The Lawnmower Playlist: New Local Music from Judy Banker, Escaping Pavement and Border Patrol

"Implements of Grass Destruction"

I'd mentioned a couple of posts ago that nothing helps me shake off a long Michigan winter better than some new local music.  Like magic, three new albums showed up in my inbox and have pretty much taken over my daily listening.  There is some incredible songwriting and musical talent in Southeast Michigan (but you knew that, didn't you?).  Though all totally different, these artists are perfect example of "Semibluegrass" and worth the listen. With a bluebird skies today, and temperatures climbing into the pleasant seventies, I dropped all three albums  into a playlist on my phone , hopped on the trusty Cub Cadet and gave them a serious listen as I battled the green monster that is my lawn.  For those of you who know me, you are aware that I hate mowing the lawn...enough that last year I penned this infamous Haiku to sum up my feelings:

Fresh blades of spring grass
Each mocking me as they grow
Green middle fingers

Thankfully,today I had a phone full of great new music to take my mind of the green demons and soothe my soul as I knocked the yard back into shape today.   Take a look below for my impressions of these albums.  More importantly, if you like what you read, drop a few bucks and purchase them yourself (you won't be disappointed).  Better yet, all three of these acts play locally a LOT, so go catch them live, say "hello", thank them for all they do and buy a copy of the album direct from the band (you may not know that they will actually make more money this way then you purchasing it electronically).

Judy's Spectacular Album "Devils Never Cry"

I first met Judy Banker as the guitarist and singing partner for legendary Michigan songwriter Jay Stielstra. A consummate sideperson and vocal partner, as well as a tireless promoter, Judy has reached out to fans new and old to help keep Jay's magical songs alive, vibrant and relevant to a whole new generation of listeners.  I also have not met many people as devoted to the local, live music scene as Judy is.  You see her everywhere, in person, at shows and online.  She is part of the very heartbeat and soul of music in South East Michigan.  I was thrilled to hear that Judy had not only been working on her own music, but was recording it with a killer band, and ready to release a solo album. And what an album this is!

That's a Lot of Artistic Talent Right There

From the first note of the first song, it is evident that--while not a bluegrass album--there are several things that will attract the SeMiBluegrass audience to this album.  The first is the killer performances of the musicians on this album.  Tony Pace, who you may be familiar with from his time with the southeast Michigan's seminal folk/bluegrass band Wayward Roots, puts in an amazing performance on the dobro.  The bluegrass inspired licks on "Coming Around" and the dark, bluesy (Open D Tuned?) riffs on Judy's cover of Gillian Welch's classic "Tear My Stillhouse Down" really stand out.  As does his stellar electric guitar work on a couple tracks--something you may not have heard from him before.  Greta Mae Barnard really defines Judy's sound with her soulful and melodic fiddle playing.  Her tone is rich and full, and she pulls off some incredibly complex accompaniment, while managing to stay in the background instead of stealing the show--a rare skill indeed.  Her harmony vocals are sweet, touching and always perfectly on pitch.  What do you say about David Roof?  His bass playing is spot on, as are his killer vocal harmonies (especially sharing the lead with Judy as a duet on several of the numbers).  The entire album was also recorded at David's Rooftop Recordings in Grand Blanc, one of the premier venues for recording acoustic music in the region!

Jay Stielstra and Judy from a few years back

With a band like this it would be easy to overlook Judy's superb guitar work.  Like many singer/songwriters, she has the ability to weave subtle rhythms and simple fills into a complex tapestry that helps fill out the bands' sound and breaths life into the songs.  He vocal abilities are also complex and nuanced.  When singing the lead, Judy's voice can be naked and vulnerable, telling a story, but also carrying the emotion behind the words.  When she hit the chorus and starts harmonizing with the band, something else takes over.  Something wonderful and indescribable.  Her voice grows in power, blending with her partners, and lifting them to new heights.  The lyrics flow over you and resonate deep within your mind and soul, carrying you on a journey to the places deep within yourself that only honest music can unlock.  This is an album of love songs.  Unlike many albums in this genre, where love, life and loss are reduced to lyrical, melodic and emotional hooks, Judy brings a mature perspective to these songs; an honesty and willingness to talk about the truth of modern relationships; unfettered access to the intense hurts and boundless joys she has experienced in her life.  She does not hide from these things, but wears them proudly; battle scars of a life well lived, and well loved.  This lyrical and performance truth is what drew me to bluegrass, acoustic, folk and Americana music in the first place.  And there are few better than Judy Banker and bringing them to the SeMiBluegrass audience.  Go see her play (and buy this album!).  Judy has an album release show coming up and I can't wait to see these songs come to life on the live stage!

