club cafe

pittsburgh, pa
(Late Show) Rachel Lynne / Pet Clinic / Hearken / The Standard Moves

Local indie rock from Olympic Village, Pet Clinic and Hearken.

Local indie rock from Olympic Village, Pet Clinic and Hearken.

(Early Show) Evan Isaac / Anthony Heubel / BananaFish

Evan Isaac
Evan brings his songwriting alive on stage with his knack for performing with flare and vulnerability. His songs can go from being raucous to sweet fluidly and with ease.
Evan Isaac has been performing since he was a young teenager in the Pittsburgh area. He also performed in Los Angeles for four years with his band, GoodKids in which he played keyboards and sang. He is twenty-three years old.
He likes his concerts to be intimate exchanges of energy, so come on out let's share a night!

Anthony Heubel
Vocalist from Run Forever playing his new solo project

BananaFish
Featuring Gregg Harding, Singer-Songwriter from Ohio completing first full length CD, "Slumber Party."

Evan Isaac
Evan brings his songwriting alive on stage with his knack for performing with flare and vulnerability. His songs can go from being raucous to sweet fluidly and with ease.
Evan Isaac has been performing since he was a young teenager in the Pittsburgh area. He also performed in Los Angeles for four years with his band, GoodKids in which he played keyboards and sang. He is twenty-three years old.
He likes his concerts to be intimate exchanges of energy, so come on out let's share a night!

Anthony Heubel
Vocalist from Run Forever playing his new solo project

BananaFish
Featuring Gregg Harding, Singer-Songwriter from Ohio completing first full length CD, "Slumber Party."

(Late Show) Chillent with Manic Soul (Lazer Lloyd no longer performing)

Due to an unexpected issue with Lazer Lloyd's scheduled flight, his appearance at Club Café on July 1 has been canceled. The night will continue with performances by Pittsburgh's own Chillent and Manic Soul.

Due to an unexpected issue with Lazer Lloyd's scheduled flight, his appearance at Club Café on July 1 has been canceled. The night will continue with performances by Pittsburgh's own Chillent and Manic Soul.

Parsonsfield with Special Guest Juvenile Characteristics

PARSONSFIELD – BLOOMING THROUGH THE BLACK

May 6, 2015: Day One in the abandoned axe factory hadn't gone as planned, so today is the first time the five members of Parsonsfield will actually get to make music here. They'd been looking forward to converting this cavernous industrial space on the banks of the Farmington River in Collinsville, CT, ever since singer/banjo player Chris Freeman, who grew up nearby, brought it to their attention. The idea of recording in such a reverberant, reactive space held great appeal after the past six months spent in Canada exclusively performing their critically acclaimed original songs for 'The Heart Of Robin Hood,' a musical that required them to wear in-ear monitors for eight shows a week in theaters designed to be sonically dead.


They've got their amps and PA plugged in now, and there's a faint layer of sawdust on top of all the gear. It's nothing compared to yesterday, when they opened the doors for the first time and discovered sawdust an inch thick coating every imaginable surface. It was so bad they had to purchase respirators and devote the entire day to sweeping and vacuuming, trying to outwit the neighbor's overzealous guard dog every time they came and went from the building. The whole process left so much dust still floating in the air that every time they take a break, another layer settles back down to earth, but at least they can comfortably breathe now.

Above them, a cyclist crosses the rickety bridge over the river, making a distinctive clatter as the wheels hit a particularly loose plank. It's time to begin 'Blooming Through The Black.'

* * *

Though they call western Massachusetts home, Parsonsfield draws their name from the rural Maine town that's home to the Great North Sound Society, the farmhouse-turned-recording-studio of Josh Ritter keyboardist/producer Sam Kassirer. It was there that they cut their outstanding debut, 'Poor Old Shine,' which established them as a roots force to be reckoned with. The New York Times hailed the band as "boisterously youthful yet deftly sentimental," while Folk Alley dubbed their songs "the most jubilant and danceable indie roots music this side of the Carolinas." Their rowdy live performances only upped the ante, with The Bluegrass Situation falling for their "fun and frenzy" and No Depression raving that they'll "give you rich five-part harmonies one minute, sound like bluegrass on steroids the next, and then rock you over the head with unbearably cool and raucous Celtic rhythms."

