56 Hope Road
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56 Hope Road

Band R&B Funk


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"Review of 'All Points Connect'"

56 Hope Road gives the impression on their new CD All Points Connect that they would be a good choice to listen outside in a summer festival setting. Their music is pop/rock with a little bit of hippie thrown in for good measure. One can almost imagine the sun going down on a warm July evening as the band takes the stage to lay down their feel-good grooves and uplifting lyrical philosophy. Their sound, a mix of DMB/Blues Traveler acoustic jam-iness with overtones of pop and soul, is very listenable and singers/songwriters/guitarists Steve Goveia and Dave Hamilton supply enough variety in the writing department to keep things moving along nicely. Titles like "New Philosophy," "Love Revolution," and "Soul Song" let you know that this is a bunch that likes to remain positive, or at least hopeful, most of the time. This is not necessarily a bad thing and contributes to the bands' readily accessible nature.

The band (Goveia, Hamilton, drummer Greg Fundis, bassist Chad Sanders, and keyboardist Steven Mann) uses its considerable collective musicianship to create layered arrangements based around the songwriters' twin acoustic guitars and harmony vocals. Additional vocals, percussion, harmonica, electric, and pedal steel guitar then nicely augment their core sound at various times. The overall effect is rich, full, and dynamic. Guest electric guitar soloist Brian Wilkey turns in some inspired performances, particularly on "Future Sons," as does harmonicat Doug Schroer, on the same tune. In the end, 56 Hope Road has put forth a decent effort with All Points Connect. This is a band that has a clue about how to write, play, and arrange music that will connect with an audience. They don't break any new ground, instead choosing to remain straight ahead and let the music do the talking.

By: Mike O'Cull - Chicagogigs.com

"CD Review of 'Drop It All'"

There is a deep layer upon layer talent at work here. It is the intelligence and groove of your favorite jam band without 17 minute long solos. It is the Spin Doctors without the annoying lead singer. Its smoky sultry soulful funky bluesy fun.

Did I mention the great harmonies and horns? They also have a strong bunch of songwriters in Hamilton, Goveia, Sanders, Carter and Bolser. There are no duds here. Anne Hamilton Katzfey positively sizzles with her bluesy vocals and the percussionists Katzfey and Fundis are always right on time.

"Drop It All" is a CD full of great infectious songs played by experts having a great time. This is a perfect party record full of energy and talent. - The Muse's Muse

"Midwest-Local Heroes"

Famous for its relentless tour schedule (219 shows in 2005), 56 Hope Road has made its mark in the Midwest, particularly in its hometown of Chicago. Playing mainstay venues such as Wise Fools Pub and the historical Double Door, the septet is making headway in a seemingly oversaturated jamband market. What sets them apart? Their smart songwriting and savvy vocals. 56 Hope Road's sound is akin to bands like Gomez, G. Love and the Gabe Dixon Band (minus the dulcet piano). On Drop It All, the band's debut, 56 Hope Road showcases its soulful lyrics, which mix jazz, rock and funk in finely, professionally crafted songs. The group's most recent disc, Once In Our Lives, was released in December 2005 and further cements 56 Hope Road as an upcoming talent. In addition to appearances at festivals like Wakarusa and Summer Camp, the band will perform at Alpine Valley in July, supporting Dave Matthews Band and Umphrey's McGee.

By: Holly Isbister - Relix

"The nonstop acoustic funk machine stops at The Pour House"

Raleigh, NC - Live Review

Chicago's 56 Hope Road rolled into Raleigh on what seems to be a perpetual tour. The hard-working band listed more shows than anyone on Jambase.com in 2005 and never looked back, taking on 2006 with the same vigor. They've cleary decided that this is what they want to do; noone plays over 200 shows a year for the health benefits. As a result of their incessant travels, 56 Hope Road has become a brilliantly polished live act. This is a sound that should turn the heads of any bar-hopper with decent hearing.

