Flor bridges the gap between artist and listener in nearly every sense of the dichotomy and it was made especially present at the Broadberry’s show this past Tuesday. With unfiltered communication, raw vocals and organically arranged instrumentation, the Oregon-rooted and Los-Angeles based, four-piece band put on a show that immediately befriended the intimately-sized crowd. A modest portrayal of musicians who create art as a creative outlet, connecting with people and genuinely enjoying the work they do, flor captivated the audience with their sincerity while on stage.
With echoing chants, acoustic guitars, steady beats, fluid grooves, luxuriant synthesizers and emotionally-charged lyricism, flor successfully proved themselves as a band that integrates pop alt with ambient sonics. Their set reidentified what it means to be awakened with revelations of self-journeying, the inherent struggles that come in tandem, and the triumphant self acceptance that follows. The confidence portrayed in flor’s lyrics was met equally with their transparent and amiable demeanor on stage.
The band began with a promise from vocalist, Zachary Grace, to give their crowd “nothing less than excellent”. Excellence was, in fact, given with ambiently-sounded synth laced with echoed sonics. Grace proceeded through the duration of the show, gleaning with a contagious elation, and a fine demonstration of his vocal flexibility, alternating between high and low octaves.
The band’s current lineup consists of Grace on vocals, Dylan Bauld on bass, McKinley Kitts on guitar and Kyle Hill on the drums. Performing originals and rearranged tunes of the dreamy Coldplay, the band used 80’s inspired synth to create catchy synth arrangements, fulfilling their reputation as a spectacular fusion of indie rock and synth pop.
Check out more indie-rock, alt pop and more shows at the Broadberry! Make sure to secure your tickets!
Captivating the Richmond Music Hall at Capital Ale House this past Thursday, the Seratones performed their sophomore studio album Power (2019) with a transitional demonstration of gritty punk sonics laced with soulful rhythm and blues. The five-piece band hails from the jazz-induced, blues-swinging, and soul-stirring musical hub of Louisiana and has been riveting venues, large and small, since 2013.
With tracks ranging between fiercely sung lyrics and somber reflections complimented by slow compositions, the Seratones revitalized a new wave of vintage soul with experimental twists and modern synthesizing arrangements with their new album. Aj Haynes, the band’s frontwoman, dove deeper into a vulnerable, self-introspective journey to redefine the album’s lyricism.
The band used a fine-picked combination of 80’s synth, contemporary alt-punk, and organic instrumentation that defines the jazz era of the motown genre. Seemingly contradictory genres, Seratones successfully interwove these genrefying elements Thursday night to create a sound that can best be defined as “dance floor ecstasy”. Haynes’ physical performance, coupled with her tremendous vocals, brought the crowd closer and closer to the stage, in which she saw it fit to step off the platform and into the crowd, indicating the universality and connectedness of music.
The line up consisted of Haynes on vocals and guitar, Travis Stewart on guitar, Adam Davis on the bass, Tyran Coker on the keyboards, and Jesse Gabriel on the drums.
Hayne’s sugary and deeply sensual vocals entrapped the intimately-sized venue of Capital Ale House in a rhythmic, American soul-rocking journey. The band’s notably high energy and self-assured performance permeated a palpable energy within the crowd brining everyone to a rhythmic daze.
Words by Anna Menendez
Formed in 2009, Beach Fossils is coming to a sold-out, dreamy show at the Broadberry this Saturday! Prepare your night for groovy and mellow sonics combined with daydream melodies to carry you to a care-free, musically induced coma. This indie pop band has been on an ascending continuum of creative output with relaxing instrumental arrangements paired with storytelling on the drags of everyday life and the gentle joys found within it.
A four-piece band hailing from Brooklyn, New York, Beach Fossil has five albums that invigorate the audience with lyrics that are deeply meaningful and melodies that are nothing short of awe-inspiring, unwinding and uplifting. The band formed when the idea blossomed in music-pursuant, Dustin Payseur. It began as a solo project when Payseur relocated to the arts-center of New York, and it soon transmogrified into a materialized project with the creation of a fully-equipped band. Payseur quickly recruited other band members and what began as a solo dream turned into a reality of trans-country expeditions of well-reviewed music shows.
Their first album, eponymously titled, came out in 2010 with their sophomore one, What A Pleasure (2011) releasing soon after. Clash the Truth (2013) and Somersault (2017) followed in pursuit to establish Beach Fossils as a promising soft-rock, indie band mix. The current lineup of Beach Fossils blends indie rock roots with pop-infused instrumentation found in the band’s use of acoustic and electric combinations. Lead-singer Dustin Payseur’s and Tommy Davidson’s guitar-playing, Jack Doyle Smith’s bass and Anton Hochheim’s drums create the inviting sound that is uniquely Beach Fossils’.
