VARLET

On Sept. 27, Denver band Varlet celebrated the release of its first full-length album, American Hymns at the Hi-Dive in a spectacular fashion.

While raindrops fell outside, Varlet called on the musical aid of fellow Denver bands, Tjutjuna, Attic Attack and Champagne Charlie to warm up the audience with a fantastic blend of rock ‘n’ roll, indie rock and drunken cabaret songs from the sea.

Hipsters, metal heads and music fans alike converged upon the dimly lit nightclub for a cocktail and a solid lineup of some of Denver’s finest talent.

Just after 11:30 p.m. drummer Will Duncan sat atop his throne to warm up his kit. Bassist David Scott strapped in, ready to pluck his axe with a thunderous vengeance as Cole Rudy slowly followed with his amber hollow bodied six-string. Vaughn McPherson quickly climbed the short and narrow steps on stage to sit behind his piano and organ he declared, “I’m like a 4-year-old boy on Christmas tonight.”

As the boys from Varlet did a quick ambient jam, the lead singer and ferocious vixen Lilly Scott emerged from backstage.

Wrapped in an American flag, Lilly Scott was met by an eruption from the crowd as she grabbed the microphone like Grace Slick in a seductive and passionate manner to start the show off right with “Dirty Sock,” from 2011’s EP, The Drifter.

The show kept its momentum as the band played a psychedelic shoegaze version of “Cellophane,” from American Hymns. Rudy’s explosive slide guitar was met by a solid lyrical combination from Duncan and Lilly Scott.

The band bounced around through all 11 tracks of American Hymns. The album showcases the many different sides and styles that Varlet was able to accomplish after spending 10 days working with James Barone of Tjutjuna behind the control board at the famed Hideaway Studios in Sedalia.

Duncan’s soulful vocals sent a bone-rattling echo off the back walls of the Hi-Dive as McPherson’s walking piano line on “The Nod,” were equally matched by Lilly Scott as she danced back and forth in front of a near sold out crowd.

The band ventured on in a deep-south jazzy cabaret fashion as Lilly Scott announced that they would be slowing things down a bit after an ode to Montel Jordan by saying, “It’s Friday night and I feel all right.”

Rudy then grabbed his mandolin for a subtle, yet lustful solo as Lilly ran through the jazzy lyrics counting down from eight to one on Varlet’s heartfelt catchy jazz-pop songs “Saunter.”

“Their new tunes were conjuring up the best of vibes,” said Matt Vogel, drummer of Champagne Charlie.

Lilly Scott’s voice then sparkled like a diamond in the rough with her call and response backed chorus from the rest of the band on “So You Go Along.”

Varlet gave an epic performance backed by Lilly Scott’s powerful vocal chords. The new album was played in its entirety ending with “In My Pocket,” the final song from The Drifter.

By Tobias Krause
October 2, 2013 - The Metropolitan

Denver’s Varlet, a five-piece indie rock band, will release its debut full-length album, American Hymns, this Friday Sept. 27th at the Hi Dive. Although the band spent about 10 days recording the album at Hideaway Studios in Sedalia, Colo. in February of this year, the album is finally ready for release after a very successful Kickstarter campaign.

The album was produced with the help of Varlet’s friend and engineer James Barone of Tennis and Tjutjuna. American Hymns promises to explore a marriage of dark lyrical themes with bright instrumentation, blending folk, rock, jazz, psychedelic, and a little doo-wop the way only Varlet can.

We caught up with Varlet’s Lily Scott to find out what fans can expect from Friday’s show and what creating American Hymns was like for the band.



303: According to Varlet’s Facebook page, varlet is a Shakespearian word meaning a rogue: a deceitful and unreliable scoundrel. What made you choose this name for your band?

Scott: I’m fascinated by Shakespeare and admire the thousands of words he created for the English language. As a lyricist, you try to be extra creative when conveying your message and I always thought that the word “varlet” was such a lovely word with a nasty meaning. The definition really fits the music we write.



303: What are some songs/artists who have inspired you?

Scott: We are all heavily influenced by Tom Waits, The Kinks, Harry Nilsson, The Beatles – songs with lyrics and melodies that are extremely expressive and un-censored. I personally am infatuated with ’40s and ’50s music, jazz standards, and psychedelia. Artists like Billie Holiday, Woody Guthrie, Doris Day, and I adore Broadcast. We tend to mash together all of these different muses and take it to a trippy, weirder zone.



