How long must I wear a loser's crown?" resonated poignantly in the large room, and were perfectly complemented by lonely, country-tinged acoustic guitar work. All the crooning caught had the ladies swaying and batting their eyes in the duo's direction. "Is It Really That Easy," with its catchy melody and toe-tapping beat, got the crowd moving even if they didn't get within 10 feet of the stage. Thompson's deep, emotive voice was at the forefront of his poppy country-based tunes, and he ended the night with a forcefully sung number that got the crowd going. While Thompson's performance could have been supplemented nicely by more vocal harmonies, the true centerpiece of his songs was the dynamic aspect of storytelling. He shined most when he meshed larger issues of heartbreak and personal catastrophe into more specific third person narratives.

-Review and photo by Kirby Desmarais

The Superpowers

The Regatta Bar

Cambridge, MA

September 7, 2007

On a September night at Regatta Bar in Cambridge, all elements of the perfect record release party were present for the socially conscious, up-tempo, highlife-influenced jazz band The Superpowers (formerly the Boston Afrobeat Society): solid performances, a good atmosphere, and, most importantly, dancing. The early evening air was balmy and tropical while the rest of Harvard Square was filled with gregarious and excited students who had recently returned from summer vacation. Inside the Charles Hotel, the Regatta Bar's stage and acoustically tuned room was the ideal venue to comfortably showcase all 11 members of the band. It was evident from the start of the concert that the band has amassed a large, devoted following and The Superpowers' audience was just as diverse as the band itself: Matt Murphy's regulars, West Africans dressed in traditional, bright-colored garments, Cambridge intelligentsia, and the usual Regatta Bar jazz cats.

The band is comprised of a dizzying array of horns, guitars, bass and drums, but it was percussionist Samba Cisse on the sabar who stood out wonderfully throughout the band's set. Using syncopated and polyphonic beats, Cisse infused the band with a rhythmic dynamic, which the band played off well. Bandleader Adam Clark kept the pauses to a minimum and let the band's music evolve organically on stage. The seminal part of any Afrobeat band is the element of dance, and Cisse's family members were the first ones to start moving. Flailing their arms and shaking their bodies, colorfully wrapped in West African garb, they gave the impetus for others to join in. By the end of the two and a half hour performance, dozens of people were dancing, especially in the back of the room. The half hour encore brought most of the audience members to their feet.

Adam reminded the audience that the name "Boston Afrobeat Society" would never be used after this night. In an attempt at shedding the "cocoon" of the Afrobeat label, the band hopes to transcend their old name's implications in favor of a more socially conscious, inclusive and appealing name, which brings us to the name "Superpowers." With a new name and a new album, Superpowers are no doubt beginning to walk that path.

-Review by Gregg Patay

Sonya Kitchell

Firehouse Center for the Arts

Newburyport, MA

September 14, 2007

With a capacity of around 200 patrons, the Firehouse Center in Newburyport is a true rarity - a performance venue that marries the intimacy of a small space with the luxury (and quiet) of theater seating. Like a miniature version of the MFA's superb Remis Auditorium, it's the ideal venue for quieter, more intimate shows.

Sonya Kitchell, a singer/songwriter from western Massachusetts who's been making lots of frothy waves thanks to her Starbucks Hear Music-released album last year, made her debut at the Firehouse on September 14. Flanked by a backup band that looked tired, mad, or at most uninterested, Kitchell proved with her impressive pipes why she was up front and center.

It's not often that a performer prefaces a tune with "This next song, I wrote when I was 14." Then again, not many performers are touring Europe and opening for Joe Jackson before they're old enough to graduate high school. Kitchell's impressive songwriting belies her young age, but unfortunately, her soft between-song banter onstage is quite the opposite. And on this particular night, there was a lot of it.

"We're playing a bunch of new material because we're about to go into the studio," Kitchell mentioned at one point, also indicating she's written around 50 songs since last year's Words Come Back to Me. The audience, mostly couples and small groups of 30-ish females, were overjoyed to hear the news, relishing new songs peppered among more well-known fare like "No Matter What," "Too Beautiful," and "Words."

Picking up the tempo during the final few songs, Kitchell invited mentor and friend June Millington onstage for an unexpectedly rocking finale. Millington, a founding member of Fanny, the first all-female rock band to ever be signed to a label, plugged in and brought the house down with some smoking solos. It was a welcome change after an hour or so of Kitchell's consistent but less than inspiring set.

