club cafe

pittsburgh, pa
The Stray Birds with Special Guest The Sweaty Already String Band

Magic Fire is an album of firsts for The Stray Birds: their first with an outside producer, their first with venerable guest musicians, and their first truly collaborative songwriting effort. More importantly, perhaps, it's an album of mosts: the most exciting and engaging music they've ever composed paired with their most outspoken and insightful lyrics yet.

Magic Fire builds on the success of The Stray Birds' 2014 Yep Roc debut, Best Medicine, which was hailed by NPR's World Caf? for its "strong harmonies and sharp songwriting" and debuted at #2 on the Billboard Bluegrass chart. Guitar World praised their "heartfelt creativity," while the Philadelphia City Paper called the band "stunning," and Mountain Stage applauded their singular ability to "successfully draw on the rich traditions of American folk music while still sounding modern." It was that unique formula that first brought them national attention and fueled their breakout in 2012, when their self-titled/self-released debut landed amongst NPR's Top Ten Folk/Americana Albums of the Year and earned them major festival performances everywhere from MerleFest to Scotland's Celtic Connections.

When it came time to record Magic Fire, The Stray Birds knew they were ready to take an ambitious step. They retreated to Milan Hill, New York, a small town outside of Woodstock in the Hudson River Valley, and teamed up with Larry Campbell. The three-time GRAMMY Award-winning producer (best known for his work with luminaries like Bob Dylan, Levon Helm, Paul Simon, and Willie Nelson) enlisted his preferred engineer, Justin Guip (another three-time GRAMMY Award-winner who worked closely with the late Helm), and the group spent ten days together joyously exploring and creating the music that would become Magic Fire.

"Though a few of the new songs had been on stage in the past year, we granted most of these songs the opportunity to come to life right there in the studio," says Maya de Vitry, who splits her time between fiddle, guitar, and banjo in addition to singing. "It was intoxicating to go to this place of focus with songs that still felt so fresh and free."

"We'd never worked with anyone other than just an engineer in the studio before," adds Charles Muench, who plays banjo and bass in addition to contributing to the group's lush three-part vocal harmonies. "Larry was on our short list of people who we wanted to work with, and it was clear after a few conversations with him that nothing was off limits for this record. He offered up not only his production and direction, but also his playing to any and all of the music."

"We wanted some direction this time," continues Oliver Craven, who plays fiddle, guitar, and mandolin in addition to singing. "We wanted somebody outside of the music with great taste and vibe who could lend a critically unbiased and impartial ear to what we were doing. Larry is very relaxed and works on feel. I don't think I saw him write down one word the whole time."

Before the band settled into the studio, they headed back to their roots, returning to Lancaster County, Pennsylvania. There they spent two intensive days of pre-production with another new collaborator, drummer Shane Leonard.

"We started out as a trio of people who all grew up together in Lancaster County and had known each other for a very long time," says de Vitry. "But it was a slow and deliberate musical courtship, and it took years and a lot of patience for us to actually come together and get into a car and start touring and recording as a trio. When we met Shane, I can't even say that we played music together for more than a song or two before we asked him to join us to make a record. We all instinctually knew he was right for us."

That kind of chemistry can't be bought, and it's readily apparent on tracks like "Third Day In A Row," a laid-back slice of infectious Americana that showcases the band's rich harmonies, and "Fossil," which they performed at Leonard's wedding before they'd ever even recorded it. In addition to the newest Bird's contributions (which stretch beyond percussion throughout the record), the album demonstrates the group's remarkable growth as songwriters and performers, with countless nights on the road across the US and Europe sharpening their senses and honing their keen understanding of each other's strengths.

"There's more collaboration than ever before in the band," says Craven. "This record is unlike any of our previous releases in that it has songs written by the two or three or four of us together. I think we've realized that in this band, we're surrounded by people we trust and who inspire us, so if we want something to be as good as it can be, it's in all of our interests to share in that collaboration."

The fruits of their teamwork come to full blossom on highlights like the toe-tapping, fiddle-led "Sabrina," penned on-the-spot, as a trio in the presence of the titular subject, and "Hands Of Man," a dark, Appalachian-influenced tune completed during the recording sessions in Milan Hill. "Where You Come From" marks Muench's first complete songwriting contribution to an album, while "Shining In The Distance" is a collaboration with fellow songwriter Lindsay Lou that grew out of Maya and Oliver's move to Nashville, and "When I Die" features a verse written by Leonard (live versions of the song have included a variety of additional verses contributed by peers and tourmates like Mandolin Orange, Miss Tess, Jordie Lane, and Cahalen Morrison & Eli West).

