Paula Boggs is a force. Not merely because of her illustrious past—a resume that includes stints as an Airborne paratrooper, a high-ranking Starbucks executive, and a prominent lawyer—but because of her relentless pursuit of music that transcends genre and speaks to the core of the human experience. Her forthcoming release, Live at Sweetwater Music Hall, due out on August 23rd, is a testament to her unique artistic vision and the seamless synergy of her band. This album encapsulates the essence of a live performance that’s as raw and real as it gets, captured in one electrifying evening at the legendary Sweetwater Music Hall in Mill Valley, California.
To understand why Paula Boggs Band’s live album matters, you need to grasp their sound. Described as “Soulgrass,” a rich blend of bluegrass, jazz, and Americana, the band’s music is a melting pot of influences. It’s a sound that’s won them critical acclaim with the release of 2022’s Janus. The band’s vibrant, evolving sound is an amalgamation of the members, each adding their own flavor to the mix, including Tor Dietrichson’s percussion, Alex Dyring’s bass and vocals, Jacob Evans on drums, Darren Loucas on guitars, harmonica, and vocals, Paul Matthew Moore on keyboards and accordion, and guest artist Anton Patzner on fiddle and mandolin. Together, they create a dynamic, layered sound that’s both deeply rooted in tradition and refreshingly innovative.
Live at Sweetwater Music Hall is more than just a live album; it’s a snapshot of a band at the peak of their powers. The album opens with “America 2020,” a track born out of the tumultuous events of its namesake year. It’s a hard-hitting commentary set to a rootsy New Orleans groove, featuring lyrics that are as biting as they are insightful. The live performance elevates the song, with Patzner’s fiddle adding an extra layer of poignancy. The lap steel guitar solo taunting “The Star-Spangled Banner” is a masterstroke, juxtaposing patriotism with a call for introspection.
“A Finer Thread” offers a different vibe, leaning into the band’s jazz and folk influences. The song, a staple in the band’s repertoire for nearly two decades, is reimagined here with a fresh groove that’s both nostalgic and new. It’s the album’s only love song, and the live rendition is filled with a palpable sense of longing and hope, encapsulated in the lyrics, “Morning, noon, and night I’m weak for you.”
The whimsical “Ponies,” based on a true story from Boggs’ childhood, brings a light-hearted touch to the album. The band’s harmony-laden opening sets the tone for a tale of unexpected horse ownership, complete with fiddles, standup bass, and ukulele. It’s a crowd favorite, and the live version captures the band’s playful spirit and intricate musicianship.
“King Brewster” dives deep into personal history, recounting the journey of Paula’s ancestor from bondage to freedom. This live version replaces the Grammy-winning Dom Flemons’ studio contributions with Darren Loucas’ evocative lap steel guitar and co-lead vocals. The song’s haunting melody and discordant final chord leave listeners reflecting on the complex legacies of the past.
“Ebony Revisited” and “Motel 6 Serenade” continue the album’s exploration of personal and collective memory. “Ebony Revisited” invites contemplation about the concept of home, while “Motel 6 Serenade” captures the bittersweet nostalgia of lost friendships and bygone days. Both songs showcase Boggs’ lyrical prowess and the band’s ability to create rich, immersive soundscapes.
“We All Fall Down,” a song about life’s inevitable challenges, features a last-minute solo switch from harmonica to fiddle due to a technical glitch. This spontaneous change epitomizes the band’s adaptability and the live performance’s raw, unfiltered energy. Similarly, “Goo Goo Dolls” brings a touch of humor and critique to the music industry, wrapped in a danceable Texas two-step rhythm that’s sure to get the audience moving.
“Edith’s Coming Home,” inspired by the life of Edith Miller, one of New York’s first Black female judges, is a poignant reflection on resilience and legacy. The live version’s jazzy groove and heartfelt lyrics offer a fitting tribute to a remarkable woman, blending personal narrative with broader social commentary.
The album closes with a cover of “Get Together,” a song that’s been part of the band’s repertoire for over a decade. Their rendition infuses the 1960s classic with a “Soulgrass” twist, merging folk, bluegrass, jazz, rock, and gospel influences. It’s a fitting end to a live album that’s all about connection and collective experience, leaving the audience with a hopeful message: “Everybody get together and try to love one another right now.”
Paula Boggs Band’s journey to this point has been anything but conventional. Boggs’ diverse background and unwavering commitment to her art shines through in every note. The band’s evolution is marked by its ability to blend genres and push musical boundaries while staying true to its roots. From its debut album, Buddha State of Mind, to the critically acclaimed Janus, its music has always been about more than just entertainment. It’s about storytelling, connection, and creating a space for reflection and dialogue.
As the band prepares for their fifth studio album in 2025, Live at Sweetwater Music Hall serves as a powerful marker of where they are now. It captures the joy, emotional depth, and musical prowess that define their live performances. This album isn’t just for those who were there that night; it’s for anyone who wants to experience the magic of a live show, the kind that makes you feel more connected, more hopeful, and more alive.
In a world that often feels increasingly disconnected, Paula Boggs Band offers a reminder of music’s power to bring us together. Live at Sweetwater Music Hall is a celebration of life, love, and resilience captured in one unforgettable evening. It’s an album that invites you to listen, reflect, and, most importantly, feel.
PREVIOUS PRESS
“Boggs captures a raw nostalgia …that might catch you by surprise. She has created a gentle groove for your heartache.” – Americana Highways
“Blends the sounds of jazz, rock and Americana.” – American Songwriter
“The harrowing, chanted chorus is immediately followed by verse after verse from Boggs, as she weaves soul, bluegrass, country and even a little bit of jazz into a beautiful yarn about finding the the romantic side of life in any given circumstance.” – Billboard
“This Seattle combo dubs its sound “soulgrass,” since it combines bluegrass and Americana idioms. This track is a story song telling of Paula’s enslaved ancestor in Alabama and his journey through the post-bellum Jim Crow South. Flemons, a veteran of the Carolina Chocolate Drops, shares lead vocals. It’s kinda wordy, but could find favor on folk playlists” – Music Row Magazine
“From paratrooper to litigator to the Board room, Paula Boggs has shattered multiple glass ceilings and is working on the next.” – Guitar Girl Magazine
“The new Paula Boggs band single “Ponies” an ambitious charmer that curates with Dylan “Desire” era multi-dimensional expressiveness along with storied lyrics worth continually revisiting.” – Glide Magazine
“Their music employs a heck of a lot of oomph, but you’d better be ready for some serious spiritual cleansing: Their music entertains, but the band’s best quality is their ability to inspire and enlighten through song.” – Atwood Magazine
“Rewriting the bluegrass story from a black perspective.” – Americana UK
“With a long history of activism from both Paula and the band as a whole, their music intends to inspire listeners to see the world through a slightly different and more unifying lens.” – Folk Radio UK
“The band’s signature sound, an amalgam of bluegrass, jazz, Americana and r’n’b that they call “soulgrass,” mirrors the multiple lives Boggs has lived.” – Country Queer
“Boggs makes a certain kind of urban, jazzy music that seems permanently nested within the structures of traditional folk, bluegrass, and even standard blues harmony. In other words, she’s all over the place. She calls her music “soulgrass,” and she reminds me a little of Gil Scott-Heron, if only for the razor-intensity of her words.” – San Diego Reader
“Incorporates the wit of Hayes Carll and traditional sounds akin to Rhiannon Giddens and Dom Flemons, the last of whom joins Boggs on parts of her new collection of music.” – The Boot