N※N

Live Frog Takes the Stage at Michigan's Third Man Records

  //humor-quirks.news-articles.net/content/2025/11 .. s-the-stage-at-michigan-s-third-man-records.html
  Published in Humor and Quirks on Monday, November 24th 2025 at 12:06 GMT by The Michigan Daily

• 🞛 This publication is a summary or evaluation of another publication
• 🞛 This publication contains editorial commentary or bias from the source

2025-11-24 224 x 224 / 13703 Bytes

2025-11-24 224 x 224 / 6773 Bytes

2025-11-24 183 x 224 / 5610 Bytes

2025-11-24 179 x 224 / 10962 Bytes

Live Frog Takes the Stage at Michigan’s Third Man Records – A Genre‑Defying Night

When a local act steps into a space that’s home to a label whose catalog ranges from classic rock to avant‑garde vinyl experiments, the stakes are high. On a recent night in Detroit’s East Side, Michigan Daily’s “Defying Genre: Live Frog at Third Man Records” chronicled just such an event. The article paints a portrait of a band that refuses to be pigeonholed and of a venue that has long nurtured boundary‑breaking talent. In what could be called a “musical mash‑up,” Live Frog’s performance at Third Man was a testament to the power of hybridisation in contemporary music.

1. Live Frog: A Snapshot

Live Frog—formed in 2017 in Ann Arbor—has quickly become a cult favourite among Michigan’s indie‑folk crowd. The band’s lineup is unusual: a quartet of musicians who double up on instruments and roles. Vocalist‑guitarist Mia Lutz brings a lyrical voice that ranges from wistful croons to anthemic shouts, while DJ‑turntablist Josh “Jazzy” Rivera layers in scratches, samples, and electronic textures. Bassist Troy “T-Bone” Harris anchors the groove, and drummer Nina “Boom” Patel keeps the pulse driving forward. Their collective sound, as the Daily article notes, is a blend of folk storytelling, hip‑hop rhythm, funk‑laden basslines, and even touches of psychedelic rock—an amalgam that defies easy categorisation.

The piece includes a brief look at their debut album Roots & Riffs, which won the Michigan State Music Award for “Best Fusion Release” in 2019. Their single “Rivers Run Free” was featured on a regional college radio show, and the band’s reputation grew through their energetic live shows and an online presence that highlights their DIY ethos. The Daily’s writers highlight the band’s commitment to community‑based concerts and collaborations, noting that their recent performance at a community art gallery in Lansing was “as much a visual experience as a sonic one.”

2. Third Man Records: A Legendary Backdrop

Third Man Records, owned by former The White Stripes front‑man Jack White, has long been synonymous with “old‑school” vinyl and a commitment to authenticity. Located on Michigan Avenue in downtown Detroit, the store‑turned‑studio has become a cultural hub for musicians, collectors, and fans. Its “Live Sessions” series, which records and releases one‑night‑only performances, is a staple of the label’s programming. According to the article, Live Frog’s appearance was part of a special “Genre‑Defying Series” that also included performances from the experimental jazz trio Electric Soul and the blues‑funk fusion group The Resonant Six.

Third Man’s reputation for high‑quality analog recording equipment—its custom‑built 8‑track tape machine, vintage microphones, and meticulous mastering—means that any live set is captured with an emphasis on warmth and clarity. The article points out that the label’s emphasis on “analog fidelity” creates a space where musicians can explore the full sonic palette of their instruments, from subtle acoustic strums to aggressive electric riffs. This is a crucial factor for a band like Live Frog that thrives on sonic layering.

3. The Night in Review

The Daily’s feature paints the performance as an “aural roller coaster.” The evening began with a stripped‑down acoustic set that showcased Lutz’s folk balladry, featuring a guitar riff that would later be sampled in Rivera’s DJ solo. Rivera then slipped the crowd into a mid‑tempo trap‑influenced beat that felt simultaneously fresh and nostalgic, drawing on the vinyl grooves that Jack White is known for preserving. The synergy between the live band and DJ turned the venue into an impromptu cross‑genre laboratory.

One of the most striking moments was the spontaneous call‑and‑response between Lutz’s soaring vocals and Patel’s tight, syncopated drum patterns, punctuated by Harris’s funky basslines that hinted at James Brown. The set culminated in a cover of The Mamas & the Papas’ “California Dreamin’,” transformed into a funk‑hip‑hop hybrid that left the crowd cheering. The article notes that the cover was “not just a tribute but a re‑imagination of the 1960s folk‑rock aesthetic through the lens of modern production.”

Throughout the show, the band leveraged the unique acoustics of Third Man’s 50‑seat “Studio 4” room. The article cites a backstage interview with Lutz, where she describes how the walls lined with 45‑rpm vinyl give the room a “live‑sound echo” that was ideal for capturing the energy of their performance.

4. Why This Performance Matters

Live Frog’s appearance at Third Man is significant on multiple levels. First, it showcases the ongoing vitality of Detroit’s live‑music scene, especially after the challenges of the COVID‑19 pandemic. The article underscores how Third Man’s ability to host intimate gigs supports local artists who need accessible stages. In an industry that often prioritises headline‑heavy touring, venues like Third Man are a lifeline.

Second, the band’s genre‑blending approach is emblematic of a broader shift toward “genre‑fluid” music. As the Daily’s writers point out, the past decade has seen a rise in artists who refuse to be confined by traditional labels. By incorporating hip‑hop elements into folk storytelling, Live Frog defies conventional genre boundaries—something that Third Man itself has championed with its own eclectic roster.

Finally, the performance underscores the role of community in contemporary music. Live Frog’s DIY ethos, their collaborations with local artists, and their use of the venue as a creative incubator exemplify how artists can cultivate a support system that is both collaborative and sustainable. The Daily’s feature ends with a quote from Rivera: “In a world that’s increasingly digitised, a place like Third Man reminds us that real, analog moments can still spark genuine connection.”

5. Further Context

The article links to several additional resources that provide richer context. For instance, a link to Third Man’s “Live Sessions” page offers a look at past performances by acts such as The White Stripes and Jack White’s solo work. Another link leads to the Michigan Daily’s coverage of the “Genre‑Defying Series” announcement, where the label’s philosophy of celebrating musical hybridisation is outlined. Finally, a link to Live Frog’s Spotify page gives readers direct access to their discography, highlighting tracks that embody the band’s cross‑genre approach.

Conclusion

“Defying Genre: Live Frog at Third Man Records” is more than a concert recap; it is a celebration of musical experimentation and community resilience. Live Frog’s fearless blending of folk, hip‑hop, funk, and psychedelia finds an ideal home in Jack White’s iconic Third Man Records, where analog reverence and sonic curiosity coexist. For those who cherish music that refuses to be boxed, this performance—and the article that chronicles it—offers a window into a future where genre is a fluid, ever‑evolving concept.