Music

MAKING THE BEST OF A BAD THING

Greensky Bluegrass turned pandemic downtime into a stellar new album

By Jeff Niesel

Greensky Bluegrass

FOR A BAND THAT TOURS AS

steadily as Greensky Bluegrass, the pandemic certainly had a huge impact when it brought touring to a standstill in 2020.

“I think [the pandemic shutdown] was a good and bad thing,” says guitarist Dave Bruzza last month via phone from his Denver home. Greensky Bluegrass performs on Wednesday, Jan. 25, at the Agora. “The bad part is very apparent, but it was nice to take a step back and take a breath for the first time in 20 years. Now that I look back on it, I see that as a big plus. We found ways to be creative. We made a record during that time and did some writing and experienced personal growth. This year was a little different. This year has been great. Things seem more comfortable, and we’ve been lucky with that.”

Though band members began writing new songs in isolation in Spring of 2020, the band spent a week in Colorado in August of 2020 at a rental house in Winter Park where the members could just focus on finetuning the material they had started to develop.

“[After touring shut down,] everyone was in their respective homes. We all spread out and went to the places we needed to be for our personal lives,” says Bruzza. “We don’t live in the same place anymore, so we started sharing demos we had recorded at home. At some point, we realized that in that shared folder, we had a ton of songs. Everyone was doing their thing. We decided that if we couldn’t go on the road, we should go make a record. We have a friend in the mountains who let us borrow their pad, and we combed through the songs and made demos from there. At that point, we were then ready to go to the studio.”

In September of 2020, it started recording what would become Stress Dreams in Guilford, VT and in Asheville, NC with frequent collaborator and old friend Dominic John Davis as producer and “wizard engineer” Glenn Brown mixing.

The title track represents the first-ever song written by bassist Mike Devol, who’s originally from the Akron area.

“I’m so impressed with Mike because he’s such an incredible musician and so knowledgeable about music,” says Bruzza. “He composed that piece, and it was my absolute favorite out of all the songs. I’m not trying to play favorites. I can’t speak for everyone, but it spoke to me about where we were at in the world. Our friend [and a member of the band Ghost Light and frequent collaborator with Phil Lesh] Holly [Bowling] was traveling with her family in the area, and she came by to put on the piano and organ on it, and that was the icing on the cake. That’s one of the best things we’ve ever recorded.”

Another album highlight, the Bruzza-penned “Streetlight” sounds like it could be a track by Dylan/the Band.

“It just started off as kind of a joke,” Bruzza says when asked about the track. “I made a joke that I could make a song about anything. A day later [after working on the tune], I thought it was pretty good, and I started messing around with it. I sent it to my friend [singersongwriter] Aaron Allen. He helped me complete the thing. I wasn’t planning on submitting to the record process, but the guys liked it, so we recorded it.”

With its lyrics about the constant need for “the new shit,” “New & Improved,” another song that Devol wrote, serves a good social commentary.

“I really connected with it,” says Bruzza when asked about the tune. “I went through a divorce a couple of years ago and have been sober for two years now. I was newly sober, and we were going to figure out who could sing the songs that Mike wrote. I put my own personal stuff behind it when I sang it. It’s a good song about growth and moving forward. Plus, it was musically interesting. Mike put a challenging section in it, and we play in 7/8 and then go back to 4/4. It’s a tricky way to count music sometimes. To the normal ear, you can’t really pick up on that type of stuff.”

Bruzza says new songs are starting to surface, but the focus at the moment is the band’s annual winter tour. The combination of steady touring and writing in spurts has served the band well. In short time, the group will celebrate 25 years together.

In the end, Bruzza attributes the band’s longevity to the fact that members “genuinely like each other.”

“During the pandemic, we marked 20 years. Time really flies,” says Bruzza. “We’ve always believed in the band. We’re lucky. It’s just what we do. There’s always ups and downs. It’s been incredible the things we have gotten to do. It’s something we don’t take for granted. We never do. We’re pretty blessed, and I’m really grateful and humbled by the love and support. It’s very lucky. We’ve always been a collective. We arrange everything together. There’s not a lot of ‘this is mine.’ You can approach it many different ways, and we truly look out for another and try to serve the songs we best can and make things the best we can together.”

