The Music Roundup 26/0709

Summer sounds: The Levitt AMP Manchester Music Series kicks off with Dyer Davis, a rocking singer-songwriter that Downbeat called “one of the most promising up and comers” in his genre. Upcoming at the free weekly outdoor event are Gentlemen Brawlers, Domenic Marte, Kyshona, Old Hat Stringband, Stephen Kellogg, Kuf Knotz & Christine Elise and The Soggy Po’ Boys. Thursday, July 9, at 5 p.m., Veterans Memorial Park, 723 Elm St., Manchester.

Blues rockers: Lowell-based blues rock trio Sons Lunaris makes its first appearance in downtown Suncook, blending ’60s- and ’70s-steeped rock into a sound described on the band’s website as “melting psychedelia over hard-bodied blues.” Their influences range from Howlin’ Wolf to Pink Floyd, and they also brag that Bruce Macomber, who produced the Yardbirds, is among their fans. Friday, July 10, at 7 p.m., Pembroke City Limits, 134 Main St., Suncook, sonlunaris.com.

Funny business: A night of standup comedy is topped by two winners of the Ladies of Laughter competition, Poppy Champlin and Jane Condon. Alumni of the contest, which first happened in 1998 at a New Jersey YWCA, expanding the next year to clubs, casinos and Madison Square Garden, include Amy Schumer, Melissa Rauch, Tammy Pescatelli, Erin Jackson and Zarna Garg. Saturday, July 11, 7:30 p.m., Rex Theatre, 23 Amherst St., Manchester, $40, palacetheatre.org.

Fiddle forward: When she arrived at Berklee College of Music a few years back, fiddle player Louise Bichan planned to study a bit and then return to Scotland, where the band she was in was gaining momentum. The connections she made in Boston changed her mind, though, and she’s been here since, leading her trio and collaborating on other projects like Hildaland. Saturday, July 11, at 6 p.m., Fletcher Murphy Park Stage, 28 Fayette St., Concord, Free, ccmusicschool.org.

Songwriters swap: When both were starting out, Marc Cohn & Shawn Colvin worked with the same producer on their debut albums. Currently, the two singer-songwriters are sharing the stage for a show that’s part concert and conversation. Audiences on the tour have described a warm, unhurried evening built on the pair’s decades-long friendship as much as individual songbooks. Sunday, July 12, at 7 p.m., Nashua Center for the Arts, 201 Main St., Nashua, $66 and up, etix.com.

Dad and daughter save the world

Puppeteers for Fears return with AI-themed Robopocalypse

The premise of Robopocalypse: The Musical! sounds, on paper, like a high-speed collision of several ideas.

A tech billionaire invents a self-driving car that accidentally kills his wife, a tragedy that estranges him from his teenage daughter. Unable to communicate, each begins work on AI projects. Neither finishes, but their creations merge accidentally and go rogue, threatening the world, and the only ones who can stop it are two people who can’t talk to each other.

Oh, and there are puppets — wonderfully weird, and futuristic in a zany, retro way.

“It’s a wholly irrational project by any reasonable measure … it shouldn’t exist,” Puppeteers for Fears founder Josh Gross said in a recent Zoom interview. Yet it does, and with sufficient momentum to carry the Portland, Oregon-based hand-and-rod troupe through a 30-city national tour that includes a stop at BNH Stage in Concord on July 14.

Gross first wrote and performed Robopocalypse in 2018, and the world caught up to him some time later. The musical addresses AI at a moment when it’s become, as he puts it, “not science fiction anymore — just science.” When tools like ChatGPT launched a couple years ago, he continued, the company decided it was time to take the show nationwide.

Gross’s production has evolved, but it remains grounded in a philosophical tension between two AI schools of thought.

“One is that it’s a tool; another is that people are actually trying to create life,” he said. “But the thing about all life and consciousness is that a key component is a sense of self-preservation. If something is created as a tool but then achieves consciousness, it’s going to understand that a tool is property. And property doesn’t have control over its own outcomes.”

What’s changed about the show is what it’s wrapped in — a story that’s ultimately about what a parent owes to the life he helped create, and what it owes him. A father is trying to invent his way back to happiness after a tragedy, as his daughter tries to earn his attention by matching him on his own terms.

That two people can’t heal until they’re forced to face something they can only stop together is “a human story that anyone can relate to,” Gross said. “And putting it in the context of what we’re all facing right now, where people have very strong opinions on AI. It’s happening whether we want it to or not; we’ve got to figure out what to do.”