It was only natural, then, that they called on Kassirer once again for their follow-up, 'Blooming Through The Black,' enlisting his engineering and production ingenuity to help convert the axe factory into a temporary recording studio. In addition to placing microphones on each instrument, Kassirer set up additional mics throughout the factory just to capture the feel of the enormous space, which itself became another instrument in the band's already-impressive repertoire.

Parsonsfield spent nearly six months writing and rehearsing in the factory, discovering that song ideas that had begun life in Canada radically transformed in their new home. The space demanded understatement and subtlety to balance out the band's exuberance and energy, and by the time they were ready to hit record, they were sitting on a collection chock full of the most infectious, emotionally mature songs of their career.

'Blooming Through The Black' opens with 'Stronger,' a slow-burner that, much like Parsonsfield's career, begins as an acoustic folk number and builds to an electrified tumult. It's a showcase for their instrumental prowess, lyrical chops, and unbridled passion, and it's just the start. The title track—inspired by the sight of the first flowers growing back in the forest fire-charred landscape of Hell Canyon, South Dakota—finds Freeman blending punk energy with earnest sincerity in his delivery, while "Across Your Mind" rides a feel-good groove driven by bassist Harrison Goodale and drummer Erik Hischman, and "Water Through A Mill" ebbs and flows like a solemn hymn on top of Max Shakun's meditative pump organ.

As the band explored the quirks and eccentricities of the factory, unexpected sounds and moments sometimes became permanent fixtures of the songs, but a particularly happy accident occurred outside the studio entirely, when Shakun called mandolin player Antonio Alcorn for help setting up his new record player. Upon dropping the needle somewhere in the middle of a copy of 'Poor Old Shine,' they discovered it was spinning backwards, but the melody coming out of the speakers was perhaps even more of an infectious earworm than it was when played forward. They brought the new riff to the rest of the band, where it morphed into "The Ties That Bind Us," a stand-out foot-stomper and a highlight of their live show.

Catch Parsonsfield onstage any night and the band's joy is palpable. They trade instruments, share microphones, and shoot each other big grins. They sing in tight multi-part harmonies, their voices blending like they've been doing this together all their lives. That's because Parsonsfield is a family band, not by birth but by choice. And with an album this thrilling, it's only a matter of time before you share their same enthusiasm.

Listen closely at the top of "Don't Get Excited" and you'll hear the clatter of a cyclist crossing the rickety bridge over the river. That's the sound of Parsonsfield inviting you into the axe factory. It's time to begin 'Blooming Through The Black.' Good luck not getting excited.

PARSONSFIELD – BLOOMING THROUGH THE BLACK

May 6, 2015: Day One in the abandoned axe factory hadn't gone as planned, so today is the first time the five members of Parsonsfield will actually get to make music here. They'd been looking forward to converting this cavernous industrial space on the banks of the Farmington River in Collinsville, CT, ever since singer/banjo player Chris Freeman, who grew up nearby, brought it to their attention. The idea of recording in such a reverberant, reactive space held great appeal after the past six months spent in Canada exclusively performing their critically acclaimed original songs for 'The Heart Of Robin Hood,' a musical that required them to wear in-ear monitors for eight shows a week in theaters designed to be sonically dead.


They've got their amps and PA plugged in now, and there's a faint layer of sawdust on top of all the gear. It's nothing compared to yesterday, when they opened the doors for the first time and discovered sawdust an inch thick coating every imaginable surface. It was so bad they had to purchase respirators and devote the entire day to sweeping and vacuuming, trying to outwit the neighbor's overzealous guard dog every time they came and went from the building. The whole process left so much dust still floating in the air that every time they take a break, another layer settles back down to earth, but at least they can comfortably breathe now.

Above them, a cyclist crosses the rickety bridge over the river, making a distinctive clatter as the wheels hit a particularly loose plank. It's time to begin 'Blooming Through The Black.'

