NYS Music 20​12

Category: Show Reviews

  • Dark Star Orchestra at The Westcott Theater, November 25th

    When Dark Star Orchestra made its way to the Westcott Theater this past Sunday, it was difficult for me to understand, fully, the emotion I used to have for the band.

    For years I saw them dozens of times, closing my eyes and pretending I was at a Grateful Dead show and enjoying an experience I was far too young to taste myself, as Jerry Garcia had passed away when I was just eight years old.

    But this DSO show was different. It was my first non-festival DSO show without former guitarist John Kadlecik, who made the leap from the minor leagues to the majors in joining Furthur, Bob Weir and Phil Lesh’s latest post-Jerry Dead collaboration in late 2009. In his place was a fitting man, one who even looks similar to Jerry: Jeff Mattson.

    Well, to be blunt, I still had a blast. With a rollicking “Here Comes Sunshine” to kick things off – the crowd still filling the small venue – DSO proved to me they hadn’t lost a step. In fact, I’d say they gained a little more soul with Mattson leading the group.

    “Me and my Uncle,” “Ramble on Rose” and “Looks Like Rain” had me wondering if this was an early 1970s Dead recreation, or an original setlist, which I prefer. “Deal,” “Mexicali Blues” and “They Love Each Other” told me this was definitely a recreation, which turned out to be from St. Louis on October 30, 1973. “El Paso,” “Row Jimmy” and “Jack Straw” kept the flow of upbeat tunes coming, but the band seemed a step slow. That, or I was just slow from a week of work and not Thanksgiving celebration. Who knows?

    Easily the highlight of the knight came next with my favorite pairing of “China Cat Sunflower>I Know You Rider.” Mattson took the lead, trading licks with Rob Barraco, the man who has played keyboards with countless post-Jerry bands. To close the set was a spacey, yet tight, “Playing in the Band.”

    The second set kept pace with a “Mississippi Half-Step Uptown Toodeloo,” a personal favorite, that featured the intricate song played flawlessly. “Big River” got the crowd back on its toes before the group bled into “Dark Star.” This wasn’t your average version, as the psychedelic riffs from Mattson were in perfect sync with the tribal rhythms provided by drummer Dino English.

    The rest of the set was a segue-fest, with “Dark Star” moving seamlessly into “Stella Blue>Eyes of the World>Weather Report Suite Prelude>Weather Report Part 1>Let it Grow” before the band finally took a breather. “Going Down the Road Feeling Bad>Johnny B. Goode” closed one hell of a set. For the encore, as predicted, was “One More Saturday Night,” a tune that had the Westcott going like it was 1973 again.

    While this version of DSO is definitely different from the last incarnation, one thing holds true: The Grateful Dead spirit Is alive, well and on a trip that hopefully never ends.

  • The New York Banjo Summit at The State Theater, November 2nd

    Dan Smalls Presents and the State Theater of Ithaca hosted a magical experience with the New York Banjo Summit on Friday November 2, 2012.  All in attendance in the nearly packed house were treated to a mixture of history, storytelling, music and showmanship from an all-star line up of musicians spanning many styles of banjo music.  I left the theater feeling utterly grateful to have been in the audience.

    One would be hard pressed to find a venue as suitable as The State Theater for this kind of show.  The theater itself dates back to around the 1930s, the time period the banjo asserted itself as an American instrument in popular culture.  It’s quaint and relatively small with a historical feel and an overhanging balcony assuring that even the cheap seats get a good mix of the stage sound.  Every note rang clearly and precisely in the room. Even the breathy, husky lilt of the voices of the pioneers on the stage reached out and touched our ears.

    [youtube http://www.youtube.com/watch?v=DXZ2xQIYVV8&w=560&h=315]

    I was anticipating some great music and had done my research before arriving, but I still found myself surprised by how much I learned about the banjo and banjo music in general.  Somewhere between a songwriter’s circle complete with a story or 10, a showcase and a presentation, this show truly left the audience with a well rounded view of how varied the music birthed out of a banjo can be.

