April 2020: We’ll Do It Live

With all of the uncertainty and changes around us, one thing has remained constant: live music. It’s just that the venue looks a little different. Tufts of dog hair have replaced hardwood floors. Throw pillows might be found where barstools used to sit. Tickets are easy to come by. And man is the beer cheaper and the crowd way more quiet and respectful. I am of course referring to the widespread trend of taking live music to the multiple streaming platforms. You can find someone playing a show at just about any hour of the day post-noon on any social

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Galleywinter Covid Concert Series

This current situation we all find ourselves in is frightening, uncertain, anxiety-inducing and difficult to process. People are sick, people are hurting, people are looking for an outlet. Our favorite bands have been taken off the road indefinitely, unable to generate any income. But, the old showbiz adage of “the show must go on” has prevailed with the help of some online tools. Artists have flooded social media feeds with concerts from living rooms, empty bars, back patios, driveways, bedrooms and the like. It’s been a massive movement, and over the past week we’ve been in several meetings trying to

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March 2020: The Times They Are Most Definitely Changin’

Well, here we are. The COVID19 virus has caused an interruption in lifestyle like no other moment in memory. Being that this is a music blog, we will only focus on the musical side of all this. That is not to trivialize or minimize the severity and alarming nature of all that is coming our way. It is a monumental and historic moment. Seemingly every hour brings bleaker news and more restrictions. The days after 9/11 comes closest in scope within my memory, but that was a different time and different threat. We were still able to congregate and revel

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Supergroup Panhandling

Supergroups are a difficult task to undertake.  They’re equally challenging to evaluate. The exploit of participating in a supergroup has rarely been done well.  It falls flat more often than not. The exceptions being bands like The Highwaymen, The Highwomen, Traveling Wilburys, Temple of the Dog, Audioslave and Velvet Revolver. Often the individual parts are greater than the whole.  Flashes of brilliance streak across the vanity of the project and give glimpses of greatness while never quite ever achieving the overall brilliance that the solo artists had achieved themselves.  That brings us to the most recent supergroup and the first

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James Steinle – What I Came Here For

In my recap of Mile 0 Fest 2020, I remarked that James Steinle’s style falls somewhere around if John Prine maintained a residency at the Broken Spoke and worked at the Mean Eyed Cat in his off time.  That’s the vibe you’ll find on his sophomore effort, What I Came Here For.  Building on where he left off with 2018’s South Texas Homecoming, Steinle mines familiar musical terrain with sophisticated and witty lyrical observations.  This is observant honky-tonk.  Thinking man’s country music.  Steel guitars support the stories of seedy characters, seedier settings and the triumphs and tragedies of modern life on the south side. “Black and White

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