GREENSKY BLUEGRASS, DANIEL DONATO

6 P.M. WEDNESDAY, JAN. 25, AGORA THEATRE, 5000 EUCLID AVE., 216-881-2221. TICKETS: $32.50-$59.50, AGORACLEVELAND.COM.

jniesel@clevescene.com t@jniesel

MUSIC

IN 1981, SCOTT “CHEESE”

Borger joined the Pink Holes, a local punk band that was active until 1990, when their guitarist, Bob Richey, relocated to Los Angeles. While Borger took a brief break from music in the wake of the band’s dissolution, he’s been a steady advocate of the local punk scene — past and present — ever since he helped Mark Vocca with the Clepunk. com website that Vocca launched and put out a compilation of previously unreleased Cleveland punk songs in the early 2000s.

While the Pink Holes no longer get together for reunion shows, Borger has continued to write new songs with the Cleveland Steamers. The band’s latest effort, 10 More Steaming Piles of Hit, a carefully crafted collection of tunes that Borger has divided into “love” and “hate” tracks, just came out. It features Borger on bass, Chris King on vocals, Meredith Rutledge-Borger on vocals, Nick Summa on guitars, and James R McWilliam on drums, harp and vocals.

In a recent email exchange, Borger spoke about the new album.

Talk about how the Cleveland Steamers first came together?

Back in 2011, Larry Lewis (aka Lair Matic) was diagnosed with terminal cancer and given about 6 months to live. Larry was a familiar face in the music scene here in Cleveland having started playing in bands when he was 15. I remember the first time I met him was at a Pagans’ gig at the Pirates Cove in 1979, and we became fast friends. After learning of his dismal cancer news, Larry wanted to record some last songs and recruited a band from among his friends which included Steve-O (Death of Samantha) on drums, Nick Summa (Floydband) on guitar and myself on bass. Larry died shortly after we recorded four songs of which we released two on a seven-inch under the name Lair Matic Assembly. There is a wonderful short film about those days on YouTube. It’s called The Story of the Lair Matic Assembly (punk musician, AK-47s, Broncs, Cleveland Confidential). After the project with Larry, I mentioned to the other guys involved I had some songs and wanted to record an album, so we stuck together and recorded the first Cleveland Steamers album shortly after.

The Cleveland Steamers

A WELL-BALANCED BAND

The latest Cleveland Steamers album features 10 carefully crafted tunes

By Jeff Niesel

You’ve played in bands prior to this. What did you want to do differently with the Steamers?

The main two bands were the Pink Holes and the 2 Bobs. Those were extremely hard drinking bands, and we played drunk rock. Both bands were tons of fun to be in for the most part. I might have written two or three songs in those days. The Cleveland Steamers was my first attempt at writing all the material and trying to learn how to actually play bass.

Chris King is a spectacular singer. Talk about what he brings to the band.

The current release is our fourth album. I was doing vocals on the prior ones along with my wife Meredith. She is a great singer but prefers more of a back-up role. I, on the other hand, am not much of a vocalist and wanted to take the songs to a higher level. The original idea was to try Chris on a couple, but as soon as we started, it clicked, and we knew we had our guy. In the late ‘70s when I started going to gigs, I saw the Wild Giraffes a ton of times and Chris always blew me away. It’s amazing to me to be working with him. [He has the] perfect voice and phrasing for power pop.

The other musicians in the band are no slouches. Can you talk about each of them?

Well, as I stated earlier, Meredith has a great voice and loves doing background vocals. Nick Summa handles the guitar parts. Nick has been around; probably most notable are his years in Floydband. He owns a couple of clubs and has many jam nights, so he works his craft constantly. I am always amazed at how he can play any style. James R McWilliam is the drummer but brings much more than just his awesome skill set there. He constantly surprises us. On this album, he played some harmonica, and it was all one-take stuff. He also has a great voice.

What made you want to divide the songs into “love” and “hate”?

