A week before their debut album, Feel You’re Different, is released, a band from Long Island is ready for their CMJ Music Marathon showcase.
Having played the festival for the past three years, Lights Resolve frontman Matthew Reich says CMJ has helped with the band’s success.
“CMJ has been a platform literally for us to take the stage and for people to learn about our band. I think a lot of people found out about us through CMJ because we did shows at Bowery Ballroom, Bowery Poetry Club,” he said. “We were on certain shows where people found out about us and now we’re some of those people’s favorite bands. It’s great to have that kind of festival with a built in audience that may not be your normal audience so you can tap into a new crowd.”
For my complete writeup, visit CBS. Be sure to pick up a copy of Lights Resolve’s debut release next week and catch them tonight at Maxwell’s in Hoboken.
“I like to say that music is the language of our friendship,” Heather Robb says of her band, The Spring Standards, who will perform at the CMJ Music Marathon & Film Festival Tuesday evening.
The Brooklyn-based trio, made up of Robb, James Cleare and James Smith, met while in high school, and what started as friendship quickly turned into a band. At fifteen, the trio began playing and writing original material together.
Years later, after a brief separation followed by a reconnection, their three-part harmonies and energetic live show has continued to captivate audiences.
Having played CMJ before, Robb said it’s different being a New Yorker at a New York festival.
“In a lot of ways you feel more at ease. You feel a greater sense of, ‘I’m from New York. I know this city. This is our community,’” she says. “You feel more interested in creating an atmosphere where bands traveling from far away can feel comfortable as opposed to trying to feel comfortable yourself.”
For my complete article, visit CBS. For more on The Spring Standards, visit their Website. They play a free CMJ show tonight at 8 p.m. at Rockwood Music Hall.
Two nights before his legendary free Central Park concert, famed tenor Andrea Bocelli opened up about his life to a packed audience at Walter Reade Theater in Lincoln Center. Part of TimesTalks, New York Times culture reporter Robin Pogrebin interviewed Bocelli while his interpreter assisted with translation.
At times, Bocelli surprised the audience with tales of stage fright and his previous career as a lawyer. Additionally, he hinted at the production of Thursday’s concert and revealed that he will perform four songs in English for the first time.
While Bocelli has played for millions, he admits he’s terrified to sing live. He said concerts are always a terror and “from the stage, an audience is for me like a monster.”
“I’m very nervous always. But, I’m nervous when I have to go on stage to sing, not to speak. I’m nervous because I would like to [always] give my best and that’s impossible because every time something happens. If I listen to my performance after, I’m never content so I decided not to listen to it for this reason,” he said.
Though he states “opera is the paradise of music,” he didn’t always know it was his destiny. Instead, he studied to be a lawyer and worked as a court appointed defense attorney. When Pogrebin asked him why and when he decided to pursue music instead, he joked, “When I realized that I cannot defend anyone without singing, I better not defend anyone.”
Comedy aside, Bocelli thought for a moment before he concluded, “Honestly I don’t know why I did it. Life is a strange adventure. Nobody knows the future. I never tried to know my future and I accepted everything that happened in my life.”
As his popularity ensued, he faced a new challenge: fame.
“Fame is something strange. It begins as an accident. At the beginning it’s something curious, it’s something fun. But then it becomes sort of a habit because it gives but it also takes away. Everything started in a flash. From one day to the next I was no longer the unknown country boy that I actually still am,” he said.
“I have to be honest; nobody can say that they are unhappy to be famous. The most important thing that it takes away is privacy . . . fame and notoriety do not mean happiness. Wealth, fame they do not make you happy. There are other things, way more important things in life.”
Now a household name, it wasn’t always that way. Hard work and optimism are qualities that led Bocelli to where he is today.
“Talent is a rebel. It cannot be kept in prison. My parents, for instance, had to wait quite some time to see my talent recognized. There was a time when people used to say, ‘I guess you have to recognize he’s only going to be singing in a piano bar and some weddings, there’s no more you can do,’” Bocelli recalls. “You need to be optimistic because if the talent is genuine it will come out and it will be recognized. If you are sincere, if you don’t wear any masks, if you don’t try to be what you are not, then you will be successful. Things will work out.”
