Down With Love: A Cabaret

Down With Love: A Cabaret will be presented on February 16 at the Common Fence Point Hall in Portsmouth. Jeff Blanchette and Rachel Hanauer will be performing jazz standards, musical theater and pop.

“Jeff and I wanted to perform again at the Common Fence Point Hall, specifically to fundraise for some theater arts equipment,” Hanauer said. They hope to turn the facility into a full arts center to be used for theater, music and arts programs, as well as community-based fitness and wellness classes.

“Valentine’s Day seemed like the perfect time to put on a cabaret program,” Hanauer said. “Jeff and I are fans of collaborating on these musical review shows together, as we did with I Love… What’s His Name? We decided to create a program for both lovebirds and Anti-Valentine’s Day folks alike, which is why we called it Down with Love.”

Hanauer said the music in this family-friendly program should appeal to audience members of all ages. Hanauer and Blanchette also encourage a BYOB policy, and most of the guests at CFP Hall bring picnic dinners, which all are welcome to do.

Down With Love: A Cabaret will be performed at Common Fence Point Hall, 933 Anthony Rd, Portsmouth. brownpapertickets.com/event/3223822

Album of the Week: Ty Segall – Freedom’s Goblin Freedom’s Goblin by Ty Segall

If you have been reading this review column for the past couple of years, there’s one thing that you should realize by now. At least once a year I’m going to write about a certain musician’s new due to his immense talent and his continuously prolific output. That certain musician is Los Angeles phenom Ty Segall, and his 10th album Freedom’s Goblin came out Jan 26 via Drag City Records. The album is a lot more wide-ranging and experimental than his previous releases. Nothing sounds similar to another, and that says a lot for a record that has 19 songs on it.

Certain can take the mind on an adventure and Freedom’s Goblin achieves that through its variety. It goes from one end of the spectrum to the other with tunes encompassing jazz, punk, new wave and acoustic styles. It’s ingenious and schizophrenic at the same time. Usually a record follows an identity, but this one is the antithesis of that. Segall’s new artistic output is truly all over the place and that’s what makes it so amazing.

One trait that a musical savant will always possess is an incredible amount of fearlessness: They’ll write a song how they want without conforming to what’s “popular” or “trendy.” It’s a testament to them staying true to themselves while also making a conscious effort to progress as an artist. There’s a sense of sheer individuality that’s inspiring and makes one wish others would emulate. Segall has always been one to do his own thing and never be swayed by the mainstream. For a closer look, let’s examine my top tracks off of the Album of the Week:

“5 Ft Tall” has an unplugged beginning and then it gets electrifying with vibrant rhythms and raucous riffs; the energy is massive and it’s a sizzling song that the ears will want to hear at a high volume on repeat. Reminiscent of the storied City late ‘70s No Wave scene is “Talkin 3,” and fans of James Chance & The Contortions will enjoy the blaring sax and chaotic vibe. A funky synth sound makes up the weirdness of “Despoiler Cadaver” with vintage English new wave flair.

Sadly, Ty Segall has no shows announced in the New England area as of this writing, but 2018 is still in its infancy so who knows? Maybe some dates will be unveiled in the coming months and one of them will be in our neck of the woods. Segall live is a must-see experience, so when he’s coming through your town you better go. For now, get yourself a copy of Freedom’s Goblin: It’s an album that has a whole lot to offer and then some. : tysegall.bandcamp.com/album/freedoms-goblin

Web site: ty-segall.com

Z-Boys’ Residency, Newport Blues Café, Starts Feb 1

Z-Boys

The Z-Boys are a power trio that set themselves apart. This act from Newport brings an amplified style of surf rock that shreds into the infinite abyss. Guitarist and vocalist Greg Burgess has a unique jazzy flair. The rhythm section of bass guitarist Amato Zinno and drummer Ziggy Coffey is incredibly tight. When their talents come together, it is an amazing thing to witness. Starting on Feb 1, Burgess, Zinno and Coffey will be having a Thursday night weekly residency at the classy Newport Blues Café featuring a range of special guests.

