HxC: The New Wave of Hardcore

Music has such a wide variety of sound and styles it’s hard to capture everything a band or musician has to offer under one specific genre. Hardcore is no exception. With influences from metal, punk, grindcore, ska, death and thrash metal along with all the anger and politics thrown together, it creates what we can loosely call hardcore music. The one thing that brings all hardcore punk bands together is their absolute love for the music and affiliated culture … and the fast-paced, pissed-off sound the majority of the bands have.

Hardcore can branch off into different types of sound, depending on the band’s influences. These new- age, punk-influenced bands take notes from the original hardcore bands who have more of a metal influence, and they created a lifestyle out of it with the same original metal hardcore bands as their idols. The fluidity of the genre has helped the sound evolve into the new-age subset in which Providence is making waves.

With Mass. right next door, local bands are able to play with some of the biggest names from Boston, Merrimack Valley and the Western Mass. hardcore scene. And one of the largest hardcore labels, Bridge 9, is in Massachusetts, which also gives RI bands the opportunity to play with some of their inspirations. New Providence hardcore band, Waste Of Life, had the chance to play with the group that they pull most influence from, Rude Awakening from Merrimack Valley, earlier this summer in New Hampshire. Violent Sons, another hardcore punk band from Providence, got signed to Bridge 9 records in early July, which just adds to list of sick things happening in the Providence scene. Venues like Firehouse 13, AS220, The Funky Jungle, The Met, and Machines With Magnets all support the flourishing hardcore scene in Rhode Island. More and more shows will be popping up in venues like these, so keep your eyes peeled and ears open for all the chaos that this scene has to offer.

Upcoming

Cruel Hand drops their new The Negatives September 23. This is the first album they have released since 2010. The record release show is being held in Portland, Maine, on September 20 with Bane.

Punch just released their new LP They Don’t Have To Believe through Deathwish Records. They will be playing close by in Boston on September 8.

Western Mass. hardcore band Revenge is releasing their new full length The Heavens Are Empty in late September. Their record release show will be September 14 in Holyoke, Mass.

Providence hardcore punk band Violent Sons recently released their full-length Nothing As It Seems in September, with their record release show at AS220 on September 25.

Upcoming Shows September 6 AS220 — Fucking Invincible, Straight Razor, Death Injection, Wokling. September 25 AS220 — Violent Sons (LP Release), Caught in a Crowd, My Fictions, Barber Cop. October 3 Lupos — The Wonder Years, The Story So Far, Modern Baseball, Gnarwolves. October 5 Firehouse 13 — Expire, Rude Awakening, Caught in a Crowd, 1 local tba. October 18 The Met — Transit, Such Gold, Driver Friendly.

Top 10 Acts To See At Boston Calling

It has rocked Boston four times since its inception in May of last year, and has quickly become one of my favorite music festivals. Boston Calling is invading City Hall once again from September 5 – 7 with a lineup of acts that very well could be the best edition yet. Once in a lifetime experiences, bands playing Beantown for the first time in decades, and a whole lot of fun is guaranteed to ensue. If you plan to attend, here are my suggestions for the top acts to see at the 4th Boston Calling Music Festival:

10.) (Sunday 3:55 @ Capital One 360 Red Stage)

This jazzy soul band started out in Boston and is currently based in Brooklyn. I’ve been a fan of Lake Street Dive ever since I saw them perform at The Newport Folk Fest. They’ll be performing during the last day of the festival with an electrifying sound that you don’t want to miss out on. For a sneak preview, pick up their brand new album, Bad Self Portraits, that was released this past February.

9.) Girl Talk ( Saturday 7:10 @ JetBlue Stage)

There are mashup artist and then there’s Girl Talk. The Dance King Of Pittsburgh, also known as Gregg Gillis, has the uncanny ability to combine snippets of nearly every musician and rapper on your iPod and make them into a song that will make you go absolutely insane. The courtyard at Boston City Hall will become a raging dance party when Girl Talk hits the stage on Saturday, so act accordingly and dance like an absolute fool.

8.) The War On Drugs (Sunday 3:05 @ JetBlue Stage)

An experimental rock band from Philadelphia that dabbles in shoegaze, psychedelic rock and good old- fashioned Americana, The War On Drugs are one of those acts that at least one of your friends loves to talk about but hasn’t reached the mainstream. With a very cool sound and great lyrical quality, get ready for a unique rock ‘n’ roll experience once these guys start to play. One of many acts playing Boston Calling this year that have put out new material, give The War On Drugs’ new album Lost in the Dream a listen and dive in.

