The Music Roundup 26/01/08

Take a chance: Few tribute acts reach the level of success of Mania! Performing the music of ABBA, their show is a full-scale replication of a concert by the Swedish legends, with lasers, flourish and hits like “Waterloo,” “Dancing Queen” and “Mamma Mia.” Thursday, Jan. 8, at 7:30 p.m., Chubb Theatre at CCA, 44 S. Main St., Concord, $35.50 and up at ccanh.com.

Cowboy session: Fans of Noah Kahan and Zach Bryan will enjoy the Nate Ramos Band, appearing at a music-friendly craft brewery where they recorded a live EP last year. Ramos is a fresh voice in the regional roots scene, winning for Best Americana Act at last year’s New England Music Awards and getting a Country Music Act of the Year nomination at the Boston Music Awards. Friday, Jan. 9, at 7:30 p.m., Lost Cowboy Brewing, 546 Amherst St., Nashua, nateramosmusic.com.

Vocal legend: Named after Linda Ronstadt’s breakthrough second solo album, Silk Purse does a solid job of covering the singer’s career, from her first band The Stone Poneys’ “Different Drum” to late ’70s hits such as “Blue Bayou,” and beyond. Saturday, Jan. 10, 7 p.m., Epping Playhouse, 38 Ladds Lane, Epping, $25 at tix.com.

Mister moonlight: Though comedian Jimmy Cash had a career year in 2025, selling out the Wilbur Theatre in Boston and a double bill with Jimmy Dunn at Casino Ballroom, he’s still a janitor in the Worcester School District, just like his dad and grandfather. With jokes about cafeteria lunch ladies, teachers and cagey students, Cash built a 20-year career as one of the region’s best. Saturday, Jan. 10, at 7:30 p.m., Rex Theatre, 80 Hanover St., Manchester, $40 at palacetheatre.org.

Guitar man

Johnny A. brings Beck-Ola back to Tupelo

By Michael Witthaus
mwitthaus@hippopress.com

Growing up, Johnny A. had two favorite bands, The Beatles and The Yardbirds. In late 2024, he combined a love for both by reimagining John Lennon’s plaintive ballad “You’ve Got To Hide Your Love Away” as a Jeff Beck instrumental. His is a soaring, ethereal version, with fluid fret-bending in place of Lennon’s voice.

He released it digitally, donating proceeds to the Boston Food Bank. In a recent phone interview the guitarist mentioned that one paid download meant two meals for those in need. He added that while studio work once was critical, beginning with his chart-topper “Oh Yeah” in 1999, he records mostly for his own pleasure these days.

“The music business is in the dumpster and you don’t make any money from it anymore,” he said. “I’m always writing, I’m always experimenting, but I don’t know if I necessarily have the interest in putting out recorded music in any kind of bulk form anymore. Because it’s just not financially feasible.”

Touring keeps him going, as a solo performer with looping pedals providing a backup band, or with the Johnny A. Trio — when he can. A New Year’s run on the West Coast offered that opportunity, as the other two musicians now live in the area, but the logistics sounded, well, arduous.

After flying to San Francisco on Jan. 3, he had four days of shows, with two Bay Area concerts bookending the mini-tour.

“It’s kind of a rough schedule,” he said. “Every day is a fly day … and I’m taking a red-eye home.” Fortunately he’ll have a day to catch his breath before heading to Tupelo Music Hall.

The Jan. 9 show in Derry is one of his favorites to perform, a Jeff Beck retrospective running from the Yardbirds to his jazz fusion years and beyond with a band named after Beck’s second solo album, Beck-Ola. The project is a near and dear one, not least because Johnny A. spent a few years playing Beck’s parts in a revived version of the Yardbirds.

It’s fair to say to Beck is his favorite guitarist, and definitely a role model.

“I’ve had the ability, the opportunity to see him probably a dozen times live,” he said. “He’s always excited me because he’s very unpredictable. He wears his emotions on his sleeve when he plays, he’s a take-no-prisoners, no-apologies type of player.”

Is that daunting for him as a guitarist?

“The fun part is the challenging part,” he said. “Beck is a guy that really can’t be reproduced, he’s really uncopiable. Aside from being fantastically talented, his playing was instinctual, and he’s the only player that I’ve ever experienced where his playing is really an extension of his personality.”

He loves Tupelo, a place he’s played for two decades, and its owner Scott Hayward.

“I’ve always said if there were 50 promoters around the country like that guy, musicians would be a lot better off. You get treated like an artist. You don’t have to run around and worry about if you’re going to get paid. It’s just a good experience.”