The band delivered much more than the sparse crowd at The Pour House could have bargained for on a blustery, rainy Tuesday night. Drawing from their steadily growing catalog and visting tracks from each of their albums, the band proved personable and entertaining throughout. Every member impressed with their abilities: singer/songwriter Dave Hamilton kept the energy flowing with memorable songs and spirited playing, while drummer Greg Fundis, bassist Chad Sanders, and keyboardist Tim Reid stirred a bubbling gruel of groove. Electric guitarist Marcus Rezak swooped and swirled through the fray, and the combined sound seemed like it would be just as comfy in a large theatre as in a dim bar.

The band's ebullent presence turned already upbeat songs like ""It's All Good (It's On Time)" and "Rock Bottom Bakery" into tangible entities that filled the room. The band saved a trio of crowd-pleasers for the end of their set, starting with a dead-on cover of Bob Weir's "Cassidy" before moving into "Pocket Full of Cash" and the appropriate "Carolina" closer. Polished and professional, 56 Hope Road is due for some recognition that their work ethic can certainly bring them.

By: Bryan Rodgers - Home Grown Music Network

"Review of 'Law Of Attraction'"

The opening chords of "Whole Way Down" twist and turn in an improvisational blender that defines the beating heart inside Law of Attraction, the bright, engaging CD from Chicago's 56 Hope Road.

A highly impressive effort, Law of Attraction draws upon a wide range of musical styles, yet consistently focuses in on the fine art of composition with 13 strong tracks that glide effortlessly upon 56 Hope Road's driven forays into instrumental eclecticism. A sweeping country pop ballad incorporates "Shatter," with the loosely cooking rhythm section of Matt Katzfey on percussion, Chad Sanders on bass and Greg Fundis on drums laying the groundwork for the track's unorthodox grooves. Glimmering hints of sunlight color both "Vestibule" and "Dance For the Rain" as Casey Fitzpatrick's horn stretches play off of guitarist and lead vocalist David Hamilton's vibrant interpretive powers.

Produced by the band and Rick Barnes, Law of Attraction achieves a sonic clarity that ably introduces 56 Hope Road to a new legion of music lovers. If they reach deep inside the group's jazz-rock oeuvre, plucked gems like "Too Tall" and "After the Show" make 56 Hope Road's Law of Attraction journey worthwhile and lasting.

Law of Attraction is out now on Albino Deer Records.

By: Bill Whiting - An Honest Tune

"Review of 56 Hope Road's 'Once in Our Lives'"

56 Hope Road "Once In Our Lives"

On this, their first live album, 56 Hope Road shows us what they are truly all about: performing. After independently releasing two studio albums, they decided it was time to give their fans just what they really need. Fans can now experience the energy and funk displayed by these jam rockers in the comfort of their own homes. The feel of the album is as if you are right there. It's not overly produced and remains incredibly raw and organic throughout the duration of the album. Many of the songs do not appear on either of their first two releases so the listener is treated to some new tunes coupled with a few classics. The only downside of this album is listening to the excitement of the crowd and wishing you were there. Next to a live show, this is truly the next best thing, and it will surely whet your appetite.
- ThisIsModern.net

"56 Hope Road On Tour"

56 Hope Road, a band who played more shows in 2005 than any other artist on JamBase, is once again out on tour, currently making their way back to their hometown of Chicago for a headlining set at the city's famed Double Door on February 24th. A blend of acoustic songwriting, funk, jazz, and improvisation, this band proves that it is possible to be a touring machine and still have fun at every performance.

Named after the Bob Marley compound in Kingston, Jamaica, the band's name pays homage to the positive influence that Marley's message has on the world. The band performs both as a four piece and seven piece ensemble, bringing the acoustic funk dance party everywhere they go. Their open jamming is constructed around well crafted songs with poignant lyrics, evident not only in their live shows but also on their albums: Once In Our Lives (live, 2005), Drop It All (2004) and All Points Connect (2002).

