NYS Music 20​12

Category: Show Reviews

  • Barons in the Attic, Wild Adriatic and Deer Tick at The Putnam Den

    It was my first time at the Putnam Den in Saratoga Springs this past Saturday where I saw Barons in the Attic, Wild Adriatic and Deer Tick perform. The venue has a large tented area in front, complete with concession stand and picnic tables. Inside is a huge, wide open room with a long bar on the left, equally as long merch table to your left when you walk in and big stage in the back. I loved all the free space to move around in, with very little view obstruction you can see the stage from anywhere in the room.

    Barons in the Attic started the night off to an eager to party crowd. The four-man band from Albany sends out a reckless abandon attitude as they slammed on their instruments during “Julia”. Showing their somewhat softer side was their song “Purple Underwear”, strong guitar notes and a great build up at the end. The crowd charged up and all starting to thrash about as The Barons egged us on and delivered a rebellious energy of punk rock during “In a Nutshell.” The lyrics are bitter as the boys scream and caused a ruckus during “My Old Soul.” Barons in the Attic can always start a party but they don’t guarantee ending it, to which their fans aren’t complaining. For more information on upcoming shows, merch and free music, go to wearebarons.com.

    Wild Adriatic is an untamed force that flows with such soul, it quickly catches you off guard and sucks you in. The rock and roll group infuses their music with plenty of funky guitar solos and groovy melodies. Shane Gilman on lead guitar has serious range for vocals and can really hit those high notes.  Rich Derbyshire shows no problem of dropping heavy bass notes while Travis Gray shreds on his guitar and keyboard. Mateo Vosganian provides steady beats all night, setting the ultimate dancing rhythm. From the band’s latest album, Lock & Key, they played “Spark” which is just that, a spark that explodes and grows all over the room with sharp guitar riffs and symbols. “Make like a Ghost” sends out a groovy melody that rises and picks you up with soulful harmonies. Wild Adriatic ended the night with their friends from Barons in the Attic, who all participated in their rendition of The Beatles “With a Little Help From my Friends.” Putnam Den was in perfect unison as bands and fans sang for the celebration of the weekend. Wild Adriatic announced their Halloween Show will be with Barons in the Attic at the Bayou in Albany, NY on October 25th.

    Wild Adriatic had this to say about the show, “when we close our set, we like to invite other bands, friends, promoters or anyone on stage to sing with us. It’s just a good time for us, and the crowd seems to enjoy it. We never really plan it.  We just ask people up last minute. Everyone knows the song and we don’t care if its good or not. It’s about fun and fun is why we all got into playing music in the first place!” For more shows and information, go to their website wildadriatic.com

    After way too long of a soundcheck, the crowd exploded once headlining band Deer Tick took the stage and announced, “This is show one of the Deer Tick tour. We’re gonna vandalize all your schools and churches and then pass out on your lawn. But we’re gonna play some songs for you first.” They have a raw sound covered in grunge-ness which surprised me given their “country” music reputation. The music came at me and I couldn’t label it then and I still don’t think I could. Rob Crowell would pound on the keys, sending out organ notes that brought in the “folk” style I was seeking. Ian O’Neil could not be stopped on guitar; fast paced chord progressive gave us the punk fighting spirit. Deer Tick has a fierce stage presence, the artists constantly bouncing on the stage and a mosh pit forms in the crowd. Dennis Ryan kept the drums loud and steady with Chris Ryan on bass.

    During the performance, lead guitarist John McCauley had a solo session with his guitar and the audience. “I’m not a poet, I’m not a clown. I just think these things and write them down.” His heartfelt vocals echoed through the room as the guitar notes gracefully followed. After playing a few new songs such as “Old Lady”, Deer Tick played requests from the fans resulting in massive sing-a-longs. It’s no wonder that Deer Tick has a dedicated fan base, given their broad genre playing skills. Deer Tick gained a lot of fans 2 years ago from their performance at Rest Fest in Albany and gained even more Saturday night. For more information and touring, go to their website, deertickmusic.com

    photos by David Mark Photography

  • One World Concert at The Carrier Dome

    It’s hard to imagine a reason why thirty musicians from all corners of the world and all genres of music would be performing on a stage in Syracuse.  But if you can imagine the Dalai Lama being the combining force that brought them all to The Carrier Dome on Tuesday, October 9 for The One World Concert.

