Honky tonk highway

Modern Fools take a country turn

By Michael Witthaus

[email protected]

The idea for Clearly Country, the new EP from Modern Fools, came from a sign spotted by songwriter Josh Blair at a yard sale in Peterborough. He couldn’t shake it from his mind, so he returned to make an offer. “I didn’t know why I bought it,” he said by phone recently. “Then it just kind of dawned on me that it was going to be the cover of a honky-tonk album.”

The result is a gem, born as much from Blair’s love of purists like Hank Williams and Buck Owens as from his affinity for cosmic cowboys such as Gram Parsons and the Byrds album on which he served as a guiding light, Sweetheart of the Radio, an effort many point to as key in launching country rock as a genre.

Standout tracks on Clearly Country include “Ballroom Bender Blues,” a song about a guy whose drunkenness doubles for dancing; it rollicks like The Band with a pickup pedal steel player. “On My Mind” has guest vocals from Rachel Sumner and could be a cut from John Prine’s In Spite of Ourselves, while the high lonesome ballad “Eastern Standard” evokes the Everly Brothers, another big influence. Its supple harmonies are complemented by Braught’s spare, elegant soloing.

The Keene/Peterborough band — Blair, drummer Justin Gregory, Jon Braught on guitar, keyboard player Nick Hayes and Ian Galipeau on bass — will celebrate the seven-song collection at a release show in Concord on Jan. 18. The BNH Stage date includes support from indie rockers Slim Volume and singer/songwriter Rachel Berlin.

The group began over a decade ago with a different lineup and sound.

“We played a lot of local shows and kind of fizzled out around 2016,” Blair said. During the pandemic he and Gregory began working on ideas, later recruiting Braught, and Galipeau a while after that. The band released the introspective LP Seer in 2020 and Strange Offering in 2023.

Neither of those efforts bears much resemblance to Clearly Country.

“It’s a bit of a tangent … a departure from our normal sound,” Blair said of the new EP. “This is a concept album of sorts.” He’d kicked around ideas for a twang-forward effort soon after releasing their last album, including teaming with their friend Sumner.

“I wanted that old country duet sort of thing, like Johnny Cash and June Carter sort of thing; we all unanimously thought about Rachel,” Blair said. “She really liked the song and absolutely delivered … she sent us a quick demo back, and she just nailed it.”

Blair has significant roots in the Concord music scene dating back to playing psychedelic blues at Penuche’s with Ghost Dinner Band, and later in the supergroup Band Band. He immediately thought of the BNH Stage for the concert, reaching out to John McArthur at New Hampshire Music Collective, which books a lot of original bands there.

With NHMC on board, they began looking for bands to share the stage.

“Slim Volume was the first pick for everybody in the band; we just love their sound, it’s very complementary,” Blair said. “Then we thought of Rachel Berlin, she’s from the Concord area and just a great singer/songwriter with a great voice. It’s a really solid lineup and a really solid venue.”

The show is a solid reflection of the Capitol City’s continuous support for local artists. Even though Blair isn’t a resident, he feels an affinity from his years playing in the city, with so many different musical projects.

“Concord always felt like home in the music scene,” he said, “and it’s always kind of felt like a home away from home for me.”

Modern Fools with Slim Volume and Rachel Berlin
When: Friday, Jan. 17, 8 p.m.
Where: BNH Stage, 16 S. Main St., Concord
Tickets: $18.75 at ccanh.com

Featured Image: Courtesy photo.

The Music Roundup 25/01/16

By Michael Witthaus

[email protected]

Get laughing: A solid lineup of standup talent is on hand at the monthly Comedy On Purpose showcase. Musical comedian Dave Andrews mixes self-deprecating humor with seasoned guitar skills to crowd-pleasing effect. Other comics include Ren Marquis, Jeremy Cangiano, Anthony Eugenio and host Alana Foden, who also books the show and has a fun side hustle. Thursday, Jan. 16, 7:30 p.m., Soho Asian Restaurant, 49 Lowell Road, Hudson, $18 in advance (320-5393), $20 at the door.