7.) White Denim (Sunday 2:15 @ Capital One 360 Red Stage)

With their combo of old-school and psychedelic rock, White Denim from Austin, Tex., are, in my opinion, one of the best rock ‘n’ roll bands out there right now. Their songs hit you like a ton of bricks and they’re not afraid to get crazy with the rhythms. Right before The War On Drugs take things over, White Denim will be up and you’re gonna love it. If you need any more justification, their last album, Corisicana Lemonade, was produced by Wilco’s Jeff Tweedy.

6.) The Hold Steady (Saturday 5:00 @ JetBlue Stage)

One of the many heavy hitters on the bill this time around, The Hold Steady will be bringing the positive jam to Boston Calling on Saturday. Frontman Craig Finn will be getting everyone amped up while the rest of the band will be lighting the stage on fire with their heartfelt alternative rock sound. The boys from Brooklyn also have a new album called Teeth Dreams that came out this past March, which you should get your hands on if you haven’t already.

5.) The National (Friday 9:30 @ JetBlue Stage)

Last year they headlined the first edition of Boston Calling, and Brooklyn via Cincinnati post-punk alternative rock act The National is back to kick off the first night of the festival on Friday. Lead by the unique baritone vocals of Matt Berninger, I first got into the band after I saw their performance at the inaugural inception of the festival and they’re definitely the real deal. It’s going to be a treat to see The National once more and I highly suggest you don’t leave early on Friday so you can catch them live.

4.) Spoon (Sunday 7:10 @ JetBlue Stage)

One of the best independent rock acts of the past 20 years who still put out quality music with every new release, Spoon will bring their catchy tunes to the forefront on Sunday. is an incredible lyricist and the rest of the band are simply amazing to see live. If you know me well, you know how much I love Spoon. When they play Boston Calling I guarantee you’ll get to see why. They also have a brand new album out titled , which is fantastic, so go and pick that up before you head to the festival.

3.) Lorde (Saturday 8:15 @ Capital One 360 Red Stage)

I might get flack from people for putting Lorde so high on this list, but then again I never really cared much for the haters. The New Zealander is only 17 and in my opinion is the best pop artist alive today. Better than Lady Gaga, better than Katy Perry, better than Britney Spears and better than Rhianna. Actually, she’s stratospheres above all of them. She’ll be performing on Saturday, go and see why she’s held to such high acclaim.

2.) The Replacements (Sunday 8:15 @ Capital One 360 Red Stage)

It’s hard to believe I’m not putting a band I’ve been listening to since my teens at the #1 spot, but The Replacements are absolutely worthy of being on the list. When they got back together in 2012 they made a buzz, but when the alternative rock legends got announced as being part of Boston Calling they created a frenzy. It’s going to be their first time playing in Boston in over 20 years. I can’t wait to see Paul Westerberg and the rest of the band perform classics like “Can’t Hardly Wait” and “Alex Chilton” Sunday night.

1.) Nas & The Roots (Sunday 9:20 @ JetBlue Stage)

Put who I believe is one of the best rappers alive on the same stage with the quintessential hip-hop band and there’s no wonder why Nas & The Roots are #1 on the list. It could very well be a once-in-a- lifetime opportunity to see two hip-hop giants perform together and it’ll be an excellent way to conclude the 4th Boston Calling Music Festival. I could tell you why you shouldn’t miss Nas & The Roots, but both names should tell you why already.

Head up to The Hub via The T or I-95 for Boston Calling and it’ll be very well worth the trip. Get ready to have some fun and I’ll see you there.

Making the Stage: Local open mic picks up

There is a stage in Providence looking for performers. Join the PVD Hoot for a chance to perform or sit in the audience for an opportunity to cheer on local musicians of all types.

The PVD Hoot is an open mic that makes its home at Anchor, a work-exhibition space on Rice Street in Providence.

Started by Josh Aromin and Sarah Mead in October of last year, the Hoot has embarked on a year-long venture to bring a performance space for all to the city. The performance stage has gone walkabout in an effort to become more of a “mobile mic” bringing the stage to the people who want to perform on it, and to audiences in the heart of downtown. The Hoot is using Grant’s Block to get outside, but this past Sunday, the rain moved them inside to the Providence Polaroid Project (the old Craftland location), across the street.

