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 )
Wednesday, May 21, 2008
The Rescues- Everything is Wrong Without You
In some ways, this review has been writing itself for over ten years. There is a series of events that have been layering themselves:
A friend of mine wanders into one of Kyler England’s acoustic performances at a coffeehouse in Boston in 1998; she calls me excitedly to come over and hear a CD called “If the World Would Just End” which, ironically, is the album which makes the world of music begin for me. A few years later, a different friend ran into some trouble which forced her to grow up faster than a girl should have to. After comforting words did what they’re supposed to, I decided to create a compilation CD, hoping that its lyrics and melodies would continue to soothe her as she learned to trust herself and the world again.
The disc, which offered carefully chosen tracks by Eva Cassidy, Bonnie Rait, Ellis Paul, Patty Griffin, Etta James, and a few other industry legends, could never have been complete unless Kyler’s music was a part of it. So, I added two of her most healing songs and, when satisfied with the grouping of tracks, I wrote- across the front of the CD- the only words that seemed to justify the wisdom inside it: “SONGS THAT WILL RESCUE YOU.”
The story continues in Los Angeles, where, a decade and four albums later, Kyler has joined forces with two of the nation’s top emerging singer-songwriters to create a group that is nothing short of compelling. Although this trio was almost called “The Whirly-Birds,” history makes it both ironic and brilliantly appropriate that they are now known as “The Rescues.” For, although many thousands of songs have passed through my mind since I created the album designed to save a drowning friend, I know that there could be no better follow-up compilation than The Rescues’ self-titled first album, whose 12 songs are capable of accomplishing as much as any variety of music I could try to collect.
One of the most significant aspects of The Rescues is that each of its components (Kyler England, Gabriel Mann and Adrianne) are individual forces, each working towards their own version of success. Gabe Mann is the type of artist who is passionate enough to always make his presence known, and humble enough to create an environment in which his voice lets others come through fiercely. With a singing career that began in a Philly-based a cappella group, led to work on movie soundtracks, and grew into a performance at the Oscars, Mann has proved versatility throughout the many faces of music-making. An accomplished songwriter and dynamic pianist, Gabe has just released his fourth album “Tall Buildings.”
The third member of the group to receive international acclaim, Adrianne is her own breed of distinctive. With a voice that is unimaginably strong and vulnerable at the same time, she can fortify you and make you weep before you have even applauded her first song. Adrianne seems like an artist who likes very much to challenge expectations; with the appearance of an unapologetic rockstar, she is, at the heart, a compassionate poet who fuses the acoustic and indie genres seamlessly throughout her five albums. After the recent completion of a solo tour throughout Europe, Adrianne is back in LA to pursue success with The Rescues, as well as to promote “Burn Me Up,” which will be officially unveiled at Hotel Café on May 29th.
Separately, these artists have shown a range of talents. Together, their voices have such a potent symbiotic harmony that they could exist as the whole band and still shake the room. Yet, the ever-adaptable Adam Marcello (drums), Carson Cohen (bass), and Steve Mazur (electric guitar) manage to support the trio’s sound in a way that compliments it and fills sound spaces without overwhelming.
This past Thursday marked the Los Angeles release of the group’s first album, a combination of songs that were either written by the trio or borrowed from one of the artists and reinvented to integrate the most significant aspects of each musician’s ability. The result is an exquisite balance that continues to astonish and gain support from LA’s top music industry contributors. Still waiting for a label to see what so many others have discovered and celebrated, the band is doing well on their mission to inspire listeners, raise the bar for LA’s acoustic category, and “rescue” those lucky enough to cross the path.
Learn more and hear music samples at www.myspace.com/therescues
Review by Bre Goldsmith ( www.bregoldsmith.com )
A friend of mine wanders into one of Kyler England’s acoustic performances at a coffeehouse in Boston in 1998; she calls me excitedly to come over and hear a CD called “If the World Would Just End” which, ironically, is the album which makes the world of music begin for me. A few years later, a different friend ran into some trouble which forced her to grow up faster than a girl should have to. After comforting words did what they’re supposed to, I decided to create a compilation CD, hoping that its lyrics and melodies would continue to soothe her as she learned to trust herself and the world again.
The disc, which offered carefully chosen tracks by Eva Cassidy, Bonnie Rait, Ellis Paul, Patty Griffin, Etta James, and a few other industry legends, could never have been complete unless Kyler’s music was a part of it. So, I added two of her most healing songs and, when satisfied with the grouping of tracks, I wrote- across the front of the CD- the only words that seemed to justify the wisdom inside it: “SONGS THAT WILL RESCUE YOU.”
The story continues in Los Angeles, where, a decade and four albums later, Kyler has joined forces with two of the nation’s top emerging singer-songwriters to create a group that is nothing short of compelling. Although this trio was almost called “The Whirly-Birds,” history makes it both ironic and brilliantly appropriate that they are now known as “The Rescues.” For, although many thousands of songs have passed through my mind since I created the album designed to save a drowning friend, I know that there could be no better follow-up compilation than The Rescues’ self-titled first album, whose 12 songs are capable of accomplishing as much as any variety of music I could try to collect.
One of the most significant aspects of The Rescues is that each of its components (Kyler England, Gabriel Mann and Adrianne) are individual forces, each working towards their own version of success. Gabe Mann is the type of artist who is passionate enough to always make his presence known, and humble enough to create an environment in which his voice lets others come through fiercely. With a singing career that began in a Philly-based a cappella group, led to work on movie soundtracks, and grew into a performance at the Oscars, Mann has proved versatility throughout the many faces of music-making. An accomplished songwriter and dynamic pianist, Gabe has just released his fourth album “Tall Buildings.”
The third member of the group to receive international acclaim, Adrianne is her own breed of distinctive. With a voice that is unimaginably strong and vulnerable at the same time, she can fortify you and make you weep before you have even applauded her first song. Adrianne seems like an artist who likes very much to challenge expectations; with the appearance of an unapologetic rockstar, she is, at the heart, a compassionate poet who fuses the acoustic and indie genres seamlessly throughout her five albums. After the recent completion of a solo tour throughout Europe, Adrianne is back in LA to pursue success with The Rescues, as well as to promote “Burn Me Up,” which will be officially unveiled at Hotel Café on May 29th.
Separately, these artists have shown a range of talents. Together, their voices have such a potent symbiotic harmony that they could exist as the whole band and still shake the room. Yet, the ever-adaptable Adam Marcello (drums), Carson Cohen (bass), and Steve Mazur (electric guitar) manage to support the trio’s sound in a way that compliments it and fills sound spaces without overwhelming.
This past Thursday marked the Los Angeles release of the group’s first album, a combination of songs that were either written by the trio or borrowed from one of the artists and reinvented to integrate the most significant aspects of each musician’s ability. The result is an exquisite balance that continues to astonish and gain support from LA’s top music industry contributors. Still waiting for a label to see what so many others have discovered and celebrated, the band is doing well on their mission to inspire listeners, raise the bar for LA’s acoustic category, and “rescue” those lucky enough to cross the path.
Learn more and hear music samples at www.myspace.com/therescues
Review by Bre Goldsmith ( www.bregoldsmith.com )
Ain’t No Love in LA without Ernie Halter
On Monday night at Hotel Café, the ever-amusing and soulful Ernie Halter gave a memorable love-themed performance to commence a nationwide tour with genre-sharing Josh Hoge.
Opening with “Count the Days,” Halter sang about missing someone “like California misses rain... like children miss summer” with guitarist Aaron Bishop and percussionist Mark Chipello. In “Different Lives,” a sincere Nashville-influenced song, Halter sang about empty sounds, unignorable differences, locked doors, and parting with a loved one to pursue independence.
More love-oriented lyrics prove that “love is not lost,” even when it appears that love has forgotten about you, even in the lonely city of Los Angeles. Additionally, the song “Lighthouse,” to be featured on the new album, discusses the type of love that is shown through unconditional friendship. Only post-shit-storm can one tell who the people are that are most dedicated to being the “your anchor, guide [for] your hand...your shelter.” Built from powerfully tender vocals, moving beats and harmonious instrumentation, these are love songs that are fitting for any state of heart: whether it is bursting, being torn from another, feeling invisible or starving.