Andrea Bocelli performs Thursday evening at Central Park with the New York Philharmonic, conducted by Alan Gilbert, with appearances by Celine Dion, Tony Bennett, Nicola Benedetti, Chris Botti, David Foster and more.
You can read this article, originally posted on CBS Local.
I witnessed Matthew Mayfield live for the first time last October during CMJ when I stumbled into Rockwood Music Hall in between a few band interviews. Alone on acoustic guitar, his deep, rustic vocals and emotion-fueled lyrics echoed throughout the silent room and blew me away.
After the show, he said his debut solo album would be released in a few months and I scoured the Web to find out more about this artist who I was certain I heard before. His former band, Moses Mayfield, was signed to Epic Records in 2005, released an album and toured with major acts. A few years later, though, they broke up and Mayfield found himself questioning his next steps.
“When the band broke up there was a six month period where I debated whether or not I was going to keep doing it. You have to pick up the pieces and start all over, write all new songs, a new band, a new everything. It’s been a hell of a lot of work, but if I wasn’t doing it I’d be super unhappy,” Mayfield said.
Mayfield’s solo album, Now You’re Free, was released earlier this year and encompasses 11 tracks of impeccable songwriting, standout musical accompaniment, and impressive collaborations. Singing of love and heartache, the listener can relate to every track. Songs like the powerful “Fire Escape,” written with John Paul White of The Civil Wars, and the poignant “Element” showcase his remarkable talent. A track he originally wrote 10 years ago and has appeared on numerous records, at a recent concert at The Hotel Cafe in Hollywood, Mayfield said, “I put this song out a few times but the best version to date is on this new record.” A longtime fan favorite, the song was received with much excitement at the packed venue.
I chatted with Matthew earlier this month while in California right before his intimate performance at The Hotel Cafe. He filled me in on many of the stories behind his songs as well as the struggles he has faced as a musician and collaborating with friends The Civil Wars and NEEDTOBREATHE. Read the complete interview below and be sure to check him out on tour this August.
Now You’re Free is your first solo LP. Was the recording process any different than with your previous band, Moses Mayfield?
Yeah, it was different. This time around, I think the songs are stronger and the players I was playing with in Nashville were some good friends and also super pro guys. We tried to make it a band thing. We were in a room, in a circle, and we wanted it to feel alive and have that energy that a big, anthemic rock record would have. The process was similar in terms of going through the motions and making a record, but at the same time, we tried so many new things which was cool. I’m excited about people hearing us in a studio where there were bells on a song or there’s cello or weird toy piano. Whatever it is, that kind of stuff is fun for us.
Why did you decide to use Pledge Music to fund your album?
At the time, my manager suggested it to me. It was cool. I looked at it, but I was kind of hesitant because I really didn’t want to ask people for money but then I realized it was a win-win. They get things that they want, whether it was handwritten lyrics or a house party, or we’ll play at the wedding. There were all kinds of weird stuff; microphones and gear. Everybody gets something which is really cool. We raised $14 grand for the record.
“Element” is my favorite track of yours and you wrote it a decade ago. Why did you decide to add it to this album?
We had the album down to 10 songs and I just felt like there was something missing. I feel like it’s one of those songs that I keep wanting to put onto a record because every time you take a step forward, that’s one I want to bring with me. The guy that produced the record and my management said, ‘This song is so strong, I really feel like it should come with you.’ I thought about it for a long time and I thought it was a great idea.
What’s the story behind “Element?”
I wrote that song when I was 18 and I was in this long distance relationship with a girl. I was just a kid. I think it’s very honest. It doesn’t feel particularly young, but it was very honest, from a very honest place. I feel like a song like that, that just comes from the heart, there was nothing about it that was forced. I sat down with a guitar and wrote it. It wasn’t in pieces. It all came at once.
Do you get tired of playing it?
Sometimes. I feel like with anything, sometimes there are songs that are going to be a little bit of a chore to play. It depends. If the crowd is great and they love it and you can see it in their eyes that they’re enjoying you play it, then it’s great.
What is your typical songwriting process like?
It usually starts with a guitar and a melody and I bring the lyrics in when I feel like I got the vibe down. There are times where the lyric is the inspiration. It changes quite a bit. I’d say 90% of the time it’s me and my guitar singing, humming things. It’s a strange thing, chasing songs.