Despite the new, more open approach to writing, the songs are as focused and incisive as ever. "All The News" is a reminder of just how lucky so many of us are to live in relative comfort and safety, while the groovy "Sunday Morning" is a call to action, as Craven sings, "You can shout for change and worry about the state of the world / But it's gonna take a little more than praying on a Sunday morning."

"I don't think that this record is overtly politicized," says Craven, "but there is an agreed perspective within the band, and I think that turns up throughout the album. It's not only our opportunity but our obligation to do what we can to help the people around us as best we can."

"This collection of songs honors what connects us as humans," Maya adds. "Being human can be a fast-paced, detached experience at times. I feel like part of what we do as musicians is rewire our connections to each other, and perhaps our connections to our collective memory or dream."

For The Stray Birds, those connections come from filling hearts with love and joy and light each night onstage, setting a Magic Fire and watching it spread everywhere they go. The most exciting thing about an album of firsts? It means The Stray Birds are just getting started.

Magic Fire is an album of firsts for The Stray Birds: their first with an outside producer, their first with venerable guest musicians, and their first truly collaborative songwriting effort. More importantly, perhaps, it's an album of mosts: the most exciting and engaging music they've ever composed paired with their most outspoken and insightful lyrics yet.

Magic Fire builds on the success of The Stray Birds' 2014 Yep Roc debut, Best Medicine, which was hailed by NPR's World Caf? for its "strong harmonies and sharp songwriting" and debuted at #2 on the Billboard Bluegrass chart. Guitar World praised their "heartfelt creativity," while the Philadelphia City Paper called the band "stunning," and Mountain Stage applauded their singular ability to "successfully draw on the rich traditions of American folk music while still sounding modern." It was that unique formula that first brought them national attention and fueled their breakout in 2012, when their self-titled/self-released debut landed amongst NPR's Top Ten Folk/Americana Albums of the Year and earned them major festival performances everywhere from MerleFest to Scotland's Celtic Connections.

When it came time to record Magic Fire, The Stray Birds knew they were ready to take an ambitious step. They retreated to Milan Hill, New York, a small town outside of Woodstock in the Hudson River Valley, and teamed up with Larry Campbell. The three-time GRAMMY Award-winning producer (best known for his work with luminaries like Bob Dylan, Levon Helm, Paul Simon, and Willie Nelson) enlisted his preferred engineer, Justin Guip (another three-time GRAMMY Award-winner who worked closely with the late Helm), and the group spent ten days together joyously exploring and creating the music that would become Magic Fire.

"Though a few of the new songs had been on stage in the past year, we granted most of these songs the opportunity to come to life right there in the studio," says Maya de Vitry, who splits her time between fiddle, guitar, and banjo in addition to singing. "It was intoxicating to go to this place of focus with songs that still felt so fresh and free."

"We'd never worked with anyone other than just an engineer in the studio before," adds Charles Muench, who plays banjo and bass in addition to contributing to the group's lush three-part vocal harmonies. "Larry was on our short list of people who we wanted to work with, and it was clear after a few conversations with him that nothing was off limits for this record. He offered up not only his production and direction, but also his playing to any and all of the music."

"We wanted some direction this time," continues Oliver Craven, who plays fiddle, guitar, and mandolin in addition to singing. "We wanted somebody outside of the music with great taste and vibe who could lend a critically unbiased and impartial ear to what we were doing. Larry is very relaxed and works on feel. I don't think I saw him write down one word the whole time."

Before the band settled into the studio, they headed back to their roots, returning to Lancaster County, Pennsylvania. There they spent two intensive days of pre-production with another new collaborator, drummer Shane Leonard.

"We started out as a trio of people who all grew up together in Lancaster County and had known each other for a very long time," says de Vitry. "But it was a slow and deliberate musical courtship, and it took years and a lot of patience for us to actually come together and get into a car and start touring and recording as a trio. When we met Shane, I can't even say that we played music together for more than a song or two before we asked him to join us to make a record. We all instinctually knew he was right for us."

That kind of chemistry can't be bought, and it's readily apparent on tracks like "Third Day In A Row," a laid-back slice of infectious Americana that showcases the band's rich harmonies, and "Fossil," which they performed at Leonard's wedding before they'd ever even recorded it. In addition to the newest Bird's contributions (which stretch beyond percussion throughout the record), the album demonstrates the group's remarkable growth as songwriters and performers, with countless nights on the road across the US and Europe sharpening their senses and honing their keen understanding of each other's strengths.

"There's more collaboration than ever before in the band," says Craven. "This record is unlike any of our previous releases in that it has songs written by the two or three or four of us together. I think we've realized that in this band, we're surrounded by people we trust and who inspire us, so if we want something to be as good as it can be, it's in all of our interests to share in that collaboration."

