Folk Blues Bands are hard to place. Acoustic guitars backed by sensitive rhythm players hold the framework together. A voice like an old friend starts to weave a tale you feel could be your own when the steel guitar cuts into your mind, sending you to a happy place where the world makes sense. Veteran performers Fruition, made up of Portland Oregon's Jay Cobb Anderson (vocals, lead guitar, harmonica), Kellen Asebroek (vocals, rhythm guitar, piano), Jeff Leonard (bass), Tyler Thompson (drums, banjo), and Mimi Naja (vocals, mandolin, electric & acoustic guitar). The long-awaited How to Make Mistakes is a collection of songs that transport us on a journey. The entire album is like a great night at your favorite watering hole or a trusted companion for a road trip. The songs range from soulful ballads to up-tempo folk fare and even one with a Polynesian flavor.

The songs are arranged like a live performance. We start off with the solid blues-driven ballad Lonely Work, hitting home with life-affirming self-reflection. The road twists to the first up-tempo personal observation Scars. How much can the human psyche take alone? What drives us onward? Questions posed without conclusion allow us to ponder. Now we transition perfectly to the easy-going Saturday Night. The band used Saturday Night as an album teaser a few weeks ago to a warm response. The song will get you singing along and swaying with the beat as we explore the Saturday nights of the past and wonder what awaits in the future.

Transitioning to the middle of our travels, the song's tempo and temperament work back and forth like a switchback trail. The happy ballad Get Lost takes us away from the frantic congestion of the city into the solitude and tranquility afforded to those who travel into the peaceful forest. Can You Tell Me brings us back with thoughts of realism. Looking for answers from the bottom up, how do we elicit answers for the impoundable questions in life?

Playful and smiling Never Change gives us a hopeful glimpse at mature childhood. We are all connected to the storyteller, and he is bringing us together with thoughts of home, family, and the paths we all travel together. Now slowing the pace, Still brings a needed introspective moment to the scene, still in keeping with the overall feel of the set. The Price of Sound Advice asks rhetorical questions and gives tacit advice. We get older and reason ourselves into financial downfall, but why? The answer is both perplexing and self-evident.

The band gives us a scenic pull-off with the gospel-like One by One. Sad and poignant, the subject matter is dark, relevant, and timely. We are left feeling better by the segue, exactly as folk and blues music is intended, resolution from shared tragic events. Toes tapping and spirits lifted, we are treated to the lovely ballad Made to Break. Mimi Naja's lilting vocals bring us into her personal space while letting us know everything is going to be fine as we approach our destination. Here we are told it is permissible to make mistakes, and we need to learn how to make them as the title suggests.

The final tracks sum up our travels and give resolve to the experience. Hard to Make Money is a little tongue-in-cheek poke at reality. The ‘man’ is always looking for money but giving us no real way to make it in the amount we need. We can't argue as we arrive at the final uplifting track. The closer, Take it Back, evokes flavors of Tedeschi Trucks or Reba McEntire. You will imagine the room on its feet as the powerful chorus soars towards the finish with a ‘how do you like me now’ message for the masses. The concert over, the journey complete, yet you want more. The band hears your chanting and comes back for one more before sending you again on your way. Tucked away at track 13 is an absolute jewel titled When it's All Said and Done like an installed encore. Falling just outside the album’s boundary, the song has a purposeful island feel. Uplifting and full of positive energy, the soft vocal number serves as the perfect postscript to our trip.

A fantastic album worthy of space in your collection as well as your head, How to Make Mistakes drops on August 23 and is available for pre-order.

Magic Happens, Behind the Pines; life at a small festival.

Midday sunlight beams down from a crystal blue sky onto the green fields of northern Indiana. Lake Michigan calmly splashes against the beach as workers cut short the toils of the workday to head for a special spot in the farmlands near Chesterton. Tonight is going to be magic; six local bands will be performing on a stage built into a pole barn at Behind the Pines, the homestead of Kerry and Carrie Lakin.

The venue is small by any scale; four acres constitute the entire property where attendees will sing, dance, eat, and sleep over the next two nights. Merchants set up canopies to serve as ad-hoc vendor stalls, the obligatory port-a-pots are installed, and the Just Cheesin' food truck stakes its territory. Dan Schmitt, a local artist, oversees the setup of his colorful and insightful displays to captivate the imagination of all. The venue is set for another year.

On Friday afternoon, the first guests appear. A long gravel road leads back behind long stretches of corn and bean fields to a card table set in the shade of a maple tree. Most of the people coming are known to the event; others are listed on a notepad. The owners’ daughter has prepared gift bags for everyone, an endearing touch that adds a sense of how inviting a small festival can be. We are all invited to come and enjoy music and camaraderie as true guests of real people. This is their home, and they are going all out to make sure we all have a great time.

I ask the owners what made them decide to open their home to such an event. Carrie states she had to. All of the wonderful things she has experienced with the young people who make up Janky Limo, the festival’s namesake, compelled her to take action and create something to showcase their talent. She has cleared the event with family and neighbors and keeps a close eye out to ensure the revelry doesn’t overflow the boundaries. Signs on the property clearly spell out the property limits.

The first band takes the stage at 6 PM. The event, after all, is planned to accommodate the working people looking forward to blowing off a little steam. Janky Limo hits the stage with straightforward rock mixed with tunes from the Grateful Dead, which make up the bread and butter of most of the groups. Ed Strudas, the leader of Janky Limo, is enthralled by the festival. “It’s humbling to have a festival with our name on it,” he states as the gravity sets in; this is his band’s festival. During the initial set titled Janky Limo and Friends, members of other local bands are called to the stage to add their take on fan-favorite songs. Lance Stevens of Stoned Cookies jumps into position as percussionist, Darren Grigsby adds his soulful guitar licks, and Marcus Safirt of Stealin' the Farm belts out an unbelievable version of "Whipping Post." This is the formula of success used throughout the weekend. Band members join in to play a few numbers and give the bands an opportunity to play more expanded selections.

The first night officially closes with Chester Brown, the veteran band of the weekend. These bands are very active, and Friday night is the only time they have. Tomorrow night they will be playing at a local tavern, but they had to get to this event to show support and help work up the fans. Fan-favorite "Bus Stop Betty" gets the crowd dancing as the night wears on.

But the music doesn’t stop. After the lights go out, a fire is built up out on the property, and fans gather to tell stories and mingle. Members of Janky Limo, Chester Brown, and the Stoned Cookies emerge for an impromptu set by firelight. Ed starts "Scarlet Begonias," but has lost the words. He calls for Marcus Safirt to come help out. Marcus melts our minds with a soulful rendition of the iconic Dead song. Did Ed really not remember the words? Doubtful, but the chance to work with an amazing artist and friend makes it all worthwhile. The fire stretches into the night, and the tunes go on until the wee hours; nobody notices time spent with friends.

Saturday morning, and Ed is at it again, emceeing the Lim-olympics, a series of games designed to get everybody laughing and having a great time before another full day of music.

The first band on Saturday is new, yet not so much. New Groove is fronted by members of the Janky crew, Eric and Jessica Norman. They are thrilled to be kicking off day two and bring the heat with Whitney Houston and Tina Turner covers. I ask why they put in the long hours. Jessica replies simply, “It’s an obsession.”

Next up is another relatively new band, The Erly from Niles, MI. The band is on fire with tracks from a new album. New band, new album, and suddenly a host of new fans. This is how all bands start, and that fact is not lost on the crowd. This might be the next radio sensation or next year’s hot concert ticket. After all, Billy Strings came out of Michigan just a few years ago.

Local Ska Band Skirt takes the reins to keep the party going into the dinner hour. I caught up with Nate Miller (bass) and Ben Morrissey (sax) at breakfast to ask how they feel about the small festival. They both agree the larger festivals have more to offer, but lose the intimacy of the smaller venue. The band sizzles with fast-paced songs rapid-fired into the audience. Later, Nate relates that it is nice to have other musicians he knows and trusts to join the band. He takes advantage of a friendly bass player to free him up to take on trumpet duties, which add even more punch to round out the set.

As the day's activities shift into evening mode, Fresh Hops takes the stage. The four-piece ensemble from Griffith, IN, is a fan favorite, playing local bars and appearing at festivals like Summer Camp in Chillicothe. Frontman Stephen Jude’s violin sends sparks through the crowd with perennial hits like "When the Fire Hit the Farm" and "Wolf Pack," where the fans are encouraged to howl along with the band.

Fresh Hops ends their show, but Stephen remains on stage and begins playing softly as staff members and friends bring flowers to the stage. This weekend holds another surprise for everyone: a wedding is going to take place. Sherry and Glenn have included all of us in their special day, and the crowd gives back double the love to the happy couple. Musicians, merchants, and everyone in attendance stop and admire the ceremony. As the newlyweds finish their first dance, the crowd surges forward, spurred on by Mike "Duces" calling for a “group hug.” We all surround and embrace the couple, wishing them years of good fortune.

The night winds up with a final set from Janky Limo. They take back the stage and provide the perfect soundtrack to close out the event. Small festival maybe, but the magic and memories are larger than life.

The sky over southern Ohio is gray and pensive as we arrive early for the Everwild Music Festival. A new art piece, depicting a spider spinning a web that reads "Forever Everwild," echoes the sentiment of the attendees. Now is the time to be Forever Wild. In just four short years, Everwild has evolved from an intimate gathering hosted by Tropidelic into the Midwest’s preeminent reggae event. As a devoted attendee myself, I wanted to understand what makes this festival so special. Like any good recipe, all the flavors must come together in harmony.

When the event first started, it wasn’t just a rebranded version of Freakstomp; it was a carefully planned replacement. Guests can choose to arrive early, before the big crowds on day one, when no music is ‘planned.’ This early arrival allows revelers to reconnect with old friends before the festivities kick into high gear, which is essential to the overall vibe. This isn’t just a music festival—it’s a family gathering. Bands and staff meander about, preparing while guests meet and reacquaint themselves. Somewhere, a sound check turns into an intimate, impromptu mini-concert. The roux starts to bubble.

As with any great dish, top-quality ingredients are essential. Most festivals book up-and-coming local bands as openers, but not at Everwild. The quality starts strong in the morning and continues through the late-night sets. Early fare includes bands like Arise Roots, Sensamotion, Rubix Groove, The Palmer Squares, and Ballyhoo!—all heavy hitters right out of the gate and total professionals. The acts hit the stage with the intensity of the burning sun, performing as if they were headliners. The crowd devours the treatment. Ballyhoo! had us all eating out of their hands as we enthusiastically acted out "Middle Finger," not in anger, but in camaraderie.

It’s during this early part of the day that I meet the grand master of ceremonies, Ryan Tobbe, better known as Tobyraps. He has been with the event since its inception, and I sought his insight into the festival’s direction. I caught up with him on the walkway between introductions, and we sat down for a quick chat. Toby believes the event has helped him grow, just as he has helped the event grow. He is an affable young man whose infectious personality makes every word feel heartfelt, which is why he is such a large part of the weekend. When I asked how the festival has grown so quickly—doubling in attendance for the third year in a row—his response was, “Precision pays off.” He says he wants to be doing this show forever. Again, forever Everwild. I see the pattern.

Another strength of Everwild is how it builds up the bands. The dinner sets are composed of up-and-coming acts, many of whom began their ascent after playing at Everwild. This year’s lineup reads like a fine wine list: Little Stranger, Soja, Hip Abduction, Kyle Smith, James Begin, and the amazing hometown favorites, The Quasi Kings. I could say more about Hip Abduction, Kyle Smith, and Soja, but what more is there to say? They bring the heat of the sun whenever they take the stage. Every year, the crowd for Little Stranger gets larger and louder. This year’s audience was incredible, filling the entire viewing area, and the show they put on validated the crowd’s enthusiasm. James Begin, Tropidelic’s rapper-trombonist, brings a palpable love to the audience, which they immediately reciprocate. He has assembled a fine group of friends, allowing newcomers to collaborate with the best in the genre—but more on that later.

I had a special moment with Zack and Benny Coleman, the frontman brothers of The Quasi Kings. Zack had just finished a set with James Begin, while his brother Benny could be seen at the side of the stage recording the performance. I asked the duo what makes this festival so magical. “Everyone works together and helps out,” says the accomplished saxophonist Zack, who had just finished a set where he was asked to rap. Benny, who missed last year’s festival, was taken aback by the sheer growth of the event. They both hope it continues to grow, but realize that growth may take away some of the intimacy. I can’t help but marvel at talking to two such like-minded individuals who connect the dots between Dave Brubeck’s "Take Five" (used to open their set) and the music of Steel Pulse. If you haven’t heard this band, find them. They’re going places.

Time to grab a little grub for the body to go with all this food for the soul. The food vendors are spot-on. Though smaller in number than the offerings at mega festivals, it feels like even the vendors were chosen for their top-notch quality. I find myself torn between the ever-popular Disco Pizza, fried chicken from Gyro Deluxe, or a smoothie. I opt for the famous Korean tacos and, as luck would have it, end up in line with Jinari Kemet. Time to grab a little soul snack while waiting on tacos.

Jinari is a rising star from the Cleveland area. He has the chiseled good looks of an action movie star and a commanding voice, yet his demeanor is sweet and humble. I ask how he’s enjoying the weekend, and he is over the moon. He says that getting to work with so much talent and being treated so well by the community has been really good for his psyche. The real treat was ours, as we discovered during his set with James Begin. Pairing established talent with rising stars like Jinari allows up-and-comers to be discovered by larger crowds. Get out and see him now so you can be one of the lucky ones who can say, “I knew him when.”

The main course arrives with a tour-de-force of the best bands around today: Tropidelic, Bumpin Uglies, and Wookiefoot representing the Midwest/East Coast, and Stick Figure, Rebelution, and The Movement bringing that West Coast sound to the venue. Devoted fans were treated to some of the best performances from each of these bands as they played into the night. In a true show of professionalism, Tropidelic forfeited their spot on Thursday night due to weather concerns for the fans, allowing Stick Figure to rock the night away, albeit in a set split up by thunderstorms.

I waited until Friday night to meander through the Artist Village—a true dessert for the senses. An amazing fire show took center stage behind the permanent volcano from Lost Lands. While a young lady spun in a circle of fire, a multitude of glassblowers, painters, and other visual artists plied their craft, all while late-night musicians entertained with subdued sets, perfect for the night air. I was delighted to see the Coleman brothers on the small stage, bathed in blue light, while the crowd swayed to guitar and sax, finishing out the night.

There you have it: a weekend of music and friendship that is hard to match. Everyone left with great memories to last a lifetime and a hunger to return next year to reconnect and make new friends. My favorite memory from this year? Stick Figure singing "Angels Above Me" a cappella while the storm raged above. It was truly nourishment for the mind.

Niles, Michigan, a town of twelve thousand give or take, has produced some powerful music over the years. Tommy James and the Shondells formed here and recorded "Hanky Panky." Tommy Shaw of Styx wrote "Too Much Time on My Hands" while sitting at Mark's Bar, and legendary guitarist Jake Cinninger also grew up in this town. Now, another Niles homegrown band, The Erly, is ready for your approval.

The Erly consists of Trevor McDonald (guitar), Collin Mattiford (bass), Fran Gleason (drums), and Simon Hurst (keyboard), all accomplished musicians from the Midwest.

Their album Salem Lights is set to release on September 4, with three tracks already available. The album features 11 heartfelt songs blending blues, funk, and folk, offering something for everyone. Let's unpack what this album has to offer.

The first track, "Carolina," with its infectious, driving beat, is the perfect start to the set. It's a traveling song that gets feet tapping and guitar riffs that put a big smile on your face. As you cruise along to that railroad beat, you know you're in for a great adventure. Put the convertible top down and hit the road—this is going to be a great trip.

"Sally," the third single released at the end of July, follows with the same happy, upbeat vibe. The organ work gives the song a gospel touch without going overboard. For three minutes, we journey with the band in search of that special someone who lights up our lives. The song resonates because we've all experienced the euphoria of finding our person, and here she is—Sally.

"OH10" slows things down as we reach the middle of both the country and the album. It’s the second teaser released from this album and well-deserving of a spot on your summer road trip playlist. This track offers a feel-good blend of slipping under the radar, relief, and a hint of piracy as we arrive at "Let It Roll," ready for a little reassurance. The message is clear: go with the flow, to the rhythm of solid blues.

We pick up the pace again with "Reading the Call." It’s a bit more up-tempo with a slightly darker theme. The jangly rhythm gets us swaying to the happy sounds while the subject of paying attention whispers in our ears. Does the next track hold an answer? "Oh Well" slows the mood with a pure slow-dance vibe. This song showcases the band’s musical abilities—each instrument is heard, yet only contributes what is needed. The result is a haunting blend of instrumental and vocal music that quietly shines with perfection.

"55 on the Other Side" ramps up the tempo and displays the band’s sense of humor. The first single from the album reinforces the feel-good vibes established in the first half of the record. It’s pure aural happiness for the drive home. The call-and-response style gives this fun musical romp a place in your mind.

Next up is a ballad for self-reflection. "Wreckage" speaks to us all. We all need a little help to get through this world. The allegorical wreckage of our lives may seem insurmountable at times, but hope is just around the corner—you only have to ask. Once again, the pure musicianship of The Erly shines. The band members contribute just enough without overpowering each other. The bass and drums lock together, providing form and foundation, while the keyboard and guitar complement the lyrics.

Rowdy and driving, "Give Me a Sign" bursts in with a hot energy. More straightforward rock than the rest of the album, yet perfectly at home within it. Once again, Hurst’s keyboard work stands out, lifting the entire song and leading us to the good, stiff drinking tune, "L.A. Time." You can almost picture yourself at the bar with the band, living on L.A. time. It’s the perfect song to tell your story to while hoisting a pint of liquid salvation. With straightforward lyrics and a great beat, everything here belongs. Pull up a stool and shine on.

The album closes with "Salem Lights," a soulful, straightforward blues track that offers the listener a nostalgic landing. The tune feels both new and familiar, taking you back to countless nights spent dancing under the stars, trying to figure out where life is headed. Rather than abruptly ending, the song gently fades, leaving a sense of unresolved peace—the perfect ending to a great album.

The ‘Days Between’ mark the nine days that separate Jerry Garcia’s birthday, August 1, and his death date, August 9. Doug Hagman, frontman for Terrapin Flyer, felt compelled earlier this year to do something to commemorate this special time. "I was in Italy, and I just had to play to celebrate," Hagman told me. "So I called up Martyrs and asked, 'What dates do you have open?'" And so, this year's celebration began to take shape. Split between Martyrs in Chicago and Shoreline Brewery in Michigan City, IN, the ‘Days Between’ celebration became an unforgettable tribute to life, music, and the enduring spirit of Jerry Garcia. I was fortunate enough to attend the final night of the event at Shoreline Brewery.

I found myself stuck in traffic on the way to the show, arriving late. Navigating through work zones, feeling the weight of a week's work, and stressing over writing three articles this weekend—it all had me on edge. But as I pulled into the parking lot, the sweet strains of ‘Bertha’ floated through the air, and my stress began to melt away. Walking toward the door, I heard a familiar voice call out to me. An old friend jumped out of his car and gave me a bear hug. Yup, this is family. Some might call Terrapin Flyer a cover band. Others, a tribute band. But to me, they’re an experience band. A Terrapin Flyer concert isn’t just about the music—it’s about the people, the food, and the whole atmosphere.

This was the band's first time playing at Shoreline Brewery, and they were more than pleased. The brewery had gone above and beyond to create that perfect backyard vibe. The covered stage sat in a cozy corner of the yard, with a grassy area in front, framed by shrubs. A patio with a fire pit completed the outdoor space. Inside, a wall of doors opened onto a long bar serving food and drink. The staff at Shoreline welcomed everyone with that warm Midwestern charm, making you feel instantly at home. The menu was full of comfort food, and the beer was cold and refreshing. I grabbed a pint and some mac and cheese as the band played a spot-on rendition of ‘Brown-Eyed Women.’

As the sun sank and stars dotted the sky, I wandered toward the back corner, hoping to soak in the band’s music and the overall vibe in solitude. But solitude wasn’t to be found here. People I knew, people I hadn’t seen in years, and even people I’d never met stopped to shake my hand, to chat. Here, everyone is family, and the good feeling is contagious. We all settled in, letting the music carry us away.

Terrapin Flyer, together for 25 years, plays the crowd as well as they play their instruments. Their set is both meticulously crafted and beautifully spontaneous, allowing the band to groove with the audience. The musicians’ deep knowledge of the Grateful Dead’s catalog is astounding, yet each time they play, they breathe new life into the music. Close your eyes, and you are at a Dead show. Doug Hagman’s voice drives this illusion—velvety and warm, with just the right touch of gravel, much like Jerry Garcia’s voice in the ‘80s. Wavy Dave (bassist) and Jon Reed (drums) lay down a solid foundation of funk, while Doug Hagman (rhythm guitar) supplies vocals, and Michael Cole (keyboard) and Josh Olken (lead guitar) deliver the smoky sound that defines the band.

I caught up with Hagman and Wavy Dave during the set break. Fans approached them with requests: “Can you play ‘Scarlet Begonias’?” “How about ‘Tennessee Jed’?” “Althea!” they all asked. The affable Hagman smiled and replied, “We’ll see.” I threw a curveball: “How about ‘Monkey and the Engineer’?” Wavy Dave chuckled and said, “Yeah, we know that one.” He knew I was just teasing, but honestly, the Dead’s anthology is endless, and so are the requests that come with it.

How do you recreate the feeling of the Dead? A great backyard, a roaring fire, good food, friends to share it with, and a band that nails the Dead’s quintessential sound. Terrapin Flyer has it down to a science. I originally planned to stay for just the first set, but three hours later, I found myself chatting with Ryan, the soundman, as he packed up. The time flew by without notice. We didn’t care what the clock said—late night in 2024 Michigan City felt like it could have been 1967 in La Honda. That’s the magic: they don’t just bring you the music of the Grateful Dead; they bring you the experience.

Without even singing a word of the song, Terrapin Flyer and Shoreline Brewery had teamed up to transport us to a back porch in Indiana, beneath a crescent moon in the sky.

Fruition, the dynamic five-piece American Roots band from Portland, Oregon, is gearing up for an exciting chapter. With their new album How to Make Mistakes on the horizon, an extensive American tour, and a special appearance at the Musical Sojourn in Buenos Aires—all kicking off in August—the band is poised for a busy and exhilarating stretch ahead. I had the pleasure of sitting down with Mimi Naja, the band's co-founder, singer, and songwriter, to discuss the new record and the upcoming tour.

GW: Tell me about the formation of Fruition?

MN: The three songwriters—me, Jay (Cobb Anderson), and Kellen (Asebroek)—started busking in Portland, Oregon, and things just took off from there. We picked up Tyler Thompson on drums. We started with another bass player but ended up with Jeff Leonard in 2015. And here we are.

GW: How does it feel to go from busking on the street to traveling on a world tour in just 15 years?

MN: Yeah, some days it feels like progress, some days it doesn’t. But we’ve been blessed to play on big stages and at festivals. Festivals are really our bread and butter. We’ve got to get new ears on the band, and yeah, it feels great.

GW: Did you start off as bluegrass? I hear so many influences in your music—blues, folk, even some jazz. Is this the basis for American Roots music?

MN: We were never a bluegrass band. We were a string band because that’s what you can play when performing on the street. I play the mandolin, but we’ve never been bluegrass. Americana, or American Roots, sounds good. You know, we pull from a variety of genres—we’re just the great melting pot.

GW: Who is your musical muse?

MN: For songwriting and the maturity realm, Gillian Welch has been our collective number one over the years. But we listen to so many styles. Still, Gillian is our hero.

GW: Your new album, How to Make Mistakes, is a wonderful collection. I was impressed with the flow of the songs, like a perfect live set. How did you come up with the order?

MN: It’s just kind of a natural, throw-things-at-the-wall-and-see-what-sticks approach. Things moved around a bit, but it’s mostly intuition. There’s an overarching theme, but it’s not a concept record. As a collection, the vibe comes across. With three lead singers, we like to divvy things out.

GW: Where did the album title come from?

MN: It’s pulled from one of the tracks, "Made to Break." There’s a line in there, "I’m still learning how to make mistakes," and we just thought it was a great line. It has a double meaning for us because the record was made in one room with no overdubs or extra tricks. It’s really raw and intimate. There might be some imperfect singing or slightly out-of-tune moments, but we kept it all as it was live.

GW: On the track "Get Lost," I can almost visualize the story. Where did this imagery come from?

MN: I hope that song serves as an anthem for anyone who uses nature to heal themselves. I’m a city girl, but the only way I manage is by regularly getting out into nature. The inspiration came when I was stuck in traffic, surrounded by cars and concrete. People were playing loud music, yelling at their phones—just all the noise and chaos. I survived knowing that my time to be with Mother Earth was coming. I’m really stoked about how that one came out.

