She’s a Narrows fave who easily moves from outrageously funny to achingly beautiful. Always a sell out.
4 bands and 6 hours of music 6:00-6:45 Neal McCarthy Neal is a regional blues troubadour. Playing every bar, club festival and dive in New England. He honed hid craft the hard way. He has a rough-hewn vocal reminiscent of an old bluesman. He plays a mean guitar and mixes originals with new takes on old traditional songs. 7:05 -8:15 Selwyn Birchwood Selwyn Birchwood, Florida’s rising young blues fireball, is a guitar and lap-steel-playing bundle of pure energy. He delivers his original songs with a revival tent preacher’s fervor and a natural storyteller’s charisma made all the more impactful by his raw, unvarnished vocals. Birchwood plays high-octane blues ‘ at once deeply rooted, funky and up-to-the-minute ‘ with true passion and honest emotion. With his band feeding off his drive and exuberance, the striking 6’3’ 29-year-old with his trademark Afro roams the stage (often barefoot), ripping out memorable guitar licks with ease. His ability to win over an audience ‘ any audience ‘ is proven night after night on the bandstand. With his warm, magnetic personality, Birchwood is as down-to-earth as his music is fun, thought provoking and vital. His mission is to spread his music far and wide, to share his joy, to play his heart out, and to push the blues into the future. ‘There’s nothing I’d rather be doing than playing the blues,’ he says. ‘And I try to convey that with every song and with every performance.’ In 2013, Birchwood catapulted from local hero to shooting star. He won the world-renowned International Blues Challenge, beating out 125 other bands from the U.S. and abroad. He also took home the Albert King Guitarist Of The Year Award. It wasn’t long before Alligator Records president Bruce Iglauer offered Birchwood a contract. His debut album, Don’t Call No Ambulance, is a fully realized vision of contemporary blues. Birchwood’s original songs range from raucous romps to hill country stomps, from searing, serious slow blues to modern blues rock 8:35-9:50 Delta Generators On their new third release ‘Get on the Horse’, Delta Generators have stepped up everything from songwriting to production. This album was mixed by famed Grammy winning producer David Z (Prince, Eric Clapton, Jonny Lang, Buddy Guy, Etta James, Gov’t Mule etc.). The album was then mastered by Dave McNair (David Bowie, Bob Dylan, Los Lobos, Derek Trucks etc.). ‘Get on the Horse’ was recorded just like every other DG album, live in the studio, with a few overdubs after the fact. The songs range from roots rock to slow blues, Americana to funky soul. This album was funded by DG fans through PledgeMusic.com. ‘Get on the Horse’ has already been nominated for ‘2014 BLUES ALBUM OF THE YEAR’ by the Independent Music Awards! In the last couple of years, the Delta Generators have shared the stage with such acts as Robert Cray, Dirty Dozen Brass Band, Three Dog Night, James Cotton, Jimmie Vaughn, The Fabulous Thunderbirds, Johnny Winter, Walter Trout, Popa Chubby, Bonerama, Candye Kane, Michael Burks, John Lee Hooker Jr. and Sonny Landreth among many others. 10:15 -12:00 Dana Fuchs The road has led Dana Fuchs everywhere. But when it came to choosing a location for Songs From The Road, it had to be New York. The singer and the city have history. Almost two decades have passed since Dana left her home in rural Florida and beat a path to the Big Apple. Stepping onto the mean streets of the Lower East Side aged 19 she was an unknown singer with a voice and a dream, ready to slug it out on the city’s bearpit jam-circuit. Since then, New York has been the backdrop to Dana’s meteoric rise. There were the early buzz-sets in the city’s late-night sweatboxes. The off- Broadway musical Love, Janis, which saw the multi-talented performer play the iconic Janis Joplin. The endless shows and sessions all across town, no wonder, then, that for Songs From The Road, the Highline Ballroom on West 16th Street was the perfect fit ‘ and the singer was received like a local hero.
Look around you. Consider the keepsakes you cherish, the relationships you relish, the enduring cornerstones in your life, and ask yourself how many have held steadfast since 1989. Closing in on the quarter-century mark, Donna the Buffalo has proven itself a consistent purveyor of Americana music. What’s the recipe? To be sure, it’s infused with more spices than you’ll find at a Cajun cookout by way of a southern-fried, country old-time jamboree. Over the years, the band has also built a following that proudly calls itself The Herd, along with a well-deserved reputation for crafting social narratives and slipstream grooves without equal. To merely call this ‘roots music’ does it disservice, for the roots nurtured by Puryear and Nevins run wild, deep and strong’a tribute to how much Donna the Buffalo marries musical trailblazing and tradition. ‘It’s a great feeling to promote such a feeling of community, like you’re really part of something that’s happening, like a movement or a positive force” Nevins says, ‘All those people that come and follow you and you recognize them and you become friends with them ‘ you’re all moving along for the same purpose. It is powerful. It’s very powerful, actually.’
Whenever I write ‘history’ I feel old, but here goes. In some respects it seems like only yesterday that I left my hometown of Yellow Springs, Ohio to become a folksinger in New York City ‘ but that was 1964 ‘ that’s not exactly yesterday, is it?! But it was the beginning of a musical career that would span 40 years, fulfilling a dream of mine from the time I was in high school even to the present time. When I arrived in NYC I met Stephen Stills, and together we would become a part of a folk group in Greenwich Village called the Au Go Go Singers, named after a famous folk club in the City. The Au Go Go Singers recorded one album together before breaking up and going their separate ways. Buffalo Springfield – Stephen Stills, Neil Young, Bruce Palmer, Dewey Martin, and Richie Furay. Shortly after that I became aware of the music that was being made on the west coast when a friend introduced me to the Byrds. I was working at an aircraft engine company at the time and decided right then and there I had to be making music, so I got in touch with Stephen who had moved out to California. It wasn’t long until I arrived there myself to start another band with him. It would be several weeks before we would ‘hook up’ with another mutual friend we had both met along the way: Neil Young, and the beginning of the Buffalo Springfield was about to steamroll onto the southern California music scene. Poco – Timothy B. Schmit, Richie Furay, George Grantham, Rusty Young, and Paul Cotton. The group would consist of the three of us along with Bruce Palmer and Dewey Martin. The Buffalo Springfield would be short lived, making only three albums and lasting two years. From that time on, the careers of Stephen and Neil are well documented, and I would start a new band, Poco, with my friend Jimmy Messina (producer, engineer and musician). Together with Rusty Young (no relation to Neil), George Grantham and Randy Meisner we would create the template for the modern country rock sound that influenced and launched the careers of such groups as the Eagles, Pure Prairie League and many others. Messina and Meisner would leave the band early in its existence, opening the door for Timothy B. Schmit and Paul Cotton who would take their places in the lineup. I recorded six albums with Poco before I left to explore other avenues of music, recording two albums with Chris Hillman (Byrds / Flying Burrito Brothers) and J.D. Souther calling ourselves the Souther Hillman Furay Band (along with Al Perkins, Paul Harris and Jim Gordon).
They are back. A rare East Coast appearance by the one of the most beloved Americana bands in the land.
In a city whose spirit world is as old as Mother Africa’s children, Glen David Andrews, a native son of New Orleans, has made a compelling case for his own deliverance. Redemption (Louisiana Red Hot Records), Glen’s critically acclaimed new release, is his balm after a very personal storm. It’s about acceptance and forgiveness, about rebirth and renewal. ‘This is a record about my journey back from the living dead.’ Born in the historic Trem?? neighborhood Glen and his older brother, Derrick Tabb of the Rebirth Brass Band, along with their younger cousin Troy ‘Trombone Shorty’ Andrews, soaked up life’s musical lessons by learning the history of the brass band tradition from iconic figures like Tuba Fats. Andrews says. ‘Jesus was born in a manger, I was born in a second line.’ He was blowing a joyful noise by the time he was 12 and practiced his musicianship and showmanship with the city’s most energetic brass bands, from New Birth and L’il Rascals to ReBirth and Trem??. That presence and sweetness have long endeared Andrews to audiences at his regular gigs at such New Orleans clubs as dba and Three Muses. In recent years he began making waves as a headliner at the world’s biggest block party ‘ the annual New Orleans Jazz & Heritage Festival, as well as many other festivals and legendary clubs around the US, including The Lincoln Center, Voodoo Music Experience, Chicago Folk and Roots Festival, Houston International Festival, Joe’s Pub, House of Blues Nola, Tipitina’s, American Jazz Museum KC.
With his last two albums, 2006’s Grammy-nominated People Gonna Talk and 2008’s The Hard Way, James Hunter delivered a classic yet perpetually modern brand of rhythm and blues that captivated listeners across generations and earned him two Billboard Blues #1’s, tours with Aretha Franklin, Van Morrison, Etta James, and Willie Nelson, performances on Leno, Letterman, and Conan, and critical raves everywhere from the NY Times to USA Today. Minute By Minute, out February 26, 2013 on GO Records/Fantasy, marks a pivotal movement in this unique artist’s career’not only because it arguably contains his best writing, singing, and playing to date, but because it signals James’ return to the studio following the loss of his wife Jacqueline, who died of cancer in October 2011. It’s also the first album credited to The James Hunter Six. James made this change in recognition of the collective talent and unstinting loyalty shown by his longtime cohorts Lee Badau (baritone saxophone), Damian Hand (tenor saxophone), Kyle Koehler (organ), Jonathan Lee (drums), and Jason Wilson (double bass). The Six have hung together through multiple albums and more than two decades of international touring, from small clubs to the Hollywood Bowl ‘ developing a cohesion and intuitive knack for creating precisely the right arrangement and feel for James’ original songs.