Following the highly anticipated Double Door show, the 56 Hope Road touring machine immediately heads back out for a Midwest run, a few stops in CO and NE, and a string of shows in the South. And that's just their schedule through spring!

If you haven't seen 56 Hope Road yet, chances are they will be playing in your town or at a nearby festival sometime soon. Fans of acoustic-funk-rock-get-down-and-boogie music will not be disappointed! - JamBase

"56 Hope Road Takes JamBase Title"

Now known as the #1 “Road Warriors” for 2005 on JamBase, the high-powered acoustic funk band 56 Hope Road has doubleclutched its touring vehicle and pointed the grille in the direction of another title for 2006.

“We didn’t expect to win, but we’re ecstatic because we’re proud of that honor,” said Steve Goveia, vocals and acoustic guitar, in a recent interview with The Marquee.

56 Hope Road played a total of 219 shows in 2005, surpassing approximately 12,000 bands registered on JamBase.

“We wanted to play that many shows, and we’re happy that we were recognized by JamBase,” the band said in a release following the announcement. Most bands at the level of 56 Hope Road have a 15-passenger van that everyone squishes into, but since the band is on the road so much, they pooled their money together and purchased an RV. The extra space helped the band as a whole.

“It’s nice being able to sleep, go and hang out in the RV and not sit in the club,” he said, “which can get old very quickly.”

One routine guaranteed not to become mundane for 56 Hope Road is playing their music. Funk is known for its improvisation on stage during shows, and Goveia explained how his band stays on track while keeping each performance unique.

“Our improv goes on in areas of songs where we can stretch out, but it never really goes off into space like a true jam band would. Our style comes from being comfortable with each other on stage and trusting everyone up there with you,” Goveia said.

Their love for funk music started in their younger years, with dance beats speaking to them instead of heavy metal riffs or country twangs.

“We’re all from that hip-hop era, growing up in the ’80s,” he said. “You can’t resist feeling and moving to the music. It puts a smile on people’s faces as well as mine and ours.”

Goveia and Dave Hamilton, vocals and guitar, draw inspiration from “good things” in their lives, as well as struggles, for their songwriting. When writing songs, they use abstract thought and force listeners to interpret the songs, compared to artists putting the lyrics on a silver platter and serving it to the audience.

“Like poetry, the idea of abstract writing uses our words and life experiences with a twist so it could be anybody’s situation,” said Goveia. “I don’t like it when people straight up and tell you the story. I like to make people think and wonder what we’re talking about.”

With three albums already notched on their belt (Once in Our Lives, live 2005, Drop It All, 2004 and All Points Connect, 2002), 56 Hope Road will add another to their resume by going back to the studio in May. They will continue to play live in 2006, since putting on credible shows are more important to the band than an acclaimed studio album.

“Industry people could say you have a great album, but they don’t really care unless you’re putting butts in seats,” said Goveia. “It’s still up there, don’t get me wrong, but if we played a huge show for 20,000, that would be way good.”

By:Yvette Rebik - The Marquee

"56 Hope Road redux-Rising Chicago rockers invoke spirit of Bob's homebase"

They're homegrown, they play music from the heart and for the love of the craft, and their message from day one has always been one of positivity. The Chicago-based funk-rock jam band known as 56 Hope Road might not be a reggae outfit, but their spirit is born from the same ideals as Bob Marley, which makes their Marley-inspired name a fitting one.

The group sat down with BobMarley.com backstage at a recent gig in Los Angeles, and guitarist and vocalist Dave Hamilton admitted that the name refers to the Kingston, Jamaica compound that served as Bob Marley's home, recording studio and general headquarters for his Rastafari revolution.

"I was just reading this Bob Marley book and I read about 56 Hope Road, and it was just an awesome-sounding place," Hamilton said. "The amount of things that went on there was really cool, and he provided for so many people out of that place and made so much great music, and it was inspiring. I was like, 'Man, I'd like to build something like that wherever we wind up -- some kind of positive ring that we can burst out of."