GW: Many of us are with you on that. "The Price of Good Advice" really speaks to me. In my 20s, I bought a used Mercedes. Was this song written from real-life experiences?

MN: Yeah, Jay wrote that song, and it’s definitely personal. I can totally relate to the vehicle verse. That song does a great job tying into the album title as well. Life is just an endless string of decisions, and there’s never going to be a 100% correct decision. Nothing is black and white like that. You make decisions for your betterment, but they still bring new challenges. That song captures that theme in a great way.

GW: My favorite track is "Take it Back." I can imagine crowds swaying to that one.

MN: I always hope it resonates with others the way it did when I wrote it. I try to write from a storytelling angle, like John Prine—very personal and real. I mix my real-life experiences with universal concepts, like feeling estranged from loved ones and feeling like we’re constantly changing. I hope it hits home the way it was intended.

GW: I love the line, "It’s high time I check in on you." It made me reflect on how often we forget to check on people.

MN: Totally. The amount of time we think about our loved ones versus the amount of time we actually reach out—the discrepancy is wild. Social media is supposed to keep us connected, but it often stops us from truly reaching out and checking in. I might see your posts, but we still haven’t connected.

GW: Very insightful. The last track, "All Said and Done," starts with a Polynesian flavor. Was that intentional?

MN: I wouldn’t say Polynesian specifically. T. Tom laid down a nice drum groove, and we just let that ride. Jay uses a 6th chord that gives it a Hawaiian vibe. It’s dreamy, a little tribal meditation that really suits the tune.

GW: What are your hopes for this release? I’ve loved all your albums, and this one feels clean and polished. Are you hoping it will catapult you even further?

MN: We’re definitely hoping for a catapult! We’re really happy knowing that no matter what show we play or how many people are in the room, they’re just a priceless gift. Being a professional musician in today’s climate is really challenging, so we could use a boost. Inflation and the industry’s struggles post-COVID have made it tough. No disrespect to how far we’ve come, but we need more ears in the room. I believe the people who hear this record will love it—hopefully, they’ll fall in love with us, too.

GW: You’re about to start an extensive tour. How do you prepare for that?

MN: We’ve got to bring the music to the people! We’ve planned the tour nicely, with a couple of weeks at a time. We want to stay busy—staying busy is key.

GW: How does touring affect your families?

MN: It’s a difficult balance. Some of the guys have partners and babies at home, so we have to space it out and respect the families. It’s all about finding balance, and we aim to continue doing that.

GW: Is there anywhere you’re particularly excited to go?

MN: I feel like we’ve had some success on the East Coast here and there, but I really hope this tour is where we win them over. We’re heading to Montana, which is amazing—they already love us there, so we’ll definitely feel the love and support. I’m looking forward to newer markets, newer to us, falling a little deeper in love with us.

GW: Tell us about the Musical Sojourn in Buenos Aires.

MN: I’m really excited about that! Matt Butler, out in Portland, Oregon, who runs the Everyone Orchestra, organizes these events, and they’re incredible. It’s full collaboration with all kinds of amazing artists. The fans are just as deep into it as we are, and we’re all in it together for a week straight.

GW: One last question—tell us about your collaboration with Conscious Alliance?

MN: We’ve partnered with them several times over the years. The first time was at the Northwest String Summit—may it rest in peace. We’ve done countless events with them in Colorado, Oregon, and other places. Their mission to feed people is beautiful, and what’s even better is how they do the heavy lifting behind the scenes. We’re just happy to help spread the word and be a part of something so important.

Fruition’s tour kicks off in Montana on August 21, with dates scheduled across the U.S. How to Make Mistakes drops on August 23 and will be available online. Don’t miss out on this raw and heartfelt collection from one of the most innovative bands in the Americana scene today.

Where is Joe Samba? The New England-born singer, songwriter, guitar master, and general musical phenomenon is hard to pin down, literally. First, there is his chameleon-like ability to move seamlessly from job to job and place to place. Are you looking for Joe, the touring musician? Good luck! He is seemingly always on tour or playing somewhere, usually far from where he was the night before. Or perhaps you’re looking for Joe the father? His family is always with him. They live in his heart and mind, and you can 'see' them every time he sings a song. Maybe you’ve been drawn into his orbit and find yourself helplessly lost in his high-energy music, as so many of today’s top young artists do, lending a hand on his songs. Maybe you’re searching for Joe in his music, but then, which fan are you? Is he Reggae? Blues? Hard Rock? Jazz? Ska? Funk? Punk? My head spins trying to capture where he is in this crazy world. Fear not! Joe has assembled a high-energy, good-feeling set for you. Joe is throwing us a Lifeline.

We spoke to Joe about the new album, touring, and life in general. He is truly humble and disarming with his easy manner. My first Joe Samba concert was at Everwild in 2022. I remember him asking the crowd to buy his merchandise so he could afford diapers. His first son is out of diapers now, but the Samba tribe will soon be adding another. “A never-ending cycle of diapers,” says the man about to launch what I believe is one of the best albums ever.

GW: You grew up in New Hampshire, and your father is a bass player, so you must have had lots of music in the home when you were younger. What types of music were in the home, and which artists stand out the most to you now?

JS: My dad was a big funk guy, so without knowing what he was playing, I found out later it was Tower of Power, Jaco Pastorius, and Weather Report—all this fusion jazz he would play. Later in life, I would come back to these songs and think, “Hey, yeah, my dad used to play this stuff.” I think the biggest one was Tower of Power. They really stand out. I have them tattooed on my leg. Soul, Funk, R&B—that’s what he would put on around the house. But he’s a product of the 70s, so he would play Black Sabbath and all those 70s rock bands.

GW: That really shows in what you do. You’re kind of a chameleon in that every tune is different. It’s always Joe Samba, but never quite the same.

JS: I’m glad you caught on to that. The theme has been good songwriting, no matter what genre, with a taste of reggae.

GW: What genre is your favorite?

JS: Like I said, Funk, Soul, and R&B—there’s no way I can’t start nodding my head or start grooving to Funk.

GW: With kids in the house, I have to ask—what instrument are you going to teach them to play first and why?

JS: My son naturally gravitates to drums, which is a great place to start to get a feel for rhythm and groove and feel for things. I’ve always sung, and I started with drums. After you get the idea of feeling a song through rhythm, piano is the second thing to get you integrated with chord structure and tones and different ways to mess with rhythm, adding musicality. You can translate piano to any other instrument from there. You know, whatever they pick up, I’ll always encourage them, whether it’s music or whatever.

Joe Samba’s latest release, Lifeline, like his previous releases, is unashamedly undefinable—pure good music that refuses to sit in one basket. Come with me and take a verbal listen to what awaits you on these superb 10 tracks:

We start our voyage with Cultural War. A hard funk beat takes us back to the great funk tunes of the 1970s. Reminiscent of Larry Graham or Edwin Starr, with its driving rhythm and punchy horns, this tune is a winner right out of the gate. The lyrics are biting, following along with the current cultural climate. A nod to the great funk masters of the past, this song could fit in anywhere in the 70s, but it’s brought to a younger generation to make their own. The instruments drive the music along using diminished chords, resolving with vibrant choruses.

GW: What inspired you to write Cultural War?

JS: I’ve been sitting on that groove for years, wanting to build it into something. The melody came to me over time; I was in my little home studio, and it all came together. I tried to relate to current events and people talking about all these subjects that need to be talked about but without taking yourself too seriously. You like this song, so do I, so let’s dance and have a good time. That’s the idea—take yourself less seriously. We all have struggles and hard times. Put our differences aside and put on some good tunes and vibe together.

GW: I’ve heard your dad is my age. You know we grew up in one of the most contentious times in America. We lived it. How has that dynamic affected your music?

JS: Good question. You know, not being a product of that era, it obviously shaped the culture you grew up in. Thinking about current events now that are happening in my era, it’s so relatable. There are so many relatable things happening now but so many different wild things, too. In the 70s, some of these conversations would never have been had. It goes back to finding something common we can all relate to as people, no matter if you’re from the 70s, the 90s, or my son’s age. Music is something we all have in common. If you don’t like at least one song, there’s something wrong with you. It’s the one common ground we can all talk about.

GW: At your concerts, you really grab the audience’s attention, and your fan base is so large and diverse. How do you feel about leading the charge with such a large, diverse fan base?

JS: I am honored. It kind of happened accidentally, but it’s a cool role to have. I’ll be able to stir people’s souls with my sonic alchemy.

Next, we slow down with a little encouraging tale titled Cold Feet. The music brings back memories of George Benson. The entire song feels like an intimate couching session we’ve hopefully all had with an adult. Joe takes us aside and speaks to us honestly with true heart. The bass and drums hold the structure of a classic rock beat while the lyrics use a modern rap feel. The feel is small and close, like a late-night jazz session, and gives the listener a feeling of being in the moment.

GW: This song evokes encouragement. Do you find yourself encouraging others?

JS: It’s just natural. I learned a long time ago not to take myself so seriously. It’s very easy to get stuck. I took it back, and I’m going to write about how I’m feeling. It’s an easy statement to say, but it’s really hard to find the words that will make it into a song. The song Cold Feet just came to me through my own trials of being a human being, not being afraid of taking that next step in life. Like moving out of my parents’ house—I was really comfortable for a while, but something needed to change. You’ve got to make the change. It’s really hard, but once you see that you can do it, even thrive doing it, it’s worth it. It takes that leap to get out of the realm of whatever insecurity you have.

GW: The song feels like a time we’ve all had when a coach takes us aside and tells us we’ve got to do what we’ve got to do.

JS: Speaking of coaches, I got to work with Eric Krasno of Soulive and a former member of Lettuce. He’s doing a lot of musical production and directing for a lot of these musical events. He’s been an idol of mine, and to work with him and have his musicality behind it all was massive.

Time to lighten the mood and get us singing along with the happiest tune imaginable, Little Love. This happy beach tune bops along, leaving us joyful and more positive. Be careful—listening to this one too often will make you a happier person, and people will wonder.

GW: Obviously, this is going to be a great hit with Joe Samba fans. The song fits the smiling, happy persona we all associate with you. Is this who you really are, or just a part of your complexities?

JS: Absolutely!

GW: I love the island groove. Is that from your time in Key West?

JS: Definitely played a factor in the influence, not purposely. I really got into Bob Marley, and I got into my Jimmy Buffett phase. When I was living there, there was inspiration everywhere. I’ve always played the ukulele, and I always try to include one song that has ukulele in it. For this record, it was Little Love. It was the first song we put out because it’s quintessential Joe Samba, and I hadn’t put out music in two years, so I wanted it to be a gift for people to hear.

Now Joe is ready to take flight with the musical fantasy Lost Boy. This mischievous tribute to J.M. Barrie’s Peter Pan has us daydreaming. Real musicality with complex rhythm and dynamics (Have I mentioned that Joe is a real musical genius who uses all the tools of the trade?) draws the listener in, painting an unmistakable picture of flights into the night, pirates, and swordplay. Enthusiastic drums grab the listener and pull them along on this fantastical, magical musical tapestry. The horns push from the sides, redirecting the listener to the main theme. The entire wordplay ends in discord as the fantasy is broken.

GW: As a child, I remember the ride Peter Pan’s Magical Adventure, where the traveler boarded a pirate ship that sailed over a miniature town and through vignettes from the plays. Your song took me right back there. What possessed you to pick this subject?

JS: Honestly, it started going back to Key West. I felt like a lost boy during COVID. When I moved to Key West, I met so many like-minded people who were all transplants. During the pandemic, people who normally traveled the world went to Key West. My buddy Matt Cuyler started a company called Lost Boy Creations. He’s from Connecticut, and I’m from New Hampshire, so we have a lot in common. He spent time in the Virgin Islands surfing, and he ended up in Key West and started this brand. We both helped each other out. You know, we’re both New England boys, and from his brand to what I’m doing musically, we vibe pretty well. These hats I wear every night on stage are his. That’s what started the inspiration. I had the song, and the hook just fit perfectly for that theme of Peter Pan and the Lost Boys. Key West was our Neverland. We were trying to figure ourselves out, and it’s just a fun little island.

GW: I’m a great admirer of your musicality. The song ends on a dissonant chord. Why?

JS: ‘Cause it’s different.

GW: It kind of brings me back to reality.

JS: That was kind of the objective. Anyone can end it on the root; in the bridge, I do that note, and I thought it would be a cool way to end it. Thinking about it deeper, after it has been mixed and mastered, the dissonance kind of keeps you on your toes. I have friends who are music video producers, and they say that chord kind of wakes you up. You’re in this Neverland where you never grow up, and then you hit that dissonant chord, and it’s like it brings you back to reality, and you’re sitting at an office desk wondering what you’re doing with your life. There are so many different meanings behind it.

Time for a little heavy message. "Communicate" really speaks to all in this timelessly introspective voyage. This cut is for those seeking the days of Jimmy Cliff and Peter Tosh, where the music just flows. The quintessential point for humans to hear and respect each other resonates. Great harmonies add to the complexity of the message in this wholesome tribute to Roots Reggae. It’s definitely a song for the broken, but also for all of us just wishing to get along.

GW: Many of us feel we can’t communicate in today’s world. So much has changed, and so many friendships ended just by a word or possibly by a lack of listening and understanding. What was the inspiration for this song?

JS: I struggled with communicating with people for a long time, not purposefully, more due to my own insecurities. The theme started when I began touring all the time, and there were all these friends I never saw anymore. You know, we all started having kids, buying houses, starting our careers. You go from hanging out all the time to thinking, “Shit, I haven’t talked to my buddy Nate in three years.” What’s going on? I see him on Facebook, but you know, I don’t see him. So, it’s about meeting up with your buddy after all that time, and it’s like no time has passed at all. I talk about that in the song. The chorus is more about how I’ve been lucky to have music as my way to communicate with others. People who can’t communicate well and feel stuck, worthless, or don’t even care to express their feelings because they’re so depressed. The idea was to be a voice for them, and if they listen to it and resonate with it, maybe they’ll start thinking about communicating more. That’s the deep reasoning behind the song. It came naturally. I didn’t think, "I have to resonate with these people," I just write about my own experiences and how I feel, and I hope it resonates with people. I want them to understand the feelings I’m expressing in the song and relate to them, so we can communicate.

GW: From the musical side again, I appreciate the song's ebbing and flowing. The music builds, then subsides; harmonies are added, then the voices retract to unison, and the dynamics match the mood/message. All of that seems planned yet organic. How did you create the balance between the music and the message?

JS: It’s how it comes out. I’ve been writing songs since I was a kid. My goal is always to perfect the song. Commercially, five-minute songs aren’t a thing anymore, so you have to fit it into this two-and-a-half-minute song. There are just so many ways you can go with a song now. You have such a short amount of time to express it, so it’s like, why would I just do the same thing when I could do it all? It’s about doing it all but tastefully. A quote that I try to relate to in my career is from Tom Brady after he retired. He said, “The reason why I am planning my retirement is the amount of mediocrity that is in football now.” Things have been dumbed down for the masses. He was there when there were more hits, not as many flags, and less complaining, and I can relate to that in music. I see a lot of mediocrity in modern music, and I would like to be that dividing line. You can still be creative; AI isn’t going to take it right away. I’m going to show people my expressions, and this is how I do it. It can be tasteful and not too much, catchy without being mediocre.

We’ve come halfway round and are rewarded with the hard-hitting rocker "Meant to Be." Punchy, soulful, and engaging, Joe is certainly on his way to make things loud. This song has become my afternoon treat, the one I find myself restarting over and over. It sneaks into your head as you lay daydreaming and brings you back to the world. Yeah, some things are meant to be.

GW: I put this one on repeat all the time.

JS: Are you a hip-hop guy?

GW: No, but this song is so relatable. We are on our way to make things loud. How are you able to make this song so teaching without being preachy? How do you do that?

JS: I don’t know. I steal this quote from Victor Wooten all the time: “The song already exists, I just find it.” You’ve got to find the song; it’s already in the ether. It’s about timing and where you are in life and what you want to get across to people. This is another song I did with Eric Krasno. It started with the music. He sent me the files with the beat, and I just started writing the music. The feel of the song was, "I am going to own this." I just started writing, and the idea is, this is the path I chose. This is the suck that I have to endure, touring as a musician. It’s not the easiest or most glamorous thing, but I’m going to do it the hardest I can.

Time to set the party into overdrive with the Ska barnburner, "Surfside"; what a romp! The band takes off for the weekend led by Captain Joe and his pontoon. The trombone is unleashed, and one of the most impossible drum lines ever created gets us up and dancing. From the minute we step onto that pontoon until long after sunset, the adrenaline rush never subsides. We are all along for the festivities as we run to the sun and sand. Jarv delivers the proclamation to have a good time hanging with the crew. I can already envision fans moshing in the burning midday sun to the infectious tune.

GW: This one ignites my mind as we start off on a voyage with Capt. Joe on his pontoon, and then you give us this screaming trombone.

JS: Yeah, that’s Billy Kottage. He plays full-time with the Interrupters, an amazing Ska Punk band. He’s local in New Hampshire, so getting him on tracks is always fun, and he enjoys doing the tracks.

GW: The song is so real. We all have that friend who’s like, "Don’t sit on the porch; get on the bus, let’s go."

JS: "Surfside" is an actual place, a burger bar in Meredith, New Hampshire, and it’s reggae-themed. He lives right on Lake Winnipesaukee. He’s got the pontoon, and every time we’re up there in the summer, it’s like, let’s go: music loud, smoking joints, and drinking beer.

GW: I think we are all ready to go with you.

JS: I say it’s like a modern-day "Cheeseburger in Paradise."

"Home," featuring Mihali, another Roots Reggae tune, is solidly in the realm of the master Bob Marley himself. The artist brings us right into his life and struggles to balance needs versus wants. He extols the hopes and dreams that one day his son and wife will realize all the sacrifices he has made to make a home for the family. Poignantly, he reminds us all that our home can be anywhere with the people we love.

GW: This song hits so close for many of us. I know many of us hope that our families appreciate what we sacrificed to provide the best life for them. Is that how your family reacted to this one?

JS: I think so. The first time I showed it to my wife, she cried. It’s relatable, it’s a real thing. This is another one I collaborated with Eric Krasno on, and it has Mihali, who’s touring and has a family. It’s one of those songs that, like you said, it’s "Home," and even though I’m still renting, I hope that all this work will allow us to buy that home.

GW: Again we return to the constant image of a voyage, leaving the dock, out to sea. What brought this imagery to you?

JS: I think the image just comes to me; I just feel that. I use a fisherman as a metaphor for what I am doing because I’m gone. I use the sea as a metaphor for the road because I have a young son and a wife who is pregnant, and I have to leave, but that’s what I do for a living. That’s how I keep the roof over our heads. It’s a necessary and tough thing to do. The song goes out to everybody—the military people who have to go to sea for weeks at a time. It’s a crazy life, and things get hard. I always say the support system I have at home is the only thing that keeps me going. If I didn’t have a family, I would have less purpose. Did you get the album artwork?

GW: No, I missed that.

JS: My wife did all the artwork, and it’s very nautical. I didn’t even put two and two together until she made it, and she said all your songs have a nautical vibe to them. We started our lives together in Key West, and she found a lot of old pictures. There is just a lot of meaning behind it, and I wouldn’t have thought of it like that until she made the artwork.

GW: Sounds like she gets you very well.

JS: Yes, more so than I know myself.

Time to shift into low gear with the cool jazz "Break Free." Reminiscent of the greatest '70s jazz masters like Isaac Hayes or Al Jarreau, the song is icy and aloof. A real departure from the rest of the tracks, but a welcome addition for us in the "Joe Samba can do anything" camp. Clean, crisp instrumentals meld with soul-dripping vocals to produce a song you see as much as hear. The sound of a dark street lit by a single streetlight, alone with your thoughts. Yes, somewhere out there, a great story now has a theme song.

GW: This tune is so soulful and moody, it feels like a title track for a movie or television show. Do you have any aspirations to produce music for the visual arts?

JS: Of course. I do a lot of TV commercials back in New England. The idea of a jingle... I’ve sung every genre known to man for whatever is trying to be sold. I think songs that I’ve been creating—I can see them on a TV show. It’s not the reason I am writing, but it’s always there.

Joe has grabbed us, taken us to the highest highs and pulled us through the lowest lows. Now he reels us in with "Lifeline." Anthemic and strong, the last tune is right where it belongs. Our hope for the future and our connection through the music are all neatly packaged in one place. Family, friends, and new acquaintances mix with love, joy, and revelry as we are pulled to safety. Has Joe saved the best for last, or is the last really just a repeat button, like a lifeline giving us another chance for another day? Only you and Joe know.

GW: You brought us full circle now. We’ve traveled along on your voyage, and we get one last musical hug from you. "Lifeline" ties up the whole concept but also leads us back to the beginning. Honestly, a lifeline pulls the unfortunate back home where you started. Do you feel your music as a continuum? A conduit from beginning, back to beginning, rather than beginning to end?

JS: I am so glad you’re nailing that because I struggled with whether it should be the first or last song. It’s not purposeful. I’m still new to this album, and I have a three-year-old, so it’s hard to get through without interruptions. I chose to put it as the last song to culminate all that you have heard. On all my albums, I have one song that is for me and me alone, and for this album, it’s this one. It’s the story of me and my wife rekindling our love, trying new things together, moving places, and trying to figure out what we are going to do. Just trying to put all that information into a three-minute song was tough, but I wrote it for me. I wanted to write a great song, but that one is for me and my family. It’s my wife’s favorite song.

Where is Joe Samba? As we travel from track to track, our emotions run to joy in the music, then to an emotional state as we understand his clear message, finally ending with a little sadness as we want the music to go on unending. But all good things need beginnings and endings. Joe Samba isn’t in our boombox or car radio; he lives in the live concerts. Live, the music is stretched and pulled like a living entity. For those of us lucky enough to say we experienced him as he was starting out, Joe Samba will always be in our hearts and minds. Where is Joe Samba for you? Grab this new release as soon as it comes out on September 27 and play it on repeat, then get to one of his concerts. You too will know where Joe Samba is—he’ll live in your heart.

Every Labor Day weekend since 2011, the beautiful grounds of Camp Shaw-waw-nas-see near Manteno, IL have played host to Shoe Fest. I find myself camped this year with two of my favorite fire spinners and band members from Broken Robots. Yes, everybody can get close at Shoe Fest and you never know whom you might meet. This is an eclectic music festival with something for everyone, and some things unexpected. The music is par excellence with a range and diversity festivals three times the size would be challenged to match. Here the local bands from the Midwest ply their trade next to headliners from all over. Some of this year's highlights were Ghost-Note, The Last Revel, and Molly Tuttle each filling the grounds with enthusiastic fans. 

Starting two hours after the gates open, the music starts, which explains why the lines to get in start the night before. Fans setup camp while enjoying the bluegrass sounds of 'Lucky Pickers' and 'Carrie Sue and the Wood Burners' on the Bent River (upper) stage or the folkish psychedelia of Lost Pyramids and Malingo on the Happy Water (lower) stage.

The first day's crowds have now filled out and I am in a sea of fans vibing to a perennial favorite Kyle Hollingsworth Band. Kyle connects with the fans and the Old Shoe migration starts. The shows are timed such that when the band you are watching ends their set, the next band starts on the other stage 15 minutes later. A long staircase and bridge make a trail between the two stages. Foot traffic and carts traverse the route all day and night. On this first night, the folks were treated to the Last Revel, Squeaky Feet, and the fan favorite, the Old Shoe album cover set. The cheers from the crowd indicate day one has been a winner.

That is to be expected. Music is what music festivals are all about, so why is this one different? Let's start with the creek. Rock Creek, a tributary of the Kankakee River, runs through the property bisecting the upper and lower stages. This is no ordinary creek but a clear cool stream that offers the attendees a place to relax out of the sun while still able to hear the music. Go to the creek anytime during the day and you will see multitudes of families enjoying time together splashing and playing while the parents chill. That’s the next part, the families. 

Many people bring their children to music fests, but I know of no other festival where the parents feel safe allowing their children to explore independently. I asked several parents how they felt about the event and bringing their children. A couple from Chicago I have seen every year admit they came the first year to check out the event and immediately wished they had brought their son. All the parents I spoke to said they had no fear allowing their children to explore the grounds noting that everyone here is like family, and they felt the children were always being watched over, even when out of sight. 

