Live Show Review: Kina Grannis @ Porters Pub
By Nicolle Monico April 14 2012
Curving around the long sidewalk, people of all ages lined up in anticipation for the relatively new singer-songwriter Kina Grannis’ show. While waiting, fans pulled up videos on their smart phones to catch glimpses of her before the live performance. Females spoke of her as a close friend and it was evident that this would be no ordinary show, but rather an intimate gathering between friends and family.
After an hour of waiting and making our way through organic beer and vegan delights, we settled near left stage to hear opener Imaginary Friend (a.k.a. Jesse Epstein).
Jesse played through an acoustic set dressed in a red cardigan, button down shirt, jeans and donning a full beard. Described as acoustic folk pop, his music rests on slow-paced melodies and poetic lyrics. Jesse stylishly interacted with the audience offering up stories of past shows in which his jokes produced blank stares. Luckily for him, this was not the case this evening.
Accompanied by her cellist, Kina took the stage with “World in Front of Me”, an optimistic and poppy song off her 2011 album, Stairwells. It was during “The One You Say Goodnight To” that the crowd immediately fell into place keeping rhythm with their clapping and unabashedly singing along to each lyric.
Throughout the performance, Kina intermittently interrupted her songs to interact with the crowd, commenting on her jet lagged mind or switching the lights on to take record a video. The youthful singer introduced her new song “This Far” midway through her set. Without a sound in the room, the audience listened as she sang, “So I’ll keep going through the motions/creating comfort when there is none/coming to terms with the notion/are we ok?”
As Kina’s voice continued to stream through the mic, the room transformed into a sea of teenage emotions. Young men journeyed back to their Junior High days filled with inner stirrings of a new crush and unsure of how to handle each emotion. During Kina’s rendition of Coolio’s “Gangsta’s Paradise”, my neighboring fan threw his arms up in excitement letting them fall to his head proclaiming, “OH MY GOD!” He was in love, and, like in Junior High, she never looked his way.
Fighting back tears, Kina introduced “Make It Go”, a song written in response to her mother’s cancer. This compelled her to create project Run Team Kina to raise funds for the Leukemia Lymphoma Society. “In honor of Run Team Kina I would like to play a song that I’ve been afraid to play my whole life because it’s very hard for me.” With a shaky voice, she made her way through lyrics of confusion, worry and pain.
As the show came to a close, Kina solemnly played “Fix You” by Coldplay on her ukulele. Warmth radiated throughout the room. Arms were thrown around necks, heads were tilted on shoulders and a silence presided over the room. The young and the young-at-heart showed their praise with mass applaud, signifying an evening well spent.
By Christopher Skrypack March 27th 2012
“Music is the medicine” claims Keyboard/Vocalist Barshaun. I agree, music has served as a cure for some of the most irrepressible issues in history. It has the ability to bring together diverse individuals from a variety of backgrounds and interests to form a common nucleus of spiritual and soulful assuaging. This not only applies to those listening, but to those who create the music as well.
Like a box of crayons, one alone is not nearly as effective to illustrate the momentous image as when all are utilized together to achieve their potential. This is the description of San Diego’s Legacy Pack. A six-person Rap and Hip Hop group who each on their own may not demonstrate their impending talent, but together have the ability to develop their legacy.
As competition cultivates in San Diego’s local music scene and the music industry in general, talented musicians must grow and adapt or they will fade. As Bob Dylan has said, “Been workin’ on the mainline — workin’ like the devil. The game is the same— it’s just up on a different level”. Today’s technology has made it increasingly feasible to create Hip Hop beats and rhythms through one click of a MacBook Pro. As a result, I find myself rolling my eyes at the majority of Rap and Hip Hop groups. Tuesday night at The Griffin on Morena Blvd., my opinion was reformed through my experience of the Legacy Pack.
Perhaps it’s how the group incorporates an extremely comprehensive 5- piece band in a dynamic Rap performance, or maybe it’s their approach towards energizing and engaging a Tuesday night audience of roughly 30 attendees, that draws my interest. Regardless, anyone with the slightest musical perceptiveness could easily see there is something worth following in the Legacy Pack and certainly plenty of potential to be developed.
I thoroughly enjoy The Griffin; their layout provides for an intimate setting for performances while also allowing patrons to migrate and mingle. Indoor venues accommodate the Legacy Pack well, but also serve as evidence for the group’s latent ability in a more customary setting, like an outdoor venue. After listening to the tracks off their debut album Live at the Lair this was even more apparent. The album, which is the first of many to be released, gives a great indication of their sinuous lyrics and cohesive musicianship.
For those venue owners and festival promoters looking for a group that is talented, consistent and has the ability to produce and entertain a young crowd for an entire set, look to the Legacy Pack. As the summer approaches, the group is looking to perform as much as they can, whether that be locally, regionally, or traveling the coast. Their sound is relative to an expansive audience and the fact that they’ve only been together one-year makes their future opportunities look very promising.
By My Nguyen Feb 23 2012
Mere days after Fat Tuesday, it was sinking in that Thursday was going to be another celebration of its own. Headlining at the Belly Up Tavern in Solana Beach was Ra Ra Riot, whom SPIN.com called them “one of the best young bands we’ve heard in a really long time” with opening acts The Submarines and LA-based Papa joining in to create an unbelievable night of music.
But first off, Papa, who without a mite of hesitation upon hitting the stage, picked up their instruments and delved right into their opening track – by mid-song the audience, was enthralled. Tight harmonies, an outrageous hook, and with a great sense of timing, the crowd was nearly giddy from the great sounds by the time the first few songs were introduced. Comprised of drummer/vocalist Darren Weiss who also drums for Girls, but formed Papa with bassist Danny Presant, keyboardist Alex Fischel and guitarist Evan Weiss, Papa is really something else. Having your drummer as your main vocalist as well as songwriter, is a rarity in itself, but to have every song be performed to such a perfect pitch was mind-blowing. Not only was the crowd loving the crazy tunes, you can tell that the core members of Papa were enjoying themselves as well. With every ebb/flow, and thrust/pull of the strangely esoteric music, the musicians onstage seemed to be totally involved in the music – bouncing and strutting in tempo to what they were playing. Even Darren’s singing started to loosen up gradually after the first few songs, if that was even possible – becoming more distinct with its bluesman appeal. The keyboard melodies also pandered very well with the 50’s retro lounge vibe theme. Keeping beat while singing and dancing and strutting with their instruments, it seems like the Papas were a band who were great at multitasking.
