Author Archives: Roger Catlin

TVD Live: X with Squirrel Nut Zippers
at the 9:30 Club, 9/5

Call them the good X.

Unlike that corporate overlord’s sudden new name for Twitter, this one has been banging out the finest of Los Angeles punk since 1977. That they’re still around in the original configuration, sounding great, after decades of commercial indifference, intermittent personnel changes, a farewell tour, and years’ long hiatuses, is a reason to cheer. And a triumphant 24 song show at the 9:30 Club, capping a two-day residence in DC, showed them at their best.

Not that there hadn’t been a few glitches this summer, too. Washington was among a dozen dates that had to be postponed due to a member recovering from an emergency surgery. The member wasn’t named in the announcement, but guitarist Billy Zoom had been diagnosed with bladder cancer in 2015 and though he has since been proclaimed cancer-free, has gone in for additional chemotherapy.

Zoom, now 75, was first to get on the 9:30 stage, though, to plug in his guitar and begin to play along to the recorded Link Wray “Rumble” intro, albeit atop a tall stool. Always the picture of sleek, pompadoured cool in the X heyday, he looks a bit like his own grandpa now (but among long time fans doesn’t).

His ringing riffs, born of classic Chuck Berry and Cliff Gallup, were all still there, though he seemingly had to remind himself to smile. Zoom had built a stage presence based on blissful tranquility as he tore through the solos, intent on exploding the notion that rock guitarists have to also show theatrical expressions of pain as they solo. This time, though, the smiles sometimes bordered on grimaces as the show continued.

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TVD Live: The Baseball Project at the Hamilton, 8/17

Part of the appeal of the National Pastime are the endless stories of its colorful characters over the decades, their dizzying achievements or career-crashing failures, the arcane stats and mostly, the shared experience—around the TV or in ballparks.

No wonder a group of experienced rockers decided to mine the sport for material, creating a whole songbook of baseball songs. That’s been the mission for The Baseball Project since it formed 16 years ago. And with a new album out, their first in nine years, the band is back delighting audiences as they stomp through their rocking songs of baseball lore, as they did Thursday at The Hamilton in DC.

Ex-Dream Syndicate Steve Wynn and Scott McCaughey of the Minus 5 (and many other bands), are the kind of songwriters so steeped in their craft that they can turn out dozens of songs commemorating the most esoteric tales, and the history of baseball is rife with them. But their other famous band members, Peter Buck and Mike Mills of R.E.M., have been contributing music or whole songs lately as well.

In baseball, when big stars came to small towns for exhibitions, they’d call it barnstorming. And there was a similar feel in this tour stop—the exhilaration of seeing Buck and Mills up close on the kind of stage size they’d have when they began, slung with matching black and white Rickenbackers (though one was an electric guitar, the other a bass). More than a couple fans angled to snap photos of the amp case prominently stamped “R.E.M. Athens GA.”

The last time I caught Buck and Mills on such a stage in these parts (for McCaughey’s Minus 5), they did “Don’t Come Back to Rockville” in an encore. But by now there was so much baseball material to cover—in 26 rockers, over two sets and an encore—there was no need to dip into old catalogs of R.E.M., the Dream Syndicate, the Minus 5, or the Young Fresh Fellows for that matter.

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TVD Live: The Watson Twins at The Kennedy Center Millennium Stage, 8/16

The Watson Twins started gaining wide attention when they joined forces with rocker Jenny Lewis on her 2006 album Rabbit Fur Coat, issued about the same time as their own solo debut, Southern Manners. Since then the two have largely worked in the area of country, which is probably the most natural thing in the world for a pair of sisters from Louisville who have been living in Nashville.

Backed by a crack band, the two entertained an early evening crowd at The Kennedy Center Millennium Stage, which has been attracting bigger names by also making entire shows available streaming and archived online. As such, Leigh and Chandra Watson spent nearly as much time addressing the wider world as they did the polite crowd at the storied performing arts center, where the two last performed singing backup for Kings of Leon at the 2016 Kennedy Center Honors (doing “Take It Easy” as part of a tribute to the Eagles). “We didn’t think we’d be back,” Leigh admitted.

