For fans of electronic music, one of the most invigorating musicians on the scene right now is Robert DeLong. Though that may be somewhat surprising given that I was saying similar things about him two years ago. But DeLong has proved staying power despite what could have become a show that only drew an audience for its novelty. (His biggest hit so far includes the lyrics “make you fuckin’ dance” and his live performance requires the use of video game controllers.) But, returning with a new album, In the Cards, DeLong is stronger than ever.
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If it’s Labor Day weekend, then there must be a jam-oriented show to kick off the festivities at Cervantes as a prelude to Phish’s fifth annual Labor Day weekend run at the now legendary Dick’s Sporting Goods Park. Denver has become the jamrock capitol of the world in recent years with its combination of affordability, legal cannabis and a thriving music scene. Labor Day weekend has become the prime holiday to visit mecca, with the Phish shows drawing music fans from around the country to pack the soccer stadium in nearby Commerce City.
Cervantes has staked out a rep for serving up the weekend’s kickoff party and the Everyone Orchestra was back in action again, having played in Cervantes’ adjacent Other Side room a year ago to help kick off “Phish Dick’s weekend” as ringleader Matt Butler called it during a vocal jam dedicated to the new holiday.
Everyone Orchestra operates on a rotating basis with no two all-star band lineups ever repeated and an all-improv agenda conducted by conductor Butler, who will cue the band for different moods, key changes, tempo shifts, solos, etc. But the top-hat wearing conductor had several cohorts from last year’s show back in action, as if to acknowledge a good thing he wanted to keep going. Jennifer Hartswick and Natalie Cressman from the Trey Anastasio Band were back on trumpet and trombone, Jason Hann from the String Cheese Incident on drums, as well as Eddie Roberts from the New Mastersounds on guitar.
Butler rounded out the evening’s lineup with Robert Mercurio of Galactic on bass, Vernon Reid from Living Color on lead guitar, Aron Magner from the Disco Biscuits on keyboards, Kris Meyers from Umphrey’s McGee on drums, Paul Hoffman from Greensky Bluegrass on mandolin and a final coup with Durga McBroom from Pink Floyd joining Hartswick and Cressman on vocals. That’s a lot of talent to have on stage and it’s an inherently risky premise as too many cooks in the musical kitchen can potentially spoil the sonic stew. But Butler knows how to craft such musical concoctions, having orchestrated such performances since founding the project in 2001.
A bluesy “Fake it ‘til ya make it” jam was an early highlight of the show, with the female vocalists and their horns lending a classy jazzy vibe to the proceedings. Cressman delivered a knockout solo during the intro and then Magner went deep on keys after the first verse. McBroom was a genuine presence, with her elegant yet powerful vocals conjuring psychedelic visions of Pink Floyd stadium jams of yore. She seemed to fit right in with Cressman and Hartswick, forming a dynamic vocal trio that raised the vibe of the room throughout the evening.
A reggae jam found the band still perhaps feeling each other out, while the crowd was ready to rock. Being that this was Cervantes’, there was of course another hot band playing in the adjacent Other Side room. In this case it was Start Making Sense, a killer Talking Heads cover band that had been tearing it up before the Everyone Orchestra even hit the stage. Any lull would see some folks heading back over for more Talking Heads, but it worked both ways with people also coming back through when the Everyone Orchestra was cranking it up.
The second set was where Butler and company really got down to business. Butler pointed to Hoffman to start a “Can’t Stop” jam with an infectious melodic quality that saw the band layer the jam in expert fashion with the energy continually rising. The ladies starred again with their sassy vocals on a “Shake me, don’t break me” tune that served as a launch pad for a fiery jam where Vernon Reid was able to cut loose with some molten hot guitar shredding as Mercurio and the drummers laid down a big groove.
Another jam saw the Biscuits’ Magner taking the lead with his trademark psychedelic synths, catalyzing a dance party and delivering a mind bending solo.The lineup’s overall chemistry didn’t always seem to gel quite as strongly as last year when former STS9 bassist David Murphy and Furthur guitarist John Kadlecik seemed to be really dialed in on some cosmic jams. But such is the inherent risk in a project with a constantly rotating lineup. Hartswick, Cressman and McBroom were the top stars in this lineup, lifting every tune higher with their soulful vocals and dynamic horn solos. Butler was also in fine form in his circus ringleader role, bringing an uplifting energy to the proceedings befitting of the festive holiday occasion.
If asked to describe the admittedly capacious genre of “Americana music”, most folks would likely conjure any or all of the following: the sounds of softly plucked acoustic guitar strings; lyrics about leaving home, coming home, and/or trains, rivers, and penitentiaries; the ubiquitous twang of a banjo; and the occasional ballast of an upright bass. During the six-day Americana Music Festival and Conference in Nashville each year, these sonic signifiers float through the air of most venues, be they record stores like Grimey’s or the Groove, dives like the Basement, or upmarket NPR-friendly establishments like the Listening Room or City Winery. If you do some research and choose your itinerary wisely, however, you’ll be pleased to find shocks of unfamiliarity abounding amidst the beards and banjos: a jazz arrangement here, a squeezebox solo there, a donkey jawbone played percussively, or a chest-tightening moment of lyrical confession.
This writer spent the weekend hoofing it across Nashville in comfortable boots (in addition to the occasional Uber ride), explicitly seeking out new, often unsigned artists whose available tunes on Spotify demanded to be seen and heard live. In addition to well-known headliners including Lee Ann Womack, Patti Griffin, and the Dave Rawlings Machine, a slate of up-and-comers lingered in the ear drums and continued to pull on the heartstrings long after the festival’s closing night. Since it was impossible to narrow the field to ten favorites, you can check out a more expansive Spotify playlist below. In the mean time, here are some unquestionable standouts ready to receive your love and affection—and in certain cases, if you happen to own a record label, your next recording contract.