    Labeled as “a historic celebration of peace, music, and common ground,” was a fast paced variety show, exhibiting some of the world’s best musicians, in order to share the message of peace with the world.  As Whoopi Goldberg the emcee put it, we were all there for a “piece of the peace.”  And while that may have been true for a fair amount of the audience, the great majority was there for the star-studded line-up meant to perform after the Dalai Lama’s speech.

    Aside from a few technical issues, the speech given by His Holiness the 14th Dalai Lama was both inspiring and entertaining.  Who would have expected one of the great spiritual leaders of the word to have such a great sense of humor and be taken seriously while wearing a Syracuse University visor?  He spoke of peace, tolerance, and leaving the past centuries of war and conflict behind us for a new one filled with peace and happiness.

    When Dave Matthews came on stage, everyone was filled with happiness to spare.  The renowned artist graced the crowd with a three-song set, a rarity for the evening and a privilege only granted to four of the thirty acts at the concert.  Without a doubt, Matthews was the headliner.  After his performance of “Mercy,” the crowd was ready for the rest of the concert to get underway.

    Natasha Bedingfield sang “Unwritten,” Nelly Furtado “Spirit Indestructible,” and Cyndi Lauper and Angelique Kidjo did a duet of “True Colors,” as everyone seemed to be having a great time, really paying attention to and enjoying the music.  That is, until Roberta Flack came on.  The audience seemed more interested in trying to keep a wave going, than actually listening to her perform.  Needless to say, the artist was upset and ended up leaving the stage without so much as a goodbye.

    The world music artists were expectedly unknown to most of the audience members, with the exception of AR Rahman.  However, Rahman didn’t even sing the song that made him famous by him and The Pussycat Dolls for SlumDog Millionaire, so most people were truly hearing his music for the first time.  There were also artists from Afghanistan, Iran, and Israel.  In fact, this concert marked the first time in history an Israeli artist and Iranian artist shared the stage.  The Israeli pop singer, Liel Kolet, was one of the few artists who got a three song set, and she seemed to impress the crowd.

    By the end of the show, the stadium had emptied out significantly.  Being a college campus on a week night right before mid-terms, it was to be expected.  The closing act was Counting Crows, and they had a straight-up jam session lasting several songs that was great to watch and a fantastic way to end the show.

    Review by Morgan Craig

    Previously known for his traditional Hasidic beard and fedora, reggae star Matisyahu proved the old cliché “you are your hair” to be true when he stepped out on stage at the One World concert freshly shaven and quaffed. New album, New man, and a handsome new man at that. During his performance a few rows behind me, someone shouted “You’re Hot!”, a phrase I have never heard used to describe Matisyahu before. On stage he seemed right at home, as Matisyahu grew up in Westchester County, New York about four hours away from Syracuse, where he attended White Plains High School.

    When the lyrics to the hit “One Day” off his 2010 album Light echoed throughout the dome it was clear why he chose to perform the older song.  “Sometimes I lay under the moon. I thank god I’m breathing.” The perfect compliment to the messages about cherishing life from the Dalai Lama. The words: “We don’t wanna fight no more, there’ll be no more wars and our children will play” gave me chills. I looked around the bleachers to find that the rest of the audience was just as moved, bobbing and swaying to the relaxed vibe. Inspired voices in the crowd sang along to the chorus repeating the words “One Day” and in that moment the possibility of one day having world peace really hindered in the air.

    After reading the names David Sanbourn, Cyndi Lauper, and Angelique Kidjo on the set-list for the One World Concert at Syracuse University last Wednesday. I had never imagined the three would collaborate so melodically. Nor should I have been surprised by anything at that point in the concert considering Whoopie Goldberg had  introduced the Dalai Lama (who later gave up the stage to Dave Matthews). Like an iPod on shuffle you never knew what would play at the One World Concert.

    The child in me gawked at the stage as the great Cyndi Lauper emerged in an edgy black and white suit jacket and loud pattern leggings. “We’re gonna do a song.” From the floor audience someone yelled “Girls Just Want To Have Fun!” to which Lauper replied with a smirk, “Not that one. I do wish you a lot of fun though.” She proceeded to pick the strings of a steel pedal guitar. David Sanbourn added to the sound with an aged-to-perfection-saxophone and then Angelique Kidjo let out her stunning vocals and the three produced a rendition of “True Colors” that left every soul rejuvenated.