This collaboration between the PVD Hoot and Providence Polaroid is the only the first of many, or so hope Hoot co-founders Aromin and Mead.

“People keeping saying, ‘we need to work together,’” said Aromin. They have been looking to work with more of the projects that are part of Popup Providence initiative. A rainy Sunday didn’t see the turn out that the Hoot usually gets. Only four people performed, two of whom are involved with the Hoot, including Aromin. When the stage is set at The Anchor, between 30 and 40 people usually show up. When the performance has been hosted at Grant’s Block they’ve drawn crowds of up to 100 people.

“We got rubberneckers,” Mead said with a smile.

The Hoot started when Aromin’s cousin, Armand Aromin, a violin-maker, moved his workspace into the Anchor. The Anchor provides free performance and exhibition space to its residents. Armand asked Josh for ideas of events to host.

“I said, ‘An open mic would be great,’” Aromin recounted. Cafes and restaurants often will host open mics, but inviting people in to perform or to watch people perform does not necessarily turn a profit, and the open mic remains secondary to the goal of establishment, namely selling food and beverages.

Aromin wanted to re-create the vibe that the erstwhile Tazza Cafe had at their open mics.

When they’re at home at The Anchor, they serve free beer and coffee, donated by Narragansett brewery, and New Harvest, respectively.

“We wanted to be an open mic that just happens to have free coffee and beer,” Aromin explained.

When Aromin was set to make the open mic happen, he invited friend and co-worker Mead to help him put it on. Mead has a degree in marketing, and had experience putting on events.

“Sarah had never done an open mic before,” Aromin laughed.

But Mead took on the planning and they’ve been successfully drawing a crowd since.

“Once you’ve done the first event, you figure out what to do. Every time we do it it’s tiring, but definitely worth it,” Mead said.

Sunday’s Hoot was also a send off party, because Mead is moving back to her home state, Connecticut. Aromin sang her a song he wrote, I hope when you pass through Providence it still feels like home.

One goal of the Hoot is to expand the project to other cities, so Mead’s move signals a future for the Hoot outside Providence. Until then, the Hoot will be continuing at The Anchor until this October.

Aromin recited the Hoot’s unofficial motto, “Our stage is your stage. I don’t care what your talent level is.”

For more information visit their website at http://pvdhoot.com

You can head out (and perform) 2PM performances at Grant’s block, 5PM at The Anchor: Aug. 10 – Grant’s Block Aug. 20 – The Anchor Aug. 24 – Grant’s Block Sep. 7 – Grant’s Block Sep. 17 – The Anchor Sep. 28 – Grant’s Block Jared Paul: The Underground Voice of Providence

By Melanie Rainone

Jared Paul is a poetic and musical powerhouse that calls Providence home. As a nationally acclaimed spoken word poet and hip-hop artist, he draws his inspiration from social injustices and fuses his two art forms together to create something unique and powerful.

Jared’s upbringing and early introduction to hip-hop took him on a journey that introduced him to poetry, community action, and national activism. He has become a radical and artistic voice of Providence, bringing the culture of poetry, working with the youth and community at large with a little rabble rousing thrown in.

“Hip-hop is poetry. Hip-hop is the continuation of the oral tradition. It’s poetry put to music. The rhyme scheme, the meter, the metaphor, hip hop is the first music that was more about poetry than it was about music.”

Jared grew up in the Manville neighborhood of Lincoln. “I grew up below the poverty line in terms of the state’s eyes, but both of my parents loved me a tremendous amount and I had a really great childhood. We always had all of the things that we needed and most of the things that we wanted.”

Jared has fond memories of Manville, speaking of a strong community and many children his age with whom to play. “We had to see from a very young age the real time class divide.”

It was in this environment that Jared found music.“My friend Joey gave me Public Enemy at the bus stop in 7th grade and it changed everything for me,” he explained.

“They had all of these powerful songs about life, and about a lot of the same things we were going through or that our friends or family were going through. From that moment on it was our main music, and a main influence in our lives: it informed us, inspired us, picked us up when we were down, gave our anger validation.” It is hard to tell the story of Jared without mentioning . Francis is a hip-hop artist and spoken word poet from Rhode Island whom Jared credits with his introduction to poetry and political action.

Jared and Sage met as students at URI, but Sage’s influence on Jared as an artist began long before the two ever became friends. The copy of Public Enemy that Jared got from his friend Joey at the busstop, the album that Jared says started it all, had been given to Joey by his older brother, who had gotten it from Sage Francis.

