Welcoming back two fine songwriters to the Muse...
Ellis Paul, Peyton Tochterman
3227 N. Davidson St.
Doors 7:00 PM / Show 8:00 PM (event ends at 8:00 PM)
Watch & Listen
A singer songwriter is only as good as the times he reflects. In times like these, when so many nuts are running the show, it's comforting to know that Ellis Paul is actually holding our sanity on his own stage! Wise, tender, brilliant and biting, Ellis is one of our best human compasses, marking in melodies and poems where we've been and where we might go if we so choose to. Personally Ellis, I'm goin' where you're goin'! --Nora Guthrie (Woody Guthrie's daughter)
Ellis Paul is one of the leading voices in American songwriting and one of the top songwriters to emerge out of the fertile Boston folk scene. He helped create a movement that revitalized the national acoustic circuit with an urban, literate, folk rock style that helped renew interest in the genre in the 90's.
His charismatic, personally authentic performance style has influenced a generation of artists away from the artifice of pop, and closer towards the realness of folk. Though he remains among the most pop-friendly of today's singer-songwriters - his songs regularly appear in hit movie and TV soundtracks - he has bridged the gulf between the modern folk sound and the populist traditions of Woody Guthrie and Pete Seeger more successfully than perhaps any of his songwriting peers.
Yet to hear him at this crossroads moment in his career, you would think he was just getting started. For years, he has been among the folk circuit's most popular and dependable headliners, with a mailing list of over 20,000 fiercely loyal fans. He has released 14 CDs, and recently explored new media avenues with a documentary/concert DVD called "3,000 Miles," and "Notes from the Road," a critically acclaimed book of poems and stories.
In recent years, he has also departed from his solo career to tour and record with longtime compadre Vance Gilbert, and to indulge his deep respect for American folk icon Woody Guthrie. He appeared with the all-star Guthrie tribute tour, "Ribbon of Highway, Endless Skyway." For his Philo CD, "The Speed of Trees," he wrote a modern musical setting of Guthrie's unpublished lyric "God's Promise."
Nora Guthrie, Woody's daughter, invited Paul to to perform at a Woody Guthrie tribute show held in September 1996 at the Rock and Roll Hall of Fame in Cleveland, Ohio. The show was part of a 10-day celebration to honor Woody and also included performances by Bruce Springsteen, Ani DiFranco, Billy Bragg and others. In 1998, the quintessential Boston songwriter was also made an honorary citizen of Guthrie's birthplace, Okemah, Oklahoma, in recognition of all he has done to revive interest in the Dust Bowl troubadour.
This may surprise casual fans of Paul's urbane, literate and thoroughly modern folk-pop sound - but not those who knew him well. Among the first to single him out from the vast pack clamoring to rise from Boston's open mics in the early '90s was Bill Morrissey, even then considered the definitive New England ballad writer. He was so impressed, he produced Paul's first record, "Say Something," in 1993.
What did he see, so early in Paul's career? "He was always unique," Morrissey recalls. "He didn't write like anybody, didn't sing like anybody, didn't perform like anybody. So many of the songwriters then were trying to imitate whoever they thought was successful. Ellis was always himself; he didn't try to separate himself from his audiences. Perhaps it's because he's a Mainer; there's no pretense, and I think audiences sense that."
Paul is today regarded as such a classic urban songwriter that it's hard to fathom what a small-town boy he was. He grew up in northern Maine, in a potato farming community so remote that his exposure to music came almost entirely from the one top-40 station he could get on his radio, and his school band, where he played trumpet well enough to earn a summer scholarship to the Berklee College of Music.
He toured the country competing in track, catching a hard case of wanderlust, and earning a track scholarship to Boston College.
It was there that he discovered songwriting, completely out of boredom when a track-career-ending knee injury left him bedridden for months, and he began making up songs on a guitar a friend had given him. By 1989, he was haunting the open mic scene that would soon produce the most important generation of Boston folk stars since the early '60s, including Paul, Dar Williams, Vance Gilbert, Jonatha Brooke and Jennifer Kimball (then performing as The Story), Martin Sexton, Patty Griffin, and Catie Curtis.
Almost immediately, Paul's infectious melodicism, literate lyrics, and honest performing style drew attention. As early as 1993, the Boston Globe was calling him a songwriter's songwriter, adding that "no emerging songwriter in recent memory has been more highly touted and respected by songwriters."
While his style was highly introspective at that time, it was also informed by a probing humanism shaped in part by the five years he spent as a social worker. Every day, he struggled to help poor urban kids hovering dangerously on the edges of the criminal justice and welfare systems.
Recalling those days, Paul says, "It definitely gave me a whole new vision of what the world could be like. Even BC was about as safe an environment as you could find. Picking up kids at the projects, breaking up fights, talking to parole officers and psychologists, getting to know this side of life I'd never been exposed to, really opened my mind up. From that, maybe I took sort of a wide-eyed view of the world around me, which seeped into my music."
His skyrocketing career is still the stuff of legend in Boston folk circles; how quickly he climbed from opening act for the likes of Morrissey, Shawn Colvin, and John Gorka, to national headliner and recording star.
Morrissey recalls something else that set him apart back then: his artistic curiosity. Paul would pepper him with questions about who influenced him, which songwriters he should be listening to. He was discovering what a rich, ancient community this music was - and he wanted to dive right into the deep end.
"You know, that's a very smart thing to do," says Morrissey. "It helped set him apart. A lot of young singers I meet are not curious about what went on before; they just say, 'I want to sing another song about my life.' Paul has a sense of roots, of connectedness to the whole history of folk music; he sees the thread that runs through all the generations of this music."
