Right Now – pia the band Feels Grateful for Today on ‘I Have Everything’ Single

pia the band is right where she needs to be.

The Detroit indie-rock singer-songwriter shares that realization on her hopeful new single, “I Have Everything.”

“I think at first glance over and maybe with intention when I first wrote it, you can look at the song as definitely being inspired by loss. Maybe bigger than that … that sadness or loss you feel when things don’t really pan out the way you expect them or hope at the time,” said Pia-Allison Roa, aka pia the band.

“As everyone knows, life doesn’t always go as planned, and usually it goes in a way better than you could have imagined. That realization and affirmation that you have everything you need at this moment in time are what I hope people can reflect on to move forward and let go of what their expectations were.”

Backed by soft drums, thoughtful bass and determined electric guitar, pia the band sheds those past expectations and embraces the present as she sings, “I’m trying not to bum you all out / But every time I open my mouth / I convince myself believe / I have everything I need.”

“By the end of the song and after the huge instrumental, I repeat that phrase [‘I have everything I need’] again a couple of times, and to me, it’s a confirmation of ‘Yes, I actually do believe that I do have everything I need,’” Roa said.

“I find myself so many times being in situations with good friends, or being at the beach on a nice day, or even as silly as eating a good burger and being like, ‘Whoa, yup, I have everything I need right now.’”

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Bold Ambition – Adam Labeaux Explores the Power of Courage and Vulnerability on ‘Brave Face’ Album

AdamL1750 — Adam Labeaux’s “Brave Face” features earnest lyrics, soulful vocals and ‘70s-inspired folk-rock instrumentation flavored with improvisational jazz and soul. Photo – Natalia Holtzman

Adam Labeaux searches for the true meaning of courage in himself and others.

The folk-rock singer-songwriter and multi-instrumentalist explores the power of tenacity, vulnerability and authenticity on his new album Brave Face.

“It does have a lot to do with these central themes, and these are things I tend to touch on a lot, including the human condition,” said Labeaux, who resides in Ann Arbor.

“I tend to write dark folk, and I gravitate toward this subject matter and a focal point that maybe people don’t want to look at all the time. But I always have hope, and I always feel there’s positivity to come out.”

That positivity and bravery shine across Brave Face’s dozen candid tracks, which feature earnest lyrics, soulful vocals and ‘70s-inspired folk-rock instrumentation flavored with improvisational jazz and soul. Imagine if Labeaux formed a new supergroup with members of Steely Dan, the E Street Band and Toto.

“I’m the first to admit that sometimes I write songs to give myself words of encouragement that I’m not getting from someone else,” said Labeaux about his fourth album. “If nothing else, I find that when I’m at my lowest and when I’m most manic that usually it means I haven’t been writing enough. I haven’t been expressing it, and I really need to get into that space and have that cathartic moment.”

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Double Feature — Jazz Vocalists Olivia Van Goor and Caity Gyorgy Co-Host June 3 Duet Show in Grosse Pointe

Olivia Van Goor / Photo – Chris Scarlett

Caity Gyorgy / Photo – Tieran Green

In 2020, Olivia Van Goor formed an unexpected friendship through social media.

The metro Detroit jazz vocalist stumbled upon Caity Gyorgy’s infectious single “Postage Due” and contacted the Canadian jazz singer about including the track in her songbook.

“I couldn’t believe it wasn’t a standard … she was kind enough to send me her music, and so I added that song among others to my repertoire,” Van Goor said.

“It’s important to me to not only keep the tradition alive by doing standards but to introduce my audience to other composers, especially females and especially vocalists. We have never performed together—in fact, we’ve never even met in person.”

That circumstance will quickly change with Van Goor and Gyorgy co-hosting a June 3 duet show at Grosse Pointe Unitarian Church (GPUC) in Grosse Pointe, Michigan.

“Caity reached out a couple of months ago while planning her shows in the U.S. this summer. She proposed a duo show in the Detroit area, and when possible venues fell through for me, I had to figure out how to do it myself,” said Van Goor, who’s producing the show.

“Scott Gwinnell, who is playing the gig with us, recommended the GPUC, and I think it is a fabulous choice. I enjoy so much about her music, but my favorite thing about it is her fresh nod to standards in a very bebopish way. Not a lot of vocalists are doing that, and I am all about that!”

To learn more about her upcoming concert with Gyorgy, I recently spoke with Van Goor about the show’s setlist, collaborators and ticketing options and inquired about her latest single and plans for new material.

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Midwest Americana – Blockhouse Valley Combines Regional Folk and Bluegrass with Rust Belt Grit on Self-Titled Debut EP

Blockhouse Valley 1 — Blockhouse Valley’s Ashleigh Glass, Jon Howard, Cody Cooper and Danny Steinkopf feature wistful stories about heartbreak, home and hope on their self-titled debut EP. Photo courtesy of Blockhouse Valley

With musical roots throughout the Midwest, Blockhouse Valley deeply cultivates a flourishing Americana landscape in southeast Michigan.