The fruits of their teamwork come to full blossom on highlights like the toe-tapping, fiddle-led "Sabrina," penned on-the-spot, as a trio in the presence of the titular subject, and "Hands Of Man," a dark, Appalachian-influenced tune completed during the recording sessions in Milan Hill. "Where You Come From" marks Muench's first complete songwriting contribution to an album, while "Shining In The Distance" is a collaboration with fellow songwriter Lindsay Lou that grew out of Maya and Oliver's move to Nashville, and "When I Die" features a verse written by Leonard (live versions of the song have included a variety of additional verses contributed by peers and tourmates like Mandolin Orange, Miss Tess, Jordie Lane, and Cahalen Morrison & Eli West).

Despite the new, more open approach to writing, the songs are as focused and incisive as ever. "All The News" is a reminder of just how lucky so many of us are to live in relative comfort and safety, while the groovy "Sunday Morning" is a call to action, as Craven sings, "You can shout for change and worry about the state of the world / But it's gonna take a little more than praying on a Sunday morning."

"I don't think that this record is overtly politicized," says Craven, "but there is an agreed perspective within the band, and I think that turns up throughout the album. It's not only our opportunity but our obligation to do what we can to help the people around us as best we can."

"This collection of songs honors what connects us as humans," Maya adds. "Being human can be a fast-paced, detached experience at times. I feel like part of what we do as musicians is rewire our connections to each other, and perhaps our connections to our collective memory or dream."

For The Stray Birds, those connections come from filling hearts with love and joy and light each night onstage, setting a Magic Fire and watching it spread everywhere they go. The most exciting thing about an album of firsts? It means The Stray Birds are just getting started.

(Early Show) Bill Deasy - 'Swingers, Scamps & Valiants' Release Show

I recently discovered an old cassette tape (remember those?) buried in a cardboard box. It was titled "Swingers, Scamps & Valiants" and I remembered that I had named it in honor of the beloved 1972 Plymouth Scamp I had inherited from my grandmother. I wasn't sure what was on the tape and had to buy a little device just to hear it. My best guess is that the songs (20 of them) were recorded in 1990 and though obviously the sound quality left something to be desired, I could hear the conviction I was feeling and winced less often than I thought I would. And so, without giving myself a moment to hesitate, I asked my buddy Jake to do what little he could to improve the audio and my buddy Jaimee to see if she could cook up some visuals. The result is a limited time, limited edition 2 disc collection of hissy, warbly, incredibly earnest songs from 27 odd years ago.

I recently discovered an old cassette tape (remember those?) buried in a cardboard box. It was titled "Swingers, Scamps & Valiants" and I remembered that I had named it in honor of the beloved 1972 Plymouth Scamp I had inherited from my grandmother. I wasn't sure what was on the tape and had to buy a little device just to hear it. My best guess is that the songs (20 of them) were recorded in 1990 and though obviously the sound quality left something to be desired, I could hear the conviction I was feeling and winced less often than I thought I would. And so, without giving myself a moment to hesitate, I asked my buddy Jake to do what little he could to improve the audio and my buddy Jaimee to see if she could cook up some visuals. The result is a limited time, limited edition 2 disc collection of hissy, warbly, incredibly earnest songs from 27 odd years ago.

