CONTENTS

hard to imagine the lineup without Williams’
birdsong pipes and Farina’s resounding drums.
A band’s chemistry is particularly easy to
observe when there are multiple vocalists,
and Andrew Carroll trades off with Williams
complementarily, creating an aura of unity
onstage.
THE LONELY WILD
3rd & Lindsley Nashville, TN
Contact: parker@thirtytigers.com
Web: http://thelonelywild.com
The Players: Andrew Carroll, vocals, guitar;
Jessi Williams, vocals, multi-instrumentalist;
Andrew Schneider, lead guitar; Ryan Ross,
keys; Dave Farina, drums.
Username: thelonelywild
Material: One of the most attractive things
about the Lonely Wild is their relevance.
Influenced by the book Griftopia by Matt Taibbi
and the financial crisis of 2008, the songs
encompass themes of honesty or lack thereof,
like on “Banks and Ballrooms,” in a fresh but
familiar, dreamy yet aggressively percussive
soundscape with the occasional horn scattered
in. The Lonely Wild are influenced, in general,
by echoes of everything from Pink Floyd to
Band of Horses and campy yet evocative
Tarantino soundtracks––beautiful and vibrant
with a healthy dose of strange, like My Morning
Jacket.
Musicianship: Band members brought
experience from previous acts to the Lonely
Wild, and vocalist/multi-instrumentalist Jessi
Williams and drummer Dave Farina came later
to complete the ensemble, fortunately, as it’s
JESSICA PACE
Performance: The venue was filled for the
Lonely Wild’s set. They pulled from The Sun
As It Comes, an album that doesn’t play out
as exuberantly or danceable as their live
show, which was driven largely by Farina’s
powerful drumming that sounded like both
an invitation to dance and a war call. The
rhythmic backbone was the highlight of
the set, which ended with a mash-up of
Pink Floyd’s “Money” and Depeche Mode’s
“Personal Jesus,” and as the snare popped
and thundered and Carroll deadpanned,
“Reach out and touch faith,” the song could
have passed as the Lonely Wild’s own
creation.
Summary: Vivacious and accessible, L.A.’s
current “buzz band” has more than enough
potential for longevity and keeping the
buzz. Their lack of strict adherence to any
discernable genre affords them the freedom to
get as weird as they want on the next album
and go in pretty much any direction. The
greatest gift that artists can give themselves is
indefinability from the start, which will give the
Lonely Wild the freedom of versatility for the
long run. – Jessica Pace
Catalina Jazz Club Hollywood, CA
Contact: bafaiella@savoypr.com
Web: http://markarthurmiller.com
The Players: Mark Arthur Miller, vocals; Peter
Smith, keyboard, vocals; Jon Stuart, drums;
Nate Light, bass; Chris Vazquez, guitar;
Ludovic Louis, trumpet; Zane Musa, tenor sax;
Laura Mace, vocals; Maiya Sykes, vocals.
Username: MARKSINGS
Material: Mark Arthur Miller’s solid twohour
tribute to his father, the late Motown hit
songwriter Ron Miller, explores all the highs
and lows of this father-son relationship; the
story of being separated for a decade when
Ron was discovered by Berry Gordy and
Mark’s subsequent serendipitous reunion.
The story plays out like Backbeat but with a
veritable treasure trove of classic soul hits.
This comparison is not without basis as Mark’s
father once performed in The Music Man.
Musicianship: Peter Smith is the orchestrator
for the group and his fresh arrangements
feature suspended phrasing and baby makin’
tempos that retain the essence of the original
songs. His take on “Dock Of The Bay” feels
more like Stevie Wonder’s “Boogie On
Reggae Woman.” Michael Jackson would
have given a sizzle stamp of approval for
Smith’s arrangement of “The Way You Make
Me Feel,” featuring a powerful trumpet solo
by Louis. Musa clearly has a blast working
his sax solo on “Too Busy Thinking About My
Baby” while Stuart hits all the changes for
a beautiful take on “How Can You Mend A
Broken Heart.” Light’s stellar bass work cranks
up the funk factor.
At points the guitar needs more space in
MARK ARTHUR MILLER
the compositions, but Vazquez gets featured
on “87th & King.” Miller’s dreamy, masculine
vocal is comparable to Sinatra; delivered
straight, not poppy.
Performance: Miller jived onto the stage
like Tom Jones for Smokey Robinson’s “Get
Ready”—he can sustain a note, suspend a
phrase and growl just as well. A dedication
to the ladies of soul was the highlight of the
set, as Mace and Sykes hammed it up with
astounding vocals and sexy choreography.
The band were equally playful; as an intro to
“How Can You Mend A Broken Heart,” they
dramatized taking Mark out for drinks after a
breakup.
The historical talking point was Martin Luther
King’s assassination. This experience in Miller’s
life influenced an original piece, co-created with
Smith, “87th and King.” His strong storytelling
abilities here in particular suggested an exciting
future direction for his work.
Summary: Mark Arther Miller’s Soul Searching
concept could easily be a movie or a Broadway
experience, but is currently a highly entertaining
new six-song EP that spins soul seamlessly
between funk and jazz styles. –Brooke Trout
MARTIN COHEN
November 2013
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