Search Results for "Bryan McPherson"

DS Photo Gallery: Bryan McPherson, The Radiator Rattlers and Nick The Barbarian (Nashua, NH)

Hard-working protest punk troubadour Bryan McPherson spent the better part of December touring eastward from his adopted homeland of California to his original homeland of Boston, Massachusetts, and he’s spent the better part of the past few weeks headed back to the West Coast. Early on the post-inauguration leg of the tour, he rolled through The Thirsty Turtle in yours truly’s original hometown of Nashua, New Hampshire. It probably goes without saying that the present administration is going to require — and inspire — a great deal of fiery protest literature and music and art. McPherson has been a thorn in the side of the status quo for many years now (you may recall his being banned from performing at Disney-owned locations a couple years back while opening for Dropkick Murphys), though his words take on added gravity now.

On the morning of this particular show, women (and the men and children who love them) took to the streets in overwhelming numbers (including an estimated 175,000 in nearby Boston) to protest the policies of the sexist, racist Cheeto-In-Chief, making the firebrand McPherson’s performance a perfect bookend. With little fanfare amidst an intimate but attentive crowd, McPherson ripped through a set comprised mostly of tracks from his last couple full-length albums, 2015’s Wedgewood and 2012’s American Boy, American Girl.

The Radiator Rattlers

Direct support was provided on this night by The Radiator Rattlers, a “cow-punk rock and roll” band from Haverhill, Massachusetts. The raucous seven-piece wasted little time between songs, instead blazing through a high-energy set forty-five-ish minute set that closed with a rather spontaneous, crowd-inspired cover of the Fear classic “I Love Living In The City.”

Nick The Barbarian

Nashua-based tattoo-artist-turned-one-man-band Nick The Barbarian played his typical booze-fueled set of songs about songs about ass-kicking debauchery and murdering the Westboro Baptist Church. His set is a lot of fun, although there was roughly an hour between show-opener Berten Lee’s finger-picked folk punk set and that of the Barbarian, all-but killing whatever sort of momentum had been building for the five-act show (a Massachusetts-based acoustic duo called Hometown Eulogy also played, and though they’re enjoyable, they’re more along the lines of Woodstock-era folk and not included in this particular story), though the Rattlers and McPherson certainly brought the intensity back late in the evening.

Check out the full photo galley below.

 



Bryan McPherson announces open-ended tour of US and Canada

For the bulk of the month of December, Boston native, California-based singer/songwriter Bryan McPherson will be working his way eastward from his current home to his birthplace just in time for the holidays (featuring what should be a pretty epic hometown New Year’s Eve throwdown). From there, he’ll spend much of January and early February on the road in Canada and the northeastern portion of the US before working his way down to the Carolinas. Check out details of the open-ended tour below; chances are, he’s coming your way!

Yours truly has been somewhat shamelessly plugging the great McPherson whenever he gets the chance, and still finds McPherson’s latest (and undeniably greatest) album, “Wedgewood,” to be truly stellar. “Wedgewood” was self-released on McPherson’s OFD Records last year; stream/buy it here.



Bryan McPherson debuts video for “Born On A Highway”

Boston native, California-based singer/songwriter Bryan McPherson  has unveiled the latest music video for a track from his recent album, “Wedgewood.” The track is called “Born On A Highway,” and you can check out the video below. The bulk of it was filmed in and around Los Angeles, specifically the LA River. Works pretty well for the song, if you ask us (and since you’re reading this, you did!).

I’ve been somewhat shamelessly reminding people that McPherson is presently touring the Pacific Northwest in support of his latest (and undeniably greatest) album, “Wedgewood,” which was self-released on his OFD Records earlier this year; stream/buy it here. It was #2 on my year-end best album list. While you’re at it here’s the sitdown we did with McPherson in advance of that album.



DS Staff Picks – Jay Stone’s Ten Favorites of 2015 with Spotify Playlist!

All of a sudden, it’s Top 10 List time again, which means my fifth year as a staffer here at Dying Scene is coming to a close. In some ways, I love doing these lists, since they allow me to highlight some of the music I dig and perhaps to shine a little bit of light on a some bands that might get otherwise overlooked. But in more ways than one, I loathe this process, as I frequently find it nearly impossible to trim the list to ten (as is evidenced by my less than precise history of compiling these lists). I sometimes feel like we should do these lists twelve months after the close of the year, as that would allow for some albums to sink in moreso than cramming over the last two weeks of December does.