“This came about when Jim Quinn, the owner of the Blues Café, approached me about playing every Thursday,” Zinno explains. “The Z-Boys have been at Perro Salado in Newport on Wednesdays for a long time, and we were starting to feel a little confined, so moving to a bigger room made sense. We picked February 1st to start the residency because we wanted to take a short break, write some new songs, and get people hyped up about the change.” With The Z-Boys already having a solid reputation for a good time in the City by the Sea, folks are for sure going to get amped from the first night onward.

Each night will have the trio sharing the stage with a stellar opening band. The styles range from blues to indie rock to hip-hop, so each night will be a bit different. “The first month’s acts are all bands or performers we really enjoy and respect,” said Zinno on the openers. “The Silks are a great foil for us. Julie Rhodes is an amazing singer. And Roz and the Rice Cakes are the first band I saw after moving to Providence, and they are still one of my faves. Camden Murphy is also a great friend, a talented performer, and he invited us to play the first show we did at the Blues Café. It’s only right that we have him on for one.”

“What people can expect is great music on a great sound system in one of the best rooms in Rhode Island!” exclaimed Zinno. “It’s going to be a party and we wanna start it off right, so by the time we get into spring and summer, it’ll be humming every week.” Come on down for what should be a swell way to spend Thursday nights at the Newport Blues Café with a band that brings a one of a kind experience.

Event page: facebook.com/events/1356829037777246

Newport Blues Café: newportblues.com

Z-Boys: facebook.com/zboystonight

Jazz Insights: Rick Wells

Portsmouth’s Rick Wells is truly one of New England’s top jazz drummers. Rick separates himself from other drummers, smartly choosing to be more of an accompanist, rather than a showman soloist. He wisely recognizes that he is hired to complement other members of the group, not to take away from other talents during performances. His softness and unique touches blend perfectly in his contributions to any appropriate music. Yet, he gives his all to solo opportunities and is well applauded for his solo skills.

Wells grew up in New Jersey favoring the work of , Blood, Sweat and Tears, and admiring the skills of Buddy Rich, Mel Lewis, Art Blakey, Harold Jones and Conrad Duco. He attended William Paterson College, where he became a member of the jazz ensemble under the direction of Thad Jones and Mel Lewis. Lewis recognized Rick’s skills and encouraged him to try a career in music. Following Mel’s advice, he performed at weddings and with rock groups, honing different styles. During his time off, he worked in electronics, managed a catering business, got involved in Cub scouts and volunteered as a little league coach. Many years later Rick and his family moved to Rhode Island. He got involved with music once again with performances at the Greenvale Vineyards’ seasonal jazz series in Portsmouth, where he has played regularly for the past three years. He has played with most of the touring performers, as well as the leading local jazz groups, and his rising reputation has led to more work.

Album of the Week: Matthew Stubbs and the Antiguas Matthew Stubbs and the Antiguas

Over the past couple of months, there’s been a band from that has nearly everyone affiliated with the city’s music scene talking about them. They’re known as Matthew Stubbs and the Antiguas, and they have a groovy instrumental sound that fuses psychedelic rock, acid jazz and funky blues. It’s the kind of music that leaves a lasting impression and they’re independently releasing their self-titled debut album Jan 26. Each track offers something different while the rhythms stay consistently tight. This album definitely has what it takes to be considered one of the top releases in New England when 2018 comes to a close.

Blues fans might know Stubbs from his time as the guitarist for the legendary harmonica player Charlie Musselwhite since 2007. His band’s debut has a bombastic vibe that’s reminiscent of big-time blues music. It’s a quality that grabs hold of the ears and keeps the listener hooked. The bombasticness comes from drummer Chris Rivelli bringing the down beats and bassist Mark Hickox providing the line that each song walks on. Just Lopes’ skill on organ perfects the psychedelic sheen that covers the entire album.