“He was my friend, but he was also kind of like a superhero: he was an amazing performer, his writing was better than anyone we knew, he was a black belt in karate, he had a kickass hip-hop show on [URI’s radio station, WRIU] 90.3FM, he had a full beard, and could easily beat up a grown man.”

It was Sage that brought Jared to his first poetry reading at URI. “All these teenagers relatively sober with informed opinions on politics, music, life. Reading poems and songs about love, loss, struggle, the military, sex, poetry, culture. Everything. I didn’t know anything like that existed … I had the opposite of a nervous breakdown, I had a nervous awakening.”

Jared became involved in the Providence slam poetry scene in 1998. It took him three years to make the team, but the year he did coincided with the National Poetry Slam being hosted in Providence. He was a part of Team Providence for the next seven years. During that time, Providence made it to the semi-finals at Nationals five times, and Jared made it to finals stage at the Individual World Poetry Slam in 2006 and again in 2007.

But Jared sensed that an outlet for adults was not enough. In 2002, Jared made a proposal to the Providence Slam staff to start a youth poetry slam. “I knew that youth of Prov were hungry for it, and the movement was growing around the country,” said Jared. He coached and directed the Providence Youth Slam until 2009, during which time they made it to the finals stage three times and were featured on HBO’s series Brave New Voices. “Team Providence became one of the most respected youth slam teams and communities in the country and folks gave us a lot of love,” Jared said. “Coaching and working with the youth, was easily one of the best experiences of my life.”

Jared’s work with Rhode Island youth extended beyond poetry. “I wanted to work somewhere in the overall movement for social justice,” he said. A friend of his was a group home counselor and referred Jared to a non-profit. “They recruited me for a specialized program working with teen sex offenders and sex crime survivors,” he said. “It was the hardest, most eye opening, educational, enraging, and spiritually damaging work I’ve ever done.” He worked there for four years until he began touring full time. For anyone familiar with Jared’s work, it is fueled by passion about social injustice. He does work as an environmental, animal, and human rights activist, causes that are the main subject matter for his poetry and music. His poem entitled “Conspiracy to Riot: 2008 RNC Arrest Story Pt. 1” tells the story of Jared’s arrest for felony riot at the Republican National Convention in 2008. This was not the first time Jared found himself in trouble with the law, after being part of the mass arrest that happened during the 2004 RNC. This past January, it was announced that New York City agreed to pay nearly $18 million for the arrest, detention, and fingerprinting of hundreds, making it the largest protest settlement in history.

After all of his national recognition and success, the question remains: why Providence? “For such a tiny city we have a crazy arts and music scene, and a super strong counter culture,” he said. “There are protests every week, there’s an organized radical labor contingent, one of the strongest, most tenured poetry communities in the country.” Jared currently lives in Providence as a part of the AS220 Artists in Residence program, describing AS220 as an internationally recognized beacon of hope.

“The time I set aside for direct action goes to picketing with hotel workers in my neighborhood at the Renaissance and the Hilton as they fight for fair wages and better working conditions.” He also volunteers with the Providence Poetry Slam and participates in protests and hearings organized by Occupy providence and the Olneyville Neighborhood Association.

Aside from his activism work here in Rhode Island, Jared is working on various upcoming poetry and music projects. “Right now I’m working on my book and a brand new album, so my focus is there,” he said. Jared’s first book (title to be determined) is due to be released in the spring of 2015. He describes it as a collection of poetry, autobiographical short stories, and personal essays about traveling, protesting, and social justice organizing.

CLEAN MACHINE by Jared Paul

Biking to my father’s house after dark, making good time. Providence flies past and I’m already crossing into Pawtucket.

There’s hardly any traffic and the night air is soft and cool. The speckled sky brightens the further I ride from downtown.

After pedaling nonstop for twenty minutes, Main Street turns into Lonsdale Avenue and a glorious downhill begins.

Nearly a mile with the wind at my back and gravity on my side. As I pick up momentum, cars, trees, and buildings blur together.

The bray of advancing motorcycle engines sparks up from behind. Fifteen men on sportsbikes pull close, begin passing on the left.

Accelerators rev in a rush of piercing headlights and neon plastic.

My ears recoil as they roar by— I nod, waiting until the road is mine again.

The last rider to pass reaches out and gives my raised bottom a playful pat. I look over in surprise, he winks.

Someday, you’ll be man enough for one of these, his eyes seems to say. He hits the gas with a blaring whine of the engine, races to catch the others.

