BTV Sounds

After more than a few mishaps, we’ve finally been able to kick off some coverage in our new home base of Madison, WI. But, it seems fitting that we’re starting with one of our old favorites. The Ballroom Thieves came to town, bringing Communist Daughter down from St Paul with them.

Mental health is an ongoing issue in the music industry, and Johnny Solomon has been open about his struggles with drugs, alcohol, and untreated bipolar disorder. After his previous band Friends Like These fell apart, he initially stepped away from the music scene in an effort to get his life back on track and stay clean. 

Taking the name Communist Daughter from the Neutral Milk Hotel song, he came back with some additional bumps along the road. He, along with wife Molly Solomon and the rest of the band, have been doing well of late though. They were fresh off a couple shows with Jason Isbell and the 400 Unit, referencing playing to a crowd of 3,000 just the night earlier.

Things were definitely much more low-key here in Madison – Callie Peters would later call out the small crowd for being entirely too “well-behaved” on a Friday night. This was our introduction to Communist Daughter’s sound, but to be honest it’s a bit surprising we haven’t heard them before. There’s a poignant bent to their harmonies, occasionally sounding like a less poppy, more melancholic Of Monsters and Men. Though there were initially some shifts in the band lineup, their current six-piece band has been fairly stable since with fellow former Friends Like These band member Adam Switlick, Al Weiers, Dillon Marchus and Steven Yasgar joining the Solomons.

This was a fairly late show, but The Ballroom Thieves hit the stage promptly at 10:45 pm, and started right in on their set.  We have been following them for quite a while now – since their first time playing at Newport Folk Festival in 2014. My interview with Martin Earley is, sadly, no more (RIP Inyourspeakers Media, no longer even archived ☹) but I still remember driving down to Rhode Island listening to a press copy of the yet to be released A Wolf in the Doorway in preparation for it.

Back then, Callie was still a new addition to the band – you can check out the ridiculously baby faced Martin and Devin Mauch raising funds for the nascent Thieves’ first EP back in 2011 on Kickstarter  (because some things DO stay on the internet forever), and they’ve been playing together for even longer. Its been a treat to follow the trio’s development over the past four years. Though she was stellar from day one, Callie has so clearly come into her own and contributes heavily to the growth of the band as a whole.

The Thieves released new EP Paper Crown earlier this year, but their set featured songs both new and old. No matter how many times we’ve seen them play, each time they manage to put so much of themselves into each show. They write their songs from their hearts, and it shows.

Sadly, residency doesn’t lend itself particularly well to late nights out, so we didn’t make it through to the end of the show. We reluctantly left just after Martin took the stage solo for “Bees.” For our friends back home in Vermont, you can catch The Ballroom Thieves at Higher Ground on December 14th. We just wish we could be there with you!

Born Ruffians’ Uncle, Duke & the Chief comes out in two weeks! Check out their latest video for “Miss You,” though if you haven’t seen “Love Too Soon” and “Forget Me” you might want to do that first. 

This past Saturday was a night of favorites, new and old. I’ve been lucky enough to follow The Ballroom Thieves along for the past three years, since first catching them at Newport Folk Festival 2014. The Harmaleighs were a new find, but we fell hard and fast for the folk duo based out of Nashville, TN.

Haley Grant and Kaylee Jasperson started making music together as The Harmaleighs in 2013, and self-released their debut LP Pretty Picture, Dirty Brush in 2015. They spent the next nine months living out of a band on tour. That experience inspired their latest release Hiraeth. “Hiraeth” is a Welsh word with no direct English translation, but the sentiment is one that can be all too familiar. One way to describe it is as homesickness for a place that no longer exists, or perhaps never did. There are similar words in many other languages, a testament to the universality of the feeling. Nostalgia encompasses the heartsickness of missing a place or time that you can never go back to, but doesn’t quite get at missing a place that doesn’t exist. For a total word nerd like me—always searching for the exact right descriptor—“hiraeth” is up there with the handful of German words that seem to perfectly hit on a sentiment that we just don’t have. In fact, we’ve co-opted a few, including “zeitgeist” and “schadenfreude.” In any case, to get back to the actual topic, Haley and Kaylee had us hooked from the minute they hit the stage and their whole set just made their pull even stronger.

Haley has a gorgeously sharp but sweet voice, and Kaylee adds her voice to the mix creating perfect harmonies. Their music may strongly show their influences, but their inspirations are personal enough to make it stand on its own. Add to that their clear chemistry with each other and easy connection with their audience and it makes for a set well worth showing up early for. I’m always psyched to find new LGBTQ bands, and as I wrote this up I was reminded of Hannah & Maggie (having them quote my album review on their website still feels like one of the highlights of my writing “career”). Lo and behold, they showed up right next to each other on this list of “15 Lesbian, Bi and Queer Musical Artists You Need to Know.” It’s by no means a comprehensive list, but it’s a good starting point.

It’s been almost a year and a half since I last saw the Thieves, and it was a treat to get to hear what they’ve been up to in the meantime. This show sort of snuck up on me, but luckily I checked out the upcoming shows at Higher Ground in time to not miss the boat! They released their sophomore Deadeye last year and have an EP on the way so there was plenty of new material in their set, with lots of more familiar songs still mixed in. That upcoming EP will be released on Nettwerk Records, whose roster The Ballroom Thieves joined just a few months ago.

The Supermoon seems to draw The Ballroom Thieves up to Burlington, with their show back in 2015 falling on the date of the Supermoon eclipse, and this one coming just one night before the first and only Supermoon of 2017. Back then, we got an intimate early take of “Sea Legs” huddled outside under the eclipse. Down in Fairfield, CT the next year they had added “Peregrine,” Callie’s “Trouble,” and a Martin solo as yet unnamed “Bees” to the mix. We also got an early take of Devin’s cover of Frightened Rabbit’s “My Backwards Walk,” which clearly is enough of a fan favorite to still be in rotation.

Even when Callie was a new addition to the band, the trio was solidly cohesive. That has only become truer with four more years under their belts. It’s been awesome to see Callie taking on more with writing and lead vocals, both of which she had no experience with prior to joining. Their latest release “Only Lonely” is one of hers, and it fits perfectly into their catalog while tackling the heaviness of depression. It’s clear how supportive these three are of each other, how much of a team (or pack, if you will) they are. Far from shying away from the difficulties that have come up in the past few years of touring, they have drawn inspiration from both the hardships directly as well as their battles against them. There’s always been a bit of wildness to The Ballroom Thieves, but they seem more comfortable with that aspect of their sound now. It’s not about perfection, but rather true expression. Instead of making “safer” choices as they’ve gone on, they’ve leaned into experimentation and pushing against boundaries.

Citing current events, Martin indicated that the band has been “pissed lately. Callie in particular.” Though they don’t usually go political, they felt that “when in fucked up Rome” it was time to write about the president. That manifested as the soon to be released “Do Something,” which we’ll be keeping an eye out for. Coming back for an encore the band came out into the audience, a move we’re glad to say is a fairly common one up here in Burlington. From the center of the Showcase Lounge came the always haunting “Bury Me Smiling,” followed by an all but a capella version of “Anybody Else.”

The Ballroom Thieves took their three day reprieve from touring as an opportunity to enjoy some local brews. Martin proposed getting a trade going of their new hometown Portland’s Maine Beer Company and The Alchemist...definitely a plan we could get behind. After the show, both bands stuck around to chat with fans and sign merch. While we love the cozy Showcase Lounge, we have a feeling these guys may be filling a larger venue the next time they come through town.