I feel like our songs always end up on either side. I write some sweet stuff or my inner darkness grabs control and the hate takes over. I was looking at the songs on this one and it was almost a 50/50 split. “Count on Me” should really be on the love side, but I wanted to balance out the time on each side. I had this idea in my head for a while about an album cover using a couple of friend’s hands on the jacket, one on each side. Phoebe Foltz has LOVE tattooed on both of her sets of knuckles while John Morton has HATE on both of his. I ended using that idea as the inner sleeve.

“Love” songs like “Marie” have great pop hooks. Where do your pop sensibilities come from?

Just from listening to music my whole life. I’m one of those that say the Monkees were my Beatles. The Ramones were huge to me. This is a hard question to answer, but one thing comes to mind. After our second album, Nick said to me about songwriting, “Just don’t have any boring parts.” It’s a very simple concept, but hearing it really helped me think about trimming the fat in future songs.

The album just arrived on vinyl. Which local record stores have it in stock?

My Mind’s Eye, Blue Arrow Records, Late Nite Records and the Record Den.

jniesel@clevescene.com t@jniesel

MUSIC

ALL OVER THE PLACE

Eclectic new album from Magic City Hippies benefits from being less focused

By Jeff Niesel

Magic City Hippies

WHEN MAGIC CITY HIPPIES

singer-guitarist Robby Hunter was younger, his dad made him listen to classic acts such as the Beatles, the Beach Boys and Fleetwood Mac. As he got older, he turned to Sublime and singer-songwriter John Mayer for inspiration. You can hear all of those influences in the funk/soul/altrock band’s sound.

“I liked a lot of hip-hop too,” Hunter says in a recent conference call with his bandmates, multiinstrumentalists Pat Howard and John Coughlin. The band performs on Tuesday, Jan. 24, at House of Blues Cambridge Room. “I used to do a lot of old school hip-hop covers. At the time, I thought it was unique. Now, it’s kind of a common thing. It was a lot of Frank Ocean and Kendrick Lamar and Red Hot Chili Peppers, especially for the live performance. It feels like that’s our vibe up there [on stage] a lot.”

After releasing Magic City Hippies in 2013, the Robby Hunter Band decided to change its name. Though it initially thought it was “too risky” since the group already had a following, it made the switch, and its audience came with it.

Released in 2015, the Hippie Castle EP signaled a breakthrough. It featured the hit “Limestone,” a low-key tune that features Hunter slipping into a soulful croon to the accompaniment of percolating synths. It piled up over 21 million Spotify streams. “Fanfare,” which received another 20 million Spotify streams, became just as big of a hit. The group played festivals such as Bonnaroo, Lollapalooza, Hulaween, Okeechobee Fest, Electric Forest and Austin City Limits.

In a stroke of good luck, it managed to complete an extensive tour in support of 2019’s Modern Animal before the music industry shut down.

“We finished the album cycle just in time,” says Coughlin. “We toured the whole country and did two dates in Canada. We felt like we came home as the conquering heroes. I love that record, and I’m glad it got the full treatment.”

Howard agrees.

“[After the tour,] we got back to Miami, and we celebrated,” he says. “It was the first tour we netted money — not a lot. It was just hard to get there. With original music, it’s hard to get there. We rented a small boat and raged together. Three days later, the world ended. We got our little triumph in. We felt astronomically lucky to finish the whole tour before COVID began to mess everything up.”

The group didn’t let lockdown cramp its creativity, however. It managed to complete its latest effort, last year’s Water Your Garden, remotely.

“It’s not how we’re always going to work,” says Coughlin when asked about the recording process. “We were just in the studio last week working on new music, and a lot of the magic is starting songs together in the same space. We had our recording setups. We could start the production and send the songs to Pat [Howard], who is at the end of the funnel. It allowed him to feel creative and follow the growth of the plant seeded there. It sounds more like a record that’s all over the place — more like The White Album than a focused record like Abbey Road.

The LP commences with “Garden Fiya,” a tune that features a strange bit of spoken word along with ratcheting percussion and funky keyboard fills.

“I thought of it as a nice start to it,” says Coughlin. “You hear ‘Water Your Garden,’ and you think it’s going to be something very pastoral and acoustic guitar-y. It starts so intense, so you know it’s not that.”

“We’re just having fun,” adds Hunter. “We’re drinking a 12-pack and smoking weed and having some fun.”

