Up and Coming to Boston: Ultimate Painting

Ultimate Painting is more than just a pretty name. They also make pretty songs. The collaborative project of Veronica Falls' James Hoare and Mazes' Jack Cooper, the pair spin spidery pop songs - thinly threaded guitar lines paired lithe, lethargic vocals. With their latest album, Green Lanesthe pair draw on the Velvet Underground, and other mellow Brit-pop influences to pull off a record that is carefree without being careless, dimly-lit, low-key pop.

Ultimate Painting pull into the Middle East on Saturday, September 19, and the show should be a perfect send-off to summer. Tickets.


PREVIEW:Grand Point North Music Festival

Grace Potter hosts the 2015 Grand Point North music festival September 12 and 13 at Burlington, Vermont’s Waterfront Park.  On the shores of Lake Champlain, Burlington’s Waterfront Park offers an idyllic setting for the family-friendly festival.  The festival offers music on two side-by-side stages with alternating performances, enabling festivals goers to catch every note.  The opening bands are hand-picked by Grace and are always an amazing addition to the headline talent.  The intimate size of the festival guarantees attendees will be able to experience all that it has to offer. 

This year, the festival will feature the legendary Flaming Lips, marking their first return to Burlington since 2006 and carries on the tradition of Grace inviting friends she has met along the way since forming Grace Potter & the Nocturnals in 2003.  Joining Potter and the Flaming Lips on the side by side  festival stages will be Mike Gordon, Shakey Graves, Greensky Bluegrass, Spirit Family Reunion, Odessa and Marco Benevento. Each night will close with a full set from Potter's new band, featuring both new and old faces.   This year's lineup  of local and regional acts performing include  Madaila, Soule Monde, Heavy Plains, Maryse Smith w/ Michael Chorney, The Snaz, Barishi, and Mal Maiz.


The festival will once again include Grand Point Weird, curated by Grace Potter's sister, Charlotte, will feature several installations by design collective Pneuhaus as well as

Grand Point Local  celebrating local food with an assortment of Vermont’s best purveyors each taking advantage of locally-sourced ingredients.

GRACE POTTER [GRAND POINT NORTH] from Julian Rodier on Vimeo.






Newport Folk Festival 2015

Every year I have the good fortune to find myself at one of the oldest and grandest music festivals in the United States, shoulder-to-shoulder with the same group of friends. It’s been called both the “grand daddy of American music festivals”, as well as “possibly the most polite festival.” The type of place where people buy tickets (all of the tickets!) before the lineup is even released. People go to Newport for the sake of Newport. Young people, older folks, and toddlers alike (there’s a sneaky-good kids tent.). We all come to this ritzy town to be rich. Rich with friends, rich with experiences, and of course - wildly rich with music.

With too many great acts to name,
When you return from the Original Gangster of festivals, the first question that gets asked again and again is, “What was your favorite?” My answer is always something unexpectedly plucked from the treasure trove, the glints of gems glistening from the stages you walk past on the way to something else, the allure of the unkown that draws you in and invites you to clap along with everyone else.

The Newport Folk Festival is known (publicly) for it’s big acts such as Ryan Adams, James Taylor, and Beck to name a few…but that is only a fraction of what this festival offers. The Newport Folk Festival is a breeding ground for up and coming artists. No only do they allow artists to play on stage; they promote them, encourage them, and connect them with other artists. These up and coming artists will not dissolve but will become part of an extended family. Some of the great acts this year that really stood out:

Traveller, three singer songwriters from Nashville, Tenn. (Cory Chisel, Robert Ellis and Johnny Fritz) touring and playing each other's songs plus some new ones. The kind of thing you can't find online or anywhere else - yet. Call it what you will, country, folk, Americana. There is a heavy dash of John Prine or Roger Miller-type humor in their songwriting styles.

The tiny Museum stage hidden yet in the center of the festival feels like a throwback to the way that the festival used to be, highlighting either the non-famous or bringing the bigger names to the small stage in unannounced sets for the lucky few that have devoted their time, waiting to see what will happen next. Allowing people the chance to "discover" their new favorites or have an unforgettable story about seeing one of their favorite acts up close and personal. On that stage was Wildwood Revival, curated by the masterminds behind a new music festival in Georgia by the same name. The stage was graced by singer-songwriters who you've probably never heard of, but should take note of. Notably Margo Price with a country twang reminiscent of early Loretta Lynn. Or Aaron Lee Tasjan who had everyone in stitches singing about seemingly random events that all led back to David lee Roth of all things.

