Twisted Pine

" ... Progressive bluegrass or maybe chamber folk, or prog rock, or jazz fusion or just pop with an experimental bent. Whatever the genre, give the group a bluegrass Grammy for good measure -- The Boston Herald 

Witty & engaging, Damn Tall Buildings’ energizing music finds beauty and glory in the mundane workaday struggle of everyday life: time keeps passing and the seasons come and go, you scroll too much, you smoke too much, you lose yourself, only to sit with yourself & find yourself again, you laugh with your friends, and you look out the window & dream about what else might be out there. It all keeps coming around. You carry on, intent on flourishing and thriving. This is what Damn Tall Buildings sings about, what they seek to share with their audience.

In their early days, Damn Tall Buildings didn’t rehearse – they busked. Now, whether live or on record, the trio still radiates the energy of a crew of best friends playing bluegrass on the street. Anchoring that energy is their instrumental chops, their strong songwriting, and their varied influences that stretch beyond bluegrass, even beyond American roots music altogether. Whether sharing lead vocals and instrumental solos or blending their voices into high-spirited harmony, Damn Tall Buildings is a tight unit that contains more than the sum of its parts.

Primary vocalist and lyricist Max Capistran’s singing recalls old blues and The Band-style roots-rock, whereas Sasha Dubyk’s time studying musical theater is evident in her rich vocal tone and soulful flair. Avery Ballotta’s fiddle brings stratospheric dimension to the churning rhythm section of Capistran’s guitar and Dubyk’s bass. The band’s harmony singing is tight without being too slick – they sound like three individual voices joined together in celebration, not a perfectly polished machine. Their choruses are the kind you sing along to with a glass raised into the air.

In 2013, then students at Boston’s Berklee College of Music, the band took their instruments to nearby street corners and jammed for hours on old bluegrass and blues songs, traditional fiddle tunes, and eventually their own original music. Busking, a continuous test of one’s ability to command an audience’s attention, cemented their closeness and fostered their infectious, captivating performance style. It’s how they learned half of their repertoire, and it’s where Dubyk first picked up the bass.

Since their busking days, Damn Tall Buildings have grown to new heights over the course of their decade of creating together. They’ve made four albums: 2014’s Cure-All, 2015’s self-titled, 2019’s Don’t Look Down and 2022’s Sleeping Dogs. The band has also relocated to Brooklyn, NY and toured widely, appearing at festivals like Grey Fox Bluegrass Festival, Philadelphia Folk Festival, Freshgrass Festival, Ossipee Valley Festival, Walnut Valley Festival, Blissfest and Merlefest. Now based in Brooklyn, NY, they have begun to travel the globe playing bigger and bigger stages, making lots of friends wherever they go. They carry with them a connective spirit, welcoming audiences to join in the moment with the band as they take us on a journey through a well-crafted show. The trio has a knack for making any room feel a little more like home.

ALI McGUIRK 

Blending classic soul power with a folk songwriter lyricism, New England’s Ali McGuirk has the rare ability to silence a room with just a few words of a song. With a voice that is raw and sultry and a style rooted in improvisation, her sets are a hypnotic and intimate journey.

On her Signature Sounds Recordings debut ’Til It’s Gone, McGuirk delivers a sublime set of songs that pairs her trademark soul sound with rootsy turns and raw rock ‘n’ roll detours. The album landed on the Boston Globe’s Top 50 Albums list for 2022. Consequence of Sound raved, “‘All Back’ feels like it could exist somewhere outside of space and time– it could be on a record in the background of a party in a 1970s bungalow, or it could be on your Discover Weekly playlist on Spotify. Either way, it’s a great listen.”

McGuirk co-produced ‘Til It’s Gone with Jonah Tolchin (a star singer-songwriter in his own right) and a set of session legends: Little Feat guitarist/mandolinist Fred Tackett, organist Larry Goldings (James Taylor, Norah Jones), singer Valerie Pinkston (Ray Charles, Luther Vandross), percussionist Lenny Castro (Stevie Nicks, Stevie Wonder). They provided the astounding chops, but the true magic of the album comes from McGuirk’s singular voice as both singer and songwriter. The nine tracks run from intimate introspection to wider meditations on oppression and justice, from tough r&b and tender soul to big rock guitar and twangy folk. And McGuirk's voice – bold, buttery, spellbinding – carries each song to the next til they’re gone.

McGuirk currently divides her time between touring North America and Europe and crafting new compositions in her lakeside Vermont cottage . She has performed spellbinding sets at Boston Calling, Merlefest, Americanafest, and NPR’s Mountain Stage. 

“2022’s 50 Best Albums of the Year“— “Ms. Ali gets it. And she can play that damn guitar, too. There’s a history scattered through soul music, and blues, that speaks to this aesthetic. Boston and New England last saw this combination with a gal named Sue [Tedeschi] a couple of decades ago.” — The Boston Globe 

“With all the hooks of Lake Street Dive but more earthy tenderness and smart introspection, McGuirk will be the Bay State’s next big export.”  – The Boston Herald