    [youtube http://www.youtube.com/watch?v=6kThZrIuEj0&w=420&h=315]

    Some highlights for me included a poignant expression of a proletariat anthem “How Can A Poor Man Stand Such Times and Live,” raising the hair on my arms with its lyrics still so relatable.  This is part of how this instrument crept deeply into the hearts of the American people; it backed so many songs of struggle of the working man and the enduring qualities that make us human.  I was also taken completely aback by Richie Sterns!  As much as Bela himself has tailored the banjo to suit his particular expression, so has Richie Sterns with this aggressive and progressive rockabilly lean. Utilizing several effects, Sterns’ play was edgy and crisp; his demeanor truly grateful and amiable  Of course, Bela Fleck’s unique style of heavily working harmonics and his tuning pegs relentlessly left us breathless as he took his solo spotlight moments.  There is something sacred in the air when Bela plays with such intensity and the audience shared in some beautiful moments of near meditation. Tony Trischka is a true showman and it was downright fun to watch him interact with Bela and the rest of the band and to hear his quips and stories.  He is also a master at the instrument blending more contemporary play with jazz and  the essence of old foot tapping barn-thumpers.  Under his hands, many styles of banjo play converge.  Trischka and Bela created an impressive display of a four armed banjo beast, both playing the same instrument at the same time with astonishing precision and speed.  Weissberg delightfully taunted with “Dueling Banjos” and ultimately delivered an interesting slightly deconstructed version of the fan favorite.

    [youtube http://www.youtube.com/watch?v=zRaAfmhObSY&w=560&h=315]

    The backing band was also superb with fiddle player Alex Hargreaves receiving a fair share of attention. I would have liked to have heard the upright bass up in the mix a little more prominently, but that is likely personal taste over a genuine criticism.

    All in all, the New York Banjo Summit was a beautiful, touching and evocative experience in lovely Ithaca that I will honestly carry with me my entire life. If you have a chance to catch this tour somewhere, even if it is only from clips online, I urge you to do it!

  • Rubblebucket At The Westcott Theater, November 14th

    Rubblebucket At The Westcott Theater, November 14th

    Around the educated-listener music scene, there has been quite a buzz about the Boston-based band Rubblebucket. At the Westcott Theater November 14th, I finally got to check out what all the hipster hubbub was all about. The lead vocalist, Kalmia Traver, is one of those rock chicks every female music lover wishes she could be. Traver’s, and the rest of the band’s “I don’t-give-a- $&?!-I’m-a-dork” attitude got the entire house grooving hard. Other than easily noting their whimsical horn section, the band’s sound is hard to put a finger on. To give you a good idea of their musical spectrum, at one point in the show Kalmia asked the crowd if they were in the mood for one of the bands dark and stormy songs or one of their happy dorky songs. Both types were shouted equally from the loyal audience and the band settled on one of their new songs “(Focus) Oversaturated” off their 2012 EP Oversaturated. The track incorporates ghostly arpeggios and has a tempo which definitely puts the song in the dark and stormy category even though its hip-hop claps keep the song fun. You can download “(Focus) Oversaturated” for free on their website rubblebucket.com

    Rubblebucket eventually brought the mood back up to happy and dorky when they played their most popular new song off the Oversaturated EP, “Came Out Of  A Lady”. Kalmia and the boys in the horn section highlighted the song with random choreographed dance moves at different parts. The show became more of a celebration than a concert when giant tinfoil robots came dancing into the pit. The band’s fun interactive qualities are clearly a major driving force in their success. Their physical antics and showmanship were beyond captivating. Anyone who hadn’t previously seen them live knew they were in for something cool when the band played their first song wearing spotlight medallions around their necks, like Flava Flav at a rave. Twice in the show, Kalmia was helped over the metal gate in front of the stage by fans in the front and  proceeded to climb into the crowd for dance breaks with the audience. Band leader and trumpet player Alex Toth joined in the crowd as well playing his trumpet on the shoulders of a lucky fan. The band ended the show by jumping into the crowd one by one (giant robots included) and parading through the room to the back where they had a jam session in a circle while the audience danced and clapped around them. At this show, if you weren’t dancing, you stuck out like a sore thumb. Rubblebucket’s live performance exceeded my expectations. If they keep it up they can look forward to capturing many new fans and keeping their old ones coming back for more.

