Emily Rose performs with Dan “Ozzie” Andrews during a “Ghost Night at Ghost Light” show. Photo – Jeff Spisak
Six years ago, Emily Rose tested out a new concept for a live show.
The Detroit indie-folk singer-songwriter hosted a tribute night honoring a late artist at Ghost Light Bar in Hamtramck, Michigan.
“One of the bartenders at Ghost Light is a close friend and he said, ‘Emily, you could have a regular show here if you wanted.’ He planted that seed, and I did a Jim Croce tribute night in 2017 because he’s a songwriter that I love,” Rose said.
“It was a great show and it was so much fun. In the back of my head, I thought, ‘Well, maybe someday I’ll do a monthly show where I learn a bunch of songs by a different artist.’”
At the time, Rose laid the foundation for what would become “Ghost Night at Ghost Light,” a monthly tribute show featuring local artists performing the music of departed singer-songwriters as well as sharing their own material.
“Last year I was in a position where I realized I needed something to focus my energy on,” said Rose, who launched the concert series last June. “I needed a project to throw myself into … and a lot of my favorite songwriters are dead. The idea to do a different departed songwriter every month just made sense.”
Jeff Tweedy hangs out with April Baer of Michigan Radio’s Stateside. Baer spoke with Tweedy about his latest book, “World Within a Song: Music That Changed My Life and Life That Changed My Music,” last month at U-M’s Rackham Auditorium in partnership with Literati Bookstore. Photo taken from Jeff Tweedy’s Facebook page.
Editor’s Note: This article originally appeared on the Ann Arbor District Library’s Pulp blog.
Back in 2009, I actually heard Wilco for the first time.
It’s not that I didn’t know the band’s music, but it was the first time I had developed an emotional connection to one of their songs.
It was “You and I,” a heartwarming duet with Feist from the band’s self-titled album. The track addresses two lovers trying to preserve a relationship as Wilco frontman Jeff Tweedy sings, “You and I, we might be strangers / However close we get sometimes / It’s like we never met.”
While I’ve never met Tweedy and or any of the other Wilco members, “You and I” emanates a comforting familiarity in terms of its memorable lyrics, bittersweet harmonies, and smooth bassline.
There’s an unexplainable pull I feel to it, and it’s something Tweedy easily masters after nearly three decades of writing Wilco songs.
That statement nicely encapsulates the key takeaway from Tweedy’s third book, which highlights the memorable connections—both positive and negative—he’s made with 50 different songs throughout his life.
Nick Veine and Ben Traverse feature rich harmonies and majestic acoustic folk instrumentation on “Me Grief and Tears to Smother.” Photo – @wildsubterranean_
The traditional folk duo features a dozen tracks—ranging from sweet ballads to raucous drinking songs—celebrating the historic traditions of Ireland and its ex-pats on their latest album.
“I think the biggest thing someone can learn from this record is how borders and cultural divides are less important than one might think,” said Traverse, who’s from Grand Rapids, Michigan and is the duo’s co-lead vocalist and multi-instrumentalist alongside Veine.
“Most of these songs didn’t actually come from Ireland, but they were either written by [its] people or were brought into the tradition from the outside. It’s all richer because of it. Just because the version of ‘Wild Rover’ came from Australia doesn’t mean that it isn’t Irish now—it’s both.”
Throughout Me Grief and Tears to Smother, Traverse and Vein sing about soldiers, fishmongers, families, immigrants and other storied figures against a backdrop of rich harmonies and majestic acoustic folk instrumentation.
“They tell the tales of quite diverse people and that’s very important. Everyone hears of stereotypes of the drunken Irishmen, but Irish culture is very nuanced and beautiful,” said Veine, who’s from Manistee, Michigan and serves as the duo’s other co-lead vocalist and multi-instrumentalist.
“There’s alcohol in just about every culture around the world. Irish songs celebrate the ability of drinking establishments/events to bring people together and have fun.”
I recently spoke with Traverse and Veine about growing up in Manistee, becoming inspired by traditional Irish folk music, researching the history behind the album’s tracks, sharing their thoughts about select songs, embarking on an album release tour and making plans for the future.
The JR Band’s John Patrick and Randy Juhl share rich elements of bluegrass, folk and country on “Heart Street.” Photo courtesy of The JR Band
The JR Band fondly remembers the early days of jamming at a local coffee shop.
The Bay City, Michigan duo of John Patrick (vocals, guitar) and Randy Juhl (vocals, guitar, bass, violin) revisits the camaraderie and creativity that arose from those caffeinated bluegrass sessions on “Heart Street.”
“It was called Brewtopia, and we played there for many years. I have a DVD where we started at two o’clock and ended at eight o’clock; it was six hours of bluegrass,” said Juhl about the title track from the Americana duo’s latest album, Heart Street.
“I hooked up with Rusty [Beyer], who was one of my friends, and he directed me toward the coffeehouse where we played in the bluegrass band for many years … and that’s where I met John.”
While the bluegrass band eventually dissolved, Juhl and Patrick continued performing together and became a duo about three years ago. Today, The JR Band celebrates their longtime musical partnership and the spirit of community on “Heart Street.”
Sentimental banjo transports Patrick to the past as he sings, “There’s a place we go / Where the music plays / A cup of coffee, an old café / Banjo strings ringing / Ring me back to life.”
“It’s about getting out of our weekly routines, too, because everybody works,” Juhl said. “It’s like, ‘Let’s go play some music.’”
