SAINTSENECA plays The Constellation Room Feb. 4 and The Casbah Feb. 5 photo: Nick Fancher

Hailing from Colombus, Ohio, Saintseneca are a band to watch. Their latest album Such Things is a folk-rock dazzler with a cornucopia of instrumentation and finely-crafted lyrics that will wiggle into your brain and take root. The folk-rock-pop magicians will be doing two shows in SoCal, playing The Constellation Room Feb. 4, and The Casbah Feb. 5.

Concert Guide Live caught up with Zac Little, lead singer, songwriter, and multi-instrumentalist, to talk touring, Unkers Multipurpose Salve, and the conundrum of Spotify.

CGL: Saintseneca is playing two shows in California on this tour. What are you planning to do while you’re here?
ZL: We are planning on making a stop in the redwoods and hiking around. California is so beautiful, so we are very excited to be back.

CGL: You guys have the coolest tour posters and album covers, and they’re all very cohesive stylistically. Is it one person doing those for you?
ZL: [I do] the visuals for the band. Maryn (Jones), makes great visual art as well, and she has created things for us too.

CGL: Going through your discography, things start out really sparse and by the time we get to your current album, things have really filled out, the instrumentation is really interesting, and the production, at times, is very layered. What led you to go in that direction?
ZL: The first two EPs were recorded and mixed in 12 hours or less, and Last (the first album) was tracked in 4 days. I’ve always been inspired by records that employ the studio to create sounds that couldn’t otherwise be accessed. Part of what is exciting about creating a recording is that you capture and reproduce some version of what is happening in your environment. Yet you also have the power to invent a new one. I like the idea of taking a live performance, and altering the sonic context, so maybe it exists in a dream.

CGL: What kind of set list can fans expect on this tour?
ZL: We’re playing songs from all of our records. Expect some new, and some old but re-interpreted.

CGL: What are you touring essentials? Any surprisingly weird things you have to have with you?
ZL: My tour essential is Unkers multipurpose salve. It heals everything from colds to cuts to sore muscles and headaches.

CGL: There’s been a lot of talk and controversy around streaming services lately with some big names pulling their music in the name of smaller, less well-known artists. As a mid-level group, I would love to get your thoughts on this. Are streaming services an essential evil to “making it”? Should they be paying artists more at the risk of independent artists having less chance for exposure?
ZL: I wish I had an answer. Streaming services are only guilty of giving people what they want – free (or essentially free) music. I don’t think there is a productive way to turn that around. You’re not going to get people to pay for something they’ve grown accustomed to getting for free. I just hope listeners and streaming services both recognize that it’s not sustainable as it is. You can’t starve artists forever and expect quality art to continue to be made. I’ve got no one in particular to blame, but I hope we can figure something viable out.

CGL: How did you guys picked your name? Is there a story there?
ZL: I was sitting on bench eating a pizza slice and my plate blew off in the wind. As I chased it into a nearby bush I discovered what appeared to be an Easter egg, still hidden from a previous spring. When I opened it, the only thing inside was a little strip of paper with what appeared to be a numeric code corresponding to a book and page number in the nearby library.

I rushed over to the library and found the book, it was an old copy of some microwave cookbook from the 70’s – the kind of book one wouldn’t touch after it found it’s way on the shelf. It was so old that when I opened the book, the spine cracked and little yellow pieces of dried book glue fell on the floor. On the top of page 73, the page indicated by the Easter egg, were the letters “ACE, NEST, NIAS” and there was a piece of tin foil wedged in-between the pages. As I was trying to figure out the meaning of it all, I realized reflected in the tinfoil was “SAINTSENECA”.

