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June 22, 2025

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1A Arts Lead

Spy Review: Steve Lowe’s “Salted Limes” Delivers a Taste of Eastern Shore Life

June 5, 2025 by Mark Pelavin
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Key West has Jimmy Buffett, New Jersey boasts Bruce Springsteen, and now, the Eastern Shore has Steve Lowe.

A fixture in the Annapolis, Eastern Shore, D.C., and Baltimore music scenes for over 30 years, Lowe is set to release his sophomore solo album, “Salted Limes,” on Friday, June 5th. This collection of five original songs is deeply infused with the essence of Eastern Shore living – its unhurried pace, inherent calm, and the expansive beauty of the Bay and its surrounding waters.

“Salted Limes” invites listeners on a journey from its opening notes. The first song, “Reach Toward the Sun,” immediately extends an invitation as Lowe sings, “let me take you for a ride.” He then captures the feel of arriving on the Shore: “Down the shore/ cross the eastbound highway/ ‘long the rivers that stretch toward the sound/ past the orchards and old refineries/ wooden churches that reach toward the sun.”

Similarly, “Feels Like Country” – perhaps the catchiest song on the album — captures a peaceful, water-centric existence: “feels like country/ love and harmony/ life on the river/ just taking it as it comes.”  The album also offers moments of poignant reflection. “Life Along the Way” touches on the quiet passage of time with the line, “Years slip by without a sound.” 

“Face Into the Wind,” is a beautiful, heartfelt song of advice from a father to his son, reminiscent of classics like John Lennon’s “Beautiful Boy” or Jason Isbell’s “Outfit.” Lowe encourages, “Face into the wind/ never let your spirit die/ like a hurricane, let it spin/ like an eagle, let it fly.”

The tracks share a rolling, laid-back sound, with lyrics that vividly evoke the best of Shore life.  Lowe’s distinctive voice drives the album; his singing has never sounded stronger. 

“Salted Limes” is not just inspired by the Eastern Shore; it was born here. Lowe collaborated with music producer and musician Mark Gadson at SoundScape Studio in St. Michaels. The album features a lineup of outstanding local talent, including Gerry Devine (lead guitar and accordion), Joyce Gauthier, Meg Murray, Dave Moore (backup vocals), Chris Levey (bass), and Gadson himself (keys and drums), with Lowe on guitar and lead vocals.  To credit Gauthier, Murray, and Moore with “background vocals” sells their role short – their voices are a key piece of the album’s sound.  Devine’s guitar lifts every song and provides the musical heart of “Salted Limes.”

“Salted Limes” can be previewed and purchased at stevelowe.hearnow.com  and will be available on all major music distribution and streaming platforms.

To learn more about Steve Lowe, his music, and upcoming performance dates, visit www.stevelowemusic.com.

Mark Pelavin is a consultant and freelance music journalist living in St. Michaels.  You can find more of his work on his Substack.

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Filed Under: 1A Arts Lead

Spy Review:  Richard Shindell Captivates Avalon Audience

May 29, 2025 by Mark Pelavin
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Writers write what they know, and Richard Shindell knows the road, trucks, driving, and, perhaps most of all, how the ebb and flow of daily life shapes us. A regular visitor to the Avalon, Shindell returned last week, bringing his poignant observations and sharp wit to an appreciative audience.

The show, initially slated for the more intimate Stoltz Listening Room, quickly sold out, necessitating a move to the larger theater. This space was thoughtfully arranged in a cabaret style, successfully maintaining a sense of intimacy that suited Shindell’s performance.

Shindell is a distinctive voice in contemporary folk music, known for his intricate narratives and keen eye for detail. His songs are not passive background noise; they are carefully crafted stories that demand, and reward, your attention. Shindell has a sly way of transforming the mundane into moments of profound insight.

He shared that driving is one of his major themes. This focus puts him in the company of many musicians who make their living on the road, yet it also sets him apart. While countless songwriters pen tunes about life on the road—from Bob Seger’s classic “Turn the Page” to Christina Vale’s more recent “Getting High in Hotel Rooms”—Shindell often zeroes in on the actual act of driving, the quiet solitude, and the fleeting observations gleaned from the highway.

The concert opened with two truck-driving songs, starting with “The Kenworth of My Dreams.” This gave way to the weary introspection of “Deliver Me To The Next Best Western,” with its evocative lines: “I am wretched, I am tired / But the preacher is on fire / And I wish I could believe.”