Have yachts: Though Steely Dan is considered a significant yacht rocker band by Boat House Row, a subgenre tribute act making an upcoming area appearance, Donald Fagen had a curt, unprintable response to the notion when interviewed for a documentary. Whatever, it’s still entertaining, and this group’s sax player sparks a yearning for “Caribbean Queen” and “Baker Street.” Friday, Jan. 17, 8 p.m., Nashua Center for the Arts, 201 Main St., Nashua, $29 and up at etix.com.

Fab three: Taking an inventive turn off the well-trod path of Beatles tributes, While My Guitar Gently Weeps is a trio, reimagining the harder-rocking side of the legendary band. Fans of Abbey Road’s second side (if you know, you know) will delight in versions of “The End,” along with Yellow Submarine’s oft-neglected gem “Hey Bulldog,” while marveling at their economy. Saturday, Jan. 18, 8 p.m., Shaskeen Pub, 909 Elm St., Manchester; whilemyguitargentlyweeps.band.

Well-rounded: Few New England musicians are as beloved as Dan Blakeslee, who performs an afternoon set at an area barbecue joint. The seemingly always smiling singer, songwriter and guitarist honed his craft busking in MBTA stations. His charming folk songs like “Wizard Nor a King” have led to bigger stages like the Newport Folk Festival (he also drew the event’s poster). Sunday, Jan. 19, 3 p.m., MrSippy BBQ, 184 S. Main St., Rochester. See danblakeslee.com.

Scene support: Celebrating a year since forming, New Hampshire Underground hosts a grand re-opening party with live acoustic rock from Jesse Rutstein and Quincy Lord, along with art from cofounder Andre Dumont (Dead Harrison), fashion illustrator and painter Brenda Drew and artistic polymath MyArtbyKF, all in support of the Nashua underground scene. Tuesday, Jan. 21, 4 p.m., Terminus Underground, 134 Haines St., Nashua. See newhampshireunderground.org.

Ebony and ivory legends

Piano Men (and women) opens at Palace

By Michael Witthaus
[email protected]

An upcoming Palace Theatre production is more a musical canvas than a show, and it’s one that Director Carl Rajotte has painted before. Piano Men was first presented as The Four Piano Men in 2011. Conceived, written and choreographed by Rajotte, it featured songs from Elton John, Billy Joel, Stevie Wonder and Queen, via frontman Freddie Mercury.
Since then it’s changed and evolved, with Ray Charles and Phil Collins among the ivory tinklers tributed in the show, last done in 2023. Act 1 in this year’s production spotlights old-time rock ’n’ rollers Jerry Lee Lewis and Little Richard, then pivots to Barry Manilow. Subsequent acts focus on the original four and two women, Carole King and Lady Gaga.
The female roles will be played by the director’s sister, Michelle Rajotte, a Palace regular.
“It’s funny too, because I did a Gaga section a long time ago, maybe 2012, in a show called Royalty of Rock and Pop,” Carl Rajotte said by phone during a break from rehearsals. “She did Gaga and just fell in love with her back then.”
The actor and musician playing the Billy Joel role has a lot of experience. John Abrams performed as Joel in the national tour of the jukebox musical Movin’ Out. Abrams will also cover the Elton John material. Another Palace veteran, GE Enrique, is playing both the Stevie Wonder and Freddie Mercury roles, along with serving as the show’s Music Director.
This will be the sixth time that the Palace has done Piano Men in some form; Enrique has worked on three.
What keeps Rajotte returning to the show? “I’ve fallen in love with all these artists that we have on stage because they’re good at telling a story,” he said, “which lends itself to theater. There are lots of times in the show when it’s just the piano and the band, but we have seven talented dancers, and they tell a story through dance throughout the whole night.”
The dance ensemble includes three men and four women. Andy Kastrati was in the Palace’s recent production of Dancing Queens, as was Savannah Enoch. Julia Grubbs, who danced in Piano Men in 2020, is a CPA by day — “she can shimmy and do your taxes,” quipped Rajotte — and Rachel Muhleisen is featured on Stevie Wonder’s “Isn’t She Lovely.” Peter Murphy and Annie Wogisch round out the hoofers.
With women having a moment in the musical world — Taylor Swift, Chappell Roan, Beyonce and others are dominating — Rajotte is pleased that the show is now piano men and women. “I’m really excited to bring the new stuff to the audience, the Carole King and the Gaga,” he said. “We were just finishing up Carole King’s section today. It’s just so fun to just go back to the ’60s, find that retro feel and put it on our video wall.”
He’s also happy with the current season, which will continue with Jimmy Buffett’s Escape to Margaritaville on Feb. 28 followed by Jesus Christ Superstar in late April. 2024/25’s final production, A Chorus Line, runs from May 30 to June 22.
“It’s about halfway done, and I feel like I just started,” Rajotte exclaimed in disbelief.
Perennial favorite A Christmas Carol was extended to the end of the month, a successful experiment that will probably be repeated next year. Rajotte ran the lighting board for that final weekend so his stage manager could be home for the holiday. At the end of the show Palace CEO Peter Ramsey reminded him that the season was at a midpoint.
“That hit me like a brick wall,” he said, “But, yeah, I feel like it’s been a really good season so far. Oliver was a wonderful artistic piece that we were able to bring to the stage, and Jersey Boys was a crowd-pleaser, with great music. A Christmas Carol is our tradition that everyone loves, and it was attended really great the whole run.”