SAINTSENECA plays The Constellation Room Feb. 4 and The Casbah Feb. 5 photo: Nick Fancher

BURTON CUMMINGS plays The Coach House Jan. 24

When it comes to Canadian musicians, the list of living legends is a short one. Neil Young comes to mind of course, along with Joni Mitchell, The Band, and the prog-gods themselves, Rush, but none rock harder than The Guess Who. Burton Cummings, the iconic voice (and pen) behind classics like “American Woman,” “These Eyes,” “Laughing,” and “No Time” will be at The Coach House in San Juan Capistrano on Jan. 24 for a night of Guess Who tracks, solo favorites, and crowd-pleasing covers.

Born and raised in Winnipeg, Manitoba’s Cummings was blessed with an amazing natural talent that went hand in hand with his love of music. In 1965 his raw vocal skill caught the attention of local bandleader Randy Bachman, who knew Cummings was exactly what his group, the soon to be anointed Guess Who, was missing. Now working as writing partners, the duo wrote “These Eyes,” which became the group’s first international hit, and kicked off a steady stream of gold records, all fueled by Cummings’ locomotive of a voice. This invasion of the US market culminated with the monstrous riff-rocker, “American Woman,” which fittingly remains the band’s first and only U.S. No.1 song.

After reaching the highs, it was time for the lows. Disagreements between Bachman and the rest of the guys caused Bachman to leave the group, ending the writing partnership that had become the Canadian equivalent of Lennon and McCartney. With Bachman out of the picture, Cummings took the lead, continuing to put The Guess Who at the top of the charts with the excellent Share The Land album, recorded in just ten days. Songs like “Bus Rider,” “Do You Miss Me Darlin’,” “Hang On to Your Life,” and “Hand Me Down World,” proved that Cummings was a talent in his own right, and solidified his position as Manitoba’s favorite son.

More hits with The Guess Who followed, and when Cummings struck out on his own in 1976, he found more success with songs like “Stand Tall,” “Break It To Them Gently,” and “Your Back Yard.” While releasing well-received solo albums at a steady rate since the 1970s, the accolades rolled in. Cummings is now a member of the Canadian Music Hall of Fame, Canadian Songwriters Hall of Fame, Canadian Music Industry Hall of Fame, Canadian Walk of Fame, Prairie Music Hall of Fame, as well as being the recipient of multiple awards. On top of all that, he is widely regarded as one of the greatest rock vocalists of all time.

With a resume like that, it’s pretty clear that Burton is one of the most celebrated rock artists in Canadian music history, and rightfully so.

MUSE play Staples Center Dec 18-19 and Valley View Casino Jan. 7; photo Danny Clinch

It doesn’t get much bigger than Muse, the English trio known around the world for their gargantuan, arena anthems like “Uprising,” “Starlight,” and “Reapers.” Singer and guitarist Matt Bellamy, bassist Chris Wolstenholme, and drummer Dominic Howard are bringing their globally-renowned live act to SoCal as part of The Drones World Tour, playing two nights at Staples Center Dec. 18-19 and Valley View Casino Center Jan. 7. Phantogram will open all dates.

The Drones World Tour will see the band perform for the first time “in the round” from the middle of the arena, for what is sure to be a jaw-dropping, 360 degree, audio/visual sensory experience.

Joining up when they were just teens, Muse has not only stood the test of time, but obliterated it, releasing seven studio albums, selling upwards of 17 million units worldwide and counting, and generally rocking the world at large. With a sound that is tied to a menagerie of influences, from Radiohead, to U2, to Jeff Buckley, their sound is distinctly their own. What exactly that style is called depends on who you’re talking to. Terms like Robo-funk, space rock, art rock, rock opera, and arena rock have all been used to describe the assailing, yet melancholy and melodic music of Muse. Bellamy’s stunning falsetto is instantly recognizable, as are the classical-inflected melodies, bass-heavy chug, monster guitar riffs, and literary and politically-influenced lyrics that permeate their songs. This signature blend made magic again on their latest album, Drones, released in June of this year, went straight to the top of the charts around the world.