Not only were they superb musicians but with their synchronized sound that was loud and graceful at the same time, they had a great vibe to them that can’t be missed. There was many a jam-fest, as Danny, Alex, and Evan swayed and rocked in tandem with their instruments. Their rocking grooves, oftentimes accompanied with a marching beat were, above all, epic. Switching up between a 50, 60, and 70’s vibe, the Papas have a smooth groove to them that will have you jamming with them throughout. Upending all your previous perceptions of what makes a good band; Darren’s vocals ranges from restraint to violent sent many a reverberating rippling effect after the finish of each track. The Papas definitely know how to rock. Drenched in sweat towards the end of it all, they were heating up the room with their surge of great energy. Towards the end of their set, Darren goes out into the crowd and high-fives those nearest the foot of the stage – a proverbial self-congratulatory gesture for a well-earned performance.
The next live act, The Submarines, an indie pop band from Los Angeles, CA, was equally attention-grabbing. Winner of the 9th Annual Independent Music Awards: Best Film/TV Song “You Me and the Bourgeoisie,” that was used in Apple’s iPhone 3GS ad, The Submarines definitely attempts to make you feel something. Powerful and dynamic, The Submarines has a joyful element to them that change between modulations of sexy, sweet sounding, and harmonious. Their solid vocals and sounds are bluesy with a hint of jazz with delicate touches of crystalline vocals mingling in with the tinkling of the xylophone in the foreground. Highly dance-worthy, their epic sounds and reverb drenched tracks creates some very beautiful tunes.
Finally it was the Ra Ra Riot’s turn to show those in the audience their pizazz. Driven with a great beat, there seemed to be a lot at stake onstage to the number that was being performed. With a cellist and violinist incorporated into the ensemble, Ra Ra Riot nearly purely consisted of string power. Their sound definitely resonates with an epic appeal. There was a clashing of sounds, and an etherealness that resembles the sound of the ocean, giving you something highly substantial to hold onto. Oftentimes melancholy and nostalgic, their airy reverberating guitars had a spiraling sound effect. And their intricate sound with the string instrumentals buffering the fact that they had a shoe-gazing pop rock stance, all in all, what makes Ra Ra Riot so dynamic was the fact that they seemed to be very supportive of each other. Smiling and giving each other shoulder pats every so often during mid-song, Ra Ra Riot wasn’t just a good band, they were also good friends.
By My Nguyen Feb 20th 2012
The Sunset Sessions, an annual music-business event held in San Diego since 2007, that has launched careers including those of Jack Johnson, Ryan Adams, Five for Fighting, Pete Yorn, and Jason Mraz, celebrated their fifteen years this past week from Feb. 16-19. Monday night at the Belly Up was the Sunset Sessions’ after party, officially titled, Sunset Sessions New Music Adventure. Headlining the event were the Makepeace Brothers, an enthusiastic brotherly ensemble from Venice Beach, CA.
But before we could get to the heart of the night, the opening acts for the Sunset Sessions New Music Adventure that ranged from over-the-top colorful acts to more melodious and melancholy performances, created quite a stirring affair for what was initially supposed to be a mellow Monday evening of music. Getting a mixture of sounds and styles from performers who’s already graced the stage at the Rancho Bernardo Inn the past weekend, those of us who could not attend the Sunset Sessions at the RB Inn got to sample material from the rising musical acts currently being endorsed by the people behind Sunset Sessions.
The Chicago-based band, The Empty Pockets opened up their set right off the bat on a Bossa Nova note, a flashy and loud rendition that showed those congregating farther from the stage that they were in for a surprise. Because when The Empty Pockets play, they don’t just go through the motions of belting out tunes and revving their guitars to impress you – their performances are offset with a vibrancy and a sort of energetic showmanship so that space and distance don’t matter in the end – rather it’s more of which of their carefully crafted songs will strike a chord within you first. And only once the audience got the groove of this did things really pick up for The Empty Pockets.
Toe-tapping and head-bouncing to the time of the witty pop songs that were catchy and at times interwoven with a 50’s retro feel, The Empty Pockets were doing a fantastic job of warming up the crowd to an anticipated night of great music. Slowing to a lovey groove and then to a bluesy-swaying rock rendition, the songs played that night went from classic pop-rock to doo-wop influences in a matter of seconds, so that by the time their set ended, The Empty Pockets left in the wake of the crowd a trail of music aficionados.
Clark Graham, a singer/songwriter from Los Angeles, CA, who was up next, piqued the interest of audience members upon the first rising notes of “Born Yesterday.” With little by way of introduction, his heart-breaking songs have a touch of Bob Dylan to them. Up next was a folk-bluesy song, titled, “Tough Luck,” which Graham had said just recently debuted on the radio station Sophie 103.7, before springing into the intimate track that carried with it many a cynical turn of phrase that delved into tough love.
After a while, the Belly Up started to possess a coffee lounge-feel as the acoustic melodies from Clark Graham’s guitar wafted and filled the room. Graham, being a very emotive singer and these being serious songs, after a while Graham’s vocals gave the songs he performed that night the impression that this was some sort of cathartic release. His smoky vocals were solid, and towards the closing of Graham’s set, you start to see instances of the four-member British folk-outfit, Mumford and Sons, in him. In “Barroom Symphony,” it was hard to shake off the melancholy permeating the song. After a while you can’t help but feel immersed in the moody atmosphere.
The Los Angeles artist that sounded the most mainstream that night had to be Dawn Mitschele. Perhaps taking her cues from Nashville artist, Kate Herzig and the mononymous, Adele, Mitschele’s oftentimes bluesy tracks were painted with love much like the symbols that were affectionately painted on her guitar, noticeably deflecting against the soft glow of the stage-lights. As the talented Los Angeles singer-songwriter croons about a woman looking for her king in “Queen,” and about the subtle nuances of love and relationships in “Once Again Friends,” the crowd began to get a deeper sense of who Mitschele was as an artist. A dancer or two began to make the lonely sojourn to the foot of the stage, slow dancing with themselves in time to the melodic tunes toward the latter half of her set.
The Brothers of Brazil were perhaps the most unpredictable outfit of that night. Donning matching red suits, one brother on the electric guitar and the other with wild Doc-hair from “Back to the Future,” and both throwing their vocals into the mixture that was The Brothers of Brazil, their funky, and eclectic set, with its crazy changes in modulations from shrieks to soothing and oftentimes melodious sound was disconcerting. But after a while you start to accept them for what they are, and begin to enjoy them much like you would a theatrical act. For the most part the songs performed that night by The Brothers of Brazil had dialogue that the brothers would intercept into the singing, so that the storyline became something that bordered on musical theater. They had a punk aesthetic to them that can’t be missed. And ebbing on foul behavior, they ironically brought trashy up a notch with their bits of French phrases scattered throughout the songs. But all in all, there was too much playing around, sometimes at the expense of the crowd, so that eventually some of us in the audience that night began to filter out The Brothers of Brazil as so much white noise.