303: What is the best part about being Denver musicians?

Scott: Being eccentric and different is embraced in Denver and it’s wonderful. Every musician seems to know one another somehow and everyone is always down to play with one another, regardless of the genre. It’s a very supportive network here and it feels amazing to be a part of it all.



303: What was your creative process like when creating American Hymns?

Scott: It all seemed to write itself incredibly fast. We’ve been experiencing so much together in the past year and the inspiration has literally been pouring out. We’re jamming/hanging three to four times a week for 5+ hours at a time so we really have put a majority of our lives into this record. The five of us are so close and you can feel it when you listen to the album.



303: What makes American Hymns different from your previous albums?

Scott: American Hymns is unlike anything we’ve released before. The sound that we’ve been dreaming up in our heads actually exists now and we all vibe on the same expressive wavelength. Each song on the record has its own story, yet they all correlate to the same idea – Trying to liberate yourself physically and emotionally in a country where it feels impossible to do so.



303: What can fans expect from your show this Friday?

Scott: Fans can expect to get crazy!! We have an incredible line up at one of Denver’s most fabulous and fun venues. We have several surprises up our sleeve for this specific live set and want fans to be walking out sweaty, sticky, and buzzed. The audio and visual live experience is the most important to us and we are thrilled to be playing the new record full time now!



303: The album cover art for American Hymns is fantastic. Could you tell us more about why you chose this art or this artist?

Scott: Jacqueline Sophia Cordova is one of our longtime friends and her talent is incomparable. When we saw the pieces we chose for the record and promo, we knew they were perfect. Her piece “Eyes Of God” that we picked for the album cover was so expressive and accurate for the album that we chose to keep the reverse side white. We are releasing the record on limited edition 180-gram gatefold vinyl and it looks stunning thanks to her!



303: If you could only listen to one song or one album for the rest of your life, what would you choose and why?

Scott: Extremely hard question, but I would be satisfied with The White Album by The Beatles. Two records, 30 unbelievable songs, never gets old.



–Varlet plays at the Hi Dive this Friday Sept. 27th with Tijutjuna, Attic Attack, and Champagne Charlie. Doors open at 8 p.m. Show is at 9 p.m. Tickets are $10.

by LACEY SPRUCE on Sep 25, 2013 • 1:39 pm - 303 Magazine

"So You Go Along," the opening track on Varlet's new album, American Hymns, sounds deceptively like something out of a 1970s musical, only the textures are richer and the lyrics darker. And that's a perfect image for this album, a project on which Lily Scott indulges her inner jazz-and-blues singer, especially on songs like "Liquid Wasteland." Mixing this sound with a more Laurel Canyon-flavored psychedelia on "Meteor" and elsewhere, the band reveals a developed sense of depth, using space as a musical element to great effect. No instrument dominates the mix, and Scott's prominent vocals seem to dance in perfect synch with the music. There's always been a strong jazz vein in Varlet's musical DNA, but this time out, it's fully integrated into the band's pop songcraft, most appreciably on the elegantly crafted title track.

By Tom Murphy Thursday, Sep 26 2013 - Westword Backbeat

Indie folk group, “VARLET” will release their new album on September 27. The album, recorded at Hideaway Studios in Sedalia, Colorado, is strikingly titled “American Hymns.” The album features a mixture of distinctive jazzy harmonies coupled with intriguingly lively vocal melodies and smooth psychedelic tones that so admirably showcases the bands progression and maturation.

Lead singer, Lilly Scott, leads the way on this album through songs like “So You Go Along,” which features the eclectic and emphasized piano stylings of Vaughn McPherson. ” The “bluesy juke-house feel of “Liquid Wasteland,” showcases guitarist Cole Rudy’s wide ranging style, as he attacks this tune with a fierce emotion that simply put, displays the bands desire to grow and improve.

Songs like “Meteor,” feature a paradox of sounds fluctuating from fun and upbeat into soothing and delicate blends of organ, mandolin and keys. Other highlights featured on the album include “Tadpole,” The title track to the album “American Hymns,” which seemingly ties together the album, and “Borealis,” a sombre and quiet tune featuring the beautifully solemn and haunting vocals of drummer Will Duncan.

This album has a bundle of songs bound to become VARLET classics. Go home, sip on your favorite drink and relax to this masterpiece of an album. The new VARLET album “American Hymns” is available on CD, MP3,FLAC, or any other format you could possibly need.