Their tail lights disappear around a corner and off into the distance. The night is quiet once more but a heavy curtain of burnt exhaust remains.

I’m given to a moment of flatulence and the gas eases out behind me. I whiff but there is nothing there to smell.

The sportsbikers have helmets and I have a helmet. They have two wheels and I have two wheels but my bicycle runs quietly on quinoa and kale, and the exhaust is clean as a whistle.

Album of the Week: Stardeath and White Dwarfs’ Wastoid

It can be a daunting to be related to a music superstar. Enter Dennis Coyne, nephew of Wayne Coyne, the insanely enigmatic frontman of acid-punk act The Flaming Lips. Dennis’ band Stardeath and White Dwarfs have a new album out called Wastoid and you can see the influence of his uncle throughout each track. What sets this act apart is the heavy fuzz from the bass and guitar distortions that can make your head spin. It can be tough living up to someone else’s fame, but Wastoid shows that Stardeath and White Dwarfs are looking to forge their own path.

If you have heard the Dark Side Of The Moon cover album Stardeath and White Dwarfs did with The Flaming Lips, Peaches and Henry Rollins back in 2009, then Wastoid should show a lot of similarities. There’s a great psychedelic presence on the album with each song taking you from one place to the next. Each track provides a different experience but each is a pleasant one. Staying true to their crazy and weird Oklahoma roots, Stardeath and White Dwarfs never cease to astound from start to finish with their new album. It’s groovy, fun and trippy with a taste for the abstract that comes together to form something unique and wonderful.

So the World Cup is finally over. Since a portion of your day is all the sudden freed up, dive into my top tracks off of the Album Of The Week. Maybe it’s not as fun as watching a bunch of dudes run around for 90 minutes, but it surely won’t be boring.

The jungle beats and the raw riffs of “Frequency” make it a funky number at the start and then it gets all acoustic with Dennis strumming on his six-string. It reminds me a bit of mid-90s era Blur. A wonderful example of the fuzz is “Guess I’ll Be Okay;” the guitars hit you like a stick of dynamite over a nuclear power plant and it’s my personal favorite off of the album. Cool psych-jazz goodness is all over “Sleeping Pills and Ginger Ale,” a very entrancing song that features chords giving it a full body.

Stardeath and White Dwarfs will be performing at The Wichita Psych Fest in Wichita, Kansas, on July 19 and at The Center Of The Universe Fest in Tulsa, Oklahoma, on July 26. If you’re willing to make the road trip to one of these festivals I highly suggest you do. Hopefully they make it up to New England soon, but until then grab yourself a copy of Stardeath and White Dwarfs’ Wastoid. It’s the perfect album for the person who lives in another state of mind.

Stardeath and White Dwarf’s Website: stardeathandwhitedwarfs.com

Cruel Hand Throws Down at Firehouse 13

By: Khrysta Ryan

Providence hardcore locals Waste of Life and Black Celebration opened up a killer show at Firehouse 13 in Providence this past Wednesday. This small three day tour headlined by Maine hardcore band Cruel Hand, who joined Swamps from Springfield MA, and Street Sweeper from Boston. Although it was a weekday show it didn’t stop people from all over New England to show up and throw down for each band. Fans from Connecticut, Mass, and NH came out and filled the place up.

Black Celebration opened the show and hyped up the crowd even without a packed floor. The first band of the night sets the mood for the rest of the show, and that is exactly what they did. This Providence band knew how to keep the crowds attention. Still new to the scene, they had a memorable performance with their opening and closing song be a tribute to a “black celebration.” Their self titled EP, released in early April, is out on Bandcamp, which you can download for free. Following was Waste of Life: only playing three previous shows, the crowd was impressed by the stage presence of the entire band along with

the amount of interaction the vocalist had with the fans. Their short and sweet set gave the crowd a taste of what is to come from this local hardcore band. The only vocalist to actually get off the stage made Waste of Life’s set one of the best to watch. Their debut EP Nothing to Gain released in early April, people have been able to hear how this Providence band puts their own twist on the classic hardcore style. With each member having different musical influences they mix their ideas together to create this different take on hardcore. Playing with Cruel Hand, Rude Awakening and Capsize, all bands who are nationally known in the hardcore scene, this band is moving in the right direction; quickly in the hardcore scene.