The main act of that night, the Makepeace Brothers, perhaps had the most star-appeal with the ladies. With their boyishly charming looks, and great vocal abilities, upon hitting the first few notes had all the girls, young and old, surrounding the stage, and showing off their dance moves. It was a night filled with little inhibit as the Makepeace Brothers, who originally hailed from Ithaca, NY, threw themselves into each song as quintessentially impassioned as from the start. They were feeding off the crowd’s energy as much as the crowd was feeding off theirs; so that each song began resemble a bon-fide jam session in its own right. The Makepeace Brothers were singing about breaking down walls, and they certainly were as people left and right were moved each in their own way, whether to dance or just to perk up their ears, and listen.
By My Nguyen Feb 18 2012
Growing up in the vibrant music community of Ithaca, New York, The Makepeace Brothers did little to deviate from their roots – instead their catchy soulful harmonies became the embodiment of their surname “make peace.” Comprised of Aidan, Liam, Finian, Ciaran Makepeace, The Makepeace Brothers experienced an eclectic range of American roots music when the Makepeace family took a cross-country tour of the US and Canada. And between them, they have lived in Costa Rica, Brazil, and England – each destination having shaped each brother at a musical as well as cultural standpoint.
Combining their years of experience and travels abroad, The Makepeace Brothers were able to fuse their musical visions together to create a cohesive and unique sound. Anyone who’s ever experienced them live will know that a Makepeace Brothers show will give them musical diversity without forgoing approachability. Invigorating and touching, you can’t help but be moved by the songs that can vary between slower-tempos to faster paced island infused with Afro-backbeat melodies. Their live energy is infectious, and anyone who has witnessed them live will testify to an almost divine force beckoning them to the dance floor.
There is no such thing as an onlooker or bystander at a Makepeace Brothers show, because like Finian Makepeace so much as states on the band’s bio page, “We play music that moves us to feel, to think, to act, to dance. If it moves someone even just a little – politically, emotionally, or physically – then we believe it’s a good song.” And with that being said, not one song made by the Makepeace brothers will leave you standing still or leave you uninvolved.
Experience the Makepeace Brothers this coming Monday night, Feb. 20th at the Belly Up, Solana Beach’s premiere destination for good music and a good time. Show starts at 8:00pm, and doors open at 7:00pm, so get there on time to ensure your spot at the event. Tickets start at $10.00/$12.00 day of the show.
By Connor Green Jan 23rd 2012
The Handsome Furs show at the Belly Up turned out to be a surprising one. After making my way to the Belly Up on a rainy Sunday evening, my first surprise was the large crowd buzzing with drinks and small talk.
My second surprise came when I learned it was the opening band, Snakesuit’s, first ever live performance. They could’ve fooled me. I could hear disparate influences from Joy Division to Modest Mouse to the Bee Gees, but the songs were never derivative. Their sound was bleak, but dancey with a definite 80s Goth vibe to it. But they managed to strike a balance between the dark synthesizers with clear guitars and falsetto harmonies.
After Snakesuit’s first show came another much sadder surprise; that it would D/Wolves’ last show. But these local favorites went out with a blast of guitars. They opened with an earnest song that mourned summer’s passing, particularly appropriate for a rainy winter day. The went on to play a unique mix of doo wop and surf pop tinged with the triumphant nerdy longing of bands like Weezer and The Dismemberment Plan. ON of the highlights was “Cougar Run,” a ballad with a wheezing organ and lonely vocals crooning “Let’s go for a walk down to the park where I first saw you for who you are” and ends up at the chorus, “You’re gonna be alone for the rest of your life.” Luckily, the song pulls up at the last second and pops into third gear with up tempo guitars narrowly avoiding total despair.
After the D/Wolves made their way outside (they were too young to be in the bar) the crowd anxiously anticipated everyone’s favorite crazed Canadian duo, Handsome Furs.
They opened with a burst of synthesizers that begin “When I Get Back” and they were off and running. The lyrics told of traveling expatriates, “And what I saw, I saw lightning, I saw cities, planes, and stars I’ve never known.” Autobiographical no doubt, seeing as they were already back in San Diego after only 6 months on another tour. And when Alexi shouts “we never wanna go home” and you can tell she means it.
Onstage they performed amazing calisthenics, like traveling contortionists, twisting to the song “Serve the People” which strikes me as an anthem for the 99% in this time of economic hardship and inequality. The pounding drum machine, raw vocal delivery and high pitched synths are a perfect expression of resistance in the digital age. With lyrics like “And it’s diamonds and gold for the idiot sons \ All the privileged thieves gonna make things run” the song would be the perfect accompaniment to an Occupy Wall St. rally.
But, this wasn’t a protest, it was a party. Any outrage the crowd had was channeled into their dance moves. Alexi called out compliments, “There’s a good pocket of dancing right over here!” while everyone boogied to the bouncing synths and beating drum machine. It is amazing how much humanity Dan and Alexi wrung out of their soulless electronic machines. By the time the show was done it was as if the whole crowd had been sprayed down with adrenaline.
In their song “Repatriated” Dan sang “I’ve seen the future and it’s coming in low. I’ve seen the future, I will never be repatriated” and maybe Handsome Furs will always be on the run without a country of their own, but I hope they know that they have a temporary home here. This city loves Handsome Furs.
Show Review: Dead Feather Moon w/ Shady Maples
By Christopher Skrypack Jan 14th 2012
A Griffin is a legendary creature with the body of a lion and the head and wings of an eagle. It is thought of as the king of creatures, known for guarding treasure and priceless possessions. Well, if you consider a friendly commune where one can enjoy great live music and appealing craft beers a treasure, then the name plays. The Griffin, located on Morena Blvd. hosts the best in local and up-and-com
ing bands. Saturday night, bartenders satiated the thirst of music enthusiasts, serving up artistry brews from San Marcos’ very own Lost Abbey Brewery.