In particular, Paul fell under the spell of Woody Guthrie, who wrote "This Land Is Your Land," "Pastures of Plenty," and a thousand other American anthems. By 1998, Paul was telling the Boston Globe that Woody, to him, was "ground zero, the prototype in a long line of people I'm a huge fan of." He put a Woody Guthrie tattoo on his arm, solemnly telling people it was "a commitment."
An increasingly topical humanism informed his work. Like Guthrie a half-century before, Paul displayed a humble genius for putting the most divisive issues of his day into starkly personal and emotional terms. "She loves a girl," he sang. "What are you going to do if you love her, too?"
"I feel like I'm more a part of a community now than just a songwriter singing about my own struggles and the struggles of the friends I see around me," Paul says of his career today. "Maybe that's the difference between being a singer-songwriter and being a folk musician, that transition into more of a community sense of writing. "
At the same time, Paul remains the most mainstream-friendly folk songwriter to emerge from Boston since Tom Rush. He has won an unprecedented 14 Boston Music Awards, sung at Fenway Park for the Red Sox, The Boston Garden for the Celtics and even had the mayor of Boston, Thomas M. Menino, proclaim it "Ellis Paul Day in Boston" on July 9th, 2010 when Ellis celebrated his 20th year in making music. Ellis' worldwide audience has grown from several high profile song placements and hundreds of thousands of YouTube video plays. His songs are heard in various commercials, documentaries, TV shows such as "Ed" and MTV's "Real World"; and in the soundtracks of blockbuster films, including 3 Farrelly Brothers films: "Hall Pass", starring Owen Wilson and Alyssa Milano, "Me, Myself, & Irene," starring Jim Carrey, and "Shallow Hal," with Jack Black and Gwyneth Paltrow. Director Peter Farrelly has called Ellis Paul "a national treasure".
It would be easy - perhaps even advisable - to become complacent after succeeding so remarkably at all the things he set out to do. But there is a restlessness in Paul these days, a vibrant, glowing spirit of artistic adventure. Success to him is not a prize to clutch and protect, but an open door to a wider journey.
"There are differences between the me now and the me I was in the early '90s," he says quietly. "I have a reliable fan base that keeps a roof over my head, for which I'm so thankful. And I think they're also willing and forgiving enough for me to go through any evolution I choose, as long as the core of what I do is honest, and that I continue to write songs and stories about the things I see around me.
"I need to keep feeling refreshed. I've been down the Ellis Paul rabbit-hole, you know, and now I'm looking around and trying to learn new things, experience other people's music and stories. I have no idea where I'm headed, but I think it'll make me a broader artist. "
That sounds like a very safe bet.
Peyton Tochterman’s story begins in Aldie, Virginia, a small rural town where as he describes “ the mill doesn’t run, we had a small country store, a church that no one went to, Buzzy’s gas station that hasn’t had pumps since before I was born, and a post office. “ The town’s still there, Peyton is not. But his songwriting delves deep into this kind of American rural upbringing. As Ellis Paul puts it, “"Peyton Tochterman has an old soul’s gift for writing the ageless, earthy songs that define what is best about American Music. His songs carry the weighty truths that make life less of a burden for those who hear them." Peyton’s songs reach deep into the rural landscape of America and don’t just talk about the beauty and light of our country, or our relationships with others, but also about the often disenfranchised, darker culture of the American reality- both spiritually and economically. 6 On The Square comments that “Tochterman's soulful, pastoral verging on sultry, and often refreshing sound hints at the rocker lying beneath the surface. At times, you'll hear Bruce Springsteen or the early John Cougar Mellencamp peeking through in his songs. Give him a guitar and harmonica, and then let his raspy, gritty voice comfortably take hold and wrap you in his warmth.” Most of his characters in his songs are dreamers and revolutionaries, who have never escaped their town (or head), or if they did, never found what they were looking for and ended up right back on the barstool where they got the idea to leave in the first place.
His debut national release A New World exhibits these characters and more. From heart churning ballads to story songs, Tochterman is a “skillful song poet”(Maverick Magazine) and as Vintage Guitar Player puts it, “Tochterman’s fingerpicked acoustic demands attention, showing as much backbone on lovely ballads like “Smile” as on the comedic “Always”… Tochterman stands alone (solo) just fine, particularly on cuts like “God And Country.”
In 2007, while trying to establish himself as a staple of Virginia based songwriters, Peyton had a 9-foot Steinway piano collapse onto him and then spent 4 months on his back recovering from spinal cord surgery. It was then that Tochterman rededicated himself to the kind of uncompromising songwriting that deals with the hard and sometimes brutal reality of the internal and external struggles of the American man. Yet in his songs he also finds light and peace in the mess of it all.
In 2012 Tochterman was hired by The State Department of The United Stated to travel to war torn Afghanistan as A Cultural Ambassador for Music where he performed for not only members of the US Military and our coalition forces, but also for and with local Afghans. He was the first American (and likely the last) to ever perform at The Citadel in Herat built by Alexander The Great in 330 B.C. The state department described his work while abroad as “doing more for diplomacy between Afghanistan and The United States than anything else we have done.” As one LT. Col. in the Marines who was at his show told him, “You made our job easier today,” referring to Tochterman’s concert where he invited 8 Afghan musicians to perform with him on stage. “This is the kind of thing that will truly resonate throughout the culture here.” Tochterman’s music resonates for sure.
Peyton is a Virginian. He is an American. As did Tochterman, his songs begin and take route in the rural south, but reach far out into the world. At the end of the day you can trust that his songwriting is honest, bold, and uncompromising.
Nothing is going to change that.
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