Review by Nes Lasen - Radio 1190

Rad! - Denver Metropolitan

Yea!! - Huffington Post

Rad publication! - Colorado Daily

Our awesome Kickstarter campaign! - Kickstarter

Rad podcast - Literati Records

Website URL:
http://www.huffingtonpost.com/2011/12/21/varlet-denver-indie-rock-_n_1163765.html

Denver-based five-piece band Varlet has crafted one of the most stunning records of 2011. The band's distinct sound is a hauntingly beautiful blend: It's folky, psychedelic and jazzy. The group talked with HuffPost over email about its new album The Drifter, what inspires them to make music and lead singer Lilly Scott's stint on "American Idol" Season 9.

Who would you cite as your main influences lyrically and sonically?

The Beatles, Billie Holiday, Devendra Banhart, the Doors, Tom Waits. The Beatles are self-explanatory, and Billie Holiday is vocally [Lilly's] biggest inspiration. As a band, lyrically and musically, we really seem to emulate a mix between the Animals meets the Doors.

Non-musical inspirations also include: shitty bars, Carl Sagan, Shakespeare, Bill Hicks, traveling. We are constantly inspired by our environment and try to embed our experiences into sound.

How does the songwriting process work for Varlet?

We've gone in all directions with it. Each song always starts with a different idea, with a different person, even. And everyone contributes different levels to each song. It's really a collaborative effort within the band and it never starts the same. The Drifter album worked out really well using this method.

We all come from different musical backgrounds and have a very open forum when we create music, so when we come together, this is just what comes out. We try to keep the folky vibe constant, but when you are jamming so much on electric instruments, it's hard not to want to be a crazy rock band.

How did the recording of The Drifter come together?

It was a cognizant decision to have all the songs be interconnected. The entire album tells a story that correlates with everything that's happened to us in the past year. It was a long, challenging, beautiful process that was a DIY effort with friends. We're very proud of the way it came out with all the effort and time was invested.

Lilly, what was it like being on American Idol?

Idol was an exciting journey. Getting to work with so many industry professionals 24/7 is something I will never take for granted. The fame was overwhelming at times because you never really realize how many people television truly reaches. I always knew I wouldn't get to play my own music on the show and that was challenging -- I feel I can truly connect with my listeners when I can sing my own words and express my creativity. It humbles me to think my fans from the show took the time to find my original music on the internet because they were intrigued. Lilly Scott fans have organically turned into Varlet fans and that excites me. I can't wait to see the response for our new album on tour and see if Varlet can make our own name known. Varlet is where I am naturally the happiest.

What is next for Varlet?

Touring as much as possible to support the album, meeting people and playing festivals. We're already quickly compiling a full length LP and hope to find label support sometime before we actually start to record it. - Huffington Post

Website URL:
http://www.westword.com/2011-12-22/music/denver-best-music-2011/6/

Varlet, The Drifter (Self-released). The Drifter has a timelessness like some forgotten gem from the era when Gram Parsons and Townes Van Zandt were alive and directly infiltrated the DNA of popular music. Lilly Scott's voice has an ineffable classic quality, and the masterful musicianship on these songs helps it shine brightly. — Murphy - Westword Denver

Website Link:
http://www.cpr.org/article/Varlets_New_CD_The_Drifter

The five-member indie rock group Varlet is fronted by Lilly Scott. She got some national attention a while back as a contestant on American Idol. Scott says that experience was both a blessing -- and a curse. The group just released a new EP called “The Drifter.”

Click below to hear live versions of a couple of the songs from the album, recorded in November for our sister station, OpenAir.
- NPR

One of the high points of this show was when Lilly Scott said we would be taking a break from the pre-recorded readings from Naked Lunch that opened the show and filled in the silences between songs for a nice older song. And rather than incongruous, Varlet's rendition of Sam Cooke's "You Send Me" turned it an upbeat pop song while honoring the soulfulness of the original.
With a dark-ish projection of shifting colors like a colorful stone changing shape and tone across the back wall and the band, and the aforementioned Naked Lunch recording playing, Varlet took stage with Will Duncan played the shaker and drum intro to "Eastern."