Lopes really shines on organ during “Death Grip” – there’s a bit of noir due to the song’s structure: It’ll make one think that it should be part of a soundtrack for a classic gangster flick. “El Segundo” has a Latin aesthetic that’s smooth as felt fabric on a newly swept floor; Rivelli’s drumming is the rock-solid foundation that makes this track truly special. Distorted and feverish is the best way to describe “John Doe” as Stubbs rips stunning riffs off his guitar.

Stubbs and his band will be ringing in the release of their self-titled album on the same day of its official release at the Narrows Center for the Arts in Fall River, MA. Blues phenom Julie Rhodes will be opening things up, so it’s highly suggested to show up early. When you arrive, grab a copy of the new record and make sure to have a good time. Then play it in your favorite audio apparatus when you leave and see what the fuss is all about.

“Death Grip” stream: .com/watch?v=gDxKgE3fcyI

Event page: facebook.com/events/434780530269751 Web site: matthewstubbs.net

Album of the Week: The Prefab Messiahs – Psychsploitation Today

Psychsploitation Today by The Prefab Messiahs

Worcester, MA, psych-rock act The Prefab Messiahs were a bit ahead of their time when they started out during the early ‘80s. They were doing a weird take on hypnotic ‘60s pop and raw garage rock during a time where somber post-punk and electro-fueled new wave were dominating the music spectrum. After a couple of decades of languishing in New England rock’s storied past, the band got back together in 2012 and put out their first album in over 30 years with Keep Your Stupid Dreams Alive in 2015. Their follow-up titled Psychsploitation Today is coming out Jan 26 via Lolipop & Burger Records, and it’s a gem of an album. There’s a multi-dimensional arrangement that goes along with sheer electricity accented by a variety of distorted feedback.

A big reason why the album has such a groovy sound comes from Doc Michaud on organ. It’s a blast from the past musically with unbridled fuzz to add the perfect touch. Zerox Feinberg’s voice is sapid while also giving Psychsploitation Today a laid-back vibe reminiscent of other psych-rock incarnations. The element giving each track an exciting feeling is the melding of drummer Ned Egg’s and bassist Trip Thompson’s talents. Their consistently tight rhythms are a rock-hard base for the band’s contagiously fun tunes.

When it comes to bands coming back after decades of absence, what plays a part in the reunion? Nostalgia and wanting to relive a time of youthfulness. The internet providing easy accessibility for musicians to distribute their music along with the coinciding rise in indie labels probably play a part, too. For the real answer, you’d have to ask The Prefab Messiahs to hear what their reasons are. There’s no complaining from me about them getting back together, and the proof comes from my top tracks off of the Album of the Week:

With an upbeat tone comes “Sometimes Sunnydaze” – the harmonizing from Feinberg, Thompson and Michaud is hypnotic during a song that can seem contradicting but in a clever way. “Monster Riff” is a party starter with an abundance of energy and a classic dose of rock ‘n’ roll rebellion. The most old- school-style track on the album is definitely “Having A Rave Up,” another party anthem but also reminiscent of rock’s classic age during the late ‘50s.

As of this article, The Prefab Messiahs don’t have any shows announced in the immediate future, but you can be sure that they’ll be tearing it up in music venues all over the place throughout 2018. The next time they’re playing live, make sure to catch the show and don’t forget to grab a copy of Psychsploitation Today. It’s a shredder of an album that’ll shock the senses and melt brains.

“Sometimes Sunnydaze” stream: https://theprefabmessiahs.bandcamp.com/track/sometimes-sunnydaze-single

Facebook: https://www.facebook.com/ThePrefabMessiahs

Be Prepared for Nobody’s Boyscout Nobody’s Boyscout is a true case of musical serendipity. They are proof-positive that the incestuous Providence music scene provides consistent opportunities for musicians to experiment and collaborate with like-minded (as well as not-so-like-minded) artists.

