Music Blurbs, Vol. 12

Billy Joel and Sting
The “One Night – One Stage” Tour features a rare pairing of two of popular music’s biggest stars. Billy Joel came to fame in the early 1970s; his mix of piano balladry and pop has helped make the NYC native both a critical and commercial success, with six Grammy awards and countless other honors. His 1985 Greatest Hits collection is the second best-selling album by a solo artist in the history of recorded music. Merely one indicator of his superstar status, Joel has played Madison Square Garden more than 150 times. He’ll appear with Sting. British musician Sting came to the public’s notice as bassist and lead singer of The Police, one of the ‘80s biggest acts. Drawing from reggae and jazz, the group remained together from 1977 to 1984 (not counting occasional reunions), earning five Grammys and selling over 75 million records. When Sting went solo, he drew from an even wider set of influences, earning a dozen more Grammys along the way. (And yes, I know the tour has been canceled.)

Lord Huron
Los Angeles-based Lord Huron is an American indie folk band founded in 2010 by Ben Schneider. The group’s sweeping sound provides the perfect backdrop for its cinematic storytelling. Originally Schneider’s solo project, the group eventually coalesced around the lineup including Mark Barry, Miguel Briseño, and Tom Renaud. The group gained early attention with a trio of extended-play releases, 2010’s Into the Sun and Mighty, and Time to Run in 2012. Lord Huron’s full-length debut, Lonesome Dreams (2012) showcased the group’s signature blend of folk, rock and high-desert Western textures. 2015’s Strange Trails (2015) was a commercial breakthrough, going Platinum (1 million units sold) and spawning a hit single in “The Night We Met,” a track also featured on the Netflix series 13 Reasons Why. With the release of 2018’s Vide Noir (2018), the band expanded its stylistic range to take in psychedelic flavors; while critics were impressed, sales dropped precipitously. Yet the group determinedly followed its muse: 2021’s Long Lost took a quasi-conceptual directions, framing the album as a (fictional) radio show. Lord Huron’s adventurous spirit looks to continue with the band’s fifth and upcoming album, The Cosmic Selector Vol. 1, set for release in July.

Revisiting Creedence
One of the most celebrated bands of the rock era, Creedence Clearwater Revvial was one of the great American singles groups. Though they never landed a #1 single, they came close, placing more than a dozen songs in the Top Ten. A major influence on roots rock, CCR released seven albums during their 1968-72 run; all but one earned Platinum status. The group split in acrimony, and for many years thereafter, leader and primary songwriter John Fogerty refused to play CCR songs in his solo concerts. Taking up the mantle of Creedence’s beloved catalog, the band’s rhythm section – lifelong friends Stu Cook (bass) and Doug “Cosmo” Clifford on drums – launched a sort-of tribute/legacy project, Creedence Clearwater Revisited in 1995. That group toured and released albums over a 25-year period, playing to enthusiastic and nostalgic audiences on five continents. When Cook and Clifford retired the group in 2020, guitarists Dan McGuinness and Kurt Griffey continued as Revisiting Creedence. With nearly three dozen live engagements already booked for this year, Revisiting Creedence is a testament to the enduring appeal of CCR’s music.

They Might Be Giants
They Might Be Giants are often funny; their songs are droll and clever. But it would be a mistake not to take them seriously. Starting in 1982 as the duo of John Flansburgh and John Linnell, TMBG scored with their quirky, literate approach. Tunes like 1987’s “Don’t Let’s Start,” 1990’s “Birdhouse in Your Soul” and their cover of the 1953 novelty song “Istanbul (Not Constantinople)” showcased a unique worldview, one that had a rock sensibility but often made use of non-rock elements. Today, nearly 40 years after their recorded debut, They Might Be Giants are still going strong. The group expanded to a full band several years ago, and in recent years has added a tight horn section (the current lineup is brilliantly showcased on their latest album, the live Beast of Horns). With a deep catalog – nearly two dozen studio albums, half a dozen live albums that avoid serving up the same material again and again – TMBG is also notable for successfully taking the indie route before it was fashionable (or financially feasible) to do so. While most long-running bands tend to coast on past glories, TMBG is still making music that stands up against its very best work.

Trombone Shorty & Orleans Avenue
Genre mashups – say, rap and metal – have long been a recipe for making fascinating music; the practice is now fairly commonplace. But what remains rare is the artist whose work effortlessly transcends genres, the artist who creates original music that draws liberally from various styles while avoiding any hint of dilettantism. At the front of that rather small pack is Grammy winning artist Trombone Shorty. Born Troy Andrews, the New Orleans-based artist got his musical start in his Tremé neighborhood, where he was deeply immersed in the Crescent City’s rich and deep musical culture. While his primary instrument is trombone – a horn primarily associated with jazz – Trombone Shorty’s music explores blues, rock, pop, funk and hip hop as well. His body of work features more than a dozen albums under his own name plus extensive contributions to the work of others (LeAnn Rimes, Ringo Starr, Eric Clapton, CeeLo Green, Dierks Bentley, Maceo Parker, Rod Stewart, Galactic, etc.). At its core, Shorty’s career celebrates American music.