Do you feel a song comes out better when it actually happened to you? Do you always write from firsthand experience?
Pretty much. I think everything on the record is firsthand. There are a couple that are hypothetical I guess, but I certainly can relate to the things that I’m singing about. “Can’t Change My Mind” is hypothetical in a sense to me. I wrote it from the perspective of that person who’s sold. I know that feeling; to be sold. You write it from the perspective of somebody that’s found something that you want to find.
Are you ever nervous to reveal too much in a song, like “Fire Escape?”
Yeah. Honestly, that’s probably the hardest one. I’m never scared because it’s like therapy for me. I need to do it, to get it out. I don’t know. I feel like there’s a release that you get from putting it on paper and singing it in a song that’s healthy. It’s always been an outlet for me since I was a little kid.
Are there nights you don’t want to play a certain song because it’s too personal and brings back a specific relationship or memory?
It can be. It depends on the night and it depends where my head’s at and if I was thinking about it before a show or not. Sometimes it can sting a little more than others. Sometimes you just do it because it feels good to know that you’re helping somebody else out. I think that’s the reason why the sad songs resonate more with people. I’ve noticed that. People love the upbeat stuff, but when it’s real heartache people are like, ‘Yeah, I know what you mean.’ More so than, ‘I’m really happy, everything’s great.’ That’s pretty rare. It’s good to write a song about it when it happens.
Isn’t that depressing though? When everyone’s like, ‘Yeah! That’s real heartbreak. We love that you’re depressed.’
It’s a weird world. I just write it from wherever I can find it. So if it’s sad, it’s sad. If it’s happy, it’s happy. If it’s confusing, it’s confusing.
Is there a song that means more to you now then when you first wrote it?
Yeah, there are a couple. I really like a song called “Her Name Was December.” That song, we don’t play it a lot live, but when I hear it on the record I’m like, ‘Man, we’ve got to get that one back because I love that song.’ I feel like the lyric and the melody, everything about it is special to me and came from a really real place.
You collaborated with NEEDTOBREATHE and The Civil Wars on a few tracks. How did that come about?
I co-wrote “Fire Escape” with John Paul [White] of The Civil Wars. He’s fantastic. And Joy [Williams] sang on “Can’t Change My Mind.” They’re some of the sweetest people in the world and certainly in this business it’s so hard to come by people who are so kind and just easygoing. There are no egos. They’re just great people and I’m super happy for them that all the stuff’s happening. It’s good to see that happen with good friends. Same thing with NEEDTOBREATHE. Those guys are coming to the show tonight, they’re in town. I’m super happy for them. They’re so good. Their live show is killer. It’s good to see good things happen to good people that you’re friends with.
Is co-writing an entirely different process for you than writing by yourself?
Usually with me, if I co-write it’s like I have a chorus that I love or a verse that I love but I just can’t find a chorus or I can’t find another verse. Or I’ll have a melody that I really like. Usually it has to be someone I really trust like John Paul or Paul Moak, the guy that produced the record. There has to be that feeling of trust where you’re like, ‘I can let you in on this secret.’ “Fire Escape” was a touchy subject, but John Paul was so cool about talking to me and hearing me out; kind of getting inside my head. We wrote the song really quickly, in a couple of hours and it’s one of my favorites on the record.
Your music has been featured on “Teen Mom” and “Grey’s Anatomy.” Have you noticed more fans from different music placement?
I have. Those “Grey’s” placements were really big. I feel like I noticed a big spike in sales but also noticed it helped put me on the map which was funny because I made that record for under $1,000 in a basement for myself. I wasn’t doing it in hopes to get a sync or get on TV and it ended up being a huge thing for me. Those little things are special because you have so many slaps in the face as you’re coming up and it’s cool. When you get a win in a world full of losses it’s something to be celebrated.
What has kept you motivated all these years to keep pursuing music?
I don’t know. I think it’s just that underlying passion for writing songs and playing rock & roll. I’ve always just loved it since I was a little kid. When the band broke up there was a six month period where I debated whether or not I was going to keep doing it. You have to pick up the pieces and start all over, write all new songs. A new band, a new everything. It’s been a hell of a lot of work, but if I wasn’t doing it I’d be super unhappy. It isn’t easy. We push ourselves in every aspect so I feel like it’s hard work, but it’s really rewarding. When the rewards come around, which is not that often, they’re sweet when they do.