1. John Moreland
Rarely do artists playing 40-minute festival sets return for an encore, but when Oklahoma singer-songwriter John Moreland walked off the Mercy Lounge stage for the first time, the packed late-night crowd wouldn’t settle down without hearing more from him. A former denizen of the Tulsa and Oklahoma City hardcore scenes, Moreland writes lyrics with an efficiency that cuts to the quick and plays guitar with steady power, plucking his strings almost percussively as if each note still needed to rise above the maelstrom of a plugged-in backing band. Using the most basic musical toolkit there is—an acoustic guitar, a half-dozen chords per song, and unflinching emotional honesty—Moreland had multiple audience members visibly wiping their eyes after songs like “You Don’t Care for Me Enough to Cry” and “Break My Heart Sweetly.” Watching him play live feels like a devotional exercise, dedicated not so much to Moreland himself but rather to the rends and rips that all of our hearts bear, and to one human’s ability to bring them right up to the surface. Start with Moreland’s spare folk album In the Throes, graduate to his more filled-out 2015 release High on Tulsa Heat, catch him live somewhere, and get ready to bleed a little.
2. The Wild Reeds
Off the bat I’ll show my hand and admit that few bands fit more snugly into my personal wheelhouse than the Wild Reeds do: the band includes three women singing gracefully in harmony, songwriting that reflects each member’s singular perspective, ample switching between instruments, and dynamic shifts happening within any given song. That said, the Wild Reeds check these boxes with a kind of ferocious glee, clearly stoked to be unspooling the complex ideas that have lived inside their heads and their rehearsal rooms before a crowd of new listeners. From the slowly building “Let No Grief” to the triumphant kiss-off “Where I’m Going,” the Wild Reeds sent bolts of lightening through the Basement bar, making new fans of smiling audience members hanging on every harmonized note.
3. Madisen Ward and the Mama Bear
As its name suggests, Madisen Ward and the Mama Bear is a family affair, composed of Ruth Ward, a longtime songwriter and performer, and her youngest son Madisen, who mainly sings lead and complements his mom’s guitar picking like a dutiful yet appropriately boundary-testing son. Following their performance at Americana Fest last year, the duo garnered media attention and cut a deal with Glassnote Records, but even if you’ve heard their recorded tunes before, you’ll likely be blown away by the power and range of their live show. “Silent Movies” prances along at a front-porch clip, while gospel-derived “Sorrows and Woes” slows down to showcase Madisen’s robust vibrato and Ruth’s lilting accompaniment. Mother-song bonding has rarely sounded this good: the duo writes and plays with clear reverence for their shared history, but also with the carefree delight that springs from creating music with the person whom each knows best in the world.
4. My Bubba
When Swedish/Icelandic duo My Bubba plays live, its audience leans in close. The aesthetic is quietude, stillness: nearly whispered vocals, careful guitar and antique zither plucking, and lyrics wherein boats, slit throats, and knitting can coexist eerily in a verse. My Larsdotter Lucas (“My”, pronounced “me”) and Guðbjörg Tómasdóttir (“Bubba”) sound like a single voice split in two, so seamless are their harmonies and musical sensibilities; their song “Dogs Laying Around Playing” consists of doubled vocals layered above a stomped/slapped beat that they create with their hands and feet moving in tandem. Their album Goes Abroader, produced by Noah Georgeson, works equally well as a soundtrack for fireside snuggling or as a rich poetic text worthy of careful and sustained study.
5. Lewis and Leigh
When beloved folk duo the Civil Wars self-combusted in 2014, a vacuum opened up in the space previously filled by that band’s tight harmonies and potent onstage chemistry. Lewis and Leigh, comprised of Welshman Al Lewis and Mississippian Alva Leigh, possess an early history that’s strangely similar to the Civil Wars’: they met at a songwriting session, felt an immediate symbiosis take hold, and, as they say onstage, “the rest was history”. Lewis and Leigh’s cross-cultural collaboration draws variously on British neo-folk and Southern blues traditions, fusing two musical origin points that nonetheless share a lot of common real estate. They introduce “Rubble” as “a song about where we’re both from”. While those locations may be continents apart, their common characteristics, like the duo’s musical stylings, suggest that onstage, together, is the destination they were both always meant to reach.
In September, New Yorkers might have caught a glimpse of Nashville-based artist Ruby Amanfu during the Neil Fest event at Bowery Ballroom. Amanfu was one of many artists performing covers of Neil Young songs as part of a benefit for Sweet Relief. Covering Young’s “For the Turnstiles”, Amanfu proved more capable of adding her own style and voice to others’ songs, which is a great incentive to listen to her new album, Standing Still, as it features mostly other musician’s works, including Brandi Carlile’s “Shadow on the Wall” (for which there is a video you can watch below), Bob Dylan’s “Not Dark Yet” (the cover she did at Dylan Fest led to the creation of this album) and Kanye West’s “Street Lights”. In fact, out of the ten songs, only the deep “I Tried” is an original.
The first time most people will hear the name Kamasi Washington is in connection with many of the people he’s collaborated with, Kendrick Lamar, Thundercat or Flying Lotus to name a few. But Washington is more than a supporting player for these colleagues. He’s a downright monster of a musician whose first album The Epic is a three hour wild ride through jazz, fused with hip-hop, soul and other influences. His first shows in New York City were the four gigs over two nights at the famed Blue Note establishment. All the seats at the shows were sold out, but some bar spots were available before each show and as a result, the Blue Note had a line down the block, with some people waiting several hours to see Washington perform. Fortunately, I was able to get in for the 8 pm set on the second night.