Photo Gallery: Living Colour at The Masquerade in Atlanta

The following photos were taken by Charlie Halloway at the February 8, 2015 at the Masquerade in Atlanta, GA. Living Colour is currently on tour, with these remaining dates:

Date Site City Buy Tickets
12-Feb-15 Tally Ho Theatre Leesburg, VA [Buy Now]
13-Feb-15 Ridgefield Playhouse Ridgefield, CT [Buy Now]
14-Feb-15 Brooklyn Bowl Brooklyn, NY [Buy Now]
15-Feb-15 Tupelo Music Hall Londonderry, NH [Buy Now]

For more information on Living Colour, visit the band’s website, Facebook, and Twitter pages.


KONGOS rocked Center Stage Feb. 5

Alternative rockers KONGOS returned to Atlanta on Feb. 5 as part of the Lunatic 2015 Tour, the band’s first headlining tour in the U.S.

Fans of the four brothers out of South Africa packed Center Stage as the band opened with “Hey I Don’t Know,” an upbeat and drum-heavy track from the debut album Lunatic. “Sex on the Radio,” “Escape,” and “It’s a Good Life” kept the crowd on their feet and dancing before the band decided to slow things down a bit.

“This is our first headlining tour, so we can do the slower songs we don’t normally do,” said vocalist/drummer Jesse Kongos as the lights went down and a spotlight fell on vocalist Dylan Kongos, who performed a gorgeous solo acoustic version of “Travelin’ On.”

The opening accordion notes of mega-hit “Come With Me Now” was met with roaring applause relatively early in the set, with the crowd singing back every word. New song “I Don’t Mind” was a highlight, as well as a cover of The Beatles’ “Eleanor Rigby,” which featured an unconventional rap verse and the crowd was loving it.

“This is our sixth night of this tour and you are the loudest people yet,” said Jesse Kongos with a smile, which only spurred the crowd on more as the opening drums of “I’m Only Joking” filled the venue and rings of smoke shot from the stage into the crowd in time to the beat. Arguably the best performance of the night, the song had everyone on their feet rocking out and the brothers certainly seemed to enjoy themselves more during the last song of the set.

An encore was demanded almost immediately and the band came back out to perform two covers; the first being “Tokoloshe Man,” a song originally done by their father John Kongos in the 70s. New Order’s “Blue Monday” was something of a surprise, but KONGOS made it their own with a strange but interesting mix of new wave and kwaito sounds to end the night.

Paul Durham acoustic show at Smith’s Olde Bar Jan. 10

Paul Durham, of alternative rock band Black Lab, made a stop in Atlanta on Jan. 10, playing an intimate acoustic show at Smith’s Olde Bar. Durham, who has breathed new life into his band with the release of latest album A Raven Has My Heart, greeted his fans as if they were old friends before taking the stage with only his guitar and voice.

Durham began the set with “Tomorrow,” a song, fittingly, from the acoustic album Unplugged. The small room was filled with his commanding and haunting vocals, despite the inevitable noise from the band playing above him. But Durham’s fans only had eyes (and ears) for him, their cheers and screams effectively drowning out the noise as Durham continued with “Wash It Away,” Black Lab’s first radio hit from 1997’s Your Body Above Me.

Durham took a moment to tell the audience that the night’s performance was dedicated to the loss of a loved one, and that most of the songs he would be playing were originally written for her, before beginning the stunningly beautiful “Love to Love You,” from 2010’s Two Strangers. “Time Ago,” “Ghost In Your Mind,” and “Fall (Shadows and Blinds)” continued the set. One look around the room was proof of the raw emotion Durham is able to achieve in his music, that emotion mirrored on many faces in the crowd.

Though A Raven Has My Heart is a highly electronic album, Durham was able to reinvent several songs acoustically such as “Unfamiliar Sky,” “Gravity,” and “Further,” before bringing it back to 2007’s Passion Leaves A Trace, with “This Night” and “Mine Again.”

Durham left his devoted fans wanting more and he’d hardly stepped from the stage before the crowd coaxed him back out for an encore. “Circus Lights,” from 2005’s See The Sun, seemed to be the perfect choice, with everyone in the room singing back every word.


