Category: Albany

Light and Sound: An Interview with Phil Salvaggio and Greg Ellis of Pretty Lights

Yesterday, Sue Rice recapped the Pretty Lights show at the Times Union Center. Today features an interview with Pretty Lights Lightining Director Greg Ellis and Production Manager/Audio Engineer Phil Salvaggio. After the show was over, Chris McMullen sat down with the Oneonta natives to get a look at the behind the scenes of producing a Pretty Lights show.

Chris McMullen: When did the lighting rig really reach its peak?

Greg Ellis: Well the funny thing is we debuted the pillar style video rig last year at Bonnaroo but we used the festival light rig and it was very sub-par. After that was when it all kind of came together. We followed that with a string of festivals and then during our fall tour was the first time it was a complete package. Its been a couple years in the making. We’ve been taking care to make sure the equipment does what we want it to do. The visuals are particularly a challange because I can improvise with lights but Video is so delicate.

Chris: Who does the visuals?

Greg: Its a company called Radio Edit AV out of Chicago. Led by this kid that we know Dave Najarian.

Chris: Have you had a memorable show on this tour?

Greg: The last two nights have been my favorite shows I’ve ever done. We grew up in Oneonta and our whole crew was here tonight. And last night my friends from Connecticut, from when I lived there attended., so its been one huge family reunion the last two days. THere was a moment last night when Something just kind of happened. From then on out its been full steam ahead.

Chris: How did you get involved with PL?

Greg: When I moved to Connecticut, he moved to Colorado and bounced around and started to find his groove. He started working with PL and convinced me to come out there.

Phil: I had to work with all these dudes, and all had this gear and they all sucked…and I was like, I know this kid…give him the right tools and he’ll slay these kids. And thats what happened. haha

(As Chris and Phil were talking, they were interrupted by alcohol and women, a few follow up questions ensued)

Chris: What is your favorite NY venue?

Phil: Now, I’m partial to the Times Union Center, it’s a large scale big arena. I saw my first Phish show there in 1998. I was pretty stoked to get in there and do a show. As far as places to see a show, Radio City Music Hall is pretty awesome.

Chris: Any pre show rituals?

Phil: I usually take a nap between sound check and showtime, its the most time I have off during the day.

Chris: What are you listening to lately?

Phil: Muse: 2nd Law, totally sick, new modern record, bands just don’t do this kind of stuff anymore, this band can actually play live, they are sick, they are the real deal. There music is very rock opera-ish. Brings me back to my youth. Its like Queen meets Radiohead meets a Broadway show or something. You should watch their making of 2nd Law. You’ll understand what I’m saying.

Chris: Craziest tour moment?

Phil: The Crazy tour moments are less and less these days as we have advanced into such large venues. These days its way more low key backstage. Just playing the Boston Garden was pretty crazy to me. I saw Phish 20th anniversary there, so that was crazy. That or this past summer doing the Gorge, then Sunset Festival in Tampa, then Summercamp, with the help of charter jets. Literally opposite parts of the country. EDC Vegas… 100,000 people.. I am returning to this, Full Flex Express Tour, It was the 2012 version of Festival Express. Use your imagination…

Chris: Favorite tour moment?

Phil: Favorite Tour moment for this tour… Kickin it with my friends backstage at the Times Union Center in Albany. Everyone seemed to have a blast, and it was great to bring my old band mates and friends into that element, in a venue where we had seen so many epic shows.

Chris: Any word on a Pretty Lights festival?

Phil: This is something we have been talking about forever. We do so many festivals where we are limited from a production standpoint. Our touring rig is bigger than most festivals we play, and its OUR thing. We did EDC Vegas and Electric Zoo, both were great and had HUGE productions. But we’d rather walk into doing our OWN thing with artists we want to play with. We did just did a co-bill festival with Skrillex in Nashville, the weekend before Halloween, it was called “With Your Friends.” We used our rig, it was Awesome, we can show what we are really about when its our stuff. I would love to do what Phish did, or rather something similar, with artists we like or are on the label etc…. Create a really cool brand, something that people can remember. So, in terms of any word on a festival, NO, but its been in our minds for a minute.

Chris: How did you meet Derek?