Piano Men
When: Fridays at 7:30 p.m., Saturdays at 2
& 7:30 p.m. and Sundays at 2 p.m. through
Feb. 9, and Thursday, Feb. 6, at 7:30 p.m.
Where: Palace Theatre, 80 Hanover St.,
Manchester
Tickets: $35 and up at palacetheatre.org

Featured photo: Piano Men. Photo by Jeff Shaw.

Savoir Faire makes jazzy pop

Debut album coming soon

By Michael Witthaus

[email protected]

The slinky, jazz-influenced pop of Savoir Faire sounds like it was beamed in from another dimension. Songwriter and guitarist Sarah Fard wraps her reedy, soft-spoken vocals around angular melodies. With her debut album, Hopeless Romantic, due for release in a few weeks, Fard recently answered some questions by email about her early years as a musician and her hopes for her future work.

What have you been working on lately?

I’ve been working on an album on and off for about three years … I am a full-time teacher and part-time adjunct professor on top of being a performing musician, so it’s been a challenge to fit it all in. … I didn’t want to force it, and some songs took longer than others because of how they came together.

You grew up in New Hampshire and graduated from UNH with a concentration in jazz guitar. What was the music scene like in New Hampshire when you were coming of age, and how has it changed now that you’re a professional musician?

Oh gosh, I don’t even know if I can give an accurate description of what the music scene was like when I was coming of age. … When I started out I was mostly doing jazz standards. I kind of stuck out at open mics and stuff, because they were more geared toward singer-songwriter types. That’s not to say that the people at these events weren’t welcoming and supportive, though. Artists like Regina Spektor and Ingrid Michaelson were becoming popular. They weren’t doing jazz, but the stuff they were putting out was a bit more quirky, and I think that did help a bit in regard to getting cafe gigs. …

Now, I think perhaps the biggest difference in any music scene is the way people consume music and how artists are assessed, regardless of the community. Do they have enough likes or streams to warrant our attention? When I was coming of age, it felt like it was more about playing open mics, getting to know the venues through that, and building a following that way. With that said, those communities still exist and are still thriving and positive ways for new musicians to build relationships and listeners.

Where did the name ‘Savoir Faire’ come from and why did you choose it?

