Victor Wainwright Brings The Train To Funk ‘N Waffles

“The blues was bleeding the same blood as me. The blues didn’t have to explain the mystery of pain that I felt; it was there in the songs and voices of singers like Lonnie Johnson and Blind Lemon Jefferson, in the cries of their guitars.”

B.B. King, Blues All Around Me: The Autobiography of B.B. Kingvictorlive.jpg

Attention, passengers. This is your conductor speaking. Victor Wainwright and The Train is about to leave the station. Please stand clear of the Boogie Woogie and enjoy the ride.

Four-time BMA Pinetop Perkins Piano Player of the Year winner (‘13,’14,’17,‘18) and BMA BB King Entertainer & Band of the Year recipient (‘16), Victor Wainwright sets out on his new endeavor, Victor Wainwright and the Train. The 12-track, band-titled album not only pays homage to the Blues, but also is a full-fledged attack on the music industry – a rebirth of the genre.

Wainwright is an entertainer – period. “Musicality and the songs themself are second,” said Wainwright. Growing up, Victor idolized BB King. “Seeing King for the first time changed my life! When I watched him, right away I could put my finger on exactly what IT was.” Sheer musical talent and technical skills on stage can only be admired by musicians and artist alike. For the lay listener it is about seeing a great show. They want to be entertained.

“Artists need to take up the mantle and use Blues as a tool to see past the 1-4-5 (a rudimental chord progression) of a guy sitting on a porch, singing about his dog,” said Wainwright. “I want to invite people in and get them to be apart of this community. It needs younger people to keep it alive.”

As the highly anticipated Funk ‘n Waffles shows in Syracuse and Rochester approach later this week, diehards and Blues-fans-to-be will have their hands full. The steam train will take flight at Funk ‘n Waffles Downtown in Syracuse, Friday July 6. Showtime *8 pm (corrected from 6pm). And carry on Saturday July 7 at Funk ‘n Waffles Music Hall in Rochester, NY, beginning at 8 pm also. Tickets: $15. (advance), $20. (door). Info: (585) 448-0354 or visit https://www.funknwaffles.com/

 

Musically people haven’t seen anything like this before. It touches on new and exciting, while being familiar and honoring the Blues,” said Wainwright. Victor hinted at a few surprises that will be in store for these gigs including more original music, familiar tunes from your childhood and songs outside the normal Blues repertoire. In addition, Doug Woolverton, who played on the record, will be joining the Train for these Funk ‘n Waffles dates. “Laughter is a huge part of our show. When people are laughing with you, in combination with slow songs, sung from the heart – it becomes a super powerful combo!”

The record is a testament, backing the mountain of Wainwright’s accomplishments. It is a stout stew of Boogie Woogie, Blues, Rock ’n Roll, wailing horns and free-flowing expression from the drums, keys and bass. The opening track, “Healing” leaves no time for thought. In-your-face stride piano reverberates, before the track takes off in up-tempo eighth-notes topped with Wainwrights soaring voice. The Train is alive.

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Not only did Wainwright compose all of the record, but also produced it himself, with the help of Dave Gross in New Jersey. “What I tried to convey is power. Not in a Marvel comic book sense, but in the form of passion,” said Wainwright. “Exactly like a steam train.” All of the overwhelming energy captured on stage is heard on tape. The band feeds off each other collectively in the studio, achieving something monumental.

“Wiltshire Grave” has a spooky, New Orleans second-line feel, featuring Pat Harrington on guitar. The tune lingers, allowing you to digest the beauty in each instrument. The raging horns punch through making way for sweeping keyboard licks and an edgy solo guitar. The track also features off-the-cuff percussion effects such as a baseball bat and bicycle bell. All listeners are stopped dead in their tracks. Likewise, “Money” sits back in the pocket, relatable in message – warranting payment to Uncle Sam without delay. Let’s hope he can catch the up-tempo localmotive.

Notably, the album pays a direct tribute to Wainwright’s idol, BB King, in “Thank you Lucille.” For Victor, “some things deserve to be said as directly as possible.” Upon hearing of King’s passing, Wainwright rushed to the side of the road. His world came to a complete halt. “Lucille is a deity. King talks to her like it is human. I almost felt said for her,” said Wainwright. “She will live on!”

