John Nelson

The State Room hosted a fruitful Harvest in a sold-out show on Saturday night. Singer-songwriter Paul Jacobsen served as master of ceremonies (and more) ushering in a bounty of talented, local artists to pay tribute to Neil Young’s influential 1972 album. It was a massive, three-part-24-song-musical feast that thrilled the jam-packed audience (ok, I’m done with the produce metaphors). With so many talented, local artists it’s impossible to highlight the standout performances. So, here’s the setlist.  

Act One included a handful of Young’s non-Harvest treasures like “Only Love Can Break Your Heart” performed by Provo pop-duo Adam and Darcie. Daniel Young, who kept the ensemble on time all night with his skillful drumming, took lead vocals on a fine rendition of “From Hank to Hendrix” accompanied by Dylan Schorer on pedal steel, M. Horton Smith on guitar, and Julieanne Brough on keys. Hollering Pines lead singer and songwriter Marie Bradshaw rocked “Harvest Moon” while also providing backup vocals throughout the evening. American Songwriter contest winner Ryan Tanner took the keys and wrapped up Act One with a superb rendition of “After the Gold Rush.” 

Act Two of this star-studded performance featured Harvest in its entirety with Paul Jacobsen skillfully launching the first track “Out on the Weekend.” An assembly of other great players subbed in and out all night, but the foundation of the evening’s host band included Paul Jacobsen on acoustic guitar, Daniel Young on drums, Pat Boyer (Desert Noises) on bass and occasionally shredding a mean lead guitar, TJ Nokleby (Parlor Hawk) on guitar, Brian Hardy (The Lower Lights) on keys, Marie Bradshaw on backing vocals, Dylan Schorer (Hollering Pines) on pedal steel and Megan Nay (Fire Guild) on fiddle.

Provo’s Mia Grace “filled our cup” with “Harvest,” the album’s title track. The next song from the album reminded us that in 1972 even hippy folk artists, marching for peace and justice, could be tone deaf to misogyny. “A Man Needs a Maid,” is a cringeworthy song title that went unchallenged fifty years ago. On Saturday night however, Julianne Brough tackled the song from a female perspective and turned it inside out with her poignantly beautiful rendition. Her reinterpretation was a true highlight in an evening full of high art. 

Porter Smith of the indie rock band Lantern By Sea shined on “Heart of Gold.” Cory Mon delivered an upbeat “Are You Ready for the Country” before handing it off to Kimball Frank for a heartfelt singalong with “Old Man.” Stephanie Mabey brought us back to the album’s  orchestral folkiness with an ethereal “There’s a World.” Dr. Dominic Moore took us on an electrified trip to a subterranean world with the rafter-shaking “Alabama.” Sadly, that powerful song still rings true.

The full stage momentarily cleared and Joshua James came out with his guitar and did an amazing (you could hear a pin drop) rendition of  “Needle and the Damage Done.” Cardinal Bloom’s Joey St. John offered his last “Words” to the show’s loving rendition of Harvest. 

A short intermission gave way to Act Three: A final round of Young’s classics. Whisperhawk (Michael Gross) launched into a thunderous “Cinnamon Girl.” Michelle Moonshine did a lovely “Comes a Time” with Marie Bradshaw on backup vocals. To see both singers/songwriters on stage together was a treat. Bradshaw then took us on a musical ride somewhere on a desert highway with “Unknown Legend.” Ryan Innes (NBC’s The Voice) belted out a soulful “Helpless” and left us wanting more. Neon Trees bassist Branden Campbell joined the ensemble and Porter Smith returned for a lively version of  “Ohio.” M. Horton Smith (Hollering Pines) set his mandolin aside and took lead vocals on “Farmer John.” Mick Rudolph (Seaslak) jammed out a mesmerizing and dreamy “Cortez the Killer” before Joshua James pulled the trigger on “Powderfinger.” The stage filled for the group finale with “Rockin’ in the Free World.” 

Let me catch my breath. This show could have easily sold-out a second night (I’d actually go see it again). I hope the success of this event will generate renewed interest in this type of collaborative celebration. We could use more performances that showcase our locally-based talent. Next time, I’d like to see merch tables so fans can purchase the great original music many of these artists have recorded.

I apologize for failing to mention any of the many players who contributed so much to make the evening a success.

What:  Fifty Years of Neil Young’s Harvest–A Tribute

Who: An all-star lineup of locally-based artists

Where: The State Room

When: January 7, 2023

The Urban Lounge felt a little like an exclusive speakeasy on Tuesday night. Fortunately for me, I knew the password–July Talk! The Toronto-based sextet uncorked the lightning from the bottle and gave a thunderous and theatrical performance. For those not yet acquainted with July Talk, they’re an award-winning avant-garde Canadian alt-rock band whose songs blend a dark, gothic rock with light, airy pop. The contrast in genre is accentuated by the lyrical themes of life’s blurred contradictions such as love and hate, trust and deception, or madness and sanity. On stage, they played it out with two lead vocalists, Peter Dreimanis and Leah Fay. Dreimanis reached into the darkness with his smokey, almost demonic vocals (think an unrestrained Tom Waits), while Fay countered with her impish, sweet pop (think Cyndi Lauper).  