20th Annual Vans Warped Tour in Atlanta July 24

The Vans Warped Tour made its stop in Atlanta July 24, 2014, at Aaron’s Amphitheatre at Lakewood, drawing in droves of punk rock kids (and their parents). The Warped Tour is celebrating its milestone 20th year, and the festival continues to grow and evolve, never failing to provide punk rock’s biggest acts on the bill and also give the unknown up and comers a chance to shine. This year’s Warped featured nearly 100 punk rock/pop and metal bands, including veterans such as Anberlin, Mayday Parade, Less Than Jake and Yellowcard, as well as bands new to the scene such as The Summer Set and We The Kings.

Though the day was sweltering and the threat of rain hung over Lakewood, bands playing on the uncovered stages gave it their all. The first band I caught on the Warheads stage was Cute Is What We Aim For, a veteran of the festival. The band, formed in 2005, kept the crowd pumped during a performance that included “Newport Living,” “Practice Makes Perfect” and “The Curse of Curves.” A short rain shower didn’t faze lead singer Shaant Hacikyan, who strolled along the edge of the stage thrusting his microphone into the crowd for them to sing along.

Back inside the amphitheatre, punk veterans Yellowcard took the Kia Soul stage, launching right into “Lights and Sounds,” from the 2006 album of the same name. The band, out of Jacksonville, Fla., took the crowd through a diverse set that included hits “Light Up The Sky,” “Awakening,” and arguably the band’s most popular song, “Ocean Avenue.” Lead singer Ryan Key and violinist Sean Mackin did their part to keep the crowd jumping and singing along to every word and their energy was probably the best of all the bands performing. Yellowcard has been performing together for nearly 20 years, but the band is obviously still loving every minute of it. Drummer Nate Young is spending a busy Warped Tour playing drums for both Yellowcard and his own band, Anberlin. He pulled off every Yellowcard song effortlessly, making his way to the other side of Lakewood to play with Anberlin shortly after.

2014 is Anberlin’s last year together, as the band announced earlier this year that it would be breaking up, but releasing a final album and going out on a final tour. Fresh off the release of that album, Lowborn, the band drew what was likely the biggest crowd of any act performing at Warped. Anberlin took the Warheads stage, launching right into “Feel Good Drag,” the band’s biggest hit. Lead singer Stephen Christian was a non-stop energy, keeping the crowd riled up, fist pumping and singing along through a set that included “Self-Starter,” “Breaking,” and new song “Stranger Ways.” Christian let the fans know that Anberlin would be performing in Atlanta one more time (at the time, no Atlanta date had yet been announced) to enormous cheer, and that he and the other members of the band would be signing immediately following its set. Anberlin closed out the set with fan favorite “Paperthin Hymn.”

Shortly after, a massive storm rolled over Lakewood, shutting down the outdoor stages for nearly an hour due to lightning. While a lot of people left after this, the diehards made their way to the covered Amphitheatre for sets from Breathe Carolina, Mayday Parade, Enter Shikari and The Summer Set. When the rain finally stopped, fans ventured back outside, even though many of the later sets were cut short due to time.

I caught alternative/punk act The Maine on the Warheads stage, who gave its all despite a fairly small crowd. The band, out of Tempe, Ariz., had a short set that included “Right Girl,” “Into Your Arms,” and “Run,” from the newest album, 2013’s Forever Halloween. Frontman John O’Callaghan dominated the stage, encouraging fans to sing along and jump with him. After only four songs, O’Callaghan informed the crowd that the band only had one minute left since the set was cut short and the band launched into a teaser of “Girls Do What They Want,” which had the crowd briefly dancing and singing along and definitely left wanting more.




Cute Is What We Aim For Gallery

Breathe Carolina Gallery

Enter Shikari Gallery

The Maine Gallery

Live Review: Shamrockfest 2014

All photos © Kristen Mankowski at The Muse Juice Cafe.

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There wasn’t much of a breeze, but there was still a bit of a draft for quite a few kilt-wearers celebrating their Celtic pride at Shamrockfest D.C. last weekend. Plaid man-skirts in an array of colors danced back and forth as their owners whisked their way to a variety of small artisan shops, food stands and concert stages. What remained when the plaid was said and done was nothing short of a sea of green: shirts, pants and even facial hair adorned in that grassy hue! Some came to celebrate their heritage. Others came to drink. I came to hear some great music.


Unicycling Lady.

The Angry Orchard and GoCity stages sat right next to each other and would house the main artists of the day. By the time my girlfriend and I began approaching the area, having scoured the local market, the Angry Orchard crowd was being commanded by a tongue-twistingly fast sea shanty from the Kilmaine Saints. My girlfriend commented that it was surprisingly well sang considering how fast the lead singer was carrying on.