Laetitia Sadier Source Ensemble with Special Guest Nicholas Krgovich

LAETITIA SADIER

Another New Year, and new shapes are forming - if only we are fortunate enough to notice them! As we spin through this world, we are witness to all manner of combinations unfolding before us - familiar arcs and breaking waves alike, upon all of which it is our choice, our chance and our challenge, to possibly ride. Find Me Finding You, the new album from the new organization called the Laetitia Sadier Source Ensemble, manages to strike new chords while touching familiar keys in the song of life.
From its percolating opening beat, Find Me Finding Youlocates new systems within the sound-universe of Laetitia Sadier. This in itself isn't a surprise - Laetitia has relentlessly followed her music through different dynamics and into a variety of dimensions over the course of four solo albums since 2010 (not to forget her three albums with Monade and the long era of Stereolab) - but the nature of the construction here stands distinctly apart from her recent albums. Laetitia was inspired by a mind's-eye envisaging of geometric forms and their possible permutations. As she sought to replicate the shapes in music, this guided the process of assembly for the album.
Part of the freshness of Find Me Finding You comes from working and playing within the Source Ensemble and exploring new sound combinations via a set of youthful and evolving musical relationships. Laetitia recognized the energy of the tracks in their initial form, and sought to preserve their vitality by not retaking too many performances - instead, the rawness in the tracks was retained and refined at the mixing stage, maintaining an edge throughout. When we hear synth lines diving, lifting and drifting, unusual guitar textures, the plucked sound of flat wound bass strings or the bottomless pulsing of bass pedals stepping out of the mix with an exquisite vibrancy, this is the sound of the Source Ensemble.
A key to Laetitia's music is her use of vocal arrangements. Throughout Finding Me Finding You, the shifting accompaniment creates space to bring this element gloriously forward. Arranged by Laetitia with Joe Watson and Jeff Parker making string charts that were subsequently transposed to vocal parts for several songs, richly arranged choirs of voices provide depth along with the thrilling presence of extra breath in the sound. Laetitia's community-politic is well-served by the groups of voices lending support to the machining of the song craft, providing additional uplift to her quintessentially for-ward-facing viewpoint - as well as massed voices from three different countries sharing space in harmony!
Working in collaboration is Laetita's traditions, and a key to this album's view on being free together (it is necessary, prefer-able and right!). The designation of Source Collective implies a new togetherness phase; alongside long-time collaborators Emmanuel Mario and Xavi Munoz, keyboard and flutes parts played by David Thayer (Little Tornados) were essential contributions, as well as further keys, synths and electronics from Phil M FU and several intense guitar sequences from Mason le Long. Chris A Cummings (aka Marker Starling, Laetitia's favorite composer) graciously wrote "Deep Background" for her. The duet with Hot Chip's Alexis Taylor on "Love Captive" (not to mention Rob Mazurek's distinctive coronet playing!) gives voice to an ideological cornerstone of Find Me Finding You - that, should we be responsible enough to endeavor into a world of basic incomes and open relationships, we would make astonishing strides as a society. These sorts of things can only be done in agreement with others.
Expressing great compassion and expectation with startling immediacy, as well as an abiding belief in an underlying unity that permeates and intimately binds all things and beings, Find Me Finding You combines a rigorous process for music-making with a deeply invested mindset, making captivating music that promises many stimulating spins to come!

LAETITIA SADIER

Another New Year, and new shapes are forming - if only we are fortunate enough to notice them! As we spin through this world, we are witness to all manner of combinations unfolding before us - familiar arcs and breaking waves alike, upon all of which it is our choice, our chance and our challenge, to possibly ride. Find Me Finding You, the new album from the new organization called the Laetitia Sadier Source Ensemble, manages to strike new chords while touching familiar keys in the song of life.
From its percolating opening beat, Find Me Finding Youlocates new systems within the sound-universe of Laetitia Sadier. This in itself isn't a surprise - Laetitia has relentlessly followed her music through different dynamics and into a variety of dimensions over the course of four solo albums since 2010 (not to forget her three albums with Monade and the long era of Stereolab) - but the nature of the construction here stands distinctly apart from her recent albums. Laetitia was inspired by a mind's-eye envisaging of geometric forms and their possible permutations. As she sought to replicate the shapes in music, this guided the process of assembly for the album.
Part of the freshness of Find Me Finding You comes from working and playing within the Source Ensemble and exploring new sound combinations via a set of youthful and evolving musical relationships. Laetitia recognized the energy of the tracks in their initial form, and sought to preserve their vitality by not retaking too many performances - instead, the rawness in the tracks was retained and refined at the mixing stage, maintaining an edge throughout. When we hear synth lines diving, lifting and drifting, unusual guitar textures, the plucked sound of flat wound bass strings or the bottomless pulsing of bass pedals stepping out of the mix with an exquisite vibrancy, this is the sound of the Source Ensemble.
A key to Laetitia's music is her use of vocal arrangements. Throughout Finding Me Finding You, the shifting accompaniment creates space to bring this element gloriously forward. Arranged by Laetitia with Joe Watson and Jeff Parker making string charts that were subsequently transposed to vocal parts for several songs, richly arranged choirs of voices provide depth along with the thrilling presence of extra breath in the sound. Laetitia's community-politic is well-served by the groups of voices lending support to the machining of the song craft, providing additional uplift to her quintessentially for-ward-facing viewpoint - as well as massed voices from three different countries sharing space in harmony!
Working in collaboration is Laetita's traditions, and a key to this album's view on being free together (it is necessary, prefer-able and right!). The designation of Source Collective implies a new togetherness phase; alongside long-time collaborators Emmanuel Mario and Xavi Munoz, keyboard and flutes parts played by David Thayer (Little Tornados) were essential contributions, as well as further keys, synths and electronics from Phil M FU and several intense guitar sequences from Mason le Long. Chris A Cummings (aka Marker Starling, Laetitia's favorite composer) graciously wrote "Deep Background" for her. The duet with Hot Chip's Alexis Taylor on "Love Captive" (not to mention Rob Mazurek's distinctive coronet playing!) gives voice to an ideological cornerstone of Find Me Finding You - that, should we be responsible enough to endeavor into a world of basic incomes and open relationships, we would make astonishing strides as a society. These sorts of things can only be done in agreement with others.
Expressing great compassion and expectation with startling immediacy, as well as an abiding belief in an underlying unity that permeates and intimately binds all things and beings, Find Me Finding You combines a rigorous process for music-making with a deeply invested mindset, making captivating music that promises many stimulating spins to come!