The blonde chanteuse was at her best when executing her signature move - head tilted back with voice at maximum volume. But between these moments were songs that, by the end of the night, seemed to run together without any truly memorable moments. Whether this was due to that lethargic backup band (only bassist Garth Stevenson seemed to be enjoying himself), Kitchell's apparent exhaustion (in her defense, she stated she was in the middle of a move to New York City), or the songs themselves, the night was disappointing, given the current hype surrounding this young singer/songwriter.

-Review and photo by Brett Cromwell

Spiritual Rez / Zili Musik / Yawo

The Paradise Rock Club

Boston, MA

September 13, 2007

Hailing all the way from West Africa, last-minute opening act Yawo started off the night with an acoustic set of enlivened, soul-driven folk. His acoustic guitar work was executed with a singsong playfulness, favoring higher ranges and bright, open vocals. With a full, rustic voice, Yawo weaved stories of his native village around a friendly counter-exchange with Spiritual Rez percussionist, "Hippie" Brian Nelson, who pounded zealously on jembe. Nelson's bombastic yet humble presence nicely balanced out Yawo's gritty fingerpicking and bold strumming technique.

Next up, the roots and world fusion of Zili Musik blazed into action. Taking on meaty topics such as the African Diaspora and global connection to a higher, love-inspired consciousness, this seven piece, all-female band came equipped with musical chops to back their fearless views. Their distinctive blend of Afro-Cuban, calypso, Neo-Soul, Samba, and Roots paid homage to collective effort of music making, while highlighting individual contributions. Over the course of their set list, everything from a cowbell to a gym class whistle was utilized.

Rhythm section mistresses Jobeth Umali, Genesis Rubin, and Kari Flango took the time to relish offbeat and polyrhythmic embellishments. Building on this, Krystal Johnson and Joy Roster provided a fluent unison of trumpet and saxophone, with nuances from guitarist Lexi Havlin's tasteful soloing and Hinako Sato's shrill organ ringing out the midrange. While trading lead vocal duties off and on, a star-quality exuded from divas Jajdulari and Kera Washington. Soaring through flight amongst a galaxy of octaves, earth mama Jajdulari made for a stunning cross between Mahalia Jackson and Chaka Khan. While doubling up on percussion duties, Washington delivered edgier melodies with the warmth of Sarah Vaughan and sassy Spoken-word á la Lisa "Lefteye" Lopes meets India.Arie.

These women performed as peaceful warriors, fusing world cultures into a grounded groove that made for a powerhouse of a show. Indeed, it was a socially aware musical peace offering.

Closing out the evening was the self-proclaimed "reggae horn funk dance party," Spiritual Rez, laying down their own brand of skanked-out, booty shaking grooves. From their modern spin on the standard dub to the pronounced polish of their ska horn lines, their lengthy set pulled out all the stops. Each song took on a refreshing personality of its own, complimented by locked-in drum hits that smoothed into memorable refrains.

Known for their dynamic musical choices and grand displays of exuberance, this night was no exception for these stage veterans. Poised with a George Clinton strut, guitarist Van Martin's shredding acrobatics were that of a reggae-imbued Steve Vai. Frontman Toft Willingham's crowd-working momentum never waned, and his vocals simply steamed, brimming with ambrosial swells and biting annunciation. In between poignant yet smooth horn lines, trumpeter Rob Vesnaver and trombonist Brian Evans found opportunities to rush the audience and shimmy down with their fans.

Spiritual Rez is a band that wants to understand their listeners. This was demonstrated through their gung-ho, spontaneity-filled performance and their palpable connection to the whole audience.

-Review by Nathalie Levey

27 / Matters and Dunaway / Proselyte

The Middle East Upstairs

Cambridge, MA

September 23, 2007

While Gabby Glaser (of Luscious Jackson), Steve Smith (of Dirty Vegas), 27, and Matters and Dunaway were scheduled to play this show, Glaser and Smith cancelled last minute, and were replaced, quite unexpectedly, with Proselyte, a local doom metal band. While some ticket buyers may have been disappointed at the change, the show went on, and managed to succeed in its eclecticism.

Cambridge locals Matters and Dunaway started off the night with an interesting breed of electronica, performed onstage by a laptop and bass. Though their sound often fell short of originality, the pair performed catchy, up-beat electro pop. The two performers hopped around, beckoning the crowd to dance. Unfortunately, the small, still filtering-in crowd wasn't prepared for what Matters and Dunaway had to offer. The audience seemed slightly enthused at times, but such an upbeat, dance-oriented act so early in the evening proved a bit awkward.