It might not be long before 56 Hope Road does indeed burst out and become as popular as the big-time bands in their genre. The band's fourth album is due out in the fall, and 56 Hope Road has spent the majority of the last few summers hitting many of the top jam-band festivals in the land, including High Sierra, Wakarusa, Summercamp, 10,000 Lakes and more.

The band was recently named "No. 1 Road Warrior Band" by JamBase.com and the HomeGrown Music Network as a result of their Herculean feat of 440 shows throughout 2005 and 2006. Through all that travel, 56 Hope Road has scored gigs on the same stages as the Dave Matthews Band, Page McConnell of Phish, Tom Cochrane and Red Ryder, ekoostik hookah, Umphrey's McGee, Tea Leaf Green, Devon Allman, Spyro Gyra, Verve Pipe, Bob Schneider and Robert Bradley's Blackwater Surprise, among many other jam-band luminaries.

"The 56," as their hardcore fans lovingly call them, consist of Hamilton, vocalist/pianist Tim Reid, Jr., drummer Greg Fundis, upright bassist Chad Sanders and saxophonist Casey Fitzpatrick, plus recurring players such as vocalist Anne Katzfey and percussionist Matt Katzfey.

Each one of them has something personal and interesting to say about the group's connection to Marley. Hamilton, for example, first discovered Bob's music as a young boy, when he unearthed a cassette of the live album Babylon by Bus in his father's dresser.

"What I like about Bob, and there's so many things ... but his live performances were just so amazing," Hamilton said. "The power that you see created within him that just burst out, without holding back anything, just blows you away. And you feel it just on video, you know? Or just hearing it. ... Still, today, it's so powerful."

Drummer Fundis said that associating their band's name with Bob is still "kind of an obscure reference" because "not everyone knows that 56 Hope Road was the Bob Marley compound." Still, Fundis admitted, "We do have some people that may expect reggae music, (but) I think they go away knowing that they've experienced good music, for sure, and music that has been influenced by Bob Marley as far as his positivity and the danceability of reggae music, which is what 56 Hope Road has as well."

Keyboardist and vocalist Reid said his experience with Bob's music is "less about the music and more about bringing people together and making music a non-confrontational thing."

Bassist Sanders, who has seen several of the Marley brothers as well as the Wailers in concert, agreed. "That's everyone's goal," he said. "To bring people together from all walks of life."

Fundis, meanwhile, stated that it should be every band's goal to achieve success and a lasting legacy like Bob's. "I think it's a great story: the Marleys rising from where they came from to do what they wanted to do," he said. "And they changed so many lives with a positive message and music.

"And not that we come from where they came from, but I think that being from the roots, maintaining your independence, and doing it yourself wherever you come from, living the dream -- that's one similarity I can find between 56 Hope Road and what Bob Marley did with his musical career."

By: Doug Miller - BobMarley.com

"Let Your Light Shine: Dave Hamilton of 56 Hope Road Talks Positivity, Inspiration and the Current State of Festival Culture"

