Dafrico enjoys healthy diet of music and politics

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Music

Ray Dafrico (say “Africa” with a frickin’ “o” at the end) recently released Tunnel Visions, a 9-song disc recorded in New York City.  It’s a follow-up to his last release Solo Au Go Go, which was recorded at FAME Studios in Muscle Shoals, Alabama, where greats such as Aretha Franklin, Wilson Pickett, and many others cut early tracks.  He’s been playing and writing music professionally since he was 17, and although he doesn’t have as much time to devote it as before, he is in it for the long haul.  As founding member of Atlanta bands, the Nightporters, Kathleen Turner Overdrive, and the Ray City Rollers, Dafrico is well known in the local music scene.

Dafrico credits Keith Richards as his main influence, inspiration, and mentor.  “I have many influences.  Pete Townshend, Bob Dylan, the Kinks, The Clash, and Tom Petty are probably at the top of the list, but Keith is the guy that gives me strength.  He’s like a scrappy fighter with a big heart.  When he plays guitar, to me, that is what a guitar should sound like.  I’ve had the chance to spend some time with him and Ronnie Wood and they did not disappoint!”

Tunnel Visions is full of raw, guitar-driven rock – and plenty of great melodies.  Born in Queens, Dafrico has the swagger and attitude of a younger Richards, with a dash of Paul Westerberg thrown in for good measure.  The album kicks off with “Give it a Try,” fueled by a T-Rex-ish guitar punch.  The wonderful “Rejected” has Dafrico dueting with former Pogues member Cáit O’Riordan.  It’s a total singalong tune.  O’Riordan also chimes in on “Child of the Moon.”

“The new release has received a lot of good press and airplay especially in Europe,” Dafrico says.  “I have plans to do some short tours sometime in the near future but have been busy with my political activism, which I feel is a priority at the moment.  Music is great, but the music ‘business’ can leave you a little unfulfilled at the end of the day. When you are helping fix problems that have long been neglected and really affect people’s lives, it is a really great feeling, like you’re actually doing something to help society.  Music can do that to a certain extent but it’s a completely different monster.”

Politics

Dafrico has become extremely involved in Georgia politics.  “I’m sitting here watching the first day of hearings for the Kavanagh Supreme court nomination and it’s making me sick.  I’ve been involved in protests since before Trump got elected and will do anything I can to fight those turning our country away from democracy and into a dictatorship.  I have actively been helping many candidates right here in Georgia, Stacey Abrams, Christine Triebsch, Karín Sandiford, Luisa Wakeman, Cindy Zeldin, and Rachael Kinsey, to name a few.  I make videos, canvass, donate, send texts, make calls, and attend protests.  I believe we can turn Georgia blue this November.

“I know we have the votes, it’s just a matter of getting people to the polls.  We are fighting (gubernatorial candidate) Brian Kemp’s efforts to purge and suppress voters.  I have been very active in the push for paper ballots for the upcoming midterms and it looks like the federal court may rule on that very soon.  Kemp had tried to get it dismissed but the judge ruled against him, so there is hope!”  Dafrico co-founded the Facebook page A Chance for Georgia, focusing on voter registration, paper ballots, election security, and candidate support.

Dafrico will soon be back out playing live music and recording new material.  To hear or buy Tunnel Visions, visit his website, CD Baby, Amazon, iTunes, and wherever good rock is found.  Catch him live when you can and register to vote!

Ray color

The English Beat reawaken with impressive new album

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See the source imageFor fans of the ska / new wave / punk / reggae collective The English Beat, it’s been a 36 year drought since the last studio album. The Birmingham, England lads introduced themselves to the world releasing three excellent albums – I Just Can’t Stop It (1980), Wha’ppen? (1981), and Special Beat Service (1982). They disbanded soon after, but leaders Dave Wakeling and Ranking Roger quickly formed General Public and enjoyed further success with the song “Tenderness.” Andy Cox and David Steele recruited singer Roland Gift to form Fine Young Cannibals, and hit the charts with “She Drives Me Crazy.” While Wakeling’s version of the Beat is currently on the road, Roger has also been touring with his own variant and released Bounce in 2016

