Search Results for "Cory Branan"

New Music: Cory Branan (featuring Laura Jane Grace and Dave Hause) – “I Only Know”

Another new track from the inimitable Cory Branan‘s upcoming solo album, Adios, is now available, and it’s a special one. It’s a rather positive number (especially by the Memphis-based Branan’s recent standards) and it features the likes of Laura Jane Grace and Dave Hause on backing vocals. Check it out here.

Adios is due out April 7th via Branan’s longtime label home, Bloodshot Records. We’ve had it on repeat for a couple weeks, and it kicks a lot of ass. Branan is in the midst of a nationwide tour in support of Adios – check out dates here.

Cory Branan’s last album, “The No Hit Wonder,” was released back in 2014.

Cory Branan (feat Dave Hause) streams politically charged ‘Another Nightmare In America’

I’d usually say, anything Dave Hause touches is pure gold, but that would seriously sell Cory Branan short on this one. The Richmond, Virginia-based singer/songwriter extraordinaire took on social injustice and police brutality beautifully in his new song ‘Another Nightmare In America‘ whilst The Loved Ones frontman came in more to give the track some extra layers.

‘Another Nightmare In America’ is one of the singles from Branan’s upcoming album ‘ADIOS’. You can give it a spin here.

New Music: Cory Branan streams new track “Imogene” from upcoming album “Adios”

Assuming we haven’t been swallowed up by the fiery hellscape of damnation by the first week of April, we’ll have a new Cory Branan album to look forward to!

It’s called Adios, and it’s billed as “Cory’s death album.” If you saw him out on the road with the likes of Chuck Ragan or Brian Fallon or Lucero last year, you got a taste of what’s to come by way of a song called “The Vow,” penned as an ode to his late father. It’s heart-breaking but razor-sharp, which is pretty much Branan’s wheelhouse.

Adios is due out April 7th on Branan’s longtime label home, Bloodshot Records. Pre-orders of the album, including limited-edition pink vinyl (which yours truly just did — apropos on a day like today) are available here. In the meantime, you can stream the album’s lead single, “Imogene,” right here, and check out Branan’s upcoming tour dates here. Stay tuned for more on Adios in the coming months.

Branan’s last album, “The No Hit Wonder,” was released back in 2014 on Bloodshot Records,

Cory Branan announces Spring 2017 US Tour Dates

Criminally underrated Nashville-based singer-songwriter (and personal favorite of yours truly) Cory Branan has announced a couple months worth of tour dates that’ll find him on tour throughout the States for most of March and April 2017. The run kicks off March 2nd in Birmingham, Alabama, and runs through April 29th in West Columbia. Check out the full tour itinerary below.

Cory Branan’s last album, “The No Hit Wonder,” was released back in 2014 on Bloodshot Records, but his new full-length is in the bag; stay tuned for details in the very near future.

DS Photo Galley: Lucero and Cory Branan at the Music Hall of Williamsburg (Brooklyn, NY)

If we’re being honest, there’s probably very little to say about a Lucero live show that hasn’t been said ad infinitum at this point. As they approach the 20-year mark since their inception, the band have a well-earned reputation for not only playing a high volume of shows year after year, but of playing some of the more intense, memorable shows within a hundred mile radius at any given time. That sentiment is true whether they’re playing in their native Tennessee, on the West Coast, or up in Yankee country. Time has changed and the Lucero family tree has grown, so, as is (rightly) the case with many a band of their tenure, the lure of family has pulled them increasingly off the road, paring the 200-250 show a year mentality down by about half, the net result for this writer is one New England show in the calendar year, and that was at an outdoor beer festival (covered here last month), you take the “four-hours-on-a-Sunday” trek to literal Yankee country (okay…formerly Dodger country) to catch them in their natural, club show element.

And so it was last weekend, when the band’s three-week run with Cory Branan in tow made its northeasternmost spot at the Music Hall of Wiliamsburg in Brooklyn. Perhaps more than most bands in this genre (and really, Lucero are their own genre), the Ben Nichols-led outfit have continued to grow and evolve, never seeming content with resting on their collective laurels. Because of this, the band have had several distinctly different sounds with myriad different lineups, meaning that no two Lucero tours nowadays are entirely alike. They’re now on the road fairly consistently as a somewhat stripped down five piece that finds one-of-a-kind Nichols joined by equally one-of-a-kind longtime core members Brian Venable (lead guitar), Roy Berry (drums), John Stubblefield (bass) and, of course, Rick Steff (keyboards/accordion). The lack of pedal steel and, more recently, horns, has produced a sound that’s closer to the raw, post grunge of the early years, but one that’s also refined by years of growth as musicians and songwriters and owners of the stage.