Rax Trax recording studios is housed within a squat brick building in Chicago’s frenetic Lakeview neighborhood. Crouched on an unassuming side street and requiring low-level mental athletics to pinpoint its address plate or figure out that one has, indeed, arrived at the right spot, it doesn’t seem to be part of the surrounding hustle and bustle. It hangs back, content, letting the bistros and flashy clothing stores do their respective dances for passers-by. Once inside, though, a palpable rush of human warmth, benevolence and radiant enthusiasm zings through the air like a wayward dart. Bright colors, band stickers, scribbled one-liners on kitchen cabinets and both hilarious and poignant photos of musicians who spent endless hours there eking out their creations only enforce the feeling. The inner sanctum of Rax Trax can be likened to a beating heart, joyous for its own existence and spreading that love to those who venture toward. Oddly enough, this is exactly the nature of roots rock purveyors 56 Hope Road, who were camped out there on a spring Sunday, tirelessly and joyously working on their upcoming 4th album due in the fall. The seven-piece “acoustic funk explosion” -- Dave Hamilton (lead vocals, guitars), Casey Fitzpatrick (saxophone), Greg Fundis (drums, percussion), Chad Sanders (bass), Anne Hamilton Katzfey (vocals), Matt Katzfey (percussion) and Tim Reid (vocals, keyboards) -- are not interested in screaming their worth to the world and constantly talking a boastful game about their heavy touring schedule, improvisational prowess or steady rise to national recognition, like some bands. They’d prefer you to just step inside their world, and see for yourself. Voted by Jambase as the #1 Road Warrior Band, they’re surely headed to a venue near you. They can also be seen at this year’s venerable Dogstock, a massive philanthropic festival event taking place in Melvern, Kansas, July 26-29 (www.dogstockfestival.com). In this exclusive interview, Hamilton gets candid and possibly controversial while taking a break from his recording session, nursing coffee and an infectious smile.

Home Grown Music Network – Can you describe the band’s origins?

Dave Hamilton – We started in Decatur, Illinois, around 1998 as a three-piece – guitar, bass and drums. Then I moved to Colorado for a year and started writing tunes. I moved back, and that’s when our drummer Greg went to DePaul [University, in Chicago] for grad school. We thought, “Hmm, Chicago’s a good place to start,” so we started playing music here. Didn’t play a ton of gigs at the start; we worked our way up. We saved all our money and went on tour three years ago. We’ve done about 220 shows a year for the last three years.

HGMN – How many band members are there? There seem to be a lot.

DH – There’s a touring group of five. My sister and her husband play with us around Chicago. But she just had a baby a month ago, so she’s not back in the swing yet. She’s an amazing singer, and her husband plays percussion. They both will be on this new album that’s coming out.

HGMN – What’s the new album going to be called?

DH – Play It By Ear. Well…probably. (laughs)

HGMN – Your music, as I characterize it, has a very warm, richly personal, “common man” sort of sound. Was this a conscious choice? In other words, did band members specifically look to certain groups or genres to garner inspiration, or did the sonic aspect of 56 Hope Road evolve more naturally?

DH – [It] more naturally evolved. We never tried to sound like anything. We had our own sound and we realized that’s what it uniquely was. It’s good driving music. It’s mellow a lot of the time. But compared to our live show… Our live show is very energized and you’ll be dancing the whole time.

HGMN – What themes do you like to explore lyrically?

DH – When I first started writing, I never wanted to sing about relationships. It seemed like that was the standard clichéd song. As if…

HGMN – …everybody upon everybody does it.

DH – Everybody’s singing about how his or her heart’s broken. But then my heart got broken, you know what I’m saying? So as far as getting the truthfulness out from inside, that’s the most truthful music I’ve ever written because it really struck me deep. This next album is very reflective of what relationships are about, expectations within relationships, getting let down in relationships and also getting surprised in a relationship. Before it was about trying to write political songs or songs that were about everyday life besides relationships. But man, you know how it is.

HGMN – Yeah, when it happens, it happens.

DH – (laughs) When it happens, it happens. And as a songwriter, that’s the best way to get it out. You need to get your feelings out there so you can move on.

HGMN – So do you think of songwriting as a sort of catharsis, then?

DH – Yes, completely.

HGMN – How would you describe the dynamic between 56 Hope Road and its audience?

DH – It’s a close-knit one, definitely. We try to bring a party atmosphere to our shows most of the time. That’s what people have come to expect. I love doing the acoustic shows too because you can really get it mellow and have people just sitting there and listening, not talking. The relationship is a constant, growing thing. You’ve got new and old fans, and that relationship is always, hopefully, growing, and will never stop growing. Hey, that’s a hard question!

HGMN – Have you started to see a sort of cult-like fan base growing around the band?