Take a Journey with the "Night Owl"

Sometimes, there is amazing music right in your own back yard, and you don't even know about it.  Such was the case with Escaping Pavement.  Straddling many SeMiBluegrass genres, this vocal/instrumental duo has garnered not only local, but regional and national attention with their hard-driving, vocal-driven approach to acoustic music as exemplified by their superb new album, "The Night Owl".  There's a LOT of bluegrass in this duo...from the fiddle-tune laced mandolin licks of Aaron Markovitz or the driving, pounding rhythm guitar work of Emily Burns--she even rips off a killer flatpick solo at the end of "Leave the Light On" that is one Lester Flatt G-Run short of bluegrass perfection!  But this band has so much more to offer.  Sandwiched in between the first and last songs on the album (which are acoustic/electric guitar-driven American numbers) are eight mandolin/guitar pieces that will blow you mind.  Perhaps it is the imagery brought forward by the album title, but this is the type of music I could see myself listening to on a warm summer evening; well after the bars shut down; on a long, lonely ride through the city with the top down and the radio on high; immersed in the music as I ponder the past and careen forward into the unknown future.  The partners share not only the songwriting, but the lead vocals and instrumental breaks on this album.  Lyrically, these are heartfelt and well constructed songs, but what makes them special is Markovitz' complex mandolin melodies layered over Burns' rhythm guitar.  Aaron is able to play incredibly complex passages with killer tone, and an easy-going and smooth style that builds throughout the songs.  There's a lot of bluegrass fiddle tune in there, and it wouldn't surprise me if he played in a traditional bluegrass band at some point.  Emily likewise can be smooth and subtle, but punctuates her playing with aggressive, percussive accents and jarring fills.  She also has a real gift for making a statement with a single blue note in the middle of a passage, instantly adding suspense to the passage and breaking the trance-like melody.  Like the best jazz musicians she has complete mastery of when NOT to play a note as well.  There are a lot of killer tunes on this album, and I like them all.  However, the country roadhouse number "Leave the Light On"--while an outlier with it's electric and slide guitar riffs--is the kind of song that will get in your brain, get you toes tapping and stick with you all day long.

A Great Summer Album

I've written about Border Patrol in the past.  Their EP, Toxic Thought Machine, was released in the spring, and is fast becoming my favorite new album.  As I spend the summer traveling throughout the region on my quest for live, local music, I will undoubtedly be singing the chorus to the album's title track, as it somehow perfectly captures the SeMiBluegrass experience.

"I will drive through the artificial light
Through our battered bits of cities
And our rusted, scenic sites
Where I can find a place with neon by the door
Seat next to the bar top
And a heavy-handed pour"

Lead singer, songwrite and guitarist Dave Toennies has assembled a killer album of dark, but real songs about the experiences and challenges facing our younger generation--done in an upbeat an happy manner is classic post-war string band style.  Somehow, it works.  Perhaps it's the quirky but engaging banjo stylings of Windsor native Cody Howard (and his killer harmony work).  Or maybe it's the oh-so-authentic contributions of Ryan Haggarty on the doghouse bass (of course).  But truly, the not-so-traditional inclusion of Walter Senko on piano really defines the bands sound and adds some interesting depth and complexity to the numbers.  The title song is great, but the tongue-in-cheek humor in "Daze" (a song about getting a job, to afford health insurance, so you can afford to off yourself?) and "Gravedigger" (a lament about avoiding love at all costs) really stand out.  "Good Luck Charm" captures the pain of the casualties of our endless string of meaningless overseas wars.  There's a lot of good stuff here on this album.  Do yourself a favor, buy it today and give it a listen.    (Album art used with permission of the artists, all other photos copyright SeMiBluegrass.com)

Some Refreshingly New Music from Border Patrol (Live at the Elizabeth Theater)