Elsewhere, Nathaniel Rateliff and the Nightsweats, gave the feeling that you were at some kind of revival, making more noise than one white tent can handle.

Langhorne Slim, a personal favorite had the crowd in hysterics with his typical stage antics. Hundreds gathered under the Quad tent to belt out his catchy lyrics in unison.

Other highlights include repeat performers Spirit Family Reunion and First Aid Kit each taking another step towards make more indelible memories for those lucky enough to see them. Similarly, Hozier and Tallest Man on Earth both returned with bigger bands and bigger ambitions, wowing the waves of crowds with rock-infused folk.  Festival newcomers like Leon Bridges, Courtney Barnett, and Luluc took turns turning heads on the festival’s smaller stages and pop-up sets from James Taylor and My Morning Jacket added to the festival’s legacy of jaw-dropping surprises and seemingly ceaseless wonderment.

And just like that, in the blink of an eye I find myself at the very end of the three day fest, making plans to come back next year, like always. As far as Newport is concerned, I may not be rich. But at the Newport Folk Festival, I am certainly a rich woman.



Words by Vanessa Roberts Richert


T​weed River Music Festival​ - 2015

Tweed River Music Festival is less a showcase for bands and more a celebration of everything great music embodies: the deeply personal link between artist and fan, the spirit of community and cooperation, and yes, the magical atmosphere of a great show in an indescribable setting. After taking a breather in 2014, this year's music and arts camping festival ­­ the sixth overall ­­ arrives this summer revitalized, re­imagined and packed with incredible performers. Of course, loyal patrons will still find a boutique festival offering an experience that major music festivals simply cannot achieve.

Set on a bucolic swath of land nestled between the Green and Northfield Mountains in the Mad River Valley in Waitsfield, VT, the 2015 Tweed River Music Festival will host more than 30 acts, including staples such as B ow Thayer, Tim Gearan, Andrea Gillis, White Dynomite a nd T he Curtis Mayflower, while also welcoming B loodshot Records r ecording artist L ydia Loveless, Vermont natives W aylon Speed, A lligator Records recording artist (and Boston native) J esse Dee. Other great musical acts include J oe Fletcher, JP Harris and The Wrong Reasons, Caitlin Canty and A NTI Records recording artist C hristopher Paul Stelling.
From wood­fired pizza to Heady Topper IPA, Tweed will also offer the finest in food trucks and handmade crafts, along with a world­class beer and wine garden. A family­friendly event, there are performances specifically designated for children like the N o Strings Marionette and P uppetree, as well as a variety of games and activities throughout the grounds.

EVENT: Tweed River Music Festival 2015

WHAT: More than 30+ bands at a weekend music and arts camping festival
WHEN: July 31­Aug. 2, 2015

WHERE: 3337 Main Street Waitsfield, VT
PRICE: $160 for full­weekend camping passes; individual day passes also available. Free for children under 12 FULL INFORMATION:

* * * T W E E D  H I S T O R Y * * *

Founded in 2009 by musicians Bow Thayer and Jeremy Moses Curtis, Tweed River Music Festival has grown from a backyard 4th of July party into a summer festival that showcases the rich musical scene in greater New England as well as nationally signed touring acts. Past lineups have included notable artists such as Booker T, Dopapod and Caravan of Thieves. Even a full­length documentary movie has been made in the name of Tweed!
Curtis and Thayer have decades of experience playing some of the biggest music festivals in both America and abroad and have witnessed the ever­changing landscape of the music industry first hand. Along with their fellow members in Tweed River Productions LLC, they have taken those observations and distilled them into an atmosphere that caters both to fans and musicians and their families, as well. “ When the division between the fans and musicians is removed and the two can exist together as a true community, an experience is created for both that is like no other,” C urtis says. This is the magic of which you will hear every Tweed fan speak.
While spirits and energy run high, the three­day event has an uncanny ability to maintain safety for all, through the cooperation of organizers, volunteers and attendees. Thayer says: “ People take pride in having an event that they truly feel a part of and have a hand in creating. It really fosters the ability to keep peace on site and allows the festival to be all it can be.”