An unfailingly charismatic man, Ernie glows even brighter when on stage; he has the type of charm that makes everyone around him feel as though they are a part of something truly special. Ernie can also coin phrases (ie: Fawesome), resurrect the slap-bracelet trend and show that the nightmare of standing in front of a crowd in one’s underwear can be survived with the help of the right fan base (contact for further explanation). His pricelessly unique stage comments/stories, which can sometimes occur mid-song as a verse-extensions, discuss everything from Vegas and the Gideon bible to crotchless panties, red-headed sluts and soldering irons. Ernie is, in addition to an incredible voice, a true entertainer.
Although local fans wish Ernie the greatest success as he presents his talent throughout the country, the LA music scene will surely miss his presence over the next two months and have a packed-house waiting for him upon return.
Learn more about Ernie and hear music samples at www.myspace.com/erniehalter
Review by Bre Goldsmith ( www.bregoldsmith.com )
Josh Hoge Creates a New Kind of Southern Charm
After a 2,000+ mile drive from Nashville this past weekend, Josh Hoge (vocals) and Jordan Jameson (guitar) rocked the Hotel Café stage on Monday to kickoff their 7-week nationwide tour with LA-native Ernie Halter.
Hoge was also celebrating his new record agreement with Blackledge, a new division of Atlanta for which he is the first artist. If you hear Hoge live, you will understand why he is an appropriate artist to define a label’s new branch; he is unapologetically unique and unforgettable. Stylistically, I attempt to describe Hoge’s music as Southern rock crashed into groove-worthy R&B and sensual whiskey-sipping soul. One of his defining philosophies is that apologizing for your experiences or the person they have created is wasted time that could have been better used to create great music.
Starting the set with “Take It or Leave It,” which Hoge wrote with Ryan Tedder of One Republic, Hoge sang “I don’t pretend to be pretty- Sometimes I tend to talk dirty- I can be country or city” to an excited toe-tapping and hip-shaking crowd. With “360,” the theme song for relationships gone wrong (and also karma), Hoge showed the range and strength of his vocal abilities. He has incredible control over every sound that comes out of his mouth and how it will hook the listener (also, to the crowd’s enjoyment, little control over the profanity of his story-telling.)
Later in the set, Ernie Halter (co-writer) joined Hoge on stage to perform Try,” a song about being on the road away from someone you love. Eric Robinson and Caitlin Crosby also joined to debut “Space,” a song about needing time with one’s own silence. A cover of “Aint No Sunshine” let Hoge mix his modern style and personality into a classic to brilliantly reinvent it. As with many of his songs, listeners needed to close their eyes to really appreciate the quality of his voice, which, even at its highest notes, is potent.
With an unpolished appeal and daringly forward humor, Hoge makes friends and creates fans wherever he goes. Even before the start of his tour (and a full four months before the release of his first album), he had the LA music community buzzing; add this type of support to Hoge’s exciting collaborations with musicians of many genres and you have an artist with versatility and staying power. Hoge is the type of artist who needs to be behind the mic for the rest of his life- he comes alive there. Still, he is also the type of artist who would never be deterred by the absence of a mic; it would simply give him a reason to sing a little louder, stand on something taller and let a little more of himself out.
Learn more about Josh and hear music samples at www.myspace.com/joshhoge
Review written by Bre Goldsmith ( www.bregoldsmith.com )
Friday, May 2, 2008
Amber Rubarth is Back in CA to Celebrate Her New Album!
Amber Rubarth is the artist whose wisdom you want to have within an earshot when life carves you jagged edges and you need smoothing.
She is also the disarmingly optimistic girl known for following her number-one-passion through hundreds of tour dates a year, being described by fellow artists as someone whose home is “on the stage” rather than in a particular region of the world. Celebrating the release of her soon-to-be-released album “New Green Lines” at Hotel Café last night, Amber presented herself (barefoot) as a performer poised for growth.
When I spoke to audience members during and after the show, the concept that was repeatedly expressed was “dichotomy.” With a genuine and, at times, child-like voice, Amber tells stories whose insight is associated with several full lifetimes. Most striking is the amount and multiple shapes of love that are memorialized by her songs. There is the type love which exists and fulfills in a way that is more complete than a whole world’s worth of exploring; the type of secret love that lives in the creases of the mind that never sleep; the type that lights a heart for sixty seconds and colors a lifetime’s worth of images; the love that carries with the hope of a washed canvas; the love that is stronger than a drug and as pure as a smile.
Aside from inviting Eric Robinson, Jenni Alpert and Chet Dixon for two songs, Amber managed to create a dazzling impact with just the sounds from her own mouth and guitar / piano. There is a daring rhythm about her voice, which can present a heart-breaking steadiness and then leap octaves like vocal chords on a trampoline. There is comfort in a talent that can be extraordinary in its simplest format, delivering a similarly striking impact with the technology of a sidewalk or that of a New York music hall.
If there is one message to be taken away from time with Amber, whether via album or venue, it is that much of what you need to know about life can be learned from wood-sculpting. From this metaphor, you see that the changes you think are cutting into you (as if to destroy) are actually “carving” you. To this effect, one should not be discontented with who they are at any given point; each person is always relatively “an unfinished art,” needing to be shaped until the day when they can stand looking back at how they used to exist and realize that each alteration was purposeful.
Find more about Amber at http://www.msplinks.com/MDFodHRwOi8vd3d3Lm15c3BhY2UuY29tL2FtYmVycnViYXJ0aA== and buy "New Green Lines" when it arives on May 6!
Review by Bre Goldsmith ( http://www.bregoldsmith.com/ )
She is also the disarmingly optimistic girl known for following her number-one-passion through hundreds of tour dates a year, being described by fellow artists as someone whose home is “on the stage” rather than in a particular region of the world. Celebrating the release of her soon-to-be-released album “New Green Lines” at Hotel Café last night, Amber presented herself (barefoot) as a performer poised for growth.
When I spoke to audience members during and after the show, the concept that was repeatedly expressed was “dichotomy.” With a genuine and, at times, child-like voice, Amber tells stories whose insight is associated with several full lifetimes. Most striking is the amount and multiple shapes of love that are memorialized by her songs. There is the type love which exists and fulfills in a way that is more complete than a whole world’s worth of exploring; the type of secret love that lives in the creases of the mind that never sleep; the type that lights a heart for sixty seconds and colors a lifetime’s worth of images; the love that carries with the hope of a washed canvas; the love that is stronger than a drug and as pure as a smile.
Aside from inviting Eric Robinson, Jenni Alpert and Chet Dixon for two songs, Amber managed to create a dazzling impact with just the sounds from her own mouth and guitar / piano. There is a daring rhythm about her voice, which can present a heart-breaking steadiness and then leap octaves like vocal chords on a trampoline. There is comfort in a talent that can be extraordinary in its simplest format, delivering a similarly striking impact with the technology of a sidewalk or that of a New York music hall.
If there is one message to be taken away from time with Amber, whether via album or venue, it is that much of what you need to know about life can be learned from wood-sculpting. From this metaphor, you see that the changes you think are cutting into you (as if to destroy) are actually “carving” you. To this effect, one should not be discontented with who they are at any given point; each person is always relatively “an unfinished art,” needing to be shaped until the day when they can stand looking back at how they used to exist and realize that each alteration was purposeful.
Find more about Amber at http://www.msplinks.com/MDFodHRwOi8vd3d3Lm15c3BhY2UuY29tL2FtYmVycnViYXJ0aA== and buy "New Green Lines" when it arives on May 6!
Review by Bre Goldsmith ( http://www.bregoldsmith.com/ )
I Say Tedman!
On Sunday night at Hotel Café, Kristin Toedtman carried listeners passionately through eight distinctive moods, courtesy of a vibrant eight-song set.