Wakeling, however, seems to have the more recognizable voice, and Here We Go Love! showcases that unique talent, along with fresh songwriting and a very tight band. Sadly, Saxa (Lionel Martin) passed in 2017 at the age of 87, but left some sax music behind, which was rolled into the new mix of songs. The album kicks off with a raucous and joyful “How Can You Stand There?” sounding as if Wakeling hasn’t skipped a beat since the eighties. In “If Killing Worked,” he sings, “Turn on your TV, see what they’ve done? / they’ve made our culture look like a setting sun / but we’re better than that because we know how / if killing worked it would have worked by now.” Interpreting these lyrics could lead down many paths, but most likely the song references war, guns, and/or the death penalty.

Politics and love continue to be the band’s topical mainstays (see “Stand Down Margaret” from Just Can’t Stop), and Wakeling refuses to shy away from opining on America’s current president in “The One and The Only.” Adjectives used are weak, stupid, and arrogant, going so far as comparing him to Mick the Miller, a famous greyhound race dog from 1930’s Ireland. In the slow-burner “Never Die,” Wakeling sings of the loss of close friends to HIV/AIDS in the eighties as well as his own son’s near-death experience in an auto accident. “Dem Call it Ska” jumps into rocksteady and reggae beats, while “The Love You Give” dips into poppy love song territory.

The absence of “toasting” by Ranking Roger has definitely left a void in the English Beat sound, but that gap is nearly unnoticeable due to the excellence of this new release. With a new generation of fans, the English Beat are hoping to multiply those numbers with this set of 13 new tunes. After touring on the popularity of an impressive back catalog, the Beat now have a fourth album, which will undoubtedly join the first three as a classic. For information on Here We Go Love! and the tour, visit The English Beat.

The Head explore ‘Space’ with astronomical results

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New Release: The Head, Space (DollarShade Records)

The Head has a new album called Space, and you’re gonna need to hear it. The high-energy Atlanta power-pop trio has come a long way since their teenage years and the debut of Puckered back in 2009. This is a dynamic live band who have recorded what must be the culminating achievement of their career (so far).

Produced by Tanner Hendon and Wyatt Oates of Atlanta’s Madison Studios, Space underscores what The Head is all about: thoughtful and intelligent lyrics, the upgraded and searing guitar of Jacob Morrell, the rabid heartbeat of the band, drummer Jack Shaw and bassist extraordinaire Mike Shaw, whose lead vocals have been amped up to 11 on the new release. It’s tough to talk about the highlights on Space, as nearly every song is a potential hit (whatever that means in the 21st century).

“Delusion” kicks it off in high gear and there’s not much slowing down after that. The band’s long-running affinity for certain groups from the 80s and (mostly) 90s shows through here, with such influences as Ride, Spiritualized, Stone Roses and early R.E.M. “Tea Colored Radio” begins with a Cultish guitar intro that quickly turns into a soaring gem of a tune. Space is full of your new favorite song…just pick one. “Impossible,” “Zoey” and “Lilies” with a nice little love song, “You,” in between keep the middle of the album on point.

Potential greatness lies in track 10. “I Wanna Be Loved” hits on all 12 cylinders, with hints of some of those aforementioned Brit bands. A smart and powerful song. Short of discussing every song on this illustrious 13-track LP, just buy the damn thing. You’ll be investing in a great rock band.

Space is officially released August 4 and available on iTunes and Spotify, with vinyl and CDs for sale at shows and at The Head. The band is setting off on a 39-plus city tour, covering most of America and including their first trip out west and to the United Kingdom. See them live soon!

Five Eight keep on truckin’

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Athens, Georgia legends Five Eight are readying to drop their eighth studio album, Songs for St. Jude (Chicken Ranch Records). Produced by Mike Albanese, the 17-song double album illustrates just how relevant the band remains some 25 years after their debut. Don’t believe it? Just listen. Go ahead and YouTube some live Five Eight vids from the early- to mid-90s to realize that the band – especially leader Mike Mantione – has lost nothing from its energy stores. If anything, the band is more of a force today.