Setlist:

The Harmaleighs

1.      Mouthful of Cigarettes

2.      Julia

3.      Hiraeth

4.      Diamond Ring

5.      I Keep Ticking On

6.      Lady Brain

7.      Every Single Night

8.      Dancing in the Dark (Bruce Springsteen cover)

9.      Birds of a Feather

The Ballroom Thieves

1.      Blood Run Red

2.      Wild Woman

3.      Lantern

4.      Pocket of Gold

5.      Oars to the Sea

6.      Here I Stand

7.      Trouble

8.      My Backwards Walk (Frightened Rabbit cover)

9.      Do Something

10.   Wolf

11.   Bees

12.   Only Lonely

13.   Archers

14.   Sea Legs

15.   Meridian

Encore

16.   Bury Me Smiling

K.Flay draws an eclectic crowd, and it’s not hard to see why. Somewhere between lo-fi pop and alt hip-hop she’s found her own distinctive style, and it’s one with wide appeal. I was lucky enough to (finally) catch her short but solid sold-out set at Higher Ground a couple weeks back. 

My introduction to K.Flay was somewhat gradual - I think the first time I heard her work was on her remix of fellow Californians Young The Giant’s “My Body.” Full disclosure - I’m pretty sure I heard it before the original, and it’s still my preferred version! Her name came up again when my sister moved out to the Bay Area and happened to move into K.Flay’s old room in the Mission. Somehow, I stumbled across “We Hate Everyone” off of Eyes Shut, and it became probably too much of a personal anthem for a bit.

K.Flay seems to defy expectations and definitions effortlessly. Within a single song, she can go from crooning to spitting verses with a healthy dose of headbanging in between. Her songs run the gamut from deeply personal stories of love and heartbreak, to scathing political and social commentaries. Her aesthetic is a throwback to 90s grunge, with her jet black hair, over-sized jacket and ripped fishnets. She drops the F-bomb with a frequency I tend to associated with Guy Ritchie films, but despite what should make for a rather surly impression she is instead incredibly charming. 

Near the start of her set, she pulled out a “regional joke” for us New Englanders with “How are having sex in a canoe and Narragansett similar?” I’ll take a good Monty Python reference any day. Even so, she passed on an audience offer of a beer with a joking “Curb your enthusiasm!” sticking with actual water for the night due to being sick. 

K.Flay released her second full length Every Where is Some Where this past April, and she played plenty of the songs off it in the hour she was on stage including “Blood in the Cut,” “Make Me Fade,” and “The President Has A Sex Tape.” She prefaced the last by describing it’s inspiration - “I was thinking about Donald Trump, and how it’s a fucking nightmare.” 

She played some older favorites too, including “Wishing It Was You” from Life As A Dog, and “FML” There’s clearly a solid group of K.Flay fans in Burlington already, and this show was further proof of why. She’s currently touring with Imagine Dragons and Grouplove, where we’re sure she’s picking up plenty more along the way. 

The vibe of the Showcase Lounge at Higher Ground last Friday in a word – fun. It had been a long week for me, and I kind of had to drag myself out to catch Secret Weapons and Jukebox the Ghost on their second show of the tour. They made it well worth my while; as soon as I walked in the door, I was glad I made it.

Secret Weapons released their debut album As The Setting Sun Comes Crashing Down On Me just last month, but they’ve been around long enough for the enthusiastic audience to learn all their songs well enough to sing along. We last caught them coming through town with Nate Ruess in 2015, just about the time they released their first single “Something New.”

Gerry Lange and Danny Rocco have a ton of infectious energy, and they had the right crowd to respond to it. Towards the end of their set, Gerry let us know that “this has been the best audience we’ve played for! And I DON’T just say that all the time!” Their high energy set included a cover of Fleetwood Mac’s “The Chain,” which appears to be a bit of a staple for them and fits in well with their original material. Straight up pop isn’t necessarily my go to genre, but there is absolutely no denying that these guys put on a show worth catching.

It’s hard to believe that Jukebox the Ghost was last in Burlington over two years ago, that time with Secret Someones rather than Secret Weapons in tow! Though I haven’t been keeping too close an eye on the power pop trio, I was excited to see them show up on Higher Ground’s schedule. Ben Thornewill, Tommy Seigel and Jesse Kristin have been playing together for over a decade at this point, and it shows. Though both times I’ve seen them they’ve been just getting back on the road, they come off as super polished. Not in a slick, overly smooth way, but in a comfortable, lovable way. Thornewill has the pipes to tackle Freddie Mercury’s impressive range, but comes down to earth to affably flub through his between song banter. It’s a reflection of the overall balance of the band – Consequence of Sound called their self-titled fourth album “happy gloomy,” and it certainly fits. They manage to tackle sadder topics with a positive lilt, making for a substantive but fun listen.

They’re in the middle of recording their latest album, and played a couple songs off of it for us including a Siegel fronted track he described as being “about getting older.” “Boring” name checks “WebMD” and “summering up in Maine,” as it details the realities of growing up and settling down, ending on a sweeter note.  It’s almost frighteningly relatable. They threw in plenty of old favorites as well -- just like last time, I’m pretty sure I’m going to have “Somebody” stuck in my head for weeks!

As part of their encore, they brought out a “Wheel of Queen,” a homemade carnival wheel covered in Queen classics. They promised to spin the wheel twice, and play whatever came up…but there may have been a BIT of sway to the audience’s request to kick off with “Bohemian Rhapsody.” Despite Thornewill’s claims that “anything else will be anticlimactic after that!” we implored them to spin the wheel again. This time, it landed on “Killer Queen.” Jukebox the Ghost is going on their third year of an annual tradition of HalloQueen, hitting San Francisco, Chicago, and Philadelphia with a night of Queen covers on 10/27, 10/29, and 10/31. I’ve heard them do three covers at this point and each time they knock it out of the park, so if you have a chance to make it to one of those I’d take it!

So, it’s been well over a month (in fact, steadily approaching two months) since Kishi Bashi and company absolutely rocked a sold out show at Signal Kitchen. I could list a plethora of reasons for my elongated delay, but for now suffice to say mea culpa -- my apologies. And now, on with the show.

As Kishi Bashi mentioned himself, this was his third time coming through Burlington. Based on how quick these tickets went and how psyched the crowd was, we were more than ready to take in the new material from his latest release Sonderlust. It’s an intensely personal album that takes on the deeply mined but all but inexhaustible topic of love. This is no sappy sweet pop album though. It delves into the complexities of relationships, leaning into the bittersweet reality that it’s not simple or easy. During the process of creating Sonderlust, Kaoru Ishibashi was struggling with a marriage that appeared to be on the brink of dissolving. He and his wife had been together for 15 years, and the heartbreak of the whole situation made him “question everything about what it means to love and desire--the difference between loving someone and being in love.” 

While heartbreak and adversity aren’t things we would wish on anyone, it can’t go unrecognized that some of the greatest art in the world is inspired, influenced, or fully born out of pain and suffering. For some, creating something from the experience is cathartic and therapeutic, helping them work through or get beyond it.  For others, it provides an avenue to mourn. Whether it’s because Kishi Bashi and his wife have managed to move past their brief separation or a whole multitude of other reasons, he doesn’t appear to be mourning when performing these songs live. Part of what makes Sonderlust so good is the contrast of the heavy subject matter with the upbeat, funky pop delivery of it. Kishi Bashi shows are fun, and this one  was no exception.

By the time we arrived, in time to get well situated before Tall Tall Trees hit the stage, the venue was already pretty well populated. Mike Savino is Tall Tall Trees, especially on his latest release Freedays.

Though it is his third full length as Tall Tall Trees, it’s the first effort that he wrote and recorded as an entirely solo project.  Savino has crafted a one of a kind banjo for himself, and he takes advantage of every possible way to create sound with it in his music.

One of our favorites of the night was “SeagullxEagle,” but there’s no question that Tall Tall Trees has gone on our list of must sees.

I caught Kishi Bashi the last time he came through town opening for Guster, and was won over completely. Growing up playing classical violin, I used to hate hearing the violin played in any other context. That has most definitely changed. Kishi Bashi was a reminder of why. 

In what has become more the rule than the exception at shows we’ve been to lately, Kishi Bashi closed out his set not on stage but out in the middle of the crowd. Lit up in the glow of smart phone screens, the band huddled in the midst of an eager audience who sung faithfully along. It was a fitting end to an intimate evening.