Victor Wainwright and the Train was released March 9, 2018 and quickly topped the National Roots Music Report charts for Blues in April. It now sits sixth in the Top 50.

**SEE THIS POST ON NYSmusic.com *

 

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New Jersey Powerhouse Rock Band The Mosers play PIANOS NYC next Tuesday

MOSERS FLYERPhotos: Eric Mooney

Powerhouse rock band The Mosers will perform at Pianos Showroom NYC on Tuesday September 22, along with an eclectic group of acts including Anna Rose, The Racer, Afika NX and The Classic Kids.

The Mosers have been coined as an “angry-Weezer,” fusing the nostalgia of 90’s feel with a modern  rock ‘n’ roll attitude. The Mosers are comprised of Mike Pellegrino, Dave Ryan, Rick Szpakowski and Matt Kulper. They will begin their first U.S. tour following the release of their debut EP and single “Cold-Hearted Girl.”

“Cold-Hearted Girl” was written in a New Jersey rehearsal space and was something that came together like four pieces of a puzzle, according to Pellegrino.

We a just a bunch of guys that love rock ‘n’ roll and are trying to be real in everything we do, said Pellegrino “We are real people that go through the rollercoaster of life” just like everyone else.

“I can’t sing a lyric that I do not believe in,” said Pellegrino; a testament to the band’s raw and captivating energy. “We all have something important to say and when we go on stage we mean business.”

“Cold-Hearted Girl” captures the essence of the band, maintaining their down to earth image and relatable lyrics. After all, “We are just a group of New Jersey kids, now trying to cut our teeth in New York City,” said Pellegrino.

The music video for “Cold-Hearted Girl” peeks into the personality of each band member and simultaneously paints them as a whole. Moving collages of the band performing, hanging out with friends and jamming out in a basement rehearsal space all highlight that each member is truly enjoying themselves as well as the music. The video was produced by Daniel Iglesias Jr., who has worked groups like Young Rising Sons, Blink 182 and X Ambassadors.

Photo Credit: Eric Mooney
Photo Credit: Eric Mooney

Pellegrino recalls some vivid childhood memories that lured him into a sonic world of rock ‘n’ roll. “I was really young (maybe six or so) when a Pearl Jam music video on MTV came on in my livingroom. I just saw something remarkable. I remember telling myself, ‘I want to play guitar’.”

But the Pellegrino family was no stranger to musical talent. “My father had a baby grand piano in the house and really wanted me to play classical piano,” said Pellegrino. As a rock ‘n’ roll adolescent, Pellegrino naturally rejected the music of his parents and instead was drawn to satisfy his own ear.

Pellegrino’s cousin , who was about eight years older, made the aspiring guitarist three mixtapes after revealing his new obsession.

Weezer, The Blue Album. Greenday, Dookie, with a particular affixation on “Welcome To Paradise”. Rancid, Out Comes The Wolves. And the rest was history.

The Present Meets The Past With Scott Bradlee’s Postmodern Jukebox

Also Published with: Live For Live Music – {READ HERE

American jazz composer and pianist George Gershwin once stated that “true music must repeat the thought and inspirations of the people and the time,” but jazz has taken a backseat – almost foreign to the modern ear. Gershwin realized that all good music will find its way back to the listener. In other words, If you have ever been nostalgic for an era in which you have not lived then you may find familiarity in Scott Bradlee’s Postmodern Jukebox.

Just as the name implies, Postmodern Jukebox is a project that reinterprets popular songs in the traditional styles of jazz, ragtime, new orleans and blues. PMJ found instant success on YouTube, where they have reached over one million subscribers and their videos have each gained upwards of 12 million views. In the past five years alone, PMJ has covered artists from MadonnaMiley Cyrus and Selena Gomez to Katy Perry and Lady Gaga. Each cover is refreshing and unique not only because of the musicianship and instrumentation, but due to their ability to encapsulate an era – freezing you in time.

“The moment I saw the potential of PMJ was when we did a doo-wop version of Miley Cyrus’ ‘We Can’t Stop’. That video blew up and was the most watched video on YouTube in one day,” said PMJ founder Scott Bradlee. Like most PMJ videos, it features traditional instruments and clothing of the era they are trying to depict. PMJ’s “We Can’t Stop” also features Brooklyn’s Tee-Tones, an a capella doo wop group. “Seeing that reaction made me realize that the public is really interested in this project and the idea became much bigger than we originally thought,” added Bradlee – it has mainstream appeal.