Erin McKeown with Special Guest The Cabin Project

Erin McKeown is a musician, writer, and producer known internationally for her prolific disregard of stylistic boundaries. Her brash and clever electric guitar playing is something to see. Her singing voice is truly unique – clear, cool, and collected. Over the course of 11 studio albums and thousands of live performances, Erin has developed and refined a distinct and challenging mix of American musical styles. Her latest album is 2017’s MIRRORS BREAK BACK.

"Her operative mood is effortless grace." - LA Weekly

Erin McKeown is a musician, writer, and producer known internationally for her prolific disregard of stylistic boundaries. Her brash and clever electric guitar playing is something to see. Her singing voice is truly unique – clear, cool, and collected. Over the course of 11 studio albums and thousands of live performances, Erin has developed and refined a distinct and challenging mix of American musical styles. Her latest album is 2017’s MIRRORS BREAK BACK.

"Her operative mood is effortless grace." - LA Weekly

The Suitcase Junket

From the salvaged sounds of American juke joints, back porches, honky tonks and rock clubs, The Suitcase Junket conjures an entirely new sound in this essential rock collection, Pile Driver. The Suitcase Junket is Matt Lorenz: artist, tinkerer, swamp yankee, one man band. His is the road worn voice rising over the grind of a tube amped dumpster guitar, with wild double pitches of throat singing. From The Suitcase Junket's penchant for thrift and ingenuity comes this full length album his debut at Signature Sounds of original rock anthems, mountain ballads, blues manifestos and dance hall festivity, played on instruments built of broken bottles, twisted forks, dried bones, gas cans, shoes, saw blades, a toy keyboard, and an overhead compartment’s worth of luggage.

From the salvaged sounds of American juke joints, back porches, honky tonks and rock clubs, The Suitcase Junket conjures an entirely new sound in this essential rock collection, Pile Driver. The Suitcase Junket is Matt Lorenz: artist, tinkerer, swamp yankee, one man band. His is the road worn voice rising over the grind of a tube amped dumpster guitar, with wild double pitches of throat singing. From The Suitcase Junket's penchant for thrift and ingenuity comes this full length album his debut at Signature Sounds of original rock anthems, mountain ballads, blues manifestos and dance hall festivity, played on instruments built of broken bottles, twisted forks, dried bones, gas cans, shoes, saw blades, a toy keyboard, and an overhead compartment’s worth of luggage.

The Black Lillies with Special Guest Millgroves Crossing

The Black Lillies are a band for the ages: rich, rootsy tunes performed with as much heart as technical virtuosity. If you ask them, they’ll tell you they play "Tennessee music" - combining strains of swampy Memphis soul and blues with Nashville’s classic country and East Tennessee’s traditional Appalachian style - while Rolling Stone describes it as "country music with a soul-rock infusion, supported by bandleader Cruz Contreras' smart songwriting and tight musicianship." Either way, it’s music that stirs your soul, touches your heart and makes you want to dance.

The band's latest album, Hard to Please, was an immediate critical and radio success, hitting #1 on the Roots Music Report and #4 on the Americana radio charts as well as debuting at #12 on Billboard Heatseekers and #30 on Billboard's Top 200 Country Albums. American Songwriter summed it up as "a soulful mix of upbeat Americana and tender ballads," while Vanity Fair noted that "their sound continues to cross generations and musical genres - country, folk, blues and add in a touch of the Dead, for good measure." And the bar had already been set high by their previous releases: 2013’s Runaway Freeway Blues conquered the Billboard Top 200 country charts and was selected for dozens of "Best of" lists, catching the attention of NPR, CMT, Wall Street Journal, Guitar World, Garden & Gun and more for what Entertainment Weekly calls "strong roots-folk songwriting, sweet harmonies, and charismatic indie spirit," while 2011's 100 Miles of Wreckage won the Independent Music Award for Americana Album of the Year.