But their country sound sounded sharp, and they immediately set the stage by describing a perfect honky tonk in “The Palace.” It was the first of a half dozen songs they’d play from their recently released album Holler. That title song began as a lament, Leigh said, written soon after the overturning of Roe vs. Wade, but she it got an overhaul to be a more joyful, upbeat song. With a singalong chorus of “Holler if you hear me,” it advises “Looking for a reason to hold the truth and carry on / Gotta keep on tryin’ harder / Why can’t we all just get along?”

Sister acts thrive on harmonies they’ve developed their whole life, and those work as well with the Watsons, though they are not as often prominently on display as you might expect. The pair does plays up the twin bit. They came in matching shiny red and gold dresses with hearts (though Leigh goes for a shorter hemline than her sister). They often played identical acoustic guitars (though they switched off) and style their long, jet black hair similarly.

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TVD Live: Margo Price at The Kennedy Center, 8/11

Somebody has been stepping it up at The Kennedy Center Millennium Stage this summer. The free daily showcase that once reliably booked out-of-town college and high school ensembles has suddenly seen performers that include Alejandro Escovado, Chris Smither, Hurray for the Riff Raff on its stages.

Later, it had Margo Price, in a show that was for some reason elevated from the usual lobby stage to its third floor Terrace Theatre, which still fit the crowd. For the occasion, the ace country singer and songwriter was joined by her husband Jeremy Ivey for a strong 12-song acoustic set that was quite a departure from her usual band tour—and further still from the expansive cosmo rock explosion of her latest album Strays.

But the sparse presentation brought extra focus to the breathtaking (and true) autobiographical song from her Midwest Farmer’s Daughter that started the show, “Hands of Time.” It’s a country song that has everything—daddy losing the farm, her losing a baby, left turns with men and drink, a bit of hope at the end—and largely introduced the world to Price’s considerable talents.

Chagrined at first by the setting and the hushed audience, she joked “I’m shocked they let us into such a nice establishment. I had to dig through the suitcase for proper clothes.” With the freedom to play a lot of songs they usually don’t, it was a surprising set that included one of the songs she wrote with Mike Campbell of the Heartbreakers while dodging wildfires in Topanga Canyon, “Malibu.”

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TVD Live: Joan Osborne at the Hamilton, 8/6

PHOTOS: LAURA CROSTA | Fans call the week or so between Jerry Garcia’s August 1 birthday and the commemoration of the day he died (August 9, 1995) the “Days Between,” after a philosophical early ’90s Grateful Dead song. In recent years the annual occasion has been marked the Hamilton in DC with a series of shows from different Dead-adjacent acts, which this year included the realms of bluegrass or jazz.

It culminated Sunday with a set from Joan Osborne, who has no little Dead cred. She’s lent after her voice to the post-Garcia aggregation The Dead and tours with Phil Lesh and Friends and has long since been embraced by the fan community, who treated her show as a kind of offshoot, with all the tie-dye and taping stations that engenders.

Even with a new album due out September 8, she said this would be “a different show” with more Jerry than usual, and there were five Dead related songs in the evening—fully a third of the set. That compared to just a pair from her new album, from the opening “Should’ve Danced More” to the title track “Nobody Owns You,” the former a note to herself; the latter a note to her daughter.

Osborne had an unusual band but an effective one. John Petruzzelli, a guitarist who has worked with Rufus Wainwright, Ian Hunter, Patti Smith, and the ace Beatles cover band the Fab Faux had a thankless task—to help conjure the memory of Garcia without seeming to ape him, and he succeeded with a nice reserved style. The other backing musician, Texan Will Bryant, filled in solidly on electric keyboards, but was even better on the Hamilton’s grand piano, adding tasty solos and trading licks with Petruzzelli.

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TVD Live Shots: Regina Spektor with Aimee Mann at Wolf Trap, 8/3

PHOTOS: RACHEL LANGE | Wolf Trap, the National Park-run concert space in the Virginia woods, has a big enough stage to accommodate full symphony orchestras and ballet productions. Touring rock bands typically fill it with equipment and lights.

