Get ready to watch the most heartwarming thing you’ll see on the internet for quite some time. Singer/Songwriter Ben Wagner unveiled the music video for his single, “Take My Time” on Tuesday, and the Damien Blue-directed video follows Joe Reed, a quadruple-amputee with a heart of gold. Reed, who lost his limbs as a toddler due to meningitis, is seen breakdancing, flipping, and sharing a roller skating rink with friends in the video, and it’s truly inspiring to see. The song comes from Wagner’s “Midwestern Comfort” album, and while the song is wonderful in its own right, adding the feel-good video to the track makes for something unforgettable. Please watch the video below. Maybe have some tissues ready as well:
Lucinda Belle can sing. Loudly. Boldly. Daringly. And, most of all, convincingly. Her talent as a vocalist should come as little surprise to those who’ve followed her career, which has already met the sort of highs most artists can only fathom, yet not quite attain. She managed to score a placement in a major motion picture soundtrack in 2014 with her song “Going Nowhere” in the Sony Pictures Classic release For No Good Reason, featuring Johnny Depp, among others. More impressively, she was nominated for an Oscar in the Best Song category for her efforts.
Still, what makes Belle’s voice perhaps most remarkable on her recently released single “Baby Don’t Cry” is that she’s had classical training…as a harpist. A jazz harpist, specifically, the instrument which John Coltrane’s wife, Alice Coltrane, helped popularize deep in the 20th century and, which still has the propensity to produce colors, rays, and inflections when Belle strums it on “Baby”.
Far from a gimmick, the tones and tunes of the harp work wonders
on the three minute single, which is a precursor to Belle’s forthcoming album Think Big: Like Me, which will hopefully
drop later on this year. The idiosyncratic harp playing serves as a suitable
foundation for the vocalist to flex her chops with a range that’s remarkable on
“Baby”—and which attests to all the possibilities of playing the harp for
something a little more than traditional jazz, if the jazz harp can even
rightfully be considered traditional.
Nonetheless, the track is endowed with an unmistakeably
smoky, jazz-soaked vibe indicative of midnight forays into unknown places, the
notes of the horn floating just under her voice, the lyrics wafting on into
outer space itself. Produced by Tim Bran, the music is full yet revealing,
winding its way down the distance of Belle’s voice as she consoles her
listeners, urging them not to cry despite the beauty of the shifting sounds they’re
experiencing.
The song is memorable, as is Belle’s performances on the harp and inside the vocal booth. She’s an exciting artist with immense promise as the hands of time continue to turn and one decade gives way to another. We’ll have to see exactly how she’s able to make good on it.
Granted, the Heather Gruber story sounds just a tad bit familiar. A young woman grows up in the deep south in East Tennessee (makes you wonder how far she was from Eightball & MJG in Orange Mound), then moves out west to make it big in the entertainment industry. She’s not as an actress, however, but rather a singer, a songwriter, a producer. And this time, the entire drama—the move, the industry struggles, the transition to the culture of the glamorous—is well documented on the soundtrack to Gruber’s life, her recently released full length effort, Dance into the Desert.
Desert appears to be Gruber’s first significant release since her EP approximately three years ago entitled Imagination. The album had quite a build-up, both musically and personally. The artist, who’s credited with producing the entire long player, released eight singles a week apart during the two months leading up to the collection’s November 30 unveiling. The majority of the LP was crafted during the period in which Gruber had moved to Southern California, imbuing it with a refreshingly frank viewpoint from an artist telling her own unique truths, as only she can.
The album’s definitely got a distinctively bouncy, almost upbeat vibe, which seems to be the common thread throughout the 13 tracks. Gruber certainly knows how to put a few hooks together, as evidenced on strong efforts such as “Beauty Outside the Lines” and “Here You Go Again”. With the solid acoustic foundation of most of the tunes, the work is a hybrid of down-home country sensibility with pronounced pop inclinations. These songs aren’t just made for, ahem, dancing as implied by the title, but also for singing, for letting yourself go, and for getting carried away in the uplifting melodies and catchy beats.
Interestingly enough, the background vocals showcase Gruber’s maturity as a songwriter. On most of the tunes, her oohs and aahs help to pick up the pace on the way to the hook, which is a practice found in some of the most convincing popular music of all time. “What’s so Good about Being Young” delivers a perfect illustration of this characteristic of the singer songwriter as she questions conventional thoughts about the alleged benefits of youth. By continuing to hone her craft with well-executed efforts like Dance into the Desert, Gruber may very well yet produce a happy ending for a narrative which sounds like its still very much a work in progress.