Puppeteers for Fears’ fun characters, Gross believes, are ideal for conveying the hard messages in Robopocalypse. “Puppets exist somewhere between reality and simulation. You can see them doing things, but we also know it’s a performance … someone putting on a mask. We make the conscious decision to accept that this thing lives in between.”

That liminality mirrors the many questions being grappled with when it comes to AI itself, like is it real consciousness or simulated? Is virtual reality real because it’s experienced as such, or manufactured because it’s made of ones and zeros? Hearing it all from talking cars and other next-level creations softens the blow.

The entire score for Robopocalypse was written on analog synthesizer, which Gross learned for the first time from how-to VHS tapes uploaded to YouTube. The Arturia MiniBrute he purchased from Portland vintage store Control Voltage wasn’t easy to tame, he said. “It’s not exactly an instrument you play so much as a runaway train you’re trying to hold on to.”

Gross is quick to say that his puppet musical isn’t for children — but not because of the usual reasons.

“Kids don’t have the attention span for a feature-length show about the nature of grief and technology,” he said. “There are a few f-bombs and some mature content, but the biggest thing is it’s just a bit long.”

That said, BNH Stage lists the performance as 18+.

Puppeteers for Fears is self-contained on the road, traveling with its own screen, lighting trusses, and sound. A recent grant from the Oregon Community Foundation to upgrade what Gross called “technology we’d been holding together with duct tape and shoelaces for a while” really helped elevate Robopocalypse to national tour-worthiness.

It’s a long way from their debut in Ashland, Oregon, on Halloween 2015 in a Renaissance Faire-themed bar that held 30 people but drew over five times that and inspired them to continue. “It continues to astonish me,” Gross said. “I’ve played a lot of empty rooms in other projects.”

Puppeteers for Fears presents Robopocalypse: The Musical!
When: Tuesday, July 14, at 8 p.m.
Where: BNH Stage, 16 S. Main St., Concord
Admission: $26, ccanh.com 18+

Featured photo: Robopocalypse. Courtesy photo.

Rockin’ the Fourth

Eclectic music slate precedes Nashua fireworks

This Fourth of July will mark 250 years of U.S. independence, but Eleanor Luna’s American roots run deeper than that.

Her ancestors came to Maine from Scotland in 1648, eventually making their way south to Nashua. A few centuries later, give or take, she followed them there. Upon arrival, Luna embraced her new community as a resident, and she became a force behind reshaping the city’s alternative arts scene.

New Hampshire Underground, founded by Luna a few years ago, regularly hosts shows at Terminus Underground on Haines Ave., along with downtown Nashua events. The next one happens ahead of the Independence Day fireworks at Holman Stadium. Eight acts will appear, ranging from rock to country, hip-hop and experimental art rock.

Headlining is Dead Harrison, the doom metal band led by Andre Dumont, who’s Luna’s partner and, more recently, her husband. It’s the third year for the event honoring veterans, part of NH Underground’s ongoing support efforts, which include a “Buy Dinner For a Vet” program and collaborations with groups like Nashua Veterans Promise.

The veterans focus isn’t incidental; along with Luna’s DAR lineage, Dumont comes from a military family. His father was a Marine, his sister serves in the Army, and Andre himself is a Navy veteran.

“We just really have very strong core values for the people that fought for the country,” Luna said by phone recently. “That’s why we do what we do.”

The event has evolved since it began at Nashua’s Liquid Therapy in 2024. This year it happens closer to Holman Stadium, on a community stage near Centennial Pool. Last year Dumont equipped it with sound to make it attractive for rentals, but only the city has used it thus far.

“We decided to set an example,” Luna said, “and take advantage of the stage.”

Timing alleviates any potential issues with the show’s beneficiaries, she continued. “Before … this was done in a different area because a lot of the veterans that we were serving had PTSD and didn’t want to be around the fireworks, and they can still do that, because we stop right before the fireworks … they can leave right after the show.”

The lineup reflects a curatorial philosophy — book acts broad enough to pull in people who wouldn’t normally go to a rock show, but still please regulars. Nashua rapper Six Minds Combined opens, followed by Aaron Bolido, who Luna worked with in the studio when she fronted Eternal Embrace. “People think he’s metal, but he’s really alt art rock,” she said.

From Boston, psychedelic rock band Superchild and alt hard rockers Born Fools perform. Sunset Electric are a regular at Terminus, while country rockers Shotgun Alice were booked for their accessibility. They’re friends with NHU mainstay Lone Wolf James.