Watch Postmodern Jukebox’s video of Miley Cyrus’ “We Can’t Stop” below:

After you have watched two or three PMJ videos you realize that these guys, and gals, are the real deal. From their ragtime version of Carly Rae Jepsen’s “Call Me Maybe” to Radiohead’s “Creep,” sung as a triumphant ballad proving PMJ is eclectic and diverse. Their Radiohead cover features Haley Reinhart on vocals, Ben Golder-Novick on sax, James Hall on trombone and a tight rhythm section. Reinhart’s vocals are overpowering and the video was cut in one take. Other covers include a Mariachi version of Avicii‘s “Wake Me Up” sung in spanish, a vintage motown take on Katy Perry’s “Roar” and Meghan Trainor’s “All About That Bass” featuring upright bass.

What makes Postmodern Jukebox different than most is that “we are all live performers first and foremost, then we went back to YouTube,” said Bradlee. It took a few years to find like minded musicians, but now PMJ has more than 50 musicians and artists who have joined them on tour and in their videos. Originally Bradlee grew up as a self-taught jazz pianist. He used to play restaurant gigs and small clubs as background music and has now toured across the country and Europe.

“The whole idea of transforming pop songs into older styles began when I was in school. I became frustrated with the jazz piano scene and didn’t have an outlet to express myself,” said Bradlee. Inspired by staples in jazz like Gershwin, Jelly Roll Morton, Fats Waller and Art Tatum Bradlee “devoured the whole jazz tradition.” In high school Bradlee would absorb “whatever he could get his hands on” like Duke Ellington and was later attracted to R&B and soul. Bradlee would play along to cassettes and CD’s rented from the library in a variety of different styles. In this discovery Bradlee realized that there is lineage of jazz and blues in all eras and styles of music.

His first video was medley of 80’s songs in the ragtime style, and the video instantly went viral. In the last five years with PMJ Bradlee has gotten a crash course in social media and realized there’s another way to get your ideas out – hence YouTube. Although PMJ concepts were present in Bradlee’s childhood he never expected to have worked with such great musicians and talent. “What’s cool about this project is there hasn’t been any rules,” said Bradlee. “The best projects are always collaborations and I am always interested to hear other peoples input because it really helps shape the creative process.”

Now that you have been infected with the Postmodern Jukebox bug, you would expect things to get boring rather quickly – wrong. PMJ is committed to releasing a new video every two weeks, and is now on their first official U.S. tour, which will reach a total of 41 cities across the country.

Last Saturday, May 9th, PMJ performed for a full house at Toad’s Place in New Haven, CT. Their musicianship is only half of the battle. Postmodern Jukebox is more than a cover band – they are entertainment, comedy, fashion and history all in one. The band, and much of the crowd, were dressed in vintage clothing and the vocalist regularly changed outfits to match the era and style of each arrangement. The show was like a time capsule transplanting you to a turn of the century Vaudeville show. PMJ also featured tap dancer and choreographer Sarah Reich who added both musical and visual talent to the show. Reich was named “20 Hot Tappers Under 20” in 2009 and was seen on FOX’s So You Think You Can Dance. Her ability to tap, trade solos and fill in between an already dynamic group was jawdropping.

“Postmodern Jukebox is a variety show, but at the end of the day there is just a bunch of talented people on stage. No matter where we are we want to convey a sense of intimacy and want people to feel like they are at a party back in time,” said Bradlee. With such a wide array of talent Bradlee has been overwhelmed at the positive response from true music fans alike. At first Bradlee was worried that jazz musicians would not dig this project and was surprised at their love and support. “Some of our fans are even metal heads (all they do is listen to metal music), but they love what we do. It has been an interesting journey that is cross-spanning generations,” added Bradlee.

So if you ever wanted to experience the sophistication of these eras, but do not understand it, know the songs or artists behind them then Postmodern Jukebox is your fix for nostalgic, diversity and talent – all in support of hardworking live musicians.

Check out some of our favorite PMJ videos below, and be sure to catch them on tour!

