Author: Michael Witthaus

Drew Dunn and Saku Yanagawa At Rex

From his early days doing open mic nights in his hometown of Manchester, Drew Dunn has exhibited a tenacious work ethic. On any given night he’d do multiple sets, starting in the Granite State and ending in downtown Boston. Dunn began doing stand-up in 2014 and by 2018 had triumphed in comedy contests on both coasts, in Boston and Seattle.

A year later, in July 2019, he checked off a personal bucket list item with an appearance at Montreal’s venerable Just For Laughs comedy festival, where he killed it, and caught the attention of a top management team, who signed him on.

To borrow a metaphor from Dunn’s days as a rising high school baseball star before an injury cut short the dream, he was destined for the big leagues. Last year, the comic made the move to New York City, where a hard-working comic can do five or six sets on an off night like Monday or Tuesday.

“Just to be able to get the same quality stage time I was getting in New England, but in New York, and to be able to get a higher rate with so many comedy clubs on any night of the week … is a big benefit,” Dunn said by phone recently. “There are shows like that in New England, but they’re few and far between.”

Dunn was poised for the move, which quickly found him doing semi-regular gigs at The Stand, a club that’s booked big name comics like Pete Davidson, Nikki Glaser, Jim Norton and Janeane Garofolo. Preparation was key, along with a need to test himself on a bigger stage. Dunn had established ties to the city, making friends and doing gigs there over the years.

“I didn’t want to restart my career and have to be doing open mics and kind of introduce myself again; I wanted to at least maintain some of the momentum I had in New England at the time,” Dunn said. Facing big-league pitching was catnip to him. “If I can surround myself with and follow these killers, these guys that are doing the things I need to do … that’s the next step in my career.”

A current component of Dunn’s success strategy is frequent visits home for shows like one May 20 at Manchester’s Rex Theatre, where he’ll co-headline with West Coast comic Saku Yanagawa. The show will be filmed for a documentary to be titled Breaking America that will include stops at popular area landmarks like Laconia’s Funspot mega-arcade.

The show falls on both Dunn and Yanagawa’s 30th birthday, another cool element, and one of many things the two have in common. “We’re both born May 20, 1992, we both played baseball our whole lives and started doing stand-up comedy around the same time … just on opposite sides of the planet,” Dunn said. “We met in Seattle in 2018 and always thought it’d be fun to do something like this.”

It’s Dunn’s third time headlining the Palace Theatre-owned venue; he’ll be back in August for another show. Dunn noted he’s been working a lot with Palace comedy booker Jim Roach. “He’s been helping me foster and grow that New England audience … I did Buzz Ball for Greg and The Morning Buzz over the winter,” he said. “The Rex has been good to me [and] I think their goal is to try and get a bit of a younger clientele.”

The birthday bash will be hosted by Boston comic Chris Tabb and include a pair of feature comics, followed by Dunn and Yanagawa each doing, fittingly enough, a 30-minute set. Appearing in front of family and friends just a stone’s throw from where it began is special for Dunn.

“It’s definitely a treat to see the evolution from open mics at Murphy’s Taproom and the Shaskeen Pub, then going down to Boston and eventually kind of having to leave,” he said. “To even be able to do this has been a fun journey, so I’m excited to see what it can turn into.”

Drew Dunn & Saku Yanagawa
When: Friday, May 20, 7:30 p.m.
Where: Rex Theatre, 28 Amherst St., Manchester
Tickets: $25 at palacetheatre.org

Featured photo: Drew Dunn. Courtesy photo.

Faith-based acts play SNHU Arena

With soaring harmonies and epic instrumental breaks, it’s easy to mistake We The Kingdom for a Nashville pop act like Little Big Town or Lady A. Composed of brothers Ed and Scott Cash, Ed’s children Franni Rae and Martin, and Andrew Bergthold, a close family friend, the multi-generational group hits all the modern country cues.

Here’s the twist: We The Kingdom isn’t trying to be Fleetwood Mac with a pickup truck and cutoff jeans. They’re rocking for God, with lyrics pulled from a prayer book and delivered in ministerial fervor to born-again crowds. It’s a successful act; the group was named Contemporary Christian Artist of the Year at the 2021 Dove Awards, the genre’s Grammys.

They’re currently on the road with headliner Casting Crowns, part of an 18-city run stopping in Manchester on May 14.

When it was announced, WTK was third on a bill that included Hillsong Worship. They’re now providing lead-in, as the latter group, part of an Australian megachurch, withdrew from the tour last month. This came amidst allegations of sexual impropriety at the megachurch that led to the resignations of its founder and several leaders, and the closure of several church campuses.