Singer/guitarist Sean Murphy raucously screamed the origins of the band at me; “I play in another band called No Plateau. Matt plays in a band called Dandelion Pipebomb. Supe ran sound at a venue called The Spot for years. Adam plays in a band called High Horse…Adam, Natalie, Supe and I all worked at Guitar Center in Warwick at one point.”

Okay, “raucously screamed” doesn’t really describe the way that Sean Murphy normally expresses himself. Nobody’s Boyscout is made up of the aforementioned Sean, Nic “Supe” Hallenbeck on bass, Adam Carroll on lead guitar, Natalie Perry on piano and Matt “Purple Monkey” Brown as a vocalist, drummer and percussionist. I say we all start hash-tagging #purpmonk with any mentions of Nobody’s Boyscout on social media.

Nobody’s Boyscout is throwing a CD release party at The Parlour in Providence on January 20 for their debut LP, In Tongues. I spoke with Sean, who I’ve known for about a decade, about the release.

Sean reminds of a young wizard. When I wanted to put a solid investment into a new guitar amp and distortion pedal for my punk band, I sat down with Sean Murphy for hours as he showed me amp after amp and we experimented with pedal upon pedal. When I work as a film editor, Sean is the first person I go to with technical questions. Long story short — when I need help with the technical side of art, Sean is my go-to guy.

Sean is always dependable for a thoughtful discussion about creation, and the subject of Nobody’s Boyscout is no exception. “We’re obsessed with trying to craft songs that are appealing to both the public and to the technical musicians inside us. We wanted to create smart songs that didn’t feel like you need a degree to understand what’s happening musically, but when analyzed, have a lot of interesting things going on. We’ve really embraced listening to each other’s styles and trying to leave space for each us to be heard.”

Nobody’s Boyscout’s CD release is a double CD release show with acoustic vocal trio How’s About Charlie. Their debut album, Waves, will also be available that night. The River Provides and The Guest House will open the show with more acts to be announced. But the connection between the two headliners goes further than this event. “We somehow convinced How’s About Charlie to sing on most of the songs on the album,” Sean calmly stated. “We worked with a fantastic mastering engineer named Jonathan Wyner. We worked with an amazing artist named Ningjing Sun [for the album art]. We spent a whole year recording the album with George Dussault. We had a huge support group of people at Madcap every Monday that helped us figure out how to get the songs where they needed to be.”

I listened to In Tongues. It feels full of melancholy hope.

I think the best way to describe it is that the album feels like the feeling you get when you’re 60% of the way through a really good indie movie where you see the protagonists falling in love, but you don’t know if they’re going to end up together. They’re driving through the desert and exchanging knowing glances with each other as the sun comes up, but the journey ahead is unknown. But right now, the joy is simmering and the comfort is palpable. They’ve both lived enough life to know not to trust when things are going so well, but they want to believe that things can go right this time. As you watch them, you hope they decide to believe that things can go right this time.

That’s how the album felt to me.

Now that you’ve experienced the weirdest album description you’ve ever read, go pick up In Tongues January 20 at The Parlour to see if you feel the same, and check out the true collaborative artistry of Nobody’s Boyscout.

#purpmonk The Messthetics at Machines with Magnets, Jan 11

The Messthetics (Photo: Antonia Tricarico)

Some of the best music comes from ideas that are inventive. These ideas push boundaries and inspire new sounds that spark creativity. These days, who knows this better than drummer Brendan Canty and bassist Joe Lally. As the rhythm section for punk legends Fugazi, they were the anchor behind a band that turned an entire genre on its head. With Anthony Pirog on guitar, they have a new band called The Messthetics that’ll be rolling through Machines with Magnets in Pawtucket on Jan 11, with Providence acts Minibeast (featuring Peter Prescott from Boston indie rock phenoms Mission of Burma) and Snowplows.

