The metro Detroit folk singer-songwriters will celebrate the release of their latest poignant albums, “Momma Liked to Fish” and “Sweet Summer Moon,” at the intimate 90-seat venue. Wieland and Rinn will take turns performing songs and supporting one another with instrumentals and harmonies throughout their joint set.
“John and I are both members of Songwriters Anonymous, and our CDs came out about the same time. We also know each other from doing open mics, especially at BaseLine Folklore Society. We have not performed together before so this will be an adventure for both of us,” Wieland said.
For Wieland, Saturday night’s on-stage adventure also will include singer-songwriters Sara Melton Keller, Beverly Meyer, Robin Monterosso and Linden Thoburn as special guests on backup harmonies throughout her set.
“Trinity House Theatre is a place I feel really comfortable, and it’s a great place to be a performer or a listener. I attend the monthly Songwriters Anonymous meetings there and have made so many wonderful friends through this venue,” said Wieland, who’s from Ann Arbor.
For their latest album, C-Level kindles a fiery blend of funk, punk, blues and reggae.
On “Burn Your Own Gasoline,” the Cleveland genre-bending trio of Dave Deitke (vocals, guitar), Cody Crose (bass) and Pat Boland (drums) ignites a blazing sonic wildfire that’s quickly spreading along Ohio’s north coast and the Midwest. It’s the band’s first release since 2018’s “Rights” concept EP.
“It’s about burning your own gasoline, running off your own fuel and inspiration, and the driving force behind it. We’ve been hustling real hard to get better spots and other sounds and stuff together, and we’ve been running off our own ambitions,” said Deitke about the band’s fourth album, which dropped Friday.
C-Level’s sizzling nine-track album opens with a timeless blues cover, “Bac Bac Train,” originally recorded by Mississippi Fred McDowell and later reinterpreted by Aerosmith. It features a rousing combination of bluesy, vibrant guitars and pounding drums chugging back toward the station – “Way way down/Way way down/Way way down that lonesome road/Bac bac train/Bac bac train will take you home again.”
“That’s a traditional blues thing that Cody and I used to cover in a lot of renditions of the band. A lot of this record is getting stuff we’ve done down the way we wanted to have it,” said Deitke, who formed the band with Crose in 2010 and added Boland to the lineup three years ago.
Deitke, Crose and Boland also shine on the album’s melodic third track, “Wherever I Go,” which weaves tremolo guitars with delicate cymbal taps and pulsating drums into a heartfelt ode reminiscent of the John Butler Trio – “Leave a mark they can’t remove/Streets wear through souls and wear through shoes/Breathe in cold air/Exhale, find a trace of her there/Wherever I go, I hope you are there/And wherever I go, I hope you are there.”
As the everyday person’s troubadour, Jeremy Ivey will share thoughtful tales of the nation’s turbulent political climate mixed with personal diaspora and societal struggles at The Blind Pig tomorrow night.
The Nashville, Tenn., singer-songwriter will make his live debut at the legendary Ann Arbor rock club and open for Ian Noe, a Beattyville, Ky., singer-songwriter.
“It will be me and a harmonica and a guitar, and I’m looking forward to it. I’ve been on enough hectic production tours that I’m ready to be by myself for a little bit,” said Ivey, who kicked off his tour Sept. 12 at Nashville’s AMERICANAFEST. “I’ll definitely play some songs from the record, but I’ve already recorded a second record and have the third one already written.”
Interpreting ‘The Dream and the Dreamer’
For his intimate Saturday night set, the prolific Ivey will feature homespun, deeply introspective tracks from his brilliant nine-track debut, “The Dream and the Dreamer,” which dropped earlier this month on Anti-Records.
Recorded in a small Nashville home studio with producer and wife Margo Price, Ivey’s album beautifully weaves elements of classic folk and gently-frayed psychedelia with Southern rock and Americana pop-tinged sensibilities. Price encouraged Ivey to write and record a batch of his own songs during a brief tour break.
“I co-write a lot with her, but I had been writing stuff that I was pretty sure she wasn’t going to sing. It only took me a couple of weeks, maybe a month tops, to write the whole thing,” said Ivey, who initially played with Price in the country-soul group Buffalo Cover as well as Secret Handshake.
“Everyone always says you take your whole life to write your first album, and I’ve been writing since I was 15, so that’s not necessarily true for me. I went in to record, it was supposed be demos, and it turned out pretty good. Anti had heard them, and then it all started to happen. I never really planned for it to be a record.”
For The Sneeks, opportunity knocks with a new five-song EP.
The East Lansing alt rock quartet has delivered their latest release, “Sneekin’ Out the Back Door,” today via streaming services as a fun, breezy follow-up to their eight-track 2017 debut album, “Sneek Attack.”
