Calling a woman “ballsy” probably isn't going to get you anything more than a handprint on your face, but Brit Boras is just that - the confidence with which she sings and plays in her band, Brit and the Cavalry, is astounding. Clearly unafraid to fuse styles and sounds, it appears as though her one goal is to force the listener to challenge the expected. She succeeds in this mission not by forcing messages on you the way mom shoved cough medicine down your throat, but through a mix of sincerity and self-assurance. The Cavalry, Alex Beckmann on drums and Dan Krysa on bass, provide soulful grooves on nearly every track, regardless of style. Musical arrangements and accompaniments - often strings and horns - are smart and warm, never overdone. Of special note is the modern-folk tune “Cassandra,” with its undeniable Dylan “Desire” quality right down to the violins, creepy high-pitched harmonies, and calm oceanic waxing and waning of the lead vocals - hypnotic. After a productive 2009 and with a new EP in the works, Brit took some time to answer a few questions… - Read Paul Dunn's interview with Brit Boras here.

Five men with inviting stage presence, energy, and positive attitudes believe, “It’s important to not choose influences while writing music” but rather “accept what life presents to you and use from it what you see fit.” Such sentiments are reflected in The Click Clack Boom’s songwriting which, in addition to its “charming drummer,” has attracted many fans across the eastern states. Now with a full U.S. tour in the works and a return appearance planned for the next SxSW festival, we await The Click Clack Boom’s first full length album in 2010. A successful single “Open Hands” has presented a taste of what’s to come and is available now on iTunes. Manager Luke Watson is said to advise the band, “Don't be late to shows, and don’t drink.” The Click Clack Boom admits, “We are still working on this.” - Read Gina Alioto's interview with the band here.

While most bands use their debut full length or EP to promote their music and land deals with labels, Suckers somehow managed to build a buzz in the NYC scene without any proper releases under their belt. The band has been a Deli darling for a long time (at least 3 years) and we are glad to see them do well: they just signed to Frenchkiss Records (The Antlers, The Dodos, Local Natives) and announced the release of their debut full lenght for June 8. Suckers has a busy March schedule ahead (including several appearences at SXSW) and a tour with The Antlers coming up in May. Don't miss their show at Le Poisson Rouge on Tuesday March 10.

Here is a Message left by Emanuel and the Fear on The Deli's NYC Open Blog : "A record release party is much like the ceremony associated with a Bar Mitzvah. A mature product is released into the public, people you hardly know are dancing their socks off, some drunken family member is coddled around a bathroom toilet releasing his or her own matured product, you get the point... Now, I've never been to an actual Bar Mitzvah, but if I had that's sure how I would like to envision it. Overall though, I believe the main similarity between a record release party and a Bar Mitzvah is the value and importance of having the folks you love, both friends and family, celebrating the introduction of a new stage in one's life. That being said, Emanuel and the Fear, cordially invite you to attend their record release party for the debut full-length album, Listen, on Wednesday, March 10th at The Gramercy Theater! Doors are at 8:00pm and best of all the event is ALL AGES. And what better way to celebrate a record release than with an evening at The Gramercy Theater? How about with an additional 27 members of the NYU Symphony Orchestra performing behind the Fear?! Well, that's exactly what the bands got cooked up. Oh and did we mention, Emanuel is going to be conducting a symphonic piece of his own to start the show! Over the past four months, the Fear has been patiently waiting and working on a totally revised set with all new, unheard songs and arrangements that will be showcased for the first time with a full orchestra. The night is sure to be an interesting evening, also featuring an opening set by the wonderful Elizabeth & the Catapult w/ Jeff Taylor!" - (as posted in The Deli's Open Blog - post your band's entries, videos, and Mp3s here).

On March 4, Greenwich Village’s Players Theatre bustled with feathers and glitter for the “Masquerade Ball,” the first of CitizenMusic’s Theatre Shows. Verona, NJ’s Old Wives, a jazzy, soulful quintet, brought sway to the sold-out venue with swanky sass. Although seating was available, the audience was uncontainable, especially when The Shake appeared. Masked and made-up, the quartet blasted through an explosive set, accompanied by confetti cannons, noise-makers, and a slinky dancer, armed with flashlights for their final “Got No Soul.” Brooklyn’s Black Taxi energized the audience to a climax, as masqueraders formed a fire-hazard in the aisles, dancing to new tunes and released favorites. Despite some first-night sound jitters, the music set the bar high for the subsequent shows.

 “Prohibition Night” commenced copacetically with the bees’ knees, Black Taxi. The joint encouraged viewers to stay put, but rules at a rock show proved baloney as flappers and bootleggers moved stage front. Apollo Run, donning fedoras and suspenders, captivated with nuanced vocal range and powerful lead keyboard.  Finishing their set, the trio mingled and serenaded admirers from atop the arms of the theater seats. Milo and the Fuzz (in the picture), another band of three cool cats, played with mature confidence and put on the Ritz, wrapping with a swell performance.

The finale, “PoMo Night,” featured an anything-goes theme with outfits that would normally not leave the house. New Madrid cleverly fused Spanish and English lyrics, engaged the bizarrely dressed with adrenaline-infused rock, and flung souvenir spiders during “La Araña.” Toy Soldiers, out-of-towners from Philadelphia, brought a classic, rootsy vibe that left listeners swooning. Still standing, Black Taxi amped up the pace with perfected sound and were cheered on for multiple encores. As the imaginary curtain closed and reopened, the leading men from the entire production reunited for a celebratory bow before an exeunt omnes.  The Theatre Shows' all-around success promises a repeat of the event and proves that New York is home to pre-eminent music. - Meijin Bruttomesso