Also Published with: Live For Live Music – {READ HERE}

Drew Holcomb heals with Tennessee ‘Medicine’

Memphis-born Drew Holcomb will bring a refreshing breath of Tennessee air to his StageOne performance on Monday, March 30 with Drew Holcomb and The Neighbors and opening act Humming House.

Over the past decade, Holcomb has balanced his authentic Americana Rock voice with the experiences that have shaped him as a husband, father and family-man. Holcomb is a passionate duck hunting, bourbon drinking and first edition book collecting musician full of earnest stories to tell. With a Masters degree in Divinity from Scotland’s University of St. Andrews Holcomb supports the depth and sincerity behind each lyric.

If you like artist like Tom Petty (and the Heartbreakers), Bob Dylan, Tom Waits, Neil Young or Wilco, then you will find tranquility in Holcomb’s catalog of earthy Folk lyrics and beautiful melodies. Bruce Springsteen fans will know Holcomb’s roots because while in Scotland Holcomb wrote his dissertation on  “Springsteen and American Redemptive Imagination.”

Drew Holcomb and The Neighbors have built themselves on their own terms selling more than 75 thousand records, playing sold out headline shows and have toured alongside Ryan Adams, The Avett Brothers, Los Lobos, Susan Tedeschi, North Mississippi Allstars and Marc Broussard. Their songs have been used on several television programs including TNT’s Emmy Award Winning 2011 Christmas Day NBA Forever spot, which featured “Live Forever” off of Holcomb’s 2011 album “Chasing Someday”. Holcomb and The Neighbors are unstoppable with wife and bandmate Ellie Holcomb on vocals and guitar alongside Nathan Dugger (guitar, keys) and Rich Brinsfield on Bass. Together the band evokes emotion with each passing note and paints a picture of working-class Tennessee in their seventh studio album “Medicine,” released January 27, 2015.

“This is the best tour we have had so far and people are responding to the new material,” said Holcomb. “Half of our set is off the new record and fans have been singing along at live shows.” The first track, “American Beauty,” sets the healing in motion with soft strumming guitar and soothing lyrics: “She was a good companion, eyes like the Grand Canyon / She was an American Beauty,” a sentiment that drags us into the heart of a mature songwriter. On the second track [one of my favorites] Holcomb slowly coerces the listener with steady strumming from his guitar. With an acute sense of dynamics The Neighbors build “Tightrope” through the guitar solo until Ellie sings out in harmony during an intimate outro between husband and wife.

“We recorded this album over the course of eight days in East Nashville in good spirit because we were working local. Getting up, eating with family and going to work made the whole experience quiet pastoral,” said Holcomb. “People are partially defined by the world they live in and in Nashville, we come from working families who love each other. We are personal songwriters, so everything hits close to home,” said Holcomb.Other tracks like “Sisters Brothers” and “The Last Thing We Do” beautifully contrast the laid-back tempo of the overall album. Syncopated drums and gritty bass on “Sisters Brothers” are complemented by Holcomb’s lyrical intention and hard hitting guitar riffs. “[with ‘Medicine’] I went back to the importance of having something to say, not just rhymes,” said Holcomb. “There’s a fine line between letting the music you love mentor you without trying to be derivative. We need to let people find their own voice,” added Holcomb.

Fairfield alumnus Joe DeVito prospers as stand-up comedian

JoeDeVito
Wednesday, March 11 on StageOne @ 7:00 p.m. / Doors @ 6:30 / Tickets $20

Fairfield alumnus Joe DeVito ‘90, will return to Stag Country on Wednesday, March 11, to perform at Fairfield Theatre Company’s StageOne. As an English double major and philosophy minor, DeVito never anticipated the prosperous stand-up career that would take shape as he entered his 30s.

DeVito’s hard-hitting punchlines and clever routine led to his appearance on “The Late Late Show” with Craig Ferguson on CBS, Comedy Central’s “Live at Gotham” and as a semi-finalist on season five of NBC’s “Last Comic Standing.” DeVito received a “9.5 out of 10” rating from the Montreal Gazette after performing at the prestigious Just For Laughs Festival in 2006. DeVito’s humor has also landed him as a panelist on “Chelsea Lately,” CNN’s Headline News and as a regular guest on FOX News’ Red Eye with Greg Gutfeld.

“I always liked being the funny one and lucky I had a supportive family,” said DeVito. “I had a few [funny] uncles, which meant you had to be careful sitting down at the dinner table so you didn’t choke on your food,” laughed DeVito.

