Posts by Jeff Strowe

One of 2010’s most buzzed-about bands has been The Morning Benders, a group of trendy, Urban-Outfitted prepsters that resemble the unsigned younger cousins of Vampire Weekend.  Nattily dressed in cardigans, skinny ties, and Sperry’s, the band has been riding the success of their release Big Echo and parlaying it into a plush opening spots for Black Keys and Broken Bells and late-night appearances on Jimmy Fallon and Carson Daly.

Due to some keen marketing and a barrage of advance press, most rock fans now know the back story of Mojo, Tom Petty’s long-awaited return to the studio with his legendary band, The Heartbreakers.  Recorded live, mostly on the first take with little to no overdub or tweaking, this corps of rock and roll Hall of Famers live up to their billing with a blistering, bluesy, and furious statement of an album designed to cement their legacy to long-time fans and show a new generation how it’s done. 

A long weekend of music came to a close Sunday night where I found myself back at the Lincoln Theatre for a show by Robert Earl Keen.  After witnessing both a blazing Friday night set by Jason Isbell & the 400 Unit and a perfectly mesmerizing three-hour masterpiece by Wilco on Saturday night, I wasn’t sure I could muster the enthusiasm for the rowdy revelry that normally accompanies a Keen show.

Jason Isbell and 400 Unit blazed through the night with a two and a half hour set fluctuating from shimmering raucous guitar blues, songwriting gems, and shimmering power pop.

Sloan, The Waxwings, and Roman Candle, are three bands that came to mind when listening to the debut album from Yukon Blonde, a Canadian outfit formerly known as Alphababy.  Their music is pleasant and airy; poppy and hooky, but not too daring.

Such was the dichotomy of the much buzzed Providence band’s show: gorgeously crafted country-tinged songs of heartache and regret coupled together with finely tuned rock guitar outbursts, all carefully hanging in the balance behind McCauley’s woozy stage presence. 

But, for Son Volt fans, last night was a positive glimpse into a focused and hungry band, one that was in danger of getting bogged down by a distant and studio-sounding live show.  Jay Farrar’s songs have never suffered for lyrical grace and insight; it’s the presentation that sometimes lacked vigor.  James Walbourne added a much needed dose of rock and roll swagger to Farrar’s meditations of the American Dream.  

The Manx craft together a collage of wistful lyrics, amiable soundscapes, and pitch perfect production, courtesy of Wilco sideman Mikael Jorgensen

After a 40-minute set of fire and brimstone Old Testament blues from opener Rob Jungklas and his three-man band, the emcee stepped onstage with a few announcements and the proclamation of Lucinda