* * *

Though they call western Massachusetts home, Parsonsfield draws their name from the rural Maine town that's home to the Great North Sound Society, the farmhouse-turned-recording-studio of Josh Ritter keyboardist/producer Sam Kassirer. It was there that they cut their outstanding debut, 'Poor Old Shine,' which established them as a roots force to be reckoned with. The New York Times hailed the band as "boisterously youthful yet deftly sentimental," while Folk Alley dubbed their songs "the most jubilant and danceable indie roots music this side of the Carolinas." Their rowdy live performances only upped the ante, with The Bluegrass Situation falling for their "fun and frenzy" and No Depression raving that they'll "give you rich five-part harmonies one minute, sound like bluegrass on steroids the next, and then rock you over the head with unbearably cool and raucous Celtic rhythms."

It was only natural, then, that they called on Kassirer once again for their follow-up, 'Blooming Through The Black,' enlisting his engineering and production ingenuity to help convert the axe factory into a temporary recording studio. In addition to placing microphones on each instrument, Kassirer set up additional mics throughout the factory just to capture the feel of the enormous space, which itself became another instrument in the band's already-impressive repertoire.

Parsonsfield spent nearly six months writing and rehearsing in the factory, discovering that song ideas that had begun life in Canada radically transformed in their new home. The space demanded understatement and subtlety to balance out the band's exuberance and energy, and by the time they were ready to hit record, they were sitting on a collection chock full of the most infectious, emotionally mature songs of their career.

'Blooming Through The Black' opens with 'Stronger,' a slow-burner that, much like Parsonsfield's career, begins as an acoustic folk number and builds to an electrified tumult. It's a showcase for their instrumental prowess, lyrical chops, and unbridled passion, and it's just the start. The title track—inspired by the sight of the first flowers growing back in the forest fire-charred landscape of Hell Canyon, South Dakota—finds Freeman blending punk energy with earnest sincerity in his delivery, while "Across Your Mind" rides a feel-good groove driven by bassist Harrison Goodale and drummer Erik Hischman, and "Water Through A Mill" ebbs and flows like a solemn hymn on top of Max Shakun's meditative pump organ.

As the band explored the quirks and eccentricities of the factory, unexpected sounds and moments sometimes became permanent fixtures of the songs, but a particularly happy accident occurred outside the studio entirely, when Shakun called mandolin player Antonio Alcorn for help setting up his new record player. Upon dropping the needle somewhere in the middle of a copy of 'Poor Old Shine,' they discovered it was spinning backwards, but the melody coming out of the speakers was perhaps even more of an infectious earworm than it was when played forward. They brought the new riff to the rest of the band, where it morphed into "The Ties That Bind Us," a stand-out foot-stomper and a highlight of their live show.

Catch Parsonsfield onstage any night and the band's joy is palpable. They trade instruments, share microphones, and shoot each other big grins. They sing in tight multi-part harmonies, their voices blending like they've been doing this together all their lives. That's because Parsonsfield is a family band, not by birth but by choice. And with an album this thrilling, it's only a matter of time before you share their same enthusiasm.

Listen closely at the top of "Don't Get Excited" and you'll hear the clatter of a cyclist crossing the rickety bridge over the river. That's the sound of Parsonsfield inviting you into the axe factory. It's time to begin 'Blooming Through The Black.' Good luck not getting excited.

Missy Raines & The New Hip with Special Guest Brandon Sensor w Dave Samuelson (Of the Hoffman Road Band)

Missy Raines & the New Hip - Based out of Nashville, TN, Missy Raines is considered to be one of the most respected, popular, and trailblazing figures in bluegrass today. A seven-time winner of the IBMA Bass player of the year award, she has backed greats such as Claire Lynch, Mac Weisman, Kenny Baker, and Peter Rowan. Raines now leads her own innovative and genre-bending band, The New Hip, which is a rich, jazz-tinged combination of her bluegrass roots and thick Americana. With a smoky and seductive alto, Missy Raines, heads up this quartet featuring mandolin, guitars, bass, and percussion. The territory The New Hip covers is broad and the compass is set by Raines, planted center stage, directing with her bass every bit as much as she's playing it. Missy Raines and the New Hip are currently working on their 3rd album for Compass Records, slated to be released in 2017, produced by Allison Brown -- featuring Jack Stargel, John Mailander, and Cody Martin, the sounds are lush, the groove is thick, and the songs memorable.