This particular show found the band taking the stage promptly at 9:15pm and slowly ramping up the intensity level over the course of the first handful of songs. As has been the case at more than a handful of shows over the year since their last album, All A Man Should Do, debuted, the slow, brooding “Went Looking For Warren Zevon’s Los Angeles” kicked the evening off in slow-burn fashion. When the band went opener-free on the tour for that album, they filled the evening by playing both an acoustic and an electric set. That formula seems to have grown legs, as the evening’s first eleven songs all featured Nichols and his newfound Martin acoustic. While it’s to be expected on songs like “Texas & Tennessee” and “The Man I Was,” this gives a little bit of a fun, intricate vibe to older show staples like “My Best Girl” and “Raising Hell.”

Never one to abandon his trademark Epiphone Sheraon II for too long, however, Nichols and company increased the volume (though, admittedly, not the level of happiness…) around 10:00pm sharp, beginning the electric portion of the evening with “Downtown/On My Way Downtown” from 2012’s Women & Work. Though 2016-era Lucero shows tend not to devolve into the occasionally chaotic events that they did in earlier times, Nichols’ constant need to continue pushing boundaries still creates a ‘seat of their pants’ energy that leaves the effect of having both the audience and the remainder of the band left guessing as to exactly what’ll come next.

And what came next was a pretty representative cross-section of the band’s near-twenty-year catalog. Sure All A Man Should Do remained well-represented,  though the band’s 2002 release Tennessee was most represented, producing rambling jams on staples like “Here At The Starlite” and full-crowd singalongs on tracks like “Chain Link Fence” and, of course, “Nights Like These.” “Tears Don’t Matter Much,” from 2003’s That Much Further West, and which name-drops Cory Branan rather famously, garnered probably the most lively crowd response at the 550-capacity Muic Hall, with Berry’s machine-gun-caliber snare and Berry’s steady, heavy groove pacing the way through, providing a launching pad for Nichols and Venable to trade guitar lines. The evening slowed down again toward the end of the set, easing out in much the same way as it eased in, with Nichols donning the Martin acoustic again for “Me & My Girl In ’93” before a brief respite and set closers “Drink Til We’re Gone” and “Fistful Of Tears,” the latter of which found Nichols going guitarless, accompanied only my the always steady, dare I say classy, Steff on keys.

The aforementioned Branan opened the evening’s festivities. (Editor’s note: This marked yours truly’s fourth Branan show in four different States this calendar year, having previously seen him in Connecticut with Brian Fallon and in Rhode Island and Massachusetts with Chuck Ragan). Branan and the Lucero camp, Nichols in particular, obviously go back until about the beginning. Branan is equal parts self-aware (almost painfully so) and self-deprecating, and has long been not only known for his gut-wrenching, razor sharp lyrics but for the curiosity surrounding why, exactly, he hasn’t jumped up to the next level (or two…or four) and become more widely known. When on point (and that’s more often than not in more recent years) about as talented a solo performer as you’ll find, with a unique ability to vary the dynamics of both vocal stylings and his near-virtuoso guitar abilities in a way that will extend its way to all corners of the venue, regardless of the size, and force the listener to pay attention, often times rendering new listeners curious as to what they just heard. Branan’s eleven song set included it’s fair share of long-time crowd favorites (“Prettiest Waitress In Memphis,” “Tall Green Grass,” his own personal Born To Run, “Survivor Blues”) and a handful of tracks from his as-yet-publicly-untitled studio full length, due out next March on Bloodshot Records. Seriously…wait til you hear the song about his dad…

Check out our full photo gallery from the evening below, with a massive mea culpa to Branan for not having been properly in place at the start of his set. I blame New York City… You can still read our ode to the band’s debut album, Lucero, here, and our follow-up ode to the band with help from Dave Hause, Frank Turner and Sal Medrano right here.

DS Photo Gallery: Valentine’s Day Weekend with Chuck Ragan and Cory Branan

Chuck Ragan recently wrapped up a brief northeastern US tour a few days early due to an unfortunate family emergency. The jaunt, which was initially planned as nine shows in nine days, found Ragan supporting his latest release, the stellar-yet-mostly-under-the-radar soundtrack for the video game The Flame In The Flood. If you’ve known the privilege (and I use that word very deliberately) of catching the Hot Water Music co-frontman live over the last handful of years, you’ve no doubt been left in at least some modicum of awe at just how he’s able to relay such honest, hard-working intensity night in and night out. Because of the short distance between a couple of weekend shows on this run, Dying Scene was lucky enough to catch consecutive shows in Providence and Cambridge, each one unique in myriad ways.