I had a chat with Lally ahead of the show about rejoining with Canty in a new band, the unique syncopation they have, living in Italy for nearly a decade, living in , DC, with Donald Trump as president and a certain album that’ll be released before the spring.

Rob Duguay (Motif): The Messthetics comprises you on bass guitar, fellow ex-Fugazi member Brendan Canty on drums and guitarist Anthony Pirog. This band is instrumental with a whole lot of noise and distortion. What inspired this approach to the project when you all came together to do it?

Joe Lally: Brendan introduced Anthony and I after I lived abroad for about eight years. I moved back to Washington, DC, and over the years I had put out three solo records and I had played that music with different people. With coming back to DC there was always a possibility of just doing a show every now and then. Brendan wanted to see what we could do and who we could play with. He brought Anthony up one day to his practice space and we played some of my stuff.

I really just felt like Anthony was kind of above and beyond that music and I wasn’t really that focused on doing my solo stuff at the time. Of course I had a great time playing with him because he’s an exceptional guitarist and we kind of let it go from there. Anthony plays a lot of different kinds of music with different people and he gives lessons and he does a lot of playing around. He comes up to New York a lot and I set it aside and I didn’t really think about it. He said that he wanted to work on a record of his music and asked Brendan and I if we’d be interested in being the rhythm section and we both responded positively. RD: How has it been being in a rhythm section with Brendan again? As a bassist do you have a different syncopation and/or melding of talents with him on drums than when you play with other drummers?

JL: I guess so. Anyone you play with is going to have some kind of different feel about it and someone always brings something different to whatever you’re doing. The two parts then add up to something on their own. In the case of Brendan, I hadn’t played with him because he already started having kids before Fugazi went on hiatus. By the time Fugazi stopped playing, Brendan was just so busy that it never came up to play a live show with him.

Until we played together in May of 2017 in The Messthetics, it had almost been exactly 15 years since I played with Brendan. It felt like the most comfortable thing ever to play with him again and it’s hard to describe after playing together for so long. It doesn’t feel like that with anybody else. We know each other musically awfully well so it couldn’t be better. It’s hard to describe beyond that, it’s just an extremely comfortable fit.

RD: I can see how it can feel that way especially since you and Brendan played for so long together in Fugazi. You mentioned earlier how you moved overseas and you moved to Rome, of all places, while living with your wife, and then you moved back to DC in 2015. What made you want to move to a city like Rome, and what did you like the most about living there? I know the city has a tight-knit punk scene.

JL: My wife is Italian and she had lived in Rome from when she was about 18 or 19 until her 30s or whatever it was. Then she moved to DC for 10 years while living with me until we moved back to Rome. The decision was based on me feeling that she needed to be with her oldest friends and family, it really had nothing more than being a family-oriented thing. I was also very happy to raise our daughter in another environment and in another culture so she would know something different than what American culture is like. We stayed there for as long as we could manage.

It’s not an easy thing and it’s very, very difficult to find work there. I wouldn’t trade it for anything, it was a great experience and I initially expected to stay there forever, but it became financially very difficult and it was better to move back. I got to know some music scenes there and it’s like any big cit: I think there’s many different things going on. You could follow what was happening in different clubs in one city and it’s not necessarily all related, so I got to know some but not that much really.

I didn’t do out at night [often] and when I did go out it was to go out and play. During the first five years I was there I was still going out and touring, and not just in Italy. It was really hard to try and get to know the scene there but I got to know some musicians and some people who didn’t even live in Rome. There was a guy from Napoli who sings in Napolitano and he was somebody that I got along with very well and played a little bit with. His name is Francesco DiBella, and it really was a lot of random things that happened.

It’s people you become friends with, just like you do in your own scenes at home. I did get to know some different musicians in Rome but most of these friends came from random interactions. I didn’t go out a lot at night so I didn’t get to know that much of what was going on.