St. Jude is a master class in passionate and literate rock and roll, with Mantione emoting his ass off (as usual). There is an unexpected maturation with this new release, which isn’t to say that the new tunes are more sober and evolved than previous releases (Mantione has tackled personal issues in the past). Maybe the band with the punk aesthetic has expanded on their sound. The songs run the gamut from slow burners (“Smoke,” “Sherman Oaks Fire”) to their familiar triple espresso sounds (“Werner Herzog,” “Someday”). In between are pure gems, songs that will become etched in your memory for some time.

Dark and wonderful, “The Hollow” holds dear some genuine Athens DNA, while you may hear whispers of Neil Young in “The Flood,” honoring those affected by Hurricane Katrina. You should recognize the familiar voice of Drive-By Truckers’ Patterson Hood on that track, as well as on the memorable “Song for Jim Gordon.” And is that an ode to Beastie Boys in “Tall Tales”? You be the judge. As for this tightly fantastic four piece – Sean Dunn on guitar, Patrick Ferguson on drums and Dan Horowitz on bass – there is zero shortage on talent and commitment. These guys will show you what a live band should sound like.

Athenian Jack Logan makes an appearance on a couple tunes here. Cowriting and taking lead on “Iron On Sun,” Logan and the band find a phenomenal balance on a memorable track. “I bought a shirt there on the midway / On the front was an iron-on sun / On the back it said, ‘Keep on Truckin’ / On the front was a iron-on sun.” Logan also cowrote and sings on the smooth and fuzzy “Huckleberry Inn.”

The happiest and hookiest of the bunch may be the one-two punch of “Kids” and “Florida.” In another time and place, you may ask yourself, “Why is this not on the radio?” Closing out the album is arguably Five Eight’s most beautiful recording, “Once On The Lam,” a sparse and personal piece of work that should be the closing song at every show. “Once on the lam aren’t we all sorta strays / Keeping a home and a poem for those darkest days / If they return it’s why we burn to belong.”

Short of writing a novelette, there is no way to fully explain the greatness of St. Jude. Coming in at just over an hour, each song has its own story, its own power. Layered and complex, this may just be Five Eight’s most outstanding achievement yet. Your mission now, if you choose to accept it, is to buy Songs for St. Jude. More importantly, though, is to experience Five Eight live. You will never hear their music the same again. The biggest irony is the title of the album, as St. Jude is the patron saint of lost causes. This album is far from it.

Listen to “Kids on Spotify

 

Shearwater soar into Atlanta

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Shearwater and Cross Record at Terminal West in Atlanta, 12/13/16

What a year it’s been for Austin’s Shearwater. With their eighth studio album, Jet Plane and Oxbow (Sub Pop Records), the band is getting noticed more than ever. Coming off a successful European tour and now back to the states, critical acclaim and a fast-growing fan base has catapulted Shearwater to the forefront of the indie music scene. Obvious fans of David Bowie, the band covered his entire Lodger album with the AV Club in early 2016.

Lead singer and multi-instrumentalist Jonathan Meiburg was energetic and full of joy as the band offered up a terrific set of songs mainly from Jet Plane, but sprinkled with gems like the excellent “You As You Were” from 2012’s Animal Joy. The first single off the new release is the Cold War-inspired “Quiet Americans” which looks and sounds a bit like the eighties, and was a touch prophetic as months later millions of Americans stayed home on election day. The entire album, in fact, has been called a protest record. Which makes sense if you listen closely.

Jet Plane has such an eighties feel that as “Filaments” kicks in, you may be reminded of the Police’s “When the World is Running Down…” But Shearwater is most definitely not an eighties band. They are Meiburg’s unique conception of an amalgam of different genres, shaped by his very own creative mind. Filling out the band are Lucas Oswald (keys, guitar, backing vocals), Emily Lee (keys, backing vocals), Sadie Powers (bass) and Josh Halpern (drums). All five members raise the bar on musicianship. This is a tight band and sound terrific live.