Chris Lastovicka’s forthcoming album, Fortune Has Turned(Remixed), is heavy listening. It’s not just because this is unplugged, all acoustic classical music in a decidedly digital age. Nor is it just that the album is comprised of approximately 15 players and vocalists, including four-member violin and cello sections, a pair of French horns, a viola and Lastovicka himself on the piano.
No, this album’s not for the faint hearted because of the thematic issues explored over aural landscapes so mercurial that they’re hard to pin down—which appears to be exactly the point. The composer and pianist is dealing with some of the major themes known to the world including mystic, Gnostic demons on “Abraxas”, overtly religious overtones on “The 7th Chapter of Job”, and the eradication of despotism on “The End of Tyranny”.
Moreover, there are few lyrics to guide listeners on this esoteric journey of movements, pianissimo parts, and the roaring crescendos of strings. Given the subject matter implied by the titles, the album itself has a dark, foreboding feel that seamlessly sheds itself, spontaneously, on “The Tender Ones”, which is characterized by truly moving piano work that tells a story of…what, exactly, is difficult to say. Regardless, Lastovicka’s playing is distant, quiet, and eerie, yet somehow simultaneously comforting, like a childhood vision returned to either haunt or goad you into lord knows what.
“Abraxas” probably features the most raucous performance on
the album, which itself is fraught with tension that bursts at times (such as
on “Abraxas”) with stunningly shrieking strings so loud you won’t hear your
phone ring. Still, Lastovicka manages to tell both sides of the story,
tempering such unrestraint with faint piano tickles, shifting moods and emotions
along the lines of again, exactly what,
is difficult to say.
The album’s first single, “The 7th Chapter of Job ”, was released in November and is most memorable for the singing of Kimberly Tobola, Diana Cataldi, and Laura Backley—a soprano, mezzo-soprano and contralto, respectively. The sheer power (and volume) of the high notes is overwhelming in parts, building this composition to a fantastic finish.
The scope of this offering, which only spans five tracks, is extremely expansive with more than one song clocking in at over 10 minutes. It may be of more than academic interest for those prone to sample, who’ll just have to wait for its April release. Fortune Has Turned (Remixed) is sure to create a ripple effect in the classical music community…and perhaps in the occult, biblical, or spiritual ones, as well.
The self-titled CarnyMusic EP showcases the best of Mike Carnahan, lead singer of The Green Door. Carnahan is not only an accomplished vocalist but, judging by his efforts on the four tracks on this collection, an exceptional guitar player and songwriter as well. He also knows a thing or two about working that good ol’ studio magic for brain-bending effects that seem much more than, but conceivably only rely on, the combo of guitars, accordion, percussion and organ that are credited on this extended player.
“Close Your Eyes” is by far the most effective tune of the set, and illustrates the finer points of CarnyMusic’s compelling guitar work. It’s becoming more and more rare to find spooky songs or those designed to rivet audiences rather than compel them to dance. However, “Eyes” is definitely one such number, reminiscent of vampire movies in the 80’s or The Doors on Strange Days and “Riders of the Storm”. You could definitely dim the lights down, crank this one up, and get deep off into the zone.
“Start Another Week” offers a thoughtful counterpoint to the thrills on “Eyes”, highlighting CarnyMusic’s range as a songwriter and vocalist. The singing is sweet yet not saccharine, and the guitar playing is arguably the swiftest of the collection. The song goes hardest when CarnyMusic stays away from the formal production of the accordion and sonic effects and lets his guitar strumming overwhelm the listener with its rising currents. Carnahan’s tenor is truly accomplished on this track as he contemplates a wealth of concerns about starting the work week.
“Beetle in the Sand” hints at the depths of psychedelic songwriting that Carnahan fully realizes on “Close Your Eyes”. It’s got a lively swing and is characterized by unusual percussion, especially with one of the most original sounding snares this reviewer has had the pleasure of hearing, which punctuate the high points on the track. After threatening to “follow you home”, Carnahan shoves the words aside and gets to wailing for a substantial part of this track, proving that diction’s not always required to evoke emotion.
The opening number, “Riptide”, is by far the most reflective on the EP. It demonstrates Carnahan’s propensity towards introspective lyrics that work well with his falsetto. Although perhaps overshadowed by some of the other tunes on the release, it helps to round out the collection as a solid body of work.