Do you think a band needs a record label today to survive?
I don’t. There are some labels that are doing some cool things, some indies that are really smart with their money. But no, I don’t think you need the big machine until you are at a certain level. If you can get to a certain level and you need that monster, mainstream push then you get it when the time’s right. Getting a record deal is definitely not what any band’s goal should be, especially with a major. You may be their favorite band one day and literally the next week they don’t remember who you are ’cause they had a change of regime, they fired everybody and brought on new people. I definitely don’t think you need a label in 2011. At the end of the day, you have to do it all yourself.
What’s the best and worst thing about being a musician?
The best thing is seeing people sing your songs at shows, for me. If I see two or three people, or 30 people or 100 people singing the lyrics to a song, that’s as good as it gets. The worst part I think is a lot of times not feeling like your hard work is being rewarded. You really have to keep on even if you’re not getting any affirmation that what you’re doing is working. But, it’s always like that in music. When you do get those placements or whatever it is, your song is on a TV show or commercial, you play a great show and have a big turn out; those little things add up.
Do you have any advice for other singer-songwriters trying to make it in the industry?
One thing I have to say is don’t expect anyone to do anything for you starting out. You have to hustle and do it yourself. I made that record in my basement just because I wanted to for me. I didn’t have a manager or an agent. I just put it up on iTunes and it got a couple lucky moments and placements. It was fresh enough too, where people knew about the band. You just have to be persistent. As lame of a word as it is, you have to persevere. I started doing this when I was 18 and now I’m 28. I’m not some big, famous rock star. You want to play arenas, but you have to start somewhere. Tonight, if I play for 200 people that’s a huge deal. You just can’t expect it to be fast. That would be my advice.
Last month, I received an email from Michael Shoup introducing me to his music. While I receive plenty of band pitches on a daily basis, his words were genuine and his past and current projects peaked my interest. The Nashville based singer-songwriter got his start attending songwriter nights in his hometown of Dayton, Ohio, in his teens before moving to Nashville for college. He soon began designing artist Web sites, including A-listers like Lady Antebellum and Kelly Clarkson, when he noticed bands he toured with were in need of a Web site to promote their music.
When not working his 9-5 job, he has spent his time writing, recording and producing his debut solo release, Learning How to Live. An impressive LP, the 10 tracks (which you can download for free this week here) are relatable and emotion fueled with solid music accompanying Shoup’s soulful vocals.
While in Nashville last month I caught up with Shoup at 12South Taproom, his neighborhood cafe/bar that he described to me as “one of the most unpretentious, chill bars around.” Well recommended as a good place for conversation, we even ran into fellow singer-songwriter Mat Kearney. So, on a hot day in June I escaped the craziness that was the CMA Music Festival downtown for a while as we chatted about his career in music, latest album and the stories behind many of the tracks on Learning How to Live.
This is your first album as a solo artist. How was the recording process?
It took just about as long as I expected because I was doing it in pieces and didn’t want to ask fans for funding. I wanted to be able to do it myself and have it as a gift to people. Like, ‘Hey, I know you’ve been waiting to hear some of this, I want you to hear it.’ Not that I have anything against Kickstarter projects. For a debut I didn’t want people to feel like they owed it. And, what if they didn’t like the record? I wanted to do something they would enjoy.
I had a producer that worked with me on it named Paul Shearer. Paul and I took basically eight months to a year and scheduled how we wanted to do every song. We did it very systematically. ‘What parts do we need on this? Let’s plan it out.’ It came out to a really good process and a really good relationship between he and I. We continued that process throughout the last year. Even new stuff we’re writing. I know what I need to do and I know when I need to send it to him.
You’ve been collaborating with fans for Song-A-Week. How did that concept come together? (Watch one of the videos below and for more click here.)
The Song-A-Week I’m doing, Paul and I have co-written two of those together and those are working out really nicely. It was twofold for me. I released the record in November and I’ve had a Tumblr blog for years so I just said I would focus on that to be a way to talk directly talk to people who were into the music. I was trying to find a good way to do that, how to get some consistent content and also motivate me to keep writing. The record’s already out, what are you gonna do now? The thing with music for me, I always want to have something that’s communicating with people. I don’t want to just write a song and say, ‘This is what I was feeling.’ I want it to be what somebody else is feeling so they can feel like it’s their song. I think Tumblr as a format works really nicely.
