Brothers McCann

We settled into a spot very close to the stage to catch the band. I had heard about them, and was somewhat expecting a generic jam band, I'm not sure why. I know that two of the guys had stints in the Worcester MA band Oak Street Jam Band and perhaps that was jading my ore-judgment. The band fired up, and within the first tune, Gone, got warmed up pretty well. This is not a jam band, I could tell pretty instantly. The Brothers McCann are a six piece unit featuring two guitars (one essentially rhythm, the other leads), keyboards, bass, saxophone, and drums. The four guys up front all had vocal mics and used them for excellent vocal harmonies. Brothers Mike and Pat McCann on rhythm guitar and keys respectively, cover the majority of the lead vocals. Both have excellent soul drenched vocals, with Pat's voice being a little more on the progressive pop side, reminding me of the guy from Maroon 5.

The band really warmed into the set and the crowd by the second song, Innocence. Their arrangements are tight, and their enthusiasm onstage is palpable. This was clearly also a home town crowd for them, as folks in the front were singing along to their songs, and taking the band's cues as to when to participate with shouts and "Heys!" at the perfect rhythmic moments. The Brothers McCann seem to have taken up the mantle of a long line of Boston funk and soul bands, that extends back decades to Chucklehead, Two Ton Shoe, Superhoney, and now bands with whom they were sharing the bill that night, like Love in Stockholm.

The set was short but spirited. With a four band bill that night, there was not a bit of time to noodle. The band chose instead to showcase the songs and the vocals, which I loved. The crowd was definitely theirs, and even though the set was short, I felt like I got a great idea of who the band was throughout the night. They even did a bit of an "encore" type of song within their alotted time- with all the band members gathering around microphones for a gospel inflected vocal tune called Saint Peter which was a perfect set closer.

With a crowd that supported them nicely that featured a fistful of young and attractive people, I can imagine that the Brothers McCann will make waves in Boston clubs the next few years, and a handful of festival slots are likely going to pop up on their schedule. If their feel good soul inflected jams continue to flow, so too will the Brothers McCann. - Live Music News and Review

Underneath the shaft wall ceiling and exposed copper pipes of the packed Middle East Downstairs, the golden show-stoppers Brothers McCann performed. But to call this band golden, would almost seem incorrect, not because they are lacking in talent (I can assure they’re not), but because of their humility. I like to consider myself a musical purist, and last night I couldn’t help but conclude that these gentlemen are too. There is no discernible front man, everything is shared, from vocals to lead instrument, be it guitar, keys, or saxophone. The musicians of Brothers McCann put their love of music before ego, and the result is a toe tappin’, finger snappin’ good time.

Singing is kind of my jam, and I tend to judge vocals rather harshly, but hear this, both Mike and Pat McCann have incredibly gifted voices. Mike has a gritty, smoky, deep, soulful voice. Pat has a lady killing falsetto and an ability to hit high notes with a tremendous amount of power. Check out “St. Peter” on youtube (when you’re done reading) and you’ll know what I mean. Their voices contrast extremely well and when they harmonize they have the chemistry of… well, they have the chemistry of brothers.

Erik White, a guitarist for Brothers McCann had a chance to play front man on “Free” where he sang lead vocals and rocked a patient and melodic guitar solo. His solo on “On the Door” involved usage of a wah pedal, and by the time it climaxed, the energy of the band was at a roar.

The rhythm section consisting of Eran Shaysh on drums, and Dan Bissex on bass was thumping all night long like a heartbeat, pumping life into the rest of the band. Shaysh had the spotlight at the end of “Innocence” with a brief yet impressive drum solo.

God I love saxophone, I can never seem to get enough of it. During “Innocence,” Matt Abatelli appeased this need, as blasts from his sax reigned triumphant over the crowd. His playing at the end of “Almost Home” was very sharp and intertwined well with Mike’s vocals.

Brothers McCann finished their set with “St. Peter” a song performed with Abatelli, Shaysh, and Bissex standing as back-up singers, stripping the sound down to guitar, keys and vocals. This song is so beautiful, and Pat does such a wonderful job of singing it, it actually brought tears to my eyes.

Brothers McCann played a delicious set. They had the crowd all buttered up for Hey Mama. The energy in the MiddleEast Downstairs was electric after Brothers McCann left the stage. - Allston Pudding

By Clara Rose Thornton

I found myself sheep-wrestling on a mountainside after pancakes on a Sunday afternoon, a bright sun bouncing off of Camels Hump's brow in the distance. In a pasture in Plainfield, a gaggle of clean-cut musicians from Boston and I received our mission, and chose to accept it.