    A tranquil sense of peace and oneness fell over the dome until Angelique Kidjo to an energetic bound back to center stage for a solo performance of “Afrika” off her sophomore album Spirit Rising. There was not a single booty in the arena that wasn’t shaking to the bongos. I’d be surprised if the Dalai Lama himself wasn’t moving his peace-maker backstage. In a shimmering blue suit jacket, Kidjo single-handedly turned the previously calm One World Concert into one big peace-party. My peers and I, as college students, saw Kidjo as just another obscure world-music artist on the set-list whose performance we would use as a chance to run to the bathroom before acts like Matisyahu or Swizz Beats. However, the instant we heard her booming, divalicious voice we were hooked. Her energy was contagious. From 30-year old men to high schoolers everyone in the Dome had caught the afro-fusion fever. Angelique Kidjo was the perfect example of how music can bring people together.

  • Dum Dum Girls at Schine Underground, October 11th

    The Dum Dum Girls are a band whose genre cannot be defined in a simple manner. When describing the group, fans of the Dum Dum Girls often use phrases like “dream pop,” “noise pop,” or “chill wave.” They use phrases that aren’t necessarily found on the iTunes “Music Categories” tab.

    This precise characterization associated with the Dum Dum Girls is a result of the band’s effort to create a musical style of their own, one that strays in the opposite direction of today’s exclusively female pop groups. In doing so, Dee Dee, Jules, Sandy, and Malia have pinpointed exactly how they want to present themselves, and on Thursday, October 11, this presentation was put on display at Syracuse University’s Schine Underground.

    Introducing themselves in lace tops and skirts significantly shorter form a proportional perspective than their complimentary tights, the Dum Dum Girls spoke first with “Mine Tonight,’” the opening track of their recently released EP, End of Daze.

    As their set progressed, the Girls continued to emphasize End of Daze, playing four of the EP’s five songs that earned the band “Best New Music” recognition from Pitchfork and a spot on this year’s CMJ lineup in New York City.

    Tracks from their two full-length albums, “I Will Be” and “Only in Dreams”, appeared in the eclectically put together set as well, along with the title track from 2011’s He Gets Me High.

    Throughout the show, the Dum Dum Girls also committed to communicating primarily through their music, deviating from any pre-song banter with the crowd. While many musicians take some type of conversational approach in an effort to connect with their audience, The Dum Dum Girls exhibited no such strategy. This lack of dialogue, however, by no means correlated with a disconnected audience. The venue’s guests found themselves dancing with the set’s more upbeat songs, driven by a snare drum that created a rhythmic version of sounds not unlike those of gunfire.

    The band’s mellower songs reflected lead-singer Kristen Gundred’s (A.K.A. Dee Dee) angelic stage presence. Standing out as the lone “Dum” blond, Gundred exemplified both a seraphic appearance and vocal ability. Her ethereal nature, however, fittingly contrasted with her punk-rock attitude.

    The Dum Dum Girls’ commitment to epitomizing rock lasted their entire set and peaked as they transitioned into their final song, covering the Smiths’ “There is a Light that Never Goes Out.” The Girls showed no fear in presenting one of Morrissey’s most popular songs to a surely Smiths-savvy crowd.

    This type of audacious behavior has resulted in burgeoning success for the Dum Dum Girls, putting Dee Dee and company exactly where they want to be.

  • Medeski, Martin and Wood: An Acoustic evening at the Massry Center for the Arts

    This past Saturday evening, I had the pleasure of enjoying Medeski, Martin and Wood, or MMW for short, perform an acoustic show for a sold out audience of 400 fans at the Massry Center of the Arts at The College of Saint Rose. Having never before been to the Massy Center, I had only heard that it had possibly the best sounding room in Albany. I was excited  for MMW to let their brand of beautiful noise loose in this room. Oh and how they let it loose!! More on that however, first some history on the center itself.

    A subtle grace is bestowed upon Massry Center. It isn’t apparent how graceful it is until you dig deeper. Some 450 feet deeper to be exact, as it is heated and cooled by a geothermal system originating from 40 wells dug beneath the building and its adjacent parking lot. It gets greener yet with 35% of its electricity supplied by wind and water. Using no fossil fuels, it also is made of 78% recycled steel and 15% recycled concrete. Gorgeous American and Patagonian Cherry wood is used on the doors and floors in accordance with standards set by the Forest Stewardship Council. All of these attributes makes it almost 50% more efficient than a comparable building built conventionally.