Black 47

Next up, on the GoCity stage, were a band toted as the originators of the Celtic-Rock movement: Black 47. These elder statesmen, in support of their final album, Last Call,  lit up the stage with their presence and green suede shoes! It was hard not to chuckle at their humorous banter, not to mention songs like “I Got Laid On James Joyce’s Grave.” But others tunes, like “Fire Of Freedom” and “James Connelly,” about the Irishman who was executed for his participation in the Easter Rising movement of 1916, were much more intense and thoughtful. As frontman, Larry Kirwan, said in response to being asked why a lot of Irish music was political in nature, “If you’re Irish, you ARE political!”


Dublin 5

Everyone’s attention shifted back to the Angry Orchard stage as Black 47 finished up their set to enjoy the sounds of the Dublin 5. Unfortunately, I missed a good portion of their set when I went to get some dinner. It’s unfortunate because what I managed to catch was quite great. This five piece, named after a region of Ireland where the lead singer grew up, was full of energy. Particularly remarkable was fiddler Jenn Garmen’s back and forth with singer and guitarist Ray Murphy on Charlie Daniels’ “The Devil Went Down To Georgia,” on which Garmen completely stole the show with her bow-work. But it really got serious when Murphy asked that we all raise our glasses to those that have put their lives on the line, and for those who have lost their lives, so that we could all be there to celebrate. Garmen and bagpiper Eddie McGowan came to the front of the stage playing “Amazing Grace” in one of the more touching moments of the day.


Carbon Leaf

Many people showed up to Shamrockfest to see Dropkick Murphys play, but I was there for Carbon Leaf. Always splendid performers, it’s hard for me to say more than what I have already said the last time I saw them, or even the time before that. For this evening, a more Celtic-themed set was chosen, pulling out an oldie like “Shine” from Echo Echo and, of course, playing extensively from their 2013 Celtic-Rock release, Ghost Dragon Attacks Castle. There was even a side-step into “Sweet Home Alabama” during “Life Less Ordinary,” which, while not Celtic by any means, certainly lit up the faces of all those in attendance and received a huge cheer. As the light died down, one fan managed to get a note up to vocalist, Barry Privett, informing him that the fan had lost their virginity to Carbon Leaf’s music. “That means a lot to us. I still haven’t lost my virginity to our music,” Privett responded candidly. They closed out their set with the Scottish traditional song, “Mary Mac,” which became so fast towards the end that Barry let his lips tangle into a mumbling mass, much to the audiences’ amusement.

[youtube] Video courtesy of Elmo Thamm.

While more wonderful music was on its way, I sadly cannot be very helpful. I know that The Fighting Jamesons brought a fiery passion and caused a great deal of commotion on the Angry Orchard stage, and when the Dropkick Murphys came on, even the merchandise table became overtly crowded as the audience tightened into something resembling a singularity at the front of the stage. My girlfriend and myself had relinquished our front row view in favor of our safety* and for the honor of chatting with Carbon Leaf. We had to leave early, but had a pretty good time, all in all. It was definitely worth visiting, so be sure to check out Shamrockfest next year!


Dropkick Murphys


*As the day went on, crowd surfing, which is fine in its own right, increased steadily. However, when moshers began using the crowd surfers as a way of getting up to the front guardrail and began trying to mosh there, it became quite a problem. Several men were next to me, throwing their elbows around in the front two rows, and one of them tried to rip my girlfriend’s necklace off. Then a friend of mine told me of one woman who was kicking about randomly, and later tried to steal his girlfriend’s spot by forceably bending back her fingers, which were clutched to the railing where she stood. We are all at these shows to have a good time. Don’t be one of these people who is violent, and if you see someone else who is, report them to the guards.

Edgar Meyer and Mike Marshall at The Barns at Wolf Trap – March 6

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Stepping within this quiet sanctum, I could almost hear a pin drop. We weren’t alone, my girlfriend and I, as we walked into The Barns at Wolf Trap in Vienna, Va., but it certainly felt that way due to the atmosphere these walls evoked. I’m not sure if the others inside were simply tired from a long day or if they too were deep in thought, marveling over the years these barns had seen. Reconstructed from two upstate New York structures made during the 1700s – one in German tradition and the other from a Scottish background – the walls have been turned inside out to show the remarkable life they had witnessed. “What a wonderful place for some fine acoustic music,” I thought. And that was what we were about to experience; an intimate evening with upright bass virtuoso, Edgar Meyer, and the equally talented mandolin player, Mike Marshall.

