Category: Nightlife

Pointless Culture performs local showcase

The upcoming “Locally Sourced” show at Concord’s BNH Stage is a two-band affair. Granite Staters Pointless Culture draw from a range of influences for a sound that’s equally raucous, angsty and melodic. From Billerica, Cosmic Triumph brings full-throttled abandon to their energetic original songs.

The two groups have a history of helping each other out, Pointless Culture band members said in a recent Zoom interview. “Anytime they have a big show going on down there, they always call us,” guitarist Harrison Fantasia said. “So we make sure to call them. They go good with us, like cheese and wine.”

“We’ve played with them quite a bit,” drummer Harrison Hinman agreed. “So it was kind of a no-brainer to ask them.”

Yes, the two share a first name.

It’s something they bonded over the day Hinman walked into an Upper Valley guitar shop to buy drumsticks a few years back. Fantasia, who worked there, was strumming a tune he wrote and asked Hinman to check it out.

“You didn’t even introduce yourself, right?” Hinman said to Fantasia in the interview, who nodded in assent. “Eventually, we did. He said, ‘My name’s Harrison,’ and I was like, ‘Yeah, my name’s Harrison. How can I help you?’ We didn’t know what to say. We’re like, ‘Wow, two Harrisons.’ That took us as a surprise. He played the song, and I loved it.”

The two ended up practicing together after hours in the shop — until Fantasia quit. “I’m a carpenter,” he said. “I tried working at a guitar shop and I didn’t like it, but I met this guy through it.” Sadly, they wouldn’t connect again for another two years, when he asked Hinman to support him at a festival in Acworth.

The gig went very well, as did a few jams after. In 2022 the two decided to get serious.

“We’re like, ‘We gotta make a band; I can’t believe we let that slip for two years,’” Hinman recalled. “I’d thought he didn’t like me anymore, but it’s funny — we just realized that we’re both really bad at texting people back.”

Fantasia “begged” childhood friend Ben Schultz to be lead guitarist, but it took some time for their schedules to line up.

“I couldn’t practice because I was always working at like seven o’clock at night,” Schultz said. Eventually he got a first-shift job and was able to join the band.

Guitarist Nolan Cota had played with Hinman in a “couple of failed metal bands” and really wanted to join his new one.

“I could tell he was jealous of what I was doing, and I felt bad,” Hinman said, but the multi-instrumentalist was undeterred. “Nolan was like, ‘You guys need a bass player?’”

Their first single, “Severed Ties,” came at the end of 2022, followed by “Breakfast Song,” a quirky ode to morning meal proclivities that helped raise their profile. Both were on Can’t Stand the Rain, an EP released in December 2023. Preceded by a few singles, the debut LP Better Off Dead came last summer, including the song Fantasia played in the store that day.

It’s hard to pin down Pointless Culture’s music. The playful “Little House,” from the new album, is sweet and brims with innocence, while “Warning Signs” rocks harder and comes off a bit darker, with a grungy angst, and the new “Squirrel Food” is, Fantasia said, “written from the point of view of an acorn.” Yes, the band delights in being a moving target.

“One of the biggest compliments I get at the end of the shows is people can’t compare us to anybody, and they really like what we’re doing,” Fantasia said. “It’s like classic punk and rock, but then we play a little bit of bluegrass. We play a little bit of everything. We just want to see people out having fun … come have fun with us.”

Pointless Culture w/ Cosmic Triumph
When: Friday, Feb. 27, 8 p.m.
Where: BNH Stage, 16 S. Main St., Concord
Tickets: $18 at ccanh.com

Featured photo: Pointless Culture. Courtesy photo.

Get the Led Out comes to Concord

Paul Hammond has an extra ticket for Led Zeppelin’s reunion show. The caveat is that anyone looking to claim it will have to time travel. Hammond plays lead guitar in Get the Led Out, a band that outflanks other tribute acts via exacting attention to detail. One of his more memorable Zep moments, however, was as a spectator. It was a rock ’n’ roll fantasy come true.

It’s no stretch to say Zep’s one-off 2007 concert was the hardest ticket ever; 20 million fans entered a worldwide lottery to purchase a mere 18,000 seats. Hammond, however, knew someone connected to a charity run by Jimmy Page’s wife at the time, who got him in, and then some.

Prior to the show, he watched soundcheck with Queen guitarist Brian May for company, and the two enjoyed the concert from the VIP section. Also, and what explains the wayback machine requirement, Hammond had access to six additional tickets. Sadly, he couldn’t find anyone able to quickly jet to London and use them.