But I digress…

Some years (like last 2014 and 2012, in my opinion) are top heavy, with a small number of clear-cut favorites that find their way to the top of the pile, separated from the field by a fairly sizable gap. Some years, however, have no real front runners, but have an overwhelming number of almost interchangeably solid releases. While the book isn’t quite closed on 2015 yet, I think when all is said and done, we’re dealing with more of the latter than the former.

Painful though it was, I did successfully trim my list to 10 this year, though not without a few noteworthy honorable mentions. In fairness, if I were to do this list again in two weeks, it would include all of the same albums but perhaps in vastly different order. First and foremost, I think there are some non-Dying Scene-related albums worthy of mention on any “Best of 2015” list. For what it’s worth, I enjoyed the hell out of The White Buffalo’s Love + The Death of Damnation, Wilco’s Star Wars, Ryan Adams’ 1989, Jason Isbell’s Something More Than Free, Craig Finn’s Faith In The Future, and Michael Christmas’ What A Weird Day.

Okay, enough with the long-winded intro. Here’s what you all came for. As always, no EPs (though check out the All Brights) and no live albums (though Against Me!’s is on the short-list of best ones I’ve ever heard). First, the “Honorable Mentions.”

#11 (Tie) – Lucero – All A Man Can Do, Beach Slang – The Things We Do To Find People Like Us, Titus Andronicus – The Most Lamentable Tragedy, toyGuitar – In This Mess, Joey Cape – Stitch Puppy, Rocky Votolato – Hospital Handshakes, Darkbuster – No Revolution, H2O – Use Your Voice

10. Pentimento – I, No Longer (Bad Timing Records)

I will admit to knowing nothing, and I mean absolutely nothing, about label politics (aside from that we’re all supposed to hate Victory, I guess). As such, I can’t pretend to understand what happened between Buffalo’s Pentimento and their former label home of Panic Records. It sure seems to me that Panic dropped the ball in rather epic fashion, as Pentimento has churned out yet another dynamite full length.

Listen to: “My Solution is In The Lake” or “Sink Or Swim.”

9. Antarctigo Vespucci – Leavin’ La Vida Loca (Really Records)

There are corners of this community of ours that seem to think that world-renowned punk celebrity and dominator of all things Instagram Chris Farren can do know wrong. There are corners of this community that happen to think that, aside from blowing up Bomb The Music Industry, Jeff Rosenstock can also do no musical wrong. If we were to make a Venn diagram of those two camps, we’d essentially be left with a perfect circle. Makes sense, then, that Leavin’ La Vida Loca should rank as probably the most fun album of the summer gone by.

Listen to: “2 Days,” “Save Me From Myself”

8. Desaparecidos – Payola (Epitaph Records)

Look, I’m not going to pretend I was familiar with Desaparecidos the first time around, or that I was waiting with baited breath for this album for the better part of a decade; neither one of those things would be true. I knew/know of Conor Oberst from, like, twelve of his other projects, but I guess I had missed Desaparacidos. It’s not my fault; I lived in a cave for a while there. Anyway, this album is great; highly-charged, fast-paced, layered intensity, really from start to finish.

Listen to: “The Left Is Right,” “MariKKKopa”

7. Frank Turner – Positive Songs For Negative People (XtraMile Recordings)

There are a handful of artists from my quarter-century that I’ve actively been listening to my own music (editor’s note: fuuuuuck that sounds depressing in black and white) whom I am pretty much on board with lock, stock and barrel. Frank Turner has solidified himself as one of those artists, where you just know that even an average album is going to connect with you on a level that a lot of other albums either won’t, or won’t be given the change, to connect on. On my very first listen, I thought PS/NP was going to be that type of average album. Good, but not great; more solid than Tape Deck Heart, but with higher lows and lower highs. But then came the album-closing stomach punch of “Silent Key” and “Song For Josh,” two very different, very personal tracks that struck a real chord.

Listen to: the aforementioned “Silent Key” and “Song For Josh,” though “Get Better” and “Josephine” are textbook Turner at his prototypical best.