For a long time I was gigging with my name, and I wanted something else, to separate my performing self from my teaching self. The nice thing about a stage name is that it also can convey a bit about the music. I don’t remember who suggested it, but after going back and forth with names, someone suggested ‘Savoir Faire.’ I liked it because it is the same initials as my name, and it [implies] that the music has a bit of … je ne sais quois. Ha! There are a few different definitions that I have come across for the term, but overall I believe the term is meant to describe a certain sophistication, the ability to know what to do in certain situations. Now, I don’t think that is me necessarily, but I like to think the persona of Savoir Faire is a bit sophisticated! …

I love that your work draws from a lot of different eras. Musically, your guitar playing has a very midcentury sound to it, you’ve alluded to 1990s musicians in the lyrics for ‘Hopeless Nostalgic,’ and the video for ‘Machine With a Dream’ was influenced by Twin Peaks and Blade Runner. What draws you to different eras of music and art?

… I find comfort in things from the past, perhaps because the pop culture (music, fashion, etc.) is where I found a safety net. That’s definitely true of the ’90s. But I have always been drawn to things of the past. I was obsessed with the ’50s when I was in elementary school. I saw the movie Andre the Seal and then I was all in on the decade. I was probably the only kid in third grade with saddle shoes, listening to ‘Johnny Angel’ on repeat. Why? I don’t know. It just always feels more appealing than the present, things of the past. Maybe it’s a form of escapism. …

The New Hampshire-based trio Wyn and the White Light are opening for you. How did you meet them? What does their music mean to you?

I knew [Wyn Doran] from the music scene in Boston first … It is often difficult for me to find other acts that are making music in the same realm as mine. …Wyn and the White Light are harnessing some dark themes for their music, and though their music isn’t necessarily retro, it’s a mix of melancholy and rage. It’s important to me to work with other artists, especially to try and foster lineups for women in music, where the messages and aesthetics are similar…

With your album Hopeless Nostalgic completed, what are you working on next?

Well, I’ll be doing my best to promote the album and any shows I have. I also will be focused on getting the vinyl press of the album, which I decided to separate from the digital release. … And then, inevitably, more songs will come to my brain. In fact, there were a few that didn’t make this album. It’s a never-ending story, writing music. As much as I want to stop sometimes … you can’t turn that off.

Savoir Faire with Wyn & The White Light
When: Saturday, Jan. 11, at 8 p.m.
Where: Music Hall Lounge, 131 Congress St.in Portsmouth
Tickets: $20 in advance, $25 on the day, $30 for premium tickets; see themusichall.org

Featured Image: Courtesy photo.

The Music Roundup 25/01/09

By Michael Witthaus

[email protected]

Glowing music: Enjoy classical music in an ethereal setting as Candlelight offers Vivaldi’s Four Seasons Concerto in G Minor, along with selections from a few more composers. A string quartet provides the music on a stage filled with gently glowing candles. Thursday, Jan. 9, 6 p.m., Rex Theatre, 21 Amherst St., Manchester, $43 and up at palacetheatre.org.

American Zep: Amongst a crowded and still growing field, Philadelphia-based tribute act Get the Led Out is praised for its rendering of classic rock’s most bombastic group. Their shows go beyond Zep’s often shambolic live performances, with the group using studio overdubs that never made it into their concerts, including an acoustic set sure to please fans of their third album. Friday, Jan. 10, 8 p.m., Capitol Center for the Arts, 44 S. Main St., Concord, $44 and up at ccanh.com.

Friendly gesture: A weekly afternoon gathering extends into the evening with Acoustic Dead Jam, a benefit for an area musician facing a wide range of medical challenges. According to his family, Andy Laliotis has spent the past 18 months in and out of hospital, and he continues to fight an uphill battle. The show is a way to celebrate his favorite band and help him out in a time of need. Saturday, Jan. 11, 7 p.m., Forum Pub, 15 Village St., Penacook, more at yourforumpub.com.

Good folk: Singer, songwriter, guitarist and painter Tom Pirozzoli celebrates the release of his latest album, 21, with a house concert of sorts in a bucolic country inn. Recorded live in the studio, the new disc features Pirozzoli fingerpicking deftly, and lyrics ranging from the playful “Jesus on the Grille” to the poignant, compassionate “What Folks Called Poor.” Brad Myrick opens. Saturday, Jan. 11, 7:30 p.m., Follansbee Inn, 2 Keyser St., North Sutton, $25 at follansbeeinn.com.