Shindell’s gift for illuminating the drama in everyday life shone in “The Last Fare of the Day.” Switching to electric guitar, he transformed a simple cab ride into a poignant journey, singing: “Into the stream, we pulled away / I know it well, this old ballet / Finding the flow, minding the sway / Catching green lights all the way.” His connection with the audience was unmistakable. It never felt like he was performing his songs. He sang without artifice forging a genuine shared experience. The power of Shindell’s writing lies in its specifics, grounding his narratives with precise street names and personal touches. Throughout the evening, he worked from a well-worn notebook, underscoring the raw, unadorned authenticity of his craft.

The show peaked with the evening’s two overtly political songs, both centered on themes of immigration. In “Fishing,” an IRS agent interrogating a would-be immigrant finds an unexpected human connection over their shared past as fishermen. The stark reality in lines like, “Here’s how it works / I’ve got these faces / You give them names and I won’t deport you / Make sure you face my tape recorder,” was arresting. This was followed by “Did I Hear Wrong,” a powerful commentary on contemporary politics. Its imagery of abandoned water jugs and the poignant conclusion—”It was kindness that filled them / But hatred poured them out again”—hit hard.

Musically, Shindell’s performance was equally engaging. His nuanced guitar work, from the unique tapping technique in “Balloon Man” to his effective use of four different guitars, brought a variety of voices to the stage, ensuring that a solo performance never felt monotonous.

The latter half of the set offered a moving blend of original material and a thoughtfully chosen cover. His rendition of Scottish songwriter Karine Polwart’s “The Sun’s Coming Over the Hill” was a somber yet ultimately uplifting exploration of grief and resilience: “Oh, the nights are long / But life is longer still / Oh, the nights are long / But the sun’s comin’ over the hill.” This transitioned to the sweet, romantic “A Summer Wind, A Cotton Dress,” a love song that found hope in rekindled affection.

The timeless beauty of “Reunion Hill,” a song he penned for Joan Baez, offered a Civil War widow’s haunting perspective, with a soaring hawk symbolizing enduring love. After “There Goes Mavis” concluded the main set, Shindell returned for an encore, treating the audience to “Wysteria,” a song he confirmed was being played for the first time on this tour, with its reflective opening: “The vine of my memory / Is blooming around those eaves / But it’s true it’s a chore to tame wisteria.”

In a world often filled with noise, Richard Shindell offers a refreshing stillness, a space where keen observation meets poetic grace. He delivered a memorable evening of introspection and connection, reminding us that sometimes, the most profound insights are found in the most ordinary moments.

Mark Pelavin is a consultant and freelance music journalist living in St. Michaels. You can find more reviews and commentary on his free Substack newsletter.

 

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Spy Review: New Singer/Songwriter Night at Foxy’s by Mark Pelavin

May 15, 2025 by Mark Pelavin
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(L to R) Dave Hawkins, David Dodd, Sean Schultz

There are lots of great musicians in Talbot County, and plenty of places to hear them play. But until now there has been a real void in the local music scene – there has not been a showcase for original music. I love James Taylor, Dolly Parton, and Chris Stapleton as much as the next guy, but there is something special, sometimes even magical, about hearing songwriters perform songs they have written.

That’s what makes the new Singer/Songwriter Night at Foxy’s Harbor Grille in St. Michaels so welcome. It provides a much-needed opportunity for area musicians to showcase their own songs. 

Singer/Songwriter Night at Foxy’s was the brainchild of David Dodd, who plays with the band Groove Tide and has often played at “Open Mics” in the area. Dodd, whose first love is writing and performing original music, was inspired after playing at a few nights at David Lee’s Original Songwriting Night at the Screaming Goat Yard & Tap in Spring Branch, Texas. He reached out to Foxy’s with the suggestion to do something similar. Dodd serves as the program’s host, and his songs (and guitar playing!) are always a highlight. 

Some of the performers are amateurs, singing their own songs in public for the first time. Others are established artists, already well-known in the area. 

Each of the two nights has had a “featured artist.”  The first week showcased Steve Lowe, who shared a number of songs from his soon-to-be released EP. One highlight was “Feels Like County,” about “life on the river, just taking it as it is.”  Lowe, who often appears with his band (Steve Lowe and Lowe Downs), has a captivating voice and a powerful way of capturing a sense of place – whether that place is his childhood home of Florida (“White Sands/blue skies/everything’s alright/jump right in”) or the Eastern Shore. 

