Author: Michael Witthaus

RoC The Range offers full palette of jam acts

It’s been a long, strange trip for The Range, a Mason driving range, restaurant, and tiki bar that began offering live music outdoors just over a decade ago. The first foray lasted until 2014, when legal challenges shut it down for four years. In 2018 The Range rocked again with a show headlined by Badfish, Roots of Creation and a few area bands, and it has kept going since. With upgrades to the stage and sound, it bills itself as “the greatest live music venue you’ve never heard of in New Hampshire.”

Brett Wilson recalled his group Roots of Creation being the first to play there in 2011. The southern New Hampshire jam band called the event RoC the Range, a name that’s stuck through subsequent years and is back for an extended two-day run, on Friday, Aug. 26, and Saturday, Aug. 27. RoC will play three sets, one drawing from its Dead-inspired Grateful Dub records, and two of original music.

“When we first played the driving range, there was no stage, it was under a tiny little tent,” Wilson said by phone recently. “The next year, they bought a bigger tent.”

Badfish will headline Friday night, with RoC providing the lead-in and promising a full-length set of originals. “Like an hour and half, not a little opening set, because they’re our friends, and they’re cool letting us do that,” Wilson said, adding, “it’s kind of our branded event, but they’re closing it out.”

Saturday will feature a hybrid reggae/jam set, music that has them frequently called Bradley Nowell and Jerry Garcia’s love child, followed by another all-original performance. RoC recently signed with Nugs.net, a concert streaming site, and Wilson is keen to show their variety.

“I think a lot of the jam-band people don’t really know how much we jam and how we try not to repeat songs,” he said. “I was like, ‘We should go there and do three sets with no repeats.’ We have enough material.”

The RoC lineup for the festival includes Wilson and longtime members Tal Pearson on keyboards, and sax player/vocalist Andrew Riordan. Brendan Dillon is on drums and the newest addition is Mathew James, a 16-year-old bassist the group found on Instagram covering their videos. “He knows like almost every single one of our songs better than us,” Wilson said, “and his parents are freaking awesome, they’re Deadheads and supper supportive.”

When Badfish follows with its Sublime tribute, it’s likely Wilson will be back on stage. “They always invite me to jam,” he said. All of the weekend’s performers have more than a musical connection to the band, and that’s the point. Most of the tracks on last year’s Dub Free or Die, Vol. 1 featured guest appearances.

“At this point, I consider the band to be a collective,” Wilson said in an interview last year. Boston reggae star Mighty Mystic, who performs Saturday, appeared on four tracks, and Twiddle’s Mihali, also on the second day’s bill, was on “Arabia,” an instrumental inspired by Jamaican guitarist Ernest Ranglin.

So jamming is inevitable, “but let’s have something where it makes sense,” Wilson said. “I look up to my friends Slightly Stoopid; when I saw them in Boston, they brought up this rapper from Boston, Ed OG, that nobody knows about in the reggae rock scene, and Charlie Tuna from Jurassic 5 is on tour with them, and all the bands are jamming with each other. I like that kind of environment, when spontaneous things will happen that are just here and now to experience.”

Family friend Caylin Costello will open both nights on the side stage, and Wilson is excited the and up-and-coming singer-songwriter is included. “She’s another person that we can bring up and collaborate with in the moment,” he said, “It’s cool, like, she’s been coming to see us since she was a kid, so it’s awesome to see her.”

RoC The Range
When: Friday, Aug. 26, and Saturday, Aug. 27, 6 p.m.
Where: Marty’s Driving Range, 96 Old Turnpike Road, Mason
Tickets: $25 single-day, $60 two-day, $150 VIP at etix.com

Featured photo: Roots of Creation.

Bluegrass with Bella White in Portsmouth

It’s understandable to mistake Bella White’s debut album, Just Like Leaving, for a mid-20th-century episode of Louisiana Hayride. With its layers of honey, hardscrabble and harmony, it’s a throwback that’s only missing the crackle and hiss of a big table radio.