Guitar man: With football season mercifully over for regional fans, Sundays are free again. Scott Solsky is a talented guitarist who’s long been a fixture in the Concord music scene, both as a solo artist and with bands like Trade and J3ST, a trio including Hammond organist Tom Robinson and Jared Steer on drums. Solsky’s most recent disc is 2021’s Home, an instrumental gem. Sunday, Jan. 12, 2 p.m., Pembroke City Limits, 134 Main St., Pembroke, pembrokecitylimits.com.

Creatively connecting

Women of Soul celebrates depth of talent

By Michael Witthaus

[email protected]

An upcoming showcase will bring together three female performers of varying backgrounds for an evening of community and camaraderie. Each artist will perform for 45 minutes, but the goal of the evening goes beyond music. The event is the first of an envisioned series aiming to celebrate the quality of women’s talent in the region.

Organizers Audrey Drake and Pam McCann hope that Women of Soul will foster a wide range of connections between the musicians and their audience. Drake called the Jan. 11 concert at Pembroke City Limits a “soft launch” in a recent phone interview, adding that the envisioned the series will incorporate storytelling, insights and more along with songs.

“It will include what we’re writing, what we’re working on, possibly collaborations and passion projects,” Drake said. “We want to give a broader perspective of what each person is offering, and what we bring to our music.” Sophie Markey will kick things off, followed by Katie Dobbins. Then Drake, with McCann playing drums, will close the evening.

Drake and McCann conceived the series almost a year ago and revisited the idea many times over the past months.

“I’d say to Pam, ‘When and how is it going to happen? Do we have to have a big plan?’ Then a couple weeks ago I was like, we’re just doing it.” PCL owner Rob Azevedo was on board, having seen Drake and Dobbins perform together there in December. “He’s amazing, he does so much good work in the community, and for all musicians, so let’s jump in.”

Azevedo opened the listening room and tavern, which offers food from Sleazy Vegan, last summer. The Women of Soul event is consistent with his vision for the venue, he said by text recently. “We have such a swath of super talented female performers in our camp,” he wrote. “That is one of the things I am so proud of since we started.”

McCann is both a singing drummer and a visual artist. She’s worked professionally since age 16, including touring with Jonathan Edwards and opening for The Band, and released a solo album, Kinder Enemies. In an email she described her involvement in Women of Soul and praised her musical partner.

“This project is near and dear to me especially as it is in alliance with the multi-talented Audrey Drake,” she wrote. “The idea behind this gathering of curated female artists is to embrace women who are not only musicians but multi-disciplined artists, healers and messengers. A melting pot of soulful offerings.”

An information table at the PCL show will offer artist merchandise and information on wellness services for women, and each performer will be able to engage with audience members individually, Drake said. “There’s music, but what else can we talk about and connect with people on, to really showcase the creative force of women in all aspects of what we do in our lives?”

Drake is involved with a few other efforts, including a Sacred Song event on Jan. 18 at the Gathering Place in Keene. “It’s a combination of singing and what’s being called sound bath,” she said of the singalong gathering. “In some traditions it’s called kirtan; how I do it is a little different. There are more songs that people might be more familiar with.”\

Beyond that, Drake is working on a follow-up to her 2020 album, The Next Best Thing. Her musical influences include Patty Griffin and Lori McKenna, and similar singer-songwriters. “Because their music is so beautiful and it’s so simple and it’s so authentic,” she said. “It’s written from their hearts, and it’s received in people’s hearts.”

Admission to the first Women of Soul event is free. Drake and McCann hope to do five more in 2025, and build their spark into a fire of unity and common purpose.

“You can tell this is kind of playing out in my head at the moment,” she said. “It’s definitely in its infancy, but I’m looking forward to this year.”

Women of Soul – Audrey Drake, Katie Dobbins and Sophie Markey
When: Saturday, Jan. 11, 7 p.m.
Where: Pembroke City Limits, 134 Main St., Pembroke
More: facebook.com/audreyjdrake

Featured Image: Audrey Drake. Courtesy photo.

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