For Beck-Ola, he’s backed by an all-star band that includes Marty Richards on drums, bassist Dean Cassell, Steve Hunt on keyboards and singer Mike Gill. It’s an infrequent project, and Johnny’s not sure when it will be back to the area after the Derry show. He urges the curious to give it a look.

“I’d just welcome anybody that’s a fan of his music to come out; I think they’ll be pleasantly surprised,” he said. “We take you on a ride from the earliest stuff all the way through his whole career…. I call it a celebration of the music of Jeff Beck, because we’re trying to capture the spirits of different eras.”

Beck-Ola
When
: Friday, Jan. 9, at 8 p.m.
Where: Tupelo Music Hall, 10 A St., Derry
Tickets: $50 at tupelohall.com

Featured photo: Johnny A. Courtesy photo.

Album Reviews 26/01/08

Alter Bridge, Alter Bridge (Napalm Records)

One could argue that this Orlando, Florida, band amounts to nothing more exciting than Creed 2.0, given that three-fourths of the members were in Creed and Myles Kennedy’s vocal sound is basically the same as Scott Stapp’s, i.e. like Soundgarden’s Chris Cornell but with no soul. One could also argue that releasing an eponymous album after having already put out several others was a phase that should have died out in the Aughts, but bless ’em, there are people who love these guys (and professional wrestling intro songs, which is what this stuff is best suited for), and they do try to thrash it up here, with songs like “What Lies Within,” in which Kennedy’s Cornell karaoke is used to decent effect, despite its failure to evoke the extreme-metal gravitas for which it aims. In case you’re the type that plans ahead: They’ll be at Citizens House of Blues in Boston on May 10. C —Eric W. Saeger

Diane Coll, Strangely In Tune (self-released)

It’s probably hellaciously difficult for an Americana-folkie to get noticed these days without resorting to gimmickry (singing like a lost orphan moonbat/deploying obscure instruments, etc.), but this Atlanta native does make an effort. I’ve covered her before in these pages, which is pure luck of the draw; her releases seem to wiggle to the top of my overstuffed emailbox when I’m actively looking for something to write about). Nothing odd goes on here, I assure you; although she does gravitate to using mellotrons and harmoniums, they never detract from the songs, and her real strength — strumming clever open guitar chords — does a lot of the heavy lifting. This time she offers a bigger, wider sound in tunes like “Better Fly Me Right,” a loping, really pretty jangler that evokes Loreena McKennitt trying ’70s radio-pop on for size. “Carolina Wren”’s from-the-mountaintop vibe is a great fit for her Carla Olson-ish vocal range. Plenty of goodness here. A —Eric W. Saeger

PLAYLIST

A seriously abridged compendium of recent and future CD releases

• The new albums of Friday, Jan. 9, are being loaded into your Spotifys as we speak, there oughta be a law, you know? As we embark on the blah blah blah of the upcoming new year, I suppose I could give a nod to some of the albums that touched me in 2025, but to be honest, the albums I actually liked were obscure ones, except for the Hives’ new album The Hives Forever Forever The Hives. Actually, whatever, I’ll be honest, friend-of-the-Hippo Dan Szczesny had asked me to contribute to his Substack column on The Best 2025 Albums, so in order to oblige him I did put together a short list (sample: “Idle Heirs, Life Is Violence: What it’d sound like if Deftones, Mogwai and Crowbar threw a party and then promptly headed out to destroy the planet”). Now, Dan wanted to know my favorite metal/punk albums of 2025, which was impossible to do; not that I’ve looked very hard, but to my knowledge we haven’t had any real breakthrough metal band since (spoiler) Meshuggah forever ago (Dan’s favorite, Babymetal, is just a weak imitation of Meshuggah as sung by the Powerpuff Girls in my opinion), so if you really want to know what music I liked last year, there were only two things really: every demo song sent to me by local pop/hard-rocker Kris Montgomery Pedersen, and Wayne Wilkinson’s mellow-jazz holiday album Holly Tunes, which I still have in my car as I pen this super-important missive thingamajig (mostly because I’m not ready to move on to the horrors 2026 is going to bring; like, can’t we just pretend it’s still 2025 and we don’t have to reckon with the final bosses that are coming our way in America’s last days?). Sure, Taylor Swift put out an album, but I still haven’t listened to it, nor have I sampled anything from the KPop Demon Hunters movie, given that I assume it’s just the same entertainment matrix that manufactured Babymetal but they’re singing insanely catchy bubblegum tunes. So what do we have to look forward to in 2026, friends? More nepo babies, I’m sure, reflecting the massive wealth-inequality gap that’s characterized everything about our current era, like maybe the lady who does the voice of Bart Simpson on The Simpsons has another relative who can support her niece Sabrina Carpenter on tour so that American art finally hits rock bottom and we can just reboot rock ’n’ roll entirely, maybe starting with bands of marketing dropouts beating logs with dinosaur bones and playing reed flutes completely off-key. I mean, not to be an intolerable nihilist, but wouldn’t that be sooo good at this point?

