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The Delta Saints (http://www.thedeltasaints.com/)
The Delta Saints are not what they say they are. Delta? Absolutely. But saints? One might call them “cautionary tales” long before the term “saints” ever came to mind; however, there is something devout about their bayou rock, a dirty, distinct sound they’ve zealously refined on their debut full-length, Death Letter Jubilee. Ben Ringel (vocals/dobro), Dylan Fitch (guitar), David Supica (bass), andBen Azzi (drums) each moved to Nashville for college in 2007 and first found common ground as old-world-loving, good-bourbon-swilling musicians. As the searing harmonica and howling vocals of their live show began garnering notoriety, The Saints rode their roots rock wave right into the studio. On the heels of 2009’s Pray On EP and 2010’s follow-up A Bird Called Angola, the band toured tirelessly, playing more than 150 shows a year, including a slot at Arkansas’ Wakarusa Festival and two summers headlining in Europe during which they performed on the long-running, renowned German TV show Rockpalast.
The title track is by far the most magnetic on the album. There’s something eerie about its cacophonous Orleans-inspired chorus, the warm buzz of harmonica, the tinny trumpet whine, and the way one can’t help but be swept away by the utterly irreverent revelry. “I love songs where sonically you get one emotion from it, and then you look at the lyrics and it’s not at all what you expected,” Ringel says of the song’s musical inspiration. “And everybody has certain emotions that they’re not proud of. The idea that you can be glad about somebody’s ultimate demise… it’s such a negative thing, but everybody feels something a little like that.”
Meg Myers (http://www.meginthedark.com/)
I used to live in the Smokey Mountains of Tennesse / now I live in Los Angeles
I used to be a Jehovah’s Witness / now I celebrate my Birthday
I didn’t go to high school / instead I built forts
I sing / I play guitar piano and bass
I will always make music
John Flanagan is an artist impervious to the confines of conventionally defined genera. Instead he writes in the bold new frontier of Dance Rock. Some might call it glam. Others might call it pop. With a twist of The Killers drive, Mika’s devil-may-care falsetto-pop, and Brandi Carlile’s broken vocal styling, Flanagan would rather let his listeners define it for themselves. After all, audiences are what make an artist. With performance credits stretching across the country from Nashville to New York, Texas to Indiana, and Georgia to Oregon, Flanagan has entertained thousands of people across America.
Born in Boston, he moved away from home at 17 to cut his teeth in Nashville, TN. For 5 years, Flanagan crafted his songwriting voice through various bands and side projects including The Gilly, Emily Kent, Jared Mitchell, and The Lorentzens. He’s headlined numerous showcases and was selected to participate in ASCAP’s fall pop songwriting seminar from thousands of submissions. He’s recorded on stage at the Grand Ole Opry and has performed alongside Steven Curtis Chapman, Jodi Benson, Louise Mandrelle, and the Radio City Rockettes. In February 2010, Flanagan was named “the new voice of MGM/Foxwoods casinos.” Currently, his jingle is playing in the arenas at Madison Square Garden and the Boston Garden, over New England televison, and across the airwaves of the Northeast.
In Fall 2010, Flanagan set out on his first solo recording project, Pretty Lies, with producer Jake Hartsfield. Little did he know that it would be his last major project in Nashville. The perfect culmination of upbeat radio-singles and sensitive ballads, Pretty Lies, has met with rave reviews. One listen to cuts off of the new EP, like the frantically-catchy “Love You Anyway” and the electrically charged “Elephas” and it’s easy to see Flanagan forging a career as an accomplished librettist by day and a commanding dance-rocker by night.
With 2011 came a new year and a new city. Anticipating the release of his freshman album on February 15, Flanagan decided to kick off the dust of Nashville’s sleepy popular music scene and make a clean break for New York City’s dazzling 24-hour-a-day independent underground. Quickly climbing the ladder of New York City’s music scene, Flanagan is currently playing a slew of shows and exposing a new audience to his innovative sound.