The Dream is a Dream (Gig Diary)

Sidewalk Cafe (4/3/08)

2008-04-03T23:30:00.000-07:00

New York, NY

It had been 10 months since my last set at Sidewalk, which seems absurd given my affinity for the space. The truth is I've been performing less and less these days, as the demands on my time increase at work and the little rooms I so enjoy frequenting dwindle (The C-Note and DTUT being two cases in point).

Sidewalk, of course, has always been my favorite, even before I saw Suzanne Vega take the stage there in August of 2006. Microphone difficulties postponed and shortened the set by about 10 minutes, but I was still thrilled to be back and in front of such a great audience, which included many friends, relatives and colleagues, as well as my girlfriend and her parents, who were seeing me perform for the first time.

While the sound man worked to solve the mic troubles, I sang along with Paul McCartney on Maxwell's Silver Hammer and thought about what to play. I knew I wanted to reintroduce some older material, and I'd rehearsed some in the days before the the gig, but the crowd was a bit more lively than I'd expected and I wasn't sure about forsaking the standards for novelties. Before I could make up my mind, the sound was up and running and we were ready to go.

I opened with Musical Chairs just to get the ball rolling and it came off reasonably well. White Horse and Snapdragon, the latter of which was the strongest version since Kenny's Castaways in November of 1992, when I performed it with Pride's Crossing, were well received and raised my spirits enough to have a go at Self-Portrait in Your Colors. For the first time, I have been struggling with it and the meaning behind it, and I wasn't sure I would be able to handle it in front of an audience. Fortunately, I was wrong and it served me as well as it ever has.

For various reasons, Adrian is the only song from Non-Fiction Junkie I've performed live, and I've now played it at four consecutive shows. It may be time to break out Charades or The Joke's On You or to rework Truffaut into something more amenable to guitar. Regardless, Adrian, bolstered by some new guitar distortion, fed my confidence enough to revive La Linea after five years for my Aunt Renee, who has requested it repeatedly to no avail. Written in the summer of 2001, the first verse on a park bench in Teddy Roosevelt National Park, the second in a motel room in Bowman, North Dakota, La Linea seems very much a song from another era and while it's nice to visit with such old friends, I am careful not to dwell on them. If another five years pass before we meet again, it wouldn't surprise me.

I launched into Pretty Girls almost immediately and repented with This Guy, which I'd flubbed just at the end at Sidewalk last June. Alas, I managed to mar it seconds from the finish yet again, so it will likely be left off the forthcoming live CD. I'll be sure to rectify that next time around.

I solicited requests from the audience and settled on Fake Plastic Trees, suggested by (who else?) Sean McAndrew. As much as I love performing this Radiohead classic, I think it works best as a rare surprise and I'll have to think long and hard before presenting it again. I got the two-song warning as the last chord rang out and when Amber suggested All Of This Will Stay, I readily obliged her. All Of This Will Stay began life as an amateurish poem, written on the campus of Lehigh University 15 years ago. It is an ode to the memory of love and one of the few old songs that don't feel stale to me. Amber and the rest of the crowd seemed pleased with it as well.

I settled on Charlene to close the set and I was feeling full and satisfied as I sang some of my favorite lyrics, many of which were greeted with chuckles. While I left Something Simple, Damsel, Post Call and Jackson Browne's My Stunning Mystery Companion in my back pocket, I was reasonably content with the set and I basked in a post-show daze while I mingled with a truly terrific audience.

Thanks to everyone who came out to support me. You can't imagine what it means to me to play my songs for so many people I care about, some of whom I have known only a short while. I will never take that gift for granted.

See you soon enough!

(click here to listen to this show)

Setlist: Musical Chairs / White Horse / Snapdragon / Self-Portrait In Your Colors / Adrian / La Linea (first since Sidewalk Cafe: 10/21/2003) / Pretty Girls / This Guy / Fake Plastic Trees / All Of This Will Stay / Charlene

Gizzi's Coffee (10/6/07)

2007-10-06T17:24:00.000-07:00

New York, NY

When I stopped by the Saturday before this gig, Gizzi's was closed due to unplanned contruction in the adjacent building. The night's performances had all been cancelled. I remember urging myself not to take it as a bad omen. I needn't have worried.

I paced West 8th Street for an hour or so while the act before me got set up and stopped into a thrift shop to buy some bandanas. I let the salesgirl talk me into a pink one (which I like) and a navy blue one (for the Yankees). The West Village is a wonderful neighborhood and I don't get down there enough.

Once the tables and futons had been reorganized (and the adjacent contruction concerns dispatched), Gizzi's revealed itself as a charming neighborhood java house. It was a bit hot in the room (I made good use of the new bandanas) and more than a little crowded, but the sound was better than expected and the atmosphere pleasant. Mike McHugh, who was responsible for booking me, offered a pleasant greeting - we hadn't seen each other since the days of The C-Note.

A nice crowd had already filled the room by the time the second act took the stage, and we all sat through a multimedia presentation, which included video, spoken word and Jazz standards. By the time I started my set, it was 9:30. I opened with Radiohead's Fake Plastic Trees, whose high notes mostly gave me fits, and Snapdragon, during which I uncharacteristically flubbed some of the chords. All Of This Will Stay sounded fresh after more than two years on the shelf and reminded me of how even the older, more conventional tunes have their charms.

After the obligatory run through Musical Chairs, I decided to reintroduce a couple of covers, Ryan Adams' My Winding Wheel and Britney Spears' ...Baby, One More Time. The former was, in my opinion, the finest performance of the evening and the latter had me begging the sweaty, sleepy crowd for help with the backing vocals (they eventually relented but the results were disappointing, to say the least).

I followed Pretty Girls with Self-Portrait In Your Colors before deciding to stick with tradition and indulge October with Christmas Song. I'd rehearsed it a few times during the week so it wasn't as rusty as it could have been, and it satisfied my parents' requests for one of the old ones. They'd specifically asked for Wedding Song (unplayed since September of '03) and White Horse but had to settle for something I was in the mood to play.

I closed with standard versions of Post Call, Charlene, Adrian and So Long, Angeline, four of my personal favorites. It was close to closing time when I wrapped things up, but everyone milled about for half an hour or so and I handed out loads of CDs. Maybe I will return.

The event was marked by my mother, who christened her nose against a mailbox after tripping on the curb while trying to eat Tasti D-Lite and cross the street at the same time. My father, younger brother, Uncle Hank and Aunt Sylvia spent the early hours of Sunday in the Lenox Hill Emergency Room. When we wheeled my mother outside around three, she had a broken nose, a bruised ego, and a pressure wrap for a superficial hematoma. We will all count her lucky.

Thanks to everyone who came out, including: Mom, Dad and Jon; David, Melissa and the kids, Zachary, Emily and Katie; Renee, Sophia, Hank and Sylvia; Joseph, Tal, Victor, Devon, Linda, Maria, Lauren and Andrea from work; and Inna and Rivka from my Sinai days. I'll see you again real soon.

Setlist: Fake Plastic Trees (Radiohead cover) / Snapdragon / All Of This Will Stay (first since The C-Note: 4/25/05) / Musical Chairs / My Winding Wheel (Ryan Adams cover) / ...Baby, One More Time (Britney Spears cover) / Pretty Girls / Self-Portrait In Your Colors / Christmas Song (first since Sidewalk Cafe: 10/19/05) / Post Call / Charlene / Adrian / So Long, Angeline

Sidewalk Cafe (6/3/07)

2007-06-03T11:58:00.000-07:00

New York, NY

I was hoping for a nice turnout despite competition from the penultimate Sopranos episode and thundershowers, not to mention the Yanks at Fenway. Nevertheless, the room was full of familiar faces by the time I arrived, within minutes of my scheduled 8 p.m. set. I said a few quick hellos, tuned up and dove into Oliver Wendell Holmes, Jr., which was inspired by Louis Menand's Pulitzer Prize-winning book, The Metaphysical Club. The White Flag, seldom played and, in my opinion, underappreciated, followed but unfortunately never found its groove. Musical Chairs and Pretty Girls got things moving at last, and the crowd seemed to respond to my energy, the result, I suspect, of my decision to stand rather than sit.

This Guy, sadly marred by a late guitar flub, and Upper East Side, 10 a.m. restored my good karma and gave me the confidence to debut The Road To Love. The audience gave it the night's loudest ovation but the recording proves I still have a few kinks to iron out. Not to worry, I've no plans to abandon it just yet.

It was mostly smooth sailing from there, the exception being Painted Myself, which had potential but for my forgetting the chords. (There's) Nothing To It was particularly strong, in my hublest opinion.

Action's debut went off without a hitch and while I struggled with some of Thom Yorke's high notes, Fake Plastic Trees fell into place as the evening's closer.

Thanks to everyone who braved the rain, including my parents, Renee, Sophia and Gabrielle, Dr. Zawin, Maritza, Lauren and Mike. Special props to Bill and Evelyn for commuting all the way from Boston!

Catch you on the flip side!

(click here to listen to this show)

Setlist: Oliver Wendell Holmes, Jr. / The White Flag (first since Sidewalk Cafe: 10/19/05) / Musical Chairs / Pretty Girls / This Guy / Upper East Side, 10 a.m. (first since Sidewalk Cafe: 3/16/05) / The Road To Love (debut) / (There's) Nothing To It (first since Sidewalk Cafe: 10/19/05) / Adrian / So Long, Angeline / Painted Myself / Action / Fake Plastic Trees (Radiohead cover)

Sidewalk Cafe (3/18/07)

2007-03-18T18:01:00.000-07:00

New York, NY

I'd booked only one show between Sidewalk gigs on December 28, 2005 and this night. Fortunately given (and partially owing to) the lack of witnesses, my set at Vox Pop in Brooklyn last June was mostly forgettable, though no one, it seems, was injured. I was looking forward to this show at Sidewalk, mostly because I hadn't road tested the new songs, let alone the Follow Me Up tunes. If we're being perfectly honest here, and I think we are, getting to know the new songs is the best thing about all this. It is not at all unlike the first, ephemeral blush of love. So I'm told, anyway.

If it is true that I have little love affairs with all my songs, it is also true that they don't all reciprocate. Take The Beauty Pool, for instance. Written in October of 2001 and inspired by the events of 9/11, The Beauty Pool formed the centerpiece of my first CD, Plain and Simple (Mandip Dhamoon played tablas on the recording) and for a while there, I could disappear into it on stage without fear of false notes. These days, it seems, I can't even make it beyond the first verse without straying wildly off key.

This night was no different, which is why there's little chance you will ever hear the recording of The Beauty Pool. The remainder of the set, excluding Adrian, which included a verse of PJ Harvey's copyright-protected You Said Something, is available for free download here.

Thanks to everyone who made the trek down to Alphabet City; to my parents and brother for braving the cold and for a billion other things; to the gang from Lenox Hill for showing their support; to Bill, Renee and Sophia for having the courage to sit in the front row; and to everyone else for not throwing tomatoes at my guitar and me.