One thing that remains unanimous when it comes to discussions about the band is the praise that Muse has reaped over the years for their live performances. The band’s emotive, passionate, music combined with their boundary-pushing, enveloping stage production and awe-inspiring visuals have wowed many critics and fans alike, and they only seem to be getting better. Their recent festival run earned the band some of the best reviews of their career, and the spectacle seems set to continue as the band promises their best shows to date.

NICK LOWE plays Belly Up Dec. 9 and the El Rey Theatre Dec. 10; photo courtesy of Nick Lowe

New-Wave legend Nick Lowe is bringing his acclaimed show, The Quality Holiday Revue back for another merry year. He’ll play with his backing band, the world’s premiere instrumental guitar combo, Dec. 9 at Belly Up and Dec. 10 at the El Rey Theatre.

Back in the 70s and 80s, Nick Lowe was churning out melodic, satirical, porto-punk with the likes of Elvis Costello and Graham Parker (Lowe even wrote the Costello smash “What’s So Funny ‘Bout Peace, Love, and Understanding”). After writing jammin’ pop-rock gems and equally catchy and wry, rockabilly-tinged songs, with his British bands Brinsley Schwarz and Rockpile, Lowe set out on his own. Hits like “Cruel To Be Kind” and “I Knew The Bride (When She Used To Rock And Roll)” finally put Lowe on the map in the U.S. Since then, Lowe has quietly continued to release wonderful music with his signature aptitude for melody and biting wit.

Most recently, Lowe released The Quality Holiday Revue, a live album consisting of fantastic reworkings of less-obvious Christmas songs (“Linus and Lucy” and “I Wish It Could Be Christmas Every Day”), humorous holiday-themed original compositions (“A Dollar Short of Happy” and “Christmas At The Airport”), and some of Lowe’s classics (“Raging Eyes” and “Sensitive Man”), many of which appeared on 2013’s Quality Street: A Seasonal Selection For All The Family, Lowe’s official first Christmas album.

Not really one for excessively bubbly holiday cheer, Lowe was opposed to the idea at first, “Do they really think I would wish to sully my good name on this tawdry and vulgar commercialism? But that feeling lasted about thirty-six and a half seconds, before I came to and thought, ‘Vulgar, tawdry commercialism? Yes, please, when do we start?’ Seriously, I thought, ‘Wait a minute, this could be really good fun.’”

The result is indeed good fun. It’s a Christmas album with plenty of that holiday-flavor with out being too sticky sweet. Since the release in 2013, Lowe has set out on critically acclaimed holiday tours with the equally critically acclaimed Los Straitjackets as his band. Much like The Quality Holiday Revue, the show can be expected to be a fun holiday treat, with plenty of winks and nods to the more commercialized parts of the season. Lowe’s voice, which has only improved with age, delivers the lyrical punch-lines perfectly. Merry Christmas, indeed!

BRONCHO headlined Teragram Ballroom Nov. 19; photo Andy Ortega

If you go to a BRONCHO show, expect a blink-and-you’ll-miss-it, Roman candle of a show, filled with cranked-up renditions of the Oklahoma band’s best songs. Led by a frenetic Ryan Lindsey, the band busted through a 16-song set in a blistering 40 plus minutes at the Teragram Ballroom on Thursday night, to a patchy but enthusiastic crowd.

A punk, dream-pop hybrid, BRONCHO hails from the midwest town of Norman, but their sound is all big city. There’s an obvious Ramones debt to be paid on songs from their first album, especially the infectious “Record Store,” which inspired more than one pogo-er, and “Can’t Get Past The Lips.”

Resting in-between songs just long enough for Lindsey to rattle off some be-bop, jive-talk (“Ya bay-beh! Take you downtown bay-beh! Ow-Ow, sugar! You feel good, bay-beh?!”), BRONCHO delivered a crowd-pleasing set with favorites like “What” and “I Don’t Really Want To Be Social.” All the songs were good, Deena,” “Stay Loose,” “Stop Tricking,” and “Taj Mahal”. Some were great, like the explosive rumble, “It’s On” and the raving, “Try Me Out,” which seemed to be everyone’s favorite including the band. It was the turning point for the audience, who broke out in all sorts of appreciative dance.