Their raucous live show has earned them festival slots and enthralled audiences at venues ranging from Bonnaroo, New Orleans Jazz Fest and Stagecoach to the legendary Grand Ole Opry. The music is breakneck, brazen and beautiful; sultry soul, honky-tonk heartache, winding jams and flat-out rock'n'roll, tied together with soaring harmonies that "bring back echoes of practically every great male/female duo of the past several decades ... [the sound is] one for the ages, and, one suspects, ages yet to come," according to Glide Magazine.

Make no mistake: when you see The Black Lillies live, you definitely won't be hard to please.

The Black Lillies are a band for the ages: rich, rootsy tunes performed with as much heart as technical virtuosity. If you ask them, they’ll tell you they play "Tennessee music" - combining strains of swampy Memphis soul and blues with Nashville’s classic country and East Tennessee’s traditional Appalachian style - while Rolling Stone describes it as "country music with a soul-rock infusion, supported by bandleader Cruz Contreras' smart songwriting and tight musicianship." Either way, it’s music that stirs your soul, touches your heart and makes you want to dance.

The band's latest album, Hard to Please, was an immediate critical and radio success, hitting #1 on the Roots Music Report and #4 on the Americana radio charts as well as debuting at #12 on Billboard Heatseekers and #30 on Billboard's Top 200 Country Albums. American Songwriter summed it up as "a soulful mix of upbeat Americana and tender ballads," while Vanity Fair noted that "their sound continues to cross generations and musical genres - country, folk, blues and add in a touch of the Dead, for good measure." And the bar had already been set high by their previous releases: 2013’s Runaway Freeway Blues conquered the Billboard Top 200 country charts and was selected for dozens of "Best of" lists, catching the attention of NPR, CMT, Wall Street Journal, Guitar World, Garden & Gun and more for what Entertainment Weekly calls "strong roots-folk songwriting, sweet harmonies, and charismatic indie spirit," while 2011's 100 Miles of Wreckage won the Independent Music Award for Americana Album of the Year.

Their raucous live show has earned them festival slots and enthralled audiences at venues ranging from Bonnaroo, New Orleans Jazz Fest and Stagecoach to the legendary Grand Ole Opry. The music is breakneck, brazen and beautiful; sultry soul, honky-tonk heartache, winding jams and flat-out rock'n'roll, tied together with soaring harmonies that "bring back echoes of practically every great male/female duo of the past several decades ... [the sound is] one for the ages, and, one suspects, ages yet to come," according to Glide Magazine.

Make no mistake: when you see The Black Lillies live, you definitely won't be hard to please.

Geographer

In the summer of 2005, after a series of deaths in the family, Michael Deni left his hometown in New Jersey for San Francisco. He spent the next several months with his guitar and a synthesizer, turning that tragedy into the songs that would soon become the foundation for Geographer. With the additions of cellist Nathan Blaz and drummer Brian Ostreicher, Geographer spent the next year cutting their teeth in the Bay Area, winning over crowds with the heart-pounding epics that make up their debut record, 'Innocent Ghosts.' After being selected one of three 'Undiscovered Bands You Need To Hear Now' by SPIN Magazine and garnering considerable word-of-mouth praise from their energetic live shows, the band signed to San Francisco-based label Tricycle Records, releasing a 7" single for the song 'Kites' in October 2009. 'Animal Shapes' follows up 'Kites,' building on the synth-driven aesthetic of the single, while _irting with darker, more esoteric underpinnings. The record merges Geographer's aptitude for crafting beautiful, haunting melodies with textural sounds and polyrhythmic energy, marking an evolution of their distinct style. With the overwhelming response to the release of 'Kites' and 'Animal Shapes,' punctuated by a dynamic and engaging live set, the band has already begun to make an indelible mark on the ears of music fans worldwide.

In the summer of 2005, after a series of deaths in the family, Michael Deni left his hometown in New Jersey for San Francisco. He spent the next several months with his guitar and a synthesizer, turning that tragedy into the songs that would soon become the foundation for Geographer. With the additions of cellist Nathan Blaz and drummer Brian Ostreicher, Geographer spent the next year cutting their teeth in the Bay Area, winning over crowds with the heart-pounding epics that make up their debut record, 'Innocent Ghosts.' After being selected one of three 'Undiscovered Bands You Need To Hear Now' by SPIN Magazine and garnering considerable word-of-mouth praise from their energetic live shows, the band signed to San Francisco-based label Tricycle Records, releasing a 7" single for the song 'Kites' in October 2009. 'Animal Shapes' follows up 'Kites,' building on the synth-driven aesthetic of the single, while _irting with darker, more esoteric underpinnings. The record merges Geographer's aptitude for crafting beautiful, haunting melodies with textural sounds and polyrhythmic energy, marking an evolution of their distinct style. With the overwhelming response to the release of 'Kites' and 'Animal Shapes,' punctuated by a dynamic and engaging live set, the band has already begun to make an indelible mark on the ears of music fans worldwide.