Todd Warner Moore’s music, specifically on his latest long player, Spark, is nothing if not original. Each track is heavily steeped in a solid foundation of guitar work—the singer songwriter strums both acoustic and electric guitars equally peerlessly—with the poignant insights of a man who’s lived on a number of continents, countries, and, by extension, cities.
Originally hailing from Kansas City, Kansas, the vocalist/instrumentalist cut his chops singing and touring with Acoustic Juice throughout various parts of the Midwest during the 90’s. He formed the band Tea Thieves in Budapest more recently, with which he released three albums to critical acclaim. Nonetheless, for the past eight years he’s been based out of Hong Kong’s Lamma Island, which fueled the inspiration for two releases in 2018, Spark (released on Halloween) and Lapis Lazuli, which dropped last summer.
When Moore and his eclectic assortment of vocalists, instrumentalists, and percussionist Larry Salzman are on, they’re really on on Spark. It’s worth noting this album is curiously devoid of any drums, yet the rhythms of the guitars and the richness of the percussion ensure there’s no such void for those prone to head nod, or simply sway while enveloped within the pristine melodies besieging them. The guitar licks on the title cut set the tone for the rest of the album, reminiscent of the riotous guitars on Six Pence, None the Richer’s ubiquitous movie soundtrack ode “Kiss Me”.
The vocalist goes for a distinctive campfire feel—which actually characterizes most of the album, albeit in sylvan settings as opposed to those of beach environs—on “Gift”, which simply works wonders with its smattering of strings, touching lyrics and harmonies attributed to Moore and background singers Leah Hart and Michael Kentish.
In fact, there’s not a bad number on the collection on which Hart graces her airy soprano, particularly on “In the Water”, an instant classic tailored for radio play, malls, or the bedroom, even. The most vivacious moments of the tune are unequivocally the chorus, which springs to life with ineffable guitars and crooning ready for pop audiences anywhere. Davide Severi busts out the piano chords on “Right Inside the Room”, which is guaranteed to take you there, wherever that may be.
Mere seconds into the track the listener’s transported to a misty, fog-soaked afternoon in which everything one needs—including that special someone else—is “right inside the room”. The sonic backdrop is perfect for Moore’s observations about life, fulfillment, and that perfect place where, seemingly, happiness and contentment meet and yield to one another, for your listening pleasure.
This is just one of the many cuts on the album proving Moore knows what he’s doing with his artistry, and can get it right, at the right time and place, when he wants.
Given the current climate, it is always important when an artist can use their platform to talk about social issues. On Trapper Schoepp’s latest, “What You Do To Her”, featuring Nicole Atkins, he very explicitly addresses sexual assault towards women in a way that drives the message home effectively. With a chorus that begins by stating, “What you do to her, we all see”, Trapper isn’t holding back on a very serious issue. The lyrics also dispel of common excuses that people try to use to justify misconduct as well. It’s an important reminder, especially as the world is increasingly addressing sexual assault, and it is done well by Schoepp and Atkins. Check out the Casey Hoaglund-animated video below:
2019 is off to a great start for Milwaukee from a musical standpoint, as one of the most anticipated albums of the year, Abby Jeanne’s “Music Box Dancer”, was released last Friday. The album is about halfway made up of singles that have already done well on their own, but still flows together well in the context of a full album with previously unreleased material. In fact, just about any song on this release could be a single, thanks to the strong songwriting and production that went into the album. In many ways, this feels like the set up to something much bigger for Abby Jeanne, who already has had a strong couple of years of leading up to this moment. We’re excited to see where this propels Abby Jeanne, but for now, enjoy “Music Box Dancer” in full below:
Look, there’s almost no way to completely sum up 2018, or any year for that matter, when it comes to Milwaukee music. That being said, this is not a “best of” list or a “top (x number)” type list. Hell, the songs aren’t in any specific order other than roughly going from January to December, and even that is a little fuzzy. We’ve covered a ton of local music here, and quite frankly this is something that we love doing, and we’re glad to do on a daily basis. Moreso, we love seeing the music that is coming out of our hometown, and there has been a ton of great quality stuff in the last twelve months. Overall, Milwaukee is going through a renaissance right now, and as the city continues to grow and evolve, so will the ever-impressive music scene. Here’s (not all, but a good portion of) the musical highlights that Milwaukee has had to offer this year. We recommend that you play this on shuffle. Cheers.
Singer and songwriter has Casey Kalmenson loves to expressing and re- inventing through music. Based in sunny California, Casey writes tasty songs filled with spunk and flavor. This girl truly loves to sing. You can find Casey’s covers on her instagram page.