The bigger surprise is it’s coming from a Canadian urbanite who was barely 20 years old when she recorded it at a rustic studio in the Green Mountains. Exposed to bluegrass at an early age by a touring musician father, Bella White became a natural at the genre, and her talent continues to grow.

She deftly draws from the hill country music that captivated her as a youngster, while staying aware of the dichotomy of it and her Calgary, Alberta, upbringing. “I was growing up going to public school in the city, taking the C train … this very urban kind of lifestyle,” White said by phone recently. “Then singing all of these really troublesome, ‘woe is me’ songs; I always found it really interesting.”

That said, she can evoke the pain of her own lived experience. “Broke (When I Realized)” recalls the dissolution of her parents’ marriage when she was a child. It’s devastating, as she recounts overhearing her father deliver the news and thinking it’s a bad dream, only to have a dawning awareness: “I’d yet to fall asleep.”

White can also express romantic longing with startling maturity. “Now I’ve chased your love ’cause I thought it might feel woolen/like a dram on a damn cold winter’s night,” she sings on Just Like Leaving’s title track. The line, oft-quoted by admiring writers and critics, would be at home on an early Joni Mitchell album.

The likening delights White. “That means a lot, she’s my favorite,” she said, adding, “we’re both from the Prairies.”

The characters in many of White’s songs are on the move, a state that often mirrors her life. At 19, she came to Boston after hearing about the city’s roots scene. “I kind of just took a leap of faith,” she said. Settling into a dorm-like, musician-filled dwelling called Brighton House, she gained a Berklee education by osmosis, auditing the music college’s American Roots class and jamming whenever she could.

Better still was hanging out with many others who were close to her in age. “I wasn’t really exposed to that growing up; I felt like I was always the youngest person at the jam,” White said. “I started to meet people through going to bluegrass festivals who went to Berklee…. I thought, how funny that there’s this mecca for old-time bluegrass and country music in Boston, of all places.”

She hung around New England long enough to make her first serious record — a studio recording done in her teens remains unreleased — at the urging of old home country friend Patrick M’Gonigle. The multi-instrumentalist, known for his time in the Lonely Heartstring Band, produced, and led her to Guilford Sound, a facility built into a southern Vermont hill.

Fortune smiled when they entered the studio just as lockdown began in mid-March 2020. “We were in this little box in the woods, kind of oblivious to what’s going on,” she said. “It created this really interesting dynamic … the best quarantine I could have ever asked for. Definitely some divine intervention or something.”

White then decamped to Nashville, keeping a home base there while touring a lot. She’s opened for Sierra Ferrell, Molly Tuttle and others, while becoming a steady presence on the festival scene. One day after her show at Portsmouth’s newly renovated Music Hall Lounge, she’ll be at the Green Mountain Bluegrass Festival in Manchester, Vermont.

Lately she’s been “kind of just quietly” staying in Victoria, British Columbia. “I’ve lived in Nashville kind of on and off for the past three years or so, but have been mostly in Victoria these days,” she said.

Ahead of a run that continues through mid-September, White released a new single. “The Way I Oughta Go” finds her voice with a Lydia Loveless edge as she rambles from city to city. It’s part of an upcoming album done with Jonathan Wilson, a producer who’s worked with Father John Misty, Billy Strings and White’s friend Erin Rae, among others.

A big fan of the country music history podcast Cocaine & Rhinestones, White sees herself evolving beyond her bluegrass roots into something a bit more raucous.

“In the fall, I plan on having some electric guitar and maybe some pedal steel coming into the mix,” she said. “There are so many other elements of country music that are not acoustic, that are electric … that’s a huge part of the history as well. It’s really fun to broaden your horizon and play with it all, you know?”

Bella White
When: Saturday, Aug. 20, 8 p.m.
Where: The Music Hall Lounge, 131 Congress St., Portsmouth
Tickets: $15 advance, $17 day of show, $25 premium seating at themusichall.org

Featured photo: Bella White. Photo Credit Morgan-Mason

Greg Fitzsimmons brings his comedy to Manchester

It was inevitable that Greg Fitzsimmons would find his way into comedy. His father was a revered New York City radio host who knew guys like Henny Youngman and emceed Friars Club roasts. “It was sort of the family business…. It’s like when your father’s a doctor, you think, ‘OK, Dad did that, I could do it,’” Fitzsimmons said by phone recently.