This is a place where you can just be yourself. There are no titles or pumped-up egos here. Shoe allows all the attendees to mingle and enjoy the camaraderie of other people. Here people who farm, plumb, and work in retail sales mingle with consultants, entrepreneurs, and rock stars all on a level field. As I stand by the creek looking at the happy families I note the young man next to me wearing long pants. "Not going in the creek? You're missing out!" He gives me a chuckle and says he is just minding his son but has to go on stage soon. That is when I recognized Crain Baumann, not the amazing percussionist from the People Brothers Band, but Craig the dad, doing his dad duties. Later he and Theresa Marie will be sheading the solitude of night, but for now, we are just two guys watching the happy people on the creek. 

Day two kicks off with Maygen and the Birdwatcher, Janky Limo, Allie and the Night Krals and Neighbor. The fans are still filling in while the early arrivals take advantage of a place on the rail. Janky Limo imported the whole family (fans) filling the spectator area and putting on a show that was the talk of the day. Allie Kral brought us her wonderful blend of folk and rock, not to be missed. The creek is full of families beating the mid-day heat as Neighbor brings the perfect accompaniment to a day with friends.  

Kids' activities are planned throughout the weekend. In the lower stage area, bubbles fill the air as artists both musical and physical display their trade. Jon Griffin brings his painting expertise to the young and young at heart. Jon is right down on the tarps with the children encouraging them and assisting them with their creations. Tim Fitzgerald likewise is in the midst of youth with his kid's percussion sessions. Mr. Dave gives the youngsters their own concert on the big stage with songs directed to them. This year the children were given their own merchant row allowing them to make and sell their own art at the Kids’ Fair by the upper stage.

As the sun sets, Chicago Farmer and Mr.Blotto set the pace for night two. Cody Diekhoff, aka Chicago Farmer, gets the crowd on their feet with songs of life and living. Paul Bolger (aka Mr. Blotto) and company are a not-to-be-missed part of the Chicago music scene. Scorching through known tunes the crowd craves both acts are always packed. Old Shoe put on a funky fantastic trip night two filling the grounds of the lower stage, but the night held more surprises. My campmates woke me up, both literally and intellectually to a phenomenon called Ghost-Note. The band embodies funk, soul, hip-hop, and jazz with an amazing array of talent. Later we saunter on down for an audio-visual treat named Spooklights, just the right way to end the scheduled day. The day doesn't really end as the continual campfire attracts musicians, professional and amateur, to an acoustic session late into the night. Jaik Willis, Stephen Jude, and Elix Smith appear on the sidelines and then enthrall late-night listeners with a deluge of fine tonality.

Camp Shaw’s staff provides the Big Event of the weekend, the annual Duck Race. Staffers with tongue-in-cheek monikers like ‘Z’ and 'Machete’ melt into the kindly camp counselors they really are. Z parades the youngsters down to the creek and then leads them in a countdown for Machete to release the ducks. The kids young and old thrill as the tiny rubber ducks race with the current and a ‘winner’ is announced. Everyone is a winner as the race is all in good fun, but the biggest smiles are on the faces of the staffers.   The kids' activities close out with a Kung Fu lesson from Ben Rogers and a Teen Jam on the big stage.

Sunday Funday starts with Broken Robots bringing the crow together just in time for Mike "Deuces" memorial group photo. All in attendance are encouraged to squeeze together so Alex Mason can get them in the photo. Alex makes production of the photo such a show it is as much fun as the rest of the weekend. The never-miss Sunday sets keep going with fan favorites Chicago Farmer, Dan Bern, Family Groove Company and the Scott Tipping Band paving the way with something for everyone heading into the weekend's big night.

Cornmeal starts off the after-dinner entertainment with special guest Allie Kral. They pick up right where they left off years ago playing seamlessly. The People Brothers Band puts the Souls into the evening with Teresa Marie's voice making us wish that it all would never end. Now the tension is really building as the entire encampment awaits Molly Tuttle and the Golden Highway. They take the stage dressed to impress. This is a tribe of seasoned professionals all with astounding talent and above average beauty, yet they are infinitely relatable. Molly tells us her grandparents are in the audience and live right here in the heart of the Midwest. She also notes that she has never played a concert with fire spinners next to the stage, Welcome to Shoe Fest Molly. 

The weekend closes out with the Shoe String band… a collection of musicians enjoying the moment and playing for themselves as much as the audience. The crowd mellows, it's hard to keep up with this leave of happy cheering for three days, and friends, now part of our families start the process of goodbye-ing. The campfire will draw one last night session and kids will dream of days spent on the creek-side and what new adventure next year will bring.

Check out MORE PHOTOS from the weekend!

As the temperature drops, the wind picks up, and the setting sun over Lake Michigan paints the sky with vivid streaks of orange and pink, fall begins to settle in. I find myself lining up outside The Livery in Benton Harbor, a place steeped in history. Once a city livery where horses and wagons were kept, it has now transformed into a beloved brewery known for excellent food and, perhaps most notably, its great live entertainment. Tonight, the anticipation is palpable as the line stretches long—Brendan Bayliss of Umphrey’s McGee and Jennifer Hartswick, an original member of the Trey Anastasio Band, are set to bring their musical magic to the stage under the banner of Hartliss.

Once inside, the atmosphere is electric. As I explore the space, I encounter a quirky favorite: an old cigarette machine repurposed to sell tiny works of art—now dubbed the art machine. Unable to resist, I grab a new piece titled ‘Blind Date,’ a selection of paintings from artists you might know, though you don’t get to choose. It’s a bit of a roulette, and I smile at the thought that it mirrors the show I’m about to see—two world-class performers with mutual respect but no recorded output together. What can we expect? Music, laughter, and insight. You know, the kind of entertainment we once sought before the world was at our fingertips.

I find a seat on the second level, far in the back. I’m here to observe, to soak in the experience, so I leave the best seats to others. From my vantage point, I can watch the crowd while anticipating the show. An old friend and The Livery’s indispensable soundman, Jon DeWitt, spots me and comes over to chat. “Soundcheck was great,” he says with a grin. “They were joking around and really enjoying themselves. It’s going to be amazing.” His excitement is contagious, especially when he mentions that Jennifer’s trumpet playing is a highlight. I’ve heard her before, and I can’t wait to see how she weaves it into tonight’s performance alongside the guitar and vocals.

The lights dim, and the duo takes the stage to a raucous cheer, immediately easing into a dreamy rendition of Oh! Darling, followed by 50 Ways to Leave Your Lover—and already, Jennifer’s trumpet is in play. Their polished sound is captivating, the trumpet weaving seamlessly with the vocals and guitar, creating the illusion of a much larger ensemble. Brendan’s well-known humor shines through as he banters with the crowd, and to my surprise, Jennifer matches him wit for wit. There’s no fourth wall here; the audience is as much a part of the performance as the musicians themselves.

Jennifer’s soulful rendition of Jolene stuns the crowd, and they follow it up with a smooth take on Blind Faith’s Can’t Find My Way Home, complete with Jennifer’s unique scat lines. The room is fully immersed now, and Brendan, ever the mischievous performer, pulls a surprise on us. During Valerie, Jennifer’s silky smooth vocals set the tone, but when Brendan’s turn comes, he cheekily shifts gears into a fast-paced Moe tune, leaving both the audience and Jennifer grinning. She swiftly takes control, finishing Valerie with aplomb.

Brendan lets us in on a special secret: their trek to Michigan was in honor of their mutual friend George’s birthday. Tonight’s special Ferkin (a small keg traditionally tapped on Fridays) has even been named George’s Birthday Spanking. Thank you, George! It may be his birthday, but we’re all receiving the best gift—an unforgettable night of music.

There’s no set break, no time to cool down. The duo dives right into What a Fool Believes, and the hits keep coming. Each song is familiar, yet reimagined in a way only Brendan and Jennifer can. From Lovely Day to Angel from Montgomery, then Here and Now, their versatility is matched only by their talent. Jennifer’s technical mastery on the trumpet and her remarkable vocal range shine throughout the set, while Brendan’s mellow voice and expert guitar playing keep things playful and unpredictable. During Cyndi Lauper’s Time After Time, Brendan suddenly bursts into Bear Down Chicago Bears, much to the crowd’s delight.

The night wears on, but no one notices. The banter between the performers and the audience makes time irrelevant. There’s no strict setlist—genre and convention seem to have no sway over this show. Brendan reads the room like a seasoned quarterback, and only he could follow Just the Two of Us with Creep. From Guilty Feet to Come Together to Total Eclipse of the Heart, each song is delivered with a twist, keeping the audience rapt until the very end. When they wave and exit the stage, the crowd is having none of it. Chants and cheers coax the duo back for one final encore—a no-holds-barred version of Freedom that gets everyone on their feet.

Hartliss brings us music we didn’t know we wanted, performed in ways we couldn’t have imagined. It’s like pulling the lever on the art machine—what you get is always a surprise, and always better than you’d expect.

The evening sky is pink and orange as I arrive at The Rage in downtown Niles, Michigan. Tonight is special—local band The Erly is launching their latest album, Salem Lights. The building, part of the historic district downtown, was originally a drug store. Now, it’s an events center and restaurant, with a bar from the turn of the last century being the highlight of the interior.

I walk up to Colin Mattiford, standing at the bar. He recognizes me and gives me his trademark smile. He is super excited about tonight's event and promises it will be a great show. I am sure it will be, as the jazz-infused rock band never disappoints. He tells me the soundcheck went great and they are ready to go.

I ask the band to give me their thoughts on the band, the new album, and life to get some context.

GW: Tell us about the new album. What drove its creation?

• TREVOR: Salem Lights (4th album) is our quickest turnaround album since our first album, Shadows. It’s in a way our “Get Back” album. The foundation was recorded live in one room, including solos and, in some cases, vocals. With minimal overdubs, this is a much more stripped-back album compared to our most recent LP, Culture Fever. I think this fueled us to want to land the tracks with as few takes as possible. We wanted to capture the fun and excitement of a live experience on record, so the fans know what to expect at an Erly show.

• FRAN: The creation of Salem Lights was driven by a collective subconsciousness to create something of the moment. Nothing fancy or trendy, but something authentic and real. We initially scheduled sessions with producer Paul Bennett to record demos and see what could happen. Next thing we knew, 27 songs were created and then narrowed down to the 11 featured on the album. Lyric-heavy vocal harmonies combined with stripped-back arrangements, Salem Lights offers stories of love, loss, travel, and acceptance. It’s the closest album so far that captures what The Erly’s live show is like.

• COLLIN: The album’s creation was derived from our ability to write, perform, and record as a live band. While some of the songs stemmed from core ideas created at an earlier time, the majority of what you hear was discovered in the moment of the recording process. This album is the result of spontaneous writing and recording that can only be captured by four individuals in the same room.

• SIMON: I feel that the band drove the creation of the album. As the newest member of the group, the recording process felt very intuitive, with the four of us very quickly becoming acquainted with playing music together. Sometimes it felt like we were just focused on playing, and later realized we had almost finished an album’s worth of music.

The band is going to play on the terrace tonight, outside under the late summer sky, and the weather couldn’t be nicer. I find Simon Hurst and Fran Gleason greeting friends and family as the venue starts to fill. I ask Simon where Trevor McDonald is, and he tells me there is a little more gear they decided they would need tonight, so Trevor has run home to get it. Local doesn’t quite clarify—it’s clear these guys are all part of the fabric that makes up Niles.

GW: Tell us about the band, its formation, members, and future goals.

• TREVOR: I was still in college (IUSB for a BA in Music) in 2018 when I joined the band. I was both taking and teaching lessons and needed an outlet that wasn’t just work. I’ve been with the band since the beginning, following many different changes, whether it was lineup changes or creative changes. As a band, we would love to tour both coasts. We’ve been to LA on a one-off and are journeying to NYC on this upcoming tour. I would love to make that connection someday. Gaining organic fans from a live experience is how I feel we’ve been able to carry on as long and happily as we have. I mean, that's how we met you, Dan!

• COLLIN: The Erly focuses on four different instruments that play off each other in both the studio and live settings. We’re never too fixated on whether a song should be played in a certain structure. The band's formation came from a combination of recording sessions, live gigs, and Craigslist. The Erly will be expanding outside their region of the Midwest for touring and playing shows.

• FRAN: The Erly showcases Collin Mattiford on Bass/Vocals, Trevor McDonald on Guitar/Vocals, Fran Gleason on Drums/Vocals, and Simon Kauffman Hurst on Keyboards. The band started in late 2017 and has produced four albums since, including Salem Lights (9/4/24), which embodies an Americana-rock feel. The Erly plans to continue building their songbook with more albums in the near future, as well as traveling the country on tour.

• SIMON: The Erly was around and making music for a while before I jumped in at the start of this year. After making an album, playing lots of original shows, and even some Grateful Dead shows, I’m excited to see what’s next for us. It’s been a blast playing all this music with these guys. As for the future, I really just hope we get to keep playing shows, making albums, and doing it with a bigger and bigger fan base.

The first part of the show will feature the new album, complete with input from Collin about each song. The crowd reacts with enthusiasm as the band pours their hearts into every note. Songs like “Sally,” “Reading the Call,” “55 on the Other Side,” and “Caroline” resonate with the audience, but to me, the highlights tonight are the ballads like “Wreckage” and “Let It Roll.” The standout of the first half comes as the band lets Trevor sizzle on an extended version of “Oh Well.” Pure magic.

GW: On every album, there is one song that is just for the performers themselves. Which song on Salem Lights is that song and why?

• TREVOR: For me, my one contribution to this album is “Sally,” so it was a pretty easy choice. I had this song in the works since we started considering a new album. I went through quite a bit of writer's block during this album’s cycle. Being able to still pull out this tune for the album meant that, regardless, it was going to be on the album! I think it was captured perfectly and it is so fun to perform live.

• FRAN: One of the songs I contributed to the album, “OH10,” was a lot of fun to record. Though it’s a very loose performance, it brings out the best characteristics of each person in the band. Trevor lands a live guitar solo perfectly, Collin holds down the bass and superbly portrays a sheriff with his vocal in verse two, and Simon gives us that honky-tonk piano solo to close the tune. The drums came very naturally to me, and the tones were exactly what I was looking for (thanks, Paul!). The song is about being stuck in Ohio, and ironically, the band ended up being stranded in Ohio after hitting a deer one month after the song was written.

• COLLIN: “Let It Roll” would be the performer’s song. Aside from a slide guitar and some layered vocals, it’s the most live song on the album. Vocals, acoustic guitar, bass, drums, and keys were all recorded live without any edits after the fact. All of the song’s perfect imperfections are what make it the most humanistic and showcase The Erly in its most natural state.

• SIMON: For me, I really enjoy the song “Gimme a Sign.” I really connected with the energy and attitude of the song. You can hear in the organ parts at the end—I definitely had some fun with the slides.

The second half of the show begins with Erly favorites “One for All,” “Hey Amanda,” and “Waiting All the Time.” The band is really in the groove now, and Collin gives us a little more insight. Songs on earlier recordings were made at a studio right in downtown that has since become a dress shop.

GW: When working on new songs, where do you go for inspiration?

• TREVOR: I think a new approach to every tune helps make each song sound and feel different. Sometimes it comes from what we’re listening to or covering. Culture Fever leaned heavily on Steely Dan. As people may know, we’ve done quite a bit of Grateful Dead tributing/covering in recent years, and that is certainly making its way into our approach and aspirations. For this album, if we found something starting to sound like something, we didn’t lean into it. Rather, we tried to go the other way.

• COLLIN: Inspiration for writing songs starts from the smallest idea, whether it be a rhythm, chord progression, melody, or a lyric. These starting ideas are then expanded on to reach their maximum potential. If an idea isn’t working or hits a roadblock, it’s set to the side for a later date or when inspiration strikes again.

• FRAN: Inspiration for a new song comes at the strangest times. It’s usually when my mind is preoccupied with a mundane task such as driving, doing laundry, or taking a shower. In those moments, I feel my creative brain is most active. Usually, I will only get one phrase or a title down on the page. Typically, that title or phrase will wait until I resonate with it more in the future. In some cases, I instantly connect with the phrase, and my life experiences inspire the completion of the song within 10 minutes.

• SIMON: For me, inspiration comes from lots of places, whether that’s listening to other records, clicking through presets on a synth, or seeing how someone else responds to a riff you were messing around with. In the case of this album, it was definitely the latter. It really felt like this record came about from exploring all those things together in a room.

Amongst the crowd, I notice none other than Paul Bennett, the band’s producer. He tells me that he and Fran first met in high school when they formed a band. Years have passed, and now they find themselves living in Michigan. He recounts how the album kind of just happened. The band was cutting demos, not really expecting more than to see what they sounded like. In the studio, they worked on songs, sounds, and creating the feel of a live performance. Paul knew they had hit on something real and organic. The band made 30 cuts all at once, and from there, they culled the number down to 14. The final tracks have just enough polish to shine without losing the ambiance of a live performance. Paul speaks about the album like a proud young father.

GW: What other bands do you try to emulate?

• COLLIN: Emulating other bands is not a top priority for our creative process. If a song has a certain sound that resembles another group or artist, it is merely a by-product of the creative flow between the four of us bouncing off each other.

• TREVOR: Having seen numerous bands, the ones that impact us live are the ones we want to emulate—not by ripping their ideas but by asking ourselves, “Can we build off of this preexisting tune?” Artists that really go the extra mile that we’ve seen as a band include Dead & Company, Dawes, Thundercat, and The Weather Station.

• FRAN: I wouldn’t say we strive to emulate certain artists when recording or planning a live show, but we certainly take inspiration. Bands like Dawes and Grateful Dead have opened our minds to how big (or small) you can take a song. During the time of recording Salem Lights, songwriters like John Prine, Matt Myers, and J.J. Cale had a big influence on my writing.

• SIMON: For this process, I had Theo Katzman’s album Be the Wheel in mind. Not in terms of specific musical references, but for the process of how they made that record—all live, all to tape. I really wanted to be part of a very live, very in-the-room record. I think we definitely accomplished that.

The band gives us favorites from the past like “Peace of Mind,” “Jasmine,” and my favorite, “Red Roof Inn.” The crowd has thinned, and the night sky has turned a deep blue, with a slight chill in the air. The band would love to go on forever, but even wonderful nights like these must come to a close.

GW: What festivals and venues would you like to play at in 2025?

• COLLIN: We would love to play Shoe Fest, as well as return to Limo Camp. Of course, there are always the big goals, such as SXSW, Bonnaroo, Bourbon & Beyond, and NAMM.

• TREVOR: We would love to be involved in concert series with a local community pull. The ones that are obtainable for a locally growing band. Something like Limo Camp was a nice size with an active, pulling crowd. As far as venues, we want to start tapping into bigger cities like Reggies in Chicago, The Rave in Milwaukee, and The Pour Houses in Raleigh, NC, and Charleston, SC.

• FRAN: For 2025, we plan to gig as much as possible to promote the new album. Festivals like SXSW, Summerfest, Bourbon & Beyond all come to mind, as well as venues like The Acorn (Three Oaks, MI), Schubas (Chicago, IL), and Hi-Fi (Indianapolis, IN).

• SIMON: Red Rocks has always been top of my list. It might be a long shot, but if anyone’s got an opening, let us know! I’m excited for more outdoor festivals next summer, as well as shows in new places. The more, the merrier!

Those of us lucky enough to have discovered the band have enjoyed a night full of their very best. Those of you who have yet to discover them should check out the band's discography on any online service—or better yet, pick up a copy of Salem Lights. You’ll be glad you did.

Kalamazoo, Michigan, mostly rests on the southwest bank of the river that shares its name. Several tributaries feed into the river here, creating hilly terrain that turns the city into a wonder of winding roads, undulating to conform to the natural landscape. Kalamazoo is also the county seat, with both city and county buildings filling downtown, where a maze of one-way streets adds to the congestion. A good summer has brought heavy roadwork, making the city nearly impassable. Navigating to Bell’s Brewery’s Eccentric Café is an adventure, as detours lead past your destination and through acute-angle intersections. But the effort is well worth it.

In the Midwest, beer production has boomed, creating a dynasty of superb craft breweries vying for customers. In Michigan, Bell’s Brewery stands out as a premier brewer, distributing its beers in over 40 states and building on its legacy by hosting concerts in the summer. Bell’s Brewery has created a fantastic concert venue in the heart of downtown. Among old rail service buildings and warehouses, Bell’s cleared land next to their original brewery and built a truly professional venue. The stage is set in the back corner, opposite the building, while trees, benches, and picnic tables give the venue a park-like feel. A raised area near the building offers tables and lights, providing a perfect spot to enjoy both the music and some of Michigan’s best beer.

Tonight, one of the greatest live funk bands on the road today, Lettuce, will be performing in the beer garden under a nearly full moon. This extraordinary six-piece band is on tour, supporting the re-release of their remastered Live in Tokyo album, originally released in 2004. They kick off the show at 8 PM, playing as the sun sets. The band's tight chemistry, built over years of playing together, is clear as they move seamlessly from one song to the next. Each track has its own distinct start and finish, yet the music feels like it never truly ends.

Like the city they’re playing in, Lettuce melds its individual brilliance to achieve a common goal. The band plays with the cohesion of a fine choir, but each member takes the lead at times, displaying their virtuosity honed through years of performing. Lettuce relies heavily on instrumental music, using words sparingly, but the message always comes through loud and clear. How do you review such an incredible group of musicians? All members have either been Grammy-nominated or have contributed to Grammy-nominated projects. Each has worked with some of the biggest touring acts of our time. Let’s take a look at each band member.

First up is guitarist Adam "Shmeeans" Smirnoff, standing front and center, coordinating the action. Tonight, he plays a beautiful Gibson 335, which he uses to maximum effect, laying down soulful riffs before subtly blending back into the overall sound. With simple head nods, he directs the band while giving the impression that he’s simply enjoying the music.

Beside him is Erick ‘Jesus’ Coomes, the band’s extraordinary bassist. Jesus doesn’t just play the bass; it’s an extension of him. He’s toured with some of the biggest stars today, and it shows. His hands glide effortlessly over the fretboard, coaxing out funky, smooth, and punchy lines. Offstage, Jesus is gracious and gregarious, and though he rarely speaks onstage, he chats with fans like old friends. Tonight, his basslines are sonorous and flowing, beautifully complementing Smirnoff’s guitar.

To the audience’s right is Adam Deitch, the Grammy-nominated drummer. His playing is sublime, seamlessly moving from genre to genre while providing both the tempo and the emotional foundation for each passage. To the untrained ear, music may seem to just happen, but musicians know the importance of a drummer like Adam. He holds the structure together, allowing the others to push and pull the music while maintaining a solid foundation for improvisation.

On the audience’s left are Ryan Zoidis, the band’s multi-talented saxophonist, and Eric ‘Benny’ Bloom on trumpet. Together, they form one of the tightest horn sections you’ll ever hear. Their blend of jazz, soul, R&B, and funk punctuates the music, providing that sharp, in-your-face presence so essential to funk. Their improvisations are like a conversation between two old friends, full of unity, disagreement, sadness, and humor, all without a word spoken.

The final member, and the newest addition to the band, is Nigel Hall. Positioned toward the back of the stage, surrounded by a phalanx of keyboards, Nigel is a master of jazz and gospel, and tonight happens to be his birthday. The band is on fire, celebrating with him, as Nigel’s honey-coated vocals grace the few sung tracks. His instrument of choice is the legendary Hammond B3, which he commands with a velvet touch, making it thunder and howl with soul.

Smirnoff lets the crowd in on Nigel’s birthday, and the audience erupts in cheers. It’s humbling to see such a large group of strangers so happy to celebrate another year of your life. Nigel, ever humble, addresses the crowd and asks them to do something for his birthday: “Just tell somebody that you love them. That’s all, just tell somebody that you love them.” A makeshift sign appears in the crowd: “Funky B-Day Nigel.” He introduces one of his favorite songs, and the band lights up the night once again. As the moon smiles down, the organ swells, and the band continues to rage into the night.

If you’ve never heard of Lettuce, the remastered Live in Tokyo is a great place to start, showcasing the band’s versatility and essential sound. For long-time fans, the remastered version rekindles that uplifting feeling that only Lettuce can deliver.

Gifting sprouts has become popular with festival attendees recently. The little green shoots are exchanged as a token symbolizing hope for a new friendship. The sprout is a new beginning, but it needs good ground, sun, and water to flourish. Festivals too are like the sprout. They need the right balance of an excellent location and vendors providing the foundation, sunny, warm entertainers, and the flow of patrons. Jamboozled 2024 was a first-time festival held at the Country Ranch in Mendota, Illinois, this September.

The pre-party started Thursday with Josh Robson performing his one-man act on the Jam stage inside the main building. Josh uses looping tracks, playing many instruments, accompanying himself. Due to technical difficulties, the young performer ended up providing entertainment in the main building for most of the afternoon. His endless energy and broad talent provided an exceptional start to the day.