The last time we caught Into It. Over It. was back in April at Higher Ground just after they released their new album Standards. Earlier this week, I was lucky enough to be back in my hometown of Cleveland, OH while they were passing through the Beachland Ballroom with Scottish indie-rockers, Frightened Rabbit. 

This was the first time I had been to the Beachland since 2008, and the interior still looks exactly the same. Merch is still set up in the small hallway leading into the ballroom, and the ballroom still has that outdated high school auditorium feel to it. Both artists and locals love the timelessness of the Beachland, which Into It. Over It’s, frontman Evan Weiss made known upon taking the stage. 

They opened their set with “Closing Argument” and “No EQ” to warm up the crowd. “Who hasn’t seen Into It. Over It. in Cleveland yet?” asked Weiss. A few hands went up, but most people in the crowd seemed to already be fans. “We love playing here and we have this tradition of the Cleveland Heckle,” he said. Just after a few people started yelling “hell fuckin’ yeah!” Apparently, that’s the Cleveland Heckle. 

Into It. Over It. continued on with their set with “Local Language,” “Who You Are Does Not Equal Where You Are,”Adult Contempt,” and “Required Reading.” 

“Who’s excited to see Frightened Rabbit later?” Weiss asked. A few underwhelming “woo’s” came from the crowd. “You know they’re in the room. They can hear you. It’s called accountability, people!” Weiss added. That got the crowd cheering. Weiss dedicated “The Shaking of Leaves” to Frightened Rabbit. 

Every venue in Cleveland charges a $2 or $3 cover charge for anyone under the age of 21. Having spent my high school years going to shows in Cleveland, needing to fork over the extra cash was often discouraging. “I love Cleveland and I love this venue, but I think it’s bullshit that if you’re under 21 you need to pay an extra $2 to get into a show,” said Weiss. “If you’re under 21, I will take $2 off of any merch you want to buy.” This earned a lot of crowd praise, because if you grew up going to shows in Cleveland, you counted down the days until you no longer had to pay that cover charge at the door.

Into It. Over It. closed out their set with Intersections’ “No Amount of Sound” and Upstate Blues.” 

After what felt like a short set change, Frightened Rabbit took the stage in Cleveland for the first time in five years opening their set with “Get Out” from their latest release Painting of a Panic Attack.

Frightened Rabbit put out their first album, Sing The Greys, back in 2006. That’s a lot of years to gain some new fans and keep the old ones. The crowd had a pretty even distribution of both and frontman Scot Hutchinson recognized that a lot of people in the crowd wanted to hear some old favorites. “Some of our songs are getting so old now,” he said. “Some of them are 10 now, and in three years time they’ll be getting pubic hair. That’s when they have to go.” That remark earned a combination of “ew’s,” shout’s of “no’s,” and cheers from the crowd. They then played 2010′s The Winter of Mixed Drinks’ “Living in Colour” and the even older “Head Rolls Off.” 

Hutchinson said that this Monday night show felt more like a Friday night. The crowd was rowdy and the band was feeding off of that energy. “I don’t feel like I’m playing till it feels like I’ve pissed my pants,” he said before playing “Fast Blood” and “The Oil Slick.”

Despite what Hutchinson said about needing to retire old songs, one fan in the crowd was persistently shouting for some older songs. “Can I strike a deal with you so that you’ll be quiet?” Hutchinson asked before agreeing to play “Old Old Fashioned.” 

Frightened Rabbit closed their set with “Keep Yourself Warm,” but the crowd wasn’t quite ready to call it a night. The band returned to the stage for an encore with “The Woodpile” and “The Loneliness and The Scream.”

Almost exactly three years ago, I was sitting in a coffee shop somewhere in Atlanta, Georgia listening to Royal Canoe for the first time. It took a couple listens for their sound to click with me, but once it did I was hooked. I was pretty tight-fisted with my 80+ reviews for Inyourspeakers Media, but Today We’re Believers fully earned its marks. Since then, I’ve caught the Winnipeg sextet live more than a few times, and they have always lived up to my hype. My only disappointment has been that the last few shows I’ve tried to catch have been canceled due to some unforeseen hiccups. With any luck, third time will be the charm as they return to Higher Ground on October 30th, on tour for their latest release Something Got Lost Between Here and the Orbit.

The new record was a long time coming, but it was well worth the wait. Something Got Lost seems softer than Today We’re Believers, as though the band has settled into their sound. That familiarly unfamiliar quality is still present – many of the tracks seem reminiscent of something you might have heard before, but with a unique twist.

“Somersault” builds up on an off-kilter beat and unpredictable bass line to create a track that never quite settles into a comfortable groove. It has and edgy energy that demands attention, the very quality that won me over on Today We’re Believers. By contrast, “Walk out on the Water” sets up on a more straightforward beat, but don’t mistake that for being boring.  As a whole, Something Got Lost Between Here and the Orbit isn’t an record you can sit still while listening to. Royal Canoe has always been driven by rhythm, and their focus on it for these eleven tracks shines through.

Though this third record maintains the band’s tradition of mixing and mashing an eclectic mix of digital and analogue effects, there is a more cohesive feeling to it than their previous efforts. There’s no question that each track stands alone, but there is a clear flow to the record. Its sonic energy ebbs and flows in a way that keeps the listener engaged without being overwhelming in the way that Today We’re Believers could be. Royal Canoe has found their sweet spot. All the elements that made this one of my favorite finds of the past few years are still present, but have been distilled down and refined. After over a week on heavy rotation, Something Got Lost Between Here and the Orbit continues to impress. Royal Canoe has maintained their defining energy while tightening up their sound.

The band kicked off distribution of the new album by hand-delivering early release copies to 20 local Winnipeg listening parties. You can get a feel for how those house calls went over on the band’s Instagram. Something Got Lost Between Here and the Orbit is out September 16th, but you can preorder it over on Royal Canoe’s website. They’ll be hitting Burlington towards the tail end of their tour, giving us plenty of time to get familiar with their new material. You can buy tickets online here, or head over to Higher Ground to save on fees and buy them in person. We’ll see you there!

Track List:

 Somersault

Walk out on the Water

Living a LIe

Checkmate

Love You Like That

I Am Collapsing So Slowly

Holidays

Out of the Beehive

Bicycle

How Long is Your Life

Sunday proved to be another blazing hot and sunny day at Fort Adams. After making my customary rounds through the festival grounds, I settled in for a bit at the Quad Stage to check out The Strumbellas. The six-piece Canadian group released their third full-length Hope earlier this year. This was their first time at the festival, but they fit in as well any of the many veterans hanging around the fort.

Since 2014, The Oh Hellos have made the jump from Quad Stage over to the main Fort Stage and they fully proved they deserved the bigger space. Looking back on the pictures I took two year ago, it looks like Reagan Smith is still rocking the same The Soil & The Sun tank he was then!

The Oh Hellos put out their latest release Dear Wormwood this past fall, check out Stacie’s review here.

After seeing Devin Mauch hanging around Frightened Rabbit’s set on Saturday, I wasn’t too surprised that The Ballroom Thieves made an unannounced repeat Newport Folk Festival appearance in the Late July tent.

Though the tent is supposed to be for kids, it was crammed full of mostly adults - a fact Martin Earley didn’t let slip by. As with their Fairfield show, the Thieves took the opportunity to play a lot of new material.

From there, I headed back to the Fort Stage in time for the start of Glen Hansard’s set.The Irish musician kicked off his set with The Swell Season’s “Falling Slowly,” then followed up with “Winning Streak” off of last year’s solo album Didn’t He Ramble. In true Newport tradition, his set included a couple of guests - including Elvis Costello on the tambourine.

Ironically, I missed Irish ballad “The Auld Triangle” because I ducked out to catch some of Hansard’s fellow countrymen on another stage. Villagers was up on the Quad Stage.