Missy Raines & the New Hip - Based out of Nashville, TN, Missy Raines is considered to be one of the most respected, popular, and trailblazing figures in bluegrass today. A seven-time winner of the IBMA Bass player of the year award, she has backed greats such as Claire Lynch, Mac Weisman, Kenny Baker, and Peter Rowan. Raines now leads her own innovative and genre-bending band, The New Hip, which is a rich, jazz-tinged combination of her bluegrass roots and thick Americana. With a smoky and seductive alto, Missy Raines, heads up this quartet featuring mandolin, guitars, bass, and percussion. The territory The New Hip covers is broad and the compass is set by Raines, planted center stage, directing with her bass every bit as much as she's playing it. Missy Raines and the New Hip are currently working on their 3rd album for Compass Records, slated to be released in 2017, produced by Allison Brown -- featuring Jack Stargel, John Mailander, and Cody Martin, the sounds are lush, the groove is thick, and the songs memorable.

(Early Show) Thieves and Lovers with A Little Less Human

Thieves and Lovers are a rock band from Pittsburgh, PA by way of sunny, sultry, southern California blending melody and driving guitars.

Thieves and Lovers are a rock band from Pittsburgh, PA by way of sunny, sultry, southern California blending melody and driving guitars.

(Late Show) Scott and Rosanna / Fate McAfee / Jim Yoss of the Ben Davenport Band

Join Club Cafe for an evening of local and regional musicians featuring Scott & Rosanna, Fate McAfee and Jim Yoss of the Ben Davenport Band. Tickets only $7.

Join Club Cafe for an evening of local and regional musicians featuring Scott & Rosanna, Fate McAfee and Jim Yoss of the Ben Davenport Band. Tickets only $7.

(Early Show) The Mike Moscato Project

The Mike Moscato Project is all about powerful and passionate music, whether it be original, cover, or tributes to my favorite artists.

Featuring:

Mike Moscato - Lead guitar, vocals
Erin Grace - Lead and backup vocals
Stacey Skirpan - Keyboards, lead and backup vocals
Ron Stone - drums/percussion
Bob Neglio - Bass guitar

The Mike Moscato Project is all about powerful and passionate music, whether it be original, cover, or tributes to my favorite artists.

Featuring:

Mike Moscato - Lead guitar, vocals
Erin Grace - Lead and backup vocals
Stacey Skirpan - Keyboards, lead and backup vocals
Ron Stone - drums/percussion
Bob Neglio - Bass guitar

(Late Show) Quincy Mumford & The Reason Why with Special Guest Brahctopus

AFTER 8 YEARS, 800+ SHOWS, AND FIVE AWARD-WINNING ALBUMS, ASBURY PARK, NJ-BASED 25 YEAR-OLD SINGER/ SONGWRITER, QUINCY MUMFORD, IS SET TO RELEASE HIS WIDELY ANTICIPATED SIXTH STUDIO ALBUM STATE OF MIND, JANUARY OF 2017.

IN THE MAKING OF STATE OF MIND, Quincy took a bold new approach to creating soul music by working with world renowned performer, multi-instrumentalist and producer, Michael Ghegan, who has worked with such established and iconic artists such as Justin Timberlake, Elton John and Andrea Bocelli.

Quincy states, “I set out to create a record that would in uence people to love and be loved, to smile, and to spread just a little bit of kindness each day. It takes many to move mountains, and in a world full of possibilities, we must work together as a human race to plant seeds of positivity.” Quincy and Michael released their rst single and songwriting collaboration in January 2016 titled, Helping Hand. This song landed the winning title at The Philadelphia Songwriting Contest.