Tickets, lineups and full information can be found at ***



Twitter ­ @tweedrivermusic
Instagram­ @tweedrivermusicfestival


More Than Myth: Dylan Going Electric 50 Years Later *********Newport Folk Festival Preview*********

By the time Bob Dylan took the stage at the Newport Folk Festival 50 years ago this July, he had become one of the biggest names in folk music, almost single handedly mainstreaming the genre, and influencing generations of musicians and music fans.

Dylan had been experimenting in the months leading up to his performance in Rhode Island, releasing the album Bringing it All Back Home, which featured songs backed by the Paul Butterfield Blues Band and recorded using electric instruments, and then just days before Newport, Dylan released his song “Like a Rolling Stone.”

When he stood in front of the Newport audience, donning a Fender Stratocaster and launching into “Maggie’s Farm,” many were irate, booing Dylan and commenting after that they felt betrayed (though it should be noted there were also cheers). It was a beautiful moment to behold, like something emerging from a chrysalis, or shedding a skin. No longer was Dylan just another Folk musician, he was carving out his place as a musician unbound by genre or style, still able to write thought provoking, poetic songs.

Promoters of the event were angry as well. The late Pete Seeger, a staple in folk music for decades by that point, and an influence on Dylan, is rumored to have tried to cut the power to stage with an ax during Dylan’s performance. Seeger said years later that he’d been upset with the sound quality of the mixing booth and wanted to go over and have them fix the sound, threatening to cut the line because he thought they were butchering Dylan’s work as a musician.

Dylan didn’t kill the folk scene of the 1960s by plugging in. He gave it room to breathe. In the decades since, especially since 2009, Newport has had a significantly more electric line up each year. The festival has embraced Dylan’s ethos by booking bands influenced more by his later albums, and helping continue to push and redefine a genre that is now, for better or worse, in the mainstream.

We still talk about Dylan going electric today not because of how foolish it seems to modern audiences – It’s not. Just look at the fan reaction to Mumford & Sons latest album Wilder Mind, an electric departure from their banjo-heavy Americana style – but because it was a rare opportunity to see an artist confront their audience and challenge their perceptions of who, or what, a musician or band is supposed to be. Who is Bob Dylan? Is he a folk musician? A rock star? A man of religious conviction? Books and documentaries continue to explore these questions and a lot more. But the simple answer is he is all of those things and more.

When Dylan plugged in and turned up the volume, it was a surprise to many no doubt. Most audiences will never see something like that in their lifetime as more and more live event surprises are often decided in the conference rooms of marketing agencies, or after an artist indulges too heavily. Rare is it today that an artist can make a drastic choice to change everything about themselves, do it live, and not care what their audience thinks.

When we look back at Dylan going electric at Newport, it should stand out as a moment when he took control of his art, his persona, and wouldn’t let it be dictated by the conventions of the culture around him. We may never have another Bob Dylan, or another Dylan goes electric moment again, and that’s okay, because we had the one and he did it best anyway.

Bob Dylan - Maggie s Farm Live at the Newport Folk Festival '63 '65 Full from kostas palaiokostas on Vimeo.


Words by Craig Robert Brown

Photos by Getty Images


Shakey Graves: Live at the Neptune Theater in Seattle, WA ***Newport Folk Festival Preview***

Those who experienced Alejandro Rose-Garcia first as Julie Taylor’s disappointing love interest on Friday Night Lights (Coach: not a big fan) were screaming “THE SWEEEDE” at Shakey Graves’ sold-out show last Thursday at The Neptune. Niche notoriety as an actor seems to have carried seamlessly to Rose-Garcia’s nu-folk stardom—there was a palpable feeling of adoration as he took the stage with just a guitar and makeshift kick drum converted from a worn Samsonite suitcase. Americana is embodied in every way—a Texas flag draped over a synth iconizes the band, jokingly named after an Indian ghost story.

The band is touring their second full-length album, And The War Came, joined by folk quartet The Barr Brothers.