The Griffin offers everything a good venue should. It is easily accessible, versatile, and comfortable, doing all of this while providing quality sound. The lively crowd in attendance was encompassed by what has become Death Feather Moon’s loyal fan base. San Diego’s Shady Maples situated the night’s vitality early seizing the tavern’s attention from the first note struck. Singer-songwriter Owen Roberts’ performance did not go unnoticed showing evidence of headlining capabilities sure to be utilized on any other night. With help from Greg Peters on lap steel, the gritty, acoustic and electric mélange added much appreciated substance to the line-up’s potency.
Peters, in his own right showed as much versatility and professionalism in his musicianship as one might find from a highly skilled studio instrumentalist. Admirable in his approach towards his craft, he pulled double sessions performing with Dead Feather Moon as he regularly does after the culmination of Shady Maples’ set.
Dead Feather Moon’s first show in 2 months was not lackadaisical in any form as one may expect after such a period of time off. Like a well-oiled machine the group failed to skip a beat, unless it were intentional of course, as they illuminated their eminence performing brilliantly.
Prompting fan participation from stomping and clapping to lyrical refrains, those in the pit and throughout the venue threw their worries aside and enjoyed every minute of the show.
Not enough can be said about Justin Berge on lead vocals. His genuine likeability, together with his talent and energy, is sure to be vital to the group’s continued success. Tyler Soule on drums, along with Jesse Kling (guitar), Chris Bowling (bass) and Greg Peters who played anything with or without strings that was close enough to get his hands on, were so exuberant it was contagious.
The group’s avid fans, as it tends to be relative, embodied the same qualities as the band. They were friendly, polite and real, all of which added to the gratifying atmosphere. As much as I look forward to experiencing another Dead Feather Moon show at the Griffin, I will be sure to follow them to any venue they frequent in San Diego and beyond. Regardless of the size of the stage they perform on, I can only imagine the band consuming the environment as they did Saturday night at the Griffin.
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Like I always say, what better way to start of a new year than with some new sounds? Thursday January 5th at the Belly Up Tavern I was able to do just that with San Diego’s The Spells first ever album release party. Openers for The Spells included other local bands The Tall Ships and Family Wagon. Three bands with three very different sounds helped to create a night of unexpected and memorable musical discoveries giving me a glimpse into the excitement of 2012.
My night began a question: Am I early? Minutes before The Tall Ships were to take the stage the Belly Up seemed to be unfortunately barren of eager ears waiting to experience what this trio had in store for them. With maybe only a couple dozen of us in the place, The Tall Ships delivered the first sounds of the evening and quickly made me realize that I was a part of the lucky few who were experiencing this. Under dim lighting Keith Andrew, Kyle Conwell and Steve Kuhn began with a mellow instrumental that held hints of Death Cab for Cutie and The Postal Service but stood out as unique and original. Progressing into further layers of sounds they pleased us with deep yet smooth vocals which paired perfectly with stronger tempos and richer guitar. With their composure and fluidity they produce the perfect soundtrack for those clear-your-head road trips or moments when searching for artistic inspiration. I had become so lost in their music that I only noticed by the end of their set all the admirers they drew in to the now crowded venue.
A short wait later Family Wagon took the stage and instantly sparked intrigue and energy with every soul in the place. With half the band looking like they were straight out of the 70’s, they recreated the classic rock sounds of the free spirited decade and added all the eccentricity of today’s generation. I was quickly impressed when they managed to take several genres of music and confidently added them into their stand out style. Their song “Hard Times” had a blues meets rock and roll feel while “I Wonder if She Knows” produced a rock meets country twang with more passion and soulful lyrics. They had the crowd screaming and banging their heads right along with them and had some serious hair whipping that could put Willow Smith to shame. Killer guitar riffs, perfectly toned vocals, and captivating stage presence proved a cohesive and ingenious band that should have no problem making a larger name for themselves and in my opinion, the only thing missing from this show was a stellar cover of “Sweet Home Alabama”.
After the first two bands immediately captured my attention and made me want to hunt down their albums, I was excited to see what The Spells had coming up. My hopes were high and I could hardly stand the wait for them to begin. Formed from the indie-pop project Years Around the Sun, they spent over a year writing and recording music for their first album “Little Oaks”, which on this night we were there to celebrate. Shortly after 10pm Ronnie Dudek, Matt Lynott, Mia Stefanko and Jonny Doan took to the stage. Maybe it was nerves, or the lack of practice they admitted to, but excitement and energy seemed to be missing in their performance. Despite that, their upbeat indie sound and captivating lyrics suited them well. Stefanko complimented the rest of the band perfectly on the keyboard and the fluidity from song to song seemed on point. The Spells undoubtedly have talent, work well together as a group and have a fan base which was evident from the strong turnout, however, their stiffness on stage made the show a bit uncomfortable after following two bands who provided us with just the opposite.
Beginning my new year with three new bands to add to my playlist has already made 2012 something to look forward to. The Tall Ships are perfect for some fresh inspiration and new perspectives, Family Wagon will for sure be on my next party playlist and will be blasting loud through my speakers as I cruise down the highway with the top down, and The Spells’ new album “Little Oaks” should be a first choice for fans of the local music scene. So far 2012, I applaud you!
Pinback and Ghetto Blaster Live Show Review
By My Nguyen Dec 19th 2011
Not even quarter to eight and there was a crowd already filing into the underbelly of The Belly Up Tavern, one of San Diego’s premiere destinations for music. Dimly lit with Christmas décor interspersed inside the popular venue, Monday night, Dec. 19th, just happened to be a sold out show. And this was mostly due to the fact that Pinback was headlining, but that didn’t stop the San Diego-natives, Ghetto Blaster, from trying to steal the spotlight. Formed back in 2009, and comprising of the group members Greg Sudor (drums), Ryan Foxe (vocals), Cole Mears (bass), John Cota (guitar), Ghetto Blaster played their first live performance at Bar Pink on May 2010, but since then have gone on to dissuade members in the audience to pay attention to their one-of-a-kind rock/metal dirges that is like a shrieking train coming to a complete halt mere inches away from spectators at the last possible second. It’s with this abrupt, in your face cringe-factor that the opening act of the night pivoted off their message from across the stage and into the audience – a sound that was, at times, relentless and resembled a combustible force that will at any moment annihilate your previous misconceptions of the group.
Right off the bat, frontman Ryan Foxe, made it clear that he had no pretensions of that night. Launching straight into the set without so much as an introduction, it was clear that the crowd surrounding the stage was in for a surprise. After a mind-blowing intro, where Ryan self-deprecatingly said that Ghetto Blaster was warming up the stage for Pinback, his ability to maneuver with swift agility within the proxy of the stage from karate kicks to hawking jokes from the crowd when the band crossed a technical difficulty saved the Ghetto Blaster from being called anything but ordinary.