(Early Show) Chris Trapper (Of The Push Stars) with Special Guest Bea

CHRIS TRAPPER began his career as the front man for late-90's alternative rock band THE PUSH STARS (Capitol Records). With four CD releases and several high profile national tours -- including a run with Matchbox Twenty -- The Push Stars served to establish Chris as an authentic talent.

As a singer /songwriter, Chris is most known for his original song THIS TIME, the #1 selling song on the Grammy nominated soundtrack for AUGUST RUSH (Robin Williams, Jonathan Rhys Meyers /Warner Bros Pictures). His music can best be described as lyrically driven roots-pop with a knack for telling everyday stories.

The New York Times has called his work “classic pop perfection."

The new CD SYMPHONIES OF DIRT & DUST is a collection of 12 songs written and performed by Chris Trapper and Produced by Jason Meeker at Silver Top Studios, Boston, MA. Guest musicians include Dan McLoughlin of The Push Stars on bass and NYC singer/songwriter Amy Fairchild on harmonies.

"I have to mention Jason, the producer of Symphonies of Dirt & Dust. He is my old friend, who not only worked the clubs in rock bands but also worked for Geffen records in their heyday, so he has a good sense of the music business as a whole. What I love about Jason is that he is absolutely obsessed with his craft and getting songs right.

Every record tells a story. For me, much more than gimmicks, my albums are like diary entries, or truthful accounts of where I'm at in life. I suppose that might be the same for most songwriters, but in the spectrum of the music business, it's still an animal that's nearly extinct." Chris Trapper

Chris has toured North America and the UK with multi platinum songwriter COLIN HAY.

In the Spring of 2013 Chris performed a duet with his songwriting idol JOHN PRINE at the Portsmouth Songwriter Festival.

“It's an incredibly rare musician, particularly in the world of popular music, who is able to forge a career based on quiet dignity and steadfast integrity." The Buffalo News

A prolific songwriter, Chris can boast high profile film placements including There's Something About Mary (Ben Stiller, Cameron Diaz), The Devil Wears Prada (Meryl Streep), Say It Isn't So (Heather Graham) Gun Shy (Sandra Bullock, Liam Neeson) and most recently, Some Kind of Beautiful *Pierce Brosnan, Salma Hayek) as well as significant television placements including All My Children, Women's Murder Club, Malcolm In The Middle, a coveted placement in George Clooney's final episode of ER, the theme song for WB Networks dramedy Pepper Dennis and a cameo on-screen appearance with the show's star, Rebecca Romjin.

Chris has written 7 songs with/for Canadian band GREAT BIG SEA, including their #1 single "Sea Of No Cares" from the certified-platinum Sea Of No Cares CD. Great Big Sea covered Trapper's song "Everything Shines" and their version served as the debut single off their certified-gold Road Rage CD album. Chris' songwriting collaborations with Great Big Sea earned him two prestigious SOCAN awards. Rob Thomas of Matchbox Twenty and Antigone Rising have performed other notable versions of Trapper's songs.

Trapper's live show is a favorite among fans of alt–acoustic music. His on–stage persona is warm and inclusive, his organic understanding of classic pop melody, infectious. Audience members seem to particularly appreciate the lighthearted moments with the ukulele.

"His humble sense of humility is what makes Trapper's songs so strong... He makes you feel like you are the person he's singing about." Popdose

Chris Trapper music can be purchased from iTunes or CDBaby

You can listen to the full Discography on Spotify

CHRIS TRAPPER began his career as the front man for late-90's alternative rock band THE PUSH STARS (Capitol Records). With four CD releases and several high profile national tours -- including a run with Matchbox Twenty -- The Push Stars served to establish Chris as an authentic talent.

As a singer /songwriter, Chris is most known for his original song THIS TIME, the #1 selling song on the Grammy nominated soundtrack for AUGUST RUSH (Robin Williams, Jonathan Rhys Meyers /Warner Bros Pictures). His music can best be described as lyrically driven roots-pop with a knack for telling everyday stories.

The New York Times has called his work “classic pop perfection."

The new CD SYMPHONIES OF DIRT & DUST is a collection of 12 songs written and performed by Chris Trapper and Produced by Jason Meeker at Silver Top Studios, Boston, MA. Guest musicians include Dan McLoughlin of The Push Stars on bass and NYC singer/songwriter Amy Fairchild on harmonies.