  • Timbre Coup and Formula 5 at Red Square October 27

    It was the weekend before Halloween and Red Square was decked with decorations galore.  The bar was hosting two of Albany’s favorite young up and coming bands for the Halloween celebration – Timbre Coup and Formula 5. Formula 5 got the party started with their signature Phish style jams. All dressed in white lab coats, it was obvious throughout the show they were having fun on stage playing off each other in and out of every song. The talent is certainly beyond their years. Their 20 year old guitarist, Joe Davis, tore it apart all night with tight guitar riffs and tons of enthusiasm. It is refreshing to see some young new talent on the jam scene in Albany and Formula 5 always brings out a pretty vibrant crowd. The last song I heard before stepping outside was an interesting rendition of the “Ghost Busters” theme song. Certainly not the tightest song they played all night, but still a humorous choice to play for their costumed crowd.

    After a short break Timbre Coup took stage dressed as elderly men. It was seriously entertaining to see four men taking their music so seriously while dressed in such ridiculous costumes. Timbre Coup is always a pleasure to see live and their crowd never leaves disappointed. Their band is made up of Andrew Chamberlain on the guitar, Matt Pickering on the drums, and Dan Gerken and Ben Pickering trading off duties on the guitar and bass. While their music is often referred to as improvisational progressive rock, each song individualizes itself into its own category. While their dance-worthy bass lines keep the crowd moving, some songs stray away into heavy head banging guitar riffs that bring the energy in the room up another caliber. It seems every Timbre Coup show I see each band member grows individually as a musician and together as a band. One thing is for sure, they never disappoint. Their crowd always stays moving, and always leaves happy.

    Midway through their set a drummer took stage to pull up members of the crowd for an impromptu costume contest. Seeing 12 people squeezed onto the small stage all dressed in their Halloween finest was certainly a sight to see. The winner was a man dressed head to toe in gold spandex donning a Beauty and the Beast Lumiere candle-stick hat and light up candle hands. Truly the most creative Halloween costume I’ve seen in years. Overall the show was great, the Halloween Vibe was spot on and the energy was non-stop. As always, these bands did not disappoint.

  • Dr. John and The Blind Boys of Alabama, The Palace, November 1, 2012

    I was filled with wild thoughts of Mardi Gras and voodoo magic as I walked into The Palace Theatre in Albany, NY this past Thursday. Far from the bayou, Rock & Roll Hall of Fame inductee, Dr. John made a stop in the Capital District on November 1st with his Spirituals to Funk Tour featuring The Blind Boys of Alabama.

    Dr. John strolled on stage, wearing a blazing purple suit, took his place center stage in between a piano and an organ, both decorated with jeweled skulls. The band jumped right into the night playing some tunes off their newest album, “Locked Up” which was produced by The Black Keys’ Dan Auerbach. One of the songs, “Revolution” gave off a whimsical circus vibe from Dr. John’s organ and featured a strong brass solo from the female trombonist. “Big Shot” had an easy flowing groove, with a simple beat and an eerie harmony, making Dr. John’s vocals intimating and hypnotizing. The top hit song “Right Place, Wrong Time” started and the audience cheered in excitement. The people sitting next to me politely excused themselves before immediately jumping out of their seats to start dancing in the aisles. This funky jam made for an excellent electric guitar solo and it’s understandable as to why it was such a chart topper.