Brandon Marshall
Lilly Scott of Varlet
One thing that is immediately striking about Varlet is that in spite of how skilled everyone in the band is at his or her musical role in the band, or how practiced this band has become in the last few years, it seems somewhat unvarnished even though these songs are very well-crafted bits of pop music.

Lilly Scott is one of the singular vocal talents in underground music in Denver with a voice that cuts through everything with a strength and assurance unusual for her age. But if not accompanied by the rest of the band, the music wouldn't have nearly the same impact: David Scott seemed to effortlessly shift from a sultry bass sound to something more crisp to suit the material, Will Duncan executed a delicacy of rhythm with percussive textures that accent the material perfectly.



Brandon Marshall
Cole Rudy of Varlet
?
Vaughn McPherson, meanwhile, displayed a broad range of expressive tones on the keys that gave the music full dimension, and guitarist Cole Rudy added an elegant melodicism with his leads and created electrifying atmospheres with his slide guitar, blurring out the edges of songs where it needed to be.

The middle part of the set was taken up with a powerful rendition of "Dirty Sock" followed by "High Heels," which is Lilly's dig at the American Idol experience. Varlet played the new album in its entirety, ending the show with a new song in which Rudy and David did a kind of response to Lilly's vocal lead. - Westword Village Voice Media

Nearly two years after she charmed the world as an American Idol contender on the ninth season of the Fox flagship, Lilly Scott is thriving creatively in Denver, fronting her own band, Varlet. The group has completed its debut effort, The Drifter, and set a release date for Saturday, November 26, at the Larimer Lounge with Mike Marchant's Outer Space Party Unit, the Legendary River Drifters and Doo Crowder. Drifter was tracked this past summer by Snake Mountain's Joe Ramirez and Andy Wild (A Tom Collins), mixed by James Barone (Pacific Pride, Tjutjuna, Tennis) and mastered by Brian Marcus (Tjutjuna, Samurai Buck). We've had the chance to listen to three of the EP's six tracks, and from what we've heard, the songs are varied and utterly bewitching. Scott's voice is in dependably fine form on tunes like "Eastern" and "High Heels" and more than ably backed here by Kitezh's Cole Rudy, Vaughn McPherson, Will Duncan and Lilly's brother David Scott on bass. Our favorite cut thus far from the record is "In My Pocket." Fans of Best Coast will eat this one up. Have a listen. - Westword

Denver’s Lilly Scott (sometimes known as the girl who was once on American Idol) is ready to debut her first EP with her new band Varlet. The group—which includes local music vets Cole Rudy, Vaughn McPherson, Will Duncan, and Lilly’s brother David Scott—will release The Drifter Nov. 26 at the Larimer Lounge. Preview “In My Pocket” from the six-song EP over on Westword’s Mixcloud. - The Onion

I cannot even tell you how much I was creeping on Twitter this afternoon trying to find out if Crystal Bowersox had been given the medical OK to perform. With about 10 minutes before showtime, Ryan Seacrest said she had been given the thumb's up - and there was much rejoicing. And she was up first!

1) Crystal Bowersox: "Long As I See The Light" by Creedance Clearwater Revival
So yeah, I was totally leaning up close to my TV screen to see if Crystal Bowersox looked sick. There is a dark, evil corner of my soul that wondered all along if this was a big publicity ploy. What can I say, I'm a jerk. I've decided she did look kind of wan - but damn, you could never tell she was sick from her voice. Girl can sing. I'm thrilled that she was able to perform - and I sense Team AI is too, especially since they went to the length of switching the guys and gals performance nights to accommodate her.

2) Haeley Vaughn: "The Climb" by Miley Cyrus
Oh Haeley Vaughn, it started out almost sorta vaguely pretty good - enthusiasm counts for a lot for me - but then, uh oh. I actually think the song choice was good, because it totally hit the demo for voters on this show. The one problem: it seemed like she really ran out of steam. There's a lot of glory notes in a row throughout and her pitch went way wacky. I agree with Kara DioGuardi - she just needs time and practice. And dang, her skirt was cute. (Gah, I sound like a judge. I'm complimenting the look when the performance sucked.)

3) Lacey Brown: "Kiss Me" by Sixpence None the Richer
I don't think I've ever thought this about a song before: but Lacey Brown's interpretation was really hurt by the fact that she enunciated the words. In the Sixpence version, Leigh Nash's vocals just come across as a pleasing murmur in front of the music. I thought Lacey, by comparison, sounded like she was trying really hard to remember the words, so she sang them phonetically. Like ABBA, or something.