Phil: I was living in Fort Collins CO. Playing in bands and booking a club. I started doing Audio for a company down there. I was in some bands that were just struggling. He was in a band, I was in a band, we had mutual friends. I did his first real show in Fort Collins, I brought in lights and extra subs for his show. About 4 months later he needed a sound guy, for his first ever multi date run in the south. I hopped on a plane and the rest is history.

Chris: When did you realize that Pretty Lights had gotten big?

Phil: Well, I remember our first tour bus, then our second. Then we had a semi, now we have 2 busses, and 3 semi trucks. And we headline all the big crunchy festivals… Wakarusa, Summercamp, All Good… etc.. I think it was All Good last year (2011) there were 30,000 people there rocking the fuck out. And we were playing after bands I used to go see all the time… moe… Primus… And we put on a pretty mind blowing production.

Chris: Advice for up and coming acts(djs bands producers)?

Phil: Follow your dreams and don’t be a rockstar until you are ready, no one has time for that jazz.

Chris: Any thoughts on Pretty Lights live? (ALA shpongle, Bonobo etc)?

Phil: The new record was recorded with a live band. Basically there were a bunch of players, locked in a studio for about 2 weeks in New York. We had various different instrumentation per session. I was super stoked to play with some of my favorite musicians, Adam Deitch, Eric Krasno Nigel Hall…. The sessions went from me and Derek making noises on guitars and basses, to full on 12 piece band locking into grooves. The sessions were all “live,” and recorded to 2 inch tape. Then all the tapes were dubbed to vinyl plates. Then Derek took the records, and chopped them up in his usual style. He basically created a library or samples that were his own. The grooves and breaks that we locked into were absolutely amazing, and the engineer, Joel Hamilton of Studio G in Brooklyn, is a genius. They have so many old pre amps, compressors and processors from the 60s and 70s. Which is what Derek wanted for his record, to really have the sound of that age. He ended up going back and doing it again in New York and New Orleans with singers and more musicians. It was really an awesome process, we literally took the tapes, hopped in a cab, and dropped them off at Salt Mastering. I got to see the whole process go down. It was pretty amazing. The record should be out sometime early this year.

As for a live band, There have been talks of this as well. However I think there would have to be some serious time off and a lot of planning and rehearsing for something like this. Derek is a perfectionist…. It is not something that would happen over night. I am pretty sure it is a dream of his. He drew a picture of himself when he was a kid, standing at Red Rocks with his bass guitar. I think this dream is still alive in him. I could see it happening. But are there plans now… im not really sure to be honest. But again, we’ve been talking about it for years.

November 20, 2012
Pretty Lights is more than just Pretty Lights

Despite the cold November Third wind outside, Pretty Lights fired up the Times Union Center on the inside. Albany’s biggest venue hosted producer Derek Vincent Smith, better known as Pretty Lights, and his electronic dance beats. Doors opened at 7 with the show kicking off at 8 but I arrived around 9 in hopes of beating what was sure to be a crazed mob of teens trying to get it. The TUC had a beer garden set up for the one night event, much to the disappointment of the older crowd but a wise decision considering the mass of underage concert goers. There were large black curtains blocking the view of the show from the beer garden area, making the beer garden all the more obnoxious.

The stage was filled with multiple towered structures aching to be lit, while a clock on a big screen counted down the time until Pretty Lights’ performance. The floor was open to the first 3500 people inside, most of whom were covered in neon, glow sticks, face paint, furry boots and many other costumes. There was a good amount of people in the seats but all the action was on the chaotic dance floor. Pre-show was the ever popular panic of concert goers rushing, trying to find your friends and a good spot to watch the show. Most of my friends and I were content with hanging back in our own dance space, and always the best place to people watch too.

With the countdown over, the audience erupted and Smith took his place atop the stage. To watch the jam packed crowd bounce in almost perfect union to the beat of every song was astonishing. The shows at the local Washington Armory I was accustomed to had nothing on the force of Pretty Lights and the fans. The music started and the energy never stopped, the frenzy of dancers helpless against the electronic beats and flashing light show. It took everything I had NOT to blink for fear that I would miss the hundreds of lazers shooting across the arena and futuristic images being blasted across the huge screens outstretched across the stage.