The metro Detroit quartet of Ashleigh Glass (vocals), Cody Cooper (mandolin, guitar), Jon Howard (guitar) and Danny Steinkopf (upright bass) combines robust elements of Appalachian folk and Tennessee bluegrass with gritty Rust Belt sentiments on their self-titled debut EP.

“Growing up, my prolific and prodigious grandparents helped shape my vision for my musical endeavors. I was exposed to artists like Dolly Parton, Marty Stuart and Chet Atkins, but my personal preferences skewed more toward rock, blues and indie music,” said Cooper, who hails from Sunbury, Ohio, and whose grandparents reside in northeast Tennessee’s Blockhouse Valley.

“When Ashleigh, a West Virginia native, and I started writing music together, we found a lot of shared experiences tied to the trials of living in the Rust Belt. We both lamented witnessing the impact of lost industry and economy on our parents’ and grandparents’ generations and were concerned about how it was shaping our peers and our perspectives in the Midwest.”

In response, Cooper and Glass penned six thoughtful tracks for the EP that reconcile past struggles and beckon future growth. Wistful stories about heartbreak, home and hope soar alongside rich harmonies and fervent acoustic instrumentation.

“The tie to Blockhouse Valley harkens to the short-lived promise of prosperity, the long-term costs lurking beneath the surface, and the ever-enduring splinter of hope that we might learn to do better as we learn from all we’ve seen,” Glass said.

“From this viewpoint, our music has been influenced by a wide range of artists, most notably Chris Thile and his bands Punch Brothers and Nickel Creek. They encapsulate so many elements that we relish, including bluegrass instrumentation that blends nods to their predecessors with truly virtuosic musicianship.”

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Inside Out – Easy Beach Seeks Catharsis on Punchy Self-Titled Debut Album

easy-beach-750 — Easy Beach’s Sean Tarolli, Dave Laginess and Ian Cruz pack a memorable punch on their self-titled debut album. Photo courtesy of Easy Beach

Ian Cruz openly shares past internal struggles and releases lingering frustrations on Easy Beach’s mighty self-titled debut album.

The frontman for the Detroit emo/punk-rock trio chronicles the challenges of working a tough job, preserving a relationship, and tackling guilt and self-doubt across nine raw tracks.

“Using the band as an escape or some form of therapy, I wrote a lot about what I was dealing with. But truthfully, I think it’s the only way I can write—being sad,” Cruz said.

“I can’t be creative when I’m happy. It kinda bums me out because all of our peers write these poppy, catchy tunes, and I write songs that might make people depressed. I wish I could write a catchy song.”

Despite Cruz’s reservations, Easy Beach indeed writes “catchy” tunes—ones that instantly grasp listeners’ hurtling emotions and translate their discouraging realities into cathartic tales of life, love and growth.

Cruz’s fierce vocals and crunchy electric guitars and Laginess’ fearless bass repeatedly elicit that response alongside Sean Tarolli’s thunderous drums. (Bassist Dave Laginess joined the band midway through the album’s recording process.)

While only 24 minutes long, Easy Beach packs a memorable punch with its emotionally charged lyrics and propulsive instrumentation. Released via We’re Trying Records, the album is an efficient, intense therapy session for anyone who needs immediate relief.

“I was talking to Sean and Dave yesterday about this, and even though we’re finally putting the record out, I think we’re all a little jaded. For Sean and me, we’ve been playing these songs since we announced the record two years ago,” Cruz said.

“I couldn’t tell you how many times I’ve played ‘Selena Gomez’ or how many times we’ve recorded different versions of the album. It’s nice to get this thing out, but we’re definitely ready to get working on the next one.”

To learn more about Easy Beach’s creative journey, I recently spoke with Cruz about writing and recording the band’s debut album, exploring the album’s highly personal tracks, playing shows this summer and working on new material.

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A Look Back – John D. Lamb Offers a Wise View of the Past on ‘Good Hart’ Album

Good Hart 6-panell outside.qxp:0 — John D. Lamb’s latest album features 12 storied tracks filled with forthright lyrics, humorous and nostalgic reflections, and kinetic ‘70s-fueled instrumentation. Photo – Mark Foril

These days, John D. Lamb views life through a clearer, wiser lens.

The Royal Oak, Michigan folk-rock singer-songwriter and guitarist revisits past relationships, experiences and lessons with gratitude on his latest album, Good Hart, via Mezzanotte Records.

“My executive producer [Bill Vlasic] said, ‘It sounds like you’ve reached a point now where you can look back,’” Lamb said. “And I thought, ‘I suppose, there are some cautionary tales.’”