“Radio Silence” is anything but, with a mountainous build-up and soaring vocals (“In disarray! Disarray-ee-ay!”). Meiburg’s voice is strong and smooth, complementing the music (or is it the other way around?). The encore paid homage to Bowie with fresh versions of “Scary Monsters (And Super Creeps)” and “Look Back In Anger.” Keep your eyes and ears open for the next tour, Shearwater is finally becoming a household name.

Fellow Austinites Cross Record put on an amazing performance. Emily Cross and Dan Duszynski play with a self-described genre of “doomage,” which is slightly misleading because a fan may argue that the sound is more beautiful and uplifting. Their new album, Wabi-Sabi (Ba Da Bing!), is definitely worth a listen.

Atlanta welcomes Dead Can Dance

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Dead Can Dance
Dead Can Dance (www.deadcandance.com)

 Live review: Dead Can Dance with David Kuckhermann at The Cobb Energy Performing Arts Centre in Atlanta, 9/5/12

Born of the early eighties growing gothic movement, Dead Can Dance evolved musically until 1996, with the release of their final studio album, Spiritchaser, was released. And that’s the last new music fans heard from DCD – until last month, with the release of Anastasis (PIAS). The ensuing tour gave hardcore fans a dose of the new stuff, as well as some classics.
The duo, made up of Brendan Perry and Lisa Gerrard, were joined by a full band. But there was no doubt about who to watch. Perry and Gerrard stood stoically through each number, barely uttering a word between songs, except to give a few thank yous (and that was just Perry – Gerrard only smiled). The bulk of the crowd was dressed in black leather and all things Goth. There may have been a few holdovers from the DragonCon parade the weekend before in downtown Atlanta.

Visually, the duo seems to be from different worlds. Gerrard, with the golden voice, has the look of a royal deity (there may even have been a pale halo over her head), while Perry looks like Mike from Breaking Bad with a voice you may have heard from a Joy Division show. Together, however, they make magic. Each led their own songs throughout the evening, but even those excellent vocals were transcended when they worked in harmony.
DCD opened the show with the leadoff track from Anastasis, “Children Of The Sun,” a seven minute gem that sounded perfect. Credit should be given to the incredible acoustics at the Cobb Energy Centre, but the band rightly deserves it. With a sound straight out of the Middle Ages, DCD seem to have mastered that Renaissance and European folk sound.
A highlight was the Tim Buckley classic, “Song To The Siren” during the second encore. This song was woven into Perry/Gerrard fabric and became their own.

Opening the show was the remarkable hand pan and hang drum artist David Kuckhermann. For those unaware, the hand pan looks like an enclosed steel drum and sounds similar to the island instrument. He also plays other types of drums and tamborine-type instruments. But it’s so much more, especially in the hands of Kuckhermann. He set out to mesmerize the crowd for roughly thirty minutes. The angelic sounds drifted throughout the Energy Centre and no one wanted this dream to end.
The limited banter he had with the audience was appreciative and polite, in his thick German accent. Kuckhermann also creates instructional DVDs which have become highly popular around the world. He has also release his first studio album entitled The Path of the Metal Turtle.
Setlist
Children Of The Sun, Anabasis, Rakim, Kiko, Lamma Bada, Agape, Amnesia, Sanvean, Nierika, Opium, The Host Of Seraphim, Ime Prezakias, Now We Are Free, All In Good Time

Encore 1

The Ubiquitous Mr. Lovegrove, Dreams Made Flesh
Encore 2
Song To The Siren (Tim Buckley cover), Return Of The She-King

Encore 3

Rising Of The Moon

..

The Head: Power pop punks

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The Head (photo by John Boydston)

 Live review: The Head at The EARL in Atlanta, 8/2/12

The phrase “support local music” has not been uttered recently. It needs to be. Those bands that sell millions of albums every year had to start somewhere. Usually, there’s a grass-roots movement to garner exposure for some local group that you feel “has it.” Well, Atlanta’s The Head “have it.” Last night’s turn-out was less than stellar, though. Sure, it was a Thursday night. Yes, it had just rained like hell. Okay, the Olympics are on, I get it! Still, none of these excuses could justify missing such a great night of rock music.