Border Patrol Singing in Perfect Harmony

Each spring as the weather warms up and the school year starts to wind down, I find myself  yearning for something new, something refreshing and something interesting to picque my musical curiosity.  After more than 60 articles on Semibluegrass.com and 20,000 unique page views, my connection to the very best live, local, acoustic acts in South East Michigan continues to expand.  It was through this blog that local vocalist/guitarist  Dave Toennies reached out to me about his new folk rock band Border Patrol and a gig they had lined up in support of their new CD "Toxic Though Machine"  at the Elizabeth Theater above the Park Bar in Downtown Detroit.  I listened to a track from the album and was immediately hooked.  It's definitely "SeMiBluegras" (because that rolls of the tongue much better than "Blueacocusticanna Folkrootgrass" that more accurately descibes my taste in music!).

Co Headliners "The Diving Bell" from Chicago

Located near the historic Filmore, the Elizabeth Theatre is a funky, cool upstairs space.  Ample attended parking is available, so you don't need to worry about your car down here.  As a bit of a commentary on the state of music, the parking ($10) cost double the cover charge ($5) this evening...and that was for three bands!  A small stage and dancefloor sit in front of a terraced audience area complete with waist-high rails for setting down a drink (or a camera lens).  The concert area opens on one side to a well-supplied circular bar.  The other side is curtained off to form a small artists' "green room".  A professional sound system and skilled sound guy really brought the music to life.  This truly is a great listening room, with warm tones and crystal clear audio. 

Thirty Men

The decor is spartan, but the hanging strings of glass lights and mixed bag of Navajo and Persian rugs decorating the the ceiling give it an artsy hip feel.  Judging from some incredible aroma's wafting up the stairwell, the food downstairs at the Park Bar promised to be excellent as well.  The opening act this day fit perfectly with the vibe of the room.  The misleadingly named "Thirty Men" was actually a duo featuring singer/songwriter Emily Rose on guitar and her friend Eileen (I think) on musical saw.  Their short set of original songs interspersed with some Nirvana covers featured killer harmonies with both ladies taking turns singing lead.  Rose's fingerstyle guitar work is complex and clean.  Somehow, the saw, played with a cello bow creates eerily haunting and warbling tones that perfectly accentuate the rather dark, minor chord feel of these songs.  I swear, at points during the set, I thought she was playing a theramin.  A set of idie-rock from Chicago band The Diving Bell  was up next.  I was more familiar with them as a acoustic Americana act (Like This) fronted by Steve and Clare Hendershot.  On this evening, they brought and edgier, aplified sound featuring multiple electric guitars and even an electric 5-string banjo.  Standout song of the evening was a steam-punky setpiece from and upcoming recording session they have planned complete with a story narative accompanying the song.  I'd love to here to whole thing start to finish--just a bit different approach to the "concept album" than you usually see.

Dave Toennies

Border Patrol took to the stage after a quick set change and lit the crowd up with their high-energy set of original tunes.   Toennies' songs are an honest look at the day-to-day life of twenty-somethings' and their search for their place in our rapidly evolving world.  With a clear, high tenor, he delivers upbeat songs is mostly happy keys with subtle minor turns to add some angst the lyrics.  His delivery definitely has an old-timey feel to it, but mixed a splash or hardcore punk.  Sung with passion and power, the rawness of the verses is swept up with thick, rich 3- and 4- part harmonies in the choruses.   I hear some Stray Cats in their voices, and some Devil Makes Three in their music.  Definitely some late-80s Squeeze in there as well. 

Instrumentally, the band has a lot to offer.   Starting with Toennies' easy-going lope in his guitar playing, the rest of the members of the band each contribute a layer of complexity, melody and rhythm to the Border Patrol sound.  Windsor native Cody Howard's banjo adds the perfect folk-feel to the songs.  Occupying a space somewhere between melodic and clawhammer, his style ranges from civil-war era twangy to modern-day melodies with ease, setting the mood for each song.  Howard's vocal harmonies are powerful and complex, really complementing his singing partner's voice.  Bassist Ryan Haggarty plays the upright, which is perfect for the band's sound and provides all the drive they need.  His harmony singing was spot on as well.  What makes the band unique is the addition of Walter Senko on keyboard.  Ranging form an electric organ sound on upbeat tunes to a classical piano sound on older, slower tunes, his solos provide all the emotion and soul a band could ask for.  Drummer Noah Kamisky fills out the band.  While he had a small kit with him, he plays mostly light snare, with just a bit of ride cymbal and kick drum.  It's funny how few drummers understand this "less is more" approach to backing primarily acoustic bands.  When it works (and boy does it work here!) it really adds a layer of complexity to these types of songs.

