Originally from the Louisiana, LA newcomer JT Spangler brought soulful melodies to the Sunset Strip last night, conveyed with a voice that silenced the room through moving a cappella and then guitar-driven acoustic love songs (for no one.)
Perhaps it was the small space, but it seems that there is a quality about JT’s voice that resonates even after he finishes the note; the lyrics, too, continue to exist in the room after their spoken.
In “Lullaby,” JT sings “Life don't make sense, she trades her youth to pay the rent, and she worries she'll break, cause she can't bend.” In “Impossible,” he declares “If I were a sculptor with my hands, I'd scrape away your demands, and cut on through, I'd mold the excess near perfection, It'd be just like you, but brand new.” Throughout all songs, lines appeared to rhyme effortlessly, creating a fluidity of sound that was a pleasure to witness.
Although storytelling is at the root of all of JT’s songs, he reminds the audience that his songs are not necessarily autobiographical. After all, it is not necessarily the job of an artist to put their life to music, but to observe experiences and place them into the context of art so they can go on to help others. As JT also suggested mid-performance, the songs don’t care about the original story – who was right, who was wrong, who was loved – they just are what they are; they are what the artist allows them to be.
In addition to featuring songs from his new EP “Love Songs for No One,” JT sang two well-chosen covers (Bill Withers’ Who Is He and Steve Wonder’s Never Had a Dream) and debuted new track “Good Morning, Baby,” about a kind of love that brightens all parts of the day and makes them worth celebrating.
Learn more about JT Spangler and hear samples at www.myspace.com/jtspanglermusic
or at www.jtspangler.com.
Surrounding JT’s performance at The Cat Club last night were short sets by fellow LA residents Isaac Johnson (acoustic/rock/pop), Chris Parish (folk/rock/alt), and the ever versatile Dave Yaden who was accompanied by acoustic/rock artist Curtis Peoples.
Announcing his brand new music video “Back Where I Started” (online now), and the release of his self-titled debut album due August 19 (CD party to be held at Roxy), Curtis presented a preview of the ten tracks born from a collaboration with some of the top pop/rock artists in the country (Ryan Tedder from One Republic and Tyler Hilton), as well as an individually strong capacity for songwriting and arranging.
Although Curtis is brand new to the LA music scene, he appears to have already found an audience and an identity. He knows exactly what he wants the listener to feel the then takes them there passionately. Also, for a new artist, he seems to have a very firm grasp on what kind of artist he desires to be. While each song has its own distinctive personality, they all work within the clearly defined breed of rock that is Curtis’ sound and vision. They manage to offer uniqueness and still be reliably great.
Learn more about Curtis People and hear samples at www.myspace.com/curtispeoples or at www.curtispeoples.com
A night of high caliber musicians ended with the consistently-impressive Dave Yaden, a multi-talented artist who has shared the stage with, produced and co-written with some of the world’s top performers and songwriters (Sheryl Crow, Willie Nelson, One Republic, Lady Antebellum, Marc Broussard, Josh Kelley, Tyler Hilton). With full album “Bear Me Up” due in August, Yaden’s music features piano and lyric-driven folk-rock songs that hit hard and keep you singing.
Looking around, I saw several people who trekked out to West Hollywood on a very late Tuesday night to see Dave and sing along carefully to every word. This is as much a testament to his growing and dedicated fan-base as it is to the accessible quality of his songs and passionate piano playing.
A rhythmic performer, Dave has the habit of pulling his arms away after giving them to the piano’s stronger chords, almost as if plucking a string instrument. He proves that simply because a performer is “stationary” at a keyboard, they can still be the most animated member of the stage. Literally, every move Dave makes during a show, whether striking a key or leaning into the mic, creates emphasis, creates an experience.
Stay tuned for more news on this exciting artist and his CD release. Learn more about Dave Yaden and hear samples at www.myspace.com/daveyaden or www.daveyaden.com.
Review by Bre Goldsmith ( www.bregoldsmith.com )
Saturday, June 7, 2008
Looking for something cool to do on a Monday night?
A few weeks into his Monday-night residency at Molly Malones, the incredibly versatile and talented Rob Giles rocked the stage with guests Adjoa Skinner and The Rescues (see The Rescues review from May 8).
If you’re not already familiar with Rob Giles, know him as the artist who likely has produced some of your favorite albums by local emerging artists (to name a few: Laura Jansen, Nina Storey, Tim Fagan and Lisa Donnelly) and worked with such prestigious talent as Willie Nelson, Kid Rock, Will Hoge, Tom Petty, The Dixie Chicks, Collective Soul and Patty Griffin.
A testament to Rob’s generosity and wide support of the LA indie/rock/aoustic scene, he has begun a tradition of inviting artist friends to share the stage with him during the Monday night performance. As a result, each Monday show is quite unique; so, if you’ve been to one of Rob’s shows before, don’t use that as an excuse not to return!!