4) Katie Stevens: "Put Your Records On" by Corinne Bailey Rae
Lovely job. Yeah, yeah, yeah Katie Stevens had some pitch troubles every now and then, but that's not an easy song to sing and she kept it charming. I do agree that maybe she needs to go a little younger still with her song choice and maybe, more importantly, less easy listening. Oh, how I winced when she couldn't name a single artist under 20 that she liked. Don't you think she would have done a great job on "The Climb"?

5) Didi Benami: "Lean On Me" by Bill Withers
Brooke White 2.0 - oh, sorry, Didi Benami - meowed her way through this. (I wrote that before Simon Cowell made his comments, so I'm keeping it in, people. I made the first claim.) She may have looked up what self-indulgent meant, but she obviously still doesn't quite understand. There was a lot of showing off going on up there, and I'm not quite convinced she had the basics of the song down. It just seemed pageanty and LOOK AT ME. GIVE ME A TEN. IGNORE THE LIPSTICK ON MY TEETH. But I liked her dress.

6) Michelle Delamor: "With Arms Wide Open" by Creed
Wow, Hinder one night and Creed the next. Now you see why I get paid for this. People, this performance is the lingering curse of Adam Lambert. Just because you can change up a song doesn't mean you should. I guess Michelle Delamor did a fine job, but I was just so distracted by the difference between her vocal style and the original that I never really got into it. And the last note was hurty.

7) Lilly Scott: "A Change Is Going To Come" by Sam Cooke
I liked this quite a lot - it all has to do with the tone of Lilly Scott's voice, which is fantastic and so interesting. I was constantly looking forward and anticipating how she would handle the next verse. And, maybe most importantly, Lilly Scott seems to know what songs will work for her despite having a voice that can't be easily categorized. It's going to be a tough fight between her and Bowersox.

8) Katelyn Epperly: "The Scientist" by Coldplay
Now, I thought this was a good example of changing up the song but not doing it in an obnoxious way. Katelyn Epperly seemed to realize that just by slowing it down and having a woman sing it would make an impact - Natasha Bedingfield aside. I could have done without that last note - it seemed out of place with how muted the rest of the performance was - but I get it: it's a TV show, you need drama.

9) Paige Miles: "Walk Away" by Kelly Clarkson
Paige Miles understands the key element to Kelly Clarkson's music: Kelly is fun. You should have fun performing it - and it looked like she totally did, even if it is meant to be bitter. And she shows that you don't have to get all arty and change up the song to make an impact. Sometimes it's just enough to be engaging on stage and sing it well. Smart girl for picking one of Kara DioGuardi's songs, as well, even if Kara called her on not quite picking up the anger of the song. Also: Shut up, Randy Jackson.

10) Siobhan Magnus "Think" by Areth - Billboard

Lilly Scott isn't going to be the next American Idol. Not tonight. Not ever. And that's baffling. She should be. In spite of her undeniable talent, though, she wasn't even chosen to be among the final dozen contestants. Early on, before she was even cut, there was no shortage of folks (ourselves) who thought Scott would go the distance and give Crystal Bowersox -- the other clear frontrunner -- a run this year. Didn't turn out that way, obviously. The Littleton chanteuse checked out at number thirteen, after turning in a stirring but unorthodox rendition of Patsy Cline's "I Fall to Pieces."

Scott's premature departure is most likely due to her unique voice and phrasing, which was just far enough off the beaten path that America presumably just didn't know what to make of her. Funny thing is, when Scott's singing her own material, she sounds considerably more kindred to bewitching sirens like Amy Winehouse, Adele and Duffy than Joanna Newsom -- which is who she recalled on the fateful night that America handed her her walking papers.

Regardless, you've got to love how Scott did her own thing all the way to the end. From bringing her own unique fashion sense (anybody else notice Crystal Bowersox copping her style with the feather earrings?) to consistently making daring song choices -- "Rich Girl," by Hall and Oates, "A Change Is Gonna Come," by Sam Cooke, "Fixing a Hole," by the Beatles, to the Patsy Cline number that did her in -- she gave Idol a refreshing new spin. (Come to find out, those were some of her more accessible picks. Scott says she had both "Nude," by Radiohead, and "Roundabout," by Yes, in mind.)