Next up, Tortuga took to the Groove stage. The Groove was an interesting affair. A rodeo ring complete with bullpens and grandstands now had vendors and sound equipment. Normally the small wooden structure built over the ring’s entrance holds Mariachi bands. Now it plays host to bluegrass and jam bands. Tortuga literally "rocked" as the wind picked up, but the music got our spirits going.

Following Tortuga on the Groove stage was the surprise hit of day one, The Simsons. The four-man act featured Neil Denault (guitar), Dakota Donaldson (bass), Jake Klossing (drums), and the amazing Regie Bannerman on tenor sax. Musicians throughout the venue made their way to listen as the group poured out soulful bluesy jazz. Someone in the crowd yelled out "Sheets of Sound." Regie smiled at the comparison to Coltrane, then unleashed another torrent to drive the point home.

Ear Dose closed out night one on the Jam Stage in high form. The band got the house on its feet, grooving to the funky tunes we have come to expect from the group. As the night wore on and the band closed out the main stage, musicians took out acoustic instruments and jammed into the wee hours.

Day two started off with hand drumming on the main stage. Serene and calming, it was a wonderful way to rejuvenate with a cup of coffee. Keeping in the same laid-back mode for the morning, Bam Jand took over and got us grooving right up to Beaver Weedbreath, another one-man band.

Out on the Groove stage, Sturg and Friends shook up the rodeo ring as the heat of the day was cooled by the rising wind. The late bands started to show up, getting ready to take the stages for a big evening of music.

The venue sound engineer had never dealt with professional bands, or any rock bands, so sound quality had been a little hit-and-miss on the main stage. (The bands themselves ran the Groove Stage sound.) Additionally, miscommunication had left the event without the normal support staff; stage management, gate staff, parking attendants, and security were all missing. This is where our community showed its brilliant character. Many band members stepped up to help with the sound system, the standout being Sam Kinnies of Corn Fish, who spent his weekend at the main stage working with each band to get the sound perfect. Bands themselves ran the Groove Stage, but for the large Main Stage, Elix Smith of Earth Radio and Broken Robots stepped up to help get the bands on and off the stage. The unpaid volunteers covered the gate, parked the cars, and even cleaned the grounds and bathrooms to keep the event on course. And as any true music lover would understand, there was no need for security.

As the sun went down, the big stars hit the stages. At the Groove stage, Lost Pyramids brought us a psychedelic treat. The band is known for groovy interpretive tunes and always makes music that is happy. Downers Grove continued the happiness, setting up the closer on the Groove stage, Funkinetics.

If you have never seen Funkinetics, you have been missing out! Tight grooves, soulful riffs, and tight ensemble playing make for an enjoyable concert wherever they play. Their fan base sparkled in the cool night air as the band jammed their hearts out. Seeing such a top-notch band squeeze into a 10x10 box left me amazed. The gentle giant bass player Martin Gallegos filled the left side, while Steve Gyure’s drum set occupied the rear of the platform. This left little space for guitarist Kevin Dolle and John Fister to put on their normally physical show. Yet the band of professionals rocked it like they were on the main stage at Lollapalooza.

I bounced between stages, trying to get as many acts covered as possible, and cut through the event's third stage, the Basement. Here techno thumped and lights swirled as patrons danced the night away. The crowd seemed to enjoy the scene, and it gave me insight into the genre. Each time I passed the place was hopping and people were having fun, just what the event wanted for them.

On the main stage, the night's entertainment was living large. The night sets began with Daft Phish, a truly accomplished Phish cover band. The sound was spot on, and the place got the jump-start the night needed. Following up came Rock & Rye and EGI. Solid sets from bands that never fail to bring a smile to your face, and the perfect setup to the night's main attraction, the Joe Marcinek band.

Joe Marcinek does not know how to put on a bad show. I have never seen him without his trademark smile and happy demeanor, and his band has the same attitude. The band took the stage and gave one of the best shows I have seen them play. The highlight for me was hearing Ola Timothy sing "Hey Joe." Wow, the depth of talent this band has is not to be underestimated.

Playing with Joe and most of the other bands this weekend was a never-ending bundle of energy known as Kowan Turner. This young man was constantly running from stage to stage and sitting in or just plain out gigging with as many bands as he could. His drumming skills are par excellence, and he never showed any sign of fatigue (oh to be young again). I was able to slow him down long enough for a picture and asked how he was. "Busy," he answered me with a big smile and a little laugh.

The night ended with Earth Radio. It was my first time seeing Earth Radio, and I was extremely impressed. The band started the set with a didgeridoo, letting me know I was in for a treat. Their sound is blissful and moody all at once, drawing the listener into the sound. Difficult to categorize, their music speaks for itself. Once the set was over, the band set off for a makeshift stage set up under a canopy outside where they played into the night.

Unfortunately, the event suffered a severe setback that had no remedy. Due to lack of communication and the remote location, no food vendors came to the event and no local vendors could be obtained. Many planned their weekend around vended food, so when none was available, fans and bands chose to leave early. Some bands cancelled before playing. This left voids at the stages with fewer acts around, and fewer fans for the bands to entertain.

Saturday brought another glorious morning as the sun rose over the cornfields. The weather had turned to early fall, and at the Groove stage, fans were treated to Flabbrgastor, Whuzy, and Arnica Montana, all solid performances. Inside at the Jam stage, Eminence Ensemble and Fluffy were big hits with their fans.

As the sun began to set, Broken Robots took to the outside stage and put on an inspired set despite the dropping temperature and rising wind. Knowing they would be the last act on the outside stage, they played an extra-long set. I was overjoyed.

Inside, Baron Von Future, a futuristic performance act, began what would end up being the last act on the main stage. The band uses lights, sound, and projected imagery to create a total immersive experience. They allowed a young lady and her hoop up on stage. I was late to the show and believed she was part of the act, proving they are very organic. I had reached the end of my energy, so I went to catch a quick nap. My wife was enjoying Baron Von Future, so I asked her to wake me when they finished so I could see the last act. When she woke me, it was to say the Baron was the last act. After I left, the crowd thinned to just her, but Baron Von Future continued to play, finishing out their show. Again, I was reminded of the professionalism I witnessed at the event.

If the musicians are represented by the sun, then the festival was bright and shiny, full of wonderful people who showed me they could weather any storm. The fans did what the best fans do: came out to support their favorite bands and find new bands to follow. They truly set the event awash in good vibrations and happy thoughts, but if the ground is barren, it can quickly absorb all the good. The venue has a long way to go if any events are to ever happen there again. With just a little help from the volunteers and production staff, it shaped up well, but the general evidence of neglect and an attitude of indifference made it impossible for this event to succeed.

Who knows what a little sprout may grow into? Year one, we are always hopeful and tolerant, hoping for the best. For those of us lucky enough to witness this event, what we really got was a display of the true resilience of our musical family. This sprout may have landed on a rocky foundation, but the musicians and fans really made it special. With care and a little work, it could easily grow.

My editor asks if I’d like to review a new song from a rising blues guitarist. Is that even a question? As a blues lover, the chance to hear an up-and-coming artist bend the strings and bring forth those sweet, soulful sounds is an immediate and resounding yes. Send it my way, I beg. My email chimes, and I’m greeted with a single track: a remake of the iconic Led Zeppelin tune, Going to California. My mind starts spinning. What will I find? I hit play and take a deep breath.

Grace Bowers is a rapidly rising star in the world of blues. At just 18, she has already surpassed many with her extraordinary skills and has played alongside some of today’s top stars in Nashville. She’s amassed a large following and released her first album. Now, working with Caroline Jones and Sierra Hull, Grace delivers an incredible reimagining of the classic Zeppelin tune.

As the music begins, with a gentle slide from the guitar, my skepticism kicks in. But then—I hear it—a banjo? Ah, but soon the mandolin joins in, ringing clear yet soft. And this isn’t just any mandolin; it belongs to Sierra Hull. As the vocals begin, I’m suddenly transported back in time—to an old Chevy panel van, covered in shag carpet, heading to the beach. How many days did we spend out there, the side doors open, Led Zeppelin blaring from the Super Tuner, the 6x9 speakers booming? Sun on the sand, guys in cutoffs, and girls in bikinis splashing in the surf. I can almost feel the sand between my toes and taste the Screaming Yellow Zonkers (if you know, you know).

Some may argue that the original Zeppelin version is untouchable, and no remake is necessary. True, there have been other remakes, but most take the song in entirely different directions. Yet, music isn’t meant to remain stagnant—it’s meant to evolve, to be revitalized for future generations. And that’s exactly what Grace’s rendition accomplishes.

The original song was written in England and inspired by California’s earthquakes, but it became a "girl crush" anthem after the band flew to California to mix the album and experienced a real earthquake. Grace shakes up the original in her own way. The arrangement is expanded, with SistaStrings providing a lush foundation that supports the track throughout. Their strings are always present but never overpowering, complementing every moment of the song. Caroline Jones’ vocals soar above the instrumentation, later joined by Lucie Silvas—together, their voices blend so perfectly it’s almost as if they become one.

Up front, the banjo and mandolin weave in and out of the melody, teasing the listener with their rise and fall. Grace steps in just enough to grab our attention, then pulls back, creating a tension that is both pronounced and subtle. These incredibly talented musicians could burst into a full-on shred at any moment, but restraint is the key. This tension, this simmering just below the boil without ever quite reaching it, is what sets this version apart from the original.

The song remains true to its roots, paying homage to Led Zeppelin, but it also carves its own path. The addition of banjo, mandolin, guitar, and violin gives the track a broader palette while maintaining the original’s dreamy, summery vibe. The harmonized vocals are an absolute delight, and the musicianship is impeccable. What this song truly offers is the desire to hear more. It’s the perfect showcase for an amazing young talent, and it takes us on a nostalgic journey. I can hardly wait for Grace’s next full album. In the meantime, I’m adding this track to my winter playlist to summon memories of sun-soaked road trips and beach days. Maybe someone will bring back Screaming Yellow Zonkers too.

As summer fades and the days grow shorter, people here in Northwest Indiana are trading their shorts and t-shirts for jeans and hoodies. Outdoor concerts are moving to indoor venues, and tonight, I’m headed to Burn’em Brewery’s Back Room in Michigan City, IN, to catch a performance by Pushing Daisy’s Band from Indianapolis. This progressive rock group has graced Burn’em's stage many times, always delivering a stellar show. Tonight’s event is extra special, with the addition of a one-man band, 'Bobcat,' opening the night.

I arrive early for dinner, and the place is buzzing with energy. The crowd is enjoying great food and some of the best brews in the region. To my delight, I spot Max Heyob, Pushing Daisy’s lead guitarist, sitting nearby with his parents. One of the band’s most endearing qualities is the support Max’s family provides—his parents are frequent supporters, with his mom even crafting the band’s tie-dye shirts. It’s heartwarming to witness such a close-knit family dynamic in today's fast-paced world. We could all use that kind of support.

At exactly 7 PM, the music kicks off in Burn’em’s Back Room. Bobcat takes the stage, and it quickly becomes clear there’s no “fourth wall” in his act. We, the audience, are fully part of the performance. His musical style blends rockabilly with storytelling, as he stops between songs to share tales and interact with us, pulling everyone into his world. It’s no surprise when I learn he’s from New York, touring the country, aiming to play a new venue every night.

Bobcat’s tour is titled “Bobcat Was Abducted by Aliens,” and he weaves that narrative into his music. He’s also the lead guitarist for The Arkhams and is promoting both his solo work and the band. A true entertainer, he holds the audience captive until 8 PM, when Pushing Daisy’s takes over. Bobcat also sells his merch directly from a tub he hauls in himself—a true one-man operation. If you ever see his name on a playbill, expect an interactive, fun-filled experience.

As Pushing Daisy’s takes the stage, the atmosphere shifts dramatically. The room comes alive with the powerful pulse of the rhythm section. Elijah Pollard (drums) and Mark Stinnett (bass) create a rock-solid foundation, moving in perfect sync like seasoned craftsmen. Elijah, one of the finest drummers I’ve seen, looks like he’s having the time of his life, pounding the skins as if they owe him money. Mark’s bass playing is the glue holding it all together—steady, reliable, and never overwhelming. Together, they form the backbone of the band’s sound.

Michael Mead (guitar) and Ethan Rupert (keyboard) round out the group, adding rich harmonies and dynamic solos that fill the room with their musical expertise. Max Heyob, the frontman, commands the stage with his guitar mastery and clear, grounded voice, driving each song forward. The entire band is committed to delivering a top-notch performance, and tonight is no exception—blazing riffs, soaring solos, and gritty lyrics keep the crowd energized.

The room is swaying and bouncing as the band digs in. Max and Ethan take turns shredding, and the audience grooves along, feeding off the energy. A few songs in, they launch into one of my personal favorites, Simply Twisted. This vibrant jam showcases the band’s ability to work as a cohesive unit, weaving intricate grooves around a central theme. The crowd pumps their fists as the dynamics rise and fall. Riding the high of this energetic number, the band hits us with one of their trademark covers—Crosby, Stills & Nash’s Almost Cut My Hair. They absolutely crush it. Max’s guitar and Ethan’s keyboard scream in unison, while the raw emotion of the song tears into the soul, evoking the counterculture spirit of the past. The audience is left breathless.

But there’s no time to catch our breath. The band jumps right back in with Eugene’s Pet, another staple from their original repertoire. The night progresses with each song building on the last, taking us higher and higher, like climbing a mountain only to find another summit waiting. That’s why Pushing Daisy’s is a band you don’t want to miss.

By the end of the night, Elijah is drenched, having peeled off layers as the show went on. He started the night dressed for snowboarding and ended it shirtless, a testament to the energy this band puts into their performances. I ask what’s next for the band, and more importantly, when we can expect another CD. They tease that maybe we’ll see something in the spring. But don’t wait—if you hear they’re playing near you, make sure to catch a show. Pushing Daisy’s will rock you through every season.

Slash brings real heat to Orgy of the Damned!

Slash has been part of American music since 1981. It is hard to think of the '80s and '90s rock scene and not visualize the tall, muscular Guns N’ Roses lead guitarist in his trademark top hat. He has formed many bands and played many styles. His current album, Orgy of the Damned, is a collection of tried-and-true Blues powerhouse tunes played with some of the industry's heavy hitters. Each track is a marriage of the original song, the featured artist's own style, and Slash’s interpretation on guitar.

It is a serene afternoon as I sit in my comfy chair out on the lawn, watching the dogs frolic and play in the sun, when I receive a copy of Slash’s Orgy of the Damned, and I dig right in. A sonic delight from the first downbeat till the last outro, the album is solid, and I am an instant fan.

The album starts hard out of the gates with The Pusher, featuring Chris Robinson of the Black Crowes. There is minimal deviation from the original Hoyt Axton rendition, but there is more. Chris’s voice is unmistakable, gritty, and soulful; he enunciates every syllable like a vocal crash cymbal, pointed, sharpened, and directed at the listener. Slash's guitar solo adds just the right amount of definition and mimics the vocals.

Crossroads with Gary Clark Jr. hits right between the eyes like the original. Robert Johnson's genre-defining song has been recorded and played by every serious blues musician on the planet, and this version is a purist’s dream. A true homage to Blues, with Slash's guitar bending and screaming while the amazing Gary Clark Jr. gives voice to the arrangement. This song alone is worth seeking out.

ZZ Top’s front man, Billy Gibbons, knows soulful blues, and the choice to add him on Hoochie Coochie Man is a no-brainer. Billy’s growling, half-spoken, half-sung style fits the song perfectly. Slash roars on the guitar solo, matching Billy’s voice and giving the song the powerful emotion that has made it a standard. The lines stay true but offer a fresh, vibrant rendition.

Fleetwood Mac's Oh Well, sung by Chris Stapleton, fits just right at this point. The album weaves a tale of blues progression, starting in the '60s, then moving to its beginnings, and now returns to the late '60s when blues became harder and more electrified. Oh Well was a standout for Fleetwood Mac and has become a standard, now redefined and improved by an iconic Country star and another British guitarist. The original stands the test of time, but this version is a triumphant reimagining.

Key to the Highway matches the vocal fireworks of Dorothy with Slash’s guitar theatrics. Dorothy Martin is a master of melisma, the blues vocal style of bending a single syllable over several notes, stretching and pulling feelings into the words. Her band meshes with Slash seamlessly, giving the feeling of a cohesive group rather than a featured artist. Another must-listen song on an album full of winners.

Iggy Pop gives his interpretation of the Lightnin’ Hopkins tune Awful Dream, delivering a memorable, eerie rendering. The blending of Iggy’s melancholy vocals with Slash bending and strumming is a tribute to the master bluesman. Hopkins is credited as one of the greatest guitarists of all time, and Slash shows no fear in taking on the defining members of the Blues, confidently showcasing his chops.

The Albert King standard Born Under a Bad Sign, featuring the legendary Bad Company frontman Paul Rodgers, is sheer magic. Dark, gloomy lyrics grate against slow, angst-filled guitar bending that would make Albert smile. For those just dipping their toes in the Chicago Blues scene, Albert King is one of the Windy City’s crown royalty, and to pull off a cover of his standard so authoritatively is a credit to the musicianship of all involved. Play this one late at night while cruising the back streets of the city and feel what it’s like to be part of a V.I. Warshawski novel.

Demi Lovato lends her vocal talents to the Motown tour de force Papa Was a Rolling Stone, giving the mostly blues album a little more soul. To those who grew up with the Temptations version, this rendition feels a little thin, lacking their full harmony, but it is spectacular in its own way. Demi’s crystalline vocals with impeccable diction leave ample room for Slash to open up the guitar line. Truly listenable and fun to sing along with anytime.

Howlin’ Wolf's Killing Floor has been noted as one of the defining moments of Chicago electric blues. AC/DC’s Brian Johnson has electrified audiences for years wherever he goes. Put them together with one of the greatest living guitarists, and you have the recipe for a fully charged hit. Having Steven Tyler play harmonica on the track just pushes this one into the stratosphere. The song positively vibrates with all that talent, yet there is no overkill, just solid, emotional blues.

I thought the surprises and mind-opening realities were over until I heard Stevie Wonder's Living for the City with London Souls founder Tash Neal. The song about sacrifice is like a personal testament for Tash, who was left in a coma from a hit-and-run accident and had to claw his way back. Slash brings a more bluesy side to the song, giving it a more visceral feel than the original.

American blues contralto Beth Hart is utterly stunning on the T-Bone Walker classic Stormy Monday (but Tuesday Is Just as Bad). Sultry and eloquent, the note-bending diva exemplifies the West Coast Blues sound pioneered by Walker. The point and counterpoint between the sung words and passionate guitar lines simmer near the boiling point, ebbing and flowing like a soft breeze through a screen door. It’s the perfect blending of guitar and human voice to form a single living instrument.

Metal Chestnut, the only original song on offer in this collection, starts off light and playful and then stretches to a burning metal pinnacle. Slash soars once again with the type of solo reminiscent of his days with GN’R. The shortest song on the album, it feels like his personal signature to his fans, a thank-you for listening and following his long and storied career.

Orgy of the Damned is a definitive collection of blues standards performed by some of today's greatest living artists. Some question why create such a collection when the originals are all available, but the answer is obvious: the originals are not Slash in 2024. This is an homage to the past with great respect and passion. The album is an essential collection, especially for those who love the blues or those who want to discover the history of true American music.

Among guitar enthusiasts, there's a shared recognition of the Warren Haynes sound—a nod to a lifetime of musical achievement. Haynes has been captivating audiences for decades, with stints alongside David Allen Coe, The Allman Brothers, The Dead, Phil Lesh and Friends, the Dickey Betts Band, and his own band, Gov’t Mule. So, it's no surprise that whenever he announces a new album, it causes a stir. On his latest offering, Million Voices Whisper, Hayes delivers his signature sound: a voice smooth as silk, yet with a touch of gravel, and storytelling that defines the folk-blues genre.

I'm listening to Haynes' new release as I drive east to a music festival. The weather is in full fall now, and the trees along I-80 are beginning their seasonal color show. Fittingly, the first track is titled "These Changes," a slow-building, snappy tune that evokes travel in time, space, and emotion. Like the wind moving the leaves, the song builds and flows, only to return stronger. The fully orchestrated backing makes a perfect foundation for Haynes’ soulful solo work—colorful, moving, and insightful. It’s a great opener.

As I move from the farmlands of eastern Indiana to western Ohio, the second tune, "Go Down Swinging," fills the car. Gospel-like and anthemic, Haynes reminds us never to give up. Like the trees in full color punctuated by the greens that refuse to change, the organ testifies alongside a choir of horns that provides a sonic Amen. Haynes' singing guitar reinforces the song’s theme of resilience. Complementing this message is the steady, slow-burn blues track, "You Ain’t Above Me." Here, Haynes gives us the straightforward blues riffs we've come to expect, as the song builds and falls with the resilient chorus.

Next, we get a dose of feel-good vibes with "This Life as We Know It." Uplifting and vibrant, the chorus calls for a sing-along, celebrating life’s strength and resilience. But be careful—The Day of Reckoning will come for transgressors. Fortunately, Haynes rewards us with some of the juiciest blues riffs during this cautionary tale, opening his heart and letting his guitar do the talking.

Turning south around Youngstown, "Real, Real Love" comes on slow and strong like an emotional windstorm, mimicking the fall winds challenging the leaves. Haynes asks us to help him find that most elusive thing—real, true love—and his storytelling is pure magic. The horns support a mesmerizing guitar line, backed by a solid rhythm section, setting up my favorite track, "Lies, Lies, Lies." A funk fan at heart, I relish this tune, where Haynes unleashes serious funk with a hard-hitting rhythm, tight, punctuating horns, and a psychedelic groove that would feel right at home in the late '70s. If you can sit still during this song, check your pulse!

The journey Haynes provides has been incredible, from blues riffs to the vibrant colors of western Pennsylvania. As if on cue, "From Here on Out" plays, looking back on the past with the ever-changing landscapes of our lives, like the colorful leaf show along the way. Another happy, uplifting tune, it combines horns, piano, and organ with Hayes’ undeniable guitar over the top.

Following this positive message is "Till the Sun Comes Shining Through," a slower, more introspective track, yet again with a positive message. The song pairs perfectly with the golden-orange leaves I’m passing. The year’s journey has brought growth, good times, and challenges, setting up one last show before winter’s rebirth. Hard-hitting instrumentals lift the vocals, leaving listeners feeling better about the day.

"Terrified" captures that feeling that reminds us we’re alive—held captive yet happy with life’s course. The funky beat and groove, combined with optimistic lyrics, quell fear and replace it with anticipation. The song's cool rhythm gets us moving with a little sideways smile.

There's just one track left, and with such a monumental career, it seems fitting that Haynes reflects on the "Hall of Future Saints." In this tribute to the indisputable doers of good from the past, we find all of Haynes' heroes. The song opens like a majestic fall valley—warm yet brooding, multicolored yet unified. Haynes honors them with his funky, hard-hitting guitar line while reminding us of the amazing legends we’ve lost.

As I arrive at my destination, Haynes has provided the kind of music that makes long-distance travel feel like a walk in the park. He's sent us positive vibes, words of encouragement, and kindness in every measure. This new album is a must-have for every blues fan, offering something for everyone.

What makes a great festival? Great bands are essential. A beautiful venue with plenty of space to spread out? That’s a bonus. And let’s not forget about vendors with delicious food and unique items to explore. But perhaps most importantly, a great festival has a spirit of community and a setting so inviting you’d visit even without a festival. Enter Bluegrass Island Music Festival in Manteo, North Carolina—probably the best festival you haven’t heard of, until now.

We arrived in Manteo, the only town on Roanoke Island, at noon on Wednesday. My well-informed wife—our journey's navigator and chief scheduler—had us heading to check-in and secure seats even before our hotel check-in time. But there was a surprise: no line. As we approached, we noticed the festival gates were open, people were greeting each other, and visitors were wandering inside. Assuming these were workers or volunteers, we decided to visit the Lost Colony instead.

To the locals, the colony isn’t lost. They keep Sir Raleigh’s first colony alive through vivid demonstrations of how the settlers might have lived while awaiting ships’ return from England. I asked the friendly young woman at the visitor center about the festival, and she happily told us it was all organized by Cory Hemilright, a local businessman. We toured the park, admiring the indigenous longhouse, colony grounds, and even a replica of Sir Raleigh’s ship, the Elizabeth II. By one o’clock, it was clear: the festival grounds were open, with no line or gatekeeper in sight. A friendly local advised, "Just put your chair anywhere you like. It’ll be there all weekend." This was a different festival experience altogether.

After checking into our hotel—again greeted by cheerful staff—we headed to George Washington Creef Park for the kick-off show. This free event, aimed at drumming up enthusiasm for the festival, featured some of IBMA’s rising talent. Ettore Buzzini, a Swiss-American banjo player, impressed with his lightning-fast fingers. The Wildwoods, a folk trio from Lincoln, Nebraska, showcased their tight harmonies, while Backline, a five-piece traditional bluegrass band from Spartanburg, SC, shone through with songs like "My Farm." The Goodwin Brothers, traveling all the way from Kentucky, headlined the evening.