I'm planning to do this again in June, but only if you promise to meet me.

(click here to listen to this show)

Setlist: Post Call (first since Sidewalk Cafe: 10/19/05) / Musical Chairs / Snapdragon (first since Sidewalk Cafe: 10/19/05) / Self-Portrait in Your Colors (first since Sidewalk Cafe: 12/28/05) / The Beauty Pool (first since Kenny's Castaways: 9/9/05) / Pretty Girls / Up There / Adrian (debut) --> You Said Something (PJ Harvey cover) --> Adrian (debut) / Charlene (first since Sidewalk Cafe: 12/28/05) / Cloud 9 (first since Sidewalk Cafe: 12/28/05) / White Horse (first since The C-note: 4/25/05) / So Long, Angeline (first since Kenny's Castaways: 9/9/05)

Vox Pop (6/29/06)

2006-08-12T05:57:00.000-07:00

New York, NY

In the days leading up to my first Brooklyn gig, a return of sorts to my roots (both of my parents grew up in Brooklyn), I was more nervous than I'd ever been before a performance. My last appearance had been in late December at Sidewalk, and I'd spent the self-imposed hiatus recording new material and gearing up for the beginning of my radiology residency. Six months is a long time, longer in fact than any break I'd taken from music since the '90s. To compound my trepidation, I had recently ended a two-month stretch during which I'd neglected my guitar completely. By the time I reacquainted myself with my Taylor, my chops were decidedly rusty and I'd forgotten a few songs entirely.

I went to the movies in the morning to settle my nerves a bit, but as the hour approached, the skies darkened, literally and figuratively. The skies opened up and drenched the City, making the commute to Brooklyn that much more of a hassle. To make matters worse, news of the death of a close friend arrived by phone as I was gathering my gear. After debating whether or not to cancel the show outright (I decided to press on after much deliberation), Bill arrived and we hit the road.

Vox Pop is in my grandparents' old neighborhood, so my uncle and aunt came by for old times sake and to show their support. Michelle Kaufman was kind enough to make the trip with a friend and Anna Delios managed to make it all the way from Brazil! It turns out Vox Pop is kind of a hole in the wall with only a hint fo a stage and an amp that passed for a sound system. Still, it has its charms.

Bill soundchecked for me by playing a couple of songs, including Dave Matthews' The Song That Jane Likes, which left the small audience considerably impressed. I'm working on getting Bill involved in the music again, so you'll be seeing him again.

I had a set list, but as usual, I mostly ignored it. I broke out a few of the new songs, including Musical Chairs, Oliver Wendell Holmes, Jr., and It's Been A Long Time, and I pulled out Set You Free and Light Me Up for the first time in a long while. After so many months away from the music, even the old songs feel new. I entertained a request for Tracy Chapman and threw in covers by Elvis Costello (of course), Simon and Garfunkel, and Tom Petty before indulging Michellewith Billy Joel's Vienna. I'd never played it live before but I sang along with the record enough times as a kid to know my way around the tune. I'd had it by then and was eager to get back into Manhattan.

Thanks so much to everyone for coming out! I had a blast and I promise to book some shows this summer and fall. Be on the look out!

Setlist: Musical Chairs (debut)/The Beauty Pool/Set You Free (first since DTUT: 1/6/04)/Alison (Elvis Costello cover)/Crossroads (Tracy Chapman cover)/Cloud 9/Pretty Girls/Charlene/Oliver Wendell Holmes, Jr. (debut)/Kathy's Song (Simon and Garfunkel cover)/Painted Myself/Snapdragon/Reunion/It's Been a Long Time (debut)/Walls (Tom Petty cover)/Light Me Up (first since The C-Note: 4/25/05)/Vienna (Billy Joel cover)

Sidewalk Cafe (12/28/05)

2005-12-28T10:00:00.000-08:00

New York, NY

Once again, I was caught in a strange mood before a show only to be sorted out by a warm, interactive, if small audience at Sidewalk. Linda and Kevin, in town from from Tucson for Christmas, were attending their first show (Linda's first since the Pride's Crossing days). A couple of other high school friends dropped by from less exotic locales, and Gayle and Melanie were kind enough to bring friends and spread the word.

I did my best despite stifling heat, which forced me to do a horrifyingly accurate Ted Striker impersonation. After sweating furiously through Fake Plastic Trees and Pretty Girls, the room cooled a bit as I struck the opening chords of Damsel, which I hadn't played in a year-and-a-half; most of the rust was concentrated in the first verse. It's amazing how the music on Songs Without Hooks got old so quickly—I hardly play those songs anymore.

I chased most of the adults from the room with She's Dead, so the road was clear for another run at Jonathan Coulton's First of May, which earned a few laughs, as always. Incidentally, the video for Coulton's latest, an ode to Flickr, of all things, is available for free streaming at iFilm.

I closed with three songs off Charaders, Cloud 9, Charlene, and This Guy, mixed up with Self-Portrait in Your Colors from Plain and Simple, all of which came off reasonably well, well enough , in fact, to warrant an encore. After soliciting ideas from the crowd, I settled on Tracy Chapman's Crossroads, which I hadn't played since college, to the best of my recollection.

After the show, a bunch of us killed a couple of hours by playing Skee-Ball at a local bar. I'm not sure if it was my first game of Skee-Ball, but let's just say my best games are ahead of me...

Thanks to everyone who came out, especially those from far-off lands. Have a great holiday—see you next year!

Setlist: Fake Plastic Trees (Radiohead cover)/Pretty Girls/Damsel (first since Kenny's Castaways: 5/7/04)/She's Dead (Jim Infantino cover)/First of May (Jonathan Coulton cover)/The Last One (for Stephen Bohler, by way of Elliott Smith)/Cloud 9/Charlene/Self-Portrait in Your Colors/This Guy/Crossroads (Tracy Chapman cover)

Sidewalk Cafe (10/19/05)

2005-10-19T12:08:00.000-07:00

New York, NY

I thought about Sally during Hallelujah, which I hadn't played since January of last year. I thought about her during The White Flag, absent since May of last year. I thought about her most during Christmas Song, which I'd dedicated to her at Bill's apartment in Boston last weekend and hadn't played live since October of 2003. I even thought about her during Running To Stand Still. I can't wait until she wakes up. She's going to be pissed.

I was glad to see some familiar faces from the old days and the new, and I felt comfortable in the back room, as always. The sound on the stage was muddy, so I'm not sure what the ambience in the room was like, but I was encouraged by the feedback after the set.

Leonard Cohen's Hallelujah was very emotional; I was barely whispering at times. I still haven't been able to get all the lyrics right in one sitting, but I came closest this night (I forgot the second half of the fourth verse and ended up singing the last couplet twice).

The White Flag was pretty good even though I muffed the lick in the chorus a couple of times. It's a song that never really seems to connect with the audience, but I'm going to keep playing it once or twice a year because I believe in it.

The debut of The Last Laugh, the title song of the album I'm working on, wasn't bad, but it suffers without a full arrangement and I'm not feeling it enough to deliver on it solo.

(There's) Nothing To It and Pretty Girls went over nicely, but Post Call was the night's first highlight. It's a song I don't play often, even when I'm goofing around at home, and I think the novelty of it helps me get into it. I had a really good time playing it and the first line even got a chuckle.

Tom Petty's Walls and U2's Running To Stand Still are always sure things. I tried a new delayed guitar sound on the latter and it seemed to fill it up and add some texture. I can't remember the last time I played either song.

Christmas Song, which I only play in October and hadn't touched since 2003, is a personal favorite and went over famously. Aunt Renee, who has unwittingly added the title Staff Photographer to Number One Fan, had requested Snapdragon before the show, and I obliged her before playing She's Dead for Kelly. Jim Infantino's sardonic humor always played well in the Sinai circle.

I pulled Charlene out to close the night and it finally clicked. I played with the dynamics, mostly because I couldn't hear myself very well at the lower registers, and it lent the song an unexpected good humor. It was a perfect note on which to say goodnight.

With so many of the downtown music clubs closing, I'll likely be spending more time at Sidewalk. That is sure to be a good thing.

Thanks to everyone who came out to show support. See you soon!

Setlist: Hallelujah (Leonard Cohen cover)/The White Flag (first since Sidewalk Cafe: 5/21/04)/The Last Laugh (debut)/(There's) Nothing To It/Pretty Girls/Post Call/Walls (Tom Petty cover)/Running To Stand Still (U2 cover)/Christmas Song (first since Sidewalk Cafe: 10/21/03)/Snapdragon/She's Dead (Jim Infantino cover)/Charlene

Kenny's Castaways (9/9/05)

2005-09-09T13:38:00.000-07:00

New York, NY

The Yankees and Red Sox were beginning a huge three-game series in the Boogiedown around the time I was setting up my gear for this gig at Kenny's. That didn't bode well. Add to that I was playing solo acoustic (as I generally do these days) in a venue best suited to bands. We've enjoyed some of our best crowds on Bleecker Street when Bill and the boys are on board.

Despite these ominous signs, I decided to take the soundman up on his offer to videotape the show for a small fee. I don't have a VCR so I won't have to suffer through a viewing for at least the near future. Let's just say it wasn't exactly my finest hour. It wasn't even my finest 45 minutes.

I opened with The Beauty Pool and What a Mess, two songs I can play in my sleep by now. I was unusually nervous and wanted to make a good impression. I stuck with familiar tunes, playing Snapdragon and Painted Myself, the former of which was strong yet again. Painted Myself, however, proved rusty after 16 months on the shelf. I forgot the second half of the first verse altogether.

Ironically enough, the highlight of the night for me was the debut of (There's) Nothing To It, which my Aunt Renee had requested before the show. The monitors dropped out during the first verse, but it hardly mattered. Peter Gabriel's Solisbury Hill kept the momentum going.

The rest of the set was fairly typical, with only Pretty Girls and Radiohead's High and Dry standing out in my mind. I was bolstered during the latter by a late-arriving crowd, most of whom had come to see the next band.

Thanks again to Renee for shooting the stills and Charles for playing hookey from the Navy to be there. See you all at Sidewalk on October 12th!

Setlist: The Beauty Pool/What a Mess/Snapdragon/Painted Myself (first since Sidewalk Cafe: 5/21/04)/(There's) Nothing To It (debut)/Solisbury Hill (Peter Gabriel cover)/Pretty Girls/So Long, Angeline/First of May (Jonathan Coulton cover)/High and Dry (Radiohead cover)

The C-Note (8/9/05)

2005-08-09T14:42:00.000-07:00

New York, NY

The C-Note and Sidewalk are blocks from each other in Alphabet City, but they couldn't be more different spaces. Sidewalk is dimly lit and littered with tables and chairs, making it a warm, intimate room. The sound at the C-Note is top notch, but much of the audience is forced to stand, and the patrons tend to be on the chatty side. Most importantly, Sidewalk sports a sizable restaurant, which almost always guarantees an audience. The C-Note is less predictable. I've played to empty rooms, but I've also enjoyed some of my favorite nights there. You never know what you're going to get.