Quincy released his fth album Its Only Change in July of 2013. Its Only Change was recorded in Nashville, TN with producer Ken Coomer (Wilco, Uncle Tupelo) and features performances from Jerry Roe (K.D. Lang), David Labruyere (John Mayer) and Aubrey Freed (Black Crowes, Sheryl Crow).

Quincy Mumford and his live band The Reason Why are excited to continue their tireless performance schedule. Mumford’s previous tours have found him sharing the stage with acts such as Slightly Stoopid, Rusted Root, moe., Donovan Frankenreiter, Tedeschi Trucks Band and performing at major music festivals like Fire y,
The Gathering of the Vibes, and Muskiest.

Optimistic, charismatic, and undeniably genuine, Quincy’s music possesses the same “feel good” attitude that the young man himself does. This forthcoming album produced by Michael Ghegan, establishes Quincy Mumford as an “Artist to Watch” in 2017.

AFTER 8 YEARS, 800+ SHOWS, AND FIVE AWARD-WINNING ALBUMS, ASBURY PARK, NJ-BASED 25 YEAR-OLD SINGER/ SONGWRITER, QUINCY MUMFORD, IS SET TO RELEASE HIS WIDELY ANTICIPATED SIXTH STUDIO ALBUM STATE OF MIND, JANUARY OF 2017.

IN THE MAKING OF STATE OF MIND, Quincy took a bold new approach to creating soul music by working with world renowned performer, multi-instrumentalist and producer, Michael Ghegan, who has worked with such established and iconic artists such as Justin Timberlake, Elton John and Andrea Bocelli.

Quincy states, “I set out to create a record that would in uence people to love and be loved, to smile, and to spread just a little bit of kindness each day. It takes many to move mountains, and in a world full of possibilities, we must work together as a human race to plant seeds of positivity.” Quincy and Michael released their rst single and songwriting collaboration in January 2016 titled, Helping Hand. This song landed the winning title at The Philadelphia Songwriting Contest.

Quincy released his fth album Its Only Change in July of 2013. Its Only Change was recorded in Nashville, TN with producer Ken Coomer (Wilco, Uncle Tupelo) and features performances from Jerry Roe (K.D. Lang), David Labruyere (John Mayer) and Aubrey Freed (Black Crowes, Sheryl Crow).

Quincy Mumford and his live band The Reason Why are excited to continue their tireless performance schedule. Mumford’s previous tours have found him sharing the stage with acts such as Slightly Stoopid, Rusted Root, moe., Donovan Frankenreiter, Tedeschi Trucks Band and performing at major music festivals like Fire y,
The Gathering of the Vibes, and Muskiest.

Optimistic, charismatic, and undeniably genuine, Quincy’s music possesses the same “feel good” attitude that the young man himself does. This forthcoming album produced by Michael Ghegan, establishes Quincy Mumford as an “Artist to Watch” in 2017.

Hamish Anderson with Special Guest Dan Bubien & The Delta Struts

Hamish Anderson: A student of the three Kings (Albert, BB and Freddie), Peter Green and Keith Richards with influences of Jeff Buckley and Tom Petty.

“I started playing guitar when I was 12,” notes Melbourne-raised, LA-based Hamish Anderson. With “Trouble,” the raw, chunky opening cut and title track of his debut full-length studio CD, a couple of things become clear toute de suite: 1) The affable young Australian is intimate with a six-string, and 2) His music belies his youth. This child of the ’90s, raised on his dad’s classic rock vinyl, has roots that go deeper than you’d guess. Much deeper.

“I don’t think I’d ever thought about guitar before listening to the Beatles’ White Album,” he’ll tell you. “Listening to ‘Back in the U.S.S.R.,’ something just clicked; it’s all I’ve thought about since.”

But his roots go deeper still. A student of the three Kings (Albert, B.B., and Freddie), Anderson also admits to following Fleetwood Mac founder Peter Green, Eric Clapton, Keith Richards, Jeff Buckley and Tom Petty. He effortlessly namechecks blues legends Robert Johnson, Buddy Guy, Elmore James, and Son House, revealing a love for a genre that predates him by decades. “I think with the blues and rock music it was the honesty of the music and—especially the blues—the relatability of it; everyone experiences the blues.”