RD: Now since you’ve been back in DC, there’s a certain guy in the White House who has been dividing a lot of people, to say the least, while also saying a lot of outlandish and offensive things. How has it been in Washington, DC, since Donald Trump has been president? Are people there more on edge? Do you see a lot more people doing a lot more organizing when it comes to activism and protesting? How has it been living in DC these days?

JL: There was a lot of marches that we went down to last year but lately there hasn’t been anything happening for a little while. There is definitely a lot more of what I remember with somebody coming into the White House and a lot of reaction to it. There’s a lot of people just gathering and it’s going to continue going on. I’ve seen the area around the White House get blocked from traffic and now it’s only foot traffic and I’ve seen that traffic blocked. It went from where we were gathering between the White House and the back of the White House in Lafayette Park.

People would gather there and then march to the front of the Trump Hotel, and I’ve also seen that area get shut down. It’s more like seeing him set up the barriers more than in the past then I’ve ever seen in this city. It’s all slowly changed over time since September 11. Overall, I think most people are pretty flabbergasted by the fact that this type of person is the president of the country. The office of president was already coming into question before because of the feeling of, “What does this do and how are things getting done?”

It’s clear that things don’t work the way they should. There doesn’t seem to be a whole lot of respect for the office, especially now. The person in office doesn’t seem to give it much respect. There’s so much to be said about it that I don’t even know where to begin. I don’t know what to make of politics, anyway, because I think a lot of it is keeping the majority of people at a distance from whatever the power is that’s in office, whether if it’s Democrat or Republican, and now it’s 1,000 times worse is all I can say.

RD: I totally agree with everything you’ve said and it’s strange how certain points of the city are sealed off now. With The Messthetics, do you guys plan on heading into the studio to record an album later in the year?

JL: It’s already taken place. We recorded last summer in the place that we’ve practiced, because that’s Brendan’s studio space where he does a lot of his soundtrack work. He already had it set up to record and to get things sounding great, so it seemed unnecessary to have to book time in the studio. We just got down to business and set aside time to get songs done as we could. We were done by August or September with the recording, and there should be a record out on Dischord Records sometime before April.

Event page: facebook.com/events/1686398638048858/

Facebook: facebook.com/themessthetics

Album of the Week: Black Rebel Motorcycle Club – Wrong Creatures Wrong Creatures by Black Rebel Motorcycle Club

In an age where the mass populace is questioning rock ‘n’ roll’s legitimacy due to the mass proliferation of pop and due to hip-hop’s rise in record sales, bands like Black Rebel Motorcycle Club are still sticking around. The group from Los Angeles have always set themselves apart from their contemporaries with a leather-clad sound that fuses shoegaze, blues and punk together to create something infectious. Their eighth album, Wrong Creatures, is being released via Vagrant Records on Jan 12 and tbe aesthetic it conveys echoes the famous adage “If it ain’t broke, don’t fix it” that the band has followed for nearly 20 years. It’s a hypnotic rock record that’ll put the ears in a trance. There’s also a case to be made that this is the closest to a blues album the band has ever done.

Like many bands, the trio of Robert Levon Been, Peter Hayes and Leah Shapiro went into the studio to capture Black Rebel Motorcycle Club’s live experience. Producer Nick Launay assisted in getting a clear and raw feel for what the band wanted to do. They achieved it by harnessing their unique energy and putting it into each track on Wrong Creatures, as the album examines death and historical narratives. It’s also apparent that both Been and Hayes are fighting and soothing something within themselves whenever they start singing.

It’s always interesting whenever the idea sparks to explore a band’s discography: There’s a story being told that bears a thorough examination of artistic progression. The changes can be striking and even downright alienating, or they can fit into place like the last piece of a jigsaw puzzle. Black Rebel Motorcycle Club has never been afraid to push the envelope and do things a bit differently. Let’s see what they’ve done this time around with my top tracks off of the Album of the Week:

“Little Thing Gone Wild” is a raging track with a thunderous chorus; Shapiro’s drumming serves as a stellar foundation while Been and Hayes get loud and intense. The weirdest track on the album is definitely “Circus Bazooko” – there’s an organ that sounds reminiscent of a carnival game, while Hayes strums sweet licks on guitar. Leaning towards post-punk is “King of Bones” with steady rhythms and endless cool.