So it is a bit surprising to see Regina Spektor solo at a grand piano and otherwise empty stage captivate an audience in a way bigger productions often don’t. As playful and surprising with her voice as she is with her precise, ringing piano playing, she was one compelling performer with a rack of disarming songs happy to take their own unique lyric turns.

She began with even less than a piano, standing to sing “Ain’t No Cover” a cappella with a drum pattern beat out by a spare pinky on the same microphone. Only then did she sit at the suitably grand instrument for her beguiling show.

Spektor said at times she was rattled by the sheer beauty of the venue; she cracked that she’d be more comfortable in a dark, divey club. She seems far from those days, though. And her silvery many tiered gown would have been out of place. At Wolf Trap, it looked a little weird at first too, but as the show went on it was easy to see how well it reflected the changing colored lights above her—she was a one woman light show too.

At the piano she began with her grand, complainy seasonal song “Summer in the City” (“Cleavage! Cleavage! Cleavage!”) and followed it with a summer out look that was “less of a bummer, “Folding Chair.” She pounded tunes that had bits of gospel in them, like “Becoming All Alone,” from her latest collection “Home, Before and After”; or played like clever, brash show tunes, like “Baby Jesus.” Even songs that began like straight pop love songs, like “How” but had room for left turns.

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TVD Live Shots: Jason Isbell and the 400 Unit with S.G. Goodman at Wolf Trap, 8/2

PHOTOS: RACHEL LANGE | Jason Isbell’s summer tour with The 400 Unit began with some brash urgency on a splendid night at Wolf Trap in Vienna, VA. With a slightly retooled band and a terrific new album, Weathervanes, he was there to present a lot of it—nine of its 13 tracks, all told. 

And they’re a pretty strong set of songs, full of quirky characters in specific locations, playing out their fates in songs that don’t worry about changing directions midway. He’s been shuffling in the new songs with old favorites and scrambling the order nightly. It’s tempting to think he started with “Save the World”—with its heartbreaking message of a world where parents are frightened for their children because of the exploding gun violence—for a DC adjacent audience in hopes of nudging some action to the issue.

But the show stayed on the same intense level with another arresting tune from Weathervanes, “King of Oklahoma,” about a blue collar character with a crumbling marriage, numbed by possibly addicting prescribed painkillers. Both songs had equal sting from guitar interplay between Isbell, who got his first jobs in rock due to his instrumental prowess, working off another top talent, Sadler Vaden, of another beloved band of Southern rockers Drivin’ N Cryin.’

He’d go ahead and paint other vivid lyrical pictures in songs like “Strawberry Woman” and “White Beretta” but in between wove in poignant songs of his own lonely upbringing, “Dreamsicle” and his anthem to his home state, “Alabama Pines.”

Noting this year’s 10-year anniversary of his solo breakthrough Southeastern, which he hinted he would commemorate properly later this year, Isbell offered its wistful song of homesickness “Stockholm” and interrupted the planned set for a beautiful acoustic guitar and piano reading of the arresting “Elephant,” the song about a friend’s cancer that was so raw and real one wondered why anyone else hadn’t accomplished such a feat on the subject.

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TVD Live: Tav Falco and His Panther Burns at The Runaway, 9/21

Rock ’n’ roll is a sound and it is a style, and Tav Falco’s been straddling both since the late 1970s.

The latest version of Tav Falco’s Panther Burns, on a cross country tour, stopped at The Runaway in DC for a midweek show that was strangely mesmerizing and altogether rocking thanks largely to his straight-outta-Rome backing trio led by Mario Monterosso. At 77, Falco doesn’t look all that different than he did when Alex Chilton joined forces with him to form Panther Burns back in Memphis. Minus his pencil mustache, he’s maintained his black pompadour, and certainly his style.

With only a subtle croon, he does a lot with his moves, taking the stage with maracas—that forgotten engine of old Bo Diddley songs—before slowly putting on his Hofner guitar to add rhythm to the stinging lead that Monterosso had already nailed down (the length of time it took him to get the guitar over his head and adjusted was the only giveaway to his advancing age).

