Tag Archives: One Longfellow Square

Shawn Mullins

Sunday, November 18, 2019

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.

Screen Shot 2018-11-26 at 7.30.24 PM.png

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

IMG_6754

Advertisements

Leave a comment

Filed under Uncategorized

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

Leave a comment

Filed under Uncategorized

Mipso

Thursday, November 1, 2018

Portland House of Music and Events, Portland, Maine

This was my fifth Mipso show. Libby Rodenbough, who plays fiddle and sings in Mipso,  emailed me back in 2015 to invite me to their first-ever show in Maine at One Longfellow Square in Portland, and I’m so glad I went. I don’t think I’ve missed them in Portland since. They’re touring to support their brand new album, Edges Run. Dan really liked “Moonlight” from that album and has mentioned it a couple of times since the show. “People Change” is also from their new album and it’s so depressing, which is right up my alley. The lyrics– “I used to love you like the world would end. I used to love you like a child. The thing about people is that they change when they walk away.” Ugh. I love an honest lyric.

 

IMG_6709

From left to right, Mipso is Libby Rodenbough, Wood Robinson, Joseph Terrell, Jacob Sharp, and Yan Westerlund.

Mipso has an Americana, bluegrassy vibe, and I love their heartfelt songs and tight harmonies. Jacob Sharp (mandolin), Wood Robinson (upright bass), Joseph Terrell (lead vocal and guitar), and Libby Rodenbough (fiddle) met at UNC Chapel Hill and have been a band for about five years, but they play together like it’s been longer. They added Yan Westerlund on drums in 2017, too, which has amplified their sound. The most important thing to me about Mipso’s music is that their lyrics are crystal clear and are at the forefront of their songs. For me, lyrics are the most compelling reason to fall in love with a song. I especially like “When I’m Gone” and “Down in the River.” They also circled one microphone to cover Robyn’s “Call Your Girlfriend.” It was perfect and Dan and I have watched the video more than once in the few days since the show.

If Mipso isn’t on your radar, you’re missing out. Mipso IS on SnugHouse and Maine Youth Rock Orchestra’s radar. I saw both Nikhil Dasgupta and Sam Kyzivat at the show, and they’ll be celebrating the release of SnugHouse’s new EP, Like Water, together on Friday night (November 9) at One Longfellow Square. I will definitely be there, and you should come check them out, too!

xo,

bree

Leave a comment

Filed under Uncategorized

Ghostland Festival

Saturday, September 1, 2019

Thompson’s Point, Portland, Maine

I missed a ton of concerts this summer because my sweet dad and his awesome girlfriend came up from Florida to help me renovate my cute new house on a tight schedule, so I was so pumped to make up some missed music all at one at Ghostland. I’d forgotten, but I was at the first Ghostland Festival that The Ghost of Paul Revere put together back in 2014 at Thomas Point Beach in Brunswick. This show, just four years later, was massive in comparison, and speaks to Ghost’s success and the community of fans they’ve built.

This was my last weekend before kids came back to school, and I was determined to make the most of it. Dan and I made it to Thompson’s Point to pick up our VIP bracelets (seven years of concert blogging has its perks) for the show and I gave my friends Rachel and Ian my spare presale ticket for the show. Colin saved us a spot up front and we made it to him just in time for Sibylline’s set. I’m a big fan of Sibylline, who you may recognize as Hannah Daman and the Martelle Sisters. I’ve seen them a few times, and their rich harmonies, soulful lyrics, and string arrangements are lovely.

img_5692

Sibylline

My dear friend Max Garcia Conover took the stage next, and wowed the crowd with his frank and passionate lyrics about social justice and greed. Max is a troubadour in the truest sense, and his banter was inspiring. He said, “I think we are all living through a time when our society is defined by constant vilification and our government is defined by selfishness. I think when you’re living in that kind of time, any act of empathy is an act of civil disobedience and every song is a protest song and every music festival is a rally.” Max clearly impressed everyone around me up front, and I was proud to be part of his fan club while he played for his biggest crowd to date. For more about Max, here’s my review of his last show at One Longfellow Square.

img_5817

Max Garcia Conover (right) and Ben Cosgrove (left)

I’d promised Dan a normal concert experience, but that’s not my jam. Typically, I get to a show before doors open, get a spot along the barricade right up front, and forgo food and drink to maintain a spot up close for the entire show. Dan was hungry, so he made his way to the food trucks along the water at Thompson’s Point, but there were so few that he ended up being in line for almost an hour and he sadly missed one of my favorite bands, The Ballroom Thieves. Martin explained that one of their new songs was “meant to be a song about love and kindness and about speaking up for people who don’t have a voice and can’t stand up for themselves. We need to find common ground with people who we disagree with to move forward.”