In advance of tonight's American Idol finale -- which she's planning to attend - and after watching the show with her each week for the past few months and listening to her commentary (which, due to a binding contract with the Idol makers, she can't share just yet), we asked her a few questions about her experience, what made her decide to try out for Idol in the first place, and if, given the choice, she'd pick that Patsy Cline song to sing if she had to do it all over again. She graciously indulged us, even though you can tell that all that stuff's sort of in the rearview for her now as she focuses on the next phase of her career.

With a bevy of material (including the song posted below) just waiting to be recorded and an impending tour of her own with her band Varlet slated to kick off just after the Westword Music Showcase next month, Scott has quite a bit of momentum going for her right now. It will certainly be interesting to see how her career develops and which direction it takes. She's inspired unbelievable devotion among fans. There's one in particular, in fact, who took several hours (at least) to assemble a slide show of Scott, using pictures she'd forgotten were even in existence. Read our entire interview and listen to "Can of Beer," one of Scott's original, unreleased songs below.

Westword (Dave Herrera): What made you decide to try out for Idol, and when did you get the idea to audition?

Lilly Scott: I found out about the auditions at Invesco, probably in April of 2009, and then I slowly started preparing for July's stadium auditions. That was pretty much that. I don't think I would've traveled to audition.

WW: What did you do to prepare for the audition?

LS: I was just trying to really practice having all of my poise and the whole package, everything, to present in ninety seconds, because that's pretty much all you get. So I was making sure to say something witty or funny, do a really good job singing, and, like, stand up straight and look really good at the same time.

WW: What did you come up with to say that was witty, since we didn't get to see any of your audition?

LS: Well, this was at the stadium audition that I was trying really, really hard to get past for the first part. I don't know. It was really awkward. I just started making small talk with the four judges. The other three people in my row were just kind of standing there like, 'What are we doing?' And none of them made it.

WW: So the four judges that you auditioned for were not the actual judges?

LS: No, they were like assistants.

WW: So that's part of the screening process that we're not exactly privy to?

LS: Well, I mean, they show it on TV, the stadium stuff, but the actual celebrity judge audition happened in August downtown at the old Hyatt. I don't know -- I was really nervous for that one.

WW: So you were already passed through?

LS: Yeah, that was like the first cut, and then you go to another cut at the Hyatt the day before the celebrity judges, and they just kind of filter through the most hilarious people and the quality people.

WW: So who did you audition for in that turnaround?

LS: The pre-celebrity judge round was for Ken Warwick, the creator. That's when I first met him. There were a couple of other guys that I never met. One of them, I started singing - Westword

When America voted Lilly Scott off this season's American Idol, our hearts sank. Scott, a Littleton resident who previously fronted the band Varlet, was a breath of fresh air on a show otherwise known for churning out (with a very few exceptions) a steady parade of unmemorable artists who, in turn, produce mainstream pabulum. And while we were being unrealistically optimistic to think she'd make the finals, we couldn't help pulling for Scott. For the first time in years, she made Idol worth watching. We couldn't wait to see what songs she'd pick next: From "Lullaby of Birdland" to "Fixing a Hole" to "A Change Is Gonna Come" to "I Fall to Pieces," she kept things interesting. But that last song eventually proved to be her undoing; Scott's voice, which recalls Joanna Newsom's, was a bit too much for most folks. Your loss, America. - Westword

Lilly Scott didn't make the top 10 on this year's “American Idol,” but she came close. The 21-year-old singer was voted off the show on March 11, leaving 12 remaining singers.

The singer/songwriter, who was born in Houston, Texas, but moved to Colorado when she was 4, will perform Friday with her band Varlet at the Island Merchant in Hyannis and Saturday at the Naukabout Music Festival in East Falmouth.

She started piano lessons at 7 at took up guitar at 12. In 2005, Scott and brother David formed Varlet. The band's current lineup includes Cole Rudy, Zay Rios and Vaughn McPherson.

The band employs a wide variety of instruments in their experimental and original (and sometimes lyrically explicit) indie-folk tunes, led by Scott's vocals and including the Moog, the mandolin, the melodica and the Rhodes piano. Scott's influences include the Beatles and John Denver as well as indie-folk acts like Animal Collective and Devendra Banhart. Varlet recently released a five-song EP titled “I Win!”

The band's performance on Friday night will feature both indie and classic rock. The Jeff Conley Band opens for them. - Cape Cod Times