• English post-punk band Dry Cleaning is mostly known for employing a semi-famous producer, and their newest album Secret Love is no different, because it was produced by Cate Le Bon, who’s famous for — OK, nothing any of you nice people would know. The single “Cruise Ship Designer” is stupid but not annoying, featuring a catchy early Rolling Stones guitar line while some lady, probably Le Bon, whisper-speaks some fashionable nonsense over it.

• Let’s Eat Grandma’s Jenny Hollingsworth’s solo project Jenny On Holiday releases its debut album Quicksand Heart this Friday. “Good Intentions” starts out as a shoegaze tune, then turns into a Belinda Carlisle synthpop song that’s totally ’80s. I liked it well enough.

• Finally it’s U.K.-based pub-indie band The Cribs, with their newest LP, Selling A Vibe. The single, “A Point Too Hard To Make,” is as tuneless as anything you’ve ever heard from Kaiser Chiefs but even worse than that (use your imagination). —Eric W. Saeger

Featured Photo: Alter Bridge, Alter Bridge (Napalm Records) & Diane Coll, Strangely In Tune (self-released)

Virgin Mary, Quite Contrary

It is said that the three hardest things for a man to say are “I was wrong,” “I need help,” and “Worcestershire sauce.”

From time to time recipes will call for Worcestershire sauce, and it’s one of those ingredients that we shrug and add without a lot of thought. The other ingredients in a bloody mary — or, in this case, her alcohol-free-but-still-a-party-girl sister, a virgin mary — are all pretty self-explanatory:

The tomato juice is there to provide an acidic, savory base for the other ingredients. It stands up well to strong flavors and doesn’t taste washed-out as the ice melts and it gets diluted a bit. The lime juice is also acidic and is there to give extra zing to the tomato juice. The various spices and flavorings are there to give layers of flavor to the tomato base, which really is very good at carrying complex flavors.

But the Worcestershire sauce is a bit of an enigma. It is there, it turns out, to add umami, a savory quality. Yes, technically tomato juice is a fruit juice, but it is at its best when it leans into savoriness, not sweetness. And Worcestershire sauce, which is made largely of anchovies, adds another layer of salinity and savoriness to the production. (Yes, I know you could have happily gone the rest of your life without knowing about the anchovies. Sorry.)

A 5.5-ounce can of tomato juice

1 Tablespoon pickled pepper brine – I like the liquid in a jar of pickled banana peppers or pepperoncini

1 Tablespoon fresh squeezed lime juice – about a quarter of a lime

1 teaspoon ginger paste – I use pre-pulverized, jarred ginger paste. If buying an entire jar of ginger paste seems like too ambitious a purchase for you, peel a knob of fresh ginger root, and chop it finer and finer, until it collapses on itself and turns into paste.

1½ teaspoon Worcestershire sauce

1/8 teaspoon onion powder

1/8 teaspoon garlic powder

1/8 teaspoon celery salt

Chili/lime powder for the rim of the glass

Garnish – This is where many restaurants lose their minds. Do an internet search for “bloody mary garnish” and brace yourself; some bloody marys have more garnish than actual bloody mary. Since we’re skipping the alcohol this time around, wowing your guests with garnish might be the way to go. This time, I’ve skewered a half-sour pickle, a large olive, a lime wedge and a chicken nugget.

Sprinkle some chili/lime powder onto a plate. Wipe the rim of your glass with a lime wedge to moisten it, then turn the glass upside-down and swirl it around in the powder, to coat the rim.

Add all the remaining ingredients and ice to a cocktail shaker. Shake to combine and chill.

Strain over fresh ice into the prepared glass, and garnish to whatever degree you can justify.

If you wanted to have a bloody/virgin mary party, you could easily make a large batch of this, and lay out garnish stations.

Featured photo: Virgin Mary. Photo by John Fladd.

Oreos and what?

A podcast experiment goes for the slam dunk

By John Fladd
jfladd@hippopress.com

Nick Sands, the host of the podcast and YouTube channel “Nick Sands Presents,” had an idea. Looking back at it objectively, he said, it wasn’t necessarily a good idea, but like many things in the podcasting world the Oreo Dunking Project seemed like a good one at the time.

“It is exactly what it sounds like,” Sands said. “I take Oreos, I dunk them into anything but milk, and then I eat them and rank them on a scale of one to 10.” Milk, he said, because it is perfect for cookie-dunking, would be a 10. “A one would be inedible,” he said.

