Posts Tagged ‘Robbie Seay Band’

Who Can Know It? by Showbread: “Expect the unexpected” is what I’ve come to, well, “expect”  from Showbread. So, unsurprisingly, their fifth endeavor sounds nothing like their previous four. The most obvious difference is the absence of screaming, so the casual Showbread fans will once again be haters. Not that Showbread cares. If you’re like me and listen to Showbread for their lyrics, you will love this record. The lyrics are typical Showbread- potent, unabashed, and thought-provoking (the only aspect of Showbread that is consistent). But the topics are heavier this time around, perhaps the reason for the more subdued, mellow music.


Paper Tongues by Paper Tongues: Even though it was still quite early in the year when Paper Tongues released their mind-blowingly spectacular debut, I knew that this would be my favorite new band of 2010. Their debut is a glorious fusion of hip/hop, rock, and soul. An undeniably catchy, accessible release like this will surely propel Paper Tongues into the mainstream limelight. This is definitely the band to watch for in 2011.



Miracle by Robbie Seay Band: Authenticity- for me, that’s one of the most important things in an artist. Robbie Seay is one the most humble and legit dudes I’ve ever met, and Miracle is a reflection of that. The lyrical poignancy and honesty on Miracle is truly a breath of fresh air from the cookie-cutter, sugarcoated lyrics that are all too common in mainstream worship music today. Case in point, “Kingdom & A King.”



Horseshoes & Handgrenades by Disciple: I expected this. And by this I mean a change in Disciple’s sound. With only one original member remaining, it was inevitable. Say goodbye to the days of Scars Remain, and hello to mid-tempo rock songs. …I make it sound worse than it is though. There’s still some explosiveness in the new record (after all, “handgrenades” is in the title). It’s just not the same… *sigh*



15 Live by Project 86: Being one of my all-time favorite bands, I’ve been waiting for these guys to release a live album for some time now. And it almost turned out to be what I had hoped forraw, chaotic, and containing everything that’s awesome about Project 86. Two key ingredients are missing however, Randy and Steve (neither member has officially announced their departure, but they no longer tour with the band so…). Project 86 is promoting this album as a celebration of the band’s long and prosperous career, yet with the absence of two founding members all Project 86 really is anymore is Andrew Schwab. Now don’t get me wrong, Schwab is one awesome dude, but one dude doesn’t make a band (unless you’re The Rocket Summer). This leaves me wondering if P86 will make it to their 16th anniversary...

The Medicine by John Mark McMillan: Every year there’s at least one record that wows me. For 2010, The Medicine would be that album. A review of this wonderfully organic folk/rock record would not do it justice. So I’ll simply tell you to just buy it.




Hymns: Take The World, But Give Me Jesus by Ascend The Hill: Is it just me or are a lot of worship bands covering hymns these days? Looking at the tracklist as I downloaded this album, I was admittedly bummed to see yet another worship band covering traditional hymns. My sentiment completely changed less than thirty seconds into the album. These renditions are so modern and creative that if I wasn’t familiar with these songs, I would have never guessed them to be hymns. If you only pick up one worship album this year, make it this one (and it’s available for free at, so you really have no excuse).


The Light Meets The Dark by Tenth Avenue North: I like this album. There I said it. I’ve ruined all the music snob credibility that I had in one simple sentence (if I ever had any?). It’s overproduced and cliche at times, but hey, I’m entitled to at least one guilty pleasure album a year, right?




Vessels by Ivoryline: There are very few bands that I don’t get. Even if I don’t like a band, be it because it’s not my style or bad musicianship, I can usually figure out why others may enjoy it. Ivoryline is one those bands that I don’t get. At all. I didn’t see the draw of their debut record, and I don’t understand the praise for Vessels. So, I’m humbly asking for an Ivoryline fan to explain their love of this band to me in the comments section. Thanks.



Dark is the Way, Light is the Place by Anberlin: Anberlin is back. Not in an epic way like Cities, but they have certainly made a comeback from their first major label release, New Surrender, which was slightly above a flop. Dark Is The Way is Anberlin’s maturest album yet; a happy medium between the pop sound of New Surrender and the dark rock of Cities. With this solid release, Anberlin is finally receiving the mainstream attention that they deserve.



Born Again by Newsboys: Wow, okay, here we go. Michael Tait taking over for Peter Furler totally baffled me. Actually, I should say “baffles me,” because I’m still confused even a year later after this bizarre and startling announcement. Obviously, with this huge change, the new album sounds quite different from previous ones. Less pop, plus more rock, plus… tobyMac? Yup, some tracks sound like they could have come right off of a tobyMac record, which is actually no surprise considering Toby had a hand in the album. It’s a catchy and likable album, but sadly marks the end of the quirky pop that made the Newsboys a CCM sensation.