There’s something immediately disarming about Shakey Graves. A lack of pretense, an easy presence, an intimacy with audience that feels both entirely earnest and derivative of a career in acting. I think fans experience an emotional resonance (or purely uplifted) with his sense of sheer joy—through changing sonic poles, he’s visibly, fervently transported. Dude’s here to have fun.

Shakey takes a mathematical approach to songwriting and a live set. The entrancement felt at his shows is intentional; Graves calculates a balance between very loud and very quiet, fast and slow tempos, so that the body and mind engage, leaning into the change. He knows when/how much the audience can accept a sad, slow song. The theater taught him how to read a crowd.

The effect is very much real: high-energy radio hits and soft ballads command almost equal attention. Shakey organically engages the audience. In “Chinatown,” he calls for a collective trumpet solo (see forgiving, endearing gestures of encouragement):

Drummer Chris ‘Boo’ Boosahda and guitarist Patrick O’Conner join Rose-Garcia mid-set, rounding out the one-man band.


Words//Video//Photo by Cassandra Croft

Photos By Adam Richert



Brown Bird - "Axis Mundi" The Point Where Heaven & Earth Connect *Album Review*

It was one year ago this month that the music community mourned the loss of David Lamb, the talented and thoughtful multi-instrumentalist who made up one half of Brown Bird, due to leukemia. Now Lamb’s life and musical partner MorganEve Swain is releasing the final chapter in the band’s compelling story, Axis Mundi, a lyric she found in his notebook that refers to the point where heaven and earth connect.

The album begins with the harrowing opener “Focus”, as Lamb’s voice hovers like a spectre. “Tethered to the cure, I focus on the pain,” he laments. “Transformation comes, tempered by the flame./ And if my flesh should fail, devour me within. / May then my soul prevail, free to roam again.”

By the time the song ends, listeners are absorbed into Lamb and Swain’s antiphonal singing, its resounding resilience, and we are mostly just glad to be able to share a few more moments with them. And when you lose someone or something you care about, that’s all you can ask for - just a few more moments.

Thankfully, there are many great moments on the record. There are ample dashes of the Middle Eastern influence that came to characterize the band’s later works. Take “Bannerman”, a song that was written just before Lamb fell ill, which features a swirling sandstorm of hypnotic harmonies and tightly interlocked riffs. The track is followed by a surf-rock informed “Aloha Senor Mano” and it’s clear the group never stopped stretching and growing.

Both musically and philosophically, Lamb was certainly a seeker. The son of a preacher, he applied an academic zeal to his spirituality, simultaneously digging into deep thinkers like Thomas Paine and Omar Khayyam. Musically, they expanded early pigeonholing from a “folk” group (really meaning “American folk instruments”) to a much more global definition of the word.

They were also big metal fans. When one hears polished rock songs like “Pale and Paralyzed” and “Ephraim”, it’s tempting to dream of an alternate ending to the story where the band is playing large rock festivals. The former features spellbinding imagery, with some of the band’s best lyrical storytelling. The latter incorporates an anthemic accordion and seeks to find “paradise in the midst of this hell, if we tilt our heads just right, and let our shackles go.”

Putting the record together quickly following David’s passing, Swain found catharsis in the process. It does not sound like “letting go”, but giving back - sharing their last musical moments and solidifying the band’s already-impressive place in our collective hearts. To that end, there are tender tunes here, too. The album’s penultimate track is “Tortured Boy”, a song Swain wrote in their first moments of dating, now impressed with new meaning to her lithe lyrics.

Finally, the album comes to rest with “Avalon”, a 46-second song Dave wrote for MorganEve and presented to her in December. Amid other compliments, the final verse rings, “You’re a huntress, and a healer, and a holder of hands./ And your heart is the Avalon that I seek for my end.” To state the obvious, it makes for an emotional end to the listening experience.

The record was originally conceived as a victory record, an album Brown Bird would tour on once Lamb was in better health. And in a way, Axis Mundi still makes for a fitting final coda. Lamb and Swain found their counterpoints in each other, and shared their connection with us through Brown Bird, making their spiritual bond manifest through their music. Now, no longer tethered, the songs, Brown Bird, and Lamb are free to roam again, their mythos fading into the brightness of an infinite horizon.