The place was crowded for Victoria Gross' set, which was excellent. For some reason, my name was not included on the chalkboard outside, and there were a few hairy moments during which I managed to convince myself that I'd written the wrong night on my schedule. Ultimately, everything was sorted out and I took the stage around 9:15.

After some deliberation, I decided to open with Cloud 9, followed by There, unplayed since DTUT in March of 2004. I hadn't performed live since Session 73 in late May, so I stuck with familiar songs for the most part. Reunion was perhaps not an inspired choice and I struggled a little with the lower registers, but Alison really kicked things into high gear. Elvis Costello is, all things considered, an underrated songwriter, and Alison never fails to get the audience's attention. I'm planning to start mixing in more of his music, so be on the lookout for New Amsterdam, Mystery Dance, Radio, Radio, Indoor Fireworks, and Accidents Will Happen. Let's face it: any of his tunes are fair game at this point.

I hadn't played Self-Portrait in Your Colors since last May, and the time off did it some good. Sean McAndrew (trumping all of us in full suit and tie) requested Pretty Girls, and I indulged him before debuting The Last One. It's one of my favorites, but, given the subject matter (the recent rash of suicides at NYU), I'd been reluctant to perform it. I think it would benefit a great deal from a second guitar and piano, but these things are not easy to come by.

I've been toying around with Modest Mouse's Blame It On the Tetons for a few months now, and I finally felt comfortable enough with the lyrics to give it a go. I think I may save it for some of the more mellow venues from now on; it seemed to take a bit of the life out of the set, as much as I enjoyed playing it. What a Mess was rock solid, and as a result, I was emboldened enough to solicit requests from the crowd. Sean requested The Only Living Boy in New York and Fake Plastic Trees, and my Aunt Renee, who pulled double duty taking photographs, made my day by asking for The Beauty Pool, which I count among the night's highlights. Once again, I caved into Bill's pre-show request for Grey Street, and after thanking the enthusiastic and nicely sized audience, many of whom were holdovers from Victoria Gross' performance, I closed with Frosted Flakes and Milk.

On a humorous note, I attempted to tip the soundman while I was packing up, only to learn that he owns the club! Mike McQugh, who booked the gig, invited me back in September, so hopefully we can meet up for another night of music at the C-Note soon.

Thanks to Renee and Sophia, Sean McAndrew, Andy, Raimonda, Margaret, and Tara from Lenox Hill, and Shana from California for coming out this time around. Catch you at Kenny's on September 9th!

Setlist: Cloud 9/There (first since DTUT: 3/2/04) / Reunion/Alison (Elvis Costello cover)/ Self-Portrait in Your Colors (first since Sidewalk Cafe: 5/21/04)/Pretty Girls/The Last One (for Stephen Bohler, by way of Elliott Smith) (debut)/Blame It On the Tetons (Modest Mouse cover)/What a Mess/The Only Living Boy in New York (Simon and Garfunkel cover)/Fake Plastic Trees (Radiohead cover)/The Beauty Pool/Grey Street (Dave Matthews cover)/Frosted Flakes and Milk

The C-Note (4/25/05)

2005-04-25T13:32:00.000-07:00

New York, NY

I never know what I'm going to get at The C-Note. Sometimes it's a blast and the crowd is responsive, but more often than not, it's a dead space. This set was part of a showcase for Dan Herman's internet radio program Radio Crystal Blue, so I expected a decent turnout and some new faces. Guess again. The room wasn't exactly empty, but the crowd was detached and more interested in talking than listening. Dan Herman himself, who requested Post Call before the show, reported in his review the next day that I played mostly covers. I had, in fact, played 10 originals out of 13 songs, so maybe Dan was as distracted as everyone else.

Regardless of the vibe in the room, I decided to open with Peter Gabriel's In Your Eyes, which went over so well in Berwyn a couple of months before. This time, the audience did not participate as readily. The sing-alongs tend to work best toward the end of the set when everyone is a little more attentive (and a little more drunk). I'll have to remember that next time. Cloud 9, which I'd last played at The C-Note in September, and All of This Will Stay were greeted with scattered applause, but Light Me Up got a nice reaction. I hadn't played it since last March at DTUT, even though Dan has played it on the show a bunch and it's one of the tracks on the upcoming CD Planet Muse: Uncharted Talents.

I was excited to play Welcome Back, the John Sebastian song which served as the theme to the awful '70s sit-com Welcome Back, Kotter. No one seemed to recognize it. By this point, I was starting to feel a bit distracted myself, and it showed during Kathy's Song when I flubbed a few of the guitar licks. I had to do something to save the set.

If I can't connect with an audience, my only recourse is to close my eyes and pretend I'm alone in my apartment. The music generally suffers when I'm too aware of my surroundings; I figured I could at least put on a good show, even if very few people were listening. What a Mess, Post Call, Pretty Girls, So Long, Angeline, and Snapdragon were rock solid and left me feeling better about the night. I usually turn more to the older songs during moments of crisis, but for the first time, the new songs bailed me out.

Charlene still hasn't clicked live, but I think I've been able to tighten it up a little lately. It's one of my favorite songs, so it will be gratifying when I'm finally able to do it justice. I closed with White Horse, which I'd forsaken for nearly a year.

I hung around for a short while after the show and met a few of the other musicians on the bill. The C-Note can be a great place to play (I've always loved the sound), but sometimes, it's a dead space.

Setlist: In Your Eyes (Peter Gabriel cover)/Cloud 9 (first since The C-Note: 9/27/04)/All of This Will Stay/Light Me Up (first since DTUT: 3/2/04)/Welcome Back (John Sebastian cover)/Kathy's Song (Simon and Garfunkel cover)/What a Mess/Post Call/Pretty Girls/So Long, Angeline/Snapdragon/Charlene/White Horse (first since Sidewalk Cafe: 5/21/04)

Sidewalk Cafe (3/16/05)

2005-03-16T13:28:00.000-08:00

New York, NY

I'm always excited for shows at Sidewalk, because the room is perfect for singer/songwriters and the crowd is usually interested. Once again, I found myself in a cab on the FDR drive, trying not to worry whether or not enough people would show up to assure me of another booking. Turns out there was nothing to worry about; the crowd was perfect. A few people from the hospital turned out, along with some friends from medical school I hadn't seen in a while, including Jay, Jess, and Rivka. I was actually on call at the hospital, but I got a friend to cover me for a few hours so I could perform. It was also the night before the Residency Match, so I had that to think about as well.

I opened with Snapdragon, which I hadn't played since May, and So Long, Angeline, absent since September. Pretty Girls has lost some of its wry luster for me, but the crowd seemed to enjoy it (especially my friends from work). After a couple of Simon and Garfunkel tunes, I figured I'd keep the feeling going with The Beauty Pool, which owes a lot to Paul Simon's The Rhythm of the Saints. This Guy is one of my favorite songs to play these days, but I think it loses something without the harmonies. Maybe when internship is over I'll have some time to find a few good musicians to play with...

At some point Liz, one of my friends from the hospital, requested In the Shade of An Old Apple Tree, the opening track on Plain and Simple. Apple Tree is one of the songs my grandmother brought home from camp as a young girl, and my father used to sing them to my brothers and me when we were kids. I restructured it to include more of the original melody, but I couldn't remember how to play it and instead turned to Upper East Side, 10 a.m. I hadn't played it since May, so it was a little rusty. I think it would really take off with a second guitarist.

Two comic relief songs (First of May and She's Dead) later, I broke out Something Simple, unplayed since March of last year at DTUT. I know I've said this before, but that song always takes me back out West. I worked on it in so many different places (Arches, Bryce Canyon, Grand Teton, Rocky Mountain), it seems a direct product of the exprerience. I don't play it enough.

I hung around for bit before hopping a cab uptown to the hospital. This is life now, comfortable moments of hamony in a year that has been otherwise a blur...

Setlist: Snapdragon (first since Sidewalk Cafe: 5/21/04)/So Long, Angeline (first since The C-Note: 9/27/04)/Pretty Girls/The Only Living Boy in New York (Simon and Garfunkel cover)/Song For the Asking (Simon and Garfunkel cover)/The Beauty Pool/This Guy/Upper East Side, 10 a.m. (first since Sidewalk Cafe: 5/21/04)/First of May (Jonathan Coulton cover)/She's Dead (Jim Infantino cover)/Something Simple (first since DTUT: 3/2/04)

Berwyn Tavern (2/26/05)

2005-02-26T13:16:00.000-08:00

Berwyn, PA

For most of the day, I was planning to stay home, but I made a last minute decision to lighten up, bear the commute, and play the show in Berwyn. I'm glad I did.

We hit some of the worst traffic I'd ever seen around the Lincoln Tunnel and arrived at the Berwyn Tavern only moments before we were expected to go on. Bill and I went upstairs and worked on a few things with Adam and the rest of TMC. We took the stage around nine.

We opened with four staight cover songs featuring Bill on lead vocals. Pink Floyd's Fearless was a little rough around the edges, as was Homeward Bound, but we started to hit our stride during Norwegian Wood and especially The Song That Jane Likes. It's one of the first songs we played together in medical school, and I think it still works.

I've been too uncomfortable to play What a Mess, except when I suspect people aren't listening, which was the case at the beginning of my set in Berwyn. I first played it at the American Cancer Society benefit in November, and I think I may be ready to play it for inquiring minds...

Bill joined me again for Pretty Girls (which marked the first time Bill has ever played guitar on one of my songs) and Jonathan Coulton's First of May. After that, it was pretty much business as usual, with the exception of Peter Gabriel's In Your Eyes, which featured backup vocals by the entire bar. I'll definitely be playing that more often.

After The Beauty Pool, we stayed on to join TMC for their first set. In addition to the four tunes we'd played the night before, we played a Jack Johnson cover (Rodeo Clowns) with Bill on lead vocals and another Dave Matthews cover (#41) featuring Ian on lead vocals (I sat that one out). Bill and I skipped out on the rest of their set to make it home at a reasonable hour. We expected to share the stage with them again at Kenny's in May, but it was not to be. TMC is history. C'est la vie. We wish the boys well.

Setlist: Fearless (Pink Floyd cover)*/Homeward Bound (Simon and Garfunkel cover)*/Norwegian Wood (The Beatles cover)*/The Song That Jane Likes (Dave Matthews cover)*/What a Mess/Song For the Asking (Simon and Garfunkel cover)/Pretty Girls*/First of May (Jonathan Coulton cover)*/She's Dead (Jim Infantino cover)/My Winding Wheel (Ryan Adams cover)/In Your Eyes (Peter Gabriel cover)/The Beauty Pool // Mixed Up (The Midnight Collective)**/Rodeo Clowns (Jack Johnson cover)**/Grey Street (Dave Matthews cover)**/All I Want Is You (U2 cover)**/Letter to a Friend (The Midnight Collective)**/#41 (Dave Matthews cover)** *w/ Bill Stebbins **w/ Bill Stebbins and The Midnight Collective

The Lion's Den (2/25/05)

2005-02-25T13:12:00.000-08:00

New York, NY

We had no idea it would be the last time we'd share the stage, so everyone was in a good mood as we arrived at The Lion's Den. The setup is very musician-friendly, with a backstage area, a comfortable stage, and nice, full sound. We'd been looking forward to this one, in other words. Bill and I ran through a few things in the back room, while I waited for the Vicodin to kick in. My back was a mess from all the hours on the floors at the hospital. Vicodin or no Vicodin, I wasn't at all sure I would make it through the set standing.