The band uses a lo-fi style with atmospheric tendencies and Payseur’s laid back vocals to capture their crowds and create groovy, beach-inspired ambiences. Saturday is bound to be a night to remember for those who were lucky enough to snag some tickets!
Make sure you check out The Broadberry to secure your spot for the next sensational show!
Words by Anna Menendez
Southern rock & roll. Vintage blues. Southwestern Americana. Alternative country roots. Soulful bluegrass. Indie folk. Jazz-influenced funk. Hiss Golden Messenger embodied all of these Thursday night at the Broadberry. As a performance that was difficult to genrify, the band went on a myriad roller coaster of genre elements, incurring body-swaying, head-bopping, hand-clapping and foot-tapping movements within the crowd.
With the gracefully pure and deeply-rooted, acoustic opening performance by Nashville-based artist, Lilly Hiatt, Thursday’s show was a beautiful blend of raw and organic vocals, overwhelmingly poignant. Hiatt’s set was a rooted country performance with a lyricism that came to life with impassioned storytelling. An uplifting yet vulnerable account, Hiatt combined personal heartbreak with a perceptibly defiant triumphancy.
For Hiss Golden Messenger, the stage was set with delicately strung incandescent light bulbs, floating atop the band’s Bohemian-rugged platform. Potent incense permeated the venue, establishing the fact that music – especially in the five-piece’s performance – is so much more than a listening experience. The Broadberry was brimming with fans of all different ages and musical tastes, united in the sound that is solely Hiss Golden Messenger’s.
Beyond the versatility in sonics, the band demonstrated their wide arsenal of instrumental talent. Electric guitars, acoustic guitars, a trumpet, a harmonica, tambourines, a keyboard, a bass and drums. The Durham-based band successfully blended the starkly different instrumentation into a finely woven and well-knit show.
Between the two performances, the entire show was a paradoxical mix of electric and acoustic arrangements. Both filling in the gaps of the other, complimenting the voids. Michael Taylor, the lead singer and songwriter of the band, integrated ethereal sonics with a lyricism that encompassed both a gentle realism and a whimisical idealism. Groovy yet grounded, Hiss Golden Messenger’s melodic unison invigorated Taylor’s lyrics leaving the crowd in a rock & roll, rhythm & blues daydream.
Make sure to check out upcoming events at the Broadberry for the next show!
Words by Anna Menedez, Photos by Joey Wharton
“To be the best damn Allman Brothers tribute band in the world,” remarks Jeremy Simmons with a tinge of well-earned confidence when speaking on the mission of the locally renowned SKYDOG.
Comprised of Virginia natives, the band admirably revives the music of the late brothers with a palpable passion that is so gleamingly apparent.
As a band that has been playing for nearly 11 years, SKYDOG has earned a following that ranges from a nostalgic fanbase reminiscing on the Fillmore East years to an ecstatic crowd of rhythm and blues, rock, jazz, classic country and sheer music appreciators.
The idea of a band that entirely paid homage to one of the most iconic bands of their era has been in discussion amongst Simmons for decades. In 2009, the Simmons brothers and close friends brought that passionate dream into fruition. Following their initial formation, SKYDOG has since been living on the euphoric high that is inherent in the band’s performances. “As Duane would say, when you’re hitting the notes, there’s no better feeling” says Simmons in a conversation that makes it obvious he’s doing what he loves. With the high energy of their crowds propelling the band to perform with an uninhibited perseverance, SKYDOG thrives in the beautifully unmatched experience that is innate in their shows.
SKYDOG embodies what it means to be fervidly passionate about what they do: performing art that resonates with people. And they, as Jeremy Simmons would say, “have a damn good time doing it.”
Preserving in the face of doubt when questions like, “can we pull this off?” and “can a group of guys come together and make this magic?” arose; SKYDOG has been on a rocking highway of resurrecting performances. With uplifting arrangements that are integral to the sound of the Allman Brothers, SKYDOG is a band that represents the traits of brotherhood, revitalized output and musical dexterity.
The current line-up is a seven-piece blend of well-seasoned musicianship that defines the beloved sound of the Allman Brothers to an unapologetic likeness. The band is made up of Keith Cable (drums, percussion), Joey Ciucci (organ, electric piano), Brian Fones (guitar, vocals), Jason Neal (drums), Dusty Ray Simmons (drums), Jeremy D. Simmons (bass, vocals) and Brian “Willie” Williams (guitar).
