It’s often unexplainable. You never know when a song is going to hit you or a band is going to leave a lasting impression.

Back in 2010 I headed to Bowery Ballroom with friends to see Parachute. One of the first bands I interviewed for You Sing I Write back when they were known as Sparky’s Flaw, they’re a band I try to see whenever they’re in town. I still remember when I was interviewing frontman Will Anderson during my first job out of college. I was on my lunch break and he was headed to class and he told me about the crushes he wrote songs about and whether or not they found out.

Their concert that night was how I was first introduced to Nashville act SafetySuit. Their set was full of energy and I had a hard time wondering why they weren’t the headliners.

Currently on their own headlining tour it seems they’re finally getting the recognition they deserve. Though it’s been a few years I still have several of their songs on my iPod that they played that night and can’t seem to take them off. Songs like “Someone Like You,” “Stay” and the poignant “Annie” hit you in the heart and their followup album, These Times does just the same.

First track, “Believe” draws listeners in with soaring guitar parts and Douglas Brown’s ethereal vocals. “You gotta believe in what you got…If you gotta cry then let it out, if you gotta scream let it out.” Memorable guitar licks alongside Brown’s powerful vocals are just an introduction of what’s to come on the album. In fact, SafetySuit’s introspective and questioning lyrics at times brings to mind that of Switchfoot.

String features introduce “Get Around This.” Asking for forgiveness, it’s hard not to take Brown’s side. Meanwhile, title track “These Times” was written out of a social need. Discussing hard times everyone faces the band manages to uplift without sounding cheesy.

The band worked with several outside producers and writers for These Times including OneRepublic’s Ryan Tedder and the guys from Espionage who helped write Train’s mega hit “Hey, Soul Sister,” giving the Nashville-based act a more pop friendly release.

On the heels of their new EP Hallelujah and in the middle of their U.S. headlining tour, SafetySuit show no signs of slowing down. Be sure to catch them in New York at Gramercy Theater Wednesday, September 12. To keep up-to-date, visit the band on Twitter.

Grace Potter has spent her summer on the road with dudes. On the aptly titled Brothers of the Sun tour with Kenny Chesney, Tim McGraw and Jake Owen, Potter proved she could hold her own as a standout opener. I caught her set earlier this month when covering the show for Billboard and as Potter danced around the stage during her performance, she exuded energy. In fact, at one point she kicked off her heels to run around the stage and it wouldn’t have been a huge shock if she started doing cartwheels.

The band opened their set with the soulful “Nothing But the Water” where Potter was found alone on vocals center stage for nearly two minutes before the rest of the band jumped in. Her high energy set continued with the rocking “You Can’t Stop the Beat” with ear-grabbing percussion, plenty of guitar distortion and Potter’s captivating vocals.

Prefacing “Stars” off her new record, she explained the story behind the song.

“This song I’m particularly attached to and there’s two versions of it on the record,” she said. “That’s because Kenny Chesney  heard the song when I was still working on it and he said, ‘I gotta sing on that song’ so we recorded it with him.”

A slow burning ballad, the piano driven track impressed with Potter’s powerful vocals. While Chesney didn’t make an appearance on the song during her set it was easy to see why he was so taken with the track.

“What’s the point of being the warmup band if we’re not warming you up?” Potter asked the crowd.

And that she did. In fact, watching Potter dance around the stage, wailing her arms in the air it was hard not to do the same as her excitement was contagious. Closing her set with the sultry and jazz fused “Medicine,” Potter even took to the drum kit to pound on the drums before running down the stage’s catwalk and shaking fans hands. With so much energy and a sold-out audience at MetLife Stadium in New Jersey, Grace Potter & the Nocturnals no doubt made many new fans.

As Potter’s opening set impressed it was her striking duet with Kenny Chesney on “You and Tequila” that had the crowd screaming for more. Chesney even prefaced the track saying it was “one of my favorite songs I’ve recorded,” as he welcomed Potter back to the venue: “She always makes the stage so pretty.” Having Chesney as a fan is an impressive endorsement and I have a feeling we’ll be hearing a lot more from Grace Potter & the Nocturnals in the near future.

Currently readying their debut major label release, I chatted with The Kin after a recent performance in New York to talk musical robberies, their upcoming self-titled album and what they liken their music to. Made up of brothers Thorald and Issac Koren from Australia and New York drummer Shakerleg, the guys filled me in on just what to expect from their new music and Rockwood Music Hall weekly residency.

“[Our album is] going to be a real mix of everything we’ve written in the last year,” Issac said. “We took a year to stay in New York and play every week at Rockwood. We just wrote as much as we could.”

Playing every Thursday at Rockwood Music Hall at 9:30, their weekly residency allows the band to test out new material on the audience and see the crowd’s response. “It’s really helpful to see what people think,” Issac said. “We’re really proud of it. We’re really excited to get the songs to people.”

As far as their decision to play at Rockwood, Issac said the venue is “just so human.”

“People come and go and the sound is good. It’s inviting,” he said. “Great music comes in and out. We feel like a part of a happening. That’s what New York is about: pockets of community. The Kin is all about that. It’s about finding a tribe. Rockwood promotes all of us for that.”

Thorald further shared the band’s wishes for their new album.

“We’re hoping to make an expansive amount of fans that don’t know us yet. They can expect explosive, fun, dirty, pretty songs. We just want each song to be an experience,” he said. “The album’s going to bring out the voices and uniqueness of the drums and hopefully it’s going to translate [our live show].”

The album is due for release early next year, but the band’s upcoming single “Gemstone” can be expected in October.

“It’s certainly the closest to a live, driven album,” Issac said. “Now we’re listening to them, what could be the songs on the record. We had 50 now it’s down to 25. It’s virtually like giving away your babies.”

So how do they narrow down the 25 tracks to 12?

“We let the audience at Rockwood decide,” Issac confessed. “The songs that get the most requests and the ones they demand us to play again.”

But that’s not the only reasoning.

“A song not only has to be strong but has to sound great on a recording,” Thorald said. “Some we love playing live but haven’t translated on the recording.”

When the Kin aren’t busy putting the final touches on their album they take part in something they call musical robberies where they take their show to unexpected patrons at restaurants throughout the country.

“It came out of our love of fun robbery movies and thieves and Shakerleg’s subway days when he’d rally people around his drumming,” Thorald said. “I think we came out of it with a fun idea. It was a way to catch people when they were a little bit scared and play with their senses a little bit. That’s something we’ve always loved to do.”

The Kin alternate between what they call musical robberies and musical heists.

“You can either do a real robbery where no one – not even the owners of the place — knows and we get kicked out,” Issac said. “Or it’s an inside job which we call a heist where the owner coordinates it. The patrons don’t know so it’s a heist.”

“And then we have dinner with thieves where we rob people at a 5 star restaurant setting,” he continued. “We just want to mix it up. The way we play music, we want to mix it up.”

Drummer Shakerleg had a whole other way of explaining things.

“I think what we’re trying to accomplish in a live show is that feeling that you get when you step on a piece of gum and you can’t get it off and you’re actually happy that that particular piece of gum is on your shoe,” he said. “That’s the sound we’re going for.”

Catch the Kin live in New York every Thursday through September at Rockwood Music Hall.

When New Jersey rockers the Gaslight Anthem decided to film a music video for their new single “45,” Asbury Park’s the Stone Pony was the only option they considered.

The famed rock venue, which is home to New Jersey legends Bruce Springsteen and the E Street Band and Southside Johnny, has been hosting memorable shows since it first opened its doors in 1974. Acts like the Kinks, Stevie Ray Vaughn, KISS and the Ramones have taken the stage and even the former VP of the Rock and Roll Hall of Fame Robert Santelli has called the club “one of the greatest rock clubs of all time.”

“It’s one of the cool old New Jersey relics left,” drummer Benny Horowitz said as he recalled his first Battle of the Bands contest there as a teen.

Just the drive down to Asbury Park strikes up the band’s material. Passing through New Brunswick, “The Diamond Church Street Choir” paints a picture of University life from an outsider, not far from where the band got it’s start. Before a left turn onto Ocean Avenue, where a slew of fans await for their chance to be in the band’s music video, Cookman Avenue appears. One of the many Jersey mentions in their song “Blue Jeans & White T-Shirts” off 2008’s EP Senor and the Queen it’s evident the Stone Pony is the perfect location for the band to feature in a music video.

For my complete article visit CBS. Stay tuned for more interviews with the band and a behind-the-scenes recap of their music video shoot.

Folk duo Greylag is made up of longtime friends Andrew Stonestreet and Daniel Dixon. While they may seem new to the music industry, the Portland, Oregon-based band is the product of a multi-year, cross-country journey of friendship, emotional trial and self-refinement.

The group’s debut release, The Only Way To Kill You is due out May 1. If their current single, the country fused “Black Crow” is any indication, Greylag is well on their way. With foot-stomping rhythms, memorable harmonies and fitting guitar accompaniment, “Black Crow” is an adequate introduction.

The EP begins with the surprisingly upbeat “Into the Woods.” With catchy percussion beats masking the dark lyrics, one gets the feeling Greylag is a band not to be messed with. Meanwhile, come-hither vocals alongside a steady percussion beat keeps the listener intrigued and wanting more.

While “Tiger” slows things down, the poignant “Outgrown” is a telling number with spot-on vocals, delicate finger-picked guitar and haunting string accompaniment. Nearly three-minutes in the track picks up speed with powerful percussion and equally loud vocals.

Greylag — Tiger from The Sights Of Sounds on Vimeo.

As their singing style brings to mind Augustana, it comes as no surprise then that the duo will be supporting the band on tour throughout April.

The ethereal “Speaking Voice” embodies memorable vocals while “Winter White” closes the EP strongly. Greylag is currently on tour with two performances scheduled this week at SXSW. For those attending SXSW, be sure to catch them Thursday at Rusty’s from 12-6 p.m. and Saturday at Clive Bar at 9 p.m. For more on Greylag, visit their Website.

Greylag — Winter White from The Sights Of Sounds on Vimeo.

Last week, PT Walkley released his sophomore album, Thriller. The follow-up to his standout debut Mr. Macy Wakes Alone, his latest LP demonstrates his continued versatility.

The composer, producer, singer and multi-instrumentalist produced and recorded the 10-track album himself. A unique collection of electro-pop songs with quirky musical accompaniment bound to make the listener sit up and pay attention, Walkley showcases his originality.

“On Thriller I wanted to keep the tracks more sparse and let the songs stand naked a bit,” Walkley said. “There’s a certain one-of-a-kindness about doing it all yourself in your living room. When I’m working alone at all hours of the night, I’m more likely to tap into a completely pure, uninhibited creative space.”

And that he does on Thriller.

The soothing “The Way That You Are” begins the LP with an atmospheric vibe and Walkley’s ethereal vocals. With a steady drumbeat, kazoo accompaniment, electric guitar and distinct futuristic tendencies, the song stands out. The darker “Go Away” follows suit with ear-grabbing music and Walkley’s memorable effervescence. Despite the tongue-in-cheek lyrics, Walkley’s playfulness shines through.

“The Way That You Are” by PT Walkley from Jade Harris on Vimeo.

Next track, “The Marriage of Mice” slows things down with soft acoustic guitar finger picking and delicate keyboards before segueing into the quirky “The Only Reply.” While “Summer Song” sounds like a mix of an island get-a-way and one’s childhood with Casio player accompaniment, the instrumental “The Purpose of a Skunk” leads the listener into the danceable “If I Were British (Sing Along).”

While the beautiful “I’m A Snob” and instrumental “Mellotronic Growth Plate” showcases Walkley’s more serious side, 32-second last track “A Little Better” ends the LP on a high note. With hand clapped rhythms, kazoo accompaniment and a chorus in the background, the song leaves the listener wanting to hit that repeat button. And, for Walkley that’s a good thing.

His first time playing in New York Tuesday, you’d never be able to tell as the Atlanta-based artist captivated everyone in the room as if it was his hometown crowd.

Nic Cowan kicked off the night with the energetic first track on his recent release, Hardheaded. His raspy vocals and smooth instrumentals on “Get Me Going” was a welcomed introduction to his set. The edgy “Wrong Side” followed suit with soaring keyboard features and a R&B meets jam band vibe.

“Thank you for making it feel like home to some Southern boys,” Cowan told the packed venue.

While “I Won’t Let Go” showcased Cowan’s more sensitive side with slowed vocals and acoustic guitar, the bluesy “Sun Dress” picked up the pace with soulful vocals. Seductive rhythms embodied the track with a slow rap feature and solid instrumental interludes throughout.

After debuting a new track on ukulele, Cowan got personal with the room while he introduced “Reno.” Inspired by an artist he met on the beach pursuing his dream of painting, Cowan advised, “Whatever’s inside of you, in your gut, do that.”

The poignant song silenced the room with delicate string features and acoustic guitar as Cowan’s wavering singing style had everyone in a trance.

Having toured with Zac Brown Band, Cowan said “Illumination” was inspired by their bus breaking down during the tour. Giving Cowan time to slow down and simply look at the stars he confessed, “I realized I never stop and look up at the sky and appreciate it all.”

A song about searching and questioning, a heart-pounding drum beat and atmospheric music accompaniment kept the audience intrigued throughout the remainder of the set. Last song, aptly titled “The Island Song” transported the venue to a warmer place. With Bob Marley-esque rhythms and a tie into Marley’s “One Love” to which the audience sang along word for word, Cowan and his band ended their set unplugged.

“This is such a small, intimate space I feel like I’m in my living room,” Cowan admitted. “It’s cold as hell up here. We’re from Atlanta so we’re going to try and warm it up a bit,” he said before he introduced “The Island Song.”

So, what better way to close the night with a sing along? The stripped down performance had concertgoers dancing and singing with the help of banjo, ukulele and maracas. With such a warm welcome at his first NYC performance, Cowan will no doubt be back soon.

For more on Nic Cowan, visit his Website and listen to his tracks below.