DeVito’s comedy career began after a few coworkers pushed him to take a stand-up class. In fact, one of DeVito’s friends went to the class to ensure his participation. Two sessions later and a final project would propel DeVito into the stand-up world. Although DeVito had plenty of natural talent, being on stage would not come easy.

“I remember being in the bathroom throwing up before gigs in New York City. You need to get on stage over and over, but for me, the comedy club restrooms were so gross that I quickly got over it,” said DeVito.

DeVito’s organic and humble act transcends his family’s home videos to the spotlight on stage where the audience cannot resist his raw humor.

When DeVito auditioned for “Last Comic Standing” he had been performing at the time for six or seven years. During his audition in an empty club, DeVito instantly connected with the judges. He told jokes of working in an office and everyday coworker relations.

“A judge asked me, ‘Did you used to work in an office?’” said DeVito. Without hesitation DeVito responded, “Yeah! I’m on my lunch break!”

DeVito recalled why he suddenly connected with these judges opposed to the previous times he had auditioned. “I flipped through my planner and the difference was the 625 performances I had within the last year.”

“With stand-up, the only way you know how to do it is in front of an audience. I guess we are lucky with the things we don’t know because I would have psyched myself out,” said DeVito

During his time at Fairfield, DeVito, or should I say “Big Mac,”  was editor-in-chief of The Mirror his junior year in addition to his music reviews and humor writing. DeVito also performed a stand-up during a freshman orientation in the Aloysius P. Kelley Center while he was a student. 

“It’s strange for me because Fairfield students coming to my show were not born while I was at the University,” said DeVito. “It would be a shame if students aren’t there to relate.” 

After college, DeVito spent a decade as a journalist and as an advertising writer. As a writer, DeVito has contributed to the award-winning film “Super Size Me,” MTV and Maxim Magazine.

“Small theater shows [like StageOne] are the best. They are more intimate and are not as distracting as comedy clubs so I can take my time,” said DeVito. This organic approach makes each stand-up routine different. Although DeVito has set jokes, he will leave most of his performance open, similar to musical improvisation.

“The bands I liked growing up were the ones who didn’t have a live show that sounded exactly the record. If something cool happened that moment could not be duplicated anywhere else,” added DeVito”

Come out for a great night of stand-up, but be weary DeVito’s punchlines do not knock you off of your chair on StageOne.

Dana Fuchs hailed as the new Janis Joplin

DANAfuchsFuchs will be kicking off her tour at Fairfield Theatre Company’s StageOne on March 6 at 7:45 p.m.

New York City-based vocalist Dana Fuchs is a powerhouse behind the microphone, full of charisma and Memphis soul. Fuchs has achieved success on and off the stage including her performance in the Broadway play “Love, Janis” and for her outstanding efforts as Sadie in The Beatles film “Across the Universe” (2007). Not only did Fuchs star in the film, but also sang on the platinum-selling soundtrack, including tracks like “Dear Prudence,” “Why Don’t We Do It in the Road?” “Helter Skelter” and “Oh! Darling.”

Fuchs portrayed acclaimed vocalist Janis Joplin five to six nights a week on Broadway which stretched her vocal limits. Ironically, Fuchs had been compared to Joplin many times before, but had never heard of Joplin’s music because it was not played in her childhood home.

“I had to learn 19 songs in eight days for the play and I remember thinking, ‘Wow! Janis is 25 years old with such a wide vocabulary’ [of musical talent],” said Fuchs. “I couldn’t be Dana when I was on stage, so that would be the end of my inhibitions. If I had the feeling of Janis, why couldn’t I do that with my own music?” said Fuchs.

Florida born Fuchs was the youngest of six and would absorb the musical influences of both her older brother and parents. Everything from Johnny Cash, Stevie Wonder and Ray Charles to The Beatles, Grateful Dead and Queen would shape Fuchs’ career. Fuchs attributes most of her musical influence to her Florida roots, growing up in a predominantly African-American school and being exposed to funk and soul, in addition to her first grade teacher who would play Donna Summers during class. When Fuchs moved to New York, blues music pushed her voice to new limits.

“At that time all of the blues clubs had the great reputation, not me,” said Fuchs. “I began performing at these clubs three nights a week which forced me to raise the bar. In this style, it is not enough to just look the part. The music has to be raw and authentic. You have to love the music and always think on your toes.”