So three great acts in a great venue.  What's not to love.  In the mood for something refreshingly new?  Get yourself a copy of Border Patrol's "Toxic Thought Machine", kick back, and take a journey.  Feel free to use images and text in this review with credit to Semibluegrass.com.  Follow us for more great, live, local music in Southeast Michigan.  Or find us on Facebook, Twitter and Instrgram.

An Enchanted Evening of Bluegrass (Thunderwüde at Johnny's Speakeasy)

Magic Happens at Johnny's Speakeasy...

I've been trying to do a show review for Southeast Michigan's bluegrass "supergroup" Thunderwüde for over a year.  I've seen them a few times, but somehow never remember to bring my camera.  This weekend however, I simply could not pass up the opportunity to see them play in the very best venue around, Johnny's Speakeasy.  For those of you not familiar with this extraordinary and magical place, just watch this.  I have to admit, I'm a bit hesitant to write about the Speakeasy, in the same way a fisherman doesn't like to mention his favorite fishing spot--too much exposure can ruin the ephemeral nature of these special places. While some blue collar bricklayer, his name lost in history, may have built this room and it's vaulted ceiling, and generations of owners have continued to improve and decorate the space, I am convinced that  the tiniest bit of every soul that makes the journey down the steep stairs to Johnny Williams' basement is drawn into the walls magnifying and supporting the magical JuJu that makes this simply the best place to hear live local music in Southeast Michigan, and quiet probably the whole world.

Thunderwüde working the one-mic

What began as an informal Wednesday night bluegrass jam at the Chelsea Alehouse Brewery has grown into a truly unique bluegrass band, Thunderwüde.  Although they boast some high-profile fans, it is the bands musical chops that really set them aside.  Every member of the band is a professional musician playing in multiple bands and side projects and a true master of their instrument(s).  It is a true testament to the talent of this band that they manage to capture all the drive required of  barn-burner bluegrass fiddle tunes without a banjo!  The band plays a great mix of mostly traditional bluegrass standards, with just enough variety drawn from some well known country, folk, swing and jazz standards.  Where they really shine is on their original material.  I'm a big fan of "High Standards" as played here at The Ark a couple years ago. The band takes turn singing the lead vocals and have mastered the art of three-part harmony so well that most of the time it sounds like a single voice coming off the stage and it's impossible to determine who's singing which part.

Dennie and Fritzemeier kick off the show.

Mandolin master Jason Dennie really shines in the band.  With an effortless right hand he alternates between a driving chop and stinging fill riffs with near reckless abandon.  On guitar he is equally versed at traditional flatpicking and fingerstyle leads.  Dennie's talent lies not in playing fast (though he can keep up with the best of them), but rather with his mastery of the melody line.  Whether of mandolin or guitar, his solo breaks really push the boundaries of traditional bluegrass walks, runs and scales venturing into lots of double- and triple-stop passages and jazz-chord infused countermelodies and syncopated counterrhythms.   I find his playing ultimately refreshing and interesting.  He is very personable on stage with a quick smile and "bluegrass voice" counter-persona on stage covering most of the emcee duties.  He is obviously good friends with everyone in the band (and half the people in the audience as well) sharing jokes and running gags throughout the performance.