The well-choreographed performance began with their alt-rock hit “Picturing Love,” the first song from their 18-song set. “Picturing Love” explored the boundaries between reality and fantasy, in particular, how our online fascination with celebrities and other strangers distracts from real love and happiness. In contrasting vocals, Dreimanis broke away from the fantasy life while Fay tried to lure him back in with her siren call. Captivated by the opening beat, I couldn’t look away as the song moved from light hypnotic harmonies to ground-shaking rock. This operatic power play continued with “Lola + Joseph,” “Guns + Ammunition,” “Beck + Call,” and “Push + Pull.” Fay and Dreimanis invited us into their struggle when they jumped off the stage and lay on the floor in the center of the crowd for “I’ve Rationed Well.” I hope they have a good dry cleaner. 

July Talk also mixed great music with performance art—Fay and Dreimanis acted out the lyrics while the rest of the band delivered the musical emotion. For “Headsick,” a song about the madness in a toxic relationship, you could see the temporary insanity forming in Dreimanis’ expressions as the song progressed. Other stand-out songs included “After This” and “Summer Dress.” Much to the crowd’s delight, they played “The Garden” for their encore. One fan likened them to peppercorns on vanilla ice cream—two contrasting flavors that blend perfectly. I tend to lean toward Squatters Outer Darkness Imperial Stout—Dark, creamy and packs a punch.

Austin-based Darkbird opened the show. The six-piece band fronted by lead singer Kelly Barnes fashioned ’80s-styled new wave with a fresh, modern approach. They started their eight-song set with the retro rhythmic rocker “Crimes.” They moved nicely between early 80’s new wave dance vibes (think early Blondie) with “Kiss Goodbye” and “Heartbeat” to hard-driving punk rock with “Bad Self.” Barnes delivered an energized performance pumping up the crowd and setting the tempo for the evening. With a forthcoming full-length album on the horizon, Darkbird is a band on the rise. They have a growing catalog of interesting and innovative songs, and I’d like to see them headlining in the near future. 

Both bands displayed a fiery passion for their art. Darkbird is just starting to build a national reputation while July Talk, already an award-winning alt-rock band in Canada, is still flying under the radar in the US. Great music and high art, however, know no borders. I felt privileged to see such remarkable talent in an intimate space.

• Who: July Talk w/ Darkbird
• What: Alternative indie-rock/pop
• Where: The Urban Lounge
• When: Nov. 29, 2022
• Info: www.theurbanloungeslc.com, www.julytalk.com, www.darkbirdband.com

Read more of John Nelson’s music coverage here.

I first saw July Talk in Prague during their 2015 European tour. I had just arrived in the city, so I set out to discover how folks in the Czech Republic rocked and rolled. I stumbled upon a venue called The Roxy (it sounded so West Hollywood). So, down the rabbit hole, I went. July Talk, a Canadian indie-rock band headlined. Not familiar with this relatively new band, I didn’t know what to expect. I discovered a five-piece band whose music vacillated between dark, thunderous gothic alt-rock and more contemporary, breezy light pop. The music paired perfectly with the host city’s medieval, gothic architecture and post-Soviet optimism. 

July Talk’s expertly crafted music and stage show embraced life’s contradictions. Their show felt like a push and pull between love and hate, dark and light, good and evil. Peter Dreimanis’ raspy, gothic rock voice spewed from the pillars of hell. In contrast, Leah Fay’s innocent, wispy, saccharin-pop vocals conjured the beauty to Dreimanis’ beast. The lead vocalists artistically played out life’s imbalances in songs like “Guns + Ammunition” and “Summer Dress.” On stage, Dreimanis and Fay performed the songs with the sexual tension of a seedy motel room. The chaos and seduction of their stage performance gave their music a unique artistic depth and brought it to life. 

Fast-forward seven years and July Talk is coming to The Urban Lounge on Nov. 29, 2022, and I can’t wait to see them again. Since our chance meeting in 2015, the band has released two more full-length albums and a new EP in 2022. Their self-titled debut record received a Juno Award for Alternative Album of the Year (2015). The Juno is Canada’s version of the Grammy. The band released their second album, Touch, in 2016 which included the aptly titled song “Push + Pull,” a single that held the #1 spot on the Canadian Alternative Radio charts for thirteen weeks. Their tune “Picturing Love” reached #2. All three of July Talk’s studio albums have won the Juno Award for Alternative Album of the Year.