Following Waste of Life was Street Sweeper who killed it with their Boston hardcore sound; fast paced and higher pitched vocals resembling hardcore legends Have Heart. The energy in the room picked up at the start of their set, and didn’t stop until the night ended. The crowd didn’t stop moving and was screaming along for the entire set.

Following Street Sweeper was Swamps. Their entire set was mass hysteria, the best kind of course. Firehouse was one entire pit for their whole time on stage. The entire room was on their toes for the whole show–the stage presence of the band was outrageous, you just couldn’t look away. The vocalist Andy captured the audience’s attention, constantly jumping and shoving the mic into crowd. This was the perfect way to lead into the headliners, Cruel Hand’s set.

The Maine hardcore band started off with well known songs, getting the crowd to pick up their feet and sing along. Cruel Hand is known for their crazy sets and groovy take on hardcore. The vocalist and entire band left the crowd wanting more after playing some new songs from their upcoming album. Out in early September, this will be the first album since 2010. https://www.facebook.com/Cruel Hand https://www.facebook.com/swampsma https://www.facebook.com/pages/StreetSweeper/294644739539 https://www.facebook.com/wasteoflifehc https://www.facebook.com/blackcelebrationri https://www.facebook.com/LighthousePhotographyUS

Opera Providence – Opera Done Right

Let’s face it. Opera is a tough sell in America. To really appreciate it requires focus, which is severely lacking in a world of constant verbal and electronic chatter. Some of the finest works are sung in Italian or German. Operatic vocal style is considered by many to be an acquired taste – but then again, so is the screaming vocal style of death metal, and we can’t understand them either.

Dr. Robert DeRobbio is the president of Opera Providence, a small yet dedicated arts organization whose mission is to bring this music to the community. With a shoestring budget and a passionate skeleton staff, Opera Providence has been in operation for 22 years.

“Opera Providence was originally called Ocean State Lyric Opera,” says DeRobbio. “We started out by producing Gilbert & Sullivan productions in the summertime. We used just piano accompaniment, and as we expanded we added more musicians to be able to have a full orchestra. Early performances were at the Wheeler School, and later we upgraded to full-scale productions at larger venues such as Veterans Memorial Auditorium and the Columbus Theatre.”

The talent of Opera Providence is both locally sourced and imported. “We have worked with local soloists such as Diana McVey, Maria Spacagna and Fred Scheff, all of whom have performed worldwide; yet they have their roots here in Rhode Island. We also try to catch performers as they are between engagements in New York, Connecticut and Massachusetts. As our reputation has grown, performers will contact us when they are in the area and offer to sing with us.”

This is an exciting season for Opera Providence, which boasts three full-scale productions. The season includes Verdi’s La Traviata, Gilbert & Sullivan’s The Mikado and, in collaboration with Opera Worcester, Gilbert & Sullivan’s Pirates of Penzance.

There are also four free summer concerts in Hopkins Park, July 6, 13, 27, and Aug 3, all made possible by the Mayor’s Neighborhood Performing Arts Initiative. There are dinner concerts at the Providence Art Club, where they select programming that complements the art exhibits. Other performances take place at the Blithewold Mansion in Bristol.

Also of interest is Opera Providence’s commitment to emerging talent. There is a sister organization called Knobs and Knockers, which is run by DeRobbio’s wife Nanci. “The name came about because she likes to take pictures of door knobs and door knockers in Italy [chuckles]. We provide opportunities for young performers who want to have an affiliation with an opera company on their resume.” Recent performers have included Ariel Rodgers, a student at URI and Alexis McKinnon, a student of Rene de la Garza.

So what are opera’s selling points?

It’s the culmination of artistic disciplines, including music, drama, visual art and scenery, costumes, mythology and narrative. Some of the most beautiful and emotional music ever written lies within this genre. Just take a listen to Puccini’s haunting aria ‘Neesun Dorma’ from his opera Turandot and note the chills it sends up and down your spine or the original operatic version of Gershwin’s ‘Summertime’ from the controversial Porgy and Bess, written in the 1930s.

The storylines range from hilarious side-splitting comedies to gruesome tragic tales that may make one question the integrity of humanity itself – with subject matter including adultery, murder, revenge, slavery, suicide, war and politics, to name a few. Not for the vapid, or the faint of heart, for that matter.

For such a beautiful and complex art form that exists mainly in larger cities, we Rhode Islanders are very fortunate that Opera Providence has found its home here. With an ever-expanding season and exciting programming, this is definitely a group worth catching.