I just opened it up and said, ‘If you guys want to submit ideas or stories about something big in your life, send them in and I’m going to start writing songs about it.’ For me, it was partially a challenge but it was also a weight lifted off because there was this giant pallet of things I had to choose from. I think the further it’s gone along, I’ve gotten some really in depth stories and some really personal stories that move me. I don’t think you can put a price on that as a writer. It’s like I just opened this great book and found an awesome story that I have to write a song about.
The week timeline was just to make sure I had a challenge. I wanted to put up consistent content. Having worked in the Web world for a long time, I understood that. But I also know myself and if I don’t put a deadline on it so many things could happen. I wanted to see if I could do it. It’s a perfect testing ground for me. I’ll write a song, stick it out there and I’ll see how much of a response it gets. If I hit close to what people had written in about, then they’d probably like it. If they don’t, that’s cool. It’s another song, I got some practice out of it, somebody probably got connected to it. I’m surprised I don’t see more songwriters doing that back and forth because it’s right there. There’s no reason you can’t do it. You’re getting instant feedback from the people that will hopefully be purchasing your stuff down the road.
One of my favorite tracks on the album is “Dying to Live.” What was the idea behind it?
That was a co-write between Paul and I and I had a basic idea. All my friends are in their late 20s and early 30s. I’m sure you’ve seen it. It happens in New York, it happens in Nashville, it happens everywhere. You get out of college or you get out of high school and you have these giant dreams and all these mountains you’re ready to scale and the world beats you back a little bit. That’s what it’s about. Sometimes it feels like those dreams are unattainable or sometimes it feels like they’re attainable but you don’t know how to get there. I wanted to put all of those stories from my friends around me into a song and say, ‘Hey, we understand you’re trying to get there. Hold out. Everybody else is trying to get there too.’
I was feeling the same thing myself. The whole time we were producing and writing and making this record, I was working 9-5 doing Web design. It was an anthem for myself to keep going to finish the record and to get everything together.
It was a funny turn around for me while we were doing the record. We took enough time to do it that by the time we had written and recorded everything it was sort of like an out of body experience. I didn’t feel like I 100% had written those songs, I could relate to them as a listener instead of a writer, which was the first time I had ever been able to do that. It was a really weird feeling.
Is there a song you’ve written that means more to you now than when you first wrote it?
Sure. There are a couple. I wrote this song called “Last Goodbye” years ago. I think you go through seasons in your life with relationships and a lot of times those seasons return. As I got older, the words that I put into that song made a lot more sense to me. I had written them out of this emotional moment and I never understood why other people related very well to it. As I got older and had other experiences, it made a lot more sense to me than when I first wrote it. There’s a line on “Last Goodbye” that says, “Maybe life’s not right for what this love has got in store.” That made a lot more sense to me as I grew older and realized that even though two people are in love, it can’t be right sometimes.
The other one that was really stuck in my head as we were doing the record and it was why I made it the title of the record, “Learning How to Live.” That’s one for me…I don’t know if it’s ever going to be a single. It’s not your usual pop song. You don’t get to the chorus in 30 seconds. But, for me and I think a lot of people who are in the same life place as me, can really relate to the chorus of it. “All I want to be is right in front of me but all I can see is how to live carelessly.” You understand how to get to where you want to get, but it doesn’t mean it’s always easy to get there.
What keeps you motivated?
Two things. Learning. Honestly, this is something I’ve newly learned about myself. I’m motivated to continue to do stuff when I feel like I’m learning new things from it. For Song-A-Week, when I first took that on I added a video element to it because it’s a totally new field I’ve never tried to do before. I’m going to learn how to shoot and to edit and figure out what 720p is and all that other stuff and it’s going to keep me motivated to want to do it more. The other side of it is the back and forth communication that I can get to people to be able to experience it with me. Whether it’s at a live show that I do or posts on Tumblr, emails that I get. That is the driving force. Anybody that does anything creative has to get that feedback.
What would you be doing if it wasn’t for music?