Pete Baker opened the second night, with songs from his four albums as well as a few that are not yet released. Baker is a pro on stage, easily engaging the audience with his crowd-pleasing songs. His style is uncomplicated, in all the best ways, with radio-friendly tunes on the pop side of the spectrum. “Back in the Day,” beautifully captured the feeling of being “blissfully in denial,” as a younger man and of doing everything he could to avoid becoming “one of those who has lost their spark and been beaten down by life.”  Hitting the same theme in another song, Baker sang about the joys of being “happy, poor and free,” and making sure that “I was gong to live before I died.”

In addition to the featured artists, a diverse array of local songwriters, including

  • Frank Hogans, whose fingerpicking on the guitar perfectly complimented his stories of love gone wrong (“now we’re on our own, kissing strangers”).
  • Oliver Voss (who plays in the area as part of “Oliver and Friends”), who offered a few songs that, he explained, were written that day. This is one of the most exciting aspects of the Singer/Songwriter showcases; inspiring musicians to pen original music. 
  • St. Michaels’ favorite Dave Hawkins, who will be the featured artist at the next Singer/Songwriter night (May 19th). 

In addition to serving as host, David Dodd offered some of the best songs of both evenings. A believer in the “write what you know” school, Dodd connected with audience on his songs about traveling to North Carolina and Jamica, about his life on “Gray’s Creek,” and a day spent “Watching the Rain.”

Other performers included Mac Macnamara (of St. Michael’s Junction 33), Suzzane Sanders (“you talk more than any two people I know”), who accompanied herself on the ukulele, and Sean Schultz. Schultz’s “Strange,” a moving song about love and addiction, was a particular highlight

Foxy’s next “Singer/Songwriter” night will be on Monday, May 19, 2025, from 5:00 – 8:00 pm. After a two-week break, it  will return on June 9th, with featured artist Anna Burgess, and continue on Monday nights through the summer.

Mark Pelavin is a consultant and freelance music journalist living in St. Michaels.  You can find more of his work on his Substack.

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Filed Under: 1A Arts Lead

Spy Concert Review: Jordan Tice Showcases New and Old at the Stoltz Listening Room

February 24, 2025 by Mark Pelavin
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Jordan Tice, who launched his national tour at the Avalon Theatre’s Stoltz Listening Room last week, bridges the gap between old-time tradition and modern storytelling. Whether he discovered bluegrass icons like Doc Watson and ragtime guitarist Blind Blake before finding his way to Bob Dylan, Randy Newman, and Paul Simon—or the other way around—his music reflects a rare ability to meld past and present seamlessly.

Tice opened with Down by the River, a song originally recorded by Uncle Dave Macon in 1924. In his hands, however, it felt completely fresh. Too often, musicians treat traditional songs as museum pieces, something to be handled with reverence but never altered. Tice, by contrast, breathes new life into them, stretching and reshaping them in ways that feel both innovative and natural.

His own compositions stood comfortably alongside the classics. Walkin’, a standout original, showcased his intricate fingerpicking and sharp lyricism: “Cranes going up to the sky and then down / Buildin’ on what’s been torn down / And people for a while they’d come around…”

At times, Tice’s rapid-fire vocal delivery added urgency, though it occasionally came at the expense of his carefully crafted lyrics.

His choice of covers reflected his deep musical influences. A stirring rendition of Bob Dylan’s Tryin’ to Get to Heaven (from 1997’s unappreicated Time Out of Mind) led to one of his most expressive guitar solos of the night. Randy Newman’s Dayton, Ohio 1903 fit his style perfectly, its wistful lyrics and lilting melody capturing the sepia-toned warmth that runs through much of Tice’s music. He ended the night with Paul Simon’s lovely and optimistic Born at the Right Time, a fitting closer that left the audience on an uplifting note.

The concert also offered a preview of Tice’s upcoming album, with two brand-new songs debuting live. Quiet Light, co-written with Grammy-winner Sarah Jarosz, stood out as one of the evening’s best moments, offering a quiet yet profound reflection: “Who knows what tomorrow brings / So take your time / And let it all run across your mind.”