DH – Definitely. In Colorado, we’ve got a lot of stuff going on. Colorado, Arizona, and Minnesota are hittin’ for us. We’ve found a couple of pockets where people are just into it. So we keep on going back to those spots, and magic will grow. We just did our first tour out west, and man, California’s where it’s at.

HGMN – Why do you say that?

DH - Because the people are so open to experience new things. They’re not going to judge you the way it seems sometimes on the East Coast or even in the Midwest, where people have preconceptions of you or your music or what you might look like or might sound like. Out there, there’s this freedom. They accept your expression more. They’re not afraid to dance by themselves (snaps fingers) to start it off. I love the freedom out there.

HGMN – So do you feel that the scene in each of the four regions of the country has it’s own tone?

DH – Oh yeah.

HGMN – How would you characterize, say, the Midwest versus the South, specifically in terms of sound?

DH – Well, South like New Orleans -- that’s where a lot of music came from. A lot of the funk bands, like The Funky Meters, they created the whole scene down there. You’ve also got your southern rock, which is a whole ‘nother scene. In the Midwest, there’s also an incredible mix. You’ve got all kinds of music up here. You’ve got your hard rock, you’ve got your rockabilly, you’ve got your blues, your jazz.

HGMN – It seems that there’s starting to be a lot of integration between hip-hop and rock -- rock improvisation with a hip-hop MC in front. I feel that’s really happening in the Midwest more than I see it happening in other places.

DH – That’s happening a lot out in the mountain towns, too. In Colorado, they’re so into it. You get an MC up there with you, and they can blow up the crowd (snaps fingers again) like that, if they’re good. I love that aspect. We do have a couple rappers who come and play with us occasionally, and I love it every time. I would love to have an MC in the group permanently. It would change our direction a little bit, but it would be great if that person could maybe play percussion and sing, too. (laughs)

HGMN – Like while they’re rapping, have some conga drums going?

DH – Seriously!

HGMN – In terms of the tone of the scene in different regions, I really feel -- and I might be biased, since I grew up here -- that the Midwest is one of the most accepting. You say that you feel California is the most, but I don’t know. When I lived on the West Coast -- and granted, I was in Oregon and only made it to California a couple times -- I felt the presence of a sort of cliquish aspect, more so than in the Midwest. The Midwest to me seems “down home.” You know, flatlands. Very friendly and open.

DH – Well, I do hear what you’re saying. That sounds like Boulder. And I don’t want to point fingers at Boulder, but it’s soooo cliquish. Many people there have to be Mr. and Mrs. Cool.

HGMN – Like, (affecting a smirking grimace) what bands are you into? That kind of thing.

DH – Yeah. But my point mainly focused on there being more of the people there that are into our style of music. Folks are into it here, but there are a lot of people here who just want to hear ‘70s rock n’roll. That’s what they listen to, and they don’t care to open their mind up to other things. They just want to hear a cover band. They want to go see stuff they already know so they can get drunk and not worry about it. I like crowds that are about original music, about creating art, about doing something different and opening their minds to explore new things.

HGMN – Do you feel there’s a different level or nature of interaction possible between a band and its audience in a festival atmosphere versus a bar or club show, or vice versa?

DH – The festival atmosphere is so cool because there’s so much music going on. You’re there for days, too. Everyone’s on his or her own little personal journey. At a club you kind of just show up and leave and go back to your house. But at a festie, you’re just there hanging out, you know? You may meet a person, and be hanging out with them for the next two days. I love that; people at festivals are always looking to meet new people and to experience new things.

HGMN – So you prefer that atmosphere?

DH – I can’t stay at a festival, like…forever, you know what I’m saying? (laughs)

HGMN – My mind would go.

DH – Yeah. But it has its major joys. In a festie atmosphere people are already acclimated to a situation of listening to music -- they’re there and ready. And I love people most when people dance. That brings me joy because I can physically see their energy, I can take that energy and give it back to them, and then they give it back to me and I go (makes a “fly away” motion).