Fiddle Master Fritzemeier

The standout of the night had to be Wes Fritzemeier.  Beginning the night on the mandolin, he is every bit as good as Dennie on the instrument, with a subtly different, somewhat bluesier approach to his leads and an easy-going lope to his chop--a perfect foil for Dennie's fingerstyle groove.  He instantly wins over the crowd with his warm smile and lighthearted comments from stage.  His vocals are rich and nuanced with just a bit of dirt and grit thrown in for that authentic "mountain" sound.  A few songs into the show he switched to the fiddle.  Though he's been playing for over 20 years, he admits to having been playing more mandolin than fiddle lately.  You would never know it, as his performance this night was one of the greatest fiddle exhibitions I have witnessed.  He pulls an amazing amount of tone out of his instrument, while displaying great mastery of acoustic dynamic--his fiddle lines wash over you like the pounding surf on the Great Lakes in summer; smooth and deceptively powerful at the same time.  With finger-blurring prowess, he somehow adds fiddle fills in between his own melodies.  His playing is so complex and technically perfect that I sometimes swore it had to be two fiddles on stage playing counterpoint to each other.  This guy is a BEAST!

Dennie and Reifel clowning around

Bassman Tommy Reifel forms the backbone of the Thunderwüde sound.  I first ran into him as a member of the Ben Daniels Band when they played the Marquette Area Blues Fest several years ago and was blown away by his work on the upright bass.   Proficient at the "I-V" bluegrass rhythm line, he sits right on the front edge of the beat, driving the band forward and creating a pocket that's impossible to fall out of.  In fact, at the Speakeasy my friend comment that he'd never heard a band stay on beat for the entire show--never falling out of time once, and a bass player who hit every note on time!  Reifel also has a talent for adding a few unexpected runs and solo lines to his playing which keeps it exciting and engaging throughout the show.  He even thew in a cool bass solo break on a fiddle tune--something that you just don't see.

Merkel and the Guitar

While Dennie, Fritzemeier and Reifel have been playing as a trio lately, the show marked the return of long-time guitarist George Merkel.  With him on guitar, Dennie on mandolin and Wes' fiddle, Thunderwüde really takes off; each of them switching easy from pounding rhythm lines to mind-numbing solo breaks with reckless abandon.  Merkel's shy smile disguises his unbelievable flatpicking talent.  He has one of the steadiest and effortless right hands I've seen and a flexible and FAST left hand which combine to give his breaks and easy flow and smooth delivery.  He has a great voice for country-tinged bluegrass ballads--silky smooth, soul-filled and very easy to listen to.   It's obvious I'm going to have to see Thunderwüde again (and again, and again...) and I really need to get out to the Alehouse on a Wednesday night.

I've included some random photos from the show below.  Feel free to use and distribute freely with credit to Semibluegrass.com.  Want to see more like this?  Please subscribe to the blog, or better yet, follow our facebook page (www.facebook.com/SeMiBluegrass).  Visit the page and tag/share the photos there too.

The Waynewood Boys Proudly Present "Sawmill Sally" (A Bluegrass Opera)

The Waynewood Boys Perform "Sawmill Sally"

Six years ago I got bit by the bluegrass bug.  In search of people to pick with I ran a Craigslist ad looking for people who wanted to learn bluegrass and invited them over to my house (the first of what was to become my month SeMiBluegrass jams).  My friend Bill was just learning the Dobro.  Andy, an experienced electric blues guitarist showed up to learn bluegrass rhythm.  Rachel showed up with her ska piano background and a new upright bass.  And a soft-spoken banjo player named Hugh rounded out our first jam.  I've since listened to those tapes.  They're pretty brutal.  However, we have all gone on to find out place in the SeMiBluegrass music scene.  Hugh found his bluegrass muse writing and playing old-time flavored, traditional bluegrass with a local group of musicians.  In a world where pickers band together in pop-up bands that last a couple shows, the Waynewood Boys have managed to not only survive, but have thrived, searching out and playing small, esoteric venues--the kinds of places where creative, artistic and meaningful music is still performed, praised and valued; the places where the audience sings along in perfect harmony; the place where the pulse of live music still beats strongly.

Fader telling the Story of Sally

The Waynewood boys' latest--and most ambitious--work, co-written by  Fader (banjo), Tom Megli (guitar) and Keith Buchannan (bass) is a Bluegrass Opera, "Sawmill Sally".  Consisting of eleven original tunes that, taken together, tell a complex, funny and sometimes tragic story of love. loss and the consequences of rash action in late 19th century Virginia, this "concept album" may have exactly what roots music is missing today--a sense of meaning and purpose.  The band chose to premier their work at the "Live From the Living Room" event at Unity Church of Lake Orion.  This long-running concert series, hosted by local folk-music icon Maggie Ferguson and storyteller extraordinaire "Gypsy" Jack Ferguson is as close to a live taping of "A Prairie Home Companion" you will find.  The night started with a bit of a variety show with some fun covers and poignant original music (and some fine story telling) from Maggie, Jack and friends.  Following was a short set of original music from Sigrid Christensen off her newly released album "Little Vixen".  Her soft, high voice paired perfectly with the poetry of her works, her subtle guitar work and some killer accompaniment on guitar, harmonica and trumpet.