No one had really heard of the experimental 4-piece mega-group until that night. But the San Diego-based band, with their mesmerizing and vaudeville-ish vocals, drowning backbeat, and the rage that drips with absolute ease from the lead-singer’s auditor-like vocals, will forever alter people’s minds and incite them with a pulsating energy that was previously missing from their lives before. Shrieking everything into his mouthpiece, which he then proceeds to swing like a pendulum into the audience, making them mildly concerned for their, as well as everyone else’s well-being, Ryan’s schizophrenic showmanship and anecdotal lyrics made for a pretty unpredictable show.
The film being shown onto the screen behind the band meshed very well with the themes that Ryan was spewing out and kept right with the hypnotic pacing of the music. Absolute anarchy was being projected and voiced onstage. While on the screen exhibited violence, hunger, and ugliness, Ryan upped it a notch when he unexpectedly smashed a beer bottle onto his head. Then proceeding to finish the song, with a shard of glass still stuck to his forehead, he had unbeknownst to some in the crowd that night completed the freak show reference that was only on display before but now was fully embodied. Yet the damage was already done, and though the audience was definitely taken aback, they suddenly had a newfound respect for the guy.
The paranoia that Ghetto Blaster’s frontman unleashed into the crowd that night dissipated once Pinback hit the stage. The dynamic duo comprises of Armistead Burwell Smith (Zach), and Rob Crow, and their beautiful harmonies and interwoven melodies contrasted greatly with Ghetto Blaster’s harsh and bitter sound. Nonetheless, it was obvious that Pinback’s music, though mellower and more introspective, struck a chord within the musical landscape of each member of the audience that night. It is interesting to point out that though Pinback’s sound has a personalized touch to it that is meant for a more intimate setting – but because of Pinback’s huge following this makes ‘intimate’ impossible – their music translated very well live at the sold out show inside the Belly Up Tavern. Monday night exemplified that paradise is a state of mind and that music could be that possible conduit to reach to that state of being.
Throughout the rest of the night, Pinback, due to the insistence of the audience (someone near the stage had a bottle opener on him, and continued to open beer bottles one after the other for the band) continued to showcase their wide catalog of songs. The tracks each carried a melancholy essence to them, like a dream that was realized and then was lost. Perhaps it’s with this not-of-this-world stance that, for some of us, lead guitarist and vocalist, Rob Crow, seems to be searching for something, and he is utilizing this platform and the stage to find that missing piece. Though the audience, too, is avidly searching for that intersection in music and life, unlike Rob we have found it, and those who were present that night were rejoicing in its discovery.
It seemed like all the components worked very well in the set: from the coalescing of the music, the film being shown on the backdrop behind the band to the enigmatic presence of Rob and Zach, who did not speak one word to the audience that night, all inspired and moved those in the audience that Monday night. Live, dynamic, and badass – a Pinback show is not to be missed.
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By My Nguyen Dec 17th 2011
Presented by the Feeding the Soul Foundation, the KFTS Radio Variety Show on Saturday, December 17th, paid tribute to the old days of radio as well as went on to highlight the top acts in today’s music scene. This intersection of ideas and the meeting of like-minded music-loving individuals were very much akin to last year’s successful FTSF Benefit Concert and CD Release at The Auditorium at the Neurosciences Institute in La Jolla. With a list of performers that included Bushwalla, Dawn Mitschele, Alex Woodard, Raining Jane, MC Flow, and a surprise guest-appearance by Jason Mraz, the star-studded event, which promised to be a riotously happening affair, ended up exceeding expectations and went on to pave the way for further innovative projects to help benefit great causes like The Indigenous Education Foundation of Tanzanzia at FTSF’s Benefit Concert with Luc & the Lovingtons and The Makepeace Brothers last November.
The second annual event at the beautiful auditorium at the Neurosciences Institute as a part of Feeding the Soul Foundation’s performing arts series was a multi-faceted event. The brightly lit stage, itself, with its inner sanctum aglow in green and orange hues and diamond-cut walls exemplified the intricate forms and colorful spectrums of a prism. Designed to create a uniform sound regardless of seating arrangements, the acoustics behind the 352-seat hall is exacting in its sound precision. That night revelers all had the equal opportunity to share in this community of genuine giving and to hear some great music being performed live onstage.
The charismatic television-host, Justin Willman (“Cupcake Wars” and “Hubworld”), who also recently performed for Barack and Michelle Obama at the White House, filled the night with many a magical moment, and contributed to the already happening program with many a jaw-dropping magical illusion and comedic gesture. As host to the KFTS Variety Show, his presence also added a cohesive-quality to the program while going on to wow-audiences throughout the night with his power of enchantment.
One of the best magic tricks of the night happened to be the magical incantation that Justin presented to audiences after introducing why he became a magician (Hogwarts) and if he went to magician school (Michigan-state). The illusion required two relative strangers to set foot onstage, and a deep trust that would enable what appeared to be a Coke-Cola filled cup to be poured on top of both these relative strangers’ heads. Throughout the night would continue to unravel these deep-felt connections that perhaps would never have occurred at any other time or place.
The first act of the night was the Broadway West kids. Created by Britta “Skoom” Ellis, Buswalla, and David Geist, Broadway West is a musical arts camp for young kids between the ages 8-15 that support a fun, safe, and inspiring environment where kids can explore the love of the arts.
Opening with their rendition of “Hard Knock Life”, and “Tomorrow” from the Broadway Show Annie! – The Broadway West is a talented group of kids. Their entertaining renditions of Christmas songs provided great sing-along’s and holiday cheer for the yuletide crowd.
Right on cue, Bushwalla joins the gang onstage. Pouncing straight into Bushwalla’s popular hit, “Ghetto Blaster” with The Broadway West singing backup, the collaborative effort resembled a bit like the Yeah Yeah Yeahs’ frontwoman, Karen O’s project with Karen O and the Kids for the movie soundtrack, Where the Wild Things Are.
Segueing into the next song, Bushwalla informs the audience that as part of the Broadway West’s ‘boot camp’ for the arts initiative, the vocal coaches require the kids to welcome the start of a brand new day with the uplifting statement, “Best Day Ever!!!” According to Bushwalla, one guy who isn’t having the best day ever is – and breaks right into a great bluesy rendition of “How the Grinch Stole Christmas”.