“I don’t really think too much about the things I do [on the podcast],” he said. “I just kind of do them and hope they work out. And I don’t know, everything’s so serious, so terrible right now, it’s just kind of nice to do something stupid and do it in such a way as to maybe make someone laugh.”

Sands said the dunking got adventurous pretty quickly.

“I haven’t had a ‘10’ yet,” he said, “but something that was surprisingly good was mayonnaise and Oreos. It almost ended up tasting like a cream cheese frosting. Sort of. It was a little like a chocolatey cream cheese frosting, which was a big surprise. I did not expect that. A lot of people said it was good, and I did not believe them for obvious reasons. Obviously, when you’re doing this kind of thing, people try to trick you into doing stuff. Unfortunately for them, I’m dumb enough that they don’t actually have to trick me. …”

Which is not to say that Oreos and mayo are a combination that Sands would deliberately seek out. “I gave it a 5 out of 10,” he said. Less enjoyable, Sands said, was Liquid Smoke. “It was awful,” he said. Sands’ initial run of Oreo experiments lasted just over a month.

“I think I dunked for 35 days,” he said. “I took a little break, and I’m coming back to it soon. …” Because he still hasn’t found a 10.

Oreo Dunking Project
All episodes of Nick Sands Presents, including the Oreo Dunking Project, are available on most social media platforms, including YouTube, Spotify, TikTok, Instagram and Facebook.

Consistently Uncommon

New coffee scene lifts a traditional cafe

By John Fladd
jfladd@hippopress.com

If your restaurant is already considered a hidden gem, how do you go about adding something new without messing with a winning formula?

For more than 30 years Janie’s Uncommon Cafe has had a quiet reputation as a dependably excellent mom-and-pop breakfast and lunch joint in a shopping center in Londonderry.

“This is a place where families have been coming for two or three generations,” longtime employee Nathanial Finn said. There has been a conscious effort, he said, not to change anything very much. Which, he said, has put a lot of pressure on him as he has taken on adding an upscale coffee program to such a traditional café.

“Customers have been coming here for 20 or 30 years,” Finn said. “For [owners Johnny and Carly] to put me in charge of launching something new here, they really had to put a lot of thought into whether or not it was going to be beneficial for everybody, including those longtime customers. And so really, personally, I’m feeling some pressure just to make sure that they feel like the investment into launching this was worth it.”

Finn has taken the approach of viewing high-end coffee drinks as an added value to the Janie’s vibe, rather than a change of direction. Part of that approach, he said, has been using local resources.

“We get our beans from a company out of Manchester called Hometown Coffee Roasters that roasts all the beans and has provided the espresso for us,” he said. “We’re making a point of building good relationships in the local scene. Hopefully, by doing that, we can really lift the coffee scene of Londonderry and the surrounding areas. All the recipes are being made by me and the other employees here and we’ve been trying to get feedback from the community to make products that they’ll love. We’re planning on building a menu around the feedback that we get from customers.”

In addition to espresso-based coffee drinks, like lattes and cappuccino, Finn’s goal is to offer coffee- and tea-based beverages that stand out from other coffee places.

“We want to do things differently,” he said. “If everybody else is making a peppermint mocha around the holidays, we’re going to do something else. We’re really going to use different flavors that you might not hear about. So, instead of doing a raspberry mocha, I can do a strawberry mocha and then make the drink special with other things, like grinding up dehydrated strawberries and using those on top of the drink. The syrups that we use come from France. We’re the only ones in the area that I know that are using 1883 products. With spring around the corner, we want to be looking into matcha and other [drinks] that other people enjoy. Right now we’re serving chai lattes, but because our clientele is older generally, we’ve also added things like tea lattes. So we have a London Fog drink and things like that, so that hopefully we can draw in people that might not want strong espresso, and to take care of those people. It’s a menu that’s evolving and revolving.”

Changing the drinks menu regularly will provide an opportunity to highlight foods that Janie’s is already known for, Finn said.

“Every time our menu changes,” he said, “there’s going to be a special treat with each of them. So right now we have a gingerbread latte, and we have a couple of the women here that run the front, they’re baking all the time, and so right now if you get a gingerbread latte you’ll also get a home-baked gingerbread cookie with it.”

“We love that people come here and they know exactly what they want to get every time they come here,” Finn said, “because they’ve been coming here for so long. If you want a regular hot coffee, that’s not going to change. But if you want something special, this is going to also be the place to do it.”

Janie’s Uncommon Cafe
Where
: Crossroads Mall, 123 Nashua Road, Londonderry
Hours: open daily from 7 a.m. to 2 p.m.
More: 432-3100, janiescafe.com; order online from the Café’s website

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