Anderson left his homeland in the spring of 2014 to give it a go in America because “the blues and rock is what I connect with, and it’s all from here.” Seeking opportunity, he aimed for the moon and hit the stars; within months this then-23-year-old wunderkind had become the very last artist to open for his hero, B.B. King, and he’d been heralded by guitar slinger Gary Clark Jr. in Revolt.tv as someone to watch under the age of 30.

Since then he’s issued a pair of EPs and a live album, and racked up an impressive array of accomplishments, including a prestigious 2015 Independent Music Award for Best Song—Blues (for “Burn,” from his sophomore EP); profiles in The Huffington Post and in the U.K.’s The Blues Magazine’s 2015 “Future of Blues Music” issue; and opening slots for Robert Cray, Los Lobos, Kenny Wayne Shepherd, Wynona Judd, Blues Traveler, and a 12-city run with The Rides (Stephen Stills, Shepherd, and Barry Goldberg).

And now comes Trouble, produced by Jim Scott (Tom Petty, The Tedeschi Trucks Band, Ryan Bingham, Wilco, Grace Potter) and recorded predominantly live. “Jim had worked on a lot of albums from the ’90s and 2000s that I really, really love,” Anderson says. “Wildflowers by Tom Petty is, for me, the example of a perfect album. Jim’s the real deal.

“We wanted to do the majority of it live, with very few overdubs—get a really great band together and have it be about the songs, not about spending so much time on how the bass drum sounds. It was capturing, warts and all, the live thing. Rock music and blues music shouldn’t be perfect, and I’m really proud that there’s no Auto-Tune on it, that nothing was done to a click track.”

Decamping to Scott’s LA-area warehouse studio, Anderson was backed by Steve Berlin of Los Lobos on baritone sax; drummers Frederik Bokkenheuser (Ryan Adams), Aaron Sterling (John Mayer), and Johnny Radelat (Gary Clark Jr.); bassists Chris Bruce (Doyle Bramhall II, Meshell Ndegeocello) and Rob Calder (Angus & Julia Stone); and Chris Joyner (Ryan Bingham, Heart) and Jason Borger aka Jerry Borgé (Jonathan Wilson) on keys. The album was mastered by Brian Lucey at Magic Garden Mastering in Los Angeles.

A deep collection of standout rock and blues tracks, including “Hold On Me,” “Fire,” “U,” “Working Blues,” “My Sweetheart, You,” and the first single, “Trouble” (which was immediately championed by Spotify and spun on radio stations coast to coast),

Trouble released on October 21st to stellar reviews from Elmore Magazine, Relix Magazine, Rock Cellar Magazine, Premier Guitar and various other music blogs.

Additionally, Yahoo! Music named Hamish in their Top 10 Best New Artists in 2016, KCSN in LA included it as one of the Top 10 Best New Albums in 2016 and Songpickr, a premiere Spotify playlist curator, included Trouble as one of the Top 50 Albums of 2016.

In 2017, Hamish will be performing nine shows during SXSW in Austin, TX and then head back to Australia to open for Vintage Trouble and Mud Morganfield as part of their BluesFest Tour side shows. He will then return to the US to appear at Firefly Music Festival and Mountain Jam in Hunter, NY.

-Jim Nelson, KCSN (LA) Radio Host & Rock Cellar Magazine contributor

Hamish Anderson: A student of the three Kings (Albert, BB and Freddie), Peter Green and Keith Richards with influences of Jeff Buckley and Tom Petty.

“I started playing guitar when I was 12,” notes Melbourne-raised, LA-based Hamish Anderson. With “Trouble,” the raw, chunky opening cut and title track of his debut full-length studio CD, a couple of things become clear toute de suite: 1) The affable young Australian is intimate with a six-string, and 2) His music belies his youth. This child of the ’90s, raised on his dad’s classic rock vinyl, has roots that go deeper than you’d guess. Much deeper.