Opening with sassy/jazzy “Bad News,” leading into a Salsa-inspired “Chasing the Dance” and then through bluesey burlesque “Just Trust,” Kristen proved an appreciation for and mastery of multiple genres. While artists and songs are often described by stylistic allusions or emulations, Kristen’s music seems to step beyond this. When she plays a song that is rooted in tango, the temperature of the room is heated a few degrees; when she follows with free-spirited and island-inspired “Day I fell,” you can feel an ocean breeze and visualize birds flapping by.
Although Kristen’s voice has a formally-trained operatic quality to it, it never borders on pretentious or over-worked; she does “effortless” in the way that a true professional should. It is a real gift to make people in the audience feel like “anyone can do what I’m doing”, because when people believe this sense of ease, they are empowered to sing along, tap their feet, and experience the music by giving back to it.
Kristen classifies herself as an Acoustic/Soul/Pop artist, yet this is a bit of a pigeon-hole description for someone who successfully conducts herself, 2 other vocalists, a dancer, guitar, bass, keyboard, drums, Wurlitzer, tambourine and maraca for her first solo show at Hotel Café. As if these talents are not enough, Kristen is also a storyteller. In “Too Soon,” a tender track with chilling guest vocals by Katie Cole, Kristen shows how life can give you all the right answers but at the wrong time. As one moves gradually or swiftly towards a new home, there is much to be missed and found: the pieces of life and of yourself that you have to leave behind, and also the identity that the future needs you to belong to.
The set’s final song “Wrong Time of Year” coupled sensual guitar components with gospel-driven piano and vocalized audience sentiments with lyrics “when can I see you again?” To answer this question, check www.myspace.com/kristentoedtman for upcoming shows. In the mean time, purchase Kristen’s first EP “I Say Tedman” due out this summer.
Review by Bre Goldsmith ( www.bregoldsmith.com )
Opening with sassy/jazzy “Bad News,” leading into a Salsa-inspired “Chasing the Dance” and then through bluesey burlesque “Just Trust,” Kristen proved an appreciation for and mastery of multiple genres. While artists and songs are often described by stylistic allusions or emulations, Kristen’s music seems to step beyond this. When she plays a song that is rooted in tango, the temperature of the room is heated a few degrees; when she follows with free-spirited and island-inspired “Day I fell,” you can feel an ocean breeze and visualize birds flapping by.
Although Kristen’s voice has a formally-trained operatic quality to it, it never borders on pretentious or over-worked; she does “effortless” in the way that a true professional should. It is a real gift to make people in the audience feel like “anyone can do what I’m doing”, because when people believe this sense of ease, they are empowered to sing along, tap their feet, and experience the music by giving back to it.
Kristen classifies herself as an Acoustic/Soul/Pop artist, yet this is a bit of a pigeon-hole description for someone who successfully conducts herself, 2 other vocalists, a dancer, guitar, bass, keyboard, drums, Wurlitzer, tambourine and maraca for her first solo show at Hotel Café. As if these talents are not enough, Kristen is also a storyteller. In “Too Soon,” a tender track with chilling guest vocals by Katie Cole, Kristen shows how life can give you all the right answers but at the wrong time. As one moves gradually or swiftly towards a new home, there is much to be missed and found: the pieces of life and of yourself that you have to leave behind, and also the identity that the future needs you to belong to.
The set’s final song “Wrong Time of Year” coupled sensual guitar components with gospel-driven piano and vocalized audience sentiments with lyrics “when can I see you again?” To answer this question, check www.myspace.com/kristentoedtman for upcoming shows. In the mean time, purchase Kristen’s first EP “I Say Tedman” due out this summer.
Review by Bre Goldsmith ( www.bregoldsmith.com )
Wednesday, April 30, 2008
Aaron Beamont: Wouldn't have it any other way!
With a newly-formed band and clear thrill for the stage, Aaron’s highly-textured instrumentation, introspective lyrics and animated presence hooked an impressively full Hotel Café audience on the 18th.
Knowing some of Aaron’s songs in advance of the show, it was gratifying to see a crowd of people who so visibly hung on each of his words: chuckling after all of the subtly humorous phrases, pausing at the intricate ones, wondering how it is possible for a musician’s hands to move so quickly along the piano and still leave him breath to sing, gently back-patting themselves for attending while crafting their “I knew him when...” stories in advance of the success that Aaron is so likely to achieve.
Between the ten songs from new album “nothing’s forever (Not Even Goodbye) and two well-chosen covers (Iron and Wine and Tom Waits), Aaron’s set-list wove a spectrum of many weights; from dreamy to vaudevillesque, to philosophical. Seaming this ambitious musical variety with notably witty stage banter (about purchasing goats for widows in emerging countries), Aaron painted himself as a romantic, a comedian and a modest philanthropist.
Somewhere in between these interludes, Aaron’s distinctive 20’s-inspired fashion, and the waltz-like tone of piano mixing with Celeste and bells, there was a charming formality to the show’s atmosphere; one that recalled simpler times when slower expectations let life and love unfold with the belief that a question can fulfill as much or more than an answer. Some of Aaron’s songs speak to this same notion. In “The Park Bench Song,” he reminds a girl that “Life is not a race, so take a breath-patience is the best way to arrive. In “Those Were the Days,” Aaron describes a time when “a word lasted forever and poverty made you rich with memories... [when] we could always remember the truth and forget the mistakes.”
After the show, many listeners noted that the sound Aaron created from his piano had the complexity that one would likely anticipate from several instruments. Equally impressive is how Aaron balances and aligns this intricate melodic texture with a lyrical density of the best kind. A clear appreciator of words, life and emotional intelligence, Aaron couples the insight that one might expect from someone many decades older with the optimism that is associated with someone early on their path. Such is exhibited in declarations like “risk aversion’s a lonely substitute for living. Will you ever learn it all takes place in the collisions.” From the song “The Time Will Come,” he adds “Its true, every leaf must fall for another to appear...love must blind us all or we’d never learn to hear...Its true, every sunrise is the front end of twilight...bad decisions are the way we get it right...so I’ll learn to love forgetting because it makes the world seem new.”
As a lover of both music and words, I felt alternately engaged and overwhelmed by a desire to drink every lyric and note throughout the show. Glad to have his CD in my possession for a closer examination later that night, I was struck by how the booklet of lyrics read like a work that could easily stand apart from the disc on its own literary merit. Following the words all the way through to the back cover with its statements of gratitude and then back to the beginning again, I read through slowly and kindly like I would a for novel whose end would require me to stop belonging to its characters and wisdom.
Visit Aaron’s beautiful music at www.myspace.com/aaronbeaumont and ask him how you can get your hands on a CD- it is worth clinging to.
Review by Bre Goldsmith (www.bregoldsmith.com
Knowing some of Aaron’s songs in advance of the show, it was gratifying to see a crowd of people who so visibly hung on each of his words: chuckling after all of the subtly humorous phrases, pausing at the intricate ones, wondering how it is possible for a musician’s hands to move so quickly along the piano and still leave him breath to sing, gently back-patting themselves for attending while crafting their “I knew him when...” stories in advance of the success that Aaron is so likely to achieve.
Between the ten songs from new album “nothing’s forever (Not Even Goodbye) and two well-chosen covers (Iron and Wine and Tom Waits), Aaron’s set-list wove a spectrum of many weights; from dreamy to vaudevillesque, to philosophical. Seaming this ambitious musical variety with notably witty stage banter (about purchasing goats for widows in emerging countries), Aaron painted himself as a romantic, a comedian and a modest philanthropist.
Somewhere in between these interludes, Aaron’s distinctive 20’s-inspired fashion, and the waltz-like tone of piano mixing with Celeste and bells, there was a charming formality to the show’s atmosphere; one that recalled simpler times when slower expectations let life and love unfold with the belief that a question can fulfill as much or more than an answer. Some of Aaron’s songs speak to this same notion. In “The Park Bench Song,” he reminds a girl that “Life is not a race, so take a breath-patience is the best way to arrive. In “Those Were the Days,” Aaron describes a time when “a word lasted forever and poverty made you rich with memories... [when] we could always remember the truth and forget the mistakes.”