Besides singing solo, Casey is also a part of an indie trio called “ Little Monarch”. Despite being a relatively new, the band has released several EP albums and has already hit over 20 million plays on Spotify. Little Monarch creatively combines pop, soul and rock styles.
Singer/Songwriter Trapper Schoepp is gearing up for the 2019 release of his new album, “Primetime Illusion”, which is set to release via Xtra Mile Recordings in January, but we’re getting a glimpse into the new record today with the release of the video for “Freight Train”. The track is a staple of Trapper’s live set, and you may not know, but is also a cover, originally performed by Double Happiness in 1988. The song, which is about the reality of being afflicted by AIDS and HIV, was passed down to Schoepp, who is including his version on the new record. The video for the track features a studio session, led by Trapper on guitar and Patrick Sansone of Wilco on piano. It’s a strong version of the song, and a good sample of what is to come when “Primetime Illusion” is released on January 25th. Trapper Schoepp has a tour of the UK coming up in March, but you can check him out live at the Back Room at Colectivo on February 2nd before that, and check out the video for “Freight Train” below:
English singer-songwriter Michael Jablonka may be a name to watch on an international level, as evidenced by tracks like his latest single, “Papier-mâché”. The track is anchored around an incredibly catchy hook, and Jablonka’s guitar skills are on display with a blistering solo smack dab in the middle of the song. With an overwhelming feel of general coolness that seems to dominate European indie rock tracks, the song is incredibly radio-friendly, and should propel the London-based artist to new heights. There aren’t many true guitar slayers left, but you may need to add Michael Jablonka to that short list after hearing this single. Check out “Papier-mâché” below:
Abby Jeanne has had a major 2018, and with the scheduled release of her new album, “Music Box Dancer” on January 4th, and a headlining show at Turner Hall Ballroom on January 5th, a big 2019 is in the works as well. We’re getting glimpses of the new album, and most recently, Abby released “Pleasures Pain”, a brand new single from the release. The track has an almost surf-rock feel to it, with Jeanne’s attitude and strong vocals taking a commanding presence of the song. It’s a very summer-ready record, and will likely make a big impact not only when the record comes out, but when she plays it out throughout the year. Check out “Pleasures Pain” below:
It was a brisk, early fall evening when Leon Bridges took to the stage in Milwaukee to put on a wholesome and heart-warming concert. The modern-aged soul singer walked to the stage and promptly began his set with an unmatched coolness that I have not seen before. The way he carried himself on stage was a culmination of 60’s swagger, with his teal bell bottom jeans and a hint of stage fright. Not to say he was nervous by any means, but his demeanor hinted that he still gets those pre-show jitters, and thrives off it.
Hot off his sophomore album, “Good Thing”, Leon Bridges opened with “If It Feels Good (Then It Must Be)”. The crowd jumped to their feet and began swaying with the soulful sound that Bridges has come to be known for. It was clear that he was excited to be back in Milwaukee, as he greeted his show goers with no sense of pretentiousness. It’s always refreshing to see an artist that loves what he’s doing and tries to make each show special.
Even though he just released an album this year, Leon showed tremendous love to his debut album “Coming Home”, as he played damn near every hit on it, but started with the cool and classy jam “Better Man”. One thing that stood out to me in his show was how amazing the sound was. There was little to no variation from his studio sound to his live show. Every pitch was, dare I say, perfect, and the vocals so powerful that it moved you to your core.
Photo by Adam Miszewski
As Leon played song after song, he would switch up from high energy songs to his slower swaying songs that would still have everyone moving. Leon can effortlessly keep everyone in the crowd moving to his music, even though the slower jams he is more known for. I think in large part that is due to his constant movement on stage. He has the same vigor and energy as James Brown did, and it’s very clear that Leon uses James Brown as a sort of style guide from his clothes down to his movements. Although he uses the legendary soul singer as a reference, it never feels unoriginal or copied. Bridges maintains his own feel in every way.
Bridges really hit his stride about halfway through the show, when he played “Beyond” and the whole crowd erupted into singing with him, with the singer inviting the crowd to do the backup parts. From then on, the show was completely electric and Leon showed no signs of losing this energy.
Without a doubt, I would love to see him again. Maybe indoors next time, but the BMO Pavillion was a fantastic sounding venue for someone who is really blossoming into the national music scene. With soulful and original lyrics that still hook the listener into what he’s trying to say, Leon Bridges has so much more music to create, and I hope he continues to do so. That kind of talent mixed with nostalgia and originality definitely has a welcome space in the musical world.