    Arriving close to the 7:30 starting time, I met up with photographer Chris DeCotis. We assumed our seats on the top landing facing down the stairs for a great view of the stage. Due to the show being sold out we were relegated to chairs, but being a rather lanky fellow I was pleased to not be crammed into a theater seat. Most of the seats were filled and just after 7:35 MMW began.

    As DeCotis assumed his position near the floor, I sat back and prepared for the inevitable onslaught. Having seen MMW around 25 times previously, I knew how unpredictable and how completely mind blowing they can be. These Berkelee College of Music trained musicians began their career in 1991 playing acoustic together and can read each others every syncopated move like Jedi knights. I had not seen them perform acoustic before so I was in for a very special treat.

    They began with a short intro then blasted into “Piano/Bass Chase” a free wheeling number that had everyone’s attention; no easing into things tonight. Very smoothly sliding into a improvised jam, the trio was clearly at ease, when they decided to shake it up a bit. They moved into a “Melodiccordian Shuffle” where Medeski plays a melodica/accordian hybrid, both rollicking and funky, to the point where I’m having a hard time sitting still. The crowd is bobbing heads and tapping toes in time. It’s the third song before they take a short breather. After playing a bold “Truth or Suffering” and very tight “Down On Me” things get weird. Playing an instrument that looks like someone tried to make an Oboe out of a Didgeridoo, Medeski showed his versatility, while Chris Wood opted for the electric bass and Billy Martin played all manner of random percussion in his repertoire before settling on two handfuls of orange plastic clothes hangers.  To close the first set they play a chopped up and regurgitated “Suspicious Minds” which I recognized but could not place the original artist…thinking it was a Tom Jones song, I realized later it was originally Elvis.

    After taking a short stretch break, the theater filled back up and is ready for round two. A quick intro leads right into “Nostalgia in Times Square”, segueing into “Angel Race (I’ll Wait for You)”. Wood’s upright bass solo in the middle on an extended “Illmoan” is a moment of focus in a tribal fertility space funk. Following the completion of “Illmoan” was another jam with John Medeski on the Slovakian Bassoon (or in my mind the Obidgeridoe). Never compromising, they round out the second set with a more straight forward “Pocket Knife” followed by a Drum Solo from Billy. Finishing the set with “Olde Wyne”, the boys were really feeling it and swerved around the song with ease.

    They were lavished upon with a standing ovation from most of the crowd, cheering, whistling, hooting and screeching for more. The crowd loved it and wanted more. They take the stage and the usual mouthpiece, Billy, gives their collective appreciation for being able to play acoustic for us. They finish the night out by encoring with “Fall River Blues”. Again, I find it hard to sit down, and know that I’m not the only one.

    Download Andy Murray’s recording of Medeski, Martin and Wood Acoustic

  • A Taste of The Bloodroots Barter, Ausable Forks, October 5th

    There is a certain feeling that a ‘traveling-through-town’ kind of band like The Bloodroots Barter gives you. They wander around, spreading their music; the kind of music that makes you stop and listen. You just can’t help but get entangled in their woodsy, worn, roots, southern vibe.

    I experienced the casting of their spell this past summer and have made my way to meet them at their stops around the North Country ever since. I find myself, among other mountain-towners doing whatever it takes to make it back for more, much like they find themselves called to come back up north. We’re all craving good string music up here and they’re craving good people to play for.

    The four-piece band traveled all the way up from Kentucky and hits every small-town with rusty whiskey drinkers on the way. They’d rather travel the back roads to get where they’re goin’ and their music tells that story. With a banjo, stand-up bass, accordion, guitar, fiddle, washboard, finger cymbals and a kazoo, these guys and gal bring a dusty old sound to your ears. They give out of the attic sights to your eyes and a one of a kind chemistry to the space you find yourself in. Their lyrics combined with their heavy southern accents take you to a place in the deep south and fill your ears with raspy verse. Who wouldn’t want that?

    One might be tempted to call them bluegrass but they are certainly in a category of their own. They are Old Crow Whiskey fueled Kentucky bloodgrass. They strive to be more then a band, they put on a show. Lead vocalist Casey Papendieck says they “want to get into all the senses of their fans”. They’ve got costumes to match the music, props that play on their sound and home-made goods they bust out of an old trunk and lay across an antique table covered in lace.