The music that blasted from Smith’s speakers was welcomed and embraced by the thrill seeking crowd. Ranging from a wide array of hip hop, a little soul and a great deal of electronic mixed with some house and dubstep, Pretty Lights knows what works and can easily control the crowd. One of the most memorable moments of the night was when Smith performed “Finally Moving” which features the ever popular Etta James, “Something’s Got a Hold on Me” amping up the crowd to all sing along and groove to the beats. This was a great set up for the next big song of the night, a remix of Jay Z’s “Empire State of Mind”, a recent New York anthem and a refreshing hot remix.

Pretty Lights is more than just a really intense light show, it has an unrelenting carousal of beats and melodies that keep your mind, body and soul in party mode all night. Pretty Lights offers free music, as well as wallpaper and icons on his website and after touring the U.S. he will ring in the New Year with a two-night stand in New York City.

November 19, 2012
Van Ghost and The Revivalists head to The Bayou in Albany on November 17th

New Orleans’ The Revivalists and all star six-piece band Van Ghost, featuring Jennifer Hartswick from The Trey Anastasio Band, will co-headline The Bayou Cafe in Albany this Saturday, November 17. Tickets can be purchased for $10-$12 by visiting Ticket Fly. Doors are at 8, show starts at 930pm.

Since forming in 2007, The Revivalists have rightfully earned their reputation as the next breakout band from the music capital of New Orleans. The groups blend of soulful, syncopated rock and earnest songwriting comes to life through a meticulously crafted and ever-evolving live performance. For more information, visit The Revivalists official website

Van Ghost, founded by singer-songwriter and guitarist Michael Harris Berg features the talents of decade-plus Trey Anastasio Band vocalist Jennifer Hartswick, who has shared the stage with Herbie Hancock, the Rolling Stones, Dave Matthews Band, among others. The sympathetic interplay between her silk and sandpaper vocals intertwining with Berg’s folksy emotive lead vocals has become a staple of Van Ghosts sound, garnering favorable comparisons to CSNY. The band also features the telepathic interplay of guitarist Grant Tye, drummer Greg Marsh, and Klem Hayes. For more information, visit the Van Ghost official website.

November 14, 2012

Albany ranks #9 in Top Metro Areas based on Musical Acts per 10,000

We wrote back in August about the rank of Rochester as #9 in the nation in regards to concentration of musicians and music-related businesses, with even Kingston and Albany ranked in the top 15 of small metro areas. What this says about Upstate New York is that we have a vibrant music scene, one notable enough for inclusion in this study three times, covering the western and Hudson regions. This of course led to some vibrant discussion in the group on Facebook.

Now, Zara Matheson at the Martin Prosperity Institute has created a new map of the Top 20 Metro Areas, based on the number of Musical Acts per 10,000 people. While larger metro areas like Los Angeles, San Francisco and Miami are on the list, towns like Honolulu, Orlando and Las Vegas are tourist areas and attract crowds to their downtown and outlying areas that lead to increased crowds for bands, leading to fans in the long run.

However, Albany ranked at number 9 seems to stand out as an outlier in this list of 20 (which also has Dutchess County at #19), because we are neither a large metro area compared to other cities on the list, nor are we a popular tourist destination. But where did all these bands come from? If Albany has roughly 100,000 people living in the city, then conservatively, we have 1,540 bands in the Albany area alone. If you take all the bands in Albany of varying size, and even skew down by a third, we still have 1,000 bands. That’s a lot of talent, especially when compared to cities of larger size that are the home of huge signed acts. Albany has had a few in their day (Blotto, moe., Ominous Seapods, to name a few) and there are many more waiting in the wings (Timbre Coup, Consider the Source, among many others) that are making a name for themselves among the relatively small population of Albany and high number of acts, per 10,000 people.

While we don’t have a tourist presence in the Albany area, one that would help give musicians a greater audience for their music, we are at a crossroads of Interstates 87 and 90, central to small suburban areas in 4 states that, with a greater push for tourism, could lead to the scene becoming even larger than it currently is. We have the bands, we just need more fans seeing more music! It’s a fan’s market out there in the greater Albany area, you just need to get out there and find some music you like and GO SEE LIVE LOCAL MUSIC!