“We try to get bands that won’t hit those pinch points of being too dark or too heavy,” Luna said.

Headlining is Dead Harrison, Luna’s favorite band for obvious reasons. She describes them as “spooky doom metal” in the same breath she calls them “enjoyable to everybody, if they can understand that it’s not going to be scary.” It’s a pitch that sounds like early Black Sabbath landing at a community Fourth and somehow making it work.

Between sets, flow artist Nicolette Reed Gracey will perform AirFlow Projection Art around the stage, combining dance, movement and light as she twirls and spins flags with designs projected onto them. During daylight hours she will work in color. As it gets darker, her projections will shift to images of America and veterans, timed to the music.

Hiring the unique Nashua-based visual artist Gracey is the kind of touch that fits Luna’s instinct for spectacle without provocation. The national semiquincentennial celebration may be fraught with partisanship, but she’s not here for that.

“We’re not political in any way,” she said. “We just want people to get together and have fun.”

Beyond the Fourth, Luna is eyeing a larger downstairs space for NH Underground that would add disability access and room to grow. She’s also working on a Porch Fest, a Misfits Farmer’s Market featuring alternative acts, a night market for artisans, and a winter market; all are events the city hasn’t provided space for, so she’s building them herself.

“I personally don’t like roadblocks,” she said with certainty in her voice. “I want to be able to do things that I know are good for this community without having to jump through hoops or red tape.” Her Scottish ancestors, one suspects, would recognize and approve of the attitude.

Independence Day Rock Concert
When: Saturday, July 4, 2 p.m.
Where: Centennial Park, Sargents Ave., Nashua
More: newhampshireunderground.org

Lineup:
Daytime Stage, 2-5 p.m.
6 Minds Combined (alt hip-hop)
Aaron Bilodeau (experimental art rock)
Superchild (psychedelic rock)
Sunset Electric (alt rock)

Evening Stage, 6-9 p.m.
Shotgun Alice (country rock)
Born Fools (alt hard rock)
Lone Wolf James (hard rock)
Dead Harrison (doom metal)

Featured photo: Dead Harrison performs last year. Courtesy Photo

The Music Roundup 26/0702

Swamp thing: Get a head start to the weekend with Louisiana Delta blues guitarist Tab Benoit performing in the Lakes Region. With ferocious fretwork and gritty, soulful singing, the four-time Grammy nominee’s latest studio album, his first in 13 years, hit No. 1 on the Billboard charts. Blues-rock power trio The Cold Stares, known for fuzzed-out guitars and classic riffs, open the show. Thursday, July 2, at 7 p.m., Colonial Theatre, 609 Main St., Laconia, $46 and up, etix.com.

Pre-Fourth: Building on a rep for playing ’90s indie rock faves, Dotted Lines recently released “Hollow,” an original about being on the wrong end of a breakup with a dreamy sonic fury that should appeal to fans of Foo Fighters. Among the covers in the quartet’s set are “Dreams” by the Cranberries — a bold choice — Weezer’s “Say It Ain’t So,” and “Open House” by Bombay Bicycle Club. Friday, July 3, at 8 p.m., Fody’s Tavern, 9 Clinton St., Nashua, linktr.ee/dottedlinesband.

Beyond Sublime: The annual Independence Day show from Badfish returns. A bunch of URI pals formed the tribute act a few years after Sublime lead singer Scott Norwell died from a heroin overdose, with no thoughts of lasting past college, and 25 years later it’s still going strong. They’ve even added a few excellent original songs “in the spirit” of the Long Beach reggae rockers. Friday, July 3, at 8 p.m., Casino Ballroom, 169 Ocean Blvd., Hampton Beach, $29, casinoballroom.com. 18+.

Dinner songs: Along with teaching math to East Boston high schoolers, Patrick Synan is a talented singer-songwriter whose music explores themes of emotional growth and complicated relationships in a style that echoes Noah Kahan and John Mayer. His ode to a gone-too-soon cousin, “Tommy’s Song,” is achingly beautiful, and the lively “Family Tree” is also a gem. Saturday, July 4, at 6 p.m., Murphy’s Taproom & Carriage House, 93 Route 101, Bedford, patricksynan.com.