Encased in a blue hue, the two appeared from the side of the stage and approached a pair of microphones, which otherwise sat alone. Then, at the volume of a whisper, they began to play. Silence can be an amazingly intense thing, especially when it feels as though the entire audience is holding its breath to allow the instruments to breathe. It’s as though Meyer’s and Marshall’s were the only sounds in the entire building. You can’t have an entire show in such a format though, and with the third song the energy surged tremendously! “What was the name of that last tune?” asked Mike knowingly. Edgar seemed to be a little taken aback, “Uh, well…you can call it whatever you’d like I guess. But I call it ‘Pickles’.” Everyone began to chuckle. “Did you say pickles?!” Marshall inquired, pressing the issue further, with Meyer switching the topic to their next song; a Bach piece in E minor. It was originally written in D minor, but E minor, we were informed, was a more “musician-friendly key.”

The whole show was instrumental in nature, which meant that, aside from a few dialogues such as the one just mentioned, most of the personality and humor we saw and heard from these two fine men was from their physical performance. There’s something slightly humorous to me about a man playing what looks like a small guitar leaning into the bass player, whose instrument is about five times the size of the other’s, to “play off” of him. But then you watch that same man burning through his fretboard with a smoke trailing following his fingers and your eyes go wide. So wide that you notice just to his left that the bass player is now alternating between playing with a bow, then finger-plucking, and now is playing with his bow once more – all during the same song. There were even moments of the evening where Mike stared down Edgar’s bass, bringing his eyes close, as though it had secrets to uncover. By the same token, Marshall started playing a Brazilian choro piece called “Flight Of The Fly” and the look on his face gave me the impression that he was as surprised by what he was playing as we were in the audience!

Meyer/Marshall Setlist - March 6

The short-hand setlist from the show.

“Time for a love song, Edgar?” Marshall asked casually. Meyer looked up at him unbelievingly and said, “We don’t do those.” “Just between you and me,” Mike assured him, “This song is called ‘Blooper’.” He backed away from the microphone, paused, and then stepped forward again to add, “…it’s a love song.” Edgar shook his head before tearing into an absolutely mind-blowing piece. This concert was not always easy though, as this tune pointed out. It was a bit jazzy at time, with the phrase going on and on, almost aimlessly, before resolving amazingly several bars later than I expected. Ultimately, it was rewarding though, and I truly felt like I’d heard something special. After the two had brought the song to a conclusion someone asked “where was the blooper in there?” The two assured her, “If you make enough of them it sounds like they’re supposed to be there. Never just make one. It’ll stand out!”

The duo ended the night with a Bulgarian number, which we were told was something “you’d play at an East European wedding” by Meyer. Marshall suggested that we could turn the barn into a Bulgarian dance floor. I smiled at the thought. And that was our evening: a weird little night, filled with an extraordinarily small instrument and a very large one playing bluegrass, classical, Brazilian choro pieces, and Bulgarian wedding songs to a group of varying ages in a set of conjoined German and Scottish barns from upstate New York. The only thing to make the whole mess better was the opportunity to speak to Meyer and Marshall themselves, which those of us who stuck around for a little while longer were given the very chance to do. They were so warm and giving with their time, mirroring their cheerful demeanors on stage. These two don’t play concerts together very often (their next as a duo is the Telluride Bluegrass Festival in Colorado), so I’d recommend checking them out, together or with other acts, anytime the opportunity presents itself. Who knows, there might even be a Bulgarian dance floor.

For more about Edgar Meyer, visit:
Official Website
Find his music on: iTunes | Amazon

For more about Mike Marshall, visit:
Official Website
Find his music on: iTunes | Amazon | CDBaby

For more about The Barns at Wolf Trap, visit:
Official Website

Live Review: Carbon Leaf at Rams Head On Stage

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Be careful this weekend. There’s a winter storm coming in.”


This was the foreboding text I received Saturday morning, conveniently placed before the Carbon Leaf concert my girlfriend and I had been planning to attend for the past few months. We had a decent drive ahead of us and the last thing I wanted was to have Mother Nature rain (or sleet) on our parade. Whether by luck or simply faulty forecasting, the storm delayed until the following day, leaving us an absolutely beautiful, albeit cold, afternoon to explore historic Annapolis, Md., before the show. Carbon Leaf, as it turns out, has annual holiday shows at Annapolis’ Rams Head On Stage. We had found out about this at the end of the last performance of theirs we attended in September and both of us were quick to agree that we should do our best to make one of these as well.