Words by Brian Hodge of Visible Voice


Seth Avett & Jessica Lea Mayfield Sing Elliott Smith Reawaken Songs for a New Generation

 We had the pleasure of seeing "Seth Avett & Jessica Lea Mayfield Sing Elliott Smith” live at the Neptune Theater Thursday night. Avett and Mayfield played to a completely sold out and (although seated) a very enthusiastic crowd. 

It's a humbling experience to watch musicians of a higher caliber completely dedicate an album and performance to another musician. There is no doubt that Smith’s songs were performed with the respect and sincere admiration that it deserved. This tour seems to be a theriputic release as the two musicians find solace and kinship through a great artist that has come before them. 

Avett is best known for his punchy, alt. folk band with brother Scott, The Avett Brothers, and Mayfield
drips 90s despair rock like a candle with a flame that burns too hot. It's an odd pairing on paper, not 
Avett and Mayfield, but Avett, Mayfield and Smith. Mayfield comes closest to Smith lyrically in her 
own right, and as Avett sings some of the more painful of Smith's lyrics, there is still that familiar 
bouncy feel in his voice that has made his main act a success.
But there is beauty on this record. Mayfield's voice on "Angel in the Snow" is starkly beautiful, distant 
and haunting. Avett's arrangements, stripping down Smith's more orchestrated tracks, leaving Avett 
alone with his guitar, allows him to embody the loneliness Smith thrived in creatively. If there is a fault 
with the record is that it seems that Avett can't get out from behind that Avett Brothers sound. "Baby 
Britain" comes across like one of the brother's more mellow numbers as Avett plucks and strums, his 
voice carrying the familiar North Carolinian melody. Not that he shouldn't be allowed to put his own 
spin on Smith's back catalogue of notable hits and fan favorites. In fact, it's a good problem to have. 
For the listener who doesn't know Smith's work, but puts on anything featuring an Avett singing, this 
album of covers serves as a good introduction to an artist whose career ended far too soon.
It's hard to judge an album of covers from an artist with a following and reverence as strong as Smith's. 
Recording the album is a bold move, one that has taken Mayfield and Avett three years to complete. 
The premise alone may have some critics balk at the idea. However, it's a pleasure to hear Smith's 
lyrics in a fresh medium. Avett and Mayfield took Smith's work down more of a folk path and the 
songs fit the genre well. "Pitseleh" has both Mayfield and Avett taking lead vocals accompanied by a 
lonely guitar, banjo and piano. "Let's Get Lost," a fan favorite, stays close to its source material, but 
Mayfield's vocal accompaniment makes the track. Her voice, low and sultry on this record, is hard 
to ignore. Smith's songs operate in a type of vacuum of singer-songwriter genius; many have tried 
to capture Smith's brilliance in their own music and come up short. Avett and Mayfield, on the other 
hand, play the songs they love to listen to and perform them as they would one of their own. It's nice to 
give the songs a chance to breathe.
"Memory Lane" is a fitting choice to close out the record. It features some the most orchestrated 
arrangements. Avett's voice gives the isolating lyrics an uplifting feel and its evident Avett feels some 
kinship to the words. One could argue, with his new found fame, Avett would rather be back, settled 
into that little house, strumming a guitar and playing the songs that move him. The album is a good 
listen for the Smith fan-base and a great companion record to one's Avett collection. But its greatest 
achievement is reawakening Smith's songs from a long slumber.


Words by Craig Brown

Photos//words by Adam Richert


Tweedy - at the Neptune Theater - Seattle WA

I am the biggest Jeff Tweedy/ Wilco fan... But aren’t we all? He is the most accessible musician with catchy, radio friendly songs that seems to avoid mainstream radio. If for some reason you have missed out (since the late 80’s) on Uncle Tupelo, Wilco, and now Tweedy I would begin to go down that magical rabbit hole right about now.

Jeff Tweedy of Wilco played to a sold out Neptune Theater with his side project “Tweedy” consisting of Jeff and his son Spencer, along with some of their amazingly talented friends. When you go see an artists’ side project you generally can expect experimental songs that nobody knows and are just hoping that they will play a hit or two. But with Jeff Tweedy…. The man is going to kill it with some new jams, bring it home with some classic Wilco and a few “dad” jokes that may or may not embarrass his son Spencer Tweety sprinkled throughout.

Page 1 ... 3 4 5 6 7 ... 56 Next 9 posts »