Crunky night: An eight-act hip-hop bill is topped by Brokencyde, a New Mexico duo who originated crunkcore, a fusion of hip-hop beats and screamo vocals. They’re joined by West Coast experimental rap-punk duo WhoKilledXIX and Las Vegas trap metal act Oni Inc., along with regionally based openers Set Fire to the Hive, CMPUTERGRL, Muda, Adderall XR and Trading Tombstones. Monday, July 6, at 6 p.m., Bungalow Bar & Grill, 333 Valley St., Manchester, $24, dice.fm.

History has never been this much fun

Centuries of absurdity, just in time for the 250th

There’s a moment Lawrence Lesher keeps returning to when he talks about directing the latest Winnipesaukee Playhouse production, The Complete History of America (Abridged), running July 3 through July 11 in Meredith. It’s the Lewis and Clark section, a vaudeville-style bit in which two explorers debate their destination until someone gets hit with a rubber hammer.

“Absurdly stupid jokes,” Lesher said with a grin during a recent Zoom meeting. “But they captured exactly that energy with complete commitment right off the bat, and I was embarrassed by how much I enjoyed it.” That’s the sweet spot the show, written by Adam Long, Reed Martin and Austin Tichenor, is designed to occupy.

Three actors, 90 minutes with intermission, and 600 years of American history are distilled in the play, initially performed by Reduced Shakespeare Company, a troupe famous for what the New York Times dubbed “intellectual vaudeville.” That it’s playing during the nation’s big birthday celebration is almost too perfect.

Lesher, surprisingly, claimed the semiquincentennial had slipped his mind until reminded of it, thanking the interviewer as he considered how to include it on opening weekend.

“I’m so focused on the show I didn’t even think about it, but yes,” he said, “we’re going to open with some rousing acknowledgment.”

That’s one of the play’s biggest charms — it’s less a script than a jumping off point. In fact, it’s been revised as recently as late last year. For example, it now includes a lot more about Alexander Hamilton than when Lesher first saw it during the George W. Bush presidency.

Lesher was a tour guide in New York City some time ago, and one stop was at Hamiton’s grave. “I’d have to explain who he was; now they tell me. That’s the power of pop culture when it’s applied to history,” he said, and promised a Lin-Manuel Miranda callback in his production — no spoilers, though. “It’s a cameo … a really funny one, and it’s a musical reference.”

This is Lesher’s first Winnipesaukee Playhouse gig, and it came partly because of his track record. He’s also an actor and was part of RSC’s national tour of Complete Works of William Shakespeare (Abridged). He did have some concerns about this play’s politics-tinged jabs. “My first question when I was hired was, ‘Can we laugh at ourselves anymore?’”

The answer, after a week-plus in rehearsal with a three-person cast of Owen Minor, Travis Tingvall and Amanda Wagner, is a clear yes.

“They’re so funny and light that I think even with our very real rancorous differences in politics today, we can set it aside and enjoy the gentle ribbing,” he said. “We tar everybody.”

The show skates nimbly across the full sweep of American history, or at least a highly compressed, cheerfully distorted version of it. There’s pre-Revolutionary America, the founding era, westward expansion, two world wars, Watergate and Covid, along with figures ranging from George Washington to both Bushes and the current White House resident.

Real-time topicality is baked into the play’s DNA, and Lesher has leaned into it.

“If something happens in the political world the day before we open, we might throw that in,” he said, adding the script almost demands the reflexes of a stand-up comic. “Being able to play off each other and what the audience gives you … it will be different every night.”

There are audience Q&A sections, a game show sequence where an actor goes into the crowd with a fake microphone, and occasional snark aimed at latecomers. It all lives or dies by the cast’s deft read-and-respond skills. Though it’s information-packed, Lesher is emphatic the show is accessible even for audiences who slept through eighth-grade social studies.

“You don’t need to know American history … it’s enjoyable on the level of pure, sheer zany comedy,” he said. “But those who do know their history will find another level in the references.” Seriousness sometimes does elbow its way in, with moments touching on national tragedies like Pearl Harbor, the Kennedy assassination and 9/11.

Fortunately, it’s all handled with an irreverence that earns its right to the material.

“It does make you go home and think,” Lesher said, nodding in agreement when reminded that one of history’s funniest bits concerns Mrs. Lincoln’s night at the Ford Theatre. “It’s rooted in something very real, but still one of the funniest things.”