The Ballroom Thieves–Martin, Devin, and Callie–have chemistry and talent to spare, and I’m always happy to get to see them live. They were joined onstage for a couple of songs by the insanely talented Maine Youth Rock Orchestra, which takes any musical experience and makes it exponentially better. The Thieves all live in Maine now, so they’re playing here more, and just announceda show on December 28at Port City Music Hall. Check out this post for more on the Thieves.

img_5722

The Ballroom Thieves with the Maine Youth Rock Orchestra

I was a little floored when I saw that South Carolina’s Shovels & Rope was slated to play Ghostland. Michael and Cary Ann are the real deal with percussive, rowdy songs and so much warmth onstage. My pal Aimsel and I saw them from the front row at Port City back last October, which was a truly special and unbeatable experience. The crowd started to swell during their boisterous set, so Dan and I left Colin and ventured over to the renovated shipping container that Thompson’s Point uses as a VIP lounge.

img_5746

Shovels & Rope

When The Ghost of Paul Revere took the stage, there were solidly 3,500 fans gathered to cheer them on. I think every single Buxton resident was there, for sure, because Ghostland was a hometown celebration of a band that locals have loved for many years now. Ghost–Griffin, Sean, and Max–always puts on a great show, and they were joined for their whole set by the immensely talented duo of Ben Cosgrove on piano and accordion and Kevin Oates on cello, which made their set exceptional. The Maine Youth Rock Orchestra joined them for a couple of songs, too, and I loved watching all the guys in the band turn around to cheer for the kids before they left the stage.

img_5760

From L to R: Ben Cosgrove, Griffin Sherry, Sean McCarthy, Max Davis, and Kevin Oates

img_5769

Cheering for MYRO

Sean asked if we’d be willing to turn on the flashlights on our cell phones, and the crowd happily obliged and lit up the lovely night at Thompson’s Point. I saw The Ghost of Paul Revere last on New Year’s Eve, and was especially happy to hear “Next Year”–the first song I heard in 2018–again live. The Ballroom Thieves joined Ghost onstage for an awesome cover of “Under Pressure” to end the night on a high note.

img_5766img_5814So many thanks to Griffin, Sean, and Max from Ghost for their painstaking effort to organize such an awesome party to celebrate the end of summer. So many of my friends were at this show and certainly most of my favorite bands were. Until next year?!

xo,

bree

Leave a comment

Filed under Uncategorized

Max Garcia Conover with Kafari

Friday, June 29, 2019

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

1 Comment

Filed under Uncategorized

Caitlin Canty with Noam Pikelny

Tuesday, May 1, 2018

One Longfellow Square, Portland, Maine

I saw Caitlin Canty by chance back in May of 2012. I was at a Jeffrey Foucault show at One Longfellow Square. At some point in the night he introduced his friend and fellow musician, Vermont’s Caitlin Canty. She was in Portland working on a new record with Sam Kapala (a founding member of Darlingside), and he had taken her out for dinner before the show. He asked her to join him for a song, and I was smitten with her airy, mesmerizing voice. What I didn’t know at the time was that I’d witnessed their first of what would be many, many performances together. I chatted for a while with Caitlin after that show back in 2012, and she has become a friend-in-music who I look forward to seeing whenever she’s in town. I hadn’t seen Caitlin live since 2015 when she moved away to Nashville, so I was really looking forward to seeing her back in Portland.

Colin kindly saved me a seat in the front row, and I arrived a few minutes before show time. I’d had a migraine at school earlier in the day, but I took a nap and rallied for the show. Caitlin and Noam Pikelny took the stage just after 8, and opened with a beautiful song that caught the attention of NPR, “Get Up.” I love that song, and Caitlin grabbed everyone’s attention from the first measure of it, too. Something I noticed even more at this show than last time is that Caitlin has this Alison Krauss quality to her voice where every single sound she makes is truly gorgeous.