July Talk’s avant-garde alt-rock/indie pop music is both hypnotic and catchy. In concert, they bring the songs to life like a rock opera. Don’t miss an opportunity to see this multi-award-winning quintet from north of the border. It’s your chance to travel down your own rock ‘n’ roll rabbit hole.

Austin-based Darkbird opens the show with their disco-pop new wave revival. Their 2021 single “Heartbeat” is a Blondie-styled retro dance number that’ll get you in the groove. Their latest single “Kiss Goodbye” rides the same new wave with an ’80s synth dance beat and a Devo-like guitar riff. They can quickly change lanes to Runaways-fashioned punk rock in “Bad Self.” If you listen closely you might even get a hint of Brenda Lee in “All There Is.” Without losing any authenticity, Darkbird blends ’80s new-wave flavors with modern indie-rock ingredients to create a tasty musical treat.

• Who: July Talk w/ Darkbird
• What: Alternative indie-rock/pop
• Where: The Urban Lounge
• When: Nov. 29, 2022
• Tickets and info: www.theurbanloungeslc.com, www.julytalk.com, www.darkbirdband.com

Lucius brought the glam and glitter to Salt Lake City on Saturday night. In a stadium-like performance, their show at the Commonwealth Room on Nov. 12, 2022, featured lights, costume changes, and an indie pop beat that, in another world, fans would be watching on a jumbotron from their $200 nosebleed seats. Instead, the packed house at The Commonwealth Room got an intimate view of a well-choreographed, musical experience. 

Jess Wolfe and Holly Laessig, the two lead vocalists, appeared on stage in their characteristic twinning wardrobe. In flowing and sparkling red dresses and braided hair, they launched into full disco mode with two new songs “Second Nature” and “Next To Normal.” They beckoned us back to 1977, and the good old days at Studio 54 (thankfully minus the coke-induced mania in the bathroom stalls). Too bad the Commonwealth’s disco ball couldn’t keep up.  

After a few high-energy dance numbers, Wolfe and Laessig unleashed their vocal magic. Singing in unison at the same pitch, their voices created a rich and mesmerizing wall of sound. The product was not harmony, exactly (although they have started using harmony in their newer work). Instead, they created what they call, their “third voice.” Their locked-in vocals filled the venue for “Dusty Trails.” A major high point in the show (in a show filled with great moments) was their performance of their 2022 release, “The Man I’ll Never Find.” This song is as good, or better as any tune on the charts. To hear them perform it live, in such an up-close and intimate space, was magic. 

To add more fun, they invited audience participation, teaching us a few campy dance moves (think “Macarena”) to accompany their song, “Heartbursts.” I felt underdressed without sequins and glitter. Luckily, others, better equipped in sparkling jackets and twinkling eye makeup joined in. Towards the end of the performance and during a light show, Wolfe and Laessig left the stage and reappeared in the middle of the audience dressed in matching silver sequin outfits. They asked the crowd around them to take a seat on the floor while they sang “Two of Us On the Run.” They transformed the Commonwealth Room from a nightclub into an old-fashioned folk revival. With the audience gathered around them on the floor in a large circle, Lucius filled the room with a soulful sense of belonging.

Their grand finale was a time-traveling medley that featured a funkified version of “Turn It Around” and an ethereal rendition of Donna Summer’s 1977 disco dance hit “I Feel Love.” Most bands have an act. Lucius has a show. To see such a well-orchestrated live performance in a smallish venue like The Commonwealth Room felt like a rare treat. Indeed.  See them while you still can. I suspect that Lucius is destined for big arenas and jumbotrons in the near future. I’m just grateful I got to see them at a moment when I could be close enough to see their glitter eye shadow. 

Abraham Alexander opened the show with “Out of Me,” a Spanish guitar-styled song he has not yet recorded.  Son of Nigerian, immigrant parents, he captivated the crowd with stories of his young life in Greece and his move to Texas when he was 11 years old. Alexander is a performer on the rise. The audience was happy to serve as a beta test for his new material. His irrepressible sincerity drew them in and singing along to his single “Stay” (the record features Gary Clark Jr. on guitar). He then delivered a bluesy, acoustic rendition of Chris Issac’s “Wicked Games.” He coaxed a lot of sound from his acoustic guitar and his powerful bluesy voice commanded the space. He performed half-a-dozen numbers, some available on streaming services, others soon-to-be-released. He’s an artist to follow. I suspect he’ll be a headliner in the near future.

Special thanks to KRCL for sponsoring this fabulous event. If you were lucky enough to experience the Lucius show, share your video and photos with the world on social media.

Social feeds: @stateroompresents, @ilovelucius, @slmag, @abrahamalexander, @krclradio, Tags: #feelslikesecondnaturetour, #slmag and read more of John Nelson’s music coverage.

• Who: Lucius w/Abraham Alexander
• What: Feels Like Second Nature Tour
• Where: The Commonwealth Room
• When: Nov. 12, 2022
• Info: thestateroompresents.com, krcl.org