If you’ve never been to Rams Head On Stage, just as I hadn’t until that evening, you might be surprised. Unlike the venue’s sister establishment, Rams Head Live, in Baltimore, which features standing room only, here you are escorted to a table at which you can relax, drink and eat during the performance. Of course, this is intended for particular kinds of events, more intimate in nature, and it was a welcome change of pace from my usual choice of concerts. For this evening, the stage was strung with garland, wreaths, and other Christmas decorations to add to the mood of the holiday celebration. Light up Yoda heads donning Santa Claus caps spiraled around one microphone stand. The Force was strong at this concert.

 _DSC0049 (w)Opening for Carbon Leaf was the young talent, Logan Brill, accompanied by Bryan Downing on acoustic guitar. This Knoxville native released her debut album, Walking Wires, just two months ago, but sucked the whole room in with her soulful bluesy vocals. The crowd was silent, in awe, as the echoing strings of “Ne’er Do Wells” combined with the stage’s reverberating planks; Downing’s stomps serving as a canvas for Brill’s voice. Silence soon changed to laughter as the two told us about the singer’s love of Christmas music, and how quick she was the find it on every station from their last location to Maryland. Thirteen hours worth of Yuletide spirit is enough to drive any guitarist insane. Nonetheless, he had to endure one more holiday song for their set, “Please Come Home For Christmas,” which was as warming as the drinks that sat on many a table. To close, and to throw us all completely for a loop, Brill decided to sing a French song. I still have no idea what it was about, aside from love, but it sounded beautiful. I’d recommend everyone check out her new album, which you can stream on her website.

A soundbyte of The Muppets introduced Carbon Leaf, who arrived on stage to immense cheers from the audience. Suitable for this evening, they began with the title track from their 2010 holiday album, Christmas Child, before heading into other Leafy classics ranging from Echo Echo to their most recent release, Constellation Prize. Their second track of the evening, “Toy Soldiers,” took me by surprise, as it is a great track, but not one that I hear them play very much at all. Other early tracks of the evening included a very funky version of “Comfort,” as well as the new audience-participation song, “She’s Gone”. Frontman, Barry Privett, casually singled out a section of the crowd when going over their expected contributions to the chorus, noting “Only this section has bought the record…” to the amusement of the rest of the room, who were apparently all failed on their participation.


Happy Birthday, Terry!”


The comment burst from the audience after several more songs had passed by, which caused Barry to look up from the setlist. “Don’t ruin my line … I even had that written down. ‘Happy Birthday, Terry Clark!’ Actually, we started celebrating last night.” The guitarist/birthday boy nodding knowingly, adding “…that was a mistake,” to the laughter of the onlookers. Terry took us into another crowd-favorite, “One Prairie Outpost,” which featured the extraordinary Carter Gravatt on lap steel guitar, making the tune far more haunting than I’d ever heard before. A brand new song, “Alcatraz,” followed, featuring me singing along so wholeheartedly that I continued singing briefly when Barry decided to make an impromptu pause that wasn’t on the album. Needless to say, I was a little embarrassed and drew a few looks.

_DSC0087 (w)Barry then made mention of the band’s concert on the USS Dwight D. Eisenhower aircraft carrier earlier this year, saying what an honor that was for the whole group to get to perform for those men and women in the armed forces. As it was Dec. 7, Pearl Harbor Remembrance Day, the guys decided to dedicate “The War Was In Color” to those who served, or are actively serving, to protect people here at home. It was really touching for all in the room.

Keeping with the theme of songs played in homage to inspiring people, the group could not go on without mentioning the late Nelson Mandela. They came to the front of the stage, arm in arm, and performed an a capella version of the Patty Loveless tune “Friends In Gloryland.” To say that the harmonizing between the five was anything less than amazing would sell it short. Some of my favorite moments in seeing Carbon Leaf are when they huddle close like this, as the room quiets down and the intimacy of the show is increased tenfold. I always find myself whispering the songs, eager to sing along, but weary of disrupting anyone else’s ability to listen.


We should introduce this next song as the most dangerous song in the set…if not in the world!”