Caitlin told us about a song from the Golden Hour album she released back in 2012, “Dotted Line,” that made its way onto House of Cards. She told us “it’s a very good day for a songwriter” when a television show picks up a song. Caitlin, her mom, and her brother watched the episode to hear her song, but didn’t hear it. She’d already cashed the check, so she was puzzled. They watched it again, and realized that they heard three instrumental measures of it during a creepy moment where a woman carrying groceries was being followed down a street. Caitlin laughed and told us it was pretty ironic that one of her “kindest, friendliest” songs was the soundtrack of such a creepy on screen moment.We saw Caitlin and Noam at the end of the release tour for her newest album, Motel Bouquet, which they played every song from for us. Noam produced her album, although he normally tours with The Punch Brothers. It was really a treat to hear him play in such a tiny venue. Caitlin had played a hometown show in Vermont a night or two earlier, and she said it was a community effort. The show was in a space that’s not normally a venue, so her dad and brother set up chairs, her high school music teacher ran the sound, and they borrowed a rug from a neighbor to absorb some of the echo on stage. She joked that compared to that show “you’re all sitting so quietly and you’re not sweaty from setting up chairs or anything.”

Caitlin’s album is named for a bouquet of flowers someone left for her after a show that inspired a song, but she’d thought about naming it Who after one of her favorite songs on the album. She said she was so lucky to have Noam as her producer for many reasons, but also because he talked her out of naming her album Caitlin Canty: Who? Noam chimed in that it was “better than Caitlin Canty: Why?” Noam and Caitlin struck a deal that she’d play a song solo if he would. Noam introduced his solo song by telling us that a year and a half ago, “it became apparent that it was time, yet again, to milk the instrumental banjo cash cow.” His 2017 release, Universal Favorite, is mostly instrumental banjo music. He joked, “I’ll play you guys the first track off the record, a 53 minute piece, so lock the doors.” The song he played, “Wavelength,” was GORGEOUS. I had no idea that banjo could sound like that. Noam didn’t say much, but he was funny when he did talk. Caitlin mentioned that Noam’s friend texted that he couldn’t make it to the show because his guinea pig died. Noam chimed in, “some of you are laughing right now, but not me. It’s the strangest excuse yet, and shows folks are having to dig real deep to find excuses to not come out to hear me play.”

Caitlin told the story of how she’d come to sing her first song on stage at One Longfellow Square with Jeffrey Foucault, and thanked OLS for their continued support. She generously offered to give anyone who signed up to become a One Longfellow Square member that night one of her albums, which was very kind. She told us that she loves playing her songs for “cold weather folks, but they tend to scoot right out the door after the show.” She asked us to stop by the merch table and say hello before heading home.

I can’t remember what Caitlin played last, but my favorite song on Hotel Bouquet (which I’ve listened to a lot in the car over the last week) so far is “Leaping Out.” I do know that she and Noam earned and we gave a standing ovation. They treated us to one last song, a cover of Emmylou Harris’ “Tennessee Waltz” in honor of heading home to Nashville the next day after a successful record release tour. Caitlin remembered me when I saw her after the show and we chatted about how much she’s loved living in Nashville. I’m so happy for her success.

Colin saw Caitlin open for Josh Ritter last night in Portsmouth, and she’ll be back in town on July 20 opening for Mary Chapin Carpenter at the State Theatre. Caitlin is so worth hearing in person, and I hope you’ll check her out!

xo,

bree

Leave a comment

Filed under Uncategorized

Liz Longley with Monique Barrett

Wednesday, February 14, 2018

One Longfellow Square, Portland, Maine

This was a perfect day. My 2019 class officers and I delivered hundreds of roses and carnations to kids at school, I had a decadent spa facial after school, and Colin met me at One Longfellow Square for this fantastic show. I hadn’t seenPortland songstress Monique Barrett in too long, so when I saw she was opening forLiz Longley, I eagerly added the show to my calendar. I am SO glad I was in the room for this stellar night.

