First notice for Friday September 13 – Davey O and 6foot6. More complete info coming soon.
Pure Americana drawn from a deep well of experience and human emotion without hackneyed storylines or insincere polish — an unflinching poet’s look at life with no apologies and rust-belt work ethic. Davey O has been a New Folk Finalist at The Kerrville Folk Festival, an Official Showcase Selection at the Folk Alliance Conference, and shared stages with the likes of Ellis Paul, Eilen Jewell, Suzanne Vega, Cheryl Wheeler, Sloan Wainwright, and The Kennedys.
Equal parts songwriter and storyteller, Buffalo’s Davey O. has been recognized on a national level for his past two CD releases with multiple honors among the “best of“ lists of several Folk & Roots radio stations. He has also earned the respect of his peers for his incredible work ethic, and constant dedication to the art of songcraft. With a journalist’s eye for detail and poet’s ear for the well-turned observation, Davey O. finds the universal in the particular, turning day-to-day minutiae into dusty paeans to the indomitability of the human spirit. With each tale another slice of life examined.
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Just because we like it so much, here’s a little tale Davey related on his website recently. (Edited mostly for length.)
“When I performed my feature set at The Evening Muse in Charlotte, NC, a couple of things happened that, for lack of a better term, changed my perspective. Or maybe it was just a reminder of how music can bring us together. At ‘Find Your Muse,’ the performers consisted of a wide age demographic and stylistically ranged from hip hop/rap artists, poets, stand-up comics, singer-songwriters, and R&B vocalists. I had a bit of anxiety as to how this straw-cowboy-hat-wearing, contemporary-folk/Americana songwriter from Buffalo, NY would fare. I started my first song. There were quiet murmurs from the audience, like, “uh-oh, WTF is this going to be like?” But by the time I reached the end of the first chorus, I could see the faces in the audience begin to soften, smiles started to appear, heads began to move in time. A hearty round of applause followed. After my third song, “In Its Own Time” (about transitioning from one period of life into the next), a twenty-something African-American male stood up and shouted, ‘That’s what I’m talking about! That’s some profound shit right there!’ The walls came down. Age, race, gender, or any other metrics didn’t matter anymore. That’s what music can do, and is supposed to – regardless of how the industry, the media, or your own mind attempts to package it. If it’s good, if it contains truth, and speaks to even one person – then it’s done what it is intended to do: put us ‘in concert’ with each other.”