In a phone interview from Moline, Illinois, Andrew Bergthold alluded to their own reckoning with church leadership. In 2015, an exposé in the evangelical magazine Christianity Today detailed accusations of sexual and spiritual abuse at the Gathering, a church in Franklin, Tennessee. Ed Cash, co-writer of the top worship song “How Great Is Our God,” was a Gathering member and had been sharing profits with its founder, Wayne “Pops” Jolley.

Ed and Scott Cash left the church soon after; Jolley died in September 2016. We The Kingdom formed two years later at a Young Life camp in Georgia. The first song they wrote together, “Dancing On The Waves,” was for a service there, and addressed what they were experiencing — in different ways — at the time.

“The band started in the midst of a time where we were all very shaken in our idea of faith and what church looked like,” Bergthold said. “You hear man speak about God and you build an idea of God — because you have to — around what man says about God. You learn from other people and you grow.”

Bergthold was heartened by the many fans who said “Dancing On The Waves ” had aided in dealing with their own crises of faith. “All the time people come up and say, ‘I was hurt by the church and this song helped me reconcile with the Lord.’ They know they’re loved by Him; it’s unbelievable.”

As to their music’s positive effect on others extending to Dove trophies, gold records and arena tours, Bergthold modestly demurs. “I think it’s really beautiful that the Lord would use our story,” he replied, waving off fame as fascinating but not much else. Above all, Bergthold and his bandmates want to elevate fans and help them find hope in their spiritual quest.

After standing at the crossroads of belief in mortals and faith in the spirit, Bergthold came out healed.

“The leadership of the church got very messed up, and we were left wondering what is actually the truth of God and what is a bit of the lies and manipulation of man; or even the good intentions, but misleading of man,” he said. “We started literally in the middle of us having to reconstruct a bit of our faith system in our love of the church and man. God’s really redeemed our story.”

A follow-up to their debut studio album Holy Water will arrive later this year, after being delayed by the pandemic. They expect to play a few selections from it at their SNHU Arena show, including “Miracle Power,” which Bergthold thinks may be the new record’s first single.

“It’s actually one of my favorite songs we’ve ever written,” he said, “so I think people will be pretty excited about it.”

Casting Crowns featuring We The Kingdom
When: Saturday, May 14, 7 p.m.
Where: SNHU Arena, 555 Elm St., Manchester
Tickets: $27.75 to $124.75 at snhuarena.com

Featured photo: We The Kingdom. Courtesy photo.

Falmouth’s Crooked Coast hits Manchester

On its latest EP, Glass House, Crooked Coast turns in a heavier direction. Songs like “Hell in a Handbasket” and the title cut are as edgy and gray-limned as 2017’s reggae romp “Go Slow” was buoyant and bright. Some of the shift came with urging from producer Courtney Ballard (Good Charlotte, All Time Low), but much of it reflected the challenge of making music in a pandemic.

“There was so much uncertainty; it was just a crazy time to be in the studio writing with everything going on,” guitarist, singer and lyricist Luke Vose said by phone from his home in Falmouth, Mass. “It wasn’t a conscious decision. We just kind of followed the sound that was exciting us.”

Vose, along with co-guitar player and vocalist John McNamara, bassist Ben Elder and drummer Shaqed Druyan, worked hard to maintain the momentum of a band that had sold out their first hometown CoastFest in 2019 and had big plans for the following year before it was cut short. They played a series of shows in fans’ yards on a flatbed truck, and on the water for a Fourth of July concert, which was filmed for a documentary.

“Your limits were your imagination, because nothing traditional was happening,” Vose said. “So it was like, what can we do that’s totally out of left field? That was something we came up with, and it was super fun. We didn’t announce it or anything, we just popped up there for anyone who was in the area, in kayaks or on the shore.”

As with many independent bands, the music is only the beginning with Crooked Coast; branding and building buzz are vital, and their job. Uniquely, they also run their own retail store, an effort born of necessity when Vose needed to convert a second bedroom he used as a merch warehouse into a nursery. Fortuitously, a rental car agency had vacated the floor below their rehearsal space, and the price was right.

The shop has become a community hub.

“When we’re in town on the weekends, we open it up, we do special events, art shows; we did a book signing,” Vose said. It’s also a tourist attraction. “We have people come from out of town to visit the Cape, and now it’s like a part of their trip.”