“I was with the top of the top rock stars, the inner circle of rock royalty,” Hammond said in a recent phone interview. He may perform the music of the gods, and convincingly, but he enjoyed the perks of one that night. “In the A100 section, with Brian May, and then three rows down in front of me was Ronnie Wood and Jeff Beck.”

Hammond also met Page backstage that night. He had another Zep-adjacent moment, courtesy of the band he co-formed in 2003 with singer Paul Sinclair, with a mission to perform note for note songs from the iconic band’s studio recordings. It came as GTLO was preparing to go on stage at Portsmouth’s Music Hall a few years back.

After a phone call, the show’s promoter informed him she’d been speaking to Robert Plant. “He asked her, ‘What band is playing tonight?’ and she said, ‘It’s Get the Led Out,’ and he says, ‘Oh, Get the Led Out, that’s a great band,’” he recalled. “He knows us! Our sound man told us he’d come to our show in Nashville.”

GTLO delivers a concert experience that’s currently rivaled only by Jason Bonham’s Led Zeppelin Evening. The son of the late Zep drummer was also behind the kit in 2007 at O2 Arena. They play the iconic band’s entire catalog, almost. A few songs just don’t translate well to their arena rock show.

“Like, ‘Hats Off To (Roy) Harper’ from Led Zeppelin III is a bizarre song with the effects, and doesn’t have a lot of crowd appeal,” Hammond said. “‘Carouselambra’ from In Through the Out Door is essentially a John Paul Jones experimental record. I don’t know what Jimmy Page was up to then, maybe hanging out in the pub … but it’s a long and a weary song.”

The good news is GTLO plays everything else in their two-and-a-half-hour show, even Zeppelin’s lone B-side, “Hey, Hey, What Can I Do.” To call the band’s approach exacting is an understatement. Songs are not only transcribed precisely, but they are also true to both key and pitch, which provides a big dopamine hit for true fans.

“It brings back that memory, that sound, because intrinsically people know,” Hammond said. “Some Led Zeppelin bands, if the singer can’t hit the notes, they’ll tune a half-step down, and it just doesn’t sound the same, and the audience knows it, whether they know it or not. Because it’s just been ingrained for so many years, hearing it the way you want to hear it.”

The band grew out of a residency at Bridgeport Rib House in Pennsylvania. Zeppelin was one band they covered in a set that included Aerosmith songs, but patrons there kept asking for a Zep-centric show.

It works because Hammond and his mates revere Zeppelin as much as their audience, and deliver accordingly.

“Basically, we want to give people all the stuff that they know and love,” Hammond said. “When we go into deep cuts, they’re deep cuts that people also would know, that true die-hard Zeppelin fans would be like, ‘Oh my God, I can’t believe they did ‘In The Light’ or we’ve delved as deep as ‘Sick Again.’”

Get the Led Out
When: Saturday, Feb. 21, at 8 p.m.
Where: Capitol Center for the Arts, Chubb Theatre, 44 S. Main St., Concord
Tickets: $45 and up at ccanh.com

Featured photo: Courtesy photo.

The Livery welcomes Christine Tassan et les Imposteures

With an infectious blend of swing music and jazz created by guitar innovator Django Reinhardt, Christine Tassan et les Imposteures formed in Montreal in 2003. It was a time when Reinhardt’s style of jazz had few adherents in the French-Canadian city. That none were Manouche like Reinhardt helped explain the band’s name.

There were other reasons for the moniker. Mainly, that Tassan is a woman in a male-dominated genre, and the original Imposteures were all female. “So we felt a little bit like impostors in that very man thing,” she said in a recent Zoom interview. “Also, we come from different backgrounds.”

That final one’s the rub. Tassan and her band draw from the Django canon but add elements all their own.

“We like to incorporate folk songs,” she said. “Martine, my violinist, comes from a classical background and a lot of traditional Quebecois music. So there’s that influence coming in our compositions and shows. Kind of an impostor, you know?”

Such a melting pot is reflected in the title track from their latest album, Sur la route, which translates to On the Road.

“It has the accents of Jack Kerouac, the chords of Willie Nelson and the fingers of Django Reinhardt,” Tassan told the crowd at last year’s International Festival of Arts & Ideas in New Haven.

The through line is music that, as Steve Martin once said of the banjo, easily inspires a smile, with Tassan’s playful stage presence taking it home.