But all concerns vanished when we took the stage. The room was pretty well full. A captive audience to boot.

Bill handled lead vocals on a joyful version of Dave Matthews' Grey Street, which, along with Matthews' The Song That Jane Likes, are essentially his theme songs. I sang lead vocals on U2's All I Want Is You, which was sandwiched between two TMC tunes, Mixed Up and Letter to a Friend. Everyone seemed to have good time. The energy level carried over into TMC's set.

I didn't stick around for too long, but I know the set was cut short by at least a few songs, a not-so-uncommon occurance in NYC. I put my weary ass in a cab and headed home. I had to make a decision about a show in Berwyn, PA the next night and I wasn't feeling it.

Setlist: Grey Street (Dave Matthews cover)*/Mixed Up*/All I Want Is You (U2 cover)*/Letter to a Friend*/You Lose *w/ Bill Stebbins and The Midnight Collective

Basketball City, Pier 63 (11/21/04)

2004-11-21T13:01:00.000-08:00

New York, NY

When I arrived at Basketball City for the American Cancer Society's Relay For Life, I was overwhelmed by the noise. The event took place in a gym roughly the size of an airplane hanger. The "audience" was comprised mainly of distracted high school students, busily walking around a track, some of them dancing. The new Destiny's Child song was blaring from a sea of speakers placed at intervals around the track, echoing angrily around the gigantic room. And I was scheduled to play a solo acoustic set...

My concerns subsided a bit when another acoustic act was well received, but I still scribbled down a list of upbeat cover songs to satisfy the masses.

I took the stage at 20 minutes before one in the morning. I hadn't slept well in days (I'm on night float at the hospital), and I was cranky. My back was killing me, too. It was a recipe for disaster, but fate was kind.

I opened with Whiskeytown's Jacksonville Skyline, a personal favorite I hadn't played in some time. Dave Matthew's Grey Street went over well, and a few people came up to compliment me during the song. I felt comfortable enough to try out some of the newer tunes, and Pretty Girls and Post Call were solid enough. I can feel the latter slipping out of the zone, though, and I suspect I'll be wrestling with it for a while. I can't wait to get a full band behind the new tunes. I played Alison and The Only Living Boy in New York in the hope that a few people might recognize them, but no one seemed to.

At this point, I figured it might be a good opportunity to debut a couple of new songs, and I launched into What a Mess, a song I absolutely love to play but hadn't had the courage to unveil. I was very pleased with the result, enough so to follow it with the debut of This Guy, which I nearly trashed a few weeks ago. I Wanna Be the One was quick and painless and Fake Plastic Trees was a fitting closer, even though I couldn't hear myself enough to nail the falsetto parts.

This was an unusual show, but in the name of a very worthy cause. I'd do it again in a heartbeat.

See you soon!

Setlist: Jacksonville Skyline (Whiskeytown cover)/Grey Street (Dave Matthews cover)/Pretty Girls/Post Call/Alison (Elvis Costello cover)/The Only Living Boy in New York (Simon and Garfunkel cover)/What a Mess (debut)/This Guy (debut)/I Wanna Be the One/Fake Plastic Trees (Radiohead cover)

Sidewalk Cafe (11/3/04)

2004-11-03T12:50:00.000-08:00

New York, NY

This one was weird.

Because I was booked for the 7:30 time slot, I was unsure how many songs I'd have time to play. If the right soundperson is behind the board (she was), I can usually hit the stage by around 7:15 and squeeze in eight or nine songs. That can be cut in half if the chips don't fall right. I don't know what time I got started because there was some confusion at the beginning of the set. For some reason, my Taylor wasn't coming through the system plugged in, so after some nervous moments, we finally decided to just mic the darn thing and get on with it. I have to be more careful with my rocking back and forth when it's done this way, and I feel a little boxed in with all the mic stands on the stage, but we didn't lose any of the Taylor's sound.

I find these hit-and-run sets a little annoying because there are so many songs I enjoy playing right now—I don't usually leave the stage feeling satisfied. I was in the mood to play some new songs, so I opened with Post Call, which I'd written over the weekend. The album picture has become a little blurry over the last few weeks. I have seven new songs recorded and five more written. The material is organizing into concepts or, more accurately, themes. The new album will be about the arc of a failed relationship, and will include Dopamine (It's Love), Cloud 9, Charlene, (There's) Nothing To It, This Guy, and Frosted Flakes and Milk. I'll fill out the rest of the album as it comes to me. Post Call is part of a planned suite of music in four movements, some of it instrumental, that is inspired by my experiences at the hospital. I've decided to scrap the Intern Blog in favor of this project. I've already abandoned it for all intents and purposes (I just don't feel like reliving my days in print anymore), so why not make it official? I'll leave up the entries that are already there, but don't expect anything new from this tired intern. As for Reunion, What A Mess, and The Last One (for Stephen Bohler by way of Elliot Smith), I'm not sure where they'll fit in to the plan (outtakes?). We'll figure something out.

The point is you can now expect not one, but two new albums in the next few months. The first will be professionally mastered and available sometime this winter. The second may or may not be professionally mastered (if it's not, it will sound a little better than the Demographix CDs, Plain and Simple and Songs Without Hooks) and will be available sometime this spring. For those of you interested in meaningless working titles, the former is Pretty Girls Aren't Cool; the latter is Charades. I'm also planning to re-record a bunch of the older material for another Demographix CD. Most of you don't realize that there are hundreds of songs that predate Plain and Simple but are only preserved on poor-quality cassettes. I aim to rectify that.

Where was I? After Post Call, which featured a two-line third verse because I forgot the words, I opted to scrap This Guy (not ready for public consumption, yet) in favor of Reunion. Reunion is my favorite of the new tunes right now, and I hadn't played it live, yet. I think it went over nicely. Pretty Girls was the revelation of the night (Billy predicted it would be), and I got more comments about it than any other song. Have no fear - it's going to be on the new album and I'll have a demo version up on SoundClick ASAP. After three debuts in a row, I gave Charlene another try. I wasn't sure I would after the debacle in Scituate, but it came off fairly well, even though by now I couldn't hear myself at all because the monitor was fried. Truth be told, I had to play it—there were Australians in the audience!

Sean requested The Only Living Boy in New York, and I was happy to oblige. I hadn't played it since DTUT in September. First of May was just the trick for a now melancholy crowd, but I brought them back down with All of This Will Stay (once again the oldest song in the set) and Frosted Flakes and Milk. And then I called it a night.

Three people approached me after the show to tell me how much they appreciated the raw emotion. I don't think I'm overstating things when I say that this is the reason why I'm doing this. It's been happening more and more lately, in between the usual congratulations are these genuine, heartfelt wishes from people who were moved by my music. The new stuff seems to be striking a nerve with people, and I'm overwhelmed. I can't wait to get this album out, guys. I think we're going to have a lot of fun with it...

I thought it over and decided to accept invitations to return to The C-Note and Sidewalk soon. I was toying with the idea of a hiatus until the CD release, but why deny myself this simple pleasure. Stay tuned for dates....

Thanks to everyone who came out, especially the folks from work, who braved sleeplessness to show their support. Much obliged. See you soon, kids!

Setlist: Post Call (debut)/Reunion (debut)/Pretty Girls (debut)/Charlene/The Only Living Boy in New York (Simon and Garfunkel cover)/First of May (Jonathan Coulton cover)/All of This Will Stay/Frosted Flakes and Milk

The C-Note (9/27/04)

2004-09-27T12:44:00.000-07:00

New York, NY

On my way down to The C-Note for this gig, in a cab on the FDR Drive, I was feeling pretty sad. I hadn't played a show in Manhattan in four months, which is the longest I've gone since this thing started up again, so I had reason to be excited. None of the regulars would be there, though, and even though I was curious to see how the crowd would receive me, something didn't feel right. As it turned out, I was more than pleased with the personalities in the room, but as I sped downtown, I couldn't help feeling I'd be playing for all the wrong people. My instincts are notoriously terrible.

When I ran through some tunes the night before, I couldn't help noticing how much the music has changed in so short a period of time. Many of the songs that were fresh and exciting only four months ago have now been relegated to once-in-a-blue-moon status. In the end, I played not a single song from Plain and Simple, only one from Songs Without Hooks, and three from the upcoming album, including the debut of Frosted Flakes and Milk. I love the fact that I can play show after show without repeating myself now. The sets are starting to develop distinct personalities, and I can cater the whole set to my mood, rather than just a song here and there. It's a great feeling, and it makes for much more expressive performances.

I was the first one there, but the turnout was solid. I kicked things off with Frosted Flakes and Milk, a brand new song (it's been recorded, but it hasn't been converted to MP3, yet) that may be the most personal song I've ever written (even moreso than Self-Portrait in Your Colors). I'm a lot more comfortable presenting this sort of thing on stage these days, and I think it's a good idea to show yourself as early in the set as possible. If I opened with First of May, for example, the message would be diluted. I struggled with the vocals on the first couple of lines, but it fell into place quickly and really came off well. I gave Ryan Adams' Come Pick Me Up a go after that, and everyone seemed to like it, despite the cursing. Oddly enough, Elvis Costello's Alison felt a little weak. I last played it at Session 73 in April of 2003, and it has always been reliable. I guess if you neglect a song long enough, it may desert you altogether.

After that, it was back to the new tunes. Cloud 9 was fine, but Charlene didn't come off quite the way I would have liked. I tried a new guitar sound on the Pod, but it didn't really fly. I'll have to get it worked out for next time. First of May was, as always, a big hit (thank you, Jonathan Coulton!), but She's Dead didn't have its usual effect. Time to retire it, I guess (sorry, Jim Infantino!).

All Of This Will Stay, this night's winner of the Oldest Original Song award, was really nice at a slower pace. It's no secret that the older songs are the closest to my heart, but the best of the new ones are so timely as to border on painful to perform. All Of This Will Stay has been with me for so long that I can disappear into it without getting too close to the original inspiration. So Long, Angeline, the only representative from Song Without Hooks, can be a bit unpredictable, especially when Jeanne's not on board, but it rolled along sweetly on this night. Funny, the line, "You really loved that show downtown when I sang to the girl at the bar," was inspired by the C-Note.