The group of female singers from San Diego, Voices of Prayze, who performed with Jason Mraz and appeared on The Conan O’Brian Show as well as performed the national anthem live for the San Diego Padres, also, had many a stand-alone number Saturday night. Accompanying the talented group of ladies’ Motown/gospel grooves on stage that evening was cellist and vocalist to Raining Jane, Mai Bloomfield, who had collaborated on Voices of Prayze’s album and, also, happened to be present at that night’s show for her scheduled appearance with Raining Jane. Mai’s appearance was unprecedented for the ladies of Voices of Prayze, but as it was mentioned before, the KFTS Radio Variety Show at the Neuroscience Institute had many a coincidental moment that did not fail to astound.
After a short intermission, The Makepeace Brothers were the next band to grace the stage. Performing a number of super groovy, sexy and sometimes slower and lengthier songs, The Makepeace Brothers definitely owned their sound. With many a gorgeous melody that was infused with lots of island-flavor, the vocals and instrumentals shined together. The crowd that night brisk in The Makepeace Bros. warm sound. Pitch-perfect and tonally sound, The Makepeace Brothers appealed to the audience with their charming looks, soothing vocals, and great musicianship. Overall, all of their songs performed that night adhered to a great sense of rhythm, and there was many a moment that had members in the audience dancing in their seats.
To end the night, the entire cast of characters from the Radio Variety Show appeared together onstage to perform “The 12 Days of Christmas” together. Comical and lively, the show’s finale was the best possible ending to what will live in many in the audience that night as a memorable evening.
For additional info on Feeding the Soul Foundation please visit feedingthesoulfoundation.org
By Caitlin Varner Dec 20th 2011
We all have those songs that bring us back to a certain cherished memory. One cord of the melody and we flashback to a particular moment in time or imagine a familiar face. They are the soundtracks to our lives, fitting in to the scenes of our pasts so perfectly and wiping contagious smiles across our faces. You know what I’m talking about. Well, past and future managed to come together on Sunday, December 18th at the Belly Up Tavern with performances by Josh Damigo and Shawn Colvin. Colvin delighted us with her songs that take us back to those wonderful moments years ago, while up-and-coming Damigo set the stage for a soundtrack that will bring us back to these days we are creating now.
Local artist, and all around humble San Diegan, Josh Damigo took the stage Sunday night with a performance that could only be described as flawless. Damigo had the entire audience captivated with his great personality and witty stories that accompanied each song and somehow managed to have the audience laughing one minute and wiping tears the next, especially during his performance of “Never Going to Let You Go” (a song he wrote for his brother, Nathan, who is now in prison after an unfortunate PTSD episode). In all of the many concerts and intimate performances I’ve attended, I’ve never once had a show stand out like this one. With traces of Jason Mraz and Trevor Hall, he has what I like to call “couldn’t have said it better myself lyrics”. Relying more on vocals than on his guitar, he consumed the audience with his voice that cut through the air with such precision and tenderness you suddenly forgot to breath. At one point, he even stepped away from the mic and sang organically to a crowd gasping in amazement. At that point it was not only easy to see how and why Damigo has already received so many local music awards but to also ask the question, why is this guy not signed?! His performance was captivating and inspiring, and there is no question in my mind that he earned many new fans that night.
After an incredible opening act, Shawn Colvin, in all of her elegance, took to the stage and presented us with a show that no one will forget. She opened with a song by the Bee Gees and did incredible covers of “Not a Drop of Rain” by Robert Earl Keen, “Just My Imagination” by the Temptations, “California Girls” by Katy Perry and several more. She had the audience roaring with laughter when she reenacted a recent performance with America’s sweetheart Taylor Swift which involved a riser and some very sore quads, and when she sang for us a song she wrote for her 13-year-old daughter which went something along the lines of, “I’m the only person in the world. I’m the only person in the world. You’d think that I’d be sick of myself but nope, I’m still the only person in the world.” Excited applause went through the crowd when she began to sing her Grammy winning hit, “Sunny Came Home”. This being a song that highlights wonderful memories in my life, I shared the excitement of everyone in the room. As the perfect follower and closing, she sang her popular song “Diamond in the Rough” and took a bow to her fans. Walking off stage with a standing ovation, she delighted us with an encore and sang a cover of “Crazy” by Gnarls Barkley and her song “These Old Walls”. Even after more than 25 years in the music scene, Colvin is still able to draw in fans, new and old, and put on a performance that keeps you engaged, laughing, and begging for no end.
For me and all the others who had the privilege of being in the audience that night, Sunday was a show for the soul. Josh Damigo brought more to the stage than I ever expected, and without doubt he will be a part of my life’s current soundtrack. Shawn Colvin’s heartwarming and impeccable performance left us all with beautiful memories, gleaming smiles across our faces and feelings of content, ease and awe. I could only think of one way to end this already gushing review and that is to share with you a few words of advice. First, if you ever have the opportunity to see Shawn Colvin live, do so. And second, clear your schedule for Friday December 30th and head to Lestat’s to witness a truly amazing performance by Josh Damigo. You will not be disappointed!
Shawn Colvin www.shawncolvin.com
Josh Damigo joshdamigo.wordpress.com
Whoever said the Pop Punk phase is no longer clearly didn’t make it to Sunday’s show at the House of Blues in San Diego. Even in the pouring rain and chill SoCal winds, the line of eager fans wrapped around the corner and continued nearly a block down Broadway. Once inside, it was evident that this was the show to be at with hundreds of screaming fans packing the venue, and even celebrity guests like Jeffree Star were amongst the crowd.
New Found Glory headlined the Pop Punk’s Not Dead Tour which hit over 35 cities in just two months. Instead of their usual routine of launching their tours in San Diego, this time they saved the best for last and gave us their final show, and what a show it was! Openers included the bands This Time Next Year, Man Overboard, The Wonder Years and Set Your Goals. This impressive mix of new and seasoned Pop Punk bands gave a show that was anything but short of off the wall energy and electrifying vibes.
This Time Next Year
This Time Next Year started the show off right with hot beats and infectious energy that quickly got the crowd off their feet and begging for more. Man Overboard rocked it while amping up the crowd and bringing roars from fans when they played their hit song “Dead End Dreams”, and, if you ask me, there is something badass about a drummer (Mike Hrycenko) who doesn’t miss a beat in only socks and a Senses Fail t-shirt. The Wonder Years brought an instant sky of hands and, what seemed like, an endless stream of crowd surfers singing every lyric to every song. Lead vocalist Dan “Soupy” Campbell’s zesty performance had the audience hypnotized while they shouted along with him, “All I’ve got left are these handfuls of fuck you!” The energy went colossal with Set Your Goals and their flawless performance. John Ryan made this a stand out show by turning a saxophone into a pop punk necessity while playing in line with the rest of the band, and the fans proved undeniable when a crowd surfer grabbed the mic from singer Matt Wilson and didn’t miss a note!