Rob’s recent solo work, including soon-to-be-released album “Happy” and “This is All in Your Mind” (2007), features thoughtful emotive compositions with lyrics ranging from comical to tender and profound. At the heart of each song is a deep understanding of musical arrangement and a relatable story which Rob guides you through eloquently.
So, if your last Monday night fell short of brilliance, treat yourself to a pint or two of beer at Molly Malones, some tunes that will surely inspire the rest of your week, and the opportunity to discover where the real talent is hiding out at.
Learn more about Rob Giles and hear samples at www.myspace.com/robgilesmusic or at www.robgiles.com. Visit Molly Malones online at www.mollymalonesla.com.
Review by Bre Goldsmith ( www.bregoldsmith.com )
If you’re not already familiar with Rob Giles, know him as the artist who likely has produced some of your favorite albums by local emerging artists (to name a few: Laura Jansen, Nina Storey, Tim Fagan and Lisa Donnelly) and worked with such prestigious talent as Willie Nelson, Kid Rock, Will Hoge, Tom Petty, The Dixie Chicks, Collective Soul and Patty Griffin.
A testament to Rob’s generosity and wide support of the LA indie/rock/aoustic scene, he has begun a tradition of inviting artist friends to share the stage with him during the Monday night performance. As a result, each Monday show is quite unique; so, if you’ve been to one of Rob’s shows before, don’t use that as an excuse not to return!!
Rob’s recent solo work, including soon-to-be-released album “Happy” and “This is All in Your Mind” (2007), features thoughtful emotive compositions with lyrics ranging from comical to tender and profound. At the heart of each song is a deep understanding of musical arrangement and a relatable story which Rob guides you through eloquently.
So, if your last Monday night fell short of brilliance, treat yourself to a pint or two of beer at Molly Malones, some tunes that will surely inspire the rest of your week, and the opportunity to discover where the real talent is hiding out at.
Learn more about Rob Giles and hear samples at www.myspace.com/robgilesmusic or at www.robgiles.com. Visit Molly Malones online at www.mollymalonesla.com.
Review by Bre Goldsmith ( www.bregoldsmith.com )
Nina Storey at Hotel Cafe
May 29, 2008 – With a modern twist of soul, Nina Storey’s vocal performance is an emotional powerhouse that demands short and long-term attention. Having worked with and/or opened for prestigious artists such as Etta James, Ani DiFranco, Patty Griffin, Linda Ronstadt and Sarah McLachlan, Nina has just released her fifth full-length album “So Many Ways from Me to You,” co-produced with the ever-talented Rob Giles.
Recalling such distinguished voices as Billie Holiday and Tori Amos, Nina folds indie, soul, rock, jazz and pop genres into her own breed of song-writing / arrangement, which features a piano, organ, tambourine, violin, cello, viola, guitar (acoustic, electric, steel, bass), percussion, drums, saxophone, trumpet and trombone. Even if all played together, these instruments would not be as powerful and prominent as Nina’s voice, which ranges from breathy to intimidatingly operatic and creates such a vibration throughout the room that it could nearly play the piano without touch.
From pop-driven “Change Her,” and bluesy get-up-and-dance “Getting Over You” to the tenderly expressive “Woman” “Little Conversation,” each song accomplishes its own feeling. What is striking about a few of Nina’s songs is that instead of fading out, they halt at the most vocally and instrumentally climactic point. In this way, Nina really knows how to energize the listener and invite them to hear more. Such effect was achieved when audience members sporadically broke into mid-song applause and then begged for an encore, which presented “This Naked Woman,” a track with seductive lyrics and flawless beats.
Learn more about Nina Storey at www.myspace.com/ninastorey or at www.ninastorey.com.
Review by Bre Goldsmith ( www.bregoldsmith.com )
Recalling such distinguished voices as Billie Holiday and Tori Amos, Nina folds indie, soul, rock, jazz and pop genres into her own breed of song-writing / arrangement, which features a piano, organ, tambourine, violin, cello, viola, guitar (acoustic, electric, steel, bass), percussion, drums, saxophone, trumpet and trombone. Even if all played together, these instruments would not be as powerful and prominent as Nina’s voice, which ranges from breathy to intimidatingly operatic and creates such a vibration throughout the room that it could nearly play the piano without touch.
From pop-driven “Change Her,” and bluesy get-up-and-dance “Getting Over You” to the tenderly expressive “Woman” “Little Conversation,” each song accomplishes its own feeling. What is striking about a few of Nina’s songs is that instead of fading out, they halt at the most vocally and instrumentally climactic point. In this way, Nina really knows how to energize the listener and invite them to hear more. Such effect was achieved when audience members sporadically broke into mid-song applause and then begged for an encore, which presented “This Naked Woman,” a track with seductive lyrics and flawless beats.
Learn more about Nina Storey at www.myspace.com/ninastorey or at www.ninastorey.com.
Review by Bre Goldsmith ( www.bregoldsmith.com )
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