Black Rebel Motorcycle Club will be embarking on a tour in support of Wrong Creatures starting at the House of Blues in San Diego on Jan 15. Fans in New England can catch them at the Royale in Boston on Jan 31. Been, Hayes and Shapiro have forged a reputation for themselves being a must-see band live, so if they’re coming through your town then head on out to the show. While you’re there, grab a copy or the new album. It’s an innovative album with tons to offer while turning up the volume.

“Little Thing Gone Wild” on YouTube: youtube.com/watch?v=eCh_JGmaA_8

Web site: blackrebelmotorcycleclub.com

Top 10 Providence Live Music Shows of 2017

Providence’s music scene in 2017 went through some changes. Longtime venue Lupo’s Heartbreak Hotel underwent under a renovation and became The Strand Ballroom and Theatre. Aurora and Firehouse 13 both closed up shop, the latter an incubator during the late 2000s for a lot of bands currently affiliated with the city’s music scene. Despite a few venues closing down, there’s a still a bit of hope. New bands are still popping up out of the woodwork, and people are still coming out to support local music.

Hopefully the new year brings more progress and unity in that vein rather than the division that seems to be all around us. There was a lot of that with a bunch of shows in Providence in 2017, and that’s why I have this list of the 10 best shows I saw in the city during the year. Keep in mind: Due to my schedule I couldn’t make all of them, so please don’t be upset if your favorite show didn’t make the list. Anyways, here it is.

10. Cat Has Claws Oh Well EP Release @ Dusk 11/16

One of the best local shows of the year went down on a Thursday fall night at Dusk. Alt-synth rock duo Cat Has Claws were ringing in the release of their latest EP, Oh Well, and it had an awesomely attentive crowd. The bill was rounded out with an abundance of variety with indie rock act Thug Honey, new wave dance magnets Triangle Forest and garage rock dynamos Super Natural II sharing the stage. It was a fun night with great vibes and each band was on point musically. Not all local shows have a great turnout on Thursdays and it was refreshing to see so many people having a great time.

9. Bella’s Bartok @ The Parlour 12/30

When it comes to bands around New England, Bella’s Bartok from Northampton, MA, are one of the few that provide a jaw-droppingly memorable experience live. This gypsy rock act has a lot of energy when they perform and they brought that and more when they played at The Parlour on the night before New Year’s Eve. The whole lineup was amazing with locals Psychedelic Clown Car and Consuelo’s Revenge opening things up. Psychedelic Clown Car rocked the rhythmically tightest set I’ve ever seen them exhibit and it was special to see Nicholas Smyth rejoining Consuelo’s Revenge for the first time in months. There was also so much dancing going around that you couldn’t help but shake your feet around.

8. The Obsessed @ Dusk 10/25

Believe it or not, this show almost didn’t happen. Metal legends The Obsessed were supposed to play at The Cafe at Parlor in Newport on this night but it ended up getting cancelled. In a clutch move, Intrinsic Events’ John Difruscio and Dusk teamed up to host this show and it was a special one. The Skinny Millionaires, Pilgrim and Cobalt all shredded before Scott “Wino” Weinrich and the gang took things over. It was really cool to see the best place to see metal in Providence have a band play their stage that has so much influence. Unfortunately this show also has a somber note to it: Pilgrim’s final show because frontman Jon Rossi passed away the following day; he is still very much missed.