6. Bad Cop, Bad Cop – Not Sorry (Fat Wreck Chords)

There are myriad reasons that I fell in love with this album. A lot of them are nostalgia related, I think. Pop punk was my bread-and-butter in the early 1990s, well before it got weird and fake and autotuned and plastic. Not Sorry brought me right back to those no pretense days. There’s the added bonus that the four Ninja Turtles Bad Cops seem destined to take the punk world by storm and beat it into submission. For that reason, the anthemic “Like, Seriously” should have been the album’s first track, but I digress. Either way, we need more bands like Bad Cop, Bad Cop.

Listen to: “Like, Seriously,” “Nightmare”

5. City and Colour – If I Should Go Before You (Dine Alone Records)

I’m not going to lie, this album took me by surprise. I liked the first couple City and Colour albums okay enough. I though Little Hell was really good, though it didn’t really have staying power necessarily. I think I listened to The Hurry And The Harm maybe once all the way through and didn’t find it compelling. So I had kinda lost track of ol’ Dallas Green, until one day my daughter and I were walking through a local Barnes & Noble and they were playing If I Should Go Before You over the loudspeaker on a loop. I was hooked right away. The album is atmospheric, sexy, dirty, raw, poignant, and all of the things I wasn’t quite sure Dallas still had in the tank. Album opener “Woman” is far and away my favorite track of the year by anybody.

Listen to: the opening trio of “Woman,” “Northern Blues” and “Mizzy C” is about as solid as it gets this year.

4. Jared Hart – Past Lives & Pass Lines (Say-10 Records)

New Jersey’s The Scandals have long been one of those bands that have been both critical darlings and have amassed a small legion of vocal, loyal fans. And yet, for whatever reason, they haven’t put out enough music regularly in order to truly break through to the next level or two that they’re capable of. And so, it was with great anticipation (at least to me) that the band’s founding frontman, Jared Hart, put out his first solo full-length this year. While all of the songs are centered on the acoustic, there’s enough layered vocals and varied instrumentation to keep the album from ever feeling formulaic or all-too familiar. Hopefully this kept the creative juices flowing enough so new Scandals and solo material will become a regular thing!

Listen to: “The Guillotine,” “Totem,” “The Runaround”

3. Strung Out – Transmission.Alpha.Delta (Fat Wreck Chords)

Like most of you, I’m a veteran of a great many live shows over the last couple decades. Live music remains the venue for most bands to really make a name for themselves. For my money, there is not a single tighter live band on the planet (at least in this scene) than Strung Out. I’ve seen the band a handful of times at venues large and small, and they have absolutely destroyed each and every time. So much so that there’s almost no comparison. A Strung Out show is so intense that it’ll almost leave you empty. I think that more than any album in their catalog, Transmission.Alpha.Delta captures that ferocity in perfect fashion. You can tell that Jason Cruz and the fellas poured literally everything they had into this album, and it paid off in spades.

Listen to: “The Animal In The Machine,” “Tesla,” “Rebellion of the Snakes.”

2. Bryan McPherson – Wedgewood (O.F.D. Records)

It genuinely pains me that Bryan McPherson is not more of a household name. I strongly believe that he was born in the wrong time; that if he were writing and performing his particular band of protest punk inspired folk music forty years ago, we’d be teaching his music to school children (okay, in some of the more progressive parts of the country, anyway). McPherson’s lyrics a razors, cutting quickly, beautifully, honestly and directly to the core of deep rooted societal issues that are uniquely American. If you’re in to the recent trend toward acoustic punk, Wedgewood is the prototype.

Listen to: the whole damn thing for god’s sake…it’s 49 minutes long, you’ve got time.

1. Rebuilder – Rock And Roll In America (Panic State Records)

If you’re a frequent Dying Scene reader, you may well be aware that I’ve got a special connection to this album. I was lucky enough to spend some time with Rebuilder co-frontmen Sal Medrano and Craig Stanton as they tracked guitars for this album in the studio. I later interviewed Medrano around the album’s release, and about the Boston scene in general. I shot their album release party at a sold-out bar in Boston. That being said, I think I’m enough of a professional (ha!) to be able to differentiate between personal attachment and a genuinely great album. Rock And Roll In America is a genuinely great album from start to finish. It’s smart, it’s fun, it’s just heavy enough to catch you in the feels but hopeful enough to help keep you pointed in the right direction. I can’t say enough good things about it.