    I caught them in a little bar in the Adirondack Mountains on an eerie autumn night just this past week. The fiery season didn’t even prepare me for what was to come. Jack-o-lanterns were lit, whiskey was flowing and the wooden walls of the place were holding an array of characters with enough color to trick you into thinking you were in a dream. I felt like I stepped into a different time period as I watched them. I could not help but move in my boots; their creativity and madness inspires me to revel in my own. The company I brought along got their first taste of The Bloodroots Barter and did not stop dancing until too much drinkin’ happened upon them, even then there was toe-tappin’. But there is a balance in what they do. Just when you feel lost somewhere in the backwoods, they cover a song like “Freight Train” to get you feelin’ at home again.

    The band travels with other merry music makers in which they seem to make appear on stage as if they pulled them out of their back pockets. When they all share that space together they make so much sound come off the stage, if there was a stage, for they do not require one, instead they share the floor with the crowd they create and we all blend as one big piece of constantly changing, colorful, moving art. We are all creating, we’re all a part of the show.

    Then there is curiosity, and we wonder… where does such a name come from? What is it that they barter? I ask one of the music makers and find that it happens to be an herb, Bloodroot, a magical little herb of the south that blooms into a white flower and is traded for its healing powers much like music traded among musicians. And I realize, barters they are.

    Learn more about this intriguing band at Bloodrootsbarter.com

  • New Riders of the Purple Sage – Live at The Westcott

    By Gauraa Shekhar

    Buddy Cage, the pedal steel guitarist, shoots an amused look in my direction. Standing in the front row, I can almost feel him say, “What are you doing here, kiddo?” I suppress the urge to stereotype as I scan the crowd—sixty-somethings men and women dressed in overalls, hippie dancing to “Where I Come From”. The old man in pigtails standing next to me flashes a huge grin and offers me a whiff of an aromatic something passing hands. “No, thanks!” I assure him I am good. I feel out of place. I am the only one with black XX’s stamped across the back of hand—evidently, the only seventeen year old in the room.

    photo by Frances Huang

    The New Riders of the Purple Sage chime into chorus. And I am pulled out of the background, zapped into the song. The group of seventy-year-olds with their twangy opening burst out more energy than the two young acts before them did—combined. Tonight, there is reason to celebrate. “It’s the 7th year anniversary of our renaissance!” screams David Nelson before cranking the intro to “Panama Red”. “We’ve been together for 45 years!” adds Falzarano. The crowd went berserk.

    As The New Riders of the Purple Sage jams to oldies like “Glendale Train”, “Last Lonely Eagle” and “Louisiana Lady” from their eponymous record, nostalgia billows over the crowd, overwhelms it. Lovers lock eyes, friends hold hands and you can almost feel the music transcending time. The band is playing “Down for the Ride”, when I witness a man jump out of his wheelchair. He holds onto the railing in the front row for support, sways along with the music as he lands on his feet. He catches me looking at him in awe. “Kid, do you know what music is?” he asks. “It’s knowledge. It’s how stories are shared from campfire to campfire and eventually brought to us today.” I nod, soaking in this bizarre experience before me.

    The show rollicks towards an end and as Nelson mentions a closer, the crowd begins to chant, “Dirty Business! Dirty Business!” And there you have it. The band plays the eight minute long hit single from their debut album and the crowd simply loses itself in it.

    I don’t quite know what I was doing there but I felt that no EDM show could measure up to this weirdly wonderful night. Tonight, this was a community: all as one. As they say, it’s always a freak show when the riders come to town.

    Download Steven Weld’s recording of the show

  • North Mississippi Allstars, Missing Cats and Eastbound Jesus, Upstate Concert Hall, September 29th

    North Mississippi Allstars, Missing Cats and Eastbound Jesus, Upstate Concert Hall, September 29th

    With the arrival of southern rockers North Mississippi Allstars and Missing Cats heading up Upstate New York, I leaped at the chance to check out two bands that I was first enthralled by at the first Bonnaroo. While not exactly the same band lineup, with North Mississippi missing the recovering Chris Chew, and Missing Cats featuring Widespread Panic keyboardist JoJo Hermann, this was a pure treat, to see the musicians playing together for two sets, one Missing Cats and one North Mississippi. In a room like Upstate Concert Hall (formerly Northern Lights), the potential for an intimate and classic show was high.