Monique Barrett was charming and personal with the audience. I always appreciate when a musician interacts with the crowd by sharing stories behind the songs and making us feel like part of a concert experience. Monique does this so well. She played all of her songs about love for us in honor of Valentine’s Day, including a sweet song for her nephew Luca. Monique’s honesty shone through, and we laughed a lot together. Monique told us that she was first introduced to Liz Longley’s music when a friend asked her to learn Liz’s “When You’ve Got Trouble” to sing with her at her sister’s wedding. Monique said that her heart was so full in that moment, and she was honored both to have sung that song for a her friend’s sister on her wedding day and now to share the stage with Liz. She ended her lovely set with my favorite of her songs, “Make It Better.”

Monique Barrett

I’d somehow never seen Liz Longley before, but she impressed me in mere seconds. I remember leaning over to Colin maybe 30 seconds into her first song and whispering “I LOVE her!” Her voice is so strong and full that it fills the space that sometimes exists in songs by other singer songwriters. I was smitten right away. Liz told us she had to dig really deep into her catalog of songs to find any about love in a positive way. Most of her songs, and Monique’s too, were about love lost. She asked if anyone in the crowd wasn’t on a date. Colin and I raised our hands (were we the only ones?) and she looked at us and said, “so most of these songs are really for you.” I love a good break up song, so Liz’s music is firmly in my wheelhouse.

img_0126

Liz Longley

Liz told us that she just turned 30 and was a little freaked out about it, but the crowd reassured her life is better after 30. She wrote a song the day before our show in the car during her six hour drive, and told us that writing in the car can be liberating because she doesn’t getting get stuck in the structure of a guitar or piano part. She also told us that one of her favorite childhood memories was driving home from the Shore with her mom. Her mom used to sing while she drove to stay awake, and “I Will” by the Beatles was a favorite of her songs to sing. Liz sang a beautiful cover of it for us.

She introduced “Weightless”by telling us that she’d dated someone for three years and they ended up fighting over how to divide their stuff when they broke up even though they’d gotten it all off Craiglist because they were both poor musicians. The lyrics are personal and relatable:

“You can have the couch, the lamp, the diamond ring/the books on the shelf, the dishes in the sink/take take take take take everything.” She told us that she stopped writing music for almost a year afterwards.

I absolutely loved learning that“Rush” was written for Jim and Pam from The Office. Liz said she was watching the episode where they have their first kiss with the sound off, and the words came to her–“as we surrender to it all, have you ever felt so alive/as I feel with you tonight.” Liz told us that she studied songwriting at Berklee College of Music in Boston, and that’s when it clicked for me that I loved her honest, personal, hard hitting lyrics as much as I loved her voice. I realized as I wrote this that I don’t often quote song lyrics, but that’s an area where Liz shines. “Memphis” just slays–“The skies aren’t clear and you’re not here/so I just keep telling myself/you wouldn’t make it to Memphis/you wouldn’t make it halfway/you take that lonely road/and you realize your mistake.”

I read up on Liz after this show, and I listened to her entire musical catalog. She lives in Nashville and makes her living as a musician. I spent some of the night trying to figure out who she sounds like, but she sang the first line to a song I can’t find the name of–the lyrics were “Late in September when autumn came”–and it occurred to me that she sounds like Joy Williams (formerly of The Civil Wars), which is a sincere compliment.

Liz played the first song of hers I ever heard, “When You’ve Got Trouble,”and I was so glad to hear it in person. She joked with us all night–she’s pretty self-deprecating, actually–and told us that she was drunk shopping on Amazon years ago and bought some rollerblades. Turns out, she loves them, and bought another pair for her 30th birthday. She laughed as she told us, “if you need to spice up your life, buy rollerblades!”

Liz earned the standing ovation she received, and she kindly closed the night with an encore–a cover of the Alternate Routes“Nothing More.” She played a Concert Window show a couple of months ago to raise money for Hurricane Harvey relief, and attributed the night’s success (they raised $3,500 for hurricane victims) to that song, “because it brings people together, which we need in these times.” I couldn’t agree more.

This was a special night. I felt lucky to be there. I hope you’ll look up both of these talented women and see them live.

xo,

bree

Leave a comment

Filed under Uncategorized