7. Beach Slang @ The Met 5/12

I know that The Met is in Pawtucket, but since the place is a stone’s throw from the border and this list is mine, then the venue qualifies. punks Beach Slang have a sound that’s as nostalgic as it is contemporary. James Alex is an amazing lead singer and guitarist who has magnificent stage presence along with writing heartfelt songs. With Portsmouth, NH, act Alcoa, fellow New Hampshire natives Notches and locals Twin Foxes sharing the bill, Beach Slang were incredible on this night and they solidified why they’re one of the best live bands out there today. One highlight of their performance was their rendition of “Smooth” by Carlos Santana and Rob Thomas.

6. Phantogram @ Lupo’s Heartbreak Hotel 1/12

It’s a bummer that the final incarnation of Lupo’s is no longer around and the name is a memory. With that being said, it’s personally refreshing that I got to see a wonderful act like Phantogram during my last time there before it became The Strand. The duo of Josh Carter and Sarah Barthel exhibited stellar camaraderie on stage and Barthel really played to the crowd well. They were joined by guitarist and synth player Nick Shelestak and drummer Chris Carhart who contributed their talents to create a sound that took over the entire venue. Los Angeles act Foreign Air kicked the night off with a chill vibe that set the mood.

5. H.R. from Bad Brains @ POP 12/16

One of the best things about 2017 when it came to Providence’s music scene was the Out of Control: The Spirit Of ‘77 exhibit at POP in December. Part of the exhibit had H.R. from Bad Brains playing with the new incarnation of his reggae band Human Rights. It was eye-popping seeing all of the photos from Richard McCaffrey and f-Stop Fitzgerald in the gallery along with all the vintage goods in the shop across the hall. H.R. and his band were awesome and it was a treasure seeing a one of a kind show in a one of a kind venue. I can’t wait to catch another show at POP.

4. Lee Ranaldo @ Columbus Theatre 1/11

There’s something about a trio of acoustic singer-songwriters that can stick in the mind. The beauty within the simplicity of it all can be hard to describe but you can really see someone’s pure talent when they’re performing by themselves on stage. Ex-Sonic Youth guitarist Lee Ranaldo headlined a night of stripped down music and I’ll never forget it. Ranaldo was fantastic and his electric pick-up sounded out of this world. Ever since that show, one of the openers in Steve Gunn has become one of my personal favorites, and Meg Baird was great that night as well.

3. Aesop Rock @ The Met 1/24

Let’s face it, 2017 was a bad year for mainstream hip hop. The emergence of “mumble rap” has upset every purist under the sun. The underground side of the style is still going strong and Aesop Rock proved that again at The Met. No one can captivate a crowd like the way he does and the whole show was a lot of fun. Opening act Homebody Sandman was pretty good and Rob Sonic was way better than when I saw him a few years ago. When “None Shall Pass” kicked in, the whole crowd went crazy and that’s a moment I’ll never forget from that show.

2. Sheer Mag @ AS220 4/13

2017 was a wonderful year for Philadelphia rock ‘n’ rollers Sheer Mag. They put out a kickass debut album with Need to Feel Your Love in June which got a whole lot of acclaim from nearly every media outlet that covers music. They also ripped apart AS220 in February with local punks Downtown Boys and Hairspray Queen that was a raucous time. There was a never-ending mosh pit and the crowd kept on getting bigger and bigger as the show went along. Sheer Mag is due for even greater things in 2018, and if you were at this show then you know why.

Ted Leo

1. Ted Leo & The Pharmacists @ Columbus Theatre 12/2

Seeing Ted Leo & The Pharmacists play the main stage at the Columbus Theatre was extraordinary for numerous reasons. First, Bill Janovitz from Buffalo Tom started things off with a set that included him and Leo performing the song “Taillights Fade” together. Second, it was incredible seeing ex-Downtown Boys and ex-Gavage sax player Adrienne Berry playing in Leo’s band. She brought a swagger to the whole thing that added a ganache. Lastly, seeing the band in such a grand setting was unforgettable and that’s why it’s the best show that happened in Providence this year.