The Head, consisting of twin brothers Mike (bass, lead vocals) and Jack Shaw (drums, vocals) along with Jacob Morrell (drums, vocals) have a recipe for success. They just need more taste-testers. This power pop trio has an energy level exceeding Red Bull 5. Their songs are expertly crafted with smart lyrics and terrific musicianship. What’s not to love? With two full-lengths under their belts, 2009’s Puckered and last year’s Hang On (produced and engineered by Don McCollister), The Head has a proven track record. “Tony” is the latest single and is about as close to a perfect song as you’ll find.

Are you ready for the zinger? The Head offer up all their music for free via their website. Now, if and when you actually see them live, you can grab everything they’ve recorded (in a variety of CD and vinyl formats) along with free t-shirts. All they ask is that you leave your email. Gotta build that fan base.
Among the standout tracks were “Separate Bodies,” “Only One,” “Tony,” “I’m Lost” and “Gotta Fall.” Some of the band’s influences that bleed into their music are The Stone Roses, Pavement, Big Star and even Carole King (their words!). There are definitely some 60s influences ingrained in these tunes. Put The Head on your list of must-see bands. It’s worth it.
Opening the show was Atlanta’s power indie rock collective Summer Dare. These guys complemented the evening well with a bit harder edge, but still heavy-hooked, catchy stuff. Summer Dare also supplied fans with their self-titled EP for free. This is the only way to go. They also provide the EP as a free download on Bandcamp or their Facebook page.

Paul Melancon hit the stage next, with a bevy of musicians and sweet sounds. Obvious influences include The Beatles, E.L.O. and Neil Finn. Indie pop was meant to sound like this and Melancon has cornered the market with his sound. It was a lively set of harmonies, wit and talent. Sitting in on drums was Pete McDade (Uncle Green/3 lb. Thrill), who had the skins turned up to 11. It’s unclear whether he’ll play any more shows with Melancon, but it was a match that worked.
Melancon’s self-depracating humor kept the crowd giggling in between songs, but once the music started, they were swaying and tapping their toes. One of the foremost local singer-songwriters of the indie-pop persuasion, Melancon has released two widely lauded solo CDs. You can pick up Slumberland and/or Camera Obscura on the Music page of his website, iTunes or CD Baby.

Also known for astute covers of excellent songs, Melancon posts a video of a cover every Monday on his website. Check out his triumphunt version of E.L.O.’s “Mr. Blue Sky.”

Now, get out there and support your local bands!

BoDeans bring new album (and line-up) to Atlanta

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Live review: BoDeans with Heather Luttrell at Variety Playhouse in Atlanta, 6/20/12
Kurt Neumann and Sammy Llanas were the songwriters/musicians/singers who made up the sound of Milwaukee’s BoDeans going back to their first album from 1986, Love & Hope & Sex & Dreams. The distinctive vocals from Neumann and Llanas (especially Llanas) encapsulated the sound of the band. Sadly for fans, Llanas left BoDeans in 2011. Neumann carried on – now with total creative control – and released American Made earlier this month. The sound leans less toward roots rock and more to a country rock sound.

The absence of Llanas is a blow to that unique BoDeans sound, but Neumann has done a fine job in setting a high bar and delivering a very good album. And to see this band live is an enhanced experience. Everything sounds better when they’re onstage. “Good Work” got things rolling in a quick way, followed by “Flyaway” from the new album. This track is currently getting video play on CMT. On “Stay,” Neumann explained that he wrote this one for his two daughters and explained how he asked them to stay young, since he was constantly on the road and missing out on their lives. This is a bittersweet song for any parent. (“Why must you say goodbye? / Why don’t you stay a while?”).

The evening was a mix of old favorites and new sounds from Made. Strangely, they complemented each other. On the hit “Fadeaway,” Kurt showed off his exceptional guitar work on a song that has evolved with a hint of reggae. On the fantastic “Good Things” (from the debut), the listener may be reminded of Springsteen‘s “Badlands.” Maybe.