While Jarosz will sing harmony on the recorded version, fiddle player Patrick M’Gonigle stepped in beautifully, his vocal  harmonies and expressive playing adding richness to the performance. His skills were also on display during Mean Old World, where he took on the challenge of filling in for Aoife O’Donovan’s harmonies from Tice’s previous recordings. Nickel Creek’s Jeff Picker provided understated but essential bass lines, anchoring the sound with warmth and subtlety.

Still, Tice’s Thompson guitar was the true star of the night. Whether delicately fingerpicking through a ballad or delivering fleet bluegrass runs, his playing was both technically masterful and emotionally resonant. Instrumentals like Badlettsville and Horse County Rag, which might serve as low-energy interludes in another artist’s set, became highlights in Tice’s hands.

Currently on tour across the Eastern U.S., Tice proves that traditional music doesn’t have to be frozen in time—it can be revived, reinvented, and made new again. If his performance at the Stoltz was any indication, this is a tour well worth catching.

Mark Pelavin, the founder of Hambleton Cove Consulting, is a writer, consultant, and music lover living very happily in St. Michaels.

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Filed Under: 1A Arts Lead

Spy Concert Review: Ellis Paul at the Stoltz

February 19, 2025 by Mark Pelavin
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There was a moment near the end of veteran singer-songwriter Ellis Paul’s performance at the Avalon Theatre’s Stoltz Listening Room on Sunday night that perfectly captured why a sold-out crowd had braved the rain to hear live music. As Paul prepared to close out his set, an audience member called out a request for “Home,” a song Paul wrote two decades ago. The fan explained that the song had helped save his marriage.

Paul, visibly moved, paused for a moment before settling in at the keyboard to play it. The audience, which had been singing along moments earlier, fell silent as he delivered the lyrics with quiet intensity: “Home… sits across the table / Home… is dreaming in my sheets / Home… home… / This house is just an address / You lift me from all sadness / This house is just an address, you’re my home.”

Throughout the night, Paul proved why he remains a beloved presence in folk and Americana music after more than four decades on the road. His set was filled with stories—some true, some embellished, all engaging. “Kick Out the Lights (Johnny Cash)” recounted the famous tale of Cash “dancing with his demons” at the Grand Ole Opry, smashing out 54 stage lights in a rebellious frenzy. “Holy” captured an Irish immigrant’s determination to chase the American dream despite the doubts of those he left behind:
“His friends say, ‘Christ, Declan, please / You’re wasting your prayers on a dream.’ / He says, ‘Watch me.’”

One of the most powerful moments of the evening came with “Troy’s Song,” based on the real-life story of a Desert Storm veteran suffering from PTSD. On the brink of taking his own life, Troy found salvation in a program that pairs veterans with retired racehorses. The song’s lyrics painted a poignant picture of healing and trust: “In that ring with Whiskey and me / Our hearts beat in some kind of synchronicity / And I trusted him / And he came to trust me / We were two old warriors / Starting all over again / Building trust / Like two old friends.”

Other highlights of the night included the “only slightly sacrilegious” “I’m No Jesus,” a wryly tender love song (“Now I can’t walk on water / Can’t part the sea / The only miracle that I’ve seen / Is you walking down the aisle to me”), and the stunning “Gold in California,” which painted a vivid picture of the California coastline bathed in golden light.

Paul was completely at home on stage, delivering songs and stories with passion, energy, and humor. Many of the acts that pass through the Stoltz Listening Room are young artists on their way up, bringing the thrill of new discovery to their performances. Paul, who recently celebrated his 60th birthday, has been touring relentlessly for over 40 years, playing hundreds of shows annually. And yet, his enthusiasm remains undiminished.

In the end, it wasn’t just Paul’s songs or stories that made the night special—it was the genuine joy he brought to the stage, a joy that filled the room and reminded everyone why live music, even on a rainy night, is worth showing up for.

Mark Pelavin, the founder of Hambleton Cove Consulting, is a writer, consultant, and music lover living very happily in St. Michaels.

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

Filed Under: 1A Arts Lead

Giving Up on Giving In: Christina Vane at the Stoltz by Mark Pelavin

May 6, 2024 by Mark Pelavin
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Over the course of her terrific show at the Stoltz Listening Room, Christina Vane described herself as being “from everywhere” and “from nowhere.”  Those two observations perfectly capture the uniqueness of her songs; while her lyrics and music both reflect a wide array of influences (the Mississippi Delta blues first and foremost) they also capture someone trying to find, or to create, a place for herself in an often-challenging world.