Verdi’s La Traviata will be performed July 18 and 20 at the Columbus Theatre, 270 Broadway, Providence. Tickets can be obtained by calling Opera Providence at 401-331-6060. As a special bonus for Motif readers, mention this article and receive discounted tickets! For more information, visit operaprovidence.org

Sage Francis Grasps Listeners by the Neck and Shakes with

Earlier this month Providence’s hometown hip-hop hero, Sage Francis, lovingly referred to as “Uncle Sage,” released Copper Gone. The much anticipated album marks the end of a four-year hiatus and his first studio album under his own indie label, .

Copper Gone is a 14-track trip into the psyche of Sage, merging his eminent quick-tongued sharp lyrical flair and what may be his darkest autobiographical poetic styling yet. He masterfully uses twisted imagery as commentary on his personal state of affairs along with the absurdity of today’s popular culture (“Knit me a sweater with the intestines of attention whores,” he raps in “MAINT REQD”).

“It’s mainly in reference to houses that get stripped for their scrap metal,” Sage explained of the album’s title. “There was an abandoned building near where I live that had ‘Copper Gone’ spray painted onto it in an attempt to keep people from breaking into it. It was basically a plea to the people. Like, ‘Hey … there’s nothing left. I’ve been stripped clean. Stop fucking with me now.'”

The album explodes out of the gate 15 seconds into the first track, “Pressure Cooker,” with an abruptly shouted, “I been busy, get off my nuts,” as if to say, “Yeah, I’ve been on hiatus. What’s it to you?” setting the pace for the level of energy that holds strong through the entirety of Copper Gone. “I definitely felt the pressure to have an album that socked people over the head. And in the bread basket. And in the bean bag,” Sage explained of creating his first full-length album since 2010’s LI(F)E.

The power that Copper Gone demonstrates commands the listener’s attention through mellower lulls in the track list as well with captivating lyricism and well developed, easy riding beats. Sage’s infamy as a wordsmith comes to fruition with his visual storytelling. He depicts a love gone far downhill in “Grace,” in the outro,

“This a music box that haunts me from the top-shelf of the bedroom closet I don’t touch it, it just cuddles with my conscience I’m on constant guard, jittery the whole night Clinging the sheets because it sings to me slow like And that’s her song running through an hourglass…”

Sage’s lyrics flow easily over by a diverse mix of beats from a number of producers in addition to affiliates , , Ceciel Otter and . “A French producer by the name of Le Parasite put together [the “Over Under”] beat,” Sage explained, “It was actually submitted as part of a remix contest we held on our website a few years back. I liked the beat so much I asked him if I could keep it on reserve for an original song. The beat for ‘Say Uncle’ also came about in a similar way. In fact, now that I think of it, a lot of the producers on this record got in touch with me from the remix contests we held at Strange Famous. Crazy how that all worked out.”

Indie record Copper Gone has seen an overwhelming amount of support in its first month in circulation. Mid-June the album reached number 135 on Billboard’s Top 200 list of current albums and number 23 on the list of current hip-hop. Sage is currently on the final leg of his US tour, ending the journey at home in Providence.

He’ll be tearing down the house at Fete with Strange Famous artist and RI local, B. Dolan on July 4. What can fans expect at this homecoming? “Pure fucking insanity. We’re leaving it all out on the stage that night. If people leave that show feeling like it wasn’t the best show they’ve seen in recent years I’d be surprised. This will be one for the books. No doubt. Medical ones especially,” Sage assures us.

Copper Gone is available for purchase on strangefamous.com on vinyl, CD, digital download and yes, cassette tape.

Sage Francis with B Dolan July 4, 7pm Fete Ballroom, 103 Dike St, Providence Toy Soldiers Take Over the Columbus

It’s not every day that a band like Philadelphia’s Toy Soldiers comes along

Philadelphia troubadours Toy Soldiers, along with Quiet Life, came to the Columbus Theatre on June 8 to give the people of Providence some late-night entertainment. The intimate show took place upstairs at the Columbus Theatre, a small space that makes it feel like you’re watching bands perform in your living room.

The show kicked off with a set of songs from bluesman Mark Milloff of local group the Cannibal Ramblers. Backed by an impromptu band made up mostly of members of the other acts, Milloff sounded like a preacher possessed by the power of the blues. He hadn’t even met the other musicians before, but the set went very smoothly. “This song is gonna have a stop somewhere … we’ll figure it out,” he instructed at one point. The set became more like a sprawling jam session with the tunes fluidly blending together.