Megli on the High Tenor Vocal

The Waynewood Boys took the stage for the main event.  Clocking in at just over an hour, the songs were interspersed with short pieces of background and insight into the story.  A high quality program was included with story notes, and selected short passages from the lyrics to help guide the listener.  The band obviously enjoys what they do, launching into each song effortlessly and executing them flawlessly.  Eschewing the barn-burner, faster-is-better mentality of many modern bands, the Waynewood boys opt for a more thoughtful and methodical to many of their songs.  The first few numbers definitely have an old-fashioned sound to them and perfectly transport the listener back to late 1900s Virginia and set the mood for the story.  As the performance continues, the band mixes in some other influences including more progressive bluegrass sounds, some acoustic blues and folk, and even a bit of a modern rock vibe.  The band is polished, and easily sinks into the groove laid down on bass by Buchannan.  Megli's Carter-family influenced flatpicking gives the songs a lot of depth and drive, while Fader's banjo contributes both melodically and rhythmically.  Multi-instrumentalist Mike Francis fills out the songs with some tasty mandolin chops and some of the richest, most toneful fiddle work around.

Having some Fun on Stage with The Waynewood Boys

Sawmill Sally is both well-conceived and well-performed.  The story begins with Broken Window Blues where we meet Sally and  learn "don't be deceived by what you see...or what you don't see".  We meet Henry Johnson, love-scarred and driven to success in Virginia, and then follow the ups and downs of his courtship and marriage to Sally in Sally Barlow, For the Rest of Our Lives, and Starving at a Feast.  In the "disarming" song One Arm Jake we meet Jacob, the young, love-struck anti-hero of the story and the tragedy that effects all of them.  These consequences are explored in The Trial of Henry Johnson, Watch Over You and Prison in my Mind.  The story comes to it's tragic ending in Dead on the Ground.  Wrapping up the tale is How Can I Go On, which ends on a sorrow filled lament with just a ray of hope--only to launch into an upbeat chorus from Broken Window Blues bringing the story full circle and the night to an end.  This is a very enjoyable, and refreshing way to experience the finest in bluegras and good, old-fashioned story telling.  I hope the Waynewood boys (and many others) continue bringing this kind of thoughtful, intelligent songwriting to life and sharing it with the vibrant live music scene in SouthEast Michigan.  I will definitely keep going to see stuff like this.  And you should too.

Additional photos from the evening are shared in the Gallery below.  Please feel free to visit the public Facebook gallery and tag the people in the pictures.  You may also freely use and share these images with credit give the SemiBluegrass.com.  Like what you see here?  You can subscribe to this blog, or follow us on Facebook for more live, local music in SouthEast Michigan.

Local Music is Alive and Well in SouthEast Michigan

"Live Life Loud" with PJs Lager House!

One of the great benefits of my "day job" as a teacher is Spring Break--a week to refresh and rejuvenate myself before the final push towards the end of the year; a time to engage in things that make me feel alive; a time to shake off the last vestiges of grey Michigan winter and discover how alive you really are.  For me, my spring break has been about seeking out amazing, vibrant local musicians who bring passion and interest to their performance regardless of the genre.  There is perhaps no more pertinent example of this than this Easter weekend where I managed to squeeze in no less than SEVEN killer bands, in three great venues, and still made it to Easter brunch with my father well rested, reinvigorated and ready to take on the world!