BoDeans have managed to stay relevant in a world of everchanging musical genres and overnight Internet sensations. The sound was tight and beautiful, and as a live act, BoDeans are hard to beat. The encore was a short two songs. First, “Still The Night” thrilled the fans. When Neumann sang, “If I can hold you tonight, I might never let go,” many female fans appeared to concur. “Closer To Free” finished out the evening. The tune that became the theme song for the TV series Party of Five was also the band’s biggest hit. It was a barn burner and everyone knew the words. Although not a sold-out show, the energy in the house said otherwise.
The band is covering the U.S. through early October. Catch them in a town near you: TOUR.

Atlantan Heather Luttrell had opening slot duties and wowed the crowed with her powerful and soulful voice. You may remember her as a contestant from the 2005 reality show Rockstar: INXS, in which she was aiming for a spot with the legendary 80s band. The fact that she lost out to J.D. Fortune is possibly a good thing, as this opportunity may have boxed her in (and according to the merch guy, “Do NOT ask her to play any INXS!”).

Her vocal stylings were more along the lines of a countryfied, folksy Janis Joplin. During her acoustic set, Luttrell was accompanied by her father, who stood next to her playing slide guitar. (“The whole ‘Daddy’ thing isn’t as weird when people find out he’s really my Dad.”) It was a good sound and local fans were supporting her in force.

Watch Heather sing “Georgia On My Mind.”

Keep an eye out for this talented songwriter. Check her tour schedule HERE.

Atlanta warms up to The Cult

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Live Review: The Cult with Against Me! and The Icarus Line at the Tabernacle in Atlanta, 6/17/12

For fans of 80s music, The Cult should definitely be on the favorites list. Not just a rock band, but not heavy metal. Somewhere in between, with a Doors-like mysticism. Leader Ian Astbury could very well be chanelling Jim Morrison. The Cult‘s post-punk/gothic rock sound set them apart from other groups of the 80s. Rolling out of London in 1984 with their first major label debut Dreamtime, The Cult gained fame quickly and eventually conquered America.

Touring in support of their ninth studio album Choice of Weapon (Cooking Vinyl), the band is enjoying the fruits of its labor from the past three decades. They have definitely not lost a lot, with Astbury’s vocals close to what they were in the heyday, and the band tighter than ever. Granted, only Astbury and guitarist Billy Duffy remain as original members, with John Tempesta and Chris Wyse rounding out the rhythm section.

The band played through most of Weapon including “For The Animals” and “Lucifer.” These songs rock more than you think they might. Needless to say, fans were treated with the reason they were all there, with such gems as “She Sells Sanctuary,” “Fire Woman,” “Rain” and “Love Removal Machine.”

At times, Astbury wanted more from the crowd, yelling, “Get up off your fucking asses!” He almost came off as an angry Gene Simmons. After throwing a tamborine into the crowd, he seemed to be motioning to get it back several times the rest of the evening. Not sure what became of it. In the end, though, he was very appreciative of the fans and told them so.

Listen: “For The Animals”

Opening the show was the loud and proud sounds of The Icarus Line. Clearly inspired by acts such as Black Flag and The Stooges, lead singer Joe Cardamone aspires to be a 21st century Iggy Pop, with no shirt and skinny jeans. Iggy never screamed like that, though. This was one loud set, with Cardamone doing plenty of strutting and spitting. It was raw and raucous.

Middle band Against Me! was the real surprise of the evening, with an exceptionally tight sound and a set of terrific songs. You may have read in the news about frontman Tom Gabel‘s recent transgender process to become Laura Jane Grace. On this night, he simply wore eyeliner and very high heals, along with what appeared to be an all-leather outfit. Standard rockstar garb. Gabel’s voice, though, was the attraction. Falling somewhere in the neighborhood of Cheap Trick‘s Robin Zander, this thing is one powerful instrument. The band tore through a victorious set, including “Thrash Unreal,” “Stop!,” “New Wave” and the excellent “I Was A Teenage Anarchist.”