After three hours of an already powerful show, New Found Glory took their last stage of this tour and brought us all their pop punk best! Even after more than 10 years on the scene, New Found Glory absolutely owned the stage and reminded everyone in the room just why they love pop punk so much. Lead singer Jordan Pundik had the venue roaring and everyone banging their heads right along with him while he belted out old classics like “Hit or Miss” and new tracks off their fresh album, “Radio Surgery”. They rocked covers of Sixpence None the Richer, Green Day, The Ramones and finished the show strong with “My Friend’s Over You” while it rained confetti and the crowd simultaneously let out a deafening cheer.
All five bands put on a show to remember and left the audience wanting more and more. From the instant energy of This Time Next Year to the addicting sounds of New Found Glory and everything in between, they for sure got one thing right: Pop Punk’s Not Dead!
Friday, 11.11.11, will perhaps be remembered for a lot of things to a lot of people but for me, the six rows of number one’s will remain as a reminder that good music comes in all shapes and sizes. Sometimes you’d have to bend over backwards in order to find it, but it’s there: sometimes as the backbone to some ridiculously good melody, and surprising lyricisms put together by a team of strong musicians – all of which is intended to be experienced unanimously at one point or another.
It wasn’t until I became singularly one with the crowd gathering around the stage, grooving and sometimes meshing with their particular instinct that I began to realize that I was witnessing something momentous Friday night at San Diego’s Epicentre, a venue located on the edge of a busy intersection that serves as both concert hall and youth center for the hodge-podge of residents that make up Mira Mesa.
The opening act happened to be The Ostentatious Gentlemen, a group of beguiling gentlemen, who with their rather pretentious title, go on to prove that they are more than just your regular batch of dandies. Rather than leave all the grunt work to the less civilized of nature, they are here to forever alter your musical experience for the long-term.
Formed back in 2009, The Gents have relocated to San Diego, much to the delight of music fans of American’s Finest City. The night opened with a song from the The Gents titled, “Whiskey,” a number filled with restraint and a mixture of hyper-activity that soon after began to enfold the audience’s senses inside an intensity that was further enhanced by the terrific musicianship of the guitarist and the bass player. The crowd was pretty soon revved up enough for the ensuing mosh pit that pushed all the bewildered spectators aside, as the inner circle of key revelers pulsated with an unrivaled energy. The formation that kept that mosh pit alive was a buzzing and uncontainable whirlwind of activity that was, of course, the first of many to follow.
The under-current of energy that was running through the crowd was electrifying. Those who were standing nearest the stage could feel that the air was charged with something that neared intoxication. And part of that was owed to the showmanship of vocalist and former-frontman to The Gents, David Baqi, with his gritty and edgy performance that night. The nearly raw back-beat, with David spitting out vocals that shows he is not afraid to groove along with a slam poetry-nuanced set, made four-people sound like eight.
But while nothing in this world is perfect, The Gents’ are, of course, of no exception. Gritty, sweaty, and wrought with lots of spunk, those in the audience that night could definitely see that The Ostentatious Gentlemen are still on the cusp of transformation. The changes in modulations in regards to song-pace, and The Gents’ hard to pinpoint sound, makes them seem a little unfocused. But whether they are jazz-influenced, with a bluesy-soul, afro-back-beat and with a tinge of metal-funk, The Ostentatious Gentlemens’ genre-breaking altitudes are definitely something you must experience for yourself. With a sound close to cathartic, The Ostentatious Gentlemen are true gents when it comes down to their live art, but other than that they’re the closest thing to being true blue-blooded rockers in your local music scene.
Shoot Z Pier was the third act to follow, and the all ages show at the Mira Mesan venue continued to draw crowds from all types of musical tastes and backdrops. There was many a stand-alone tune that night, with lots of funk and lots of fun. Kids and adults alike revved together and danced to the reggae and surf tunes, forming and disbanding in flux with the waves of surf and psychedelic vibes. At one point the lead-vocalist and guitarist, Connor Hancock, stripped to his waist, does a reggae rendition that has the crowd blown over by the push and pull of the strangely esoteric music. Indeed as Connor comes offstage to jam alongside his friends, they duly pay homage to him and his outstanding grooves.
The songs that Shoot Z Pier performed that night were definitely shorter examples of the bands’ craft. Though the songs Shoot Z Pier chose to perform to audiences were each 1-2 minutes max, the quality and range of talent evident in the tracks previewed were equal in greatness to the opening bands.
For more info of either bands, please visit: http://www.reverbnation.com/shootzpier or http://www.thegentsband.net/
A Halloween Hootenanny is what was advertised at San Diego’s historic Casbah Sunday night. There may not be a better band to headline such an event than The Felice Brothers. The group made their annual stop in San Diego off a tour which will take them across the United States, as well as through the UK, Germany and Ireland.
Their roots have been described as white country blues, a sound originating from the snow covered Catskill Mountains of upstate New York. The timeless vocals of Ian and James Felice once placed the band solidly in the genre of Americana. However, Celebration, Florida, their newestalbum, almost purposely exceeds any genre that could encompass the band’s current sound. Fortunately, for The Felice Brothers they have built a following so loyal that they find it difficult to do wrong in their fans’ eyes.
The intimacy of the Casbah suits the band well as they put the venue’s sound limitations to the test. James Felice’s accordion created a soothing vibration, which possessed all in attendance to sway along as he did. Without a sound check, the band joined in and the group opened with “Murder by Mistletoe” a love ballad off of their self-titled album.
Their high-energy performance displays their versatility by incorporating an electronic drum machine on top of the 5-piece band. The shows extensive set list, although predominantly made up of songs off the new album, incorporated fan favorites from all Six Felice Brother albums. The Casbah crowd hung on each word of lyricist Ian Felice as if they were being told a bedtime story, in a sense they were. The group’s songwriting could be read as poetry. Their enduring themes run as prevalent today as they would ever, signifying tales about old souls and modern condemnation.