Top 20 Metros Based on Musical Acts per 10,000 People
Rank	Metro	Musical Acts per 10,000
1	Los Angeles	184
2	Napa, California	183
3	Las Vegas	176
4	Jersey City	175
5	Honolulu	174
6	Orlando	170
7	San Diego	164
8	Stockton, California	161
9	Albany, New York	154
10	Seattle	154
11	Santa Cruz	153
12	San Francisco	150
13	Miami	149
14	Ventura, California	142
15	San Jose	138
16	Tacoma, Washington	137
17	Santa Barbara, California	132
18	Newark, New Jersey	130
19	Dutchess County, New York	130
20	Bergen-Passaic, New Jersey	129

November 14, 2012

An Interview with Ryan Zoidis of The Rustic Overtones

The Rustic Overtones take a swing through Upstate NY this weekend with a stop a the Putnam Den with special guest Stone Revival Band on Friday, November 16th at 9pm and the next night at Foodstock V at The Chance Theater in Poughkeepsie, NY at 5:30pm. Saxophone player Ryan Zoidis caught up with Pete Mason after this weekend’s Bear Creek Music Festival and discussed his role in The Rustic Overtones, Lettuce and his affinity for Upstate New York.

Pete Mason: Playing saxophone in Rustic Overtones and Lettuce, how did you get started out with each band?

Ryan Zoidis: I met the Lettuce cats in 1992 at the Berklee College of Music five-week summer program. I met Eric Krasno in an ensemble we were assigned to then met the rest of the guys shortly after. We all wanted to play funk music and that’s exactly what we did. We ended up meeting up after high school when we all went to Berklee and lived in the same dorm. We used to jam till 5am regularly and we started playing parties at different college dorms. Most of us left Berklee after about a year but some stuck around. A few of the guys were in a band called Fat Bag that was a great live hip hop group and they started touring a bit, so that put a damper on Lettuce.

Meanwhile, I left school, moved back to Maine to regroup and find a gig when my good friend Tony Mcnaboe asked if I wanted to play in Rustic. I went to a rehearsal and it went well, although I didn’t love the music initially.

My first show was in Orono, Maine at Geddy’s . The place was jam packed, the crowd was singing the lyrics, Gutter was a star. That’s when I realized I wanted to play music that appealed to the masses, and Rustic was really special. Shortly after I joined we got signed by Clive Davis and the rest is history.

Pete: Bear Creek was a collaboration fest this past weekend. What makes the climate of fests like Bear Creek so conducive to collaboration with other musicians?

Ryan: Our friend Paul Levine started Bear Creek because he wanted to do a funk festival. He booked his favorite bands Lettuce, Dumpstaphunk, The New Mastersounds, etc… We have done some great collaborations that weren’t necessarily planned, they just happened.

Pete: What was your musical highlight of Bear Creek?

Ryan: The Friday night Lettuce set was on fire!

Pete: The Rustic Overtones took a hiatus before reuniting in 2007; how has the balance of being in two acts been a challenge in recent years?

Ryan: Well, I’m doing this for a living. I really need to stay busy to make it work. Lettuce has never been a hard touring band, only 30 shows a year max. Since Rustic got back together we only do 60-70 a year. It’s challenging sometimes schedule wise and it’s tough to have to choose between the two. I also started a reggae band called Royal Hammer with Dave Noyes, Gary and Mike from Rustic. Our first album will be out this winter. We want to get that out on the road too.

Pete: How do you like Upstate New York, having played festivals and venues here for many years?

Ryan: Upstate’s always been really good to Rustic. We had some crushing shows at Revolution Hall, which was our favorite venue. WEQX, a radio station here plays us, so that helps. Putnam Den is awesome and they treat us great; Castaways in Ithaca is cool too. There’s a lot of good spots, kids who like to check out music. Getting stoked for the weekend Upstate!

For more info check out therusticovertones.com

November 13, 2012
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.

November 7, 2012
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.

November 7, 2012
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.