Lindsey, an entertaining figure with a baggy t-shirt and cardigan slipping saucily down his shoulder, was constantly moving. Juking and jiving, bobbing and weaving even between songs, as if a cease in motion would cause the wheels to come off the whole thing. By the end of the show he was caricaturing his own enjoyably sniveling vocal style, singing in syllables rather than words for the excellent “Class Historian,” the band’s biggest song, after which the band unceremoniously left the stage with Lindsey saying, “We’re BRONCHO bay-beh! Check one-two! I love you!”

While BRONCHO was the main act, up-and-comers The Shelters arguably put on the better show. A four-piece with a 50/50 mixture of surfer guys and pompadour greasers, these guys know what they’re doing (as if a Tom Petty-produced EP to their names isn’t enough to convince you). The Shelters are everything you love about rock music. They offer a high-octane performance, great musicianship, and pulse-pounding songs that are thrillingly heavier live than they sound on record. Killer harmonies between the dual lead-singers added a surprisingly nice touch while their inclination for tinnitus-inducing instrumental freakouts, as well as the dreamy “Fortune Teller,” give them a psychedelic lean that makes things interesting.

The Shelters are a throwback in the best way, from familiar sounding riffs (the snarling “Liar” lick is just a reworking of “Sunshine Of Your Love”), down to the charming gesture of passing their new EP out for free at the front of the venue. Here’s hoping their recent signing with Warner Bros. Records doesn’t change them one bit.

BRONCHO play Teragram Ballroom Nov. 19, The Hideout Nov. 20 and The Constellation Room Nov. 21

Punk-garage-dreampop hybrid BRONCHO, responsible for virile hits like “Try Me Out Sometime” and “Class Historian,” will play Teragram Ballroom Nov. 19, The Hideout Nov. 20, and The Constellation Room Nov. 21.

With two well-regarded, lightening-quick albums under their belt, BRONCHO have tirelessly hit the road, touring with the likes of The Growlers and his royal sneerness, Billy Idol. An Oklahoma-based three-piece consisting of Ryan Lindsey (vocals/guitar) Nathan Price (drums), and Ben King (guitar), their sound combines the lusty energy of 70’s punk with witty lyrics, and a heavy dollop of pop sensibility, which revealed itself more completely on their sophomore effort Just Enough Hip To Be Woman.

When asked if he learned anything from his time spent touring with Billy Idol, Lindsey gives a characteristically sarcastic answer about picking up Idol’s trademark sneer.

“Ya I do that nightly now. We pay him a small amount, it’s not big, it’s a small percentage per show. It’s a pretty good deal, not too expensive.”

An equally musing and lackadaisical individual, Lindsey is an interesting guy. A reluctant choirboy in his youth, with a gushing love for Boyz II Men, his musical viewpoint is a unique one, grounded in a subtle humor and a genuine passion for all kinds of music that started when he was a kid.

“Musically, I started growing an interest from pretty early on, as far back as I can remember. Having to go to choir was a total bummer, but I loved music. I really liked Boyz II Men. When I was a little kid MC Hammer came out, I loved MC Hammer. The only radio we really had was just the hits. I loved it.”

A better musician than salesman, Lindsey’s genuine approach to things didn’t help him with a summer job selling security systems.

“When I would knock on somebody’s door, I would feel really bad about it. They would come to the door and I would instantly apologize [laughs]. I would hand ‘em a flyer about the security system, and the great deals to be had, and then I would just leave. I kinda thought, ‘This could be genius, this could pay off, I’m gonna make a bunch of sales, set a few records,’ and then nobody ever called.”

Luckily for Lindsey, his music sells itself. The second album BRONCHO is currently touring behind has won plenty of fans. An overall softer, more 80’s-pop approach than their first effort, it has a distinct Cars flavor that Lindsey readily acknowledges.