The Prince-like “High Beams” pairs the group with fellow funk lover Nafets, who adds soulful vocals. Howard met the musician when working at a Miami recording studio called 10K Islands.

“We struck up an instant friendship and did some songs together,” says Howard. “About a year before the pandemic, I did a session with him in L.A. We weren’t sure what to do with it. Orphaned ideas are fair game, and I thought of that one. We were into Mac Miller’s album Swimming that had ‘What’s the Use?’ on it. It was this new take on disco funk, and something that’s super-fun to play. I asked Nafets if I could build it out to a tune featuring him. He was very gracious and down. The cowbell sound is a cereal bowl. The other stuff is my lap. It started as a studio apartment demo. When we got ahold of it, I wanted to try a bunch of other stuff.”

The band says it couldn’t be more excited to return to the road and get back on the stage, where its music really comes to life. It aims to bring some heat to whatever town it visits on its winter trek.

“This tour will be crazy,” says Howard. “No matter what happens in our lives or how cold it is outside or how tired we are, we go one hundred percent. With this one, I’m just feeling it. I’m looking to push us a little harder on this one. It’s more rock-oriented and more cohesive. The studio is one medium, but live there is much more room for guitar and sweaty rock ’n’ roll.”

MAGIC CITY HIPPIES, CAPYAC

7 P.M. TUESDAY, JAN. 24. HOUSE OF BLUES, 308 EUCLID AVE., 216-523-2583. TICKETS: $22.50, HOUSEOFBLUES.COM.

jniesel@clevescene.com t@jniesel

LIVEWIRE Real music in the real world

FRI 01/13

Capricorn Party Featuring Terry Lee Goffee — A Tribute to Johnny Cash

Local singer Terry Lee Goffee, who headlines this annual Capricorn party at House of Blues, regularly takes his Johnny Cash tribute all over the country. Yeah, you could say the singer who counts Cash contemporary Marty Stuart as a fan has “been everywhere.” Goffee’s typical set includes almost 30 Cash classics per night, including his interpretation of Cash’s take on the Nine Inch Nails tune “Hurt.” Even if you’re not a fan of Cash (and how could you not be?) or don’t give a crap about Capricorns (now that we understand), this party is still a blast. The fun begins at 7 tonight at House of Blues. 308 Euclid Ave., 216-523-2583, houseofblues.com.

King Buffalo

This self-proclaimed heavy psych band has toured with the likes of Clutch, Uncle Acid and the Deadbeats, All Them Witches, the Sword and Elder. It comes to the Grog Shop tonight in support of last year’s fifth full-length album, Regenerator. The show starts at 8:30. Tickets cost $16 in advance, $18 day of show. 2785 Euclid Heights Blvd., Cleveland Heights, 216-321-5588, grogshop.gs.

Brian Newman Quintet

Singer and trumpeter Brian Newman, who’s Lady Gaga’s jazz bandleader, collaborated with Gaga and Tony Bennett on their 2014 Grammy-winning album Cheek to Cheek, which featured arrangements by Newman and his band. The single, “Bang Bang (My Baby Shot Me Down),” debuted at No. 1 on Billboard. Newman brings his fab band to Music Box Supper Club tonight at 8. 1148 Main Ave., 216-242-1250, musicboxcle.com.

SAT 01/14

Holiday Hangover

This post-holiday bash headlined by Tricky Dick & the Cover-Ups will feature live music, photos with Krampus and drink specials. Sparky B will kick off the night with a DJ set. It all starts at 7 tonight at House of Blues. 308 Euclid Ave., 216-523-2583, houseofblues.com.

SUN 01/15

Chris Barron

Back in the ’90s, the Spin Doctors delivered hits such as “Little Miss Can’t Be Wrong” and “Two Princes.” Frontman Chris Barron has kept the jam band’s music alive and will add some serious storytelling to the mix tonight too when he performs a solo show at 7 at Music Box Supper Club. Tickets cost $25 in advance, $35 at the door. 1148 Main Ave., 216-242-1250, musicboxcle.com.