That prediction has been borne out by a career lasting over 30 years. He’s won accolades for his writing skills, including four daytime Emmys working on the Ellen DeGeneres show, and his standup, which comes to Manchester for two shows on Aug. 12 and Aug. 13. However, Fitzsimmons’s first foray into comedy happened in Boston, not the Big Apple.

In the late ’80s, while attending BU, he tested the waters at places like Nick’s Comedy Stop, one among a rich crop of new comics.

“Joe Rogan and I started at the exact same time,” he said. “We spent a lot of time in cars together, going to gigs all over New England. Dane Cook, David Cross, Marc Maron, Louis C.K., Bill Burr, Patrice O’Neal…. Those were all the guys that were around when I was coming up. It was just crazy that there was this much talent.”

One luxury they shared during that time was access, even if there were plenty of what Fitzsimmons termed “hell gigs … true saloon comedy where it was never assumed that the comedian was the funniest one in the room” — a hard but valuable proving ground. Today’s young comics are encountering a different terrain.

“It’s so competitive at the entry level, trying to get seen and get stage time,” Fitzsimmons said. “I was fortunate enough to make a living when I wasn’t even very funny just because there was a ton of rooms and they needed warm bodies. Because of that, I was able to log my 10,000 hours and get to a more proficient place.”

Fitzsimmons was one of the first comics to launch a podcast, in the mid-2000s. It grew out of a radio show Howard Stern gave him for his Howard 101 channel. “I would get these really great guests, like Bill Burr, Adam Carolla, Jimmy Kimmel and Sarah Silverman, and then it would be over so fast,” he said. “So we’d continue with the same guest for another hour.”

The Fitzdog Radio podcast marks its 1,000th episode in a few weeks. Along with Ellen, he’s also written for HBO’s slice-of-standup-life series Crashing, The Man Show, Politically Incorrect and Lucky Louie. The latter was his favorite. “I just had so much respect for Louis [C.K.],” he said. “We started in Boston together, we’ve always lived in the same city, and we have kids that are the same age. We’d drive to work together and just talk about ideas … very organic, I didn’t have to imagine anything. We just had to tell stories from our life.”

An unconventional show with a dour disposition, Lucky Louie only lasted one season, though HBO ordered a second one that wasn’t made. “I think the show was aesthetically unappealing … done to look like The Honeymooners,” Fitzsimmons said. “With the drabness of the characters, it became something people [who] watch sitcoms weren’t used to. They wanted a bunch of people in a bright coffee shop.”

The comic’s onstage act doesn’t suffer similarly. Fitzsimmons is quick and instinctive, adept at crowd work and able to mine his own life for comedy gold. Lately, as he noted in a recent Fitzdog Radio episode, he’s hitting on all cylinders.

“I’m very funny right now; it goes in waves,” he said. As to why, “it’s all about being in the moment. … There are times where you’re caught up in your thoughts and second-guessing, trying too hard, worrying about whatever you’re doing wrong. Then there are times you just get in the pocket … it’s money. Even the same jokes you’ve been doing for a long time have new life in them for some reason.”

If it sounds easy, it’s not, he continued, offering advice to aspirants: “Comedy is a game of inches; each joke lives and dies on a turn of a phrase, losing a word or adding a little tag line,” he said. It starts with finding a voice. “Some people are storytellers and it doesn’t hinge on the words as much. But life for most comics really is about rolling up your sleeves, really honing the material. Because people are seeing a lot of comedy; they know the difference. They can feel it when somebody has put in the work.”

Greg Fitzsimmons
When: Friday, Aug. 12, 8:30 p.m. and Saturday, Aug. 13, 9 p.m.
Where: Chunky’s Cinema Pub, 707 Huse Road, Manchester
Tickets: $30 at chunkys.com

Featured photo: Greg Fitzsimmons. Courtesy photo.