“We bring a lot of humor in it,” Tassan said. “When we talk to people in between songs, there’s some kind of participation.”

That an all-acoustic genre also inspires infectious toe-tapping can be traced back to Reinhardt, she continued. “Django heard swing music coming from the States, and Louis Armstrong; they were his main influences … for sure, that’s something that is really lively.”

French-born, Tassan came to Canada not for music, but as an electrical engineering exchange student in the final year of her studies. “A friend of mine was coming to Montreal, so I followed her,” she said. “I stayed one year and really enjoyed the city, and the country. I decided to migrate.”

Music came next. Tassan dabbled in a variety of idioms, beginning with classical.

“Then I did a lot of … more like folk songs, writing and singing my own compositions,” she recalled. In 1998 she discovered some of Django’s CDs and the die was cast. “I was totally blown away.”

Tassan began to transcribe and practice Reinhardt’s solos with a small group of fellow acolytes, later launching her own band.

“From then I saw that there was really something happening with that music, we were really having some success,” she said. “So it started from there and never stopped.”

The Imposteurs lineup has changed over the years, but the one constant is violinist Martine Gaumond. “She’s been with me nearly since the beginning,” Tassan said. “We do a lot of arrangements together, and we are the heart, I would say, of the band. She plays the violin beautifully, and she writes all the little vocal harmonies we sing.”

The current lineup is rounded out by upright bass player Mathieu Gagné and his longtime compatriot, guitar player Francis Tetu, who brings a unique approach to their music. “Not exactly a traditional way … but he is a very, very virtuoso guitarist,” Tassan said.” Both joined in early January.

After playing at Wolfeboro’s Friends of Music to start February, Tassan and her band will perform at Sunapee’s Livery to follow a sit-down Valentine’s Day dinner. It’s Tassan’s first show at the historic venue. After, they’ll head home.

“We’ve been playing several times in New Hampshire, it’s fun,” she said. “It’s a beautiful place.”

Christine Tassan et les Imposteures – Dinner & Show
When: Saturday, Feb. 14, at 5:30 p.m.
Where: The Livery, 58 Main St., Sunapee Harbor
Tickets: $50 at thelivery.org

Featured photo: Courtesy photo.

Jazz guitar accompanies art opening

Art and music go together like chardonnay and a fine brie. The pairing of jazz guitarist David Newsam with an exhibition by a group of regional painters opening Feb. 7 promises to be equally satisfying. Explore, Express: Painting with Purpose offers works from a New England College class led by Bedford artist Patrick McKay that’s met for the past 15 years.

“Someone like David is ideally suited for this kind of thing,” Rick Lugg, Exhibition Chair at Two Villages Art Society, said recently. “We’re trying to generate traffic, so we want a lot of people in there, and we want something that at least loosely complements the theme or the work of the show.”

Newsam has performed at Two Villages openings before. In a phone interview from his home in Raymond, he said he’ll play jazz standards and American Songbook selections this time.

“In the past, I’ve done a lot of open, free improvisation,” he said, adding, “I feel that a really important element is to try to shape the music to match the vibe of the artists.”

He’ll play solo on acoustic and electric guitar, eschewing the pedals, loops and other sound-scaping tools other musicians often use to augment their sound.

“I think it’s much more of a challenge to be able to do it all live without any kind of effects,” he said, pointing to guitarist Tommy Emmanuel’s approach as an ideal.

“He can present and portray an entire band just by himself, with the mechanics of the instrument,” Newsam explained. “I heard him answer this question once at a clinic, and he just said, ‘I hear the bass, I hear the piano, I hear the vocals, and I just try to play it all.’”

Born in Connecticut, Newsam attended Berklee College of Music and returned later to teach. He also taught at Dartmouth College and at UNH, where he founded their jazz guitar program.

“I always joked that at Berklee I was one of 50 guitar faculty, and at UNH I was the entire guitar program,” he said.

In high school Newsam listened to Jimi Hendrix, Johnny Winter, and guitar-based bands like the Allman Brothers; then he found jazz at Berklee. During his senior year he spent a lot of time in Hyannis, Mass., while taking care of his grandfather and got even deeper into the genre.

“Cape Cod was really a hotbed of amazing jazz players like Dave McKenna, the pianist, and Lou Colombo, the trumpet player,” he said. “I mean, these were some of the best players in the world, and they all were based in Cape Cod, so I had a ton of opportunities.”