On his own, Vose boosts the regional scene by writing about it in a column for the Falmouth Enterprise called “Listening Local.” When he took it over in the mid-2010s, Vose wasn’t a journalist.

“It definitely was a learning curve, but I wound up really enjoying it,” he said. “I really liked hearing other musicians’ stories, and every time I talked to someone I got a new perspective on something in life.”

Crooked Coast is expanding Glass House into a long-player they hope to release later this year. A single will drop in May.

“We’re doing what we can to line up business-wise and get the best splash the album can make,” Vose said, noting that the harder mood continues on it, “but there’s some more poppy stuff, and our bass player actually sings lead on a song that he wrote, which is awesome.”

If plans play out, the new record will coincide with Crooked Coast’s Memorial Day set at Boston Calling, where they’ll share the stage with Metallica, Weezer, Glass Animals and several other acts. In August they’ll appear at the three-day Beach Road Weekend festival on Martha’s Vineyard. The event includes national headliners like Wilco, Jason Isbell & the 400 Unit, The Avett Brothers, Guster, Dawes — and one that Vose is particularly excited about.

“I grew up a big fan of Beck, so that’s a little surreal … me as a young kid would have been very impressed to hear some day you’re going to play on the same stage as him,” he said. “We’ve been working on the Vineyard for quite some years now, building a following. To see our name on that poster is pretty awesome.”

Crooked Coast
When: Friday, May 6, at 9 p.m.
Where: Shaskeen Pub, 909 Elm St., Manchester
Tickets: $10 at the door;crookedcoast.com

Featured photo: Crooked Coast. Courtesy photo.

Friends and fans gather to help injured Tupelo employee

Just before dawn on April 8, Mark Shamaly was struck by a hit-and-run driver on the Everett Turnpike in Merrimack. He sustained multiple injuries, including head trauma, a fractured pelvis and ribs, and chest cavity damage. He’d stopped to help a motorist who’d been in an accident, something that surprised no one who knew Shamaly.

The director of security at Tupelo Music Hall in Derry, Shamaly is a familiar friendly figure to patrons of the venue. Owner Scott Hayward and his crew, along with Mike Smith, who books comedy there, quickly came up with a plan to help — a benefit show to raise enough money for him to have at least six months without worrying about his bills.

“It’s one of those situations where you could see how an employee has affected everybody around them,” Hayward said by phone on April 20. He noted that most of the $50 tickets have been sold, and a GoFundMe page launched by Shamaly’s wife had raised nearly $30,000. “Everybody was just really struck by this, so there’s been a huge wave of support.”

Smith was hosting a Tupelo show when he got the news, and immediately wanted to do something for him.

“Mark is such a great guy,” he said. “He loves the comedy shows and loves the comedians.”

The comics love him as well; Hayward said Smith placed eight quick phone calls and received affirmative responses from everyone.

The Laugh-A-Palooza benefit will be held on Sunday, May 1. Comics performing include Francis Birch, Jason Merrill, Matt Barry, Kyle Crawford, Kennedy Richard, Joe Yannetty, Chris Pennie and Steve Bjork.

“You’ll never see this many comedians on one show,” Hayward wrote, adding that a few special guests may also stop by.

Many of the comics got on board out of fondness for the Tupelo community, even if they weren’t close with Shamaly. Steven Bjork has worked there since its days in Londonderry.

“I jumped at the chance,” he said by phone. “Though I didn’t necessarily know all the circumstances, I knew somebody at the Tupelo needed some help.”

Matt Barry was effusive in his praise.

“Tupelo is one of my favorite places to perform, [and] in comedy you don’t always know what you’re walking into,” he said in a text exchange. “To be on a stage that’s so high-tech, with all the lights and the curtains, is a real trip. It makes me feel like Axl Rose (in a good way).”

The Manchester comic was also grateful to Tupelo for being one of the first venues in the country to do outdoor shows when the pandemic hit.

“They were looking out for performers in a time when not a lot of places were … when a venue that’s taken such good care of me over the years asked for a favor, ‘Yes’ was the obvious answer,” Barry wrote.

Birch said via text, “It feels good to make people laugh supporting an amazing cause. Tupelo and Mark have always been good to me, set me up for success. This feels like an appropriate way to do my part.”

Photographer Jerry LoFaro said of Shamaly in a post on the Tupelo Music Hall Community Facebook page, “I know when I walk in the door he’ll greet me with a big hug and a smile. We always convene and pal around a few times throughout a show, and he’s usually my photographer when I get the chance to pose with a visiting artist. It’s no surprise that he would put himself in harm’s way to help someone in need, but what a cruel price to pay.”