Rev. Dr. Martin Luther King Jr. Memorial Recital

At 3 p.m. today at the Bop Stop, the Music Settlement presents a concert celebrating the life and mission of the Reverend Dr. Martin Luther King Jr. through music and the written word. Admission is free, and the event will also be streamed. 2920 Detroit Ave., 216-771-6551, themusicsettlement.org.

MON 01/16

Martin Luther King Jr. Day Celebration

The Rock Hall will be open from 10 a.m. to 5 p.m. all day today. To celebrate Martin Luther King Jr. Day, it’ll offer free admission and special programming. 1100 Rock and Roll Blvd., 216-515-8444, rockhall.com.

TUE 01/17

Outlab: Experiments in Improvised Music

Musicians are invited to bring instruments or any sound making device (drum kit and keyboard provided) that can be used to explore collective group improvisation. Please bring your own amps if needed. The monthly session begins at 8 p.m. at the Bop Stop. Admission is free. 2920 Detroit Ave., 216-771-6551, themusicsettlement.org.

WED 01/18

dates back to the mid-1990s. The group draws from psychedelic rock, blues and jazz in delivering what’s been called trance fusion. With more than 15 albums to its credit, the band has plenty of material from which to draw. Tonight’s concert begins at 6:30 at House of Blues. 308 Euclid Ave., 216-523-2583, houseofblues.com.

SAT 01/21

The Day Nites

Local soul singer Arthur “Art” Blakey made his mark with the terrific 1960s R&B vocal group the Hesitations. Not ready to hang it up just yet, he’s teamed up with members of the local act Wesley Bright & the Hi-Lites to form the Day Nights. The group performs at 8 tonight at the Beachland Tavern. Tickets cost $12 in advance, $14 the day of the show. 15711 Waterloo Rd., 216-383-1124, beachlandballroom.com.

G. Love

Owing a musical debt to both the blues and hip-hop, singer-songwriter G. Love has made a career out of writing and recording music that emphasizes his clever wordplay and drowsy vocal style. He makes his annual winter visit to House of Blues and performs tonight at 7 at the club. Singer-songwriter Donavon Frankenreiter opens the show. 308 Euclid Ave., 216-523-2583, houseofblues.com.

Rumpke Mountain Boys

This Cincinnati-based jam band famously recorded a live album, In Good Company, right here in Cleveland at the Beachland in November 2018. Taking an impromptu approach, the string group pulls from a catalog of originals and covers. The Chatfield Boys and Dupree’s Dead Band open. The concert begins at 8 at the Beachland Ballroom. Tickets cost $15 in advance, $20 the day of the show. 15711 Waterloo Rd., 216-383-1124, beachlandballroom.com.

SUN 01/22

Elvis Tribute Artist Spectacular

Cody Ray Slaughter, Ryan Pelton and Shawn Klush will be on hand for this annual event that returns

Chris Barron comes to Music Box Supper Club. See: Sunday, Jan. 15.

Courtesy photo

to the State Theatre tonight at 7. The concert begins with the early rockabilly years and then visits the military years, the movie years and The ’68 Comeback Special and closes with the Las Vegas concert years. Tickets start at $10. 1519 Euclid Ave., 216-241-6000, playhousesquare.org.

Jazz Is Dead

This instrumental Grateful Dead cover band formed way back in the late ‘90s but then dissolved when its founder, T. Lavitz, passed away. The group reformed in 2015, and it brings its 25th anniversary tour to the Agora tonight at 6:30. 5000 Euclid Ave., 216-881-2221, agoracleveland.com.

TUE 01/24

Big Head Todd & the Monsters

Led by singer and multiinstrumentalist Todd Park Mohr, this group out of Colorado has been a steady presence on jam band circuit since forming back in 1986. In 2020, it released a pair live albums that it recorded respectively at the Belly Up Tavern in Southern California and at Red Rocks in Morrison, CO. Tonight’s concert begins at 6:30 p.m. at House of Blues. 308 Euclid Ave., 216-523-2583, houseofblues.com.

scene@clevescene.com t@clevelandscene

PLASTIC PICNIC

By Jeff Niesel

MEET THE BAND: Emile Panerio (vocals), Lincoln Lute (guitar), Marshall Hunt (bass) and Gordon Taylor (drummer)

A HAPPY ACCIDENT: “We all are originally from the Pacific Northwest,” says Taylor during a conference call with the other band members. “Emile and Lincoln knew each other out there. Marshall and I also knew each other from out there, and we moved to New York separately. We somehow managed to not cross paths the entire time.” A mutual friend told Taylor to “hang out” with Panerio and Lute. “I hit them up and when I showed up at the studio space, they had guitars a drum kit out,” says Taylor. “We started music, and it evolved from that. It was a happy accident.”

TRYING TO TRACE THE

CHANGES: Since the band formed in Brooklyn in 2016, the city has transformed and so has its music scene. “A lot has changed,” says Taylor. “Our original practice space no longer exists. That building got torn down and is the Vice Media Group offices now. It’s weird because we used to practice in Williamsburg. There’s the Meet Me in the Bathroom film that just came out that shows [the transformation]. We got to see the tail end of some of these places that still existed when we first moved here. Six years later, a lot of the practice spaces and venues have already disappeared.” Panerio says many of the band’s friends who were also trying to find their own paths have moved on. “We lost a bit of that nose-to-the-grindstone [attitude],” he says. “We were close friends to some of those bands, [and it’s different] not having them here and at the shows and fighting to keep on creating and not get discouraged. That was the hardest part for me after the pandemic. Some of those familiar faces have changed. It’s been a weird turmoil for the past few years.”

WHY YOU SHOULD HEAR

THEM: After the band first formed, it immediately wrote the Brit-popinspired “Nausea in Paradise,” a tune that it released as a single and then included on its 2017 self-titled EP. The band has continuously released singles. Panerio describes the latest effort, “Bite,” as a song about “getting your New York innocence broken.” With its soft vocals and shimmering guitar riffs, it sounds like something that could have been on the soundtrack to a John Hughes movie from the ‘80s. “I really like British and Australian stuff a lot,” says Panerio. “When it’s all online, [music] just collapses. But something about that songwriting style is unique. While that influences us, it turns into something else when we try to incorporate it into our own sound.” The band has collected demos and fragments of ideas in the past year and is currently parsing through the material to find the musical gems for its next album. The group’s appearance at the Beachland will represent its Cleveland debut.

WHERE YOU CAN HEAR THEM: plasticpicnic.com.

WHERE YOU CAN SEE

THEM: Plastic Picnic performs with Cardboard Caskets at 8 p.m. on Friday, Jan. 20, at the Beachland Tavern.

jniesel@clevescene.com t@jniesel NEW!

Steamroller

The Music of James Taylor Thurs. Jan. 19 Neko Case Thurs. Jan. 26 Standing Rock Film Fest Sat. Jan. 28

John Waite Fri. Feb. 3

NEW!

Ana Popovic Mon. Feb. 13 Dave Mason Tue. Feb. 14

ALSO COMING:

Friday Mar. 10 | Nitty Gritty Dirt Band Saturday Mar. 11 | Wishbone Ash Sunday Mar. 12 | Crash Test Dummies Monday Mar. 20 | Jim Messina Tuesday Mar. 28 | The Church Friday Mar. 31 | Tommy Castro & the Painkillers Monday Apr. 10 | Morgan James with Kirk Hurmond

Wednesday Apr. 19 | The Monkees Celebrated by Mickey Dolenz Friday Apr. 21 | Hot Tuna Acoustic Duo NEW! Thursday Apr. 22 | Reverend Peyton’s Big Damn Band Sunday Apr. 30 | Keller Williams & Steve Poltz Saturday May 20 | The Cream of Clapton Band

Wednesday June 7 | Martin Barre: A Brief History of Tull, with Dan Crisp

AT THE GOODYEAR THEATER Get tix at goodyeartheater.com or ticketmaster.com Tue. March 14 The High Kings & Gaelic Storm

AT PLAYHOUSE SQUARE

Connor Palace Theater playhousesquare.org Fri. March 24 The Irish Tenors

AT LORAIN PALACE lorainpalace.com

Sat. Jan. 21 George Michael Reborn Fri. Feb. 17 Queen Nation | Sun. Feb. 26 Floyd Nation Fri. Apr. 14 Little Feat

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