As is par for the course in recent years, Ragan was accompanied by his backing band, The Camaraderie. However, even casual Ragan fans are aware that the parts that constitute The Camaraderie are somewhat fluid, this time featuring longtime collaborators Jon Gaunt (fiddle) and Joe Ginsburg (double bass) and more recent collaborator Todd Beene (pedal steel). In spite of the lack of traditional percussion this time out, the four-piece kept the hammer down, plowing through a pair of shows that saw pre-determined individual setlists serve merely as loose guidelines for the bulk of the respective sets.

Both nights found Ragan and pals drawing primarily from The Flame In The Flood soundtrack, as well as his two previous full-lengths, 2014’s Till Midnight and 2011’s Covering Ground (both released on SideOneDummy Records). Each night started and ended in four-piece fashion, with a brief solo, mostly spontaneous solo interlude. Night one (at the sold-out front room at Providence’s Fete nightclub, a venue that featured a soul band and an after-hours dance club also taking place down the hall, providing for an interesting mix of people watching) was slated to include the recent Hot Water Music staple “Drag My Body,” but found Ragan opting for audience requests like “Old Diesel” instead. Night two, at the larger Sinclair nightclub in Cambridge (editor’s note: best venue in the greater Boston area, and it’s not really even that close) was slated to feature the likes of HWM throwback track “God Deciding” but featured “Drag My Body” instead. Both nights saw Ragan firing on all proverbial cylinders, his powerful, vocal-chord-shredding voice serving as the most dynamic instrument to occupy either respective stage.

Serving as direct support on this particular run was the inimitable Cory Branan. Though Branan most notably performs as a solo acoustic act, to refer to him as merely a solo acoustic troubadour does a great disservice to the man’s unique talents. As Lucero’s Ben Nichols pointed out on that band’s track “Tears Don’t Matter Much,” Branan’s “got a way with words that’ll bring you to your knees,” and that’s regardless of the subject matter: love, death, drinking, escape, intimacy, drinking, career failures, meaningless sex, whatever (drinking)…you get the idea. When firing on all cylinders, Branan is witty and funny and edgy, and performs in such a way that gives the impression that the whole damn thing could go wildly, gloriously off the rails at any given second. Both of these nights had their share of such moments (with the Providence performance of set-closer “Girl Named Go” as the most telling example), but largely found Branan in a playful mode, telling stories and interacting with the crowd in a way he couldn’t quite do at the somewhat larger venues he played at when on tour with Brian Fallon a month prior.

Local support on the first night came from Cowboy and Lady, a country and western duo (Jess Powers and Tyler-James Kelly) who sound as though they could be based in Memphis, Tennessee, rather than West Providence, Rhode Island. Highly entertaining pair with deceptively tight melodies woven around Kelly’s at times near-virtuoso guitar playing. Sadly, there are no pictures of said duo in the gallery below. The Cambridge show, meanwhile, featured local support from longtime local scene veteran Mark Lind, most notably of Ducky Boys and Sinners & Saints and The Warning Shots fame. The Red bull aficionado and purveyor of only the sexiest of faces played a set mostly stripped down versions of his bands’ tracks, with a second-tier Rolling Stones’ cover thrown in for good measure because, really, why the hell not.

Thankfully, for your sake, there are pictures of Lind (and Branan and Ragan and Gaunt and Ginsberg and Beene, of course) in the gallery below; check it out here.

Chuck Ragan to release “The Flame In The Flood” soundtrack next week

If you’ve followed Chuck Ragan for any length of time, but particularly over the last year-or-so, you’re probably aware that he’s been working on the soundtrack to a video came called The Flame In The FloodHere’s proof. Anyway, at long last, the release of the soundtrack to that very game is finally immanent, as it’s due out next Thursday, February 4, 2016, via Ragan’s own Ten Four Records.

The Flame In The Flood features Ragan and his band, The Camaraderie, and was co-produced by Ragan and his bandmates in the Camaraderie, the inimitable Todd Beene. The album also features appearances by such other inimitable acts as Cory Branan, Adam Faucett, and Jon Snodgrass. Stay tuned for order information. Oh, and make sure you catch Ragan and Branan on their upcoming tour right here (we’ll see you out at a couple of those shows, no doubt).