Watching this group of young men concoct and then execute various plans to herd sheep onto a truck -- for relocation to a different pasture – was amusing, to say the least. These are not ruddy, field-hardened types. Upon first impression, they don't appear as of the raucous, adventure-seeking rocker breed, either – ready for an unending spectrum of experience.

They are mostly in their early 20s. Close-cropped hair except for a few wily curls, crisp white shirts and innocent eyes characterize the lot. A sense of purity prevails. yet there's an identifiable emotional gravity in each, embedded in their eyes in still moments. It's as if the Jonas Brothers went to college and were gravely affected by Baudelaire.

When not faced with impromptu animal husbandry, the five gentlemen's band -- Brothers McCann, lyric-driven folk-pop based in Cambridge – can generally be found touring the Northeast and building the already-impressive fanbase they've garnered since 2007. Their sound integrates rootsy elements into Stevie Wonder-inspired pop constructions, which center themselves within poignant narratives. This is, in fact, their forte; despite genuine musicianship from each player and effortless interplay in the melodies, the crux of feeling within Brothers McCann is relayed by the lyrics.

Siblings Pat McCann, 23, and Mike McCann, 24, handle songwriting (also keyboards and rhythm guitar, respectively), and brought onboard friends from Boston's music scene to flesh out what began as a singer-songwriter duo: Erik White, 24, on lead guitar; Eran Shaysh, 23, on drums; and Daniel Bissex, 29, on bass. Everyone sings. Their roster of shows includes House of Blues and Harpers Ferry.

High energy and positivism exude from the music, dusted with perceptions of life unusual from relatively young songwriters. Their music is danceable, and fits a wide variety of venues. Yet there's something quirky, and with a certain sheen, that keeps it from being out-and-out rock. They even had early-90s-style choreographed dancing at their recent Strangecreek performance. There is something delicate and ironic about this music and these earnest boys.

All of which makes the image of them rolling up their sleeves and chasing sheep around Plainfield stranger. But this happened to be Bissex's childhood home, the sprawling farm in the same town as Goddard College. They'd had a gig at Charlie O's in Montpelier the night before, and I'd accompanied them as press. Whenever the band has a Charlie O's appearance they stay the night at the Bissex farm, which feels straight out of some old Scottish novel. Bissex's parents always entertain the band and their friends on these Vermont excursions, and had laid before us a magnificent breakfast of buttermilk pancakes and fruit. Now the natural thing to do was help his parents, as they needed to transport approximately a dozen sheep into a designated area, and the flock was behaving in a rather unsheep-like manner.

Sometimes even pop-rock stars get dirty. Very, very dirty.

I learned that weekend that underneath any amount of shimmer that could be applied to them from the folk world, or from the jam/improv world, or the roots world, for not operating 100 percent under those genre's preconceived boundaries, is actually to their advantage. They are free to create themselves. So-called purist modes of thought create negative connotations and stereotypes, such as the one that caused me to be surprised when a bunch of Boston boys who look like they may, possibly, use hairgel, wrestle sheep and drag them around by the legs – something which would seem an oh-so-dirty folkie thing to do.

Brothers McCann prove their true colors again with this weekend's return to the Bissex farm, but in high style. They're throwing Reunion festival, which comes to Plainfield Friday and Saturday, featuring seven popular and diverse bands from the Boston area. Hey Mama, The Baker Thomas Band, Ray Hendricks, Dietrich Strause, Ross Livermore and The Dejas perform, joining two sets from Brothers McCann. Phil Henry is the lone Vermont act.

Neighbors of the Bissex have their own working farms, Cleary Farm and Hollister Hill, and will be on hand selling organic, free-range lamb, beef and pork. Several other area farms will have booths selling agricultural products, as well as vendors selling other Vermont products and crafts. The food drive organization Strangers Helping Strangers will have a booth. A large community grill will be set up, for everyone to cook their newly purchased foods on together.

All of the bands know and have played with one another before. Each of them have loyal, interconnected fan bases. The comfortable atmosphere and celebratory nature predicted by Brothers McCann led to the choice of the name “Reunion.”