    After that song, Dr. John was joined by the gospel legends, the Blind Boys of Alabama. The quartet eased on the stage with one member announcing, “Can’t believe I’m here at the Palace with the great Dr. John…and we don’t sing to a conservative crowd.” The audience grew loud and stood to their feet as the Blind Boys began to belt out ”People Get Ready” strong harmonies that I never saw coming. The boys each had a chair and would periodically stand for their solos or sing relaxed in unison in their seats. It was great entertainment to see the Blind Boys feel the music as they each jived to Dr. John and his band’s music. They covered one of my favorite songs, Norman Greenbaum’s, “Spirit in the Sky” with serious swag. The Blind Boys continued to bring a heart-lifting performance especially during “There is a light” with their comforting and strong vocals.

    As the Blind Boys made their exit, the crowd was treated to Dr. John laying down some serious notes on his guitar before returning back to the keys for “Mos’ Scocious.”I watched in awe as Dr. John could play the piano to his left or the organ on his right or both at the same time. Each song oozed New Orleans charm with a perfect mix of jazz, the blues and funk. As quickly as they had left, The Blinds Boys were back to help end the show with a bone chilling, slow tempo, “Amazing Grace.”

    Much to my disappointment, the show ended before 10pm but it gave everyone a chance to have a meet and greet with the Blind Boys in the main lobby for autographs. The Spiritual to Funk Tour will be making stops in New Jersey and Virginia for the month of November. You can find more information about Dr. John by going to his website here. You can find more information about The Blind Boys of Alabama at their website here.

  • Evening Jazz with Charlie Hunter, Club Helsinki, October 20th

    Evening Jazz with Charlie Hunter, Club Helsinki, October 20th

    I arrived fashionably late to Club Helsinki for Charlie Hunter on Friday, mostly because its rather unassuming at first glance. Understated even, compared to the elegance inside. A renovated Factory originally built in 1863, Helsinki has many irons in the fire with a Ballroom upstairs, full restaurant in front, Club in the rear and an adjacent courtyard.

    charlie hunterI had driven right by as I am not totally familiar with Hudson yet and hadn’t noticed the HELSINKI lettering dripping down the outer wall on either side. Duh, I thought, as I hustled inside. I mistakenly entered the restaurant first and was directed to the back via the courtyard. Luke, the Club Helsinki manager greeted me outside in the courtyard with a smile. He showed me in, informing me Charlie had started about 15 minutes before. Knowing his songs tend to noodle around, I figured I had missed around 3-4 songs. Club Helsinki has simple tasteful decor and is inviting and comfortable with a large bar, three levels of tables and an ample dance floor. I settled into the most immediate open table with my brown ale.

    The first song I’m privy to is an energetic and funky breakdown of Hall & Oates’ I Can’t Go For That! It was everything I could hope for in a jazzed up version of a song I grew up hearing. I enjoyed the next song and then noticed my friend Tom Carpenter and joined him at a table closer to the stage. I am not sure what the next couple songs were, but I noticed as I was sitting closer that Charlie has on his guitar face, that means business. Scott Amendola, his drummer, has come to play as well. Playfully covering a Curtis Mayfield B side Charlie’s chops are so incredible as he makes the bass lines with the top three bass strings and guitar licks and solos on the bottom four strings of his hybridized guitar. Next is a soulful You’ve Been A Good ole Wagon, But Baby Now You’ve Done Broke Down, an old Bessie Smith number. After a brief pause at the end of the show Scott and Charlie joined us for an encore after the crowd of 40 or so hooted and applauded them.

    I had a great time at Club Helsinki. Anyplace I can see some great musicians in an intimate setting with excellent sound and have drinks delivered to my table, I’m game. I will definitely be back.