Make sure you grab your tickets for a night of rocked out, revitalized roots, and we’ll see you at The Broadberry this Saturday!
Words by Anna Menendez
With a sound that expands beyond any genre-defining bubble, SUSTO comes to Richmond Music Hall this Saturday with Indianola for a night full of buttery vocals, introspective lyricism, experimental synth and guileless folk.
SUSTO, a recording project developed in 2013 by Justin Osborne in the midst of the Cuban landscape, has repainted the idea of alternatively country, Americana folk music. Osborne, within his songs, explores the perspectives behind the joys and pains that are inherent in connection, loss and transience. SUSTO’s sound is identifiable through elements that embody a resounding triumph blossoming from the ashes of religious abandonment, familial disconnect and a wandering loss; all of which are present in his most recent 2019 album, Ever Since I Lost My Mind. Being his third, this label debut album integrates experimental synth with Osborne’s mellow vocals and a sway of Latin-imbued arrangements.
Hailing from Charleston, South Carolina, Osborne has been playing music for nearly his whole life. At 14 years old, he wrote his first songs with his grandfather’s old guitar and eventual made his way to Cuba to study abroad. It was the lively culture and the impassioned music that reignited his love for creation. Taking advantage of the full catharsis that comes with his songwriting, Osborne embellishes his music with lyrical narratives brimming with reflective journeying. He comes to the music scene with rearranged ideas on open lyrics that represent his personal transition from a place of predisposed assurance to one of thrilling uncertainty.
To fully complete the band for SUSTO, Osborne will be joined by a live band consisting of Marshall Hudson (drums, harmonica), Dries Vandenberg (lead guitars, vocals), Jordan Hicks (bass) and Steven Walker (keys).
Indianola, comprised of Owen Beverly, will demonstrate a performance that extends beyond sonic expectations, representing a gradient of binary oppositions. Beverly’s Indianola will combine what is modern with what is retro, bleak with what is optimistic, and carefree with what is apocalyptic. The musical experiment blends a range of both diverse genres and eras to create a collage of varying sounds. Check out both unique performances this Saturday at Richmond Music Hall for a night of velvet-voiced performers and garage/folk rock mixes.
Words by Anna Menendez
In a gradient display of American punk rock, crowds saw an absolutely riveting ,three-act performance December 3rd at The Broadberry. Energies were so high within the sold-out venue, members of the audience embodied the music of Culture Abuse, Tigers Jaw and The Mezingers, respectively, with highly animated mosh pits, invigorated fist pumps and spirited head bangs.
Culture Abuse, a five-piece band with origins in San Francisco, did the deed in engaging the venue with songs that read like letters. The band’s lyricism brimmed with universal lessons about the trials that come with life, captivating the audience with alternating perspectives and hard beats. Along with the vocal and instrumental sonics of the band, the personality and liveliness of vocalist David Kelling, captured the listeners with his unfiltered amicability. Culture Abuse blended genre-defining traits of synth, alt punk and heavy metal with impassioned vocals and dictatorial instrumentals to jumpstart the performances to follow.
Engaging with emotionally-driven lyrics and an interweaving of harmonies, by the means of Scranton, PA, came Tigers Jaw. This Pennsylvania band is defined by the talents of Ben Walsh and Brianna Collins, both integrating their vocals into finely-laid, boundy, musical arrangements. The pair’s vocals gently complimented each other while their accompanied band executed uplifting, anthemically charged tunes. Tigers Jaw interwove somber arrangements and soft keyboarding with uplifting guitar riffs and energetically acoustic vocals into a sonic quilt of self-exposé-like songs. The pair ended their set with a defiant stand, unifying their audience in shared loneliness.
After heightened anticipation and a few more mosh pits, The Menzingers came on to close a rightfully amped punk show. A band that has withstood the test of time, The Menzingers began in 2006 in the same place that generated Tigers Jaw – Scranton, Pennsylvania. With Greg Barnett and Tom May bouncing off of each other’s vocals, the band represented a firm narrative of open solidarity. The band electrically amplified all those within The Broadberry by employing characteristics of emotionally daring lyrics and an overlay of screamo-infused sonics.
An American punk rock show in every sense of the word, the three bands left, having amped up the entire, sold-out venue, to a tangible degree. Make sure to get tickets for The Broadberry’s next show to feel the insurmountable perceptibility of music.
Words by Anna Menendez