Listen to: again, listen to the whole thing. But if you’ve gotta choose, start with “The Natural Bohemian” and “Le Grande Fromage.”

As a bonus, here’s a bunch of the tracks I mentioned above, plus a few random goodies!



Bryan McPherson adds dates to Boxing Day Tour 2015

Boston native, California-based singer/songwriter Bryan McPherson  has been a bit nomadic of late, and the waning days of 2015 are proving to be no different.

McPherson continues to add dates to his Boxing Day Tour 2015. The centerpiece of the tour is a day/night doubleheader at Boston’s Midway Cafe on Boxing Day (December 26th), and he’s slowly moving his way east from Detroit starting tonight. Check out the updated tour rundown below.

I’ve been somewhat shamelessly reminding people that McPherson is presently touring the Pacific Northwest in support of his latest (and undeniably greatest) album, “Wedgewood,” which was self-released on his OFD Records earlier this year; stream/buy it here. While you’re at it here’s the sitdown we did with McPherson in advance of that album.



Bryan McPherson announces details of hometown Boxing Day Blowout shows

If you live in the greater Boston area and you haven’t seen Bryan McPherson  blow the roof off any of the area’s show-going establishments, you’ve really done yourself a disservice. Astute readers will recall out rundown of a particularly special night at the Midway Cafe back in June.

Anyway, the folk-punk troubadour has announced preliminary details behind a couple of hometown holiday shows that’ll take place at the very same Midway. Dubbed the Boxing Day Blowout due to the event taking place the day after Christmas, there are actually two shows lined up; a 4pm all ages matinee that features Jenn Lombari (Lucky United), Carissa Johnson and, of course, OC45. Tickets are here. That’ll be followed by a 21+ show that kicks off at 9pm, and features Matt Charette, Time & Place and Live Nude Girls…and it wouldn’t be unlike McPherson to play another barn-burner of a set until the wee hours. Tickets for that one are here.

McPherson is presently touring the Pacific Northwest in support of his latest (and undeniably greatest) album, “Wedgewood,” which was self-released on his OFD Records earlier this year; stream/buy it here. While you’re at it here’s the sitdown we did with McPherson in advance of that album.



Dying Scene Session: Bryan McPherson performs “Burn It Down” and “Wasted World”

 

Super stoked to bring you the latest and greatest installment of the Dying Scene Sessions. Today,we present to you a couple of raw, stripped down tracks from the great Bryan McPherson. We caught up with the Bostonian-turned-Californian songwriter not long after he wrapped a full US tour  with UK-based protest-punker and kindred spirit Louise Distras this summer.

Check out Bryan McPherson performing his tracks “Burn It Down” and “Wasted World” below. Both tracks are available on McPherson’s self-released (via his own OFD Records) album “Wedgewood,” which came out back in June. You can obtain your own copy here.



DS Photo Gallery: Bryan McPherson and Louise Distras, The Midway Cafe, Boston (6/12/15)

Something special happened at the Midway Cafe last Friday.

The gritty, sorta-out-of-the-way bar in the Jamaica Plain section of Boston played home to both a triumphant welcoming party for an out-of-towner, and a tour de force welcome home for a native son.

UK folk-punk songwriter Louise Distras, of course, is the former. Playing just her second-ever show in the United States (following only the previous night’s tour kickoff in Portland, Maine), Distras is serving as direct support on Bostonian-turned-Californian Bryan McPherson‘s tour in support of his stellar new album, Wedgewood. The two are essentially flip-flopping roles from last month’s UK/European tour that saw Distras headlining, at times with a three-piece band. The direct support role can be an especially tricky thing, particularly in a headliners hometown, but Distras was quick to lay waste to whatever jitters may have been present, commanding the stage from note one. Boston has a thing for music that features honest, raw, working-class struggles, all of which is right in Distras’ wheelhouse, as evidenced by her own stellar new album, Dreams From The Factory Floor (Pirates Press Records). Though plagued through the first few songs by persistent technical difficulties, the dynamic Distras powered through, playing a few truly unplugged tracks and winning over fans in the process.