DS Photo Gallery: Brian Fallon and the Crowes w/Cory Branan, Fox Theater, Ledyard, CT

It’s been a scant four months since New Jersey’s The Gaslight Anthem announced that they’d played their last shows for the time being and would thus begin a disappointing-yet-not-entirely-unexpected indefinite hiatus. If you’re at all familiar with the occasional stir-crazy, restless nature of the band’s frontman, Brian Fallon, however, you probably assumed you wouldn’t have to wait all that long before his voice would pop up again. Still, four months seems awfully quick…

And yet, here we are, not two full weeks into 2016 and we’re not only on the doorstep of Fallon’s first true solo album, Painkillers, (due out in March 11th on Island Records), but right at the beginning of what’s shaping up to be a fairly lengthy tour in support of his new project, Brian Fallon and The Crowes, an obvious play on the name of the Horrible Crowes side project Fallon started with Gaslight’s guitar tech-turned-touring-guitarist Ian Perkins a few years back. The third night of said tour found itself in the historic Fox Theater (if a 23-year-old theater can be historic, this one is, at least according to the baby-faced bouncer guarding the stage left area. But seriously, though, Frank Sinatra did open the place, so that counts for something…) at Foxwoods Resort Casino in rural Connecticut.

The setting is admittedly a bit of a strange one when compared to the sweaty punk clubs that The Gaslight Anthem cut their early teeth on, or even some of the larger venues the band played in more recent years. To try to paint a brief picture, envision a glorified high school auditorium (cap. 1400), but with pristine sound and lighting and immaculate carpets and movie theater seats. Now envision that false, brick-and-mortar facade of that auditorium exists across the high-end mall hallway from a Fuddruckers burger joint and acres of one-armed bandits flashing and sirening in total sensory overload cacophony, and that’s about what you’ve got. Strange place for a group of on-the-other-side-of-thirty lapsed punkers to convene, but I digress.

From the moment that Fallon and his five-piece band (Perkins on guitar, fellow Gaslighters Alex Rosamilia on keys and guitar, The Scandals‘ Jared Hart primarily on acoustic 12-string, the inimitable Cat Popper on bass, and Wes Kleinknecht on drums) hit the stage and fired up the opening track “Red Lights,” which those of you familiar with Fallon/Popper’s Molly And The Zombies project will no-doubt remember, the evening had a special sort of a feel. At no point in what realistically could have been a marathon of a nineteen-song setlist did showgoers really get the sense that this band had only played two collective shows together in their history.

Fallon’s stage banter was its typical jovial, off-the-cuff self, which helped provide a little levity to a setlist that included, at times, some fairly dark themes, particularly those surrounding lost love. It has become rather taboo in some circles to premier music before an album’s release in this YouTube era, yet Fallon and the gang played all dozen of the tracks slated to appear on Painkillers in bold fashion. The audience, comprised largely of visible (and at times vocal) Gaslight Anthem fans, were noticeably polite and respectful for the duration of the set, eager to grasp the new stories that Fallon had to share. Aside from the lead single, “A Wonderful Life,” the general feeling is a bit mid-tempo, a more layered, at times alt-country bookend to the smokier, blusier The Horrible Crowes Elsie full-length (from which about a half-dozen tracks were performed here). While it obviously remains to be seen what happens to The Gaslight Anthem going forward, fans of Fallon’s songwriting and storytelling have little to fear, as The Crowes are the real deal.

Cory Branan provided direct support on this evening, as he will for the band’s entire first tour out of the chute. Having seen Branan play sweaty basement clubs and backroom bars in the past, this setting had a much different vibe, but one that really highlighted Branan’s role as an artist and a storyteller. Perhaps it was the seated nature of the show, but gone was the occasional need for an acoustic performer to battle to pull in listeners from above the din of the vocally inattentive bar patrons, allowing instead for the humor and wit that pepper Branan’s lyrics (not to mention his criminally-underrated guitar playing) to really shine. He’ll be back in this neck of the woods next month with Chuck Ragan; go see him, damnit!

Check out our full photo gallery from the rather stellar evening below.

Chuck Ragan and the Camaraderie announce East Coast US tour dates

Chuck Ragan at a warehouse in West Warwick, Rhode Island

As some of us here at the Dying Scene Global Headquarters were putting together our yearly, excessively verbose year-end reflection pieces, it sorta dawned on us that for the first time in a while, we haven’t seen Chuck Ragan play in these parts for a full year. Wouldn’t you know it, that’s about to change.

Ragan and his band (The Camaraderie) have announced a run of shows that’ll find them covering most of the northeastern corner of the US over a nine-day span in mid-February 2016. Ragan will be playing songs from The Flame In The Flood, the recently-released survivial-style video game that he provided the soundtrack to. Pre-orders to all shows are available as of today, and include digital downloads of the band’s upcoming live album (it’s called The Winter Haul Live; more details to follow). The inimitable Cory Branan will be accompanying the crew for the tour. Check out the full rundown below, and get pre-order bundles here.