After the show, many listeners noted that the sound Aaron created from his piano had the complexity that one would likely anticipate from several instruments. Equally impressive is how Aaron balances and aligns this intricate melodic texture with a lyrical density of the best kind. A clear appreciator of words, life and emotional intelligence, Aaron couples the insight that one might expect from someone many decades older with the optimism that is associated with someone early on their path. Such is exhibited in declarations like “risk aversion’s a lonely substitute for living. Will you ever learn it all takes place in the collisions.” From the song “The Time Will Come,” he adds “Its true, every leaf must fall for another to appear...love must blind us all or we’d never learn to hear...Its true, every sunrise is the front end of twilight...bad decisions are the way we get it right...so I’ll learn to love forgetting because it makes the world seem new.”
As a lover of both music and words, I felt alternately engaged and overwhelmed by a desire to drink every lyric and note throughout the show. Glad to have his CD in my possession for a closer examination later that night, I was struck by how the booklet of lyrics read like a work that could easily stand apart from the disc on its own literary merit. Following the words all the way through to the back cover with its statements of gratitude and then back to the beginning again, I read through slowly and kindly like I would a for novel whose end would require me to stop belonging to its characters and wisdom.
Visit Aaron’s beautiful music at www.myspace.com/aaronbeaumont and ask him how you can get your hands on a CD- it is worth clinging to.
Review by Bre Goldsmith (www.bregoldsmith.com
The Unstoppable Keaton Simons
Opening with "Good Things Get Better," the song whose optimistic beats and charismatic lyrics beg to define a movie soundtrack, Keaton stirred the cozily packed crowd at Hotel Café on 4/17.
It is widely known that as people consider their favorite songs, they mentally categorize them as tunes which encourage or counter a particular mood. For example, "I will listen to such-and-such song when I am _____ (lonely, ecstatic, heartbroken, furious, etc.) It occurs to me mid-first-song, as I file the track into my "best song for any mood" class, that it would be impossible to be anything other than fully charged, enthusiastic, while listening to it. Clearly written on a full heart/mind during which good things can only get better for two people, this song induces a state of beaming, shoulder-swaying, and the like. As someone who has spent most of her life creating things- strings of words, garments, recipes, very unacceptable songs – I have always felt that one of the greatest hopes an artist can have is for the receiver to feel, envision and actually live through the exact mindset under which the piece was crafted. This is how the artist knows that their visual, written or aural language has been truly heard. This is what has been achieved here.
Keaton's set list was well chosen in that it proved versatility by balancing acoustically-driven tracks with ones that startled the floor boards through intricate electric guitar solos. While the groove-worthy notes and harder vocals of the latter category confirm Keaton's understanding and appreciation of the blues genre, his gentler songs allow the listener to enjoy another equally notable talent: his gift for words.
In the song "Currently," Keaton proclaims love through an ocean motif which offers such memorable lyrics as "she is a song that the wave sings to the shore in the key of a gentle breeze...my undertow, caught in a riptide and I am currently in love with you." The song "Without Your Skin" tells of feeling so close to someone that you feel the vulnerability of nakedness when away from their skin, touch and kiss. The similarly affectionate song "Unstoppable" tells of a world in which right and wrong hardly matter when measured to the tender simplicity of a sun rising, a snow falling, a plane leaving and the invincible feeling of a new love.
In addition to his carefully chosen lyrics, Keaton has composed a three-member instrumental element which impresses listeners collectively and individually. He is proud to point that Joe Karnes (talented bass player of Pedestrian), Tommy King (who stunningly played two keyboards simultaneously throughout the show), and Michael Jerome (a drummer who regularly contributes to many artists' shows throughout the world, and who serves as the only non-curly-haired member of Keaton's band) all have notable solo projects.
From several feet away in the crowd, the top things you can know with certainty about Keaton is that he has a distinctive love for words, tattoos, the stage and life. After the set, stepping closer towards the unlikely rock star who will readily embrace every fan, you find an artist who seeps passion and has the whole world in his eyes. Among his eager resources are a new deal with CBS records, a network of artistically-prestigious friends, a soon-to-be-released album (June 10), a growing LA/national base of admirers and a smile that is, much like the music itself, contagious, transformative.
Review by Bre Goldsmith (www.bregoldsmith.com)
Check Keaton out at www.myspace.com/keatonsimons
It is widely known that as people consider their favorite songs, they mentally categorize them as tunes which encourage or counter a particular mood. For example, "I will listen to such-and-such song when I am _____ (lonely, ecstatic, heartbroken, furious, etc.) It occurs to me mid-first-song, as I file the track into my "best song for any mood" class, that it would be impossible to be anything other than fully charged, enthusiastic, while listening to it. Clearly written on a full heart/mind during which good things can only get better for two people, this song induces a state of beaming, shoulder-swaying, and the like. As someone who has spent most of her life creating things- strings of words, garments, recipes, very unacceptable songs – I have always felt that one of the greatest hopes an artist can have is for the receiver to feel, envision and actually live through the exact mindset under which the piece was crafted. This is how the artist knows that their visual, written or aural language has been truly heard. This is what has been achieved here.
Keaton's set list was well chosen in that it proved versatility by balancing acoustically-driven tracks with ones that startled the floor boards through intricate electric guitar solos. While the groove-worthy notes and harder vocals of the latter category confirm Keaton's understanding and appreciation of the blues genre, his gentler songs allow the listener to enjoy another equally notable talent: his gift for words.
In the song "Currently," Keaton proclaims love through an ocean motif which offers such memorable lyrics as "she is a song that the wave sings to the shore in the key of a gentle breeze...my undertow, caught in a riptide and I am currently in love with you." The song "Without Your Skin" tells of feeling so close to someone that you feel the vulnerability of nakedness when away from their skin, touch and kiss. The similarly affectionate song "Unstoppable" tells of a world in which right and wrong hardly matter when measured to the tender simplicity of a sun rising, a snow falling, a plane leaving and the invincible feeling of a new love.
In addition to his carefully chosen lyrics, Keaton has composed a three-member instrumental element which impresses listeners collectively and individually. He is proud to point that Joe Karnes (talented bass player of Pedestrian), Tommy King (who stunningly played two keyboards simultaneously throughout the show), and Michael Jerome (a drummer who regularly contributes to many artists' shows throughout the world, and who serves as the only non-curly-haired member of Keaton's band) all have notable solo projects.
From several feet away in the crowd, the top things you can know with certainty about Keaton is that he has a distinctive love for words, tattoos, the stage and life. After the set, stepping closer towards the unlikely rock star who will readily embrace every fan, you find an artist who seeps passion and has the whole world in his eyes. Among his eager resources are a new deal with CBS records, a network of artistically-prestigious friends, a soon-to-be-released album (June 10), a growing LA/national base of admirers and a smile that is, much like the music itself, contagious, transformative.
Review by Bre Goldsmith (www.bregoldsmith.com)
Check Keaton out at www.myspace.com/keatonsimons
Wednesday, April 16, 2008
The Brendan Hines- A True Original
As many times as I write this sentence and try to devise the most flawless adjective for the artist who is undefineable at best, I rest on the word "humbling."
With honesty that soothes you into your chair and then knocks you far off it, Hines writes the kind of songs that many wish they could write if they had 150% more guts, 80 years of hindsight and 6 warmed up strings. I challenge even the most discriminating music critic to spend just five minutes listening to Hines and not be struck with the unyielding desire to know this person, to give him a drink and a chair and let him run his mouth about his hopes, loves and the innumerable corners of the world.