I really just like doing creative stuff. I think if I wasn’t making money off of music I would be doing something like that. Whether it’s helping other people be creative or doing video work or design. My life goal is to try to communicate to people that way. I just think the way that I’ve been gifted to do that is through songs. If it wasn’t through that, it would be something else.
For more on Michael Shoup, be sure to visit his Web site. You can download his debut album, Learning How to Live for free this week here and watch him live all day until 11PM CDT as he plays some music and gives viewers tutorials on making and editing videos, how to build a Web site and more.
Justin Moore took a different approach to the release of his sophomore album, ‘Outlaws Like Me.’ He went fishing in New York City.
An avid outdoorsman, Justin spent six hours doing press interviews from a bass boat in the middle of Manhattan’s beautiful Central Park Lake. Fans could watch and listen live online as the singer/songwriter answered questions about his new album, released today (June 21).
I joined Justin in Central Park to find out about his favorite song on the album, the story behind his latest smash single and his approach to fatherhood the second time around.
How did you come up with the idea to host a media day in the middle of the lake?
The record label told me I couldn’t find a place to fish in New York City, so I had to prove them wrong! [laughs] This is fun. We try to get out on the road any time we can and fish, hunt or whatever we have the opportunity to do outdoors. This just proves to people that you can do it anywhere; it’s all across the country. I teamed up with Cabelas and NRA Country, and I’m trying to spread the gospel.
I’ve been incredibly lucky to have interviewed some of my all-time favorite bands this year. As 2010 comes to a close, I can only imagine what 2011 will bring… (perhaps an interview with John Mayer?!). Instead of compiling my top 10 albums, songs, etc. of the year I decided to break up my Top 10 list with my five most memorable interviews and concerts of 2010. Be sure to let me know some of your favorites in the comments!
You Sing I Write’s Top 5 Interviews of 2010
5. Hanson
My younger self is still in disbelief. HANSON. I remember the years my best friend in middle school was CONVINCED she would marry Taylor Hanson. Little did I know I’d interview him a decade later. Extremely detailed, Taylor Hanson went on to thoroughly and thoughtfully answer every question I asked. Sorry Jacqueline, he’s married. Read my complete interview on Lemondrop here.
4. Colbie Caillat
Though I interviewed Colbie Caillat back in 2008 for my blog, I had yet to meet her in person and was thrilled to catch her in Hoboken and film my interview with her for VH1 Save the Music. You can read the complete interview on Hoboken Patch and watch a video excerpt below.
3. Pat Benatar
I still can’t believe I chatted with Pat Benatar on the phone this year! We bonded over living in Brooklyn and she gave me so much great advice that I shared with Lemondrop readers. And, your No. 1 question was answered. Yes, Pat Benatar still believes love is a battlefield. Read my complete Q&A on Lemondrop here.
2. Lady Antebellum
I still remember the first time I saw Lady Antebellum perform on an awards show and thought to myself, “I REALLY want to interview this band!” I had a hunch they’d explode and in 2010 they sure did. Out of all my interviews this year, I was most nervous for my in-person with them as I listened to Need You Now continuously, it easily being my most played album of the year. Nerves aside, the interview went well and I even stumped Lady A on a few questions. Read my interview with Lady Antebellum on The Boot.
1. Keith Urban
Never in a million years would I have dreamed I’d spend the day with Keith Urban! I remember the first time I heard a Keith Urban song. It was “Somebody Like You” back in high school in the movie, “How to Lose a Guy in 10 Days” and I downloaded it and played it obsessively for months. He was the first country artist I really listened to and I was happy to discover my college roommate Celine liked him as well. We’d play his album on repeat and admire his gorgeous locks, often wondering how they’re kept so perfect. I came to learn it’s thanks to his personal hair stylist as she was fixing his hair before my chat with him.
Happy to report my interview went swimmingly (see the video below) and Keith was one of the nicest artists I’ve ever met. For the complete writeup, visit The Boot.
You Sing I Write’s Top 5 Concerts of 2010
5. Pat Benatar, Nokia Theater
I was more than excited to get a pair of tickets to Pat Benatar’s show a week after my phoner with her. Many life realizations came to mind while I was standing near the stage during the entirety of her set. As Benatar’s husband Neil Geraldo provided climatic guitar riffs to accompany her soaring vocals, I couldn’t help but smile at the chorus of “Shadows of the Night.”
