Tag Archives: the Lumineers


Treetop Flyers Celebrate Album Release Tomorrow at Mercury Lounge

June 25th, 2013

Friends Reid Morrison (vocals and guitar), Sam Beer (guitar and vocals), Tomer Danan (drums and vocals), Laurie Sherman (guitar) and Matthew Starritt (bass and vocals) were playing in different London bands—although Danan is the lone American among them—when they teamed up to form the folkie, Americana-tinged Treetop Flyers in 2009. That they play cool, roots-y music should come as no surprise considering Morrison cites My Morning Jacket, Jonathan Wilson and Matthew E. White as influences. As a live band, Treetop Flyers (above, playing “Things Will Change” for FaceCulture) burst onto the scene by winning the Glastonbury Emerging Talent Competition in 2011, putting them on the venerable festival’s main stage and setting them up to open for bands like the Lumineers. As for their recorded material, they put out a few singles and an EP on Communion Records (co-owned by Mumford & Sons’ Ben Lovett) before switching over to Brooklyn’s Partisan Records for debut full-length, The Mountain Moves (stream it below), out today. Join in on the celebration when they celebrate its release tomorrow at Mercury Lounge.




Houndmouth Are a Band on the Rise

April 10th, 2013

Houndmouth—Zak Appleby, Shane Cody, Matt Myers and Katie Toupin—from the farmlands of Kentuckiana, formed by chance in late 2011. Their influences include the Band (“Levon Helm is my hero,” says Cody), David Bowie, Randy Newman and the Faces. And as such, they make a kind of music perhaps best categorized as y’alternative (the Venn diagram overlap of Americana, blues, folk and rock). The quartet’s debut full-length, From the Hills Below the City, arrives in June, but if their self-titled EP (stream it below) is any indication, Houndmouth (above, doing “Penitentiary” for Close Shave Music at last year’s Forecastle Festival) just might follow the path of such like-minded bands as the Lumineers and the Head and the Heart. See them tonight at Mercury Lounge.


The Lumineers – Terminal 5 – February 1, 2013

February 4th, 2013

Photos courtesy of JC McIlwaine | jcmcilwaine.com


Old Crow Medicine Show Finds a Home in Central Park

August 7th, 2012

Old Crow Medicine Show – SummerStage – August 6, 2012

In case you somehow forgot where Old Crow Medicine Show was in the midst of playing a marathon set of old school bluegrass last night, frontman Ketch Secor constantly reminded everyone that it was in Central Park in New York City. In what became a running thread, Secor would mention this every chance he got, expanding with a litany of facts and numbers and then name-dropping boroughs, neighborhoods and most of the outlying suburbs. It became clear that it was partly tongue-in-cheek. Only partly, though, because it was also clear as the band churned through material from most of its albums of the last decade, that location is very important to Old Crow. The group mentioned a couple dozen Southern states and backwoods towns, both real and imagined, throughout the night: from the Virginia of the opening “Carry Me Back to Virginia” to the Alabama in “Alabama High Test” to the “Mountain City” of “Bootlegger’s Boy.” For these guys, where you are is as important as where you’re from and where you’re going.

The show began beneath a beautiful orange-and-blue sunset as Old Crow rotated easily among banjos, fiddles, harmonicas and guitars. The show was sold out, quite amazingly to a mostly younger crowd that didn’t quite have the look of folk who’d spent any time at a bluegrass festival. It took a while for the audience to settle in, but once the sun set, the chitchat died away and everyone focused on the music. Things turned more interesting right around the same time with a string of songs that started with “Methamphetamine” and “James River Blues.” With plenty of fiddle breakdowns and multipart harmonies, the crowd started to really move. This reached a head with “Wagon Wheel,” which drew the biggest reaction of the night, with everyone singing along. It may have been Central Park, but it suddenly felt like the band’s home.

The set was a strong 80-plus minutes of music, but the encore deserves its own paragraph. After a nice version of “Hard to Love,” Old Crow Medicine Show brought out the first openers, the Milk Carton Kids, for “I Hear Them All” with an appropriate “This Land Is Your Land” squeezed in the middle. Then they brought out the second openers, the Lumineers, for an awesome everyone-onstage take on “Sweet Virginia,” which seemed appropriate considering the opening number. Again it was location, location, location as the whole ensemble rocked an appropriately big version of “The Night They Drove Old Dixie Down.” At this point there were more than twelve musicians onstage comprising just about every string instrument you could imagine. The laws of live music (The Last Waltz Act of 1976) state that when that many people assemble for an encore, they must finish with an everyone-gets-some take on “I Shall Be Released,” and so that’s how they ended a wonderful night in Central Park in New York City. —A. Stein

Photos courtesy of JC McIlwaine | jcmcilwaine.com