There’s a lot to be said about the guy’s taste. Panther Burns got its name after a legendary cat set afire on a Southern plantation, and the band has similarly mined the swampy and mysterious sounds of the American South for its inspiration.

There was so much ground to cover, Falco played exactly nothing from his latest release, the 2021 EP “Club Car Zodiac” on ORG Music. Instead he dived into his story about a New Orleans voodoo queen and his version of the classic bolero “Sway” before the somewhat surprising, straight ahead version of the Honeycombs’ 1964 chart topper “Have I the Right?” with a 1-2-3-4 countdown right from the Ramones. Then, as if another inspired turn of a jukebox, over to the 1950s country standard “He’ll Have to Go,” before his own throbbing tune of existential anguish, as he described it, “Born Too Late.”

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TVD Live: The Decemberists with
Jake Xerxes Fussell
at Wolf Trap, 8/24

The Decemberists, the charming chamber folk-rock band from out of Portlandia, became famous for live performances as elaborate and detailed as their ornate songs, staging obscure battles or sea scenes with sudden appearances by man-eating whales into their shows.

There was none of that Wednesday as the band took the stage at Wolf Trap in Virginia, two years after they were originally supposed to play there, during the time when everything disappeared. The title of the current excursion, “Arise from the Bunkers! 2022” was just about the most florid part of the tour. It was enough to be present, at long last, alive and performing before thousands of fans in the Virginia woods, even as they have given up for now the costumed accessories or even the notion of promoting any particular release — I’ll Be Your Girl, their eighth full length album, came out a full four years ago now.

But certainly the audience had no complaints about their straightforward approach to their solid, 17-song, 105 minute show. The band has been sprinkling its sets this summer with selections from throughout its career (though sadly, nothing from 2015’s What a Terrible World, What a Beautiful World). “Hope you like the old ones,” said frontman Colin Meloy, as keyboardist Jenny Conlee strapped on her accordion and Chris Funk sat down to the pedal steel guitar for “Shiny,” the oldest song from their repertoire, from an an album that was mostly demos before they had a full recording contract. They followed it, though, with a new song, about meeting someone at a burial ground.

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TVD Live: Elvis Costello with Nick Lowe and Los Straightjackets at Wolf Trap, 8/18

It’s gratifying to have any Elvis Costello concert come around after two years of pandemic postponements. But the one that finally took the stage at Wolf Trap in Virginia last week had the added advantage of being opened by Nick Lowe, his longtime colleague, producer, and influencer.

It was a version of “Surrender to the Rhythm” originated by Lowe’s old band Brinsley Schwarz that was playing as Costello appeared on stage. Costello’s version came on his latest recording, marking 50 years since he and a friend recording under the name Rusty tried to release a record of such covers they did at the time.

Costello told a story about approaching Lowe back then as fans and hopefuls and being shooed off. Eventually Lowe would produce six Costello albums, play bass on a dozen of his songs, and otherwise cross paths through the years.

It was Lowe’s ringing “(What’s So Funny ‘Bout) Peace Love and Understanding?” that was the climax of the rewarding show with the two trading its memorable, ever-timely verses. Lowe had come back on stage (in a third dashing outfit) to duet on “Indoor Fireworks,” a Costello song that Lowe had released a year before its author did on The King of America. Frankly their harmonies weren’t great, but it was almost touching to see the two together on stage making an effort.

Costello’s headlining set was a freewheeling one for the huge crowd (who looked to be averaging the singer’s age, which turns 68 this week). As such, they wanted to hear songs that ignited his aggressively creative career. They were rewarded with the frequent concert-starter “Accidents will Happen” (likely because of its irresistible opening line, “I just don’t know where to begin”). But also “Green Shirt” and, before long, “Mystery Dance.” In between, he’d fit in songs from this century that few seemed very familiar with, such as “Hetty O’Hara’s Confidential” and “Either Side of the Same Town.”

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Victor DeLorenzo,
The TVD Interview

PHOTO: NINA FERNANDEZ | Hatched via email between musicians, the new trio Night Crickets comprise the talents of Violent Femmes co-founder Victor DeLorenzo, David J of Bauhaus and Love and Rockets, and multi-instrumentalist Darwin Meiners. Their debut release A Free Society, released earlier this year on CD has just been issued on vinyl this summer by Omnivore Records. From his studio in Milwaukee, DeLorenzo talked about the collaboration, his experimental drum approaches, the split with Violent Femmes, and the drum pattern that captured the world.

How did Night Crickets come to be?

In 2013 my band Violent Femmes played the Coachella Music & Arts Festival in California and backstage, I came across Darwin Meiners. It turned out that not only was he a fellow musician, but also was the manager of David J of Bauhaus and Love and Rockets.

I didn’t really know that much about Bauhaus or Love and Rockets other than maybe the one or two hits that Love and Rockets had. But I got on well with Darwin and stayed in touch. And then two holiday seasons ago, he got in touch with me and asked me if I would be willing to create some drum tracks for him that he could write some music to. So I said, yeah, that sounds like a great idea because as a matter of fact, I own a recording studio here in Milwaukee and I’ve had this studio for over 30 years.

From time to time, when I had a great drum setup going, I would just record wild drum tracks just to some kind of click track or some kind of drum track, and I would just store them away to be able to use in the future for different music projects.

So I told Darwin I had some of these already recorded and that, if he wanted, I could create some new ones for him too. So I did that, but when I got to the point where I sent him some stuff, I said, what about the idea of maybe seeing if David would want to be involved in this and maybe we could create some stuff together, what do you think about that?

And Darwin went to David and got back to me and said, “It sounds like a great idea.” So that just started us on our kismet way of putting together some music that eventually became this full length record.

Is it unusual to start songs with drum tracks?

I think for some people, it’s just another way of recording. Because I’ve been in the business so long, I’ve learned to record music from many different ideas at the onset. Whether it’s just the drum track, or it’s the guitar track that’s recorded to a click track, or what have you. Or maybe just starting with a lyric and building from there. So I don’t look at recording music as being a one way process. I’ve got many different ideas in my arsenal.

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Creem is Risen: The Unlikely Return of America’s Only Rock ‘n’ Roll Magazine

Brash, messy, and super opinionated, Creem magazine came out of Detroit as an edgier alternative to the more staid rock magazines of the ’70s. The first showcase for writers from Dave Marsh to Lester Bangs, it covered the era in a manner that was always entertaining. And the acts they covered seemed to dig it as well.

Gone for more than three decades, its memory was revived in the 2020 documentary Creem: America’s Only Rock ’n’ Roll Magazine. Since then, the entire 224-issue archive of the magazine has been put online, a digital Creem site has been posting new stories, and in September, beyond all expectations, a revived Creem will be back in print for subscribers.

“It never should have gone away,” says John Martin, the former Vice publisher who serves as CEO of the new Creem. “It went away and it was the champion of rock ’n’ roll. Then look what happened. Culturally we got obsessed with the idea that rock ’n’ roll is dead. That’s not true—it’s not true at all.

“That’s the central thesis of why we should bring Creem back,” he says, “because we need to embrace that rock ’n’ roll community that’s been micro-niched and sub-genred to pieces over the last 30 years. We know that Creem is the brand to do that.”

Martin bemoans the state of rock journalism over the past 15 years when “the impish, funny tone of voice has been lost from music writing. It’s felt very academic, it’s felt very stale, and writing to offend no one and give your opinion to the lowest common denominator, broadest group, because that’s how you get the most clicks.

“What Creem invented—really opinionated music journalism—the time was right to bring that back,” he says. “Because when was the last time you had a good time and laughed while you were reading about music? Probably an old issue of Creem.

Already the online Creem content has caused some waves. A review of an Imagine Dragons record was written without listening to it, for one. And there was a long interview with John Hinckley, who before he turned to a music career, was notorious for firing a gun at Ronald Reagan. “The headlines write themselves on that one, obviously,” he says.

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TVD Live: Nicole Atkins at the Hamilton, 7/10

Nicole Atkins is the kind of performer who is not only bursting with song ideas, she could also go any number of directions in her musical approach, from folk and pop to soul and rock with a little jazz thrown in as well. During the pandemic, she released a jazzy version of her previous Italian Ice as a way to serve fans and keep her career alive when the pandemic prevented touring.

There was a grand piano on the stage at The Hamilton in Washington, DC, where she concluded her latest tour last weekend, but its cover stayed on it; Atkins preferred to rock out the songs’ original versions with her four-piece band, augmented by the occasional backing vocals of Levi, who also served as opening act.

The tiny and mightily-voiced Atkins brings Lea Michele to mind, and if that singer ever tires of her recently announced gig fronting Broadway’s revival of Funny Girl, this versatile vocalist has the spunk and pipes to fulfill it. As if to remind us, she made sure to mention at the end of one of her songs, “AM Gold,” that it had a Barbra Streisand reference in its refrain, “People needin’ people.” But that’s about as close to pop she got in a set that otherwise moved to harder rock and at one point, dance (“Fire up that disco ball if you can,” she called out before “Domino”).

The Jersey girl opened with a tune named after her hometown there, “Neptune City,” but by the end of the show was was taunting onetime neighbor Southside Johnny, whom she called a grump and is apparently in a competition for creating the better “I Don’t Wanna Go Home” anthem. As such, she capped her “In the Splinters” by calling out, “Eat it, Southside Johnny!”

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TVD Live: Sarah Borges at Pearl Street Warehouse, 6/28

PHOTO: LIZ LINDER | Listeners literally place performers on pedestals, onto elevated stages and spotlights. So it was a little shocking to hear Sarah Borges say during her free-wheeling show at the Pearl Street Warehouse last week that she had spent some of the pandemic as a truck driver.

She couldn’t tour, and the clubs were all closed and she needed the dough. So why not? After all, she was pictured on the cover of her 2013 album, Radio Sweetheart, at the wheel of a T Bird. And being a songwriter who is always on the ball, she came up with a song about her part time duties, “She’s a Trucker.”

Whether songs come easily to Borges or not, they are certainly received easily. The Pearl Street show with a solid band led by her guitarist and producer Eric “Roscoe” Ambel, sounded great, had plenty of vigor, and with Borges’ droll delivery between songs, was thoroughly entertaining.

She’s got an enervating wail to her songs that draws you in, and a sassy style that makes everything seem to swing. Her guitar may be as much an accessory as her party dress, but why try soloing when you’ve got an ace like Roscoe in the house?

A member of the Blackhearts for Joan Jett, Ambel went on to co-found the Del-Lords before becoming an all around producer and guitarist for any number of artists from the Bottle Rockets to Emmylou Harris. He’s found a natural home playing with and for Borges though. And, dressed all white from bowler hat and coat to guitar and amp, looking like a tobacco tycoon, he played a few songs from his latest, You Asked for It – The Shut In Singles Series.

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TVD Live: Molly Tuttle and Golden Highway at The Birchmere, 6/27

Oftentimes artists will say they’re glad to be at a place. But Molly Tuttle and Golden Highway were clearly delighted to be making their debut at The Birchmere in Alexandria, VA, in between some festival gigs.

This, after all, was a hallowed ground for Mid-Atlantic bluegrass, where generations of stars have performed over the storied club’s half century, and local bluegrass superstars the Seldom Scene established an early residency and has been associated with the place ever since.

Tuttle likely knew The Birchmere name as a child, listening to records and learning flatpicking, cross picking, and clawhammer guitar styles from her music teaching father. Those lessons were successful enough to have her become the first woman to win the International Bluegrass Music Association’s guitar player of the year award five years ago—which she went on to win for a second consecutive year.

Still in her 20s, Tuttle wasn’t yet married to bluegrass traditions. She played in other people’s bands and wrote, sang, and recorded her own original material (as well as playing covers of others). The first time she headlined at The Birchmere, a year ago, she played solo, doing a lot of that material.

But her return to the bluegrass fold with a new album and a similarly accomplished young band made The Birchmere premiere of Tuttle and Golden Highway a special high point—for her and the audience. More than half her set came from the group’s debut album that came out this year, Crooked Tree. And like a traditional bluegrass group, the quintet lined up across the stage and burned through the material while each took their own impressive solos.

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