But the night, obviously, belonged to McPherson. Hometown crowds are generally known for their overly supportive nature, but Boston crowds can also be a notoriously fickle, vocal lot. By the time McPherson took the stage at around 11:30pm, (Hippie Hour, which preceded this show at the Midway, ran long…who’d imagine hippies would have issues with time management), the sold-out crowd was more than join the ride. McPherson cut his teeth busking in and around the Boston area, and spent some time on the road with other acoustic troubadours like Tim Barry and Cory Branan over the years. While McPherson may not be quite the name that Barry or Branan are at this point, he’s sure to meet or surpass those two (editors note: if you’re familiar with my musical tastes through reading this site, you understand that any comparisons to Tim Barry or Cory Branan are high praise and not just bandied about) in short order, based both on the strength of Wedgewood and on McPherson’s command of a crowd.

This particular crowd featured McPherson’s parents, a slew of other scene regulars, and friends McPherson has made along the way. The set was a virtual marathon, a two-hour epic slugfest that spanned McPherson’s career, focusing heavily on both Wedgewood (released on his own OFD Records) and his last album, American Boy, American Girl (2023, State Line Records). While there was plenty of banter to go around — McPherson is a Dorchester Irishman, of course — the socially conscious, politically firebrand music and the camaraderie were the focal point, particularly as McPherson made repeat visits to the venue floor to join the troops, rather than merely to rally them on. The crowd returned the favor, joining McPherson on stage for a raucous, set-closing cover of the Rancid classic, “Olympia, WA.”

Local support on this night came from local acts CE Skidmore and Time And Place. Skidmore is one-third of awesomely-named acoustic punk act Live Nude Girls, though she was essentially flying solo on this night, joined for only one song by fellow Nude Girl Aria Rad. Time And Place are a four- (and sometimes five-)piece sort of highly-enjoyable folk/punk/shanty/pub rock band along the lines of a less-drunken, Bostonian Skinny Lister. Both performed well-received sets that kicked off the show in fine fashion, getting the room fired up (figuratively of course, but almost literally based on the venue’s internal temperature) in advance of the tour mates.

Check out our photo gallery from the evening below.



New Music: Bryan McPherson debuts “Burn It Down” from upcoming album “Wedgewood”

Sorta slept on this one at the end of last week, but there’s no time like the present, right?

Boston-turned-California folk troubadour Bryan McPherson has debuted a brand new song called “Burn It Down.” It appears on his forthcoming album, “Wedgewood,” and you can check it out here. As you may recall, McPherson talked at length about some of the album’s recurring themes (namely smoke and fire and burning) in our recent interview.

“Wedgewood” is due out June 10th via McPherson’s own OFD Records. Pre-orders are still available here. His last album, 2012’s “American Boy / American Girl,” was released by State Line Records.



DS Interview: Bryan McPherson on new album “Wedgewood,” being banned by Disney, and the toils of being an activist folk punk

Photo credit: EA Zimmerman

It would be easy to start a story about Bryan McPherson by understating the fact that he’s had an interesting last couple of years. In three years since the Boston-turned-California folk-punk songwriter released his sophomore album, American Boy / American Girl (State Line Records), McPherson has toured the US with fellow solo acts like Tim Barry and Cory Branan, toured Canada with the duo Winnie Brave, opened for Dropkick Murphys in something like ten different countries, spent some time living in a hut in an activist camp in northern California, gotten a fair amount of traction for writing a song about Kelly Thomas (a mentally ill man killed by police in Fullerton, California) and has been rather infamously been banned from playing at venues affiliated with the omnipresent Walt Disney Company.

And yet, stating that McPherson’s had an interesting couple of years says less about what he’s been up to recently and more about the fact that just maybe, you haven’t been paying attention until recently. McPherson cut his teeth in the subways and small clubs in Boston. Though he’s equal parts punk and folk, and though that crossover scene has unquestionably exploded over the last handful of years, McPherson plugged away for years before ever catching serious traction in either genre. “In the punk scene, (this sort of thing) was nonexistent,” McPherson tells me as we meet up at a coffee shop in Dorchester, the notoriously gritty, blue collar neighborhood located south of the financial hub that is the center of downtown Boston. “I got involved on the folk side of things at Club Passim (in nearby Cambridge)…but I was a little too punk for that crowd, so I never really fit in anywhere.” While he was too punk for the folk crowd, McPherson’s acoustic firebrand tendencies fell on deaf ears in the punk world in the early goings. “It’s ironic,” says McPherson, “because punk, where it’s supposed to be this rebellious, free-thinking thing ends up getting rigid. (This is) supposed to be this ting that breaks through lines!