HGMN – So it’s a reciprocal relationship.

DH – Exactly.

HGMN – How did you get involved with Dogstock?

DH – We just put our press kit in and they contacted us. We have done a couple of things with [Loyal Family, the festival organizers and promoters]. Loyal Family is part of our network and our big family, so hooking up with those guys was a no-brainer.

HGMN – Dogstock is quite appealing to me because of the fact that it’s a benefit show, for the Akita Adoption and Rescue Foundation. I find it very unique for a festival of that size -- 100-plus bands on four stages -- to donate proceeds not only to a good cause but to a cause supporting animals. That’s pretty amazing, and I’m interested to hear your thoughts on festival culture’s role in philanthropy. Do you feel that there’s enough of a humanitarian/goodwill aspect there currently? Do you feel that should be hyped up?

DH – Every festival, in my mind, should be serving a higher purpose, for humanity and dog-manity.

HGMN – (laughs) Dog-manity? Maybe animal-manity. “Anamity!”

DH – We’re making great new words here.

HGMN – I commend all the bands, like 56 Hope Road, that got involved. If every festival could have that aspect going on, then, when the bands are promoting their shows there they’re also promoting the good cause.

DH – Activism, fundraising and philanthropy are really important, definitely. Music is about spreading love, at least for me. That’s the main thing. That’s why we do what we do -- to make people happy. I just want to make people smile and possibly relieve them of some of the stresses in their lives. Afford them a little getaway. And the songs that I write, maybe they can get a message out of them that can help them understand things within their lives.

HGMN – Can you comment on the current explosion of the festival scene, and what you think 56 Hope Road’s place is in it?

DH – I’m happy that it’s exploding. It’s definitely getting bigger and bigger. I wish we had a bigger place in it. We’re on High Sierra [in Quincy, California, July 5-8, www.highsierramusic.com] this year, and I’m really excited about that. I’ve heard that festival is the bomb.

HGMN – I’ve heard that it’s on another level.

DH – Another level, yes. There seems to be an increasing presence of cop influence and dirty vibes going around at some of the bigger festivals, and I’ve heard that High Sierra’s not like that at all, that there’s this free atmosphere. Everyone’s chilling out, having a good time. People don’t have to worry about getting searched, undercover cops and all that crap. So I’m looking forward to it.

There’s been a switch. When I discovered this scene growing up, it was the Grateful Dead. I was 18, thrown out there, and was like “Wow. This is what it’s about. I can’t believe people are like this, are so nice like this. I can talk to anybody.” The community was there. And then the whole Phish thing started. All those Phish kids… Oh man, I’m just sitting here talking crap. (laughs) I hate that; never mind.

HGMN – It’s okay, you should express yourself.

DH – It just seems that [the Phish] scene was all about selling drugs and getting messed up. It wasn’t about the music, you know? Things changed. I miss the days of everybody getting together and having a good time for the music and the music being the number one thing. Now, the music seems secondary to the party.

HGMN – Do you acknowledge any specific moment when this turn occurred? I know you mentioned Phish, but is there any specific moment you can recall in the 1990s when it was obvious that it’d started happening? Because festivals basically started to proliferate in the mid-90s, and I’m wondering if you see any correlation.

DH – In ’96, right after the Grateful Dead quit [touring], right after Jerry died, is when I started to think about it. I went to a couple Phish shows, and I guess I was just trying to get the same feelings that I got at a Dead show. It never even came close. It was a younger crowd, but that younger crowd is older now. Summer Camp and other festivals are where those kids are now.

HGMN – Okay, last question: If you could give three adjectives that describe 56 Hope Road, what would they be?