The Laugh-A-Palooza event will be livestreamed to Shamaly in his hospital room. For those unable to attend, or if tickets sell out, donations can be made via a special $25 ticket link on the Tupelo Music Hall page.

Laugh-A-Palooza – A Benefit for Mark Shamaly
When: Sunday, May 1, 6 p.m.
Where: Tupelo Music Hall, 10 A St., Derry
Tickets: $50 at tuplelohall.com
Donations can be made at gofundme.com/f/pefyfw-hit-and-run-please-help.

Featured photo: Mark Shamaly. Courtesy photo.

‘American Pie’ marks 50 years with Don McLean show

As Don McLean began a phone interview in advance of a performance marking 50 years since “American Pie” debuted, Dolly Parton had just asked the Rock and Hall of Fame to withdraw her nomination. The songwriter who’d cataloged the saints of rock in his iconic song was pressed for his thoughts.

“I will take any award that is given to me; I don’t have the kind of character it would take to turn [them] down,” McLean answered with a wry chuckle, adding that early on, “a certain religious quality, fostered by Rolling Stone, made for a very good Hall of Fame … but now they’ve run out of people. How many times can Paul McCartney get in?”

When “American Pie” hit the airwaves in 1971, it caused a sensation unlike any song that came before. Scholars analyzed it and fans obsessively pored over each line for hidden meaning. McLean gave listeners plenty to sift through, but said his epic tune began like any other, with him alone in a writing room.

Near the same time, The Beatles were working their way through “Let It Be,” but he didn’t have the luxury of tossing around ideas with bandmates.

“In my situation it’s all me,” he said. “My brain, my heart, my memory and my thoughts … I know exactly what I want to do. It’s very hard for me to work with people.”

In the studio, that became a problem.

“It was rehearsed for weeks,” he said. “The boys that did the record now brag about it, but they couldn’t play it to save their ass.”

Only Paul Griffin’s rousing gospel piano was able to transform it into the song he’d heard in his head while toiling at home.

The first line he came up with was “a long, long time ago” — to describe an event barely 10 years on. The rest followed quickly.

“I had a melodic concept, then I got a rock ’n’ roll chorus, then I figured out all I had to do was speed up the slow part and write the rest of the song,” he said.

He had fun burying multiple meanings in the lyrics. It’s one of the reasons he laughs at anyone trying to divine his intent.

“The problem people encounter with this song is that it goes along seeming like it’s rational, then it will reach a metaphor or a symbol of some sort that’s two or three things at the same time,” McLean said. He may be talking about John Lennon, or Vladimir Lenin. As to the identity of the jester, king and queen, “I could have said Elvis instead of James Dean. I say he lost his thorny crown, but only Christ had a thorny crown.”

McLean’s musical achievements extend beyond creating one of the 20th century’s most lauded songs. “Vincent” is a classic, a deep cut that leapt into the charts on the strength of “American Pie.” A cover of Roy Orbison’s “Crying” as the ’80s dawned was also a hit.

Finally, McLean may be the only musician whose strength as a song craftsman inspired someone else to pen a hit about him. Lori Lieberman began writing “Killing Me Softly with His Song” after seeing McLean in concert.

He continues to make music, and his upcoming show will range across dozens of albums and hundreds of songs. McLean also has a new long-player coming called American Boys.

“I wrote some songs with my guitar player, and I wrote a bunch of songs by myself,” he said. “So that’s a brand-new album.”

The upcoming disc follows up 2018’s Botanical Gardens; he’ll also draw from 2009’s Addicted to Black in Laconia.

He’s aware many fans will be impatient for him to play favorites but said, “I treat every song with respect; I don’t trot it out like, ‘Oh, here’s the famous one.’ There’s no difference in my attitude toward ‘American Pie’ or something from a lesser-known record.”

“I explain stuff to people and talk about whatever occurs as I’m going along,” he said. “I have this weird ability to be able to sing a song like ‘Vincent’ and be completely immersed in it. At the same time I’m thinking about what I’m going to say next after I’m through, and then what two or three songs I’m going to play [later] in my mind at the same time … I’m giving it my undivided attention. … I’ve been doing this my whole life.”

Don McLean
When: Sunday, April 24, 7:30 p.m.
Where: Colonial Theatre, 609 Main St., Laconia
Tickets: $40 to $99 at coloniallaconia.com

Featured photo: Don McLean. Photo Credit 2911 Media