For the September “Soundcheck,” I assembled a collage of new releases that represent a season of change. Whether it’s being resilient, overcoming heartbreak, reflecting on the past or entering a new dimension, each release introduces a different chapter and the possibilities that come with it. I invite you to explore these sonic offerings and see how they relate to your own experiences.
Jennifer Westwood and The Handsome Devils, “Bullet Proof”
Detroit’s Jennifer Westwood and The Handsome Devils acknowledge the power of resiliency on their latest single, “Bullet Proof.” The soulful, bluesy ballad celebrates being yourself, standing your ground and moving forward despite receiving negative feedback from others.
Alongside bold electric guitar from Dylan Dunbar, Westwood sings, “I’ve heard it all before / I’ve given my best and more / Been locked out / But I just beat down the door / It’s not like me to fade away / Oh baby, I’m bullet proof.”
Those strong words inspire us all to regain our self-confidence and deflect criticism from our detractors. I can’t think of a better song to play when I need some extra encouragement after a tough day. (Plus, Westwood offers strong words of wisdom and support daily for Detroit musicians through the Playing in the Detroit Area Tonight – Music News Facebook group.)
Westwood and husband Dunbar truly shine with top-notch bandmates Chuck Bartels (bass), David Below (drums) and Evan Mercer (piano) on the first track from their forthcoming album. They’re working with Royal Oak producer Bunky Hunt of WhistlePig Music Group and recently completed some additional recording sessions at Memphis Magnetic Recording.
The July edition of “The Soundcheck” celebrates the concept of summer through different emotions and experiences—love, authenticity, remembrance, nostalgia and connection. It’s time to think about “Your New Favorite Lover” while you “Stay Behind The Wheel” and later arrive at your destination and receive a warm greeting of Welcome to Pookie’s. There’s also a need to reflect on the life and love of “Willow” and remember what’s For Debbie.
Rhythmic drums, gleaming electric guitar, humming bass and romantic piano wrap listeners in a heated embrace alongside frontman Josh Clemens’ fervent vocals.
He sings, “Ooooh I’m not trying to hide / What you see is what you get / Now you’re the owner of this wreck / Honestly, what did you expect of me / You only get the best of me / You’re begging for the rest of me / Honey, you’re not ready, but come and get it now.”
The track’s infectious, sensual groove is guaranteed to captivate new and current Strange Heart fans. Drummer Bobby Jankowski, bassist-vocalist Mike Schneider, lead guitar-vocalist Mike Leslie and Clemens have won me over, and I know they’ll delight you as well.
Strange Heart also blazes on stage with an eight-piece band (complete with horns), so check them out July 20 at The Whitney in Detroit and July 22 at Eastern Palace Club in Hazel Park.
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.”
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.
“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!”
“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.”
The Lansing-Grand Rapids, Michigan Americana-folk quintet of Tommy McCord (vocals, acoustic guitar), Danielle Gyger (vocals, fiddle, acoustic guitar), Timmy Rodriguez (vocals, electric and upright bass), Dan O’Brien (vocals, electric and upright bass) and Adam Aymor (pedal steel) ventures through life’s peaks and valleys on their latest anecdotal album.
“One of the big differences between [2021’s] Volume 1 and Volume 2is that on Volume 2all of the original written songs were brand new when we did them,” said McCord, who also produced and released the album via GTG Records.
“That’s very much reflected in the material because that’s what was going on in our lives; some of us were getting married, and Timmy and Dan both had kids in 2020. It wasn’t on purpose, but that very much is true.”
Alongside Volume 2’s storied lyrics and bucolic setting, The Wild Honey Collective beautifully weaves timeless acoustic instrumentation with rootsy sensibilities. It’s a refreshing listen while spending time with family and friends at a lakeside cabin or trekking through hilly, sprawling landscapes.
“By Volume 2, we were a gigging band when we made the album, and I think that really shows,” McCord said. “It feels more like a band than a studio project. We’re just kind of driving forward with that now.”
“When you play in punk bands, the idea of recording cover songs is very taboo unless if you’re making fun of it or something. But in the world of traditional and folk music, that’s kind of part of it … interpreting other people’s songs and the Great American Songbook,” said McCord, who also plays in Drinking Mercury and The Plurals.
“That’s something I’ve learned more as I’ve played is this idea of respecting and learning from other songwriters … it’s really important. It’s less about my ego and more about what are good songs.”
Linden Thoburn creates a spring-like feel on “When the Sun Comes Shining Through.” Photo courtesy of Linden Thoburn
Linden Thoburn beautifully shines a light on the road less traveled.
The Brighton, Michigan country-folk singer-songwriter and guitarist shares hopeful tales of navigating life’s seasonal changes on her adventurous new album, When the Sun Comes Shining Through.
“There’s a lot of movement, and there’s a lot of leaving one state and going into another state. I write from listening to life and listening to myself, and that’s just what was there,” Thoburn said.
“It’s somebody who’s able to look back and be here, yet still be able to bring some perspective, hopefulness and realism, too. The journey continues, and if you’re really going to live this life and be here, you have to be awake to the journey.”
On When the Sun Comes Shining Through, Thoburn deeply embraces a pictorial journey filled with lonesome AM radio, cherry red vans, summer berries, Mississippi tributaries, bright wings and Avalon forests. Each radiant track leaves a lasting imprint on the heart and soul of bygone eras and unread chapters.
“A lot of 2022 has been getting this album ready to launch … and I keep thinking COVID is over, and the sun comes shining through, and then COVID keeps coming back,” she said with a laugh. “This album is like leaving COVID, and it’s like going from winter and heading into spring.”
The Stratton Setlist 