Alongside those cautionary tales are 12 storied tracks filled with forthright lyrics, humorous and nostalgic reflections, and kinetic ‘70s-fueled instrumentation.

“When I was done with the record, I was trying to think of a title for it, and I was looking for whatever the overall theme might be,” said Lamb, who’s inspired by Gordon Lightfoot, Jim Croce, Warren Zevon and John Prine.

“I had thought about naming it after one of the songs … and I went through a bunch of different titles, but I thought Good Hart was really the only thing I could call it because that’s where we recorded it.’”

Lamb recorded his fifth album with co-producers Michael Crittenden and Jim Bizer last April at Good Hart Artist Residency in Good Hart, Michigan. They spent two 15-hour days laying down tracks for the album in a beautiful house located 35 minutes southwest of Mackinaw City.

“It’s built for painters and artists, and they recently started having songwriters and composers there,” he said. “I had use of the place for a few days, so I invited Michael and Jim to come up north … we were isolated and just had the lake out of our windows.”

Those picturesque surroundings also allowed Lamb to reflect on the album’s nostalgic sentiment and how time has shaped his own “good heart.”

“I felt that, too. At first, I thought it was kind of audacious to say that, but by taking the ‘e’ out and realizing it’s a town name, I thought, ‘Oh, OK,’” Lamb said. “It wasn’t my first choice, but several people said it has to be that, and I said, ‘OK, you’re right.’”

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Spring Forward – Earthwork Music Celebrates the Season with Michigan Tour and Sampler Album

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A Michigan music collective is ready to spring forward with a new tour and music sampler.

Earthwork Music, a collective of artists and musicians that fuses music with cultural and environmental awareness, is kicking off its first collaborative tour in five years this week with a run of Michigan shows.

Tour stops include April 19 at Kalamazoo’s Dormouse Theatre, April 20 at Lake Orion’s 20 Front Street, April 21 at Grand Rapids’ Midtown, April 22 at Traverse City’s The Alluvion and April 23 at the Ludington Area Center for the Arts in Ludington.

“The spring tour features 18 musicians and will be a cabaret-style show featuring each person leading one song with a varying backing band supporting. It will be beautiful, chaotic and absolutely magical,” said Nicholas James Thomasma, a Grand Rapids folk singer-songwriter and an Earthwork Music collective artist.

“Sometimes it will just be one or two people on stage; sometimes it’s a full band. Sometimes there are strings, sometimes drums, sometimes acoustic guitars and sometimes all 18 of us will be on stage together. Part of the excitement about this tour is that even the artists aren’t sure how it’s all going to work yet!”

Thomasma will share that anticipation alongside 17 other Earthwork Music artists, including: Dede Alder, Earthwork Music founder Seth Bernard, Ralston Bowles, Sari Brown, The Antivillains’ Sarah Cohen, Samantha Cooper, Chris Good, Jordan Hamilton, Amber Hasan, Josh Holcomb, Audra Kubat, Elisabeth Pixley-Fink, The Crane Wives’ Dan Rickabus, The Appleseed Collective’s Vince Russo, The Go Rounds’ Mike Savina, Jo Serrapere of Stella! and Ben Traverse.

“The thing I enjoy most is the thoughtful and creative people that make up our collective,” Thomasma said. “It’s a treat to play music with these folks, but even more so it’s a treat to simply know them as friends and spend time with them off stage.”

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Heal Over – Cameron Blake Explores Forgiveness and Finds Renewal on ‘Mercy for the Gentle Kind’ EP

Cameron-Blake-Press-Photo-Eric-Bouwens-photographer-copy — Cameron Blake embarks on healing journey of self-discovery on “Mercy for the Gentle Kind.” Photo – Eric Bouwens

For Cameron Blake, time and tenderness heal deeply buried wounds on Mercy for the Gentle Kind.

The Grand Rapids, Michigan chamber-pop vocalist, composer and multi-instrumentalist embarks on a cathartic journey to explore forgiveness and find renewal on his latest EP.

“That’s when the process began, and I thought, ‘OK, what are these three songs, ‘Blue Note,’ ‘Mercy for the Gentle Kind’ and ‘Cricket’s Waltz,’ about?’ I had to go back and piece it all together, but I was doing that simultaneously while preparing for my Return to the Violin recital,” said Blake, who’s also a classically trained violinist.

“Then I realized it was a very subconscious thing that I was making this record about the healing process and how the only way to heal something is not to harden up, but to show tenderness.”

Blake thoughtfully examines that concept throughout Mercy for the Gentle Kind’s six poignant tracks, which feature poetic lyrics and cinematic instrumentation mixed with indie-folk, chamber-pop and classical music sensibilities.

“And then I found the John Berger audio, which was in an interview with him talking about how we can judge systems and we can judge actions, but we can’t judge the human soul,” he said.