Add caption

The weekend started with the Southeast Michigan Bluegrass Music Association's monthly open Jam  at the Kentuckian's of Michigan.  In a "good news/bad news" situation, almost everyone I meet confuses the SEMBA folks with SeMiBluegrass.  Luckily for me, I'm also the Vice President of SEMBA, so I can direct them accordingly.  For the record, SEMBA is an organization dedicated to the "support and promotion of bluegrass music in South East Michigan".  They tend towards traditional bluegrass bands and festivals and preserving the long history of bluegrass in Michigan.  SeMiBluegrass is my blog.  Also located in South East Michigan (hence the "SeMi" in the name) I try to publicize and support bluegrass and other acoustic music in the region (another play on "semi").  You will find plenty of SEMBA events and bands written up on these pages.  SEMBA is a great organization, full of wonderful, talented and passionate people.  If you're even a casual fan of bluegrass music, you should definitely check them out, and consider joining the organization.  Like most bluegrass events, the SEMBA jam, hosted by one or more of the members,  is always open to all, and a great way to get involved in playing music with others, learn some great new tunes, and enjoy the fellowship of other bluegrass fans.  For those not familiar with the Kentuckians, this private social club offers up live bluegrass music on Friday nights (as well as a killer home-cooked dinner if you get there early enough).  On this past Good Friday night, the Ron Bloomfield band offered up some tasty and soulful bluegrass including a Dynamite cover of "30 Years of Farming".  Definitely put the Kentuckians (and the Flat Rock Eagles) on your radar and go catch some live bluegrass!

The Guys in Rickett Pass Gettin' it Done.

As most of you know, I'm also a huge fan of progressive and derivative bluegrass music.  I've been trying to catch Rickett Pass (a band I met--coincidentally--at the Kentuckians) for a long time.  Coming off a brutal tour schedule, I saw that they were booked at PJ's Lager House in Detroit's Corktown Neighborhood (just a few blocks from the old Tiger Stadium).  I'm going to try and do an entire blog about this fantastic music venue someday soon, as it is one of the few remaining places that consistently brings the very best in live music to South East Michigan.  And they do it in style.  Affordable but fare cover charges insure the bands get paid.  A great selection of domestic, import and craft beers.  Surprisingly good food for a small establishment.  Ample parking near the venue, and friendly, helpful security to make sure your vehicle is safe.   And killer acoustics for bands plugged and unplugged alike.  

Songstress/Poet Michelle Held

The  night started off with an unexpected surprise as Detroit area singer/songwriter Michelle Held took the stage.   She is a writer with the great gift of telling heartbreaking and jarring tales in an honest and open delivery.  "Fearless" is what my friend called her performance, and it was eternally fitting of this night.  I've always said it takes great courage to step on a stage to sing and play for strangers.  Harder yet is to sing deeply personal, sometimes uncomfortable songs, while playing guitar and connecting with the audience.  On this night, the pure poetry of her words, perfectly enhanced by the splendid uniqueness of the soprano tremolo in her voice, carried the crowd on a raw and emotional journey and moved them to enthusiastic applause after every song.  She even put melody to a friend's lyrics (poet Hala Dika) in one of the nights most touching moments.  This was everything that pure singer/songwriting is supposed to be about, and it was spectacular. 

Jennifer Westwood

I came to see a bluegrass show and got absolutely run over by a female blues-rocker and a slide playin', chicken pickin', telecaster magician.  Jennifer Westwood and the Handsome Devils could be one of the  best live acts I've seen this year (and maybe ever).  As a vocalist, Jennifer has one of the most powerful and soulful voices you will hear--a perfect match for the blues, soul and southern-rock/country material she performs.  There should not be any way all of that sound, and grit, and feral emotion can come out of someone that small.  She must have some ethereal connection to all the greats that have gone before: Janis Joplin, KoKo Taylor and Grace Slick can all be heard in her voice.  And then there's Dylan Dunbar on guitar.  His tone is unbelievable, and has that magic "Telecaster through a Fender Tube Amp" lusciousness that plays so well in small venues.  He's a phenomenal slide player and one of the best country pickers I've heard.  He also possesses a magical connection to the audience, giving it 100%...and then when the crowd connects...another 50% just to push them over the edge.  Putting these two in front of anything but the very best rhythm section would be a sin.  On this night, Bassist JD Mac and the drummer were so in tune, it sounded like they were playing a single instrument.  There is no doubt in my mind, I'll go see this band again (and probably every time they play somewhere near me).