Next up was Quiet Life. The Pacific Northwest has exported a number of successful indie folk bands like Blind Pilot and Fleet Foxes, and Quiet Life seem right at home in this kind of company. Led by frontman Sean Spellman, the band is right at home playing , up-tempo tunes (lead guitarist Robert Jenson is a fret board wizard), but the most powerful moments of the show came with more acoustic, straight-ahead folk tunes, including the showstopper “Shaky Hand.” Spellman commented at the surprisingly appealing atmosphere of the Columbus, formerly a pornographic movie theater. Toy Soldiers took the stage after a brief intermission, and it looked like they were having a great time performing. They brought it back to 1971 with a powerful cover of Harry Nilsson’s “Early in the Morning” first performed by Louis Jordan. Their amped- up version of this mellow tune was exactly what you’d hope for from a band like Toy Soldiers. “Heart in a Mousetrap” explored classic country tropes (“you’ve got my heart in a mousetrap, you’re like a brick thrown at my head”) with tasteful background licks from guitarist Matt Kelly. “Tomorrow is Today” began with a slow, wistful intro then built into a salsa feel, with impeccable drumming from Domenic Billet. Frontman Ron Gallo’s voice is instantly recognizable and sounded like a kind of rock ’n’ roll crooning.

Toy soldiers released their excellent album The Maybe Boys in 2013, combining the energetic blues- rock of the Stones with the organ-laced sensitivity of The Band. Surprisingly, the band only played a few songs from the album during their hour-long set, which is probably a testament to their prolific songwriting ability.

One of the highlights of the show was experiencing the camaraderie between talented guys who clearly enjoy each other’s company; throughout each band’s set, various members of the other groups joined in onstage. Both drummers were playing together for most of the show, and Toy Soldiers bassist Bill McCloskey played with Quiet Life almost the entire set.

In the age of electronic music sensory overload, it’s great to see bands that can still take it back to their roots. These two acts with bright futures made staying out until after midnight on a Sunday night totally worth it.

Ron Gallo will be playing upstairs once again at the Columbus Theatre, along with songwriters Christopher Paul Stelling and Jonah Tolchin on June 27 at 8pm. Summer Music Festival Therapy

It’s that time again — as the sun spends more time in the sky and the grass comes back to life, so does the world of music festivals. Magic happens in these places, which is apparent when you witness people congregating to celebrate the music they love and creating a bond through the appreciation they share. Life’s about having new experiences and a festival is a pretty easy one to check off the bucket list. Are you feeling a little lost lately? Maybe a festival is just what you need. There’s an opportunity almost every weekend in the summer, so embrace this amazing chance for music, light and love. You might elevate yourself to a new mindset.

Strangecreek in Greenfield, Mass., is the unofficial start of the festivals in New England. Thousands of people have caught on to this phenomenon over the past 12 years and their connection to this place is a strong one. People come from all around with smiles on their faces and proudly call it their home for four days. They set up camping villages in the woods with like-minded music lovers. Also known as Wormtown, the property has multiple stages with over 80 performers throughout the weekend and late night cabins with performances until the sun rises. An array of vendors sell unique clothing, artwork and jewelry. An eternal bonfire burns the duration of the weekend, keeping the music souls attending the festival warm and together. These are just a few elements that make this event special. Many parts of a festival are amazingly indescribable; you must pursue it yourself to learn more.

Festivals hold a unique energy that can help you find meaning in life. Because music is a natural antidepressant, these getaways are equivalent to a happiness retreat. They’re a form of paradise. When people have a few days to decompress and enjoy themselves, their attitudes and perspectives change. Something changes in us when we dance like no one is looking — being at a music festival lets your soul breathe. People express themselves in the most unique of ways. Festival goers wear wild costumes and adorn themselves with body paint, and you can see your friends’ inner personalities express themselves like never before. Many people enjoy this time so much that they skip sleep to embrace the entire experience. And here’s the funny thing: When people are truly happy they tend to be more open and giving. They loosen their judgments and predispositions. If you go, you may find yourself in the middle of a glorious field bonding with new friends in a blow up pool, while listening to the best music. You might even fall in love for the weekend.

Your amazing moment is out there if you’re willing to let go of what you know as yourself and grab onto the bond that music provides. For many of us it starts with Strangecreek, but it does not end there. Let your soul open itself to something new and come to a music festival. I’ll be right there with you.