    north mississippi allstarsThirty minutes of Eastbound Jesus got the crowd warmed up for the evening, and added some local flair to an otherwise southern lineup. Missing Cats took the stage with Sherman Ewing on acoustic guitar and JoJo on keyboard. Singing original songs with a rockabilly/Dixieland ring, the duo opened up with “Lazy Bones” and a few songs later were joined by Luther (guitar) and Cody Dickinson (drums) for the rest of the set. JoJo told stories in between some songs, including “Over Lovett”, which was written while flying over Buddy Holly’s hometown.”Follow me Down” had a Warren Zevon aspect to it, between both the lyrics and JoJo’s melody on the keys (see video below). This song stuck in my head for a day or two after, particularly because JoJo and I had discussed Zevon in our interview earlier that week, and lo and behold, the influence of the hairy-handed gent was present on stage. Some New Orleans infused tunes followed, along with “Halfway to the Top”, which JoJo mentioned was inspired by driving on a mountain highway through the Catskills during the change in foliage; the tune had a Jackson Browne/Early 80s feel, and was a perfect end to a great first set.

    Six song playlist – Missing Cats: “My Hideaway”, “Burn This Mission Down”, “Follow me Down”; North Mississippi Allstars: “Sugartown”, “Daisy Mae”, “All Night Long”

    North Mississippi Allstars brought the jukejoint blues of the land south of Memphis to the stage with Lightnin’ Malcolm on bass and JoJo on keys, the sound of generations past were updated as fluid jams developed from blues compositions into jazzy outlays of pure gold.

    Following the opener “Someday Baby”, after 10 years, I finally got to see “Sugartown” for the second time (first at Bonnaroo) and it was a pure treat, although the absense of Chris Chew’s thumping bass could be heard. “Never in all my Days” and “Mean old Wind Died Down” were foot stomping, head bobbing, thigh slapping numbers that roused a focused crowd. “Mississippi Boll Weevil”, “Shake ’em on Down” and “Shake What your Mama Gave You” provided a steady arc of upbeat, evenly paced songs that never let the momentum drop. “Moonshine” was more of a bridge, being somewhat more ballad-esque, and showcased Luther’s slight drawl-tinted voice. JoJo joined the band for “Bang Bang Lulu”, a machine-gun of a number, with Cody knocking each verse and refrain out of the park.

    The echo-laden blues guitar sound of “Po Black Maddie” was oddly complimented by a Dukes of Hazzard video on the screen behind the band. Cody took a moment to solo with his electric washboard, a classic aspect to any NoMiss set. Luther then took out a two string guitar made with an old microphone as the (limited) body, but still played strong on “Ho Down” and “Psychedelic Sex Machine”  The set ended shortly after midnight, and an encore of the Smiling Assassins tune “Daisy Mae” was sung by JoJo and received a warm reception from the Panic fans in the crowd who have heard this number played once or twice in the past. Being that is was Lightnin’ Malcolm’s birthday, he elected to play Junior Kimbrough’s “All Night Long”, which kept the audience dancing for an extended jam that drained every bit of energy from the band and fans alike.

    Post show, Luther and JoJo stopped into the crowd to talk to fans, remarking about the intimacy of the show and the tour as it was slowing creeping to a close. Later that week they played in Ithaca at The Haunt and brought the same high energy, southern rock show to a gathering of ardent fans of the blues.

    Download the North Mississippi Allstars show recorded by tapers John and Ed.

  • The Punch Brothers inside The Egg

    The Punch Brothers inside The Egg

    Singer and song writer Tom Brosseau was the opening act for the evening and took the stage with just him and an acoustic guitar. Brosseau swooned the small crowd with his emotional songs full of compassion and a slight optimism. Brosseau made cute conversation with the audience about the inspiration for his songs, that come from his Grandma and growing up in North Dakota. He said of The Egg, “(It) Always remains my favorite sight and sound.”  One of the songs that stood out most to me was “Youth Decay” a sorrowful melody that showcased Brosseau’s gifted folky guitar playing. As talented as Tom Brosseau was, I was hoping for a more upbeat opener for The Punch Brothers at The Egg.

    Much to my surprise the seats were half full as the progressive bluegrass band; The Punch Brothers took the stage.  The first beautiful notes are played and the audience falls deadly quiet; such a beautiful sound deserves complete silence. The feel of the music as it rapidly circles around the odd curves of the room only to gently wash over you, are irreplaceable. PB played a lot of songs off their newest album from February, Whose Feeling Young Now? showcasing a fine array of the bands individual as well as group talent.