“I don’t think I’d ever thought about guitar before listening to the Beatles’ White Album,” he’ll tell you. “Listening to ‘Back in the U.S.S.R.,’ something just clicked; it’s all I’ve thought about since.”

But his roots go deeper still. A student of the three Kings (Albert, B.B., and Freddie), Anderson also admits to following Fleetwood Mac founder Peter Green, Eric Clapton, Keith Richards, Jeff Buckley and Tom Petty. He effortlessly namechecks blues legends Robert Johnson, Buddy Guy, Elmore James, and Son House, revealing a love for a genre that predates him by decades. “I think with the blues and rock music it was the honesty of the music and—especially the blues—the relatability of it; everyone experiences the blues.”

Anderson left his homeland in the spring of 2014 to give it a go in America because “the blues and rock is what I connect with, and it’s all from here.” Seeking opportunity, he aimed for the moon and hit the stars; within months this then-23-year-old wunderkind had become the very last artist to open for his hero, B.B. King, and he’d been heralded by guitar slinger Gary Clark Jr. in Revolt.tv as someone to watch under the age of 30.

Since then he’s issued a pair of EPs and a live album, and racked up an impressive array of accomplishments, including a prestigious 2015 Independent Music Award for Best Song—Blues (for “Burn,” from his sophomore EP); profiles in The Huffington Post and in the U.K.’s The Blues Magazine’s 2015 “Future of Blues Music” issue; and opening slots for Robert Cray, Los Lobos, Kenny Wayne Shepherd, Wynona Judd, Blues Traveler, and a 12-city run with The Rides (Stephen Stills, Shepherd, and Barry Goldberg).

And now comes Trouble, produced by Jim Scott (Tom Petty, The Tedeschi Trucks Band, Ryan Bingham, Wilco, Grace Potter) and recorded predominantly live. “Jim had worked on a lot of albums from the ’90s and 2000s that I really, really love,” Anderson says. “Wildflowers by Tom Petty is, for me, the example of a perfect album. Jim’s the real deal.

“We wanted to do the majority of it live, with very few overdubs—get a really great band together and have it be about the songs, not about spending so much time on how the bass drum sounds. It was capturing, warts and all, the live thing. Rock music and blues music shouldn’t be perfect, and I’m really proud that there’s no Auto-Tune on it, that nothing was done to a click track.”

Decamping to Scott’s LA-area warehouse studio, Anderson was backed by Steve Berlin of Los Lobos on baritone sax; drummers Frederik Bokkenheuser (Ryan Adams), Aaron Sterling (John Mayer), and Johnny Radelat (Gary Clark Jr.); bassists Chris Bruce (Doyle Bramhall II, Meshell Ndegeocello) and Rob Calder (Angus & Julia Stone); and Chris Joyner (Ryan Bingham, Heart) and Jason Borger aka Jerry Borgé (Jonathan Wilson) on keys. The album was mastered by Brian Lucey at Magic Garden Mastering in Los Angeles.

A deep collection of standout rock and blues tracks, including “Hold On Me,” “Fire,” “U,” “Working Blues,” “My Sweetheart, You,” and the first single, “Trouble” (which was immediately championed by Spotify and spun on radio stations coast to coast),

Trouble released on October 21st to stellar reviews from Elmore Magazine, Relix Magazine, Rock Cellar Magazine, Premier Guitar and various other music blogs.

Additionally, Yahoo! Music named Hamish in their Top 10 Best New Artists in 2016, KCSN in LA included it as one of the Top 10 Best New Albums in 2016 and Songpickr, a premiere Spotify playlist curator, included Trouble as one of the Top 50 Albums of 2016.

In 2017, Hamish will be performing nine shows during SXSW in Austin, TX and then head back to Australia to open for Vintage Trouble and Mud Morganfield as part of their BluesFest Tour side shows. He will then return to the US to appear at Firefly Music Festival and Mountain Jam in Hunter, NY.

-Jim Nelson, KCSN (LA) Radio Host & Rock Cellar Magazine contributor

@clubcafelive

56-58 South 12th Street, Pittsburgh PA 15203 (In Pittsburgh’s Historic South Side)