Besides the obvious talent of Gabel, 21-year-old drummer Jay Weinberg was the heart of the band. He ripped through each song like a veteran and kept the intensity dial on 11 (incidentally, Jay is the son of drummer Max Weinberg, of the E Street Band).

Listen: “I Was A Teenage Anarchist”

To catch this tour before it heads to Europe, go here: Tour info.

Punch Brothers bring a little bit of fantastic to Atlanta

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Live review: Punch Brothers and Jesca Hoop at the Variety Playhouse in Atlanta, 4/21/12

If Wilco can be called the American Radiohead, then surely Punch Brothers can be considered the Bluegrass Radiohead. Not that all bands must be held to the Radiohead standard, but when a band evolves, takes chances and goes all experimental, the comparison is allowed. Even Punch Brothers basic song construction, in some cases, sounds a bit Radioheadish. Leader of the group Chris Thile (Nickel Creek, The Goat Rodeo Sessions) also exhibits a thing for Thom Yorke’s group. “Kid A” is featured prominently on the new Who’s Feeling Young Now? (Nonesuch) and the boys have covered a number of their songs live.

The wonderful “Don’t Get Married Without Me” kicked off the set. Thile (prounounced “THEE-lee”) and the rest of the “newgrass” quintet seem as close to virtuosos a five-piece can get. Rounding out the band are Gabe Witcher (violin), Noam Pikelny (banjo), Chris Eldridge (acoustice guitar) and Paul Kowert (stand-up bass). These guys are all rock stars and not the traditional kind. No drums, no electric guitars, no synth. Just five dudes standing on stage, playing the strings. Total rock stars. If you don’t believe it, check them out. Thile does the solos like Eddie Van Halen, just in a purer form. And with a mandolin.

All five Brothers had established careers playing with other people and got together in 2006. The name was taken from the Mark Twain short story “Punch, Brothers, Punch.” Using a Twain title is perfect: likeable and pervasively honest, just like the band. Various members of the group joked and chatted with audience members throughout the evening, but it was the music that mattered.

World class original music is their specialty, but they are also known for all those covers. This evening was no different, as the band played some great tunes from the likes of Beck, Radiohead (of course), Gillian Welch and The Cars (see set list below). For the finale, a wonderfully emotional cover of The Band’s “The Weight” (it had only been two days since the passing of Levon Helm). This was a tribute by Punch Brothers, but as you see in the video, the entire audience was involved.

Watch “The Weight”

It was a lively evening and Punch Brothers are now known as one of those collectives that create a hybrid sound. This was their fourth trip to the Variety Playhouse in Atlanta and the first to sell out. It appears that their sound – however experimental it may be – is a refreshing change from the status quo that you get on the radio hour after hour. Please, see them live.

Californian Jesca Hoop warmed up the crowd very nicely with a guitar and an exquisite voice that can be compared with no one elses. She has toured with Elbow and Peter Gabriel and exhibits a powerful presence while remaining somewhat grounded in her banter. With a very dry sense of humor, her opening gig was almost a conversation with fans. Very funny and very effective. New fans were made that night.

Touring in support of her upcoming release The House That Jack Built (June 25), Hoop has built a following with her sensual and personal style of performing. Thile joined her onstage for a sweet duet, and she returned the favor by joining the boys for a song. Before she had a chance to begin, though, Punch Brothers sang her a rousing “Happy Birthday.” She was embarassed. And happy.

Punch Brothers Set list
Don’t Get Married Without Me, New York City, Next To The Trash, Flippen, Who’s Feeling Young Now?, Clara, Missy, The Blind Leaving The Blind, Sexx Laws (Beck cover), Train On The Island, Hundred Dollars, Kid A (Radiohead cover), Wayside/Back In Time (Gillian Welch cover), Happy Birthday (w/Jesca Hoop), Just What I Needed (The Cars cover), Watch ‘at Breakdown, Rye Whiskey.

Encore:
Patchwork Girlfriend, Movement And Location, The Weight (The Band cover).