Flags by Brooke Fraser: Last but not least, we arrive at my favorite album of the year. I could gush on and on about this album, or even just Fraser’s flawless vocals and impeccable tone. But I’ll try to keep it short. Sonically, Flags is a mixed bag. The upbeat songs are mostly cute and fun folk/rock, while the slower tunes are almost ethereal yet still fall into the folk genre. And then there are songs like “Jack Kerouac” that fit neither of the previous categories. Lyrically, I have yet to really dive in, but one song that has caught me thus far is “Crows + Locusts.” I honestly haven’t even dug into the song’s meaning yet; I just love the lyrical imagery. And at the risk of blubbering on for eternity, I’ll shut up now.

Agree? Disagree? Comments on any other 2010 albums? Sound off below.


For most people, Labor Day weekend is a time to get together with family and friends to celebrate the last weekend of the summer. For Christian music junkies in the New Jersey area, like me, Labor Day weekend is a time to see performances by some of the best bands Christian music has to offer at Revelation Generation Festival. Revelation Generation, or RevGen as it’s commonly referred to, has only been around for six years, yet the festival has already attracted thousands because of its diverse, top-knotch line-up, featuring artists from worship to folk to metal. RevGen boasts five stages: New York Stage (mainstream acts), Philadelphia Stage (alternative/metal acts), Nashville Stage (folk, pop, worship, and indie acts), Urban Stage (R&B, Rap, Hip/Hop acts), and Come&Live! Stage (mix of worship/metal acts mostly from the Come&Live! label).

As with previous years, RevGen had a fantastic line-up in store for attendees. The 2010 line-up included typical festival headliners such as tobyMac, Anberlin, and Skillet; artsy bands like Mae, solo-artist Dustin Kensrue, and Shawn McDonald; the line-up also included some unlikely artists, O.C. Supertones and Lou Gramm (formerly of Foreigner). This year RevGen took place on a Saturday and Sunday, departing from the typical Friday and Saturday, as in past years.


Britt Nicole was the first artist I was able to see at RevGen. She was very bubbly and energetic on stage, which certainly matched the personality of her two albums. Britt kicked off appropriately with “Welcome To The Show.” “Glow” and “Set The World On Fire,” followed, along with the spunky “Headphones,” which she dedicated to the ladies in the audience. Britt had a very engaging performance, but I had to leave halfway through her set to attend the Robbie Seay Band press conference.

Only two other media outlets joined the press conference with Robbie Seay, so it was very informal, which made for more personable and honest conversation. Robbie shared about the service work that his church, Ecclesia, has been involved in, (including the founding of Advent Conspiracy), as well as stuff about the band.


With a half an hour until The Almost’s set, I decided to watch BarlowGirl in the meantime. Unsurprisingly, the crowd for BarlowGirl was mostly female, but I did see a few guys singing along and one was even playing the air guitar. BarlowGirl once again had technical difficulties at RevGen. Last year it was a malfunctioning guitar pedal, this year, it was the guitar that malfunctioned. But BarlowGirl pulled through and it was one of the most enjoyable sets for me that day.


I almost didn’t recognize The Almost as I headed over to the Philadelphia stage. As I got closer I realized why, Aaron Gillespie had gotten a haircut. He explained that his dreads were starting to reek, so he chopped off most of his hair. The band played a well-balanced mix of popular tunes from their two albums. My favorite though, was a cover of Tom Petty’s “Free Falling.” They brought intense energy to the song, and even though some of the crowd probably wasn’t familiar with Petty, they seemed to enjoy it. The Almost finished their set with the stirring “Amazing Because It Is.”


Robbie Seay Band was my most anticipated act of the evening. Robbie opened with “Love Invades” off of his most recent album, Miracle. Another uplifting worship song, “Song of Hope” followed. After the catchy “Crazy Love,” Robbie performed a more upbeat and pop-ier version of Jon Foreman’s “Your Love Is Song.” I was disappointed when the band’s set ended after only six or seven songs.

For a number of people, even including a few bands that had performed at RevGen, Dustin Kensrue was the highlight of RevGen. Most well-known as the lead singer for alt. rock/post-hardcore band Thrice, Kensrue’s solo music is authentic folk/acoustic. His performance was very informal and intimate, armed with just a guitar and harmonica. Kensrue started with “Pistol,” which definitely seemed to be a crowd favorite. Following a cover of Peter Gabriel’s “Salsberry Hill,” was a song that I don’t know the title of, but that’s okay because Kensrue didn’t know the words. After the intro he abruptly stopped to ask someone in the crowd what the first line was to jog his memory. Kensrue later mentioned his appreciation of the crowd. He stated that he usually plays in secular environments and he thought it was cool that the RevGen audience understands the illusions in his songs. I really wanted to stay for his entire set, but I had to leave to finish homework (yes, I had homework due on a Saturday at midnight, blech). As I headed to my car I heard Kensrue playing an acoustic version of my favorite Thrice song, “In Exile.” Even though I’m only a casual fan, this ended up being my favorite performance of the whole festival. It’s very rare that I come across performances with such a feeling of authenticity as with Kensrue’s performance.