I closed things out with three covers, Dave Matthews' Grey Street, which I last played at the last C-Note show, Simon and Garfunkel's America, which I'd never played live before (though I think I play it at every single impromptu, late-night jam session), and My Winding Wheel, another Ryan Adams number. It was a strong finish, and I stuck around for a while to mingle and hand out CDs.

Nothing scheduled for the fall, yet, but I'm looking into Sidewalk for October and the CD release party is coming this winter - stay tuned!

Setlist: Frosted Flakes and Milk (debut)/Come Pick Me Up (Ryan Adams cover)/Alison (Elvis Costello cover)/Cloud 9/Charlene/First of May (Jonathan Coulton cover)/She's Dead (Jim Infantino cover)/All Of This Will Stay/So Long, Angeline/Grey Street (Dave Matthews cover)/America (Simon and Garfunkel cover)/My Winding Wheel (Ryan Adams cover)

The Crush Festival (8/14/04)

2004-08-14T12:36:00.000-07:00

Scituate, MA

It's been a while since I've attempted anything like this. Pride's Crossing used to road trip quite a bit when I was in college, and for a while, I was even commuting to Boston every weekend to record with the guys from Canine. But aside from the summer of 2001, when I was out West writing songs for Plain and Simple, I haven't had many opportunities to play the bohemian. Boy did that change yesterday.

I was in the hospital seeing patients until 1:30, at which time I jumped into my dad's truck and made a beeline for Scituate, MA. The boys from The Midnight Collective had graciously invited me to perform at their Crush Festival in the Harbor, and I was scheduled to take the stage at eight. I arrived at 7:40. Essentially, I drove 5 1/2 hours, through the traffic-infested highways of Connecticut (is there anything but traffic in Connecticut?), hitting the Harbor just in time to plug in. There were enough people milling around to make things interesting, but I followed a punkish college band and preceded the Collective, who are as close to perfect bar band as you can get. More on that later.

I decided to pepper the set with covers, many more so than usual; I'm told my records don't sell terribly well in New England. Also, I was introduced as a Yankees fan, which resulted in my being greeted with a chorus of boos. Not exactly a hero's welcome.

I didn't have a chance to even think much about what to play, so I played it by ear. I decided to tune down to dropped double D for Neil Young's Cortez the Killer and Men At Work's Overkill. I didn't exactly nail either of them, and it was apparent early on that I wasn't feeling it. A lot of people ask about this, because depending on the night, I'm either curled up in a chair, hugging my guitar, and singing with my eyes closed or rocking back and forth in front of the mic stand, looking out over the audience. At Kenny's, I was fully into what I was playing. I never had that sense that I was disappearing into myself at this show. Maybe that has something to with the covers I chose, but more likely it was the venue. I should've brought a band.

Be that as it may, the crowd seemed relatively happy as I struck the first notes of Cloud 9, which is sounding more and more like the first single from the new album. Charlene, which is my favorite of the new batch so far, got a nice reception, especially when I sang that line about Australian women ("I like to take my women like my wine—dry, bold, and Australian"). My Winding Wheel is the song I've been turning to most often when I play in the evening, and it really feels like something I own now. Ryan Adams' music is a good fit for me in general, and I'm going to reintroduce Jacksonville Skyline soon. Fake Plastic Trees, usually a sure thing, fizzled a bit, which tells you all you need to know about this show. I wasn't terrible, but that connection I've been making at the last few shows wasn't there, at least not consistently. Maybe that can be attributed to the long layoff—I hadn't performed since late May.

All Of This Will Stay and So Long, Angeline were also a little flat, but the audience seemed to prefer the original material to the covers, which is always nice. Most of the covers are obscure enough to pass for my own songs anyway...

Jane Says went over very well, and I played The Beauty Pool for Adam (he requested The Drowning Pool, the picture of which gave me a chuckle—the real Beauty Pool in Yellowstone is a seemingly bottomless pit of chemicals and heat, all wrapped up in a colorful mirage). I signaled to Adam that I was through, even though I was starting to feel it a bit toward the end of the set.

The Midnight Collective then joined me for a run thorugh U2's All I Want Is You, which we'd also joined forces on at Kenny's in May. After a false start (I forgot the lyrics to the first verse), we gave it a good go through the first two verses, but things just seemed to disintigrate and we just let it wind down. I exited stage right and left the rest to the boys from Scituate.

I watched most of their set from the perimeter of the Harbor, and I must say this was the tightest I've seen them. The sound was pristine and they were all in fine form. You'll be seeing them again in NYC soon...

After their set, I packed up my gear, grabbed a coffee from Dunkin' Doughnuts, and hit the road. I drove through the faded remnants of Hurricane Charley, and though the battery on my iPod died shortly after I left, I sang myself back home, as the Dead would say. I reached my parents' house sometime after two in the morning.

Many thanks to Adam, Ian, and everyone else who mnade this possible. I had a blast and I'd do it all again in a heartbeat. Scituate is a beautiful town.

I'm working on some new songs so the album should be out this fall. I'm playing a benefit in New York on September 11th, and I'm in the early stages of planning the fall dates. I hope to see you all at the local shows!

Enjoy what's left of the summer. October is around the corner, and there's nothing in this world quite like Autumn in New York...

Setlist: Cortez the Killer (Neil Young cover)/Overkill (Men At Work cover)/Cloud 9/Charlene (debut)/My Winding Wheel (Ryan Adams cover)/Fake Plastic Trees (Radiohead cover)/All Of This Will Stay/So Long, Angeline/Jane Says (Jane's Addiction cover)/The Beauty Pool/All I Want Is You (U2 cover)* *w/ The Midnight Collective

Sidewalk Cafe (5/21/04)

2004-05-21T12:17:00.000-07:00

New York, NY

I always sit at Sidewalk. It's the only place I sit at all, in fact, and that may have something to do with the intimacy of the room. I tend to play mellow shows there (more mellow than usual), curling up with my ear to the guitar and the mic pointing upward from below. It's my favorite way to perform.

Sidewalk is unpredictable in terms of the audience. Some nights, the room is packed, but others are even more intimate than I'd like (read: the room is empty). On this night, I played most of the set to five people, including the young lady running sound. It seems reasonable to point out that Bill, Roland (a student from Lebanon who is staying in Bill's place this month), Charles, and Scott were in attendance for this unusual show, and most of the songs were by request. It was that kind of night.

I'd planned to do set full of new and obscure songs, and I opened with Cloud 9, one of the tunes I'm planning to record to this summer. I'm eager to hand this over to a full band, but I think it still works as a solo number. I followed that up with The White Flag, which was really the prototype for Songs Without Hooks and is one of my favorites. Oddly enough, it's one of my most misunderstood songs, and it seldom goes over well. After that, I was basically a musician for hire, filling the rest of the evening with requests from Bill (the one tune I denied him, a very old old song called Kathy and Joey, will never again see the light of day). Personal highlights included White Horse, The Beauty Pool, There, and Snapdragon, but the vibe was very pleasant throughout. When the next act was late for their slot, I was allowed to spill over beyond eight, and the I received some encouraging words from the damsel behind the board. Sidewalk is always a blast.

Catch you on the flip side!

Setlist: Cloud 9 (debut)/The White Flag/White Horse/Painted Myself/The Beauty Pool/Upper East Side, 10 a.m./There/Snapdragon/Self-Portrait in Your Colors

Kenny's Castaways (5/7/04)

2004-05-07T10:32:00.000-07:00

New York, NY

After two months off, and a month of April that can best and generously be described as trying, I was eager to get back onto the stage. Add in the fact that The Midnight Collective were rolling into New York for their first gig in The Big Apple and you had a recipe for something special.

Adam and Ian arrived late Thursday night, and we got in some very limited rehearsal time on Saturday. The plan was for me to sit in on their original tune, The Only, and for Bill and me to join them for some jamming on Dave Matthews' Grey Street, #41, and The Song That Jane Likes, and Counting Crows' Anna Begins. But as we learned in January, things don't always go as planned at Kenny's.

We arrived at eight to discover that the first band of the night wasn't even set up, yet. After speaking with Roger, the booking agent, we learned that we'd been bumped back to ten o'clock. It was happening again. Kenny's is a nice place to play, and it'll always be special to me for being the site of my first Manhattan gig in '92, but it's never easy. This night would be no different. On stage, though, it was another story alltogether.

The place was packed by the time Bethany introduced us, and Bill and I took the stage for some cover tunes. Bill ably handled lead vocals on Norwegian Wood, Homeward Bound, and the Crosby, Stills, and Nash classic Southern Cross. The latter had cracked us up during rehearsals, but we held it together long enough to do justice to the harmonies. Jonathan Coulton's First of May, which I'd introduced at the Sinai Coffeehouse in March, had the crowd in stitches and closed out the quartet of openers. Bill seemed genuinely jazzed as he exited stage left to hearty applause.

With the stage to myself, I dove into Rufus Wainwright's Go or Go Ahead, the best song on his most recent collection. The high notes were a challenge, but I let fly and belted it out as best I could. I felt like I had the crowd on my side by now, and I'd pretty much given myself over by the time I struck the first notes of Snapdragon. I've been leaning on the old songs quite a bit recently and for good reason. I'm very proud of the new stuff, but there's a connection with time-worn tunes like Snapdragon that's difficult to explain. The new ones haven't really been around the block, yet, so to speak.

I'd penciled in Christmas Song, which I generally play only in October, and Carolina in My Mind for Angela, who'd missed it at DTUT, but I decided to scratch both after checking my watch. Instead, I invited Jeanne up for All of This Will Stay, another of the older songs. I was completely into it by this point, and Jeanne's vocals really elevated the music. All of This Will Stay was a poem that I'd put to music years ago, and its melody was inspired by Hariet Wheeler of The Sundays, whose inflections I imitate in the last verse. Damsel, another song inspired by the Sundays and one of my favorite tracks off Songs Without Hooks, featured inspired harmonies by Jeanne. So Long, Angeline ("My favorite," Jeanne told the crowd) was tight, but it was on There that we really hit our stride. We don't do this one without the full band too often, but the acoustic setup allowed us to get into some of the open spaces and explore the dynamics a little more. With that, the audience bid a fond farewell to Jeanne.

As I've done at almost every show, I solicited requests from the audience, but I was only able to distinguish Sean McAndrew's joyful bellowing from the din. I'd agreed to consider John Denver's Annie's Song for Adam's girlfriend Erin before the show, and I'd already jettisoned Carolina in My Mind, but something about Fake Plastic Trees just seemed right for the moment. It was an inspired choice, and it left me floating as the boys from The Midnight Collective filed in behind me for a run at U2's All I Want Is You. With a tight, perceptive band behind me, the tune soared, and I had the pleasure of introducing the guys as the last notes faded into their opener, Letter to a Friend. Their arrival in New York was a resounding success, as the crowd, much of it there to catch their set, bounced along to their tunes. Unfortunately, Kenny's struck again and gave us the boot at only 11:30 (surely The Midnight Collective would play through midnight?), though we were able to squeeze two more out of Roger. Gone were Anna Begins, The Only (along with several other TMC tunes) and The Song That Jane Likes, leaving two Dave Matthews tunes to round out a terrific night. Ian led us through a killer version of #41, and Bill handled frontman duties on Grey Street, belting out the final notes madly, much to the crowd's delight. Andrew took things to another level with his sax, adding tasty texture to both encores. Everyone left the stage on a high.