Born in Italy to a Sicilian-American father and a Guatemalan mother, Vane grew up between England, France, and Italy. After college in New Jersey and some hard years in Los Angeles, she has now begun to put down roots in Nashville (a cliche’ that Vane herself would probably be quick to make fun of). 

Vane opened with Make Myself Me Again, the title song from her most recent album and a perfect song to introduce herself. With her powerful voice, and accompanied by her ringing guitar, Vane sings: “Sometimes I lose, sometimes I win/ I’m gonna make myself me again/ I’m giving up on giving in/ I’m gonna make myself me again.” 

The heart of the show was a series of songs Vane wrote on her 2021 road trip from Los Angeles to Nashville. It was her first exposure to the American West, which made a powerful impression on the “woman from nowhere.”  She told an interviewer that before the trip she “seldom wrote about anything besides human emotion and relationships” and that her trip “opened up my experiences to visions and sensations I had never seen or felt.”  Badlands, her tribute to the “land of salt and dirt” was particularly moving. The juxtaposition of her guitar playing, which is deeply rooted in the rich soil of the American South, and her observations about the starkness of the Badlands was striking. Dreaming of Utah, a slow country waltz, was another highlight, with Vane singing “I’m pining for mountains of green/or of stone/for the silence that’s haunting/when you’re truly alone.”

Vane’s guitar playing is just as effective, and vivid, as her songwriting. Her primary guitar is a custom National Resonator, played with a bottleneck slide. (This is the guitar Paul Simon sang about on Graceland, “The Mississippi Delta was shining like a National guitar.”)  The guitar’s metal and wood construction gives a distinctive sound that is metallic and twangy, rich and resonant.  None of that would matter if Vane was not a top-flight guitarist. But she is indeed a gifted player; the joy she brought to her short, smart, solos was infectious.

Vane offered up a quartet of new songs, one of which, No Roots, was performed live for the first time. She introduced another new song, Getting High in Hotel Rooms, joking that she was “a woman of mystery,” since no one could figure out what the song was about! It was indeed about hotel rooms, and about life on the road and persistence: “I’ll travel far and travel light/I can play the blues all night. I’m trying/Lord knows/ I’ll keep on drivin’.” My Mountain, played clawhammer style on the banjo, is something of a purpose statement for Vane: “I come to you with open hands/I learn your hands and I listen/you think know what I’m missing/but you haven’t seen my mountain.”

Another new song, You Ain’t’ Special, is Vane’s upcoming single. It is a fun, straight-forward country song (“You ain’t special/like your mama said you was”) with less echoes of the blues than her earlier songs.  You can imagine, say, Miranda Lambert doing a great version. 

Annapolis-based singer/songwriter Skribe did a short, compelling set to open the show, offering up four new, unreleased songs. Landlines and Love Letters was the highlight of his short set, recounting his recent, unsuccessful attempts at “the art of pursuit.”   

The show in Easton was the second of a run that will take Vane across the country between now and September. (Dates are available at https://www.cristinavane.com/.)  Keep an eye out for her.

Mark Pelavin, the founder of Hambleton Cove Consulting, is a writer, consultant and music lover living, very happily, in St. Michaels.

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Filed Under: 1A Arts Lead

Spy Review:  Zackary Lucky Brings His Sad, Powerful Songs to the Stoltz

April 13, 2024 by Mark Pelavin
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You know it’s going to be an evening of sad songs when the first words out of the artists’ mouth, even before “hello,” are “Hang Me, Hang me/I’ll be dead and gone.”  

That is how Saskatchewan-born, Canadian singer-songwriter Zackary Lucky greeted the audience at the Avalon Theare’s Stoltz Listening Room Thursday night. But Lucky’s penchant for sad songs was a stark contrast with his charming and friendly stage presence.

Lucky’s songs are not complicated; they are straight-forward, powerful depictions of his life, a life lived primarily on the road. Many, if not most, of the songs he shared with the appreciative audience at Stolz were about the ups and downs – mostly the downs – of being away from home.  As he sang in Stoned, one of the standout songs in a strong set, “Leaving comes easy to someone like me/not that I want to/just comes naturally. The hotels on the side of the road/the highway sets me free.”  Finding himself caught between the call of the road and a more settled life and home, Lucky sings, in the plaintive Wild Rose County, “In Wild Rose county/I hear your voice on the phone/saying you missed me/and were tired of being alone/But it ain’t easy/living out here on my own/stuck in Wild Rose county/with no way to go home.”