    “No Concern of Yours” was a heartbreaking tune, especially with hard strumming from Chris Eldridge playing guitar. Noam Pikelny on banjo helped guide the music through the evening with a bluegrass sway.  “This Girl” was a song “about relationships” with lyrics full of love, a melody upbeat and sweet with chords that give you butterflies. Gabe Witcher was master of the fiddle as his strings had the ability to create visions and thoughts of the great outdoors and adventure, who said, “This song is about a place not too far from here” an obvious hint for one of their new songs, “New York City.” A fast tempo is kept up throughout the song, creating multiple beautiful build ups, similar to any day in the big city. The Punch Brothers have a fluidity that couldn’t be broken.   I was delighted to remember that the PB were fans of Radiohead too and couldn’t have been more impressed with their rendition of “Kid A.”  Paul Kowert’s steady bass notes were haunting, making this a cover song that any Radiohead fan should listen to. The night closed with one of their popular tunes, “Rye Whiskey” a mischievous song that had the audience nodding their heads in approval and wishing the show didn’t have to end.

    It was fun to watch Thile wander from his center spot to his surrounding band mates, everyone playing off of each other. For a good amount of the show, Chris Thile seems to be possessed by his very instrument. His body jerks uncontrollably as his fingertips radiate pure soul. Thile has brought life back into the mandolin, performing improvisational bluegrass, classical, folk and jazz with grace and sincerity. This musical experience was sacred, refreshing and inspiring to me. The music of the Punch Brothers expands the space in your mind and urges you to stretch your thoughts.

    Go to punchbrothers.com or find them on Facebook for more information on the bands tour dates as well as merchandise. I highly recommend purchasing their newest album, Whose Feeling Young Now? as well as Chris Thile’s solo album The Goat Rodeo Sessions” which was recently collaborated with Yo-Yo Ma.

  • Flux Capacitor, The McLovins and Consider the Source, September 29th at Red Square

    My last Saturday of September was spent at Red Square with Flux Capacitor, McLovins and Consider the Source. As unique as their sounds are, these three bands make up an incredible lineup, offering all the best music you can fit inside the Albany, NY venue. Flux Capacitor, based in Pennsylvania, served up an electric sound of rock, giving the night a great boost.

    McLovins took the stage to an eager crowd who were kept in suspense as sound issues were being worked out. Blasting off with “Day to day”, Jason Ott sent out a steady groove on bass. First time listeners became longtime fans as the boys played songs such as “Cohesive” with upbeat flair, catching them with surprise when the jams escalated. The audience was most enthusiastic when “Quinn the Eskimo”, a classic cover, was busted out. The McLovins are set to play in Connecticut for the next few weeks. For specific dates, check out themclovins.com

    Download The McLovins show here

    The smell of incense floated through the air as Consider the Source wasted no time jumping right into the jams. The opener was “New World Cocek”, a high energy funk that came out of nowhere and immediately demanded attention. After a mouth dropping delivery of “Absense of a Prominent Tooth”,  CTS took a short water break to express their love for the Albany area, reminding us of our #1 party city reputation. They made the big announcement that their NYE show was to be at Red Square in Albany, resulting in massive crowd cheers. As the night progressed, they slipped into the dark side of their music. “This Dubious Honor” was a hair-raising melody of John Ferrara’s bass notes intertwining with Jeff Mann’s sharp rhythm. They created monstrous sounds that they themselves could barely control and ate the crowd alive; Gabriel Marin created bizarre and mind-blowing sounds from his guitars that I never knew possible.

    I was lucky to ask some questions to Consider the Sources, Gabriel Marin and John Ferrara, about their sets lists, their fans and New Years Eve.

    Susan Rice: Do you make set lists or do you just jam unpredictably into the night?

    Gabriel Marin: We make set lists. Our songs feature improvisational sections, but also have tightly composed part that require certain sounds and approaches that we need to get set for, so we have to plan out our sets. We also like to make sure the set flows nicely and that we represent all the different sides of our sound.

    Susan: You guys had quite the crowd at The Catskill Chill. Do you prefer intimate bars to melt faces in or larger festivals? How does this effect your music and sound?