Chuck Ragan’s most recent studio full-length, “Till Midnight,” was released last year via SideOneDummy.

Cory Branan premieres video for “You Make Me”

Mississippi folk singer/songwriter/Lucero collaborator Cory Branan released a music video for the song “You Make Me” from his latest album, The No-Hit Wonder and you can check it out below. You can watch the video in 3D if you have your own set of glasses.

The No-Hit Wonder was released in 2014 via Bloodshot Records.

Tim Barry announces UK tour dates with Cory Branan and Sam Russo

Get ready, United Kingdom (which may or may not include Scotland)…Tim Barry is coming!

The Richmond, Virginia-based singer/songwriter is headed overseas for a little over a week’s worth of tour dates around the UK. He’s bringing Sam Russo and the brilliant Cory Branan along with him, so you’re not going to want to miss this one. Check out the tour dates below.

Tim Barry will be touring in support of his upcoming full-length, “Lost & Rootless,” which is due out November 28th via Chunksaah Records. It’ll be his first studio album since 2012’s “40 Miler.”

Cory Branan announces US tour dates

Mississippi folk singer/songwriter, Lucero collaborator, and member of the Revival Tour camaraderie Cory Branan has just announced a fall US tour to accompany the release of his latest album, The No-Hit Wonder. You can check out the dates and locations for that tour below.

The No-Hit Wonder was recently released via Bloodshot Records and serves as a follow-up to Mutt, which was released in 2012, also on Bloodshot.

DS Show Review/Photo Gallery: Drag The River and Cory Branan – Boston, MA (12/7/13)

That Branan character is a shameless grifter…

On a bone-rattlingly-cold December evening, Jon Snodgrass and Chad Price brought the 2013 rendition of the somewhat-recently-reunited (and very-recently-recording-together-again) Drag The River to Great Scott in Allston, MA. The Fort Collins-based foursome (featuring Chad Rex on bass and the occasionally-shirtless Dave Barker on drums and pedal steel) invaded the hipster capital of the Commonwealth for a barn-burner of a set that lasted til the wee hours of the morning. Apologies to opener Frontier Ruckus, whose set I didn’t really catch. I do know that they had a gentleman playing a saw though.

Drag The River were joined on this particular jaunt by the inimitable Cory Branan. To call Branan a ‘singer-songwriter’ may be factually accurate, but comes nowhere close to truly encompassing what he is as an artist. Equal parts alt-country and neo-folk and punk-as-fuck, Branan is at his best when his performance teeters on the edge, carefully tiptoeing to the edge of a precipice without actually careening out of control. Still feeling the effects of what he reported was a night of too-hard partying in New York city the previous evening, Branan made repeated reference to being not quite fully capable of pulling off everything in his catalog, leading to a request-heavy set that featured a well-received, heavy dose of audience participation.

Drag The River continued the audience participation trend in a set that turned very much into a drunken sing-along (shout out to Boston-based singer-songwriter Matt Charette and crew for leading the charge). Price and Snodgrass alternated turns manning the lead vocalist position for a set that spanned much of the band’s decade-plus on-again, off-again, on-again career. The performance was light-hearted in nature and light on banter (and, I thought curiously, light on the between-band interaction at all), focusing solely on the music, and including a cover of a Lenny Lashley track for good measure (and local Brownie points). Check out our photo gallery below.

Watch: Cory Branan covers Big Star classic “Thirteen”

Mississippi folk singer/songwriter, Lucero collaborator and member of the Revival Tour camaraderie Cory Branan recently caught up with the kind folks at Nervous Energies for an intimate performance. In the process, Branan covered the classic Big Star track “Thirteen.” Check it out here. If you’re not familiar with the original, shame on you. Check it out here.

Branan’s critically-acclaimed Mutt was released earlier this year via Bloodshot Records (personal opinion: you should get it).

Tour: The Revival Tour announces lineup & dates for second leg of European tour (Chuck Ragan, Emily Barker, Cory Branan…)

The Revival Tour announced it would be heading to the UK in fall back in April, but today they have announced the lineup and dates for the second leg of the UK tour. The lineup will feature Chuck Ragan (as usual), along with Emily Barker, Cory BrananJay Malinowski, and Rocky Votolato.

You can check out a full list of dates and locations for the second leg of the tour here.

Chuck Ragan last released “Covering Ground” in September 2011 through SideOneDummy Records.