When asked about his influences, the ever-modest artist places wood floors and discarded photos at the top of his list. If this doesn't exactly make sense to you, it's all part of the plan/non-plan. To classify Hines' stylistic inspirations would limit him in the same way that it would to recount the themes of his songs; they derive from everything and are about everything. An instinctive and unconventional storyteller, Hines offers timeless wisdom, played out through humorous plots and relatable characters. Aside from brief references to Argyle street and taxicabs, it is easy to believe that these songs could have been sung 200 years ago to a campfire and an expansive land. Similarly, they could be taken to the moon many decades from now and be counted among the things that hold the same weight on both planets.
It is difficult to pick specific lyrics that are representative of his overall style or talent; while listening to Hines rants about "hard things...all the trouble they bring...the devil," my pen could not move quickly enough to transcribe even half of the memorable lines. In the humorous mal/tender-intentioned song "Guess What," Hines confesses: "I see you and I get ideas, your boyfriend should go outside. And I'll stay here and you'll stay here too, and we can pretend that he died."
In another song, Hines discusses a relationship that functions almost completely for the purpose of saving its partners from being alone. He explains: "She knows she's gorgeous and he knows she cheats. She'd rather wake up with a headache than a handful of sheets." These are intelligent songs, but not ones that the listener needs a thesaurus to get to the heart of. In "Top Shelf," Hines endures life between a rock and a hard place with the help of something hard on the rocks. "Broke and disgusted through the canyons of wealth, everything I swallow threatens my health. I'll stop one day, I promise to myself. I'll stretch until it hurts but I'll reach the top shelf."
While listening, it is difficult not to identify and think: "we have all been there, continue to crawl and grow in these tight crevices of the world and of the heart which serve as the great equalizers." So, yes, I suppose "humbling" is the right word after all, since these songs humble you to look at your own life with the same candor that Brendan sings of his. They humble you to grab a pen, a drink and a guitar, tell a story that leads nowhere and everywhere in the same breath.
Review by Bre Goldsmith
Check out Brendan at www.myspace.com/thebrendanhines
With honesty that soothes you into your chair and then knocks you far off it, Hines writes the kind of songs that many wish they could write if they had 150% more guts, 80 years of hindsight and 6 warmed up strings. I challenge even the most discriminating music critic to spend just five minutes listening to Hines and not be struck with the unyielding desire to know this person, to give him a drink and a chair and let him run his mouth about his hopes, loves and the innumerable corners of the world.
When asked about his influences, the ever-modest artist places wood floors and discarded photos at the top of his list. If this doesn't exactly make sense to you, it's all part of the plan/non-plan. To classify Hines' stylistic inspirations would limit him in the same way that it would to recount the themes of his songs; they derive from everything and are about everything. An instinctive and unconventional storyteller, Hines offers timeless wisdom, played out through humorous plots and relatable characters. Aside from brief references to Argyle street and taxicabs, it is easy to believe that these songs could have been sung 200 years ago to a campfire and an expansive land. Similarly, they could be taken to the moon many decades from now and be counted among the things that hold the same weight on both planets.
It is difficult to pick specific lyrics that are representative of his overall style or talent; while listening to Hines rants about "hard things...all the trouble they bring...the devil," my pen could not move quickly enough to transcribe even half of the memorable lines. In the humorous mal/tender-intentioned song "Guess What," Hines confesses: "I see you and I get ideas, your boyfriend should go outside. And I'll stay here and you'll stay here too, and we can pretend that he died."
In another song, Hines discusses a relationship that functions almost completely for the purpose of saving its partners from being alone. He explains: "She knows she's gorgeous and he knows she cheats. She'd rather wake up with a headache than a handful of sheets." These are intelligent songs, but not ones that the listener needs a thesaurus to get to the heart of. In "Top Shelf," Hines endures life between a rock and a hard place with the help of something hard on the rocks. "Broke and disgusted through the canyons of wealth, everything I swallow threatens my health. I'll stop one day, I promise to myself. I'll stretch until it hurts but I'll reach the top shelf."
While listening, it is difficult not to identify and think: "we have all been there, continue to crawl and grow in these tight crevices of the world and of the heart which serve as the great equalizers." So, yes, I suppose "humbling" is the right word after all, since these songs humble you to look at your own life with the same candor that Brendan sings of his. They humble you to grab a pen, a drink and a guitar, tell a story that leads nowhere and everywhere in the same breath.
Review by Bre Goldsmith
Check out Brendan at www.myspace.com/thebrendanhines
Greg Laswell's Hotel Cafe Show - 4/11
Accompanied by electric and acoustic guitars, bass, piano, percussion and one very dramatic trumpet, Greg Laswell packed the Hotel Café last night with both veteran and newbie admirers.
Starting the set with soon-to-be-favorite "What a Day," a song with a hopeful-tone and an invincible message, Greg's words "What a day to be alive...what a day to die trying" resonated with the interested ears. In general, Greg's lyrics are reflective but rarely border on complex. The songs with the most striking impact are often ones which repeat key phrases at various tones in order to create a beautiful layered effect. In this way, Greg weaves a meditation of sorts for audience members who stand silently, ready to be draped. In fact, I was struck by just how silent the crowd was during some songs, especially for "Embrace Me," throughout which people confirmed appreciation by refraining from speaking, answering texts or even refilling watered drinks.
Although songs on the new album "How the Day Sounds" cross from upbeat to a solemn tempo, "longing" seems to be a common theme; longing for the things we've lost and also for the things we already know but yearn to see in a new way. Demonstrative of this are "Embrace Me" lyrics which ask one to take steps away from where they are in order to take a new took at "the land that grounds [them.]" The EP with this disarming song will be available at Whole Foods Market in May.
Review by Bre Goldsmith
Check out Greg at www.myspace.com/greglaswell
Starting the set with soon-to-be-favorite "What a Day," a song with a hopeful-tone and an invincible message, Greg's words "What a day to be alive...what a day to die trying" resonated with the interested ears. In general, Greg's lyrics are reflective but rarely border on complex. The songs with the most striking impact are often ones which repeat key phrases at various tones in order to create a beautiful layered effect. In this way, Greg weaves a meditation of sorts for audience members who stand silently, ready to be draped. In fact, I was struck by just how silent the crowd was during some songs, especially for "Embrace Me," throughout which people confirmed appreciation by refraining from speaking, answering texts or even refilling watered drinks.
Although songs on the new album "How the Day Sounds" cross from upbeat to a solemn tempo, "longing" seems to be a common theme; longing for the things we've lost and also for the things we already know but yearn to see in a new way. Demonstrative of this are "Embrace Me" lyrics which ask one to take steps away from where they are in order to take a new took at "the land that grounds [them.]" The EP with this disarming song will be available at Whole Foods Market in May.
Review by Bre Goldsmith
Check out Greg at www.myspace.com/greglaswell
Poem of the Day
For you
When the first breath rises from the bed's covers, I think of you
There are hours and acres between us, a continent perhaps
The rhapsody of snoring, working, running, keeps you from hearing me.
When I warm the November air with the exhale of finding slippers, I wonder if you too are cold.
When the shower stirs the day's tasks about my mind and I am tired before I'm awake-
When the soap graces my skin and leaves the memory of perfume, I wonder if Lavender is the thing that will lead you to me.
When I hold the mascara and make my eyes grow, I wonder if the lashes will need to wave for you this day-
do you need the help of glasses to see these brush strokes, the crevice of my cheek that smiles permanently?
When I stain the toast, sit with the coffee-
I know you in the same way I know this cup is full, that my tongue has been burned by its contents
although I have brewed nothing yet
When I greet the sun, the train, the feel of paper, the clock-
When I bear motion and sweat so the skirt button doesn't stress
It is for me, but it is also for you.
I learn the world because it is also your world
I race every corner because it is a half promise, a closed hand unfolding for the reveal
A road leading to a forgotten string that follows to your ear
When I fit and turn the key, hook the coat, touch the feet, say the evening prayer-
When the lashes bow, the cat purrs, the mind dreams
There is a home around the road's curve where the pulse outraces itself
A gasp of carbon that carries Lavender from the limbs and shows the world a new axis
I know this in the same way I know my heart thumps in my chest, that the moon fills, even though, at times
both are invisible.