We’re running with the Shadows of the Night
So baby take my hand, you’ll be all right
Surrender all you dreams to me tonight
They’ll come true in the end
In 2010, so many of my dreams have come true. Some that I never even realized were possible a few years ago. Read more on Busted Halo.
4. CMT on Tour with Miranda Lambert and Eric Church, Terminal 5
For those who doubt country fans exist in New York, you obviously weren’t at Terminal 5 for the CMT on Tour kickoff. I have never witnessed a crowd so energized. Raising their beer cups and cowboy hats high in the air throughout Eric and Miranda’s sets, watching the crowd was just as captivating as the artists onstage. Read my review on The Boot.
3. The Gaslight Anthem, The Stone Pony
Seeing my favorite Jersey boys on their home turf was a concert experience like none other. My friends and I scrambled to find tickets to their sold-out show at the last minute. And, boy we’re glad we did! The outside stage setup within walking distance of the Jersey Shore and all their friends, family and Gaslight Anthem diehards in the crowd made for a unique evening. I had so much fun, a friend and I even crowd surfed up to the stage where we enjoyed most of the show from the front row.
2. Taylor Swift, Prudential Center
For being 21 and on her first headlining tour, Taylor Swift’s live show is impressive. Every moment of her set is thought out with precise detail and perfected on a nightly basis. Whether she was walking through the first level at the Prudential Center giving hugs to everyone who stopped her, or the arena erupting in heart shaped confetti at the show’s end, Taylor Swift is living proof that fairy tales do come true. Witnessing her live just proved this point even more.
1. NEEDTOBREATHE, Irving Plaza
I heard their show was good, but I never expected to be blown away the way I was. There is definitely a reason Taylor Swift tapped the band as her tour opener next year. From the moment NEEDTOBREATHE took the stage at Irving Plaza it was evident that this wasn’t just any concert. The South Carolina natives have been honing their live show for the past 10 years and the audience could tell. Their impressive instrumental interludes combined with frontman Bear Rinehart’s energy captivated. One can only imagine what 2011 will bring for NEEDTOBREATHE. Read my complete show review here and watch the band perform “Valley of Tomorrow” acoustic below.
Singer/songwriter Amos Lee has toured with everyone from Merle Haggard and Bob Dylan to Paul Simon and Elvis Costello. So it comes as no surprise that many country artists respect the Americana/folk artist.
Lady Antebellum’s Hillary Scott is one of Amos’ many country admirers, along with Willie Nelson and Lucinda Williams, who lend their voices on his upcoming album, ‘Mission Bell.’
“Great songwriters don’t come around that often. Amos is an exceptional artist, a true story teller, unique to his generation,” says Willie.
While ‘Mission Bell’ isn’t due for release until January 25 of next year, Amos filled me in on the recording process, his Farm Aid performance and just how he recruited Willie to join him in the studio. For the complete Q&A visit The Boot and be sure to watch his performance tonight on CMT’s “Artists of the Year.”
On Wednesday I shared with you my review of Keith Urban’s impromptu train station performances promoting his new album, ‘Get Closer.’ I was lucky enough to spend the day with him in New York and Philadelphia and covered all the excitement for The Boot. You can read my complete writeup on The Boot and watch the video below!
Known best for taking the stage in his hat and sunglasses while energizing audiences everywhere, Eric Church revealed a more serious, songwriter side when I sat down with him after his CMA Songwriters Series performance in New York.
Currently on the road as part of CMT on Tour with Miranda Lambert and Josh Kelley, Church plans to hit the studio for a follow up to his 2009 album, Carolina, and also has a tour with Jason Aldean and Toby Keith filling up his 2011 calender. And although many songs have been written for his next project, fans shouldn’t hold their breath for an album release next year.
“It’s hard to write on the road all the time,” says Church. “I usually write down a bunch of ideas or a bunch of melodies and then I’ll take a month to write, which I just finished doing in North Carolina. I spent a month there and wrote the next record so sometime late this year or early next year we’ll start recording. I get really obsessive and probably unhealthy about the recording process just because it really gets in my head. The biggest fear of my career is releasing a record to the public that’s not the way I intended. I don’t know how long the process is going to take, but we’ll probably start next year.”
For my complete interview with Eric Church, visit The Boot.