Lucky’s voice is perfect for these songs – full and rich, with just a touch of honey. He is not shy about revealing his influences, sharing two Townes Van Zandt covers (as if Lucky’s own songs were not sad enough!), name dropping Guy Clark and Hayes Carll, and preforming songs written by fellow Canadians (including the great Water in the Fuel by Fred Eaglesmith). Van Zandt is most direct, if inexact, influence.  Imagine Van Zant without the omnipresent sense of existential dread and you will have a good approximation of Lucky’s songwriting.

There is a palpable, and lovely, sense of place to Lucky’s songs. He is from Saskatchewan like Bob Seeger is from Michigan, like Lucinda Willaims is from Louisiana, and like Bruce Springsteen is from the Jersey Shore. It shapes every aspect of his work. It is hard to imagine two places more different than the landlocked prairies of Saskatchewan and the Chesapeake Bay-focused town of Easton.  What they have in common, Lucky made clear, are the challenges of finding happiness amid difficulty and staying true to oneself.

Lucky was accompanied by Miles Zurawell on the dobro, a wood-bodied guitar with a metal resonator cone rather than the more traditional open sound hole of an acoustic guitar. The dobro’s sound is strange; not “strange” as in “bad,” but rather “strange” as in “unfamiliar.”  It has a distinctive, ethereal quality, and is typically used quite sparingly. With just Lucky and Zurawell on stage, the dobro was front and center, with Zurawell coxing sounds from it that were beautiful and haunting at the same time. Zurawell’s turn in the spotlight was a highlight of the concert. He shared an instrumental from his own recent album – Elk River Blues, an old West Virginia fiddle tune by Ernie Carpenter reworked for the dobro. With no need for words, Zurawell captured the sadness and sorrow behind Carpenter’s song, which was inspired by the drowning of his ancestral homelands along the Elk River by a dam built by the Army Corps of Engineers. 

Lucky’s show in Easton came toward the end of a 35-date, coast-to-coast tour, which saw him playing in many places he had never visited before. Not only was this his first time in Easton, but Lucky had also never been to Maryland before. You can almost see the gears turning in his head as he begins to process all that he has seen and learned on this tour and to translate those experiences into songs. I can’t wait to hear them.

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Filed Under: Spy Highlights

Spy Review: Jonathan Richman at the Avalon by Mark Pelavin

March 17, 2024 by Mark Pelavin
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Rock icon Jonathan Richman, who delighted an appreciative crowd at the Avalon Theatre last week, was dancing like no one was watching long before most of us had ever heard the phrase. In addition to writing a slew of great songs about dancing, including the crowd favorite Dancing in a Lesbian Bar, Richman is likely to break out in dance in the middle of a song. Where some might use guitar solos to take a song to another level, Richman just lays his guitar on the floor and dances.

Who is Jonathan Richman? He is a singer-songwriter who has been making music and touring for over 50 years. He is an iconoclast whose songs celebrate everything from his hometown of Boston to Dutch painter Johannes Vermeer and from the joys of wine to the joys of just walking down the street. Rolling Stone ranked his seminal song Roadrunner at #77 in its list of greatest songs ever (right between Richman would be amused to see, Reach Out (and I’ll Be There) and I Walk the Line). But Richman did not play Roadrunner last week. He plays without a set list and chooses the songs he wants to play at any given moment.

What he did play was a 22-song set of his unique music that absolutely thrilled the overflow audience at the theatre. Ranging from 1976’s Girlfren to a few songs that I’m pretty sure he improvised on the spot, and singing in English, French, Italian, Arabic (I think), and Ojibway, Richman shared a stunningly diverse set.  But, however diverse, every song was authentically Jonathan Richman. (Girlfren, it’s worth noting, contains, as Richman acknowledged from the stage, one of the worst rhymes in the history of recorded music: “That’s a girlfriend/Said G-I-R-L-F-R-E-N.”)

In a recent interview, Richman explained, “Some of the songs presented might be in different languages; this is not to be esoteric or clever, it’s because the different languages help me express different feelings sometimes.”  He is inspired by paintings (and has songs about Picasso, Vermeer and Matise), poetry, and by colors (as evidenced by one of his newer songs, an instrumental entitled “Guitar In Orange Drums In Pale Purple”).