Thursday, Sept 20, 2018, a sold-out show at the Pabst, the faint smell of pot in the air, the Pabst Theater was pitch black when the crowd began to roar as Father John Misty walked out to the stage. Without any introduction, Josh Tillman aka Father John Misty started what would be a righteous experience of pure indie rock gold.
Hot of his newest LP “God’s Favorite Customer”, FJM played a little of everything he created over the past 4 albums. There is something very refreshing about an artist on a newly released album tour that still doesn’t stray away from the songs that people love and gave him the fame he has today. In his 23 song setlist, he played a myriad of songs spanning across his discography.
Opening with Hollywood Forever Cemetery Sings, one of his older jams from 2012, the Milwaukee crowd showed no hesitation in giving FJM love. It was clear that this crowd was enamored by FJM’s presence and from that point on he did not stop. Churning out song after song, It wasn’t until Ballad of the Dying Man that Mr. Tillman addressed the crowd and that was to praise his guitarist.
Typically this grinds my gears. I thoroughly enjoy a set where the artist is happy to be there and relates to the crowd. But, for some reason, this was the first show I’ve seen where It didn’t faze me. It could have been for multiple reasons, but what I attribute to this is that It’s just not Father John Misty. Recently there’s been some outcry against FJM’s character, see Ryan Adams sounding off, but that certainly did not detract from the show we experienced. Nothing felt rushed, the sound was fantastic and Father John Misty’s stage presence was anything short of angelic. Come to think of it, he actually looked a bit angelic and god-like, which is very interesting for someone who is a not so subtle way shits on religion.
As the show proceeded the band took turns from being on the stage to just letting FJM have his solo moment in the spotlight, which I think really showcased how great he sounds live. His studio recordings are nothing to sneer at but to hear how fantastic it sounded in such a huge venue like the Pabst Theater. You could hear every twang of the string of his guitar, every vibrato in his voice and every plunk of his piano keys.
Some parts were hauntingly beautiful, particularly in the song God’s Favorite Customer as the crowd was absolutely silent. Aside from that being something I’ve never experienced at a show before it truly added to the whole experience of what I felt FJM was trying to achieve. People were there to see him and after selling out a show it was very clear that he was comfortable to the point of arrogant with how well he could manipulate the crowd.
There were no lulls in his show at all, but one of the stand out moments came to fruition in the form of Pure Comedy, one of his more famous songs and particularly slower hits. The crowd stood and swayed and sang with Mr. Tillman as you introspectively thought about how the song is as beautifully tragic as it is funny.
A show was to be had at Pabst this Thursday, and Mr. Tillman did not disappoint a single person. After ending his main set with a famed classic I Love You, Honeybear, Father John Misty came back and played a 4 song encore. It was a fantastic show, played by one
of the most popular singer/songwriters of this generation. My hat is off to you Mr. Tillman, Milwaukee wants you back as soon as possible.
Setlist:
Hollywood Forever Cemetery Sings
Mr. Tillman
Total Entertainment Forever Nancy From Now On Chateau Lobby #4 (in C for Two Virgins) Ballad of the Dying Man Nothing Good Ever Happens at the Goddamn Thirsty Crow Hangout at the Gallows Only Son of the Ladiesman When the God of Love Returns There’ll Be Hell to Pay Please Don’t Die I Went to the Store One Day Disappointing Diamonds Are the Rarest of Them All God’s Favorite Customer Real Love Baby Holy Shit Pure Comedy So I’m Growing Old on Magic Mountain I Love You, Honeybear
Encore:
Funtimes in Babylon When You’re Smiling and Astride Me The Palace Date Night
Singer/songwriter Brett Newski is nothing short of a constant worker. This year alone, Newski has already had several singles out, as well as an EP that was released in February. On top of that, Newski’s latest album, “Life Upside Down” was released last Friday. Produced by Hutch Harris, the album is ten tracks with a common theme of liberation. Newski himself describes “Life Upside Down” as a “catharsis to a happier brain and sense of belonging.” Singles including “The Aftermath” and “Can’t Get Enough” are standouts, but the album as a collective work is some of Newski’s finest. Check out “Life Upside Down” below:
At only 16 years old, Swedish born singer songwriter Valle Hope has been turning heads with a pop sensibility and a songwriting ability well beyond his years. With his debut EP, “Your Missed Calls” dropping via London label ADSRecords in advance of the beginning of the school year, there’s definite potential for Hope to become a college radio sensation. The comparisons to Ed Sheeran make themselves on this record, but Hope provides his own unique flare to the pop-friendly singer-songwriter sound, with a vocal range that leans towards the lower end of the spectrum and a more stripped down guitar tone. Get your introduction to Valle Hope with “Your Missed Calls” below:
Claire Kelly has been on a hell of an adventure over the course of the last few years. After moving to Nashville to pursue her career around the majority of the music industry, she’s put out an EP, toured behind it, and recently went on a small European tour in spring to spread her music to new territories. As of last week, Kelly is back with her new EP, “Don’t Quit Your Daydream”, which features five more heartfelt, well-crafted tracks from the singer/songwriter. Vocally, Claire Kelly is nothing short of stellar, and while she performs many shows by herself, the accompaniment of a full band always works wonders for her sound. While the subject matter on this EP hits many different dimensions, standouts on this release are “Taste Of Home”, as well as the title track, and both capture the spirit of always adventuring, looking for new experiences and memories. Check out “Don’t Quit Your Daydream” below:
You may know Sean Anderson from his other bands, Yum Yum Cult and Antler House. However, as a side project, Anderson has struck out on his own for a solo act, Supertentacles. The debut track from the new project is “Sinsinawa”, which blends acoustic, electric, and world music elements to create a hypnotic, almost zen-like hybrid. Multiple vocal takes gives Anderson’s lyrics some dimension, and the layers upon layers of instruments give this track some depth. Supertentacles is an interesting, creative sidebar, and we’ll expect more soon. Get introduced to the project with “Sinsinawa” below:
Liam O’Brien and his rotating cast of Faithless Followers are approaching music in a very different perspective than most artists within the city. While being led up by one person, the band takes a communal approach to an elaborate sound, and that’s on full display with his newest EP, “Nowhere To Go”. Each follower brings something different to the table, with everything from O’Brien’s guitar to a four track recorder to samplers, and even a bouzouki coming into the mix at some point. While keeping things cohesive, O’Brien also brings a variety of tones to this project as well, combining tracks like the simple, humble single “Bag Of Bones” to the 13-minute trance-like closer, “Waken”. If you’re looking for something deeper out of your music, you’ll find that on this project. Check out “Nowhere To Go” below:
Currently a regular performer throughout the city, singer/songwriter Ben Wagner is taking his music to the world with his debut full-length album, “Midwestern Comfort”. The songs that make up the album were crafted over a two-year timeframe, which allowed for Wagner to perfect his songwriting and recording with producer Quinn Redmond in Nashville. The album was written in a period of transition for Wagner, which most recent college graduates face. Many of the songs deal with figuring out a sense of direction, such as recent single, “Take My Time”, which became a finalist for the Great American Song Contest, and two other tracks, “After The War” and “Breathe”, debuted on the Nashville Songwriters’ Association International (NSAI) Top 40 chart. It’s a turning point for Wagner, and you can check out the album below:
Liam O’Brien is gearing up for the release of his new EP, “Nowhere to Go”, and we got a glimpse of what’s to come with the release of the video for the title track. Created by Cheston VanHuss, Ellie Jackson, and Dena Aronson, the video is compelling and emotional, with a reflection on aging. The song definitely matches that feel, with O’Brien and his Faithless Followers providing a somber, warm sound. With a full band in tow, it gives Liam O’Brien the necessary tools to show off his brand of eclectic Americana, and this track is a great example of that songwriting ability. Check out the video for “Nowhere To Go” below:
Indie Singer/Songwriter Lissie has had an extensive career since her debut album, “Why You Runnin” came out in 2009. Since then, she’s made a name for herself both domestically and overseas, and released her fourth LP, “Castles” earlier this year to critical acclaim. We caught up with Lissie ahead of her set at the Johnson Controls World Sound Stage. Check it out here:
B&E: This is only your second time playing Milwaukee, and your first Summerfest. Did you get to see any of the city when you were here?
Lissie: When I was 18, after high school, I actually got to go to Summerfest. It ended up being kind of a fateful experience. I was a big fan of G. Love and Special Sauce, and I jumped on their stage while they were playing, and got kicked off, and then I… jumped on their stage again (laughs). We ended up sneaking back to the tour bus, and I told G. Love and his band and his manager that they should let me play some songs for him, and they totally indulged me. They let me play one of their acoustic guitars, and actually wound up flying me out to Philly to try to develop me as an artist. But I was in college at the time so it didn’t work out. I’ve always wanted to come back as a spectator and a performer, and now I get to come back to play this time. How cool is that?
B&E: That’s amazing. What ever became of that?