Next up was the set I’ve been waiting for since it was announced back in April, and I was far from the only one psyched to catch Middle Brother make their second appearance at Fort Adams.With a little help from their friends, John McCauley, Matthew Logan Vasquez, and Taylor Goldsmith played through their full repertoire in a set that didn’t feel nearly long enough.

Backed by the rest of Dawes, they were joined by Jonny Fritz, Kam Franklin of The Suffers, and Michael Trent and Cary Ann Hearst of Shovels & Rope.

As John McCauley pointed out, there was quite the crew of new parents up on stage. He and Vanessa Carlton, Cary Ann and Michael, and Matthew Logan Vasquez and his wife Marthe all saw the births of their first child this past year. Jonny Fritz’ latest album may be called Dad Country, but it was Vasquez who was sporting a ball cap with “DAD” scrawled in Sharpie on it for part of the set.

More than anything, Middle Brother’s set was fun. You can see Taylor’s grin plain as day in this picture, but just past his elbow is a just as thrilled Jay Sweet. As the Newport Festivals Foundation’s Executive Producer, he has plenty to be thrilled about. He’s managed to produce a consistently stellar festival year after year, in large part to the amazing community that the festival inspires. The people up on stage during this set were no small part of that community.

While Middle Brother may have been my highlight of the weekend, there was still plenty of good music still to come. I stayed put at the Fort Stage for Elvis Costello, who came out with sisters Megan and Rebecca Lovell of Larkin Poe in tow.

Costello also brought Middle Brother and company back out along with the Preservation Hall Jazz Band, who have become another Newport Folk Festival staple. In fact, they managed to hit one of the next sets I was headed to over to as well, Edward Sharpe and the Magnetic Zeros on the Quad Stage. Before that, I made a stop at the Harbor Stage to catch Brian Fallon.

The Gaslight Anthem went on indefinite hiatus last summer, just after Fallon appeared on the same stage at Newport. He’s since released solo album Painkillers. I don’t think I actually caught him the first time around, but I’m glad I did this time. Fallon has a great stage presence, speaking to the crowd in a way that is artlessly charming. As he closed down the Harbor Stage, I made my way to the final Quad Stage set of 2016.

I saw Edward Sharpe and the Magnetic Zeros for the first time just about a year ago, up at Osheaga. It was a set that made the news, and one that still stands out to front man Alex Ebert. This was a much smaller crowd, and there were no crowd surfing wheelchairs. And yet, there was still some kind of magic. Alex Ebert has the ability to radiate his energy in a way that’s impossible to describe unless you’ve seen it. It helps that he came off the stage to dance down the aisles and get up close to as many people as possible. 

Sunday afternoon was running a bit behind, which is a rarity at Newport. The Magnetic Zeros started close to twenty minutes past their scheduled start time, so I ended up only catching the first fifteen minutes or so before I needed to head over to the Fort Stage in order to catch the start of Alabama Shakes.

Alabama Shakes was one of those bands that I knew I was supposed to be into, but they hadn’t quite clicked for me. Maybe it was because too many people had told me I HAD to listen to them (something  I never respond to all that well), but I just wasn’t interested. I had even taken Sound & Color  and Boys & Girls out of my phone music library because I just never got around to wanting to listen to them. It took maybe a second of seeing them live to change my mind. I get it. In fact, it was probably this very moment:

Brittany Howard is a powerhouse force, and I have no idea why I refused to acknowledge it before now. 

There’s very little negative to say about this festival. Sure, it was hot and dusty, and the schedule got a little off on Sunday.  As was apparently a concern of producer Jay Sweet, I wasn’t really expecting this year to live up to last year. While it may not have been quite as epic, this year proved just why it’s worth buying tickets before the first artist is even announced. No matter who’s on the schedule, you can be sure it’s going to be a great weekend. It’s been a three year tradition for me so far, and it’s one I look forward to continuing.

I can’t count the number of times I’ve told people that Newport Folk Festival is one of my favorite places in the world. Three years ago, I had the opportunity to head to Fort Adams for the first time and I instantly fell in love. There’s something truly special about this festival that’s kept me (and so many others) coming back year after year. I can’t claim nearly as long a tradition as many folk, but it’s one  I hope to keep up for years to come.

This year, it was a bit harder for me to get to the Fort. The site I used to write for shut down, and I didn’t think I would be able to cover the festival at all. Instead, I eagerly awaited the day tickets were released and managed to snap up a 3-day early bird pass just seconds after they went live. In the end the festival was still kind enough to grant me a photo pass, which I happily took full advantage of! But tickets and passes weren’t the only obstacle to overcome. I’m currently attending medical school, and July 22-24 fell smack dab in the middle of my Internal Medicine clerkship. I didn’t know if my schedule would keep me from making my way to Rhode Island at all. As luck would have it, I did end up having the weekend free (otherwise I wouldn’t be writing this) but there was no way I could skip out on my Friday call day  I was pretty bummed  to miss out on the stellar first day line up, but I’ll happily take the two days I got over none at all!

After a late night at the hospital, I got up bright and early Saturday morning to drive from Western Connecticut. Traffic wasn’t too terrible, and I made it into the park during the first sets of the day. I took the opportunity to poke around the festival grounds and soak in the familiar set up. This year has been a hectic one for me, full of shifts and changes. Coming back to Newport felt like a home coming of sorts. I popped over to the Squarespace Studio, where this year’s installation was built around Tiny Desk creator Bob Boilen’s book Your Song Changed My Life, and picked up a complementary tote bag. Though I didn’t take advantage of it this year, Squarespace offers up free postcards and stamps for folk to send a note out to anyone they choose from the Fort. After catching bits of The Cactus Blossoms and Banditos while wandering through the grounds, I headed over to catch Rayland Baxter open up the Fort Stage.

This was the Nashville native’s second appearance at the festival, following up a well-received set in 2013. This time his set pulled mostly from last summer’s release Imaginary Man, including openers “Mr. Rodriguez” and “Mother Mother.” 

Next up was Ruby Amanfu, who killed it on the Harbor Stage. As she mentioned, she was the only newbie to Newport up on stage - her backing band was made up of some familiar faces including half of Deer Tick and guitarist Jeremy Fetzer. 

Considering all the artists the Ghanaian-born, Nashville-based singer-songwriter collaborating with in the past, it was high time for her to take center stage here in Newport. Though the current buzz may be around her backing vocals on Beyonce’s Lemonade, she’s been killing it down in Nashville for almost twenty years now.

From the Harbor Stage, I headed into the quad to catch the first few minutes of The Texas Gentlemen and Friends. All the schedule said about the set was “Be Sure to check this set out.” That’s because those friends ended up including Kris Kristofferson. Though I ended up coming back later to catch more of the set, I headed over to the main stage to see Amy Helm start up.

With her band The Handsome Strangers in tow, Helm opened up her set with the title track of her solo album Didn’t It Rain, which she released just last year. In fact, the day it was released she was standing on the very same stage singing “Wide River To Cross” with Roger Waters, in honor of her father Levon Helm.

More so than either of my previous years at Newport, I really bounced around Fort Adams all day Saturday. I’ve said before that you could have an absolutely fantastic festival experience just sticking to one stage, but I never find myself quite able to do that. The grounds are small enough that it’s pretty easy to get from stage to stage fairly quickly, which I took full advantage of. From the Fort Stage, I headed back to the Quad Stage to catch the end of Texas Gentlemen, then popped over to the Harbor Stage for a bit of John Moreland’s set.

An alert on the Newport Folk app let me know that Haunt the House (aka Will Houlihan) was playing in the Late July tent, so I made my way that direction.

Next up for me was Nathaniel Rateliff & the Night Sweats on the Fort Stage. After seeing him absolutely wreck the Quad Stage last year, I knew this wasn’t a set I wanted to miss. 

I certainly wasn’t proved wrong. As expected, Rateliff and his crew put on an excellent show. 

Unfortunately, I missed Matthew Logan Vasquez coming out to jam because by that time, I’d headed over to catch Lady Lamb. With so much good music going on all around, it’s inevitable that you’ll have to miss out on some of it. In any case, it was high time for me to see Aly Spaltro in action.

I’ve heard nothing but good things about this lady and though she’s come through Burlington, VT on multiple occasions, this was the first time I actually saw her play. As is nearly always the case at Newport, she more thhean fulfilled my expectations.

When I caught The Ballroom Thieves in Fairfield, CT, Devin Mauch covered Frightened Rabbit’s “My Backwards Walk.” Perhaps that’s why I wasn’t all that surprised to see him hanging out backstage to catch the Scottish indie rockers on the Quad Stage.

The band put out their latest release Painting of a Panic Attack this past April, but their set list pulled from The Midnight Organ Fight and Pedestrian Verse as well.

After running around for half the day, I finally caught up with my friend out in front of the Fort Stage, where Ryan Adams was playing. We weren’t really close enough to hear much of his set and I can’t honestly say I mind. I don’t quite get the man. When he headlined Newport two years ago, he played a great set but his banter left something to be desired in terms of respecting the audience. This time around, he spent a good few minutes riffing on Frightened Rabbit’s band name which frankly got old pretty fast. That, along with the dust and heat, prompted me to head back over to the quad for a bit of respite in the press tent. From there, I was able to take a breather and still hear Graham Nash out on the Quad Stage. After downing a whole bunch of Spindrift, I headed back over to the Fort Stage to catch Norah Jones. On my way, I thougt I heard a familiar voice coming from the Martin Guitar’s set up. Sure enough, it was Hannah Fair. I’m not sure if she’s still in Burlington or not, but she was a regular around the area last summer at least.

Two years ago, I finally got to see Nickel Creek play at Newport. It was a long time in the making. I remember listening to This Side and Why Should The Fire Die? like crazy in middle school and high school. Come Away With Me was another frequent play in that time, but one that I had all but forgotten until I saw Norah Jones on Higher Ground’s schedule this year.

I shouldn’t have forgotten. Since I couldn’t catch her at the Flynn, I was thrilled to see her show up on the Newport Folk lineup. Everything about Norah Jones is gorgeous. Even in front of a crowd, her sound feels intimate. For me, this set was one of the standouts of the weekend.

I saw Father John Misty just about a year ago at Osheaga, where his odd mix of  acerbic wit, disdain, and showmanship were on full display. When I caught his set on the Quad Stage, I hadn’t heard about his set at XPN Fest the day before. I also hadn’t heard Ryan Adam’s jab about Father John Misty during his set. In that context, his set was relatively calm. 

There was this story about Chipotle and the Backstreet Boys, and a remark about his shirt being made from a sail he stole from “a boat of a rich guy watching Ryan Adams.” He also did preface “Bored in the USA” by saying he that he felt like it was too late to be singing a song like it anymore.  After hearing his remarks on it the day before, I do sort of wonder if he felt an obligation to play it. 

Patti Smith closed out the night on the Fort Stage, complete with a one-two punch of  gut-wrenching tributes.  The first was a dedication of “This is the Girl” to Amy Winehouse, followed by an emotional cover of Prince’s “When Doves Cry.” With the prospect of another long, music-filled day ahead, I headed out for the night on that note.

Just under a year ago, I was listening to The Ballroom Thieves’ A Wolf In The Doorway for the first time on my drive down to Newport Folk Festival. Two days later, I saw them play their first set at the festival and knew I’d found a new favorite. This marks the third time we’ve covered the Thieves here on BTV Sounds, and we’ve yet to be disappointed.

This was their second pass through Fairfield, CT this year, and it wasn’t hard to see why they came back. Seated shows can feel low energy, but the crowd filling StageOne on Thursday night had more than enough enthusiasm to keep that from being the case. At one point Martin Earley asked how many people had been at there at their January show, which by cheer response showed that a good portion of the audience had been. He followed up by asking how many member of the audience were related to Callie Peters, getting nearly as much of a response. 

While every show we’ve caught has been stellar, The Ballroom Thieves have shown definite growth over the past year. They seem more comfortable on stage, with increased confidence and and easier stage presence. 

Each show has incorporated at least a couple new songs, giving us a better and better idea of what their next release might sound like. This included “Peregrine,” which Martin mentioned would be more fleshed out in its recorded form. Honestly, I think it works wonderfully in its simple, stripped down acoustic state. The band has branched out to share writing duties, and Callie took over lead vocals for one of hers. Her writing style differs noticeably from Martin’s, but still fits perfectly with their overall sound. 

There was no opener for the 8:00 PM show, so The Ballroom Thieves had plenty of time to play. Their set included nearly (if not) all of A Wolf In The Doorway, along with a cover of fellow Newport alum Joe Pug’s “Hymn #101.″ They’ve described themselves as a rock band in a folk suit, and that certainly is an apt description. In this performance space in particular, their ability to play with the intensity of their sound was on full display. They’re able to go from full on roar to near whisper in the space of a few lines, creating a sense of intimacy and truly felt emotion.

About halfway through the set Devin Mauch and Callie left the stage. Watching his fellow band mates leave the stage, Martin assured the audience - “don’t worry, this was planned!” Devin responded with a playful “I quit!” as he pushed through the curtain. After a little pause, Callie added a “Me Too!” While Martin played a couple songs solo, Devin took the opportunity to change his shirt. Earlier in the night he had urged the audience not to look up pictures of their previous performance, “because I’m pretty sure I wore the same outfit.” That was no longer an issue after he “fulfilled a lifelong dream - a mid-set costume change.”

Towards the end of the set, Martin indicated that since both he and Callie had gotten to sing a few songs, it was now Devin’s turn to take the lead. This was met with a hearty cheer - “oh good, because that could have been really awkward.” Devin’s choice was Frightened Rabbit’s “My Backwards Walk.”

After finishing up with “Here I Stand,” this time the whole band headed off stage, only to be quickly cheered back on by the audience. Devin let us know that, “you could have had another costume change if you hadn’t been so impatient!” Callie took the lead for the always haunting “Bury Me Smiling.” The last time I heard her sing it, she was battling bronchitis and still managed it beautifully. This time she seemed to be running on all cylinders and her rich, husky voice filled the space. The Ballroom Thieves finished off the night with “Archers.”

Another night, another great show in the Showcase Lounge at Higher Ground. This time, it was Nashville locals The Wild Feathers. I hadn’t heard of the quartet before seeing them pop up on The Point’s upcoming concerts, but when I looked at their past tour mates, I saw some of my favorite bands listed.I figured with such good company on the road they had to be worth checking out, and they definitely were.

I managed to hit the ferry across Lake Champlain just wrong, so I got to Higher Ground later than intended. Because of that I’m not sure why The Shelters, who are on tour with The Wild Feathers, didn’t make it. Instead, local musician Paddy Reagan opened up the night.

As a promoter and co-founder of the Waking Windows music festival (the sixth iteration of which is right around the corner!), a member of Paper Castles, and a solo artist, Reagan is no stranger to the local music scene. I barely caught the tail end of his set, but what I heard sounded solid.

The Wild Feathers opened up with “Overnight” off their just over a month old release Lonely Is A Lifetime, and it was immediately evident that this is a band worth seeing live. The release is a pleasant listen, but their music gains a whole lot of energy and depth live. That’s due in no small part to touring members Brett Moore on keys, and Danny Donato. The just barely 21 year old is a stellar guitarist, and clearly quite a performer. I should note, he’s singing along in this picture purely for fun – as Joel King put it, “he does all his talking with his fingers.”

The core members of The Wild Feathers are King (bass, vocals), Ricky Young (guitar, vocals), Taylor Burns, (guitar, vocals), and Ben Dumas (drums), pass around lead vocals and share writing credit.Since their self-titled debut in 2013, the band has continued in their tradition of a shared collective sound, rather than succumbing to one leading influence.

