Spend any time in the Middle Keys and you’ll hear John Bartus singing and playing guitar — or piano. His “Ceaseless Island Tour” has been going for almost 40 years, beginning with bars and eateries that at this point don’t exist and stretching out to those modified after Hurricane Irma.

Be that as it may, his visit was upset, as were such countless things, when COVID hit. Settings shut. The best way to get café food was to get it and take it home. For some time, you could stroll across the Overseas Highway blindfolded and not stress over being hit.

Nobody was going out to hear artists.

So Bartus completed two things:

He began playing Facebook Live shows on Friday nights, reconnecting with people who weren’t in the Keys any more and giving a touch of practically typical life to the individuals who were. Even after things started opening up as the infection retreated, he has proceeded with these shows, most as of late at Marathon Community Park, where he was preparing for last end of the week’s debut Florida Keys Brew BQ.

What’s more, he recorded a collection. During those Facebook shows, and at his live shows when things opened back up, he’d play another tune or two, taking note of that they were from his approaching CD. With 13 tunes, including one that is bound to be an occasion top pick, “After the Storm” is, as is commonly said, accessible on every one of the stages. Or on the other hand from Bartus himself at any stop on his visit.

Here’s additional from Bartus on the new collection and on playing music:

Outside of being jobless for quite a long time, which was terrible, the pandemic gave personal opportunity to get my studio functional and start the venture that turned into the new CD. Being an artist on this level in the Keys implied I could return to work a ton sooner than a great deal of the visiting specialists. What’s more, I just completed the BrewBQ occasion. It was genuine ideal to play an occasion once more.


There are tunes that are very close to home, tunes that have a premise in close to home insight yet have been composed to be more general, melodies that depend on encounters of others I know, and tunes that are simply made-up stories. Notwithstanding the story, they’re all close to home.

I’m actually saving a few melodies that will fit better on my next CD, “Time and Tide.” I picked tunes for “After The Storm” that generally were composed after 2010 and were more acoustic.

On “After the Storm,” the most up to date tune is “Little Stages,” and it was composed rapidly at the finish of recording. The most seasoned is reasonable “Say farewell to Your Life.” It’s somewhere close to 10-15 years of age.

I did what I set off to do when expressing “Blue Zone.” The tune commends the recuperating force of the shore, where the sand meets the ocean. I’m exceptionally content with all aspects of the melody.

The just one of these I haven’t played live is “Still Come Back For More.” The tune is tied in with attempting to get away from a harmful relationship and frequently doesn’t make an interpretation of well to a tiki bar gig. The primary distinction is that on a chronicle, I can give a melody additional instrumentation and courses of action that tissue out the tune the manner in which I hear it in my mind. In any case, the tunes normally begin being played out live before I get an opportunity to record them.

My #1 line is from the extension of “Still Come Back For More” — “The messages you send are very much like paper in the breeze/Seemingly significant, the anger and the sound/A whirlwind in a teacup/The tempest inside my spirit/Though I let completely go, still I stay close by.”

I envisioned this person in “Say farewell to Your Life” to be a similar Jesus from the second refrain of Buffett’s “Havana Daydreaming.” Years have passed since he left Cuba, and his sneaking vocation hit an obstacle when the arrangement turned out badly and he needed to vanish and begin once again. However, that is the way Jesus was saved eventually.

Playing live, you for the most part let it all out. In the studio, I’m significantly more cautious about not committing errors while attempting to in any case keep the take new and with feeling. At times, a blaze of motivation hits when recording, and those are the minutes you expect the entire day.

“Brown-Eyed Girl.” I detest playing that tune. It’s been so exaggerated, it says literally nothing, however it remains so famous in any event, for more up to date ages. That, and the smashed buddy who hollers, “Play some Skynyrd!”

Zero in on those crowd individuals who are focusing and simply play for them. There are consistently audience members around.

A great many people see the humor in “My Own Damn Christmas Song.” Those who don’t and cop a disposition are fortunately uncommon. In spite of the fact that on the off chance that it hadn’t been for an individual like that, the melody may never have been composed.

Music innovation has made my independent acoustic exhibitions more diversion for both me and the crowd. I can make rhythms live, set out a harmony movement I can solo finished, and even make some cool congruity parts. I have an exceptionally cool pedal that makes my acoustic sound like a turned up electric. The lone things I’d need are only refinements of what I as of now have. What’s more, perhaps solid support gear that gave show sound and weighed only five pounds.

At the point when a ton of the cutting edge tech previously showed up back in the mid 1980s, you must be a performer to have the option to utilize it. Individuals like Thomas Dolby and Eurythmics utilized the tech to make great music. At the point when I initially began seeing artists with PCs with plates of pre-recorded tracks they purchased rather than made, that is the point at which I went acoustic once more. I don’t know it’s an issue … yet it truly isn’t unrecorded music.

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