“My parents have a big July Fourth party every year in this enchanting spot,” explained Daniel Bissex in backed-up traffic on Tuesday, en route to a rehearsal. “We wanted to add music to it, so we've been bringing bands and other friends up over the last two years and having people camp. We realized that we could do this in an organized fashion, and open it up to an extended family, so to speak.

“As our schedule has gotten more busy,” he continued, “we've recognized that that we aren't able to hang out with our friends in the bands we play with on a given night or all of our friends who've been coming out and supporting us from the beginning. We want to create an opportunity to rein the family in and celebrate each other, and as a by-product, create some really good music.”

Weekend music and camping passes are only $45. More information can be found at www.brothersmccann.com.
- Rutland Herald - VT - Published: June 24, 2010

By Dan Bolles [04.28.10]

It would be easy to dismiss Brothers McCann as just another groovy holdover from Boston’s eternally milquetoast acoustic-pop college band scene. Based strictly on surface appeal, that description, unflattering as it is, might suffice. But first impressions can be deceiving. And digging more deeply into the Beantown quintet’s debut full-length, Different Colors, reveals a collection of mature, sonically rich tunes played by a polished, if insufferably cheery, group of ace musicians.

“Still Somebody Else” leads off and offers glimpses of the band’s sunny disposition. Keyboardist and vocalist Pat McCann coos classic soul lines with a silky smooth delivery that owes a heavy debt to Stevie Wonder. Blatantly aping Wonder is borderline sacrilege ... unless you have the chops to pull it off. And Pat McCann (mostly) does.

“Roll Down” is next and introduces brother Mike McCann as a songwriter and co-front man. “Jah, we all feel frustration,” the rhythm guitarist sings in a husky but easy tone. “Pushing harder though we feel true strain. / Wishing you would send us an angel / Imagine joy when you only cry pain,” he continues. Limp, feel-good platitudes concerning rivers, sunshine, rain, fate and frontal lobotomies follow in similarly grating fashion. OK, I made up the lobotomy part, but you get the idea. On the plus side, the tune imparts a seriously slinky groove, as do most of the offerings on Colors.

While both McCann brothers make compelling front men, as lyricists they are equally prone to pearls of bumper-sticker wisdom, which, given their immense vocal talents, they can usually get away with. But the band’s instrumental polish and attention to detail in arrangements really lend these tunes some much-needed ballast. Or at least an ass-shakin’ groove. In particular, bassist — and Plainfield native — Dan Bissex is the glue, delivering alternately elegant and muscular lines and displaying an innate knack for taking over at just the right moments. He epitomizes the band’s striking versatility, whether holding down a bottom heavy funk riff, letting loose on a groovy jam or stretching out with flights of Steely Dan-inspired jazz-rock whimsy.

“Shambles” is a standout and an example of the group’s true potential. Following a soothing string intro, Pat McCann channels his inner Jamiroquai over a humming, retro funk-pop groove. The tune is richly layered, featuring a variety of surprising, dynamic twists and turns. The song undoubtedly will keep listeners on their toes. And, hell, it might even put a spring in their step and a smile on their faces.
- Seven Days - Vermont

October 6, 2009


It’s hard to imagine how a band of five grown men
could possibly fit on Toad’s stage, but they’re full of
surprises. Aside from rocking the hell out of a venue
with a less than desirable audio system and the tiniest
stage on the face of the planet, Brothers McCann packed
the little bar full on the first Tuesday night of their
new residency.
While this happy bunch aren’t all brothers as their name would
lead you to believe, they certainly groove like they are. The brothers
of the group – Mike and Pat McCann – have different, but compli-
mentary voices. Pat sounds like Justin Timberlake and Jay Kay of
Jamiroquai, while Mike has the soul-seeking, grittiness of some-
where in between Ray LaMontagne and James Brown.
Brothers McCann brings organized, playful energy. With a
full band, the songwriters capture the movement of sound grace-
fully and play off the instrumentation with inspiring vocals, subtle
harmonies and a humble sense of showmanship. Nobody looked
happier to be in that bar than the band (except for the guy who
pulled out his trombone and started playing).
In so many words, they are powerful and energetic enough to
get you dancing. Their songs flirt with jazz and funk and make their
home in poppy soul. By the end of the night, people were on chairs
and benches and the entire pub was heaving and hoing with the
weight of dancing hippies and middle-aged mamas. They’re jammy
enough to rock a festival and hilariously interactive in a way that
blends perfectly with the Boston music scene.

Amanda Macchia
www.myspace.com/brothersmccann - Performer Magazine - November 2009