    DOWNLOAD A FREE MP3
    “BLIND ARTHUR”

  • Jackie Greene Band, Club Helsinki, October 27th

    Jackie Greene Band, Club Helsinki, October 27th

    I first became “acquainted” with Jackie Greene, when a video of Jackie Greene performing “Brokedown Palace” with Phil Lesh at Phil’s Marin County home surfaced back in September 2007. The rehearsals were in preparation for the fall 2007 Phil and Friends tour. I happened to catch the 10/20/2007 show of that tour at the Glens Falls Civic Center. Most of the hype centered around the appearance of Phish’s Trey Anastasio who was residing in the area at the time. But “the new kid” in skinny jeans, as I referred to him in a blog post, impressed me with his gritty bluesy voice. Not an easy task when you are on stage with Larry Campbell, Phil Lesh and Trey Anastasio!

    I’ve been a fan since. I have caught his sets at Gathering of the Vibes, his performances with Ratdog and Bob Weir, and followed the YouTube videos he shoots of himself performing new tunes. Although I missed out on his Ramble appearances down at the late great Levon Helm’s Barn and his prior visits to Bearsville Theater in Woodstock, NY, I tentatively had the 11/2/12 show at Bearsville Theater pencilled in on my calender prior to the announcement he would be joining Phil and Friends (again) on tour shortly thereafter. While I was stuck working, I was shut out of tickets for the Phil & Friends dates at the Capitol Theater in Portchester, NY when those dates sold out quickly.

    It was serendipity that Jackie Greene announced an added date at Club Helsinki in Hudson, NY where I grew up and where family still lives. A 45 minute drive to Hudson sure beats the 1hr 45m drive to Bearsville as much as I enjoy hanging out in Woodstock.

    I had never been to Club Helsinki before, which I can best describe as a seated club (or at least it was for this night). It had a supper club/cabaret type feel. In fact people were dining throughout most of opening act Jabe Beyer’s set and through Jackie’s. The tables were all full when my friends and I arrived but we were told we could sit on the couch which was side stage and right next to Jackie’s tech.

    For a singer/songwriter type like Jackie Greene, the venue was perfect and the acoustics were outstanding. The 17 song set showcased Jackie’s versatility as he segued seamlessly from folk to pure country to rock and blues and back showing why the New York Times labeled him the “Prince of Americana”.

    Jackie opened with I Don’t Live in a Dream from 2008’s Giving up the Ghost. He then put on the harmonica for a Dylanesque Gone Wanderin’ prefaced by stating “a little joy before the storm hits” referring to the looming Hurricane Sandy. Honey I Been Thinking about you had folky Arlo Guthrie like humor. A Side of the Road and Honey also showcased folk influences. There was a a nod to the outstanding sound because “I can hear myself” with pure country ballad When Did you Stop Loving Me?

    A cover of the Grateful Dead’s Deal featured an outstanding keyboard solo by Steve Taylor on a very clean and crisp sounding Yamaha. I was continuously torn between putting down my camcorder to just listen especially on the lush harmonies of A Moment of Temporary Color where Steve Taylor showed restraint and a light ethereal touch on those ivories.

    Jackie took an audience request on 1961 playfully stating “WTF are the words!! I always get myself into these situations” It was then his turn to take to the piano and he swapped places with Steve Taylor for Shaken, So Hard To Find My Way and the gritty, soulful and very old-school blues of Tell Me Mama, Tell me Right were he asked the soundman to take everyone else out of the mix.

    Jackie then returned to the guitar for a duet with Steve on Elton John classic Bennie & The Jets. The playful back and forth of Bennie Bennie Bennie…. Bennie & the Jets had both singers at the tops of their range in falsetto. A switch to acoustic guitar for One Bad Love and one of my favorite tunes of the evening Uphill Mountain signaled the night was winding down all too quickly. Band introductions followed and it was back to the electric for set closer and the second Grateful Dead cover of the night: Sugaree. After the band left the stage briefly, they came back out with Jabe Beyer. With a nod to Levon Helm and The Band, Jackie and Jabe encored with The Weight.