Through “Sneekin’ Out the Back Door,” Niko Matsamakis (vocals, guitar), Kevin Neumann (vocals, bass), Alex Olivero (vocals, guitar) and Houston Smith (drums) create a laid-back summer sound filled with shimmery Mac DeMarco-inspired guitars and wrapped in personal tales of fleeting relationships.
It’s the musical alter ego to “Sneek Attack,” which follows a “rad rock and troll” sound born out of the band’s Michigan State University (MSU) party days and garage punk rock shows with Twin Peaks at The Loft in Lansing.
“The different approach for ‘Sneekin’ Out the Back Door’ is definitely the songwriting and recording style,” Matsamakis said. “We recorded it in my house upstairs in four different rooms at the same time, and we tracked it all together. Houston was in one bedroom, I was in another, Kevin was in the other bedroom and Alex was in the bathroom.”
Neumann and Olivero also contributed tracks to the “Sneekin’ Out the Back Door” while Matsamakis wrote the material for “Sneek Attack” – his personal journey through post-breakup single life.
“We used some different effects on our guitars that we don’t normally use, and some of those ‘Sneek Attack’ sounds are harder in general, but ‘Sneekin’ Out the Back Door’ is definitely a softer sound,” Matsamakis said. “I wrote a few of the songs, showed them to Kevin, and Kevin put his touch on them, and then vice versa. I would say Kevin’s songs are definitely the softer ones.”
Olivia Millerschin will perform a holiday-themed show in Howell tonight and sign copies of her new children’s book, “Cactus on a Ledge,” in Saline Saturday afternoon at McPherson Local.
The Auburn Hills indie folk singer-songwriter will share her renditions of holiday and jazz standards while playing selections from her own catalog at 7 p.m. tonight inside the Howell Opera House, 123 W. Grand River in Howell.
Built in 1881, the Howell Opera House is a historic landmark in the city’s downtown, and the iconic venue’s first floor was renovated in 2006 for live shows and events.
For her Howell show, Millerschin will be joined by musicians James Pyne (trombone), Brian Riley (guitar) and Bob Mervak (keys).
“I have a couple of original songs and others that have been done by some of my favorite artists that are lesser known,” said Millerschin, who’s performed at the Howell Opera House twice before. “We’ll have some holiday classics by The Carpenters, and then we’ll play some of my own stuff.”
“This is the first official store that’s going to be carrying the book, and it’s owned by these incredible people,” Millerschin said. “It’s all Michigan made products, so we just thought, ‘What better place is there to do this?’”
Millerschin didn’t initially plan to write a children’s book. Instead, she wrote an introspective ballad of the same name about a cactus who wants to become a tree, but soon realizes it’s cooler to be herself. After writing the song, family, friends and fans encouraged Millerschin to turn it into a children’s book.
She teamed up with a Matter of Fiction Publishing and artist Kathrin Honesta to compile and illustrate the book, which also includes a companion CD of the “Cactus on a Ledge” song. Honesta also did the cover art for Millerschin’s critically-acclaimed 2016 album, “Look Both Ways.”
To promote the book and song, Millerschin plans to visit local independent book stores, libraries and elementary schools in the coming months. The book will be sold in local shops, at shows and through Millerschin’s website.
“I just wanted to have something really organic and show the people who have supported me from the beginning first,” she said. “I sold almost an entire box of books at The Scarab Club in Detroit last Saturday during Noel Night.”
In addition to her upcoming book tour, Millerschin plans to record and release a live album soon.
“I’ve had a lot of frustration with making new music, and I’ve always had trouble with getting the right production down,” she said. “I’m at a point where we should just sing live with the full band, get right in the studio and release it that way. We’re going to be releasing a lot of new stuff, but just the live versions of it.”
Editor’s Note: My husband Brian writes his first Stratton Setlist blog post about Black Sabbath’s final Detroit area show in Clarkston, Mich. Wednesday night.
“Is it the end, my friend?” sang Ozzy Osbourne during the opening song of Black Sabbath’s final show in metro Detroit.
Sadly, it was the end, but it’s hard to say goodbye, especially to old friends. Six years ago, I had to say goodbye to Ronnie James Dio, and last year, I most likely said goodbye to Rush. And now it was time to say goodbye to Black Sabbath.
I’ve been a fan of Black Sabbath since middle school. My brother had introduced me to Led Zeppelin and Rush, and I loved them both, but Black Sabbath was the first band I had claimed as my own.
They felt like a secret that my friends and I shared, and we had fun exploring and debating the different lineups. Was Ozzy era Sabbath better, or the Dio material? What about the Tony Martin incarnation of the band?
The truth was I loved all the lineups. Black Sabbath was like a saga that kept going on and changing over time, and they never disappointed.