Newsam continues to teach at Berklee and perform as well as occasionally record music. He and sax player Bobby Tynes recently released an instrumental EP, Kindred Souls. It includes a lively rendition of “Fishin’ Hole,” the theme song from 1960s sitcom The Andy Griffith Show, and a scintillating version of “The Very Thought of You.”

The two became friends in 1983.

“I had an opportunity to play a summer job, so I moved up to the Lake Winnipesaukee region,” he said. “Bobby’s uncle had a cabin. We met at a jam session and we’ve been playing music ever since … partners in crime for over four decades.”

The record is their first together. “It’s a collection of things we either did in the studio or did live that Bobby took into his recording studio,” Newsam said. “Some of the recordings are probably 20 years old…. It’s not like we went in as a project and recorded all that in one day.”

The five-track effort is available on streaming services for now.

“It’s really been fun listening to that, reminiscing about the music that we’ve played,” Newsam said. “We really are kindred souls. We don’t play for two or three months and when we get together it feels like we’ve been playing every day. It’s just that kind of relationship.”

Opening reception with guitarist David Newsam
When: Saturday, Feb. 7, noon
Where: Two Villages Art Society, 846 Main St., Contoocook
More: twovillagesart.org

Featured photo: David Newsam. Courtesy photo.

Griffin William Sherry returns to Rex

After his band The Ghost of Paul Revere called it quits after a dozen years together, singer, songwriter and guitarist Griffin William Sherry went solo. His debut album, Hundred Mile Wilderness, was greeted as one of 2024’s best. His live shows, sprinkled with Ghost songs, were equally lauded, and his fan base grew steadily.

However, as a recent phone interview got underway from Sherry’s home in Augusta, Maine, Sherry’s old band was top of mind. In mid-January, news broke of a fall reunion show and a reboot of Ghostland, the annual festival that ended with the dissolution of the much-loved band, amidst hopes it might carry on without them.

“That cat just ran out of the bag,” a laughing Sherry said. “Yeah, we’re getting the band back together, Blues Brothers style. Carrie Fisher will be exhumed from the grave and chase us down with a missile launcher…. We always wanted to play a show together and kind of kept that door open in case.”

He’s especially pleased that his band will perform at Ghostland, on Sept. 6 at Thompson’s Point in Portland, Maine. “That was something I really wanted to happen, for people that might not have been paying attention the last couple of years to see what I’ve been working on.”

His solo material is story-forward and personal, like “Roll Down Slow,” a hard-luck tale drawn from life on the road.

“As a touring musician, you tend to meet a certain type of people that tend to go pretty hard after the sun goes down,” he said. “That kind of flagrant irresponsibility was super interesting to me, and not something I was unfamiliar with.”

Written for his wife the morning after Roe v. Wade was overturned, “We Will Fight” is a defiant love song that resonates at shows. “I use it as an opportunity to platform both Planned Parenthood and also what I see as a civic duty to stand up for your neighbors and not let the times roll over you,” he said. “I think it’s pretty important right now.”

Hundred Mile Wilderness was recorded in Nashville’s legendary Studio B with producer Eddie Spear, who helmed Luke Bryan’s multi-platinum American Heartbreak and also worked with Brandi Carlile, Sierra Ferrell and breakout star Jesse Welles. Sherry played with a band of ace session players.

“My Juliet” is a breezy looking-for-love country song with a character highly informed by the studio band. Sherry allowed that many tracks reflect what he termed “the Nashville bluegrass [and] Americana sound that’s popular right now,” but his spirit, along with his original vision, still guides the effort.

“A lot of the stuff that I had brought to Eddie we ended up using on the final record,” he said. “The instrumentation we chose, certainly having Billy Contreras on fiddle, made it seem a little bit more like a bluegrass record. But that band … I can’t speak highly enough about all those guys.”

Sherry and his touring band, including guitarist Zachary Bence and bass player McCrae Hathaway, are at Manchester’s Rex Theatre on Jan. 30. He was at the venue around the same time last year, bringing filmmaker Ernest Thompson on stage to do “Cross The Bridge,” a song he co-wrote with Joe Delault and Thompson for the movie The Constituent.

Several new songs have made their way into sets lately, including the dreamy “Cathedral of Pine,” released in November, and “Moline,” a brooding ballad yet to be recorded. Sherry explained that he enjoys sharing his works in progress with an audience, and gaining insights from the experience.