    Setlist: Tuning, I Don’t Live In A Dream, Gone Wanderin’, By the Side of the Road, Dressed to Kill,
    Honey I Been Thinking About You,
    When Did You Stop Loving Me?, Deal, A Moment of Temporary Color, Till the Light Comes, 1961, Shaken, So Hard To Find My Way, Tell Me Mama, Tell Me Right, Bennie and the Jets, One Bad Love
    Uphill Mountain, Sugaree

    Encore: The Weight*

    *with Jabe Beyer (Jackie’s Opener)

    Club Helsinki Entrance

  • Biodiesel with DigiMUN at Red Square, October 20th

    While JGB was rocking the Den and Australian Pink Floyd played the Palace, Red Square hosted three electronic-based acts: Biodiesel, Digimun and Albany’s own Digital Dharma. I had no expectations going into the show, other than the knowledge that both Johnny Rabb and Clay Parnell of Biodiesel are both monumentally talented individuals. Clay Parnell has been an important and well known electronic bassist on the scene for years working with bands such as Brothers Past, The Join and Philabuster. Then there is Johnny Rabb, pioneer of the free-hand technique and a drumming legend. These two joined up to walk the line of Band & DJ and create an electronic super-duo that explores the new genre of “Livetronica.”

    I was lucky enough to catch the very end of the opening act DigiMUN, which is a mash up of Digital Dharma and Mun from NYC, playing what they describe as “astrofunktronica”. DigiMUN was created after an accident involving bassist Steve Mink  and keys/synth player Eli Ramos, which left both injured and Eli in critical condition. Eli insisted that band push forward after the accident, and DigiMUN was born.

    DigiMUN is 100% improvised on the spot. Much of their influence is derived from bands including The Disco Biscuits, STS9 and The New Deal. You can tell that there is a connection between the band members, even after working together for such a short period of time. It was certainly a pleasure to be able to catch an up and coming collaboration group.

    When Biodiesel hit the stage, drum and bass began emanating outside to the parking lot. The one thing I love more than seeing a show at Red Square is seeing a show where the back room is filled to capacity with a dancing crowd. You don’t expect much when going to see a two-man band but I found myself pleasantly surprised. The hard beats and bass lines had everybody in the crowd moving. One thing that stood out to me in particular were the samples they used to break apart the heavy beats. It was a perfect mix of man and machine and created a totally different atmosphere than I had expected. You could certainly tell that both Rabb and Carnell were pouring everything they had into their work and keeping the crowd hyped.

    Biodiesel ended around 1am, relatively early but came back on for a hard hitting encore that left the entire crowd wanting more. Although I have seen Biodiesel a handful of times, it was refreshing to see such a high-powered show with a crowd to match.

  • Wild Nothing at Bowery Ballroom

    Wild Nothing at Bowery Ballroom

    Every year, College Music Journal (CMJ) invites hundreds of the music industry’s leading professionals to come speak in New York City, to share their knowledge with students interested in breaking into the industry and followers of “the biz.” The CMJ Music Marathon also showcases over one thousand musicians, exhibiting concerts all throughout Manhattan and Brooklyn for five October nights. In the past, musicians like Mumford and Sons, Arcade Fire, and Lady Gaga found themselves performing in the City’s most intimate venues, sponsored by CMJ, just before breaking into the national spotlight and garnering widespread attention.

    I had the opportunity this year to experience CMJ firsthand, listening to Daniel Glass of Glassnote Records and Bill Werde of Billboard Magazine by day and venue hopping from The Knitting Factory to Santos Party House by night.

    My 2012 CMJ Music Marathon experience came to a close, however, on Saturday night with a Wild Nothing performance at the Bowery Ballroom, a venue that occupies a building originally built in the 1920’s. Although the building acted as a high-end retail store until its conversion into a music venue in 1997, its old school elements—wide, wooden banisters leading to a balcony view, and its large, stage-encompassing curtain that greets the venue’s guests—create a comfortable, personal atmosphere.

    Taking the stage after opening sets from FORMA, Weekend, and Braids, the 5-piece, Virginia-based band began their set with “Shadow,” the first track off of their recently released album, Nocturn.