Perhaps it’s the band’s virtuousness and non-pretentious illumination that draws their comparison to Bob Dylan and The Band’s Basement Tapes era, or maybe it’s the fact they grew up outside Woodstock, New York and are complacent being at the helm of their own destiny. Regardless, The Felice Brothers started out simple, self-taught, and patient in their musical appetite and those along for the journey have seen a simple folk band transform into an electric amalgam of styles. The satisfaction of the audience after their show Sunday night created a pilfering feeling as we exited the venue knowing all the Casbah charged was 14 dollars.
By Ricky Small, Oct 16th, 2011
If you are anything like me and see more live music in a year than you can even recall, you know that there are always one or two shows that leave a lasting impression. It’s not just that you LOVE the performers, or even the venue, but that one show has a certain electricity that everyone in the room is feeling simultaneously. I had a chance to experience just that at the Feeding the Soul Foundation’s charity event at the House of Blues in San Diego on October 16th. It didn’t just blow me away; it had the entire place in the grips of its spell.
As part of their effort to do good for the local and global communities, the Feeding the Soul Foundation along with Olive PR Solutions brought together a wide range of talents to benefit the Indigenous Education Foundation of Tanzania. The evening’s performances included the San Diego-based duo The Lovebirds, followed by the carefree Paul Cannon Band, as well as headliners Raining Jane from Los Angeles. As an added bonus, Jason Mraz himself was also in attendance to support his co-collaborators Raining Jane. Mraz, known for his support of local artists and charities, performed two songs with Raining Jane as a surprise guest and fellow supporter of the Feeding the Soul Foundation.
The event drew a positive crowd, receptive to the vibes and the overall purpose of the night. Opening the show, The Lovebirds set the tone perfectly! The duo’s seamless harmonies and catchy melodies were a nice transition into the feel-good trio that is the Paul Cannon Band. Fronted by the incomparable San Diego native Paul Cannon, this upbeat, bare foot-stomping, self-described beach-rock group was accompanied by their very pregnant cellist Christine Cyr, whose performance was so engaging that she gave birth only hours after the show! Fortunately, it was after Raining Jane took the stage. The incredibly polished five-piece girl group proved to be worthy of a headlining spot on the House of Blues mainstage.
They are not only seasoned instrumentalists, with notability given to percussionist Mona Tavakoli’s energy, skill, and creativity on the cajon drum, but they are talented songwriters. Their slow, melodious rendition of Pat Benatar’s “Love is a Battlefield” was followed by their collaborative performance of “Beautiful Mess” with Jason Mraz, a song they co-wrote. Mraz looked at ease among friends and despite the large venue, the performance felt very intimate.
I suppose this review contains a bit more gushing than reviewing, but the cause behind the night combined with the incredible energy and unity among the performers left everyone with a lasting impression.
www.feedingthesoulfoundation.org
By Talin Hartounian, Oct 14th 2011
“Were those angels singing to us just now?” No silly, that was just Jackson Price’s angelic voice echoing through the walls of Café Libertalia. It was an intimate Friday night full of friends new and old, witty banter in between songs, and audience Q&A about yes, angels.
Price’s smooth-sounding songs and thought-provoking lyrics came from his debut EP Jackson Jack. With songs like “Shine the Light” and “Magic, I Promise” it was evident that Price, with his big hair and even bigger smile, writes and arranges every song from the heart. Whether it was about falling in love or of self-reflection, the soothing melodies from his voice and his guitar chords almost took you through the journey in a dream-like trance.
Sharing the stage with Price were fellow musicians and supporters Ricky Small and his not-so-small band mate Sam Johnson.
Though Small’s performance on the acoustic guitar is fairly upbeat and dance provoking (Small himself barely could stand still), the music as a whole gives off an older sound – with bluesy vibes from Johnson’s bass mixed with the surprisingly soulful groove from little Ricky Small himself. Singing from the perspective of cats (“Scratching at the Door”) and about mistakes we’ve all made (“My House”), there was sincerity behind every lyric and every expression on the singer’s face.
The talents complemented each other’s style and showcased their Jason Mraz-like musical abilities in a relaxed and easy flowing manner – tag teaming between songs and even inviting an unexpected performance from the soulful Corey Cottrell.
By Talin Hartounian, Oct 11th 2011
Anyone who has ever seen The Rapture live, or has even heard their music, knows that it is nearly impossible to do either without bobbing your head, shaking your butt or even downright dancing with the stranger next to you by the end of the first song. The Rapture’s upbeat, hard-hitting bass lines combined with lead singer Luke Jenner’s melodic vocals have you engaged and moving before you even know it.
The Rapture’s recent show at Belly Up Tavern, San Diego’s leading venue for live music, was no different. Nearly everyone in the crowd was moving along with the band’s high energy as they brought their own brand of dance-punk to San Diego. Even first timers (you know, the ones who most likely won tickets through a radio drawing and didn’t get the hipster memo) were recognizably entertained by the band’s New York dance rock vibe. The soulful melody of the title track “In the Grace of Your Love” was practically hypnotic, specifically at the end when the music cut out and Jenner’s haunting voice echoed throughout the venue. Even the crowd stood silent for those 30 seconds.
Critics may relate the repetitive nature of some of the lyrics to “radio pop” but in actuality The Rapture maintains their individuality and, if anything, harness the creativity of rave-like DJ sets during which all eyes are on stage, and every nuance results in immediate crowd approval and reaction.
Going to a Rapture show feels like being at a kick-ass house party with some of your closest friends rocking out on stage.
Mike Wojniak Featuring Andrew Gordon-Seifert
By Emily D April 14th, 2o11
You gotta love the San Diego music scene. On a typical Wednesday night I decide to seek out some good live music. I head to one of my staples- Soda Bar in North Park. What was so special about this night, you ask? Mike Wojniak. What an awesome act to stumble upon. This duo (Mike and his cellist Andrew) from Columbus, Ohio was one of the best unsigned acts I’ve seen and heard in a while. After my concert companion forced me to set the camera aside and “just listen,” which I did reluctantly due to the great shots this duo provided, I was blown away. Or maybe a better suited word would be taken away. As much as I was enjoying the music whilst taking these photos, my companion had a point. To sit back and listen to Mike’s airy rhythms so perfectly accompanied by Andrews dark, melodic as well as rhythmic at times, cello was breathtaking. His lyrics hit home while drawing you into his own personal moments enough to leave you feeling like you were there. I of coarse picked up a copy of his latest album Momento Vivere, which is Latin for “remember to live.” Reason enough to get your own copy? Its is in my book. More importantly though, keep an eye out for the name Mike Wojniak at your local venues. You don’t want to miss it. As of writing this he is headed to LA for a show at the Viper Room. I just may have to head that way as well!