A couple songs in, The Wild Feathers’ very enthusiastic (in the best way possible) manager Johnny taped up some smoldering incense sticks around the edge of the stage. While that’s definitely the first time I’ve ever seen a band go for that, it was kind of a nice addition to the ambiance. Speaking of scents. after they played “Goodbye Song” Taylor Burns expressed some surprise at not smelling any marijuana in the air. Fair, considering the first line of the song is “Stolen marijuana and some pain pills in a hotel room,” and the most repeated line is “You got the money, you got the drugs, I got the time.”

The set pulled from both of The Wild Feathers’ albums, including title track “Lonely Is a Lifetime” and “Help Me Out” from the new release. Like “Goodbye Song,” I definitely appreciated “Left My Woman” much more live. Listening to it earlier in the day I found it a little too cheesy to fully enjoy, but live it gained just enough charm to really work.

There has been no shortage of political statements at the shows we’ve been to this past year from Beans On Toast’s improvised ditty to some choice koozies and stickers on sale this past Wednesday, and plenty in between. This show was no exception. At the end of “Left My Woman,” Burns casually flipped the back of his acoustic guitar towards the audience, displaying “FUCK TRUMP” written in masking tape. “And that’s all I have to say.”

The band finished off their set with “The Ceiling” off of The Wild Feathers, with plenty of guitar embellishments drawing it out. After leaving the stage, it didn’t take too much clapping (though there was plenty) to bring them back out for an encore. They finished out with a solid cover of the Beatles’ “With a Little Help From My Friends.”

These days, I mostly only go to shows if I already know the band at least in passing - I’ve usually seen them at least for a short set at a festival, or reviewed a release or two. The Wild Feathers just happened to be passing through, and I’m definitely glad I decided to give their music a try. They’re solid musicians who put on a great show.

It’s been a busy week for us here at BTV Sounds, and Stacie has been holding down the fort. It was my turn to make my way across the lake again to catch a whopping four band show at Higher Ground this Wednesday.

Getting things off to an early start, Pinegrove hit the stage a 7:00 PM. This was my first exposure to the Montclair, NJ based group, and their short set left me interested in hearing more. They just put out their second full-length Cardinal in February as their first release with Run For Cover Records. 

Describing themselves as “music for introspective partying,” they’re an interesting mix of, well, introspection and energy. My favorite picks from their set were “Size of the Moon” and “Aphasia.”

Next up were Ohio rockers The Sidekicks. I actually may or may not have caught these guys at Fest 12, where they’re frequent flyers. Fest is one of the few things I genuinely miss about living in Gainesville, FL, and this show served as a mini reminder of why. The whole lineup felt like one that I could have caught at The Wooly or 1982 (RIP...I’m not sure I’ll ever feel as cool as I did manning the door/almost bar backing at that place again), koozied PBR in hand rather than camera around my neck.

Steve Ciolek, Matt Climer, and Ryan Starinsky began playing together as The Sidekicks ten years ago, and their sound has definitely evolved over time. Their latest release Runners In The Nerved World came out last January, and Toby Reif joined them just in time to tour for it. Between then and now, Steve Ciolek managed to contribute to one of favorite releases this year as part of Saintseneca - check out Stacie’s review of Such Things here.

While The Sidekicks mostly stuck to the music, Ciolek took a brief break to talk about their stop at the border: “The guy asked if we what we were doing was a full time job. Then he asked how much we made and laughed....I though 50,000 was pretty good.” The last bit earned a good snort from Matt Climer, “$50,000, huh?”

While the Showcase Lounge was far from dead from the start of the night, the energy level definitely picked up over The Sidekicks’ set. That included on the stage itself, where by the end Ciolek pulled off a stage jump off the drum kit. 

So, The World is a Beautiful Place & I am No Longer Afraid to Die had a really cool light set up. It looked awesome. But, there’s a reason I went artsy (*cough* copped out *cough*) and went for all black and white photos this post. The thing is, I’m a poor medical student and while maybe one day I’ll actually make money and will be able to afford a really nice camera and/or lens...today is definitely not that day. Plus, I’m not sure I’d even know what to do with either at this point. While I love the Showcase Lounge as a venue, it’s not the easiest stage to shoot. Add to that no lights besides these...

...and basically, I got some great shots of drummer Steven Buttery, and then some of Derrick Shanholtzer-Dvorak’s shoes. 

Anyways, TWIABP&IANATD (yeah, even that is super long) put on a great set. Probably the most people we’ve ever seen crammed onto the Showcase stage combined with the low lights made it particularly visually chaotic. Which, in a way reflects their sound. There’s a lot going on. Each of TWIABP’s songs flows through a story, ebbing and flowing, swelling to crashing heights then swooping back down to simple lines. 

The Sidekicks’ Ryan Starinsky was sporting some TWIABP merch, and TWIABP returned the favor with The Sidekick’s newly minted shirt. At this point, these bands have been on tour together for a month, and they all seem to be having a great time together still.

While Into It. Over It. was setting up, I snagged a picture of the set list (because who doesn’t love those) so here you go:

Pet Sounds  was one of the last records I reviewed for Inyourspeakers, and in my weirdly exhaustive research process I got pretty into IIOI’s back catalog. At that point, Evan Weiss and drummer Josh Sparks had already become the first artists to use Signal Kitchen’s retreat Rebel Yell out in Craftsbury, VT. That’s where they wrote and demoed the songs that would appear on Into It. Over It.’s latest release Proper. It could have been the weed talking (I mean, it WAS 4/20), but Weiss was thrilled to be back in Vermont. We were actually a little surprised this show wasn’t at Signal Kitchen

While Weiss, Sparks, Josh Parks, and Rodrigo Palma got to playing without much preamble, Weiss definitely had plenty to say throughout the night. Early on, it was about the fact that they had been in Montreal the night before, making it to Burlington at 3:00 in the morning. “Everything up there was no, but everything here is yes.” I’m not sure exactly what the Quebecois were saying no to, but the “yes” examples Weiss gave included “can I have another egg with my breakfast?” “can I have some more coffee?” There were shout outs to Signal Kitchen, Uncommon Grounds, and Burlington the city galore. I didn’t realize he’d posted this tweet earlier in the day, but he repeated the sentiment of wanting to retire to Burlington when he was burned out at 50. “I’ll come hang out at Uncommon Grounds... I’ll be that weirdo who tries to talk to the baristas.”

Around halfway through their set, Evan Weiss addressed the date. “I mean, come on. Did you really think that at a show in Burlington, VT, at a place called Higher Ground, on 4/20, that all the bands wouldn’t be high?” “This was supposed to be a day off, but then we were like NO, we can’t waste this. This is like when the planets align....and then someone says “hey, want a hit of this?””

Once they finished up their main set with “Adult Contempt,” Weiss started to say “so, this is where we could act really cool and leave the stage like a big shot band.....you know what? we’re going to do it! Because we respect you that much.” After a very brief pause off stage (though still enough time for the obligatory “one more song” chant to get going) the band was back on stage. 

“This song is about quitting smoking...which we definitely didn’t do today” launched the band into the first of two encore songs, “New North-Side Air.” It took a bit for Weiss to tune for their last song, though he said plenty to keep us entertained in the mean time. Finally, someone yelled out “Worst foreplay EVER.” 

“That has to be my favorite heckle I’ve ever gotten....besides “You suck, Flyers rule! Oh, and just, ‘Eh.’” 

The last song of the night was “Midnight: Carroll Street.” As soon as the band finished playing, they immediately came out into the audience to hang out. It’s not the first time we’ve seen a band do this, but it’s always nice to feel like they’re genuinely interested in talking with their fans.

We made our way back to Higher Ground’s Showcase Lounge on Tuesday night to catch The Mowgli’s, Julia Nunes, and The Rebel Light for a night full of upbeat, happy-go-lucky pop songs.

I walked into the venue right as The Rebel Light was taking the stage. Upon first impression I thought to myself “Oh boy… this isn’t really my thing, but I probably would have liked them in high school.” After looking around the room I quickly realized that the demographic was in fact high schoolers. This wasn’t  too much of a surprise considering the band was made up of a group of decent looking gentlemen who make sugary, sweet pop music that’s easy to bounce around to.

Good looks and upbeat music can only do so much though. After about a half hour I was ready to hear some music that had a little bit more depth to it than just something fun to listen and dance along to. A half hour is all The Rebel Light was supposed to have for their set time, but they pushed the envelope by squeezing in one more song. “This doesn’t have to be goodbye,” said their frontman Will Steil. “Hang with us at the merch table or follow us on Instagram.” Just as he was finishing his sentence the venue turned on their lights as bright as they could get to give the cue that they were out of time. Regardless, The Rebel Light pushed forward and ended their set with “Strangers.”

After a very quick set change Julia Nunes took the stage with her ukulele. While her songs were also happy-go-lucky pop songs, they weren’t sickening. The lyrics had some depth to them and it was evident that they come from real life experiences that helped shape her to be who she is today. She was very open about her personal life in her stage banter and added some cynical humor to poke fun at herself which was refreshing after listening to The Rebel Light.

Many of her songs were about breakups and how she used the experience to better herself. Betterment seemed to be the theme of her set as she started to stray down the path of the New York Primaries which were also happening on the same night. “This is the first election I’ve ever really paid attention to because I want good things in my life… Like a good America,” she said before playing “Locked In My Mind,” a song about a person who let her go, which in turn, helped her change her life.

Julia Nunes has an adorable stage presence, from her witty banter, her lighthearted songs to her connection with the crowd. Before bringing up a couple of The Mowgli’s to the stage she took the time to say how nice everyone was being. She waved and said hello to what seemed to be just about everyone in the crowd individually (at least everyone she could see from the stage). Nunes and The Mowgli’s covered the top 40 hit about social anxiety “Here” by Alessia Cara. This was the first time I actually heard the song so I can’t really say how her take on it stacked up, but I thought she blew the roof off the place.

To my disappointment, and the crowd’s as well, Julia Nunes cut her set short to help keep the show on track. After about only 20 minutes, she closed out her set with “Make Out.” She had a lot of fans in the crowd, both old and new, all of whom cheered for an encore which they unfortunately couldn’t get.

The Mowgli’s took the stage with an explosive amount of energy opening their set with “Bad Dream.” They kept the momentum going by blowing through “Whatever Forever,” and “Emily.” Initially I wasn’t quite sure what to make of them. They definitely had a fun stage presence and knew how to work the crowd, but similarly to The Rebel Light a great stage presence can only do so much.

Before playing “Summertime” one of their many vocalists, Katie Earl, commented on how everyone was wearing t-shirts in 50 degree weather. This is nothing out of the ordinary for Vermonters in early spring, but I could see how that seems crazy to a group coming from L.A.

After playing a new tune titled “Last Forever,” I had a pretty good idea of the Mowgli’s sound which consisted of overly repetitive lyrics that were so happy-go-lucky that it was almost sickening. There’s nothing particularly wrong with songs about being happy and in love, but I think for most people over the age of 23 there’s a point where you can only hear so much of it. For their high school aged crowd who hasn’t been jaded by life yet, it makes for a fun, easy listen.

It wasn’t just their music I wasn’t a huge fan of. Their stage banter was also lackluster. “Dave over here was saying how much he really likes Vermont. Let’s all chant for Dave,” said frontman Colin Dieden. The crowd followed suit by chanting “Dave” over and over until it was time for the band to play “Love Me Anyway.” Apparently they hadn’t gotten their love for Vermont out of their system with the Dave chant because Earl said, “It doesn’t matter where I go... If I see Vermont Cheddar I’m going to buy it.”  Dave then stated that he bought maple syrup and how he wants to do whatever he can to contribute to the environment. I’m not quite sure how buying maple syrup contributes to the environment, but hey, thank you Dave for at least contributing to our local economy. Maybe economy was the word he was going for.

“Our goal for the night is to have all of you walking away from this show feeling better than you did before coming here today,” said Earl. To no surprise the next song was “I’m Good,” which pretty much repeats the song title so many times that I started thinking “Okay, I get it. You’re good.” They closed their set with Say It, Just Say It.

Sunday marked the first nice day of the year in Burlington and with the sun setting later in the day, it made it pretty difficult to make my way into Higher Ground’s Showcase Lounge when it seemed as though the rest of the town was out barbecuing. Luckily for me though, I got an early taste of what was in store for the night walking on Church Street. The Maine Youth Rock Orchestra who’s backing The Ballroom Thieves were out performing on the marketplace. They were impressive on their own, so I was excited to see what they’d be like supporting the band.

Opening the show was BTV locals The DuPont Brothers and they were also feeling the struggle of pulling themselves indoors. “Thank you all from coming here on the nicest day of the year,” said Zack DuPont to open the set. “I’m sure you all would rather be outside right now.” Once they started playing I was happy to be inside watching them, but I think I would have enjoyed them even more while laying in the grass in Waterfront Park. The DuPont Brothers have a soft, acoustic sound that would mesh nicely with warm sunshine and a cool, early summer breeze.

The DuPont Brothers will be putting out a new album this June and they’re only $3,000 away from reaching their Kickstarter campaign goal. As Zack promoted the new album, I noticed that he had a voice similar to the hosts on NPR. I’m not sure if it was the fact that he was trying to reach a campaign goal or if it was his soft tone, but the similarities were uncanny.

They continued their set with “Implications,” “Trespassers,” and “Attention Spans,” before asking the crowd to close the gap between them and the stage. The next song they played was the most lively of the set and it wasn’t just a coincidence that it happened right as the crowd moved towards the stage. “There we go guys… Now we have it now that we have you,” said Sam DuPont. They closed their set with one final track “You’re Not a Ghost.”

It seems like we’re always catching The Ballroom Thieves during special performances. The last time we caught them was under the Supermoon and now with the Maine Youth Rock Orchestra.

After a quick set change The Maine Youth Rock Orchestra began to pack like sardines onto the stage along with their conductor and The Ballroom Thieves, opening their set with “Wild Woman.” With only one song in the orchestra standing behind the Thieves already managed to impress the crowd. “I wish I was as cool as these kids behind me when I was in high school. This next song is about that” said Devin Mauch. “Don’t let him fool you guys. Devin was prom king,” said Martin Earley. “You can still be sad and confused as prom king,” Devin responded with before playing “Brother.”

The Thieves slowed things down with “Bury Me Smiling” before letting the orchestra step down for a few songs. “Small Stage. Lots of people. One stair case. That’s what this would be called if this was an art instillation,” Devin joked as the 22 high schoolers stepped off the stage in single file. The Ballroom Thieves took the time alone on stage to play a few new songs which consisted of “Peregrine” (like the falcon) and “For Mercy.”

“This next song is about being in your kayak out on Lake Champlain and seeing those dark clouds rolling in,” said Martin before playing “Storms.” I know that’s a situation I can relate to as I’m sure anyone else who lives in Burlington or near a body of water can also relate to.

Before welcoming the orchestra back onto the stage Devin took the time to explain how having them on tour is a dream come true. “These 22 young adults standing behind us are professionals. I’m amazed and so thankful everyday that their parents allowed them to join us on this tour and they’re handling themselves so well on the road (at least so far).” After the orchestra took a moment to get setup again, Devin exclaimed “And that song was called tuning! Thank you!” before playing “Trouble.”

The Ballroom Thieves closed out their set with “Here I Stand,” “Archers,” and “The Loneliness Waltz.” The Thieves stepped off stage for a brief moment before coming back on and saying “We’ve been trying to figure out a magic trick where they disappear, you guys cheer and then we come back on, but so far we've got nothing.” For the final song they played “Lantern.”

Show season is back in full swing in Burlington. Monday night’s Thao & the Get Down Stay Down show marked the first of four we’ll be covering at Higher Ground over the next week.