After Matters and Dunaway's set, the room filled in and out came 27, the band everyone was there to see. On the heels of their new record, this was also the band's first show as a quartet. And while guitarist/keyboarder Ayal Noar was worried they might run into some quirks, the band had no trouble rocking out. Their fusion of '90s alternative rock, trip-hop, dream pop and hardcore is dark and beautiful on their albums, and prolific and powerful live. Every band member played with composure and assurance, moving the audience in the way the opener failed at doing. Lead singer Maria Christopher's voice was reminiscent of Juliana Hatfield or Aimee Mann. Overall, the band's live performance screamed homage to '90s greats like Breeders, Nirvana, Portishead, Smashing Pumpkins, and The Boo Radleys, with the kind of unbridled, unabashed enthusiasm and pomp of '90s alt-rock. The crowd remained transfixed throughout 27's performance, enjoying every last impeccably performed note. When 27 left the stage, almost everybody left the venue.

Of the 20 or so people that stayed, 15 of them immediately crowded the front of the stage and waited impatiently for Cambridge locals Proselyte to start their set of raucous doom metal. Admittedly, this particular breed of metal is an acquired taste, since it involves a lot of dissonance, atonality, and unpredictable dynamics. But Proselyte's performance was worthy of attention, even for an inexperienced metal listener. The band managed to reach an impressive level of intensity in each song. The band seemed out of breath as early as the first song's end, but immediately jumped into the next song, regaining their energy and launching into another murderously loud number. While the audience was small, the performance was rock solid, filling the room with grinding, raucous metal.

-Review by Roman Lojko; photo by Jessica Clements

Bakula (Final Boston Show) / Ba-Na-Nas / Sweetthieves

Great Scott

Allston, MA

September 9, 2007

Scott Bakula's final appearance on Quantum Leap was met with less distress and fanfare than local band Bakula's final Boston show. The proceedings resembled a somewhat lighthearted wake at times, with a modest yet attentive group of fans and musical peers who had come to pay their final respects to the revered sultans of intricate noise and meter.

New York City-based The Art of Shooting dropped off the bill at the last moment, somewhere around load-in time. Undeterred, Ba-Na-Nas (pronounced like "Shah-nah-nahs") opened up evening with a strong set of Police-flavored beats and vocals. The crowd seemed to appreciate the precision of Ba-Na-Nas, and the three-man group left the stage to an ovation as thunderous as the somewhat reticent crowd could muster.

The second act Sweetthieves, a two-man, one-woman group from Rhode Island. Sweet Thieves continued the surgically precise noise theme with a thrashing opening that gave way to ringing vocals. Their set seemed more based upon instrumental showmanship than actual song craft, however, with particular emphasis on performance and maybe not so much on content. This was a good crowd for it though, comprised mostly of musicians and of the aforementioned musical peers of the headliner. If anything, the audience dug into bassist Hilary Jones' four-stringed performance heartily.

Finally, Bakula took the stage and the entire crowd surged the stage, leaving the front half of the club all but empty save for the occasional bar customer; even the surly doorman looked like he felt somewhat left out. Drummer Naveed Mir savagely pounded the drums, crossing his sticks in the air before coming crashing down. A drummer's drummer, he never seemed to play a straight beat, but rather pounded out intricate percussion compositions under Bakula's dual guitar-bass attack. The shouty, stylized vocals provided a funereal wail - not the sound of a band petering out, but a triumphant blaze of glory, witnessed by their friends and compatriots. It is clear that Bakula will be missed - if even on the virtue of this final show alone. As is so often the case here in Boston, their final show dually functioned as their record release. Listening to their record makes this end particularly tragic, as the album is solid throughout, depicting a band with an unlimited amount of potential. Hopefully the members of Bakula will be back with new projects sooner rather than later.

-Review C.D. Di Guardia; photo by Marianne Bolduc

Kid:Nap:Kin / The Charms

T.T. the Bear's

Cambridge, MA

September 8, 2007

The artistry in dishing out a dynamic, indie prog-rock set has a tendency toward losing itself within needless shredding and over-the-top theatrics. This was not the case, though, when Kid:Nap:Kin took to the stage, launching into a set of genre-straddling alternative rock. Wasting no time at seizing the audience's attention, the small but mighty three-piece delivered a full dosage of metal-infused ear candy, best suited for the intellectually-inclined headbanger, rock-'n' roller, punk rocker, or anyone who just prefers their music loud.