DH – “Positive.” Positivity is big for us. That’s something that we all struggle with within our own lives. We focus on staying positive and keeping that ball rolling [in the music]. “Aggressive.” We are aggressive in the way we run our business and in the way we play our shows -- when it’s time to play, we’re all there, we’re a team, and we’re going to give the best show that we can. We’re aggressive in pursuing positivity. And lastly...we’re lovable. Does that count?

HGMN – It sure does. (laughs) So is that what a Dogstock audience can expect, “positively aggressive love?”

DH – Absolutely! Good, we made it happen! I was worried about that one…

By: Clara Rose Thornton - Home Grown Music Network


Record Label- Albino Deer Records
Publishing- BMI

"All Points Connect"- 2001 (5,000+copies sold)
"Drop It All"- 2004 (4,000+ copies sold)
"Chicago Minds and Souls Compilation Vol. 1"- 2004 (Sideways 8)
"Once in Our Lives" - 2005 (2000+ copies sold)
"Law Of Attraction" - 2008

"Glacier"- Chicago's WXRT 93.1 Local Show
"Blue & Gold" - NPR's Up and Coming Artists

For Booking: Greg Fundis, 312-952-8699
For Publicity/Promo: Amanda Roller, 513-504-1017



56 Hope Road is a band bonded like a family, and as a result, their music has an unmistakable honesty and openness. Uncanny, intuitive communication creates an easy interplay on stage, making even the most layered tunes sound effortless. They allow the joy of spontaneous creativity to color their song-based arrangements - neither losing their musical center, nor restricting its growth. The music is acoustic funk at its finest with sounds reminiscent of G-Love and Special Sauce, Richie Havens, MMW, Grateful Dead, Paul Simon and Gomez. This Chicago-based "acoustic funk explosion" is known for clever songwriting, lush vocal harmonies and one of the tightest rhythm sections on the scene. Formed in 1999, 56 Hope Road is made up of vocalist/guitarist Dave Hamilton, drummer Greg Fundis, upright bassist Chad Sanders, saxophonist Casey Fitzpatrick, and often augmented by vocalist Anne Katzfey, and percussionist Matt Katzfey.
The band has been coined the "#1 Road Warriors" by the renowned online musical resources JamBase and Leeway's Home Grown Music Network, gaining national attention for their energetic live shows and relentless tour schedule totaling over 1,100 performances since 2004. Rising stars on the festival scene and national touring circuit, 56 Hope Road has appeared at Summercamp, High Sierra,10,000 Lakes, Wakarusa, Hookahville and has supported a variety of national artists such as Stevie Wonder, Allman Brothers Band, Bob Weir and Ratdog, Dave Matthews Band, Umphrey's McGee, Page McConnell of Phish, Tom Cochrane and Red Ryder, ekoostik hookah, Tea Leaf Green, Devon Allman, Spyro Gyra, Verve Pipe, Bob Schneider, Robert Bradley's Blackwater Surprise, Drums and Tuba, Campbell Brothers, Jazz Mandolin Project, The Samples, and DJ Le Spam.
56 Hope Road has released 4 full-length albums on their independent label Albino Deer Records working with such industry moguls as GRAMMY nominated engineers as producer Rick Barnes (Smashing Pumpkins, Liquid Soul), Steve Albini (Nirvana, Page & Plant), and Mark Rubel (Hum and Poster Children). 56 Hope Road released their most recent album Law of Attraction early 2008 to critic acclaim. Law of Attraction left Richard Milne from WXRT in Chicago to wonder if 56 Hope Road had visited the crossroads and sold their soul. Once In Our Lives (live), Drop It All, and All Points Connect precede the band's latest release.
Their songs have been featured regularly on Sirius Satellite Radio's Channel 17-Jam_ON, WXRT Chicago, United Airlines Radio, college and community radio stations across the country, National Public Radio, the soundtrack to "A Place in France," in an upcoming film "Road to Woodstock," and a Fox Sports Net Pilot/Warren Miller production "Destination Wild,".
The name 56 Hope Road pays homage to the positive influence that Bob Marley's message and music has on the world.