At the Avalon, Richman accompanied himself on guitar and was joined by his long-time drummer, Tommy Larkins. Richman’s guitar sound is as unique as his songwriting – he plays an acoustic guitar strung with nylon strings such as a classical or flamenco guitarist would use, and often seems to get so carried away in his singing and dancing that he just forgets to play. Larkins – with his long-sleeve black t-shirt, jeans, uncombed hair, unshaven face, and dark sunglasses – looked just as much like a rock star as Richman looked like a suburban dad (or grandfather). It is challenging to provide rhythm for music that can be as quiet as Richman’s; Larkins got it just right.

Here is what is most memorable about Richman’s songs and his performance:  They are 100% guileless. Richman has an extensive set of lyrical tools at his disposal, but they do not seem to include sarcasm, snark, or irony. Their absence can be jarring to today’s listeners. When he sings, for example, “In Tompkins Square Park, a couple is meeting/Say what you want, but I feel my heart beating/ Cause I love springtime in New York/Springtime in New York I do,” (from Springtime in New York) there is no escaping his genuine and almost childlike enthusiasm. 

Richman is a one-of-a-kind artist. His songwriting is sophisticated and simple at the same time. His dancing is endearing, his stage presence welcoming, and his love of life is contagious. I cannot remember a more fun night of music.

Mark Pelavin, the founder of Hambleton Cove Consulting, is a writer, consultant, and music lover living very happily in St. Michaels.

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Filed Under: 1A Arts Lead

Concert Review: Alaina Stacey and Madeleine Kelson Bring Nashville to the Avalon

March 11, 2024 by Mark Pelavin
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For a few hours on Thursday night, the Avalon Theatre’s Stolz Listening Room felt like Nashville’s venerable Bluebird Café. Alaina Stacey and Madeleine Kelson, two singer/songwriters, childhood friends from Chicago now living and working in Nashville, brought a Bluebird-style “song swap” to the Avalon Theatre’s cozy Slotz Listening Room. 

A “song swap” — songwriters taking turns sharing their songs — works best when the songs are compelling, and the performers share a musical style (but are not so similar that their songs blend together).  That was certainly the case with Stacey and Kelson. They have both been writing songs since they were in High School (and before), and one of the joys of the concert was seeing how their songwriting has progressed. Their newest work is by far their strongest.

Stacey has a way of singing about unrequited love without being maudlin or weepy. She, for example, told the audience all about her first, high-school, love, someone who was never too interested in her: “I’m gonna get over you/I’m gonna say that we’re through/I’m going to go on my way/but not today.”  The catchy I Would, begins memorably: “I don’t’ remember how it started/but it ended with your stuff in boxes.”  I Would has all the makings of hit – powerful lyrics, a memorable chorus, and a strong vocal performance.

Some of Stacey’s songs were a bit more explicit about her mood, such as Love Me Like It’s Nothing (“It doesn’t have to be forever/call it whatever/take it night by night.  If it’s you and me together/call it whatever/’long as it’s you and me tonight”) or her opener, Jonesing, about how much she longs for a certain guy.  In the standout “If I Were a Song,” Stacey reaches out to an old lover, asking, “Would you put me back on/if I were a song?”

Stacey’s offerings were not all love songs. She sang about planning her own funeral (“Thank you for making my life/truly/a wild thing of beauty”), and about trying to protect a girl who she knew of only from a bit of graffiti in a club (“dangerous isn’t all it’s cracked up to be”). Take Care of The Baby is tearjerker about her (not much) younger brother, one of the loveliest songs I have heard about the bond between siblings (“Mama tried to separate us/but she always did underestimate us”).

Kelson’s rich, smokey voice brought a warm authority to many of her songs. Where the Spirit Meets the Muscle, the title of her latest EP (and perhaps a nod to Where the Spirit Means the Bone by one of her clearest influences, Lucinda Willaims) is a powerful example.    “She loves me like I’m worth all of the trouble,” she sings, conveying a powerful bond with her fiancée .  One of her newest songs, Pretty Wings, shows how much her songwriting has matured: “I was a kite/going wherever the wind blows/it felt like freedom/till I saw the rope.”  It’s no wonder Kelson chose Pretty Wings for her entry into NPR’s Tiny Desk Concert competition.  