How could we possibly ice a night like this? In a stretched limo, naturally, gamely procured by Erin on Bleecker Street for our amusement. We piled in, gear and all, and mosied uptown to Saloon for some earth-rattling music and seizure-inducing strobe lights. On the way, I was treated to a chorus of "Yankees suck" chants, more than one R&B classic, and a positively grating interpretation of Maroon 5's This Love. What more could a guy ask?

Special thanks to Bethany for the introduction, Angela for filling the place, Sean for the scrumptious request, Edra and Sonia Begonia for the inspiring words, and Gretchen for having the good taste to appreciate fine apparel. Of course, none of this happens without Bill, Jeanne, and the Boys from Boston. New York City will never be the same.

Catch you at Sidewalk on the 21st!

Setlist: Norwegian Wood (The Beatles cover)*/Homeward Bound (Simon and Garfunkel cover)*/Southern Cross (Crosby, Stills, and Nash cover)*/First of May (Jonathan Coulton cover)*/Go or Go Ahead (Rufus Wainwright cover)/Snapdragon/All of This Will Stay**/Damsel**/So Long, Angeline**/There**/Fake Plastic Trees (Radiohead cover)/All I Want is You (U2 cover)^ // The Midnight Collective: Letter to a Friend/Come Inside/You Lose --> Rockin' in the Free World (Neil Young cover) --> You Lose/Mixed Up/The Middle#41+/Grey Street+ *w/ Bill Stebbins **w/ Jeanne Goodman ^w/ The Midnight Collective +w/ Bill Stebbins and Michael Novick

DTUT (3/2/04)

2004-03-02T10:23:00.000-08:00

New York, NY

When I began talking about getting back into performing a few years ago, I knew that DTUT would be the perfect place to set up shop. This whole thing started with the Session 73 show in April, but it didn't really get a proper kickoff until DTUT in September. I'm feeling more and more at home with each performance, and these latest DTUT sets were easily the best yet. If this show is any indication of what the future holds, I can hardly wait for the spring.

I had the new Taylor this time around, and the Podxt has really opened things up in terms of texture and atmosphere. I feel like my own personal sound is coming into relief, and with Dan and Jeanne on board, we're close to realizing a unique sound.

The place was a bit empty when we arrived, but any fears of a light crowd were quickly allayed. It turned out to be a terrific crowd, and by the end of the first set, we were all having a great time.

I'd considered opening the first set with a new song, Pink Lemonade, but after some thought, I decided to scrap the tune completely. I turned instead to The Beauty Pool, which was marred by some technical difficulties (the guitar kept cutting out). I forget to switch on the new sound I'd concocted for Light Me Up, but I remembered to keep the tempo down and it came together nicely. Jeanne joined me for an upbeat version of So Lone, Angeline, and I offered up Peter Gabriel's Solsbury Hill for the second straight show. After Self-Portrait in Your Colors and Jim Infantino's She's Dead, I debated with the crowd over whether or not to play Angela's Carolina in My Mind request (she hadn't yet arrived). After deciding I would get credit one way or the other, I asked Jeanne to sing backup on the James Taylor classic, which I continued into Friend of the Devil. I'm a huge fan of the Dead, but I'd never covered them live, and I was very pleased with the result. Something Simple and Joking closed out the set, and I set about working the room, which was now fairly well full.

I was surprised to see many old friends in attendance, including Marc Abramson and his cousin Dasi and Dave Janowski, the lead guitarist from my college band, Mad Buick, and current member of the Howlin' Thurstons. Everyone seemed to be having a nice time, and I was really looking forward to a full set with Dan and Jeanne.

Dan and I kicked things off with a really satisfying version of Snapdragon, which is becoming a real strength for us. We kept the energy going with a fast-paced run through Damsel, with Jeanne adding some melodic backing vocals and Dan commenting with tasty licks throughout. We were a little apprehensive about playing I Wanna Be the One without Bill, so I put it to an audience vote. Much to my surprise, they chose the original over a Britney Spears sing-along, and we obliged with a leisurely but enjoyable version of the new tune. We took it slow. Before launching into Upper East Side, 10 a.m., I redubbed it Upper East Side, 10 p.m.—this is another of the new tunes that is really hitting its stride. I invited Charles up to help me out with The Jayhawks Save it For a Rainy Day, and he was solid as a rock despite some mic troubles. All of This Will Stay and There were their dependable selves and I really enjoyed playing them so late in the set for a change.

Dan has been eager to have a go at Radiohead's Fake Plastic Trees, which had twice been a casualty to time contraints, first at Kenny's and then at Sidewalk. We finally squeezed it in, and I think it went over well, though it may be time to hang it up for a while. Britney Spears won out in the second audience vote, and we had some laughs with ...Baby, One More Time. I agreed to break out Monday Morning (last played at DTUT in September) for Jess and called it a night.

I think this show has the makings of a turning point. I had more fun on stage than I've had in years, and the music is beginning to feel right again. I'm taking some time off while I await the results of the Match, but I'm looking forward to playing often this spring. There are some new songs in the works, and I hope to debut some of them for you in the near futurre. Catch you on the flip side!

Setlist: The Beauty Pool/Light Me Up/So Long, Angeline/Solsbury Hill (Peter Gabriel cover)/Self-Portrait in Your Colors/She's Dead (Jim Infantino cover)/Carolina in My Mind (James Taylor cover) --> Friend of the Devil (Grateful Dead cover)/Something Simple/Joking // Snapdragon/Damsel/I Wanna Be the One/Upper East Side, 10 a.m./Save It For a Rainy Day (The Jayhawks cover)*/All of This Will Stay/There/Fake Plastic Trees (Radiohead cover)/...Baby, One More Time (Britney Spears cover)/Monday Morning *w/ Charles Falzon

Sidewalk Cafe (2/20/04)

2004-02-20T10:19:00.000-08:00

New York, NY

I knew in advance that many of the "regulars" couldn't make this show, so I pumped up the PR machine a bit to compensate. I also created the Super Secret E-mail list, designed for more personal appeals (read: groveling). I didn't know what to expect.

When Ginger, Dan, and I arrived, Amy Hills and the Sidewalk crew were having a meeting in the back room so we didn't settle into the stage until around 7:30. The gig was scheduled for 7:30, but I'd hoped to take the stage closer to seven. Sometimes that works out, sometimes it doesn't. I had four solo numbers on the set list, and I knew I could dump a few of those if we were pressed for time.

I was pleasnatly surprised by the turnout—not our best, but certainly not our worst either. After a nice introduction, I opened with Peter Gabriel's Solsbury Hill, which I'd learned only a few days before. I've had the pleasure of a few Peter Gabriel comparisons in the last few months, and I'm more conscious now of his influence on my writing. Pride's Crossing used to play a long, amorphous version of Mother of Violence, but I'd never had a go at Solsbury Hill. I liked it enough to throw it back into the mix for DTUT.

Ginger and Dan joined me for Damsel, and Dan stuck around for Snapdragon, which got a nice hand from the crowd. At that point the sound man announced that we had time for two more, so I jettisoned Redemption, The Beauty Pool, and Cleopatra in favor of White Horse and Leonard Cohen's Hallelujah. Dan's guitar was out of tune by now, so it was a little rough going, but we all escaped with minimal injuries.

I stuck around for a guy who calls himself Sage, and before long, I was asking myself why we'd been booked back-to-back. As far as I can tell, he's a ranting, comic psychopath with happy feet. I've never seen anything quite like that. Still trying to process it.

DTUT is right around the corner, so mark your calendars!

Setlist: Solsbury Hill (Peter Gabriel cover)/Damsel/Snapdragon/White Horse/Hallelujah (Leonard Cohen cover)

Kenny's Castaways (1/29/04)

2004-01-29T11:47:00.000-08:00

New York, NY

I can still remember my first (and last) Kenny’s Castaways gig with Pride’s Crossing in November of 1992. The standing ovation after Snapdragon, the fight our manager had with the booking agent that cost us any chance at a future gig. I honestly never thought I’d be back after that experience, but there I was, setting up my gear on the Kenny’s stage like no time had passed at all. I was flanked by a whole new group of musicians, but Snapdragon and There were still on the set list. Not all that much has changed…

The back room was pretty well filled by showtime, thanks to a great first-year turnout to see Jeanne and Dan, but the sound guy was late. We didn’t strike the first notes until somewhere in the neighborhood of 8:20, which didn’t bother me much because it meant more music for the latecomers. I was really interested to see how the crowd would respond to the Hallelujah opener, and I couldn’t wait to hear the new Taylor plugged in, in all its glory. My parents shocked me last week by purchasing the guitar of my dreams for me as a graduation gift, and I’d outfitted the maple and Sitka spruce beauty with a Line 6 Podxt. As soon as I plucked the first string, I new I’d found a soul mate. Armed with a full, warm sound and sympathetic musicians, we eased into Hallelujah, Leonard Cohen’s oft-covered masterpiece. I sang only the first, second, and fifth verses, and the plan is to play it more often and mix up the various verses. I just loved it—Dan’s guitar and Bill’s drums really elevated the song emotionally. I Wanna Be the One received its first band treatment (I’d played it solo at The C-Note in October), and I think it went over pretty well, though it’s still loose. All of This Will Stay was all over the place, but the sound was a little lacking, so I was pleased under the circumstances. The gang descended the stage and I dedicated a sloppy Karma Police to Charles, in honor of his having matched earlier in the day. Damsel, which has become one of my favorites at the shows, felt really nice at a slower pace. It’s interesting how the guitar very often dictates the song, and this Taylor seems to prefer Damsel at a leisurely pace. I opted to skip The Beauty Pool, finally, at long last leaving it on the bench in favor of So Long, Angeline, another of the new tunes that are settling in nicely. Jeanne and Dan did some of their finest work on Upper East Side, 10 a.m., which made its debut and seems a satisfying alternative to Light Me Up. As Bill climbed back up to the stage, the sound guy, who bears the blame for our late start, announced that we had time for only one more song. Annoyed, I announced that it would be “a long one” before leading the troops into a rousing version of There and a fierce Watchtower, with Dan peppering his solos with Hendrix quotes.

Sold a few CDs, met some kind folks, and had a blast. Roger said he’d love to have us back soon, so start thinking about Kenny’s for April or May.

Did I forget to mention that we had no bass for this one? Everything was very last minute, but we faired well without any low end. Not that I’d do it again…

After the show, Bill and I helped a cab driver return the smallest cell phone I’ve ever seen to a clairvoyant on 4th Street. I’m not making this up. Ask and I’ll tell.