Throughout the show, Kid:Nap:kin embraced an impressive level of musicianship and technical prowess while still playing memorable pop songs. The evocative warble of lead singer/guitarist Dan Ellis' vocals resonated well - a nice offset to his interludes of guttural clamoring. Bassist Jamila Weaver's basslines formed a dynamic rhythmic backbone to each song, adding an intriguing layer of intricate melody to the band's sound. Holding down the fort, drummer Pat Hanlin multi-tasked at percussive thrashing, massaging the silence, and belting out backing vocals. The end result was a tight set of psychedelically driven metal grooves that flowed together with natural ease.

T.T.'s was packed, and it seemed as though most of the audience was there to see Kid:Nap:Kin. With such an impressive performance, though, it wasn't hard to tell why; the band succeeded at combining a number of genres such as rock, metal, prog and emo into one cohesive package. And though comparable to the likes of Jeff Buckley (vocally) and Coheed & Cambria (musically), the band's sound came off as entirely fresh.

Closing out the night was nationally profiled garage-rock band, The Charms. Imbued with velvet power-pop progressions, the band functioned as a strong-walled pop-rock militia. Stealing the spotlight was front singer-siren, Ellie Vee, who proved herself as a force to be reckoned with. Between straight ahead vocal quips and an electric stage presence, she put on an impressive performance. Though there was the occasional electrified washboard guitar solo, Vee's captivating performance often overshadowed her band members, who in turn, functioned more as a backing band than equals. The Charms' set was characterized by hook-laden pop songs, often with a punk edge - an interesting fusion of raw rock dynamics and smoothed over, mainstream vocal hooks. All in all, the Charms put on an "in-your-face" performance fully equipped with danceable singles and gutsy lyrics.

-Review by Nathalie Levey; photo by Sidehatch Entertainment

Fancy Trash (Five-Year Anniversary Show) / Drunk Stuntmen

Iron Horse

Northampton, MA

September 28, 2007

There was a tangible buzz of anticipation in the Iron Horse as the audience waited for Fancy Trash to take the stage for their five-year anniversary show. Friends and fans had filled nearly every table in the venue by the time Steve Sanderson, F. Alex Johnson and "Soft Rock" Scott Hall of Drunk Stuntmen took the stage. Strangers to Drunk Stuntmen might have expected a punk sound after watching Steve Sanderson take the stage in the cut-off black Exploited t-shirt that showcased his multitude of tattoos. Instead, the three Stuntmen launched into an energetic set of their Americana-infused roots rock, and the audience was definitely appreciative of Sanderson's stage presence and pure rock vocals, F. Alex Johnson's grooving bass lines and Soft Rock Scott's imaginative key solos. Their music and their stage presence were fresh and engaging and called to mind a number of rock influences without seeming too cliché. The highest point definitely fell toward the end of the set, though, when bassist F. Alex Johnson surprised everyone with his skillful horn playing. The last song featured Johnson on muted trumpet, and he poured his soul into the mournful and jazzy lines.

When Fancy Trash finally took the stage, they were six members strong and with guitar, keys, two drummers, slide guitar, a stand up bass, they looked like some kind of super band. Fancy Trash was joined by Jason Smith, Thane Thomsen and Katy Schneider for the entire set on night of the show, and their sound was all the more incredibly full for it. The crowd's excitement came to a head as the lights dimmed, and Fancy Trash launched into a fantastically strong set. Lead singer and guitarist Dave Houghton's energy could be felt in every beam of the Iron Horse; he alternately wailed and crooned, his long ponytail swinging behind him as he bounced about the stage. Upright bassist Josh Thayer was also fascinating to watch, his fingers moving effortlessly on the strings while he moved from side to side with the music. The sound was polished and full, and it was exciting to see so many talented musicians on stage together. After the first few upbeat numbers, the fans couldn't stand to stay in their seats any longer and a group began dancing wildly near the stage, mouthing every word along with Houghton. The set was perfectly timed. Fancy Trash moved onto some slower numbers after their initial outburst, but lost none of their energy. While difficult to pinpoint a crowd favorite of the night - each song seemed to go over better than the last - both "Tulips" and "Lost in the Evening" were well received. It was definitely a successful night and an excellent way to celebrate five years of innovative music from Fancy Trash.

-Review and photo by Melina Moore