Terry’s matter of fact attitude about this made it all the more humorous to us as they began “The Fox And The Hare.” He wasn’t lying, really, as there’s little more dangerous than fighting Nazis and zombies, not to mention taming lions, tigers and bears, just to be with the person you love. To make it even more daring, Carter brought out a hurdy gurdy. While this sounds like some feminine gurdle torture device, it is actually a very unusual folk instrument operated with a crank and intonation buttons. But I digress. As it turns out, there was a celebrity in the house that night. One Mr. Patrick Murphy (Gaelic Storm) who came up and sang “Rocky Road To Dublin” with the boys. After he took his seat once more, Barry gave the audience his Patrick Murphy impression, donning an Irish accent and telling everyone, “Come on now, get on your feet! See, I can do this too!” before busting out with the Celtic Carbon Leaf tune, “The Boxer.” During this entire ordeal, everyone was on their feet, clapping along. Luckily we were able to sit and rest our palms before long, which was great, because I had just about clapped my hands off at this point.

_DSC0172 (w)In a very unusual turn of events, Barry handed off the microphone to bassist Jon Markel, who put down his bass and picked up a guitar as well. “Each year,” Jon told us. “We have a contest to see who can write the best Christmas song. This year, I won, and my punishment is that I now have to play it live.” Perhaps the fact that he sounded so traumatized by what he had written made it even funnier, as we were told that the song called “Carter’s Christmas Beard.” Drummer Jason Neal left his kit and came to the forefront with a washboard, the others also huddling into the singular microphone. I had to resist an urge to yell, “Nice washboard abs!” It was probably for the best. Jon strummed the guitar and started us off on a hilarious musical escapade which saw each member joining in, singing the praises of Carter’s beard. The highlights, undoubtedly, were Barry’s choice of instrument, a red toy clarinet that sounded more like a kazoo, and Carter’s operatic vocal ending that left us all clapping and laughing. With that, they said goodnight and left the stage.

For a moment, anyway. They were quickly back out and picking up all their usual instruments. The lights dimmed down from above and a few flickered on from the stage floor, giving the feeling of a fireplace shining its ambiance over all the group. They thanked us for being so welcoming to all the new music they had played, then went into the final track from the latest album. My girlfriend and I had heard this one, “Tombstone vs. Ashes,” live at the last concert we had seen, shortly before the album’s release. Having had time for it to settle in, we were more than prepared to sing along on this occasion, going in time to the banjo-plucked notes. As the evening drew to a close, Carbon Leaf invited Logan Brill back on stage to sing “Let Your Troubles Roll By” to end the night. Always a fun tune for all involved, it got deathly quiet when Carter began his solo, which itself bordered upon a whisper. But then, growing, it became a blistering serenade up and down the fretboard. I have heard him play this solo before, but something amazing was happening that night in his hands. I have no reservations in saying that: if Jimmy Page built a stairway to heaven, Carter certainly climbed it that night.

_DSC0195 (w)The music faded, the applause increased and the band took its bow. They thanked us all for coming and reminded everyone that they’d be out to visit with the crowd shortly. I must say, the Rams Head On Stage is a great venue to watch a band perform. It is not such a great venue when it comes to setting up a merch stand or having after-show chats. Corridors and foyers became quite crowded with the way things were set up, which left a slightly sour aftertaste in a number of fans’ mouths. But nonetheless, I had the great pleasure of speaking with Terry and Barry briefly, and then quite a time with Carter. My girlfriend and he went back and forth on topics ranging from historic biscuits, to Montezuma Mummy Jerky, to the finer points about milk and dark chocolate. Somewhere in there I had a chance to inquire about the odd instrument I’d seen him play (the hurdy gurdy), as well as bring up a conversation that we had discussed at the last concert. Next thing I know, he is taking us back to the stage to look at all his equipment and allowing me to try out not only the hurdy gurdy – which is quite a unique instrument – but also one of his highly prized mandolins. As a mandolin nut, this tickled me silly!

I’ve said it before, but I have to say it again: Carbon Leaf is one of those bands that just gets better every time I see them. I don’t know whether it is simply a matter of me getting more familiar with the music, or the fact that every release is filled with more and more music which never seems to fault at hitting me emotionally. There is just something in the songs and the way that they play them so sincerely and heartfelt that makes the performances grow richer with each tour they embark upon. I applaud them for their abilities, but I thank them for the time they humbly shared with each of us. I’m sure we’ll meet again soon.


For more concert photos, check out the album!


For more on Carbon Leaf, visit:
Official Website
Buy Constellation Prize: iTunes | Amazon | From The Band!