So set your dial to February 20th and meet me at Sidewalk. I have no reservations about telling you it’s my favorite space, and I promise to make it special. Send your requests to me now!

Setlist: Hallelujah (Leonard Cohen cover)/I Wanna Be the One/All of This Will Stay/Karma Police (Radiohead cover)/Damsel/Upper East Side, 10 a.m. (debut)/There --> All Along the Watchtower (Bob Dylan cover)

DTUT (1/6/04)

2004-01-06T10:51:00.000-08:00

New York, NY

I enjoy playing at DTUT. The room is always full, mostly with strangers, and I never know how the audience is going to react to the material. It’s an ideal venue for road testing new music, and I was ready with a pile of fresh tunes.

Bill and Ravi accompanied me to the venue to man the CDs and mailing list. It’s a bit chaotic before show time here because the back room has to be emptied and rearranged and the sound system set up. By the time we had that squared away, I was left with only five minutes to prep before I was expected to go on.

I opened with Lyle Lovett’s Skinny Legs, which sounded nice to my ears and should rear its sardonic little head again soon enough. After a few words of introduction, I decided to debut the new song, The White Flag. I’m not really comfortable with it, yet, and I even forgot the words in at least two places, though it didn’t tank entirely. White Horse, my savior on many an occasion, served me well yet again, and I paired it with All of This Will Stay, written around the same time, to help bolt down the set. Before the show, Bill had suggested resurrecting Across the Universe, and I happily took the advice. The audience, talkative for most of the evening, picked up their ears a bit at the familiar tune, so I had a captive audience for Painted Myself and Self-Portrait in Your Colors. I did my best to blow out the speakers on the former and amazed myself by forgetting the second line in the latter, singing gibberish instead of “I’m a hard man to know.” Only the faithful noticed, but it was unnerving to lose touch with one of the tried and true tunes, if only for a moment. I’d planned on closing the first set with Men at Work’s Overkill, and after explaining that the idea to play it had come from the sit-com Scrubs, I tuned down to open D and dove in. I did my best Colin James Hay impression and got a laugh or two before realizing I was a little short in the set. I solicited requests from the crowd before opting for The Beauty Pool, twice retired and now twice resurrected. It’s the song that won’t go away.

I was my usual neurotic self during the break, and Bill thought a beer might help take the edge off (it did). I schmoozed with my cousin Jen, her friend Amy, and Julien Wolikow, who was visiting from Paris. During the break, Laurie Brown’s cousin Amy dropped by, and Mr. and Mrs. Michael Ross popped in for the second set as well. I decided to let it all hang out for set two.

I turned once again to Lyle Lovett for the opener, Creeps Like Me, which was fine, but not quite up to the standard of Skinny Legs. The debut of Joking was really solid and even had the audience tapping their feet from time to time. Snapdragon was smashing and gave me the confidence I needed to have a go at Britney Spears’ …Baby One More Time. I surprised myself by hamming it up and inviting everyone to sing backup, which they did to great effect. After that, things really took off. Damsel, Radiohead’s High and Dry, Set You Free, So Long, Angeline, and Light Me Up all came off without a hitch in sight, and I was having myself a time as the set wound down. There, which has become something of a staple at these shows, and James Taylor’s Sweet Baby James closed things out.

I handed out twenty or so CDs, got a bunch of autographs for the mailing list, and had a blast. See you all at Kenny’s on the 29th!

Setlist: Skinny Legs (Lyle Lovett cover)/The White Flag (debut)/White Horse/All of This Will Stay/Across the Universe (Beatles cover)/Painted Myself/Self-Portrait in Your Colors/Overkill (Men at Work cover)/The Beauty Pool // Creeps Like Me (Lyle Lovett cover)/Joking (debut)/Snapdragon/…Baby One More Time (Britney Spears cover)/Damsel/High and Dry (Radiohead cover)/Set You Free/So Long, Angeline/Light Me Up/There/Sweet Baby James (James Taylor cover)

The C-Note (12/17/03)

2003-12-17T23:35:00.000-08:00

New York, NY

It had been one of those rainy, windy, and cold December days, so I wasn’t expecting much of a turnout for an early slot at the C-Note. Still, I was surprised when I walked in at five to seven to find no one in the place but the bartender and the sound guy. I swiftly ordered a beer and set up my gear for a soundcheck (I did a couple of verses of Lyle Lovett’s Skinny Legs) before settling into a table by the stage. Laurie Brown eventually ambled in, and Jay Mueller followed. When a few more folks braved the weather to see a friend perform, I agreed to play a few requests.

I started with an easily-paced version of Light Me Up. I’d raced through it at DTUT and CBGB’s, and I think I finally have a grip on it again. I’ll probably whip it out again at DTUT in January. After a quick run-through of Ryan Adams’ My Winding Wheel, I broke out So Long, Angeline, a brand new song. I didn’t quite nail it, but now that’s it’s out there, maybe I’ll add it to the regular rotation. I’m still tinkering with it, so we’ll be working through it together.

I called it quits, but after some encouragement from the crowd, I agreed to jump back and break my Sidewalk vow by doing The Beauty Pool for Laurie. Once again, the vocals got away from me, so once again, I will attempt to put it to bed. Snapdragon closed the brief set, and I exited stage left. Laurie and Jay bought a few rounds, and I finally got to meet Mike McHugh, who invited me back to play again. Laurie, Jay, and I mosied over to Sidewalk for some burgers and called it a night.

So, the C-Note, notable for hosting the first open mic I attended since moving back to New York, will henceforth be known also for the show I played for an audience of five. Here’s hoping we meet again on a cold, dark night on Avenue C.

Setlist: Light Me Up/My Winding Wheel (Ryan Adams cover)/So Long, Angeline (debut)/The Beauty Pool/Snapdragon

Sidewalk Cafe (11/29/03)

2003-11-29T23:27:00.000-08:00

New York, NY

Sidewalk Café was ground zero for the anti-folk movement of the ‘90s, with Lach leading the Monday night open mics that so stimulated the local music scene. I wasn’t playing the circuit in those days, but there are still plenty of people who call Sidewalk home and I’m happy to be among them. I closed out the last run of shows at Sidewalk, and I was delighted to return to begin another.

The room was much more crowded this time around, due in large part to a sizable family contingent organized by my father (thanks, Dad!). It was nice to see Bethany, who dragged her dad along, and she was very kind to stand in for Bill and keep watch over the mailing list. I was very encouraged by the crowd, and the soundman thought it was a great turnout. This should mean more gigs at Sidewalk, so I couldn’t be happier. Thanks to everyone who made the trek!

I try to avoid some of the more sentimental tunes at Sidewalk (although being who I am, it’s not always easy!), so I opened with Snapdragon and Painted Myself. I gave Snapdragon a little twist, and I think something interesting may be happening there. It’s always funny to me how some songs are still fun to play even after 12 years (Snapdragon, White Horse), while others are a struggle already after only a few weeks (Lost). I slowed things up a bit with Set You Free, which I hadn’t played since the DTUT show. I didn’t rush through it this time, and I preferred this version to September’s. The Beauty Pool has become a near-sure thing, and while I told the crowd I’d be retiring it for a while, it’s hard to imagine playing too many shows without it.

Edra had requested There before the show, and I was more than happy to oblige, though I generally feel as though I’m just going through the motions with it these days. It’s one of the older songs I play (I wrote it in 1990), and sometimes I just can’t quite wrap myself around it. Strange thing about There: I struggled for years and years, with a multitude of musicians, to find the perfect element for it. Turns out the one I started with, acoustic guitar and vocals, was the right one all along.

My mom requested White Horse—Mom and Dad seem to have an affinity for the older stuff (Dad requested Wedding Song at DTUT). I’m not sure how to take that. White Horse has been the most consistent song since this thing started up again, but when I take it at a trot, as I did tonight, it loses a little something. I can’t wait to perform it as it was written, with piano and cello.

Something Simple was nice tonight, and I’m thinking of playing it more often. It’s the last song on Plain and Simple, and it’s the one that reminds me most of my cross-country trip. Damsel closed things off—I’m growing to like it more and more each time I play it.

I wrestled with my guitar a bit tonight, and there were a few moments where I was about ready to smash it (and yes, I realize that, like John McEnroe, I’m just blaming the racket). But I muddled through and had a really great time. I love Sidewalk—it’s just a lovely little space for acoustic music—and I hope to be back soon.

Next up… The C-Note on December 17th. See you then!

Setlist: Snapdragon/Painted Myself/Set You Free/The Beauty Pool/There/White Horse/Something Simple/Damsel

Sidewalk Cafe (10/21/03)

2003-10-21T23:21:00.000-07:00

New York, NY

I arrived at Sidewalk at around 20 of nine with Bill and Edra, and I have to admit I felt some nerves this time around. I’m fully in the swing of this thing, and I’m more and more comfortable with each show, but I still get butterflies from time to time. The act just ahead of me, a guy by the name of Louis Campos, did a fine job—I’ve been very impressed with some of the talent playing the circuit these days, and it’s nice to be able to contribute to that vibe.

The turnout was better than it’s been recently, and I have to mention Snigdha, Schiller, Rachela, Mansi and the gang from Jersey, and of course, Bill and Edra. Bill worked the room yet again, spreading the gospel. After announcing that it would be my first “sitting” gig, I bit into a White Horse opener. Now that I’m mixing it up so much, I’m really starting to enjoy some of the older tunes. This version was fun, but not quite as good as the one Brian and I played at DTUT. I broke out Painted Myself for the first time in ages and followed with Snapdragon, requested before the show by both Edra and Snigdha. I hadn’t played it solo since the Ludlow Street Café days in the winter of 1995, and I like the way it opens up a bit without the second guitar. La Linea was a little disappointing (I couldn’t catch the low notes through the monitor and lost a few of them), but old reliable My Winding Wheel got things back on track. It being October, I threw in Christmas Song, which went over really well again (it got the most attention at the C-Note, too), and after Damsel, which drew some hoots from the crowd, the lights were dimmed so the emcee could pass the hat. I was told I had time enough for only two more songs, so I scrapped Set You Free and Go Easy On Me, Love, opting instead for Simon and Garfunkel’s Kathy’s Song. I’d never done it live before, and I debated whether or not to give it a go. I’m glad I did—I love Kathy’s Song, and I had as much fun playing it as any song during this run. Maybe I’ll tackle Across the Universe at some point…

I polished this one off with Self-Portrait in Your Colors, which I’d forsaken at the C-Note, and bid everyone a fond farewell. Sidewalk, like the C-Note, is very musician friendly—intimate, candlelit, good sound—and I’ll certainly be back again soon. I’ll probably be taking the bulk of November off, but I’ll be on the prowl again come December. Keep your eyes peeled…

Thanks again to everyone who came out to these shows—I’m grateful for all the support!