Her take on the John Prine standard Angel from Montgomery highlighted the winning weariness that often seems to creep into Kelson’s own songs. That sweet, melancholy tone was also evident on Only One to Blame, which Kelson, rightly, introduced by saying, “this is the saddest of my many sad songs” and on Hard Wired (For Letting Go), about the challenge of making a life in music, being on the road, and missing home.

Kelson put down her guitar and moved to keyboards for a few songs, most memorably, Make You Proud, a complex and moving song about her mother and the various debts Kelson owes her (“Do you hold your breath, so that I can keep on breathing?”).

After an evening of songs that were on the sad end of the emotional spectrum, Kelson and Stacey encored by joining together on a song dating back to Kelson’s time singing with her sister (as The Kelson Twins), a light-hearted tune about a friend of theirs who refused to take no for answer from a guy, Honey Let That Poor Boy Be.  It was the perfect way to end a great show. 

The show at the Avalon was the last show of Kelson and Stacey’s joint tour. But it is a terrific time to explore their music.  Kelson just released her latest EP, WHERE THE SPIRIT MEETS THE MUSCLE, last month. In May, Stacey will release DAY, the middle of a trio of EP’s (DAWN, DAY, DUSK) which, she explains, “reflect different sonic and emotional moments in my life.”  

 

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

Filed Under: 1A Arts Lead

Spy Review: Chatham Rabbits at the Stoltz by Mark Pelavin

February 24, 2024 by Mark Pelavin
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Sometimes it’s just a quiet moment you remember.

Five songs into the Chatham Rabbits’ moving show at the Avalon Theatre’s Stoltz Listening Room, Austin McCombie sang “Facing 29,” a powerful song about “the last year of our youth.”  Like many of Chatham Rabbits’ songs, “Facing 29” was quiet, ruminative, and absolutely compelling. When Austin finished singing, the intimate room was quiet and we could hear his wife and musical partner, Sarah McCombie, look at him and whisper, “sweet.”

Austin and Sarah’s sweet interaction, and their manifest pride in each other’s singing and playing, was at the heart of their performance. One might guess that it would be challenging to be partners in marriage and music (and to run a working farm together!), but the McCombies make it seem easy. Many of their strongest songs, in fact, focus on the strength they draw from one another and from their partnership. That’s especially true of perhaps their most compelling song, “Oxen,” whose chorus calls on listeners to “take strength from the one beside you to pull the weight.”  It’s no surprise that Paste Magazine named “Oxen” the “top folk song of 2020” (the year it was released).

Many of Chatham Rabbits’ songs are about their family members. “Old and Blue” remembers Sarah’s paternal grandmother, who had her son, Sarah’s father, when she was 15. The closeness of their ages posed real challenges and provided for special intimacy.  Sarah’s voice broke, lovingly, as she sang “How I love my kid, as a mother and a friend/I had to grow up with them.”  One of their newer songs, “One Little Orange,” captures Sarah’s only memory of spending time with her maternal grandfather. He died young, after a life-long drug and alcohol addiction, leaving Sarah with only the memory of sharing an orange with him one day. “That one little orange has fed me forever,” Sarah sang to the packed and rapt audience.

Although many of Chatham Rabbit’s songs are on the sad side, it would be misleading to suggest that their show was in any way solemn or downbeat. Sarah found joy in self-deprecation. In “Matador,” she sang about her tendency to keep going when she should know better (“I’ve seen more red flags than a Matador”) and in “Pool Shark” she recounted the story of a night spent drinking in New Orleans, and of a day spent being hung-over and regretful.

Other highlights included “Abigail,” the only song I know about the New Deal era Kentucky Pack House Library Program, which sent women librarians on horseback into the “towns and hollers” of Appalachia, and “Larry,” a new song by Austin exploring the challenge of being more vulnerable.

The simple stage set – just two microphones, Austin’s guitar, and Sarah’s banjo – was a fitting backdrop for an evening of music presented with few frills. It would be easy to underestimate the quality of Chatham Rabbits’ musicianship. The playing is never showy, but it is always interesting. It is by no means a criticism to note that the music is very much in service to the lyrics.

The Chatham Rabbit’s are on tour across North America through May. They are preparing to record a new album; it would be no surprise if it were their commercial breakthrough. The Stoltz Listening Room was full for their show this week; perhaps they will need a bigger venue when they come back to town next time.

Mark Pelavin, the founder of Hambleton Cove Consulting, is a writer, consultant, and music lover living very happily in St. Michaels.

 

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

Filed Under: Spy Highlights

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