    As the set progressed, Wild Nothing’s influence on the audience brought about clusters of dancing concertgoers. The band’s arrangement of alluring guitar riffs, prevalent bass lines, quick drum beats, and mellowed-out, reverb-heavy vocals hypnotized the venue’s 550 guests into a state of grooving in a way completely dissimilar to many of today’s fist-pumping acts that occupy popular dance clubs. It was this presentation of instruments and vocals that engaged the audience in such an authentic way, focusing the crowd’s attention on the music while also creating a fun, dance-dominated atmosphere.

    Coming off a well-received sophomore album, Wild Nothing seems to be heading in the right direction. Frontman Jack Tatum’s tunes translate well into a live setting, and the exposure gained at an event like CMJ will no doubt cultivate the band’s already solid fan base. Wild Nothing’s music has already made an impact on the industry, and their appearance at 2012’s CMJ Music Marathon may prove to be just the beginning.

    http://www.youtube.com/watch?v=M3n_M9jYW04

  • One Angry-Man Show: Henry Rollins at The Egg, October 25th

    One Angry-Man Show: Henry Rollins at The Egg, October 25th

    With a history of politically-tinged acts such as State of Alert, Black Flag and Rollins Band, Henry Rollins’ foray into spoken word performance is a natural segue, removing the music and adding in an uninterrupted stream of consciousness covering a multitude of topics for two and a half straight hours. Appealing to the populist crowd scattered with faithful hardcore punk fans, Rollins delved into broad topics, ranging from national literacy to elections, traveling the world to growing up in Washington D.C. and his life with Black Flag on the road and in Los Angeles.

    henry rollins
    Henry Rollins

    On this night at The Egg, dressed as usual in black shirt, black pants and black shoes, Rollins dripped sweat from his left arm as he held the mic, barely moving from his spot at center stage for the entire performance, deviating perhaps only a few inches at most from beginning to end. After an hour, he seemed like a Rockem Sockem Robot, fixed in position and only moving his arms, just a little more fluidly than the robots and with a deep passion that kept the audience engrossed throughout the performance. Rollins was nothing short of intense in speaking to the crowd, never engaging them directly but keeping them on their proverbial toes with random bursts of pure energy, akin to the refrain in the “Liar” video.

    Among the multitude of topics that Rollins segued in and out of over the course of the night:

    • Lincoln and his recognizing that the greatest threat to America was internal;
    • Having played many state capitals this tour, most of them, Albany included, seem to shut down shortly after 6pm;
    • The use of polysyllabic words as a sign of intelligence and more prevalent among one of the two political parties;
    • Hope that the 21st century is looked upon centuries into the future and taught in schools as THE century where things changed for the better for all;
    • Megyn Kelly of Fox News and her reaction to news stories (one can never look at Megyn the same way again after hearing his observations);
    • The greatness of live music as described by seeing a 19 year-old playing with a punk band;
    • The wisdom of David Lee Roth (yes, wisdom);
    • Having turned 50 recently, recognizing that he is not at the midpoint of life, but rather within field goal range of death;
    • The trend of old bands and punk rockers reuniting to scare new generations at summer music festivals (with better sound this time);
    • Black Flag as an ancient traveling troupe and stories from the road, some happy, some sad and but mostly generally fucked up experiences;
    • Heroin in Los Angeles during Black Flag’s heyday and the friends lost to overdoses;
    • Visits to Syria, Iran, North Korea, China, Bhutan, Tibet and Haiti; all out of personal curiosity and general restlessness;
    • While visiting Haiti, having a sense of urgency to do something to help the Haitians, by getting them soap and soccer balls at their request; and,
    • Realizing that his Western solution to helping them (buying them things) was not a solution, but possibly adding to the problem.

    For 150 minutes, Henry Rollins delivered thought provoking laughs to a crowd fixated on his every word. Without a break for a drink or a spare breath, there was much to take away from the mind of a prolific thinker and musician. A spoken-word show of this nature is one not to miss.