Kicking off the night was our neighbors to the north from Montreal, Little Scream. In Higher Ground’s Showcase Lounge an awkward space between the crowd and stage always seems to inevitably form at the start of the show and Monday night was no exception. It wasn’t until about three quarters of the way through their set that the awkward gap was broken by an adorable little girl running around, dancing with her mom which also got the crowd finally moving. Regardless of the slow warm up, Little Scream filled the room with their bubbly personalities, sparkling stage presence, and rock-steady groove.

Thao & the Get Down Stay Down recently put out A Man Alive, produced by tUnE-yArDs’ Merrill Garbus debuting the band’s fresh new sound. The album delves more into noisy-rock and experiments with obscure sounds, deviating away from their folksy sound we heard on last albums. When band’s reinvent themselves it always makes me wonder how it’s going to change their live performance, but in this case Thao proved that they made the right move.

The Get Down Stay Down entered the stage with M.I.A.’s “Bad Girls” blaring in the background setting the tone for the rest of the night. The crowd’s hips continued to groove as Thao & The Get Down Stay Down opened their set with “A Man Alive,” the title track off of the new album before throwing it back to 2013’s We The Common’s “City.” The balance between new and old material played was perfect because we got to see the contrast in sound change. Although the change was drastic, live they were able to blend the material seamlessly.

By the third song the dance party was just getting started. “Let’s pop it like it’s not Monday” Thao said before playing “Modern Age,” “Astonished Man,” and “Holy Roller.” Thoa split the crowd in half for “Fool Forever” with one half singing “Oh No” and the other half responding with “But I loved you the most.” The Get Down Stay Down slowed down the dance party with “The Age of Ice” before speeding things back up and throwing it back to 2008’s We Brave The Bee Stings’ “Swimming Pool.”

A Man Alive is Thao’s first album where she really gets personal with her music and when she played “Millionaire” we could see just how much emotion the album carries. The track is about her relationship (or lack there of) with her father and as she sang the slow burning track you could see the pain on her face.

By this point in the set the band had broken that fan/band barrier and it was as though everyone was one big happy family. “I feel so close to you guys that we can discuss the set list right in front of you,” Thao said before asking the crowd how they felt about hearing “Kindness Be Conceived.” Needless to say, everyone was excited to hear it. They then played another oldie, but goodie “When We Swam” before going back into newer material.

Ever since Bernie Sanders started gaining traction as a presidential candidate just about every artist who has played Burlington has shown their support in some way. The Get Down Stay Down showed off their Bernie 2016 sticker on their keyboard and before playing “Meticulous Bird” Thao said “Thank you for welcoming us to the land of Bernie. Speaking of Bernie, this last song is about people who have been victims to people in power.” However, this track in particular goes much deeper than just that. “This song goes out to anyone who’s ever been a victim of sexual violence. It’s important to stay angry,” she said.  As Thao thrashed around the stage you could visually see her channeling her own anger into the performance.

After such an emotional song and high energy performance, the crowd wasn’t quite ready to see Thao go. They chanted for an encore and The Get Down Stay Down came back on for a more light hearted performance with a cover of Missy Elliott’s “Get Yo Freak On” and the fan favorite “We The Common.”

We kicked off April by catching Kat Wright & The Indomitable Soul Band, Dwight & Nicole, and Jesse Dee at Higher Ground, and trust me this sold out show was no joke. After months of catching some of our favorite bands from around the country (and world) come through Burlington, this was our first opportunity to catch one of our hometown favorites headline. This was Kat Wright & The ISB’s first time headlining the Higher Ground Ballroom, and as Kat gratefully reminded us through the night, The Point sponsored show sold out in advance.

I’m temporarily based in Plattsburgh at the moment making the commute to Higher Ground a bit more of trek than usual, so unfortunately I only caught the tail end of opener Jesse Dee’s set. From what I head of the Boston based singer-songwriter, his soulful R&B fit the bill perfectly. Though his latest album On My Mind/ In My Heart came out a while ago at this point, Dee has been keeping busy playing all over New England and beyond since its release.

Dwight Ritcher and Nicole Nelson first met in Boston and began playing together as Dwight & Nicole in Brooklyn, but they’ve claimed Burlington as their home for nearly a decade now. The couple released their debut album !Signs in 2010. Two years later, Nicole gained a 4 chair turn spot on The Voice with her stunning take of Leonard Cohen’s “Hallelujah.” Building on the increased recognition, the duo released their second album Shine On in 2014.

As stunning as Nicole’s vocals are, it’s the connection between the duo that makes Dwight & Nicole so special. They played varied set pulling from both of their releases, from slow and sweet tunes to rollicking romps that got the whole venue dancing. Indomitable drummer Ezra Oklan came out to give them a hand at one point, and they returned the favor during Kat Wright’s set later in the night.

The transitions between bands were pretty quick, so not too long after Dwight & Nicole wrapped up, the Indomitable Soul Band took the stage. Josh Weinstein (bass), Bob Wagner (guitar), Ezra Oklan (drums), Shane Hardiman (keys), Jake Whitesell (sax), Dave Purcell (trumpet), Luke LaPlant (bari sax) and Caleb Bronz (drums) played an instrumental intro before songstress Kat Wright hit the stage.

After playing all around town this past summer, the band played their last soul session at Radio Bean back in December. While they traveled around and played a few shows elsewhere, that was the last we heard from them until Friday night (other than some stumping for Bernie, but more on that later). But there was a good reason for that. The band just wrapped up recording their long awaited first full length album at Studio G in Brooklyn with producer Joel Hamilton. Due out this summer, it was funded by a successful Kickstarter that surpassed its $26,000 goal. After hearing some of the new tunes live, we can hardly wait to hear them all!

From packed soul jams at the Bean to sunny sessions in Battery Park and at Woodchuck’s Ciderstock this summer, I’ve seen Kat Wright and company play quite a few times this past year. They’ve never failed to impress, and this was no exception. Selling out one of the biggest venues in town was a feat, but not an unexpected one. Burlington knows that this band serves up a stellar show.

Kat Wright & The Indomitable Soul Band draw you in. They make you feel like you’re a part of something truly special. They’re having a great time, and they make sure their audience does as well. Kat Wright is the undeniable star of the show, with her gorgeous voice and distinctive style -- seriously, I’ve never seen anyone pull off fascinators quite like she can -- but she never misses an opportunity to let others shine. From highlighting members of the band, to urging us all to check out merch and music from Jesse Dee and Dwight & Nicole, to sincerely and sweetly thanking us all repeatedly for coming out to the show, her soul shines through whether she’s singing or not.

As mentioned, the set included some of the songs off the upcoming record, as well as what are at this point old favorites like “By My Side,” “All About You,” and her Tiny Desk Contest entry “Come Dance.” The band played a couple songs that guitarist Bob Wagner wrote, and one written by bari sax player Luke LaPlant. In keeping with the date, they played a couple around the theme of fools, including Sam Cook’s “Get Yourself Another Fool.” Also on theme, often collaborator Brett Hughes listened back stage as she sang a song he wrote for her called “Who’s Your Fool..”

So, back to the stumping for Bernie bit. Kat’s been a vocal supporter of the Vermont senator, along with many of her fellow Vermont musicians. “Somebody told me to welcome weird guests...and now coming to the stage...BERNIE SANDERS! But no that would be mean! He’s not here tonight.” If you didn’t happen to catch it, you can see her, Brett Hughes, Dwight & Nicole, and some other key additions reprise their take on “This Land Is Your Land” on a different stage last month.

After they wrapped up their main set, Ezra came back on stage:  “Kat wants me to ask you, do you want us to play some more songs?” The obvious answer was yes, and we got “All About You” dedicated to us, the audience. Finishing out the night, Kat dedicated a sensational cover of Stevie Wonder’s “Higher Ground” to the venue for giving the band the opportunity to play. We couldn’t be happier that we were able to cover it as our first hometown headliner here on the site as well.