Lissie: It was definitely a good way to understand how a studio works. Like you just play the guitar, and then you have another track for the vocals, and channels and all of that. Like it was a learning experience for sure. That wouldn’t have happened if I wasn’t really bold at Summerfest. But my aunt and uncle are from Whitefish Bay, too, so I know a little bit about the city. And I remember eating at this German restaurant by Turner Hall.
B&E: You’re playing this tour in support of your new album, “Castles”. How would you describe the sound of the album?
Lissie: Well it’s my fourth full length album, and I think it’s a lot more atmospheric, and slightly moody and dark, but it has some hope in it as well. It’s very personal, you know, and it talks about real stories of what’s gone on in my life. “Castles” was made in the process of a relationship that didn’t work out, and so it was in the middle of trying to let go of someone, and it kind of took a while to cut the cord and grieve the loss. Ultimately “Castles” was kind of a learning experience, to go into the darkness and confront myself, and to really move on and let go a little bit.
B&E: You moved from California to a farm in Iowa before this record. Did that influence the sound of the record?
Lissie: You know I don’t think so, really. It’s funny, like, my last album “Wild Wild West” was about deciding to change how I live my life and deciding to leave California after twelve years, and buying this farm was a big pin in this whole decision. It came with a lot of, not pressure, but I have almost 50 acres of land. So making “Wild Wild West” was me getting ready to start this new chapter. I got kind of distracted by this relationship that “Castles” was about, so I was able to use the solitude of being out in the country to reflect on the relationship, I think. I was able to write a lot of the songs here and record some of it in my little home studio. But I’m not sure I’ve been here long enough that, now that I’m free of this relationship. So I don’t think it influenced that much of “Castles”, but I think it’ll play a role going forward now that I’m out of this past chapter. If anything I think it gives me a chance to be out on my own with my thoughts. That helps songwriting.
B&E: One of the first times that I had heard of you was your cover of Kid Cudi’s “Pursuit of Happiness”. Are there any covers you’re planning this time around?
Lissie: Not really. Actually, I just played Bonnaroo and I brought “Pursuit Of Hapiness” back. I thought I’d retired it, in the United States at least. In Europe, I do well with my own music, but I think in the United States that Kid Cudi cover was the way that a lot of people found out about me. So as much as I don’t want to like, play it out or belabor it, because it is Kid Cudi’s song, I feel like people expect to hear it. But there was a time when I was in California and had the same backing band for six years, and we would do covers. We covered One Direction, we covered Metallica, or Lady Gaga, and Bob Dylan, just because that was fun for a group for us to do. Now I play with a Minneapolis based band, just because that’s closer to where I live and it works for rehearsing. We’ve started to talk about wanting to do an ABBA cover, but we haven’t had time to work on it with touring. Probably not in time for Summerfest. But I do like taking people’s songs and getting to re-imagine them in my own voice.
B&E: It helps that it is a great cover, though.
Lissie: It was an awesome moment. Like we just kind of decided to play the song, and then it kinda went viral. And I love the spirit of the song. I think that’s what’s so great about music. Like when I put songs out, they’re my life and my experiences, but then I get to meet all these people who reinterpret the songs for their own lives and their own situations, and they get to apply it to whatever they were going through.
B&E: You’re touring back and forth from Europe this summer. Why did you agree to such a crazy touring schedule?
Lissie: Yeah! I think the business is different now. I was signed to a major deal there in like 2007. In the States I was considered being part of an indie label, but in the UK and Norway and places like that I had the muscle of a major label behind me when it came to budgets and tour support. I had a number one song in Norway in like 2010, and have been fortunate to have albums in the top 20 in Europe. “Castles” actually made the top 10 in the UK. I think it’s been a combination of having the muscle behind me, and then like a lot of serendipitous moments. like meeting a lot of Norwegian artists, or we played a festival and the sun came out in the middle of our set and everyone cheered, and that endeared me to the crowd because it was a fun moment. Plus having more opportunities for press and things like that over there makes things different.
B&E: Do you have any moment from playing live that stands out as being one of the coolest things you’ve done?