As a musician, Fuchs is always reinventing her craft and evolving. She recalls a favorite writer who once said “a good song is never written; it is rewritten, rewritten and rewritten.”

“The best way to progress as a musician is to play live. That is where you cut your teeth and interact with fans,” said Fuchs. “Don’t give up! This is not an easy road, but what job doesn’t have its troubles.”

[Check out an Dana Fuchs LIVE CD/DVD “Songs From The Road” on Ruf Records, released November 11, 2014]

Fuch’s success also includes sharing the stage with blues guitarist Taj Mahal and James Cotton, a blues singer, songwriter and harmonica player. “I remember I was really nervous before playing with Taj when I was just starting out. He grabbed and hugged me back stage, then said, ‘You just got to do it.’”

Fuchs will be kicking off her tour at Fairfield Theatre Company’s StageOne on March 6 at 7:45 p.m. She’s excited to return to “rock out with a listening audience” and describes her music as a “non-religious rock ‘n’ roll church” that will make the audience rowdier than Fuchs first experience in a black church, where people were jumping around singing. Fuchs immediately felt the music extend beyond religion.

“Music celebrates life and that is what I try to do,” said Fuchs. Each performance is “a revival, a place where we can forget about life’s hardships, or embrace them in a beautiful way on stage.”

Fuchs’ tour will travel to Mexicali Live (Teaneck, N.J.) on March 7 and Iridium NYC on March 10, before the band heads west and through Europe in April.  At the end of the year, Fuchs plans to record a “deeper and darker sounding record.” [see the rest of Dana’s tour dates here]

“My music is about life’s trials and tribulations, but this time I want to focus on what made me want to be a singer,” said Fuchs. “The record will feature an Otis Redding tune [which I have played live before] and similar influences. I have to grind it up a bit because I’m a rock ‘n’ roll child,” added Fuchs.

The Warehouse: 640-seat multi-purpose venue to be built in downtown Fairfield

Screen Shot 2015-02-18 at 6.11.57 PMFairfield Theatre Company will soon transform an existing facility into a 640-seat music venue located at 70 Sanford Street, behind the Fairfield train station. As of Wednesday, Feb. 11, FTC’s Executive Director John Reid was happy to announce that the campaign has reached 80 percent of its 1.5 million dollar budget.

The Warehouse will have three times the seating as StageOne and will allow larger acts to perform who would otherwise not fit in their existing 225-seat venue. According to Reid, the size of The Warehouse fits perfectly between their existing venues: The Klein in Bridgeport, Norwalk Concert Hall and StageOne. FTC plans to make use of all four facilities in order to provide more services and entertainment for the community, as well as to attract people from all over the region.

The Warehouse at FTC will be home to theatre, film, cultural events, fundraising galas, business expos, fairs, corporate and private events. The Warehouse will not only bring more music, but also act as a multi-purpose venue and community event space downtown. 

The Warehouse brings FTC and Fairfield University back together since FTC’s first season of plays in 2001, which were held on Fairfield’s campus. For Fairfield students, this means you can enjoy more music and art. Reid said, “The Warehouse will absolutely source bands who draw college students including indie rock and some EDM groups.” 

“We hope The Warehouse will allow us to connect with WVOF, Fairfield University’s radio station, and have bands come in for interviews,” said Reid. “The larger venue will allow for discounted admission because a lot of the indie bands do not want to out price their fans with high ticket costs.” Reid also hopes to incorporate the University’s StagCard into the FTC box office. 

Not only will The Warehouse engage college students, but also improve the overall atmosphere of downtown Fairfield. FTC put on 338 shows and attracted 50,000 people last year alone which generated a 1.5 million dollar benefit to neighboring businesses, according to Reid. Warehouse2

“The Warehouse is a game-changer both for FTC and the town of Fairfield,” said Reid. “The new venue will allow us to introduce a whole new universe of world-class artists and productions. This will bring even more people to Fairfield and act as a significant and economic engine for the local restaurants and shops that surround us.”

First Selectman Mike Tetreau said, “The Warehouse is all a part of transforming Fairfield into an arts and culture destination and FTC is the cornerstone of all that.” Tetreau’s focus stretches beyond The Warehouse. His intent is to make Fairfield more accessible and increase tourism. 