Setlist: White Horse/Painted Myself/Snapdragon/La Linea/My Winding Wheel (Ryan Adams cover)/Christmas Song/Damsel/Kathy’s Song (Simon and Garfunkel cover)/Self-Portrait in Your Colors

The C-Note (10/2/03)

2003-10-02T23:13:00.000-07:00

New York, NY

I was looking forward to this gig from the moment I booked it in August – the C-Note has always been kind to local musicians, and I was eager to be a part of the vibe. Bill and I arrived to find a pretty hard rockin’ band on stage—I was a little concerned, because I was under the impression this was an all-acoustic line-up. The turnout wasn’t great, but it was nice to see some familiar faces: Jess and Lisa, Snigs, Diane, Mansi. And who was sitting at the end of the bar? None other than Steve, my attending from the ER, looking like a civilian! His band, Here’s Johnny, is playing CBGB’s on November 5th—check it out!

I took the stage around nine, and after debating the opener with Bill, settled on Lost (for Scarlett), a new song I wrote last week after seeing Scarlett Johansson in Lost in Translation. I don’t usually perform such raw material, but I was pleased. I took this opportunity to play some things I hadn’t touched in a while, including Up There and Sarah from Plain and Simple, I Wanna Be the One from the new batch of tunes, Loudon Wainwright’s One Man Guy, and The Sky Will Fall. I dedicated Dave Matthews’ Grey Street to Bill, who’d requested it earlier in the evening, and Jim Infantino’s She’s Dead to Snigdha for her birthday. It’s October, so I dusted off Christmas Song, which was written for my best friend Linda and seemed appropriate given the chill outside.

Bill, Snigdha, Mansi, Cathy, and I hung out and threw back a few during the next act (they were excellent) while Diane struggled with the Ms. Pac Man machine. I was surprised to learn that the bassist recognized She’s Dead and will be playing a gig with Jim’s Big Ego next week in Boston. I’ll let you all know when he comes back to New York.

The mailing list keeps growing, and I’m enjoying myself more and more with each show. Bill worked the room famously and sold a few more CDs. Dan Herman of Radio Crystal Blue expressed an interest in getting me some airtime and booking a few more gigs, so the future looks promising. With the Fall Coffeehouse and Sidewalk Café on the horizon, I haven’t booked beyond October, but I‘ll be filling up the winter schedule soon enough. Keep checking back – I’ll see you all soon!

Setlist: Lost (for Scarlett) (debut)/Up There/I Wanna Be the One (debut)/Redemption/There/Christmas Song/Sarah (debut)/The Beauty Pool/Grey Street (Dave Matthews cover)/She’s Dead (Jim Infantino cover)/One Man Guy (Loudon Wainwright III cover)/The Sky Will Fall (debut)

CBGB's 313 Gallery (9/21/03)

2003-09-21T17:15:00.000-07:00

New York, NY

I’d eaten brunch with Bill and Scott at Barking Dog the morning of the CBGB's gig, and on our way to the Park in the early afternoon, we’d crossed paths with Uma Thurman. I’d noticed her in crowd leaving the Dust Bowl, where the Dalai Lama was speaking, and Bill had no problem inviting her to toss a frizbee with us. She graciously declined.

Bill and I took the train down to Bleecker and got to CBGB’s around 7:15. The opening act hadn’t taken the stage, yet, so we figured we had plenty of time to fill the place. Little did we know… My brother was already there, and we were quickly joined by Edra and Brian.

The first band turned out to be a pretty solid Jazz outfit, especially considering the bassist and guitarist showed up halfway through the set. By 8, it was obvious that no one was coming, and we resigned to dive into the set around 8:15. After a pretty Jacksonville Skyline, we plowed through a solid version of The Beauty Pool, which is really coming along nicely. Brian’s playing on this song really opens up some new areas for us, and I wouldn’t be surprised if it sounds like a completely different song a few months from now. I played a solo Light Me Up for Mirjam, who I hadn’t seen in a couple of years and was on hand just to hear it. Brian rejoined me for All of This Will Stay and another extended trip down memory lane: Snapdragon, Silver Dollar, and There, the latter two of which we hadn’t played since April. Snapdragon in particular was interesting tonight; our playing on that one also seems to be evolving into something else. I had a little capo trouble on Self-Portrait in Your Colors, but Something Simple and Visions of Johanna had me feeling generally good about the evening. I swallowed a bug during the last lines of the Dylan tune and garbled the words, but I was laughing inside—Suzanne Vega had a similar run-in with an insect during the show we caught in August.

Thanks to everyone who came all the way downtown to support us – catch you at the C-Note on the 2nd! Remember: I’ll be flying solo that night, so your most unusual requests may be entertained…

Setlist: Jacksonville Skyline (Whiskeytown cover)/The Beauty Pool/Light Me Up/All of This Will Stay/Snapdragon/Silver Dollar --> There/Self-Portrait in Your Colors/Something Simple (debut)/Visions of Johanna (Bob Dylan cover)

DTUT (9/9/03)

2003-09-09T12:41:00.000-07:00

New York, NY

I'd been in Alaska on a cruise a couple of weeks before this show, so we only had about a week to rehearse. Ginger and Lane provided the harmonies this time around, and both came through nicely despite extremely limited exposure to the material. Brian, of course, was in typically fine form, providing articulate commentary on more than half of the tunes.

We arrived at DTUT around 7:45 for an 8:30 show, and some of the "fans" were already there. Aly, Gail, and Goody were the first on the scene, and my parents showed up with my younger brother and the whole Deutsch clan. The turnout was nice, particularly considering that Dr. Ruth was speaking at Sinai. As for the show, I opened with a couple of new songs, Light Me Up and Cleopatra, and both were a little shaky but well-received. Ginger joined in on Set You Free and a run of old tunes, including Monday Morning, Flowers, and White Horse; the latter was a personal highlight, with Brian adding some tasteful licks in the fringes. We threw in a couple of last-minute U2 covers to round out the first set, which turned out well, all things considered.

Between sets, most of the Mae Maes (including Mae Mae herself!) chatted it up with Jim Blueweiss of the Kismet Media Group, who was kind enough to offer to do some press work for us. Rivka, who was there when all of this started at the open mic in August, implored me to quit the self-deprecation on stage. I think the intimate environment was to blame—I’m not normally so talkative.

We opened the second set with Whiskeytown's Jacksonville Skyline, always one of my favorites, and sprinkled in a bunch of newer tunes throughout. Damsel, surprisingly given my inexperience with it, came off extremely well, with Brian improvising a nice solo and Lane adding solid vocals. Self-Portrait in Your Colors, The Beauty Pool, and La Linea from Plain and Simple were also well-received. The real highlight for me came at the end of the evening, when I played some more solo tunes. I was much more comfortable by then, and I had a blast with Simon and Garfunkel's The Only Living Boy in New York, dedicated to my brother David, Go Easy On Me, Love, one of my favorites of the new batch, and The Raindrop Song, which was dedicated to Iliana, who named it. My father requested a Wedding Song encore, and I was happy to oblige.

After the show, I sold a few CDs and chatted with some new faces. Thanks to the gals from Columbia for the S'mores and conversation. I doubt we'll ever forget Colleen, the exotic dancer/comedienne. I can only hope there are such fascinating characters at every show!

This show will forever be remembered for the noise complaint the venue received during the second set. Truly a momentous occasion.

Thanks to everyone who came out to support us - we'll catch you at CBGBs!

Setlist: Light Me Up (debut)/Cleopatra (debut)/Set You Free/Redemption (debut)/Flowers/One (U2 cover)/White Horse/All of This Will Stay/Snapdragon/Monday Morning/Running to Stand Still (U2 cover) // Jacksonville Skyline (Whiskeytown cover)/The Beauty Pool/La Linea/Lancelot/Self-Portrait in Your Colors/Damsel (debut)/The Only Living Boy in New York (Simon and Garfunkel cover)/Go Easy On Me, Love (debut)/The Raindrop Song (debut) // Wedding Song

The Mae Maes at Prohibition (8/18/03)

2003-08-18T12:28:00.000-07:00

New York, NY

This show, an orientation event for the first year Sinai students, was supposed to take place on Friday, August 15th, but the blackout forced us to postpone it. After much discussion, we decided to play on Monday night at Prohibition on the Upper West Side. I finalized the arrangements on my cell in the Planting Fields Arboretum, where Bill and I had just caught Suzanne Vega from the fourth row.

When we arrived at the venue, we were met by Ian, the manager/soundman, a friendly bloke with more than a passing resemblance to Elvis Costello. After imploring us to keep the volume down (the neighbors often complain) and insisting I’d told him the name of the band isn’t the Mae Maes but As Is, he plugged us in and gave us the thumbs up.

The first set was acoustic potpourri, with Ravi, Bill, myself, and Rob Seigelbaum, who was standing in for Dave Whitling, contributing. I opened with a verse of Billy Joel’s Miami 2017 and Jane Says by Jane’s Addiction. The sound system was top notch, which is a little surprising for a New York bar not known particularly for its live music. Ravi followed with a killer version of Sexual Healing ala Ben Harper and a heartfelt rendition of The Smiths’ Please Please Please Let Me Get What I Want (the song from the Art Institute scene in Ferris Bueller’s Day Off). Bill, now totally comfortable on stage with a guitar, brought down the house with a spirited run at Dave Matthews’ Grey Street (I handled harmonies) and split duties with me on Homeward Bound. The crowd was clearly getting antsy for some Rock and Roll, but Rob held them off with a tasty Brilliant Disguise before I closed things out with Jacksonville Skyline. I’d solicited requests but foolishly fell back on Ryan Adams’ terrific Whiskeytown tune—the crowd hardly noticed when I walked off the stage.

The place was jammed by the break and it was difficult to mingle, but we all managed to chat up some of the first years, who came out in droves and seem like a nice-enough bunch. My brother Jon made his usual cameo and may have happened upon his long-sought-after singer in the form of Laurie Brown’s cousin.

Rob handled lead vocals on U2’s Where the Streets Have No Name, and I rounded out the trifecta with I Still Haven’t Found What I’m Looking For and With Or Without You. The crowd was really helping out, singing along with nearly every word on the latter two—it was genuinely impressive and unexpected. Tom Dorantes, marking his debut with the band, led us through A Long December and we fired off a brief version of The World Has Turned and Left Me Here by Weezer (we’ll likely retire that one now) before heading into, at least for me, the best segment of the show: Karma Police, Come Together, and Coldplay’s Clocks. Come Together rocked and I remembered all the lyrics, which is more than a minor coup for me, and Clocks was the clear audience favorite; Tom’s credit, I’m sure. Ben and Josh, a.k.a. 2 Live Jews, chimed in with their best performance to date, a raunchy run through Mama Said Knock You Out that blew everyone away. We turned to Radiohead again for the closer, Fake Plastic Trees, which Bill, Ravi, and I had played in April at Session 73. I let one of the high notes get away, but the boys held things together.

Ian was thrilled with the way it all went down, and he invited us back to play any time. We’ll have to take him up on that…