The park, with views of the bay and Marsh Lighthouse, was charming despite the chilly, wet weather. I strolled around to check out the vendors—a local coffee shop was doing a brisk trade, and a nearby taco stand offered hot meals. After chatting with the taco vendor, I learned that she was a last-minute substitute for another vendor, stepping in with just a canopy and tables at Cory’s request. I was beginning to sense a pattern of warm local support.

The festival also offered music cruises. Rhonda Vincent and Breaking Grass joined 100 attendees out on Shallowbag Bay, enjoying beautiful views and intimate performances before returning for the evening shows.

VIP and three-day ticket holders were treated to a late-night warm-up party at the Pioneer Theatre. Rhonda Vincent, the festival's royal headliner, charmed the crowd with her humor and warmth, setting high expectations for the days to come.

Thursday dawned cold and wet, so we took a detour to the nearby North Carolina Aquarium. Less than 10 miles from downtown, it featured well-maintained displays and a lovely park—a refreshing addition amidst the festival's excitement.

The festival itself was impressively organized, with five bands daily starting after lunch and playing until 10:30 PM. Late-night jam sessions at the Pioneer Theatre, hosted by different musicians each night, allowed for a free-form experience. The open festival gates encouraged visitors to explore downtown during breaks, fostering a wonderful relationship between the festival and the local community, with special discounts and helpful local tips.

The official day one lineup opened with the national anthem performed by Ettore, followed by Drive Time from Roxboro, SC, energizing the crowd despite the chilly weather. East Nash Grass, a group from Nashville, wowed with their tight-knit sound and seamless playing, showcasing mutual respect between members. Their chemistry was unmistakable, hinting at a bright future.

The venue itself is stunning, surrounded by boardwalks winding through marshland with breathtaking views of the bay. The main stage, with its open back overlooking the bay, can be enclosed in windy weather, maintaining the view.

Rhonda Vincent, the festival's reigning queen, took the stage, radiating confidence. Clad in a powder blue suit, she delighted fans before swapping her suit jacket for a coat due to the cold. Her performance was as genuine and heartfelt as expected from bluegrass royalty.

The barrier rope was dropped for the last two bands: Donna the Buffalo, a modern folk band with a loyal following, got the crowd dancing with their hit "Positive Motion," while Scythian closed the night, teaching fans some Ukrainian for a song before moving into Celtic tunes, sparking an enthusiastic response.

Friday brought warmer, drier weather, perfect for a morning visit to the beautiful Elizabethan Gardens. The day’s lineup started with Remedy Tree, a husband-and-wife indie bluegrass duo, followed by the seasoned Grascals, whose polished, traditional bluegrass sound was unforgettable. The Cleverlys, a comedic bluegrass act, brought laughs with their unique twist on rap, hip-hop, and rock classics, keeping the crowd entertained.

Shadowgrass, a youthful band formed in 2014, amazed the crowd with their fiery guitar and fiddle solos. Closing the evening, the Brothers Comatose—a five-piece, genre-blending band from San Francisco—had the crowd on their feet, despite their space-age silver suits overheating under the stage lights.

On Saturday, under sunny skies, we explored Manteo before heading to the festival grounds. Local favorite Shannon Baker and Sometime Soon kicked off the day, with Henhouse Prowlers—self-described "Bluegrass Ambassadors"—delivering an inspiring set, infusing their music with messages of positivity.

Midday brought a real treat for traditional bluegrass fans: Appalachian Road Show. Formed by an all-star lineup, the band channeled the spirit of Appalachian music, inviting fans forward to dance and clap along. As the sun set, Breaking Grass captivated the audience with their stirring lyrics and high-energy instrumentals, receiving enthusiastic applause.

The grand finale belonged to the Infamous Stringdusters, one of today’s biggest names in bluegrass. Blurring the lines between traditional, progressive, and jam-band styles, their set was the perfect capstone to an unforgettable festival experience.

Bluegrass Island Music Festival is already set to return in October 2025, featuring Ricky Skaggs, Pam Tillis, and the Steeldrivers. Tickets are already on sale.

The Livery, Benton Harbor’s premier live music venue, is known for hosting the best holiday events. This Halloween was set to be a live Dead party featuring South Bend’s own Grateful Dead cover band, the Happy Campers. However, the untimely passing of Phil Lesh transformed the celebration into a heartfelt farewell to honor his legacy.

Phil Lesh’s death deeply affected the community, but for Happy Campers’ frontman TJ Kanczuzewski, it was especially personal. TJ also plays with Midnight North, the band of Phil’s son, Grahame Lesh. TJ had the privilege of knowing and performing alongside Phil, so this scheduled Halloween concert became a tribute to the 'father figure' of the Dead.

The doors opened an hour early to allow guests time to enjoy excellent food and freshly brewed beer, setting the celebratory mood. The band performed dressed as the original members of the Grateful Dead: TJ as a young Bob Weir, Tyler Kanczuzewski and Bob Henry as Mickey Hart and Billy Kreutzmann, Kyle Paulk as an older Jerry Garcia, and Karl Edmonson channeling a mid-70s Brent Mydland. Jay McDaniel made an attempt at early-70s Phil but, in his own words, ended up looking “like someone not allowed near schools.” The 70s are hard to pull off!

Originally intended to be a set of originals, the first set became a mix of originals and seasonal covers. The band kicked off with "Help on the Way>Fire on the Mountain," igniting the costumed crowd into dancing and singing. They followed with a reggae original before welcoming harmonica virtuoso Nick Kavach to the stage. "Friend of the Devil," "I Need a Miracle," and Warren Zevon’s "Werewolves of London" rounded out the set.

TJ shared personal stories about his time with Phil, bringing warmth and humanity to the legend, who always radiated those qualities. The stories celebrated the joyful times spent learning from Phil, the consummate teacher. As TJ put it, Phil’s wisdom reminded everyone to “pull out the positive and love” from the music, and you could feel the audience imagining Phil looking down in approval.

The second set began with Phil’s best-known song, "Box of Rain," sung in his memory. "Estimated Prophet," "Eyes of the World," and "Not Fade Away" filled out the set, with the night closing on an uplifting note with "Dear Mr. Fantasy."

The evening was a fitting tribute to one of rock’s true innovators and all-around good guys. The world could use a little more of Phil’s spirit, so let’s keep those positive vibes flowing.

The Snozzberries have a gift for all progressive music fans. Their new self-titled album truly explores the boundaries of rock, metal and jazz. The songs cover multiple genres, blending, bending and stretching musicality into a tasty stew of sounds and textures. The tunes do not follow traditional formats and listeners will soon find that the established style not only changes but jumps off the tracks for interludes that somehow circle back when you least expect it. The entire album is like a sonic avant-garde tonal poem, yet the songs are unrelated. Psychedelic and esoteric tunes support classic and common themes stirring the pot, leading us to accept the band's reality as the lyrics are relatable. 
 
Right out of the box "Darkness" starts off heavy like the lead-in to a heavy metal throw down. Fast, explosive and punctuated, it sets a hard course and keeps up the energy. The bass keeps driving as the drums send out shots in the dark, returning to the main theme. The pitch and tone rise then spiral to the conclusion leaving the listener with an edgy unfulfilled feeling. Hold on now as the thunder and fire come for us in "Return." Cosmic launching, dragons, fire swirling around trance like vocals it morphs into an acoustic piano interlude with guitar backing, slowing down the mood. The piano moves to synthesizer and the guitar takes off for a scorching solo. The original theme returns as the mood gets heavy again. The sustained keyboard chords and soaring guitar take us back to the beginning. If these two songs don’t have you sold just wait, we have barely scratched the surface of this experience.

Heading into "Grundle," a simple bass and drum counterpoint starts the song leading to the guitar's jazzy and raw line that sets the song flying off. Synthesized lines move around the core moving to the center of the music. Coming back to earth the set slows down with "Living Without You." The song is a reflective, heartfelt and decidedly romantic cut that has a funky refrain that sticks in the brain. Just a good time song to reset us for what is to come. 
  
"Circling the Drain" comes at us as a synthesizer driven force that gives way to vocals and support music that reminds me of the halcyon days of Styx. Suddenly a break occurs with a slow determined guitar solo driving rhythm faster then slower and back again giving the music the actual feeling of circling. A final hard heavy blast of keyboards, drums and guitar propel the music to an abrupt end, but not so fast! The main melody morphs into a new chorus section again like those power ballads of Denis Deyoung and crew. "Spinning," swirling the song truly lives up to its name. The leopard growls giving warning to Guepardo Morado, a Latin feeling tune right out of Ybor City nightlife. The bass and guitar play with each other over the growling protest of the leopard while the keyboard provides the background. Returning to the funky side of the band "Hide (Testify)" feels like it came right out of the past. The vocals are reminiscent of the mid seventies funk/R&B scene. Again the chorus and funky beat stick in your brain for days.  
 
We take another turn down the Progressive flight path as "The Storm" rages into our ears. Synth driven guitars and bass lines propel the flood of imagery right to your cerebral cortex. The driving beat causes involuntary dancing as the song undulates between squalls, right up to the final note. But wait the band has one more tune for us and it is yet another departure, another sound palate to brush on. "Biting Through" starts funky with a new style than we have yet to experience. Syncopated funk bass and clapping lead up to a cool simple guitar line that gets you moving. The song has lightness yet it’s forceful and driving. A great ending to a great album top to bottom.

The Snozzberries Psychedelic Circus will be in Asheville NC November 29 and December 6 at the Courtie in Kokomo IN. Look them up and get down.

A simple invitation to a party deep in the Manistee National Forest, that is how it started. Brandon Tabor’s (The Smokin’ Dobroleles’ Bassist) family owns a beautiful tract of land south of Baldwin, Michigan where the band throws their yearly Halloween party. This
year they opened the party to their fans and the results couldn’t have been better. Fans and family dressed for the occasion as witches, wizards, and hippies, arrived to a blazing fire and an impromptu potluck. Inside the garage, another fire warmed the interior while Brian Oberlin (mandolin player with Full Cord) finished the sound check. An additional tent has been set up to roughly double the size of the garage; this will be a big party.

First up is the incomparable Full Cord. The Telluride Bluegrass Band Competition-winning band doesn't know how to put on a bad show. Every song is blessed with the magic of Brian Oberlin’s mandolin, Eric Langejan’s guitar, Todd Kirchner on bass, and Grant Flick on fiddle. The band's first set included many originals like "Train (Carry Me Away)," and some of the best of the past including "Gainesville Rain," "Amos Moses," and "Eastbound and Down." The crowd huddled into the garage and tent squeezing close to
get a glimpse of the fabled band pulling pure gold from steel strings.  

At the set break we all gathered around the fire outside as Beaver Crossing and Cookie Lovegood of Those Guys (Grand Rapids) played tunes as the folks joined in. The music and good times are rolling along and I get a minute to chat up Abe Kurzer. He tells me
the story of his group's birth. His Grandfather was an accomplished pedal steel player, and his Grandmother wanted him to play around the campfire so she bought him a Dobro. When the couple passed away the Dobro came to Abe. It sat in his closet for
years, until fate brought him to an Infamous Stringdusters concert and he was enchanted by Andy Hall's fingers as they danced across the Dobro. He exclaimed to his wife that he was going to learn how to play and start a band on the way home. We are all the
luckier for that concert.  

The second set started off with Luke Gitchel joining the group. Luke is an amazing flat picker and he and Eric traded licks raising the temperature in the garage by pure friction. The band wowed the crowd with Merle Haggard’s "Old Flames Can’t Hold a Candle to
You," "Little Maggie," and "Panama Red." 

Back at the fire, we warm up as the bands trade set-ups. The folks from Beaver Crossing and Cookie are joined by others and the good times are apparent. I catch up with Todd Kirchner to ask about where the band is heading next. He is pleased that they will be
kicking off the New Year at The Intersection in Grand Rapids with Echoes of Pink Floyd, the event being referred to as Lazer Grass. The band has also just finished two new tunes. He teases that they are both slated for release soon; one is a Christmas Song, so
keep your eyes peeled.

Back in the garage Luke and Tyler Gitchel have tuned up and are ready to set the place ablaze. Tyler is Luke's son and the apple hasn’t fallen far from the tree. The young man can play the guitar like a natural and has a voice built for country. Tyler has already won the 2023 Male Vocalist of the Year and the Entertainer of the Year at the North American Country Music Association (NACMA) competition. The two are joined by the unstoppable Brian Oberlin and come out swinging. "Behind Closed Doors," "Diggin a Hole," "Why Won’t My Dreams Come True," and the fan-favorite "Dark Hollow." The set is over, except Tyler's grandmother has a request, Rodney Carrington’s, "Momma’s Got Her Boobs Out." With a chuckle and a grin Tyler belts it out and the crowd goes wild.

I take a moment to gather our chairs as my wife and I have a three-hour ride back to civilization. Sometimes it is easy to forget how amazing the forest is. Here amongst the endless trees and pitch-black night suddenly I realize how many stars are visible as I gaze up at the Milky Way. A voice next to me brings me back, it's Tyler and I ask what his plans are. He has upcoming gigs at Tip Top Deluxe Bar and Grill, Grand Rapids, and the Gun Lake Casino. Keep your eyes on him; he’s already heading for the stars.  

Finally, Abe Kurzer on Dobro, Mike Renna on the ukulele, Brandon Tabor on bass, and John Ellsworth on drums, known collectively as The Smokin’ Dobroleles take the stage. Joining them will be Cosmic Knots’ Tom Wall and together they rip the roof off that old garage. The band is dressed to slay and nothing is held back on tunes like Shady Grove, Howl at the Moon, and Slide on In. The crowd loves every minute and the band is driven for more. They rock out to Mountain Jam and the happy vibes are thick in the air. 

It has been an incredible night of music and merriment. The night sky is brilliant with the twinkling stars as the terrestrial stars play into the night. All of these musicians are worth seeking out, capture some of their light now so you can say you knew them when.

Check out more PHOTOS from the weekend!

Chicago, the City of Big Shoulders, is home to great food, iconic sports teams, and some of America's greatest music. These cultural touchstones exist thanks to one common factor: the fans. That’s why Chicago remains a prime destination for bands launching their careers or releasing new albums. If you make it in Chicago, you gain fans for life. Tonight, I’m lucky enough to see two such bands: Gardener, unveiling their debut album under their new name, and Fruition, the indie-folk icons promoting their latest release.

The venue, Lincoln Hall, holds a special place in Chicago’s history. Located in Lincoln Park, this vibrant neighborhood is where the heart of the city beats. Opened in 1912 as a nickelodeon, the building has its own colorful story. In 1938, FBI agents stationed on its roof shot John Dillinger as he left the Biograph Theater across the street—a mural still marks the spot. Today, Lincoln Hall serves as a beloved music venue, hosting some of the area’s hottest acts. Inside, the bar offers drinks at standing tables, while the main hall provides an unobstructed view of the stage.

Gardener hails from Yellow Springs, Ohio, where they formed their band in high school. Years later, they’ve embraced a new name and sound, blending their early music with a more mature and introspective approach. Their style leans toward early Neil Young, infused with a touch of Joni Mitchell’s lyrical depth. Joining Fruition for a four-night tour that includes stops in Toronto, Milwaukee, and St. Louis, Gardener is ready to make magic tonight—after all, this is Chicago.

The band takes the stage with a warm welcome, setting the room alight with their energy. Comprising Jake Diebold (guitar/lead vocals), Rory Papania (guitar), David Byrne (drums), Dylan Sage (bass), and Than Reed (keyboard), Gardener delivers a set that showcases their evolution. Songs like Cinder introduce their catchy melodies, while tracks like Easy Now, A Million Things, and Everything Goes keep the crowd swaying. The band’s mix of nostalgia and fresh material is a hit, energizing the room.

After a brief intermission, Fruition takes the stage, greeted by a crowd that has swelled in size. Jay Cobb Anderson (electric guitar, vocals), Kellen Asebroek (piano, acoustic guitar, vocals), Jeff Leonard (bass), Mimi Naja (mandolin, electric guitar, vocals), and Tyler Thompson (drums) waste no time launching into their set. Chicago is no stranger to Fruition, and the band’s connection to the city is evident in their determination to leave the audience both satisfied and eager for more.

Jay fueled up with a classic Chicago-style hot dog before the show, while Kellen wisely opted for Old Style beer during the performance—Chicago traditions that pair perfectly with their music. Mimi, as radiant as ever, greeted fans in the green room, embodying the warmth that endears the band to their audience.

The set begins with Forget About You, a gritty, driving anthem that grabs your attention from the start. Jay’s voice, with its perfect touch of gravel, lends authenticity to the lyrics, while Mimi and Kellen’s harmonies elevate the chorus. The crowd is hooked.

For the next hour and forty-five minutes, Fruition takes the audience on an emotional journey. Tracks like The Meaning, Can You Tell Me, and Hard to Make Money offer reflections on life’s challenges, while I Can’t Stop, Never Change, and Life Is for the Living inspire joy and movement. The rhythm section—Jeff and Tyler—provides a rock-solid foundation, allowing the melodies to soar. Their skill is both essential and seamless, like the heartbeat of the band.

Live performance is paramount in Chicago, a city made legendary by artists like Buddy Guy, Louis Armstrong, and Howlin’ Wolf. Here, it’s all about raw talent, not flashy stage effects. Fruition, who cut their teeth as street buskers, embodies this ethos. Their instrumentals shine, and their clear, heartfelt vocals resonate with the crowd.

Special credit goes to the Lincoln Hall crew, whose impeccable sound and lighting design enhances the experience without drawing attention to itself. It’s the mark of true professionals who let the music take center stage.

Songs like Santa Fe and Get Lost transport the audience from the chilly Chicago evening to sunlit vistas and riverside forests. This escapism is the essence of great entertainment, and Fruition delivers it with every note.

After an unforgettable 105 minutes, the band closes with Labor of Love. But the night can’t end there—the crowd demands an encore. Fruition returns to deliver two final songs, starting with Saturday Night, a joyful ode to shared moments. The evening concludes with When It’s All Said and Done, a dreamy, ethereal piece that gently ushers us back into reality.

Fruition has once again won over America’s heartland, leaving behind memories that fans will cherish until their next visit. If you haven’t yet discovered Fruition—or their stellar opening act, Gardener—seek them out. You’ll be richly rewarded.

Winter has finally arrived in the Windy City. As the temperature drops, the streets come alive with the colors of the impending holidays, while brightly colored toy soldiers stand guard over shiny ornaments. The first celebrations of the season have reached the city, but the biting wind keeps shoppers and revelers moving quickly, seeking refuge indoors. What better time to take in a concert?

Tracy Silverman has gathered his family and friends—not to shop or merely stand in the audience, but to bring top-tier avant-garde entertainment to the people. Tracy, one of Juilliard Music School’s 100 distinguished alumni, is widely regarded as one of the finest violinists in the world. He has redefined the violin, expanding the classical instrument into a six-string electric marvel. The resulting sounds and techniques are nothing short of exquisite.

Meaghan Panici, an on-air personality and promotional director at WZRD in Chicago, serves as tonight's emcee. Her bubbly personality and positive outlook set the tone for the evening. Holidays are for family, friends, and revelry, and Meaghan revs up the crowd as Tracy takes the stage.

Tracy brings a fully loaded ensemble to tonight’s performance, including Tim Strings on bass, the amazing Adam “Futureman” Wooton on drums, and Tracy’s exceptionally talented son, Toby, on guitar.

The show kicks off with a lively cover of Peg that immediately lights up the room. Next, the audience is treated to a vibrant rendition of Jean-Luc Ponty’s Mirage. Soaring and mellifluous, the music is devoured by fans like holiday candy. From the balcony, I chat with other photographers and discover that the young videographer documenting the show is none other than Duncan Silverman, Tracy’s other son. This is truly a talented family.

For the third song, Tracy unveils his secret weapon for raising spirits: Howard Levy, the legendary godfather of the harmonica. Howard is to music what light is to plants—he seamlessly ties the elements together, making the soundscape feel complete. With eyes closed and hands wrapped around the tiny mouth harp, he conjures magical tones that blend effortlessly with the band’s lyrical lines. Time spent listening to Tracy and Howard is impossible to measure.

Suddenly, Tracy invites the one and only Joe Marcinek, Chicago's favorite jam band guitarist, to join the stage. Together, they launch into Stand Together Now, with Tracy, Joe, and Howard each taking turns improvising. The result is mesmerizing. Time stands still as the music enchants the crowd, and we all hope it will never end. But the evening holds even more surprises.

Joe bows out, and in his place, Tracy introduces another gifted family member—his daughter, Hannah Rose Silverman. Her stunning voice brings Dave McCabe’s Valerie to life, with her father and brother adding their magic to send the song soaring.

The hour has flown by so quickly that it feels like we’ve skipped through time. Tracy and the band say goodnight, making way for the evening’s additional acts. Yet, the crowd is in luck—Tracy and Howard will return later tonight to thrill us again.

For now, you can catch the Tracy Silverman Project on Spotify, YouTube, and on tour. Don’t miss out!

Lincoln Hall is dressed in its holiday regalia, helping the merchants along Lincoln Avenue transform the area from business as usual to a scene straight out of a holiday movie. Light snow is falling as I glance at the marquee: “Tonight: Joe Marcinek and Liquid Soul.” I’m intrigued by tonight’s lineup. Tracy Silverman, a world-class violinist and electronic violin innovator, kicks things off for Liquid Soul—a band famously followed by the Chicago Bulls—and the evening wraps up with Joe Marcinek, Chicago’s legendary psychedelic guitarist. How did this come together? And why are we so lucky? The answer is Scott Boyer.

Scott, the booking agent for all of tonight’s acts, has a rare empathy for his talent. Whether waiting in the Green Room before the show or mingling with the audience during the performance, Scott is wholly invested in his people.

For over 30 years, Liquid Soul has brought their unique blend of jazz, blues, hip-hop, funk, and rock to venues across Chicagoland. Their sound is pure Chicago—gritty yet smooth, high-class but humble, as real as the ice and cold outside. Once again, our electrifying emcee Meaghan Panici introduces the band with well-earned fanfare.

The band features several focal points, starting with their phenomenal horn section: saxophonist Tommy Hayes, trumpeter Ron Hanyes, and trombonist John “Showtime” Janowiak. This section is as tight as the space between atoms, playing intuitively as if they were a single entity. Their solos and fills flow seamlessly, with no discernible beginning or end.

The set opens with Worlds on a Leash and Afro Loop, giving Tommy, Ron, and Showtime room to showcase their extraordinary talent. The fans are grooving, and I realize how packed Lincoln Hall has become. The gyrating crowd resembles an Archibald Motley painting come to life.

Next, the band dives into Java Junkie, unleashing the rock/funk arm of their sound. Guitarists Tom Klien and Tom Sanchez, bassist Ricky Showalter, and drummer Devin Staples form the band’s rhythm powerhouse. Staples and Showalter lay down an immaculate groove worthy of the talent they support, while Klien and Sanchez prove they can shred across any genre. Together, they create a rock-solid foundation that keeps pulses elevated.

Vocalist Omega then takes the stage, elegant and demure. But as the opening strains of Hip Trip play, she sheds any pretense of reserve. Still an elegant vision, her voice is penetrating, captivating, and immense. She uses her hands to weave a tale, taking us along for the Hip Trip, each moment layering another sonic revelation.

Throughout the performance, the band’s hip-hop element shines, thanks to rapper Dirty MF, Brian 'MC B' Quarles, Ajax on turntables, and Newt Cole adding dynamic textures on percussion, blending streetwise grit with rhythmic finesse.. They provide a streetwise edge essential to the group’s success. Dirty MF’s deep, smooth voice recalls Barry White, and his boundless energy connects with the crowd, eliciting cheers at will for every new track.

At the halfway point of the two-hour jam session, vocalists Joaquina and Gravity join the band for Having a Party, perfectly capturing the evening’s vibe. Omega returns to the stage to deliver "Stop By Monie's", further energizing the audience.

The highlight of the night comes when Dirty MF performs Dizzy Gillespie’s classic Salt Peanuts, reimagining it with a jazzy hip-hop twist. Ron Haynes’ solo knits the past to the present, creating one of the evening’s finest moments.

Omega slows things down with her heartfelt song Dysfunction, grounding us before the band takes us on one final ascent into musical nirvana. Tracks like Sweet Pea, Lobster Boy, and Cabbage Roll keep the crowd dancing until we’re catapulted back into motion by Threading the Needle.