The Complete History of America (abridged)
When: Friday, July 3, at 7:30 p.m.; Saturday, July 4, at 2 p.m.; Sunday, July 5, at 2 p.m.; Tuesday, July 7, at 2 and 7:30 p.m.; Wednesday, July 8, at 7:30 p.m.; Thursday, July 9, at 2 and 7:30 p.m.; Friday, July 10, at 7:30 p.m., and Saturday, July 11, at 7:30 p.m.
Where: Winnipesaukee Playhouse, 33 Footlight Circle, Meredith
Admission: $40 and up, winnipesaukeeplayhouse.org

Featured photo: Owen Minor, Travis Tingvall and Amanda Wagner. Photo by Lawrence Lesher.

Music as a movement

Martin Toe brings activism and Afrobeats to BNH Stage

There’s no line between work and music for Martin Toe, the organizer and hip-hop artist behind albums like Civic Leader and last year’s Love Is Godly. Alongside fellow New Hampshire artists B. Snair, Vincent Tesoro and Marxo Phenix, Toe performs in Concord on June 27 in a show that’s both a homecoming and a statement about the state’s music scene.

Toe has been organizing for over a decade, first as an intern with American Friends Service Committee, the Quaker social-justice group. Later, he co-founded Change for Concord (later rebranded as Hope Project New Hampshire) and eventually landed at the Granite State Organizing Project, bringing together faith leaders and communities of color across the state.

In a recent Zoom interview, he described the connection between his day job and performing as natural and vital.

“It’s super authentic for me, it doesn’t feel like work,” he said when asked how organizing feeds his songwriting. “What I say in my music doesn’t feel forced. I have an endless pool of inspiration to pull from because I am interacting with that world every single day.”

The BNH Stage show won’t be Toe’s first time in the Concord listening room. He headlined a Black History Month Unity concert there in February 2023 with friend and collaborator Destin Boy. He said this lineup came together through a series of Zoom calls among artists who’d long wanted to work together but hadn’t had the chance.

“The music scene can seem very scattered here in New Hampshire, but I think the state’s working very hard to pull artists together and highlight … a very talented pool of artists that we have,” he said, adding that despite sharing a stage, the three acts don’t sound alike, and that’s the point.

“These guys pull from all different sorts of creative spaces, and the music is not the same, which is awesome,” he said. “Phenix might throw some R&B stuff in there, more of the funk vibes. B. Snair comes in with a fusion mix of rock and hip-hop. Then you got me in there with the Afrobeats and hip-hop.”

What unites them, he said, isn’t genre but geography and circumstance, a shared expression of having grown up in New Hampshire, and an instinct to write about real life.

“Whether it’s the cost of rent or groceries,” he said. “We’re trying to paint a picture of, yeah, we can have fun. At the same time, we can feel what’s happening emotionally across the state.”

History and hope permeate many of Toe’s songs. On “Free,” a standout track from Love Is Godly, he sings “Can’t you see, 1847 we’re free,” referencing Liberia’s declaration of independence — the African country was founded that year by former slaves from the United States.

The song then gently moves in a meditation on what that may have felt like. “Sweet Liberty Bell is ringing from the high seas, whistling through the high trees,” he continues. “Let them know for sure that I am free.” And for Toe, freedom isn’t an abstraction, it’s something he’s writing from memory.

When he was 7, Toe and his family were forced to flee when civil war fighting reached his Ivory Coast town, part of the broader Ivorian and Liberian conflict that displaced hundreds of thousands.

“It was very difficult,” he recalled. “The sound of gunshots, seeing smoke billowing in the air, and fleeing, not knowing if you’re ever going to go back.” He still carries that experience vividly, and it shapes how he talks to his American friends who grew up without knowing war firsthand.

“War leaves a wound, and whenever specific stories come up, it festers that wound again,” he said. “Then, you have to sit with it … let it heal.”

Music is, for him, part of healing, and a reminder — to fight for peace and be sure that life’s beauty isn’t taken for granted. That spirit continues with a forthcoming album, The Gaffa, due to drop on Aug. 28, the anniversary of the 1963 March on Washington. It opens with MLK’s voice, saying he’s tired of marching for what should have been his at birth.

What follows are fierce lyrics, about “boardrooms that feel like a battlefield” and a generation organizing for a seat, or as Toe puts it, deciding to “move the whole table” instead. It’s a fitting next step from an artist who’s spent a decade learning that the fight for dignity and the urge to make music have never really been separate.

Martin Toe, B. Snair & Vincent Tesoro, Marxo Phenix
When: Saturday, June 27, 8 p.m.
Where: BNH Stage, 16 S. Main St., Concord
Tickets: $18, ccanh.com

Featured photo: Martin Toe. Courtesy photo.

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