Lissie: Yeah it’s kinda between two moments that I kind of go back to. My first album came out in June of 2010, and I had done some touring before that, opening up for Lenny Kravitz and Ray Lamontagne and things like that, but not like where people were coming out to see me. Then I played Glastonbury in the UK, and getting up and there’s like 10,000 people there. I was totally a deer in the headlights like, “woah, what is going on? I have this like, momentum”. And like I’ve been working at this since I was 18, so this was like that moment where it felt like my hard work paid off, and I felt like I could have a career playing music. The other is that summer in Norway at a festival called Slottsfjell. It was raining and kind of gloomy. In my song “Everywhere I Go” I have this whole thing about like the angels calling me home, and I hit this really high note, and as I hit the last chorus the clouds parted and the sun came out and everyone cheered. It was such a beautiful, dramatic moment. I’m always grateful for what I do, but sometimes you feel jaded or burnt out, so I get to go back to 2010 and think of moments like that.
B&E: So after all of this crazy touring, do you have anything planned for later this year?
Lissie: Yeah, so we just put together this band in Minnesota, and we’ll be playing a lot in the Midwest to promote “Castles”. We’ll be doing both the Iowa and Minnesota State Fairs, which is great for me, because I didn’t like the Midwest growing up. I moved out when I was 18, but like, I’ve grown to really like it now in this point in my life. I can try to build up my career more regionally now, because that’s where home is and that’s where my family is. We do need to hit the Southeast, because we kind of missed them on this last tour, so I’ll continue to tour into the fall and early winter.
There is, also, a plan to make another album. I’ll probably be putting out some sort of collection of songs. If I had my way I’d like to be able to spend some time nurturing my Midwest following for a while. And like, I wanna get another dog, and I wanna get donkeys. You can’t really tour when you have donkeys (laughs). It would be kind of fun to take a period of time to live the farm life and have animals. I have a big garden that I’m really into and it would be cool to live there, and then like, take a truck up to Milwaukee to play a show, and come back the next day to feed donkeys. But I don’t know! Something big could happen and I could be like, touring Japan. That’s the beauty of this business.
B&E: Have you gotten back to Summerfest since that initial G. Love moment?
Lissie: No, actually it was just the one time. I always wanted to. After jumping on G. Love’s stage, I kinda had to get out. I got kicked out of high school, so like I had to get out of the little town I grew up in, because I was kind of paranoid that people thought I was a bad kid, and now they know that I’m just trouble (laughs). But I got out of the Midwest. I moved to Colorado and then to California, so I haven’t really been around until like the last few years. My aunt and uncle have a cabin outside of Milwaukee on a lake somewhere. I go there sometimes with my family. But only one Summerfest. We were like 18, and we got really drunk and snuck in or something, and then we got to their bus. Like, if someone did that and got back to my bus now I would totally not be feeling it. If I saw myself then I would be so freaked out by me. (laughs).
B&E: If you had to pick someone to tour with, who would you pick?
Lissie: Let me Google it quickly! Okay so, love Bonnie Raitt, that would be amazing. I think J. Cole’s pretty cool. The Weeknd is amazing, and Big Boi, and Arcade Fire?! Yeah let’s go with my first one, because now that I look at it there’s like a million people on here. Like The Flaming Lips, Pixies, this is gonna be amazing! I mean, Janelle Monae is awesome. I have mad respect for her. I think Cheap Trick is from close to me right? Oh Yonder Mountain String Band, I used to see them a lot when I was in college. Love Jonathan Davis from Korn, I was a big Korn fan actually. Basically they all look really good so I’m just gonna go with my first one and say Bonnie Raitt. Like, she’s such a hero of mine.
You can catch Lissie on Friday June 29th at 10:00 on the Johnson Controls World Sound Stage
Ben Wagner is gearing up for a big 2018, including the release of his debut album, and we get a great preview of what’s to come with his new single, “Take My Time”. Clocking in at under three minutes, the track is a well-crafted, radio-friendly tune that blends a bright sound and even brighter horn section. The track is personal in tone, as it relates to navigating life’s twists and turns, and ultimately the resolve is to enjoy the most of your moments. “Take My Time” was recorded in Nashville, and is already a finalist for the Great American Song competition. We’re eager to hear what Ben has in store next, and you will be, too, after getting a listen to “Take My Time” below:
After a shake up in personnel, Twin Brother is back with a new album, “Rightfully So”, in time for Sean Raasch’s birthday. The album is seven tracks of downtrodden indie Americana bliss, with a subtle twang that hits home at all of the right moments. Led by single “Talk For A Moment”, the album flows smoothly, with intricate layers coming together for well-crafted, honestly delivered tracks. Any way that you look at it, this is a strong release, and a testament to Raasch’s songwriting ability. Hopefully this elevates Twin Brother to new levels of popularity, both locally and beyond, as this record proves that he more than deserves it. You can check out Twin Brother tonight at The Tonic Tavern, and check out “Rightfully So” below:
