Tag Archives: 98.9 WCLZ

Jamestown Revival

Sunday, May 12, 2019

Port City Music Hall, Portland, Maine

I set up for the senior prom Friday night, hosted the prom Saturday night, but still made my way down to Portland Sunday night to see Jamestown Revival at Port City Music Hall. In retrospect, I was way too spent to not take some time off over the weekend, but they’re so worth it. I saw Jamestown Revival on my birthday back in 2017, and it was my third favorite show of 2017. I was happy to see they were coming back to town after two years away, and I’m glad I was in the room.

I showed up at the end of Chris Ross and the North’s set, and they sounded great and made me wish I’d gotten there earlier. There was a huge gap between the stage and the audience when I arrived, so I made my way to an empty space at the stage edge in between sets. I met Annie, a science teacher from Portland, and we chatted about our Jamestown Revival experiences. I often go to shows solo, so it’s nice when I end up in a good pocket of people to enjoy a show with.

Magnolia, Texas’ Jamestown Revival is warm and inviting in person. Zach Chance and Jonathan Clay share the lead, and they’ve been friends since high school. They introduced their songs with details (which I love), sincerely thanked us for being there, and even remembered the woman dressed up like a zebra at their first-ever show in Maine a couple of Octobers back. She was right there in the front row, and loved hearing that they remembered her. “Revival,” “Fur Coat Blues,” and “California (Cast Iron Soul)” stick out as crowd favorites. I thought it was interesting that they didn’t play their best-known song, “Love Is A Burden.” 98.9 WCLZ has played that song on heavy rotation for a couple of years, and I’m bet it’s the only Jamestown Revival song some of folks in the room knew. Their new single, “Who Hung The Moon,” is out now from their upcoming album, San IsabelJonathan introduced “Killing You, Killing Me” saying, “It’s like we work to distract ourselves with our phones. They keep us from having conversations where we look each other in the eye and they take us away from moments and people that matter the most.” We asked for an encore and they graciously obliged with the whole band unplugged around one microphone (while the crowd really listened!) for “Round Prairie Road.”img_2452Lots of my former students were in the room and I got to catch up with them after the show, which made it a really sweet Sunday night, too.

xo,

bree

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The Western Den with Oshima Brothers

Sunday, February 17, 2019

Portland House of Music and Events, Portland, Maine

Every so often, I’ll make my way to a show knowing very little about both bands. This was one of those nights, and I am *so, so glad* I was in the room for this Oshima Brothers and The Western Den show. Color me impressed.

Dan made me dinner and then I made my way over to Portland House of Music and Events right before 8pm when the Oshima Brothers were scheduled to take the stage. I ran into two of my seniors from school who are both going with me to Costa Rica in April and we caught up about our February vacation plans before the show began. I was surprised by how many little kids were at the show with their families–most gathered together and sitting on the floor in a pile. The Oshima Brothers are from the Belfast area, and I suspect most of the folks in the room were their friends and family.

I was impressed with Sean and Jamie right away. They have a maturity and ease on stage that might come from years of practicing with your brother at home. Their songwriting, musicianship, and confidence on stage was compelling. Jamie was busy making most of the sound that night with pedals and foot percussion and a variety of instruments, too. Their harmonies are lush and Sean’s falsetto is lovely. 98.9 WCLZ is currently playing their newest single “Ellie.” I also enjoyed their excellent cover of The Bee Gees’ “How Deep is Your Love.” Sean was super enthusiastic about the Diriga Quartet who accompanied the brothers for a few songs and brought their songs to even greater life.

Sean and Jamie Oshima are the Oshima Brothers

The Oshima Brothers joined by the Diriga Quartet

This tired kiddo slept through most of the first set

The Western Den came together at Berklee College of Music in Boston, and their musicianship is dazzling. Co-led by Deni Hlavinka from Virginia on piano and Chris West from Bermuda on guitar–the two met online on a Berklee accepted students forum seven years ago–The Western Den also included three more musicians on drums, violin, and trumpet.

The Western Den with the Diriga Quartet

Deni talks the most on stage, and I appreciate musicians who give the audience context for the songs we hear live. She introduced “Company” as a song about “the temporary moment you’re with family and can appreciate the sacredness of that” featuring the fabulous Diriga Quartet, who Deni asked to join their band permanently. She introduced “xx” (named for the female chromosome) by telling us that she is named after her grandmother and feels like “there’s a power in belonging to where you’ve come from.”

The Western Den’s new album, A Light Left On, is stunning. It’s beautiful from start to finish–honest, vulnerable, layered, and just supremely listable. I’m only a few listens through and it’s mesmerizing and reveals itself a little more each time. It’s also absolutely impossible for me to pick a favorite song or two as their ethereal, airy, orchestrated folk/pop songs are 100% up my alley. Their Facebook page says this about the album–

“’A Light Left On’ weaves through struggles of love, purpose, self-actualization, and the ephemeral nature of all things. and through all of this, to hold on with all of your might to the glint of unwavering hope for the certainty of belonging and the unapologetic pursuit of what is waiting for you.

you are important. you are a vibrant and powerful being. you are the light left on. this is for you.”

Watch The Western Den’s Daytrotter session recorded earlier this month in Iowa and get to know this truly impressive band.

xo,

bree

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Kacey Musgraves with Natalie Prass

Tuesday, January 15, 2019

State Theatre, Portland, Maine

Kacey Musgraves was just announced as an addition to the Newport Folk Festival lineup this summer. The Newport Festivals Foundation will be supporting her alma mater–Mineola High School in Texas–by purchasing new instruments for the band program there, too. Kacey said she grew up in a tiny Texas town at the show, and Google tells me that the population of Mineola was 4,515 in 2010, so she’s no liar.

I got to see Kacey Musgraves last week at State Theatre, and she was a delight. I went on faith–having only heard her song “Slow Burn,” but she’s received so many accolades for songwriting that I decided I needed to be there for what will surely be her first and only State Theatre show. The show was sold out because Kacey is already well-known in the country music world (I think? I wouldn’t know, really), but Sean and I both got half priced tickets on StubHub so we could be there.

Natalie Prass opened. She looked like Rainbow Brite in a pleather blue dress, and her band was all dress in blue, too. She told us she was from Richmond, Virginia, but has lived in Nashville for almost a decade and that she’d played the State Theatre twice before with other groups. I looked it up, and she’d been the keyboardist in Jenny Lewis’ band. Natalie worked the crowd and had spunk. I recognized “Short Court Style” from 98.9 WCLZ.

The break between acts was pretty long, and it was because Kacey’s staging was awesome. She took the stage dramatically by climbing up a staircase and suddenly appearing with a spotlight behind her while she opened with “Slow Burn.”The crowd went wild. Kacey is beautiful. She wore sequins. Her songs have heart and honesty and a spirit of inclusion. She kind of took me by surprise, because that’s not the vibe country music gives off. Kacey said as much when she introduced “Follow Your Arrow.” She said something like, “country music isn’t very inclusive, and I say ‘fuck that!’” She also thanked her band (who were dress all in maroon with turtlenecks and gold chains) and touring staff profusely for all of their hard work to “get the job done” and her fans for being there for her.

Kacey told us that Golden Hour, her 2018 album that won CMA’s Album of the Year, is all about falling in love with her husband, Ruston Kelly. WCLZ has also been playing his song, “Mockingbird,” and he’ll be opening for the incredible Patty Griffin at the Music Hall in Portsmouth on April 7. I already have my ticket, and am eager to see him live, too. “Butterflies” is certainly about their relationship.

The crowd sang “Merry Go ‘Round” together, and that and “Follow Your Arrow” were two of my favorites from the night. Both are from Kacey’s debut album, Same Trailer Different Park. I appreciate how she encourages people to be themselves and to ignore haters in “Follow Your Arrow,” singing–“If you can’t lose the weight/Then you’re just fat/But if you lose too much/Then you’re on crack/You’re damned if you do/And you’re damned if you don’t/So you might as well just do/Whatever you want.” That song was definitely a crowd favorite of the night, and Kacey ended her set with it right after a fabulous cover of “I Will Survive” that Natalie Prass sang with her.

Kacey played a three-song encore, starting with “Rainbow,” which is gorgeous song. The lights changed and the room lit up in rainbow colors while everyone sang along to these lyrics–”But you’re stuck out in the same old storm again/You hold tight to your umbrella, darlin’ I’m just tryin’ to tell ya’That there’s always been a rainbow hangin’ over your head.” Did I mention that this was an uplifting show? It really was. She closed her encore set with “High Horse,” which is a favorite of mine from Golden Hour.

Writing this almost two weeks later, I’d almost forgotten about the drunk girls who took selfies and talked through the whole show who stood (inevitably) right in front of me and Sean! OH! And one of then cried for a while (not about the touching songs) while her friends consoled her. Concert goers–chat with your friends and cry your eyes out if you want–but do it in the back of the room!

Kacey’s already too famous to be playing a venue as intimate as the State Theatre, so I’m pumped I got to be in the room for this one!

xo,

bree

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Shawn Mullins

Sunday, November 18, 2018

Johnson Hall, Gardiner, Maine

I’ve been a Shawn Mullins fan since the mid-90s. I got through a sophomore slump in college with help from his 1998 album, Soul’s Core, and it was one of the few albums I took with me to my study abroad program in Namibia in 1999. I listened to it when I was homesick. To say that album has been there for me is really an understatement. 98.9 WCLZ briefly did a thing where they’d play listeners’ “Desert Island Discs” from start to finish at noon with snippets of an interview with the nominator. Obviously, my desert island disc was Soul’s Core. I finally got to tell Shawn how much his music means to me at a show at The Strand in Rockland back in 2011. I almost never stay after a show to meet musicians. I took a gamble that night, though, and he was so kind.

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I had the pleasure of seeing Shawn again at One Longfellow Square in 2013. Shawn shared the stage with Chuck Cannon and Tom Ryan that night, and they were lovely and had such a positive vibe. I’m not sure Shawn’s been back to Maine since, though. I saw that Shawn was crowdfunding to record a 20th anniversary release of Soul’s Core, so I promptly sent $150 to show support that also put my name in the liner notes and came with an autographed copy of the final product. It came in the mail a few days after this show, actually, and I’ve loved listening to Soul’s Core Revival. I’ve only heard the acoustic disc so far, but was thrilled to learn (and this is my favorite thing) that it includes Shawn talking about what inspired each of the songs on the album. That’s honestly my dream as a listener, so I’m extra happy!

Late in the summer I noticed that Shawn was touring in Maine, and I just happen to be on the Board of Directors of Johnson Hall Performing Arts Center in Gardiner, Maine, so I asked our amazing executive director if he might be able to book Shawn while he was in the area. I was overjoyed that he could and that Shawn came to teeny Gardiner, Maine for an intimate night of storytelling and song. The crowd was obviously thrilled and there was a lot of love and admiration in the room that night. I had a chance to catch up with Tom about the album and the tour before the show, and it was great to see him again, too.

Johnson Hall executive director Mike Miclon welcomed Shawn to the stage and left him a dollar because “Lullaby” was the first song he ever downloaded on Napster. Shawn made his way to the stage with Tom and Radoslav Lorkovic! I’ve seen Rad a ton of times touring with Ellis Paul over the years. He played piano and accordion on the anniversary release of Soul’s Core, too, and it’s always a pleasure to see him live.

I was thrilled to hear songs that have meant so much to me for so long in person again. Shawn’s voice is a stunning and beautiful bass with rasp and character. He played a few songs from Soul’s Core–but also covered “The L & N Don’t Stop Here Anymore” and “House of the Rising Sun,” which he recorded in 2006 on 9th Ward Pickin Parlor.

img_7785The audience was particularly pumped for “Light You Up” and clapped along poorly, but with such enthusiasm that I wasn’t annoyed that they were so offbeat. Shawn told us about recording his My Stupid Heart album at Chuck and Lari Cannon’s home studio. He had a dream that Bing Crosby was singing the title song and doing a wonderful job with it while Shawn was on the film crew making a video. He woke up a lot more confident about the song.

Shawn introduced a friend of his from high school who came to the stage to interpret “Shimmer” in American Sign Language. I was surprised to hear the story Shawn told on Soul’s Core Revival about the events that inspired “Shimmer,” by the way, but I won’t ruin it for you.

img_7805I’ve got to say that “Lullaby” is even better in person. Shawn talked about how grateful he is for the song, although he doesn’t understand why this particular song (written just like any other, he said) went “worldwide big.” He told us that a local DJ in Atlanta liked the song, believed in it, and played it a lot and it just got picked up by other stations. After 9 years of being on his own, he had his pick of record label and management. As he glanced around the room he joked that “one song can change things for you–and also not–as you can see by the stadium we’re sitting in.” “Lullaby” came out of a poem Shawn wrote while in Los Angeles. He’d played a show at a tiny venue in LA that he finally sold out on his third show there–even though “it was free to get in and only 25 people could fit in the room.” The song was such a hit that it landed Shawn a record deal, on MTV, and touring with the Backstreet Boys, which Shawn said was completely out of his element.

img_7817A devout and very appreciative audience asked for an encore, and Shawn, Tom, and Rad played one last song from Soul’s Core–his cover of “Sunday Morning Coming Down.” I was so happy to be in the room for this lovely show. What a treat for Gardiner to have talent of this caliber come to town. I hope they’ll come back in a couple of years when Johnson Hall’s upstairs 400-seat theater is renovated!

I chatted briefly with Rad after the show and told him I’ll see him in a few weeks at One Longfellow Square for my 50th Ellis Paul show! I love a milestone!

xo,

bree

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SnugHouse

Friday, November 9, 2018

One Longfellow Square, Portland, Maine

I’m a big fan of Portland’s SnugHouse, and based on the love in the room at this near sell-out EP release show, many of you are, too. SnugHouse’s star has risen quickly in the year they’ve been a band. They played the WCLZ stage at the Old Port Festival in June, are played in regular rotation on Aimsel Ponti’s Music from 207 show on 98.9 WCLZ, and have been featured on 207 twice. If you somehow haven’t heard about SnugHouse yet, let me introduce you. Nikhil Dasgupta, Alex Millan, Laura Pauline, and Rosie Borden came together as solo artists and regulars at the open mic night at the Dogfish Bar in Portland. What they’ve created together is really special.

I was surprised to learn this was only my second SnugHouse show, because I like them so very much. I ran into Nikhil and Sam Kyzivat from Maine Youth Rock Orchestra a week earlier at a Mipso show at Portland House of Music and Events. Sam told me that he was joining SnugHouse on violin and keys for their upcoming tour, so I was even more excited for their Like Water EP release show at One Longfellow Square. I asked Dan to join me and he surprised me by making my favorite Indian dish and pakoras at home before the show. We made our way over to OLS and it was crowded when we got there at the end of the show opener’s set. We grabbed a front row balcony seat, and I got to say hello to Kevin Oates of MYRO and Geneviève Beaudoin (my delightful former student!) of Dead Gowns during intermission.

The energy in the room was supportive and warm. The audience was clearly full of friends, family, and fans, and the band obviously felt the love and were all smiles all night. They told us a bit about some of their songs, their recording process, and highlights from their EP release tour. I always appreciate storytelling on stage–it makes a show more of an experience. Something else I like about SnugHouse is that everyone in the band is a songwriter and multi-instrumentalist. They share the lead depending on who wrote the song they’re playing and move about the stage from instrument to instrument.

I thought their cover of “Fever” was fun and Laura debuted a new song she wrote called “A Love I’ve Never Had Before.” Laura told us that they didn’t have time to arrange it to play with the full band, so everyone cleared the stage while she sang and you could feel the positive energy her bandmates sent her way from the wings. It makes me happy to see a band that genuinely likes and supports one another. SnugHouse covered a sad, beautiful song by Donovan Woods called “I Ain’t Never Loved No One.” The original song features Rose Cousins, who is one of my top favorite artists.

Take a few minutes and check out SnugHouse. They’ve just put out videos for “Firefly” and “Glass” from Like Water.  They’re a treat in person.

xo,

bree

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Max Garcia Conover with Kafari

Friday, June 29, 2018

One Longfellow Square, Portland, Maine

This was a perfect day–a sunny day with a friend at Popham Beach, goat yoga (exactly what it sounds like) at Sunflower Farm in torrential rain that cleared and offered a rainbow, and then a lovely, warm album release show with tons of friends in the crowd to support our dear friend, Max Garcia Conover.

I’ve written enthusiastically about Max’s shows easily a dozen times now, but he keeps getting better and I like him more and more live. My Bowdoin College classmate and dear friend, Ken Templeton, interviewed Max ahead of this Stagger albumrelease show, and you should read it to learn a ton of context and dig into Max’s songwriting process. My good pal Aimsel Ponti is also a Max fan, and she interviewed him and talks a bit more about the songs on Stagger.

Max introduced his friend, Ahmad Kafari, to the stage to open the show. Max told us that he met Kafari when he was a prospective student visiting Bowdoin College. After dinner, he sat down at a piano outside the dining hall and played some of the most beautiful sounds Max said he’d ever heard. It drew a crowd. Kafari plays piano, rhythm bones, and mixes. His music is soothing and soulful and layered. He is humble and sweet. As a good teacher does, Kafari explained the surprising origins of rhythm bones to us (they came from Ireland and ended up in minstrel shows) and asked someone in the audience to hand out a bunch to the crowd so folks could learn to play them. Kafari played for about half an hour and then welcomed Max to the stage.

Max is a quiet and introspective guy. I listened to him sing a few songs and answer some questions on 98.9 WCLZ the day before the show, and I was struck by how very humble he is. Max had just gotten home from a month-long tour of Spain, Poland, Switzerland, and Sweden, and he seemed glad to be playing in Portland to a room full of his closest friends and supporters. He said, “there are lots of people here who are very close to me and who I admire and feel so much for. It’s just on the edge of overwhelming and too good.” Max played more than the eleven songs on Stagger, including a favorite older song of his called “The Wedding Line.” To introduce the song, he told us that when his dad got remarried about ten years ago, Max remembered seeing his dad standing at the altar in a vulnerable, hopeful way.

Max grew up in a religious town in western New York, and used to go to church because everyone else did, too. After he stopped going, he went for nature walks on Sundays with his awesome mom (Hi, Vivian!)  and they’d read and recite poetry together. Max said, “I thought we were praying, which says a lot about how I got here.” About his next song, “Holy Rider Pt. 4,” Max said, “this is the fourth time I’ve written this song about a preacher.” A lyric that sticks out to me is “The last thing I want / is to burn something down / The last thing I want is to ruin this song / To make anyone feel like they’re / hearing it wrong.” One of the things that Ken talked to Max about is how many times Max comes back to songs and changes them. On Stagger, 3 of 11 songs are titled as PT. 2, one is PT. 4, and one is PT. 1. Songwriting for Max is a never ending process, for sure.

Max is also writing songs about what’s going on in our world today–the good, the bad, and the ugly. He talked about the for profit prison system in Louisiana, which had the world largest prison population per capita. He talked about the crazy laws there designed to keep people in jail. For example, the second time you steal a car in Louisiana, you have to go to jail for 24 years. He wrote a song about the guy who profits from the system–he “probably has a house and wife and kids and this is a song about that guy.”

“Gone” is a song from Max’s 2017 release, Motorhome. Maybe five years after quitting church, Max started going back to because “this girl I liked was going there and one day we both admitted to each other that we didn’t like church at all.” They snuck away from church during the 4th of July fireworks, got on a bus, and took off to Canada together.

Max encouraged us to ask questions throughout the night, and someone asked about “Funeral Guests,” which is a stunning song. The lyrics are heart-wrenching:

I asked him not to tell everyone else
Alright he said
But they all like you
so much more than you like yourself

When he died
his mother called
to talk to me about his funeral guests
She said she wanted
to get to know me
to understand what I was to him

I said I don’t know myself
but I think he did

Someone asked if it was autobiographical, I think, but it’s not. Max said he was leaving a show in Burlington, Vermont headed for Cleveland, and he was listening to A Little Life and crying in the car a lot, so he didn’t notice that Google maps had adjusted his route to save him 5 minutes by sending him along the Trans-Canada Highway until he found himself sitting at the border without a passport. He finagled his way onward, but pulled over to write that song so he could spend a bit more time with the character in the book.

To introduce “New Sweden,” Max joked that “people in Sweden don’t love the idea of New Sweden.” That song is heavy, and it’s evolved over the years to its current incarnation. Afterwards, Max introduced us to his band–his mom’s suitcase from when she was in college and one of her suitcases from when she was in her twenties. Max introduced “Rich Man” by saying it feels like the first song he’s written that’s completely in his voice. Spencer Albee produced the song and wrote about “Rich Man” on his Facebook page ahead of the show:

“This song is intimate, honest and vulnerable. To my ears, ‘protest’ songs are usually heavy handed, or they are pandering to a particular audience, but this one is different. What I hear in this song, and what I relate to most, is that this is the voice of a person in the world who is trying to make sense of all the crazy shit going on around them.

It strikes a chord.

That’s why I really wanted to help bring it to life. Max is a tremendous guy. ‘Rich Man’ is a tremendous song.”

I agree wholeheartedly with Spencer, and I hope you’ll give “Rich Man” a listen. Max also played it on 207 the week before this show. I am so glad that Max is getting the attention we know he deserves, though I doubt he thinks he deserves any attention at all.

Max told us the backstory of the “Crow Song.” His record label, Son Canciones, invites two musicians from their label to meet on a working farm in Barcelona and spend a week together to write and record an album. Max said, “it sounded wonderful and romantic, but I got there and it was the worst.” He said it was beautiful on the farm–he watched horses galloping by–but he couldn’t think of any songs at all. He searched for inspiration inside the very old farmhouse, and eventually found a dark room and sat down to strum a few chords when a crow randomly stepped out of the fireplace, got upset that Max was there and tried to escape, but just kept hitting the walls again and again, missing the small exit, until he died. We tried not to laugh when Max told us that the poor crow inspired the first he wrote that week. Max is decidedly an introvert, so when he asked us to sing along with “Crow Song,” he readily admitted he probably wouldn’t if he were in the crowd. Our friend Ken has a booming voice, and without naming him, I knew why Max knew it would work on this particular night to ask us to sing. We closed Max’s set together while he unplugged and came to the front of the stage with the hopeful lines “I’ll be home where I go / I’ll be home wherever I go / I’ll be home where I go / Someday.”

We cheered for an encore, so Max played “Grand Marquis” for us. The main character of the song is a 1986 Grand Marquis that Max found on Craigslist when his van died. Max chuckled as he told us that it “wasn’t listed as a car–it was listed as a one bedroom apartment. I called the guy and we talked about it over the phone and after a long time, he told me it didn’t have an engine. So I didn’t get it, and wrote a song about it instead.”

This was a spectacular night. Max has hit his stride with banter even though it pains him some and he made us laugh a lot, despite how serious and heavy many of his songs are. I grabbed a physical copy of Stagger that night, but I suspect they’re all gone by now. The only place where you can find it for now is here, and I really encourage you to listen. I am not at all exaggerating when I say that I have listened to it probably 20 times straight through on repeat in the couple of weeks since the show. It is by far my favorite MGC album.

I can’t pick a favorite song on Stagger, but a handful of lines that I haven’t mentioned above really do stick out to me at every listen. In “We’ll Be Friends,” I love the notion that“this is bravery / this is the romance of the century / this is music right in front of me.” Also, in “The End of Fables,” the image that “the shepherd shot the sheep / Fell to his knees and he cried / They looked like wolves to me” is particularly heartbreaking. Stagger is incredibly well-written and Max’s songs are more melodic than I’m used to in a way that I find intriguing.

This post is so long, but it was a night worthy of a thorough recap. I do that for the musicians I really love. Max is surely one of them.

xo,

bree

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Ben Cosgrove and Friends

Tuesday, January 30, 2018

Blue, Portland, Maine

My friend Ben Cosgrove is an insanely talented pianist and a mighty fine accordion player, too. I met him back in 2014 when he produced our friend Max Garcia Conover’s Ellery album. Ben tours non-stop, crisscrossing the United States and playing really any venue that will have him. I follow Ben on Instagram, and he’ll post a beautiful picture from St. Louis one night and from Wyoming the next. His determination to play for people is really commendable. His music is inspired by the landscape he experiences in his travel, which is plentiful. I heard him play on 98.9 WCLZ last summer, and if you like context like I do, check out my friendKen Templeton’s interview with Ben ahead of his 2017 release, Salt.

Happy 30th, Ben Cosgrove!

Ben turned 30 last week, and he asked the kind folks at Blue if they’d open their doors on a Tuesday (it’s usually their day off) so he could play a birthday show. It was such a treat to spend the evening listening to Ben and his talented friends play for us. I showed up while Hannah Daman (she was a highlight of my 2017concerts) was on stage. Griffin Sherry and Max Davis, both from the Ghost of Paul Revere, played a couple of songs with Ben, as did Max Garcia Conover. To close the night, Ben and his friends covered Dawes’ “All Your Favorite Bands.”Ben played with the Ghost of Paul Reverelast summer when they opened for Guster at Thompson’s Point, and he is about to head out on tour with them for the next month or so.

If you’re sad you missed this fun night, Ben, Max Garcia Conover, Griffin Sherry, and Max Davis play tonight at Blue at 6pm.

xo,

bree

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