    John Ferrara: HA! We enjoy both honestly. Our formative years were spent at house parties and bars so the intimate vibe has always felt like home. During those years we learned that setting up close to one another heightened the interactivity between the 3 of us. Having that same proximity to the audience makes for an energy that is raw and powerful. Festivals have a totally different kind of energy though. You don’t have the close proximity to the audience or to one another but when you’re playing for an audience like the one at Catskill Chill something different happens. What you lose in sonic nuances of a smaller setting you gain in the cumulative energy of thousands of people. There’s nothing like being able to make eye contact with people like that from the stage while you’re performing. It’s like you’re jamming along with hundreds of people at once.

    Susan: I’ve seen you guys play here in Albany, NY a few times and you announced at the show last night that you were playing here at red square for NYE. Very exciting! What keeps bringing you back to Upstate NY?

    John: We are extremely excited to be playing New Years at Red Square for the second year in a row with our homies Timbre Coup. They’re a great band and great guys and the Albany crowd has always been a great one. Albany was the first city we ever played outside of NYC so we have a very special connection to that audience. Last New Years there was absolutely insane and I think this year is going to be way crazier.

    Gabriel:  The fans upstate have a ton of energy and are really fun to play for and really seem to appreciate that we do our own thing musically. It inspired us to try to be better each time we come back.

    The last few places to catch Consider the Source before their tour to Europe are in Virginia and North Carolina. For some fans, like Krystal W, the next show isn’t soon enough. “Consider the Source has a very unique sound and every show is a beautiful spiritual experience.”

    For more information, go to their website, www.considerthesourcemusic.com

  • Dropkick Murphys, Saranac Brewery, September 20th

    Another chance arose last week for me to scratch a band off my ‘Must see before I croak’ list.  It’s always an extra treat when that happens in our own backyard and most especially with this show.  I absolutely love Dropkick Murphys but have some trepidation about plunging myself into a seething pit of jack booted ‘punk rawk’ fans lit up on whiskey, particularly in a place where I’m not familiar with the exits.  I was long overdue for some live Dropkick and not optimistic about my prospects.

    Then, a few weeks ago, I caught wind of some promotion about the fall line-up of shows at the Saranac Stage at the Brewery on Varick Street and lo and behold, score Utica some Dropkick Murphys!  Tickets were nabbed, a posse was assembled, and down to V Street we trekked on a lovely, temperate autumnal evening. I was a bit confused and unimpressed by the opening acts and from all I overheard, I wasn’t the only one.  They didn’t really make sense or fit cohesively with Dropkick’s style, and my friends and I stopped off at the Nailcreek first to wet our whistles and time our entry for the main event.  So worth the wait! Utica came out strong for this and with a perfect attitude!  High energy and joyful, and the band both fueled it and was fueled by it.

    Opening with a few well known favorites, including dropping “Boys On The Docks” into the early part of the set and taking a crowd request for “You’re a Rebel”, the band whipped the fans into a frenzy.  I saw huge smiling faces around me and my friends and I very quickly decided this was the opportunity to finally be up front at a Dropkick show.  Honestly, we sort of flanked up the side but if your elbows are on a speaker, that counts as up front to me!  Perfect vantage point to soak up the excitement rolling off everyone and to watch the most pleasant bunch of crowd surfers I’ve ever seen. I’d be remiss not to give a genuine kudos to the security from Westcott Events who did a fantastic job between the stage and the crowd barricades, gently but firmly plucking elevated bodies from simulated flight and placing them safely on the ground, their exits from stage front met with a gauntlet of high fives and fist pumps from their fellow fans.

    Everyone sang enthusiastically along, especially with “Forever” and Al Barr frequently jumped off the stage to interact with the throng, cumulative voices ringing out into the microphone he held to their faces. About half way in, the band announced they were about to play us some new songs whether we liked it or not, and delivered two new selections that will easily become new favorites.  The material on this most recent album is on par with or exceeds their current body of work!  I was feeling really grateful…and also a little full of Saranac Octoberfest so I dashed off to a bathroom that wasn’t freestanding in a parking lot, missing the closing number.  My timing sometimes is epic.  But I still heard it, even inside the bar bathroom!  The strong strains of “Kiss Me I’m Shitfaced” punched through the cool night air and the band invited fans to jump up on stage and help the song along, making everyone’s night.

    We rounded our evening out with another taste of Jameson and a Utica Club on the deck at the Nailcreek and were treated to an impromptu, pop up performance of some kilted bagpipers from the street.  Really.  Random bagpipes appeared out of seemingly nowhere.  Only in Utica!  Stellar times all the way around.