For nearly two hours, Liquid Soul takes us on a global journey of sound. We’re enthralled, exhausted, and eager to recharge for Chicago’s favorite son, Joe Marcinek. If you ever need a dose of Chicago’s essence—or the perfect soundtrack for exploring the city’s 77 community areas—Liquid Soul is a must.

During the holidays, we come together to celebrate another year and share stories of our adventures. This year, Joe Marcinek has brought his extended family together to share the love of music and laughter. Calvin Rodgers, Sharay Reed, John Hanrahan, Pennal Johnson, and Rick King formed this year's Dead Funk Summit at Lincoln Hall, delivering a night of marvelous music performed by some of Chicago's preeminent musicians.

Meagan Panici perfectly set the tone in her introduction, noting that seeing Joe Marcinek always leaves you with a smile that lasts for days. His knack for assembling talented musicians and delivering incredible renditions of psychedelic music is legendary. Tonight's ensemble is further enriched by Howard Levy and Tracy Silverman. The set begins with a rousing rendition of George Washington, which has the floor dancing and the balcony rocking.

Joe then invites Christina Strickland Boyer and Alan Sweet to join the band. Christina’s clear, effervescent voice perfectly complements Alan’s no-nonsense gruffness. The two work together seamlessly, adding texture to the smooth, groovy vibes the band lays down. The interplay between the vocalists and instrumentalists is effortless and exhilarating.

The band shows no signs of slowing down, even as the fans enter their fourth hour of dancing and grooving. They launch into a vibrant performance of Franklin's Tower, a rendition that feels fresh while preserving all the character that makes it unmistakable. The positive energy fills the room as Joe invites musicians from Liquid Soul to join in. They eagerly accept.

Ron Hayes steps up first, diving into the groove as Joe kicks off one of his originals, Before I Go. The song’s driving rhythm blends psychedelia and jazz in just the right proportions, and Ron’s horn work is nothing short of masterful. Next, the band eases into a laid-back version of Come Together. As Johnny Showtime, Howard Levy, Dirty MF, and Ron Hayes join in, they transform the Beatles’ iconic melody with an infusion of jazz improvisation. It’s a unique and unforgettable experience—every element of the original remains, but it’s brilliantly reimagined.

As the night progresses, the band continues to give it their all. A standout moment is Howard Levy’s solo during Sugaree, which breathes new life into the evening. This incredible ensemble leaves the audience with cherished memories of a performance that was truly something to behold.

When you see Joe Marcinek’s name on a flyer, don’t hesitate—it’s a guaranteed great time. Take Meagan’s word for it.

Night two of Dopapod’s Michigan run starts with local favorite Desmond Jones. This five-piece ensemble hails from Grand Rapids and has played nearly 1,000 shows in 12 years. Fast-paced, high-energy original music is the band’s trademark. Part of their story is the themed uniforms, and tonight’s maroon jumpsuits are pure cool.

The band digs in with an extended version of “Hive Mind” to kick the night off on a groovy note. They follow it up with “Pat and the Big Carrot,” then detour into “Hall of the Mountain King” from Edvard Grieg’s Peer Gynt Suite (think the music playing when Bugs Bunny is sneaking around). The crowd responds with cheers and energetic dancing.

Bell’s has created a truly enjoyable venue in the back room. The space is well-thought-out and nothing is wasted. The stage sits at the rear wall of the building, with the audience filling the floor in front. A small gated area at the center acts as the sound house. Against the back wall, a bar connects directly to the main bar and restaurant, giving fans access to fresh beer and food.

Taylor Watson (bass) commands a massive stage presence, laying down bass lines that are both funky and flowing. He is complemented by drummer John Nowak, whose expressive face rivals Jim Carrey’s. Together, they work magic to create the band’s funky foundation and driving rhythms.

Chris Bota and Isaac Berkowitz handle the guitar work, taking turns ascending into the stratosphere. The duo has mastered the jam-band “long-bend”—that tonal anomaly where notes are held, bent, released, and bent again. These soaring leads bring sheer bliss to the fans, whose hands shoot skyward as heads bob to the groove.

The jazzy original “Hot Hamm” provides a perfect showcase for the fifth member, George Falk—sax man, keyboardist, and multi-instrumentalist. He’s in constant motion, switching from tenor sax to keyboard, percussion to bari sax. He’s a whirlwind of sound on stage. Saxophone work truly sets Desmond Jones apart, coming in strong and staying front and center in their music.

Taking a moment to honor Dopapod, Desmond Jones dedicates Frank Zappa’s “Cosmik Debris” to them. It’s a heartfelt tribute and an amazing cover infused with that distinctive Desmond Jones touch.

They close out their set with another fan-favorite original, “Shelby’s Garden,” driven by punchy sax and bass lines, jangly guitar riffs, and a bluesy funk feel that’s both happy and uplifting—perfectly setting the stage for Dopapod’s final Michigan show.

Desmond Jones is available on all major streaming platforms and can now be found on Nugs.net.

Kalamazoo, Michigan, has a bright and vibrant nightlife. Several colleges call the city home and occupy a large part of its landscape, so it’s no wonder that an aspiring college student once began brewing beer in his home kitchen and now runs a nationally recognized brewery: Bell’s.

Tonight, Bell’s Brewery is hosting Earth Radio and Dopapod in its backroom. Much more than a simple backroom, this 500-plus capacity venue rivals similar spaces found in larger cities. The stage has ample room, and fans have everything they need to kick back and enjoy a night of amazing music—which is exactly what’s in store for us tonight.

Earth Radio is a funky, modern, space-age, ethereal jam band driven by a respect for the Earth and its contents. David Ward’s authoritative drum lines drive the rhythm, pushing the music forward. Dutcher Snedeker is a master of the keys, making complicated, intricate passages look effortless. Justin Avdek’s slinky-smooth bass lines tie those top-tier melodies back to David’s driving pulses. Hannah Laine adds her own keyboard magic along with over-the-top vocals that are mesmerizing, giving the music an otherworldly feel.

The band begins by telling us to breathe in, and we’re taken on a voyage of imagery through the tune “Highwater.” Next comes “Hue Man,” with its undulating rhythms and concert-like piano riffs, giving us a moment to consider the dichotomy between man and human…thought with reason. Three songs in, Hannah reminds us to exhale and take in “The One We Forgot.” Feeling lighter now, I realize how well this group pairs with good friends, good food, and good times. It’s all about enjoying time well spent with the people who matter the most.

I take a moment to note how well the techs work here at Bell’s. The in-house crew is running sound and lights for Earth Radio, and you’d swear this was the band’s traveling crew. The sound is spot-on—just the right growl to remind you it’s a live performance, yet not so loud you’ll end up with a migraine in the morning. As for the lighting, it seems like the crew must have rehearsed the timing for weeks—everything is complementary and never distracting. They really help the band shine.

We return to that funky, smooth jazz feel with “Wrong Tree.” Vocals swing back and forth between Justin and Hannah before the music takes flight during an instrumental passage, Hannah’s voice soaring above it all. The lighter “Back Up” feels like Zappa-inspired, tongue-in-cheek advice, and paired with “Over Again,” they bring us to the elephant in the room: Justin’s departure.

Tonight is Justin Avdek’s last show with the group, and they refuse to let him go without a virtual hug from the fan family. Smiling through the sadness, they send us off with one last psychedelic grounding in “Panoramic Dance.”

The band will continue on without Justin, working on its future after the holidays. If you haven’t checked out their latest album, If The Earth Could Speak—featuring music crafted during a week spent living on a sustainable farm—be sure to give it a listen. Their other albums are also available on all major streaming services, Bandcamp, and Amazon.

Dopapod—the word has no defined meaning, but if it did, it might read something like: improvisational jazz, energetic funk, progressive rock with intellectual lyrics. The first time I heard Dopapod was in a muddy field in Illinois, and suddenly time stopped. The band has that effect on people; their music transcends the physical and takes us into a metaphysical realm where thoughts dominate our being. Hailing from the music-juggernaut city of Boston, this four-piece jam band refuses to be categorized or underestimated. Each show is crafted like fine food for the mind.

On Friday and Saturday, December 27 and 28, 2024, Dopapod played what were billed as their last Michigan live concerts, held at Bell’s Brewery’s Back Room. Friday started out with a set by the Grand Rapids–based standout band Earth Radio, who whetted the crowd’s appetite perfectly. When Dopapod took the stage, they sent a direct jolt of energy into the hungry crowd, electrifying the room. Both shows were sold out, and the floor was packed. From my perch on the balcony, the silhouetted fans were dancing and cheering so perfectly they looked AI-generated.

Dopapod gave the surging throng a retrospective of their catalog on the first night, weaving perennial favorites and rarities into every genre imaginable. Eli Winderman’s keyboard exploits are captivating—his fingers glide across the keys effortlessly. His solos dazzle with groove and soul; at times, he even enlists the melodica for a groovy, almost spooky touch. As the band’s founder, he has guided Dopapod since 2008, giving fans mountains of cherished memories. This weekend, he gave his sizable Michigan fandom even more.

The band uses an unusual stage layout, with the drummer in front so his amazing skills can be seen as well as heard. Neal “Fro” Evans has been the drummer off and on since 2010, and having him front and center is a stroke of genius. Watching “Fro” work each number is yet another part of the show. He is captivating—his eyes dart across the stage to monitor the band’s direction before he goes back to pounding out beats without ever tiring. Sometimes he is a blur of motion, and at other times he seems perfectly still, yet the beat goes on.

Night one was a resounding success, and the room was on fire. Fans danced and cheered relentlessly, right up to the hard stop at midnight. Bell’s fantastic crew provided their trademark beers and delicious food to keep the party going, and the waitstaff never seemed to lose their high spirits or smiling faces.

Night two kicked off with Grand Rapids favorites Desmond Jones. They knew exactly how to get the crowd riled up for another great night of music. By the time Dopapod returned to the stage, the diehard fans who had come to witness the band one last time were even more excited than the previous night. The evening held such promise, and we were all ready.

They opened the first hour with Velcro, Priorities, Psycho, Mudwalking, Nuff, and Balloon, closing out with an amazing version of Arnold that shook the rafters.

The band’s sound and light engineers are an unforgettable part of the concert experience. It’s no exaggeration to say the music draws you in, but the presentation seals the deal. Dopapod’s production team ensures each note is heard in crystal clarity, while the light show entrances everyone in the room. The colors and sequencing pull us into the music, and in turn, the music complements the light show. After years of touring, the entire ensemble functions like a well-oiled machine.

The second half of the show rocked on with Knobs, Piazole, Trickery, Runny, and Super Bowl—all fan favorites. Rob Compa, at the forefront on guitar, plays in a semi-animated style, his hands moving like lightning while he seems almost elevated above his own body. His solos are impeccable, with clear, decisive notes and a driving rhythm. He never tires; in fact, the whole band seems like they could play for days without a break.

Chuck Jones provides the band’s rumbling low end on bass. He grooves on every tune, guiding the tone of each song—from light pocket work to roaring solo lines that take over. He and Fro form a complete foundation, always present but never in the way, leading, driving, or simply supporting. A multifaceted bassist like Chuck is a treasure.

Chuck also served as the band’s de facto spokesperson for the evening. As midnight approached, he asked the crowd to do something new and special: he called for the audience to join the band in a “friendly explosion.” Building on Neal’s heart-pounding drums and a riff from Enter Sandman, the light show erupted, and fans thrust their hands into the air. This is how you end a show!

The band is going on an indefinite hiatus—a self-described “non-ending ending.” I’m an optimist and cannot accept that talent like this will simply vanish into festival lore. I believe the hiatus is exactly that: a time to explore other options, without forgetting what came before. For those of us fortunate enough to attend these final shows, we’ll keep the fire stoked, waiting for the day Dopapod returns to make us groove and dance under the stars once more. Until then, they leave us a wonderful archive of music on all major streaming services, YouTube, Nugs, and in our hearts.

The good life can be as simple as good food, good beer, and good music. Combine those three in the right proportions, and you’ll find the right people gathered together, sharing in the joy of it all. This weekend, I experienced that magic at Burn ’Em Brewery in Michigan City, where the beer is cold, the food is excellent, and the music gets your feet moving. The vibe was perfect for fun times with great people as we geared up for winter with some Long Johns and lively tunes.

As I entered, the Mark Lavengood Trio was already on stage. The trio features Mark Lavengood, Scott Pellegrom on drums, and Justin Wierenga on bass. Mark’s talent is nothing short of extraordinary—his slide guitar, folk guitar, and dobro expertise set him apart. His animated playing invited fans to jump and dance, swept up in the infectious music. Whether performing originals or covers, the trio infused every note with intensity and heart. Beyond his musical prowess, Mark is also the director of Smiling Acres Music Festival, showcasing his deep commitment to fostering community through music.

Mark’s down-to-earth personality makes his immense talent even more remarkable. It’s no surprise he collaborates with gifted artists like Keith Billik and Billy Strings, both known for their humility and brilliance. To catch Mark and his band live or grab some merchandise, visit his website: marklavengood.com.

The band’s high-energy set left the crowd exhilarated—and thirsty. As beer sales soared, I took the chance to recharge with some food and drink myself. Burn ’Em Brewery knows how to throw a party: entry included food, music, and beer, a perfect combination to usher in the cold winter days ahead. Highlights from the menu included adult mac and cheese and two varieties of homemade sausage: Thai Green Chili and Beer Brat with grilled onions. Every bite was excellent.

During the set change, Kasim Whiting performed in the main bar area. Kasim, lead guitarist for the Northern Indiana alt band Leap First, has a voice as clear and penetrating as his smooth guitar style. With the snowy landscape visible through the bar’s large windows, Kasim felt like a modern-day troubadour, spinning stories to warm our spirits on a bleak winter’s day. To some, his performance was a soundtrack for personal reflection; to others, it was a welcome distraction from the chill outside. Either way, Kasim’s talent deserves attention. Check out Leap First on Bandcamp for silky-smooth alt rock with a groovy drive—you won’t be disappointed.

The evening’s main event was Fresh Hops, the genre-bending foursome from Griffith, IN. This joyful, exuberant band radiates happiness, spreading smiles as they entertain. Fronted by violin virtuoso Stephan Jude Cook, Fresh Hops delivered a high-energy performance filled with nonstop dancing and infectious energy. Stephan’s engaging stage presence and gregarious personality make him instantly lovable. Offstage, he shares his talent with young musicians, proving that the greatest gift is to inspire others.

Anchoring the band is drummer Tommy Fell, a master of groove who keeps the tempo rock-solid. Despite the intensity of his playing, Tommy’s ear-to-ear smile never fades. Ian “Big Dog” Gill holds down the bass with funky, driving lines and delivers vocals with crystal-clear diction, while guitarist Martin “Muffins” Gomez shreds with precision, earning comparisons to Eddie Van Halen. Despite his jaw-dropping solos, Martin remains remarkably reserved, flashing just enough of a smile to acknowledge his brilliance.

Fresh Hops’ fervent fans danced and sang along to every song, their energy reaching a peak during The Wolf, when the crowd erupted in joyful howls. With two packed sets, the band kept the room buzzing all night. Beer flowed, great food abounded, and we all wished the night could last forever.

Before leaving, I couldn’t resist asking the band about their next album. Their answer: “Soon. Just give us time to perfect it.” I can hardly wait, but when that needle drops, I’ll be first in line to review it. To learn more about Fresh Hops, visit their website, Bandcamp, or Spotify. Don’t miss their four new videos on YouTube—they’re as vibrant as their live shows.

Chesterton, Indiana, sits at the southern end of Lake Michigan and has produced several notable athletes—as well as comedian Jim Gaffigan. Lately, a number of up-and-coming bands have emerged from this small town, and tonight, I’m lucky enough to see one of them: the Watershed Ramblers, Chesterton’s own bluegrass band.

Back in 2022, Alex Gottschlich and Ian Soto formed the group, originally called the Main Street String Band. Consisting of guitar, mandolin, and bass, they quickly began gaining a following. They started with the obligatory open mic nights, then moved on to hosting, and eventually playing at bars, all the while refining their sound. In 2023, they rebranded as the Watershed Ramblers and continued their ascent, playing better venues and crafting their own music.

The band expanded in 2024 with the addition of Wes Goodpaster on banjo, a change that elevated their sound to a new level. The current lineup features Alex Gottschlich on guitar, Ian Soto on mandolin, Wes Goodpaster on banjo, and CJ Morse on bass—the newest member of the group.

Tonight, they’re playing at The Livery, an excellent venue in Benton Harbor, MI, which recently upgraded its lighting and sound system. The sound was always solid, but suddenly, we’re treated to an enhanced listening experience we didn’t even know we needed.

The band takes the stage and opens with the England Dan and John Ford Coley hit Showboat Gambler, followed by an original, Turkey in the 10th. This pattern—pairing well-chosen covers with originals—forms a setlist that both delights fans and showcases the band’s talents. Alex’s vocals and guitar expertise drive the performance, while Ian and Wes add color with tasteful riffs and serious picking. CJ anchors it all with steady, straightforward bass lines.

The covers are a delight. Alex gives us a glimpse into his influences, evoking nostalgic smiles with songs rarely heard live these days, such as The Dillards’ Old Home Place and Jim Croce’s Bad, Bad Leroy Brown. Meanwhile, the band's original material—Drifting, Warmer Days, and Lonely Hurting Blues—showcases their depth as songwriters.

The Livery has long been known for its outstanding beer and fresh, thought-provoking food. They go out of their way to book top-tier artists, and both locals and out-of-towners have come to treasure the venue’s intimate setting. Their website is easy to navigate and features an updated beer and food menu along with upcoming events.

The second set kicks off with a definite fan favorite, Dark Hollow, followed by one of their own, See You Go, before launching into That’s What Love Will Make You Do. The band plays with tight cohesion, the result of countless hours woodshedding—or should that be water-shedding? Their harmonies and musicianship shine throughout the night. When they start the intro to Willin’, my ears perk up. I’ve heard them tackle this one before, and once again, they do the original justice while adding their own signature touch. Soulful and heartfelt, they bring the rebel trucker’s tale to life. They close out the night with two fan-favorite originals: The Rain and Heartland.

Time slips away, and the band bids the crowd goodnight. I head down for a final picture, but the fans won’t let them go just yet. With cheers and pleas for one more, the quartet obliges with a perfect encore—Indiana Night, an original that leaves the audience deeply satisfied.

Look for the Watershed Ramblers on all streaming services. Heartland, Indiana Night, Drifting, and Our Time are conveniently grouped together on YouTube for your listening pleasure. Their EP is available online, with more content expected in 2025. A CD or vinyl release may be on the horizon—maybe we fans should start a fundraiser? In the meantime, keep an eye out for the Watershed Ramblers and, most importantly, get out to a show.

In the Bleak Midwinter, snow has fallen—snow on snow—and the sun hides behind the grey clouds for days at a time. The mind wanders to tropical coasts with warm sunshine and green vegetation, preferably with calm waves lapping on the shore. Bands have been putting on winter concerts in the sunnier climes for years, but what about the rest of us? We forlorn fans who do not possess the time or considerable funds to attend such a show—are we destined to trudge through the snow wanting for spring? And what of our favorite bands confined to cramped indoor venues till the sun returns to the sky? Enter Hotel Blotto.

Hotel Blotto is the brainchild of Paul Bolger, aka Mr. Blotto. I have attended the event several times and its “Dead”-inspired event in November at the same location. Friends, family, and fans come together for two nights of diverse music held at a refurbished ‘Holidome’ in LaPorte, IN.

Day one starts promptly at check-in. At 4 PM, the fans begin rolling in and getting their rooms set up. The Holidome concept has a majority of rooms facing into a center atrium. The rooms have patios that the fans dress up like the campsites at a summer festival: lights, tapestries, and camp chairs set out to invite passersby to stop and chat for a while. Merchants set out their wares in the common areas, completing the happy atmosphere.

The first band, O.P.E., kicks off at 6 PM. The venue is split into three separate areas to ensure smooth transitions from one show to the next. O.P.E. is starting us off in the bar. As they set up, one of the crowd shouts out, “What does O.P.E. stand for?” and the guitarist quips back, “What do you want it to stand for?” I can tell this is going to be a good show.

The four-piece band from Chicago performs a mixture of original and cover tunes. The crowd eats up the early set, especially a very cool cover of “50 Ways to Leave Your Lover.” The original tunes are bright and lively, getting the room bumping. The band has a definite humorous side, exemplified by them throwing in the JG Wentworth jingle in the middle of a song.

Next, we head to the ballroom and the host band Mr. Blotto. The majority of the revelers are here now and ready to party. Mr. Blotto knows how to set the room on fire, and the crowd is off and dancing. Covering perennial favorites like “Southern Woman” and “Ain’t Wastin’ Time No More,” along with their own original tunes, the two sets slip by and it feels like we just got started.

Night one is always fast-paced, but I find a little time with Paul to discuss the festival’s roots. Paul and his brother Michael are from LaPorte and attended school at La Laume. For special occasions, their parents would bring them to the Holidome for a little R n R. Years later, as Paul tried to figure out how to have a festival during the winter, a chance encounter brought him back to LaPorte, where he discovered his childhood memories had been given a facelift. A little careful planning, and Hotel Blotto was born. As the years have progressed, the event has expanded to include stages in the bar and atrium, and this year included a fan-sponsored potluck. Paul acts like the proud father as he describes the event, which he and the hotel owners plan to keep going in perpetuity. The frolicking, fun time is just the kind of release people need on these cold winter nights.

The first night is far from over when the Lunar Ticks take the bar stage. All the bands invited to play are chosen for the contribution they can make to a diverse musical experience. The Lunar Ticks have been honing their skills, and every concert is better than the last. Faraz Chaudry (guitar/vocals) and Ryan Mannix (vocal/guitar) fill the front with guitar lines that are just right—not overly shredded and extremely precise. Likewise, the vocals say just what is needed to get the meaning across without undue complication.

Joel Masinter (bass) finishes up the front line, playing with a laid-back style that is locked tight to Carter Stritz on drums. Carter pounds out the rhythm with a smile and confidence. Josh Lavine, the band’s keyboardist, is surrounded by his instruments, looking more like a flight controller at NASA. His playing is spot-on, as is the whole band. The drums and keys, coupled with Joel’s bass lines, drive songs like “Pullin,” “Binge,” and the unabashed “Anesthesia.” The bar is packed with barely any room to stand still, so the whole room sways to the beat. We are in for a treat as the band has a new release, “Here Goes Something” (available on streaming services and at the band’s webpage), a great song that strikes gold with the fans.

It is 2 AM, and I am back fully awake after the Lunar Ticks set. Out in the atrium, Fresh Hops has come to life. Stephen Jude (violin), Ian “Big Dog” Gill (bass), Tommy Fell (drums), and Martin “Muffins” Gomez on guitar are no strangers to the jam band scene. They have developed a large following who are energized by the mere suggestion of a Fresh Hops show. Fans dig into the grooves and dance and sing with the band.

Day two starts off with a real gem in today’s technologically advanced world: a flatpicking troubadour by the name of Mace Hathaway. Mace has been around the music business all his life and has collected life stories that reflect a life on and off the road. His gregarious personality ingratiates him to the audience immediately. Witty tales and background stories about the songs he sings make his show more like an intimate conversation than a concert.

Mace has enlisted the help of Steve Ball (keyboard, Mr. Blotto), another flatpicking master. Together, they put on a show that brought the fans back to life after the long night. Playing his original music like “Looking at the Moon,” “Boxcar Blues,” and “Trouble County Line,” Mace weaves stories of life in simpler times. He also pitches the great contemporary storytellers such as Guy Clark (“Always Trust Your Cape”) and Chris Smither (“No Love Today,” “Train Home”). The show is rounded out with popular songs like “Ricky Racoon” and “Tree Top Flyer.”

Most bands have a merchandise table, but in Mace’s case, he actually put the CD cases together and tie-dyed his own T-shirts (talk about a one-of-a-kind keepsake). Of course, this is a festival, so formal attire is not required to visit the merch table—bathrobes are just fine.

A special treat awaits us in the bar this morning. Chief (Mike Bolger) has booked a brand-new band, and this will be their first live performance! But that is exactly what the Bolger brothers want: to get diverse and new bands in front of fans. When speaking with Mike, he says going forward he would like to see the event bring in more bands with a broader spectrum of talent.

So today’s new talent is a band called Street Pony, a five-man group from Chicago that knows how to rock. The band consists of Ilan Meged on guitar, Jordan Nettgen on keyboards, Chase Carlino on bass, Christian Rogala on drums, and Joey LoPresti on vocals and guitar. The high point of the show was when Paul Bolger joined the band to cover “Fearless” (Pink Floyd), spot on.

Next up in the atrium was another up-and-coming band, Covington Groove. Samuel Wyatt on keys, Ben Ballero on guitar, Colin Ryan on bass, and Mike D on drums. The band plays anything that feels right, like their own jams “What Funk” and “Elovate,” mixed with the Scooby Doo theme and “Gump.” Check out the new release on all streaming services.