“I envision Fairfield as a more interactive community. For example, I want to create a bike-share program where people can rent a bike and explore the town, then simply return it like a library book,” said Tetreau. “All of these things will expand the town and boost business in Fairfield.”

The Warehouse anticipates a grand opening in the fall, with a soft opening over the summer. To find out more about The Warehouse, please visit fairfieldtheatre.org/warehouse/press.

San Fermin reveals ‘Jackrabbit’ live on StageOne

Ellis Ludwig-Leone, San Fermin Composer / Bandleader / Keyboard
Ellis Ludwig-Leone, San Fermin Composer / Bandleader / Keyboard

San Fermin / Thursday Jan. 29 / on StageOne / $20 / Doors: 7:00 P.M.

Brooklyn-based San Fermin hit the road in full force after their Jan. 20 release of  “Jackrabbit”. The single track is a mere glimpse of what is to come for the band’s second studio album, to be released April 21.

Backed by brilliant composer Ellis Ludwig-Leone, the eight piece rock band will take the stage at Fairfield Theatre Company, ready to reveal the rest of the albums unheard tracks.

“Jackrabbit” seamlessly weaves Ludwig-Leone’s composed melody and lyrics with the band’s  indie rock persona and gigantic wall of sound. The tune borders mainstream pop with an aggressive edge, appealing to musicians and music lovers of all genres.

Charlene Kaye (vocals) brings a strong feminine breath behind the microphone that gives “Jackrabbit” a refreshing, yet familiar sound after each listen. “Jackrabbit” is a beautiful landscape painted across your ear as the band crescendos into a rock anthem as Kaye passionately sings “Run for the hills, Run.”

San Fermin’s December 2014 single release of “Parasites” will also be featured on the upcoming album. “Parasites” includes Ludwig-Leone’s longtime friend and bandmate, Allen Tate, on vocals along with Raye. Together Raye’s croon lines paired with Tate’s low-bass range spread the entire sonic spectrum. Harmonious vocal breaks and choral chants contrast the saxophone lines of Stephen Chen.

“Parasites” contrast the overwhelming force of “Jackrabbit” with an honest and wholesome rhythm section in addition to the sweeping violin lines of Rebekah Durham. Dissonance and immense creativity lie behind this track; proof that Ellis Ludwig-Leone has an acute attention to detail when it comes to music.

Ludwig-Leone studied music at Yale University in New Haven, Conn. and set off to work on his debut album after graduating in 2011. Ellis transformed San Fermin from the produced compositions on his laptop to include a road proven ensemble comprised of  Ludwig-Leone, Allen Tate, Charlene Kaye, Rebekah Durham, John Brandon, Stephen Chen, Tyler McDiarmid, and Mike Hanf.

After their debut release, The New York Times and Pitchfork hailed San Fermin as one of the most ambitious debuts of 2013. In  its overwhelming success,  San Fermin fans eagerly await the release of a second jaw-dropping album, “Jackrabbit.”

Ellis Ludwig-Leone can attribute this success to “sensibility.” When you’re writing music “you have to let the song take you somewhere,” and the same goes when performing and listening.

With such a diverse background, Ludwig-Leone is influenced from all types of music stemming back to his childhood, including the years he was trained in classical music.

“This [San Fermin] is a mixture of a lot of stuff; the music I listened to at 10 years old and the music in the last few months,” said the Brooklyn Composer. “You have to add your own take and  find your own voice. The more I do this, the more influences that come into the music.”

Likewise, for young musicians Ellis stated “while your learning, be as open to as much as you can because it can be handy later on  down the line.” More importantly you must “write the music you want to write!”

When San Fermin takes the stage at FTC all of their life experiences will squeeze into the intimate 225 seat venue.

“If people in Fairfield come to see San Fermin it will an experience they won’t forget because it its the first time new music is being played,” Said Ellis Ludwig-Leone.

San Fermin’s StageOne appearance is one of the few tour dates to reach New England with guest artist, White Hinterland. After heading down to The Barns at Wolf Trap (Vienna, VA) and Gild Hall (Arden, DE) San Fermin will be at The Appel Room (New York, Ny) on Feb. 12. After the Savannah Stopover Music Festival the band will tour overseas through the beginning of May 2015.