Giving them their all...and their shirts (Rickett Pass)

Capping the evening was Rickett Pass.  They are exactly what I like in progressive acoustic  bands: rooted in the tradition without being beholden to it.  In fact, this band owes as much to the classic bluegrass bands of the 40s and 50s as it does to the Punk bands of the 70s and 80s.  They are pure entertainers, and their loyal fans will simply not tolerate them giving anything less than all they have, leaving everything on the stage.  I love this band.  Propelled by the less-than-traditional yet more-than-awesome banjo picking, songwriting and singing of Mason Tinsley and the blue note, minor chord vamping mandolin work of Joe Vega, Rickett Pass perfectly translates both punk and bluegrass ethos to fans from their early twenties to late eighties.  Add to that some off-the-hook rockabilly bass antics from Matt Moore and hard working rhythm guitarist Dallas Cooper and you have an eminently danceable, impossible to ignore groove that takes hold of the audience and sweeps them along in a musical frenzy.  This band is so atypically Detroit; so down-and dirty; so blue collar in their work ethic that it's impossible to ignore them and obvious why they have such a passionate and loyal fan base.  Good job boys...keep doing what you do!  

Opening Act on the State-of-the-Art Machine Shop Stage

After far fewer hours of sleep than I needed, and a less-exciting-than-expected movie outing with my daughter, I found myself headed to the Machine Shop in Flint for the Pole Barn Rebels' CD release party.  This concert venue--while catering more towards hard-edged rock and heavy metal--is still a place where you can go see great live "semibluegrass" type acts in a purely professional setting.  Funky industrial/post-appocolyptic decor not withstanding, the joint is easy to find, has ample parking and a very helpful and knowledgeable staff equally versed in helping get the party started and making sure things don't get out of hand.  They also boast one of the greatest merchandising areas in any venue around--with plenty of branded Machine shop merch, and a large area for bands to display and market their wares.  This night started with a cover band (I didn't catch their name) that did a great job warming up the crowd with their renditions of southern and classic rock anthems.  There was some great guitar and harmonica work, and a stunning guest vocal by a sultry, blues/soul singer.

Kenny Kens giving the crowd what they want!

My very favorite musical set of the evening came from Kenny Kens & the Brown Bottle Boys.  It took a wagon load of moxie to play a large venue, opening for a wildly popular local act's CD release party, and make the choice to play 100% original music with a fairly new band. And it paid off--they totally killed it with their set of old-country music supported by the skilled country blues licks of guitarist Brian Coogan, the rockabilly stylings of Steve Wyse on Bass, last-minute steel guitar/keyboardist (yes...he was playing piano with thumb/finger picks...I saw it myself) Kevin Morris, and the perfection of Caco de la Sotta on the kit.  The songs were spot on in their lyrical content, delivery and opportunity to give the band some rein and let them charge onwards.  Kenny is an experienced and likeable front man; easy going on the mic, animated as he moves around stage and smilin' ear-to-ear every single second of the performance.  The crowd loves this band and lets them know it--crowding to the front of the stage and getting the dancing started early.  The Brown Bottle Boys embody everything good about classic roadhouse and honky-tonk country and deliver it--in spades!

PBR and the Pole Barn Rebels.  What an evening!

The night ended with the much anticipated set from Machine Shop regulars and local favorites the Pole Barn Rebels.  From their beginnings as an informal pickup band in (you guessed it)the lead singer's pole barn, this band is pure outlaw country in their songs, their performance and their swagger--both on and off the stage.  Over the past few years they have worked hard to become the most well known outlaw country/party band in the region; delivering that perfect mix of hard-driving, hard-drinking cover songs (heavy on the southern rock and country) with catchy, fan friendly, beer and whisky fueled original tunes that keeps the party going, the beer flowing and club owners happy.  Their secret?  Bad-to-the-bone lead singer?  Check.   Twangy, lightning fingered guitarist?  Check.  Pedal Steel guru? Check.  Blue jeans, black hats and PBR tall boys.  Check, check and check.  The Pole Barn Rebels really are one of the most unique and fun to watch bands in South East Michigan.  Look them up online, buy the CD, and go see a show.  It's a darn good time. 

Included some pictures from the shows in the gallery below.  Feel free to use, distribute, share as you like, with credit to Semibluegrass.com.  Better yet, subscribe to the blog or follow us on FaceBook.