"I have to mention Jason, the producer of Symphonies of Dirt & Dust. He is my old friend, who not only worked the clubs in rock bands but also worked for Geffen records in their heyday, so he has a good sense of the music business as a whole. What I love about Jason is that he is absolutely obsessed with his craft and getting songs right.

Every record tells a story. For me, much more than gimmicks, my albums are like diary entries, or truthful accounts of where I'm at in life. I suppose that might be the same for most songwriters, but in the spectrum of the music business, it's still an animal that's nearly extinct." Chris Trapper

Chris has toured North America and the UK with multi platinum songwriter COLIN HAY.

In the Spring of 2013 Chris performed a duet with his songwriting idol JOHN PRINE at the Portsmouth Songwriter Festival.

“It's an incredibly rare musician, particularly in the world of popular music, who is able to forge a career based on quiet dignity and steadfast integrity." The Buffalo News

A prolific songwriter, Chris can boast high profile film placements including There's Something About Mary (Ben Stiller, Cameron Diaz), The Devil Wears Prada (Meryl Streep), Say It Isn't So (Heather Graham) Gun Shy (Sandra Bullock, Liam Neeson) and most recently, Some Kind of Beautiful *Pierce Brosnan, Salma Hayek) as well as significant television placements including All My Children, Women's Murder Club, Malcolm In The Middle, a coveted placement in George Clooney's final episode of ER, the theme song for WB Networks dramedy Pepper Dennis and a cameo on-screen appearance with the show's star, Rebecca Romjin.

Chris has written 7 songs with/for Canadian band GREAT BIG SEA, including their #1 single "Sea Of No Cares" from the certified-platinum Sea Of No Cares CD. Great Big Sea covered Trapper's song "Everything Shines" and their version served as the debut single off their certified-gold Road Rage CD album. Chris' songwriting collaborations with Great Big Sea earned him two prestigious SOCAN awards. Rob Thomas of Matchbox Twenty and Antigone Rising have performed other notable versions of Trapper's songs.

Trapper's live show is a favorite among fans of alt–acoustic music. His on–stage persona is warm and inclusive, his organic understanding of classic pop melody, infectious. Audience members seem to particularly appreciate the lighthearted moments with the ukulele.

"His humble sense of humility is what makes Trapper's songs so strong... He makes you feel like you are the person he's singing about." Popdose

Chris Trapper music can be purchased from iTunes or CDBaby

You can listen to the full Discography on Spotify

(Late Show) DVE Presents The Loaded Show - Hosted By Sean Collier Featuring Norlex Belma, Ed Bailey, Collin Chamberlin, John Dick Winters, Blair Parker, Jesse Irvin, Derek Minto

Sean Collier from the DVE Morning Show takes the stage at Club Cafe to host a bi-monthly standup showcase featuring some of the best comedians in Pittsburgh. Come see the city's best standup comics in an intimate, all-star showcase for only $10!

Sean Collier from the DVE Morning Show takes the stage at Club Cafe to host a bi-monthly standup showcase featuring some of the best comedians in Pittsburgh. Come see the city's best standup comics in an intimate, all-star showcase for only $10!

Big Sandy and His Fly-Rite Boys

Over the last three decades, Big Sandy and his Fly-Rite Boys have kept up a constant cycle of traveling back and forth across the lower 48, then hopping across the pond to Europe and beyond. They bring with them a brand of American music that has earned them an induction into the Rockabilly Hall of Fame, several national television appearances, guest spots on The Grand Ole Opry, and a slew of adoring fans.

"I truly love being out on the road, and I feel blessed to have the opportunity to sing my songs all over the world," said Sandy. "But when I'm away from the U.S. for too long, it's like I need a recharge... like I need a solid dose of everything Americana. Give me a Chuck Berry song while rolling down the interstate, or a truck stop conversation with a waitress who once danced with Lefty Frizzell, and I'm good for another three thousand miles".

Over the last three decades, Big Sandy and his Fly-Rite Boys have kept up a constant cycle of traveling back and forth across the lower 48, then hopping across the pond to Europe and beyond. They bring with them a brand of American music that has earned them an induction into the Rockabilly Hall of Fame, several national television appearances, guest spots on The Grand Ole Opry, and a slew of adoring fans.

"I truly love being out on the road, and I feel blessed to have the opportunity to sing my songs all over the world," said Sandy. "But when I'm away from the U.S. for too long, it's like I need a recharge... like I need a solid dose of everything Americana. Give me a Chuck Berry song while rolling down the interstate, or a truck stop conversation with a waitress who once danced with Lefty Frizzell, and I'm good for another three thousand miles".

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