Written by Bre Goldsmith- 4/08
Jackie Tohn's Show at Hotel Cafe on 3/25
Jackie's opening song which declares "anything's possible" seems alarmingly appropriate for an artist who manages to dance, sing, tell jokes, rap and enchant in the same breath.
With each determined flick of her hair or kick of her staple high-top adidas sneakers, you see that this is not only a performer, but a person that you wish to discover more of. Fortunately for the admirer, Jackie seems to have limitless potential and energy for the sharing. With bold lyrics which touch both the belly (through laughter) and the heart (through honesty), Jackie dares you to love her, and as a song late in the set challenges: "double dare[s] you to forget." As is custom for the beautiful singer who exhibits much strength and confidence, the most memorable set moments are the ones in which Jackie make the most compelling demands; to her audience for the purpose of song participation, and to the Better Business Bureau for the purpose of shutting down a hazardous man.
Overall though, there is no reason to fear for the male subjects of these songs; as Jackie reminds us, "Beguiling" is "a kind-hearted album," as expressive and warm as its creator. It presents 11 charming songs driven by sharp vocals, electric/acoustic guitar and rocked-out-percussion, and 1 song, "Me" which is offered up from a piano with "a skirt that is even shorter when sitting." Let yourself into Jackie's exciting world of colorful images and people, then linger for a bit, sing along, laugh and above all, be captivated.
Review by Bre Goldsmith
Check out Jackie at www.myspace.com/jackietohn or at www.jackietohn.com
With each determined flick of her hair or kick of her staple high-top adidas sneakers, you see that this is not only a performer, but a person that you wish to discover more of. Fortunately for the admirer, Jackie seems to have limitless potential and energy for the sharing. With bold lyrics which touch both the belly (through laughter) and the heart (through honesty), Jackie dares you to love her, and as a song late in the set challenges: "double dare[s] you to forget." As is custom for the beautiful singer who exhibits much strength and confidence, the most memorable set moments are the ones in which Jackie make the most compelling demands; to her audience for the purpose of song participation, and to the Better Business Bureau for the purpose of shutting down a hazardous man.
Overall though, there is no reason to fear for the male subjects of these songs; as Jackie reminds us, "Beguiling" is "a kind-hearted album," as expressive and warm as its creator. It presents 11 charming songs driven by sharp vocals, electric/acoustic guitar and rocked-out-percussion, and 1 song, "Me" which is offered up from a piano with "a skirt that is even shorter when sitting." Let yourself into Jackie's exciting world of colorful images and people, then linger for a bit, sing along, laugh and above all, be captivated.
Review by Bre Goldsmith
Check out Jackie at www.myspace.com/jackietohn or at www.jackietohn.com
Room 5 Show on March 11: Were you lucky enough to be there?
On Tuesday night at Room 5, a near-full-house of music enthusiasts quieted and leaned forward in their chairs as a series of uniquely talented artists graced the stage with their voices, guitars, piano, bass, accordion and xylophone.
David Hopkins, accompanied by Brett Simons, opened with layered tales of love and freedom: the losing, the winning and the sweet battles in between which confirm repeatedly that "love is all you need." After proving his talent on the guitar, Hopkins stepped stage right to gift a few wistful and lyrically-driven songs from the piano; carrying the engaged audience through dreamy melodies to the final dense chord.
Laura Jansen, who re-welcomed Brett Simons on bass, beamed throughout her entire set of playful, jazzy and soberingly touching tunes. With a voice that ranges from tickling to stunning, Jansen's highest and rawest note might sound, to a close-eyed listener, like a singing violin. A graceful performer, Jansen embraces the simplest ideas and refuses to shy away from the deep or challenging. Charming lyrics such as those of "Bells," which tell of waking in a heart-shaped world, are balanced with the chilling stories of "Pretty Me," which catalog Jansen's struggles as she spins from needing to be truly seen to truly seeing herself.
During the set, one could not help but feel as though instead of watching a show, one were watching an intimate dialogue between Jansen and the piano. And often, perhaps unintentionally, the singer would gently lower her head at a song's end, as if to honor the element which helped her tell her life's story, or to help the audience bow to the echo of the last note.
As the third major performer of the night, Joey Ryan greeted a warmed audience with the news that his ode to California, appropriately titled "California," will be featured on the upcoming regionally-aired commercial for Unicef's Tap Project, a nationwide campaign aiming to share the privilege of clean drinking water with children throughout the world. Additionally, all profits from the download of "California" during March 16-22 will be donated to the program. (So, if you don't already own this wonderful ballad, please wait three more days to purchase it!)
Joey Ryan's wholesome sound is reminiscent of an artist who could be comfortable strumming a guitar and telling stories to venues ranging from packed stadium seating to a bench of admirers on the beach; he certainly does not take his craft or his fans for granted. A truth-telling lyricist, Ryan's words are, at times, simple enough to beg for a sing-along, and at other times, candid enough to produce scornful looks towards audience members who dare to speak mid-song. Among the most memorable were from a love song which proclaimed "beautiful world...beautiful girl, let the rain forever battle with the sun, we've already won." Another song told of the Ryan's father's illness and near-death experience when the performer was only 7; the father's presence at the front table confirmed the song's hopeful conclusion.
Although this night of promising talent ended with all artists meeting their fans and expressing gratitude, I have a slightly different conclusion to offer. While I cannot speak for every Room 5 attendee, I can say that for me, the night continued for many hours, playing in my head and waking me the next morning with the urge to hum several newfound favorite melodies.
Review by Bre GoldsmithCheck out these artists at www.myspace.com/davidhopkinsmusic, www.myspace.com/laurajansenmusic and www.myspace.com/joeyryanband.
David Hopkins, accompanied by Brett Simons, opened with layered tales of love and freedom: the losing, the winning and the sweet battles in between which confirm repeatedly that "love is all you need." After proving his talent on the guitar, Hopkins stepped stage right to gift a few wistful and lyrically-driven songs from the piano; carrying the engaged audience through dreamy melodies to the final dense chord.
Laura Jansen, who re-welcomed Brett Simons on bass, beamed throughout her entire set of playful, jazzy and soberingly touching tunes. With a voice that ranges from tickling to stunning, Jansen's highest and rawest note might sound, to a close-eyed listener, like a singing violin. A graceful performer, Jansen embraces the simplest ideas and refuses to shy away from the deep or challenging. Charming lyrics such as those of "Bells," which tell of waking in a heart-shaped world, are balanced with the chilling stories of "Pretty Me," which catalog Jansen's struggles as she spins from needing to be truly seen to truly seeing herself.
During the set, one could not help but feel as though instead of watching a show, one were watching an intimate dialogue between Jansen and the piano. And often, perhaps unintentionally, the singer would gently lower her head at a song's end, as if to honor the element which helped her tell her life's story, or to help the audience bow to the echo of the last note.
As the third major performer of the night, Joey Ryan greeted a warmed audience with the news that his ode to California, appropriately titled "California," will be featured on the upcoming regionally-aired commercial for Unicef's Tap Project, a nationwide campaign aiming to share the privilege of clean drinking water with children throughout the world. Additionally, all profits from the download of "California" during March 16-22 will be donated to the program. (So, if you don't already own this wonderful ballad, please wait three more days to purchase it!)
Joey Ryan's wholesome sound is reminiscent of an artist who could be comfortable strumming a guitar and telling stories to venues ranging from packed stadium seating to a bench of admirers on the beach; he certainly does not take his craft or his fans for granted. A truth-telling lyricist, Ryan's words are, at times, simple enough to beg for a sing-along, and at other times, candid enough to produce scornful looks towards audience members who dare to speak mid-song. Among the most memorable were from a love song which proclaimed "beautiful world...beautiful girl, let the rain forever battle with the sun, we've already won." Another song told of the Ryan's father's illness and near-death experience when the performer was only 7; the father's presence at the front table confirmed the song's hopeful conclusion.