“I said to myself, ‘Wow, what a profoundly beautiful and incredibly difficult idea,’ but it sort of struck me because that’s exactly what I did with that past teacher of mine and that’s what healed me. It simply brought together the whole project.”

To learn more about Blake’s journey, I chatted with him about his background, a past traumatic experience that impacted his ability to play the violin, his “debut” album and latest EP, the Music in the Heights concert series and his upcoming plans.

Continue reading “Heal Over – Cameron Blake Explores Forgiveness and Finds Renewal on ‘Mercy for the Gentle Kind’ EP” →

To the Brim – Eric Ripper Manages Changing Priorities on New ‘Fill My Glass’ Single

Eric Ripper black and white — Eric Ripper performs with Jonny Neville at The Blind Pig in Ann Arbor last fall. Photo – Lance McQuesten of McQuesten Media

Eric Ripper doesn’t see life as a glass that’s half-empty or half-full.

Instead, the Ferndale pop-rock singer-songwriter sees it as brimming with changing priorities on his candid new single, “Fill My Glass,” out March 17.

“I wrote ‘Fill My Glass’ about five or six years ago, so it’s an older song,” Ripper said. “I didn’t remake this one for my Story Notes album, but I’ve been thinking for a while that this one could be played a lot faster. This song is also on my Empty Place EP.”

In its revamped version, “Fill My Glass” transitions from a mellow acoustic-pop ballad to an infectious pop-punk jam.

Determined acoustic guitar, fiery electric guitar, hefty bass, thumping drums and crashing cymbals prompt sharing struggles of self-doubt and seeking validation from a confidant.

Ripper sings, “I think I’ve had enough / I just wanna give up / Will you tell me that I’m wrong / So I can think differently about myself.”

“I wrote this song about a girl I was seeing at the time,” he said. “I interpret the lyrics as the character speaking to a bartender, addressing his problems and wanting the reassurance that he’s not wrong about what he’s thinking and feeling. He wants to think differently about himself in general.”

After confiding in the bartender, the character shifts to confronting his partner and their lack of commitment toward the end of “Fill My Glass.”

Ripper sings, “So what you say / You gonna give me an input / We’ve been here for an hour / And I’m feeling quite sour / Said ‘I’ve had enough of the bullshit’/ ‘Are you ready for commitment?’”

“He’s tired, and he’s had enough of all of this. He doesn’t want to believe that they have given up though. He needs the reassurance that he’s wrong so he can think differently about the two of them,” Ripper said.

“‘Fill My Glass’ is saying how he needs validation from others on how to feel. He’s sticking up for himself to an extent, but he still needs the reassurance from others when he should truly be doing that on his own.”

To refresh the track’s sound, Ripper collaborated with Livonia producer and Studio 222 Recording owner Brandon McLeod and Highland guitarist Jonny Neville.

“We found the right tones we needed and mapped out the song to slowly build up and have the second chorus be really heavy-hitting. He had the idea of the sounds backing away and coming back at the intro of the second chorus, a bit influenced by Travis Barker’s production style,” he said.

“We knew we needed a killer solo to end the song, and I asked Jonny if he could come in and lay something down, and he nailed it. The rest of the song is my guitar playing.”

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Free Reign – Gerard Smith Brings Noble Prog-Rock Elements to ‘Lullabies in an Ancient Tongue’ Album

Gerard Smith 1 — Gerard Smith embarks on a prog-rock odyssey on “Lullabies in an Ancient Tongue.” Photo courtesy of Gerard Smith

Gerard Smith freely reigns in the court of prog rock on Lullabies in an Ancient Tongue.

The Detroit vocalist, multi-instrumentalist and founding member of Bill Grogan’s Goat fuses noble elements of Celtic music, hard rock, jazz and folk with political and mythological themes on his latest album.

“I love that line, ‘Lullabies in an Ancient Tongue,’ it’s from King Crimson’s song, ‘The Court of the Crimson King,’” said Smith, who plays guitar, mandolin, bouzouki, bodhrán, tin whistle and concertina. “I also had an idea for a lullaby rolling around in my head for a long time; it’s ‘Sweet Dreams and Soft Mornings.’”

Throughout Lullabies in an Ancient Tongue, Smith embarks on a prog-rock odyssey filled with pursuits for justice, courage and truth. The album’s storyline seamlessly shifts from fantasy to reality alongside melodic instrumentation, complex time signatures and world soundscapes.

“This album is a collection of songs, but these are all themes that I think about a lot. It’s the idea of the stress of living your life with political dissent,” he said. “It’s especially true with the way the lyrics fall out in ‘Standing Stones’ and the whole idea of propaganda and how people cannot think critically when they want to be part of a [group].”

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The Stratton Setlist

Catch the opener. Stay for the encore.

Category: Concerts