Back to the bar now and constant favorites, Chester Brown. The band from Chesterton puts on 6–10 shows a month and never disappoints. The band consists of Tim Vanderlin (guitar), Nate Vanderlin (keyboard), Dominiect Puglisi (bass), Mike Kneeland (guitar), and Kevan Watson on drums. Driving rhythm and clean shredding give the band their distinctive sound. Fans dance and groove for almost two solid hours with never a slow moment. Check out their latest releases on their website or on streaming services.

The fans have put together a “pot luck” out in the atrium, and all are welcome. The food is typical outdoor gathering fare, and there is plenty of it. Also, an important fact: today is Mike Bolger’s birthday, and many cakes are on display wishing the Chief all our best. This get-together will last all night, and there never seems to be an end to the food.

The main show takes place in the ballroom again when Mr. Blotto blows the roof off the joint. Steve Ball (keyboards), Alan Baster (drums), Jason Litwin (percussion), and Mark Hague (electric guitar) form the heart of the band, while the Bolger brothers—Mike on bass and Paul with his amazing vocals on acoustic guitar—provide the soul. I want to skip right to night two’s second set. The theme this year was the movie Forrest Gump. This was done so Mr. Blotto could melt our minds with a tour-de-force of Vietnam-era rock from the movie. Interspersed between the jams, they inject lines from the film to bring the music and movie into sync. “Blowin’ in the Wind,” “Fortunate Son,” “Aquarius,” “People Are Strange,” “Get Down Tonight,” “Running on Empty,” and “Free Bird” just rocked the house to the foundation. Never miss a second set. Catch Mr. Blotto all summer long in the Windy City (see their website for details).

Oh, there is still more, with Janky Limo providing CPR (Critical Party Revival) to bring everyone back after the Blotto extravaganza. Back to life we are with new tunes from Janky like “Miranda,” fan favorite “Funky by the Lake,” and covers of “Bouncing Round the Room” and “Late in the Evening.” Ed Strudas, the band’s leader, calls up Ben Morrissey from Skirt to play sax on a few tunes, and play he does. He jumps right in and gives an extra dimension to the music. The hit of the night is a romping re-imagining of “All Along the Watchtower.” Words cannot express how changing meter and emphasis made one of rock’s iconic tunes sound brand new. Look for Janky Limo at the best festivals this summer.

Closing out the festival is Alabaster; the four-piece hard-rocking band from Chicago is a delight to watch in concert. Kyle Smith (lead guitar), Jackson Gibbons (drums), and Joe Floress on everything else support the vocalizations of Joey LoPresti. Yes, the same Joey who was singing with Street Pony at 2 PM is back on stage at 2 AM—a real trooper. Down-to-earth and wanting to play, the band is the perfect nightcap for the fest. Alabaster’s next show will be March 22nd in Lisle, IL, at BassCamp with EGI, Downers Grove, and others.

The next such event will be the Dead-themed Hotel Fest in November. Sign up with Mr. Blotto to keep up with the details. These shows are not to be missed.

In today’s emotionally overcharged world, where we don’t speak for fear of saying the wrong thing, hide who we are for fear of rejection, and worry about looking in the wrong direction, we need a larger-than-life preacher to help us through. Enter the giant with a never-ending smile, Reverend Peyton, and his Big Damn Band. Together, they proclaim the simple truths we all need to hear.

Subtle like a hurricane tearing through a bell factory, every note the Reverend plays proclaims his blues eminence. Don’t look for reserved coaching here. This is hands-on, in-your-face old-time revival music with a truly humanistic message. The first time I ever heard of the band, a musician friend said, “You just gotta hear this band.” That was all—no further explanation—and once I found the first song on my streaming service, they became a daily constant. The band has a new album out, and it is chock-full of sad songs to make the blues go away, just as you would expect.

Right off, the title track “Honeysuckle” sets the tone. Peyton’s guitar howls and screams as he preaches about his love—all the trouble love in the real world brings. But in this real life, he embraces the trouble and makes it his. You feel the pain but understand the real message: all the trouble is worth it because love is worth it. Robert Johnson’s “If I Had Possession Over Judgment Day” backs up the first track, showing off Peyton’s immeasurable talents.

Next up, we are reminded to love the stranger with the band’s original “Looking for Manager,” backed by the McCray Sisters, who lend a truly gospel feel to the song. The music keeps coming with the infectious original “Like a Treasure.” Watch out! This bouncy, happy tune will get stuck in your head, and you’ll find yourself humming it without even thinking about who might be listening. It’s less guitar-driven, but every note is pure Big Damn Band.

Blind Lemon Jefferson’s “One Dime Blues,” a true blues standard, is presented as clean and reverent as I have ever heard—a genuine homage to a master from a master. “Washboard” Breezy Peyton, the Reverend’s wife, struts her stuff throughout the album, but especially here, where the washboard’s prominence drives the music. I really respect that she plays a real washboard for authenticity rather than the more modern frottoir. The honor continues with “Prison Cell Blues,” also a Blind Lemon Jefferson standard. This time, the band is joined by Billy Branch on harmonica. They absolutely nail the early blues with this hit.

“Freeborn Man” gets your feet tapping and makes you want to get up and dance. Michael Cleveland lends his fiddle talents to this barn burner, which perfectly fits the lightning-fast fingerstyle guitar virtuosity of the Reverend. You will find this track on repeat and at the ready for long stretches of back-road traveling (or maybe outrunning the revenuers).

Slowing down now, “I Can’t Sleep” is a quiet, pastoral type of blues. Enjoy the restful melody, as the next tune, “Let Go,” is a foot-stomping fingerstyle extravaganza. Peyton’s fingerstyle is amazing, as his fingers seem to move effortlessly across the neck, with slide and fretted notes sailing past.

Colton Crawford of The Dead South fame brings his banjo magic to assist on “The Good Die Young.” The term comes to us from the Greeks as a testimonial to the greatest reward, now turned on its ear. Wonderful ringing dobro mixed with solid, soulful banjo combine perfectly to bring this one to life.

“Keep Your Lamp Trimmed” growls to life as a gospel tune with a lesson about preparation—a little gift before we bring down the curtain on this CD. Which brings us to “Mama Do,” another high-energy solo treat. Taking the honor as the last track, it’s quite similar in style and feel to “Honeysuckle.” The album has a short but sweet feel—just the right amount of picking, a little learning, and all the right elements for enjoyable listening. In concert, the Big Damn Band rings the rafters, but plug this release into your car, imagine that giant’s smile, and find an open back road.

All musicians start somewhere. Simply put, tomorrow’s superstars are playing in coffee houses and dive bars today. So why not give them a helping hand on their way up? Enter Racheal Reinholtz and Seth Bernard. Racheal is the talent agent at Bell’s Brewery (positioned as the premier music destination in Southwest Michigan), and Seth is the founder of the Earthworks Harvest Festival at his family farm. Seth inspired Racheal to look for a way to create a music series for Bell’s in which local talent could be showcased on the impressive Backroom stage. Allowing local talent to perform with a professional sound and light team gives them the opportunity to perform at their peak.

Looking for support, Racheal found Jennifer Hudson-Prenkert, the founder of Kalamazoo's Sounds of the Zoo festival. The festival showcases local talent in a free, week-long event spread throughout the city’s favorite concert venues, culminating in a Sunday concert at Bronson Park. Using her charm, grace, and magical talents, Racheal created the Bell’s Spring Concert Series. This year, the series consisted of four nights of music by various and varied local musicians. To get the word out, Racheal enlisted the help of local radio personality Stefani Bishop from Kalamazoo’s 106.5 Jack radio station to promote and MC the event.

Tonight, I am fortunate enough to hear Seth Bernard himself, along with local rock hero Greg Stovetop, in the Backroom. Seth starts off the night with “Overhaul,” a lovely tune with a heartfelt message to set the mood for this acoustic set. He is a master of folk fingerstyle guitar, bringing back memories of countless campfire concerts in the ’70s. “Sandman's Dust” and “When They Speak of Me” follow, along with a cut from his newest album, “Don’t Lose Track.” His repertoire is filled with inspiring and uplifting songs. Other highlights include “Who Are You?,” “Shadowside,” and the ever-inspiring “Return to Love.”

Seth has a mellow and highly enjoyable vibe going, but it’s time to rouse the patrons with Dick Gaughan’s “Workers’ Song,” which is fun, inspirational, and very well done. To close out the set, Seth calls out Yali Rivlin, a local sax player (whose album “Willow” is available on all streaming platforms). Together, they end the set with Seth’s trademark sound, including the crowd favorite “Dinosaurs.”

A short intermission follows—perfectly timed to pick up another round and some poutine. I take the opportunity to catch Jennifer Hudson-Prenkert to find out more about the Sounds of the Zoo. This is year two for the event, and it already has 55 acts, all free of cost at various venues around the city. Jen tells me it is all about promoting local talent to encourage the arts. For those in the know, Kalamazoo is the original home of Gibson and Heritage guitars and has a long history in the music industry.

The crowd now refreshed, Greg Stovetop takes the stage. Greg is another local rock hero, originally hailing from Chelsea, MI. He has played every genre of music, resulting in a hard rural rock uniquely his own. Songs like “Headlines,” “Helium,” and “Silver Lake” from his latest album hit hard and rock the audience, who cheer in approval. Greg puts every part of his being into the music. While on stage, he is a perpetual blur of motion, never seeming to slow down.

On stage tonight, Greg has assembled some of the most talented musicians in the area. Holding down the bottom end is Mathew Milowe, with percussion handled by Adam Denis. On guitar and saxophone is the enigmatic Jarad Selner, aka “Saxsquatch.” The ensemble works like a well-oiled machine, pumping out waves of sound that keep the Backroom jumping. Greg brings up Seth Bernard to add a little shredding to “It’s So Right,” with Jarad laying down the soulful sax track. The evening closes out with “Got It Bad” and a great rendition of “Good Stuff.” A high-energy rock party from start to finish.

Add your support to these local treasures by streaming their music or heading to their websites to pick up some vinyl or a T-shirt. You are sure to be pleased.

I love the Dead. I could listen to "Brown Eyed Women," "Bertha," or "Jack Straw" every day for the rest of my life and be happy. But there comes a time to ask: "What would Jerry do?" Thinking about that question, the answer is right in front of us—he and all the other members of the Grateful Dead would have (and, in fact, did) make new and interesting music.

Cover bands start with the best intentions—to pay homage to the art and artistry of master performers. But therein lies the inherent danger of getting labeled a "cover band" and being relegated to playing someone else's music forever. Dead to Rights finds themselves at that critical juncture, where their ability to play Dead covers nearly perfectly meets the realization that they need to establish themselves as something more.

Father Rob Gass and son Robbie Gass have assembled some of Valparaiso’s finest musicians to form a tight-knit band that pumps out tunes evoking the Dead yet uniquely their own. Tonight, they're bringing the heat and passion to Benton Harbor's Livery Brewery.

The band consists of Big Rob Gass on percussion, his son Little Rob on lead guitar and vocals, Andrew Maar on keyboards, Mac Larson on bass, and drummer extraordinaire John Jaros.

The evening kicks off with The Band’s "Don't Do It," followed smartly by a new original from Dead to Rights, "Let It Drift" (available on DTR's web page), as both songs share a common feel. The set list is thoughtfully crafted, balancing covers that highlight the band’s skill with original material showcasing their creative depth. "Loser" transitions into the band's own "What's Next," followed by "Doctor My Eyes" and "Do It Again," seamlessly leading into their original "Here Things Lie." This interplay clearly demonstrates that Dead to Rights has the musical chops to elevate their music to the next level.

At set break, the band mingled with fans—one of the great perks of catching a band just embarking on their musical journey. As Set Two approaches, anticipation in the room builds for what promises to be a rollicking good time.

Enhancing the evening further, the band is joined by Cory Rogers, owner of Cool Rayz Lighting, and his remarkable light display. Usually, the lighting at the Livery is static but tasteful; tonight, the lighting reaches new heights. The small venue presents a unique challenge: too much lighting can be overwhelming, while too little might go unnoticed. Cory skillfully balances these extremes, significantly enhancing the show.

The second set is equally well-curated. "Help on the Way" and "Slipknot" are delivered flawlessly, evoking cherished memories for Dead fans. The band tips their hat to Dead alum Bruce Hornsby with "The Way It Is," followed by their original "Life in Reverse." Dead to Rights closes out the night powerfully with their song "Avante Ante." The performance has been phenomenal, leaving both band and audience thoroughly spent. Rob humorously tells the crowd they planned a traditional encore exit, but given the heat, they'll stay put and dive straight into their encore. No one complains, especially when they launch into Half-Alive’s "Hot Tea," a perfect conclusion to an exceptional evening.

Dead to Rights is gearing up for an upcoming CD release, with most of the album already finalized. Look for the release on Bandcamp: https://deadtorightsband.bandcamp.com/album/3-29-25-the-livery-benton-h…. Most importantly, make sure you experience Dead to Rights live—you won't regret it.

Bell’s Eccentric Café has struck upon a brilliant idea with their Spring Concert Series, offering local talent the opportunity to shine on a professional stage—and what remarkable talent Kalamazoo has to showcase! This week I enjoyed performances from three outstanding groups, plus an exciting new star who illuminated the Backroom stage. Yolonda Lavender, Normal Mode, and Brandon Fitzpatrick & The Element joined together for a memorable night of local musical magic.

The evening opened with Yolonda Lavender, a true Kalamazoo treasure. Yolonda’s voice is rich in timbre, possessing the smooth elegance of jazz greats combined seamlessly with her own funky flair. Having begun her musical journey as a child, Yolanda has cultivated a dedicated fan base. Beyond her artistic career, she serves as CEO of Soul Artistry LLC, an organization dedicated to supporting and promoting local artists. Tonight, Markeva Love was on hand to engage fans about the organization, accompanied by community leader and fellow artist Lipsey. Learn more about their inspiring work at the website | YLSOULARTISTRY.

Yolonda started the music off with a delightful surprise, inviting 16-year-old Anessa Hodges to perform two original songs. With impressive stage presence, Anessa shared heartfelt introductions to her songs, "Gilded" and "Confused." Her soft yet intense vocal delivery and skilled guitar playing captivated the audience, hinting at a bright future ahead—especially with Yolanda’s mentorship.

Taking the stage afterward, Yolanda enchanted everyone with silky, soulful blues. Her intimate interactions with the audience amplified her captivating performance. The energy surged further when her cousin, rapper BC, joined her onstage, their natural chemistry creating an unforgettable dynamic. Backed by a polished band, Yolanda and BC made the moment timeless. Fans eager for more can explore Yolanda’s discography on Truth Tone Records and enjoy her music videos on YouTube.

Next, Normal Mode transported us into another dimension with their lo-fi, space-inspired sounds. Hailing from Grand Rapids, this ensemble features Dutcher Snedeker (keyboards), Ian Thompson (bass), Nathan Coles (drums), and Adam Marth (guitar). With songs dedicated to cosmic themes and figures like Carl Sagan, Normal Mode delivers intellectually stimulating, funky jazz that resonates deeply.

Tracks such as "Quasar," "Orbital View," "Aqua Nova," and "James Webb Space Telescope" highlighted the group's impressive musicianship and thoughtful compositions, conjuring vivid images of interstellar journeys. Brandon Fitzpatrick joined the group briefly, trading playful keyboard riffs with Dutcher Snedeker on the songs "Phobos" and "Deimos." Their virtuosity inspired the audience to sway and drift like planets caught in a celestial groove. Normal Mode’s captivating tracks are available on Spotify and other streaming platforms, with hopes for new releases soon.

The evening culminated with Brandon Fitzpatrick & The Element, revered in Battle Creek and Kalamazoo as masters of jazz fusion. Led by Brandon Fitzpatrick—who not only performs but also produces music—the band unveiled several new compositions that were immediate hits with fans. Echoing jazz fusion legends like Pat Metheny, Fourplay, and Chick Corea, the group's performance showcased their extraordinary depth and skill, effortlessly navigating through dynamic, flowing compositions. Although Brandon has yet to officially release these tracks, his current work is readily available across streaming services.

Overall, Bell’s Spring Concert Series proved itself a resounding success, thanks to the vision and efforts of Racheal Reinholtz and Sounds of the Zoo, supported by Stefani Bishop of Jack 106.5. Here’s to many more seasons filled with the exceptional local talents Kalamazoo continues to nurture and inspire.

The Livery in Benton Harbor, Michigan, knows great music and goes out of its way to bring talented new groups to the stage. Once young groups get a taste of the food, fun, and incredible fans at The Livery, they can't wait to come back—to a place that feels like home when you're on the road.

Them Coulee Boys, composed of brothers Soren Staff (lead guitar) and Jens Staff (mandolin), Beau Janke (banjo), Neil Krause (bass), and Stas Hable (drums), have made a name for themselves as innovators in funky bluegrass music. Tonight, they're at The Livery promoting their new album, "No Fun in the Chrysalis," and fans have come from far (Chicago) and near (Fairplain) to hear these storied musicians.

Thirty minutes before doors open, Soren and Neil come down to meet the fans. The line is growing long, but they take the time to reminisce about past concerts and discuss future plans. Tonight's gig marks the midpoint of a Midwest run concluding in Pennsylvania. Soren asks earnestly if anyone has song requests, and a large group from Chicago calls out for "Knuckleballer." Soren gets a nostalgic look in his eyes, remarking, "That's a good one." Neil expresses hope they'll play "10 Foot Tall," noting that in a thousand concerts, they've only missed performing this quintessential tune once, and it just didn't feel right.

The band takes the stage, giving the audience a taste of their new album. The opening trio—"Change etc.," "Up Close," and "As Long as You Let Me"—are the first three tracks and encapsulate the distinctive Coulee Boys style. Fan favorites follow, including the first song the band ever wrote, "Cool on Down."

Soren then announces it's time for something different, something he was initially worried wouldn't fit their style but has since become one of his favorites. The new song "Ghost (in 4 Parts)" is unlike anything we've heard from the band, yet it fits perfectly. Starting soft and growing intense, Beau extracts otherworldly sounds from his electric banjo, pushing the music into new realms. The enthusiastic crowd response makes it clear this is a future favorite. The first set closes powerfully with "Hammered," a fan favorite Soren wrote for his mother.

During the set break, I chat briefly with Jens, the instantly likable mandolin player and Soren’s brother. Jens impressively doubles as the band's agent, expertly handling fan interactions, selling merchandise, and managing finances on the road. Despite his many talents, he remains humble and approachable, warmly engaging with the growing crowd. The Livery’s booking agent stops by, recalling the band's first performance here years ago when they opened for Pert Near Sandstone. Their 30-minute set earned a standing ovation and calls for an encore, convincing him immediately that Them Coulee Boys should return often. Later in the set, Soren shares a more humble version of this tale from the stage.

Whether performing for an intimate group of ten or a crowd of ten thousand, Them Coulee Boys always connect deeply with their audience. The second set is pure magic, expertly crafted to draw the crowd deeper into their musical orbit. Soren begins with a couple of captivating solo songs before the band rejoins for a stunning performance of "I Won't Be Defined." The beautiful "Mountains" from the new album recalls classic country music and is played masterfully by these talented young musicians. The eagerly awaited "Knuckleballer" energizes the audience, prompting dancing and cheers. "It's OK" and "Sign of the Times" build momentum, leading into the audience-participation favorite and band mantra, "Find Your Muse."

Typically introduced by Beau, a sudden broken G-string sends him scrambling, so Soren calls upon Jens to demonstrate the audience participation—rubbing hands for a swishing sound followed by an overhead clap. Jens struggles humorously to meet his brother’s standards, and when Neil is given a chance, he comically misses his hands altogether. The spontaneous comedy delights the crowd, perfectly showcasing the band's genuine charm and spontaneity. Once Beau is back in action, the band delivers a memorable rendition of "Find Your Muse."

Next comes the highly anticipated "10 Foot Tall," igniting fans to dance and sing along with joyous enthusiasm. The band briefly steps offstage for the obligatory show-ending moment before returning to thunderous applause for an encore. They launch into an electrifying, unleashed version of "Can't Always Get What You Want," bringing the house down. Them Coulee Boys clearly know how to have fun!

Be sure to check them out on all streaming platforms and grab your copy of their latest album, "No Fun in the Chrysalis."

Asbury Park, home of the legendary Stone Pony, is where iconic New Jersey rockers like Bruce Springsteen, Bon Jovi, and Southside Johnny first honed their craft. But what happens when master musicians from Berklee College of Music join forces on this hallowed ground? Fans of Dogs In A Pile know exactly what happens—pure musical magic. Recently, Bell’s Brewery in Kalamazoo hosted the band in their renowned back room for an electrifying concert that had the entire house rocking.

Dogs In A Pile features Jeremy Kaplan (vocals & keyboards), Brian Murray (vocals & guitar), Joey Babick (drums), Jimmy Law (vocals & guitar), and Sam Lucid (vocals & bass). Their performances showcase remarkably tight musicianship, exceptional control, and mastery of their instruments, allowing them to explore new possibilities in musical expression. The band’s originals feel instantly familiar, while their covers emerge fresh and innovative.

On this night in Kalamazoo, the band kicked things off with "Thomas Dumas Part II," immediately setting a vibrant groove before diving into two more originals, "Little Things" and "Chocolate Milk." These funky gems are more than just jams; they're showcases of genuine musicianship. The crowd swayed as the captivating vibes filled the room, drawing listeners into active participation rather than passive observation.

With the audience thoroughly engaged, Dogs In A Pile ventured into the revered world of the Grateful Dead with a cover of "Feel Like a Stranger." The band didn’t hesitate to make the Barlow classic their own, confidently claiming ownership of the song and winning over the crowd.

Next up was "Nicolette," one of the band's signature jams, blending blues, funk, and jazz elements into a danceable experience. Perfectly placed after the Dead cover, "Nicolette" set the stage for a dazzling reinterpretation of Elton John’s "Bennie and the Jets," featuring Jeremy Kaplan’s exceptional piano work that nearly convinced everyone Elton himself had appeared on stage.

The first set concluded energetically with "Applesauce," leaving fans eager for a brief refreshment break—much needed after such an exhilarating set.

Returning with vigor, the second set opened playfully with "You Didn’t Hear That Shit from Me," a jazzy number seamlessly transitioning into the compelling groove of "Spun." The captivating interplay of melodies made the performance flow effortlessly, masking the passage of time—a hallmark of great jam music.

"Watermelon Man," "Fenway," and "Craig & Pat" highlighted the band's impressive improvisational abilities. Notably, "Craig & Pat" featured a standout bass solo worth seeking out. The band elevated the energy further with "Jack & Coke," a high-powered track with a tongue-in-cheek message.

The evening’s standout transition occurred next. From the upbeat "Jack & Coke," drummer Joey Babick shifted rhythms as bassist Sam Lucid introduced a slow, pulsing line that felt instantly familiar. Suddenly, in a sonic revelation, the iconic notes of Jefferson Airplane’s "White Rabbit" emerged, thrilling the audience with a flawless rendition. The band closed the set with a triumphant reprise of "Thomas Dumas Part II."

Returning for a well-deserved encore, Dogs In A Pile treated the crowd to "All the Same" and a remarkable cover of the Allman Brothers Band’s "Jessica." By the evening’s end, it was clear nothing had been left unsaid. The show was monumental, with each note meticulously crafted and executed to perfection.

Joe Marcinek’s latest release, The Groove Sessions, is a collection of jazz-funk tunes that will gently fry your mind with music at the highest intellectual level while never speaking down to you. This iteration of the Dead Funk Summit includes the amazing Greg Spero on keys, the Sanchez brothers—Ronnie (bass) and Manny (drums)—providing the rhythm section, Tracy Silverman on violin, Howard Levy on harmonica, and the incomparable Jesus Molina on piano. They have blessed us with a new, funky, cool CD featuring eight tunes sure to put a smile on your face and a bounce in your step.

Joe always finds the best musicians to collaborate with. Listening to the entire release is a pleasure right from the first track, “Funky G Sus (fast).” This piece feels more like a conversation than a song. Listen as the bass and guitar trade bars. The guitar then takes over, restating the case, with the piano picking up the shared ideas and adding more complex thoughts. Reminiscent of jazz greats, it’s a definite mix of old-school jazz with cool funk topping it all off.

Joe slows it down with the bluesy “Broad Strokes.” Notice the interaction between the guitar and keyboards while the rhythm section holds down a straightforward groove. This cut is a tonal poem of the first degree—tight improvisation set to a rock-solid base. The follow-up track, “Liminal Event,” has a space-travel feel, as though we’re being taken somewhere in just under a minute. It’s perfect for a rainy afternoon.