Although this night of promising talent ended with all artists meeting their fans and expressing gratitude, I have a slightly different conclusion to offer. While I cannot speak for every Room 5 attendee, I can say that for me, the night continued for many hours, playing in my head and waking me the next morning with the urge to hum several newfound favorite melodies.
Review by Bre GoldsmithCheck out these artists at www.myspace.com/davidhopkinsmusic, www.myspace.com/laurajansenmusic and www.myspace.com/joeyryanband.
Monday, March 10, 2008
See Dropped Jaws at Shane Alexander's Hotel Cafe Show on 3/29
An incredible indie acoustic rock performer!
Here's why...
Three albums into his career, Shane Alexander's music shares stories of the world, hope, change and love. I would gladly take his latest album "The Sky Below" as my only cd on a cross-country drive- this would give me just enough time to linger upon each song's word and wear down the steering wheel leather with repeated finger tapping.
Live, Shane is extremely approachable and humble, despite his startling vocal range and soulful romantic rhythm. If you're left thinking to yourself: "Have I heard this guy before?", its only because his music is what you've been subconsciously longing to hear for many many years.
Learn about Shane at www.myspace.com/shanealexander or go to www.shanealexandermusic.com
Sally Jaye to Perform at Hotel Cafe on 3/24
See a beautiful performance: Sally Jaye!
Here's why...
After departing from the eclectic and ever-soulful Paper Sun, Sally Jaye recently launched a poignant solo album that promises to melt hearts and turn heads. Although I to resist applying a metaphor to an artist who is, at times, more beautiful than poetry, I can't help likening Sally's new album "Amarillo" to a very hot cup of tea: wonder how it can be so steamy and wholesome at the same; borrow from it when you're in need of warmth, soothing, or the shot of caffeine that will push you to do better things; sit very still with it for a while and it'll reflect a clear view of yourself.
Although it is often stated that an album can transport the listener- to happier times, to a place where all that matters in life is a song and a dream- Sally's sound is unusual in that it combines edgy city-inspired writing with the kind of familial story-telling that can only be born from porch swings by sunset in Georgia. Scenes from her life, which are spread between the South and two coasts, between six guitar strings and your ears, are so graphic that while you are listening, you must remind yourself that you are not actually driving across state lines, do not actually feel the dust from cotton fields in your face, are not dancing across your lover's floor in a satin dress, cannot feel the beat and heat of Sunset boulevard.
Take her honesty and voice and let them break your heart in one song and reconstruct it in the next. Above all though, do not take this artist for granted. With good people behind her and a spotlight ahead, fans should await much deserved growth from Sally Jaye, and as a result of this growth, many many more incredible songs.
Check out Sally Jaye at www.myspace.com/sallyjaye and purchase "Amarillo" at www.cdbaby.com.
Jackie Tohn Celebrates New Album at Hotel Cafe on 3/25
Let Jackie Tohn Entertain You at Hotel Cafe!
Here's why...
Jackie Tohn is unlike any performer I've ever had the privilege of seeing live. Her shows, which are part stand-up comedy, part intense guitar playing and part heart-breakingly raw vocals, will remind you of the stark difference between "live" & "album."
The only way to describe Jackie Tohn's command of stage and captivation of audience would be to paint her as ten feet tall supermodel, rather than the very petite and effortlessly gorgeous girl who resists convention and pigeon-holing like a plague. Listening to her lyrics, which often center around everyday life, encourages one to find melodies in their own casual experiences: a breakup, a birthday, a missed train. On the deeper end of her albums, there are songs that confound logic for their ability to convey such profundity with few and simple words. If you're opposed to the type of wrinkles that come from intense smiling and laughter, stay away. If not, listen, repeat, repeat.
Check out Jackie Tohn's music at www.jackietohn.com, www.myspace.com/jackietohn or www.youtube.com/jackietohn
See Jenni Alpert Grace the Stage at Unurban Cafe on 3/22
Come see Jenni at Unurban on 3/22!
Here's why...
Jenni Alpert is a magnificently soulful artist who has been creating and sharing music her whole life. Let her music into your world and you'll wonder how someone who you hardly know can understand and identify your daily struggles, frustrations, loves and triumphs so brilliantly. Her sound offers the "effortless listening" that can accompany and feed you as you walk/crawl/run through your day- yet there is really nothing simple about it; after 5 albums, 2 live recordings and the advanced instrumental combinations that can only come with half-a-lifetime of dedication to one's craft, Jenni has a strong grasp on how each song's word, guitar string, piano key and drumbeat will affect the listener. After one track, you'll be grateful that she takes so much care to accomplish this complexity. After a whole cd, the traffic and confusion around you will melt to the point where all you can reasonably do is click repeat.
Come see Jenni before she runs to Paris and beyond.
Check her music out at www.myspace.com/jennialpert or www.jennialpert.com
Tony Lucca Will Rock Hotel Cafe on 3/15
Come see Tony Lucca Rock Hotel Cafe!
Here's why...
From the opening bars of Tony's songs, he grabs you and throws a series of beautiful and sometimes startling mental images your way. Give in to the beat of the music and you will soon find yourself unknowingly grooving in your chair, shifting shoulders and picturing that the lights are a bit dimmer and bluer than they actually are. An unparalelled lyricist, Tony names human conditions relating to everything from love to current socio-political events. Perhaps these words manage to verbalize your own internal dialogue or give voice to feelings you hardly knew you had; perhaps they challenge your views or even make you swoon; regardless, one thing is for sure: this artist is sultry and timeless. He rocks hard enough to warrant serious attention from the plugged-in-scene, yet is eloquent enough to touch even the most poetic acoustic music listener. If you try too hard to classify Tony though, you'll fail to relax into the beautiful experience that is every track. So, keep an open mind, grab a tumbler of something strong and get ready to be phenomenally inspired.
Check out Tony Lucca at www.myspace.com/tonylucca or www.tonylucca.com. Also, check out clips of live shows on youtube.com
Chris Pierce to Peform at Viper Room on 3/20
Come see Chris Pierce at Viper Room!
Here's why....
When Chris Pierce leans into the mic and sings the opening line of a song, one feels sorry for anyone who is not in the room at that moment. His vocal styling, guitar playing and harmonica are electrifying. They resurrect and honor some of the great soul artists of decades past but with a very modern twist. At times, Chris will hold a note so long that one wonders if he will ever ever inhale- when he does though, beware: there are astounding things to come.
Additionally, Chris is likely one of the most personable and passionately-spoken entertainers on the music scene today; a short conversation will be filled with positive words of gratitude- for his audience, the craft itself and the endless beauty in the world that is just waiting to be captured. If he could thank each audience member with a hug and still make it out before the club closes, he probably would. All this to a performer who has played to crowds of 20,000 and shared the stage with everyone from Macy Gray to Al Green, Seal and Ben Harper.
When Chris does grace a local stage, such as Viper Room, consider it a privilege to see such an accomplished artist and a truly great man.
Check Chris Pierce out online at www.myspace.com/chrispierce or at www.chrispierce.com
Here's why....
When Chris Pierce leans into the mic and sings the opening line of a song, one feels sorry for anyone who is not in the room at that moment. His vocal styling, guitar playing and harmonica are electrifying. They resurrect and honor some of the great soul artists of decades past but with a very modern twist. At times, Chris will hold a note so long that one wonders if he will ever ever inhale- when he does though, beware: there are astounding things to come.
Additionally, Chris is likely one of the most personable and passionately-spoken entertainers on the music scene today; a short conversation will be filled with positive words of gratitude- for his audience, the craft itself and the endless beauty in the world that is just waiting to be captured. If he could thank each audience member with a hug and still make it out before the club closes, he probably would. All this to a performer who has played to crowds of 20,000 and shared the stage with everyone from Macy Gray to Al Green, Seal and Ben Harper.
When Chris does grace a local stage, such as Viper Room, consider it a privilege to see such an accomplished artist and a truly great man.