October 29, 2012
The Australian Pink Floyd Show at The Palace Theater, October 20th

Pink Floyd enthusiasts were treated to a fun night of music and visual displays Saturday night in Albany. The Australian Pink Floyd Show made a stop at the Palace Theater and put on a complete show filled with classic Pink Floyd songs that spanned their entire catalog. Along with a giant circular video monitor, laser light projections and backup singers, it made for a true theatrical experience. Writers Tim O’Shea and Pete Mason attended and each took something different from the show.

Review by Tim O’Shea

The show opened with the dark and brooding “In the Flesh” and instantly captured the audience’s attention. The early portion of the show included several selections from some of the later Pink Floyd albums. “Sorrow” from the album A Momentary Lapse of Reason was also well received. The band then shifted gears and went into one of the group’s earlier numbers with a stirring rendition of “Set the Controls for the Heart of the Sun”. Another first set highlight was “Pigs” which was performed flawlessly. After this, spotlights and that familiar helicopter sound led into the set closer of “Another Brick in the Wall” which also featured a giant inflatable “teacher” on stage which corresponded to the video being shown on stage.

The second set opened with the Syd Barrett tribute “Shine On You Crazy Diamond”. This was another song complemented beautifully by the video being shown which included some very early images of the band when Barrett was still included. The chiming of clocks that followed could only mean it was time for “Time”, followed by another song from the epic Dark Side of the Moon album with “Great Gig in the Sky”. This gave the three backup singers a chance to shine as each took their own approach to the classic vocal solo that ends the song. “Us and Them” was also played later in the set giving the audience a good sampling from this classic album.

Review by Pete Mason

What stood out about Australian Pink Floyd was the the fact that this was not a cover band, it was a true tribute band. The band not only had strong improvisational structure to songs with full jamming capabilities. But the key thing for me was that they featured a great deal of rarities and for once, a band playing Pink Floyd was not a greatest hits parade. Utilizing the full catalog, the band’s songs connected you with the four decades of Floyd, especially the songs that harken back to the emothional aftermath of World War Two that is intertwined throughout a number of their songs.

Opening up with “In the Flesh” is setting the bar high for the night with the ‘thrust you back into your seat’ power of this tune from The Wall. “Set the Controls” was a huge highlight, with the sun projected in various lenses behind the band as the ominous and dark song got into motion; with Halloween around the corner, this is true Haunted House music. “Pigs”, appropriately, showed political leaders with snouts and pig ears super imposed on their visages on the screen as the full song was played well enough that you could picture Battersea Power Station behind the band. But instead, we got the incredibly creepy/acid-visual of a giant teacher inflated on stage left behind the backup singers, perfect to bring in “Another Brick in the Wall Part 2“

The second set gave a nice tribute to the memory of Syd Barrett with a medley of photos and his musical compositions from the 1960s, followed by the apropos “Shine on you Crazy Diamond”. After a pair of tuned from Dark Side of the Moon, we were treated to two rarer songs, “What do you want from me” off 1994s’ The Division Bell and “The Fletcher Memorial Home” off 1983’s The Final Cut, each of which allowed the various singers in the band to showcase their chops and dipped back into the well of creepy for the visuals broadcast on the screen during “Fletcher”, a truly troubling tune, albiet one of Waters more introspective songs. With some more Dark Side songs, the highlight of the night was the off-setlist Interstellar Overdrive that featured a giant pink kangaroo that arose from nowhere, keeping the psychedelic aspect of Pink Floyd lasting beyond their years. Aussie Pink Floyd no doubt redefined tribute band for me this night, as well as gave a nice sampling of the four decades of Floyd.

Australian Pink Floyd Show Setlist:

Set 1: In the Flesh, Take it Back, Sorrow, Set the Controls for the Heart of the Sun, High Hopes, Pigs, Another Brick in the Wall Part 2

Set 2: Syd Barrett Medley, Shine on You Crazy Diamond, Time->Great Gig in the Sky, What do you Want From Me, The Fletcher Memorial Home, Us and Them, Wish You Were Here, Interstellar Overdrive, Comfortably Numb

E: Run like hell

The Australian Pink Floyd Show and on Twitter

October 26, 2012
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

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.
October 26, 2012