“That’s spot on because I love The Cars. There’s something about the way that they write songs, a simplicity, that the way it’s arranged it makes it interesting, and I think that’s what we try to do, too. There’s an amount of humor in songs that I like. Sometimes there can be a moment in a song that feels so good it makes me laugh. I guess I laugh a lot.”

Lindsey’s sense of humor becomes more obvious when he talks about his duties as Class Historian back in high school, the inspiration behind the song of the same name.

“You know, the only thing I really had to do was write a poem about our senior year and recite it at graduation. I’ve never met another class historian. Maybe there should be a group, we just talk, get everything out, I think it would be helpful for everybody.”

SLANT play Lido Live Nov.7.

Hard-rock outfit Slant will open for fellow-thrashers Puddle of Mudd at Lido Live Nov. 7. Slant’s unique sound, influenced by System of a Down, Tool, and 90’s grunge mainstays, Nirvana, has earned them many fans at home and abroad. Their aggressive sound is a perfect match for Puddle of Mudd.

Concert Guide Live caught up with rhythm guitarist Munir Haque, to talk European tours, the LA music scene, a strange incident involving some surprise breast milk and playing, once again, with one of their idols, Puddle Of Mudd.

“They’re really cool, they’re chill, they talk about music,” Haque said. “They’re very polite [laughs], they’re a lot of fun, and it’s cool for us because we’re big fans of theirs. That whole, 90’s, raw, grunge sound, with really cool lyrics, is definitely something we always like listening to, and we’re definitely influenced by it. To be on a bill with them, and to be called back to be on numerous bills with them, is a great honor.”

Fans can expect a career-spanning setlist, with songs from each of the group’s three studio albums including their latest, Hope Created. Haque promises a crowd-pleasing show, including one of his favorite songs to play live, “Broken Wings.”

“It was our first single back when there were record stores,” Haque laughed. “We really enjoy playing that because it’s very catchy and there’s a lot of energy that naturally flows through the song. That song particularly somehow made it through a lot of avenues, even video games. Even when we play places we’ve never been, there’s always at least one person that remembers that song, you can see them singing, and that just adds ten-fold to the energy.”

Despite lamenting the loss of record stores, Haque still has faith in his hometown music scene.

“A lot of the clubs and people that work at the clubs, are still around from all the different decades, and they try to preserve all the good things from those times, so you can still experience it today,” Haque explained. “I like that no matter who says what about it dying, it’s still proven time after time that it’s really not dead. It might not be as big as it used to be. I mean, the last show we just played [at the Whiskey A Go Go] was overpacked! When the lights turned off, it was just a sea of heads, and it was just like, ‘The scene is not dead!’”

The live music scene still packs a punch, and if Haque’s experiences are any indication, there are plenty of surprises, too.

“I had breast milk squirted on my face at one show in Texas, which was very weird and I wasn’t expecting it,” Haque recalled. “That was one night that I’ll never forget. I just kind of had to keep going, and was a little confused, but it sure added a lot of entertainment for everyone else.”

Everyone else includes fellow bandmates, who represent a diverse range of cultures, all adding up to Slant’s unique, musical point of view.

“Fahim (Zaman, vocals / guitar] and I grew up together, like our parents knew each other before we were even born,” Haque said. “One day we were just like, ‘Dude, let’s just start playing music! Let’s figure it out, and do whatever we have to do.’ The other two guys, Josh [Chastain, bass] and Jimmy [Arce, drums], are great players and we met them through the scene, and they liked what we were trying to do, and that’s pretty much how we formed.”

The next phase in this progression is new music, which Haque assures fans is on the way.

“We are definitely working on new music right now,” Haque promised. “We just finished recording a cover of “With or Without You” by U2. We put our own twist on it.”

Anticipating the upcoming show, Slant is enjoying the ride, loving their fans, but always looking for new ones, with Haque extending a chummy invitation.

“Check us out and come be our friends!”