“I don’t feel like a song is truly written until I’ve performed it in front of a bunch of people, to see where the reactions are and what needs to be changed or reinforced,” he said. “So I love playing songs for crowds before we put them on a record, so I have a little bit more of an idea what that song’s identity is.”

Griffin William Sherry
When: Friday, Jan. 30, 7:30 p.m.
Where: Rex Theatre, 23 Amherst St., Manchester
Tickets: $40 at palacetheatre.org

Featured photo: Griffin William Sherry. Courtesy photo.

Fox and The Flamingos hit BNH Stage

By Michael Witthaus
mwitthaus@hippopress.com

Female-fronted funk will be in the spotlight when Fox and The Flamingos perform at BNH Stage on Jan. 23, with additional grooves provided by opener Pocket Drop, a music collective that includes a few familiar Concord faces. The showcase is the latest high point for a band approaching its fifth anniversary.

Released in September, “Nowhere But Up” is Fox and The Flamingos’ most recent single, with a title that well describes the Milford quintet’s current trajectory. The upbeat, danceable track is anchored by a solid rhythm section, tasty guitar licks and swirling keyboard, with the soulful voice of front woman Maizy Rae at its heart.

Maizy is a lifelong singer who honed her craft at local gatherings.
“A lot of my friends would throw these parties, and it was always in a basement,” she said. “Just basically a big party that would turn into a big jam session.” At one of those, she met a bass player who invited her to audition for a funk band he and some friends were forming.

She was the first and last singer to audition. The bass player, it turned out, wasn’t a good fit; he only lasted a month. Gary Smith, a veteran on the scene who’s played with Roots of Creation among other acts, was recruited to fill the vacancy. The other band members liked his affinity for what he termed “weird stuff” in a Zoom co-interview with Maizy.

“I’m a jazz nerd,” he said. The interview happened as Smith and Maizy were about to perform a duo set at Forum Pub in Concord as Vaudeville Vixen, their duo side project. “I do looper stuff with my eight-string guitar, and she sings. We do reinterpretations of more modern songs in the jazz vein — ‘Santeria’ and things like that.”

When Smith joined, Fox and The Flamingos included guitarist Tyler Moran, Ryan Pratt on drums, keyboard player Ryan Bossie and Maizy. Bossie left last summer, and Zach Sweetser, who also plays in the Dave Matthews Tribute Band, took his spot. Saxophone player Derek Adams began sitting in last year and is now a full-time member.

The band played its first gig in 2021 at Concord’s now-shuttered Area 23. Smith recalled Maizy as tentative that night, but that didn’t last. “Now, she’s bouncing around on the stage doing whatever,” he said. “Displaying that confidence helps us in getting gigs with the bigger bands. They see us and they’re excited to play with us.”

The group has been gathering fans steadily. In 2024 they beat out five other groups at StrangeCreek Battle of the Bands, and won a cabin set at the festival.

“That was really huge for me personally,” Maizy said. “I’ve been going to StrangeCreek for 10 years…. I think that was crucial to getting our name out there.”

The band released their debut album last year, Spirit Animal. It’s an axiom that a first record takes four years to make and the second takes four months; that looks to be true with this flock. To follow “Nowhere But Up,” the band recently began playing a new song at shows, “Can’t Blame You.” It’s an absolute banger, with more in the works.

“Songs come together pretty quickly,” Smith said. “It’ll either be Maizy saying, ‘I have this melody’ or someone will have a chord progression or a riff. Usually we can get a song together in a rehearsal. It takes us a couple hours to shape them up. We’re getting better at utilizing our time in the studio, but it’s a learning experience for sure.”

Maizy takes inspiration from Betty Davis, a mid-’70s soul singer with a cult following who mixed Tina Turner’s brashness with the style of David Bowie. A key moment happened when she saw Harsh Armadillo, now called Harsh, at their final Wild Woods Festival on a Croydon farm in 2018.

At the time, Harsh was led by Andrea Beladi, who left when the pandemic hit. “It changed everything,” she said. “I’d always been a singer, but it really put it into perspective — like … that’s a thing you can do? I hadn’t really thought about it, because I was just getting into the local live music scene.”

Fox and The Flamingos w/ Pocket Drop
When: Friday, Jan. 23, 8 p.m.
Where: BNH Stage, 16 S. Main St., Concord
Tickets: $18 at ccanh.com

Featured photo: Fox and The Flamingos. Courtesy photo.