For myriad reasons that are perhaps best left to discuss in other areas, Boston can be a bit of a fickle place to come up as an artist. A handful of years ago, McPherson headed west. He wrote American Boy / American Girl half in Boston, half in his new home state of California. The Golden State has a way of calming people, of ‘chilling out’ those whose East Coast tendencies have them wound perhaps a hair or ten too tight. Yet when it came time to write the follow-up to American Boy / American Girl, McPherson found more than enough material to stoke his fires, literally and figuratively. “I was sleeping in this hut in Northern California on an activist center/ranch in the mountains…where I did the ‘pre-production’ for the album,” says McPherson. “There was a big wood stove in the hut that I was in that was called a Wedgewood, so that’s where I got the title from.”

Not exactly a protest album in the stereotypical sense, Wedgewood, due out June 10th on McPherson’s own OFD Records, is full of sometimes violent imagery of “wood, friction, burning, fire, smoke.” McPherson has spent more than a decade telling the plight of the working man, railing on injustice and intolerance and the power structure. While those themes are still front and center on Wedgewood, McPherson indicates that the times, they are a-changin’. “This record is kind of putting to rest my anger in a lot of ways,” he notes in a tone that is both cautious and insightful. “At some point, (anger is) just fucking useless. It burns you up. You can use the fire, but you’ve got to be careful because it can fucking use you too.”

McPherson initially shopped Wedgewood through traditional label routes, but found the process becoming increasingly unnecessary. As a result, he went the Kickstarter route, turning to crowd-funding to get the album produced. He set a bit of an ambitious goal, and had to wait nervously by to see how realistic that goal was. The result? “We hit the goal in five days,” says McPherson, “twenty-five days ahead of schedule.” While initially met with some trepidation about the Herculean effort involved with self-releasing an album in digital, CD and vinyl formats, McPherson seems relieved at how well the process has gone. “No one is going to work as hard as you are at this level. I don’t want to half-ass it, and I don’t want to hand it off to someone who’s going to half-ass it.”

McPherson is presently in the midst of a tour of the UK and mainland Europe with fellow anarcho-folk-punker Louise Distras. When the month-long run ends, the duo will flip-flop support and headlining roles and come to the US for a month’s worth of dates in support of both of their new albums (Distras’ Dreams From The Factory Floor was released in the US on 5/5/15 on Pirates Press Records). The razor-sharp acid tongue that has been McPherson’s trademark is still very much present on Wedgewood, and should continue to make for raucous, albeit at times confrontational, crowds wherever he plays. A song like “Kelly Thomas,” for example, which tells the entirely true tale of an unarmed homeless, schizophrenic man beaten to death by police officers in Fullerton, California, several years ago. The police officers were subsequently acquitted of any wrongdoing. Sound all-too familiar? The subject matter struck a nerve in front of a Long Island crowd on one of McPherson’s recent shows opening for his hometown buds in the Dropkick Murphys. “I look around and half the crowd is police officers or in the military,” recounts McPherson. “I know it’s going to be rough, but I just said ‘fuck it’ and played it anyway.” The result? “They fucking booed me. And they were just shitty. But it ended up being a really good performance…I didn’t take it laying down!” You see, the song is not anti-police; it’s anti-brutality, and pro-change. There’s a big difference.

If you’re going to try to make an omelet, you’re undoubtedly going to crack more than your fair share of eggs. “You can’t do this and say the kinds of things that end up in the songs I write without having to expect a backlash,” says McPherson. Perhaps the biggest backlash came recently, when McPherson was banned from opening for the Dropkicks during a recent show at the House of Blues in Disney-owned Anaheim, due to material that was considered anti-police and overly political (editor’s note: repeated inquiries to the Disney people resulted in a giant wild goose chase that ultimately proved fruitless). Did some of us overblow that whole thing? “At first I was like appalled, but then I thought, this is a cool thing!” says McPherson, rather triumphantly. “I’m glad to be banned by Disney! I don’t like Disney. I don’t like Disney movies. I’ve never liked Disney since I was a fucking child. I’ve always thought it was cheesy, fake bullshit, so to be banned by them, that must be good!”