Check Chris Pierce out online at www.myspace.com/chrispierce or at www.chrispierce.com
March 4- Jim Bianco Rocked Hotel Cafe and Released "Sing"
With a trumpet, drums, piano, guitar, bass, accordion and a fierce-looking saxophone, Jim Bianco turned up the sex factor on the small red Hotel Café stage to a level that rivaled Harvelles on a packed night. Jim's energetic lyrics were sung in a way that allowed each audience member to drink them and linger upon them- savoring each like the last bit of whiskey stuck to melting cubes of ice.
Certain special efforts designed to hook the crowd exemplified the seasoned performance skills that give Jim star quality: Creating beats with heavy breath that mimicked some of the unmentionable acts of his songs; halting his voice at the height of crescendo to have a long hungry silence; carrying the entire band offstage and into the middle of the crowd to invite listeners to "sing" along. The diverse audience, which was still buzzing from Keaton Simons earlier set, readily ate up every one of these tactics, hooting and whistling for just one more note.
Although Jim had proven his prowess by the end of the first number, each subsequent song firmed his versatility and the multiple musical styles that he has incorporated seamlessly. If the already crowded stage could have permitted back-up dancers, the range of songs would have required costumes spanning from burlesque lingerie to a red flamenco dress, a black leather ensemble, or nothing at all.
Lyrics offered a similarly impressive diversity- one song claiming jealousy of the sun for touching his lover long enough to warm her; another asking for a leash to keep him from the beast of lust; and a harder-toned number written with an unsettled mind and foot on the pedal as he offered his own soul for sale.
After seeing dozens of "quieter" shows at the little Hotel that can, it was refreshing to watch the microphone and the floor worked a good deal harder as people clapped, jumped and swooned for the idea of being loved as desperately as the woman of focus in Jim's self-proclaimed "sexier" tracks. After last night, there are surely many more believers in the sultry, sophisticated, rocked-out and electric world that is the "Sing" album. Hotter than a bullet leaving a gun, Jim is positioned to fire an endless array of talent at theUS music scene, Europe and beyond.
Certain special efforts designed to hook the crowd exemplified the seasoned performance skills that give Jim star quality: Creating beats with heavy breath that mimicked some of the unmentionable acts of his songs; halting his voice at the height of crescendo to have a long hungry silence; carrying the entire band offstage and into the middle of the crowd to invite listeners to "sing" along. The diverse audience, which was still buzzing from Keaton Simons earlier set, readily ate up every one of these tactics, hooting and whistling for just one more note.
Although Jim had proven his prowess by the end of the first number, each subsequent song firmed his versatility and the multiple musical styles that he has incorporated seamlessly. If the already crowded stage could have permitted back-up dancers, the range of songs would have required costumes spanning from burlesque lingerie to a red flamenco dress, a black leather ensemble, or nothing at all.
Lyrics offered a similarly impressive diversity- one song claiming jealousy of the sun for touching his lover long enough to warm her; another asking for a leash to keep him from the beast of lust; and a harder-toned number written with an unsettled mind and foot on the pedal as he offered his own soul for sale.
After seeing dozens of "quieter" shows at the little Hotel that can, it was refreshing to watch the microphone and the floor worked a good deal harder as people clapped, jumped and swooned for the idea of being loved as desperately as the woman of focus in Jim's self-proclaimed "sexier" tracks. After last night, there are surely many more believers in the sultry, sophisticated, rocked-out and electric world that is the "Sing" album. Hotter than a bullet leaving a gun, Jim is positioned to fire an endless array of talent at the
The First Blog - Welcome
As the LA Acoustic Music Meetup begins to turn its wheels and move forward as a vehicle for promoting locally-based talent, I thought I'd write a bit more about my goals and opinions regarding the exploding community of music creators, appreciators, managers and producers that populate this wonderful city of angels that we call home. As someone who is new to the LA music scene (but certainly not new to music-adoration in general), observation has brought many mixed emotions: excitement for artists who challenge our standards for the amount of talent that one person can offer, hope and confidence for musicians who appear to be just two fingers from reaching major success, admiration for performers that appear to be just as proud for having played to and touched an audience of one versus a crowd of 1,000, frustration for people who force themselves to smile and buckle in daily to the rollercoaster that is the music industry and the current economy.
As someone who has spent my short life marketing and creating results for struggling companies/products in a variety of industries, I figured that surely there was somehow that I could help. After all, objectively speaking, what is a commercial artist and their talent but a message waiting to be expressed, received and enjoyed? The same principles of marketing apply: it can be the best product in the world but if no one knows about it, only the creator benefits.
SO, WHAT BUILDS AWARENESS? In this internet-focused age that is driven by search-engine-optimization, online communities and blogging, text is power. Traditional PR placement has gone the way of the VHS- it no longer matters as much if you're featured in Time magazine versus if you have one brilliant quote that travels virally around the world. Also, community is essential. We no longer operate within just one village as our ancestors did. Our world is large, sprawling and at times overwhelming. As much as we long to explore, it is human nature to crave communities based on a similar interest. These communities are simply waiting to be discovered, united and inspired. And, as we all know, once even a small group of people with a common passion are brought together, word of mouth is like an unstoppable electricity.
That being said, the LA Acoustic Music Meetup aims to create an online and real-time community of people who are all passionate about creating, appreciating and celebrating acoustically-driven music. It will focus on specific up-and-coming artists who stand at critical points on their path to fame and recognition.
The Myspace site (www.myspace.com/laacousticmeetup) will provide important blog/comment space to review new artists and describe why they are worthy of placement on our already flooded radars. The Meetup website (http://acoustic.meetup.com/91) will support this by serving as a tool to promote these artists' local shows to a growing community of interested members. Please feel free to submit suggestions on artists who deserve special attention and I'll do my best to review them / promote them accordingly.
All of the text that is written on either space is free for the taking, so as a note to artists reading this: feel free to borrow any quotes for your own marketing campaigns, as long as they are attributed to the author. This is what the text was created for.
Finally, let me remind you that if you are reading this, you are just as important to this vehicle as I am. If you see a great artist, do not keep it a secret. If you love music and support the idea of this Meetup, pass it on.
Thanks for reading and please come introduce yourself to me at an upcoming show.
As someone who has spent my short life marketing and creating results for struggling companies/products in a variety of industries, I figured that surely there was somehow that I could help. After all, objectively speaking, what is a commercial artist and their talent but a message waiting to be expressed, received and enjoyed? The same principles of marketing apply: it can be the best product in the world but if no one knows about it, only the creator benefits.
SO, WHAT BUILDS AWARENESS? In this internet-focused age that is driven by search-engine-optimization, online communities and blogging, text is power. Traditional PR placement has gone the way of the VHS- it no longer matters as much if you're featured in Time magazine versus if you have one brilliant quote that travels virally around the world. Also, community is essential. We no longer operate within just one village as our ancestors did. Our world is large, sprawling and at times overwhelming. As much as we long to explore, it is human nature to crave communities based on a similar interest. These communities are simply waiting to be discovered, united and inspired. And, as we all know, once even a small group of people with a common passion are brought together, word of mouth is like an unstoppable electricity.
That being said, the LA Acoustic Music Meetup aims to create an online and real-time community of people who are all passionate about creating, appreciating and celebrating acoustically-driven music. It will focus on specific up-and-coming artists who stand at critical points on their path to fame and recognition.
The Myspace site (www.myspace.com/laacousticmeetup) will provide important blog/comment space to review new artists and describe why they are worthy of placement on our already flooded radars. The Meetup website (http://acoustic.meetup.com/91) will support this by serving as a tool to promote these artists' local shows to a growing community of interested members. Please feel free to submit suggestions on artists who deserve special attention and I'll do my best to review them / promote them accordingly.
All of the text that is written on either space is free for the taking, so as a note to artists reading this: feel free to borrow any quotes for your own marketing campaigns, as long as they are attributed to the author. This is what the text was created for.
Finally, let me remind you that if you are reading this, you are just as important to this vehicle as I am. If you see a great artist, do not keep it a secret. If you love music and support the idea of this Meetup, pass it on.
Thanks for reading and please come introduce yourself to me at an upcoming show.
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