We then arrive at the sparkly, up-tempo “Liminoid,” where Joe is joined by Tracy Silverman on violin and Howard Levy on harmonica. Piano and keys drive the tune into improvised riffs by Howard and Tracy, prompting spontaneous head-bobbing and toe-tapping. Easily a jazz-funk classic, it stands out among a list of superlative songs.

But then “Gimme One Second” raises the bar again. Piano and harmonica lock in perfect rhythm; next, guitar and harmonica continue the feel. The piano mastery is so astonishing that all you can do is listen. The musicians lock onto each other as if they share a single mind. Tracy and Joe are in perfect sync, then the thought is tossed to Jesus and Howard, never losing the groove. Meanwhile, the rhythm section is locked on like a laser.

The aptly named “Vegas Nights” feels like a late-night tour of the Strip. Laid-back and funky, it glides along like a tourist hopping from venue to venue before sunrise. The piano rings clear and percussive throughout, and each musician seamlessly shifts from lead to support. When Greg comes in with some spacey, cool funk, the piano and guitar play off his statements and send them back. This is true artistry in the world of jazz.

We return to the beginning with a twist as “Funky G Sus (slow)” enters our minds. It’s like the original but slowed down for an entirely different feel. The bass is more present, and the drums feel a bit more driving at this relaxed pace. It’s a nice way to ease into the station after such a funky ride.

“So Many Cords” appropriately closes out the set. This audio dénouement ties up loose ends, answers lingering questions, and puts the collection to rest. It is pensive yet joyful, giving the release a satisfying sense of completeness.

Joe Marcinek is a man in motion—a writer, guitar virtuoso, and collaborator. He has put together an incredible roster of talented friends who are proud to have shared the stage with him. And he’s humble: meeting Joe for the first time, he is infinitely approachable, with a smile that makes you feel at ease and kind words that bring you into his confidence. His music likewise offers a welcoming vibe. There is no discord here; Joe brings the story full circle. His albums are each a complete work of thought and inspiration. Invite Joe into your music collection, and you’ll always have a bit of happiness at hand. If you’ve never heard Joe Marcinek and the Dead Funk Summit, The Groove Sessions is a fantastic introduction. If you’re already a fan, this one is a must-have.

The Ramsdell Regional Center for the Arts in Manistee, Michigan, is one of those hidden gems that harkens back to a time when a beautifully executed architectural landmark was a source of civic pride. It’s the perfect setting to experience another American gem, the exceptionally talented Sierra Hull. West Shore Community College Director of Performing Arts, Ted Malt, chose this historic venue for the concert, a choice that feels perfectly fitting. 

Ted greets the audience in the classic theatre with a smile befitting a proud father. The sold-out event seems simultaneously out of place and entirely at home. Tonight, Grammy-nominated, six-time IBMA Mandolin Player of the Year, and paragon of musical virtue, Sierra Hull, graces this venerable stage to promote her new release, A Tip Toe High Wire.

The show opens with "How Long," a haunting, nautical melody that is sweetly transcendent. This song first introduced many to Sierra's artistry five years ago, beginning slowly before igniting into a rapid-fire second section, blending seamlessly into the jazzy new tune "Boom." Featured as the opening track on her latest album, "Boom" signals the innovative direction modern bluegrass is taking. Sierra illuminates the stage with fan favorites "Movement 3," "Beautifully," and "Poison," then shares a heartfelt introduction to another new song, "Lord, That’s a Long Way," inspired by her grandmother’s comments about the distance between their homes.

The band follows with three standout tracks from the new album: "Muddy Water," "Spitfire," and "Let’s Go." This release is nothing short of groundbreaking, offering bluegrass music that is both familiar and refreshingly innovative. "Muddy Water" captures traditional tones with a contemporary twist. "Spitfire," another nod to family, celebrates the unbreakable spirits found in every household, while "Let’s Go" pulses with modern energy, appealing to both traditionalists and newcomers alike.

The first set ends far too soon, feeling as though it’s just hitting its stride, but Sierra leaves the audience spellbound with a stunning rendition of Tears for Fears' classic, "Mad World."

Set two ignites with the barnburner "Bombshell," showcasing Sierra on mandolin, Avery Merritt on fiddle, and Shaun Richardson on guitar. The music is lively and exhilarating, setting the perfect tone for the rest of the evening. The energy carries forward into the spirited original "What Do You Say," followed by the heartfelt Bill Monroe classic, "Sitting Alone in the Moonlight." The band's immense musical versatility is on full display, effortlessly shifting tempo and emotion. Sierra’s angelic voice shines particularly brightly in "Tell Me Tomorrow," a bluegrass gem full of tight harmonies and fiery riffs.

A lighter moment arrives with "Best Buy," a playful original composed spontaneously in a parking lot, bringing smiles all around. "Red Bird" gracefully lands as poetic imagery set to melody, hopeful yet introspective. Sierra's powerful emotional depth is showcased in the hauntingly beautiful "Black River," completing a rollercoaster of emotions in just three captivating songs.

Tonight’s audience is enthusiastically receptive, keenly aware of their good fortune in hosting such extraordinary talent. As the show reaches its climax, the band pulls out all the stops, blending heartfelt sentiment with dazzling musicianship. In rapid succession, Bill Monroe’s energetic "Dangerfield," the emotionally rich original "Come Out of My Blues," and Bela Fleck’s intricate "Stomping Grounds" thrill the audience, leading to an eruption of applause and a well-deserved encore. Returning to the stage, Sierra and the band deliver a definitive cover of the Hunter/Garcia classic "Black Muddy River," surely making Jerry Garcia and Robert Hunter smile from above.

Sierra Hull is more than just a rising superstar; she's a genuinely wholesome entertainer, something increasingly rare and valuable in today's music scene. Her thoughtful setlist, crafted with insight and empathy, offers an uplifting experience filled with laughter, tears, and inspiration. Sierra’s performance is refreshingly suitable for the entire family—an event you can comfortably share with your grandmother and eight-year-old alike. Sierra Hull is a return to something precious we've nearly lost: a truly authentic entertainer.

Where are today’s groovy horn bands? Growing up listening to Blood, Sweat & Tears, Chicago, and Tower of Power, I’ve noticed a gap in today’s music for a funky, hard-hitting horn section. Well, tonight the horns are back with a vengeance at Bell’s as they host two up-and-coming bands: Flexadecibel and Desmond Jones.

Flexadecibel hails from Muskegon, and it’s been a while since I last caught this hip-funk outfit. They’ve always been consummate showmen, with a razor-tight horn section, but in recent years they’ve raised the bar even higher. Tonight, they’re unleashing a powerhouse set to promote their newest release, Flex Appeal.

The band has refined a sound that rides the line between funky jazz and hard rock. Lead singer Marshall Todd not only has that classic rock voice but also brings a flashy visual vibe as he dances and sings without stopping, while William Juno holds down the keys right beside him. Bobby Rop commands center stage with his guitar, shredding at will and driving the rock punch. Ryan Carpenter on bass and Mike Schertenlieb on drums deliver a solid bottom end and infectious groove, giving the band its unmistakable funky feel. Brandon Proch (alto sax), Jacob Lubbers (trumpet), and Brad Hastings (trombone) add the color, funk, and flair that make this outfit truly unique.

Tonight’s set blends fan favorites with fresh cuts from their album, released just last week. They open with the new track “Spanko,” a funky, rollicking number punctuated by signature brass accents that set the tone for the evening. Next come “Thug Mrs.” and “Lithonia,” before they ease into the laid-back “8th Sunrise,” which features a cool groove and thoughtful lyrics. Two more selections from the new record—“Pathogram” and “Bridge 4”—showcase the band’s range: “Pathogram” is a dark ballad with weighty lyrics (feel the emotion in every word), while “Bridge 4” is a lighter, introspective song that builds gradually. They close with “Sirens Call,” a fitting finale and the perfect start to a night of music.

Desmond Jones takes the stage next, and it’s a tour de force: both bands have new releases out, and both know how to make feet move. Set two kicks off with “Major Burbank,” “Bunker,” and “Annie, Oh” in rapid succession. Isaac Berkowitz (guitar, vocals) and Chris Bota (guitar, keyboards, vocals) front the band with hard-hitting riffs and soaring harmonies. They follow with two new cuts—“Mt. Meesha” and “Step on Me”—powered by John Nowak (drums, guitar, vocals) and Taylor Watson (bass, vocals), before easing back into “Giant Eye.”

A suite of new tracks—“Quantify,” “Puree of Scorched Tomatoes,” “Dedicated (To This Feeling),” and a reprise of “Puree of Scorched Tomatoes”—spotlights multi-instrumentalist George Falk (saxophone, keyboards, vocals). While most would say the hardest-working member is the drummer, John Nowak remains cool and collected—perhaps because he has a front-row seat to watch George juggle instruments. With a tambourine in one hand, a sax around his neck, and fingers on the keys, George blurs the line between musician and whirlwind as he tackles bari- and tenor sax, keyboards, and a phalanx of percussion—all without missing a cue.

For a special treat, Desmond Jones covers Jamiroquai’s “Canned Heat,” with Flexadecibel’s Marshall Todd on vocals, Brad Hastings on trombone, and Jacob Lubbers on trumpet. It’s great to have friends join in for the big numbers, and “Canned Heat” fills the hall with joyful, danceable sounds.

They wrap up their set with “Note from Dad” and “Poor Sylvester,” then close out the night with another round of “Giant Eye.” The band didn’t disappoint, and they were kind enough to share their upcoming tour dates:

5/3 Grand Rapids, MI • The Pyramid Scheme

5/15 Columbus, OH • Natalie’s Grandview

5/16 Hazleton, PA • Tap at Humboldt

5/17 Floyd, VA • Dogtown Roadhouse

5/18 Youngstown, OH • Westside Bowl

5/21 Buffalo, NY • Nietzsche’s

5/22 Rochester, NY • Abilene

5/23–24 Greenfield, MA • Strange Creek Campout

6/28 Trufant, MI • Smiling Acres Music Festival

Both bands’ new releases are available on Bandcamp and all major streaming services. Expect top-notch sound quality and crystal-clear reproduction—pick up some fresh tunes for your summer playlist, and catch these two funktastic acts wherever they play next. They never fail to entertain.

Spring is upon us, and the world is emerging from its winter sleep. Nearly ten years ago, Despina Peters and Cassie Lynn Wright formed Fox Crossing Stringband as an all‑female four‑piece bluegrass ensemble. Recently, the band has undergone a rebirth—expanding into a five‑piece lineup with three new members. While retaining its signature female perspective, Fox Crossing now presents a stronger, more polished sound, clearly poised for the next level.

Friday nights at the Livery in Benton Harbor have become a beloved tradition of great music, beer, and food. Tonight, Fox Crossing is on the run to begin their summer tour, and fans are ready for an evening of exceptional bluegrass. Despina and Cassie are joined by Roman Niziolek on bass and Micah Vogel on fiddle; mandolinist Caleb Peters will join them for the rest of the dates.

The show opens with an engaging mix of originals and covers, including Joni Mitchell’s “Big Yellow Taxi,” a moody take on the Steeldrivers “Dark Whiskey,” and one of my favorite originals, “Bleeding on the Blacktop.” Their own songs highlight impressive songwriting, insightful storytelling, and a touch of humor. “Thibodeaux,” by Claire Lynch, is a furious, fiddle‑driven number, spotlights Micah Vogel’s virtuosity and previews the excitement to come in the second set. 

Set one concludes with an uplifting rendition of Paul Simon’s “Late in the Evening.” After more than an hour onstage and 17 tunes delivered with tireless energy, the band still looks as though they could play for hours more.

Offstage, Cassie Lynn Wright keeps bluegrass fans informed about upcoming events via Bluegrass Chicago, an online resource for bluegrass and old‑time music around the city. When Despina Peters isn’t touring with Fox Crossing, she and her husband Caleb (of Miles Over Mountains) can be found on the road with their band, The Lucky Pickers.

The second set is packed with hard‑hitting originals—“Whiskey and Me,” "Little Black Heart," and "Good News," and the humorous “Winter and the 4th of July.” Fully in their groove, they deliver a heartfelt version of “You’ll Never Leave Harlan Alive” by Daryl Scott and "Pour Me" by Trick Pony. Micah shines not only on fiddle but also on vocals during “Calling Baton Rouge,” showcasing the band’s tight harmonies. The evening closes with Billy Joe Shaver’s “Georgia on a Fast Train,” a fast‑paced country classic that perfectly illuminates this talented group’s strengths.

Fox Crossing Stringband will tour the Midwest this summer with 30 confirmed dates. Catch the Foxes on the run at your favorite bluegrass festivals—and keep an ear out for new music: they plan to release another recording after the tour, but in the meantime, you can find their existing work on all major streaming services. Visit their website for tour dates, music, and news.

The new Saturday-night reality has become interacting with people via the internet. Today’s world consists of online gaming, live-streamed video, and AI-generated content. Yet concerts are better in person, and—since you’re reading this article—you already know the value of live, face-to-face interaction. To paraphrase an old saying: There is nothing like a live concert.

My own Saturday night was spent with fellow fans at Bell’s Eccentric Café, gathered to hear the Chicago sensation Hot Like Mars. This funky, soulful band brings a positive, energetic attitude that the crowd devours. Most of those in attendance had seen the band before, and many follow them on both sides of the lake.

The evening kicked off with Aaron Stinson, who DJed a set of inspired jams. The crowd jumped and moved to the bass-forward tunes as Aaron led the groove. Here, you experience the first-hand connections no computer can emulate—people dancing, grooving, and inviting you into their conversations like old friends. After 45 minutes of thumpin’ and bumpin’, the night’s headliner, Hot Like Mars, took the stage.

They came out swinging with “Don’t Get Comfy,” “Comfy Jam,” and “Som’n Boutchu,” tunes that instantly motivated the fans. The band then slowed the pace with “My Angels,” revealing a more personal side. Keyboardist Anthony Perry addressed the audience: “You are beautiful, you are a delight, you are important, you are a shining star.” He asked everyone to repeat the mantra and then turn to a stranger and say it to them. Suddenly, we were one big, happy family, sharing the love that makes live music so special.

At the heart of the band are Tae Norwood on bass and Wes Julien on drums. Funk is all about the “one,” and this dynamic duo stomps the downbeat with glee. Both can solo, and when they do, people listen. Close your eyes and you might think Victor Wooten and Al Jackson are back there. Their grooves run so deep that couples break into spontaneous, intimate dances that could melt any plastic screen at home.

Flanking the stage are two top-tier guitarists. Frank Minella—who could moonlight as a GQ model—has serious chops, while Patrick Walsh, with his flaming hair, shreds without breaking a sweat. They trade leads like friends conversing on the street, and the fans respond to every burst of pure musical inspiration.

“The Funk” and “Hit It Hard” kept the party moving, followed by the brand-new single “Situationship,” now streaming. A masterful funk-jazz piece, it left the guy next to me wondering whether it was an unreleased Prince track or an early Jacksons cut. It was neither—just Hot Like Mars channeling the greatness that inspires them.

Front and center, vocalist and keyboard virtuoso Anthony Perry brings deep, resonant clarity to every song, like a modern-day Lou Rawls. His keyboard work glides from mellow textures to soaring solos, and his humble, loving presence fuels the band’s joyful vibe.

Set one closed with “My Broken Pride.” After a short break, the band returned for a mighty jam session joined by Aaron Stinson on sax and flute and violinist Josh Holcomb. They played and danced deep into the night as fans grooved along—proof of why live music matters. The band reads the crowd the way they read their instruments, feeling where the music leads and anticipating the next move. No machine can do that—at least, not yet.

Don’t miss your chance to catch Hot Like Mars live. They’ll pull you in for a big musical hug that will leave you glowing. Until the next show, cue them up on your favorite streaming platform—you’ll be glad you did.

Bluegrass is booming, with new fans discovering fresh groups every day, and Wheels North ranks among the finest of Chicago’s contributions. I recently had the pleasure of watching this progressive quartet light up the night.

They announced their arrival with a rousing bluegrass re-imagining of Ozzy Osbourne’s “Momma I’m Coming Home.” Thrilling strings, crystal-clear lyrics, and tight harmonies made the rock anthem feel born for the back porch. Bassist Jesse Fuller proved a masterful anchor, seasoning every groove with jazzy and bluesy riffs the way a chef spices jambalaya.

Originals followed—“Nothing More” and “Lucky in Love” showed the band’s stylistic range—before Jesse lent his silky voice to Bruce Cockburn’s “Lovers in a Dangerous Time.” The tender original “Ain’t Gone for You” revealed the group’s softer side.

During soundcheck I zeroed in on guitarist Mark Frystak, a perfectionist whose melodic lines and fearless solos suggest he needn’t worry. His sweet, tight harmonies and expressive flat-picking draw warm, happy tones from his instrument.

Banjo player and lead vocalist Hayley Skreens is Wheels North’s de facto emcee. Her easygoing banter, honest humor, and disarming smile make every venue feel like Hayley’s living room—bluegrass as a family affair.

Rounding out the lineup is fiddler Chris Grant. Forget “hot”—Chris is on fire. As the first set neared its break, the band unleashed him on the Hungarian showpiece “Csárdás.” I’ve heard virtuoso violinists tackle the piece in concert halls; Chris nailed every note, while the band’s bluegrass twist lifted the tune beyond its folk roots. Simply amazing.

The set closed with the heart-warming original “Jonah’s Town,” after which the musicians mingled with the crowd like old neighbors. That wholesomeness epitomizes both bluegrass and Wheels North.

Set two opened with another curveball: a jaunty take on Human League’s “Don’t You Want Me” that the audience devoured. More originals—“Fly on the Wall,” “New Love,” “Time Stands Still”—kept the momentum soaring. All too soon Hayley announced one last number: a bluegrass medley of Pink Floyd classics that sent everyone home grinning.

Wheels North plays widely across the Midwest and should be on every roots-music radar. Their new album Arrival is streaming everywhere and has already earned praise here on Grateful Web. Seek them out—you won’t be disappointed.

Who the F*&% is Kyle Smith? Really? If you listen to today’s reggae and haven’t heard of Kyle Smith, get ready for a real treat. Kyle hails from Southern California, and his life story is built for writing great songs. His approach is simple: rip out your heart and put it on display for the world. It absolutely works. His fans know that he plays to thousands like he’s playing to five close friends—and he plays to five like it’s the biggest concert of the year. A true troubadour, he performs not for accolades but for pure entertainment. And man, does he entertain.

It’s a Wednesday night in downtown Kalamazoo, Michigan, and the back room at Bell’s Brewery fills with fans gathered to hear two amazing performances: Highdeas and Kyle Smith.

Highdeas is a local band with a fierce following. They make the room come alive with their own tunes “Bongs n’ Songs” and “Hello” to start, then treat us to a cover of Stick Figures’ “Coming Home.” The crowd responds with cheers and dancing as Ethan MacDonald (lead vocals, lead guitar), Ben Dorsey (drums), Nate “Tusky” Smith (bass) and Nick Ploof (keyboards, guitar, vocals) launch into fan favorite “Super Dope.”

This multi-talented quartet lays down infectious grooves that feel at home on the cold streets of the Midwest, yet carry just enough sunshine and slinky vibes to cement their place in the reggae scene. Songs like “I Don’t Wanna Go to Work,” “Feels Good,” “Burnt Out” and “Life Is the Shit” speak to modern times and are enthusiastically embraced by the local college crowd. The set closes with another fan favorite, “Return to the Flow,” complete with its haunting guitar solo and meaningful lyrics.

Check them out on streaming platforms and YouTube, and catch them live on July 12 at The Good Ole Days Music Festival and July 26 at Liquid Note in Otsego, Michigan—where they’re hosting a reggae day.

I

It’s no accident that Kyle chose Kalamazoo as the first stop on his tour. “Where the hell is Kalamazoo?” T-shirts were all the rage back in the ’70s when the city seemed lost. How can you be a mid-sized city in the Motor Capital with a now-forgotten car company (Checker), or in the Great Lakes State but not on any of the lakes? Kyle is kind of like that.

He’s one of the fastest-rising stars in reggae, yet he comes from Surf City. A poet who writes deep, profound lyrics but delivers them with a lighthearted swing that keeps fans dancing—and reveals a man who’s still finding himself. A new-age reggae performer, his style and sound are definitely Caribbean-based, but his stories are pure Americana. His life’s troubles, losses and pain seem improbable coming from a muscular, good-looking Californian who appears carefree—but don’t let that fool you. The truth is in the songs, as he sings his heart out about the path his life has taken.

Tonight at Bell’s, he is pure magic. Starting with “On My Way,” the band immediately moves the crowd. Kyle speaks directly to the audience as if they were in his backyard and he’s just picked up the six-string. He powers through “Can’t Remember,” “News Flash” and “Tired”—songs that feel raw and honest, yet somehow make the sad seem okay, just part of life. He throws in a bit of punk rock with “Lost Cause” and plays to the response. After rollicking renditions of “Did My Best” and “No Body Speaks,” Christopher Nishida—the band’s bassist and tour manager—breaks into some Dr. Dre. The crowd is loving it, and so begins a playful back-and-forth banter.

Scotty Brown, a truly gifted drummer, and Chris Nishida rise effortlessly to anything Kyle and the fans throw at them, morphing from Weezer to NOFX to Misfits and The Offspring on the fly, seamlessly matching each band’s style and wowing everyone with their versatility.

As the band settles into the second set, Kyle unveils a new anthem, “By Myself,” which speaks to anyone who needs to know they are worthy and will be accepted by the world. “I’m the Lonely One” and “Just Like Them” lead us to the very special “Wither,” written when Kyle was just 17. It’s deep and foretelling—much like the artist himself—and offers a glimpse of the young man destined to become one of the most polished performers on today’s reggae circuit.

By the night’s climax, Kyle is fully in tune with his audience. He reaches into the crowd, pulls up two young boys attending their first concert ever, and invites us all to cheer them on. The youngsters are blown away as Kyle’s fans rally behind them as if they, too, were on stage. That moment of shared joy—that sense of belonging—is the real magic of Kyle Smith: he and his band treat all of us like a tribe.

His new album, Bad for Business, is now available on streaming platforms, but the best way to snag a copy is at a show. Buy the merch, follow him on social media, show him some love on Spotify, and spread the word: tell everyone you meet to find out who the heck Kyle Smith is. They’ll thank you for it.

For those of us born at least a half-century ago, the memory burns bright of listening to AM radio in the dark of night, when the big stations could boost their transmission power and beam music and news far beyond their daytime range. It feels as distant from today’s hyper-connected world as crossing the prairie in a covered wagon, yet tuning in to Chicago’s WLS from Florida was as close to the internet as we had—think Elvis Costello’s “Radio, Radio.”

Stephen T. Lewis has written a biography chronicling the life and times of Richard Manuel, the musical genius behind The Band. The story opens in rural Ontario, where a young “Beak” (Richard) tuned in to American radio to hear the “new” music that was changing the world—memories from an era now largely forgotten.

As the book progresses, Lewis draws on interviews, firsthand accounts, and periodicals to craft a portrait of Manuel’s experiences that feels faithful to both the man and his life. He places us in a temperamental car kicking up dust in 1960s Arkansas. It’s all here in gritty detail: from go-go clubs and roadside dives to early radio success, the narrative pulls you in. Along the way, we trace Manuel’s long path to stardom—from his days with the Revols and Ronnie Hawkins, through breakthroughs with Dylan, to the triumphant heights of his time with The Band.

Lewis’s style deftly weaves intricate storylines, blending private recollections with public records to complete the picture of musicians who formed one of modern music’s most influential groups. The reader is plunged into the world of a blossoming talent, emotionally invested in people whose inevitable failures make them feel achingly real. One might not expect a single troubadour’s journey to evoke such empathy, but the writing compels you to dive in and keep reading. There are no dead spots or meandering tangents; the work remains focused on letting us rediscover the past through Richard Manuel’s life events.

The book brims with period details and excerpts from contemporary articles that bring each era to life. Lewis writes in an accessible, unpretentious style—clear without being condescending. Though the subject matter turns dark at times, the reader feels guided rather than merely informed. By the end, you gain newfound respect for the musician, the man, the father—Richard Manuel. The narrative leaves you immersed, never overwhelmed.

Richard Manuel, an extraordinary talent who captivated a generation, deserves our attention. For young and aspiring artists, the book offers both a testament to the hard work and dedication required for success and a cautionary tale about fame’s pitfalls. A wonderful read, well worth your consideration.

To order and learn more about Stephen T. Lewis’ Richard Manuel: His Life and Music, from The Hawks and Bob Dylan to The Band, please visit Amazon (https://a.co/d/2PShi4p) or Barnes and Noble (https://www.barnesandnoble.com/w/richard-manuel-stephen-t-lewis/1146228…).