Read our whole Q&A with McPherson below. We cover an awful lot of ground, as a couple of former Dorchester residents are wont to do over coffee (or tea, in this case). Wedgewood is due out on June 10th via McPherson’s OFD Records. Pre-orders are available here.



Bryan McPherson announces more European tourdates with Brit songstress Louise Distras

Bryan McPherson will be bringing his politically-charged, vocally powerful acoustic/punk act to venues across Europe, and you can find all of the tour dates below.  McPherson’s new full-length release, Wedgewood, will drop shortly after his return stateside, on June 10th.

McPherson will be on the road with British singer/songwriter Louise Distras, who most recently released an EP called Bullets in January of this year.



Bryan McPherson and Louise Distras announce German/Austrian tour dates

Good news, Europeans…or at least Germans and Austrians at this point. Bryan McPherson and Louise Distras are teaming up for a few weeks worth of tour dates through your neck of the proverbial woods.

Their tag-team kicks off May 2nd in Ausburg, Germany, and is presently scheduled to wrap up May 19th in Cottbus. More dates are due to be announced soon, so stay tuned! In the meantime, check out the rundown below.

McPherson is due to release a new full-length, “Wedgewood,” in the near future, thanks in part to a successful Kickstarter campaign. Oh, and he’s the “Banned By Disney” guy. Distras, meanwhile, released a limited run EP called  “Bullets” earlier this week. If there are any left, you can get one here.



Dropkick Murphys add Bryan “Banned By Disney” McPherson as support for upcoming Celtic Punk Invasion tour

©Jo M. Wood Photography 2014

As if you needed more of a reason to check out the European leg of Dropkick Murphys‘ upcoming Celtic Punk Invasion tour, today brings with it the announcement that the already-awesome lineup just got awesomer.

California-based Boston native Bryan McPherson has been added to round out the lineup that already included the Dropkicks being supported by The Mahones and Blood Or Whiskey. McPherson, who’s perhaps best (or at least most recently) known for getting banned by Disney on a previous Dropkicks tour, recently had a Kickstarter campaign for his upcoming album “Wedgewood” exceed his fundraising goals.

The first European dates on the Celtic Punk Invasion tour kicks off February 3rd in Eindhoven, Netherlands, and wraps up February 22nd in Koln, Germany. Full info here.

 



Bryan McPherson launches Kickstarter campaign for new album, “Wedgewood”

When last we heard from California-via-Dorchester’s Bryan McPherson, he was making news by getting banned by Disney, forbidden from fulfilling his show-opener role as the Dropkick Murphys rolled through Anaheim.

McPherson has spent the better part of the last several years circling the country, and wrote and recorded a brand-new album, “Wedgewood,” while on the road. He’s now launched a Kickstarter campaign to help with the physical production and release of “Wedgewood” via his on label, OFD Records (Bostonians will dig the reference). Some pretty cool options available, particularly the chance to join McPherson on stage for a song, a chance to play roadie for a night, and a chance to actually develop your own record label, logo and all. Check out all options here.

McPherson’s last release was 2012’s “American Boy, American Girl” (State Line Records).

 



Bryan McPherson banned from opening for Dropkick Murphys at House Of Blues Anaheim

Bostonian-turned-Californian folk-punk singer-songwriter Bryan McPherson has once again been tabbed (along with Blood Or Whiskey) as an opener for Dropkick Murphys on their upcoming eleven-date tour that runs from California to Oklahoma. Thanks to the long arm of the law that is The Walt Disney Company, McPherson will only be playing ten of the eleven dates. McPherson took to Facebook to explain:

BANNED by Disney!!! Well holy fucking shit people, I just got Banned from playing the Anaheim show (editor’s note: show date is November 5th) by Disney since the venue is in their complex. The reason? My “Anti-political police views and drug insinuation”. Well I’m honored they actually listened to the words. I’m floored. What an honor!!!

We’ve reached out to Disney, LiveNation and the House of Blues in Anaheim for comment (seriously…we have!). As of this writing, it’s been all radio silence, but we’ll keep you posted. Head below for the full tour rundown.